How to Chose Contrast and Exposure from the Test Strip
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- Опубликовано: 1 окт 2024
- Analog Photography - Basic Darkroom Technique.
A practical guide explaining how to choose exposure and contrast of the print using the test strip.
My photo workshops: www.corsifotoanalogica.it
The Italian Film Photography forum: www.analogica.it
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In my opinion, the best and most well explained darkroom tutorial on YT. Thanks so much for sharing this info and I would love to see more!
+A Bakken. Thank you very much!
I agree! Grazie Andrea!!
I also agree, thanks a lot for sharing this tutorial!
That was so informative I hope you post more in the future so we can learn from your expertise
I second that, very nicely made video, clear explaination of the concepts, could we have some more please ? Books are good, to be shown is better. Thank you
I studied with Ansel Adams and I can assure RUclips readers that your printing demonstration is one of the very best I've ever seen here. Bravo. One comment I would make (basically agreeing with your method but with a slightly different approach): I make my test prints in three-to-five basic steps. The first step concentrates ONLY on using an important white area (the lightest white which shows detail) to determine an over exposure time (which be tweeked later). Instead of moving a card to expose the whole print for my test, I expose ONLY that same white part (and, at a low contrast, such as grade 1.5) to various times by sliding the PAPER past a slot cut into a card which covers it. In that way I can compare this important white section, side by side. From here I can derive a basic exposure time for the whole print. After that I make an overall print at the best looking time to see what that exposure time does to my important dark & shadow areas, whose density I can test and control in my third test print by estimating which contrast filter will best do the job. I can normally arrive at a good "first" print after
about five test prints (which, to save paper, needn't be whole sheets!)
Thanks again for your excellent demonstration.
+mefourb Thank you very much. An expert appreciating is, indeed a great compliment. :)
NB. A more technical answer is above.
So you make the first test without filter?
Yes, I do the same, I even narrow it to a smaller test strips with a special mask I created.
Wasting a whole pieces of paper sheet just for testing is not an option, at least not for me in these crazy times when paper is so expensive.
I am amazed how many people said it’s a great tutorial and I noticed no comment about paper wasted to do it.
Test strips are a waste of paper as they only show you the incorrect exposure in a small area of an image. They tell you very little about the whole image. The tonal strips he makes is not even in stops.
One exposure for the whole image (or use strips of paper covering from shadows to highlights) will show how many stops you need to change the exposure from shadows to highlights.
This is of course the primary function of The Zone System of exposure as formulated by Ansel Adam’s & Fred Archer in 1939 to 1940. Just apply those principles to your print. The rules are always the same. It’s why we talk in stops not time and aperture.
I understand this may be a shock.
I came to this realisation when I began teaching darkroom printing at the age of 47 after a lifetime of professional photography. I began teaching test strips as I was taught at college. I quickly realised that I don’t do that. I hadn’t made a test strip in decades.
So what do I do I asked myself? Simple, I know the grey scale.
I then got the students to make a set of small prints in stops from white to black of a whole negative and there is your reference for life. Soon you will just know.
No need to repeat the process every time you do a print.
This can then be transferred to knowing how much to dodge & burn when you reach the fine tones you require to make that beautiful silver print.
The technician said it would waist a lot of paper but on the contrary it saved a lot of paper and also taught the students the Zone System of exposure.
This is what I made in my darkroom……
www.hagsphotography.com
@@hagishag I agree, test strip are a waste of paper if.... you do not know how to use them.
This is the most useful darkroom video I have watched. Your explanations are clear and concise especially the part about getting the test strips. Well done and thank you!
thank you for being so generous with your time
Sir, you just gave a clinic! So you have more content on RUclips on another channel. I'd love to see more.
This is amazing, I just built my darkroom and this is wonderful.
Any way you could help me out
@@Kaemaci what help do you need?
As much as i simply love the technique, your amazing teaching skills and the result i can't help but thinking those test pieces were also amazing artworks.
By far this is the most straight forward video I have seen on how to choose exposure time and contrast! You must be a very good professor!
Thank you Philip.
I've been teaching since 1996. It is still something i love doing.
What a Great Guide! Often you find videos where just some guy talks in front of the camera, not here! Realy helpful
Really helpful video. Thanks so much. Am starting out and have not yet worked out when I’d need to mess with contrast settings. Now I know!
This is probably the best b&w print making tutorial on youtube. Clear, simple, informative and well presented. Thank you Andrea!
Thank you Dilbert !!
I appreciate your patient manner; it's the sign of a good teacher. Thank you.
I came to find out about filters, I left wiser about a dozen things. Very concise, straightforward and well executed.
very good explonation for beginners. especially the contrast development was helpful. thanks.
Bellissimo video. Spero che prosegua nella sua pubblicazione.. magari in italiano. Interessante approccio. Alla fine il peggior nemico della camera oscura è il voler risparmiare carta con strisce e pezzetti che poi non portano mai ad un risultato certo.
Very interesting, I did learn something here. Thanks
Mr. Calabresi, thank you so much. Ultra professional. Grazie.
+Bill Leontaritis Thank you!
elegantly explained. Thank you.
Thank you for sharing your technique, this is greatly appreciated!
I've always been doing actual test strips by cutting up photo paper and exposing several single strips - then developing. This makes so much more sense and the work process feels much cleaner.
+Jakob Reisinger Thank you for watching and appreciating.
+Jakob Reisinger, it seems to me that you get a better reading by exposing a full sheet and in the end actually save paper by not having to keep printing with each adjustment. This method looks pretty accurate and I'm excited to give it a try. Best of luck in your work!
I never saw a contrast filter being inserted in the enlarger, you said there is s need to change contrast but not how did you do it, I'm so confused, thank you so much
Hello Brenda,
The main image adjustments in black and white printing are esposure (darker - brighter) and contrast (the relationship between darker and brighter tones). They are related and shall be adjusted at the same time and that is the difficult part. This video shows a method to make these adjustments.
While exposure is more intuitive, the more light you give the darker it becomes (it's a negative process) contrast is a much less intuitive thing. Maybe if you can imagine (figure in your mind) a picture where you like the midtones, but you would like to modify the darker and/or the brighter tones... that's exactly what changing the contrast does, it modifies the extremes of the tonal range, making them brighter or darker as you wish.
To modify the contrast on contemporary (so called) Multigrade photo papers you need to change the colour of the light. This change of colour of the printing light can be obtained in different ways, one consists of putting coloured filters in the light path and many enlargers (the projection devices) have a specific drawer where you can place these coloured filters.
Thank you - great video, you have cleared up many questions I have had about my printing.....
That's how you do it. I was thinking about it this week.
Very educational video for a beginner like me! Great work and thanx !
Hans Schumacher Thank you for watching. ;-)
Sir, I have watched this video 10 years after you kindly made it for us. Thank you for taking the time in sharing this and I am off to my darkroom to implement it. I wish you well.
Thank you for watching! Luckily printing technique did not change in the last years, so the video is still "up to date". :)
I wish you better prints and fun in the darkroom!
Andrea! Many thanks for taking the time to share your skills and expertise. I am just setting up my first dark room and there seems so much to learn. Thanks again for your help in your video,so well presented and understandable. Regards Ken
Just learned something. I have been leaving my print in the developer until the time was up. He takes it out a few seconds before and then waits for the time to end. Will start doing that tonight.
Mr Calabresi, thank you so much for your dedication to your art, the outcome of which is this very informative gem of a video! And thank you for your kindness to share!
Wow i wish my photography teacher could teach like you. Wait.. no.. I wish my teacher WAS YOU
+Harun Younussi I can be your teacher. You can come to my workshops in Italy. :) Thank you very much for your appreciation.
Thank you so much for sharing .
Thanks so much for making this video! It's a huge help to me! Thank you!
+Joey Pasco I am very pleased to have been helpful. Thank you!
Fantastic tutorial ! better than being in a class room !
Excellent demonstration!
Best video on this topic. Thanks a lot. Greetings from Slovenia. I hope to meet you in person one day.
Thank you, I'm glad to be useful. :) We're not too far, it may well happen. :)
Mr Calabresi, I thank you sir for this video. I hope to start printing some of my images this year.
The point at 10:30, about correct highlight in 1 exposure and the correct shadow in the other is the first objective description of picking correct/incorrect contrast I've seen on youtube, thankyou! (Obviously, it's still subjective, but adjusting contract filters makes a lot more sense to me now)!
really good, thank you xxxxxx
Amazing. Great video. Thank you.
Excellent illustration....
Your DRKRM feels So Medieval...
I love it... Great vid
newmutant1 It is Medieval! The drkrm is located in an ancient building of a middle age village in Tuscany.
By far the best explanation of what to look for in contrast, and how to achieve the correct results I have ever seen.
Thank you Mark
What an excellent tutorial. I figured out more about nailing contrast in fifteen minutes here than a year of photo school and four years of sporadic darkroom practice (...and googling, forum-ing, book reading, etc. ...)!!!
Any more tutorials coming???
Hi! Thank you so much. It is really nice to know that this is helpful!
I would like to make more videos, but it will take some time.
very good video, thanks very much......cant wait too try your method next time printing....thanks
I could not help but notice the cover on the book at his left elbow :-) Very good tutorial. Thanks.
That was quite possibly the best explanation and tutorial in making a test strip I've seen on RUclips.
Thank you so much.
Can't wait to see the rest of your videos.
Brilliant! thanks for sharing your knowledge
this method is great! What is your opinion on split grade printing?
Hi, thahk you.
Split printing is an easy procedure to obtain a work print, but it may get very complicated on a print that requires manipulation with dodging and burning and different contrast.
It helps novices be fast (two test and one print), but at the same time doesn't help them understand how the image varies changing contrast.
Great job... Thank you so much for sharing your know how
+Emanuele Altieri Thank you for watching.
What do you mean by altering the contrast how do you do that?
Hi Norman,
The variation of the contrast is the fundamental tool of darkroom printing.
The contast of the printing paper can be varied with the colour of the light used to expose it.
If the light is more yellow the contrast is reduced, if the light is more magenta the contrast is increased.
Reading AA's The Print, you both evaluate correct contrast in the same way, but your way is a measurable, easy to follow method with a nice demonstration and explanation. Thanks very much.
Congratulations. This is a great darkroom tutorial. Excellent in every detail, technical and not only,... including the tone of your voice. Really superb. Thanks
Thank you very much!
The absolutely critical phase, which Mr. Calabresi touches on, is evaluating the whites - or highlights - determined by exposure (+usually much lighter than you think). Dialing in contrast for the blacks is relatively easy. Developing judgement to evaluate the highlights is pivotal - otherwise you will be turning round and round, like a dog chasing it's tail, as I did for many years, so I harp on it. Split grading while doing whites first is a good way to develop this judgement.
+Igaluit I am sorry, you missed the point. Yours is the old approach that suits graded paper. The statement - exposure determines the whites, contrast the blacks - is not true on multigrade papers, hence the need to find a method to determine exposure and contrast at the same time, as I show in this video.
Your approach could only work with a condensor head and contrast filters IF the tone that does not vary when changing contrast was a highlight, but the tone (when it exists) is not so much a highlight and it is not so stable.
You can see it clearly on the characteristic curves of papers, where the curves of the different grades tend to cross each other at densities of around 0,5 (and not so exactly), that's more a midtone than a highlight.
The approach I suggest works with any paper on any enlarger.
I am not a fan of split printing. Split printing makes it easy to get a work print, but afterwards it is simply double the work. I am not a fan also because split printing is a procedure and not a method and this means that you don't need to understand how things works to make a (work) print.
Thank-you for taking the time to explain this for me (and correcting my misconceptions), especially since there are few experts now of this arcane art. What we find in old photography texts is so often cursory and even misleading. I had nagging doubts about the highlights as a focal point and was more or less reverting to looking at the general aspect of the print. What you say about split-printing is true; it's sometimes a lot of work. Also, it seems to give a very distracting sheen or shine to the image. Still, on very difficult negatives I seemed to get better results. I prefer straight printing if I have a choice. I have never seen the methodology you teach before having seen your video. The beauty of your method is that it immediately orients you in the direction you ought to go - minus the endless tries and the going around in circles. Am looking forward to trying it. Thanks again for the feedback. Mille grazie.
Very useful insight about contrast control on printing. Thank you very much for your video. Looking forward to more videos like these. Regards from Greece!
Awesome tutorial! I have been printing for years and I have never seen this explained so clearly.
Thank you Garvin!
Thank you so much! Very helpful! It took me 5 times to get the correct contrast.
Thank you for a very informative video Andrea! I can't wait till my next day off so that I can go into the darkroom and put this new knowledge to use. :-)
This is extremely useful! Thank you so much for this video. Greetings from Malaysia!
I just made my first ever print from a Ferrania P30Alpha negative, thanks to this video. Grazie molto, Andrea!
Thank you Sir!!! This is an excellent tutorial for beginners like me!
I really enjoyed your video and learned a lot. Thanks!
This is now my new test strip method! Thank you!
I was taught very basic darkroom technique at highschool. This is how I've always done it. Your video has completely revolutionised my printing! Wow, thank you!
An excellent tutorial, very helpful with regard to contrast. Thank you very much - I shall watch it again.
Thank you for the such a great instruction in master printing Andrea. I really look forward to you next tutorial.
most would not bother to go through the 3 contrast attempts, but this video is fascinating as you explore the 'correct' contrast through trial and error. thank you!
Thank for sharing. The best explanation which i have seen. Grazie
Great video! please do more!
Great explanation, thank you! Also a great picture
Excellent tutorial. I learn something new every time I watch this.👍
How about dry down effect? Test strips schould be evaluated when dry, not wet.
Dry down happens only if the viewing light is not correct.
If the light to view the wet prints is correct the dry down doesn't happen.
Can you imagine running a hi-end custom print lab losing time in drying test prints or strips?
I've planned a video on that as well, stay tuned!
@@AndreaCalabresiSilverprint Thank you. I guess you are referring to the too strong/bright light. I`m looking forward to watch your video. I dont know how pro labs are working.
@@andrzejwiderkiewicz5404 The viewinhg light shall be not very powerful and directional. A 20w spotlight on an adjustable lamp, for example.
Make a print rich of both bright and dark tones. Once dried cut it in two pieces, re-wet one of the parts, adjust light direction until the wet and the dried parts look the same.
It is easier than you imagine.
question, having very high contrast printing with my omega c760 condenser head. just received this enlarger and am not sure if it is the condenser head that is making too much contrast or something I can control. shot a full roll of bracketed shots and still had trouble finding one that had good midtones. Any thoughts?
Hi, +Christian Peterson
High contrast comes from over-developed (or pushed) negatives.
It is surely possible to make prints with a complete and smooth tonal range with both a condenser or diffuser (colour) head, so the problem is in the negatives.
To reduce contrast you shall reduce developing times (or use a less energetic developer). Try experimenting with both bracketing and a reduction of developing times.
A condenser head produces more contrast, but if the negatives have a reasonable maximum density the difference is not huge. The more the density on the negatives, the more will be the contrast difference between condenser and diffuser (colour) head. This is due to the so called "Callier Effect".
great thank you, I also picked up a older omega b cold head enlarger and the prints do look much better now, with that being said i have been using rodinal to film specs, im going to try 20 reduction in development time and see where that goes. i appreciate your response and love the videos.
Hi +Christian Peterson,
Can you tell me wich films and what dilution and developing time you are using?
Some films in Rodinal with manufacturer suggested developing times may produce negatives that can be too hard for condenser heads.
woooooooohaa man, it is amazing to work and experiment with what we are made of:light.
great video, its very informative. any plans to continue the series?
This was a very informative and fun experience, i really enjoyed the way you explained everything. Thank you so much.
Bravo
Thank you very much for this great video, andrea!
Thank you! Excellent video and I hope to see more.
Very good video! Thanks !
Glad you found it useful!
Hello and thank you for the wonderful tutorial. I have a darkroom question I could use help on. In some of my shots I might have a super bright area that is almost pure white into or close to direct sun. I can get all other contrast under control in the print. So I try to burn the area in with a #00 contrast filter but it approaches 1 1/2 to 2 minutes with barely any discernible change? What can be done about these white areas in the printing stage? Or is it just have to be left in as a compromise? Please help, thanks.
Hi, x71... in the cases prevention is usually better than the cure. Prevention is to give less development to the films shot in high contrast scenes. Regarding printing what you can add to what you have already done is paper flashing. This may not solve the problem entirely, but will surely reduce by a large amount the time of the low contrast burning. You can also try to use a lower contrast overall.
The developing time seems to be very long...? Ilford recommends 90 seconds for FB. I'm wondering, am I underdeveloping?
Well, to be precise every manufacturer suggests a range of develping times, and generally 90" is the minimum time suggested for FB, less than that and it may easily be uneven. If you strictly stick to 90", you may be underdeveloping, especially if the developer is diluted, and/or has been used for some prints already.
Besides there are many other things affecting developing time that shall be considered. For example if you develop precisely 90" at 20°C for every print in a session the first one will be more developed than the second and so on, after a few prints the difference maybe very evident. This is due to developer consumption and oxhidation, so to have the same effective development the developing time shall be gradually increased, of course if the temperature remains constant...
There is a way to deveop precisely with the same "energy" and it is called factorial development. Factorial development compensates for development gradual exhaustion, oxhidation and temperature fluctuations, and that is what I use, also in the video.
Basically you need a factor that is how many times you will mulpitly the appearig time. Once you put the paper in the developer there is an interval of time before the image starts to appear. You shall meter this time, then multiply it for a reasonable factor. There will be a minimum factor producing even development (generally between 4 and 6, provided a minimum time of around 90"), a maximun factor (between 20 and 30) that represents complete development. You will normally develop with a factor in between minimum and maximun, and change factor if the tonality of the image requires so (that is a bit advanced though). The factors are determined experimentally for each paper-devepoler combo.
@@AndreaCalabresiSilverprint Thank-you for the detailed explanation! I remember Ansel Adams mentioning that one should look for the mid-tones to appear as they develop and then apply a factor of 5. But, honestly, I can't differentiate mid-tones from shadows in the darkroom. I shall have to look at Ilford's recommendations on the subject, if they address it. Are there better papers, in your opinion?
@@igaluitchannel6644 you can test yourself what will be your range of developing times.
The new Ilford classic is excellent, but all other contemporary FB paper are extremely good. Every one is different but it is not possible to say wich one is better in absolute terms. One may suit a certain work better than the others, but to know it, you shall try them all. :)
@@AndreaCalabresiSilverprint Thank-you again. It's true about different papers suiting different works. One of my negatives printed marvelously on Fomapan, but the paper did nothing for any of my other negatives. Your tutorial video is very helpful. I had lost the link when my last computer crashed, but luckily I found your video again.
Anche secondo me lo Stop è importante ma so che diverse persone o non lo usano o usano acqua distillata. Io lo Stop lo uso sempre. Allunga la vita del fissatore.
thanks a lot Mr Calabresi for sharing this method of finding the best contrast for a print. I've always struggled with contrast while printing. Really appreciate your kindness on sharing this.
Best wishes, Santiago
Thank you Santiago, I am very glad to have been useful.
Very insightful, thank you
Big thank you Andrea, very well explained and the perfect beginners guide to darkroom printing. I have developed and scanned my own film for a few years so I think this will be the next stage :) Thanks again! Matt (MrLeica.com)
+mosbornephotography Thank you for watching, Matt. :)
Can you please make more videos about darkroom technique? Also, what kind of enlarger are you using? Thanks!
More videos are planned, but it will take time. Be patient. :)
The enlargers you see in the video are Durst L-1200, the one used is equipped with a Durst CLS-501 colour head.
The L-1200 is one of the better built enlargers for negatives up to 4x5". Very reliable and easy to operate.
so helpful, thank you!!
I hasten to add: I said that my test print "needn't be whole sheets". Of course, I'm only referring to the first and second test strips I do for judging exposure time, and then, contrast. The prints to see the effects of these judgements are of course full sheets.
+mefourb Very interesting comment. In my opinion the procedure you suggest here is better suited to expert darkroon user and fits graded paper better than multi-grades. I aimed to give an operating method to less experienced users that was both universal (any paper, any enlarger) and technically valid.
For your procedure to work properly we need to assume that the bright tone we need will not change when we change contrast and more important that that tone is the same we targeted. This more likely happens with graded paper (more likely because not necessarily our targeted tone is the one that remains the same on a certain paper-developer combo). When using MG papers the tone that doesn't change when changing contrast doesn't really exist (color head), or isn't necessary a bright enough tone (condensor with filters) if there is at all. Hence the necessity to always evaluate highlight and shadows at the same time (on one big test strip, as suggested in the video) or to run more strips if we use your method.
Dear Andrea,
Of course, you are absolutely correct, for the most part. It's true, as you have said, that the method I suggested (and the concise and rather quick way I described it) doesn't reveal that -yes- you would have to adjust a little for the slight exposure change necessitated by the contrast change found in the second test phase.
I look forward to someday meeting you, if you happen to be in Paris, to show you and discuss -in my darkroom- how this can and does work with multigrade paper . . . and, afterwards, to share a glass of wine!
+Chris Nisperos I won't miss a glass in Paris. ;-)
TO:Andrea Calabresi... I have sent you a private message with my personal email address so that you indeed won't miss that glass of wine in Paris! By the way, beautiful website.
Super helpful! Thank you so much
I would take a photography course with you, any time and any place. Thank you so much for sharing your magnificent stores of knowledge.
Thank you Sandra,
I teach courses every weekend in Bologna, you're wellcome. :)
yes. would like to see more
:)
This is a very helpful video - One question: How do you determine what your base times for each contrast are? I am referring to that moment on each test strip right before you begin sliding the card. I noticed you had a different base time for each contrast test strip and I imagine that you must have some formula in your head that you refer to? Thanks! Also is there a place in which you have published more in depth information on your method? I would love to continue learning in this style. I have been using the f-stop method for about a year but I like how much faster this style is.
Hello Aaron,
There is no exact formula, unluckily. If it existed there would not be the need of running a test strip every time you change the contrast. Anyway using a colour head there will be an increase of exposure every time the filters are set to a higher value.
I did not write much. I plan to make more videos, but my schedule is quite busy, so it will take time.
But I regularly teach seminars on darkroom technique in Bologna, Italy (the english website is on the way).
You can also check the printing workshop of Jim Megargee in NYC and in Maine. He will teach something very similar. He was my mentor long ago. :)
The lesson on contrast grade selection is strong in this video.
In the past 12 months I have started shooting and developing my own film. I have recently purchased an enlarger to learn to make my own prints. Fantastic explanation, you are a great teacher. Thanks for taking the time to do this video.
Multi8991 I love analog photography. Sharing and keeping analog photography alive is a pleasure.
Great tutorial, you are a wonderful teacher!
grazie mille, this is very interesting. but are you saying that burning and dodging is not needed with this method?
No, I am not.
I am giving you a guide in order to do burning and dodging afterwards and do it for interpretation and not to fix problems generated from a wrong contrast choice. :)
A common mistake is to look at the test strip in search of the the exposure that gives correct mid-tones, then, if the contrast was wrong, dodging and burning becomes necessary to fix that original mistake.
Great explanation!Tnx 4 share.
Wonderful video. Thank you.
Great! Thank you so much for this video! You should upload more photography videos !
+Raul Becerril When I made the video I did not expect so much appreciation. It it quite surprising for me.
So know I am planning next.
Thnak you.
Great Vid.. Question..? looks like you pre-expose your paper before you slide across cardboard . Is that time the same time as stops that your making across paper?
I give a base time, if needed. For example if I imagine that the exposure will be around 20" I may give a 10" base to all the sheet and then make some strips of 2" each in order to see times between 10" and 30".
when i am doing my test strips i do it not in regular intervals but in actual exposure steps (not a 1-2-3-4-5 sec. but a 1-2-4-8-16 sec. steps).
and i move paper itself under the mask instead of moving a mask over paper, so i'm getting series of copies of important part of a print, which is convenient.
Hello. It may be, sure. BUT there are 2 issues.
One: the interval you have chosen, a full stop, is too big. Paper is a high contrast material and suitable precision is about a 10th of a stop, less when using high contrasts, a little more using low contrasts. You can run either linear increments or logaritmic ones with a specific tool like the RH Stop Clock or similar tools. Using a fractions of stop table and setting everytime a different time on the timer is too much time consuming and requires a timer with decimals. Stop Clock are ok for those who have the mind for them, but for most people they are confusing. In my school I had many of them, but only a few students were happy to use those, so, in time, I sold all the Stop Clocks and replaced them with the simplest timers available. Also, since many lanps have some inertia, using a simple metronome gives more precision than running the timer for small intervals, by keeping the lamp on and moving the board on it you will also save much lamp life...
Two: it is ok to select a significant part of the image then move the paper under a window changing time, BUT selecting the right area to test requires a significant experience. This video is for beginners, who, by definition do not have yet developed the skills to select the significant part of the image to test. Also, very often viewing the entire image at once, and not just part of it, gives a betetr understanding of the picture.
Thank you for sharing! It's very very helpful
Simon Tay Thank you for watching!