Episode 42 - Best PORTRAIT Photography Lens for BEGINNERS 35mm vs 50mm vs 85mm

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welcome back welcome back to Faith and Frames good morning good morning good

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afternoon wherever you are in life wherever you are you're listen speaking of life and where you are or are

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not I'm normally not one to do this because singing singing's hard oh no

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singing's hard I think I know where you're going with this I like to sing I love to sing yeah singing's hard do you

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love singing about your country Jared um that's actually here in the good old us of a that's a difficult song it's a

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difficult song for multiple reasons a it's been saying probably i i w even

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they will be out there probably billions of times point we're talking about the national anthem folks so you've heard

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billions of versions of it billions and billions and and I think the Trap that a

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lot of people fall into is trying to make it unique to them o like there's

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something to be said for you know doing it as Francis Scott Key wrote it essentially yeah that Melody not

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wavering there's also and you got the ferges of the world got the ferges of the world I'll say this still to this

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day I think the best that I have heard at least in recent memory Chris Stapleton

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dude here's the funny part was on Facebook I don't I don't have I don't I don't like baseball that great yeah so

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like I don't I wasn't watching MH but I took to Facebook uh and I saw well

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actually the person misspelled it they said the the worst w r s e it was

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certainly worse than many they meant to say worst yeah it was the worst and the worse I don't know if it was the worst

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I've heard it pretty bad in recent memory it was bad and I feel bad I feel bad ashamed and embarrassed all for her

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at the same time that and it's not that you were pitchy or that you hit a sour note or

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seven right that's not what's bad it was the arrangement of

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mhm up and down on the that just I've never heard about the angry girl right

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yes I've never heard anybody say the word free with that Arrangement like she

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did I mean there I guess there's something to be said for inflections you know like you said making it your own

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style in her defense if this can be defensible uh she did Issue a formal

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apology yeah and no different than many others before her have said guys I was

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drunk I'm sorry well and and I I saw too I saw not that that's an excuse but she gave formal

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apology and came clean and was honest about it so I'll give her that she was honest I didn't I didn't know the girl beforehand but since she's evidently

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like been nominated for several Grammys she's a pretty good singer could have fooled me here's the thing though like

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if if that's true and she was drunk I I also saw where um she stated she was checking herself into some sort of

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facility get help I hope she gets her help good for that's good little for because like if you're a Grammy nominated artist you're probably pretty

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good yeah so maybe you do have a problem and if you've noticed you if you've admitted you've got a problem good good

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on to her that's literally step one to props to her fixing and getting help so

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yeah not a good national anthem feel bad and sorry for her um hope she gets the help that she needs agreed also on

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Facebook I saw and this is kind of what prompted what we want to chat about today I saw someone in some photography

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group that I'm in in on Facebook which I'm in a lot but I

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saw the question of basically they were comparing or they were needing an answer

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they were like look do I need a 35mm lens or do I need an 885mm lens right

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and short answer yes yeah so that's like a it's almost like an apples and orange

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situation yes they're both lenses we're going to talk about basically the the

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overarching theme is things to consider when choosing your next lens

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specifically we we kind of relate it to portraits yeah um but it's not a it's

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not a a is the answer situation yeah I think it's an impossible question but I'm going to tell you folks something

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that's not impossible uh and that is the fact that this caffeine addict over the

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course of the past 30 to 45 days has been over been able to cut his caffeine consumption in half thanks to the

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sponsor of today's episode magic coffee as you drink your coffee here's the cool thing Jared with magic mind they are not

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see O say can you see so yeah uh truthfully uh in the first 15ish days is when I first felt the effects of the

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magic my mental performance shot I no longer felt the need for my afternoon energy drink I was able to Zone Focus

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for about double the amount of time that I normally do you know that I squirrel as your business partner so yeah magic

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nice magm thank you for sponsoring this episode Jared meet and ters get us to the meet and ters we're talking focal lengths and portraits today focal

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lengths and portraits specifically lenses um again there is not I think I

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think the danger is anyone who would tell you blank is the answer to all your

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photography needs regarding a lens or a focal length I I just don't I don't buy that you need to take those people to

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the end of the ship and kill haul them if you don't know what kill hauling is look it up I don't know what that is I

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know what a mutiny is but I mean plank whatever anyways yeah I don't think

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there is not a singular answer um to to to that common question so things to

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consider first off I think you've got to if you're if you're looking at maybe buying a new lens maybe you bought a

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camera most of them come with the kit lens right and you're going to quickly learn the limitations of lens you're

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ready to graduate ready to graduate you're like okay what do I want to get I've got a little bit of money set aside

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I need to buy a lens what do I need to do so couple things to consider first off I think one of the biggest things to

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consider is is your camera fullframe or is it apsc o very very good thought

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there C well because there's math involved right why does it make a difference first off so 30 so

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specifically with 35 mimet uh we'll start with that lens if you have a fullframe camera which full frame for

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those who don't know is compared to traditional 35 mimet cameras that's what's considered yeah film cameras

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that's your old Kodak film that your your grandparents and your parents shot that was 35 mm so it's that same focal

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length the 35 mm lens same sensor size same yeah the film was your sensor essentially so 35 maybe we should change

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that up so 85 mm all right on a fullframe camera you're going to have 85

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m mmew field of view basically this is your field of view at 85 mm now if you

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take an apsc camera and you set it right beside and the sensor on an apsc is smaller smaller smaller sensor size um

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if you set it right beside a fullframe with the exact same 85 mm lens you're

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not going to have the same image it's you're going to it's going to zoom in essentially because the sensor size is smaller in on that on that plane and and

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manufacturers are different but like it essentially ranges the math is like a 1.5 to a 1.7 times is crop so if you're

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on an 85 your 85 mm sensor on a crop sensor is going to be closer to like a 12ish yeah so you need to you kind of

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need to think of that because that may become a limitation based upon what you shoot now like if you're a if you have

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found your way into like say in-house newborn photography yeah 85 in people's

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homes mhm that may that may become way too limiting because you're essentially 120 mil yeah could be a little tight

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could be a little tight so maybe you don't you're standing in the front yard to shoot them in the living room B

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essentially yeah and so so it it it depends on to me I think first is like okay do I have a fullframe camera yeah

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or do I have an apsc I think that matters a lot it does absolutely I think that matters a lot when choosing your next lens I didn't realize that when I

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you know bought my first camera um it was an apsc and so I was thinking 50 was 50 35 was 35 105 was 105 and I just

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didn't know I mean technically it is the lens right the FI yeah the lens 50 mm lens yes but the field of view I didn't

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understand right it changes your photograph right it does changes composition everything so so that's

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something to consider so like if you have an apsc camera which I started out on an apsc they're generally cheaper uh

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with with the exception of everybody but Fuji Fuji only uses two of my favorite cameras in my Arsenal are apsc so like

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generally they're cheaper with your canons your sonies or ions so like they are typically what people start out with

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you need to know that math in the sense of distance right or or um well just

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field of view field of view that's that's where you need to you need to decide like okay I have an apsc camera I

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really like the way uh so and so shoots on their 50 they tell me they use their 50 mil all the

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time you need they're on a full frame they're on a full frame you need to look at like a 35 mil right at 35ish is

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because by the time by the time the crop takes place it out yeah you're going to essentially end up with a 50 mm field of

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view so fullframe apsc know that that's that's step one for me yeah I think the other

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thing or the next logical thing is what style of Photography do you do

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MH and that gosh there's if you only do portrait work where it's always

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controlled you know the size of your studio you you build for that right you

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essentially like okay 85 is my go go-to portrait lens in my studio corporate

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head because I'm yeah absolutely now if you're someone who's doing Event Photography where there's a lot of

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uncontrolled variables Etc probably looking more in the zoom

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land uh Zoom land of like 7200 yeah probably not going to be shooting on a 24 mil a lot in Event Photography no not

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unless you've got a pretty specific purpose for it and and that's one thing that I've seen a lot at events lately I

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I think the run-of-the-mill uh event lens is typically a 70 to 200 yeah every

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now and then I see people run around with some wides like a 16 to 35 or a 24 to 70 just again for Creative purposes

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yeah but typically your standard event coverage is is about a 7200 but yeah if if you're a studio photographer and you

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know that you love the way that 85 looks you can build your studio around that I know uh actually 85 is pretty standard

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it's very standard in studio especially in head shot right especially in head shot it's it's a very flattering uh

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focal length um as far as that goes but yeah if you're a again if you're a family photograph er um and you are

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doing newborn sessions in the house maybe a little too tight at that point in time it's good to look at your different options like a 35 35 would be

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very utilitarian in that sense 50 I know me and you are both like yeah 50 is my go-to like if I'm trapped on an island

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yeah I have one camera and one lens that lens is going to be a 50 um I can do so much with a 50 yeah I can get wide if I

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need to yeah in most cases yeah unless I'm in a you know a tiny tiny space but in most cases I can get as wide as I

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want to be and I can also get up tight if I want to be as well yeah 50 for me is is it's my favorite focal length for

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a plethora of reasons Bar None a it's there's there's there's argument

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between most people actually say it's like 45 to 50 the human eye right what does the human eye see in regards to

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compression field of view Etc a lot of people land on 50 because that's the more natural way of looking at things

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like and what I mean by that is like if you take a landscape photo at 16 mil

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mhm what well your eye didn't see it that way but that image has a wow factor

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because of that focal length you shoot from the exact same spot at 200 mil well

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totally different composition totally different composition so 50 mil natural it's like oh I this is this is what my

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ey saw um two 50 mil for me is like the perfect happy medium

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between wide enough yep but also tight enough and I think that kind of brings

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me into my next point of like okay in regards to style of Photography are you the person

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who likes to be up in everybody's Kool-Aid physically right me 24 to 35

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that's great because you can you can get any shot basically with any lens how far

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away right do you want to be from your subject so like for instance um the lady was talking about 35 and 85 yeah one of

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the biggest problems with in my opinion especially with families like when you're working with family where there's maybe kids involved

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Etc interaction and instruction yeah is going to be key right to to a keeping

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people engaged be being efficient with time because they're doing what you ask them to do Etc so physically do you want

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to be yelling essentially through a megaphone to get a a wide on an 85

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because you're going to be a long ways away to get a wide on an 85 right versus 35 it's like okay get a little closer

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get a little closer so it depends on how you like to shoot how do you like to interact with with with your uh with

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your clients for me 50 is the happy medium yeah um 85 again you're if you

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want any sort of a wide you're going to be you're going to be back the heck up you're going to be way back back TR

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instruction may be difficult there may be like you may physically run into a situation where the client feels

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disconnected from you because you are having to shout the instruction to them um I think that's one thing that I

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appreciate about like Bonnie we had her on a few episodes Bonnie for her whole career essentially

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according to her has shot on a 35 and after being on the receiving end of

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Bonnie's pH photography yeah um I understand why she loves that Bonnie is

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very interactive on a session um she wants to be connected to you she wants to communicate with you you know she

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wants to fix your hair fix your wardrobe whatever Bonnie is very Hands-On in her in her sessions which I thought was cool

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um because I I love seeing other photographers and how they operate in their sessions and in their Styles so I

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understand why Bonnie loves 35 for her that is her happy medium she can get up close to get some tight uh portraits of

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us some detail shots or if she wants to get wide 35 is perfect for that and she's not six miles away right to get

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wide so I I again just seeing other people's Styles and and how they operate during a session that's it's pretty cool

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it's pretty interesting to see why people land where they do on the focal length Spectrum yeah well so so I will I

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will caution too there's a there's a bit of a caveat um with with regards to so

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like let's specifically let's take wedding yeah photography for example

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mhm I one of our first weddings that we videoed the photographer exclusively

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used a 35 mil I remember this that's great for everything with the exception

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of the ceremony in my opinion agreed because of that distance that you have to get mhm 3

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that's too wide 35 is pretty wide unless you're going to be in the ceremony with well to fill the frame you've got to be

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pretty DB burn close right and so so it was really difficult from our perspective to find video compositions

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that didn't also include the back of the photographer's head because that photographer decided to shoot ceremony

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with only 35 hey by the way on that specific wedding note shout out to the carmy they share that video every single

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year like a recap um I'm like this thank you guys they rolled the dice yeah they

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rolled the dice I was first sweating we ever shot um we were two idiots from 2 and a half hours away yep um but yeah

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shout out to the Cary yeah very difficult so like you need to you need to think of like what you're shooting

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yeah because you truly can get any composition with any lens again it matters how far away or how close you

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have to get 35 mil in a ceremony that's pretty intimate you're going to be in the ceremony with him you're pretty much going to be in the ceremony you're

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probably going to be in the first kiss kind of brings me to the next point though because distance does matter and

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you can get every shot with any lens mhm with an asterisk say 16 mil that's

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really that's wide to to to get the same portrait of you that I would at 50 mil

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you're in my nose must be way up in front of you so that brings in an issue

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of distortion Distortion and how optically physically optically things

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occur uh with with lenses and cameras 16 mil up close is going to exaggerate

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things yeah it's warp it's going to start to warp things you're going to narrow the face first off and if there's

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any sort of side it's going to exaggerate facial features such as your nose your ear like it's going to

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exaggerate those things so that's kind of why again 50 is where I typically

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love to because it does not it does not distort right features near as much

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right um and so that's something to also keep in mind I was going to say that on the on the same token as 16 having that

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large amount of distortion up close um I think again a a flattering focal length

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like 85 um it's going to widen the face a little bit it's going to make the face start to flatten out some now some

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people may not like that but the longer you go on the focal length the more that effect is going to occur you're going to start widening the face yeah features

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are going to start sinking back a little bit essentially I think the easiest thing to do is to maybe we need to find one of those

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uh yeah one of the the gifts or something yeah because that's true that's a great example of like oh thiss

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watch how his face is at 16 mil versus how it versus 135 135 uh which is also

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another uh fun length focal length but yeah so yes you can get any composition

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any portrait any shot with any lens just know that understand your distances

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understand those distances and you're going to have some distortions yeah um so that's something to keep in mind yeah

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and on that note like with distance too um and this will kind of segue into the next point because distance matters in a

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any session that you're doing whether you're doing portraits weddings heck even street photography y the the big

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goal with photography whether you realize it or not the big goal is we're trying to tell a story yeah so with your

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focal lengths every focal length is going to assist you or not assist you in

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telling the proper story and what I mean by that is is the context of the photo so when it comes to context of photos

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if I'm shooting U if I'm shooting your head shot Jared and you are the main focus of this head shot I'm not really

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worried about the environment that you're in in fact you're probably trying to keep all the environment out I may be trying to keep the simp trying simplify

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things um but I want to show a beautiful flattering image of Jared Collins that's going to be hard but yes absolutely well

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fog lengthwise though I'm probably going to go a little tighter I'm going to go on the 50 to 85 and I'm going to get

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pretty close so that I don't have to worry about the background it's also why portrait are generally shot in portrait

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Orient mode we're not worried about the the background at that point in time unless we want the background in context

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so on the other end of that token yeah maybe Jared you just started your brand new goat milking Farm wow and and

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specific and we're doing a session on your goat milking farm and not only do I want to shoot portraits of you but in

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your portrait I want a little more story in there I want to show that we're on your farm I want to show that you milk

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goats by hand every morning at 4:37 a.m. wow I might include you in the stall

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with a couple goats in the background on a 50 or on a 35 because I want that to be an element of your goat making 437

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a.m. story well the first person that I and he didn't coin this phrase he didn't coin this uh collection of English words

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but Jared Poland fro photo he was one of the first people that I started watching when I was trying to learn more things

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about photography he's shooting large format right now by the way and I'm loving it really oh yeah he's shooting 4x5 at baseball games that's another

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that's another story anyways I have missed that but it's great he he has always been a massive massive massive

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proponent proponent of story yes and everybody's like it's a still image How

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can there be a story oh a lot of ways it's well I mean even if you and it's

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yeah that's that's a an episode all in in and of itself probably but he has been a big he's always harped on you got

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to get your WID your mediums and your tights if you only only ever include wides MH

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a lot of context but it's like you're going to lose your subject you're missing details if you only ever include tights on the other end of that you're

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going to never have context same kind of thing you can kind of get by with only shooting mediums to

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a degree that just gets boring it does get boring so you've got to have your wides your mediums and your tights and so what that means if you're shooting on

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a 35mm Prime better be zooming with your feet yep better be stepping in boo boo stepping in and get some of those tights

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some of those details some of those intricate uh uh intricate details specifically in like a right um I think

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Melissa's good at this my friend Melissa henkins again she was on that session that we did with Bonnie um the the 70s

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shoot and Melissa I think was also on a 35 that's that's their go-to that's their go that's their go-to um but the

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thing that I noticed with Melissa too is she she loves those detailed things like I had uh I had found this like antique

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topaz or uh whatever ring and in in the session like I saw that in the final

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images like she got the ring I was like oh that's cool cuz you know spent dollar to go get that ring and she noticed it right um so she's very good about that

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even on a 35 like getting in and getting those tights speaking of tights that's that's I didn't mean to mention this

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point but you you you kind of sparked my interest there I don't want a new photographer to like think oh if I get a

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tighter focal length right it's going to help with details because they all have a minimum Focus distance for instance

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the 85 mil that I have in my backpack it's probably like a 5ft minimum Focus distance it it is it is like 1 m yeah so

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that's what 3et so you I don't want you to think like you're going to show the that we're shooting you on right now

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literally is 5et yeah minimum I don't want you to think like oh I'm going to show like great detail of this Otter Box

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and show the texture yeah cuz if you're two feet away from it nothing's going to be in Focus it's not going to focus so like that's a good point you need you

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need to mention you need to be mindful of that and so that's something and every lens will tell you tell your Fus

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and the 35 most of your 35s especially like your Sigma art

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minimal it's not it's not macro that's a totally different thing um but it's you

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can get pretty good details with it um good point good point so something to just kind of keep in mind as well

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minimum Focus distancing my 70 to 200 same thing it's like a 13 M minum

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sevenet yeah so like 7t away is the closest it can focus anything in front of like shorter than that be soft it's

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not physically able to out of focus is in right now not for me uh I don't like

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that fat and I'm not a huge fad or a huge fan of the um uh the big motion

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blur situation I kind of like slow shutter stuff and again in context in

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context I like slow shutter it's it's okay it's okay not my thing it depends on the image like if I if I see the

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image and again I understand the context of the image I think it' be cool we actually did a slow shutter experiment with Bonnie on our laundry mat shoot and

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I liked it I was like okay this is cool this is cool um but yeah so context of it you know again I'm I'm using this

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session because it's the most fresh on my mind wise medium types wise medium types Bonnie specifically um her and

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Melissa we we understood through context of their imagery that we were inside of a laundry mat we also understood through

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the intimacy of some of their tights that me and Sarah are a married couple yeah who were getting our laundry done at the laundry mat nice and uh and on

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the medium side we had the okay we've got our El Camino here we're at the laundromat and we're a couple that's

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totally in love here at the laundromat I I so something that you'll also learn about yourself as a

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photographer and I've it's taken me a while to learn it but like you're going to naturally gravitate compositionally

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to generally one of those three for instance I land on mediums most like

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that's naturally where I where I end up I'm I'm easily covering the

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mediums which means if I'm I have to be very mindful of that when when trying to

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get my WID mediums ties it's like I know I'm going to have plenty of mediums I don't have to concentrate and have that in the Forefront but I do have to keep

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reminding myself okay let's get a wi or two I've got to keep this set interesting let let's get a tight

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because I'm covered on the wides now I'm covered on the mediums but I have very little details so it's like that's something to keep in mind is like you're

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naturally going to be one of those people and you may naturally be you're more of a tight person so like you probably you have to probably think of

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like okay I need to back out and get some wides because that context is important so again style of Photography

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what do you do um if you're just a Studio portrait photographer context isn't as big of a deal pretty cut and

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dry like you're going to choose one focal length that you're comfortable with and you're going to rock it yeah so context that's important M um the last

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thing and it's it's a it's it's it's an interesting argument because I've uh since had my

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eyes open to this this one gets pretty weedy compression o you've heard the c-word not cinematic but compression

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compression compression oh I love the way the 85

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compresses which it does so and compression just again for context for those of you that don't know essentially

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is uh I'm going to make this as simple as I possibly can it's the blurriness of your background in relation to the

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background and your subject uh compression can also be related to we'll just say depth of field yeah it's it it

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is blurry so you're boka but it's also in relation to like how how close how far is your background from your subject

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does that mountain range up for instance if I shoot um if I shoot a portrait of you at 50

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mil going look way the heck back there with the big appies it's going to be a natural rendition versus if I shoot the

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exact same framing of you at 200 they're going to be right in my back yeah it compresses the layers the longer

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you go on the the longer you go the closer it brings that background the the compression is the opposite essentially

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with a The Wider you think of like a GoPro M I don't know what the focal length is on those but they're super

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super so like you you that mange looks 20 M away because it is because it is 20 M

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away versus if you were to again shoot the exact same thing on 200 mil it brings things closer we were talking

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about this off camera though um compression is like almost a myth with

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distance in mind yeah when distance is a factor yeah that may be that may be a

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different video for a different day it is and it it gets a little nerdy and weedy stalman tends to do that I love

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his video that's what opened my eyes to the situation but for today's purposes compression between lenses is also a

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difference in how you choose so like for instance uh and you might be able to see

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that depending on which gift we choose to throw in here we might be able to bring that back here in this particular instance I need you to pay attention to

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the background and how much closer it gets the longer you go on the so the subject their head uh for example stays

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exactly the same minus its Distortion minus its Distortion but you need to realize like oh oh closer this Zoom or

28:29

this uh lens gets longer everything's getting more squished and it's uh so it's it's

28:35

interesting it's a very interesting thing um but again it it's a factor that

28:41

puts your your photos into context yeah if I don't like the background that we've chosen if we're in a city where i'

28:49

I've got trash all over the streets and sidewalks and things that I don't want in my frame probably going to go a

28:55

little longer on the lens get closer to you and obliterate that with a with a

29:00

fairly open aperture however if I want that stuff in my frame yeah I'm I might shoot a little wider because that's an

29:06

element of the city that we're in or the the goat farm that we're on at 4:37 a.m. as

29:12

you're milk and goats sure uh I don't have any goats FYI well but in this

29:18

story apparently I do so milk and goats and and this compression thing it comes

29:25

into play even at the same aperture because I know you mentioned bokeh blus right and

29:31

another way that you can achieve that is with your aperture right how open or closed are your aperture rings on your

29:36

lens obviously the lower the number the more open it is the more open and blurry

29:41

things are going to be right like the the the more uh blown out your bokeh right essentially is going to be so like

29:47

1.4 that's really that's really open you ain't going to have a background if you're on an 85 no it's going to be a

29:52

blur but 1.4 on a 35 might have a little bit of background it's going to be blurry but it's going less than so so

30:00

that's also kind of Amplified with uh with with with your focal length choice

30:06

so I guess to round it all out there is no answer in my say it's an

30:12

impossible question it's an impossible question It ultimately comes down and this is kind of how I I phrased it to

30:17

the uh to the person who asked it on Facebook I said it comes down to preference yeah for me yeah and what you

30:24

do yeah what you do preference experience like all those things come into yeah I mean to play I've seen uh well

30:30

for instance Peter McKinnon originally when I first discovered him his favorite

30:35

lens was and he's always been a Canon guy was the 24 mil yep L Mount prime

30:42

prime yep love that lens for me and the way that I like to shoot things too wide

30:47

too wide it's too wide for me it's too wide for me so again comes down to preference so I would suggest if you are

30:55

looking for or if you are looking at purchasing a lens do one of two things rent first

31:03

yeah rent from like a lens rentals or a B lens yeah do that because before you

31:08

dump a whole bunch of do which most places have return policies I'm not saying that you can't like that you are stuck for life with this lens but you'd

31:17

be better off in my opinion to rent yeah cuz you can rent pretty cheap most you can rent a prime for three days for like

31:22

70 bucks or talk to your local photographers and say hey does anybody have this 85 mil I shoot Nikon that

31:30

tells you the mount all those things I'd love to borrow it for a little bit you maybe even rent it from them whatever

31:36

but like try it is all that I'm trying to say try it try before you buy yeah right and then when you do go to buy buy

31:42

used yes do not go buy a brand new lens I'm not going to say you can't buy brand

31:47

new you can if that's something that you're into yeah if that's something that you're into you got the Expendable income but if you like are money

31:54

conscious with it yeah a good used I think every single lens that we've ever bought unless it's come with the camera

31:59

that we've bought has been used yeah I can I can validate that I'm pretty safe in saying that I can

32:04

validate that but so try before you buy yes when you buy don't neglect the used

32:09

market right don't neglect the used market and good reputable sources like K you can get some banging deals on eBay

32:16

marketpl I've got a couple eBay lenses it's a little more of a dice roll just make sure that again the seller is a

32:22

reputable Source because there's a lot of camera stores on eBay most lenses I buy I make sure it's a camera store yeah

32:27

also local camera stores if you're here in East Tennessee go to F32 go to camera castle like they've got they've got them

32:33

all day long so buy from a reputable Source yep try before you buy don't

32:38

neglect the used Market might be able to save a buck or two Jared speaking of uh neglection there one there's one thing

32:45

that I don't want our audience to neglect what is that uh well leaving feedback feedback stars and bars leaving

32:52

feedback if if this has

32:57

sparked a question yeah like you were watching this and you're like hey I have a question about that put it in the

33:03

comments comments below Love To answer question um I am where whatever state

33:09

this is in my career I am where I am today because I asked questions I asked

33:15

questions and people were yeah true to answer yeah we help you out we'll answer

33:22

we like reading the feedback good and bad we love the questions we like answering those um also if you've like

33:27

this video want to see more like in the future considering subscribing to the channel we certainly appreciate that

33:33

yeah ring the bell so you get notified every time we upload a podcast yeah there you go and on that note Jared

33:39

here's the hard part we'll see you guys in the next one he did not make that hard folks y'all have a good one see

33:45

you just nailed my hat