 So Rona, I remember when you got in touch with me at the beginning, you had an idea of how to implement this project, right? Yeah, and I was trying to think of how we could do it, and I came up with a somewhat overly complex, real-time version of where we could tether a camera to a laptop and cast the image back to Earth, and I could in real-time work with an astronaut to move through the station. Well, essentially, that's what I think it would be reasonable. At the end, we do this with the scientists, with the experiments that we do on board. I'm not a scientist, I'm an engineer, but out there in the hand of the scientists that in the ground wants me to do something about genetics or something that I don't really know, tells me what to do with it. That's the way you plan on how to do things, but it doesn't work. It doesn't work like that because in space, we have very little time to actually do activity, and while science is still important, historical preservation is very important, but it does not get the priority needed for the, I would say, the huge amount of astronaut time and resources from the space station that you would have needed if you wouldn't have done the project in this way. And so, what did we do? Well, you came up with a much simpler solution where we could just email photographs back and forth. I photographed the space station mock-up at JSC to kind of get a feel for things, and then shortly after that, they released the Google Street View of the interior of the station, which really helped me be able to go in and see how that's continually changing the stations and the Google Street View was fixed, but it gave me a much better idea of what things looked like, and I could do screen captures of that and then send those to you, and you were also gracious enough to do this on your own time. Yeah, you know, so that worked because you gave me some instructions, some directions, some samples, and then you gave me enough flexibility and latitude to interpret your requirement and try to make them according to what is there on the space station, which is difficult to do if you're not there. And this worked. I was so impressed by how much the images felt like images I would take, and yet they had, I could tell that you had added your own ideas to them. That's what I really wanted to be a collaboration because you are there, you can respond to how things are, you can respond to the light, you can respond to where things are stored at that time, how things are made up. This may be like a film in a movie where the director has this idea and tells the camera guy and tells the other guys, I want this, this, this, but then it's all filtered by what is possible and by the interpretation of each one of them, and usually they find a certain path, and that's what we did at the end, right? So then eventually I got, I mean, I got up there, the file with the preferred shot, the orientation, the way you wanted things, and I took this, I went around the station. You know, it's a little bit complicated because you have to wait for the moment where you can take the shots, usually the station is very busy, there are people around, there are lights, a hardware and things like that, so I had to wait and then I shot a few of those things and I sent it to you because I thought, well, this is what we have so far, let's see what Roland thinks about it and what was the reaction. I thought we would have to go back and forth on things where you would send me a shot and I'd say, no, change this, but actually your interpretation of things was right on, I think having the images to kind of go by and some of the notes, but you know, at some point it actually became to me, I don't want to go back and reduce that part of it because of time, but mostly because, again, you added your own ideas and aspect to the photographs and I wanted to keep that, so I think that was interesting to me because I just kind of thought, I just think anybody could kind of do me, do my photography that close to how I do it and still be in there with themselves. One of the things that, you know, it's relatively, quote-unquote, easy to frame a shot the way you want it, but still there's a lot of technical settings that you can have on the camera, speed, all sorts of things like that and I was trying to interpret those and this is where I wanted really your technical detail or feedback. Well, yeah, I was surprised because in a weightless environment, I assumed there would, you know, you can't use a tripod, so we'd have to shoot at a, the lighting's fairly low, you'd have to shoot at a fairly high, high or so. It can be challenging. And then the batch I got and there were shot at like a second and sometimes not real and they were all tack sharp and you can explain how you did that. Well, yeah, in space it's true. You'll float away and everything, you know, you cannot have a tripod because it will float away with a tripod too. But we have some modified equipment, it's a photographic modified equipment that we can actually attach to walls, to hand rails and block the camera in a certain specific angle. Now, you remember we are in zero G, so I can go on the ceiling and put the camera down or go everywhere and point it the way I wanted. The problem is that the camera was oscillating because the station is big and uses microgravity, but it has a little bit of oscillation. If you take pictures at one second, because I was trying to stay low with sensitivity in order to have less grain, but then you need to have this low end and full close with the iris, so you get the depth of field that's fairly large. And then, though, the camera would really slightly pop around. So I had to come up with a little bit of a crazy solution to take two of these tripods, somehow, you know, kind of mesh them together so they could provide a much more stable place. And in fact, I thought it would be interesting to get a snap picture of me taking this, so we could solve a mystery of how these pictures are coming out from the station. Well, maybe in the future, though, they can use that for some other purpose. Your invention.