My first show with Rudy Winston, a Technical Marketing Consultant for Canon USA, was back in February of 2022 for “Canon Auto-Focus Explained“, so almost exactly 3 years ago. To date, it’s still one of the favorite shows that I’ve done.

I find that as photographers our relationship with auto-focus isn’t always a great one. It’s so easy to say “the camera missed focus”, or “it front or back focused”. The problem is that’s not the case more often than not. Don’t misunderstand me, these issues are real – that’s why micro adjustments exist. Cameras and lenses are not perfect, and the software that runs anything today can have issues, but focus issues often relate to the end user not having the AF system configured correctly, or not understanding how the system really works. That’s how the first show with Rudy came to be, and to say that was popular is an understatement:

To date it’s had roughly: 453,000 views on YouTube, in addition to all the views in the video and audio-only podcast feeds.

But when we recorded that show the R3 was brand new, and it wasn’t widely available. So I used my R5 for the menu examples in that show, and while we did talk about the AF settings unique to the newer R3, I almost immediately had people asking for an updated video. Since then, we’ve seen the R6 Mark 2 and the R5 Mark 2 come out, and again, lots of people have requested an update to cover all of the newer Auto Focus features.

My thing is, it doesn’t make sense to do a video specific to each camera model, there’s too much overlap, so I wanted to wait until the R1 had actually been released – and it was in November of last year, it started hitting stores in Nov of 2024.

So today, we are going to do basically the same thing that we did 3 years ago, we’re going to go through all of the AF menus, and describe every single command and option for you in detail.

For this show I am going to use the new Canon R1 for the menu examples, which needs a little explanation. When I used the R5 last time I had some people complain that I was using a body out of their price range, while others complained I wasn’t using the R3. So, let me try to explain my decision making process…

The higher end bodies have features the lower end bodies don’t – but they also have most, if not all, of the features on the lower end bodies – so to cover as many settings as possible, spanning bodies in all price ranges, the best choice is the higher end body, which today is the R1.

Unfortunately, I don’t own an R1… so a HUGE thank you to Canon USA for getting me one to use for this show.

Now, if you’re not a Canon shooter.. DON’T RUN AWAY!

While we are using the Canon EOS R1 for the examples today, whatever brand you use:

Nikon
Sony
Panasonic
Etc

Most of today’s cameras will have some equivalent to the settings we talk about… AF option names will change between brands, and even between models in the same brand, some may be more or less granular, or in different places in the menus EVEN for the same brands, but understanding these AF concepts will still help you get the most out of your camera, regardless of the brand.

One last disclaimer:

I also had some people comment on the last video that they wished I had inserted some B-Roll showing the features in action through the viewfinder, so you could see the AF moving and changing for something like a person running, or a bird in flight etc.

Thank you to everyone that made suggestions, but again, with this video, I have made an intentional choice to not do that. There’s a few production reasons for that choice, but the biggest thing for me is that I want this video to be as generic as possible. In a perfect world this could be a replacement for the manual, and I’m hoping that you might have your camera in hand as we go through these options and settings, and then, once you better understand them, that you’ll take your camera out and test them yourself to find what works best for your genre and style of shooting.

Join Rudy Winston, Technical Marketing Consultant for Canon USA, and me as we take a deep dive into the amazing auto-focus systems available in the current line of Canon cameras, using the Canon EOS R1 as the example, on this Behind the Shot.

Chapter Timestamps

00:00:00 – Intro
00:01:54 – Disclaimers & Expectations
00:06:57 – Introducing Canon Technical Marketing Consultant Rudy Winston
00:08:01 – Canon R1 AF Menu Tab – Page 1: AF Operations / Area
00:08:30 – AF Operation
00:12:27 – AF Area
00:38:04 – Whole Area Tracking Servo AF
00:41:26 – Canon R1 AF Menu Tab – Page 2: Subject Detection
00:41:37 – Subject to Detect
00:52:57 – Eye Detection
00:55:19 – Register People Priority
01:04:07 – Action Priority
01:10:01 – Canon R1 AF Menu Tab – Page 3: Servo AF Character
01:10:38 – Case: Auto
01:15:24 – Case: Manual
01:15:60 – Tracking Sensitivity
01:17:35 – Accel / Decel Tracking
01:19:51 – Canon R1 AF Menu Tab – Page 4: Customize AF Operation
01:21:53 – Servo 1st Image Priority
01:23:38 – One-Shot AF Release Prior
01:24:55 – Preview AF
01:27:55 – Len Drive When AF Impossible
01:30:03 – AF-Assist Beam Firing
01:34:33 – Canon R1 AF Menu Tab – Page 5: Customized Controls
01:34:47 – Limit AF Areas
01:36:22 – Orientation Linked AF Point
01:40:20 – Limit Subject to Detect
01:41:51 – L / R Eye Detection
01:42:25 – Canon R1 AF Menu Tab – Page 6: MF Related
01:42:38 – MF Peaking Settings
01:47:33 – Focus Guide
01:49:55 – Lens Electronic MF
01:59:44 – Canon R1 AF Menu Tab – Page 7: Various Settings
02:00:10 – Register / Recall AF-Related Settings
02:08:15 – AF Setting Guide URL
02:10:39 – Canon R1 Control Customization Menu Tab – Page 3: Customized Controls When Shooting
02:10:59 – AF Area Selection Control
02:13:37 – Sensitivity – AF Pt Select
02:14:56 – Focus Ring Rotation
02:16:32 – RF Lens MF Focus Ring Sensitivity
02:19:09 – Canon R1 Control Customization Menu Tab – Page 5: Customized Controls – Eye Control
02:39:22 – Listener / Viewer Questions
02:59:06 – My Dual-Back-Button AF Setup
03:06:54 – Outro

Canon USA

Website: usa.canon.com

Ask David Bergman Episode on Dual Back-Button AF

Canon R5/R6 Fast Eye Autofocus Switching: youtube.com

The post Canon Auto-Focus Explained – 2025 Update appeared first on Behind The Shot.

I have strong opinions on what the ASMP has referred to as “Predatory” Releases, and there’s no question that I have an opinion on the message I want to get out on this episode, but, it is my show, so I get to do that.

If you’re not a Music Photographer, and have never heard of photo releases – note that these are NOT model releases – then don’t worry. I explain what they are, and why they exist, in the show. Then I am joined by two other music photographers…

My buddy David Bergman is a Canon Explorer of light, and hosts the show Ask David Bergman on Adorama TV. There are few people I know of that know more about photography than David, from his days shooting for the famed Miami Herald newspaper, to having 13 Sports Illustrated covers, David is a big deal. He has been Luke Combs’ full-time tour photographer since January 2019, and Bon Jovi’s tour photographer since 2010. So glad that we get to benefit from his years of experience in media and music photography for this show. Oh yeah… David’s workshops, like Shoot From the Pit and his upcoming Italy trip, are great chances to hang out and learn photography.

Also on the show we have Montreal based Music Photographer Marie Demeire. I have followed Marie on socials for years, but today is my first time meeting her face-to-face. Known around the net as “Marie Goes To Shows”, she has been published in Complex, EDM.com, Bandcamp, iHeartRadio Canada, Canadian Beats, 99Scenes, Sors-Tu, the MUHC Foundation, Secret Melbourne and BP Arts Media. Having been a fan of her work for years, I am thrilled to be able to get her perspective on this subject.

Join Canon Explorer of Light David Bergman, and Montreal Music Photographer Marie Demeire, as they join me for a serious, and fun, chat about Concert Photo Releases, on this Behind the Shot.

Chapter Timestamps

00:00:00 – Intro
00:03:47 – Overview of Music Photography Photo releases
00:05:08 – Chapter 5
00:08:18 – Getting to Know of Marie & David
00:14:38 – David & Marie’s Overview of Releases
00:24:51 – Common Reasons People Say They Sign a Release
00:37:34 – Replying to Comments from Instagram
00:56:13 – What About the “Cross Out the Parts You Don’t Like and Return It” Argument?
01:09:07 – Anything the Guests Want to Add?
01:18:22 – My Final Thoughts on Concert Photo Releases
01:21:58 – Speed Round Q & A
01:25:41 – Marie and David’s Photographer Picks
01:26:51 – Where to Find My Guests?
01:28:26 – Outro

Connect with David Bergman

Website: davidbergman.net
Italian Riviera with David Bergman: trovatrip.com
Instagram: @davidbergman
Facebook: @DavidBergmanPhoto
X / Twitter: @davidbergman
LinkedIN: @davidbergman

Connect with Marie Demeire

Website: tinyurl.com/mariegoestoshows
Instagram: @mariegoestoshows
X / Twitter: @mgoestoshows

David’s Photographer Pick

Aubrey Wise: aubreywisephoto.com | @aubreywisephoto

Marie’s Photographer Picks

Susan Moss: susanmossphotography.com | @susanmossphotography

ASMP Article

Predatory Contract Clauses: Music Edition: asmp.org

Copyright for Photographers

Playlist on YouTube: Music Edition: YouTube.com/@behindtheshot

The post Concert Photography Photo Releases appeared first on Behind The Shot.

Their idea was that we do a show on podcasting – a casual chat about how we got started, the ups and down, and why we still love doing our shows. We would record the show as a video, even though He Shoots, He Draws is normally audio only, and then we would each release the same show, on the same day, on each of our podcasts. I loved the concept as soon as I heard it, and the chance to do a show with these two friends made it even better.

I have had the honor of being on both Kersten’s and Dave’s podcasts. I was the guest on Episode 93 of He Shoots, He Draws, and I have been on the Camera Shake Podcast twice, for Episode 134: How To Take Great Music Photos,  and on Episode 178 talking about how to Instantly Improve Your Photos, plus I was recently on Kersten’s live streamed Coffee Time.

For today’s show we went pretty long, it’s tough to stop when you’re just having a fun chat with friends about a topic you love.

Join podcasters Kersten Luts of the Camera Shake Podcast, and Dave Clayton of the He Shoots He Draws Podcast, as they join me for a joint show – available on all of our shows – talk about podcasting, poor audio, the Royal Family, and birthdays, on this Behind the Shot.

Connect with Kersten Luts

Website: kerstenluts.com
Instagram (Personal): @kerstenluts
Instagram (Three Heads In A Row): @threeheadsinarow
Facebook: @kerstenlutsphotography
X / Twitter: @kerstenphoto

Camera Shake Podcast

Website: camerashakepodcast.com
YouTube: @camerashake
Instagram: @camerashakepodcast
Facebook: @camerashakepodcast
X / Twitter: @ShakeCamera

Connect with Dave Clayton

Website: itsdaveclayton.com
Instagram: @itsdaveclayton
Facebook: @itsdaveclayton
X / Twitter: @itsdaveclayton
LinkedIN: @daveclayton

He Shoots, He Draws Podcast

Website: heshootshedrawspodcast.simplecast.com
YouTube: @heshootshedrawspodcast3209
Instagram: @heshootshedraws
Facebook: @heshootshedraws
X / Twitter: @heshootshedraws

The post 3 Guys Walk Into a Podcast appeared first on Behind The Shot.

That got me thinking that maybe some gift ideas might help some people. All of the things I mention in this show will make great gifts for the upcoming holidays, but if you watch this after the holidays don’t worry! These gifts are timeless.

In this show I break down some suggestions into categories as follows:

• • Software
  • Hardware
  • Accessories
  • Services
  • Store Suggestions

In some cases, where I don’t have a preference or the experience with a particular product, I may mention a gift idea without making a specific product suggestion. Mainly, I want to pass on things that I know, use, and / or just like.

Lastly, none of the links below are affiliate codes! I make nothing off any purchases made through these links, but do note that I do have some discount codes on this site.

Hopefully these suggestions will make shopping for the photographer, videographer, podcaster, or general creative in your life easier.

Software:

Adobe Photography Plan

CaptureOne

Photo Mechanic

Nik Collection by DxO

Topaz Bundle

Ecamm Live Subscription

Backblaze Backup

Hardware:

MICS:

Shure SM7B

Shure MV7

Heil PR40

Video Mics from Rode or Deity

INTERFACES:

Shure X2U

Sound Devices MixPre 3 II

LIGHTING:

El Gato Key Light

Aputure MC RGB

FJ Westcott Flashes, Modifiers & Backdrops

Nanlite Products

STORAGE:

Synology NAS

External or Portable HDD – Lots of option available

VIDEO:

Black Magic Design ATEM Mini

Accessories:

BAGS, BELTS & STRAPS:

Think Tank

Black Rapid Straps

MISC:

Zeiss Lens Wipes

El Gato Stream Deck (Sm, Reg, XL or the new Stream Deck +)

Platypod – (Discount Code Here)

Custom Ear Plugs – Ultimate Ears

Services:

LensRentals.com – (Discount Code Here)

KelbyOne Membership – (Discount Code Here)

Creative Live Membership – (Discount Code Here)

PHLEARN Membership – (Discount Code Here)

Shoot From the Pit with David Bergman

Store Suggestions:

B & H Photo & Video – Deal Zone

Adorama

DVE Store

The post Photo, Video & Audio Gift Ideas appeared first on Behind The Shot.

Lightroom has had masks for a while, but a few recent updates have really taken them to the next level. On this episode I want to share how I use the latest features in Lightroom to help shape the light in my images.

The basic premise of this is something I used to do with radial filters, and I talked about this back in January, 2021 on the TWiT Network’s Hands on Photography show, episode 62, hosted by my buddy Ant Pruitt. A viewers eye is usually drawn to the brightest spot in an image, and sometimes to the most saturated spot. The idea with this technique is to create more depth in the image, by editing the subject separately from the environment they are in. By doing this you can make sure that not only is the subject the brightest, or at least from the point of view of what a viewer will focus on, but that the background falls back in the scene even more.

If you’re not familiar with dodging and burning, it’s a technique carried over from the old darkroom days, where you would darken or lighten various parts of an image to create depth. By sculpting the tonal variances you can shape a subject’s face, or accentuate the rolling hills in a landscape. Traditionally this is done by simply changing the exposure in parts of the image, and Lightroom has adjustment brush effect presets that do just that, with the burn option defaulting to an exposure of -30, and the dodge preset starting at +25.

There is also a technique available for dodging & burning using luminance masks, a feature I found in a video from Serge Ramelli called “the best kept secret to Dodge and Burn in Lightroom”. I haven’t used this method myself, but it does look interesting.

What this original concept of dodging & burning is missing is the fact that modern editors, like Lightroom, have many more adjustments available than just exposure. We now have sliders available for contrast, highlights, shadows, whites, and blacks. We even have contrast based tools like texture, clarity, and dehaze. When you add saturation and noise to the mix, a Lightroom adjustment brush, or other masking tool, gives you what I call “Dodge & Burn +”.

Today I am going through six of my images. For five of them I will show you the straight-out-of-camera shot, and my final basic crop and edit. Then, I will show you how I add my version of a mask, using a preset I like for my concert shots. My settings may, or may not, work for your type of photography, but it will at least get you started. For most images my preset is just a starting point, and I do change it a little to fit what each shot needs. On the sixth image I will start with the straight-out-of-camera version and show you how I might process it from scratch, start to finish.

For many, if not most of my images, this technique is enough for me to consider the image done. I should note however that for critical client images, or portfolio shots, I will usually finish my images with a few techniques I love in Photoshop. If this show does well, maybe I will do more like it, and share those finishing touches as well.

Join me as I walk through how I use one of my favorite Lightroom techniques to add depth to an image. It’s “Dodge & Burn +” with masks in Lightroom on this Behind the Shot.

Connect with Steve

Portfolio: stevebrazill.com
Instagram: @stevebrazill
Twitter: @stevebrazill

Links Mentioned in the Show

Hands on Photography: twit.tv
Serge Ramelli’s Video on Luminance Masks: youtube.com

The post Dodge & Burn + appeared first on Behind The Shot.

I recently did a special episode taking a detailed look at the current Canon Auto-Focus systems, and now it’s time to do the same for the Nikon users.

As I explained in the first show in this series, my relationship with auto-focus systems hasn’t always been a great one. Like most photographers, it’s so easy to say “the camera missed focus”, or “it front or back focused”. The problem is that’s not the case more often than not. Don’t misunderstand me, these issues are real. Cameras and lenses are not perfect, and the software that runs anything today can have issues, but focus issues often relate to the end user not having the AF system configured correctly, or not understanding how the system really works.

Cameras today are complex electronic systems, and for many end users the process of customizing the AF systems is a daunting task. This results in many users leaving the camera at it’s default settings, and while for many that may end up working, with a bit of customization these AF systems are capable of amazing speed and accuracy.

Camera manuals are written by people that already understand the tech involved, and as “plain English” as they try to be, there just isn’t enough detail in the text to make the menu options useful to many end users. My goal with these two shows is to demystify the camera AF system options available to you.

For this show I am joined by Mark Cruz, a Senior Manager, Product Digital Cameras with Interchangeable Lenses (DCIL) at Nikon USA. Mark is responsible for bringing new digital imaging products to market, including the latest Nikon Z series mirrorless cameras and NIKKOR Z lenses. He also helps manage marketing and educational efforts for Nikon products across a variety of platforms and social media channels. Previously he was a Senior Technical representative for Nikon Canada, responsible for spearheading business development through technical sales and services. In 2019, he moved to the U.S. to join the Marketing department at Nikon USA.

Together we are going to go through the auto-focus menu options available to you to better customize the AF system for your shooting style and needs. Our example camera for this show will be a Nikon Z9, and while you may have a different camera body, most of the options will apply to most of the current Nikon mirrorless lineup. For those that use older Nikon DSLRs there will still be some overlap to help you, and if you use non-Nikon gear it’s my hope that the concepts we discuss will help.

Join Mark Cruz, a Senior Manager, Product Digital Cameras with Interchangeable Lenses (DCIL) at Nikon USA, and me as we take a deep dive into the amazing auto-focus systems available in the current line of Nikon cameras, using the Z9 as the example, on this Behind the Shot.

Nikon USA

Website: nikonusa.com
Instagram: @NikonUSA
Facebook: >@NikonUSA
Twitter: >@NikonUSA
YouTube: >@NikonUSA

Connect with Mark:

Instagram: @summacruzlaude

Mark’s Photographer Pick

Andrew Hancock: andrewhancock.com | @hancockphoto

Thanks to Troy Miller for letting me use your Z9:

Website – Business: imageryconcepts.com
Instagram – Business: @imageryconcepts
Website – Personal: spicyjello.com
Instagram – Personal: @spicyjello
Instagram – Personal, BW: @spicyjello_bw

The post Nikon Auto-Focus Explained appeared first on Behind The Shot.

This is a show I have been wanting to do for a very long time. My relationship with auto-focus systems hasn’t always been a great one. Like most photographers, it’s so easy to say “the camera missed focus”, or “it front or back focused”. The problem is that’s not the case more often than not. Don’t misunderstand me, these issues are real. Cameras and lenses are not perfect, and the software that runs anything today can have issues, but focus issues often relate to the end user not having the AF system configured correctly, or not understanding how the system really works.

When I upgraded my system years ago I moved to the Canon EOS 5d mark IV. I loved that camera, and in fact it’s still in use as the webcam for every show I do. But the first copy I received seemed off. I would be shooting an outdoor concert, with plenty of light, and the camera would nail focus on a singer mid-jump. When that same singer stood still at the mic the 5D IV would miss shots by a lot. I was sure it was the body, so I sent it back and got a new one, only to have the issue still happen. Clearly this wasn’t the camera, Steve.

I loved the images this camera produced too, as they had so much more richness, depth and texture than the 5D mark III, but it wasn’t useable if I couldn’t figure out what I was doing wrong, or if I was doing anything wrong. A friend of mine that does work for Canon at trade shows – he’s one of the guys behind the booth helping attendees look at the gear – introduced me to Rudy Winston, a Technical Advisor in the Product Planning Dept. for Canon USA. I emailed my issue to Rudy, along with sample images where Canon’s DPP software would clearly show the AF was in the right spot. Rudy, to my surprise, sent me more info than I could have ever imagined. He sent a detailed description of the AF Case modes, and what all those settings meant. So much of what he said seemed to be missing from the public AF conversation. I had already looked up everything I could find, and yet never heard things described with such detail.

Fast forward to today and I recently had someone ask me via an Instagram DM about the R5 AF settings. They were coming from the 5D mark IV, and the settings were different enough to be confusing for them. Instantly Rudy popped into my mind.

Luckily for us, Rudy has agreed to go through the entire Canon EOS R5 AF menus in detail, to help us better understand the options available. While I am using the R5 in this show for the example, obviously, most of the info will apply to the Canon auto-focus system as a whole.

Join Rudy Winston, a Technical Advisor in the Product Planning Dept. for Canon USA, and me as we take a deep dive into the amazing auto-focus systems available in the current line of Canon cameras, on this Behind the Shot.

Canon USA

Website: usa.canon.com

Rudy’s Photographer Pick

Anthony Neste: anthonynestephotography.com

Ask David Bergman Episode on Dual Back-Button AF

Canon R5/R6 Fast Eye Autofocus Switching: youtube.com

Transcript: U.S. English

Whisper Generated English Transcript (Won’t be 100% accurate):
Canon Auto-Focus Explained Transcript | Canon Auto-Focus Explained Segments

The post Canon Auto-Focus Explained appeared first on Behind The Shot.

I decided to reach out to my friends with contacts at Canon about doing a live streamed technical Q&A chat, something that could help clarify the differences in the bodies and answer some of the questions people had been asking me.

I was able to get Drew MacCallum, Advisor, Technical Information at Canon USA, to do a live stream with me over on YouTube. Check it out, and I hope we were able to answer some, if not all, of your questions.

Canon Links

Canon USA: usa.canon.com
R5: Canon EOS R5
R6: Canon EOS R6
RF800mm: RF800mm F11 IS STM
RF600mm: RF600mm F11 IS STM
RF100-500mm: RF100-500mm F4.5-7.1 L IS USM
RF85mm F2 Macro: RF85mm F2 Macro IS STM
Extender RF1.4x: Extender RF1.4x
Extender RF2x: Extender RF2x
imagePROGRAF PRO-300: imagePROGRAF PRO-300
July 9, 2020 Press Release: Canon Officially Announces The Canon EOS R5 and R6

The post Canon EOS R5 & R6, and RF Lenses appeared first on Behind The Shot.

Originally I was using my small Gitzo Traveler Tripod, but the legs were a hazard so this year I made a change. The system starts with a Benro A48FDS6 Series 4 Aluminum Monopod with 3-Leg Locking Base and S6 Video Head. I had been looking for a 3-Leg Monopod for awhile, and then this one came up on the B & H Deal Zone. If you’re not familiar with the B & H Deal Zone you are missing out. Every day they have a few products at a huge discount, for 24 hours only. I almost didn’t buy this because it came with a large video head, something I have very little use for, but once it arrived I was very happy. The bag is very wide at the top, for the video head I leave at home, and that means I can keep a lot of the mobile system assembled in the bag!

For audio recording I use a Zoom H6. Honestly, I wish I had a Sound Devices MixPre-3 II, but this works well in this design. I pair it with a case I found on Amazon that velcros around the top of the monopod. One key with this setup is that I mount the H6 upside down. Because the VU meters on the H6 are angled I have issues seeing them if I mount it with them at the bottom. With it upside down I can easily see them. It helps to have some basic headphones too so that you can monitor the H6.

For recording sound I use two Rode Wireless Go Mics. Since the H6 uses XLR inputs I use the Movo XLR to 3.5mm adapter. I originally used the Rode adapters, but the 3.5mm plugs on both of them were loose from the day I bought them. These Movo’s work great. I have had a few issues in this area with distortion. My thought was that the levels were clipped, but the waveforms were clearly fine, and in fact below -5 db. In doing some testing it seems the built-in Rode Wireless Go mics do not perform as well as I had hoped in rooms with a lot of noise. The omni pattern picks up a ton of the room, and the vocal gets weird at times. This has not happened a lot, but enough that I want to mention it. To get better sound I use two Audio Technica AT831 cardioid wired lavs from The Sound Professionals. I love the service I got from these guys. With these, I can use the Rode as a body pack and get a better quality of sound and a tighter pickup pattern.

On top of the monopod is a Desmond DAC-60 monopod / tripod head with an Arca Swiss plate. This allows quick mount and removal of the camera, phone and light.

Mounted to the plate is a Osmo Pocket and Phone Holder from PGYTECH. This holds my iPhone 11 Pro and Osmo Pocket. This is also where some flexibility comes in, with three basic setups. 1) You could just use the phone! The camera on the iPhone 11 Pro, or any modern phone for that matter, is pretty good. In the right light it even beats the Osmo Pocket. 2) You can use the phone connected to the Osmo. This is great when you have help with you, because they can use the phone as a monitor as you are in front of the camera. 3) If you are on your own however you can have just the Osmo Pocket mounted and pair it with the wireless base. Once the phone is connected wirelessly you can be in front of the camera and still have a monitor and control system in your hand! Personally, I designed the system with the Osmo Pocket instead of the phone for two main reasons. First of all is the power of the Osmo. The tracking system is great because you can wirelessly use the phone, walk in front of the camera, and drag a tracking box on your own face. That way if you move it will follow you. The second reason is safety. When I am on my own I am afraid someone will walk by, while I am on camera, and grab the system and run away – with my phone. Yeah, I will be upset if someone does that and I lose the Osmo, H6 and the rest of the gear, but at least I will have my phone to call home and cry. One thing I forgot to mention in the video is that I use the Osmo Pocket to shoot B-Roll as well, like walking through a conference, but I add a Freewell Wide Angle Lens so that the walking footage is a different field of view than the interviews.

The last piece of gear is a light I put into the cold shoe. Any light will work here. There is one other thing I wanted to mention. If you have the OSMO Pocket USB-C to 3.5mm Mic Microphone Adapter you can run one of the Rode mics straight into the Osmo Pocket, and if you have a 3.5mm Y Adapter you can actually run both mics into it! (A huge thanks to my friend Jefferson Graham for that tip) If you don’t need a light the clip on the Wireless Go is designed to slide right into the hot shoe.

That’s the setup. I am enjoying it, and I hope this helps those looking for a portable video interview setup.

Gear from the Show

Benro 3-Leg Monopod with Video Head
Zoom H6
Osmo Pocket
Rode Wireless Go
Desmond DAC-60 Monopod / Tripod Head
PGYTECH Osmo and Phone Holder
JJC Portable Case Accessories for Zoom H6
Movo XLR to 3.5mm Adapter
Audio Technica AT831-SP Wired Lavs
Freewell Osmo Pocoket Wide Angle Lens

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WPPI is held at Mandalay Bay, and it’s a great venue for a number of reasons.  The classes, workshops, and photowalks cover a variety of subjects, from wedding, to posing, lighting, and business practices. This conference gets a great selection of instructors, and in past years there were some things that I was not a fan of, but this year was pretty solid. When I went into Peter Hurley‘s class I was expecting to stay for just a little bit to audit the class, but I ended up staying for the whole class. I had seen Peter present a number of times at places like Photoshop World, and I thought I knew what to expect, but I was wrong. This workshop was very in depth, with amazing tips, advice, and immediately usable techniques. Plus, Peter shared a number of special WPPI deals on some of the gear he uses. My favorite part was that he stressed that you can shoot headshots without buying the same gear as he uses. So often I see instructors just push their gear, but here I saw Peter really trying to help the audience, regardless of their gear or budget. I kinda want to sit through this class again.

As always with these kind of shows, some of the best presentations are on the expo floor. Every major vendor has speakers, from Canon to Nikon, to Westcott and more. Peter Hurley also did a fantastic presentation at the Canon booth, along with Canon Explorers of Light Lindsay Adler, Joel Grimes, wedding photographers Bob and Dawn Davis and more. I could spend every day just walking around the expo.

This year’s Expo felt smaller, and with the wide aisles it felt emptier. For me that made the conference more comfortable, but I can see that some vendors may not have liked it. The wide aisles meant that people just walked by the booths, when they may have stopped if the aisles were narrower. The vendor selection was varied enough, but not as wide as past years.

As I mentioned above, the best part of any conference is the networking, and WPPI is no exception. I had the opportunity to run into a number of old friends, hang out with some great talent, and make new friends. If for no other reason go to WPPI for the social aspect. I have known Sharky James of the PetaPixel Podcast and Sharky’s Show for years, but WPPI this year was our first meeting. Same with Skip Cohen of Skip Cohen University. Skip does a few podcasts too, like Beyond Technique and Mind Your Own Business on the Photofocus network. I was also introduced to Erin Holmstead, and wow…. her work is awesome, plus she writes for Photofocus. I even ran into Brett Stanley, who was a guest on the show a few years ago. I even ran into the man himself, Scott Kelby at the Rocky Nook booth.

This year I spent most of my time at the Canon booth chatting about the new EOS R, the EOS 1DX mk ii, and the recently announced R5. Unfortunately the R5 – a body I think I will want – was locked up under glass. Still, meeting Lindsay Adler, Joel Grimes, Peter Hurley, Terrell Lloyd, Bob and Dawn Davis, Roberto Valenzuela, Peter Read Miller, and more made the time well worth it. It’s interesting to see how these pros see the current line of products.

Join me on this special Behind the Shot as I look back at the 2020 WPPI Conference and Expo, and talk to a few of the attendees.

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