Using the New AI Generative Fill function in Photoshop

good morning good afternoon and good evening and welcome back to Jamie photography in this video today we're going to look at the new generative fill function that adobe has added to photoshop beta version um there are a lot of really good videos online to show you how it works and how you can use it and also the additional function of the generative AI function which is also very clever but what I'm going to do is I'm going to show you how I now include this this tool in my workflow and how I use it mostly to to remove objects from from the scene so I'm going to take you on a journey to to get to this image this was shot in Paris last week we're on my workshop that I ran we had some wonderful guests that joined me and we had a great time five days in London and five days in Paris and over the next few weeks I'll be showing you some of the some of the images that we we collected and how I process those so um the raw image for this is here and this is where we started so shot in raw and um the link is in the comments down below where you can download this image and you can follow on all I'd ask is you respect my copyright if you do wish to use this image in your own social media then once you've created your your end version of it then please just give credit to myself Jamie mathlin for the original image I'd be grateful for that so um yeah Let's uh that let's look to do that if you do enjoy this video please please click like really helps the YouTube algorithm and if if you haven't already subscribed we'd love you to join me on my journey here on YouTube having great fun uh with this so um yeah let's get started I'm going to process this image of the Alexandra the third bridge over the river sane in Paris and as you can see I've shot for the highlights so I've exposed primarily for the sky and to make sure that I haven't blown the lights out by by over exposing um you know there is a tendency for people to want to expose maybe two stops higher than this so that you would you would take a picture like that but effectively what you will have done is you would have blown out the uh the lights you would have gone past the uh the top of the histogram so what we've done is we've we've shot for the sky highlights and for the light so what we can do is we can open up the Shadows that gives us a little bit more information there to see and bring down the highlights a little bit I'm just going to boost the exposure by about one stop so we can see the image itself so what I like to do with my images with my workflow is I like to sort out the perspective first so I'm going to go down to transform I'm going to try clicking Auto to see if that fixes things and actually does a pretty good job we've got these are straight now these towers and the towers over there are also straight but maybe I want to try to get this this in the shot I don't know but I'm going to try to use guided I'm going to take the center of this this object here I'm just going to take a center from there and I'm going to take a center from over here I'm going to try and pull those straight there we go that works then once I've got things more parallel which I'm happy with I'll go to the crop tool and I'll just bring this over a little bit just see if we can get the edge of that in and um bring this down on this side see if we can get uh about there I hit accept we'll deal with this little area down the bottom left in a little while so back up to Basics here now so I'm going to bring the temperature up to increase the amount of orange light so I'm going to bring it up quite High give us a real sort of nighttime effect that you do see with the Alexander Bridge everything is very very warm I'm going to add a little bit of um magenta just to balance that color off slightly so I'm going to go up to about plus plus seven plus six I think otherwise it goes a bit too magenta over here on the left so so that's uh that's sort of where where I want to be uh with this with this shot so maybe a little bit of Vibrance just to make it pop a little bit and I'm going to do my blacks and my white it's going to hold down the option or ALT key on Windows I'm going to move the white slider so if I go down much further you'll see that the lights disappear it's okay to have a little bit of light coming through at the top there in the uh the white so I'm going to go there about plus 14 I'm gonna hold down the optional ALT key again go to the black slider and just move that back a little bit just to get a little bit of Blackness there so under the tunnel is black now it's a bit busy in the foreground and this leading line of this wall is actually a little bit distracting so what I think I'd like to do is go over to uh to photoshop to tidy this up now before I do that I am going to go down and use the denoise function in detail uh this new AI driven process for removing noise is is is pretty exceptional if I zoom in here you can see there's a little bit of noise there on the on the wall a little bit in the sky so I'm going to click denoise it's just going to load I'm going to go for 50 percent that um and you can see the difference between before and after so it says it's going to take 75 seconds so I'm going to I'm going to click now 25 seconds to do that so whilst that's processing as I say you can just look around this Lantern down here you see there's a little bit of noise there the noise on the wall here a little bit noise in the sky so this denoise function is exceptionally good at removing noises even when you're using low ISO as I am here ISO 50. and I used ISO 50 because I wanted to draw the the time out a little bit uh F16 give me four seconds so um and there we go that's uh let's just see where we are that's complete so you can see there's no noise on that brickwork anymore none on the lantern down there it's actually tidy done that really really well so it's always worth doing now using that function before you go any further because once you go over into Photoshop of course it will turn it into a tiff when we return it and you will not be able to use that denoise function currently on anything other than a dng file so we're going to jump over to uh to photoshop and we're going to go to photoshop beta version now the beta version is what you need to use the new generative fill a generative AI functions the remove tool that was in beta has now moved into the main version of Photoshop so you will need to load um the the Photoshop Beta And if you go back to my earlier video for the remove the remove tool you'll see how how to load the Adobe beta Photoshop version and how to implement it in Lightroom so um so I'm going to jump straight over to that now and um there we go we're in we're in Photoshop beta so one of the things that we definitely want to do is tidy up this foreground and I don't really like this this sort of barge along the edge of the river here so we're going to look to to remove the people remove the objects down here now I'm going to use the new generative fill there's a lot of videos out there at the moment uh showing all the different functions and some of the really clever things you can do with the AI feel but one of the things I've found really excellent with the generative fill process is its removal process so without using any of the other function other than just uh fill so what what what what we can do is we can we can use that now before you do uh go try to go into to use generative field just make sure you click on Windows and you go to a contextual task taskbar is ticked if it's not ticked you won't see it if it is ticked you'll see here and you can see it down the bottom and this gives you the windows that you can use to use the generative fill process so this little slide bar here means that you can move it around put it in different places but we're going to go ahead and look at dealing with some of the objects in this in this image here now you need to take a a snip effectively um and capture a selection so I'm going to use the lasso tool here and this this little bicycle down here that's selling food I'm just going to run around there relatively close not too close and I've made a selection and you can see degenerative feel has come up as an option so I'm going to click on that now this is where you can type in what you'd like to do or in this case what I'm showing you here today is how good the remove function is and to just use the remove function you don't type anything into the box here you just click generate and it will will start the process for generating the feel um you know it's not particularly quick even on this uh M1 Max laptop I have here um it isn't overly fast because it's sending the information to the cloud with Adobe um it's processing the image and then it's sending the information back so depending on how fast your processor is but also your internet connection will determine how quick it will deal with it now you can see it's got rid of it completely but it does give us three options so that what we're seeing at the moment is option one if I click there you'll get option two you saw that change if I click again there's option three so it's giving us three different options and if I keep going again it'll go back to option one so I'm actually happy with option one I think that's a very good removal there so I'm going to do the same for this this object here and I'm going to include this person in this so I'm just going to go around this object here and then come back through there and I'm going to do the same again generative fill and just click generate so it's going to do the same thing again it's going to send that information away it's going to process that information and it's going to send the information back and then update this image once it's got that information so it says that it does take it does take about 10 to 15 seconds to do it um but the results are quite spectacular to be honest as you can see here it's taking it out and it's left the road in um and and on all the sidewalk here it's perfect I'll look at option two there's there's another version I don't know that is down there in the bottom right and item three there you go and I think actually threes three is the better one there I'm just gonna look at number one again yeah it's giving a little path to that there and that's given like a little gate incredible isn't it so I think we'll go with number three pretty happy with that so if I want to remove this little object down here and these people the remove tool is still a very good option and you go into the remove the remove tool function which comes under the spot healing brush you'll find removal tool and what we can do is we can we can zoom in now you do need to be on the main image to do that so make sure you go to the main layer and then we can take a smallish brush not nothing too big here and you just want to basically cover the people and in this case I'm going to take this this light out and this this sign these lights out here so I'm just going to take those out as well and then let go and the remove tool will start calculating what's needed now the more you use it within this image the faster it will get because the it's learning the AI within the machine now so same here these people I'm just going to go around these people here take them out let go and you'll see much quicker this time and the more you do the quicker it will get because it's it's effectively calculating the data for this for this image so it gets it gets quicker and quicker as you go through so I'm just going to hold down the space bar and move the image over so I'm going to take those drains out just going to remove those we're using the remove tool there we go so the remove tool is a is a sort of updated upgraded version of the stamp tool and the healing brush and it is exceptional you see here this curve coming around here if I delete these people by highlighting them click search and let go it will calculate the the what's needed there is a little bit of a blur there you can see here and you can go over it again with the remove tool um where there is a blur just to try to improve the image as we go through so if it's not quite perfect you can you can do that take the bicycle out as well here just to see how well it did that so you can see there is a blur and this is not perfect so I'm going to go back and use command Z and um or control on Windows I'm just going to go back and I'm going to show you doing that using the generative fill function so I'm going to select the lasso tool again and I'm going to go around this bicycle like such around these people as one one selection like this around this bicycle there we go and I'm just going to select generative fill and generate not going to type anything in the box and I'm going to let it now do the work to remove those people so it was blurry where the curb was and it was a little bit mixed up a bit further up so let's see what the uh what the generous refill layer can do uh for this for this particular removal and uh there we go for some reason it's given us a Bollard of some description there but you can see this bit is all sorted so we've got three options let's try another one there's another object there and try one more so it has added this this this Bollard in there don't know why but this bit over here is is pretty good so let's just select that Bollard this time like that and then we're going to go generative fill and generate I'm going to let it do it again to see if it can deal with that removal of that bottle so it's it's actually thinking about how it can remove that and still maintain the overall image and there we go we now have three three options here as well so just move that down so that's option one option two there's again another little strange Bollard disappeared option three that looks much better so that's the one I'm going to go with um that I think for these removal of these ghostly people I think we should use the removal tool so I'm going to go back to the removal tool here go back to the main layer and I'm just going to go over these people and let that tool calculate the removal there you go that's pretty good this ghostly image here as well I'm just going to take that one out now of course these ghostly images come about because we've used a longer exposure and this person here I think will remove this person here as well and as you can see the remove toys is very quick now it's learned the screen now there's a person coming up the stairs here let's see if we can we can deal with that so we're just going to color that in so we're using the remove tool at the moment and um it's just going to have a good think about that one because we've given it plenty to think about now it's made it made a little bit of an error down here we can try and fix that by running over it again like this using the remove tool and it seems reasonably good now that it's got in in through there however I'm going to undo that and I'm going to use a generative fill again so we're going to go to the lasso we're going to take take that and we're going to run down here and we're just going to take the person there and we're going to try to see what the degenerative field does so no text written just generate and we're going to let it try to calculate what what should be replaced there um if it can remove these people so we'll just let it run that through and we'll see what it comes up with so uh here we go so I'm just finishing up there we go that's pretty good actually a little bit of a shadow there but that that could be the case um if I try option two that's even better coming down through there in option three well there you go that's nearly perfect that that person's disappeared so I'm going to go with option three there so let's just zoom back a little bit more okay we're gonna go across and see if we can deal with this this large Pier here this floating pier and this this lamp here as well I'm not too keen on this lamp at the moment because the light's sort of coming from behind it um but for the moment we'll leave it in there what we're going to try to do is we're going to try to we'll zoom in a little bit here and move this over and we're going to try to uh remove this so taking the lasso tour again we're going to come down there and we're going to run along the key side here all the way along try and try and stay above the curb and we'll go all the way down the bottom off the edge of the page there up and then back over the top so just gonna run around there oh that one didn't go too well I'll go back up onto there and I go straight across the lamp for the moment because we're going to try and see if we can keep the lamp in the shot and uh we're just going to go around this pier there we go so we're going to go to generative film we're going to say generate and we're going to ask it effectively to remove that as though it would be the river in its place so um hopefully this will work very well now this would save an awful lot of work and then compared to doing it with a stamp tool or the healing brush or the patch tool even um so we're keen to see what it comes up with there wow that is amazing I just left this little bit in here we can deal with that by just doing another actually before I do that let's cancel that I'm just going to see what the other options were actually that one is pretty good two the water looks slightly better the reflections are better on the left and three yeah that that's a little bit messy here so I'm going to go with two okay so we're going to now try to deal with this little bit that's left so uh to do that I'm actually just going to collapse all of these layers and the original background layer together um so that we're only dealing with one layer um as it stands some people may say well it's best to leave them in so you've got the history but I'm only working towards a finished image I I'm not going to come back to these multiplayer so I'm just going to go down to merge layers so we have a single layer here now so then we're going to have another go using the lassoot tool to just lasso around this this remaining piece of the pier so I'm just going to come down here and up and over and we're just going to make that selection select generative fill and generate again and hopefully it will remove this last object from the shot here and the river then will be running all the way along the key side and then we can have a quick think about removing this item down the bottom here and what we're going to do with this this lamp here so hopefully everything will go to plan so let's see what it comes up with excellent It's removed it so let's just see what the other options are that's option one that's option two I think option two is better option three probably option two is the one I'm going to go with so I'm going to jump back to the remove tool go back to the main layer and just take out this object here and let it remove that that's good we're going to come across um I'm pretty happy now with with most of the image I don't think we need to do much more here we've cleared up what we needed to do I'd like to try to make these stairs a little bit wider so I think what what we should do is we shall crop this image a little bit tighter so I'm going to go to the crop the crop the crop tool here and I'm just going to bring this over to the edge of the stairs as such like that taking this object out and I'm just going to bring this up a little bit from the bottom not a lot a little bit down from the top just to keep the aspect ratio press return and that's that's looking a little bit better I would like to try to remove this little bit of wall here so I'm going to go back to the selection tool I'm going to take this down here and I'm just going to go down down the wall and such there we go frame it out back up to where we started and then I'm going to try to use a generative tool here to see if we can extend those stairs around so uh just click generate and um hopefully that will remove that last little bit if it doesn't I'm gonna it doesn't matter too much got a nice little leading line we'll go back into Lightroom and we'll finish this image off just bring it to uh the final stages so yep you have to have a little bit of patience with this generative fill function but hey wow look at that it's just widened those stairs over option two that isn't very good option three it's pretty good so one has the stairs much brighter here and three has them a little bit darker I think I'm going to go with one I'm going to click OK on that one I like that one and I'm just going to go two I don't like that one so much and three I don't like that one so much that way was giving a little bit feedback back to Adobe so that they can learn from from the processes that we've been we've been using so I think we're pretty good I'm happy with all the removals that we've had we've tidyed this foreground up very well so I'm going to merge all these together into a single layer just to reduce the amount of data uh that we will take back to Lightroom as you saw all I did there was select one hold down the shift select the top one so they're all all three layers right click merge layers and it's brought into a single layer now to go back to Lightroom I'm going to file close and then I'm going to go save okay not file save I'm going to go file close and save and then that effectively will take it back there we go we're back into Lightroom so uh so we can just finish this image up now and I think we can just add a little bit of magic here a little bit of day tonight we can add for these lanterns that are here just to give a little bit more light so let's do that so we're going to zoom in on this one here it looks to me as though there's a there's two lanterns there there's actually one behind it with a CCTV CCTV on it you see that there in behind um so um so I'm just gonna take the content aware healing tool here and I'm just going to go down here and remove this CCTV on the edge there it does leave just a little bit in there just one more pass that doesn't look so bad um I think with with this really I would need to go to Photoshop to remove that so I'm not going to do it now for the sake of time but what we are going to do is going to go into masks I'm going to take a radial gradient we're going to make that radial gradient a little bit larger than this Lantern take the exposure to 100 subtract a brush and that brush should have zero feather 100 flow and then we're going to take a slightly bigger brush and just go around the edge of this Lantern we click once and then we line up and shift click to get a straight line so click shift click shift click to just get a straight line drawn along as we go on our freehand across the bottom there so we've just effectively removed the radial filter outside of the Lambton if I hover over the mask you can see it's just the lamp that's been illuminated I'm going to add a little bit of yellow to that bit of color to that just to make it pop a little bit in towards the right colors a little bit of magenta a little bit of contrast now I'm going to click on that radial gradient and I'm going to right click and select duplicate Mouse Not Duplicate radio gradient duplicate mask because we want to keep the same masking that we did and now we're going to make this second one smaller the size of the lamp that you would have inside that that fitting there and I'm just going to go back to uh the brush to subtract take a little tiny brush just to take along that line where the the frame would effectively come down so click shift click just to make that a little bit darker so we've now if I come away from there you'll see we've got a lantern with a lamp in the middle it's a little bit brighter um what we can do is we can make that last one a little bit brighter by bringing up the highlights as well so it's completely white in the center there now if we Zoom back just going to come back to here there we go 100 what we can do to the spacebar that Lantern is now illuminated so we want to put a pool of light underneath it so I'm going to go back to fit actually and then I'm going to take create a radial gradient and I'm going to take quite a large radial gradient place it at the bottom of the light fitting and just turn it so it would mimic the light effectively coming out of there and then just start to bring up the light underneath the lamp there there we go so it's about right add in the color and the magenta just to balance that color off and a really good one when you're dealing with your pools of light is adding some clarity really makes it pop very very well there so I'm just going to get that where I think I'm comfortable it's a little bit bright so just bring it back just a little bit there we go we're going to do the same with the the light fitting over here so I'm going to go into 200 percent I'm gonna go to this one here we're going to create a new mask radial gradient slightly bigger than the lamp itself as always place it in the right place 100 there subtract a brush we know it's feather zero flow 100 make the brush just a little bit bigger and then click shift click to work our way around the lantern so we're subtracting the radial gradient there we go make the brush a little bit bigger so we can just go around and take the rest of it away hover over the mask as you can see it's in the right place click on it right click again duplicate the mask click and reduce it down to the size of the lamp that would be inside the fitting yeah now let's go back to 100 percent and we want to create a new mask a new radial gradient and we're going to put one underneath this lamp so at the bottom of the lamp turn it slightly start bringing up the exposure until we're happy that it's about where it needs to be add in a little bit of color and a little bit magenta to balance it off and most importantly on all important of all is add some clarity to it there we go so just zoom out to fit to see if that works a little bit bright so I'm going to go back up to the exposure there and just bring it down a little bit there we go could do it being a little bit more yellow that's better a little bit more magenta just so it sort of matches the lights around here I'm going to go even further with the yellow and even bring in some saturation to sort of match that that color there and I'm going to do the same with this one bring the color up more a little bit more magenta and saturate it so we've got that sort of color there and I'm even going to turn that just a little bit more that way there we go that one's still a little bit bright so I'm just going to go over there and just back that one off just ever so slightly so we've got the pools of light and uh it's looking pretty good actually so let's uh I'm pretty comfortable with all of that I think I'd like to to do something with the sky so I'm just going to go into the masks create new masks select sky and I'm just going to add some contrast more contrast to that Sky to really make it pop and I'm even going to add a little bit of clarity to that sky as well just to bring those clouds down just a little bit more now it's always good to have a contra contrast of color in an image so what we're going to do is we're going to make the top right corner more blue we're going to do that by creating a linear gradient and bringing it in from the top left like this but what we're going to do is we're going to with the linear gradient we're going to click the three little dots intersect the mask with the sky so it's only dealing with the sky so the gradient is only dealing with the sky now not down here and I'm going to go to the temperature slider and I'm going to add blue okay so I'm going to bring the blue into that top corner up here and I'm also going to darken it slightly so bring the exposure down a little bit so um that looks pretty good I'm just going to turn it a little bit more and bring it across the top there and then I want to bring this bottom corner so I'm going to create a new mask a new linear gradient coming in from this bottom corner coming up the same way and we're actually going to do the opposite we're going to boost the temp in this bottom corner to bring it live and what it does it creates this bright bright orange on the left and blue on the right it gives you depth as you sweep through the image so I've brought that right up as you can see and I do need to just make sure I add some magenta just to bring the balance of the colors to a realistic level that's working very well so yeah yeah very happy with that so I think we're almost done um you know we could add a little bit more light to these these here if we wanted to to the to the golden statues on the top the easiest way to do that would be to create a mask go to object okay so now we've got an object brush and what we want to do is just paint over these as such and what it'll do is it will select the object there um and so it's just selected that item so we can add a bit more temp to it to give it more of a and we can make it a little bit brighter not very much at all just a tiny bit add some contrast and open up the Shadows just a little bit and that makes it pop even more more gold so I'm going to um add another object and we're just going to get this one over here as well there we go and it's done the same to that one so I'm just going to back that exposure down there you go you got that popping out there now I can keep doing this within this mask and with these settings I can add another another object make the brush a little bit smaller this time and I'm just going to paint this up the other horse with wings a Pegasus in and it's done the same there and one more for the last one over there little tiny one we just just pick that one up as well so it's got that gold hue looking pretty good I have to say so just to finish this image off I think I'd like to to add a sun in in in the distance here just to draw some real depth in um so I'm actually going to go into uh into right click and I'm going to go into Lumina you can use Neo or you can use luminal 4 or luminar AI they all have principally the same functions I prefer Lumen R4 or AI over Neo because gives it to you you have to work at it a little bit more to get to where you want to go and for me that's the hobby is a bit I enjoy the painting of the art um is is for me the whole process I'm not big on uh one click um sort of operation so I'm just going to go back here and bring luminar in here here we go so let's just make that a desktop as well so what we're going to do in this luminar here is we're going to go into the creative section we're going to go into sun rays and then we're going to click place the Sun and here's the sun it's appeared up here and I want to put it behind these clouds here in the distance here just want to put it there so I can maybe over there a little bit so I can generate a bit of a reflection in the water as well and then I'm going to just bring the amount up slowly just a little bit so I'm just going to add add some a mountain we've got about 10 on the amount the overall look you can increase or decrease to get to where you want and I actually think that we're going to go about 30 there length of the sun range we don't want them too long so I'm just going to bring them back a little bit and the penetration is quite an important one here as we slide that up we'll get a brighter sun in the distance you see that we were down here and as we come as we come up we get a brighter sort of sun in the distance so I'm not going to go too bright now the advanced settings allow us to add a little bit more realism to this and I certainly want to make the Sun a little bit warmer than that bright white there so I'm just going to bring that up make a little bit warmer and the same with the Rays just make them a little bit warmer the the sun radius you can slide to make it bigger in the distance look or smaller in the distance so you can just just find a happy point where that's that's working quite well and then you've also got the glow radius you can make the glow smaller or bigger around the Sun and then the sun glow amount we can make the sun glow more or less so I'm just going to make that glow a little bit more there in the distance and then you have this Rand randomized bar and that changes the the sun rays that come out so as I rotate round you can see we can we can get different we can get different sun rays coming from it so um and the key to using sun rays is to be subtle um you know you you don't want too much you just want to be ever so slight in the distance as though the light's just breaking through like that that works quite well um I'm just going to change the number of sun rays down a little bit so we don't have quite so many was it 50 and I'm gonna go around about 35s there we go now I'm happy with that um so I'm just going to go back into creative here as well and one of the things I like to do is add just a bit of a glow now you can add glow or mystical mystical is quite a nice function that you have here and glow is quite nice I'm going to pick mystical and I'm just going to bring up the amount and just add this overall if I put a lot in you'll see the effect it gives you this really mystical effect that's way too much but there's zero and there's just a little bit coming into the shot just brings brings it alive gives it a bit a bit of atmosphere as you can see here with the sun coming through the clouds in the distance and I can bring up the Shadows just a little bit as well to make that work now I'm happy with that not going to do much more than that I'm going to apply that and then it's going to send that back into Lightroom as a tiff and then we'll just go back in there we are so we've now got the sun there now just to finish this off we do need that sun reflected in the water down here really important to make that look realistic so I'm going to go into the masks select a radial gradient and I'm just going to pull a little gradient in here into the water here so make it a little bit wider and I'm just going to boost the exposure there there you go just keep it in the right place add a bit of color to it a little bit of magenta and that's just giving us the glow in that area there probably a little bit of contrast as well just a little bit brighter that's not so bad it's going to bring up the saturation a little bit and then I'm just going to make another radio gradient and pop another one in there this time a little bit smaller as though it was the actual Sun and I'm making sure all the time that my feathers at 100 and I'm just going to boost that brightness just a little bit more in that area the previous mask had a little bit too much saturation a little bit of a warm glow around it and I think we're thereabouts done so just going to come out the mask there it's a little bit bright as you can see so back into the masks just going to take the first mask and just back that away a little bit and the second mask to back that down a little bit as well I think we're there so just to finish this image off I'm going to go down to effects I'm going to put in a post crop vignette about 35 quite a big one but then I'm going to take the feather slider bring up to 100 now I think that's too much so I'm going to bring that down to more like 20 that's working quite well and then the Final Touch is here I'm going to open up the Shadows a little bit more there we go just bring down the highlights just a little bit bring out the overall exposure up check my Whites by holding down the option ALT key don't want the sun breaking through too much just about there and I'll check my blacks holding down the optional key just back that off to a little bit of black showing there we go and um yeah I I think should I add a little bit more temp just ask the whisker just to give it that real wonderful sunset and one more the brightness yeah a little tiny bit of texture there we go and I'm going to say that's a finished image a little bit of day tonight lots of use of the new generative fill function um so I hope I hope you enjoyed that and if you did please like like the video and be great if you could leave a comment I always read the comments and I always try to answer any questions that you might have and if you haven't already subscribed to my channel it'd be great for you to join me on this adventure on YouTube so um for now I'm gonna say bye bye

Channel: Jamie R Mathlin

Views: 25,813

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Id: dz0gA376m5w

Length: 40min 32sec (2432 seconds)

Published: Mon May 29 2023