RAW vs JPEG, DaVinci Resolve news, Platinum converters, and Montblanc Signature nibs

In this episode of Pictures and Pens I discuss my current approach to image capture by file type and camera system: RAW and JPEG for Fujifilm and RAW for Sony. I also discuss the exciting news that DaVinci Resolve has added still photo editing to their powerful software. And in pens I relate disappointment for Platinum and Nakaya converters despite my love for the pens generally. Finally, I declare the Montblanc 6B Signature nib the greatest nib ever made. 

Transcript

SPEAKER_00 0:03

Hello and welcome back to the Pictures and Pens podcast. It is I, John, your host of the Pictures and Pens podcast, also known as Revolving Pens on Instagram. Today I have a couple of topics that are camera slash lens slash photography related, and a couple of topics that are pen, stationary, fountain pen related. So without further ado, let's get into this. The first thing I want to talk about in is in photography, and that is digital imagery and how to save the files and the consequences that has. So with a modern digital camera, there are basically two choices of files. One is called RAW, and again, uh I'm not sure what RAW stands for, but the acronym conveys the idea that it's a file that is not finalized. It contains all the information that the sensor takes in, and well, whatever background processing that the camera is doing, that you can't do anything about. And then that file is just available for you to manipulate however you want. Raw files are not so-called deliverable files. You can't post a raw file to Instagram. Maybe you can. I've never tried. I I don't think you can. I I reckon that in that case, Instagram would convert it to something else, but I don't think you can post a raw file to Instagram. If you had a client and you supplied them a raw file, that might be okay if they're a commercial client and they might expect that because then they can manipulate the image easier. But even then, I don't know. I'd I'd be wary of that. I mean, they could really change your work. If you were a wedding photographer and supplied RAW files, most people wouldn't have any idea what to do with it. So the deliverable file format, which the camera can also save, is most commonly a JPEG, which is a compressed file format. It's just an efficient way of saving the image of space efficiency, so it doesn't take up a huge amount of memory, especially compared to a raw file. And then you can share those images, post them online, print them out. You don't really need another program or the same camera to interpret the data to see the image. Most camera manufacturers have their own raw file format. So Fuji has their own, Sony has their own, Nikon or Nikon has their own. I think, if I'm not mistaken, as I recall, Leica's RAW files are DNGs, which are the standard or should be the standard that everybody uses. And look, it it doesn't matter what the acronyms mean, but uh the idea is that if you shoot, take pictures, make pictures with raw files, you're gonna have large file sizes that you can manipulate later. And what does that even mean that you can manipulate it? Well, you can take it to a photo editing software like Lightroom or Adobe Camera RAW, which is basically the program you have to use to get a raw file into Photoshop. And it's probably there in the background in Adobe Lightroom. Or you can use DaVinci Resolve, which we'll come to next, or Capture One, or a variety of other programs that can interpret those raw files and allow you to manipulate them in terms of exposure, white balance, uh, lots of other things that are not baked in when you take the picture. Now, if you shoot, take pictures, make pictures, and you save those images as JPEGs in your camera, whatever settings are on your camera, those are those are baked in. That image basically can't be changed much anymore. If you take it to a photo editing software like Lightroom, Adobe Lightroom, and you start to manipulate the file, like if you try to change the white balance or change the exposure too much, the picture will so-called start to fall apart pretty rapidly. There just isn't the leeway to manipulate the image in creative ways that you have with a raw file. So a lot of serious photographers and professional photographers, commercial photographers, shoot in RAW, save those big files, and then take those files and edit them sometimes extensively later in some photo editing software. And that is mostly what I do as well. It gives the greatest flexibility, but again, it takes up the largest amount of space, and there's a lot of back-end work. And for a while I was really an acolyte of the raw uh shooter photographer. I'm sorry, raw, you know. I would have the you know raw t-shirt like Jared Poland and Fro Nose Photo. He's famous for promoting shooting in RAW. Anyway, for several years now, and more than several years, I've been using Fujifilm cameras. First the digital medium format GFX system, and then I added the Crop Sensor XT5, the Fujifilm Film XT5, which is a high megapixel small digital sensor, crop sensor, and both of those cameras, the GFX and the XT5, as is Fujifilms want, as their style, as part of the selling proposition of a Fujifilm camera, you can change the parameters in camera for a variety of settings that affect a JPEG. Now it'll it won't affect the raw, but it'll affect the display of a raw. So if you choose to manipulate the settings, such as the white balance, what the camera is doing to interpret the exposure of the shadows, the exposure of the highlights, something called clarity, uh sharpness, noise reduction, film simulation or emulation, uh like Provia or Classic Chrome, whatever you change, that would save as a JPEG, but also show up on the screen as the style of the photo that you've you know chosen. And there are a lot of film recipes, and that is a fun thing for Fujifilm shooters to get into. It's a create, share, and use all these different recipes that with the settings that you can change in camera. And a lot of the times they're used to simulate or emulate uh classic film stock, like codachrome or codachrome that's expired. And it can be, I have learned, a really good way to make pictures. So when I when I do that, when I use these film simulations, these film recipes, most of the time I use something that came up pretty recently. Someone created uh collective or maybe an art store, I'm not sure, fragment in Japan. They came out with a recipe for black and white that's pretty contrasty, uh, pretty, pretty gritty. So one of the settings in the camera is to adjust the grain. Of course, it's not real film grain, it's a digital, you know, uh appearance of film grain. So it's a very grainy, a very contrasty, pretty punchy black and white film simulation recipe that I like quite a bit. And I put that in both the GFX medium format camera and the XT5, the crop sensor camera, and I get slightly different results from each. From the XT5, it is quite a bit more contrasty, more grainy, just a little bit punchier. I don't know. What is punchy mean? People photographers use this word punchy, but it it kind of means a contrasty image where things, especially subject, stands out. Edges are a little bit more sharply drawn. And the exact same settings in the GFX medium format camera, it just comes out looking smoother. Uh even with the same, you know, large grain, high clarity image that is being uh baked in as a JPEG, that uh just looks smoother and less contrasty out of the GFX, which can also be quite nice. Anyway, I save the RAW file as well. And what I've learned is that I edit raw files a lot less when I save the JPEGs with the film recipes in the Fuji cameras. And now I understand what some of that hype was about, what photographers were getting into in the Fujifilm systems. And while I don't sh take the JPEGs only, I I just that doesn't make me feel like um I have full control of the imagery. But when I'm looking to the viewfinder or on the screen, I'm seeing the film recipe. So I can adjust the exposure, my composition, etc. So I am sh taking the making, taking making the image based on that film recipe. So I'm already more or less getting the look I want, and I very rarely find that I want to take the raw file, for example, and make it color. Because again, I shoot a lot in this fragment black and white film recipe. Or vice versa, if I shoot a color recipe, I very rarely take the raw file and then apply a different recipe or uh make it black and white. So it's actually cut down quite a bit on the editing time, but now I'm saving JPEGs from the camera and the raw files, and in some ways it's created a bigger storage problem. Anyway, with the Sony system, it that's really kind of a non-issue. I always shoot, take pictures with raw and save the files as raw files because Sony doesn't allow you to basically do the same film recipe type situation that Fujifilm does. If you save a just save a JPEG, or save RAW and JPEG, save both, in the Sony system, you're getting whatever Sony wants to make the JPEG look like. You don't have any control over it. And that's normal. That's what most camera manufacturers what they do. And in general, I really like the Sony system. I mean, there's tremendous advantages for you know all the lens options, just huge numbers of lenses in a Sony emount system. The A7R5, which is what I use mostly, is a you know a high megapixel, high-resolution camera. The raw files have a lot of leeway and flexibility for cropping, yeah, which I do sometimes, but you know, when you have such a high-resolution image with uh all the colors and you know the good bit depth, you can manipulate the image more in post-production, in post, in the camera editing in the in the image editing software. So the and you can shoot, take pictures with the Sony system at high rates. So for action, for things where you need or could benefit greatly from autofocus, so the Sony system really is great. And I also have the full spectrum modified camera that lets in UV and infrared in addition to visual visible light on the Sony system. So again, that platform has a lot of uses, but one of those uses that is in the Fuji system of applying all these different recipes to make a JPEG, the way you might edit it anyway in a in a software later, just doesn't exist in the Sony system. As far as I know, it doesn't exist in the Nikon system. I don't I have some Nikon cameras, but they're much older, and I don't use them anymore. My daughter has one and she uses it sometimes. But uh I also have a Leica camera, and there's something called Leica looks, but I'm not too keen on the Leica looks. They're basically recipes that Leica has decided for JPEGs that kind of change the colors or the contrast or however they want or what what they think people might like. They're okay to me, but I'd rather shoot raw with uh Leica and just edit the files. Usually they're not gonna end up looking like the Leica looks. So I think the Leica looks are a little bit plain Jane, but they're okay. I guess if you don't want to do any image processing. What's interesting is the Leica Q343 that I have has the same manufacturer for the 60 megapixel sensor that Sony uses, and that manufacture is Sony, but the raw files out of the Leica and the raw files out of the Sony cameras don't look the same when I import them into Adobe Lightroom, and they don't edit the same. So whatever hardware and software that goes after the sensor in both those cameras, the Sony system and the Leica system, it's just different. And they it affects the look of the image, and it affects things like uh light performance. So with the Leica system, I'm much more willing to use higher ISOs, higher sensitivity, greater amplification of light in the sensor than I would be with the Sony system. It seems to preserve resolution and detail better on the Leica. It's not a plus or a minus. It's just that on the Sony system, I might go to a faster lens or yeah, adjust the exposure differently than in the Leica, where I'm you know more uh feel better about using a higher ISO because I don't know why. It just maintains color or resolution you know better than the Sony system. Again, there's tremendous advantages of the Sony system, but I always those raw files I have to edit them. And the Leica Raw files, I have to edit them. And increasingly in the Fuji system, I'm not editing raw files anymore. Which is kind of nice. I still do, but really getting into these recipes, and you can store several different recipes or more than several different recipes in camera at the same time, and then just cycle through them. Anyway, that's enough for RAW versus JPEG. Some people feel strongly about only shooting in RAW and maybe look down sometimes on people who shoot, take pictures, and just bake them in as JPEGs to begin with, as maybe not being a professional approach, but you know, I don't know how many of us are with cameras are professional photographers. I've been paid for photos, but that's not how I make a living. So I'm not too worried about what people think of how I save files. Uh something really exciting, sticking with camera and photography and image processing as a topic, there's something very exciting that's happened just this week. So DaVinci Resolve, which is software that is well, there's a free version that's very capable, but there's a relatively low-cost, full version that's very powerful for image editing, and it's specifically tailored for video. And there's been a lot more interest in and development in editing video than there has been in photography. You know, the the internet, at least the social medias, have moved towards video content and away from still image content. And the needs of you know the huge industry that supports commercial video work, whether it's Hollywood or a TV studio or you know, uh a media department in a big company, a lot of that's video content, and that video has to be edited, and there's just huge advances in that. And DaVinci Resolve is one of the best programs for that. I have DaVinci Resolve, and it's only a couple hundred bucks. And one of the great advantages of DaVinci Resolve is you own it. With Adobe Lightroom in Photoshop, what I also have, that is a month by month rental, and it comes with a variety of annoyances. For example, the standard version of what they call basic Lightroom now, that's an online thing. It's a program you have on your computer or your iPad or your iPhone or whatever, but the images are stored in the cloud and you can go between your devices. And as long as that's a mobile device, an iPad or a phone, you can have as many of those running as you want. I could have 20 iPhones, all with Lightroom open, all manipulating images. But if you have the desktop version or you want to use Photoshop, then you can only have two actual computers, desktop computers, run you know, signed in at the same time, whether they're running the program or not. And that's super annoying. I mean, I have a computer at work, I have a computer at home, and I have a like a desktop and a laptop. I only have three computers. But like, Adobe doesn't let me sign in to all three at the same time. But yet, mobile Lightroom or Mobile Photoshop, I could have unlimited. Anyway, it seems kind of crazy. And it's month-to-month, right? It's a you're I'm renting the software, and it's a great model for the company because it's a revenue stream. But somehow, you know, DaVinci Resolve, which is standard old style, you buy the software business model, still seems to work. And probably works because so many people are doing video. Now, Adobe, of course, has their own video editor, but I've never used it. So because DaVinci Resolve is kind of the standard. You can you know edit, do really fancy edits in DaVinci Resolve on video. And by that I mean not just amateur stuff. Um major Hollywood productions, I'm sure you could do DaVinci Resolve, no problem. So it's a very, very powerful image editor, moving image editor. But just this week they have announced a suite of functions for still photography, and it's pretty clearly aimed right at Lightroom. And with the tremendous color grading and other image manipulation features of a Da Vinci Resolve, even this beta version is really interesting and it shows some very powerful ability to edit raw files, which I just talked about, editing raw files, images, still images, and delivering those and hosting a catalog, just like in Lightroom. So if you're a Lightroom user, subscriber, but you've also done video, maybe you already own DaVinci Resolve. And even if you don't, there's a free version that's has most of the functionality. And it's not, they don't put um you know uh their name all over your finished product. There's just some of the functionality isn't there. So maybe 90%-ish of the functionality is in the free version. So I'm not sure it's you know ready for the takeover of Adobe Lightroom, but it's it's a very exciting development in that DaVinci Resolve can now uh be a platform for you to do pretty powerful photo editing. So that's that's exciting, and I'm looking forward to diving into it. But it's kind of yet another thing to learn, but that's okay. I've already learned it some doing video, and I've learned enough that I know I don't really like doing video. It's really a lot of work, and the part of the work is that it's so powerful. The post-production and video is so powerful, you can change it so much that it you know it can become overwhelming. You can get lost and you can make things pretty bad pretty easily. Or, you know, if you somehow stumble onto something, you can make it look pretty good, but to do make things look good consistently take a lot of investment. It's just such a powerful program. The other updates to Da Vinci resol um um are AI, and they're they're pretty wild. If you have 10 seconds of someone speaking, you can apply their voice to your text. You can age or de-age people uh and a variety of other things. So again, in a couple hundred dollar program, it looks like it has some extremely powerful image manipulation uh ability, including not just aging and de-aging people, but removing blemishes and you know, adjusting skin tones and things that are really something you do anyway if you're gonna take pictures of people, and you might have uh image retouching software, whether it's Photoshop and you're doing it highly manually, or you have something like Rebloom that's doing it with AI, but that's a second program. This is all can be done in Resolve at DaVinci, so it's very exciting. Okay. Timeout. If you came here for pens, uh fountain pens, stationary information, now's your time. If you came here for photography and you don't care about pens and stationery, I guess you can tune out now. Because I'm going to switch over to a couple topics in in uh fountain pens. So the first topic is ink converters. So for those of you who don't know, a fountain pen is a device for writing that controls the leak of ink onto paper. And the leaking of the ink out of the pen body is capillary action. It gets transferred from the metal nib to the paper. So the the invention, the cool thing about fountain pens when they came is that they held their own ink. You didn't have to dip it continuously to write. And so somewhere in the fountain pen contains a fountain of ink, uh, is a reservoir of ink. And in most pens, it's something called a cartridge or converter. The cartridge is a plastic ink reservoir that you can snap in and out of pens. And then when you're done with the cartridge, typically you throw it away. The converter fits in the same spot as the cartridge, but has a piston that you twist up and down, and then you draw ink out of a bottle and store it in the pen that way. So the converter is in most pens, and there is an international standard converter that a lot of pens use, but then some companies have a proprietary converter. You know, the aperture or the volume or it's something about its function may be slightly different than the international standard. And platinum, a pen company in Japan, actually, probably all the pen companies in Japan have their own converter standard that are not interchangeable with each other or with the international standard. But I'm singling out platinum right now because their converters are particularly bad, which is kind of wild. Japanese fountain pens in general, and platinum in particular, has a reputation for nibs, for pens that write really well. You know, really nicely controlled inkflow, you know, smooth nibs, uh, good performance, right out of the box, you know, something you can count on. But their converters, I say, are universally terrible. And what do I mean by that? It's not the fact that the aperture and the fitting is proprietary to platinum and its offshoot Nakaya. It's that the piston itself does two things. One, it tends to get sticky in relatively short order. It may be great when you first get it, but once you start using it, the the twist of the knob that makes the piston go up and down gets progressively more difficult. Why? I don't know why it would wear out so fast or get sticky so fast, but that is a common thing. And if it even if it does not do that, often there's also leak between the two sides of the piston that's inside. So the piston should form a seal inside the converter. And that way you can draw ink up, or I guess if you twist it the other direction, you could make it go out, right? And that that comes in useful when you when you clean a pen to change inks. But the platinum converters, the seal between the wall, inside the wall of the converter and the piston itself, is some reason it's not very good. And it's very common to get ink behind the piston where it A, it can't get access to the nib and feed system, so it can't go on the paper. It's sort of trapped back there. And then when you go to clean it, the pen, you're you know, you've used up the ink that you can use, and or maybe you just want to change colors, then you're flushing the pen using the piston. Now, twisting it up, twisting it down. And you know, if even if the piston isn't already sticky, which a lot of times it is, so you have to grip this little thing really tightly and force it a lot more than you think you ought to, and then you have this ink that you can't clean out. So then you have to disassemble the converter, which isn't hard, but there's a metal collar, and you unscrew that, and then you can pull the piston mechanism out, but it has this little like a washer or a spacer that can easily get lost. And you have to be careful not to lose that little thing. And uh I have lost those, and the converter doesn't function right if you don't have that. But anyway, I've learned over the years not to lose those. But then, you know, part of the convenience of the converter, being able to pump ink up and down and and uh draw ink out of a bottle and then flush the pen out later by repeatedly drawing up water and then diluting it out. That is just gone with platinum converters because the piston sticks and it gets behind the piston. It's very frustrating and it's it's so common. I have a bunch of platinum and Nakaya pens, and all of the converters are just rubbish. You'd you'd think I wouldn't buy these pens, but they're tend to be good riders, and they're very in many cases the Arushi and Makia pens that I'm buying are very beautiful and unique to platinum. So if I want that pen shape, if I want that look, if I want that music nib, I've got to buy that platinum or that Nakaya. And I find it's a lot easier to use their cartridges, their plastic cartridges, which come in only a couple ink colors. And it they also have this annoying ball bearing in them for some reason. But I find it's so much easier to use those than fiddle with our crazy converters. And you can, with a bunt tip needle on a syringe, you can flush out and refill a cartridge. And going through that trouble is actually easier in many cases than dealing with the platinum converters. And you can't just buy an off-brand converter that would work better than the ones that platinum supplies because it's a unique aperture fitting on their cartridge converter system. It is, in a word, annoying. Okay. If you don't find that annoying, you know, let me know. Uh shoot me a private message on on Instagram and tell me I'm wrong. Uh revolving pens. I'm revolving pens on Instagram. Or see my Facebook posts. But I don't I'm not wrong. And so I just think that platinum's platinum and Nakaya needs much better converters. I have the cutest Nakaya converter with some uh Machier goldfish on it. It's very fun, but you know, it functions poorly. Anyway, the last, second and now last fountain pen topic and the last topic of this podcast is the Mont Blanc signature nib. Now, if you don't know, Mont Blanc has a nib exchange program. And every Mont Blanc 149, 146, blah blah blah pen that is currently being sold, at least in the United States, will come supplied with a medium or a fine nib. Not even a broad. Not even an extra fine. And extra fine nibs are surprisingly popular. People like fine and extra fine nibs. Well, you know, look, probably from market data, I don't know. Look, Mont Blanc isn't unique to this. It's hard to find a broad, double broad, extra fine. All the different nib sizes that used to come on a pelican, for example. Most manufacturers have just gone to supplying like maybe two or three nib sizes. It's sad, but that's that's where we are now. But anyway, Mont Blanc has a nib exchange program. And if you buy a Mont Blanc from an authorized retailer, an AD, you can send your pen back and get a broad, a double broad, a triple broad, an oblique, an extra fine, something non-standard. And again, everything that's non-standard now is fine or well, if it's a fine or medium, you can get it. But everything else is non-standard. But if you buy your pen from a boutique, a Mont Blanc boutique, you can participate in the signature nib program. And those are where the cool nibs are. And the coolest nib is the 6B signature nib. And not only is it cool because it's very broad, it's cool because it's the most useful nib in existence. So used conventionally, how you might look at it, it is a very broad downstroke and a relatively narrow cross stroke. And it's so broad, this 6B, that it would maybe seem to be unusable. But it has a large variety of uses. Highlighting things, just having fun while you write, writing large so people can read it, writing large so that you can highlight something that's more important to you, whatever you want to do with that very broad line. But the signature nib has a trick up its sleeve. In this very broad nib that's otherwise very straight across, there are slits and ink channels in the nib that are at the corners of the nib, both sides. So if you tilt the nib onto one of the corners, it's been designed this way, you'll get a medium line. It's really crazy. This nib goes from a 6B and used very straight and you know blocky in printing, you get a very broad, several millimeters wide, maybe five, six, seven mil, depends on the ink in the paper, wide downstroke, and like a one millimeter wide cross stroke, just very large line variation. But if you tilt the nib on its corner, which is feels very natural, it's and it's designed this way, it has a writing surface on the corner, either one, you get a medium line, like a totally normal line, and it writes perfectly. The ink flow is sufficient. It's there, it's been designed this way to work. If you see the underside of a signature nib, whether it's the 6B or the 3B, you can see the ink channels that are there and the way that the nib has been designed. So this has the fountain pens have great utility because of the different inks that you can use and the different surfaces that you can write on. You can get ink that cannot be removed from a check, for example. You can get ink that washes away. You can get all the different colors, you can write on receipts, which ballpoints don't tend to do. Yada yada yada. The tremendous utility in a fountain pen. And the greatest pen, nib, the nib with the greatest utility is the Mont Blanc signature nib. Because you have the ability to write as broad as you want if you go up to the 6B. But in that very same nib, you can write a totally standard medium line. And it feels, again, very natural. Now that nib exchange program isn't free. Well, to get abroad or something, it is free, but it has to go back to Germany. But if you get one of the signature nibs, you'll probably double the price of your pen, your 149, but you get the biggest, most interesting, coolest looking, most useful nib in existence. And I've got a lot of pens and a lot of different nibs and a lot of specialty nibs, but there's nothing like this. You know, Mont Blanc is a manufacturer of fine writing instruments in a way that most of us don't even know about. They have the high art series, you know, stuff that you know you you just don't see. I mean, crazy expensive high art, artisan-made, precious metals, precious stones, highly designed fountain pens in limited numbers. Then they have your plastic 149s and your 146s, and then you have writers series, yep, just a huge variety of fountain pens and nibs and ball points and rollerballs. Just an incredible writing instrument manufacturer, still, even under a conglomerate and uh in within the same company that makes cologne, Mont Bonc Cologne, I guess, perfume as well. It's actually pretty crazy that you can get something like the signature nibs. And uh along with Pilot, Pilot slash Namiki, they're the two behemoths in the writing instrument world. I mean, Pilot is selling who knows, 1.9 trillion G2s every year, some unbelievable number of just office uh ballpoint or rollerball pens that you can get at staples or get through your office supply catalog. Just ungodly numbers of those things, but they also make the most incredible nibs, the number 50 huge nib on Emperor Machier pens, just super high art and legitimately high art. I mean really incredible stuff on a form factor that's difficult to deal with, just like Mont Blanc. So these companies shouldn't be overlooked, their size and manufacturing ability. And of course, who can overlook Mont Blanc and Pyle? That's not really what I mean. But for a lot of us in this fountain pen and stationary hobby, we may encounter a you know Mont Blanc 149 and think, ooh, that's just that's it, man. You know, that's the grail. That's the one that, you know, is cool. That doesn't even begin to touch what Mont Blanc can do. Or their medium nib. Doesn't even begin to explore the variety of nibs, flexible nibs, what they call the cursive nib, which is really a bent nib that offers a really cool line variation, kind of like an architect out of the box without going to a nibmeister, uh, all the way to the signature nib series. And you could even, I think, get a diamond embedded in your signature nib if you if you want. So pilot uh likewise, you know, they have yeah, they have G2s. You can get it Office Depot. And then they have Dunhill Namiki, which is just the highest level of a Russian Machie with really incredible uh super large uh number 50 nibs. The range of their products is really extreme, and nothing matches in in this hobby, in this industry, this mature industry of writing instrument markets. And I mean mature in the financial sense. This is these are not emerge, this is not AI, right? This is um very mature industries. Um, nothing matches Mont Blanc and Pilot. And I I will maintain that the 6B signature nib is the most useful nib on the planet, and possibly the coolest. Alright, well, thanks so much for listening here today. We talked about raw imaging, some Da Vinci Resolved news, uh RAW versus JPEG, some Da Vinci Resolved photo editing news. Uh, we talked about my love for platinum and Nakaya pens and my disappointment. It's not even hatred. I don't hate on it. I'm just very disappointed in their converters. And uh we talked about how cool the Mont Blanc signature nib is, and I recommend you try one out if you can.

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And uh if you like it, go to a boutique, buy one of their plastic 149s, and then get it sent back for the coolest name of the planet. So, with that I bid you adieu. Thank you so much. Thank you so much for listening to this episode of Pictures and Pens. Take care and join me for the next episode in two more weeks.