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Elements of a Photo

What are the elements that make up a photograph besides the white balance? Let it. There's three things aperture, shutter speed and eso and that combination of these 33 things and understanding what they do. We'll help you to get the image that you see in your head. So just a start. Camera settings control all of those elements. So this is just a screen capture with some different cameras and you'll see a lot of the different little dolls. And regardless of what kind of camera, they are typically there either the same or very similar. I wanted to point out on some You'll see this one has m a T T v M A s. Um, this is the examples. It'll say TV, which stands for time value or might see s, which stands for a shutter priority. But it's same thing time and shudder. That's what they're representing. We're gonna come back to this slide later when I just want you to know for now what the different symbols mean, and then later, after we've learned about them, I will come back and explain how wh...

at they mean to you, like how to interact with them UM some of the pictures, like the different little of automatic modes, will change by brand. But then they're basically they're setting the camera to what it should be if you don't know how to set it yourself. But you want to do a portrait than the camera will decide, right? But what? But what I want to note are things like, if you want to just be simple and not have to think much your and your camping and you want to photograph the mountains like typically, when it says landscape motor, there's a picture of mountains or scenery. That's something where if you're outside and you have a wide and you want to photograph something like that and then portrait mode and has the little face will be some version of face. It's sort of what we were talking about earlier. When you are trying to do something that's more of a portrait just ahead, it'll pick the settings for you and again later we're gonna be more specific about it. Subject is moving like, say, you're at your kid's soccer game and you don't really want plus, with the settings, you can set it to sacra mode and same with nighttime shooting. And there's thes all correlate to things that we're gonna learn. But it's just sort of ways to know that the camera can you tell it like this is what she rather than and you can put into this one. Does anybody have any dials on their camera that aren't represented here or something? You're like, What is this thing that isn't here? Do you see a B stands for a bulb? That's when you're gonna open the shutter all the time and see, I think it's creative those I'm really sure what he is, but it's on my camera. There's some creative modes of the very end of cannon, where you can preset things. So if you are shooting something a lot and you don't wanna have toe buses, your camera and change them, you twitch it to one of those modes. Basically, that's something you can program into the camera yourself. What d a stands for California? What Creative auto is something that somebody said online Creative auto. Karen. So I don't know, creative auto free about overseeing. You know what I know You do me a favour. Put insta and see if you can change the white balance. Because remember, before we said, if you're in the green mode, you can't change the white balance. Can you do it now? Maybe Mom can't do it. But you know, you can't back created. Maybe it means you can use raw. I know when you're in the green room, and I thought that that's jpeg only. And maybe and see a you can incorporate raw. There is a place where we can get this. Yeah, I bet you somewhere find out. All right, I'm moving on onto the first thing after, okay? Aperture, which is also the f stops. And this is gonna be to answer your question from earlier about what the numbers mean controls the depth of field. So, um, I want everybody to look on their cameras and find the A or the A V and put their cameras in that mode. Do you Do you need a camera? Minor. So here. Yeah, we're in 80 mode right now, so kids run around and here's the area. Stop a sport point out of me now. The money is if we want a chance. Way child changed style. So now what? My point is, I'm trying to have the lowest it goes Looks like, Yes, we're all there. We found it. Okay, capture green. I'm Here's the thing to remember about aperture and F Stuff they lens you choose is what controls the f stop so that it's not the camera body. So regardless of what camera you own, your F stops may change depending on the lens that's on the camera. So one thing I think someone had mentioned this earlier. Oh, there we go. Probably We did this already. Click. Um, I want to talk really briefly about variable apertures versus a fixed aperture lens. So if your lens this is ah, lens, it comes with a lot of cannons automatically. It's a kid, part of kids. And you might notice this little three point 5-5 3.0.6. Is anybody here have on their lens one and then last a couple of different apertures. Anybody? I could you resume, Linds, You might. You dio Do you really right there do on this one? You do. And yours is 3.5 to 6. alum. Anyone else now? So what? That means I'm gonna explain. Okay. What this means and why this is important to know and understand. What's happening if your lens has this feature is that once you've determined the proper exposure with a lens like this, what it stands for is zoomed out. This particular lens goes from 28 millimeters all the way to 135 million. There's someone we talked earlier, goes from very wide to quite close up so wide to take in the whole scene, and then you don't have to do anything and just zoom, zoom right in and do a portrait. However, what also changes besides the millimeter and that the lens is the f stop, so where you can take an image and have your aperture be at 3.5. When you're shooting all the way wide, you can't do when you zoom in. In your case, your lentil actually stop all the way down to 6.3. So it's it's really important to know this because your exposure will change if you and if you don't know that, why that's happening, it could be very frustrating. So if you so say you take the course and you're and you are picking your settings and you set your camera manually and then you zoom out and suddenly everything is under exposed. You're not gonna understand why it's because of this, because when you zoom out, this will automatically change your aperture. So make sense people might will continue. This lens, which I had mentioned earlier, is one of my favorite lines. And then one of the reasons why is because it was a fixed aperture land. So it has only one number on here. And what that means is that whether you're zoomed out or all the way out or all the way in, your settings aren't going to be changed by the lens. Typically, lenses like this are much more expensive, but that is why the glasses usually bigger and it makes them heavier and make some. But these are blessed also. I wasn't quite obsessed with him for a while, so I used them in my example and and what I want to demonstrate here is just the f stop. So again, while there are a lot of other factors for this demonstration, we're gonna go back to it again. I only want you to look at the X up So this image was shot with a 72 200 miller meter. Iceland and I was zoomed all the way out of 200 millimeters. So I was kind of back far and zoomed all the way into these dolls and for each of the images I'm gonna show you, I was focused on the eyes of the pink life in the front. This one was shot at F 2.8. You can tell she's sitting next to a bunch of other dolls, but really, by the time the red hair doll of and you can't see anything about her, I switched to 5.6. Then the depth of field changes. It becomes deeper. The ability to see the eyes of the other dolls comes in. You can see a little more information about the doll of the end at F 11 Now, everybody started to come into focus so you can see the depth I feel is getting deeper and F 22. They're not sharp, but there's a lot of definition that you can tell the red hair doll has glasses on. You can see the little hats. You can tell the this one with the green here as cat eyes and the only thing that I will, we'll get into all of the pieces. But I was constantly focusing in the same place, but just changing the f stop. So that is what I mean when I say that the F stop is responsible for the depth of field and that and that is the lenses. What makes that changes or not has nothing to do with the camera body, but it's the lenses, and it's everybody. Anyone have questions about that. So where would I change it? Oh, yeah, when we have, you know, we could do it Apertura things. So when you're for this one for the purpose of just aperture, only if you put your camera into aperture priority or the A V, which stands for after value, then doesn't another canon thing, too. I think. Like I said, Nikon is the opposite. But for Canon, if you're in aperture priority, then the top DIA will change your aperture. If you're in shutter priority than the top, that will change your shutter. So that's something to know that I know that frustrates people sometimes either in manual mode because they don't understand why. Then there's top dial is changing the shutter speed. So for the purpose of this, we're gonna put our camera into aperture priority and then practice rolling the doll. So I'm curious. Actually, everyone rolled our dial to the left. So they're all cannon people here and tell me, what is the number? What is the? Who has a small mine goes to 1.2. And what what other What is your numbers? They're after something. For now, without doing anything, Just zoom your lens out. See how it changes. And yours also will change. So did your changes. Four throughout and yours changes Well said. Very well. Another thing to know by the ways, if you're an aperture priority ever noticed Um, the shutter blinking at you. Does anyone know why the shutters blinking at you that way? What it's telling you is that, um to get a proper exposure with the aperture that you've chosen isn't possible so that it wants you t change it. Once you see your the other alternative number, stop blinking. Then you're more good to go That something to know we're not blinking, even gets blink. I don't have questions about aperture before you move on. Yes, you have the next slide next slide from from the first image in the last image, this is a good way to put. And then what's confusing? And this really frustrated me when I was a kid. Learning photography is that a very small aperture is a really learned number. So F 22 with a very small but it's actually the number as compared to 2.8, which is a big aperture. So what's actually happening? And you can look into your cameras and change the aperture and see the eye closing down somewhere. You can't really see it. I don't see it. Forget that. I think in terms of how many people are focused, 22 people in the picture put it down here that I think about in terms of how many people I just think it in terms of feet like two feet and focus or 22 feet on. That's not true. My boyfriend made me. You know what F stop mammal? I don't know that way. It's like so ratio to that. If you're watching, you tell us, it's the ratio length of the lens and the width of the actual aperture, and I was like I have done it for So we'll need to know that stuff just to know those things. And here's a couple of examples. So visitors shot at 2.2 and you can see the little girls and sharp focus, and her parents are almost unrecognizable back there. And then, at 22 their focus is very deep, and you can see, in fact, the cool thing about having a very small f stop. Think about it as like a pinhole. It creates the star effect of lights, so I feel a lot of like I shoot wide open all the time. Like, Why would you ever want to go small? But like I wanted the star effects and I knew that if I stop my f stop way down that I would get that effect. I think it's cool, and it's the fact that if you know that's gonna happen, you can do it. You don't need a star filter on your camera. You can just But I had to put my camera on a tripod because the exposure was very long and asked my couple to stand still. so that they were relatively sharp. And then I didn't mind Sembler and the people in the background. But you can see how there's a fellow back there by the light years to of him until he moved. But I just love the difference like that. And it's a cool image. And just knowing that thank what would happen when I switched the F stop allowed me to create something like this. All right, we're gonna talk about shutter speed. Shutter speed controls the movement of your subject. So this is why I was saying earlier where if you haven't, I s ar VR lens that in a moving child isn't going to make a difference. It's the shutter speed that will, but you're gonna need to rely on. So now if we could all look for and since we're all kin and again it's gonna be TV pick in the past. What is it now? Shutter speed and body. Your camera body is what is responsible. The type of camera you have will be the one that determines how very fast or how very slow and be for bulb means that your shutters always open. So what I'd like you to do is roll the die, Allal. If you're in TV now again, the top al should control your shudder. And I want to find out what the fastest shutter you have. Who has? You're going the wrong direction. That's the slowest. That's 30 seconds. Has a little hashes on inside their seconds. 30 seconds, 15 seconds. And then the actual numbers are actually fractures. There's 1 250th of a second. So the five D mark to those 808 thousands of a second. And I'm curious. You say you're here with a little older help. How fast? Uh, your ring. I don't Oh, thank you. So how slower cuts I want to help. So it's a grand like that? Yeah. Then it is here that somebody ate. Where I think I'm having some technical difficulties over here way. Get the dialogue users way. You can get the doubt toe. How do you How do you see back display? Oh, the actual dialogue work, right? That's what we're saying. We think Oh, yeah, that's a whole other technical. Yeah, something else. That's hardware problem. Yeah, Hardware on camera. Do the thinking that OK, All right. Well, Yeah, that's not in a shot Can help with, um Okay. Shudder. No El technician. Okay, so this is a great example. This is my dog. All of shock and on on the image. On the last, I shot her at 1 seconds. 3200. There you go. And you can see she sharp. The ball is sharp because she's like frozen in midair and the image on the right. Similar. She's also leaping in the air. But because the shutters open longer, she is blurry. So she's she said She's like most of all and Comptel, But it's not. Not a sharper image on the left and her hamburger. So we're shutter speed does not change your hair length. This'll is a great example. And here's something. So at a wedding I needed to know I knew in advance we're gonna have butterflies. And I wanted this, so I made sure that I had a very fast shutter. You catch the butterflies in flight. I didn't want, like, a stream of about five or no butterflies. So to to thousands of a second and the opposite. I wanted some some movement. We shot in Central Park, and I wanted to capture the horses. And I am. I like the idea of having something happening, not just them standing by a horse. So I asked my couple to stand still and and let the horse movement create its own blur and again with the kissing couple. While they probably are kissing there, also standing rather still and we let the people move running. I just want to get the sense of, like, New York hustle and bustle, and we're really moving around. And so, for both images to get that blur, I made the shutter very slow. Now for this one. This is with 25 seconds. 25 seconds, I would say would be impossible to handhold. So I had it on a tripod again at a wedding. And because to compensate for the long, long, long, long shudder, I had my f stop very, very small, much like the image that I showed you the kissing couple on the dance floor. And so we got the store effect again from that from my flash, which I had out there toe kind of give a little and be like and backlight people. But I wanted again to be able to have a deep focus of the tables and just have a sense of movement. People there. Yes, well, the thing with this shot in particular I mean, it was black, black out. It was a wedding at night, Like black. We have just that flash. So the difference in the type of picture that we got by just leaving the shutter open for such a long time caught all this extra ambient light and the flash. But we were able to really capture the feeling of this'll intimate moon rather than just I think what joy thing is when you're sitting there, you're not like, Where's my food? Like you can see, your eyes are open continually and they're taking in life. So it was sort of be able t simulate that a little bit. That's more what it felt like. There we could see a little light in the sky. We could see the candles, we could see each other's faces. So I think that's a great with it rather than just ah, hard flash, because otherwise you wouldn't be able to catch them right with shorter's shutter speed. Um, and since We're talking about motion. Here's a Pettinger. I love this project and this particular project I actually shot with point and shoots, and that's the head of F 41 25th of a second to the in the same for both images. Exact same exposure for both. But in the top image I let all I've run past, so she's being blurred and in the bottom image. I ran along with her so that she was essentially sharp because we're both moving at the same time, and that caused the background to be blurry because I was moving. So I love this and it's fun to play, and it might be easier to do something like that with a point shoot. But there's Here's a couple of examples of things I did that way, and I think it's again I love, like bringing in some element of movement. I don't think that if there's blur in your image, it means it's a bad picture. I think there's a way. Use it as part of your story like this to a couple walking on. I'll walking with them, moving your body. Not You don't always have to be stationary. While you're shooting and it's fun. I think it's, you know, there's some element of excitement and that gets captured when you do that. Yes, just one of my favorite pictures I've taken of my daughter is she was learning the trailer bikes, which you attached to the back of the adult bike, you know, and she was just learning. So they were going pretty slow. And I took a picture like that Where, um, movement in the back. That's taken to a bunch of together, that nothing we're talking about even shooting without looking. If you have your settings, you can click as you run along to. That's fun. Doesn't have any questions about shutter speed 8000. Would that be for, like, athletics sport shooting Catchy water? Yeah. I mean, what? Yes, the hired sort of, the faster the shadow is going so it would freeze things we left in the air. You be frozen and you'd be shocked, and it's good for very bright, bright sun. You would not be able to shoot like that if you're indoors in a dark situation and we're gonna talk about putting all of the pieces together and that when I was saying earlier, If you noticed, like in this case, if you're in Cheddar priority and you want, I want supervisor and shoot thousands of a second and then it's flashing at you like hello, That means I can No, you can't shoot 1/1000 of a second. You don't have a lens that will open wide enough to let enough son in to get the proper exposure for this picture. Or you need to change your eyes. So you need change something where you gotta commit to slowing it down a little bit. So you can we will try to tell you those kind of things, and I think just knowing what your parameters are, then we'll allow you to get the kind of picture you can freeze. Water doesn't have be eight thousands of a second, but I think knowing the difference if you're shooting a water hall if you wanted to be frozen or if you want, like that flowing effect that is with your shutter speed, changing your shutter speed will be one or the other and knowing which one will do it, you get the picture that you see in your head. Otherwise, you're hoping each time, you know? Yes, we have a question in the chat room from I think it's a Eugen when you leave the shutter open, should you use a tripod or what is the best way to grip your camera so that it's still, uh, when you leave? This should open like on Bold were just a long, shuttered long shot of I think that I don't know. When I was in high school, I learned photography. They said that it wasn't it was never wanted, a handhold slower than the length of your lens like if you're shooting with a 200 millimeter lens, it would be really difficult to hand hold anything slower than to hundreds of a second. So if you're shooting at 1/60 of a second, it would be probably You would have some blur in there from your own movement. But if you're shooting like a 35 millimeter lens, you could just look. You could shoot a 40 of a second and get a pretty sharp picture. So that's actually kind of a good rule. It'll the I s helps. So if you have an image stabilizer lens and you're shooting a bowl of fruit. You could shoot that very well. You like some tricks. That I do is like a hold my breath and the press the camera against me. And another trick, by the way to if you really don't have a tripod is Teoh. Put your camera in self time. Rude. I know cannons have to self timer modes. They have a two second delay in a 12th delay. So if you change to the two second delay you had asked earlier about the mirror, the mirror will fly up, and then and then the camera will stabilize and then the shutter will will go. So it's like one extra element that you know that you eliminate from shake. So the problem Tripod is not already owned a tripod, so it's good to like support yourself. Hold your breath, leaning against things using your own chance. Start your own forehead, you know to support, but But again, it would depend on the lens that you are shooting with some lenses, air fine for slower and someone's air like if you think about when you look through binoculars and never things like, well, crazy like longer. The lens is similar to a binocular. So imagine trying to take a picture with through a pair of binoculars. You probably think I'm crazy, you know, blur. So it's similar to that. So I think it depends a lot on that on the situation that you're in and then dragging a tripod around with us talk. A lot of hunters have, like cute little, many ones, and, you know, it's definitely like few can. You probably will get a sharper image, but it's very it's That's a tough question to just stay in a blanket, yes or no. There any other shutter speed questions? Well, I just want a second your when it was a little mini Ah ha. When I figured out that you could use the two second Feltheimer in this fashion for kind of holding more still. Yeah, yeah, because in SLR well, the reason you have a mirror, it's so that the image can be flipped and you can look through and basically see almost exactly what you're gonna be getting from your image. But But when you hit the shutter, the mirror flies up and there is a little bit of shake involved in that just from physics. I get hitting that, you know. So having the two second delay the mirror fly up in the shape will stop, and then the shuttle will go. So it's a little drink that you could You are we on second delay? Where? Oh, on a cannon. It is the drive. It says Dr. So if you press the shutter, I'm sorry if you press that button, it says a f dash. Dr. You see it? Everyone do that. Dr. You may not have it on yours. Um, I don't know where Nike on self timer is, but if you hit drive and then you roll. Is it? Yeah, it is. Right. Okay, look, just like a little Yeah, it's a drive. It's a little round self timer. So you'll see one that has a little too next to it, and you'll see. And then we'll see one that doesn't Is that how you also get, like, hold down the button? And it takes a bunch that's also continuous brokerages. And some have even, like, fast. It's faster, you know, Bursts. Maybe future. Have a second. Oh, that's possible. What? You're 20 0 I love the 20. Okay. All right. Right. This is a bad idea. So So I eso controls the noise in the image. And again that has to do with the camera itself, not lenses and back win. I was shooting film that was grain. And now it's noise cause it's digital. But I'm gonna go give you an example. Here, click. Oh, let's do this really fast. I think I'm worried that I have said it Also in the top menu. It says I s o right there. They've already found my eso eso I'm curious for this one. Just Teoh urine in all kind of crazy right now is 1600 and I want this and drop. I'm gonna have it in your manual shutter speed there. And then I'm going to find out what the highest I e isso is for people. This is a 64 100 as well. It looks taking pictures. All right, so this is from again the image that I shot of the dolls earlier, and as I was making the f stop smaller and smaller one of the things I was doing to compensate Waas bumping up my I s o. So when I used to shoot film, we had to make those decisions in advance like okay, Officially for weddings, like all right, it's ceremonies outside are going inside for the reception, but then there's weight have to pack our bags. We're gonna need some slow film and we're gonna need some fast film. But now you can just roll the dial and change it just, you know, going from inside outside. Very convenient. It allows for much more creativity. And But what does is if you see the difference here. Famous on the left, you can see how sharp, for instance, her lips are a low I s o number, so much cleaner image and you can see on the right how it's the same. The focus is still on her eyes But see how soft her mouth as you can see all the pics Elation in there How noisy. The image is good for low light situations. I always tell people tryto try to choose the lowest highest number that you can in any given situation because it's easy to add grain and noise. But it's much more difficult to clean an image up and much more difficult to take it away. So if you can shoot at 400 eso someplace. Choose that closer to 100. You can choose the better. A lot of times you can't do that. But I always recommend that people try. So in bright sun it's easy to shoot it. I s 0 because there's a lot of light and you'll get nice, clean images like this. Your blues will be really blue. Yes, eso auto. It's interesting that that will take the ESA for you based on what's coming in. I don't ever, ever use that one. But that one. Well, I'm guessing it will choose the slowest one possible for the scenario that you're in, but yeah, so I think I have auto on my to, um I don't think I've ever shot with that, but that's another. You know, if you don't want to think about it, you know, if you're going inside outside river, you don't have to thin. You can choose that. So, like I said, the camp is a very smart I try hard not to shoot over 800 if I can. Um, they're getting so better. Much better now. I mean, even shooting it's 1600 you still can get beautiful, pretty clean images. But I like to be able to add that stuff myself as opposed to having it in there already. You can see here. And this, I think, was shot with a 22. So, like, it goes up to 3200 EUR 20 it will only get if you choose that as a custom function, can you show me how changed I That's not working. Um, short and yours assistant. Here. Let's always on auto again. You need to have not be in the green box. Oh, is that why? Wasn't changing what you would do it Suppress this enroll dependent. Okay. It was just that I was in green. Okay. Thank you. You're welcome. All right. Yet T v or a B or M you should be able to do so. Here's something fun that I like to do with images like that. If it's for you know, you end up, I find that really under exposure. Like Hi, I s o pictures like that. Look, money and orange. Weird. But because when I used to shoot with, I would choose Hi. I s a film off things I like. That's a romantic grainy look and you could do a lot of post processing stuff with them, like add grain and make it look more, but making more like a romantic he old black and white image. But like I said, it's better to do it by choice. Like you choose to do this. Not guys like a great every looks like pumpkins, and then you have to do it. But at least you have the option. I s o questions you said when you have low light. So that wedding shot that you held open for 25 seconds you push up the I s O for that one. I think because I wanted it to be clean, I probably had a lower I S O. It's when you are shooting and you want a handhold and your that you would bump your eyes. So so, like, if you're shooting inside of a church, you might choose 800 or 1216 100. I s O. But I think for that one when we had it on a tripod, we probably did bring the I slowed down because then it didn't really matter how long the shutter was open a lot of times people will bring their eyes so up so that they said that they can have a faster shutter speed so you can hold it by hand. And do you have a rule of thumb for how much you bump it up based? I mean, it's such a wide range to go to choose. Yeah, I think this next part might answer your question, I hope because it is about putting it all together. So now we've talked about each little piece And what What's important to understand is how aperture shutter speed and I saw all work together to create the right exposure going back to this image now. So I like Teoh. Remember? Before we I said, I'm only gonna talk about f stop here so we can see depth of field. But now I want to show you what other pieces I changed to that, that the image remained the same in terms of being able to see it. Because if you only changes f stop and you don't change anything else. You're letting less and less and less light in. So by the end, the image would have been almost black. So you have to do other things that you still allow light in. So the good rule family we'll roll. Some of these are the rules. When the aperture gets smaller, the shutter speed must slow down, or and and or the eso must speed up to allow the same amount of light already, think of it is you're shutting down. You're letting in less light. My favorite analogy about this is it's a think of light as water, so you have a bucket and you need five cups of water that would make the proper exposure. And there's two ways of the water is getting into the bucket, one through a pipe and one is through a door simultaneously, like dripping through the pipe into the door. So if you have a really, really tiny type, then you need the door to be open for a long time as the water drips through. But if you have a huge pipe and all the water gushes in, then the door opens a short time, let's water and closes again. So that's a good way to think about how you would be changing if you're changing the thickness of the pipe. The door will have to stay open longer or shorter is a good way to sort of wrap your head around water being the light like being water. So then, for this one, when the aperture went to F 5.6, then you can see our shutter speed slow down to 250th of a second. And I also went up to when it was F 11. I should flow the shutter speed down even more and where eight were already here. 800. And now I went all the way to I s 0 2000 to make a very, very small aperture so that I could seethe Dole all the way in the back. And for this one a 60th of a second. I didn't have a tripod and I was holding my breath and pressing the camera against my face. And I used and I use that image stabilizer for that. But I think much slower than that. With that long, long lens, I was staying with what they would have been blurry. So that's this is where I normally talk about the VR lenses, but we're to talk about That doesn't make sense. I'm gonna click on to this part now back to this part again. So earlier when I told you what what these things stood for. Now I have additional information just to let you know what it means to you. Whose baby? Oh, I think so. So this is now a little bit more descriptive about what those buttons stand for. So in other words and Mr for manual, But what manual means is you choose the shutter and you choose the aperture and then a B, which is aperture priority. You choose aperture, and then the shutter is chosen by the camera and same thing, shutter priority. You choose the shot because you want to freeze your kid running sucker, and then the camera's gonna choose that the aperture that will be the future for that. Exactly. And then in the world and its little the picture land to the picture landed one of those modes called then. So again, with the running man, the camera is gonna choose the fastest shutter speed to freeze that motion. That's what that running men made this essentially the cameras version of shutter priority, right? So then also for, say, the portrait mode the portrait mode. The camera's going to pick the very biggest s stock can in the light that you're giving it. Why? Because it'll the depth of field will be very shallow. So if you're doing a portrait of a person and you want just their eyes and focused, Well, how do you do that? You pick a very wide F stuff. So the camera knows that I'm doing a portrait. It's gonna pick a very wide F stop for you.