Monument Cove and Otter Cliffs in Maine’s Acadia National Park. The curve of the shoreline in this photo adds a peaceful line that leads the viewer’s eye to the cliffs.
Lines, real and implied are an important component in any photo’s composition. Lines can be straight (horizontal, vertical, or at an oblique angle,) or curved. All lines work to divide your image into distinct parts, so you need to study your compositions carefully to see how these divisions work. Do they cut an image in half, creating a static feel, or do they divide the image into unequal parts which can provide an asymmetrical balance and more dynamic feel?
In general, horizontal lines are relatively calm. Vertical lines possess more energy, and diagonal or oblique lines are the most energetic of all. Lines also take the viewer on a journey through your photographs, as they provide a natural path for the viewer’s eye to follow while looking at your photo. Diagonal lines in particular, move your viewer along at a quick pace. Curved lines also give this sense of motion to a photo, but in a more peaceful, gentle way than a straight diagonal line.
Dawn over the Atlantic Ocean at Wallis Sands State Park in Rye, New Hampshire. I repositioned my camera for this photo so that the lines in the rock were at an oblique angle to give the photo more energy.
Whenever I’m composing a photo, I’m constantly repositioning my camera to take advantage of curved lines, and to change vertical or horizontal lines to oblique angled lines. The only exception to this is that I generally try to keep my horizon line or the vertical lines of trees, plants, and buildings straight (although purposely angling these lines can add more energy to a photo, and I’ll often choose that energy over a straight horizon line in an adventure photo.)
Waterfall at Castle in the Clouds in Moultonboro, New Hampshire. The relatively vertical flow of this photo has less of a sense of motion than the version below.
Waterfall at Castle in the Clouds in Moultonboro, New Hampshire. By recomposing this photo so that the water flows from top right to bottom left, gives the image a greater sense of motion and energy.
A man hikes over a footbridge near the Presumpscot River in Portland, Maine.The implied line (at an oblique angle) between the sun and the hiker adds to the sense of energy and movement in this photo.
Photos also have implied lines that you need to pay attention to. In many photos you will have a main subject as well as a secondary subject and if there is an oblique line between the two, the photo will have more energy than if that implied line is horizontal or vertical. Sometimes, all it takes is repositioning the camera by one or two feet to change this implied line and improve the image.
A woman kayaking in New Castle, New Hampshire.
In the above photo, the kayaker is the main subject, with the lighthouse serving as a strong secondary subject. The implied line between the two is slightly oblique. It’s a nice photo, but I think it could be better with a little more separation between the kayaker and the light.
Canoeing in Lily Bay at sunrise, Moosehead Lake, Maine.
In this paddling shot, the canoe and sun are the two subjects, and the implied oblique line between the two adds some needed energy to a photo that has a peaceful feeling due the horizontal lines formed by the horizon and the canoe.
Any questions? Please post them in the comments section below.
Cheers! -Jerry
Find out more about Jerry at his website, and follow him on Twitter at @jerrymonkman
Our hometown of Louisville, Ky is going crazy right now. Roads are clogged with traffic, restaurants have long lines, and limousines are everywhere. Tourists are everywhere, getting ready for the huge party that is dubbed “the most exciting two minutes in sports”. Talk about photo opportunities!
The Derby provided me with a fantastic introduction to professional photography: my first assistant’s job. Many years ago (too many years–these images are film scans to give you a clue) my good friend Scott Goldsmith, then and now a fantastic pro, asked me to help him in photographing a different side of the Derby–the quiet, anticipation-filled early morning of the race. The time when horses and trainers awake and prepare for the big day. This posts highlights some of Scott’s images that day.
At the time I had a point-and-shoot film camera, and I didn’t really know why Scott wanted me to get up so early in the morning! Something about light. I lugged Scott’s stuff all over the track that day, from the mellow “backside” of the track to the buzzing stands, to the rowdy infield, to the tense paddock and more. I was worn out, and wondered how Scott did this stuff day in and day out.
We did not have much time for teaching, but I do remember Scott telling me not about f-stops or cameras or lenses, but about his vision for the shot, why he was taking it, and what he was trying to achieve. Of course, that equipment has come and gone, but Scott’s vision and mindset have remained.
As we’ve heard before, it’s those qualities, not the equipment, that elevates great photographers like Scott to a different level.
One of the hardest things for many photographers to develop is a sense of creativity. You might be the most technologically proficient person with your gear and know how to edit photos better than the best Photoshop gurus out there but what about making interesting pictures?
Creativity, according to John Cleese is not a talent, but rather a quality that can be learned by the biggest imbecile… fortunately for me. So while you might have the technical know how, where do you rate on the creative scale?
Check out this video by the very talented and humorous John Cleese. Many of you may know him from Monty Python fame, but what you may not know about him, is that he is a highly educated, imaginative, and persuasive writer and educator. Maybe this video will help you to unlock your own creative abilities and also allow you a little laugh or two. Its a little over 30 minutes long, but full of useful info regardless if you’re a photographer, an artist, an engineer or a teacher!
A late winter wildlife project that I like to do is to try and locate fox dens, which I can return to and photograph after the pups are born. This time of year the female fox is in a maternal state of mind. During the course of her daily travels she will often visit her den site to check things out, do some digging, and other spring cleaning type chores. We just need to know where she is going to find this den site. In order to do this we must become one with the fox–we must follow her on her daily rounds. A tall order indeed, but as usual, there is a trick to it.
The trick is to wait until there has been a fresh dusting of snow overnight. Then go out the following morning into some likely habitat and find some fox tracks. Surprisingly this is easier than it sounds. Fox tracks are roundish, about the size of a fifty cent piece, and go in virtually a straight line one foot directly in front of the other. Once you find them follow along. Not only will you get to know a lot about fox and their habits but you will get some great exercise as well. It may also lead to some great photo opportunities too.
Be warned though, pay attention to where you are going. One morning, while following a fox I was pulled deep into an unfamiliar part of some state land. I foolishly assumed I would just retrace my own tracks back to my vehicle. Well, as the day heated up the dusting of snow melted and I was left with no “trail of breadcrumbs” to follow home. Kid of frustrating!
Good luck and good light.
Steve
Browse Steve’s images, read his blog, and learn about his workshops at his site www.stevegettle.com
I made a last minute decision yesterday to head back out to Ocean City NJ to photograph the 59th Street Pier this morning. Friend/client Kate Ryan met me out there and I was glad to have the company. It was a heavy overcast morning with moments of the sun breaking through. The colors were not as intense as they had been on my first visit last week, so I decided to change my view up a little and work a little tighter, concentrating on the front piers as apposed to the entire pier. This image was processed using Nik Silver Efex Pro 2. In situations where the color does not appeal to you or doesn’t fit the mood consider going with B&W.
CLICK ON THE IMAGE TO SEE A LARGER SHARPER VERSION
I photographed this Cyclamen with the use of natural light and a window!
Many folks ask do I “exactly” use the window as a light source. Well I place my subject close to the window. I position a reflector behind the flower so that it bounces some light onto the other side of the flower to “even out” the lighting. Once I am happy with the lighting I start to look for the background. By positioning my camera up/down or sideways to include the part of the background I like.
For the example image above I used the grass for the green background so I had my camera and lens positioned downward. If I wanted a blue or white background I would have positioned it towards the sky. Next I make sure that the background will be blurred. Because I am shooting from a window chances are my subject and background are far enough apart that I can use an f/8 or even an f/13 with out any problem of bringing in “too much detail” from the background. However I wanted the flower to be a little softer so I stayed with an f/6.3. Why a little softer? Well, in my opinion flowers are pretty and they lend themselves nicely to a softer look. If you get every detail in focus sometimes you will portray a hard look with out it being your intention. The same is true if you over sharpen or over contrast your flower images or even if you over-saturate your images. There is no right or wrong it is just a matter or preference and I prefer my flowers on the Softer Side.
To learn more about creating a softer look for your flower images check out my eBook “The Softer Side of Macro”
Here we are in 2012. Already. It doesn’t seem like a year ago that we ushered in 2011, but calendars don’t lie. 2011 was an interesting year for me. I spent more time in the office building my business and less time in the field doing what we all love to do – photography. As I culled through images made in the past year it quickly became evident that I didn’t get out enough. I live in Moab, for God’s sake. Arches and Canyonlands are in my backyard. There is no legitimate excuse to not be out exploring this beautiful landscape more often. So, in 2012, I resolve to do just that. I’ll spend more time making images and less time marketing them. Not too much less, because I do still need to pay the bills.
Every year I squeeze in a few big trips, consisting of a couple weeks each, to locations throughout the western United States. Looking back on all the photos from our 2011 adventures brought back some wonderful memories. We celebrated my son Jackson’s second birthday at a campground in Death Valley, ate dinner by a campfire on the beach in Cape Kiwanda, summited a 14′er in Colorado (Jackson’s first!) and spent Thanksgiving week exploring Valley of Fire in Nevada. No doubt, I am a lucky man.
The images I’ve chosen to share as my favorites aren’t necessarily my best. One photo was five years in the making, another has tremendous emotional appeal, a couple I just really like and some were made in a place I’m now obsessed with and can’t wait to visit again. If I were assembling a 2011 portfolio to present to an art buyer only a couple of these would make the cut. The important thing is that these images mean something to me. I hope you enjoy viewing them as much as I enjoyed making them.
Slot Canyon & River Rock, Nevada
I found this slot canyon by chance while wandering around Valley of Fire State Park one morning following a sunrise shoot. I was struck by the contrast of warm, colorful sandstone walls and the cool blue river rock in the mud on the canyon floor as well as the three dimensional feeling created by the wide angle lens and striations in the rock. It’s a short canyon but easily one of the prettiest I’ve ever seen.
Wildflowers and Storm Clouds in American Basin, Colorado
American Basin may be over-photographed but it’s still one of my all-time favorite alpine locations. The summer wildflower display is obnoxious in a very good way. We camped not ten minutes from where this image was made, in a tent on the roof of my FJ Cruiser. The next morning we summited Handies Peak with my son, Jackson. He was 2. And he knocked off a 14′er. Okay, so I carried him but still, how cool is that?
Storm Clouds Over Rock Point, Colorado
Black Canyon of the Gunnison National Park plays second fiddle to the nearby San Juan Mountains, which means you’re less likely to find yourself in a crowd. We visited the park for the first time in 2011 and I became enamored with the sheer beauty and ruggedness of the canyon. On this afternoon a breaking storm created dynamic conditions for photography. I was in the right place at the right time when a sliver of light shone through clouds on to the foreground ridge, lasting only a minute or two. These ethereal moments in nature are what we photographers are privileged to witness while the rest of mankind seeks shelter from the storm.
Pothole and Sandstone Buttes at Sunset, Utah
Made semi-famous by Moab photographer Tom Till, this large pothole with an impressive view of a slickrock wonderland has been on my list of places to photograph since moving to the area almost six years ago. It took a while to find it and even longer to wait for the right conditions (great light, good clouds, pothole full of water). In 2011 everything came together and I was able to make the image that had nagged at me for years.
Haystack Rock from McPhillips Beach, Oregon
The charming little town of Pacific City is home to Cape Kiwanda State Park and McPhillips Beach, sort of a local’s beach not commonly visited by the throngs of summer tourists. We discovered it by accident on our trip along the coast last June. Nearly vacant, it’s a beautiful little beach with some interesting basalt (I think?) rock formations that nicely frame Haystack Rock in the distance. I spent a couple hours photographing here before retiring to hang out with my family, running away from incoming waves and finally, dinner on the sand next to a roaring bonfire. It couldn’t have been a more perfect end to a more perfect day.
Cottonwood Trunks and Evergreens, Wyoming
I made this image during a short break while leading a workshop in the Tetons last autumn. Cottonwood trees have such beautifully textured trunks and their autumn leaves rival those of the stately aspen with regard to color intensity. Here I loved how the darker evergreen trees contrasts with the autumn grasses & leaves, and the bold patterns of the cottonwood trunks.
Sunrise Sky and Rock of Gibraltar II, Nevada
I’m having an affair. There, I said it. I’m in love with Valley of Fire State Park in Nevada. I can’t get enough of the place. Luckily, my wife knows and even approves of this affair. On our last visit we hiked out to Fire Wave for sunset. While I was impressed with Fire Wave I was more taken by the Rock of Gibraltar and this massive expanse of wonderfully striated sandstone. I came back for sunrise the next morning. You can imagine my excitement when the sky exploded in color right at sunrise. Of all the images I made in 2011 this one may well be my absolute favorite.
The Sunflower Experiment, Utah
The Scott Matheson Wetlands Preserve just outside Moab is a quiet little sanctuary that seems to catch on fire all too often. The last wildfire that ripped through was the most devastating. Driving by one day I noticed thousands of colorful wildflowers mixed in among the charred trunks. The next day I returned with my camera and made several images of the sunflowers. This was my favorite as it is something entirely different from my typical photography. It was an experiment and I was thrilled that it worked out so well.
American Basin Hiker II, Colorado
I didn’t do much adventure photography in 2011. No idea why, but I’ve resolved to do a lot more of it in 2012. I made this image en route to the summit of Handies Peak in Colorado’s San Juan Mountains. My son Jackson was in a backpack on my back as I photographed Melissa crossing a creek below a beautiful sky and craggy peaks. There’s nothing I enjoy more than exploring the outdoors with my family and this image brings back wonderful memories of seeing Jackson on the summit of his first 14′er!
Storm Light at the Fiery Furnace, Utah
One stormy afternoon I took a chance and headed out to a view I’d discovered that overlooks the fins of the Fiery Furnace, Castle Valley and the distant La Sal Mountains. One of three things would happen: I’d get struck by lightning and the whole afternoon would be screwed, the storm would rage on and sunset would be a bust, or it would be epic. Lucky for me, it was epic. It was cold and windy and every once in a while a passing cloud released a torrent of horizontal rain. But right at sunset, the clouds parted and the sweetest storm light I’ve seen fell on the landscape before me. It was an amazing day to be alive!
Three Sisters Sunset, Utah
Assignments are few and far between these days, at least for me. Early in 2011 I was hired by Utah State Parks to photograph Goblin Valley State Park and the surrounding area for a guidebook they were developing. GVSP is a alien landscape, a valley filled with thousands of little hoodoos that have, in fact, stood in for Mars in several movies. One of the most famous features, the Three Sisters, sprout from the surrounding landscape. I was incredibly fortunate to witness a glorious sunset behind the Three Sisters during my time in the park.
Breaking Storm Over Kane Creek Canyon, Utah
Last year I decided to create a new photo tour titled Undiscovered Moab. As the name implies, the tour will take us to locations that are rarely, if ever, photographed. I’ve been spending a lot of time four wheeling and hiking to remote locations while scouting for the upcoming Undiscovered Moab tour (April 21-22, 2012!). On this afternoon a storm was breaking over Kane Creek Canyon, flooding the valley with dramatic storm light below a sky filled with interesting clouds. It was awesome to stand on the canyon rim in complete silence while watching this scene unfold before me.
Virga Above the Bonneville Desert, Utah
En route to Death Valley last March, my son informed us that he had to poop. When a 2 year old has to poop you don’t have time to drive around looking for a bathroom. We pulled off to the side of the interstate and Jackson did his business. When he finished I asked Melissa if I could have a few minutes to make an image of the impending storm unleashing hell on the distant mountains. Thanks to Jackson and Melissa I was able to make this image, my favorite from the entire trip, with semi’s flying by just a few feet away.
I received the following email recently and thought I would share it and some thoughts that occurred to me after reading it…
I am an artist living in Ireland but originally from the Hudson Valley. I was wondering if it would be possible for me to use one of your photographs as a reference photo for a painting I would like to do. I would of course credit you and ad a link to your site as well. Could you let me know if this would be possible. Your photos are amazing! You are a true artist, Thank You…
First, I was deeply honored and humbled that she would want to use one of my images as inspiration for her art, and of course I said yes. But more importantly it reinforced the idea that technology has connected the world in an unprecedented and fantastic way that can serve as inspiration and benefit to us all. Sure there are the negative aspects to any powerful technology, but never in any other time would someone half way around the world be able to find me, connect with me and my work, and then share the results. I’ll share the final piece here when it’s done.
There is also something to be said for sharing and generosity in this age of limitless connections, via social media, the internet, Skype, etc. Your voice and vision is as valid as anyone else’s, your personal experiences unique and worth sharing if you truly have something to say. While it may seem at times that people worry most about privacy issues, there is also the ability and potential to share your vision and creativity in a way that allows the message to truly dictate the exposure. In days past, that was never the case, and your voice would be overpowered by the status quo.
I used to think that I was born too late, but now I know I am living in the most incredible times ever. My ability to live the life I want is directly related to taking advantage of all the possibilities available today. I started out 8 years knowing practically nothing about landscape photography, but I knew I had a very deep connection to nature, and I was committed to doing whatever it took within my ethical boundaries.
Don’t get frustrated or overwhelmed, look at the possibilities and grab them as tight as you can – there has never been a better time to achieve whatever goals you have.
Do you agree or disagree? What is holding you back from your dreams? Leave your comment below!
Check out Robert’s website for images, workshops, webinars and more: LINK
Rocks and surf at dawn, Wallis Sands State Park, Rye, New Hampshire. F16, 30 seconds. (Jerry Monkman)
If you live in the northern U.S., you are probably experiencing a low snow winter this year. In Portsmouth, New Hampshire, where I live, we haven’t had any appreciable snow since before Halloween! The gray and brown hues of a snowless landscape can definitely make it hard for a landscape photographer to be inspired enough to get out there and shoot. I feel fortunate that I chose his winter to start a new project I call 0630, where I go out every morning and make a picture at 6:30 (you can read more about the project in this post I made over at the Outdoor Photographer website.) The project has forced me to get out and shoot, when I normally would have stayed in bed, and it’s really getting my creative juices flowing and giving me good practice on techniques I don’t always use on a regular basis. For most of the last 6 weeks, I’ve been shooting primarily 30-45 minutes before sunrise, so here are some tips on what to do when it’s winter, it’s dark, and there’s no snow.
Find some light, any light! On clear mornings, I head to the coast, where I can use the pre-sunrise glow and colors to my advantage. Since I like to use low ISOs like 100 or 200, and small apertures like F16, that means I’m often shooting very slow shutter speeds, anywhere from 15 seconds to 2 minutes. A sturdy tripod is a must, and I really recommend using a cable release or the self-timer on the camera. Since most cameras have a maximum shutter speed of 30 seconds, you’ll need to put the camera in bulb mode for anything longer and then use a cable release to hold the shutter open the appropriate amount of time. What’s the appropriate amount of time? Let’s say the camera’s meter is telling you that F11 and 30 seconds is too dark of an exposure. Increase your aperture until the meter reads a proper exposure. In this example, assume that it now says F5.6, 30 seconds. This equates to F8 at 1 minute, F11 at 2 minutes, or F16 at 4 minutes. Put the camera in bulb mode, dial in F11, then trip the shutter with the cable release, locking it in the on position and keep the shutter open for 2 minutes. If you have an intervalometer (a fancy cable release), you can set it to automatically hold the shutter open for 2 minutes. If you include a dark foreground like in the above photo, you will probably also need to use a graduated split neutral density filter to hold down the exposure in the sky and avoid blown out highlights.
Pre-dawn surf, Rye Harbor State Park, New Hampshire. F16, 2 minutes. (Jerry Monkman)
On cloudy days, finding light is obviously even harder. I’m finding it’s still fun to make long exposures on the coast like the above shot, but there’s a lot less color. Though it’s not part of my normal subject matter, city scenes here in Portsmouth have proven to be a good thing to shoot when I need to find a little light on dark mornings. For many of these urban scenes like the below image of the Memorial Bridge in the fog, I’m finding High Dymanic Range (HDR) software to be a huge help. For this image, I locked my camera into the tripod and shot three exposures at F16, 2-stops apart: 4 seconds, 15 seconds, and 30 seconds. The combination of the three exposures captured detail in both the dark recesses behind the buildings and in the bright lights. I used Nik HDR Efex Pro to combine the three shots into one.
The Memorial Bridge in the fog, Portsmouth, New Hampshire. HDR. (Jerry and Marcy Monkman)
Trees silhouetted against the morning sky at Odiorne Point State Park in Rye, New Hampshire. F11, 3.2 seconds. (Jerry and Marcy Monkman)
Another technique I like to use when a “normal” shot might not work because of mediocre light or so-so subject matter is to purposefully blur the photo to create an abstract composition. For the above shot of trees against a pre-dawn sky, I used a shutter speed of 3.2 seconds and moved the camera up while the shutter was open. This is a really fun technique because you never know exactly what you’re going to get. In addition to moving the camera up and down, you can try moving it horizontally or diagonally as well.
Captain Tobias Lear’s 1781 tombsone in the Point of Graves Burying Ground in Portsmouth, New Hampshire. F4, 15 seconds (Jerry and Marcy Monkman)
Of course, you can always add your own light with flash, or as I did in the above photo, with a flashlight. “Light painting” with a flashlight is as easy as waving the flashlight across your subject during the exposure. For this shot, I just used a basic maglight that I bought at the local hardware store, and painted the tombstones during a 15 second exposure. I love the skull and crossbones, by the way.
I am enjoying shooting at this time quite a bit. Most days, I’m done shooting before the sun even comes up so I can go about my normal daily routine. I was actually startled to see the sun come on Saturday when I lingered longer than usual, and I have been so accustomed to shooting in the dark, that I wasn’t sure what to do with all that light!
The forecast is calling for a little snow tonight, but hopefully this post has given you some ideas of what to do on those dark, snow-free, winter days.
Note: if you are in the Louisville area Monday October 3, come see Steve Gettle speak at a free OPG/SmugMug event! Details here.
Due to the fact that I had shows scheduled on the weekends when Michigan’s upper peninsula’s fall color is at its peak, I really thought I wouldn’t be able to do any shooting up there this year. Luckily, I caught a break as we had an unusually wet summer and a very mild early fall. The color was a week late this year, so I was able to take a few days and go up and work fall color.
We struggled a little with the weather because we had bright sunny, windy days. We did however manage to get some shots, but we worked hard for what we got. I say “we” because I traveled up with two good friends. Nature photography is often a solo endeavor, and I really enjoy that part of it. While I enjoy being alone in the wilderness with my thoughts and chosen subjects, it is also very nice to be able to share these experiences with good friends. The friendships and camaraderie I have developed with other photographers as we traveled the beautiful spots of the world is very special to me. I would say in my travels I have met hundreds, no, probably thousands of nature photographers, and as a group they are some of the nicest people I know.
Here are a few fall images from Michigan’s Upper Peninsula. These first few images are a theme that I am often on the lookout for as I work fall color. In these images I am shooting a small section of a stream that is in the shade, with the water reflecting fall color that is fully lit by the sun. What is nice about working this subject is that it is usually something that can be done in the middle of a bright sunny day, when my gear would usually be packed up and I would be scouting evening locations.
This next shot was created using a much slower shutter speed in an attempt to call attention to the quite water captured in the rock’s crevice.
The following image is another subject you can work when the wind is blowing. This image shows crimson blueberry leaves with a couple of fern fronds. Because these plants grow close to the ground they are not blown by the wind as much as taller foliage.
On the final day we did get a morning with nice light and calm winds and I was able to make this next image.
Browse Steve’s images, read his blog, and learn about his workshops at his site www.stevegettle.com
Scott Goldsmith: The Kentucky Derby
Friday, May 4th, 2012Our hometown of Louisville, Ky is going crazy right now. Roads are clogged with traffic, restaurants have long lines, and limousines are everywhere. Tourists are everywhere, getting ready for the huge party that is dubbed “the most exciting two minutes in sports”. Talk about photo opportunities!
The Derby provided me with a fantastic introduction to professional photography: my first assistant’s job. Many years ago (too many years–these images are film scans to give you a clue) my good friend Scott Goldsmith, then and now a fantastic pro, asked me to help him in photographing a different side of the Derby–the quiet, anticipation-filled early morning of the race. The time when horses and trainers awake and prepare for the big day. This posts highlights some of Scott’s images that day.
At the time I had a point-and-shoot film camera, and I didn’t really know why Scott wanted me to get up so early in the morning! Something about light. I lugged Scott’s stuff all over the track that day, from the mellow “backside” of the track to the buzzing stands, to the rowdy infield, to the tense paddock and more. I was worn out, and wondered how Scott did this stuff day in and day out.
We did not have much time for teaching, but I do remember Scott telling me not about f-stops or cameras or lenses, but about his vision for the shot, why he was taking it, and what he was trying to achieve. Of course, that equipment has come and gone, but Scott’s vision and mindset have remained.
As we’ve heard before, it’s those qualities, not the equipment, that elevates great photographers like Scott to a different level.
I hope you enjoy these images!
You can visit Scott’s website at www.scottgoldsmith.com
All photographs copyright Scott Goldsmith.
Tags: horses, Kentucky Derby, Scott Goldsmith, Vision
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