Category Archives Photo Shoots

A few weeks ago I got the gig to shoot a series of images that would be used for huge vinyl banners (literally wall sized) for the grand opening of a new gym called “Fight Factory” in Tampa where a number of number of high-profile professional athletes are already training, and I thought I’d share some of the images and some behind-the-scenes production photos.

Deadline: Less than 24 hours
The images had to be shot in one afternoon, edited that night and sent for approval, then I had to deliver the high-res files the following day in order to have the banners printed for the grand opening that coming weekend.

One of the images the client was most interested in having me shoot, was an athlete running up some concrete stairs (like in an old stadium), and I immediately thought of a park in Downtown Tampa where I did a fitness runner shoot this summer that had stairs like that. After talking with the client, the plan was to shoot in the gym first, and then head out to the park afterward, but once I got to the gym, the client informed me that we wouldn’t have enough time to get out to the park. They asked if  there was any way we could create that look using the wooden stairs you see below, which lead up to a storage loft above the gym’s offices. Yikes!

Of course, I said “Hey, we’ll sure give it a try” (hiding my internal cringe as I looked over to the temporary wooden planks we’d be shooting upon).

Above: Here’s the shot on the stairs. Nothing fancy—a hard light on one side, and a fill from behind. The light on him is OK, but everything else looks pretty bad, but I knew I wasn’t going to keep him on those wooden stairs for long, so I was OK with it. I can only imagine the client was more than a little concerned at this point.

Above: I know this is kind of a busy shot, but I added some captions to help cut through the clutter—-click on it for a much larger view (photo by Brad Moore). Brad thought we should bring two separate battery power packs just in case, so we brought our beloved Ranger Quadra with two heads [though we only used one], and a Ranger RX unit with one flash head. The Quadra flash head is positioned in front and to the side of Mo—our subject running up the stairs. The second is behind and to the side acting as a fill light. That’s me at the bottom of the stairs wondering how this is all going to work.

A big shout-out to Mo, because after a few frames he asked me, “Should I be running up one step at a time or two?” I had him show me both, and we settled on two. This turned out to be a key move in this whole process (thanks Mo) as you’ll see in a moment.

Luck Favors the Lucky
OK, I totally lucked out on this next part. I head home after the shoot, and I bring up the Fitness Runner shoot I did last summer and start looking to see if there’s a shot of the stairs where I actually wanted to shoot this scene in the first place.

Above: I took about 300 shots that sweltering August day, so I figured I’d have an outtake or two from the shoot that might work as a background for the Gym shoot, and sure enough, I found the shot above, of our fitness runner Jill Papapanu, that I thought might work.

Above: This is the result of nothing but trying Photoshop CS5’s Content Aware Fill one time. Nothing else. It’s not perfect, but I’m about 95% of the way there in just 15 seconds. Content Aware Fill still amazes me to this day. Of course, Jill’s probably not too crazy about this shot. ;-)

Above: Here’s the final composite again, just so you don’t have to scroll back up to the top. Thankfully, the client was absolutely thrilled with shot (especially after seeing it shot on those wooden stairs).

By the way, one of the principals of Fight Factory is former Tampa Bay Buccaneers NFL Wide Receiver Yo Murphy (who also went to the Super Bowl with the Rams). Yo is the one and nicest, funniest, and sharpest guys you’d ever want to meet. Super cool guy all the way around.

Post Processing
I got Mo off the stairs using CS5’s Quick Select tool and the new Refine Edge features, which are truly amazing (Matt says they’re his single favorite feature in CS5, and I think I’d probably have to agree).

Once I dragged Mo onto the background I darkened the entire image by reopening it in Camera Raw, then I added a dark Vignette all the way around in Camera Raw as well. Then I applied contrast using Nik Software’s Color Efex Pro 3.0. Since I’m not a shark at shadows, I usually add more than one—that way I can claim to have multiple light sources and things get squirrley. There are a few other important tricks that help make it look like he’s really there, and I’m showing every bit of these techniques (well, not to this image, but the whole start to finish technique, including the lighting) in my “Light It, Shoot It, Retouch It Live!” tour, so if you’re in Boston, Minneapolis, Indianapolis, or Chicago, you’ll be seeing exactly how to composite stuff like this live, because I have a whole class dedicated to it. If you haven’t signed up yet, it’s not too late.

Above: Once I had Mo selected off that background, I found another background from that same fitness runner shoot, and gave them a second look just in case. Hey, since I had him on a transparent layer, I put him on different backgrounds—at a carnival, at the beach, jumping hurdles, sky diving, underwater (OK, I didn’t do those last ones, but you know it would have been funny as $#%&).

Step Two
Remember when Mo asked me if he should be running up one or two stairs at a time, and I said “two?” Man, did I get lucky, or he wouldn’t have fit on those large concrete stairs. I also used Free Transform to make sure his feet landed at the right place—-I just proportionally scaled him down until it worked. I did have shots of both one step and two steps, but mostly the two steps. Again, I really got lucky.

I added their logo, and some slogans for the final vinyl signs, and they had us print some 20×30″ posters for hanging around the gym as well.

More Shots to Come
I’ve got a lot more shots from the shoot, and I’ll share some here in the coming days, but I thought I’d kick things off with this one—the only layered composite from the shoot. Thanks to everyone at Fight Factory, including Mo our subject, Andrea in Marketing, and of course Yo Murphy. And, as always thanks to my assistant Brad Moore for his help, and for thinking to bring two power packs.

I’ll be in Boston a week from this Thursday (March 24th) kicking off my new “Light it, Shoot it, Retouch It Live!” tour. Hundreds of photographers are already signed up and I want to make sure you’re there, so go snag a seat right now (here’s the link), and spend the day with me seeing the entire process—from the lighting to the shooting, to all the post processing and portrait retouching in Photoshop. You see it all, unfolding live, and I don’t leave anything out.

You get a detailed workbook (shown above) covering all the stuff I’m showing in class (in the same order I’m doing it, so you can follow right along), plus, we offer a 100% money back guarantee if for any reason you think it doesn’t totally kick butt and make you want to run home and try all these new techniques yourself (which by the way, puts a ton of pressure on me, but that’s OK—I’ll have Brad there to create a diversion).

I hope I get to meet you in person in Boston in just 10 days! I am totally psyched!!!! See you there!

Wednesday night I got photo credentials (thanks to my buddy, sports photographer Andy Gregory) to shoot the USF Bulls vs. Pitt college basketball game and I absolutely stunk. So much so, I wasn’t even going to show any photos from the shoot, but there was one teaching moment in all of this mess, so I thought I’d show just enough to keep from totally humiliating myself.

First, a lovely iPhone photo of my gear
Here’s what I took to the shoot. Two bodies: A Nikon D3s and a D3. Two lenses: my beloved 300mm f/2.8 and 24-70mm f/2.8 on my second body. It got there in my Think Tank Airport International rolling camera bag, and I remembered the all important basketball shoot collapsible seat. A lean, mean set-up. So far, all is well.

It Started Off With Such Promise
When you shoot basketball, in many cases the spots where you’re allowed to shoot from are pre-assigned before you get to the arena, and when you get to the photographers work room, you look at the seating chart to find out where you’ll be sitting. They only had 8 spots filled (and there’s usually around 16 or more), so I was pretty happy to see lots of open spots (my name wasn’t listed, but I figured somebody wouldn’t show up, so I’d take their spot).

About two minutes prior to game time, there were a total of only four photographers in their spots, so I just took a seat to the right of the basket, with the Bulls heading my direction. So far, I’m thinking “This is going to be sweet. I can shoot for just about any corner, or right up under the basket. Lots of room to move, stretch out. This is going to be a great night.”

(Above: He’s got a funky look on his face, but I like the frantic coach in the background. Not a good shot, but then, none of these are. Brad says it looks like the coach is slapping him in the head).

Then I Picked up my Camera
It seemed pretty bright in USF’s Sun Dome arena, but when I picked up my camera and pressed the shutter button half way down to get a reading at my usual starting aperture of f/2.8 at 1,250 ISO, I was stunned to see it read a shutter speed of only 1/200 of a second. I need at least 1/1000. Uh oh.

I cranked it up to 1,600. Oh oh. 2,000 ISO. Rats. 3,200. Still between 1/500 and 1/640. I wound up at 4,000 ISO and still couldn’t get much above 1/800 most of the night. This was the first time I had ever shot at f.2/8 and had to shoot above 1,600 ISO. I want to apologize in advance to every one reading this who is thinking, “I have to deal with lighting like that all the time.” If it’s any consolation—I truly feel your pain.

It wasn’t just the lighting
If there’s anything worse than bad lighting for sports photography, it’s probably empty seats, and on this particular night, there were plenty of them. The arena wasn’t full, and everybody that was there sat on the sides, which left the sections behind the basket nearly empty. So were all the top sections, so if I went wide, you saw lots of empty seats. If I shot down court you saw lots of empty seats. So, I tried to compose so you wouldn’t see a bunch of empty green seats. Bad idea.

It wasn’t just the lighting and the empty seats
It was me. I just had a lame night of shooting. I couldn’t get anything going. I was stinking—I knew I was stinking, and I still stunk it up. It was stink-fest 2011. My timing was off. I didn’t like the color of the images. I was missing stuff left and right, and absolutely had no excuse. Uggh.

Assigning Blame
Although I am totally to blame for this lame shoot, I think it’s fun to assign blame to others anyway. Let’s start with the refs. They were clearly out to get me. I saw this view more than any other all night. If I moved to a different shooting location, I swear I could hear one of the refs call out to the other refs—he’s over there now. Stand right in front of him.

Death From Above: Flash grenades
There was another photographer I recognized there, and he was shooting for the Bulls themselves. Nice guy, and we’ve talked several times at different events. He had some flashes mounted in the arena, and he used them against me, setting them off any time I might get a decent shot (as seen above). I’d look over and instead of shooting, he was watching me shoot, with one hand on the trigger of his Pocket Wizard. This was all part of a master plan to make sure I wouldn’t get anything decent. Their plan was working.

A Teaching Moment
Besides learning that I can really stink it up, there is something that might potentially help someone new to shooting sports, so here goes. For most sports shoots, I shoot in JPEG mode (don’t freak out—read this post first, then freak out). On my 2nd body (with my 24-70mm) I notice that the shots are looking really flat. I check all my standard settings, and take a few more test shots, and they’re just looking incredibly flat, so I go to my Shooting Menu to see what my Picture Style settings are. For some reason (Brad!) they had been changed from Standard to Neutral. Normally, if you shoot in Raw, Lightroom and Camera Raw completely ignore these settings, but in JPEG it applies them, and that Neutral setting is really flat.

During a time-out in the first period, I took the test shot you see above with the Picture Style still set on Neutral (I was shooting the floor, not the cheerleaders), and sure enough—the brightly painted wood floor looked pretty flat.

Then I switched back to Standard, and I could immediately see the image look much more contrasty and the colors look more vibrant. Of course, I could have switched to Vivid Light as well for even more vibrant colors (and I considered it), but I thought I’d stick with Standard, and from there on, the color looked much better. Of course, improved color can’t override bad photography, so while it didn’t help my case, at least this Picture Style thing is something you can keep in mind when you’re shooting in JPEG.

All in All, It Stunk
Getting bad shots is bad enough, but it gets worse. The USF Bulls are my home team (The University of South Florida is in Tampa. It’s where Matt graduated from), and although they were leading at the half, in the 2nd period Pitt just caught fire and we wound up losing by like 19 points. Yeech!

A Bad Shoot is Still Good Practice
It was still worth going, and I learned to make sure I check Picture Styles when things look flat. Most importantly, I got to practice some real world blame assignment, in which I was able to liberally assign the root causes of my lame shoot to everything from the arena lighting, the guy with mounted strobes, the refs, to even the JPEG camera settings themselves. All and all, I feel pretty good about spreading it around like I did, which is an art unto itself, and an important step in my growth as a blame-assignment photographer. ;-)

(Above: Pro Snowboarder Eddie Spang getting some air. Click on it for a larger view)

My buddy Matt Kloskowski put a really cool trip together for me this past weekend. He knows I’ve been wanting to do a snowboarding shoot for some time now, but it’s kind of hard pulling that off in Florida. Luckily, we had a camera crew heading to Colorado to film a Kelby Training Online class with incredible Action Sports Photographer and instructor Tom Bol (link), so he arranged for us to fly out the day before the class taping and shoot some snowboarding with Tom and pro snowboarding insano man, the awesome Eddie Spang.

(Above: Here’s Eddie shredding the gnar gnar in 3 feet of virgin powder. OK, that’s the total extent of the snowboarding lingo I picked up during the shoot, right there in that one sentence. Click on it for a larger view. These shots all look better in the bigger views).

(Above: Here’s Eddie just after he shot down that mountain side and literally nailed his landing on the road right in front us. I just stood there with my jaw wide open. I did pull myself together enough to catch this shot— you can see us reflected in his goggles).

Here’s our host for Friday and Saturday, the very cool Tom Bol. I’ve met Tom numerous times, but this was the first time I really got to spend any time with Tom, and I have to say—what a terrific guy. One of the nicest, most thoughtful, and fun guys you’d ever want to meet.

I’ve never been in snow like this
Tom arranged to have Eddie available for us to shoot all day, and Tom had two really great guys assisting him (and us), Steve and Randy, who spent a decent amount of their day helping me through, and pulling me out of, post holes in 3+ feet of snow. I spent a fair amount of time with at least one leg buried so far down in the snow that I could barely get back out.

In the production shot above (photo by Adam Rohrmann), you can see me kneeling to get a shot just in the front of the small jump Eddie just launched off from.

(Above: Here’s the shot I was working on. You can see a little blue in the sky trying to peek though. Tom thought to swap jackets with Eddie, who had been wearing a dark jacket, so the images didn’t look so flat against the gray sky, and it really helped a lot. I took this shot with a 14-24mm Nikon lens on a Nikon D3s camera at 200 ISO, f/2.8).

Above: Here’s a screen cap of a text I sent to my wife.

(Above: A very cold version of me. Photo by Matt Kloskowski).

The weather…well…it kinda sucked
Unfortunately, the blue skies that are the norm in Colorado were nowhere to be found this day, as a large snow storm moved into the area, and it snowed steadily the entire time, against flat gray yucky skies. The 14°F cold weather (-10C) wasn’t really an issue—Matt and I both dressed really warm with layers of clothes, and thankfully it wasn’t windy at all. Plus, we were all laughing so much the whole day, I’m not sure we would have noticed the cold (especially when I would get stuck down in a post hole in the snow, which was fairly often).

Above: Here’s an iPhone photo of me in our rented 4-wheel drive Chevy Tahoe, taken by Matt, while we’re stuck in snow so deep it was up to our car hood. Matt did a masterful job of actually backtracking the SUV through the snow and getting us un-stuck and back out on the road.

We were at 12,000 feet high (3,657 meters) at this point, and it was so bright white outside you couldn’t see anything. It looked like those scenes from base camp at Everest with winds blowing snow everywhere. At this point, we just drove back down the mountain looking for a place for Eddie to snowboard.

Above: Here’s Steve (with the red back pack) and Tom in front of him climbing up the hill where we were going to shoot (Photo by Matt). They paved the way for Matt and I because we were sinking down in the snow like it was Quicksand.

Above: Here’s another production shot (photo by Adam Rorhmann), and you’re getting an over-the-shoulder view of me shooting with a 70-200mm f/2.8 lens (at f.2/8) and that’s Matt lying near the jump with a 14-24mm f/2.8 lens.

You can’t tell in the previous photo, but it was a struggle to get from where I’m shooting over to where Matt is shooting, just a few feet away (we swapped locations a few minutes after this shot was taken). You take a step or two, then you’d hit a hole and your leg would sink down three feet into the snow.

Above: Here’s the shot I got from that angle. Dealing with a solid gray sky, makes you get creative with your post processing, as I did here. The sun did try and make a brief cameo appearance late in the day, and we saw a glimpse of some patches of blue sky for a few minutes, but it just wasn’t going to give us that wonderful solid blue that Colorado is known for. By the way, we were in the great little town of Frisco, Colorado for this shoot.

Above: Here’s the shot Matt was getting with that 14-24mm. He took this one from the same position you saw him in earlier, but right after Tom switched jackets with Eddie. I really like this one Matt got a lot.

Bring out the strobes
Tom and his crew had brought two Elinchrom Ranger battery packs and heads out on the shoot, and so Tom asked if I wanted to shoot a little with the strobes, and of course, I was all over it. I had been shooting all the natural light stuff in Aperture Priority mode at f/2.8, but for the strobes, I switched to Manual Mode and set my shutter speed at 1/200 of a second, and then I wanted to darken the ambient light, so I racked my Aperture out to f/22. That only made it about 1-stop darker, so I lowered the ISO from 200 to L1 (kind of the equivalent of ISO 100), and that got me the two-stop darker background you see here.

Above: We positioned one head with a deep throw reflector literally two feet behind where I had been shooting from (that hole in the ground you see in front of Randy is where I was shooting from), and then he put a second strobe behind the jump to catch the snow kicking up, which worked wonderfully well. Tom is fantastic at lighting stuff like this (I can’t wait to see his class).

Above: We had to aim the front light so it hit Eddie when he was in midair, and Tom knew the trick to figure out exactly where that spot was. He had Steve toss his jacket into the air about where Eddie would wind up (seen above) and I would take the shot to fire the strobe at just the right moment, then direct the crew where to position the light. It only took a flying coat or two to nail it down.

For the shot you see above, I swapped places, and lenses with Matt, but I actually shot from just in front of the ramp, rather than beside it where Matt was, to get this angle. You only get get to take one shot because you’re shooting flash, so I panned with Eddie as I saw him coming down the mountain, and then pressed the shutter just after he hit the ramp—still panning with him as the flash fired.

Above: After we shot some strobe stuff, the sun started to peak out so I switched back to shooting natural light. Two friends of Eddie’s showed up, and I got this shot of Eddie’s friend Erin from that same vantage point, shot at 14mm, at f/2.8 and cropped using my Cinematic Cropping technique (link). This is really one you have to click on to see the larger view.

A Real Learning Experience
This was my first time shooting anything like this, and I really learned a lot. Like anything else in photography, it takes a lot of practice to get good at it, and a willingness to do what it takes to get the shot (Tom SO has that part down. He’s a mad man, and will go to unbelievable lengths to get the shot). I can’t wait to try it again. Ya know, when it’s a bit warmer.

Above: Here’s one last shot of Eddie, from my position by the ramp. I have to tell you, I was really amazed at not only what Eddie could do, but his physical endurance. Every time he shot down the mountain, he had to climb all the way back up to do it all over again. It was really tough in that deep of snow, but he was able to do it again and again and again, non-stop for hours on end.

More photos from the shoot on my Facebook Page
I’m posting a few more images from the shoot on my Facebook page. Here’s the link.

I love this stuff!
I really want to thank Matt for making this whole thing happen. Matt is a tremendously fun guy to do just about anything with, but sharing a trip like this with him is really special. Also, my thanks to Tom Bol for making sure it all came together, and to his assistants Steve and Randy who were great guys, loads of laughs, and incredibly helpful.

Despite the lack of blue sky, it was a really memorable trip, shooting in the show with an old friend, and some new ones. I know I’m very blessed to get to do stuff like this, and I’m very thankful, too!

This are just some of the dates from the first leg of my new nationwide “Light it, Shoot it, Retouch It” tour, but since we have these dates already locked down, I thought I’d share them.

·  Boston, MA – Thursday, March 24th
·  Minneapolis, MN – Monday, April 4th
·  Indianapolis, IN – Wednesday, April 6th
·  Chicago, IL – Thursday, April 7th

Here’s how each session is structured
(1) I start each session with an empty stage and then I build the lighting set-up for a particular kind of lighting look from scratch, explaining everything as I go, all step-by-step.

(2) Then, I actually do a portrait shoot live in each class, sharing all the camera settings, lighting settings, and exactly what you need to do to nail that type of look.

(3) Finally, I take those images into Photoshop to show you how to do all the post processing, including editing the Raw image, all the portrait retouching techniques, and the finishing effects, so you see the entire process, from beginning to end, with nothing left out.

Not only will you be able to nail all these exact same looks, (using a simple, inexpensive studio lighting set-up), but best of all you’ll learn all the post processing techniques as well.

This all takes place in every class session, all day long—–the lighting set-up, then the shooting, and then all the post processing for every set-up, and every look.

I hope you’ll join me in one of these cities. It’s only $99 for the full day of training (or $79 for NAPP members), and includes a detailed, step-by-step workbook that follows along exactly with what I’m doing in the class.

As soon as the rest of cities and dates are locked down, I’ll announce those here too. I am super psyched about this tour, and I can’t wait to get there with you guys. Here’s the link to the full class schedule, or to sign up. I hope I get to see you in person soon. :)

Yesterday our lighting set-up was pretty much for head shots (one beauty dish and a reflector), but for every look we did during the day, I also shot more traditional full length shots as well, but like always—I try to keep the lighting simple, using just one main light. This was shot with a gray background—I added the violet Split Tone effect in the shadow areas inside of Lightroom.

Here’s the lighting set-up for the shot you see at the top of the page. We used the same exact strobe (the Elinchrom BXRI 500), but we switched out the Beauty Dish we used for the headshots shown in yesterday’s post for the 53″ Midi Octa softbox, which is probably my most-often used softbox when shooting fashion (It’s priced fairly decent for its large size—B&H Photo has it $289. Link). The main reason I switched was because I knew I’d be shooting 3/4 length and full length shots, so I wanted the light to cover more area. Also, to make sure some of the main light bounces back toward our subject, we put up a large white V-flat on the opposite side of the Main Light to fill in the other side.

Since I was shooting tethered, positioning the single Main Light was easy—it was controlling the light on the white cove in the background that kept us busy during the day. We would change between a medium gray, light gray, and solid white for most every look, and when you’re using two lights (one lighting each side of the cove) you’re constantly having to mess with the lights to balance them (for dark gray, we’d turn off the lights; for light gray we’d put them on low power, and for solid white we’d crank them up).

Above: Here’s what you have to do when shooting full length shots to get the right look and perspective (I know—it’s not a pretty view of me so stop snickering. But that’s what ya gotta do to get the right perspective). Although this is Tanja in the shot (rather than Megan), I thought I’d at least show you how far back you need to be to shoot at 150mm to 200mm, and precisely how uncomfortable you need to be, which is plenty by the way.

Above: When I was back on my feet again, I moved in as close as my 70-200mm would focus to get this beauty-style shot. You can see the Midi Octa reflected in her eyes. Mmmmm. Midi Octa. I wanted to make sure her eyes were tack sharp, so I put the camera on a tripod before taking the shot.

Above: Since Sandbox Studio is a daylight studio, I wanted to shoot at least one look with natural light, but for this one I thought I’d try something different. I bought a backdrop that looks like the material from a tufted leather couch from Backdrop Outlet (link), and we hung it on a poll between two C-stands. What I wanted to try was to frame the shot so you see the entire backdrop, stands and all (like you see here), but to make it look more like a finished shot (and not a production shot), I laid down on the ground to shoot it like a regular full length fashion shot, and I got the image you see above.

Since I was shooting natural window night, I switched my camera to Aperture Priority mode, and set my f/stop at f/2.8 to get plenty of light into the scene. My shutter speed looked kind of slow at ISO 200, and I was afraid I’d wind up with some blurry shots not being on a tripod down so low, so I increased my ISO to 500 (there’s an ISO you don’t see everyday), and I was up to 1/1600 of a second, and good to go.

Above: After I got the full length, I stood back up and went into for some head and shoulders type of shots. Still using just Natural window light, and the same settings as the full length shot except I lowered the ISO to 400.

Above: Here’s the production shot (photo by Brad Moore), and as you can see, there’s not much going on here—-just natural light. It doesn’t get much simpler than this. By the way; I quickly figured out which window was the North-facing window by using my iPhone’s Compass App. First time I ever needed to use it.

Above: Here’s a full length shot of Tanja (the reflection on the floor is faked in Photoshop. Please don’t tell any one).

Above: Here’s a production shot (photo by Brad Moore). Again, it’s just one Main Light with the 53″ Midi Octa, and then two large V-flat reflectors to bounce some of the light back onto our subject. There are two lights just aiming at the background, but they’re powered down low to create a very light gray, almost off-white background.

Above: Here’s a different perspective from Brad, and you can see the background lights and the V-flats pretty clearly here (and the creative team all looking on during the shoot. While I’m shooting, they’ll quickly jump in and fix hair, adjust clothing, or touch up make-up as we go, which is incredibly helpful).

(Above: some unretouched frames from that set, shown in Lightroom’s Grid View)

Well, that’s it for this one, gang
I hope you enjoyed this behind the scenes look. Thanks to my photo assistant Brad Moore for helping throughout the planning and staging of the shoot; to Megan and Tanja for being so patient and keeping a wonderful attitude the entire shoot, and to Sopha, Linh, and Cassandra for all their hard work in making the shoot a success.

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