Jewelry on the Model - Skin, Skin, Skin

Marthe Le Van, Editor of Lark Books, says that the best background for jewelry is skin, skin, skin!!!! By this, she means that jewelry on the model produces a very effective photo.

Spanish Collar by Peter Hoogeboom; Photo by Henni Van Beek

During Le Van's lecture for the Professional Development Seminar, she showed some of her favorite images with models from the new book, 21st Century Jewelry, The Best of the 500 Series. In this post on ASK Harriete, I have borrowed a few images from her PowerPoint and offer a preview to next Tuesday's post.


Rebato by Jesse Mathes; Photos by Michael Cavanagh & Kevin Montague

Next Tuesday, ASK Harriete will include the PowerPoint presentation with audio from the SNAG 2011 Professional Development Seminar. You can see Marthe Le Van's and Suzanne Ramljak's Powerpoint and hear the audio recording from the 2011 SNAG Conference.

Hear what both editors have to say about the best and worst photographic images. What makes a good cover shot? What is the future of print?

 
Resin Droplet Neckpiece by Seainin Passi; Photo by Richard Boll

Marthe Le Van said that a book of photographs with page after page of standard photographic backgrounds would be really boring. The model shot brings jewelry to life and a more exciting book!


Floating Brooch by Kayo Saito;

When I first saw her lecture in May, I had not seen the book 21st Century Jewelry.  Now sitting on my desk, this is the most beautiful jewelry book to date from Lark Books and a must for EVERYONE interested in contemporary jewelry.

The range of jewelry goes from traditional gold and diamonds to irreverent plastic, crotchet, and found materials. No matter your inclination or interest, you will find examples that will excite your passion for jewelry.

The embossed hardcover of the book focuses on the book as a precious object in itself.

Camino de Santiago by Rebecca Hannon

On occasion a model is the only way to show work effectively as in the body adornment by Rebecca Hannon (above photo).
 

 

"How to make a rabbit from a sock" to
"how to make a necklace from a frock"
Fran Allison © 2004-2005
Fabric, silver, steel cable, resin.
Photo Credit: Deborah Smith

However, nothing is more challenging than getting a great photo with the model. So much can go wrong; hair, make-up, clothing, eyes, mouth, posture, hands, jewelry placement, plus all the usual issues of background and lighting. The list goes on...

 

Mardoll II by Lori Talcott; Photo by Doug Yaple

Stay tuned for a future post on ASK Harriete about using the model with tips for getting a better photograph. In the meantime, I can hardly wait to share Photography in Flux - Editors Perspective (next Tuesday). While editing the entire audio I heard it many times.  

Bead Embellishment Bracelets by Harriete Estel Berman
Photo Credit: Philip Cohen
 
In the interest of full disclosure: I was invited to be one of 85 guest jurors to select work for 21st Century Jewelry. Some of my descriptions and quotes were used in the book along with an image for three of my bracelets.

Harriete

This post was updated on February 8, 2022, to provide current links.

Photography in Flux - 3 Photographers Offer Tips and Tricks for Quality Photos

Doug Yaple, Christopher Conrad, and Roger Schreiber all offered solid information with tips and tricks for producing quality photographic images of art and craft. Now EVERYONE can benefit by watching and listening to the same PowerPoint presentation given at the 2011 Professional Development Seminar during the SNAG Conference in Seattle.

Here are a couple of highlights from the photographers' commentary followed immediately by the presentation. "Learn how the visual language of photography can represent your work most effectively."

 

  Photo by Doug Yaple of glass goblets
  with a more "classical" approach to the
  background.

QUOTES from DOUG YAPLE:

"The market and the audience should drive the decisions in how to photograph your work."

Ask yourself, "What is the image to be used for? Online advertising, articles in print, cover shots, jury submission?"

"Make the story come out in your photos."

Doug Yaple was very articulate in describing his photographic images and why they are so effective. Listen to the Photography in Flux presentation and learn.

            *****

Photos by photographer Christopher Conrad

QUOTES from CHRISTOPHER CONRAD:

TIP 1. WORK WITH GOOD LIGHT
Be careful about colored walls and mixed lighting sources when photographing your work.

TIP 2. USE TOOLS TO SHAPE AND MODIFY THE LIGHT
He makes a couple of suggestions for bouncing light into the photographic image.

TIP 3. BUILD A SOFTBOX FOR DIRECT SUNLIGHT.
Conrad tells how.

TIP 4. USE A TRIPOD
Did you know that a "lower ISO reduces noise"? I didn't.

TIP 5. A TRICK FOR SHOOTING PAINTINGS, QUILTS, OR LARGE FLAT GEOMETRIC OBJECTS. It's so simple! Listen to Photography in Flux and learn. 

 

          *****

 

Close-up photographic image by Roger
Schreiber of ceramic work by Carol Gouthro

Photographer ROGER SCHREIBER says to ask yourself:
"Who is your audience?"
"Do you have enough time?"

 

He continues: "Everything that falls within the frame is part of the photograph. Shadows, highlights, and background are all part of the picture." He is so right. When looking at something in person, the human eye has a natural tendency to edit. The photographic image is another thing entirely. Everything has equal importance in the flattened picture frame. This makes even the tiniest flaw look like a major distraction. Here is an interesting article about the Camera vs. The Human Eye.

 

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Photography in Flux (Photographers PPT) from SNAG PDS 2011 Gl from SNAG PDS 2011

This post was updated on February 8, 2022.

 

Finding a photographer? Working with your photographer? Getting the shot you want.

 

RECYCLE White w/Black © 2011
Post-consumer recycle plastic
Artist: Harriete Estel Berman
Photo Credit: Aryn Shelander

Deadlines for new opportunities are always on the horizon so there is no time like the present to prepare for future opportunities.

Are you ready with amazing, quality photographic images?

 

Photo by Roger Schreiber
Glass by Jim Mongrain

Photographer Roger Schreiber says: "Quality sells" and "Remember more people see the photographic image of your work than ever see it in person."

Would you like to know the tips and tricks of a professional photographer?

 

Next Tuesday's post on ASK Harriete features
Photography in Flux.  Recorded during the 2011 Professional Development Seminar this presentation with audio includes the three Seattle photographers who tell us how to create better photographic images. Stay tuned, put it on your calendar.

 Williams Sonoma Bracelet
  from the California Collection
  Photo Credit: Philip Cohen

Your images need to be spectacular!

Wondering how to find a photographer?
Study the photos in the 500 Lark Books, top-quality publications, or look on the SNAG website for a list of photographers. Another idea is to contact local art schools for graduating photo students.

   California Collection  © 2009
   Recycled tin cans
   Artist: Harriete Esetl Berman
   Photo Credit: Philip Cohen

Look for a photographer that takes great shots in your media, and style. You can also use the Professional Guidelines document titled, Guide to Professional Quality Images, to evaluate the photographer's portfolio before you ask them to photograph your work.

 

  California Collection © 2009
  Recycled tin cans, wood, paper
  Artist: Harriete Estel Berman
  Photo Credit: Philip Cohen

WORK WITH your photographer.
By that I mean, discuss in advance the type of image you want, the angle of the piece, and the side or view that you prefer. Photographer Doug Yaple wrote an excellent handout for the Professional Development Seminar during the SNAG 2011 Conference titled, Guidelines and Tips for Working with Photographers. Download DougYaple

  Fulsome Game
  Photo Credit: Philip Cohen

I often make a sketch of the image that I have in mind for my photographer, Philip Cohen.  He is welcome to experiment with his own ideas, too, but I usually have a good idea of what I want to see in the final image and make every effort to make my expectations clear.

 emiko oye suggests:
"If you aren't a skilled photographer (yet), best to hire a professional studio photographer and ask if you can observe the shoot. Some won't mind if you quietly look on while they shoot your pieces, but it's best to ask."

"Do your homework before your appointment and look at magazines and books for the type of shots that you are attracted to and bring these to the attention of your photographer so they know how to style your shots."

Get the shot you want!
During the PDS, Doug Yaple said, "Don't overlook getting in tight to accent something critical."  Your detail image should be able to stand alone on its own merits AND be a companion image to your full view. Carefully consider the meaning, content, story, or inspiration behind the work and try to capture this in the detail photo. 

The time and money required to produce professional-quality images are relatively small in comparison to all the work you put into a finished piece.  It is an investment. The payoff comes from the free publicity, visibility, and long-term credibility that you can receive when you are included in an exhibition, book, or magazine!

ACTION PLAN:

Read GUIDE to PROFESSIONAL QUALITY IMAGES  in the Professional Guidelines. 

Find the photographer for your work.

Plan the photographic image while you make the work.

WORK WITH YOUR PHOTOGRAPHER to get the best shot.

Do you want to learn how to take your own photography?
Next Tuesday's post includes tips and tricks from three professional photographers from the Seattle 2011 Professional Development Seminar. They generously offer advice on how to improve your photography. Stay tuned, put it on your calendar or subscribe to ASK Harriete.

 Harriete

Shooting with a model:
Images to the above left show a recent photoshoot for my RECYCLE series. The top photo shows the entire team it takes to get a great model shot. Left is photographer Aryn Shelander. I am holding the reflector (right) but also worked as the stylist for the photoshoot. The model was Jen Ohara.  Both photos by documentary photographer Alyssa Endo. More information soon on important tips for shooting with a model.     

This post was updated on February 8, 2022.

NICHE MARKETING - 3 Presentations Offer Great Information

The Professional Development Seminar from the 2011 SNAG Conference was recorded and is available for listening and viewing!

Now you can see the same presentations and hear what our niche marketing experts had to say.  I enjoyed the real-time events but learned even more when I was editing the audio....and I think you will too! Here are a few highlights, (then scroll down for the presentation with audio).

 

Alexander Girard mid-20th century
dolls sold to adults were a stylistic
influence on Hilary Pfeiffer new line
of wedding toppers.
Photo from H.Pfeifer PowerPoint.

Our first speaker, Hilary Pfeifer, describes her "Bunny with a Tool Belt" line that keeps her going in this tough economy.

Hilary explains that her childhood interests evolved into her wedding cake toppers sold on Etsy (left photos). She says these are among the few things that people keep and display in their homes after the wedding. Every one of her wedding cake toppers delights...check out success by looking at Bunny with a ToolBelt!

 

Next up, the Professional Development Seminar continues with emiko oye.  Watch the presentation and take notes. No matter what your medium or style, emiko offers solid information that translates to success from gallery exhibitions to Etsy.

 emiko's TOP five tips
for Getting Your Business Out There!

1. Professional Quality Photography
This is THE MOST IMPORTANT TIP for getting exposure for your business. First impressions are everything so why not wow people's socks off from the get-go!

2. Take Risks Don't Get STUCK: Balance
Even though you may sell a ton of one design in one style, don't get stuck just putting all your focus on making the same thing over and over. 

Balance: I'm a staunch believer in making important exhibition pieces (right images) as well as production, ready-to-wear. The exhibition work definitely helps sell the production work and gives broader exposure.

3. Take Note & Be Accessible
Pay attention to how people respond to your work, feedback helps define your niche market. Be Accessible: means have a web presence. As I've said in my lecture, "If you aren't online, you don't exist". Get involved in social media with Facebook, Twitter, and  Crafthaus.

  All jewelry (above right) by emiko oye
  from repuprosed LEGOS
  The Tire Earrings are included in new
  Lark book 21st Century Jewelry

4. Be Ready Set Go!
When opportunity strikes, you must be ready with line sheets, images, bios, and artist statements. Flickr and your website are great for being ready for the press.

5. Get Involved.
While we love to hole ourselves up in the studio and make to our heart's content, it's important to get involved in your community, local, & national arts organizations.

 

Our third Niche Marketing speaker, Deb Stoner, has a multi-prong approach to support herself which includes teaching workshops on eyeglass fabrication, custom designing, and fabrication for Donna Karan, along with her jewelry & photography. She keeps it fresh by being open to opportunities. Read the Handout Deb created for the PDS about Niche Marketing.  Download DebStoner_Final

 

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Niche Marketing from SNAG PDS 2011

 

The Professional Development Seminar was organized by Andy Cooperman, Brigitte Martin, and myself, Harriete Estel Berman. We had a strong program brimming with information and over 500 attendees but the Internet offers the opportunity to share this programming with a much larger audience.

Please feel empowered to share this YouTube presentation or post on ASK Harriete with your fellow artists and makers (with proper attribution, of course).  

Our sponsors include the NEA, National Endowment for the Arts, MJSA, and SNAG.  Stay tuned for more presentations with audio from our PDS programming.

Harriete

This post was updated on February 8, 2022.

Strategic Thinking When Applying to a Juried Opportunity

  The value of being in a juried exhibition or book is the free publicity, broad visibility, and long-term credibility.  These benefits are certainly worth investing some time and perhaps a little money. 

When applying to a juried opportunity, some strategic thinking will improve your chances of selection.   I recommend that you review the TOP TEN TIPS for Getting Into a Juried Exhibition, Show, Book, or Magazine in the Professional Guidelines.

Think about how your work can be interpreted within the theme and plan your work accordingly.

Begin by carefully reading the purpose and goals for the exhibition, show, or book. 

Analyze the statement with your own creative interpretation.  The most important point is... don't rule yourself out because of any initial impression that your work doesn't fit perfectly.  Instead, try to construe how any of your work could fit the stated premise with a little creative interpretation.  This may seem like a challenge but here is what I mean in this case. 

I often look up the meaning for every word in the title, theme, and description in a dictionary and online. 
Look for interpretations that you have and haven't considered. WRITE DOWN YOUR IDEAS.... every one of them. This gives me a range of possibilities to provide some focus areas without being too limiting.

Then, if I don't have a match in mind yet, I do an online search of my local library system to identify some topical books.  I go to the library and walk through the stacks near the identified books looking for new ideas.  Sometimes I will take home piles of related books to look even further.  Yes, I will sometimes invest hours in my research and thinking.  

Extensive research may develop alternative possibilities for the opportunity, but don't look at other artists' and makers' work.  Look at "primary sources" especially if you want to make something outside the usual expectation or forms. Think about an unusual format or design or content.  Redefine the usual parameters.

Design. This is a really important word to me.  What does the word "design" mean to you?  I think of many possibilities:

• repetition of forms
• repetition of elements
• ornamental design
• graphic design
• aesthetic design
• modern design
• rectilinear design
• ethnic design
• native American design
• architectural design
• holloware design
• CAD-CAM design
• furniture design
• industrial design

Can you add to my list?
Please do in the comments for this blog post.
"And There Was Light" book hold spice box
Artist: Harriete Estel Berman

MOCK-UPS AND MODELS.  I often make 3-D mock-ups prior to a sculpture using recycled cereal boxes. My son will sometimes do CAD drawings from my cardboard models.  This time invested in making models reveals plenty of issues and improvements to help the final work stand out.

  Pear Mezuzah © 2011
  Post-consumer recycled tin cans
  Artist: Harriete Estel Berman
  Following the precept of Tikkun Olam

Novel structures, interesting appearance, and original concepts. Showing your artist’s voice in a truly creative object will serve your work. Innovate with different kinds of different shapes, sizes, arrangements, purposes, and imaginative designs.

Repeat this process. Practice this way of thinking regularly to submit to other juried books and exhibitions. It does take a little extra effort but it will improve your odds of selection. Although you never really know how jurors will react, you do need to help the jurors find a reason to select your work above other submissions.  

And the most important action is APPLY, otherwise, you have zero chance of being selected for the book, show, etc.

Good luck with your application.    

Harriete

This post was updated on February 8, 2022.

A Vision Beyond the Moment?

In July 2011, I was interviewed for an online e-commerce site called e-junkies. The website is no longer up but they had lots of practical and interesting information about e-commerce, trendy products, small business, and self-publishing. 

When I posted a link to the interview on Facebook, Alison Antelman commented, "This is a quote that I really like (from the interview), 'There needs to be a vision beyond the moment.' Well said!"

Do you have a vision beyond the moment?
Are you thinking beyond the making?

   Password Flower Brooch with glasses
   Post Consumer recycled tin cans
   Harriete Estel Berman  © 2011
   Diameter 3 1/8"
   Retail Price $425.

 

We makers typically love "making" so much that it is easy to forget the most important tool is our brains.  This is why the current knitting mania is driving me nuts ..... especially when justified with little excuses....the "pleasure" derived from the absence of thought and quips such as, "I can knit without thinking." blah, blah, blah.

 

This post was prompted by a recent quote in the ACC series, Why I Make (which explores the human impulse to create).  Elizabeth Howard wrote, "When I switch on my knitting hands, I can take time off from the thoughts in my head.  Knitting - usually done haphazardly, without a clue what BOs and yos are - releases me from having to tune in (at that moment) to that always-chugging creative engine." 

My jaw dropped. This may appeal to a hobby audience, but I couldn't believe that this rationale appeared in an ACC publication. 

I don't want to paint knitting as the "bad guy," but this overt joy of mental separation from the making that is sweeping the craft world is just one example.  Other parallels are everywhere...IN ALL MEDIA whether working at the potter's wheel, weaving a basket, sanding wood, mixing a glaze, making handmade chains.  

 

  Page from Manufractured © 2009
  Recycled tin cans, steel dollhouses
  Artist: Harriete Estel Berman
   Photo Credit: Philip Cohen

It is fine if you just want to make, but many makers also want to see their work in exhibitions, shows, and books.  And that is the key, this higher level of recognition requires constant, active, thoughtful inspiration, not just aspiration.  

If you enjoy sitting there happy as a clam because you are making, that is OK.   But without thought, the finished work will indeed have no vision....and I assure you....any editor, publisher, or exhibition jury will look at the work and see that it had no vision.

Here are a couple of suggestions for a "thinking while making:"

ACTION PLAN.

• Plan the display of the work early. Anticipate success.
• Construct the work so that it can be repaired if damaged.
• Write down thoughts for your artist statement.
• Keep the main objective for the work forefront in your mind
• Experiment and take risks. Challenge yourself beyond "safe" work.
• Think about the photo early while you make the work.*

My sincerest unapologetic opinion,

Harriete 

* The recent Professional Development Seminar at the 2011 SNAG Conference, photographer Roger Schreiber recommended that artists and makers think about the photographic documentation of their work sooner. This is especially important for fabulous photos. You can see a "preview" of the PowerPoint and audio of the Professional Development Seminar. (I am still fine-tuning the slide image transitions.) Your feedback is most welcome.

Yellow Flower Scroll Doorpost Mezuzah
Dimensions: 7.25” length

This post was updated on February 8, 2022.

RECYCLE: Can Jewelry Carry a Message?

Recycle Jewelry 2011 by Harriete Estel Berman
Photo Credit: Aryn Shelander
Model: Jen Ohara
Gaffer: Ace Shelander

Sharing new work. Questions abound.
A post on ASK Harriete is coming soon about using a model in a photoshoot. See the "behind the scenes" action.

 

This post was updated on February 8, 2022.

To Co-Op or NOT to Co-Op: A really big question.

Dear Harriete,

I've been invited to become a part of an artist co-op and before I jump on the bandwagon I need to educate myself. 

The group is small right now ~ 5 artists.  For some reason, the city is requiring that a metal sculptor be a part of this group.  I do not know who this person will be but the space has room to grow, so I'm sure the group will grow from the original 5 artists.

We will be able to use the space for creating as well as selling.  Our time is our own, so if we are not there we just use an "out to lunch" sign, and we are not obligated to watch for other artists.

The location is owned by the city.  We would pay rent to them.  And the city would be responsible for advertising/marketing.  The rent is not yet set, but they are saying it will range somewhere between $100 - $300 a month ~ quite a steal.

Above images:  Diana Casabar
1. The Escher Cuff
2. The Mixed Metal Boat Necklace
3. The Mother Necklace
4. Poppy Brooch
5. The Sunflower Cuff

I have asked the following questions:
1.  What are the security arrangements?
2.  Will our equipment and products be insured or do we need to insure them?
3.  Can I use my torch and chemicals in the building?  Is the building fire-coded for that?
4.  Is there electricity?
5.  Will I have running water?
6.  Will we be responsible for building out our space, or will the city do that?

Can you think of any other questions I need to ask them before I make up my mind to be a part of this group?

Diana Casabar

Diana,

This is definitely a question with potential consequences.  I will try to be brief.  The questions you have asked so far are a good beginning but, there are two overriding issues on my mind: 1) insurance and 2) getting everything in writing.

Everyone should have insurance to protect their work, tools, and equipment regardless of whether the city has insurance to cover the building.

Get everything in writing. This includes arrangements with the city and with the other artists. Getting everything in writing may seem like a pain and take some time, but it will clarify the issues and avoid misunderstandings and miscommunication.  Believe me, this effort at the beginning will save time and friendships in the long run.

Write up a list of co-op guidelines for Studio Policy, Adding and Subtracting Members, and Display Policy.  See some suggestions below.  See also my Critique Group Guidelines.  Download Critique Group Guidelines Final2011 which you can modify for your particular purposes.

The next part is very sensitive ….. in my experience, there is always a range of unequal effort and participation.  Frequently it seems that one person may work harder and longer than everyone else and that person may or may not be expecting others to work as hard…..which can cause problems.  At the other extreme, there is often a person who does not pull their weight.

A portion of the group may resent the super hard working person or the polar opposite person .... and that creates stress and tension.  And trust me, it happens even if they are your friends (currently).

ACTION PLAN:
Establish a clear set of guidelines NOW while everyone is still friends. As I sit and write this post, more and more issues keep coming to mind....there is so much to consider.

Below are some suggestions to discuss and get in writing.

STUDIO POLICY for:

• Sharing equipment
• Shop hours
• Shop safety
• Lock up
• Cleaning up after yourself and in common areas
• Weekly/Monthly contributions to shop maintenance
• Keeping track of the hours for shop maintenance
• Policy for lost and broken equipment.
• Creating a fund that everyone contributes to for future improvements.
• Voting on future improvements.

ADDING AND SUBTRACTING CO-OP MEMBERS

• Nomination and acceptance of new people
• Set up a policy for how a person leaves.
  
• What if they owe money? What if they do not pay up?

DISPLAY POLICY

• Common aesthetic for display
• Review of items on display
• Establish retail (not wholesale) pricing
• Commission for the co-op
• Commission for the seller
• Work hours contributed to gallery maintenance.
• Hours for “sitting” at the space to keep GALLERY HOURS
• Policy for Open Studios

PAPERWORK, TAXES, AND ACCOUNTING

• Who is responsible for accounting?
• Who is responsible for paying rent, etc.
  
• Who is the primary contact with the city?
  
• Will each of you handle your own taxes?
  
• Will you need a business license with the city?
  
• How are you handling purchases? Checks, credit cards, Square
  

 Despite the expectations of the city for not keeping regular hours or no stated obligation to watch work for other artists, in reality, if you want people to visit your display space there needs to be regular hours that are posted…such as Thursday, Friday, and Saturday 11:00 AM to 6:00 PM.

Everyone needs to take a shift on a rotating basis for gallery hours and to prevent theft.

Hope this helps. If readers of ASK Harriete have some other issues that they consider important in a co-op situation, please write them in the comments.

Harriete

This post was updated on February 5, 2022.

 

Forging Communities - An Intimate One Day Symposium for Networking and Information

The Metal Arts Guild of the San Francisco Bay Area is sponsoring a one-day symposium in November 2011 titled: Forging Communities.

WHY GO TO A CONFERENCE?
   NETWORK and meet new people,
   LISTEN to thought-provoking lectures,
   LEARN new ideas,
   SEE work that surprises and inspires.



Forging Communities has arranged an amazing lineup of speakers.

The program starts with a bit of history with
Metal Rising.  Jennifer Shaifer studied the historical roots of the Metal Arts Guild for her doctorate! She will reveal the impetus behind the formation of the Guild, the work of its pioneering members, and the legacy of MAG in the American Modern studio jewelry movement. Jennifer is full of energy.  I know this will be an entertaining lecture.......definitely not a boring history lesson. This will be followed by a discussion with the founding members of MAG.

Then time travel into a roundtable  with Sarah Turner of Cranbrook Academy of Art, Sienna Patti of Sienna Gallery, Brigitte Martin of Crafthaus, and artist Lola Brooks as they discuss:
"What Does Success Look Like in the Jewelry World?"

 

Starting the afternoon:
Professional Practices: Conversation, Questions, and Commentary with Andy Cooperman and myself, Harriete Estel Berman. This dynamic duo is ready and waiting for questions from the audience. Anything goes!!!!

The Maker Faire Phenomenon with the founder of MAKE Magazine and Maker Faire, Dale Dougherty.

The Extreme Craft Roadshow with Garth Johnson, founder of Extreme Craft, educator, and author.

This one-day symposium at the Oakland Museum of California is geared to the metals, jewelry, and maker communities. Lunch will be provided onsite.
Save the Date! 11-12-11
November 12, 2011

I will be there, and hope you will be there too!
Let's get together now and forge communities

Harriete

Make your own name tag.  I am making five more so I have one in every color for every outfit.

This post was updated on February 5, 2022.