Lessons

Lesson Info

Camera Operation

Okay, so we're going to be moving on and in this section I call it camera operation and this is where you get to handle and control the camera yourself working on features that we have been talking about and so get your camera out in front of you make sure you're cameras are turned on and they're ready to go and some some things we'll talk about this kind of full set up of the camera we talked earlier about basically charging the battery, putting the lens on memory card things like that well, some other things that we can now mention that you should probably do first office format the memory card before you head out on an important photographic trip. Of course, you want to make sure that your images are downloaded and safe someplace else and backed up hopefully, but the formatting of the memory card will enable the best communication between the cameron the memory card next up, make sure your time and date are set appropriately for the location that you're at. You probably want to put ...

on the strap and then adjust the diop turn knobs so that what you're looking at in the viewfinder is correctly and focus to your eyes set to your image quality to raj I paid whatever you happen to choose, I will set it to ross where I prefer it and you'll want to go through those modes that we have just gone through in the previous section the shooting playback set up menus and the custom functions to set those the way that you want them to really work in your camera and then one final thing that you probably want to do is to shoot a test photo and take a close look around, zoom in, look at it on your computer or played it back on the back of your camera and zoom in and look for any sort of dust on the sensor. I would hate to go on a major trip and have a big guber of dust up in the corner that's in every picture that I took on that vacation it's a lot easier to get that cleaned up and fixed when you're at home and you have a camera shop nearby, then when you're someplace far flung around the globe, so here we go, we're going to start looking at controls on your camera. I want you to think about where you change these controls on your camera, so we're going to be changing what I think are the ten most important modes on your camera your exposure mode shutter speeds apertures in s o your exposure compensation in me during these air all things to do with letting the correct amount of light in we have white balance and then we go into focusing we have our focus mode we have focused points and our drive system, so these air ten things that you will be routinely changing if you do a lot of common types of photography, and so the first thing we're going to do here is we're going to do a simple set up of the camera just really, really, really simple set up the camera just to familiarise ourselves with all these controls, so we're going to set the camera to the p mode and I'm going to kind of follow along with you don't forget you got that little lock dial to get in there. You don't need to worry about shutter speeds or apertures and for the auto mode for I s so you would press theis o button and you would turn the main dial down to a exposure compensation. You can see that right there in the top lcd you, khun see if you've turned that off to the side and actually you have to have the shutter release button pressed down and it's only activated for a few seconds afterwards, make sure that's right in the center next up, the meeting is in evaluative and you're meeting button is right here on your camera, we're going to press that in, and we're going to make sure that it has a dot in a semi circle above and below it. Because that is the evaluative mode in this particular camera, the white balance should be on auto. We don't have white balance here, so we're gonna have to pop open the screen and we're gonna press the cube button for the q menu and we have our white balance mode right here, and we do have it indeed in otto, so we're going to leave it there. The focus mode we want to have in one shot the autofocus motus with the auto focus button here on the top of the camera, we'll press that and we can see that it does indeed, say one shot right now in this camera, so we're good focus points. We can actually change this in two places the quickest places on the back of the camera, and we pressed the focus point button and we want to select all points, which is where we have it. And then the final is the drive mode, and we actually have a dr button right here on top, and we have a number of options, and we just want the single box in the upper left hand corner, that means a single shot. Will be fired each time we press the shutter release so most everything we're doing is right up here in the top lcd of the cameras with the buttons right around there we do have to jump into the quick menu to get tau white balance, but we're going to work these ten same functions for a number of features first up, how it in an enthusiast photographer set their camera and so if you're you know you like photography is something you do on a regular basis and you like to have a little bit more manual control this is a good way to set it up let's change it to the aperture value we don't worry about shutter speeds but let's go ahead and set an aperture of f four and so we will turn our main dial till we get to an f four and your lands may or may not have it depending on where you are zoomed at and we have to zoom back to the white angle setting let's, move it out of auto esso and move it to one hundred I sl so we have s o one hundred the exposure compensation will just take a look in the meter and system and make sure that our exposure indicator has thie indicator point right in the middle and we're good for metering evaluative it's where we had it before no change white balance stays in auto we'll check it, though press the cube button for the quick control menu, and in the menu system, we see that we have chosen auto white balance for the focus mode one shot check the auto focus it is at one shot. We're good focus points, let's go to a single point focus so I'm gonna press the focus point button on the back of the camera and then I can rotate it to the single point. Now I'm going to do this a second way on the cue menu, so I'll press the cube button on the back of the camera and I can navigate down to the focus point selection, and I can select it in the quick menu as well to a single point. So either way that you like to do it works well and finally the drive mode we'll leave it at single dr motives that single, so we're there, so we've just made a few changes from the previous city, so let's make another change. Let's do it let's do it old school style. So we got the old school retro style traditional photographer might like to set their camera up in manual let's go to manual now we need to select a shutter speed and for this let's just set one hundred and twenty fifth of a second. Turn your main dial til it says one twenty five that's one hundred twenty fifth of a second. You're gonna turn the quick controlled aisle in the back of the camera. Two you get two f ate, so we're gonna go f eight s oh, let's! Jump that up. Bump it up to four hundred sl press they I sew button and turn the main dial. Not gonna worry about exposure compensation because we're in the manual mode, but let's change to center waited meeting because that's, the way we usedto read light now in this particular camera, it's with nothing in the bracket now, you might also be able to do that more easily on the back of the camera. It's right next to the focus points. And there it is. We have center waited on the far right of arm eatery, moz. Alright for focusing. Old schoolers like to manually focus, so we switched the actual button on the lens to manual focus. So that's over on manual focus. Now we don't need to worry about focus points because we're manually focusing and we're going to turn the motor drive onto continuous high. And so we're gonna turn that dr mode up to the high mode so we can shoot pictures very quickly next up. We're going to try something different here, and this is not how anyone would ever really set their camera, but this is just a test for you to figure out. Do you know where everything is on your camera? Go ahead and put it in the time value mode set a shutter speed of one half of a second, and that looks a little bit funny on the candid cameras because it says zero dash dash five that's a half second. We don't need to worry about apertures because we're in time value set theis so up to sixty four hundreds exposure compensation said it too, plus, too, so you're going to use the dial on the back of the camera to go plus two the meter in mode we will change to the spot mode if you're not sure you can use the quick menu, and that way you could get a little bit more information and we're going to change that toothy spot metering mode. Next up, let's have fun and changed the white balance to flash and navigate up to auto white balance, and I'm going to change it to the lightning bolt for flash the focus mode we want to turn to a I serve! Oh, we do that up here with the a f button, but it doesn't do anything. Because our lenses still back in manual focus from our old school retro style, so we got to switch that over to auto focus, and then we go up top and we change it to a I press the button and turn it to a I servo h is for sports focus points let's, move it back into all points, press the focus point button and go to all points and turn the drive mode to continuous, so we headed in continuous high. We'll do it in continuously low now and listen to the difference in the speed so much slower drive in the focusing this time around. All right, just continuing our test, making sure you know where everything is on your camera, follow along tto learn your camera let's, go with the program mode. You don't need to worry about cheddar speeds and apertures when it's in programs, so we're going to go change the I s o to two hundred dial that down with the s o button two, two hundred so get that exposure compensation set to the minus side, and so you may need to press the shutter release half way down and then dialled the back dial til it says minus three, which is much as you can see in that top lcd let's change the meeting mode to center waited and I'm going to do this in the quick menu because you can actually see here the different options from center spot partial and evaluative and we want center waited in this option we'll change the white balance which is right above that in the quick menu and this time I want you to change it to shade which looks like the little house with the rays coming out the side of it that's the shade for focus let's switch it over to a I servo make sure your camera's in auto focus aye aye servo our sports mode focus points let's go with the single point but let's do the single point on the right hand side so you can either use the focus button on the back to dial over to the right hand side or you can go into the quick menu and you can see you can select right there a swell and then finally lets change the drive mode to the self timer with a two second delay. And so now if I take a picture it beeps at me for a couple seconds and then takes the picture and so we're going to do one final test this is just test number three we're going to set some wacky settings on the camera let's go to time value let's set a shutter speed of one full second so it's going to say one with two a little quotation marks to little hash marks afterwards not gonna worry about apertures because we're in time value let's goto so eight hundred exposure compensation we will make sure that that is set at zero so you need to make sure that that indicator is back a zero or right there army during mode is going to be a partial spot so I'm going to go into the quick menu over to our meeting system and go to partial metering and select that for white balance I'm going to change that in the quick menu and I'm going to change that to tungsten which is theory light bulb but the rays of light coming out tungsten light set focus mode we're going to go to manual so we're gonna go back and we're going to switch it on the lens again back to the manual mode not gonna worry about focus points but we will set the drive mode to continuous high again so let's get into some real photography let's set your camera up not to something goofy like that just for practice let's set it up for landscape photography so what do we mean by a landscape photograph? Well there's a lot of different types of landscape photograph but typically you're going tohave things in the distance that you want to photograph sometimes there's things in the foreground as well, so you often want a lot of depth of field that would be the primary thing is that you want lots of good depth of field. The second thing is is that you're photographing something that is not moving or at least moving very much the flowers maybe moving a little bit, but overall, the landscape is not moving. Also, you're going to be working from a tripod, so shutter speeds may not be important to you because you can use any shutter speed possible and your camera will remain steady. And so this is how I would shoot a landscape. I would have my camera in manual. I like working with manual aiken set very specific shutter speeds and apertures. Now you could be at any shutter speed possible, but let's just set one quarter of a second for practice, and so that is going to be just simply the number four in your lcd or in your view finder let's set an aperture that gives us lots of depth of field here f sixteen, so we'll change the quick control dial on the back of the camera. Two f sixteen for the so we won't have the esso set as low as possible, so we're going to want to go down to one hundred we're not going to worry about exposure compensation because we're in manual. The meat oring let's turn that to evaluative, and I'm going to use the quick menu on here because I can easily read what the different options are. So I'm going to go to evaluative metering. I will use the quick control menu to change the white balance as well, and this time we're going to go to auto white balance for focus let's set it up for one shot. Once again, we need to switch our lens back to the auto focus mode, and we're going to set the auto focus to one shot, so we're going pick something to focus on and the camera's gonna lock on that subject for the focus point. We're going to choose a single focus point in the middle. We have chosen one in the middle, we can do it on the quick menu as well. I'll go down there and we can see that the center point is activated there as well. Then we press the menu to exit back out of that and then finally, the drive mode we don't need to take pictures too fast. We will simply set that at single shots. So we pressed the drive mode turned the main dial until we get the one box in the upper left hand corner of that display, and so that is a good way to set your camera up. Before the landscape mount your shutter speed will very tremendously according to how much light you have but if you're on a tripod it won't really matter how long you need to leave the shutter open you'll get a sharp picture because your camera is not moving quick question for you john on on this somebody had asked in the chat room why're using f sixteen instead of twenty two or thirty to what the land just an option for the way we set this up you could very well need it at f sixteen or f thirty to twenty two whatever the case, I just wanted to set one that I knew everybody had and could get too on their camera and so it completely depends on the situation it's a more in depth photography question but they're not wrong to set it there I'll say that next up let's do a portrait okay, so we'll take a picture of a person and one of the things we're gonna have to worry about here is the movement of our subject and so we're going to have to choose a shutter speed so as to stop their motion conceive if even if you tell someone to sit still there going to be moving a little bit now it's a lot easier to shoot most portrait's handheld and so you also have to set a shutter speed that is fast enough to stop your emotion as well now another good technique for portrait photography in general is shallow depth of field having your subject in focus, but your background not so in focus and so a shallow depth of field and a moderate shutter speed or kind of primary areas of concern, I will once again have my camera and manual. I'll ask a person if I can photograph with them and all kind of worked with them for a couple of minutes to get their photo if I want to have a shutter speed of probably one hundred and twenty fifth of a second or faster, but let's just set it at one twenty five to start with right now, so that is one twenty five working with an aperture will it completely depends on which lends you have. If you have a lens, it goes all the way down to one point four that might be a nice setting to put it out to make a portrait, the lens I have on here, my kit linds doesn't go down there, but I will open it up as far as it can be, which is three point five, which is where I'll set this for now the so you may need to adjust beyond one hundred, but let's just set it at one hundred for best quality, I can tell right now that that would not work in here this environment, I would need to make an adjustment either with the shutter speed or the I s l but we're just practicing setting things on the camera so it's fine for now, next up we'll leave them metering at evaluative and I'll just double checking the quick menu to see that I am at evaluative metering, which I am, so I don't need to change the white balance is at auto, I don't need to change that. Next up is the focus I want to focus on a solid subject my subjects, eyes and I want to have it stay locked in there, so I want one shot focus and my auto focus is in one shot and I can double check in the quick menu and actually not there one shot it's actually over there third it's one shot is selected now I want to choose not all points but one single point in the middle to focus on, so I could be very precise about what I am choosing to be in focus. Finally on the drive mode, I'm going to leave it in continuous mode that way, if my subjects expression changes, I can shoot pictures very quickly to accommodate those subtle gesture and facial changes so that's how I would set it up for a portrait shot next up, we're going to take a blurry picture on purpose. Not all blurry pictures are bad, so these are some good, good, blurry pictures. In my opinion, we have the waterfall and we have the panning shot of the dog running two different styles of blurry shots. And so this is generally how you might set things up. I prefer once again to keep things in manual that way I have direct control over shutter speeds in apertures you're going to want to have a slow shutter speed here and for fun, we're just going to set a fifteenth of a second that's generally a pretty good place to start, but what you're shooting may have a different shutter speed that it needs than that, but let's just set a fifteenth here for an aperture. You'll probably need something a bit smaller, an aperture let's. Go ahead and set f eleven and our s o we will try to keep that is lowest possible. So keep that one hundred army during system once again is it is at the value evaluative in our white balance is on auto. Our focus is something that I would prefer to do on manual focus. If you know where your subject is going to be, whether it's the waterfall you could manually focus, you can zoom in. If you want using the live you to check that you're in focus or if the dog running shot you, khun, just focus on the ground where they're going to be and pan through. And that way, your camera will not be trying to achieve focus as you are panning from side to side, so you don't need to worry about focus points. But the drive mode you may wanna have in continuous, at least for the panning shot. That way you can get several shots in a row, and so we are in the high speed mode from our portrait session last time around and so that's a good place to be and that's ah, good way to set your camera to do, eh blur type shot. Next up, we are going to do an action shot, so for shooting sports or any sort of action, obviously freezing motion is a very important thing here. If you have subjects that are moving and you want to clearly see them, you're going to need a fast shutter speed to stop their motion and that shutter speed is going to dictate a number of other things. One of those being you're probably going to be working with a fairly shallow depth of field because you're going to have to choose an aperture that lets in a lot of light. Once again, I'd like to leave my cameras in manual I'm going to want to have a shutter speed of probably five hundredth of a second or faster, so I'm going to change to one five hundredth of a second, sports photographers love lenses that go down to two point eight or faster, so if you have two point eight go all the way down to it, I don't, so I'm going to go down to three point five, which is the most amount of light that this lens will allow in the so I am going to step up a little bit from my one hundred on everything else to four hundred sports usually requires a little bit higher esso and it depends completely completely on the light urine you may need more or less so than I have set here, but this is a good starting point for a lot of people army doreen is going to stay in evaluative and our white balance is going to stay at auto our focus this is really, really important needs to be an auto focus and we're going to change it to a I servo so when the camera reaches ah sharp focus point it's going to continue to adjust and change as our subjects moved towards us or potentially away from us in that way it tracks their movement, so this is focus tracking and for focus points, if you can get your subject to fill the frame, mostly fill the frame, I would choose all points so I can do that right up here on the lcd screen, or I could go into the quick menu, and I could go ahead and verify that I have all the points selected. And so if your subject is mostly filling the frame, this just gives you more targets to work with. And finally in the drive mode, we're of course going to want to be able to take rapid fire pictures, and so we have the continuous high setting I said here so we can shoot pictures at five point three frames per second. All right, let's, do another type of photography here. In this case, we have maximum sharpness, so if you have something that doesn't require a lot of depth of field, it doesn't require a very fast shutter speed. Because there's nothing moving, you just want to get the sharpest possible picture that you can. Well, one of the things to say here is that you'll probably be using a tripod if you want to get the sharpest picture possible. You don't want any camera movement, and that is where the tripod comes in handy, so once again I prefer the manual exposure mode. For a shutter speed, it won't really matter what shutter speed you're at if you're on a tripod but just for kicks and practice, why don't you set a shutter speed of two full seconds? So that is a two with the little quotation marks right beside it for the aperture you're going to want tohave an aperture in the middle of your range for many people, f eleven is going to be a good aperture it's a little longer than we have time to get into right now, but the sharpest aperture on your lenses toward the middle of the range. So whatever range you have it's towards the middle of that range, the I s o you will of course want to have as low as possible, so let's set this back down to one hundred our metering we will check to see it is in the evaluative her white balance is in auto, which is fine our focus mode. We're going to choose one shot, so we're going to switch our auto focus mode to one shot focus points. We will choose a single point in the middle, so you could be very precise about what we're choosing in focus and finally our drive mode, we will choose that self timer mode with the two second self timer that way we're not actually touching the camera when we take the picture so ah, you'll notice ah, we have the camera on infront you'll be able to see this to second light come on when we take this picture as well as the camera beeping and so that gives you a little warning that the camera's gonna fire so let's do one final set up of the camera good one to leave it with and that is just basic photography. How would I leave this camera? You're just walking around with a camera? You don't know what you're going to take a picture of whatever happens to come along, you want to be ready for it, and here is where I will actually use one of the automatic mode, so I will go into aperture priority so that I could have a little bit of camera help to take the quick picture, and here I'll leave an aperture relatively wide open in this case, we're going to leave it at f four good place to let in as much light as your camera will allow at least for this lens. I'll have my eyes so set at one hundred and then change that according to the light. If I am in low light situations, I might bump that up the meeting system evaluative white balance in auto for the focus mode I think the best simple mode is to leave it in the one shot mode and to leave this single point focused right there in the middle. That way you can be very precise about what you are choosing is in focus, and then our drive mode. I will usually leave that in the single shot mode so that I could take one precise shot at a time. And I think that's a good setup for general basic photography, and so we're going toe take a little pause here and see if there's any questions on how to set the camera for different types of photography. After this, we will be talking about some lenses and accessories just to finish off the glass. No, no questions, no questions there's a disagreement in the chat rooms. Just kidding. There's questions okay, when you were talking about the blur shots, huh? L g k out in the chat room asked if shooting a person off center, as in the rules thirds would it make sense to pick the closest f point to their faith? Okay, I don't think that has anything to do with the blur shot, but it's a good question when they have chris okay, maybe that's when they ask the question, I'm no it's a good question because there are two different techniques and it completely depends on your personal style there isn't a right choice in a wrong choice. One choice is to choose the center bracket point it, move the camera over to that person, press halfway down on the shutter release in lock focus and then bring the camera back. The next option is to manually choose one of the other points to focus on and whatever is faster for you. For me, I just leave it in the single point, and I just do a quick focus and lock and that's easier than going looking into the menu system and changing it, I can still change it with the dial and turning the button, but there's more button presses to go change to a different focus point, so I just do the focus lock question from kier um, what would be your suggested suggested settings for low, medium light indoor portrait and group people shooting? Okay, what most of the portrait settings that I have set our correct? One thing I will kind of warn people of is if they're shooting group shots, you can't shoot with two narrow of depth of field people standing in the second row of the first row of the third row or whatever the case, if they're not in focus, they would be out of focus, so you need to have enough depth of field to cover everybody that's, that's in the frame and so it's a careful balance of choosing the right aperture to get enough depth of field and trying to keep that s o s lowest possible to avoid noise in the photograph but if it's an indoor photograph they're probably going to be having to raise their s o two four hundred or eight hundred or maybe beyond well so all of a big group shot they're all the same focal plane what would be what would be the aperture that you would recommend if they're all at the same plane probably have two eight you could go lower than that but it gets a little risky okay so too is the minimum yeah most people don't have lenses that go faster than two eight but if you do you can try it faster but you have to be really careful that they're all in the exact same plane right and if they're not then you'd say f or you could go to f or it's it's always this balance with light versus depth of field and when you were explaining the action set up uh hose ia had asked why would you not use tv mode for action shots since the shutter speed is your primary objective you had in manual right right yeah that's a lot of people's kind of first instinct is well shutter speeds important so I might as well set that well what I have found is that whenever I'm photographing action it's usually pretty predictable where the action is going to be if I'm going to a football match I know exactly where the football players are going to be and I can look at the light that's falling on it's a sunny day it's a cloudy day and I can figure out the correct shutter speed and aperture and no matter where I point the camera it's giving me I've already set in the right shutter speed and aperture if you set your camera in time value and you move your camera around and suddenly there's a bunch of dark trees behind the player in that particular spot on the field that could throw your meter off and your camera would go oh my gosh it's really, really dark so let's drop down to a sixtieth of a second toe, allowing more light you don't want that you want to check the light that's falling on your subjects in that area and most action takes place in a pretty well defined area I mean, whether it's a marathon that runs down the street you know they're going to come down the street or whether playing on a particular field and so whether you can suss that out ahead of time and get that set when you do that then every picture you take is the proper exposure if you leave it to chance in the time value you might occasionally get some bad exposures compared to most of them pretty good to all of them perfect I go with all perfect tim thirty seven, would like to know when you lock focus and recomposed do you lose some sharpness locking focus and composing you don't lose any sharpness per se one area and we're getting into an area of what are called pixel people are pixel papers getting very very nit picky about certain things and something that you do have to be concerned about is if you lock focus over too far of area you might actually be focusing on something that a different distance uh if you're focusing on a because the distance from your camera to the subject and so in some cases it may be better to use one of those outside brackets but this is on ly really going to be in effect if you have a super shallow depth of field one point for one point two lands in most cases it's not gonna affect most people's photography and how far how far are we talking here? Are you saying if you focus on something in the middle and then you you're moving your camera all the way over are you talking about not just so so what I have I have in front of me is I have a brick wall and it's probably fifteen feet away if I focus and lock on that brick wall this lens is focused at fifteen feet if I pointed over here over to the corner now the brick wallace about forty feet away and it's locked on something fifteen feet away even though that subject is in the same plane and so you have to be careful about that now if I focus on you and I pointed off to the side you're still at the same distance and that should cause a problem um so you have to be careful with the type of subject that you're doing it with for most subjects it's not going to be a problem to focus lock so it's not the focal plane as much as it is the distance the distance between you and your subject yeah tricky question yeah I've always wondered you don't feel like it's really it must not be locking try it both ways no more questions oh yeah don't don't okay when I lost my place first thing all right problem uh does ia had asked um why would you oh, you already asked that the tv movie didn't you um look out asked if shooting person off center rule of thirds what it makes sense to pick the closest out of focus point to their face which kind of the same that's got the same thing? Yeah, I don't want to answer you could use whatever point you could use the manual selection if you want or you could use the focus lock whatever's quickest I'll be honest if I was going to shoot like twenty pictures I would get tired of focus locking and re composing and I probably would switch a point if I wanted to get one or two quick shots I would just leave it on the center point okay, thanks and mike kay asked, couldn't using the center point and then frame method of shooting yeah that one three composed technically changed the exposure or are you locking that well if I'm in manual exposure? No if you're in auto exposure, it potentially could depending on how you have your camera set up and I'm not sure how this one is set up right now as I change positions it has locked in the meter reading and so it's locked it in from where I focused and you can turn that on and off when you go into the menu settings where we were customizing the shutter release button the f on and the meter locked but you can have those do different things depending on the mood you're an s o you can customize it the way you want it to work. Another question from her bed um earlier said earlier you said you prefer second curtain flash right? Can you explain why the second curtain flash is on ly going to be a parent if you use a pretty slow shutter speed let's say a half a second or so and the flash will be synchronized with the closing curtain rather than the opening curtain if you could imagine a camera on a tripod and something moving in front of it for a half second exposure if you did it with the second curtain sink it's going to look like there's going to be a trail of light and then the flash will fire and illuminate the subject at the end and it's going to look like this streak of light coming out of the back of the subject if you do it with front curtain it's going to fire the flash to start with and then there's going to be the streak of ambient light recording the subject in the front so there's going to be a nice bright clear image with a bunch of streaks coming out of the front of it in front of it and from our comic books that we look at we prefer to have streaks coming out of the back of people not the front of people and so it's a slightly more natural look to it it's not going to affect most people in most situations though thank you question from m j when shooting landscapes where do you focus at for example the beach sunset mountains? Well where should you focus? I think you should take a look at my fundamentals a digital photography class because there's a whole huge section on it that I'm trying to figure out how to answer in the next ten seconds right here in real, real general terms, you have to think about what's, the closest point he wanted, focus and the farthest point, and you're going to focus kind of in the middle of that. And so, if you have flowers one foot away and mountains that are miles away, it might be something like the rocks that are ten feet back. It gets more complicated than that, and I'm sorry. I don't have the visuals to go into it right now, but you have the visual, but there are visuals out there. There is a slide from there is a slight numerous slides, actually, and so, in general, you don't want to be focused on the cloak. Closest point or the furthest point. You want to be somewhere towards the middle.