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"Rules" Of Panoramic Photography

Now what we're gonna do is we're going Teoh, talk about different ways of shooting panoramas. And I thought I would start off with the, um, some rules for shooting panoramas, which we will promptly break not because we're the sort of people who just like breaking rules for, you know, the fun of it, but because we can get away with it. Right? So, um, here are just some of the rules associated with traditional panoramic photography. One, the concept of shooting panoramas is that you are looking at one scene from one vantage 10.1 specific vantage point. And so one of the traditional rules and photography for Panorama is not to shoot like this. And this works Hopefully with it with the chair, you guys is that you would not rotate around the photographer, right? And this is how a lot of people do it. That would be that the rotation point for taking Panorama is noticed. The nodal point I didn't see up here in our in our notes. And the problem is, is that when I shoot here, if you look at the...

vantage point from think of me as a little teeny G, I Joe or an ant get aunt is is right here. This is the vantage point where the camera is. If I come over here that g I, Joe that and is in a completely different location with a different vanishing point, that view is completely different in terms of all the aspects of the optical Seen if I've got something in the foreground, if I'm the aunt looking this way and now I'm going over here and I'm having toe have that device in the scene, how I'm looking at that is completely different by moving it around. If we have one consistent nodal point that does not change during the entire process, that means the vantage point is the same throughout the entire process. Now, the question is what technically is that centrepoint that you want to go from? And, um, there's a little discussion as far as what's the best way to do that to get really, really technical? And all this really comes into play when you do have something close in the foreground, even with a big boy camera. If I'm looking out at something like this, technically, I could go click, click, click, click, click because the subject matter, the landscape is so far away that there's really no major difference between if I'm 100 yards away from my subject matter. The difference between this location and this location, this area in space and this area in space is insignificant when I'm shooting the glass here. And if I go like this and I've got something in my foreground very different view of the glass from over here to over there. So that's the issue, especially with things that are close up. What do you rotate around? Well, your cameras are set up with, um, and most cameras. Border point and shoot, or SLR, is set up with a your tripod mount directly above the sensor. You'll notice that it's right above the lands right above the sensor on this camera. Even though I've got the battery pack on it, it's maintaining. That same thing would be on most of your point, and shoots are gonna have it usually right above the sensor location, and both of these air slightly offset. Um, so you're rotating it around the sensor, but technically, it's, um, Sensor. If you think of that, is your I really it's the center of the lens. And really, it's not even the center of the lens. It's this. It's where the light coming into the lens switches direction. If you know that how glass lenses work and how light comes in, hits the lens and comes out the other side. Technically, that Notre Nodal Point will be somewhere within that lens, depending upon the optics of it. And that's why one of the reasons why, when you have a bigger lens, you'll notice that not only does it have a extra break bracket on it, so that the weight of the camera is not back here when you've got a big telephoto lens, but also that it will rotate around that center of the optics of the lens itself. Um, that's really detailed for the most part. If you've got it above your sensor, then you're going to be doing fine. Rather than trying to figure out exactly where it is, you would have to be doing such a close up panorama for there to be any major difference to it, that it's kind of not a big deal. That's one of those areas where I'd break the rule in terms of how far you want to take it. If you are dealing with something, close up in your foreground, do rotated around the camera. Don't rotate it around your body. How's that for a simplified rule? OK, do not go like this. When we get into the IPhone, we're We're going to elaborate tethering process. Same sort of thing for most of the apse, especially the apse. When you're shooting panoramas where you're gonna wanna go click, click, click, click, click, either and have it stitched inside the app, or you'll do it after the fact you would not want to A special. If you have anything in the foreground, you would not want to do this, which again most people do. They're gonna take their multiple shots, either using their app, because it's a very different viewpoint. From this doing this scenario, the lens on the all your mobile devices are going to be somewhere in here, sometimes in the center, you know, depending out if your android or IPhone or whatever same concept in this case with the IPhone, it's always right above the on off switch, except for the IPhone six, which looks like it's now on the side a bigger IPhone. But you don't know that you didn't hear it from me because it's not like I have one in my back pocket. I wish. Anyway, so what you're gonna do is basically on an IPhone specifically. But whatever your mobile devices rest your hands on right above where the lenses and rotate it around this way. So you're gonna notice that in some of the videos that we're gonna show about me shooting Panorama is out in the field on the tripod handheld and with the mobile phone is that I'm gonna be doing this, okay, for the most part, depend upon what I'm shooting with the neat thing about the IPhones, native camera and shooting panoramas. Because it's shooting in slices. You can actually get away with doing more of this because it's actually it doesn't have separate vantage points, different vanishing points as it were because it's shooting every single time. It's not this shot with this vanishing point. This shot, this vantage point, this shot in this vanishing point, it's doing these little teeny slices. So as you're doing it, you are able to get this consistency across a panorama, even doing a little macro. That is the one thing that's really, really great with shooting with this device is the fact that you can actually go up to a flower. You've got a centimeter focal limitation on the IPhone similar to other mobile phones. But there's nothing stopping you from going right up toe a little still life and doing a panorama getting a 28 megapixel of some, you know, little teeny sculpture or figurine or student or worker whatever flour. And so now you've got this just amazing ability to shoot wide angle. What would be like a fish eye, high resolution and, um, yet do it with your mobile mobile phone. So if you if you are close up to something, you will want to try and rotate around that nodal point. If you're doing a vertical pano, then you're gonna notice that I'm gonna be doing this right. So you're gonna be tempted to go like this. But that's a very different vanishing point. Thinking of our G I Joe, up here, I come down here. Those are two separate locations, photographs taken from two different locations. We're going like this. I'm taking it from the same vanishing point, the same vantage point. And it's gonna be much better at terms of the distortion of the image, even on the IPhone. So you can rotate around this even though you can get around, get away with doing it. You'll get much less distortion by making sure that you have the same vanishing point, whether with an SLR or point shoot or whatever. Um, that being said, there are times when that's just really hard one. I can't see through the camera from starting over here right over here. So can you even do something as illegal? Is this You come over here and then now you've got a subject matter that you don't want to store and you want accurate. And then you shift to this and then because your hand is breaking, you actually go like this. If you can do that fairly smooth, you can actually have that dramatic of a range of different vantage points with something like this, because of how it captures and tiny little segments, that's just really cool. Sometimes I've had to do that, especially in this ship when I'm up 300 feet, you know, contorting around holding on for dear life. When I get to a spot that I don't want any distortion, I could go like this, rotate like this and continue on. That's just giving you permission to get funky and play with it. And that's you know, obviously you're not wasting film, so why not play with it? And we'll shoot, actually shoots in Panorama with that in a little bit. But let's just go back to this idea of the basic rules so rotating around the nodal point to where the main rules is a tripod for consistency. The nice thing with obviously a tripod, it's going to force you to rotate around point. So all things being equal, there's no downside to working with a tripod and rotating on that nodal point. The 3rd is a leveled tripod and even this little this great little one from me. Photo. It's a great little solid, wonderful Tripod has a little level we can zoom in on that right there that's built into the little bracket at the bottom. So here is I've put on the bracket onto the camera, but below that is where you're gonna find the bubble level A really good tripod, Big boy, Big Girl Tripod. We'll have a level on the head itself and also on the body, because first you're gonna want to make sure and have a leveled the body of the tripod itself, and that's usually by adjusting the legs until you get it to be perfectly leveled. And obviously, the main thing is to make sure that that head is level as well. But if this is going like this, you may set a level at one point. But then, as you're rotating it, it's staying in that level. It's going to get wonky. Hence, the double bubble situation is really the most sophisticated way of doing. It is making sure that the tripod itself is level as well as you're shooting him. So again, no downside to that. The the main benefit of it being leveled is because, and you'll notice a lot of my even with my panorama is, the rising light is in the center because that by definition, that's leveled. Okay, if you ever if you're splitting your horizon line, by definition, you're not looking up and you're not looking down. If your horizon line is in the middle of your composition by definition, your level. Also, Even when I'm shooting with the IPhone, make sure that you've got your grid turned on in terms of your options for your camera. I always have the grid on 24 7 no reason not to. It's really the only way that you're gonna be able to keep as you move around to not have your horizon line change during the process. So in most of your cameras, you also have the option of having a grid. Usually that's the rule of thirds. Again. The rule of thirds is a great overall, a way of checking your composition and having some more creativity with negative space by offsetting your subject matter in these little points that make up the nine segments of the rule of thirds. So I would leave on that no matter what. Some of the apse on the IPhone and some of your cameras. Also, we're gonna have a built in level built into the camera. They have a little gyroscope built into the camera, and you actually can see it when the camera itself is off, not even needing the bubble level. So again, if you forgot that that that is useful. But even just having the grid on if you're not, you go. I haven't seen the horizon line on the ocean for I don't know how long I don't live by the ocean. I don't have that same kind of horizon line. I got mountains that go like this. I'm sorry. I feel for you. Move. I highly recommend it. Ocean makes a great place and it's so much easier to shoot level when you have a horizon line, it is a little bit more expensive, but, um, by a good tripod live on the ocean, you know, 6 1/2 It is too early in the day for those sorts of jokes. But the leveled tripod is because as soon as you go off, leveled as soon as you go up. If you remember from your days of drawing 101 you have coming into play is a vanishing point. The key stoning effect of that. The lines that are horizontal that are parallel at this point, as soon as you look up are going to go to a vanishing point. And as soon as you look down, they now go to a vanishing point and this vanishing point of this picture. As soon as you move. Now, you've got these lines going down, and this photograph has these lines going down, and for them to line up is very difficult. That is the challenge of shooting off a level tripod. What will happen is you've noticed in photos shopping this we'll see when we get into stitching what it's going to do when it finds that it's going to say the only way I'm gonna get that line up and that is by bending the photograph, you'll notice that your photograph ends up with these arches and that zing, Dude, you looked up. You look down. The only way I'm going to get that horizon line to match that vanishing point is by doing an ark with your panorama. Some third party Panorama stitching software automatically will compensate for that. The IPhone tries to do that. You actually one of the nice things about this because of the gyroscope. If you go up as long as you keep it, if this is, say, 15 degrees, as long as you keep it at 15 degrees, it says, Fine, I don't have a problem. I know 15 degrees because I got a gyroscope, so it will keep a level to rise in line. You're gonna be following the horizon line, but you can look up, down. That's why you can do this vertical panorama and it doesn't freak out. Can you talk about freaking something out when you go up in terms of the vanishing point, you think of all your lines converging here and then looking down and all your lines are converging down there. That's why when you try and stitch a vertical panorama and something like footer shop, you end up with these mushroom clouds of excessive, you know, just huge amounts of distortion, cause it's just, you know too much for its little brain toe handle. It has no idea of the environment in which you shot it, how you did it. It's trying to have lines match it can see, Lines says. I see those lines when try and match him. But the only way I'm gonna do that is by completely freaking out the vanishing point. So that is why, um, level tripod is a so so essential, especially in the olden days where we didn't have the sophisticated ways of stitching or the ways of correcting this Boeing fact. So one of the things that I'll say in terms of this level tripod is one. If your composition, if your story works within shooting leveled either with an IPhone or a point and shoot or Big boy big girl camera do it, it will only help. It will only keep things consistent. It will make sure that you're not jumping and all of a sudden what you thought was gonna be the floor of your scene or the base of the scene. Now you're going up. You're gonna have to crop weird or something. So there's only a benefit there. You won't have the resulting arc in your panorama. So all things being equal, do it. Okay, you'll notice that when we were out here in Seattle on the waterfront, I was shooting the city escape from across the way. I was zooming way up on the scene. I wanted a nice, high resolution panorama that will stitch later on. So I'm zoomed up. I am on a tripod. I am having it leveled. I'm shooting it with all the rules that Aiken dio because I was trying to get what would be a huge print for a wall that would stitch fine and easy and simply and cleanly. That being said, if you shoot off level, which oftentimes you're gonna do because you're looking at a scene and you're going, it's a sunset. I'm in a parking lot. The parking lots, Not this story. I don't want half my composition being the parking lot. It's this heavens, they're opening the angels of weeping. You know that cherubs air. You know, that's my story. I'm not going to say Okay, this is what I can grab because I have to be levelled. Look up, try and keep that consistency cause that is the vanishing point. Your angle of view, as you look up, is what's determining where the lines are converging as you shoot it, the resulting shot, either in depending upon the app. If you're using a mobile device, the great thing because it does know that angle, it will automatically compensate for that distortion in camera, either with, as I mentioned, the built in camera or even some of the third party APS. That's the benefit of having a gyroscope. We're talking about SLR, even pocket cameras that don't have that piece of metadata associated with them. You're gonna end up with this ark. The great thing is, with Photoshopped, there's at least two really good ways. The adaptive wide angle, an image warp which has been in photo shopped for 100 years that most people don't know about is gonna allow you to very, very simply and easily take advantage of that technology to get rid of the Ark. Kind of. The other thing that goes on when you're on an unlevel tripod that is associated with that vanishing point is things what's known as foreshortening. Things get smaller in the distance, right? Like a train track. If you're looking at a train track, it's getting smaller. The lines get closer together. That's the vanishing point concept we're talking about. So if you're looking up, that top of the building is going to get, um, smaller, and it also is going to start compressing the scene. In other words, it looks squatter. When you fix it from here down to here, it's gonna look squatter. It's gonna be squished, so things like image warp would allow you to not only fix that arch, but also bring back the apparent correct aspect ratio of these wonderful minarets that you were photographing or whatever. So there are two things involved with the perspective is one the ark that you're going to get based upon that vanishing point and the four shortening that you're going to get based upon that And those are the two things that were going to be fixing When we stitch are images coming from our big boy broke big girl camera. So that brings us to these next rules here and these actually opened. Let's actually, I've got a shot here in terms of that nodal point. This right here is the sort of tripod head that riel panoramic photographers amused because if you're use a traditional on ball head when you've got this here and we're shooting now in a portrait mode in our camera, right, I've mentioned several times now that this is the better way to shoot a panorama just because the field of view on a portrait sensible up and down is much greater than here. I'm grabbing more of the scene in one shot in terms of the up and down vantage point that I am here the the problem with this? If you'll notice that if this is rotating around the nodal point right here, Okay. On my level, tripod, I go. But I want to shoot it portrait, cause you accept you portrait. So I come down here and now what happened to my nodal point, which is hereby my sensor. Okay, so all tripods, when shooting in a portrait mode, are somewhat useless for correct panorama shooting. Um, because the fact of that Notre point, they don't rotate around the nodal point looking over here. Um, this is a and there's multiple ones that that do it right stuff makes them. This one is called the Notable Ninja. And it may be adirama may be that's a good reminder that quit of lives connection with a wonderful group at a rama. But you'll notice that this has a complete variable. This is a sliding mount here, so it slides this way. This slides up and down, this slides back and forth. So basically, you find out wherever that nodal is, you position the camera. And as you can see, this is now, even though the camera, the base of the camera maybe over here that nodal point. That rotation point can be wherever you want, no matter what camera you're working with. So a variable head like this is really nice to have. Especially as I mentioned, if you're shooting any panorama is where you've got a foreground as part of your composition, right? So you maintain a consistent vantage point so that I did want to mention that before we I'm continue on. But next, these other ones are actually have a lot more. Or are more of a true law much harder to break? And that 1st 1 is consistent? Aperture. Aperture, of course, are F stop in our camera. A little iris that's allowing the amount of like to come in is also what we used to change our depth of field, or how much is in focus. The problem with shooting with a camera on some kind of program mode or auto mode or point and shoot that is fully automatic. That doesn't know you're shooting a panorama as you change a shot, especially if you have it in a program mode where it's going to be changing exposure. I'm shooting towards the sun and I'm shooting away from the sun. The main way Cameras change exposure in a program mode. It's by changing aperture how much light is coming in. That's how it changes the exposure as opposed to, say, shutter speed. So by changing that aperture, it's changing how much of your scene is in focus, your depth of field. So if I've got something here where I'm shooting and I've got a depth of field, that is, let's say in F 11 that's getting a lot. And then I'm moving away from the sunlight, and now it's saying, Dude, I've got Open this up now at 5.6. Okay. In other words, I'm needing to open up my iris to allow more like to come in to get a correct exposure as I move around my scene, that depth of field, which may have been enough to get my landscape all of a sudden the foreground is going to go completely out of focus because I've now got an open F stop. My aperture has increased to change the exposure during the process, which we don't want because I don't The field is very hard. You will see this blurred line that my water here would change from in focus toe out of focus, especially as I moved away from the sunlight. Thank so consistent aperture. That means you're going to be in two things on your big boy Big Girl camera. You're going to be an aperture priority or complete manual. We'll get into manual in a second, but at least aperture priority. That way your depth of field stays consistent throughout your Siris of shots, even if it's changing exposure through the scene, which I like, right, especially if you're getting greedy and shooting into the sun and away from the sun, as we saw with our samples. By definition, those air dramatically, dramatically different exposure settings on your camera in order to expose for bright sunlight and opposite of bright sunlight. And so what it's gonna do if you're an aperture priority, the only thing that you're giving it permission to change, then it's gonna be a shutter speed. So here it may be at four thousands of a second looking into the sun, and as I come down here it's going to continue to change that shutter speed, which I don't particularly mind. But, you know, all things being equal would be nice. If you could keep that consistent throughout the whole process and a zeit come down here, it's going to change that shutter speed to something much less yet. Will there be a chance that the you may even get some motion blur on that right hand side, where it's so dark? Yeah, but that's much less of an issue than, um, the change, your depth of field, the aperture. So if you are going to allow your exposure to float, as I call it, then you want to be an aperture priority and let it change the shutter speed. I'll also mention at the same time in terms of shooting in a manual mode, where you are locking down both, um, aperture and shutter speed. Then we have that third wheel we talked about the very first day about photography. The third way that a camera changes exposure is with eso how sensitive the sensor is too light, how much electricity is basically running through that sensor to gather light so theoretically you could have it on auto. I s So we also talked about that that first day that that's one of my preferences is auto Aiso because the camera can say, Dude, you're telling me this You this shutter speed, you want this aperture? If you don't give me permission to change, I s so you'd better be doing that. And if you're in a tricky situation, you know, looking toward the sun, looking away, that's a huge I s o potential change, and I don't want to deal with that. That's why I've got a computer in my hand. So auto eso would be another way that you could change the exposure throughout the shooting process and lock in not only your aperture, but also your shutter speed. And that would usually be you'd find out whatever your minimum shutter speed is necessary to grab the shot. You're on a tripod. You can actually probably shoot really? At a very slow shutter speed. Depending upon the lens that you're working on, you know that little trick of basically have your shutter speed the same number as the millimeter of your lens. Right? So if you're shooting 50 millimeter lands, at least be 1/ of a second shooting at a 300 millimeter lens. You won't be at least 3/100 of a second dramatically faster because you're what you're grabbing. It's like a gun with a telescopic sight on it. You're trying to shoot a little teeny target at a greater distance for their way. The greater the telephoto millimeter of your lens, the faster you're gonna have to shoot. So that's just a quick and dirty way of doing it. If you're a wide angle, if you've got a 24 millimeter wide angle lens, then I can shoot down a 24th of a second. Other words. I can shoot landscapes wide, angle dramatically slower and maintain razor sharpness than I can. If I want a telephoto telephoto, I'd better have a very high speed because any movement as if I move an eighth of an inch here, that what I'm shooting, maybe yard difference if it's a you know, skyscraper across the thing on eighth of an inch, shooting at a distance with a telephoto is a huge change with a fisheye wide angle lens. Very little difference in terms of my final scene. Okay, so, um um, aperture priority. If you do want to lock down for some reason you need a consistent shutter speed. You're not on a tripod. You know you have a minimum. Then you may want to make sure that you have auto is so turned on is an option. A lot of the new cameras, especially a SL. Ours are going to have another standing of the lens. And as you even change your telephoto lens, it goes Okay. You just went from 28 to 300. I've got a That's what my This is my Sigma portrait macro lens. But on my SLR uses that the Sigma that, um, is 18 to 300 is the range on my C size sensor. So it ends up being like 27 to 4 50 Huge range on it. As I move, the camera goes okay, you just took that up. Your shutter speed is going to change him an aperture priority. It knows what lens I have on and that what telephoto setting have on and it will automatically adjust my shutter speed to make sure I don't get blur Okay in the less than brand new cameras it knows. Did you have a certain lands? But it doesn't know at what telephoto setting you have. Okay, So consistent aperture, Um and consistent shutter speed if you need it. But that's not usually as nearly excuse me as important. Um, constant white balance. Okay, All your cameras are going to be set to an auto white balance as a default, which means, especially with things like sunsets. As you're moving it around, it says, Okay, that's I'm getting this. All this warmth is coming into the scene. I move it here, it's going to say I'm not quite sure what's going on, but I'm gonna change my temperature reading. I'm automatically gonna try and compensate for the ambient color of the scene and get rid of that And again is that way. Move away. If you're shooting with your big boy girl, bigger camera and you're shooting raw. You can change that after the fact, but there's no reason for you to not go into something as most people do in shooting panoramas. Put it into a cloudy that is a standard white balance for just daylight light. Nice, slightly warmer color caste, then say daylight and some some sluggers just leave it on cloudy 24 7 That's one consistent way balance that never changes. They know they can fine tune it after the fact in light room, where DOE became a raw because of your shooting in the raw file format, White balance is just a piece of metadata. You can change that perfectly. Get a perfect white balance. Fine tuning after the fact. If you're shooting raw, you're shooting J. Peg. Whatever you shoot in terms of white balance is permanently cooked into the file, so be careful of that. And that includes, of course, all point and shoot cameras that can't shoot raw or your IPhone. That's not gonna have the ability to change the white balance afterward, which, by the way, when shooting in general with these things, Whatever you click on as a default, when you click on something to set a focus in the IPhone to set focus, it sets focus and exposure. In other words, it's gonna focus on that point, will set the exposure so that whatever you clicked on is appropriately exposed, and we'll also set the white balance at the same time. By whatever you click on, those may be completely different that there may be no connection that you want this area and focus and this area exposed differently in other words that that's not the exposure I want when it be exposed on this, even though I want this sharp. And that's why some of the apse like Camera Plus or other ones allow you to separate out exposure. And I'm focused and some of them even white balance with a slider and that, actually you're going for the best possible image in your IPhone. Being able Teoh separate out those different components. Focus, Exposure and white balance is important because whatever you shoot with a mobile device or point and shoot camera that can't shoot raw is cooked into the file permanently. You cannot change that color caste afterward in any significant way. As you may have noticed, when you go into an app and try and change what they call white balance or tent, you have a very limited range because whatever you are shooting with is cooked into it as opposed to raw where you can do dramatic changes. Okay, so shooting with a consistent white balance of your on your SLR, Um, I would say a nice default is the cloudy setting port, so it doesn't change if you're shooting raw, then you confined to knit um, along the way if you wanted to, but I like a consistent ah, constant. Um, focus or focus point, that's all. Thank you. I can do this right here that we have the technology. Um, thank you. The, uh, constant focus, this would be again, another thing for however you're shooting it, whether with a big boy camera point and shoot or mobile device is that you will don't want it to change focus. We know all our cameras are always gonna as a default. They usually focus on whatever's closest to the camera. So af you have anything that's close up if you're not just shooting a landscape, but in this case, something is going to be closer. You know, even in this panorama, one is going to infinity, and 1 may actually be less than infinity because I'm closer to the subject in the foreground. So you don't want that things to go in and out of focus as you get multiple shots. Um, so that being the case, you're typically depend upon how good you are at your eyes and being able to determine that you've got a tack sharp focus on your camera is you're going to set it to an automatic focus. Determine what the main story element in your scene is. Come up here, press halfway down or use your focus lock button. Depending upon how you're setting your focus lock does your two main options are dedicated? Exposure. Focus. Lock button on the back or you're halfway shutter down and you're going to lock that and then turn off your auto focus. Leave it on manual. You've taken advantage of the computer inside the camera to say yes, that is tack sharp. If you do have the ability to go in and zoom up on a live, you and actually check that all the better. But do that, then turn off your auto focus so that weighs You go here now I'm looking at infinity. It still has one set. Focus to it, you know. But I wanted to focus on community. Well, yes, you can break rules and you can try it, but I would probably if it's the money shot. Don't plan on this because this may issue stitch the images. Maybe a dramatically different focus between one images as another, as it's trying to find that focus. Okay, so auto focus for that. And then, um, go ahead and turn off auto focus. Let's actually switch over to the IPhone now. I thought I was gonna give you warning, didn't you? Yes. You thought I was gonna give you a warning, but I'm not. Any questions in the studio audiences, we switch over our live feed. Yeah, Alright. We're just going through a question out at U S. O. A couple of questions just for phone specific stuff. In case you have any info on this, people are asking about either the IPhone four or Samsung five other other, quite other phones people can use. Yeah, you've got basically three operating systems. You've got the Mac with notice. IOS, android and windows are your three systems, BlackBerry and others. We won't even go into that kind of thing, but, um, so they all could be excellent, as a matter of fact, I mean, that's the great thing. Apple kind of set the standard. Obviously invented a real smartphone. I mean, the IPhone just completely changed. It's like the Gutenberg press. It the whole idea of mobile computing, mobile photography, mobile. Everything changed with the advent of the IPhone. Fortunately, everybody in the world got on the bandwagon and said, Duh, yeah, touchscreen, Great camera. And so we've got some, um, technology associated with mobile cameras, mobile phone cameras in the android environment. Samsung is doing some fantastic stuff with their on board cameras and again, the Windows phone. The Nokia is the over 40 megapixel one, which is basically using megapixels to do zooming basically that it just allows you to crop. So it's for me. That's a little excessive to say Go 40 megapixels just so I can crop in to pretend that I'm zooming. I got it, But I can shoot three pictures with my phone before it fills up, you know? Not really and a lot, but they one of that you can change the resolution on the phone. So a lot of people are actually using the Windows phone at five megapixels because they can't. They don't need that. They just want to read a clear shot. So in terms of the question, the the main thing I would say is, what operating system do you like? There are excellent phones that are android based. You're not gonna have all the apse. Usually the IPhone is always gonna have all APs because it's a much bigger market in terms of the mobile market. So developers of developing for the IPhone and then they'll make an android version and then they'll laugh about a Windows version. So cruel. It's just not nice if you guys have Windows when I don't think so. So anyway, so the question in terms off you're not a second class citizen. If you're using an android Poon on and you have excellent pieces of software like Snap Seed. Sam See, which Google bought from Nick is available on both those platforms is excellent.