00:00-00:04 Today, it's a detailed look at the Canon autofocus system settings, and if you're 00:04-00:10 not a Canon shooter, do not run away. We're going to be using my EOS R5 as the example 00:10-00:16 today, but here's the deal. Whatever brand you use, Nikon, Sony, Panasonic, etc. The 00:16-00:21 AF options that you're going to see are going to change between brands. In fact, often they'll 00:21-00:26 even change within a brand between actual models within that brand. But most of today's 00:26-00:31 cameras are going to have some kind of equivalent to the settings that we're going to be talking 00:31-00:36 about. Some of them may be more or less granular than the ones that we talk about, but if you 00:36-00:42 understand these AF concepts, it's still going to help you get the most out of your camera's 00:42-00:50 AF system. This is Behind the Shot. 00:50-00:54 Hi, welcome to Behind the Shot. I'm Steve Brazill. This is the show where normally we 00:54-00:58 get inside the mind of a great photographer by taking a closer look behind one of their 00:58-01:03 shots. Today's a little bit different. This is an episode I've been working on for a long 01:03-01:07 time. I am so excited for this because it's one of those topics that is near and dear 01:07-01:11 to my heart, and you'll understand why as I get a little bit more into the show. Just 01:11-01:17 want to remind you that the show notes for today, they are available at BehindTheShot.tv, 01:17-01:20 or if you're watching on YouTube, they're also down in the comments and notes section 01:20-01:25 on YouTube. I've got a lot I want to get through today, so I'm going to jump right into today's 01:25-01:30 guest. Today's guest is a technical advisor for the product planning department at Canon 01:30-01:34 USA, Mr. Rudy Winston. How are you, sir? 01:34-01:39 Oh, Steve. I'm doing fine. A pleasure to be with you today. 01:39-01:43 I'm glad to have you here. You and I have been going back and forth on this since probably 01:43-01:49 early December, getting this arranged, getting schedules working, getting people signing 01:49-01:54 off on us doing this show, and I'm so glad that you're here. I actually, I want to tell 01:54-02:01 this story of how I originally found you and something that you did that still to this 02:01-02:06 day, I don't know if I've ever told you this, still to this day, I consider above and beyond 02:06-02:10 what almost anybody has ever done when I've asked somebody a technical question. 02:10-02:17 We have a mutual friend, Robert Fletcher. Robert works, he's not a Canon employee, but 02:17-02:22 he's one of the guys that's behind the booth at trade shows. When you walk up to the Canon 02:22-02:27 booth and you're looking at this glass case of every Canon lens and every Canon body, 02:27-02:33 and you've got technical questions, and I always thought Robert knew everything about 02:33-02:40 Canon. And one day I changed from my old 7D, original 7D, and I bought a 5D Mark III, and 02:40-02:45 then I bought a 5D Mark IV. And when I got the 5D Mark IV, I was having issues with it. 02:45-02:54 AF issues, where a singer that was jumping around the stage, I'd pull focus with no problem. 02:54-02:59 That singer would stand at a microphone, not moving, and I'd miss focus. And I'd pull those 02:59-03:05 shots up in DPP, a digital photo professional, the Canon software. And the reason I like 03:05-03:10 that software, and I almost never use it except for this feature, it shows me the AF point 03:10-03:14 location and a color on whether it locked that AF point or not. And that's valuable 03:14-03:20 for troubleshooting. And it would show the AF point on their eye. So I reached out to 03:20-03:24 Robert and said, "Robert, I don't understand. My 5D Mark III is doing better at AF. The 03:24-03:28 5D Mark IV pictures blow it away. There's like a depth and a richness to it that was 03:28-03:33 like nothing I'd seen." And he goes, "You know, I don't know. Let me put you in touch 03:33-03:41 with my buddy, Rudy. He's the one guy at Canon that knows everything." So to wrap this up 03:41-03:46 as quick as I possibly can, I'm thinking, "Okay, I send the description I just gave 03:46-03:51 to Rudy with one of the pictures." And I'm thinking, "This guy works for Canon. He's 03:51-03:55 busy. He's going to send me back a sentence or two, change this," or not sure I'd have 03:55-04:01 to have the camera in my hands or something. Rudy sent me back, I don't even know if you 04:01-04:06 remember this, because this was three, four years ago, probably. Rudy sent me back an 04:06-04:16 email. I kid you not, was two pages long of a detailed description of what all the different 04:16-04:22 autofocus cases that the 5D Mark IV had, why I had mentioned I was thinking of using case 04:22-04:27 four, should I be using case... No, no, no. Don't use that one. Use four, five is for 04:27-04:32 this. I don't want to get into that now because we're going to get into it during the show, 04:32-04:38 what the cases are. But explain to me why I would want case A over case B. And then 04:38-04:44 I said, "I'm using AF point expansion. My understanding is that it does this." He goes, 04:44-04:51 "Nope. This is what it does." And at that moment, I knew to myself, "This is a show." 04:51-04:56 And I am so glad that you're here now. And to set up you, you've been with Canon a long 04:56-04:58 time, right? 04:58-05:01 Exactly. Exactly. 25 years. 05:01-05:08 25 years with Canon. Here's what I want to understand. You're a technical advisor. Explain 05:08-05:13 what that is. I think of you as almost an engineer there. 05:13-05:18 Well, I want to make clear right from the get-go, I am not an engineer by training or 05:18-05:25 vocation. Engineering on our products is done by people a lot smarter than me over in Japan. 05:25-05:33 What I do, I have a role where I wear many hats, but a large part of what I do is interacting 05:33-05:37 with our customers just as I did with you. And it's a part of my job I actually very 05:37-05:46 much enjoy, helping customers get clarity on what's an increasingly complex set of operations. 05:46-05:52 And that is just simply working modern digital cameras, first SLRs and now, of course, into 05:52-05:56 mirrorless, especially when we get into the high-end mirrorless products. So that's part 05:56-06:07 of what I do. I act within the walls of Canon. I create a lot of marketing materials, especially 06:07-06:13 when they have to be sort of technical in nature. Myself and a team of people help bring 06:13-06:19 new products into the marketplace. That is to say, we help make sure that the Canon marketing 06:19-06:24 team kind of knows what a new product is going to do and that kind of thing. So it's a fun 06:24-06:27 job with a lot of, like I said, we wear a lot of different hats. I've only scratched 06:27-06:32 the surface of the variety of things that cross my desk in the course of a week or whatever, 06:32-06:37 but it's a lot of fun. And this is one of the things I like the best is being able to 06:37-06:43 kind of get out of the office in air quotes and interact with our customer base and people 06:43-06:44 like yourselves, Steve. 06:44-06:48 Well, it's interesting the way you just described that, because as you're saying that, I'm thinking 06:48-06:56 to myself, he's the glue. You're the connective tissue in a way between, I'm in IT from a 06:56-07:01 history point of view. And in tech, we always joke about the fact that the last person that 07:01-07:06 should be writing a manual is an engineer, but the engineer is the only one who knows 07:06-07:10 how to write the manual. And that's why we all joke that manuals are so technical, people 07:10-07:15 can't understand them. But you're kind of the glue, that connective tissue between those 07:15-07:22 super technical people that maybe engineer the products and create the products and the 07:22-07:23 consumer. 07:23-07:27 Because when you sent me those emails and I'm technical, I've got a strong technical 07:27-07:33 background and yet still, I was amazed at how down to earth, how real you were able 07:33-07:41 to communicate technical concepts. I did not know you're a photographer too. Your love 07:41-07:44 of photography started when you were young. I think you were six years old according to 07:44-07:51 your bio and it was a six week trip to Europe. What do you photograph? 07:51-07:57 I like to photograph lots of things. I want to make clear, I'm not a professional. There 07:57-08:03 was a time before I came to Canon where I was shooting professionally. But now, most 08:03-08:09 of the shooting I do is either to test and evaluate gear or to just simply for myself. 08:09-08:16 I love to travel. I love to just walk around in cities and simply see things, especially 08:16-08:22 with a different lens. And what I mean is something either real wide or real long. It 08:22-08:25 doesn't mean everything has to be shot with like the new 800 millimeter lens we just announced. 08:25-08:26 That's not what I mean. 08:26-08:30 I was literally just going to follow up and go, please tell me you've held the eight or 08:30-08:31 the 1200 millimeter. 08:31-08:37 I've held them. I haven't taken them out and actually tried to take real photographs with 08:37-08:42 them in the middle of New York City or whatever. But I enjoy doing that. I have a background 08:42-08:45 in shooting sports. And while I don't do a lot of that these days, it's still something 08:45-08:50 I very, very much enjoy. Even just bringing a camera with a telephoto lens to a high school 08:50-08:54 game is something I find a lot of fun. 08:54-08:59 And in the last few years, I've gotten into photographing models, male and female. And 08:59-09:04 it changed gears for me a bit because until then, a lot of the shooting I had done had 09:04-09:12 been basically at its heart, candid type shooting, where I was reacting to what was happening 09:12-09:17 in front of me. Obviously, sports is by nature that way. But even in a lot of the travel 09:17-09:22 and city type stuff I do and so on, that's kind of the way I worked. Working with models, 09:22-09:27 it's more you're creating the picture, even if you're not getting into very precise posing 09:27-09:31 and that kind of thing. So it's opened up some new doors for me. And I very much enjoyed 09:31-09:32 that too. 09:32-09:37 So in your bio, it mentioned something I want to touch on really quick. I just hit my mic. 09:37-09:42 If those of you listening on audio, if you heard that, that was Steve. Your bio listed 09:42-09:49 three of your favorite lenses and two of them I have not shot with. One of them is my favorite, 09:49-09:54 one of my favorite lenses. Actually, I've shot with a version of it. So the RF100-500, 09:54-09:59 I know so many people who love that lens. David Bergman likes the lens. Rick Salmon 09:59-10:07 likes the lens. The EF100-400 IS, which is kind of the EF equivalent of the RF100-500. 10:07-10:15 And then the 14-35. Now, in your case, it's an F4. In my case, it's the 15-35 F2.8. But 10:15-10:23 man, the wide EF glass is just amazing. If you could, if there was a lens that you don't 10:23-10:30 own that you really wanted and is not one of these three, what would be your all-around 10:30-10:35 lens? Like for somebody just to use all the time, like I've always liked the 24-105. What 10:35-10:40 would be your favorite single? You're on a desert island. You can't have any other lens. 10:40-10:41 What would it be? 10:41-10:53 Whoa, that's a good question. One of each. Yuck, yuck. Seriously. I might still go with 10:53-11:02 something ultra wide. Obviously, a 24-105 or something similar covers a lot more general 11:02-11:08 bases. I know most people would probably feel more comfortable with that. I love a 24mm 11:08-11:14 for what it does visually on a full-frame camera. But over the years, this is nothing 11:14-11:21 new with the R system lenses. I've really gotten acclimated to what you can do with 11:21-11:27 ultra wide. If you dropped me in the middle of Paris for a week and said, "You can only 11:27-11:37 have one lens, knock them dead out here," something ultra wide, the 15-35, the 14 I 11:37-11:42 mentioned. I know you said something other than what I mentioned. Maybe even, oh, this 11:42-11:49 is going out on a limb. Maybe even the 16mm F2.8. It's a $299 lens. A lot of people just 11:49-11:53 look right by it. 11:53-11:56 That's the almost pancake version, right? 11:56-12:05 Right. It's a very lightweight, compact lens. It's not a fisheye. It's a rectilinear lens. 12:05-12:10 It's actually quite sharp. I'm not saying it's an L lens, but its performance is pretty 12:10-12:18 good. Anything you take looks different than it does to the naked eye. That's something 12:18-12:22 I've always liked in photography when you can do that. We all got our different routes 12:22-12:23 of getting there. 12:23-12:28 Part of the reason I love that 15-35. Now, in the EF side, one of my favorite lenses 12:28-12:35 was the 16-35 Mark III. That lens was amazing, tack sharp, not edge to edge because none 12:35-12:41 of the EF class really was edge to edge. With the RF, you go a little bit wider, 15. It's 12:41-12:47 pretty much rectilinear, which is really, really needed that wide. You get to 35. I 12:47-12:52 use it at shows all the time when a singer or a guitarist sticks themselves right in 12:52-12:54 front of my lens. 12:54-13:00 In the 25 years you've been doing this, AF systems have changed drastically, really a 13:00-13:07 lot. I mean, in 25 years, we've actually gone to AF as opposed to just manual. Is there 13:07-13:15 any commonly misunderstood aspect of today's AF in your experience that an average consumer 13:15-13:22 hits? Like a major, one major misunderstanding, misconception? 13:22-13:31 That's a real good question. That's a real good question. I guess the short answer is 13:31-13:43 yeah, there are lots of them. I think nowadays, right now in 2022, as photographers, we have 13:43-13:47 an embarrassment of riches, regardless of what camera system we use. I'm speaking about 13:47-13:53 Canon, but the same as you said earlier, would apply to other competitive systems as well. 13:53-13:59 The degree of focus control and focus settings that we have, I guess that's part of the reason 13:59-14:09 I'm here today, has gotten so extensive that I think if there's one thing, it's that a 14:09-14:17 lot of photographers tend to overthink it and try... It's understanding what's on the 14:17-14:24 menu, what all your options are, is a great thing. I'm not down on that at all, but sometimes 14:24-14:32 we tend to just start reaching for stuff and it isn't... I shouldn't say it isn't help, 14:32-14:37 that's not the right way to put it, but it's exacerbated maybe by the fact that there is 14:37-14:44 so much online information that anybody can go online and say, "Oh, I shoot birds and 14:44-14:50 I did this." Maybe it was exactly the way the engineers intended for it to be used in 14:50-14:55 that application. Maybe they're totally off base, but it just happened to work. It can 14:55-15:01 get so darn confusing. I used to do more seminars in the field. That's something I missed since 15:01-15:07 the pandemic. One of the things I always try to tell people is understand your options, 15:07-15:14 but start at the beginning. Don't try to do everything at once in terms of layering on 15:14-15:20 all kinds of features and customization and stuff. Take it a step at a time. You got to 15:20-15:21 crawl before you can run. 15:21-15:26 And I will say, when I first met you and I had the issue and I started customizing settings, 15:26-15:30 I was able to customize some things, but being able to start from a base point, it's one 15:30-15:36 of the reasons I like the fact that the Canon systems have those cases, which are... For 15:36-15:40 those of you that don't shoot Canon, if you're a Nikon or a Sony shooter, I should probably 15:40-15:44 explain cases and I will more as we get into them, but cases are basically... Think of 15:44-15:48 them if you ever go into Lightroom and use a preset, that's really what it is. It's three 15:48-15:53 main settings for each particular case that are preset up to different settings to react 15:53-15:58 differently to different scenarios. And I think those are going to come in pretty heavy, 15:58-16:02 those customizations when we get to viewer questions. I put out on Twitter and Instagram, 16:02-16:07 "Look, I'm doing this show with Rudy, and if you've got any questions on the Canon AF 16:07-16:13 system, send them out to me." And wow, just they flooded in. So I chose a couple of them 16:13-16:18 and I'll have those at the end because my feeling is we'll probably answer some of them 16:18-16:23 during the normal course of this, but I do have those at the end and we'll do that. 16:23-16:27 I do want to remind everybody really quick here that the normal shows, this show and 16:27-16:31 the ones where I normally have a photographer on talking about a shot and why they made 16:31-16:36 the choices that they did, Behind the Shot is available wherever you get your podcasts. 16:36-16:42 It's available in audio format only or video format. I primarily approach the show as a 16:42-16:46 video show because we are usually talking about a photograph. It helps if you can see 16:46-16:51 it, but about 50% of the audience listens audio only. As well, if you don't listen to 16:51-16:57 podcasts in a podcast app, and I want to stress, in podcast apps, if your app supports video 16:57-17:02 like Apple Podcasts, you can get a video version or the audio only version. If you don't have 17:02-17:06 an app that supports video, you can head on over to YouTube. The podcast is up there as 17:06-17:07 well. 17:07-17:11 And I do also want to just take a minute to thank my friends over at DVE Store for the 17:11-17:17 HD video. You can visit dvestore.com for your digital video equipment needs. And I probably 17:17-17:21 should also mention I've got a workshop coming up. At the time we're recording, this is end 17:21-17:28 of February, and I do workshops for princetonphotoworkshop.com. And if you want to check out the workshops 17:28-17:32 I've got going on there, I've got an action photography workshop. It kind of uses my music 17:32-17:37 and sports photography as examples, but we talk about all kinds of things, pretty much 17:37-17:41 anything that you might want action, head over to princetonphotoworkshop.com and you 17:41-17:43 can find all the details there. 17:43-17:48 Which brings us into the conversation that we're going to have today. Here, my plan, 17:48-17:52 Rudy, and tell me if there's a better way to do this. I'm going to go through the actual 17:52-17:59 camera settings. Like I say, I've got my, my R5 here ready to go. And, uh, I just want 17:59-18:05 to go through page by page on these settings and have you described to us what they are, 18:05-18:09 what they mean. And if I've got any questions on them, we'll kind of pull that up, uh, for 18:09-18:15 us as well. So first of all, this is AF menu setting number one. And just so people know, 18:15-18:21 this is the R5 it's set up from a show 1600 ISO 2.8. I've got a 24 to 70 on here and one 18:21-18:25 five hundredth of a second. And you can see kind of the settings I've got set up right 18:25-18:30 now. Right? So I'm in AI servo mode. I'm in a standard AF what's called point expansion. 18:30-18:36 You can see on the bottom left-hand corner, um, I shoot raw to both cards and that's everything 18:36-18:40 primary card being card number one, cause that's the CF express card. So that's kind 18:40-18:47 of my setup. So let's run down through these and, uh, see what the differences are. So 18:47-18:52 first of all, AF page number one and, and folks, by the way, if you have, I should mention 18:52-18:58 this. If you've got an R5, if you've got an R6 is the, the R the original R that is pretty 18:58-19:05 similar to, right? Yeah, but there are a number of enhancements on the R5 and the R6 in a 19:05-19:10 number of areas that we'll get into no doubt. What about the R3? Is it going to be most 19:10-19:17 of the same for an R3? Uh, yeah, the R3 brings some additional new features in that we can 19:17-19:23 touch upon. Uh, I realized the R3 is, you know, aimed at a different sort of clientele. 19:23-19:28 Uh, and, uh, on top of that, they've been rather scarce up to now, uh, with the supply 19:28-19:33 issues that the whole world is going through. So, uh, you know, I think, I think it's fair 19:33-19:37 to concentrate on the R5 and the R6, but there are some things about the R3 that I want to 19:37-19:41 mention as we kind of get into it, just so that people understand some differences and 19:41-19:45 why, you know, for some photographers, it may be something to consider in terms of stepping 19:45-19:49 up to an R3, regardless of what you're working with now. 19:49-19:53 I know Bergman, Bergman let me hold his when I, when I met up with him in Vegas, uh, I 19:53-19:58 felt so good, but he, I know he likes it. So, so let's jump into these. First of all, 19:58-20:02 we've got, and I'm doing the camera as I'm looking at the screen and as I'm looking at 20:02-20:07 the beauty. So if I hit a wrong button, it's that, uh, first of all, let's talk about AF 20:07-20:13 operation. So for AF, AF operation, for me, uh, you have the options of one shot and servo. 20:13-20:16 I keep it in servo to explain the two differences. 20:16-20:23 Yes. This has been something with Canon ever since we introduced EOS back in the late 1980s. 20:23-20:28 One shot doesn't have anything to do with how many pictures you can take in a row. What 20:28-20:33 that has, that's your drive speed. One shot means that as far as focusing is concerned, 20:33-20:39 we're auto-focusing on a stationary subject and then locking the focus once the camera 20:39-20:44 detects that, okay, this subject is sharp. If you keep your finger halfway down on the 20:44-20:47 shutter button, or if you're working with one of the back buttons for AF operation, 20:47-20:53 if you keep your thumb on that button, the focus will stay locked. You can recompose 20:53-21:01 and whatever else. So that's one shot auto-focus. Servo is intended to continually follow focus 21:01-21:08 on moving subjects, any moving subject. That could be anything from a speaker at a podium 21:08-21:14 who just tends to kind of rock back and forth as he or she delivers whatever their content 21:14-21:21 is to an Indy race car. Uh, one little notational thing here for years and years with the digital 21:21-21:28 SLRs, we called it AI servo. So you'll see AI servo on your five D's or your rebels or 21:28-21:34 whatever. Uh, it's not a L or a one it's AI. Uh, it stood for artificial intelligence with 21:34-21:41 the mirrorless cameras on the M series and the EOS R series. It is just servo. We don't 21:41-21:46 call it AI servo anymore. No, the thought police aren't going to come and write you 21:46-21:52 the ticket if you say AI servo by accident. Uh, but just understand that that's what it 21:52-21:58 is means the same thing. Okay. So next we have AF method and right now I have a one 21:58-22:04 that I just used two nights ago at a show. Uh, I'm going to start this at the beginning 22:04-22:09 is probably the best bet. And let me actually go back here really quick. Sorry about that. 22:09-22:20 The wrong one. And okay. First one is face detect plus tracking AF method is kind of 22:20-22:29 a poorly named way of saying what size is the AF area going to be that the camera uses 22:29-22:36 to read out and focus upon whatever you're pointing the camera at. Face detect plus tracking 22:36-22:43 means a couple of things. It means number one, you are using the maximum area of the 22:43-22:49 entire picture area that the camera is able to do. That will vary depending upon the lens 22:49-22:55 you have. Some of the big super telephoto lenses, uh, like the 800 millimeter F 11 and 22:55-23:00 the 600 millimeter F 11. Uh, you're more limited to a central area for technical reasons, but 23:00-23:06 regardless face detect plus tracking means that you're using a broad area with which 23:06-23:14 the camera can focus. And then the face detect part means that the system is able to detect 23:14-23:19 faces and with the R five and the R six, you can do other types of subject detection as 23:19-23:25 well, animals and vehicles. It's gotta be in the face detect plus tracking setting to 23:25-23:31 get that. And also to get eye detection, eye detection only kicks in in face detect plus 23:31-23:37 tracking on the R five and the R six. Then you have moving before you do, I just want 23:37-23:41 to, I want to emphasize something that you just said, that is if you want, you know, 23:41-23:48 vehicle or animal type detection, that is face plus tracking. Don't let the name, you 23:48-23:54 know, throw you there. Uh, okay. Very good point. So then the next one is spot AF, right? 23:54-23:59 You're using a single focusing point, but now it is deliberately sampling from an even 23:59-24:04 smaller area. You'll see that you can see yourself in the viewfinder or on the LCD screen. 24:04-24:08 The single focusing point is smaller than when you go to the next one, which is single 24:08-24:16 point AF. This is very good for very precisely focusing on a very small part of a subject. 24:16-24:20 Like if you're taking a macro shot of, uh, you know, a flower, a small animal, something 24:20-24:26 like that, keep in mind, it's not because of your, our sampling, a small area, it's 24:26-24:31 not seeing a lot of your subject. It can be a problem with servo auto-focus and moving 24:31-24:36 subjects. I would not necessarily recommend spot AF most of the time for sports pictures. 24:36-24:40 One thing, let me ask you a question while you're in there. I apologize for interrupting, 24:40-24:44 but, but one thing I noticed was compared to the five D mark four, which is my webcam 24:44-24:50 here, the five D mark four had spot and then standard single point. One thing I noticed 24:50-24:57 immediately when I went to the R five and the R six is those are different sizes. So 24:57-25:01 when you, when you are visually looking at your focus point through the EVF or on the 25:01-25:07 back of your camera or whatever, normal single point, which is this one here, one point AF 25:07-25:12 is a fairly large square. Now, is it, is that just the display or is it actually sampling 25:12-25:18 a larger area? No, it's sampling an area that's pretty darn close to what you see on the screen 25:18-25:24 or in the else in the viewfinder. So it is sampling a larger area. And part of that is 25:24-25:31 the nature of reading off the imaging sensor, as opposed to using a dedicated focusing sensor, 25:31-25:40 which is what the digital SLRs did. Okay. Anything else on, on one point AF or spot 25:40-25:44 AF? No, those are the two main things. Anytime 25:44-25:49 you want to focus precisely, when I say precisely, I'm not talking more accurately. I'm just 25:49-25:54 saying where you want to limit your focusing detection and your determination of sharpness 25:54-25:59 to a small area of a subject. Either of these is the way to go. 25:59-26:06 Okay. So the next two are the ones that I use. You've got expand AF, which is five points. 26:06-26:11 And then you have expand AF, which is nine points. And this was one of the ones that 26:11-26:16 on our original email that I, I touched on and I'm like, I'm using the nine point AF 26:16-26:20 and you were very clear to point out to me, no, no, no, it is not nine point AF. It's 26:20-26:25 still single point AF, but the other eight, or at least this is the way I understood it 26:25-26:29 at the time. And I'm probably still wrong. It's still the single point that's in the 26:29-26:37 middle. It's not using all nine for AF detection. It's using the chosen point for AF detection 26:37-26:44 and the other ones are, you know, like I'm here to help if you need me. Is that a good 26:44-26:49 way to word it? You said it perfectly. You nailed it. This 26:49-26:54 is in the Canon system. It's been this way with the SLRs and now with mirrorless. So 26:54-27:01 the concept is the same. You're still working with a central principle point. Whatever the 27:01-27:07 point in the center is, is the one the system wants to use. The surrounding points are there 27:07-27:13 to help if that central point simply isn't seeing enough detail or contrast, or for any 27:13-27:17 other reason, the central point just isn't getting enough information. It'll immediately 27:17-27:23 ask the surrounding points, Hey, do you see detail? Do you see detail? And use them as 27:23-27:28 needed. But you are correct. It is not like you're focusing with nine focusing points. 27:28-27:31 If you go to the highlighted setting you have on the screen right now. 27:31-27:36 Okay. So then that brings in a question. Oh, go ahead. I'm sorry. 27:36-27:41 No, no, that's fine. So then the question would be in my head, 27:41-27:47 I look at these and I don't know when I would ever only want left and right of my focus 27:47-27:51 point helping me and above and below my focus point helping me. Why would I, why even have 27:51-27:54 that in there? Why wouldn't you always want the corners? 27:54-27:59 You know, that's a good question. It's never really been articulated. I think it was just 27:59-28:06 a matter of giving photographers a choice of, okay, if the system is going to sometimes 28:06-28:11 move away from your primary point, do you want to kind of limit how much movement it 28:11-28:17 has? I don't mean how far it can move, but just the direction it can move in. Or alternatively, 28:17-28:24 do you want to have that total flexibility? I get it, Steve, why you always use or almost 28:24-28:31 always use the surrounding system, the eight points surrounding the central point. But 28:31-28:35 it's always been there. I've used them both. I haven't really detected a difference in 28:35-28:40 terms of their operation and so on. The system rarely has to go outside that primary point 28:40-28:45 to begin with. But when it does, the way you do it just simply gives you some more options. 28:45-28:49 I just thought of something. This episode is going to go longer than I thought, because 28:49-28:54 I've got questions. I just thought of something. So it's using the center focus point. The 28:54-28:58 other ones are there to help it if it can't find enough contrast or detail or whatever. 28:58-29:02 So let's take a hypothetical. Imagine somebody's head's in a weird position and I've got my 29:02-29:08 focus point on their eye, but their eye isn't lit well enough to give me contrast or detail. 29:08-29:16 And one of those assist points is on their ear. And I'm shooting at 1.8 or 2.8. Is it 29:16-29:23 going to use that detail and focus where the secondary point is, meaning now their ear 29:23-29:26 is in focus or is it going to use the detail? Yeah, it's got to, right? Because it still 29:26-29:28 can't see the eye. 29:28-29:33 Yeah, exactly. The center point is basically throwing its hands up and said, you got me. 29:33-29:37 Let's see what the outer points can see. And if one of them grabs the ear instead of the 29:37-29:41 eye, if it grabs that ear, it's going to say, okay, we got something. Let's go. 29:41-29:47 But it only uses those if, if it bails out and goes, it only, they only come into play 29:47-29:49 if it asks for help. 29:49-29:55 Yeah. And you will see in your viewfinder or the LCD screen, if you're doing live view, 29:55-30:02 you will see that the point that actually ends up getting highlighted, uh, during auto 30:02-30:06 focus, you'll see it shift a little bit and it's telling you, Hey, we're using this one, 30:06-30:09 not that one that's in the center. So you'll, you'll know when it happens. 30:09-30:14 Okay. The last three are all zones. I had to re-enable these. I had them disabled on 30:14-30:18 my camera cause I never want to land on them. I re-enabled them so that I could pull them 30:18-30:23 up, but we have zone, we have large zone, and then we have large zone horizontal, uh, 30:23-30:27 as opposed to vertical, uh, quick, I think most people understand zone, but, but give 30:27-30:28 the quick summary. 30:28-30:33 A couple of quick things. First off, of course, they can be used for stationary or moving 30:33-30:40 subjects in zone AF. The system is always, well, almost always going to try to focus 30:40-30:49 on the nearest subject with detail that it sees within the zones. The zone, not plural, 30:49-30:53 singular. Uh, so, you know, you can try this just sitting at your desk, uh, just, you know, 30:53-30:56 push the button down halfway and you'll see the points that light up telling you, Hey, 30:56-31:01 here's what we're focusing on. Invariably, there'll be the subject closest to what it 31:01-31:07 sees throughout the entire zone. Now, one other thing is that with subject detection, 31:07-31:14 face detection, animal detection, and so on, they will work in zone AF as well. Face detection 31:14-31:21 in particular will work. Eye detection for whatever technical reasons will not, but you 31:21-31:28 can have face detection. You can have face detection active, use say the large, large 31:28-31:32 zone horizontal. And I mean, just bring the camera up to your eye and just press the button 31:32-31:36 and you'll see, it'll just put points around whatever face it detects. It's not going to 31:36-31:40 put a box around it. It'll put live little points lighting up telling you, okay, here's, 31:40-31:44 here's what we're going for. If you didn't want it to do that, if you wanted it to focus 31:44-31:47 on the nearest thing, just turn, you know, people detection off. 31:47-31:53 So in zone AF, can you choose a starting point you want it to start with, or it just, it 31:53-31:55 goes on its own? 31:55-32:00 You can move the zone up, down, left, and right. But once you've done that, it doesn't 32:00-32:04 let you say, okay, I want to put a starting point on the left side, and then I want it 32:04-32:08 to move around. It won't let you do that. You can do that in face detect plus tracking, 32:08-32:11 which is the overall AF area. 32:11-32:16 Okay. Makes sense. Next one is subject to detect, and I have mine set to people, but 32:16-32:20 here's what we talked about before. I think this is self-explanatory people, animals, 32:20-32:25 vehicles, or no subject detection. I'm just using a focus point and whatever I put the 32:25-32:29 focus point, do that. Good summary there? 32:29-32:34 Yeah, that's, that's basically it. It's you know, people have probably, our customers 32:34-32:40 have probably seen this before, but the people detection is exactly that. It's designed for 32:40-32:47 face detection. It'll read faces. It'll read heads. In other words, if a face turns, it 32:47-32:53 can still detect that there's a head and a body and focus on the head. It'll do body 32:53-32:58 detection, which is nice as well. If you've got a subject that just suddenly, we run into 32:58-33:02 this in things like gymnastics, where people are doing these weird, you know, vaults and 33:02-33:07 you know, somersaults and stuff. And momentarily, a head may not be visible in a still picture. 33:07-33:10 The system is smart enough to be able to, instead of just freaking out and trying to 33:10-33:14 focus on the background, it'll say, okay, we still got a person here. We'll focus on 33:14-33:18 the, we'll put focus on the body. When we can bring a face back into it, we'll, you 33:18-33:22 know, nail focus there. And IDetect works within that and within animal detection as 33:22-33:23 well. 33:23-33:29 Okay. Specific animals or, I mean, what's, what's the general list? Dogs, birds? 33:29-33:37 Officially, the way the system works is it's set up to recognize dogs, cats, and birds. 33:37-33:44 Now, obviously that can be stretched. You can be in situations where it'll recognize 33:44-33:48 other animals, which clearly don't fall into those categories as an animal. They're going 33:48-33:53 to be sometimes where it doesn't, you know, you can point it at certain types of animals, 33:53-34:00 you know, even very unusual cats or whatever, or dogs, and maybe it doesn't recognize it 34:00-34:05 as, as an animal. That can happen, but dogs, cats, and birds officially, and you may be 34:05-34:08 able to get it to work with other kinds of animals as well. 34:08-34:14 Okay. And then vehicles, obviously it's self-explanatory and, and yeah. 34:14-34:19 It is and it isn't. It is and it isn't. I don't want to overcomplicate this, but the 34:19-34:27 vehicle detection is designed for cars and motorcycles, specifically in a motor sports 34:27-34:35 environment. So if you think of the types of vehicles you would see in a typical racing 34:35-34:43 environment, that's what these are specifically designed to recognize. Now they may very well 34:43-34:48 recognize the family car or even a truck or something, but we're not saying, Hey, it'll 34:48-34:55 just recognize any vehicle. It's designed specifically for vehicles in a racing environment 34:55-35:01 that does include dirt bikes because it's cars and motorcycles, including dirt bikes. 35:01-35:05 And then there's, for those of you watching on the video, you'll notice on periodically 35:05-35:11 on the menus, there'll be an info option. And if you hit that, it lets you go into extra 35:11-35:15 settings. What is spot detection under vehicle? 35:15-35:21 Oh, this is cool. We first saw it in the R3 and then with a firmware upgrade, it was added 35:21-35:29 to the R5 and the R6. If you've got vehicle detection active and you've got an exposed 35:29-35:36 driver or rider, so it's gotta be a motorcycle is a perfect example. If you activate spot 35:36-35:45 detection, if it detects a helmeted head, it will put focus on that head and not just 35:45-35:53 the front of the vehicle. So if you're shooting a race really tight with a 400, a 600 millimeter 35:53-35:57 lens or something, and you're looking to get vehicles coming around a turn and you want 35:57-36:06 to focus on the rider or the driver in an exposed car, it'll put focus on the headgear 36:06-36:12 rather than just putting them on whatever the near part of the vehicle is. So it's a 36:12-36:15 cool thing. Next one is not available to me right now. 36:15-36:20 And I'm guessing that's because the mode that I'm in, but I detection can be enabled or 36:20-36:26 disabled. I would have to be in face detection up above. So if I go up here and I choose 36:26-36:31 face tracking, then detection can be enabled or disabled. So here's one for you up above 36:31-36:36 at the very, very top. So people can see I've got AF operation is servo AF, which is effectively 36:36-36:42 continuous AF. So how come it says continuous AF is disabled? 36:42-36:47 I'm glad you asked because continuous AF, one of the things we deal with. 36:47-36:50 So I'm not the only one is what you're telling me. 36:50-36:56 Yeah. You're not the only one by any stretch. Canon's engineers over time have kind of realized 36:56-37:02 the error of some of their initial translations into English, presumably for other languages 37:02-37:07 too on the menus. And this may be one of them. And over time, they've actually changed some 37:07-37:13 of them. So you actually see this has changed on the R3, which is a newer camera. 37:13-37:22 Continuous AF has nothing to do with servo focusing on moving subjects. So especially 37:22-37:27 if you come from a competitive system where what we call servo, they may call continuous 37:27-37:34 autofocus, you know, continually follow focusing on moving subjects. This Canon continuous 37:34-37:41 AF is something totally different. What it means if you have it enabled is that anytime 37:41-37:50 the camera is turned on and awake, the autofocus is on and active, even if you haven't pressed 37:50-37:55 the shutter button to kind of wake the autofocus up. The idea in the early days was that this 37:55-38:01 way with some of the cameras, if a photographer just, you know, I don't know, we're shooting 38:01-38:04 candidates at a wedding reception or something. You set the camera down for a minute, you're 38:04-38:07 talking to somebody and all of a sudden you see a great candid picture. You've got to 38:07-38:12 pick the camera up. The idea was that the focusing system would already be awake and 38:12-38:19 you get like a half a second or a second edge on getting the focusing system on your subject. 38:19-38:25 But in today's world with the modern cameras, you're probably not going to find it's really 38:25-38:29 that necessary. So most of the time I recommend just leaving it turned off because it will 38:29-38:36 drain the battery a little more. So again, continuous AF though on a Canon has nothing 38:36-38:41 to do with servo focusing on moving subjects. Make sure you clear. Then we have touch and 38:41-38:47 drag settings, which again on with the touch LCDs that we have, I have it disabled on mine 38:47-38:54 because I don't want, I don't use live view. And so when I put my cheek up sometimes you 38:54-38:58 have that type of thing, but touch and drag AF is disabled, but it lets you touch the 38:58-39:03 screen to choose where your focus point is going to be. What is position method? 39:03-39:07 Well, let me go back first to the, to the first one. I don't want to drag this out too 39:07-39:13 long, but touch and drag AF basically means that looking through the viewfinder, you can 39:13-39:20 move your focusing points by dragging your thumb again, looking through the viewfinder, 39:20-39:23 dragging your thumb across the surface of the LCD. 39:23-39:29 Even though the LCD is off. Even though when you're up to the viewfinder, the EVF, your 39:29-39:33 screen turns off. It's still almost like a touch pad. 39:33-39:39 Exactly. The LCD screen is not showing you anything. You are looking through the viewfinder, 39:39-39:42 but if you've got a single focusing point, your zone AF or anything else where you can 39:42-39:48 move points around, one of the ways to move them is to have touch and drag AF enabled 39:48-39:55 and then drag your thumb across the surface of the LCD screen as you look in the viewfinder. 39:55-40:00 And you can do that and actually do it fairly precisely. It works well for some people. 40:00-40:03 It doesn't work well for other people. Particularly if you're left eyed, you may have trouble 40:03-40:07 with it. If you're right eyed, just because of the way the camera shifted over a little 40:07-40:10 bit when you look through the camera, you may find it a lot easier to use, but that's 40:10-40:13 what touch and drag AF enabled or disabled is. 40:13-40:22 The positioning method basically means how much do you have to move your thumb across 40:22-40:28 the active surface of the LCD screen to move your points? And will it let you double clutch? 40:28-40:32 In other words, if I want to go all the way from the right to the left with the touch 40:32-40:39 and drag, do I have to do it in one total motion across the whole screen area? Or can 40:39-40:44 I kind of do it partway stop and then pick it up and do it partway again? 40:44-40:49 Relative means that you're you're going to be literally having to go one all the way 40:49-40:53 across. Absolute means that you can double clutch. 40:53-40:58 OK, that makes sense. So then what about active touch area? We have the options for right, 40:58-41:02 left, top, bottom or top right. 41:02-41:08 When you do the touch and drag AF, how much of that LCD screen surface area do you want 41:08-41:14 to be touch active for this? Do you want to be to have to do it across the whole surface 41:14-41:19 of the screen? If you do, whole panel. Do you want to do it over just part of the screen 41:19-41:24 where you don't have to move your thumb as far to drag those points left and right? That's 41:24-41:26 what the other options are. 41:26-41:32 OK, makes sense. So let's jump over to page number two in the AF settings and start at 41:32-41:40 manual focus peak settings. Peak I have on for peaking. Level is high. Color is yellow. 41:40-41:44 And again, this is manual focus settings. So let's run through these peaking. 41:44-41:50 Yeah, manual focus peaking, our video users will certainly know what we're talking about, 41:50-41:54 but if you come from a still background, particularly with a digital SLR, it's just may still be 41:54-41:58 kind of an unfamiliar term. I apologize. Is construction going on in my building? You 41:58-41:59 can probably hear that. 41:59-42:00 That's fine. 42:00-42:06 And I do apologize if you do. Peaking means that as we manually not auto focus, manually 42:06-42:12 focus the lens as a subject gets into sharp focus, we not only see it get sharp on the 42:12-42:18 in the viewfinder or on the LCD screen, but we will see literally like a red, yellow or 42:18-42:25 blue fringe appear around sharp edges of anything we're focusing upon. That could be a person's 42:25-42:30 eyes, I mean, whatever, any detail, you'll get this colored edge suddenly appear. And 42:30-42:37 it actually can be a pretty nice way of backing up your own visual acuity in terms of just 42:37-42:42 judging blurriness and sharpness like we've done for years and years with digital SLRs 42:42-42:47 when you're manually focusing. Level, I normally agree, leave it on high. If you put it on 42:47-42:53 low, it just means that the intensity of that colored fringing is reduced. Sometimes it 42:53-42:58 can get real subtle, so you be the judge. And then the color is just kind of up to you. 42:58-43:02 It isn't just a matter of, you know, such and such as my lucky color, depending on what 43:02-43:06 you're photographing and even the lighting that you're in, you may find that sometimes 43:06-43:13 a certain color seems to pop pretty decisively where another color may sort of just not really 43:13-43:16 jump out at you as much when it appears in sharp focus. 43:16-43:21 And I will say I'm on high and yellow because I'm colorblind and that stands out to me. 43:21-43:26 Focus guide on or off. I have focus guide on. What's focus guide? 43:26-43:31 Focus guide is another thing for manual focus only. It basically means if you're manually 43:31-43:39 focusing and you want to be able to focus at a particular point, that is a small area 43:39-43:46 of whatever the picture area is. And you want to make sure that at that point, focus is 43:46-43:50 sharp and you want something other than once again, just judging blurriness and sharpness 43:50-43:56 as you manually focus. The focus guide gives you a focusing point that you can move around 43:56-44:03 and little arrows at the top of the guide that move back and forth. 44:03-44:07 It's sort of on sort of a little angle above the little focusing point. When they come 44:07-44:12 together and overlap, they turn green. That's telling you that the system thinks at that 44:12-44:17 point you have achieved sharp focus. If they're off, you can actually tell whether you're 44:17-44:21 front focus or back focus by the direction that they're off in. One of those things that's 44:21-44:23 easier to see than to try to describe. 44:23-44:31 And I will say it's awesome. I got to say it's awesome. AF assist beam firing is the 44:31-44:32 little... 44:32-44:37 This would be for your flash. When you're using flash, for technical reasons, we are 44:37-44:43 much more restricted and limited with mirrorless cameras in general with focus assist beams 44:43-44:49 on speed lights than we were previously. With digital SLRs, we of course on the high-end 44:49-44:56 speed lights had those near infrared striped pattern beams that would illuminate a couple 44:56-45:01 of times and give the system an ability to focus even in total darkness. For technical 45:01-45:05 reasons, those don't work well with mirrorless since we're focusing off the imaging sensor 45:05-45:06 itself. 45:06-45:15 But given the limited character now of AF assist, you have the ability now here to tell 45:15-45:20 it first off, do you even want an AF assist? And if so, do you want to restrict it so that 45:20-45:29 if it's, for instance, an LED assist beam, it'll work. But if you have a focus assist 45:29-45:33 that's with repeating speed light popping, which could be very distracting with live 45:33-45:38 people or whatever, you can have that turned off, for instance. So it gives you a couple 45:38-45:42 of options in terms of what's available now on the mirrorless cameras. 45:42-45:49 Page number three of the EOS R5 AF system, but again, most of what we're doing applies 45:49-45:54 to most Canon, or at least conceptually it does. And let's run through the cases. So 45:54-45:59 how do you... I described cases earlier as presets. That's kind of how I think of them. 45:59-46:03 Is that... how do you describe cases? Because it is unique to Canon. 46:03-46:04 You're absolutely right. 46:04-46:08 Not totally unique. Other brands have something similar, but yeah. 46:08-46:13 Right. You're absolutely right that they are indeed presets. They were intended as a way 46:13-46:23 to simplify telling the focusing system what, when you're in servo, what type of subject 46:23-46:25 movement you expect. 46:25-46:28 So all of this, yeah, I should have mentioned, this is all servo AF. 46:28-46:33 Yeah. And you can see it just right above the highlighted number one there on the screen, 46:33-46:38 you can see it says servo AF. You can set it and then go to one shot AF, but it will 46:38-46:44 have no effect. It just gets ignored. Basically what if we... I was starting to say, if we 46:44-46:51 had a high end sports photographer or wildlife photographer sitting with us, they could certainly 46:51-46:57 tell you that there are lots of different types of subject movement. 46:57-47:02 Not all subject movement is created equal. You have subject movement where subjects kind 47:02-47:06 of zig and zag. You can think of American football where, you know, running back, maybe 47:06-47:10 running through the line and cutting and zigging and stuff, and, you know, not running at a 47:10-47:15 steady speed. You've got other situations where even in a football game, but certainly 47:15-47:20 think about a photographer photographing the a hundred yard dash in the Olympics or auto 47:20-47:24 racing or something where you've got a subject that's coming at, it could be a pretty fast 47:24-47:30 speed, but just coming steadily right at the camera. That's a different type of movement. 47:30-47:38 And basically at the highest level, photographers want to be able to fine tune their auto focus 47:38-47:44 so that they can get the best possible results frame to frame, to frame, to frame. That's 47:44-47:48 what the cases are all about. The concept is exactly the same on the mirrorless cameras 47:48-47:54 like the R5 and the R6 as it was back with the digital SLRs. We're basically telling 47:54-48:00 the system, Hey, what kind of subject movement do we expect? And then we're tuning the focusing 48:00-48:05 system, the Servo AF to do its best to deal with it. 48:05-48:10 Okay. So case number one says, yeah, go ahead. Let's, let's run through these actually. 48:10-48:20 Yeah. Case one, in effect, you're telling the system, Hey, expect more or less steady 48:20-48:27 continuous movement, but there is a fair amount of wiggle room in the system so that if it 48:27-48:33 suddenly sees stops and starts or, you know, that kind of thing, it can up to a certain 48:33-48:40 point, it can adjust for those. You haven't optimized it for that, but it's, it basically 48:40-48:46 is the way to go. If you know that most of the time, your movement is going to be steady, 48:46-48:50 whether it's a toddler taking their first steps or whether it's a, you know, an Olympic 48:50-48:55 sprinter speed, isn't the issue here. It's the type of movement that is. 48:55-49:00 And if you hit the rate microphone button, it takes you to the two settings that you 49:00-49:05 see here. Let's start with tracking sensitivity. 49:05-49:11 We're going to get into this when we get into case two and a case three tracking sensitivity 49:11-49:19 is telling the system, okay, we are servo focusing on a subject. We've started focusing. 49:19-49:25 If there is suddenly an interference, if I'm on that subject with a big telephoto lens, 49:25-49:28 and I thought that subject was going to zig a little bit and instead they zagged and all 49:28-49:34 of a sudden I'm looking at the background or if a referee steps in front momentarily 49:34-49:37 or a player on an opposing team, if we're shooting sports or whatever. 49:37-49:42 I'll give it, I'll share an example where I run into this shooting live music. I'll 49:42-49:47 have a guitarist whipping their hair up and down and I'm focused on their face. And when 49:47-49:53 they throw their head forward and that hair flies at me, or there are the singer's microphone 49:53-50:01 comes in front of between me and them or their, their guitar stock, a guitar headstock does 50:01-50:07 the camera switch to it? Exactly. That's it. What will the subject do if it sees, what 50:07-50:12 will the auto-focusing system do? Excuse me. If the system sees a sudden change in what 50:12-50:18 it's trying to focus upon. Okay. Basically, will it try to immediately react to that change 50:18-50:26 and refocus on whatever the quote new end quote subject is, or will it try to continue 50:26-50:33 to drive the lens at the rate it was before the interference for a perceptible one Mississippi 50:33-50:39 or whatever to give you that moment to get back on the real subject, your choice with 50:39-50:44 the tracking sensitivity. But you got a couple of cases that automate the choice as well. 50:44-50:48 Right. You can increase it sensitivity to switching faster or decrease it to keep it 50:48-50:54 longer and then acceleration, deceleration tracking. 50:54-51:00 This is where we're telling the system, okay, are we really expecting steady, continuous 51:00-51:09 movement, or are we anticipating that we are going to see changes in speed of the subject? 51:09-51:16 Again, think of you got in American football, you got wide receivers, uh, you know, lined 51:16-51:20 up at the end of the line that are going to run like a long fly pattern, which for those 51:20-51:24 who weren't into football, just means they're going to run straight down the field, uh, 51:24-51:27 looking to put as much distance between them and a defender as they can, but they just 51:27-51:32 come in straight at the camera, uh, on, on that same team on the next play, you could 51:32-51:36 have a running back who's handed the balls handed to him and they're, you know, kind 51:36-51:40 of zigging through the line and they're making cuts and they're trying to, you know, sidestep 51:40-51:45 a linebacker and that kind of thing. They're changing speeds. So Excel D cell tracking 51:45-51:52 is telling the system, okay, I expect I'm going to get a lot of that continuous movement 51:52-51:58 or I expect I'm going to get a lot of stops and starts fine tune the AF to optimize it 51:58-52:00 for one or the other. 52:00-52:04 That makes sense. So now that we've gone through the versatile one where both of those are 52:04-52:10 set to zero, the rest of the cases are going to make a little bit more sense. Number two, 52:10-52:16 continue to track subjects. Meaning if something comes in between you try tracking the original 52:16-52:23 subject the way they did that tracking sensitivities at minus one, ignore possible, you know, obstacles 52:23-52:27 and then acceleration deceleration is at zero. And based on your descriptions, case 52:27-52:35 number two makes total sense. Just hang a little bit longer. Right. Case number three, 52:35-52:41 instantly focus on subjects suddenly entering an AF point. So notice the tracking sensitivity 52:41-52:50 here is plus one, but yes, acceleration deceleration is plus one. What role is that playing here? 52:50-52:52 Going to plus one. 52:52-52:58 Basically you're telling the system to expect something suddenly appearing at the active 52:58-53:05 focusing point or focusing points and to be on its guard. Number one, to jump right on 53:05-53:11 it. I gotcha. And to expect that we may have, since this is suddenly appearing, it may start 53:11-53:15 changing speeds on us. We don't know yet. Perfect example. It's not the only one for 53:15-53:22 sure. If you were shooting a Olympic skiing and a photographer was positioned with a telephoto 53:22-53:27 lens looking up the crest of a hill and a skier is expected to come bounding over the 53:27-53:32 hill and, you know, coming right at the camera, but you can't see them until they literally 53:32-53:36 hit the crest of the hill and start coming down. The idea is that the system can grab 53:36-53:45 that moving subject as fast as it can. When you have the system alert to suddenly focus 53:45-53:46 on a new subject. 53:46-53:51 Okay. Track it faster. And when you see it, get over there and switch to it. Okay. Makes 53:51-53:59 sense. So here's mine. I normally use case four until the R5. Case four, tracking sensitivity 53:59-54:04 is at zero. This is for subjects that accelerate or decelerate quickly. In other words, don't 54:04-54:08 necessarily, I want you to be sensitive to tracking, but I don't want you to be overly 54:08-54:13 sensitive if something comes in the way, kind of think about it. I also don't want you to 54:13-54:16 go, something's in the way. I'm not even going to pay attention to it. I kind of want you 54:16-54:25 to be in the middle, but I do want you to switch to it when you do see it fairly quickly. 54:25-54:29 As much as anything, I think of this setting as something that, for instance, a wildlife 54:29-54:35 photographer might want to use if he or she was working probably with a telephoto lens. 54:35-54:41 And you, maybe you are just hypothetically, maybe you're around a watering hole in Africa 54:41-54:48 or wherever, where you know wildlife is going to come and predators may come too. And you 54:48-54:54 may suddenly have a situation where all of a sudden, an animal is kind of suddenly set 54:54-54:59 upon by predators and they're not running just in a straight line. I mean, they're going 54:59-55:09 to be cutting and zigging and zagging as whatever the proposed victim is trying to escape and 55:09-55:14 so on. In other words, they could be, you're telling the system expect sudden changes in 55:14-55:19 subject speed. This isn't the a hundred yard dash at the Olympics or a hundred meter dash 55:19-55:23 at the Olympics. This is something where you got a subject that is likely to be suddenly 55:23-55:27 cutting, zigging, zagging, not so much a change of direction, but change of speed. 55:27-55:34 Okay. Which is why it works perfect for me for live music, except now we have auto. Here's 55:34-55:40 the question. It wraps up cases. Should I still as a live music photographer, that's 55:40-55:44 not normally shooting a James Taylor sitting on a stool at a microphone, but I'm shooting 55:44-55:51 people to jump in the air in extremely low light scenarios with gear all over and whipping 55:51-55:59 hair, is auto going to be that good? I mean, should everybody just do auto or should I 55:59-56:03 really lock it in to four or customize my own? 56:03-56:08 Like most forms of auto, the one thing you got to keep in mind is the system does have 56:08-56:13 to take a perceptible. It's not like a whole second or whatever, but it's got to take a 56:13-56:20 split second to begin to read the subject and decide what is this subject doing? Because 56:20-56:26 it doesn't know. And then say, okay, this looks like steady movement. We'll go to case 56:26-56:31 one internal. You're not going to see anything change in the menu or whatever. And so on. 56:31-56:36 Oh, hold on. So that's really what it's doing. It's switching. Auto is really honestly choosing 56:36-56:39 one through four. It's not adjusting the individual settings. 56:39-56:44 Yeah, exactly. It's basically just saying, okay, we, you know, what should we do here? 56:44-56:52 It's designed to simplify the case selection for most situations with moving subjects. 56:52-56:59 If you are really, really super critical shooting, really, really tight with super long lenses, 56:59-57:04 you know, 400, two, eight, 600 F fours, you know, coming down the road, even the new 800 57:04-57:08 and 1200 millimeter lenses, you know, if you're working really tight and your subjects are 57:08-57:13 really, you know, you're shooting professional sports or whatever, you may still be better 57:13-57:19 off making an intelligent and appropriate selection from one through four, because it 57:19-57:24 doesn't have to take that little, you know, just half of a one Mississippi to say, okay, 57:24-57:28 is this steady movement or changing speeds or whatever? 57:28-57:32 Most of us, the auto setting will probably work fine. You'll notice. I just set mine 57:32-57:40 back to four. So just so that you know. Okay. So lens, electronic, manual focus. This is 57:40-57:48 page four of the auto focus settings out of five. Right. This is something much more appropriate 57:48-57:54 with the, with the mirrorless cameras, because the RF lenses for our DSR series, manual focusing 57:54-57:59 on all of them is done electronically. In other words, you can manually turn a focus 57:59-58:04 ring, but you're not just mechanically turning a helicoid. What you're doing is you're sending 58:04-58:10 signals to the focusing motor to move the focusing elements in the lens by a certain 58:10-58:16 amount and a certain, you know, at a certain rate. So this is something that's done with 58:16-58:22 all RF lenses, a few of the EF lenses, and you can adapt those onto the EOS R's with 58:22-58:29 a mount adapter. A few of the EF lenses also use electronic manual focusing. Most did not. 58:29-58:35 Okay. Most of the EF lenses, it was mechanical manual focusing. In other words, you could 58:35-58:39 take the lens off the camera and turn it and you could see, you know, focusing elements, 58:39-58:47 moving and stuff. So that being said, if the lens has electronic manual focusing, basically 58:47-58:51 it's saying, okay, particularly when you're in the one shot auto focus mode, where we 58:51-58:59 can focus on something with auto focus, lock it and hold it. After we held it, keeping 58:59-59:03 a finger on the, on the appropriate activation button, do we want the ability to be able 59:03-59:10 to go in and fine tune the focusing manually? Or is that something we're saying, hey, look, 59:10-59:14 auto focus is fine. I just want that to do the job. I don't even want to run the risk 59:14-59:21 of accidentally hitting the focusing ring as I'm holding the lens. So if you're, if 59:21-59:25 you're one of the latter, put it on disable after one shot, and then you could, you know, 59:25-59:30 inadvertently hit the focusing ring or whatever, nothing will happen. If you like the idea 59:30-59:35 of being able to fine tune the auto focus after one shot, auto focus, when you have 59:35-59:38 it locked again, you've got to have your finger on the button lock, holding it in that lock 59:38-59:44 position. You can set it to the second item, one shot auto focus. You've enabled electronic 59:44-59:52 manual focusing. Okay. The enabled with magnify is actually kind of cool. In some situations, 59:52-59:58 it lets you get very precise manual focusing, either on the LCD screen or in the electronic 59:58-01:00:04 viewfinder, because as soon as you start to turn the ring to manually fine tune the focus, 01:00:04-01:00:09 after you've locked it in one shot, you'll immediately get a magnification of the central 01:00:09-01:00:13 area. And it's, it's actually a very keen way of being able to tell that I focus right 01:00:13-01:00:16 on the eye, you know, the edge of the eye, or did I, you know, get, you know, the back 01:00:16-01:00:22 edge here or the tip of the nose or something. So it's actually pretty cool. And just, you 01:00:22-01:00:27 know, you try it and see what you think is what I would recommend to people. It works 01:00:27-01:00:32 in some situations, maybe not the right idea in others. And then disable just simply means, 01:00:32-01:00:38 Hey, no matter what, if I don't want to be able to inadvertently run the risk of turning 01:00:38-01:00:44 the manual focusing ring and having manual focus switch on me, just turn it off. And 01:00:44-01:00:51 then you can not manual focus until you, unless you go to manual focus and switch the whole 01:00:51-01:00:55 lens to manual focus. And in other words, get totally out of auto focus, then you can 01:00:55-01:01:03 manually focus, but disable in AF mode means exactly that. Okay. One shot AF release prior. 01:01:03-01:01:08 Another thing that carries over from the digital SLRs going back in history with EOS on the 01:01:08-01:01:14 digital SLR side, when we use one shot auto focus, the cameras worked on a focus priority 01:01:14-01:01:20 system, meaning that in one shot, if you focused on something, the camera would not let you 01:01:20-01:01:25 take the picture. Even if you push down all the way on the shutter button quickly, it 01:01:25-01:01:31 would not fire the shutter until the focusing system had confirmed sharp focus and that 01:01:31-01:01:36 the focus was locked. Okay. So the idea was to protect photographers from accidentally 01:01:36-01:01:42 taking a picture before the focusing system had kind of done its thing. In recent cameras, 01:01:42-01:01:46 certainly the R5 and the R6 among others, we have the ability now with this one shot 01:01:46-01:01:52 release priority to tell the system, Hey, when I'm in one shot, do I want it to let 01:01:52-01:02:00 me hold off shooting until the actual moment we've achieved sharp focus, or is my priority 01:02:00-01:02:06 on simply getting the shot. And even if it's off by just a smidge in terms of the auto 01:02:06-01:02:11 focusing, the moment is more important than the sharpness. I could easily see a photo 01:02:11-01:02:16 journalist covering like a news conference in Washington or something, you know, might 01:02:16-01:02:21 be in one shot focusing on what's essentially a stationary subject at a podium. But he or 01:02:21-01:02:26 she might say, Hey, look, if you know that that person at the podium makes a good gesture 01:02:26-01:02:31 or something, I want to get that gesture. And if it if the face isn't just tack, tack, 01:02:31-01:02:35 tack, tack, sharp, hey, this is for newspaper anyway, it probably doesn't matter. So the 01:02:35-01:02:40 photographer gets the choice. Okay, that makes that makes total sense. Actually, switching 01:02:40-01:02:48 tracked subjects, I have it set to one, which is the default. 01:02:48-01:02:54 Let's understand real quick in a modern world. When we say focus tracking, this is industry 01:02:54-01:03:01 wide, not just can. It used to be back when I was a lad, and autofocus cameras were first 01:03:01-01:03:07 getting started. We often use the word tracking, meaning what Canon now calls servo autofocus. 01:03:07-01:03:13 If we were just put a focusing point on that Olympic sprinter running at the camera from 01:03:13-01:03:17 behind the finish line, and we're just shooting straight down the track, okay, and we just, 01:03:17-01:03:21 you know, you know, bang, bang, bang, bang, bang, bang, continuous servo autofocus. We 01:03:21-01:03:28 used to call that tracking focus tracking. Nowadays, in the modern world, this isn't 01:03:28-01:03:32 just Canon, this is across the industry. When the industry says focus tracking, that's not 01:03:32-01:03:39 what we mean anymore. Focus tracking means that we can start with a subject and a focusing 01:03:39-01:03:43 point on that subject in one part of the picture area. It could be in the middle, could be 01:03:43-01:03:50 off the one side, up, down, whatever. And then once we start shooting for focusing, 01:03:50-01:03:56 if that subject starts to move to a different part of the frame, we don't have to keep a 01:03:56-01:04:03 focusing point on that subject like I did with most of my digital SLRs, okay? We can 01:04:03-01:04:07 give that compositional freedom and have the autofocusing system simply change focusing 01:04:07-01:04:12 point locations as long as it's somewhere within the active AF area. 01:04:12-01:04:15 - Zone AF or whatever, yeah. 01:04:15-01:04:23 - Right. That's what focus tracking means. Now, how that relates to this. If we are on 01:04:23-01:04:30 a subject, let's say we got an athlete or something, or it could be an animal, let's 01:04:30-01:04:35 say that. If we got a couple of animals and they're moving, and we've got animal A and 01:04:35-01:04:38 we decide, "Hey, for compositional reasons, I would love to start with animal A on the 01:04:38-01:04:44 far right side of my picture." And so you've got animal A lined up and he or she or it 01:04:44-01:04:48 starts to kind of move around the frame, but other animals begin to come into the picture 01:04:48-01:04:56 area. How readily will the system give up on animal A and go to animal B or C if they 01:04:56-01:05:03 are detected? How readily will it switch from an initial subject to another subject? And 01:05:03-01:05:07 it's up to you whether you want the system to pretty much do everything in its power 01:05:07-01:05:13 to hold the original subject, which would be initial priority, or if you're saying, 01:05:13-01:05:20 "Given the dynamics of what's going on, I'm actually okay if it switches to the next subject, 01:05:20-01:05:25 the next bird that's flying in this pattern or whatever, this group of birds that are 01:05:25-01:05:30 flocking around." You can determine which you want, whether you want the system to be 01:05:30-01:05:35 able to fluidly switch as it detects a new subject coming into the picture area, or whether 01:05:35-01:05:37 it kind of stays with that original one. 01:05:37-01:05:42 - I could almost see this being part of the cases because I'm wondering now if in my case, 01:05:42-01:05:49 with live music or somebody shooting sports, putting it on initial priority might be great 01:05:49-01:05:54 when the singer walks in front of the guitarist for a second, but I was focusing on the guitarist. 01:05:54-01:05:55 This kind of relates- 01:05:55-01:05:56 - Perfect example. 01:05:56-01:06:00 - To the case settings. So that's interesting. I never thought about combining this with 01:06:00-01:06:07 the case settings. That's interesting. Okay. Lens drive when AF impossible. 01:06:07-01:06:11 - All of us, I'm sure, especially if you've worked with a macro lens or a telephoto lens, 01:06:11-01:06:17 have run into a situation where you either just pick the camera up from scratch and maybe 01:06:17-01:06:23 the last shot you took was at the lens's minimum focusing distance. You shot a macro type shot, 01:06:23-01:06:27 closeup shot in a botanical garden or something like that. And now you're looking to photograph 01:06:27-01:06:32 a bird that's 50 feet away from you or something like that. You pick the camera up and as you 01:06:32-01:06:39 initially go to focus, it is so hopelessly out of focus initially that the AF system 01:06:39-01:06:43 may not even really know what to do. And instead it's immediately zipping on your subject. 01:06:43-01:06:45 It just kind of sits there and does nothing. 01:06:45-01:06:46 - Hunting. 01:06:46-01:06:52 - Exactly. It'll often just start to kind of hunt back and forth. Basically, you're 01:06:52-01:06:57 telling the system here in those situations where you've got what we call defocus, the 01:06:57-01:07:01 lens is so far out of focus that the AF system is left scratching its head. Do you want the 01:07:01-01:07:07 system to try to drive the lens and hunt back and forth? Or do you want to just tell the 01:07:07-01:07:12 system, look, I don't want to waste the time. I will use that full-time manual focus and 01:07:12-01:07:17 quickly manually move the lens in the right direction and then let the auto-focus pick 01:07:17-01:07:19 back up again. So your choice. 01:07:19-01:07:23 - This one is self-explanatory and it's as you switch between the focusing modes that 01:07:23-01:07:28 we went through earlier, do you want every single one of them available to you? And I 01:07:28-01:07:33 personally uncheck the three zone ones, but obviously that's going to be kind of a personal 01:07:33-01:07:34 choice. 01:07:34-01:07:35 - Exactly. 01:07:35-01:07:41 - So AF method selection control, I have mine set up to the multifunction button, but you 01:07:41-01:07:48 have this or the main dial. I think now the main dial is the default if I'm not mistaken. 01:07:48-01:07:52 And that messed me up. Anything that's not self-explanatory here? 01:07:52-01:07:59 - No, this is just basically as you cycle, if you're using the buttons to pick your AF 01:07:59-01:08:06 method, again, single point, expansion points, zone AF, any of those. Basically, this is 01:08:06-01:08:10 one of those areas where you can, you got several different places you can do it. You 01:08:10-01:08:15 can do it on the menu screen and never touch a button, or you can do it with buttons on 01:08:15-01:08:20 the camera body, whichever you find quicker and easier to do. If you're using the buttons, 01:08:20-01:08:27 this just simply defines, okay, push what and then turn what. So the default method 01:08:27-01:08:32 is on most of the cameras, push the AF point select button and then press the multifunction 01:08:32-01:08:34 button, which is that little tiny button up by the shutter button. 01:08:34-01:08:40 - And it looks like this. If I hit the selection button and then I hit the multifunction button, 01:08:40-01:08:45 it cycles through them and you can actually see on screen. Let me put that in the middle 01:08:45-01:08:53 so that people can see it. As I hit multifunction, it actually cycles through the different options. 01:08:53-01:08:56 I have zones turned off now, obviously, but you get the idea. 01:08:56-01:09:00 - Yeah. And the choice is just simply, do you want to do it by pressing that multifunction 01:09:00-01:09:05 button or would you rather turn the main dial, which is that dial that protrudes up on a 01:09:05-01:09:11 Canon camera at the front of the camera, just near the shutter button. So that's all that 01:09:11-01:09:12 is. 01:09:12-01:09:17 - Okay. Orientation linked AF, and this is basically when you choose a specific focus 01:09:17-01:09:23 point, if you rotate the camera vertical, like you got a battery grip on or whatever, 01:09:23-01:09:30 if you go from landscape orientation to portrait orientation, do you want to be able to choose 01:09:30-01:09:34 the starting focus point independent in those orientations, right? 01:09:34-01:09:40 - Yeah, basically it's just saying, especially if you move a focusing point off center manually, 01:09:40-01:09:47 do you want to keep it at exactly the same location, no matter whether you are shooting 01:09:47-01:09:52 horizontal or vertical, or when you switch to vertical, do you want the focusing point 01:09:52-01:09:58 to move and be in another place for your verticals than it is for your horizontals? So I actually 01:09:58-01:10:02 find this a cool feature. It's not unique to Canon, a number of other cameras nowadays 01:10:02-01:10:07 have it, but it can really speed things up if you switch quickly from horizontal to vertical 01:10:07-01:10:11 in the type of shooting you do, whether it's wildlife or portraits or whatever. 01:10:11-01:10:17 - Yeah. Like for me, photographing live music, quite often I will have a particular focus 01:10:17-01:10:27 point and I might have that slightly off center. When I rotate the camera, it will automatically, 01:10:27-01:10:32 notice it went out of it. Notice now I'm in portrait mode and I'm going to put this, I'm 01:10:32-01:10:37 going to leave it in the bottom right corner there, which is technically upper right corner. 01:10:37-01:10:40 And then when I rotate the camera, it's moving just from rotating the camera. It's actually 01:10:40-01:10:46 a really, really handy tool for me. I use it often because I'll be shooting landscape 01:10:46-01:10:49 orientation with a guitarist, but you know, the name of the band and the drummer on the 01:10:49-01:10:53 left, and then I'll rotate vertical and I want it to start at the top immediately to 01:10:53-01:10:56 get the singer's face, you know, something like that. 01:10:56-01:10:59 - Exactly. That's a good example. 01:10:59-01:11:03 - Page number five, the last commands, then we'll get into the listener questions. Yes, 01:11:03-01:11:06 this is a long episode. I did warn you at the beginning, it was going to be a long episode, 01:11:06-01:11:15 people. Initial servo AF point for face and autofocus. So this one, there's three options. 01:11:15-01:11:17 Name these three options. 01:11:17-01:11:22 - This is yet another one where the wording is, as my friends from the United Kingdom 01:11:22-01:11:29 would say, a little wonky. Basically what we're talking about is if we have the AF method, 01:11:29-01:11:33 set the AF area, set for face detect plus tracking. In other words, we're using the 01:11:33-01:11:40 maximum available real estate in the picture to be able to have focusing take place in. 01:11:40-01:11:48 We're not using just a single point or whatever. If we're set there and we want to now track 01:11:48-01:11:57 a subject, okay, do we want the camera to decide when I push the shutter button down 01:11:57-01:12:02 halfway or activate my back button autofocus and initially push it in? Do you want the 01:12:02-01:12:09 camera to decide what to focus upon, which usually means the auto setting, or do you 01:12:09-01:12:18 want to define a point yourself and you want to say, "Hey, start here. Start on the left-hand 01:12:18-01:12:22 side because in this composition, I want to start with this on the left-hand side. Maybe 01:12:22-01:12:27 from there, we'll now track that subject across the frame, but I want to start here." That 01:12:27-01:12:30 can actually be a very effective way of working with a modern camera. 01:12:30-01:12:34 Especially if there's five faces and you want it to start towards the left. 01:12:34-01:12:40 There you go. Exactly. Exactly. That's one instance. There could be a million, bicycle 01:12:40-01:12:45 racing, auto racing, whatever, a whole bunch of different things. Okay. Initial point set 01:12:45-01:12:50 for face detect plus tracking means that if you've chosen that option and then you get 01:12:50-01:12:55 out of the menu, you're going to see that you've got the little corners indicating that 01:12:55-01:13:00 the whole picture area or much of the picture area is available. It's face detect plus tracking, 01:13:00-01:13:07 but you're also going to see a focusing point, a box that you can now move side to side, 01:13:07-01:13:12 up and down, whatever, throughout the available AF area and tell the system, "Hey, here's 01:13:12-01:13:20 where I want you to start." You are setting that point in face detect plus tracking. 01:13:20-01:13:23 The second option, and this is the one that confuses the hell out of people, and I'll 01:13:23-01:13:30 admit it confused the hell out of me for a while, is if I was using a single focusing 01:13:30-01:13:36 point. Steve, your example of that you normally use AF point expansion, and you may move that 01:13:36-01:13:41 point manually up, down, left, right, depending on just the situation. But let's say you were 01:13:41-01:13:48 using that AF point expansion, and then you decided, "Hey, I want to switch to face detect 01:13:48-01:13:55 plus tracking here. I want to be able to track a subject across the whole picture area." 01:13:55-01:14:00 As soon as you set face detect plus tracking, the system initially is going to put that 01:14:00-01:14:08 box the last place you had it with your AF point expansion. Wherever it last was before 01:14:08-01:14:13 you went into face detect plus tracking, that's where it's going to start. Now, you are totally 01:14:13-01:14:18 free to use the multi-controller on the back of the camera to move it up, down, left, right, 01:14:18-01:14:20 so it doesn't have to be there, but that's where it's going to start. 01:14:20-01:14:24 Gotcha. And then auto is self-explanatory. It chooses where to start. 01:14:24-01:14:28 Yeah, it'll just pick what it thinks is the most appropriate starting point. 01:14:28-01:14:30 So focusing ring rotation? 01:14:30-01:14:38 Yeah, this is another cool thing that happens with electronic manual focusing. Anybody who's 01:14:38-01:14:43 been around cameras for a long time, I got my start in photography, among other things, 01:14:43-01:14:47 working in photo retail, so I had to handle lots of different cameras. You probably know 01:14:47-01:14:53 that Nikon, Pentax, and probably one or two others that I'm not thinking of, they manually 01:14:53-01:15:01 focus the opposite of the way Canon and some other brands do. In other words, you turn 01:15:01-01:15:06 the lens counterclockwise, you're going in one direction with those cameras and going 01:15:06-01:15:11 in the opposite direction with another. So if you're coming to Canon from a different 01:15:11-01:15:17 brand and you're used to your manual focusing being opposite of the way Canon's is, you 01:15:17-01:15:20 can actually change that now in the menu. 01:15:20-01:15:26 Okay. And then sensitivity is somewhat self-explanatory, and that is, is it tied, let me jump in there, 01:15:26-01:15:33 is it tied directly to how fast you turn that manual ring? Or if you turn the ring faster, 01:15:33-01:15:37 does it move faster? And the way I always explain this to people is it's like scrolling 01:15:37-01:15:46 on a mouse nowadays, right? If you drag, it goes slow. If you flick fast, it'll jump faster. 01:15:46-01:15:51 So that's a good analogy. That's a good analogy. And, uh, you know, I'd say to everybody, try 01:15:51-01:15:55 it and try it with, if you own more than one lens, try it with a couple of different lenses 01:15:55-01:16:03 and just see what you prefer. You may find that with some lenses that one or the other 01:16:03-01:16:08 almost makes you crazy. Whereas the opposite one just seems like, oh, okay, this works. 01:16:08-01:16:14 And that may not be the same for every lens you own. So just try it. If you do a lot of 01:16:14-01:16:17 manual focusing and just get familiar with what your gear does. 01:16:17-01:16:25 Yeah. Yeah. Uh, okay. This one sensitivity AF point select is currently set to zero. 01:16:25-01:16:31 Right. The key thing here is that little sunburst icon right at the beginning, which actually, 01:16:31-01:16:35 if you look very close, I know it's hard to see with old eyes like mine. It's actually 01:16:35-01:16:42 a set of little arrows, not just sunburst lines. Uh, and what it indicates is the eight 01:16:42-01:16:47 way multi-controller on the back of the camera, the little, what some people euphemistically 01:16:47-01:16:53 call a joystick on the back of the camera that we call an eight way multi-controller 01:16:53-01:17:01 on the R5 and the R6. They really raised the game in a design sense, in terms of how quickly 01:17:01-01:17:06 you can use that multi-controller to move a focusing point or a focusing area, like 01:17:06-01:17:12 the zone AF or whatever across the screen up and down and so on reposition a focusing 01:17:12-01:17:20 point manually. It's actually so brisk that they added this menu setting to let you adjust 01:17:20-01:17:26 how fast as you just jog it, you know, one way or the other up, down, left, right. How 01:17:26-01:17:29 fast are those points going to move? Right. Right. So that's what we mean when we say 01:17:29-01:17:34 multi-controller sensitivity. Okay. Uh, do you want it to really zip or do you want to 01:17:34-01:17:39 have like a little finer control as you just sort of sit there and nudge it? Okay. So that 01:17:39-01:17:45 kind of sums up the, the, you know, sensitivity one. What about electronic full-time manual 01:17:45-01:17:51 focus? The last command, page number five. This can be a little confusing because back 01:17:51-01:18:01 on screen number four, we already had something for electronic manual focusing in one shot. 01:18:01-01:18:06 Think of this one. There you go. Lens electronic AMF. Uh, now we're on screen number five and 01:18:06-01:18:12 we've got another one about full-time manual focusing. Think of this one as basically just 01:18:12-01:18:19 an overall master setting saying, okay, do I want full-time manual focusing capability 01:18:19-01:18:27 if the lens has electronic manual focusing? Again, any RF lens, some adapted EF lenses, 01:18:27-01:18:31 but not most of them. Okay. Uh, this basically just says, do I want to be able to do it with 01:18:31-01:18:35 the electronic manual focusing? Yes or no. Okay. That's a little surprising that they 01:18:35-01:18:39 split them up, but they did. That's pretty self-explanatory. Now in a second, I'm going 01:18:39-01:18:46 to show people the setup that I use. I kind of got it from David Bergman and then he was 01:18:46-01:18:50 doing it a little differently and I made a suggestion to him. What if we did this? He 01:18:50-01:18:56 did a whole thing on his Ask David Bergman for AdoramaTV. You can go watch his full video 01:18:56-01:19:01 on it cause he's got fantastic demos in it. But, uh, I'll show you how I set up my dual 01:19:01-01:19:04 back button focus here in just a second, but I want to run through some listener questions 01:19:04-01:19:10 and some of these will be fairly quick because we've answered them. But, uh, first of all, 01:19:10-01:19:19 on Instagram, AK, uh, AK Chang, uh, just known as AK, AKAY. Question is best AF settings 01:19:19-01:19:24 for low light concerts, AF speed tracking, et cetera. So what would you do shooting a 01:19:24-01:19:31 concert? I'm guessing you do case four. Um, I'm guessing you would also do that, you know, 01:19:31-01:19:34 switch subject adjustment that we found later on in the menus. What, what, what would you 01:19:34-01:19:37 say is best for low light and concerts? 01:19:37-01:19:43 Well, I fall back on something I said at the beginning of our discussion or early in our 01:19:43-01:19:48 discussion when I said that, you know, one of the things you want to do is not get too 01:19:48-01:19:54 deep in overthinking things at the beginning. If I realize that sometimes whether you're 01:19:54-01:20:00 a working professional or just an enthusiast, you have situations and opportunities that 01:20:00-01:20:04 come up where it's like, Oh my God, I'm going to get the, I'm just making this up. You know, 01:20:04-01:20:08 I get the photograph, the Rolling Stones. Oh my God, I got to get this right. And then 01:20:08-01:20:12 there's other situations where it's just like, you know, Hey, me and my, me and my buds are 01:20:12-01:20:15 going to go and, you know, watch a couple of bands and shoot some pictures and stuff. 01:20:15-01:20:22 Uh, you know, at the local college auditorium or whatever it might be. Um, so in, in the 01:20:22-01:20:29 beginning I would say my main concerns are going to be what focusing area do I think 01:20:29-01:20:33 I need AF method in the case of the R five and the R six. And again, they've changed 01:20:33-01:20:37 on the R three, they changed the wording to AF area, which makes a lot more sense. It 01:20:37-01:20:42 means the same thing. Anyway, do I, you know, do I want to work with a single point? Do 01:20:42-01:20:48 I want to work with expanded points? Uh, like you do, uh, you know, or whatever, get that 01:20:48-01:20:54 underway first and then ask yourself, okay, in terms of the type of subject movement, 01:20:54-01:21:00 if any, that we're going to be experiencing, what's the nature of it? Is this something 01:21:00-01:21:03 where stylistically, you know, you, you made a great example. It's stylistically, some 01:21:03-01:21:06 musicians are, you know, they're constantly moving things up and down and you're grabbing 01:21:06-01:21:10 the mic and, you know, doing all kinds of other things and others, you know, maybe it 01:21:10-01:21:14 isn't quite like James Taylor sitting in a chair, but others, you know, not quite so 01:21:14-01:21:22 much. Um, you know, it's whether you shoot music or any other moving subjects, wildlife 01:21:22-01:21:30 or anything else in the beginning, it's hard to go wrong with case one. Okay. I'm not saying 01:21:30-01:21:35 it's perfect for everything. It's not optimum for everything. My, as you're getting used 01:21:35-01:21:42 to a new camera system in the Canon line, my recommendation is if you're in servo, start 01:21:42-01:21:48 with case one and see what happens. Okay. See what your hit rate is. If you start seeing 01:21:48-01:21:52 that, you know, Oh my God, every time this guy reaches for the mic and starts moving 01:21:52-01:21:56 it, it's focusing on his hand or something or her hand, you know, then, okay, now you 01:21:56-01:21:59 gotta, you know, kind of make a decision. All right. Do I, do I want to have the system 01:21:59-01:22:06 sustain and interference, uh, you know, with like case two, uh, that kind of thing. Um, 01:22:06-01:22:13 but you know, I, I try to tell people at least as you're getting warmed up with this, start 01:22:13-01:22:18 with case one, evaluate what happens. It's never going to be perfect. So don't wig out 01:22:18-01:22:22 if you shoot a thousand pictures and two of them are out of focus or something. But if 01:22:22-01:22:27 you're seeing a trend, that's when with the servo adjustments, case one, two, three, four 01:22:27-01:22:32 and auto, you may want to consider, you know, dipping in and trying something different. 01:22:32-01:22:35 Okay. Steven Berkich on Twitter and Steven, I've known Steven for a long time and I'm 01:22:35-01:22:39 hoping I'm pronouncing his last name right now that I think about it, uh, says I've always 01:22:39-01:22:43 been bewildered by all the cases and what those settings actually do. We've kind of 01:22:43-01:22:48 answered that today, but always trying to find the optimal settings for moving animals 01:22:48-01:22:53 either on the ground or in the air. And I'm guessing because of the way moving animals 01:22:53-01:22:58 move. Yeah, you could start with one, but I'm actually thinking four would be a good 01:22:58-01:23:05 starting point or auto. It may be for a lot of things. Okay. Um, part of it just depends 01:23:05-01:23:10 on what cameras are using to the R five and the R six. I'm not here to just do a, you 01:23:10-01:23:18 know, uh, an infomercial, but they truly changed the whole dynamic of using autofocus to focus 01:23:18-01:23:25 on moving subjects with their ability to do subject detection, uh, as well as subject 01:23:25-01:23:29 tracking. And again, when you said tracking is following a subject around the frame, not 01:23:29-01:23:38 just to and from the camera, right? So it's horizontal as opposed to, to the Z axis horizontal, 01:23:38-01:23:44 exactly. Horizontal and vertical as opposed to just simply back and forth. Okay. Which 01:23:44-01:23:52 case is best for, is there a case that's best for left, right up, down versus, you know, 01:23:52-01:24:00 like somebody that's jumping versus somebody that's running at or away from you? It really 01:24:00-01:24:07 comes down to, again, just how is the, are you or the camera going to be able to keep 01:24:07-01:24:12 a focusing point on that subject? And then what is their movement going to be? Okay. 01:24:12-01:24:16 Makes sense. What is the character of their movement? Uh, because again, to the, to somebody 01:24:16-01:24:20 who just got their first camera, you know, and they're on a sidelines at a pop Warner 01:24:20-01:24:25 football game with their, you know, eight year old kid, uh, playing their idea of a 01:24:25-01:24:31 moving subject and a professional wildlife photographers idea of a moving subject, they're 01:24:31-01:24:34 probably going to be two very different things. Not just because one shooting sports and one 01:24:34-01:24:36 shooting wildlife. 01:24:36-01:24:41 Alchemist Tim on Twitter says, and this is a sarcastic question, so take it for what 01:24:41-01:24:46 it is. My question would be where in the menu can I set metering to the selected focus point? 01:24:46-01:24:50 He's talking about spot metering. This is my biggest complaint about Canon. I'm sorry 01:24:50-01:24:56 that you're here to hear this, but you know, on a one DX Mark three, not even on an R three, 01:24:56-01:25:00 but on a one DX Mark three, if I'm in single focus point or something similar to a single, 01:25:00-01:25:05 like an expansion and I'm in spot metering and I move my focus point up into the right, 01:25:05-01:25:09 I'm still metering from the middle on anything but the one DX. 01:25:09-01:25:14 And that's always driven me nuts because it's just software. It's the software's written. 01:25:14-01:25:20 And in my particular case, if I want spot metering is perfect for a concert where I 01:25:20-01:25:25 have a black stage and a spotlight on somebody's face and I'll put a focus point on their face 01:25:25-01:25:31 composed, which is what photography is all about is composition, but I'm metering on 01:25:31-01:25:37 and their face is lit up by a spotlight, but I'm metering on the black part of the stage. 01:25:37-01:25:38 It's always driven me nuts. 01:25:38-01:25:42 But I had that conversation on a show actually with Drew one day and he, or he sent me an 01:25:42-01:25:47 email and I answered it for somebody. It's there. It's not as big of a deal now. And 01:25:47-01:25:52 the truth is with an EVF, I don't watch my meter nearly as often as I used to. So let's, 01:25:52-01:25:53 let's move on to a Mikey shot. 01:25:53-01:25:59 In fairness, just real quickly, we have definitely passed that sentiment along over the years 01:25:59-01:26:04 to our product planners and designers in Japan. And I'll be happy to repeat it one more time. 01:26:04-01:26:09 Yeah, please do. Because you see my, my, my, my concert example is perfect. And that is, 01:26:09-01:26:15 if I've got a singer lit up and I move my focus point to him, I need to meter his lit 01:26:15-01:26:20 up face, his or her lit up face, but I'm not, I'm, I might be metering literally a pure 01:26:20-01:26:26 black area of the stage and my meters wrong. And in photography, that, that compositional 01:26:26-01:26:33 tool is very, very handy. Mikey shot 84 on Instagram says, thank you for this interview. 01:26:33-01:26:38 I'd love to know the best method for tracking a football player during a game. What's the 01:26:38-01:26:43 best setting for AF to ignore other players moving into the shot and just be sticky on 01:26:43-01:26:47 the initial subject? Thank you. And I think we kind of answered that when we talked about 01:26:47-01:26:51 the, the custom settings. 01:26:51-01:26:57 One of the, one of the ones to look for in the AF menu is that switching tracked subjects. 01:26:57-01:27:02 Okay. And you want to make sure it's not going to eliminate it, but you want to make sure 01:27:02-01:27:06 that that set to that initial zero setting where you're telling the system, Hey, I'm 01:27:06-01:27:12 on an initial subject, do your darndest to stick with it. And it can still get thrown 01:27:12-01:27:16 off when you're shooting things like American football and so on with it. Sometimes lots 01:27:16-01:27:23 of subjects similarly dressed and so on in the scene, but that would be the place to 01:27:23-01:27:26 start. I got a couple of well-known people that ask questions to my buddy, Jeff Harmon 01:27:26-01:27:31 on Twitter. It's Harmon underscore Jeff. He hosts the photo taco podcast and also the 01:27:31-01:27:37 mag master photography podcast. His question I think is exactly what we just answered on 01:27:37-01:27:41 the last one. And that is best settings for tracking basketball players. I've tried a 01:27:41-01:27:45 lot of different case types and technique, but I'm not convinced I have the best one 01:27:45-01:27:49 yet. And I think Jeff, based on what we just said on the last question, that kind of answers 01:27:49-01:27:55 that one. And the two more questions I think is what it is. This one is Brit Bowman on 01:27:55-01:28:01 Instagram, Brit underscore Bowman, B R I T T. Brit is an amazing tour photographer for 01:28:01-01:28:08 Genesis for Volbeat and other bands. And when she saw the request for questions, she said, 01:28:08-01:28:13 Oh, this is one I need to hear. I mostly just want to hear what he has to say to see if 01:28:13-01:28:18 maybe I have a setting wrong or something. I think my main question has nothing to do 01:28:18-01:28:25 with autofocus. Sadly, I'm trying to get crowd shots from the stage on my R five. And it's 01:28:25-01:28:31 like they don't show up, but the exact same settings on my five D I see people. So in 01:28:31-01:28:36 other words, I think what she's saying is she's got identical exposure settings on a 01:28:36-01:28:42 five D four and an R five and those exposure settings on a five D four, she sees people. 01:28:42-01:28:51 I'm assuming that's because it's optical through the lens, but on the, but on the R five, she 01:28:51-01:28:57 doesn't see any people. And I'm wondering if it's because the EVF isn't in simulation, 01:28:57-01:29:02 not seeing it, but I don't know. Do you have any ideas? 01:29:02-01:29:07 The way I thank you so much, first off for sending the question in the way the question 01:29:07-01:29:11 is worded. I'm not sure if what you're talking about is what you're seeing in the viewfinder 01:29:11-01:29:18 versus what you're, unless I missed something versus what you're seeing in a finished image. 01:29:18-01:29:21 Because obviously if you're in manual mode, it doesn't have to be manual, but if you're, 01:29:21-01:29:26 you know, shooting the same area at the same exposure setting, you know, you could be an 01:29:26-01:29:31 aperture priority or whatever. It doesn't matter. I mean, they should be essentially 01:29:31-01:29:36 very similar exposures again, presuming, you know, lighting hasn't changed all that good 01:29:36-01:29:41 stuff. I think your point is a good one about that. If what we're talking about is what 01:29:41-01:29:47 you're seeing in the viewfinder that can be very much influenced by whether you have exposure 01:29:47-01:29:54 simulation on or off. And in addition, we don't have this on the R five and the R six, 01:29:54-01:29:59 but we did introduce it on the R three. Now, again, I understand this, this person may 01:29:59-01:30:03 not be using an R three and many of your users, many of your viewers may not be either. But 01:30:03-01:30:08 one of the things we introduced on the R three is a new feature called optical viewfinder 01:30:08-01:30:15 simulation. One of the problems that a lot of folks coming over from SLRs have said that 01:30:15-01:30:20 they've experienced with any electronic viewfinder on a mirrorless camera, not just a Canon, 01:30:20-01:30:26 but you know, anything is that sometimes in a high contrast situation that can be bright 01:30:26-01:30:32 sun outside at high noon. It could be under theater, you know, or stage type lighting 01:30:32-01:30:35 or whatever, where you have, you know, harsh spotlighting, but then a lot of stuff going 01:30:35-01:30:42 very, very dark is that oftentimes the electronic viewfinder basically lets the bright stuff 01:30:42-01:30:45 wash out and the dark stuff just suddenly goes pure black. And you're sitting there 01:30:45-01:30:49 trying to see, and it just, you know, the viewfinder is kind of fighting you a little 01:30:49-01:30:55 bit. We don't have this on the R five and the R six, but on the R three, we introduced 01:30:55-01:30:59 a new feature just so you know, called this optical viewfinder simulation, which literally 01:30:59-01:31:08 engages a high depth, not a high dynamic range image in the viewfinder. It doesn't change 01:31:08-01:31:12 your picture, but it takes, it takes away exposure simulation and instead gives you 01:31:12-01:31:19 an automated high dynamic range image where suddenly most human eyes can see more detail 01:31:19-01:31:24 in the bright stuff and the dark stuff. I'm not saying go out and buy an R three. All 01:31:24-01:31:29 I'm saying is just be aware that if what you're talking about is indeed a viewfinder thing, 01:31:29-01:31:30 we're aware of it. 01:31:30-01:31:34 See, and that's, that's actually similar to one of the issues. The only issue I have 01:31:34-01:31:40 with the EVF is in exposure simulation, it's wonderful. I can see everything and it's, 01:31:40-01:31:46 it tends to be accurate, but I have had occasions and I think it's because I have EVF brightness 01:31:46-01:31:55 on auto. I have had situations where the scene gets so dark that suddenly the viewfinder 01:31:55-01:32:03 decides on its own, even though it's an exposure simulation mode to brighten. At which point 01:32:03-01:32:08 I think that's the exposure and it's not at which point you got to go in and set your 01:32:08-01:32:13 EVF to a fixed exposure. Last question from a listener, Marty Sprague on Instagram. It's 01:32:13-01:32:18 marty.sprague. When using an R five to capture small birds and branches, the autofocus system 01:32:18-01:32:24 doesn't work well. It locks on a branch and it's difficult to find the bird. Even with 01:32:24-01:32:29 eye detect, I have to focus on something else and then try again. Usually by that time the 01:32:29-01:32:33 bird is gone. Any autofocus tips, thanks in advance, Marty. And I'm going to guess this 01:32:33-01:32:39 one, go to that first single point that's super small and super detailed. Is that his 01:32:39-01:32:40 best bet? 01:32:40-01:32:46 Keep in mind, if you do that, you're, you're manually telling the system, Hey, here's exactly 01:32:46-01:32:50 where I want you to focus. And you know, we'll put it right over the eye and all that, but 01:32:50-01:32:54 you're no longer talking eye detection. Right? Because as soon as you go to a 01:32:54-01:32:58 single focusing point or whatever, eye detection is basically ignored. 01:32:58-01:33:02 But the eye detection isn't working for him though, because of all the branches. 01:33:02-01:33:07 So that certainly is an alternative right there. So I'd be the last person in the world 01:33:07-01:33:12 to pour cold water on what you just said. You know, just, you know, sometimes, you know, 01:33:12-01:33:16 a football team, you know, is facing fourth down and you know, 20 yards or something, 01:33:16-01:33:20 you got to punt the ball away. Sometimes you just gotta, you gotta punt it away and wait 01:33:20-01:33:21 for the next time you get the ball. 01:33:21-01:33:22 Okay. 01:33:22-01:33:28 So geographically, we sometimes have to do that too. In terms of though, using the technology, 01:33:28-01:33:36 one thing that may be helpful on the R5 and the R6 is that initial point for focus tracking 01:33:36-01:33:40 that we talked about in the AF menu. And you had the three choices there, the auto, and 01:33:40-01:33:47 then the two others where you can tell the system, okay, here's what I want you to focus 01:33:47-01:33:52 on, even though we're in face detect plus tracking, wide area capability and subject 01:33:52-01:33:59 detection can be active birds or animals or whatever that can give you a leg up in terms 01:33:59-01:34:03 of telling the system, Hey, look, try to ignore those branches and get that, you know, a little 01:34:03-01:34:08 bugger that's, you know, on the branch there in the lower third of the frame. 01:34:08-01:34:13 You know, another good part is he may be in the default people changing that to animal 01:34:13-01:34:17 would also, yeah, that'll mess you up. Probably help too. That'll mess you up. I know Rudy's 01:34:17-01:34:20 got a meeting to get to, and I've got a few more things I want to go through really quick. 01:34:20-01:34:26 Can you hang out for just another sec? Sure. Okay. This is fun. I'm happy to. I know I'm 01:34:26-01:34:29 the same way. I love this. People are going to go, Steve, you released an almost two hour 01:34:29-01:34:33 episode. Sorry, but it's just is what it is. So let me jump to here. I promise I would 01:34:33-01:34:41 show people how I set up my auto focus. And this is absolutely key. I customize my buttons. 01:34:41-01:34:46 Now this is where the David Bergman video really comes in handy because in the Bergman 01:34:46-01:34:49 video he shows you these settings, but he also takes it out in the field and lets you 01:34:49-01:34:55 see through his, through his camera as he's focusing on things. And in this scenario, 01:34:55-01:34:58 I'm not going to go through that. I highly recommend that video. Maybe I'll put a link 01:34:58-01:35:03 to it in the show notes, but here's what I do for my particular setup. I go to the custom 01:35:03-01:35:08 functions menu, which is the sixth tab. I go to customize buttons, which is on page 01:35:08-01:35:15 number three of the custom functions button. First thing is the shutter button. I have 01:35:15-01:35:20 it on metering start. It starts where you are actually on metering and auto focus. I 01:35:20-01:35:27 disable auto focus from my shutter button and I am in metering start only on that. Then 01:35:27-01:35:36 I go down to the rear AF on button and the rear AF on button. I customize to do my metering 01:35:36-01:35:42 and my auto focus. So basically that becomes my shutter button except for actually triggering 01:35:42-01:35:49 the shutter. Okay. But here's the key. When you are in here, most people miss that. It 01:35:49-01:35:56 says info detail set. I go in here and everything is just a line meaning don't change anything 01:35:56-01:36:03 when I do this. Okay. That'll come into play here in, in just a second. Trust me. So then 01:36:03-01:36:10 I go down to the next button, which is the asterisk button. And I go into asterisk and 01:36:10-01:36:15 that one I have on metering and AF start exactly like the AF on button. Why would I have two 01:36:15-01:36:20 buttons do the exact same thing? And that's where this little info button detail set comes 01:36:20-01:36:28 in. When you go in there, you can say, when I hit the AF on button, don't change anything. 01:36:28-01:36:35 And I want you to do, uh, you know, auto focus and metering. When I hit the asterisk button, 01:36:35-01:36:40 I want you to do auto focus and metering. And regardless of what mode I was in, I want 01:36:40-01:36:45 you to switch to the servo mode so I can come into AF operation and change it. Don't change 01:36:45-01:36:50 anything, leave it what the camera's at. That's what my AF on button is or one shot or servo. 01:36:50-01:36:56 I'm in servo. And anytime I hit the asterisk button, you can have it changed to whatever 01:36:56-01:37:04 auto focus zone setting you want. In my particular case, I'm in a point selection, point expansion, 01:37:04-01:37:09 the nine point expansion. When I'm using AF on, anytime I hit the asterisk button, it 01:37:09-01:37:13 auto switches to face detection. Why do I use this? I'll tell you why I use this. When 01:37:13-01:37:19 I do trade shots backstage with an artist and a venue general manager, my camera was 01:37:19-01:37:26 already set up to use point expansion, servo for the show. All I got to do is hit the asterisk 01:37:26-01:37:32 button and I get face detection. It's just, it's, ah, it's just so fun. Uh, and then you 01:37:32-01:37:38 can also change the servo characteristics and pick your case. So you can say when I 01:37:38-01:37:43 hit the asterisk button, I want you to use the auto case or case one or case four, or 01:37:43-01:37:51 don't change it. Face detection and servo. And that my friends is basically my, my auto 01:37:51-01:37:59 focus setup, which brings me to the speed round with you, Rudy. What is your, as a photographer, 01:37:59-01:38:07 what is your favorite composition rule? I mean, for me, stuff that lights me up is when 01:38:07-01:38:12 I can, I like putting things off center. And I mentioned, you know, at the beginning of 01:38:12-01:38:18 our discussion, I love not exclusively, but I love the opportunities that an ultra wide 01:38:18-01:38:23 angle lens presents. And it gives you just a lot more space that you're working with 01:38:23-01:38:28 within that space. If there is a discernible, obvious subject, there are a lot of times 01:38:28-01:38:33 I'm inclined to move it like way off center, not the rule of thirds, but I mean, like, 01:38:33-01:38:37 I don't mind sometimes putting things in a corner. If there's not a lot of other competing 01:38:37-01:38:42 stuff in the frame, visually, it makes it hard to identify, Hey, what was I trying to 01:38:42-01:38:48 take a picture of in the first place? Um, don't be afraid to put things way off center 01:38:48-01:38:53 is maybe a quick and easy one that works for me. Everybody's eyeballs and sensitivities 01:38:53-01:38:58 are different. So I'm not saying that's the right answer for everyone. Okay. Now I'm a 01:38:58-01:39:06 music photographer have to ask your favorite album of all time or favorite artist. Oh boy. 01:39:06-01:39:09 You know, you keep in mind, this is weird as this sounds, you're talking to the one 01:39:09-01:39:14 kid when I graduated from high school, I didn't, I was probably the only kid in my graduating 01:39:14-01:39:21 class that did not own a record album. Um, so it's hard for me to pick any one, any one, 01:39:21-01:39:29 any album or group, but, um, I love, I love all British invasion stuff. Okay. So, uh, 01:39:29-01:39:35 early, early Beatles, that kind of stuff works for me early stones. Oh, I love that stuff. 01:39:35-01:39:41 Um, and, uh, you know, it did extends to other oldies, you know, Motown and that kind of 01:39:41-01:39:45 thing. Uh, that's the stuff that lights me up. And I realized that that's not what the 01:39:45-01:39:50 David Bergman's of the world of photographing. Uh, I'm, I'm way behind in their wake, so 01:39:50-01:40:00 to speak. Favorite drink. Uh, I'm going to keep it tame and a G rated thing here. Uh, 01:40:00-01:40:08 iced coffee, iced coffee. Okay. And last question is there, if you were to recommend one photographer 01:40:08-01:40:17 that people should follow, who would it be? Oh my God. Somebody that people may not know 01:40:17-01:40:21 about or may know about that, but more people need to pay attention to. 01:40:21-01:40:29 All right. I'm going to go out on a bit of a limb here and I hope that this doesn't rub 01:40:29-01:40:35 any of your viewers and listeners the wrong way. Never. I mentioned that I've lately gotten 01:40:35-01:40:39 into shooting models and fashion type photography and that kind of thing. It's not exclusively 01:40:39-01:40:43 what I do or it's not my total background or whatever, but I've gotten into it lately 01:40:43-01:40:52 and I very much enjoy it. A photographer whose work I think is just sensational is a guy 01:40:52-01:40:56 in Florida used to be a sports illustrated staff photographer. So he kind of reinvented 01:40:56-01:41:03 himself a guy named Anthony Neste, N E S T E. Okay. Anthony does a lot of what could 01:41:03-01:41:10 be described as kind of sexy fashion. So I understand his, the way he works and he does 01:41:10-01:41:17 include some nudes and stuff too, but that's not, he's not exclusively doing that. The 01:41:17-01:41:22 way he works may not be everybody's cup of tea. So I'm not, I understand if you're just, 01:41:22-01:41:29 if you don't like that kind of stuff, just follow somebody else. Anthony Neste really 01:41:29-01:41:35 though to me makes magic out of the subject matter that he works with. Anybody can take 01:41:35-01:41:42 a pretty person, a model, and take a decent picture of them. Anthony goes way beyond. 01:41:42-01:41:47 Okay. So his is one name that would pop to mind. So if people want to know more about 01:41:47-01:41:56 Canon, the Canon website, USA.canon.com. All the socials I believe are @canonusa on every 01:41:56-01:42:01 social right? Twitter, Instagram, everything. Yeah. Yeah. Yeah. We have, we're active on 01:42:01-01:42:07 Instagram as Canon USA. We're active on Instagram and Facebook and so on. And usually if you 01:42:07-01:42:14 just punch Canon USA into the search field, it'll bring you right to us. So again, Rudy, 01:42:14-01:42:18 this has just been wonderful. Technical advisor, product planning department for Canon USA. 01:42:18-01:42:24 Dude, this seriously, I've wanted, you know, cause we've talked, wanted to do this for 01:42:24-01:42:29 so long. I can't say thank you enough. I really appreciate it. Oh, this is, I love doing this 01:42:29-01:42:35 stuff. This is the fun part of my job. So coming right back at you when I say thank 01:42:35-01:42:39 you for the opportunity. Thank you to all the listeners and certainly hope that you 01:42:39-01:42:42 know, those folks that sent questions in and so on. Certainly hope that we gave you some 01:42:42-01:42:48 insights into using the system and keep in mind, it's not just an R5 or an R6 thing. 01:42:48-01:42:52 Even if you use a different brand, you'll see similar stuff, maybe worded very differently, 01:42:52-01:42:56 but you'll see similar kinds of controls in your menus too. Yeah. And like I said, sometimes 01:42:56-01:43:03 it'll be more or less granular or, you know, wording differently. There's usually some 01:43:03-01:43:09 kind of an equivalent there. And more importantly, if you understand the concepts that we're 01:43:09-01:43:13 talking about, that in and of itself can help a lot. All the show notes for today, all the 01:43:13-01:43:19 links for today, I'll put David Bergman's video in there too, are at behindtheshot.tv. 01:43:19-01:43:22 So make sure you head over there. Of course, if you're on YouTube, please head down, hit 01:43:22-01:43:27 the like button, please do subscribe, please tell your friends about the show. And in fact, 01:43:27-01:43:31 wherever you get your podcasts, like Apple podcasts, where you can get it in audio or 01:43:31-01:43:36 video or Spotify or whatever, if you'd take a moment and just drop a, both a star rating 01:43:36-01:43:39 and maybe a nice written comment, it would be much appreciated. Of course, if that is 01:43:39-01:43:44 something that you liked in the show today, please be sure to join us next time. Next 01:43:44-01:43:48 time, as we take a look inside the mind of a great photographer by taking a closer look 01:43:48-01:43:51 behind one of their shots, I'm Steve Brazill and we'll see you on the next show.