Spotlight Magazine by elysa zheng

June 201

Darwis Triadi

School of Photography

TIPS

for photography MAKE UP

Canon Mark II

Yong Soong

Masterpiece

Jawa 40.000,L. Pulau Jawa 46.000, -

List of Content

School of Photography Darwis Triadi

The Camera Canon 5D Mark II

Tips 7 Tips from Professional Photographer : Curcio

The Masterpiece All Shoot Taken by Jason Christopher

The Photogapher Steven Klein

Make Up 5 Fashion Photography Make Up Tips

The Fashion Designer YeoJin Bae

School of Design Esmod jakarta

Fresh! Zara Women and Menâ&#x20AC;&#x2122;s Collection

The Show Lanvin Autumn UK

The Model About Arizona Muse

Mast Head Editor-in-Chef Ein Halid Managing Editor Resti Purniandi Fashion & Beauty Editor Anindya Devy Senior Editor Rezaindra O Associate Editor Khiva Rayanka Iskak writers

Alexander Kusuma Praja, Tiara Puspita, Indri Zona Sejati design Senior Designer Amirudin Hafihz Designer Martini, Haris Juniarto Intern De-

signer Philea Adhanti business Advertising Sales Manager Maesa Nicholas

Montgomery Senior Excecutive Andri Parulian Account Excecutive Ivan Adiyasa Traffic Manager Ursula Sitorus Events & Promotion Excecutive Feti Fadliah,

Rio Purbo Circulation & Distribution Maya Astuti Chairman and Inspiration At Large Julius

Ruslan

Publisher and Chef Excecutive Officer

Denise Tjokrosaputro Co-publisher Petrina Leong Spotlight is published by PT. Tiga Visi Utama Jl. KH. Wahid Hasyim No.59 lt.2 Menteng Jakarta Pusat 10350 Tel +62 21 392 2218, +62 21 6855 2108

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The

Photographer

Steven Klein

Hiding Behind The Camera ON an outsize screen in “Time Capsule,” a multipanel video installation shown in Moscow last week, a Garbo-esque siren past youth’s first blush rests in a chair as an attentive major-domo clamps an oxygen mask to her face. The image is one of 10 at the Garage Center for Contemporary Culture that show its subject, the actress and model Amber Valletta, aging by chilling degrees from 20 to 110. Spectators, including Naomi Campbell, sheathed to the ankles in alabaster fur, may well have been puzzled. Was this world-weary creature sucking oxygen to shore up her looks? Or was she seeking some far-out pharmaceutical high?

teven Klein, the photographer and auteur of this vaguely sinister spectacle, wasn’t about to clear up the mystery. “I like what’s obscure,” he said simply. Of course. Mr. Klein, after all, has long been an enigma in the world of style, cultivating a sphinxlike mystique by hiding in plain sight. It is not by chance that the self-portrait on this page was backlit to mask his features. Yet he makes no secret of trading in shock effects.

Of the oxygen mask Ms. Valletta wore, he said, “I put it there to disturb people.” He was discussing his work at his spartan studio in Chelsea, where he stows his digital files, the kinky collection of fashion photographs and celebrity portraits that have cinched his reputation as an A-list photographer of A-list celebrities, and one of fashion’s most cunning provocateurs. During the interview, a rare one, granted in the weeks leading up to his Moscow show, Mr. Klein betrayed almost nothing of the steely character who turns models into fembots in his shoots for Vogue, and who famously persuaded 8 | Spotlight Magazine - The Photographer

pop-culture deities like Brad Pitt and Madonna to contort themselves for his camera. Taut beneath his white T-shirt and sporting a corona of curls, Mr. Klein is unnervingly seductive — a sexual omnivore, you suspect. Sitting opposite him, you feel drawn into a hermetic bubble, the rest of the room falling away. He exerts a Pan-like charm, asking more questions than he cares to answer. Who are your favorite photographers, he inquires. Have you seen “The Tree of Life”? (That film, Terrence Malick’s cinematic exercise in mysticism, profoundly affected him, he says.) He talked about his interaction with his subjects, a partnership of sorts in which Mr. Klein has majority stake. As a photographer, he confided, he is a kind of stalker.

At a tender age, as he recalled, he fell in love with a somewhat older schoolmate. Dark and sloe-eyed, “she epitomized the perfect beauty,” he said. When she didn’t return his ardor, he pursued her nonetheless, “chasing her with my camera.” To this day, he remains most comfortable behind the camera, from which he pursues his subjects with a mix of curiosity and dread. “I like them and I fear them — I do fear them,” he said, raking his fingers absently across the table. “But at the same time I desire them.” He brought some of those mingled emotions to the “Time Capsule” exhibition in Moscow. Organized by Dasha Zhukova, the heat-seeking Russian art impresario, the installation of 9-foot-by-16-foot panels was arranged in a circle above spectators’ heads. Many guests were enthralled. “When you stand in the center of the circle,” said Maria Pertsova, a young accountant, “it’s like you’re standing in the center of the subject’s life.” Some visitors were seeing the show for a second time. It made its debut in New York in September at the Park Avenue Armory, in a cavernous room lighted only by the video panels overhead. Some visitors were as beguiled, but others responded more coolly. Age happens, said Carine Roitfeld, the former editor of French Vogue: “It’s a reality, unfortunately.” Ms. Roitfeld was doubtless aware that in raising the specter of human decline, Mr. Klein had taken a pickax to fashion’s most fearsome taboo. “Showing age is always a disturbing thing,” said Stefano Tonchi, the editor of W magazine and the former editor of T: The New York Times Style Magazine, who commissioned the video project and published still images from the shoot in W’s September issue. Exhibiting time’s corrosive effects, Mr. Tonchi suggested, is particularly unnerving to the fashion crowd, which tends to regard old age as a state that can be deferred indefinitely. “Steven touched a chord, for sure,” he said.

About his own age, Mr. Klein is mum. Indeed, he deflects most attempts to probe his past. He grew up in the 1960s in Cranston, R.I., with an older sister in a middle-class family. He used to dig holes in his backyard, he recalled, “trying to find clay and make things.” Encouraged by his parents, he took up ceramics, eventually imparting his fresh skills to the residents of a nearby mental institution. “I saw them as people in cages,” he said. Does he view his famous subjects in a similar light? Not necessarily. He professes to feel a strong empathy for his actors and models and, for that matter, “anybody who dares to sit in front of a camera.” In a way, he said, “they are putting their life in my eyes.” Mr. Klein says that his work is collaborative, yet his subjects are proverbial clay in his hands, twisting themselves into pretzel formations to accommodate his disquieting vision. “He tends to push further than any of his contem-poraries,” said Vince Aletti, the curator of “Weird Beauty: Fashion Photography Now,” a 2009 exhibition at the International Center of Photography that featured many of Mr. Klein’s images. His work, said Mr. Aletti, who ranks him among a handful of world-class American fashion photographers, is an “expression of his genuinely dark vision.” Mr. Klein has in fact been expressing that vision for decades. He first took up a camera at the Rhode Island School of Design, where as an art student in the mid 1970s, he began exploring his disturbingly violent, erotically charged and, some would say, unholy themes. His reputation rests in part on preternaturally polished images that owe a debt to Helmut Newton, whose models were often trussed in prostheses, as animated as blowup dolls. Mr. Klein’s celebrity portraits are sexier in a waxy sort of way. In a 2003 W shoot, Madonna writhed in a series of steamy yogic poses. In the same year, in a portfolio for Dutch magazine, Brad Pitt was photographed kneeling and barechested, being brutally cuffed by the police. Mr. Klein revels as well in portraying nature unleashed, as he did, to startling effect, in a series of photos of horses in mating throes, shot on his horse farm in Bridgehampton, N.Y.

Still, he insists, pinning a visitor with his icy blue eyes: “I don’t see men or women as my sexual objects. I keep myself out of that equation.” He appears to love taunting self-appointed guardians of public decency. In “Alejandro,” his 2010 video collaboration with Lady Gaga, she dons a red-painted phallus, simulates sex with her dancers and ingests a rosary. Pornography, the cross-dressing, nudity and gore are all part of his arsenal of subversion. So is an air of glacial detachment. His models often look impenetrable, even otherworldly, an effect he heightens by oiling their skin; adding masks, assorted straps, clamps and Spotlight Magazine - The Photographer | 9

Born on April 30, 1965. He is an American photographer based in New York. Studied at Rhode Island School of Design Then he moved to photography. Clients : Calvin Klein, D&G, Alexander McQueen and Nike. Magazines : Vogue, i-D, Numéro, W and Arena. W Magazine editorials with Madonna, Tom Ford, Brad Pitt. He sot promotional octures for : Album cover- of Britney Spears’ third studio album, and Lady Gaga’s single, “Alejandro.”

10 | Spotlight Magazine - The Photographer

even preposterously fake scarlet lips; then shooting them in settings as immaculate, and alienating, as a surgical clinic. Their glazed robotic quality is to some degree a commentary, Mr. Klein said, on the dehumanizing aspects of digital manipulation, which has “removed more and more the feeling of skin against skin.” Yet the digital process is paradoxically suited to his aims. “I like to show subjects inside a sealed veneer,” he said. “There’s a sense that you can’t get in.” Push too far and you may regret it, Mr. Klein seems to suggest in a photo of a young man lying naked, his throat slashed. “I was trying to create an opening in the skin to see inside,” he said matter-of-factly. The writer and art curator Neville Wakefield had a more portentous view: “He literally digs to expose, if you want, the beast within.” Harrowing as that notion may be, it is scarcely moredisturbing than “Time Capsule,” which documents Ms. Valletta’s transformation to priestess-slash-crone. Mr. Klein is not the first to venture into such uncharted terrain. Subjects slouching toward their sunset years have been variously colonized, and glamorized, in publications including Vogue

and Harper’s Bazaar, and in niche magazines like V. Ms. Roitfeld tested readers’ tolerance during her tenure at French Vogue. She invited Tom Ford to edit the December 2010 issue and raised eyebrows by featuring Mr. Ford’s photographs of a sleekly groomed, diamond-festooned elderly couple in fevered embrace. But Mr. Klein is arguably the first photographer to treat the aging process lyrically, from time to time injecting an element of the grotesque. There is a creepy “Sunset Boulevard” moment in the video when a young man in a dinner suit plants a kiss on Ms. Valletta’s withered face. She averts her eyes — in shame or self-loathing? Mr. Klein shrugs. The project was less about examining the corrupting effects of time on beauty, he said, “than about exploring time itself.” His objective was to demonstrate that life is cyclical: past, present and future, unfurling simultaneously. In the final frame, Ms. Valletta, dressed as if for some ecstatic sadomasochistic encounter, gazes into the distance. Behind her, a young man cradles an infant. Was the child meant to be a reincarnated version of Ms. Valletta herself? Mr. Klein would not, or could not, explain. “I think what happens is that you do the project first, then you think about what it’s about,” he said. “Years later, you figure out why you’ve done things.”

“every shot has its own personality”

Spotlight Magazine - The Photographer | 11

School of

Photography

Darwis Triadi School of Photography

Besides the owner of Darwis Triadi Photography studio, and become a guest lecturer of Magister Management, Faculty of Economics University and Institut Seni Indonesia (ISI) Yogyakarta, he also open Darwis Triadi School of Photography at Jakarta,Surabaya and Banjarmasin. School of photography is one of his dreams, which would make the world of photography wider.

arwis Triadi School Of Photo graphy started their activities in the beginning of 2003. It is located at Jl. Pattimura No.2, Kebayoran Baru Jakarta Selatan. Supported by the management team and the professional teachers that uphold the principles of transparency and family with the motto “LEARN FROM THE BEST”.

Darwis Triadi School Of Photography’s missions : 1. Advance the world of photography in general. 2. Developing professional human resources. 3. Create creative, dynamic, and talented (in photography) for the youngs. 4. Help the government to educate the children of the nation in info mal education (photography).

Lessons : 1. Basic Introduction of Photography 2. Lighting Technique 3. Practise (available light) 4. Composition basics 5. Composition Practise 6. Practise (moving object) 7. Close Up Shoot (Outdoor) 8. Hunting (Museum of Fatahillah) 9. Quality of Light 10. Last Discussion of Session Every Tuesdays and Thursdays. Fee : Rp 3.500.000,-

Spotlight Magazine - School of Photography| 13

Portfolio 1 Taken by : Ari Suriaatmaja (Darwis Triadi School) Model : Clarissa Maya Make Up : PAC Martha Tilaar Makr Up Artist : Anne

Portfolio 2 Taken by : Adi Bono (Darwis Triadi School) Model : Risha Marcelie Make Up : PAC Martha Tilaar Makr Up Artist : Emma

Portfolio 3 Taken by : Imam Reno (Darwis Triadi School) Model : Maya Angelica Make Up : PAC Martha Tilaar Makr Up Artist : Tyas

16 | Spotlight Magazine - School of Photography

Portfolio 3 Taken by : Imam Reno (Darwis Triadi School) Model : Maya Angelica Make Up : PAC Martha Tilaar Makr Up Artist : Tyas

The

Camera

Canon 5D Mark II 21 MP and HD movies

Back in August 2005 Canon ‘defined a new DSLR category’ (their words) with the EOS 5D. Unlike any previous ‘full frame’ sensor camera, the 5D was the first with a compact body (i.e. not having an integral vertical grip) and has since then proved to be very popular, perhaps because if you wanted a full frame DSLR to use with your Canon lenses and you didn’t want the chunky EOS-1D style body then the EOS 5D has been your only choice. Three years on and two competitors have turned up in the shape of the Nikon D700 and Sony DSLR-A900, and Canon clearly believes it’s time for a refresh.

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o here is the 5D Mark II, which punches high in terms of both resolution and features, headlining: 21 megapixels, 1080p video, 3.0” VGA LCD, Live view, higher capacity battery. In other words, a camera that aims to leapfrog both its direct rivals, either in terms of resolution (in the case of the D700) or features (in the case of the DSLR-A900). Full detail below. Key Features / Improvements - 21 megapixel CMOS sensor (very similar to the sensor in the EOS-1Ds Mark III) - Sensor dust reduction by vibration of filter - ISO 100 - 6400 calibrated range, ISO 50 - 25600 expan sion (1Ds Mark III & 5D max ISO 3200) - Auto ISO (100 - 3200) in all modes except manual 3.9 frames per second continuous shooting - DIGIC 4 processor, new menus / interface as per the EOS 50D - Image processing features: - Highlight tone priority - Auto lighting optimizer (4 levels) - High ISO noise reduction (4 levels) - Lens peripheral illumination correction (vignetting correction) - RAW and SRAW1 (10 MP) / SRAW2 (5 MP) - RAW / JPEG selection made separately - Permanent display of ISO on both top plate and viewfinder displays - AF micro adjustment (up to 20 lenses individually) - Three custom modes on command dial, Creative Auto mode - Image copyright metadata support - 98% coverage viewfinder (0.71x magnification) - 3.0” 920,000 dot LCD monitor with ‘Clear View’ cover / coatings, 170° viewing angle - Automatic LCD brightness adjustment (ambient light sen sor) - Live view with three mode auto-focus (including face detection) - No mirror-flip for exposures in Live View if contrast detect AF selected - Movie recording in live view (1080p H.264 up to 12 min utes, VGA H.264 up to 24 mins per clip) - Two mode silent shooting (in live view) - New jump options in play mode - HDMI and standard composite (AV) video out - Full audio support: built-in mic and speaker, mic-in socket, audio-out over AV (although not HDMI) - IrPort (supports IR remote shutter release using optional RC1 / RC5 controllers) - UDMA CompactFlash support - New 1800 mAh battery with improved battery information / logging - New optional WFT-E4 WiFi / LAN / USB vertical grip - Water resistance: 10 mm rain in 3 minutes

Conclusion / recommendation / ratings are based on the opinion of the author, we recommend that you read the entire review before making any decision. Images which can be viewed at a larger size have a small magnifying glass icon in the bottom right corner of them, click to display a larger image in a new window. To navigate this article simply use the next / previous page buttons or jump to a specific page by using the drop-down list in the navigation bar at the top of the page. You can support this site by ordering through the affiliate links shown at the bottom of each page (where available). This article is protected by Copyright and may not be reproduced in part or as a whole in any electronic or printed medium without prior permission from the author. Preview use calibrated monitors at the PC normal gamma 2.2, this means that on our monitors we can make out the difference between all of the grayscale blocks below. We recommend to make the most of this review you should be able to see the difference (at least) between X,Y and Z and ideally also A, B and C.

Additional Information New CMOS sensor The EOS 5D Mark II’s newly designed full frame 21.1 Megapixel CMOS sensor features ISO sensitivity from 1006400, expandable to 50, 12,800 and 25,600. Large 6.4µm2 pixels have been redesigned to capture more light and yield a better signal to noise ratio to ensure lower noise images throughout the ISO range. The full frame sensor has the same dimensions as a frame of 35mm film. This means that wide angle lenses stay wide, without the change in angle of view associated with smaller sensor cameras. As well as benefiting from finer control over depth of field, photographers moving up to the EOS 5D Mark II’s full frame format will find the newly designed wide, bright 98% coverage viewfinder on a joy to work with.

Foreword / Notes If you’re new to digital photography you may wish to read some of our Digital Photography Glossary before diving into this article (it may help you understand some of the terms used).

Spotlight Magazine - The Camera| 19

ing. DIGIC 4 also provides for improved noise reduction algorithms, complementing the already low noise images from the EOS 5D Mark II’s CMOS sensor. HD video capture The EOS 5D Mark II is Canon’s first D-SLR to incorporate full HD 1920x1080 video capture. Once filming is started from Live View mode, photographers can fire off either single of continuous stills, with video capture continuing after the final frame is captured. See everything A new 3.0” VGA resolution LCD provides a wide 170º angleof-view, providing plenty of clarity for accurate focus checks in playback. The screen brightness can automatically adjust to suit viewing conditions, extending battery life in low light and improving viewing in bright conditions. A new dedicated Live View button switches modes to display a real-time image on the LCD. This allows EOS 5D Mark II photographers to enjoy simplified shooting from awkward angles. Simple connection to a PC provides easy remote shooting.

user settings allow photographers to switch between two completely different camera setups. This is ideal for changing quickly between two different environments, such as switching from working inside a church without flash to outdoors with fill-flash at a wedding. Accessories Shooting flexibility is enhanced with a range of new accesories. Shooting capacity can be extended with either the high capacity 1800mAh lithium-ion Battery Pack LP-E6, or Battery Grip BG-E6. A new optional Wireless File Transmitter – the WFT-E4 – offers external HDD and GPS compatibility along with ability to transmit images direct to computer or FTP

Precision focus and metering A 9-point auto focus system is supported by 6 additional invisible Assist AF points, located inside the spot-metering circle to optimise subject tracking performance in AI SERVO AF mode.

For accurate exposure readings in tricky lighting conditions, the spot metering circle covers just 3.5% of the frame. Control The EOS 5D Mark II’s redesigned menu system includes a new Quick Control screen, for instant access to the most commonly changed settings. A new Creative Auto mode allows photographers to cede control of key settings to the camera, while retaining control over creative variables such background blur, drive mode and image brightness. Custom

20 | Spotlight Magazine - The Camera

server, or operate the camera wirelessly. Both the BG-E6 and WFT-E4 feature a vertical orientation shutter release and other key controls for comfortable portraiture work, with a substantial grip to help balance the camera when used with long lenses.

Technologies explained CMOS Canon’s CMOS technology is one of the company’s key competitive advantages, with noise reduction circuitry at each pixel site delivering virtually noise-free images. In comparison with CCD technology, the lower power consumption characteristics of Canon’s CMOS sensors also contribute to longer battery life. Signal conversion in Canon’s CMOS sensors is handled by individual amplifiers at each pixel site. Unnecessary charge transfer operations are avoided, vastly speeding up the process of getting signal to the image processor. Noise generation is reduced, power consumption is limited and faster frame rate potential is increased. DIGIC Image data captured by the CMOS sensor is processed by Canon’s purpose-built DIGIC image processors before being written to the camera’s memory card. DIGIC technology uses advanced image processing algorithms to ensure precise, natural colours, accurate white balance, and advanced noise reduction. Ultra-fast processing speeds result in highly responsive camera operation and near-instant start-up times. DIGIC chips work with a high speed DDR-SDRAM image buffer reading, processing, compressing and writing image data fast enough to keep the buffer clear during long continuous shooting bursts. And because DIGIC integrates all key processing functions, power consumption is kept to a minimum. EOS Integrated Cleaning System The EOS Integrated Cleaning System combats sensor dust in three important ways: Reduce, Repel and Remove. Reduce - Internal camera mechanisms are designed to minimise dust generation. The redesigned body cap prevents dust generation through wear on the cap itself. Repel - Anti-static technologies, including a special fluorine coating, are aplied to the low-pass filter covering the front of the sensor so as not to attract dust. Remove - A Self-Cleaning Sensor Unit uses hi-frequency vibrations to shake dust from the infrared filter for a period of approximately one second after each

start up. For instant shooting after power up, this feature is disabled immediately the shutter release is depressed. Canon has also developed an internal Dust Delete Data system, which can map the position of visible dust on the sensor. This can then be deleted automatically after the shoot with the latest Digital Photo Professional software. Picture Style Picture Style pre-sets simplify in-camera control over image qualities. Picture Style pre-sets can be likened to different film types – each one offering a different colour response. Within each selectable pre-set, photographers have control over sharpness, contrast, colour tone and saturation. The camera’s factory default configuration is set to deliver immediately-usable JPEG images without need for additional menu settings. Picture Style presets applied to a RAW image can be revised with Canon’s Digital Photo Professional software.

The six pre-sets are: Standard – for crisp, vivid images that don’t require postprocessing Portrait – optimises colour tone and saturation and weakens sharpening to achieve attractive skin tones Landscape – for punchier greens and blues with stronger sharpening to give a crisp edge to mountain, tree and building outlines.

Spotlight Magazine - The Camera| 21

Professional

Tips

7 Tips From Professional Fashion Photographer

Adriana Curcio A couple of weeks ago I came across the website of fashion and editorial photographer Adriana Curcio. I was immediately impressed by the quality of her work and spent the next half an hour looking through (and learning from) her portfolios. I shot Adriana an email and asked if sheâ&#x20AC;&#x2122;d be interested in sharing some tips with DPS readers. Following are 7 tips (and a few images) that she took the time to write up.

22 | Spotlight Magazine - Professional Tips

hen asked to write about tips and advice for aspiring photographers, I mulled over a few different topics, and everything I came up with was technically related. Then, I thought about myself, and my journey into fashion photography, and thought about the advice I wished I’d been given. What I needed were tips about the little things that fall through the cracks when you’re so focused on getting the mechanics down. The truth of the matter is, you can create an image that is 100% technically correct, but the elements that truly make your image worth looking at may be lost. So here’s my list of tips…Getting the Whole Picture.

1. Preparation In my opinion this is the most important bit of advice I can give you. In fact, don’t just prepare, over prepare! I never walk on to a set without having a concrete idea of what I’m looking to achieve. I have books, and books of tear sheets of images of lighting, makeup, hair, styling, posing, editing, etc. It’s very easy to become burnt out as a photographer, but if you have these books of inspiring images to glance through, I can pretty much guarantee something will catch your eye, and a concept or story will begin to develop.

2. It’s Your Concept Working in fashion, there is obviously a team of hair stylists, makeup artists, and stylists I work with, however, I’m involved in all of it from A-Z. I’m always open to suggestions, and ideas, and love to see what others can bring to the table, but I never hand over the reigns. You cannot let someone else take over your vision. If you do, it will read in your images. You need a very smooth execution of your story in order for your audience to grasp it, so be sure to take control of it.

24 | Spotlight Magazine -Professional Tips

3. Move and Move some more I experiment from every possible angle when I’m shooting. I shoot and move, shoot and move. You can’t wait for the shot to come to you, you have to go find it.

4. Be a Director I direct, A LOT. There are some models that don’t need a lot of direction, and I love to be inspired by what they bring to set, however, I don’t lose sight of my direction. Again, you can’t wait for the shot to come to you, you have to create it.

5. Break the Rules Whomever said “rules are meant to be broken,” was on the right track. I was taught the correct way to light my subjects, and for a long time that’s what I did. After a few fortunate accidents, I realized there’s something to be said about high contrast, and dramatic lighting. Not everything needs to be lit just so, or be perfectly flattering. Bend and break the rules, and see what you find. You will surprise yourself.

6. Never Stop Shooting Shoot whenever, and where ever. The second you stop shooting, is the second your “photographic brain” starts slowly disappearing and getting lazy. You start losing your creative energy, and second guessing yourself, then you begin to thinking maybe you’re not good enough, etc. If you keep on shooting, you don’t have the chance to fall into that hole. Once you’re there, it’s hard to dig yourself out! Shoot, shoot, shoot!

7. Confidence You have to believe in yourself, and your work! The best way to learn is to completely throw yourself into it. You can’t be afraid to screw up! The reality of the situation is that inevitably, you will screw up! But it’s ok, it’s actually wonderful because it’s how you learn.

TheDining