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Today I’d like to show you what might be my very favorite camera.

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This is an Olympus Pen EES-2.

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It’s a 35mm point-and-shoot camera from the late 
1960’s and there are two remarkable things about it.

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The first is that this is a half-frame camera.

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Rather than expose the typical 36 by 24mm section of film
(the standard 35mm still image)

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it splits that in half and shoots an 18 by 24mm frame.

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The upshot of doing this is a slightly smaller camera (?)

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and supposedly the Pen name comes from the camera’s diminutive size.
[said ever-so-skeptically]

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I mean it’s not that small in the grand scheme but I... 
I guess I’ll roll with it.

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Oh, citation needed. Interesting.

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Anyway, my favorite consequence of halving the frame is that you get
double the exposures on every roll of film.

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That’s pretty neat!

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You’ll see that the exposure counter goes 
to 72 rather than the typical 36.

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However many exposures are on the roll you’re putting in 
the camera, this camera will let you take double that!

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Half-frame cameras were something of a fad in the 1960’s,
 but the fad would quickly die out.  

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Frankly, I’m not sure why.

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You’d think people would appreciate getting
double the exposures with every roll of film,

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even if it meant a slight reduction in quality.

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I mean, for basic family photos and snapshots a half-frame still holds plenty of detail.

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These are some of my favorite shots I've taken with this camera;
I’ve enlarged them to 8X10 size and they’re still sharp-as-a-tack.

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Actually, as a matter of fact, the sideways film frames this shoots

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are the same size as a 35mm motion picture frame.

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And back in the day we were regularly blowing those up to movie screen sizes.

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Because, ya know, movies were shot on this film stuff.

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If I were to guess what caused the demise of the half-frame concept,

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it would be that unlike virtually all cameras which orient the frame 
so that it matches the camera’s orientation,

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this one is backwards!

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Holding it up in the natural camera-holding position produces...

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a portrait frame,

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and if you want landscape frames you need to turn the camera sideways.

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That’s a bit awkward, and since people 
tend to want a wider-than-tall image,

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this may have been seen as quite a downside back in its day.

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There were some half-frame cameras that got around this by running the film vertically through the body,

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but as a result they had wildly different form factors 
from what people were used to in a camera.  

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There’s really no way to get around this basic shape,

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so while you might be able to move controls around and make this its more natural orientation...

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that would still be weird.

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For what it’s worth, I find this pretty interesting from a creativity perspective.

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It’s easy to overlook turning a camera sideways for a portrait shot,

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but that’s this camera’s natural orientation so you almost have to consider it.

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As it happens, Kodak recently released a point-and-shoot half frame camera

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so I suppose the idea might be coming back in vogue with the resurgence of film.

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Especially since it’s getting kinda pricey.

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One thing people like to do with this format is plan images in pairs
and print them together like this,

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though frankly I’ve never really considered that
and just treat them as individual images when I’m shooting.

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I think that got started because most film processing labs and scanners
really don’t know what to do with half-frames —

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despite the fact that the film edge markings clearly 
accommodate them and have since forever ago!

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so the roll gets scanned or even printed as 36 pairs of images.

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But c’mon, folks.

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You can crop them.

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Anyway I’m still talking about the half-frame part,

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and that’s not nearly as interesting as the fact that this camera 
has fully automatic exposure control,

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yet it doesn’t need any batteries.

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In fact there’s nowhere to put them because this is a light-powered camera.

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OK, powered might be a stretch - 
you still wind the film manually with this thumb-wheel,

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uh, this crank is for rewinding at the end of a roll...

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basically the film-handling bits are all human-powered.

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But the shutter speed and aperture are set automatically.

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It will even prevent you from taking a picture if there’s not enough light - a little red flag pops up in the viewfinder,

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and a mechanical interlock prevents the shutter from releasing.

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This is a true point-and-shoot camera, completely automatic
(aside from focusing)

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despite not needing a power source
and being entirely analog.

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[shutter clicks]

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You might be wondering how this works.

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Good thing you clicked on this particular video ‘cause I’m gonna tell ya!

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But first, a one-paragraph explanation on camera basics.

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Photographic film has a certain sensitivity to light,

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and to form images correctly on the film, you need to control how much light hits it during exposure -

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too much, and the image will appear bright with little detail,

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not enough and an image may not form at all.

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A camera has two means of controlling the exposure:

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a variable lens aperture which changes how much 
light is allowed through the lens,

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and how long it keeps the shutter open and exposing the 
film to that light, known as the shutter speed.

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Adjustments to these values are made in what are called stops,

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with each stop doubling or halving the amount of light allowed onto the film.

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For example, a 1/50 of a second shutter speed 
allows one stop more — twice as much — light

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compared to a 1/100 second shutter speed.

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That can be compensated for by closing 
the lens aperture down by one stop,  

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which allows half as much light through it.

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Professional photographers might want to do that
to increase the depth of focusing field,

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or they might want to open the lens wider
and use a faster shutter speed to reduce motion blur.

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This camera, though, well it handles all that for you.

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Most of this camera’s exposure control is done with the aperture.

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In its resting state, the aperture is closed all the way.

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What you’re seeing in the center of the lens is the opening
 made by the aperture blades.

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This camera has a square aperture
which is a little weird but it works just fine.

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The itty-bitty almost-pinhole 
is the lens in its most stopped-down state, ƒ/22.

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The aperture is mechanically linked to the shutter button,
and as you press it in, the aperture opens up.

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When it’s all the way open,
the camera lets as much light through as it can.

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In this case the widest ƒ-stop is 2.8.

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Just to be clear, this is not the shutter.

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That’s behind the lens and we can’t see it here.

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The shutter remains closed, preventing light from hitting the film, 
except for that fraction of a second when you actually snap a photo.

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You can manually select different aperture values with this ring.

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You’ll notice that when I pick a value somewhere in the middle,

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the blades start to open with the shutter button as before,
but now they stop opening mid-way.

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This here is ƒ/5.6, a fairly typical setting.

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But, watch what happens when I switch this to auto mode.

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The aperture is back to opening all the way with the shutter button.

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But if I shine a little light into the camera's lens and press the button,
well now the aperture doesn’t open all the way.

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If I make the light very intense, the aperture hardly moves at all.

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Somehow, this is reacting to more light hitting the lens

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and reducing how much the aperture opens to compensate and produce equivalent exposures on film.

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That’s pretty wild.

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To understand how this works, first I want to show you something else.

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When using a fully-manual camera,
to know what aperture and shutter speed settings you should use

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a light meter is awfully handy.

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This here is a simple handheld light meter

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which consists of a light sensor here,

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a dial with a buncha numbers there,

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and a simple display down below.

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The needle in that display moves depending on how much light hits the sensor,

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and by turning the dial so that the little
red-circle-on-a-stick thing surrounds the needle,

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you end up with a chart of acceptable shutter speed and aperture settings.

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Changing the film speed setting simply moves the aperture values independent of the rest of the mechanism

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which effectively factors in the film’s sensitivity.

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The reason I wanted to show you this particular light meter
is that this also doesn’t use batteries.

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The sensor here is a selenium light cell, an early photovoltaic cell.

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Think of it like a really old solar panel.

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When light hits it, it generates a voltage and that’s what’s moving the needle.

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Basically all this is is an old-fangled solar cell hooked up to a voltmeter

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that’s been repurposed alongside a clever 
slide-rule-like chart handy to photographers.

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The characteristics of the cell’s output are very 
useful in photography because it’s logarithmic;  

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each doubling of light that hits the cell moves the needle the same amount.

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So if there’s twice as much light it will move the needle one ƒ-stop over,

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which of course realigns the chart by one stop 
once you move the circle-on-a-stick thing.

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A quadrupling of light would move the needle two stops over,

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an eight-fold increase would result 
in three stops of movement,

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and you get the idea.

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The honeycomb lensing in front of the cell 
makes it most sensitive to a camera’s general field of view.

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I don’t know what exactly the frame is this guy’s looking for,

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but the idea is that you can just point this in the general direction
of where you want to take a picture

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and it’ll give you decent exposure settings.

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It’ll be a scene average so more particular photographers would want to take that into account for high-contrast scenes,

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and might even want to bring this guy up to something in the scene that will register as a middle-gray and take a more selective reading.

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Oh and you definitely want to shade the sensor from direct 
sunlight as that will absolutely skew the reading.

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Now, you might have already noticed that the lens of 
the Olympus Pen is surrounded by a similar-looking honeycomb stuff.

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Intriguing, right?

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Now might be a good time to mention that the EE in EES-2
stands for Electronic Eye.

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Let’s go ahead and assume that the honeycomb stuff is some sorta light meter

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(because it is).

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How could we design a camera which uses the mechanism of a conventional light meter to automatically set an exposure setting?

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Well, remember how the aperture functions?

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It starts out all the way closed, and it’s opened by 
the shutter button.

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But when enough light lands on the lens, something stops it from opening all the way.

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What could that something be?

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Well,

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through the Magic of Buying Two of Them,
I have an already taken apart one right here which I can show you!

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Here is the light meter and viewfinder assembly 
from an earlier variant of this camera, the Pen EE-S.

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We have the selenium light cell here,

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and a couple of itsy bitsy wires connect it through a resistor to this…

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thing.

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Notice there’s a needle sticking out of it?

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Well, watch what happens when I shine more light onto the cell.

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That needle moved!

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This is the same exact concept as the hand-held light meter, 
but rearranged, miniaturized, and stuck into a camera body.

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But hang on, how does that translate into an exposure setting?

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Surely there must be more to it.

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Well,

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through the Magic of Buying Three of Them,
I have a not-yet-taken-apart-one right here!

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This is another EES-2, but in grey, and I need to disassemble it

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because the shutter blades are sticking and need to be cleaned.

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This process is fiddly and finicky, involving tiny little screws
and also removing the lens’s front element.

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Which is a pretty precarious proposition as focusing is accomplished by rotating that element and thus slightly unscrewing it from the body,

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so before you take it apart you absolutely need to set focus to infinity and mark the lens position somehow

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so you can put it back exactly where it was.

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If you mess that up, all your pictures will be blurry as heck.

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Ask me how I know!

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Anyway, once we’re to this point  we can see the needle — barely.  

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It’s tucked right up here.

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Right now it’s free-floating, and you can see it react to incoming light.

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It really is just like the light meter we were looking at.

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But when I depress the shutter button, well the magic happens.

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An intricate series of linkages cause a pair of feelers
to move upward towards that needle.

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The first feeler touches the needle
and jams it against a stop right above it to keep it from moving.

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Then a second feeler with sloping, stepped teeth approaches the needle.

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That second feeler is connected to the aperture mechanism of the camera,

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and where it stops along its journey upward
determines how far the aperture will open.

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And the needle is what stops it.

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See where this is going?

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When there’s less light hitting the camera, 
the needle is farther to the right, which is among the skinnier parts of the feeler.

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That allows it to travel farther upward - notice how the thicker parts of the feeler are now above the needle.

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With the feeler in this high position,
it opens the aperture blades a great amount.

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But as more light hits the camera, the needle is pushed farther to the left,

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so the feeler’s thicker parts will hit it first and thus it can’t travel as far upward.

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That prevents the aperture from opening as much, reducing the amount of light that can travel through the lens to compensate.

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Each doubling of light hitting the lens pushes the needle one stop over,

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which in turn restricts the opening 
of the aperture by one stop,

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thus the amount of light that makes it through the lens remains 
consistent no matter how bright the scene is.

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Pretty clever, huh?

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A simple integration of a selenium light cell and analog meter mechanism into a camera body’s aperture mechanism

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allows for automatic exposure control.

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But you might have noticed that the 
aperture feeler has two sections to it.  

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What’s going on with that?

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Ah, well, this camera actually has two shutter speeds.

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It will either shoot at 1/200 of a second or 1/40 of a second,

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and that first feeler which traps the needle is what determines which one it will use.

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Oh, by the way, this arrangement is often called trap-needle metering.

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Probably should have brought that up earlier.

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Anyway, you might have caught that the first 
feeler itself had two steps to it.

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If the needle is far enough to the right that the higher part 
of the feeler hits it,

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the shutter will engage with a delay mechanism which holds it open for just an itty bit.

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That’s the 1/40 of a second speed.

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Here’s how that works:
winding the film puts the shutter mechanism under tension.

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When it releases, this small cam will quickly make a complete rotation,

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which rapidly opens and closes the shutter blades through this linkage.

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On that cam is a protrusion which will hit this piece of metal and stop its motion.

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That piece of metal is attached to this spring-loaded brass weight,
which right now I’m preventing from moving.

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When I let go of it, the force of the shutter’s spring will push the weight out of its way, and the shutter closes.

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The function of the lever and weight is to deliberately
(and literally) get in the way of the shutter mechanism’s movement,

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with the mass of that weight providing 
a calibrated delay that slows it down.

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00:15:52,982 --> 00:15:58,505
But if the needle is beyond that first step, the 
feeler will travel a bit farther upward -

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just enough so that this lever will travel 
beyond this linkage and allow it to move.

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00:16:03,960 --> 00:16:06,273
Now, as the shutter button is depressed,

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00:16:06,273 --> 00:16:10,361
the weight and its stop are pushed out of the way by the linkage.

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00:16:10,361 --> 00:16:15,846
With the delay no longer in the picture,
the shutter mechanism fires in one swift motion.

217
00:16:15,846 --> 00:16:17,266
Let’s look at that again.

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00:16:17,266 --> 00:16:25,209
With moderate light levels, the needle stops the feeler here so this lever prevents this linkage from moving with the shutter button.

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00:16:25,560 --> 00:16:31,020
When the shutter fires, the shutter cam will slam into the weight,
briefly holding it open.

220
00:16:31,620 --> 00:16:35,529
But if there’s enough light, the needle stops the feeler here.

221
00:16:35,529 --> 00:16:38,747
And now that lever out of the way of the linkage,

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00:16:38,747 --> 00:16:45,395
so it will actually push the weight out of the way as you press the shutter button 
and therefore bypass the delay.

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00:16:45,900 --> 00:16:51,960
Take a listen to what those shutter releases sound like - the difference is a bit subtle, but see if you can hear it.  

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At the slow speed, you can hear the shutter 
open and close as two discrete clicks.

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[two discrete clicks]

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00:17:07,077 --> 00:17:13,350
But at the fast speed, you only hear one click as the 
shutter is opened and shut in one smooth motion.

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[one click]

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00:17:14,495 --> 00:17:20,540
The transition between steps in the shutter 
feeler lines up perfectly with the aperture feeler’s little kink.

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00:17:20,540 --> 00:17:23,820
And this is designed to prioritize the higher shutter speed.

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00:17:24,420 --> 00:17:30,128
The farthest right position represents a 1/40 of a second exposure at ƒ/2.8.

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That’s the widest-open lens at the slowest shutter speed.

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But as soon as there’s enough light to make a 1/200 exposure work,
the aperture scale resets and we start again at ƒ/2.8.  

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This won’t mean much to you if you’re not familiar with cameras,

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00:17:46,154 --> 00:17:53,726
but for a consumer camera this design makes perfect sense as a 1/40 second exposure requires a fairly steady hand,  

235
00:17:53,726 --> 00:17:56,657
but 1/200 is much more forgiving.

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00:17:56,657 --> 00:17:59,775
Best to use the faster shutter speed whenever possible.

237
00:17:59,775 --> 00:18:03,375
Ah, but what about that red-flag shutter interlock doohickey?

238
00:18:03,375 --> 00:18:04,989
How’s that work?

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00:18:04,989 --> 00:18:07,845
Well, if there’s not enough light to take a photo,

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the needle won’t even reach the position of the feelers.

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00:18:11,193 --> 00:18:15,516
That means they’ll go right past the needle when they start moving upward,

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00:18:15,516 --> 00:18:21,028
and that jambs the shutter mechanism
while lifting the little red flag up into the viewfinder.

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00:18:21,028 --> 00:18:26,723
One of the things I really like about this camera's design
is that its lens cap covers the light sensor

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so if you left that on it won’t let you waste the frame.

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00:18:30,849 --> 00:18:31,994
Very nice.

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00:18:31,994 --> 00:18:38,641
Oh, and to explain the manual aperture settings,
they’re marked “for flash” as that’s their main purpose.

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On manual settings the sensor is ignored
and the shutter will always fire at 1/40 of a second.

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00:18:44,637 --> 00:18:51,115
Using a chart on your flash unit and estimating the distance to your subject,
you’ll set the aperture accordingly.

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00:18:51,115 --> 00:18:55,964
The hot shoe on top was one of the things added for the EES-2.

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00:18:55,964 --> 00:19:00,558
Now, you might wonder how the camera compensates 
for different film speeds.

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00:19:00,558 --> 00:19:08,238
There is a film speed selector ring on the lens
and this model will meter for any speed between 25 and 400 ISO.

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How is it doing that?

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00:19:10,981 --> 00:19:14,145
Well, watch as I change the film speeds.

254
00:19:14,145 --> 00:19:19,364
Notice how as I get closer to 25, the numbers are getting closer together.

255
00:19:19,740 --> 00:19:21,469
Understand why?

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00:19:21,469 --> 00:19:23,789
To make this work with different film speeds,

257
00:19:23,789 --> 00:19:29,592
Olympus didn’t need to do anything fancy
like incorporate a variable resistor, instead...

258
00:19:29,592 --> 00:19:32,238
they just cover up parts of the sensor!

259
00:19:32,238 --> 00:19:37,515
It’s hard to see but the actual sensor only 
occupies half of the circle around the lens,

260
00:19:37,515 --> 00:19:41,673
and turning the speed selector is sliding a cover over it.

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00:19:41,673 --> 00:19:47,341
When shooting 400 speed film,
all of the sensor is exposed to light so it’s at its most sensitive.

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The needle will move as far as it ever will with a given amount of light.

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00:19:51,895 --> 00:19:59,940
But when you use 200 speed film, which is half as sensitive to light,
you need twice as much light to hit the film to get a correct exposure.

264
00:20:00,960 --> 00:20:06,377
And as silly as it sounds,
just covering up half of the sensor surface will compensate.

265
00:20:06,377 --> 00:20:11,880
That will make it so that twice as much light is needed to 
put the needle in the same position as before.

266
00:20:12,240 --> 00:20:13,398
See how that works?

267
00:20:13,398 --> 00:20:17,153
It’s basically just fooling the light meter into thinking there’s less light,

268
00:20:17,153 --> 00:20:22,663
so it responds by opening up the aperture by 
one stop for every half of the sensor you block.

269
00:20:23,280 --> 00:20:30,420
Cover up half again and now only ¼ of the sensor is exposed,
so it is ¼ as sensitive as it was;

270
00:20:30,420 --> 00:20:33,269
perfect for 100 speed film.

271
00:20:33,269 --> 00:20:40,747
Leave only ⅛ of it exposed and you’ve dulled the sensitivity another stop,
making it work with 50 speed film.

272
00:20:40,747 --> 00:20:45,970
And at the slowest speed setting, 25, you need 16 times as much light

273
00:20:45,970 --> 00:20:51,300
so only a tiny sliver - 1/16 of the sensor’s surface - is exposed to light.

274
00:20:52,020 --> 00:20:57,815
Perhaps the most remarkable thing about 
this metering system is how well it works.  

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00:20:57,815 --> 00:21:01,178
Despite being a design originally from 1961,

276
00:21:01,178 --> 00:21:06,736
a design which is mostly mechanical
but with a selenium light meter cleverly hacked into it,

277
00:21:06,736 --> 00:21:08,820
this camera still functions perfectly.

278
00:21:10,080 --> 00:21:11,836
That is, once I gave it a little help.

279
00:21:11,836 --> 00:21:18,686
A common problem that pops up after 40 or 50 years is gunk on the aperture blades, which jams the mechanism.

280
00:21:18,686 --> 00:21:25,680
I needed to fix that on this camera when I got it; it’s very common but cleanup with isopropyl alcohol usually does the trick.  

281
00:21:25,680 --> 00:21:30,600
Assuming it’s mechanically sound, though, this just… works.

282
00:21:31,260 --> 00:21:36,453
I’ve never taken a photo with this camera
that wasn’t exposed at least mostly correctly.

283
00:21:36,453 --> 00:21:39,780
Negatives have decent and uniform density,
color or black and white.

284
00:21:40,320 --> 00:21:45,566
About the only thing that occasionally happens 
is a bit of washout in high-contrast scenes,  

285
00:21:45,566 --> 00:21:49,621
but that’s to be expected with a meter which simply averages the frame.

286
00:21:49,621 --> 00:21:53,844
So long as you aren’t shooting the fastest speed one of these cameras supports,

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00:21:53,844 --> 00:21:59,662
you could compensate by adjusting the ISO setting upward,
causing it to underexpose the image.

288
00:21:59,662 --> 00:22:04,905
But leaving it set to your film’s box speed will almost always produce decent results.

289
00:22:04,905 --> 00:22:12,097
The lensing in front of the sensor is apparently very good at rejecting light from areas not in the camera’s field of view.

290
00:22:12,097 --> 00:22:16,692
Even shooting partially into the sun results in apparently decent exposures.

291
00:22:16,692 --> 00:22:22,774
I mean I’m sure I’ve done it several times and yet *all* the images
I’ve taken with this are workable...

292
00:22:22,774 --> 00:22:24,000
exposure-wise at least.

293
00:22:24,540 --> 00:22:29,581
Now I should note that Olympus wasn’t the only 
company making cameras that worked like this.  

294
00:22:29,581 --> 00:22:34,680
The selenium light cell made its way into loads of cameras,
even movie cameras like this one.  

295
00:22:35,460 --> 00:22:39,182
But I’m nonetheless enamored with this particular camera.

296
00:22:39,182 --> 00:22:44,097
Its design and simplicity are just right in that sweet spot.

297
00:22:44,097 --> 00:22:52,281
And apparently Olympus did such a great job with this design that they’d slap it onto full-frame cameras like the venerable Trip 35.

298
00:22:53,182 --> 00:23:01,877
Once you get these side-by-side it’s clear that the design of the Trip 35
was more than just “inspired” by the Pen EES-2.  

299
00:23:02,820 --> 00:23:07,860
These are the same camera mechanisms just 
with different bodies and lens focal lengths.  

300
00:23:07,860 --> 00:23:10,662
I mean even the lens caps are interchangeable.

301
00:23:10,662 --> 00:23:18,281
Oh! And the Trip has the same red flag
which means it doesn’t fill the viewfinder because it’s too small!

302
00:23:18,281 --> 00:23:21,318
Oh right, and you’ll notice that the Trip...

303
00:23:22,200 --> 00:23:24,660
is barely any bigger than the Pen.

304
00:23:25,355 --> 00:23:27,780
I mean, I guess it’s enough to be significant

305
00:23:27,780 --> 00:23:33,849
but I’m really not sure that making a smaller camera
was the true goal of cutting the frame in half.

306
00:23:34,500 --> 00:23:38,123
Anyway, I hope you enjoyed this look into these cameras.

307
00:23:38,123 --> 00:23:44,464
There were quite a few Olympus Pen models back in the day, but it’s the EE series which intrigues me the most.

308
00:23:44,464 --> 00:23:51,000
Taking the concept of the humble light meter and using it in conjunction with simple levers, feelers, doodads, and whatsits  

309
00:23:51,000 --> 00:23:57,825
to create a fully-automatic camera is the sort of 
genius that we don’t often see today.

310
00:23:57,825 --> 00:24:02,876
Some really interesting innovation can happen
when you take two different technologies —

311
00:24:02,876 --> 00:24:04,801
and connect them.

312
00:24:04,801 --> 00:24:05,391
[oof]

313
00:24:05,650 --> 00:24:08,227
♫ olympically smooth jazz ♫

314
00:24:09,801 --> 00:24:12,710
Today, I’d like to.. Ouhh bleglebleblbblblblberblbulbb

315
00:24:13,431 --> 00:24:17,086
Vooooogue.
Sa, sa said that really weird.

316
00:24:17,884 --> 00:24:19,717
Kodak recently released a point-and-shoot...

317
00:24:19,717 --> 00:24:20,217
oh yeah

318
00:24:20,217 --> 00:24:20,985
I was ‘sposeda pick up the camar

319
00:24:20,985 --> 00:24:22,775
ba GAARRGHGHHGHGHGHG

320
00:24:22,775 --> 00:24:27,650
Though, frankly, I’ve never really considered that 
and just treat them as individual shots when I’m…

321
00:24:29,246 --> 00:24:29,746
ppbbt!

322
00:24:30,644 --> 00:24:33,323
I’ve made an error in the script!

323
00:24:33,323 --> 00:24:38,374
Uh, so anyway the roll gets processed or even printed… eugh…

324
00:24:38,374 --> 00:24:39,208
[some sorta beastly snort-growl]

325
00:24:39,208 --> 00:24:41,917
A light meter is awfully handy.

326
00:24:41,917 --> 00:24:45,626
This here… I can’t grab things correctly.

327
00:24:46,260 --> 00:24:49,920
When it’s all the way open, the 
camera left as much light through…  

328
00:24:51,720 --> 00:24:53,791
Nope, that was just me not reading.

329
00:24:55,619 --> 00:24:58,333
So, apparently a lot of you giggle at "Pen EE-S"

330
00:24:58,333 --> 00:25:00,961
I gotta be honest, I'm not smelling what you're stepping in.

331
00:25:00,961 --> 00:25:03,463
That's similar to "pennies" - pen, E.

332
00:25:03,463 --> 00:25:04,182
Pen E.

333
00:25:04,182 --> 00:25:07,545
The other thing you might be thinking of starts with a syllable that rhymes with "keen."

334
00:25:07,545 --> 00:25:10,030
I mean, at least it does in my neck of the woods.

335
00:25:10,030 --> 00:25:10,842
Y'all are weird.