Natalia Taffarel

Even when they’re not

Of course this is more of an attitude than a literal truth. Point being, you’re the only one responsible for your business.

I worked in two projects recently and both clients went out of their way to thank me for my cooperation and good attitude, that got me thinking…

How is everyone else working? Why do they feel it’s necessary to thank me for just doing my job properly?

So I have decided to leave technique aside for today and write about being a service provider. Lets face it, as freelancers, we need to train ourselves to think like one.

Each project is unique, behind every project there’s a person. 

So first thing, first: Treat your client like a person.

Know their name, be respectful, understand how they think, what they like, their needs and circumstances.

As much as you’d like to think so, the client is not “out to get you”. You’re not there to fight or argue, you’re there to advice and provide solutions.

When you know who you’re working with, you can accommodate to their specific needs and times. It’s not the same to deal with an art director who is handling 35 projects at the same time, than it is to work with a hair stylist who needs images for his/her portfolio or a small company producing their first catalog. You need to accommodate to the specific ways of working of the person you’re dealing with.

No client should be more important to you though, in terms of service. If you take on a project, treat your client with respect no matter how much is worth to you. Because those images mean a lot more to them.

Which leads us to the next point: Treat each project like your one and only project.

We make decisions and we must live by them. If you agree to do a certain job for a certain amount of money, then you do your best to deliver in time and form.

I’ve seen so many people agree on a budget and then complain about that same job they agreed on.

I simply don’t get it… you said yes, now deal with it! Next time, find out more about it before you say yes.

Decision-making is a key skill in any business, and is particularly important if you want to be an efficient freelancer. The ability to make a good call with available information is vital to making a living out of any creative field.

That’s why: Always quote with a brief in hand.

Yes, I know… there isn’t always a brief and not all situations are ideal, that’s why we must take responsibility for our own way to deal with potential clients. If there isn’t a brief you make one. 

It doesn’t have to be exact, proper or use a pre designed sheet with the company pantone color scheme, but you do need to make everything clear before you start. Doing this you will save yourself (and your client) a possible future headache. 

Being clear, honest (don’t promise more than you can do, overselling is never a good idea) and realistic about your skills (taking the deadline into account) when briefing is a great way to start a good relationship.

What do you need to know before compromising to a project?

The deadline, whether they have a pre-stablished budget, amount of images, references for the final product, print size and use are just a few things to consider.  

If you want to know more about pricing you can read it in another article I wrote

So lets say you and your potential client agree on a fee for the job. Congrats! 

This is just getting started.

Keep the client close to your workflow, closer if you’re working with those more directly involved. 

If you want to be a professional retoucher, you should have an efficient, non destructive, client friendly workflow that allows several approval stages and follow up corrections.

As soon as I have the selection, I send the client a screenshot of the images I’ve got in my computer. Yes, the same images they just sent. Why? Easy, people make mistakes and If you can’t spot them, they become your responsibility and it’s a waste of precious time.

You cannot escape the responsibility of tomorrow by evading it today. - Abraham Lincoln

Who ever works in editorial or advertising knows time is always limited and you don’t want to waste any of it for any reason.

Ideally you have the same brief everyone else in the team has - including concept, intent and references - but if you don’t you need to ask for the information in order to understand the aesthetic needed for this particular project.

At this point, you can always make suggestions as you see fit about the tones, elements in the shot, give some feedback to your client about references, etc

Also, if you need or think you need any extra images (more hair, different hair, another arm, cleaner accessories, something in a different angle, the background on its own, closed mouth, open eyes, better exposed outfit) you ask for them and place them in a different folder called “extras”

For big projects I usually get a selection of raws to select from in case I need “extra parts”

And we haven’t even opened photoshop yet!

The first step of my actual photoshop workflow is to create a working file.

Once I’ve done the tones with several raw conversions, placed all the parts - if any - and I’m done with any structural changes to the image, I send it out for approval. 

This is beneficial for several reasons: 

The client knows you’re going in the right direction

Gives them peace of mind

Helps them trust you on the following aesthetic decisions you might make.

It works as confirmation you’ve started on the project already.

It’s also beneficial for you, since you can now keep on working knowing there won’t be any structural corrections later on.

With this certainty you can apply the same look and feel to all of the images from the series, work on details, texture, minor color corrections, light and send the image back out for a second review. 

While you might still be working on them, the client will spot things you didn’t think of and will also make them feel they are cooperating and contributing with their own input. 

They become a part of your process.

Everyone in this line of work feels they need to justify their existence, be it the photographer, the art director, the magazine editor or even the set designer! They will, more often than not, have corrections for you.

My advice: Send the image out while you’re still working on it so obvious things will get noticed first and they won’t need to “find” something else.

It’s also helpful for your own sanity, since you KNOW you’re not done yet, corrections don’t feel as “something more to do” but as a part of the job.

Just to get this clear, always leave a little something to correct, don’t send out an incomplete image because that would certainly scare off your client.

One more thing about corrections: People make mistakes, people forget things, people change their minds. Within logic and respect, allow your clients to make corrections until everyone is happy with the image. When you’re a freelancer your name is all you’ve got and to provide a good service is not only to have good photoshop skills, but also being understanding and flexible.

This is not to say you should let people walk all over you. I state in every job “corrections not included in the original brief will be charged by the hour” but I still allow a lot of little things to pass.

Also, keep in mind you can always have an opinion on the feedback you receive and it’s part of your job to advice the client accordingly. Not because you don’t want to do something but because you don’t feel it would make the image better or even sometimes you can feel a certain change would make it worse

Remember though, the paying part will always have the last word on any matter, if you disagree with their taste too much, you can always decide not to work with them again.

Keep communication fluent at all times whether it be phone, email or even Skype. Be available and always keep a pleasant tone.

Don’t make up excuses, ever. Not only because the client won’t care, but also because your problems are yours, not theirs. Everyone’s got issues, we all deal with personal situations all the time and still get the work done. You’re no exception to that rule, nor is your client who also has a client of its own and problems yet still delivers. Keep your problems to yourself and find a way to get it done.

Ninety-nine percent of all failures come from people who have a habit of making excuses.  George Washington Carver

Send the invoice only when they approve the finals, along with the link to the high resolution images, and always thank them for choosing you to work with them. Never take any client for granted. Never take anyone for granted.

The client is always right, because you will always make them feel like they are. Even, or specially when they are not. 

(Source: client)

High end Moda & Cosmética

” Si no te sale ardiendo de adentro,

a pesar de todo,

no lo hagas.

A no ser que salga espontáneamente de tu corazón

y de tu mente y de tu boca

y de tus tripas,

no lo hagas.”

                                                               Charles Bukowski

Al igual que muchos otros oficios creativos, el retoque es algo que tenés que amar para hacerlo bien.
No pasa un día sin que me llegue un mail preguntándome la forma de lograr algo en Photoshop. Al responder, la persona se sorprende del tiempo que lleva. Están sinceramente sorprendidos de que no es una acción o un truco de un solo clic.

Bueno… no, no lo es.

Aprender nunca es rápido o fácil.

No se llega a ser bueno de la noche a la mañana.

Construir un negocio en este mercado lleva tiempo y otra serie de talentos diferentes, además de los técnicos.

Nada puede ser logrado, sin embargo, sin pasión.

Definamos pasión. Un músico se pasa sus días y noches escuchando música, todos los estilos y autores, estudia y sabe todo lo que tiene algo que ver con eso. Porque así debe ser y no puede ser de otra forma, no lo concibe de otra manera.

Lo mismo se aplica a las artes visuales. No podés ser retocador si no disfrutás y consumís arte. Es necesario para desarrollar un ojo crítico para el color, la estética y la composición.

“ Una fotografía no se toma, se construye. “  Ansel Adams

Entonces, cómo construimos una imagen desde el retoque? Teniendo en cuenta las enseñanzas del arte tradicional tales como composición, teoría del color, comportamiento de la luz (claro oscuro). Las técnicas de dibujo/ilustración son sumamente útiles a la hora de retocar una foto ya que básicamente estamos dibujando sobre un gradiente de luz.

Cuando se trabaja con modelos humanos, apreciar la anatomía y estructura ósea.

Hay una casa de retoque en NYC en la cual hacen que sus empleados estudien anatomía, se los evalúa en ese aspecto, tienen que conocer todos los huesos de la cara.

Entender el mercado en el que uno se mueve es otra parte importante de esta pasión de la que vengo hablando.

Uno no puede trabajar en un nicho que desconoce.

Quienes son tus influencias? Cuáles son los estándares de la industria? Por qué es importante conocer las leyes de copyright? Cual es nuestro target ideal? Cuáles son las tenencias actuales? Qué se hizo ya? Quién lo hizo?

El que quiera tener una carrera en el retoque deberá conocer las respuestas a estas preguntas. 

Una de las primeras cosas que les pregunto a mis estudiantes es: Cuántos de ustedes tiene la última Vogue o Número en sus casas/oficinas?

Uno crea sus propias limitaciones. Si no consumimos calidad: arte, fotos (buenas fotos) lo que hacemos es confundir al cerebro y hacerle creer que “así” es como debe verse una imagen, no generamos el criterio suficiente para separar El bueno, el malo y el feo.

Cuándo fue la última vez que fuiste a una galería? Una exhibición ? museo? Piénsalo.

Si te la pasas consumiendo porquerías, entrenas al cerebro a visualizar porquerías y finalmente a crear porquerías. Hay que ser selectivo con lo que se mira y tampoco me refiero exclusivamente a mirar revistas de moda, sino siempre estamos siguiendo la tendencia de alguien más.

Va mucho más allá de consumir revistas de moda: libros de fotografía, still life, National Geographic, libros de arte.

Películas y no solo los éxitos taquilleros! Películas de autor. No hay una sola escena de Amelie que no pueda ser congelada, impresa y enmarcada para colgarla en una pared.

Nadie nace con cultura, uno tiene que generarla, con tiempo y dedicación. Mantenerla y cultivarla.

Otra cosa que uno necesita dejar de lado es: La necesidad de generar excusas.

Sentarse en la computadora a criticar el trabajo de otros, su talento (o falta de) en las variadas redes sociales, foros y paginas de galerías; solo sirve para generar excusas ante el fracaso propio. Simplemente una perdida de tiempo, un falso sentimiento de superioridad que no ayuda a la superación personal, a crecer o mejorar.

“Las grandes mentes hablan de ideas, las mediocres de eventos y las pequeñas hablan de otra gente”

(Ninguna mente pequeña ha logrado nada en la vida).

Por otro lado, siguiendo la misma línea de pensamiento,  escucho gente quejarse de los chicos que recién empiezan o retocadores en otras áreas (más baratas) o mercados (supuestos mejores mercados) que cobran más barato o incluso regalan su trabajo, todo el tiempo. La creencia es que se está devaluando el mercado debido a estas personas/situaciones. Lo repiten una y otra vez, se repiten a si mismos que no hay suficiente trabajo, que los presupuestos son cada vez más bajos a causa de esta gente. “No es mi culpa que no tengo trabajo, es la culpa de ellos!”. El problema no es el mercado, es tu trabajo, la calidad del mismo que es inferior al estándar y tu mala actitud la que te quita trabajo. Si ofrecés calidad no te preocupan estos asuntos. Al menos puedo asegurarles que, a nosotros, los que trabajamos en este mercado exitosamente, no nos preocupa!

Cuando hablo de calidad no me refiero al retoque en si mismo. Cuando uno es retocador es un proveedor de servicios, entonces hay que evaluar el valor agregado a ese servicio que se ofrece. Ejemplos de “valor agregado” incluyen: Honestidad/ser “real” (una verdadera ventaja en la industria hoy en dia),  tener “people skills” ser habilidoso con las relaciones publicas, poseer la inteligencia básica, el encanto, la sabiduría y sentido del humor para comunicarse y llevarse bien con terceros, por lo general el éxito en un ámbito público depende de esto.

Buenas habilidades para con la gente incluyen la honestidad, la sinceridad, el contacto visual fuerte, el lenguaje corporal de comunicación, y siendo en todo amable y servicial. Entender el tono general, los ritmos y las inflexiones de la conversación y la mejor manera de abordarlos es también “people skills”.

Llegar bien con las deadlines, ofrecerle feedback a los clientes y consejo.

También, una de las cosas más importantes creo personalmente, hacer siempre un poco más de lo que se espera de uno.

Ser eficaz, eficiente y efectivo.

“Aquellos que dicen que no se puede hacer, deberían no entrometerse en el camino de aquellos que ya lo están haciendo” Proverbio Chino.

Cuando uno es Freelance tiene que calibrar la mente como tal. Uno no solo ofrece servicios de retoque sino que hace de consultor profesional, por lo tanto hay que venderse de esa forma. Los clientes potenciales tienen que saber que no solo se poseen las habilidades técnicas para realizar un determinado trabajo, sino que también se tienen competencias y conocimientos sobre el negocio tanto en términos de publico objetivo como contexto general.

Construir un negocio no se trata tampoco, como dije anteriormente, de tener habilidades técnicas exclusivamente.

Hay que pensar donde esta la demanda real, que esta uno dispuesto a ofrecer, así también quien es nuestra competencia, que ofrecen y en que momento.

Tampoco la habilidad implica experiencia per se. La experiencia es lo que hace a un buen profesional. Cualquiera sea tu precio, no esperen estar ganando lo mismo que alguien que hace 10 años que esta en el mercado produciendo resultados sólidos.

La otra realidad es que los clientes no vienen a golpearle la puerta a uno cuando se decide a dedicarse a esto, que la suerte y los contactos tienen muy poco que ver con el éxito ya que muy pocos empiezan teniéndolos. El resto de los mortales tenemos que asegurarnos de conseguir, alimentar y mantener una base de clientes estable, lo que no pasa en dos horas, ni siquiera en días o meses. Lleva tiempo y dedicación. La dura realidad es que en el primer año uno trabaja en archivos muy feos que no generan absolutamente nada de placer pero pagan la renta. Lo importante: NO trabajen solo en eso, uno tiene que testear (trabajar en fotos sin remuneración monetaria) en el tiempo libre para construir un portfolio que atraerá a la gente para la que uno quiere trabajar.

“vístete para el trabajo que quieres, no para el que tienes” Anónimo

Sino estas atrapado en un circulo vicioso que funciona de esta manera:

1. Produzco trabajo de calidad mediocre porque mis clientes no tienen presupuesto para nada más, pero no importa porque de todas formas es lo suficientemente bueno para ellos, no notarían la diferencia.
2. Mi portfolio esta conformado de trabajo mediocre.
3. Solo atraigo clientes sin criterio, con presupuestos limitados a quienes no les importa la calidad del trabajo final.
4. Volver al punto 1

En este ciclo, el cliente que tiene el criterio y el buen gusto suficientes como para conseguir los presupuestos más altos y así pagar por un trabajo de alta calidad, nunca consideraría trabajar con el “profesional” detrás de ese portfolio ya que no tiene la calidad que necesita.

Ergo: Estás atrapado.

La creencia de que el “test” (prueba o TFP) es “trabajar gratis”, sólo es compartida por aquellos que no tienen ni idea de cómo funciona realmente el mercado. Los profesionales hacen tests todo el tiempo! Prueban maquilladores, modelos de agencias, equipo de todo tipo, lo hacen para proyectos personales, editoriales o para seguir elaborando su portfolio. Hacen esto porque saben (tienen la seguridad) que las imágenes que se producen en una prueba atraerán a potenciales clientes del más alto nivel. Saben muy bien y sin lugar a duda que estos clientes sólo se fijan en los editoriales que se han realizado y el trabajo personal al decidir a quién contratar para su próximo proyecto comercial. El retocador también tiene el placer, por supuesto, de haber contribuido a hacer del mundo un lugar mejor (bueno, quizá no mejor, pero si más bonito).

Trabajar de forma gratuita es una contradicción. Nadie trabaja gratis. Uno trabaja por el crédito, por el reconocimiento, se trabaja para estar en las mentes de aquellos que pueden ayudarnos a avanzar en nuestra carrera, tales como: agencias, directores de arte, fotógrafos, publicistas, casas representantes de artistas y diseñadores.
Si quien lee esto piensa que el mercado está arruinado por los que trabajan ”gratis”, pensá de nuevo!

De hecho, cada vez que pienses algo como:

No tengo éxito por…

…La economía actual

…El área geográfica en la que estoy

…La gente que hace TFP

…La gente que trabaja barato

…Los clientes que no saben la diferencia

…mi situación personal

…el mercado

“la sociedad”

No es así, el problema sos vos. En todos los casos!

     High end Fashion & Beauty

” If it doesn’t come bursting out of you

in spite of everything,

don’t do it.

unless it comes unasked out of your

heart and your mind and your mouth

and your gut,

don’t do it.”

                                     Charles Bukowski

Like many other creative trades, this is one you need to love in order to succeed.

Not a day goes by without me getting an email asking me how to achieve something in Photoshop. Furthermore, when I reply, the person is shocked that it would take so long. They are honestly amazed that it’s not some action or a one-click wonder trick.

Well… it’s not.

Learning is never fast or easy.

Being good at it doesn’t happen over night.

Building a retouching business takes time, and a completely different set of skills.

Nothing can be achieved though, if you are not passionate enough.

Lets define passion. A musician will listen to music all day and night, studying every style and author. They will know everything there is to know, about every facet of music, because that’s the way it should be!  It couldn’t be any other way!

The same goes for visual arts. You can’t be a retoucher if you don’t enjoy and consume art. One needs to develop an eye for color, aesthetics and composition.

“You don’t take a photograph, you make it”.  Ansel Adams

How do we “make” an image from the retoucher’s perspective? Taking into account the teachings of traditional art, such as composition, color theory and light behavior. Also, things involving drawing/illustration techniques are extremely helpful when it comes to retouching. Reason is, we are basically drawing over an existing gradient.

Anatomy, from an artist point of view, is also essential when working on human models, shape and bone structure etc.

There’s a retouching house in NY where they make all their retouchers study anatomy and test them on it. They need to know every bone in the face.

Understanding the market is also part of being passionate about retouching.

You can’t work in a market you don’t understand. Who are your inspirations? What are the industry standards? Why is copyright important? Who is your ideal target? What are the current trends? What has been done already? By Whom?

You should know the answers to these questions if you’re going to pursue a career in retouching. 

The first thing I ask my students is “How many of you have the latest Vogue or Número in their home/office?”

You create your own limitations. If you don’t spend your time consuming art and images (quality ones), then you can’t train your brain to differentiate the good from the bad, and the bad from the ugly.

When was the last time you went to an art show? exhibition? museum? Think about it.

If you look at crap all day long, you will train your brain to think that is how images should look. You need to be selective. Not just magazines either. Otherwise you’re always following someone else’s trends. Look at photography books, National Geographic, photo journalism books and movies. Again, not just the latest hits, but older movies too. There’s not a scene in the film “Amelie” that couldn’t be printed, framed, and hung on a wall. Nobody is born cultured, it’s like muscles, they have to GROW IN YOU with time, effort, and consistency.

Another issue one needs to rid themself of: the need to make up excuses.

If you sit around and criticize others work and talent (or lack there of) on social sites; then you’re only creating excuses for yourself. You are simply wasting time, and developing a false sense of superiority that doesn’t help you grow or better yourself.

“Great minds discuss ideas, average minds discuss events, small minds discuss people”

(And no small mind has ever accomplished anything).

I hear people complaining about new retouchers, or retouchers in other (cheaper) markets all the time. People believe that since these other retouchers are charging nothing for their work they are devaluing the whole market. They go on and on about how there’s not enough work, and how budgets continue to drop because of “these people”. “It’s not my fault that I’m not getting enough work, it’s their fault!”

If you’re worrying about this you should look at yourself in the mirror.  It’s not the market that is the problem. It’s your work and your attitude. If you offer quality you won’t have to worry about this. I know we don’t!

Quality is not just about the retouching itself. It’s also about you as a service provider, and the added value of service that you provide. Some examples of added value of service include: honesty/being “real” (a commodity in today’s industry), your people skills, meeting deadlines, offering feedback and advice to your clients and perhaps most importantly, doing slightly more than is expected of you.

“Those that say it can’t be done should get out of the way of those doing it” Chinese Proverb

If you are freelancer then you need to calibrate your brain to think like one. You are not only offering retouching, you are offering consultation. You must market and sell yourself as such. Potential clients need to know that you possess not only the technical abilities to complete the job, but also that you’re knowledgeable about the business as a whole. Both in terms of targets and in general context.

Building a business is not only about having a skillset either.

Think about where the real demand is, and what you’re willing to offer. As well as who else is offering the same as you at that particular time.

Also, skills DO NOT equate experience.  That alone is the money point! (Pun intended) Whatever your rate is, expect it to commensurate with your skill level or expertise. Don’t expect to be making as much money as someone who’s been in the industry for ten years producing solid work.

Clients in general don’t just flock to you because you started a business. Connections have very little to do with it in the beginning. Very few people START with connections. The rest of us mere mortals have to build a solid client base, this doesn’t happen in just minutes or hours or days. It takes time and dedication.

The reality is, in the first year you will be working on really bad files to pay your rent. But don’t only work on those photos! You must also TEST on your free time in order to build a portfolio that WILL get the attention of the people you want to work for.

Dress for the job that you want, not for the job that you have. Otherwise you’re trapped in a vicious cycle like this:

1. I only produce lower quality work because that’s all my clients can afford. Besides they can’t tell the difference anyway

2. My portfolio is now filled with only lower quality images

3. I can only attract clients that have limited budgets that don’t care about better quality.

4. Return to number 1.

In this cycle, the client who has enough criteria and good taste to get the higher budgets (or to pay for high quality work), will never contact you or reply to your emails. Reason being, your portfolio does not show any high quality work.

Ergo: You’re trapped.

The belief that testing is “working for free”, is only shared by those who have NO IDEA how the market actually works. Professionals test all the time! They test with agencies and for personal projects. Pros do this because they know the images they produce in a test will attract potential high end clients. Pros know full well that these clients only care about editorials and personal work when deciding on who to hire for their next job. Of course retouchers also get the pleasure of having contributed towards making the world a better place (well, maybe not better, but prettier.) when testing.

Working for free is an oxymoron. NOBODY works for free. You work for credit, you work for recognition, you work to be in the minds of those who can help you advance your career. Such as: agencies, art directors, photographers, advertisers, rep houses and designers.

If you think the market is ruined by those working “for free”, think again!

Every time you find yourself thinking:

I’m not successful because of…

…the economy.

…my area.

…people who do TFP.

…people who live in cheaper countries.

…client’s not knowing the difference.

…my situation.

…my market.

“Society” ?

It’s not. IT’S YOU! Every time!

solsticeretouch:

Photographer Andy Bettles is represented by M.A.P and shoots still life for clients such as Sephora, Wallpaper* and the New York Times Style Magazine. His vintage-inspired multiple exposure images cross the line between fashion and art.

[Source]

Use Content Aware together with masks. When you want to replace something in a busy image, mask out other distracting elements (distracting from the pattern you need to replace with) and then use CA - works like a charm 

BEST RETOUCHING STUDIO EVER! ;)

For those of you who don’t know what I’m talking about, you should read this first:

http://nataliataffarel.tumblr.com/search/split

The best way of learning is avoiding recipes at all cost. 

The concept behind frequency separation is not complicated once you understand the principles behind it. 

I’ll try to make it really simple 

http://www.youtube.com/watch?v=CUbMmzk2_Lo

When a painters paint a portrait (after sketching) they usually start with just a blob of color (B&W shpe in this video) THAT’s THE LOWEST FREQUENCY - the shape, the color 

Then the painter adds borders and depth - MIDDLE FREQUENCY 

Finally proceeds to paint in details - HIGH FREQUENCY 

We are doing the opposite process when splitting an image: 

We start with the final image: 
We select ONE RADIUS that will define the limit of the HIGH FREQUENCY - so when selecting a radius of 8 for your high frequency you know that the range of detail contained within the high frequency will go from 0 to 8 - EVERY OTHER frequency is retained on the low (From 8 to 250 - not 255 because both G. Blur and HP are programed to avoid extremes) 

In practice, when we decide on the radius for the initial Gaussian blur (*) we need to be thinking of the amount of detail we want to maintain in the HIGH frequency, so we blur until we can’t see that particular radius of detail. 

Radius and threshold work the same in every filter, a radius of 5 means the same in all the filters. 

This is specially true** when talking about G. Blur and High Pass - they are opposite/contrary/complementary filters. 


** Should be true, as it’s not because of the way they were set, but it can be fixed by using apply image to generate an accurate High pass or “fixing” the layer with -50 legacy contrast before running the High Pass filter (This eliminates the extremes and makes it possible for the filter to “read” them) 

* When using Apply image you can use any kind of blur/noise removal flter because you’re creating your own manual accurate highpass by producing the opposite of the Blur. 

February I’m going to be in Asia!

Singapore, HK, BK - Good times!

If you want to know more about it ask them http://www.facebook.com/pages/Studio-f8/139460369480023

aw thank you! Keep it up :)