0:00

How's it going, everybody? Welcome

0:03

back to the podcast. I'm

0:05

Robert Massey. This is the Travel and Adventure Photography

0:07

School. Thank you so much for taking some

0:09

of your invaluable time to hang

0:11

out and listen today. For today's

0:13

episode, we are hanging out on the shores of

0:16

Moraine Lake right after hiking

0:18

into Larch Valley during Larch

0:20

season. Oh, such a special

0:23

and spectacular moment to

0:25

be there. It's phenomenal. Larch

0:27

season lasts for two, maybe three

0:29

weeks in Banff National Park,

0:31

and it's, it's magic

0:34

when it hits. So for those of you who don't know,

0:36

larches are a type of coniferous tree,

0:39

so like an evergreen or a Christmas tree,

0:41

that turn yellow and lose their needles

0:44

just before the winter. So right as the weather

0:46

starts to get a little bit colder, they start to change

0:48

yellow, and then for about two to three

0:50

weeks, there are forests

0:52

of golden trees, and

0:55

it is spectacular to walk

0:57

amongst the larches, and it's one of the things

0:59

that drives people to Banff

1:01

National Park in the fall. If

1:04

you look at an Instagram feed or

1:06

anything like that from the end of September, beginning of October,

1:08

you will see these golden larch trees

1:11

everywhere. They're up in the subalpine

1:13

and the alpine kind of area, and they're one of the

1:16

things that you almost have to hike to to get to.

1:18

It's dedication to really get amongst

1:20

these golden trees, but honestly,

1:22

so worth it, especially if you are a

1:25

adventure or landscape photographer, traveler photographer,

1:28

or you just want to see something

1:30

spectacular and beautiful and magical.

1:32

Now, My suggestion would be definitely

1:34

be in them for golden hour, which

1:37

can be a lot of work because it means you're

1:39

typically hiking at least five

1:41

or six kilometers probably around five or 600

1:43

meters up into somewhere

1:46

before sunrise starts. So it's definitely

1:48

a dark start, but so worth it.

1:50

If you can watch that golden light touch

1:52

over the tops of those trees. Now

1:55

that being said. This episode

1:58

is not about larch

2:00

trees as much as I would

2:02

love to just talk about larches.

2:04

I've done this before on the podcast. We've

2:06

gone off about how to capture the best fall

2:08

colours, and where to go for them, and

2:10

why they're so special and amazing, but

2:13

that's not what this episode is going to be about.

2:15

Because I think at this point, I

2:18

don't need to convince you to go out and

2:20

capture the fall colours. There's no

2:22

reason to. They are spectacular,

2:24

and because it's such a limited season, I

2:26

think that drives a lot of us photographers to get out

2:29

and document it. Even when it's gross

2:31

and rainy, like it has been here for the last couple

2:33

of weeks. I'm getting rained on again right now. I

2:35

think you'll notice a common running theme in the last few

2:38

episodes. And, yeah.

2:41

Even then, it's still... A beautiful

2:43

and fantastic and special moment to

2:45

be out in these kind of colors. So, get out there. If

2:48

you're listening to this while it is fall, go and document

2:50

them. If you're not, plan a trip to somewhere

2:52

where you want to see those fall colors, especially

2:54

if you want to go somewhere into the mountains and see larches, because

2:57

they are a unique thing that

2:59

take effort to get to, but oh, so,

3:02

so worth it. I think I have gone on. We're

3:04

looking at five or six larch hikes in

3:07

the last nine to ten days.

3:09

My legs are a little bit tired but it's, it's

3:11

been so worth it to get to wander around in those

3:13

golden forests. That being said,

3:16

this episode is not about

3:18

larches. This episode is all

3:20

about how you can improve your images with

3:23

just a couple easy little

3:25

tweaks to make your

3:28

next brand shoot or your next couple shoot, your

3:30

next portrait shoot or whatever it

3:32

is. These little tweaks that you can make before

3:34

your shoot and during it that will

3:36

dramatically raise the quality of your photos.

3:39

One of the things I find people asking about fairly

3:41

consistently is what

3:43

really starts separating people out when

3:45

you know the rules of composition and you know how to break

3:47

them and when to break them, when you know

3:50

your exposure triangle and how to use your camera

3:52

and all those good pieces, why is

3:54

it that some people's images just

3:56

have an extra spark or just something a little bit different

3:58

or better about them? And so that's what

4:00

we're going to talk about here are some of the things that you can do that could

4:02

possibly be that next bit

4:05

that you need to really elevate your people

4:07

photos. All right, let's

4:09

get into it. So the first two are about

4:12

things you can do before your photo

4:14

shoot. These are relationship

4:17

building pieces. So,

4:19

it is critical that you don't just

4:21

drop into a photoshoot without an understanding

4:24

of that person you're working with, without

4:26

an understanding of what their needs are,

4:28

what their wants are, or why they're hiring you. I've

4:30

seen too many photographers just be like, I booked

4:33

this session, that's great. It's like, okay, what do you know about them?

4:35

And they don't know anything. They know that they

4:37

got booked, and that was it. Somebody hired

4:39

them for a photoshoot. That's not

4:41

ideal, and I know this isn't what

4:43

a lot of people want to hear, but there's some

4:46

legwork that should go in before

4:48

you get into the production

4:50

process with somebody. So what that

4:52

looks like is really straightforward and it doesn't

4:54

change if you're doing a brand shoot or if

4:56

you're doing an engagement shoot or a portrait shoot or anything

4:58

like that. The amount of time investment might, but

5:01

the concept doesn't shift. So

5:03

what I mean by that is you want to

5:05

sit down and have a direct conversation

5:08

either through a FaceTime call, because

5:10

it's critical to be able to read that person's expressions

5:12

and to be able to listen and respond

5:14

to not just their voice, but to their body

5:16

language and to their tone. Or,

5:19

sit down in person with them. And I know that's not always possible,

5:21

but that is honestly the best way I've found

5:24

to engage in these conversations. Because

5:27

you need to get to know the people

5:29

behind this photo shoot and what their needs

5:31

are. And you need to build up that relationship

5:33

of trust so that they can believe

5:35

in you and trust in you when

5:38

you go out to start shooting with them. So,

5:40

if you just show up on set and

5:42

you've never really had a conversation with

5:44

this couple or you've never really had a conversation with this

5:46

client that's hired you, You don't

5:49

actually know each other well enough to

5:51

really have a huge amount of trust

5:53

or belief in each other. And

5:55

you might not actually understand their needs

5:58

or there might be little nuances that you've missed

6:00

because you haven't sat down and engaged

6:02

in an in depth conversation. So

6:05

prior to your shoot get on

6:08

a video call or get

6:10

down and sit down in person with them and

6:12

really dig into their needs,

6:14

their expectations, their wants. If this is a brand

6:16

shoot, you need to understand how that brand wants

6:19

its voice represented, how that brand wants to be visually

6:21

represented. If this is a couple, you need to understand

6:23

their story and their background. You really want

6:25

to know what will make them smile,

6:28

what's going to make them laugh, what's going to help them

6:30

engage on a deeper

6:33

and more trusting level with you. Because honestly,

6:35

if you show up at a shoot and they

6:37

don't know you yet, they might

6:40

not be willing to tell you, oh, this isn't right, or,

6:42

oh, this, doesn't feel right, or

6:44

you might be struggling to get that couple to smile because

6:46

you don't understand their sense of humor, or you don't

6:49

understand their relationship to each other. Some

6:51

couples do great if you get them to pick fun at

6:53

each other, some couples really hate

6:55

that and that's going to throw something off. I did that at

6:57

a wedding, where I typically have,

7:00

the groomsmen kind of poke fun

7:02

at the groom, and I

7:04

knew the groom really well, but I didn't actually

7:06

know the groomsmen at all before this wedding.

7:09

And I asked one of the groomsmen Hey, could you tell,

7:11

tell me a pretty funny story about the groom?

7:13

And he, he got very

7:15

angry about this, and he didn't want me to

7:17

be making fun of this friend of his.

7:20

And that wasn't the idea. The idea was to

7:22

add some levity to a situation. And because I didn't

7:25

understand that relationship in there, I

7:27

caused a little bit of a rift that I had to spend some time

7:29

repairing and understanding what had happened.

7:32

Now, thankfully, we got over it, everything was great, the photos turned

7:34

out beautifully, but a

7:36

pre conversation with the

7:38

groom about how his

7:40

groomsmen interact with him and about how they

7:43

tend to get each other to smile and what they mean to each other would

7:45

have alleviated that situation right off the bat and not

7:47

caused any tension whatsoever. So.

7:50

Get out there, have that conversation

7:52

before you start your shoot and really

7:55

not just understand your client's needs

7:57

in terms of what they expect for delivery,

8:00

but also understand your client's needs

8:02

in how they need to be worked

8:04

with, represented, and how you can build trust

8:06

with them. In addition to that conversation,

8:09

one of the other things, and this is one of the tips that changed

8:11

my photography and changed my approach to

8:13

photography quite dramatically, was

8:16

that I find that there's a lot

8:18

of photographers who go into a shoot, and I was one

8:20

of them, and would tell people what to do,

8:22

and then expect them to listen and something just wouldn't feel

8:25

right, and you couldn't quite put your

8:27

finger on what it was. And so I solved

8:29

this by starting to have what I call a collaboration

8:31

conversation, before the

8:33

actual photo shoot starts. So, I

8:36

take five, ten minutes before we actually

8:38

ever even pull out a camera and this is after

8:40

you've done your typical, hey, how's it going this morning, how you feeling,

8:42

you excited, you're getting them pumped. After

8:45

you've had that welcome introduction moment, take

8:48

five to ten minutes and talk with them about

8:50

how you aren't dictating

8:52

these images to them. That this isn't a

8:54

one way street artistic creative

8:56

process. That these images are

8:59

for them, they are about them, and you want to make

9:01

sure that they get the best photos that they possibly can.

9:04

Because you are working with people who are emotionally

9:07

invested in these photos. They're already

9:09

emotionally invested and you want to get

9:11

them even more emotionally invested. Now

9:13

if you're creating a specific art project and

9:16

you're documenting something or doing

9:18

anything like that, don't need to worry about

9:20

the collaboration piece because you're not collaborating, you're creating

9:23

art for yourself. But when you're doing

9:25

engagement shoots, and couple shoots, and

9:27

portraits, and brand shoots, you

9:29

aren't just creating something for you, you're creating

9:32

something for somebody else who has a vision,

9:34

or who has an expectation for what these

9:37

images are going to be used for, what they look like. And

9:39

if you start by having this

9:41

collaboration conversation, All

9:44

of a sudden they are going to be

9:46

way more emotionally invested and understanding

9:49

of how you want them to work with you. So,

9:51

what I do is I tell them flat out

9:54

I'm not here to dictate to you. I want you to tell

9:56

me how you're feeling about the poses, how

9:58

you're feeling about the places. If you're

10:00

uncomfortable, if you love it, if you want to try something,

10:03

I want you to give me feedback as

10:05

we go. Now, you hired me because

10:07

I have a specific talent.

10:10

I have the ability to pose and light

10:12

and do all these other things. I'll

10:14

guide you through this process as we go, but if I

10:16

pose you in the way that you're like, ah, this doesn't really represent

10:19

us, let's not waste our time there. If

10:21

you don't feel right, if you don't feel

10:23

good, I need to know that so that

10:25

we can create the best images that we possibly can that will

10:27

make you smile, and that will

10:29

make you overjoyed when you look at them. And

10:32

that's it. It's a basic conversation like that. I answer

10:34

a couple questions from them. I really... Kind

10:37

of feel out how they're feeling about it and make sure that they understand

10:39

that I really do want them to tell me

10:42

and give me feedback and work collaboratively

10:44

with me. Now, this is a huge

10:46

huge huge part of my process at this point. I

10:49

found that my photos took a massive jump

10:52

because if we only have an hour together and

10:54

we spend 15 minutes of that doing things

10:56

that I think that they're enjoying, but really

10:59

they don't represent them at all, that's

11:01

not good, that's not ideal in the

11:03

slightest. And I feel like it's a really strong pose.

11:05

I can show them and talk with them about it, and

11:08

they like it, that's great, but if not, then

11:10

we can just move on. We're not wasting time, and I can modify

11:12

the way I pose people just by

11:15

them telling me that one piece, because then I won't

11:17

continue down lines that are in those

11:19

similar poses, or that kind of put them in similar

11:21

situations. So. Have that collaboration

11:24

conversation and you will just find that

11:26

they will become much more emotionally invested in the images

11:29

that they collaborated on with you, you're

11:31

priming the pump because If you're collaborating

11:33

with them on images, they're going to like them more already,

11:36

because they had a hand in making them. And

11:38

so you're actually going to make your client even happier because

11:40

you're actively listening to them, you're actively

11:43

engaging with them beyond just taking the photos.

11:45

Tell them that this is not a one way street, that

11:47

you are there to work with them to ensure that their vision

11:50

is executed. Because in the end,

11:52

these aren't photos that just represent your brand

11:54

and your artistic style. If you want to do that, go

11:57

and set up some of your own shoots. These are

11:59

photos that also represent another person's brand entirely.

12:01

Who needs them for specific use cases

12:04

and they've invested a lot of their hard

12:07

earned money in hiring you and

12:09

getting you to be there with them and possibly models and

12:11

a few other things and it's really important to

12:13

respect that so Yeah,

12:16

relationship building that is tips

12:18

one and two that will dramatically

12:20

change your next photo shoot

12:23

Now, tip number three. This is

12:25

where we get into things that you can do during

12:28

the shoot that can make a massive, massive

12:30

difference. Now, we all know at this

12:32

point that wardrobe can

12:34

make or break a photo in some ways. You

12:36

get somebody in the wrong piece of wardrobe, something that's not

12:38

flattering on them, something they don't feel comfortable

12:41

in, photos aren't gonna turn out good. It doesn't matter

12:43

what you do, it's really not gonna work. But,

12:46

if you work with them on their wardrobe in advance,

12:48

like most of us do, that's great, but you can take

12:50

it a step further, especially in how we

12:52

work. Because, you're not in a studio where someone can bring

12:55

10, 15 different outfits typically. We're,

12:57

we're out on mountaintops. We're out skiing,

12:59

doing other things. And so you really need to get that person

13:02

prepped before they come to

13:04

make sure that they have the right pieces versus

13:06

the environment that you're going to be in. Now what I mean

13:08

is it comes down to the color of that

13:10

clothing. So you need a piece of clothing that looks

13:13

good on that person and that the color looks good on that

13:15

person. But you also need to make sure that they're

13:17

gonna pop out against the background and they're gonna

13:19

really stand out. During larch season, most

13:21

people tend to wear yellow

13:23

puff coats. They look really,

13:26

really good up against the orange and yellow of the larch

13:28

trees. They pop out against the hopefully

13:30

blue skies or even a grey sky. They just look

13:32

really, really good. On grey rainy

13:35

days, yellow looks amazing

13:37

versus the blue haze in the environment. If

13:39

you're in a forested space, something

13:41

like red or orange or yellow

13:43

pops off against the dark

13:46

background really well. Even like a really bright blue

13:48

works really well in a dark forested environment.

13:51

Anything like that that's going to cause your subject to

13:53

be separated from the scene, especially

13:56

if you're not going to be able to put them in the brightest

13:58

parts of it very easily, will help your

14:00

subject just stand out a little bit more, and

14:02

that's just going to make the images look a little better, because you're not going

14:04

to lose the person who's in them. Now,

14:06

you think about that in reverse. If you have a

14:08

dark green or a dark blue, and

14:10

you have somebody in a shadowed forest, they're

14:13

really gonna blend in with the dark greens

14:15

and the dark blues of forests, and

14:17

they will not stand out, and that's gonna cause them to get lost.

14:20

And the image, you could pose them,

14:22

you can make them look amazing, you could do all sorts of other

14:24

things and short of putting off

14:26

camera flash on them and properly lighting

14:28

them. You can't do anything about

14:30

making them pop out in that scene, naturally,

14:33

or make them look good. Think about

14:35

the color choices that you are making versus

14:38

the environment that they are going to be in. I

14:41

was on a shoot recently where I asked somebody to bring a bright

14:43

coat with them so I could pop them off against the

14:45

trees that we were going to be hiking in, but we had

14:47

them canoeing first and his

14:50

canoe was red. This jacket was orange, and I thought,

14:52

oh, this is gonna look really good. He sat

14:54

down in the canoe, and that orange clashed

14:56

so badly with the red of his canoe that

14:59

we had to get him to take the coat off, and thankfully he had a nice

15:01

green shirt on underneath that worked really well with the

15:03

water and with the color of the canoe. But

15:05

if he hadn't had that, then I don't know what

15:07

we would have done, because I didn't prep him properly

15:09

for the color of that canoe. So,

15:12

think through what the environments

15:14

are that you're going to be putting these people into. This

15:16

goes the same for styling them to make sure

15:18

they're in clothing that matches the situation that you're putting

15:21

them in. This goes for like couples

15:23

having not matching clothing, please

15:25

but having complimentary clothing. So, don't have

15:27

person a in the coupling in sweatpants

15:30

and a hoodie and person B being

15:32

in like a ballgown That

15:34

dichotomy is not gonna make those couple's

15:36

photos look really good. They're gonna

15:38

end up clashing quite badly, and it's

15:40

just not gonna make the photo shoot look right. All

15:43

right. So, wardrobe.

15:45

Make sure you're dialing in the wardrobe. Not just

15:47

comfy clothing, and not just the clothing that looks right on the person,

15:50

but colors that work

15:52

with the environment. Tip number two,

15:54

has to do with clothing too, but it's while you were shooting,

15:57

make sure that you get people to take everything out of their pockets

15:59

and make sure that you get them to zip up their pockets.

16:02

Frequently I see a little cell phone outline in somebody's pocket

16:05

or I see lipstick or

16:07

chapstick hanging out in there It's just a little bulge

16:10

or I see somebody's pocket is gaping open because it's

16:12

not zipped up and that just

16:14

ruins the lines in the photo. It ruins

16:17

really the person's silhouette and it adds a little

16:19

bit of distraction and It takes away from some of the cleanness

16:22

that you're going for in photos like this.

16:24

And so, it's really simple. Get them

16:26

to take them out of their pockets. Really simple

16:28

little addition is a little roll top enclosure

16:31

bag. Mine are typically little waterproof ones just

16:33

in case it starts raining because they'll be on the outside. that

16:35

I can just stick any of their objects in and then clip to the

16:38

outside of my bag. That way we don't lose anything

16:40

in my bag and people can easily

16:42

reach in, grab things in and out whenever they need

16:44

to. But then for sure we're not getting

16:46

people to shove stuff into their pockets either. And

16:49

then get them to zip up their pockets, even think

16:51

to zip up the pockets on cargo

16:53

pants if you have them. I'm currently wearing ones that have zippers

16:55

on them. And I can look down and I can see

16:57

the pocket flaring open whenever I bend

16:59

my leg, and so if I was just to zip that closed, it would just clean

17:02

up the line on my leg that little bit more

17:04

that will just elevate your image a step. And

17:06

the last thing to look carefully at is the

17:09

accessories that somebody is wearing. This

17:11

is all wardrobe related, but that is where

17:13

I find a lot of photographers

17:16

kind of take a step back. They're almost a little bit

17:19

afraid to step on the toes

17:21

of their client by maybe

17:23

insulting what they're wearing or commenting

17:25

on their body or anything like that. If you do this

17:27

delicately, you do this right, you're going to make better

17:29

images for them and they're just going to be happy about that.

17:32

Now, accessories can mean

17:34

everything from the hat that person is wearing

17:36

to... bracelets, and anklets, and

17:39

necklaces, and anything like that. And you want

17:41

to make sure that what they're

17:43

wearing complements the outfit, complements

17:45

who they are, and doesn't add an unnecessary distraction

17:48

or something that doesn't look very good. And one of

17:50

the things that I find I always have to think about when I

17:52

take photos of my wife is getting her to take

17:54

hair ties off of her wrist. She always has

17:56

a hair tie with her because she has long hair and she wants to be able to tie

17:59

it up really quickly when we're out. But if

18:01

I want to take some photos, that hair tie on her wrist,

18:03

honestly, just doesn't look very good.

18:06

There's no reason for it to be there. It's not like it's a fashion

18:08

choice or anything like that. So I always have to remember to

18:10

get her to take off that hairband.

18:12

I just wrapped it around my own wrist so that I can just give it right back

18:14

to her right away. That's a little easy one, that

18:17

not having that on someone's wrist is just going to make

18:19

your image look a step higher and a step

18:21

better. And be very careful and diligent

18:24

about how they are sitting on somebody

18:26

as well. So if somebody's wearing a necklace

18:28

and the clasp has fallen around to the front,

18:31

that can be a really difficult thing to photoshop,

18:34

because it can cause the necklace to sit

18:36

askew a little bit, it can change where it's sitting on the neck,

18:38

and all of a sudden you have what should just

18:40

be a quick ten minute edit

18:43

going into an hour of photoshop.

18:46

And it's going to extend your time just to fix one

18:48

little thing. So if you're noticing these little

18:50

details with the accessories as you're going along, you

18:53

just tell the person, hey, you just pull

18:55

the necklace back around, make sure it's sitting straight or

18:57

the earrings aren't sitting back on a shoulder or tucked

18:59

into the hair. Now if it's a fashion accessory

19:01

choice on that person's part, work with

19:03

them with it. If it's say like they like

19:06

to wear flat brimmed ball caps. That's

19:08

a really difficult one for me because I wear ball caps

19:10

all the time, but when you're taking photos and you need someone's

19:12

face in them, they really shadow the face out

19:15

and they honestly kind of caused the images

19:17

not to look very good. Because you can't see the person's

19:19

eyes as easily. And so short

19:21

of lighting the person's face properly and really working

19:23

on that, you need to work

19:25

with that client to understand why they want that hat

19:27

on and the other need that they have, which is really beautiful

19:29

and fantastic photos. So make

19:32

sure you're checking out the accessories somebody is wearing. All

19:34

those sorts of little tiny details

19:37

that yes, you probably can Photoshop that

19:39

out. Not always though, and not easily. But

19:41

if you can do it naturally right then and there. It's

19:44

just gonna look better in your photos, and it's gonna make your job

19:46

a lot easier so you don't have to look

19:48

for those little nitpicky things while you're editing. You're

19:50

also gonna build up trust with that person, and they're going to know

19:53

that you were paying attention to their needs,

19:55

you were paying attention to their wants, and

19:57

nothing but good things can come from them seeing

19:59

that. And those are just five

20:01

really easy things that you can do

20:03

that can elevate your images quite dramatically,

20:06

right off the bat. And they're not difficult

20:08

things to really work on. They're not

20:10

difficult things to implement. And

20:12

they really will change the quality

20:14

of the photos that you're taking. Now,

20:16

obviously we didn't talk too much about

20:19

some of the really big things that can set you apart, but

20:21

the idea with this episode is to

20:23

give you the little things that can make a

20:25

big, big difference that some of the people who

20:27

you probably look up to are doing in their photos

20:30

quite consistently to really

20:32

elevate their productions. Now,

20:35

the big things I'm not talking about today are

20:38

things like off camera lighting, which can make a massive

20:40

difference. Things like posing

20:42

and composition and knowing when to break the rules

20:44

of composition. Those are all things that

20:46

you should learn about before focusing on these

20:48

other little details. Now, if you've nailed everything

20:51

else in there, that's where these little pieces

20:53

are really going to start making a massive

20:55

difference for you. Alright, and

20:58

that is it for today, everybody. Thank you

21:00

so much for taking this time with

21:02

me, and for coming on a little bit of an exploration

21:05

beside one of the most beautiful

21:07

places in the world, at Moraine Lake. If

21:10

you ever get the chance to come out here, come see the Valley of the Ten

21:12

Peaks. It is absolutely

21:14

stunning. We have a really exciting episode

21:16

coming up in two weeks. The next one

21:18

that's coming out We are talking to the photographer

21:21

Katie Goldie. She has worked with some

21:23

huge brands in the travel industry around the

21:25

world She's traveled taking photos. She has

21:27

over 200, 000 followers on

21:30

Instagram And she's just a remarkably

21:33

wonderful human being who has some

21:35

amazing business advice and for how to

21:37

deal with working with clients

21:39

and getting the best possible images that

21:42

you can with them. So it's

21:44

going to be a great conversation. We were out for a walk

21:46

in the rain. This is becoming a theme with me

21:48

right now. And I would love to hear from

21:50

you if you have any other tips that are little

21:52

things that people can do to implement in their

21:54

photo shoots or just before their photo shoots that just

21:57

elevate the production that little bit more

21:59

and can make a massive difference in delivering

22:01

a higher quality. You can find me on Instagram

22:03

at Robert Massey photography, or you can find me on my

22:05

website at robertmasseyphotography. ca and

22:08

reach out to me on there. Thanks for coming on this

22:10

adventure with me beside Moraine Lake during

22:12

larch season or I guess fall to

22:14

most people Let's adventure. Bye

22:16

for now.