Today, it's a detailed look at the Canon autofocus system settings, and if you're

not a Canon shooter, do not run away. We're going to be using my EOS R5 as the example

today, but here's the deal. Whatever brand you use, Nikon, Sony, Panasonic, etc. The

AF options that you're going to see are going to change between brands. In fact, often they'll

even change within a brand between actual models within that brand. But most of today's

cameras are going to have some kind of equivalent to the settings that we're going to be talking

about. Some of them may be more or less granular than the ones that we talk about, but if you

understand these AF concepts, it's still going to help you get the most out of your camera's

AF system. This is Behind the Shot.

Hi, welcome to Behind the Shot. I'm Steve Brazill. This is the show where normally we

get inside the mind of a great photographer by taking a closer look behind one of their

shots. Today's a little bit different. This is an episode I've been working on for a long

time. I am so excited for this because it's one of those topics that is near and dear

to my heart, and you'll understand why as I get a little bit more into the show. Just

want to remind you that the show notes for today, they are available at BehindTheShot.tv,

or if you're watching on YouTube, they're also down in the comments and notes section

on YouTube. I've got a lot I want to get through today, so I'm going to jump right into today's

guest. Today's guest is a technical advisor for the product planning department at Canon

USA, Mr. Rudy Winston. How are you, sir?

Oh, Steve. I'm doing fine. A pleasure to be with you today.

I'm glad to have you here. You and I have been going back and forth on this since probably

early December, getting this arranged, getting schedules working, getting people signing

off on us doing this show, and I'm so glad that you're here. I actually, I want to tell

this story of how I originally found you and something that you did that still to this

day, I don't know if I've ever told you this, still to this day, I consider above and beyond

what almost anybody has ever done when I've asked somebody a technical question.

We have a mutual friend, Robert Fletcher. Robert works, he's not a Canon employee, but

he's one of the guys that's behind the booth at trade shows. When you walk up to the Canon

booth and you're looking at this glass case of every Canon lens and every Canon body,

and you've got technical questions, and I always thought Robert knew everything about

Canon. And one day I changed from my old 7D, original 7D, and I bought a 5D Mark III, and

then I bought a 5D Mark IV. And when I got the 5D Mark IV, I was having issues with it.

AF issues, where a singer that was jumping around the stage, I'd pull focus with no problem.

That singer would stand at a microphone, not moving, and I'd miss focus. And I'd pull those

shots up in DPP, a digital photo professional, the Canon software. And the reason I like

that software, and I almost never use it except for this feature, it shows me the AF point

location and a color on whether it locked that AF point or not. And that's valuable

for troubleshooting. And it would show the AF point on their eye. So I reached out to

Robert and said, "Robert, I don't understand. My 5D Mark III is doing better at AF. The

5D Mark IV pictures blow it away. There's like a depth and a richness to it that was

like nothing I'd seen." And he goes, "You know, I don't know. Let me put you in touch

with my buddy, Rudy. He's the one guy at Canon that knows everything." So to wrap this up

as quick as I possibly can, I'm thinking, "Okay, I send the description I just gave

to Rudy with one of the pictures." And I'm thinking, "This guy works for Canon. He's

busy. He's going to send me back a sentence or two, change this," or not sure I'd have

to have the camera in my hands or something. Rudy sent me back, I don't even know if you

remember this, because this was three, four years ago, probably. Rudy sent me back an

email. I kid you not, was two pages long of a detailed description of what all the different

autofocus cases that the 5D Mark IV had, why I had mentioned I was thinking of using case

four, should I be using case... No, no, no. Don't use that one. Use four, five is for

this. I don't want to get into that now because we're going to get into it during the show,

what the cases are. But explain to me why I would want case A over case B. And then

I said, "I'm using AF point expansion. My understanding is that it does this." He goes,

"Nope. This is what it does." And at that moment, I knew to myself, "This is a show."

And I am so glad that you're here now. And to set up you, you've been with Canon a long

time, right?

Exactly. Exactly. 25 years.

25 years with Canon. Here's what I want to understand. You're a technical advisor. Explain

what that is. I think of you as almost an engineer there.

Well, I want to make clear right from the get-go, I am not an engineer by training or

vocation. Engineering on our products is done by people a lot smarter than me over in Japan.

What I do, I have a role where I wear many hats, but a large part of what I do is interacting

with our customers just as I did with you. And it's a part of my job I actually very

much enjoy, helping customers get clarity on what's an increasingly complex set of operations.

And that is just simply working modern digital cameras, first SLRs and now, of course, into

mirrorless, especially when we get into the high-end mirrorless products. So that's part

of what I do. I act within the walls of Canon. I create a lot of marketing materials, especially

when they have to be sort of technical in nature. Myself and a team of people help bring

new products into the marketplace. That is to say, we help make sure that the Canon marketing

team kind of knows what a new product is going to do and that kind of thing. So it's a fun

job with a lot of, like I said, we wear a lot of different hats. I've only scratched

the surface of the variety of things that cross my desk in the course of a week or whatever,

but it's a lot of fun. And this is one of the things I like the best is being able to

kind of get out of the office in air quotes and interact with our customer base and people

like yourselves, Steve.

Well, it's interesting the way you just described that, because as you're saying that, I'm thinking

to myself, he's the glue. You're the connective tissue in a way between, I'm in IT from a

history point of view. And in tech, we always joke about the fact that the last person that

should be writing a manual is an engineer, but the engineer is the only one who knows

how to write the manual. And that's why we all joke that manuals are so technical, people

can't understand them. But you're kind of the glue, that connective tissue between those

super technical people that maybe engineer the products and create the products and the

consumer.

Because when you sent me those emails and I'm technical, I've got a strong technical

background and yet still, I was amazed at how down to earth, how real you were able

to communicate technical concepts. I did not know you're a photographer too. Your love

of photography started when you were young. I think you were six years old according to

your bio and it was a six week trip to Europe. What do you photograph?

I like to photograph lots of things. I want to make clear, I'm not a professional. There

was a time before I came to Canon where I was shooting professionally. But now, most

of the shooting I do is either to test and evaluate gear or to just simply for myself.

I love to travel. I love to just walk around in cities and simply see things, especially

with a different lens. And what I mean is something either real wide or real long. It

doesn't mean everything has to be shot with like the new 800 millimeter lens we just announced.

That's not what I mean.

I was literally just going to follow up and go, please tell me you've held the eight or

the 1200 millimeter.

I've held them. I haven't taken them out and actually tried to take real photographs with

them in the middle of New York City or whatever. But I enjoy doing that. I have a background

in shooting sports. And while I don't do a lot of that these days, it's still something

I very, very much enjoy. Even just bringing a camera with a telephoto lens to a high school

game is something I find a lot of fun.

And in the last few years, I've gotten into photographing models, male and female. And

it changed gears for me a bit because until then, a lot of the shooting I had done had

been basically at its heart, candid type shooting, where I was reacting to what was happening

in front of me. Obviously, sports is by nature that way. But even in a lot of the travel

and city type stuff I do and so on, that's kind of the way I worked. Working with models,

it's more you're creating the picture, even if you're not getting into very precise posing

and that kind of thing. So it's opened up some new doors for me. And I very much enjoyed

that too.

So in your bio, it mentioned something I want to touch on really quick. I just hit my mic.

If those of you listening on audio, if you heard that, that was Steve. Your bio listed

three of your favorite lenses and two of them I have not shot with. One of them is my favorite,

one of my favorite lenses. Actually, I've shot with a version of it. So the RF100-500,

I know so many people who love that lens. David Bergman likes the lens. Rick Salmon

likes the lens. The EF100-400 IS, which is kind of the EF equivalent of the RF100-500.

And then the 14-35. Now, in your case, it's an F4. In my case, it's the 15-35 F2.8. But

man, the wide EF glass is just amazing. If you could, if there was a lens that you don't

own that you really wanted and is not one of these three, what would be your all-around

lens? Like for somebody just to use all the time, like I've always liked the 24-105. What

would be your favorite single? You're on a desert island. You can't have any other lens.

What would it be?

Whoa, that's a good question. One of each. Yuck, yuck. Seriously. I might still go with

something ultra wide. Obviously, a 24-105 or something similar covers a lot more general

bases. I know most people would probably feel more comfortable with that. I love a 24mm

for what it does visually on a full-frame camera. But over the years, this is nothing

new with the R system lenses. I've really gotten acclimated to what you can do with

ultra wide. If you dropped me in the middle of Paris for a week and said, "You can only

have one lens, knock them dead out here," something ultra wide, the 15-35, the 14 I

mentioned. I know you said something other than what I mentioned. Maybe even, oh, this

is going out on a limb. Maybe even the 16mm F2.8. It's a $299 lens. A lot of people just

look right by it.

That's the almost pancake version, right?

Right. It's a very lightweight, compact lens. It's not a fisheye. It's a rectilinear lens.

It's actually quite sharp. I'm not saying it's an L lens, but its performance is pretty

good. Anything you take looks different than it does to the naked eye. That's something

I've always liked in photography when you can do that. We all got our different routes

of getting there.

Part of the reason I love that 15-35. Now, in the EF side, one of my favorite lenses

was the 16-35 Mark III. That lens was amazing, tack sharp, not edge to edge because none

of the EF class really was edge to edge. With the RF, you go a little bit wider, 15. It's

pretty much rectilinear, which is really, really needed that wide. You get to 35. I

use it at shows all the time when a singer or a guitarist sticks themselves right in

front of my lens.

In the 25 years you've been doing this, AF systems have changed drastically, really a

lot. I mean, in 25 years, we've actually gone to AF as opposed to just manual. Is there

any commonly misunderstood aspect of today's AF in your experience that an average consumer

hits? Like a major, one major misunderstanding, misconception?

That's a real good question. That's a real good question. I guess the short answer is

yeah, there are lots of them. I think nowadays, right now in 2022, as photographers, we have

an embarrassment of riches, regardless of what camera system we use. I'm speaking about

Canon, but the same as you said earlier, would apply to other competitive systems as well.

The degree of focus control and focus settings that we have, I guess that's part of the reason

I'm here today, has gotten so extensive that I think if there's one thing, it's that a

lot of photographers tend to overthink it and try... It's understanding what's on the

menu, what all your options are, is a great thing. I'm not down on that at all, but sometimes

we tend to just start reaching for stuff and it isn't... I shouldn't say it isn't help,

that's not the right way to put it, but it's exacerbated maybe by the fact that there is

so much online information that anybody can go online and say, "Oh, I shoot birds and

I did this." Maybe it was exactly the way the engineers intended for it to be used in

that application. Maybe they're totally off base, but it just happened to work. It can

get so darn confusing. I used to do more seminars in the field. That's something I missed since

the pandemic. One of the things I always try to tell people is understand your options,

but start at the beginning. Don't try to do everything at once in terms of layering on

all kinds of features and customization and stuff. Take it a step at a time. You got to

crawl before you can run.

And I will say, when I first met you and I had the issue and I started customizing settings,

I was able to customize some things, but being able to start from a base point, it's one

of the reasons I like the fact that the Canon systems have those cases, which are... For

those of you that don't shoot Canon, if you're a Nikon or a Sony shooter, I should probably

explain cases and I will more as we get into them, but cases are basically... Think of

them if you ever go into Lightroom and use a preset, that's really what it is. It's three

main settings for each particular case that are preset up to different settings to react

differently to different scenarios. And I think those are going to come in pretty heavy,

those customizations when we get to viewer questions. I put out on Twitter and Instagram,

"Look, I'm doing this show with Rudy, and if you've got any questions on the Canon AF

system, send them out to me." And wow, just they flooded in. So I chose a couple of them

and I'll have those at the end because my feeling is we'll probably answer some of them

during the normal course of this, but I do have those at the end and we'll do that.

I do want to remind everybody really quick here that the normal shows, this show and

the ones where I normally have a photographer on talking about a shot and why they made

the choices that they did, Behind the Shot is available wherever you get your podcasts.

It's available in audio format only or video format. I primarily approach the show as a

video show because we are usually talking about a photograph. It helps if you can see

it, but about 50% of the audience listens audio only. As well, if you don't listen to

podcasts in a podcast app, and I want to stress, in podcast apps, if your app supports video

like Apple Podcasts, you can get a video version or the audio only version. If you don't have

an app that supports video, you can head on over to YouTube. The podcast is up there as

well.

And I do also want to just take a minute to thank my friends over at DVE Store for the

HD video. You can visit dvestore.com for your digital video equipment needs. And I probably

should also mention I've got a workshop coming up. At the time we're recording, this is end

of February, and I do workshops for princetonphotoworkshop.com. And if you want to check out the workshops

I've got going on there, I've got an action photography workshop. It kind of uses my music

and sports photography as examples, but we talk about all kinds of things, pretty much

anything that you might want action, head over to princetonphotoworkshop.com and you

can find all the details there.

Which brings us into the conversation that we're going to have today. Here, my plan,

Rudy, and tell me if there's a better way to do this. I'm going to go through the actual

camera settings. Like I say, I've got my, my R5 here ready to go. And, uh, I just want

to go through page by page on these settings and have you described to us what they are,

what they mean. And if I've got any questions on them, we'll kind of pull that up, uh, for

us as well. So first of all, this is AF menu setting number one. And just so people know,

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

five hundredth of a second. And you can see kind of the settings I've got set up right

now. Right? So I'm in AI servo mode. I'm in a standard AF what's called point expansion.

You can see on the bottom left-hand corner, um, I shoot raw to both cards and that's everything

primary card being card number one, cause that's the CF express card. So that's kind

of my setup. So let's run down through these and, uh, see what the differences are. So

first of all, AF page number one and, and folks, by the way, if you have, I should mention

this. If you've got an R5, if you've got an R6 is the, the R the original R that is pretty

similar to, right? Yeah, but there are a number of enhancements on the R5 and the R6 in a

number of areas that we'll get into no doubt. What about the R3? Is it going to be most

of the same for an R3? Uh, yeah, the R3 brings some additional new features in that we can

touch upon. Uh, I realized the R3 is, you know, aimed at a different sort of clientele.

Uh, and, uh, on top of that, they've been rather scarce up to now, uh, with the supply

issues that the whole world is going through. So, uh, you know, I think, I think it's fair

to concentrate on the R5 and the R6, but there are some things about the R3 that I want to

mention as we kind of get into it, just so that people understand some differences and

why, you know, for some photographers, it may be something to consider in terms of stepping

up to an R3, regardless of what you're working with now.

I know Bergman, Bergman let me hold his when I, when I met up with him in Vegas, uh, I

felt so good, but he, I know he likes it. So, so let's jump into these. First of all,

we've got, and I'm doing the camera as I'm looking at the screen and as I'm looking at

the beauty. So if I hit a wrong button, it's that, uh, first of all, let's talk about AF

operation. So for AF, AF operation, for me, uh, you have the options of one shot and servo.

I keep it in servo to explain the two differences.

Yes. This has been something with Canon ever since we introduced EOS back in the late 1980s.

One shot doesn't have anything to do with how many pictures you can take in a row. What

that has, that's your drive speed. One shot means that as far as focusing is concerned,

we're auto-focusing on a stationary subject and then locking the focus once the camera

detects that, okay, this subject is sharp. If you keep your finger halfway down on the

shutter button, or if you're working with one of the back buttons for AF operation,

if you keep your thumb on that button, the focus will stay locked. You can recompose

and whatever else. So that's one shot auto-focus. Servo is intended to continually follow focus

on moving subjects, any moving subject. That could be anything from a speaker at a podium

who just tends to kind of rock back and forth as he or she delivers whatever their content

is to an Indy race car. Uh, one little notational thing here for years and years with the digital

SLRs, we called it AI servo. So you'll see AI servo on your five D's or your rebels or

whatever. Uh, it's not a L or a one it's AI. Uh, it stood for artificial intelligence with

the mirrorless cameras on the M series and the EOS R series. It is just servo. We don't

call it AI servo anymore. No, the thought police aren't going to come and write you

the ticket if you say AI servo by accident. Uh, but just understand that that's what it

is means the same thing. Okay. So next we have AF method and right now I have a one

that I just used two nights ago at a show. Uh, I'm going to start this at the beginning

is probably the best bet. And let me actually go back here really quick. Sorry about that.

The wrong one. And okay. First one is face detect plus tracking AF method is kind of

a poorly named way of saying what size is the AF area going to be that the camera uses

to read out and focus upon whatever you're pointing the camera at. Face detect plus tracking

means a couple of things. It means number one, you are using the maximum area of the

entire picture area that the camera is able to do. That will vary depending upon the lens

you have. Some of the big super telephoto lenses, uh, like the 800 millimeter F 11 and

the 600 millimeter F 11. Uh, you're more limited to a central area for technical reasons, but

regardless face detect plus tracking means that you're using a broad area with which

the camera can focus. And then the face detect part means that the system is able to detect

faces and with the R five and the R six, you can do other types of subject detection as

well, animals and vehicles. It's gotta be in the face detect plus tracking setting to

get that. And also to get eye detection, eye detection only kicks in in face detect plus

tracking on the R five and the R six. Then you have moving before you do, I just want

to, I want to emphasize something that you just said, that is if you want, you know,

vehicle or animal type detection, that is face plus tracking. Don't let the name, you

know, throw you there. Uh, okay. Very good point. So then the next one is spot AF, right?

You're using a single focusing point, but now it is deliberately sampling from an even

smaller area. You'll see that you can see yourself in the viewfinder or on the LCD screen.

The single focusing point is smaller than when you go to the next one, which is single

point AF. This is very good for very precisely focusing on a very small part of a subject.

Like if you're taking a macro shot of, uh, you know, a flower, a small animal, something

like that, keep in mind, it's not because of your, our sampling, a small area, it's

not seeing a lot of your subject. It can be a problem with servo auto-focus and moving

subjects. I would not necessarily recommend spot AF most of the time for sports pictures.

One thing, let me ask you a question while you're in there. I apologize for interrupting,

but, but one thing I noticed was compared to the five D mark four, which is my webcam

here, the five D mark four had spot and then standard single point. One thing I noticed

immediately when I went to the R five and the R six is those are different sizes. So

when you, when you are visually looking at your focus point through the EVF or on the

back of your camera or whatever, normal single point, which is this one here, one point AF

is a fairly large square. Now, is it, is that just the display or is it actually sampling

a larger area? No, it's sampling an area that's pretty darn close to what you see on the screen

or in the else in the viewfinder. So it is sampling a larger area. And part of that is

the nature of reading off the imaging sensor, as opposed to using a dedicated focusing sensor,

which is what the digital SLRs did. Okay. Anything else on, on one point AF or spot

AF? No, those are the two main things. Anytime

you want to focus precisely, when I say precisely, I'm not talking more accurately. I'm just

saying where you want to limit your focusing detection and your determination of sharpness

to a small area of a subject. Either of these is the way to go.

Okay. So the next two are the ones that I use. You've got expand AF, which is five points.

And then you have expand AF, which is nine points. And this was one of the ones that

on our original email that I, I touched on and I'm like, I'm using the nine point AF

and you were very clear to point out to me, no, no, no, it is not nine point AF. It's

still single point AF, but the other eight, or at least this is the way I understood it

at the time. And I'm probably still wrong. It's still the single point that's in the

middle. It's not using all nine for AF detection. It's using the chosen point for AF detection

and the other ones are, you know, like I'm here to help if you need me. Is that a good

way to word it? You said it perfectly. You nailed it. This

is in the Canon system. It's been this way with the SLRs and now with mirrorless. So

the concept is the same. You're still working with a central principle point. Whatever the

point in the center is, is the one the system wants to use. The surrounding points are there

to help if that central point simply isn't seeing enough detail or contrast, or for any

other reason, the central point just isn't getting enough information. It'll immediately

ask the surrounding points, Hey, do you see detail? Do you see detail? And use them as

needed. But you are correct. It is not like you're focusing with nine focusing points.

If you go to the highlighted setting you have on the screen right now.

Okay. So then that brings in a question. Oh, go ahead. I'm sorry.

No, no, that's fine. So then the question would be in my head,

I look at these and I don't know when I would ever only want left and right of my focus

point helping me and above and below my focus point helping me. Why would I, why even have

that in there? Why wouldn't you always want the corners?

You know, that's a good question. It's never really been articulated. I think it was just

a matter of giving photographers a choice of, okay, if the system is going to sometimes

move away from your primary point, do you want to kind of limit how much movement it

has? I don't mean how far it can move, but just the direction it can move in. Or alternatively,

do you want to have that total flexibility? I get it, Steve, why you always use or almost

always use the surrounding system, the eight points surrounding the central point. But

it's always been there. I've used them both. I haven't really detected a difference in

terms of their operation and so on. The system rarely has to go outside that primary point

to begin with. But when it does, the way you do it just simply gives you some more options.

I just thought of something. This episode is going to go longer than I thought, because

I've got questions. I just thought of something. So it's using the center focus point. The

other ones are there to help it if it can't find enough contrast or detail or whatever.

So let's take a hypothetical. Imagine somebody's head's in a weird position and I've got my

focus point on their eye, but their eye isn't lit well enough to give me contrast or detail.

And one of those assist points is on their ear. And I'm shooting at 1.8 or 2.8. Is it

going to use that detail and focus where the secondary point is, meaning now their ear

is in focus or is it going to use the detail? Yeah, it's got to, right? Because it still

can't see the eye.

Yeah, exactly. The center point is basically throwing its hands up and said, you got me.

Let's see what the outer points can see. And if one of them grabs the ear instead of the

eye, if it grabs that ear, it's going to say, okay, we got something. Let's go.

But it only uses those if, if it bails out and goes, it only, they only come into play

if it asks for help.

Yeah. And you will see in your viewfinder or the LCD screen, if you're doing live view,

you will see that the point that actually ends up getting highlighted, uh, during auto

focus, you'll see it shift a little bit and it's telling you, Hey, we're using this one,

not that one that's in the center. So you'll, you'll know when it happens.

Okay. The last three are all zones. I had to re-enable these. I had them disabled on

my camera cause I never want to land on them. I re-enabled them so that I could pull them

up, but we have zone, we have large zone, and then we have large zone horizontal, uh,

as opposed to vertical, uh, quick, I think most people understand zone, but, but give

the quick summary.

A couple of quick things. First off, of course, they can be used for stationary or moving

subjects in zone AF. The system is always, well, almost always going to try to focus

on the nearest subject with detail that it sees within the zones. The zone, not plural,

singular. Uh, so, you know, you can try this just sitting at your desk, uh, just, you know,

push the button down halfway and you'll see the points that light up telling you, Hey,

here's what we're focusing on. Invariably, there'll be the subject closest to what it

sees throughout the entire zone. Now, one other thing is that with subject detection,

face detection, animal detection, and so on, they will work in zone AF as well. Face detection

in particular will work. Eye detection for whatever technical reasons will not, but you

can have face detection. You can have face detection active, use say the large, large

zone horizontal. And I mean, just bring the camera up to your eye and just press the button

and you'll see, it'll just put points around whatever face it detects. It's not going to

put a box around it. It'll put live little points lighting up telling you, okay, here's,

here's what we're going for. If you didn't want it to do that, if you wanted it to focus

on the nearest thing, just turn, you know, people detection off.

So in zone AF, can you choose a starting point you want it to start with, or it just, it

goes on its own?

You can move the zone up, down, left, and right. But once you've done that, it doesn't

let you say, okay, I want to put a starting point on the left side, and then I want it

to move around. It won't let you do that. You can do that in face detect plus tracking,

which is the overall AF area.

Okay. Makes sense. Next one is subject to detect, and I have mine set to people, but

here's what we talked about before. I think this is self-explanatory people, animals,

vehicles, or no subject detection. I'm just using a focus point and whatever I put the

focus point, do that. Good summary there?

Yeah, that's, that's basically it. It's you know, people have probably, our customers

have probably seen this before, but the people detection is exactly that. It's designed for

face detection. It'll read faces. It'll read heads. In other words, if a face turns, it

can still detect that there's a head and a body and focus on the head. It'll do body

detection, which is nice as well. If you've got a subject that just suddenly, we run into

this in things like gymnastics, where people are doing these weird, you know, vaults and

you know, somersaults and stuff. And momentarily, a head may not be visible in a still picture.

The system is smart enough to be able to, instead of just freaking out and trying to

focus on the background, it'll say, okay, we still got a person here. We'll focus on

the, we'll put focus on the body. When we can bring a face back into it, we'll, you

know, nail focus there. And IDetect works within that and within animal detection as

well.

Okay. Specific animals or, I mean, what's, what's the general list? Dogs, birds?

Officially, the way the system works is it's set up to recognize dogs, cats, and birds.

Now, obviously that can be stretched. You can be in situations where it'll recognize

other animals, which clearly don't fall into those categories as an animal. They're going

to be sometimes where it doesn't, you know, you can point it at certain types of animals,

you know, even very unusual cats or whatever, or dogs, and maybe it doesn't recognize it

as, as an animal. That can happen, but dogs, cats, and birds officially, and you may be

able to get it to work with other kinds of animals as well.

Okay. And then vehicles, obviously it's self-explanatory and, and yeah.

It is and it isn't. It is and it isn't. I don't want to overcomplicate this, but the

vehicle detection is designed for cars and motorcycles, specifically in a motor sports

environment. So if you think of the types of vehicles you would see in a typical racing

environment, that's what these are specifically designed to recognize. Now they may very well

recognize the family car or even a truck or something, but we're not saying, Hey, it'll

just recognize any vehicle. It's designed specifically for vehicles in a racing environment

that does include dirt bikes because it's cars and motorcycles, including dirt bikes.

And then there's, for those of you watching on the video, you'll notice on periodically

on the menus, there'll be an info option. And if you hit that, it lets you go into extra

settings. What is spot detection under vehicle?

Oh, this is cool. We first saw it in the R3 and then with a firmware upgrade, it was added

to the R5 and the R6. If you've got vehicle detection active and you've got an exposed

driver or rider, so it's gotta be a motorcycle is a perfect example. If you activate spot

detection, if it detects a helmeted head, it will put focus on that head and not just

the front of the vehicle. So if you're shooting a race really tight with a 400, a 600 millimeter

lens or something, and you're looking to get vehicles coming around a turn and you want

to focus on the rider or the driver in an exposed car, it'll put focus on the headgear

rather than just putting them on whatever the near part of the vehicle is. So it's a

cool thing. Next one is not available to me right now.

And I'm guessing that's because the mode that I'm in, but I detection can be enabled or

disabled. I would have to be in face detection up above. So if I go up here and I choose

face tracking, then detection can be enabled or disabled. So here's one for you up above

at the very, very top. So people can see I've got AF operation is servo AF, which is effectively

continuous AF. So how come it says continuous AF is disabled?

I'm glad you asked because continuous AF, one of the things we deal with.

So I'm not the only one is what you're telling me.

Yeah. You're not the only one by any stretch. Canon's engineers over time have kind of realized

the error of some of their initial translations into English, presumably for other languages

too on the menus. And this may be one of them. And over time, they've actually changed some

of them. So you actually see this has changed on the R3, which is a newer camera.

Continuous AF has nothing to do with servo focusing on moving subjects. So especially

if you come from a competitive system where what we call servo, they may call continuous

autofocus, you know, continually follow focusing on moving subjects. This Canon continuous

AF is something totally different. What it means if you have it enabled is that anytime

the camera is turned on and awake, the autofocus is on and active, even if you haven't pressed

the shutter button to kind of wake the autofocus up. The idea in the early days was that this

way with some of the cameras, if a photographer just, you know, I don't know, we're shooting

candidates at a wedding reception or something. You set the camera down for a minute, you're

talking to somebody and all of a sudden you see a great candid picture. You've got to

pick the camera up. The idea was that the focusing system would already be awake and

you get like a half a second or a second edge on getting the focusing system on your subject.

But in today's world with the modern cameras, you're probably not going to find it's really

that necessary. So most of the time I recommend just leaving it turned off because it will

drain the battery a little more. So again, continuous AF though on a Canon has nothing

to do with servo focusing on moving subjects. Make sure you clear. Then we have touch and

drag settings, which again on with the touch LCDs that we have, I have it disabled on mine

because I don't want, I don't use live view. And so when I put my cheek up sometimes you

have that type of thing, but touch and drag AF is disabled, but it lets you touch the

screen to choose where your focus point is going to be. What is position method?

Well, let me go back first to the, to the first one. I don't want to drag this out too

long, but touch and drag AF basically means that looking through the viewfinder, you can

move your focusing points by dragging your thumb again, looking through the viewfinder,

dragging your thumb across the surface of the LCD.

Even though the LCD is off. Even though when you're up to the viewfinder, the EVF, your

screen turns off. It's still almost like a touch pad.

Exactly. The LCD screen is not showing you anything. You are looking through the viewfinder,

but if you've got a single focusing point, your zone AF or anything else where you can

move points around, one of the ways to move them is to have touch and drag AF enabled

and then drag your thumb across the surface of the LCD screen as you look in the viewfinder.

And you can do that and actually do it fairly precisely. It works well for some people.

It doesn't work well for other people. Particularly if you're left eyed, you may have trouble

with it. If you're right eyed, just because of the way the camera shifted over a little

bit when you look through the camera, you may find it a lot easier to use, but that's

what touch and drag AF enabled or disabled is.

The positioning method basically means how much do you have to move your thumb across

the active surface of the LCD screen to move your points? And will it let you double clutch?

In other words, if I want to go all the way from the right to the left with the touch

and drag, do I have to do it in one total motion across the whole screen area? Or can

I kind of do it partway stop and then pick it up and do it partway again?

Relative means that you're you're going to be literally having to go one all the way

across. Absolute means that you can double clutch.

OK, that makes sense. So then what about active touch area? We have the options for right,

left, top, bottom or top right.

When you do the touch and drag AF, how much of that LCD screen surface area do you want

to be touch active for this? Do you want to be to have to do it across the whole surface

of the screen? If you do, whole panel. Do you want to do it over just part of the screen

where you don't have to move your thumb as far to drag those points left and right? That's

what the other options are.

OK, makes sense. So let's jump over to page number two in the AF settings and start at

manual focus peak settings. Peak I have on for peaking. Level is high. Color is yellow.

And again, this is manual focus settings. So let's run through these peaking.

Yeah, manual focus peaking, our video users will certainly know what we're talking about,

but if you come from a still background, particularly with a digital SLR, it's just may still be

kind of an unfamiliar term. I apologize. Is construction going on in my building? You

can probably hear that.

That's fine.

And I do apologize if you do. Peaking means that as we manually not auto focus, manually

focus the lens as a subject gets into sharp focus, we not only see it get sharp on the

in the viewfinder or on the LCD screen, but we will see literally like a red, yellow or

blue fringe appear around sharp edges of anything we're focusing upon. That could be a person's

eyes, I mean, whatever, any detail, you'll get this colored edge suddenly appear. And

it actually can be a pretty nice way of backing up your own visual acuity in terms of just

judging blurriness and sharpness like we've done for years and years with digital SLRs

when you're manually focusing. Level, I normally agree, leave it on high. If you put it on

low, it just means that the intensity of that colored fringing is reduced. Sometimes it

can get real subtle, so you be the judge. And then the color is just kind of up to you.

It isn't just a matter of, you know, such and such as my lucky color, depending on what

you're photographing and even the lighting that you're in, you may find that sometimes

a certain color seems to pop pretty decisively where another color may sort of just not really

jump out at you as much when it appears in sharp focus.

And I will say I'm on high and yellow because I'm colorblind and that stands out to me.

Focus guide on or off. I have focus guide on. What's focus guide?

Focus guide is another thing for manual focus only. It basically means if you're manually

focusing and you want to be able to focus at a particular point, that is a small area

of whatever the picture area is. And you want to make sure that at that point, focus is

sharp and you want something other than once again, just judging blurriness and sharpness

as you manually focus. The focus guide gives you a focusing point that you can move around

and little arrows at the top of the guide that move back and forth.

It's sort of on sort of a little angle above the little focusing point. When they come

together and overlap, they turn green. That's telling you that the system thinks at that

point you have achieved sharp focus. If they're off, you can actually tell whether you're

front focus or back focus by the direction that they're off in. One of those things that's

easier to see than to try to describe.

And I will say it's awesome. I got to say it's awesome. AF assist beam firing is the

little...

This would be for your flash. When you're using flash, for technical reasons, we are

much more restricted and limited with mirrorless cameras in general with focus assist beams

on speed lights than we were previously. With digital SLRs, we of course on the high-end

speed lights had those near infrared striped pattern beams that would illuminate a couple

of times and give the system an ability to focus even in total darkness. For technical

reasons, those don't work well with mirrorless since we're focusing off the imaging sensor

itself.

But given the limited character now of AF assist, you have the ability now here to tell

it first off, do you even want an AF assist? And if so, do you want to restrict it so that

if it's, for instance, an LED assist beam, it'll work. But if you have a focus assist

that's with repeating speed light popping, which could be very distracting with live

people or whatever, you can have that turned off, for instance. So it gives you a couple

of options in terms of what's available now on the mirrorless cameras.

Page number three of the EOS R5 AF system, but again, most of what we're doing applies

to most Canon, or at least conceptually it does. And let's run through the cases. So

how do you... I described cases earlier as presets. That's kind of how I think of them.

Is that... how do you describe cases? Because it is unique to Canon.

You're absolutely right.

Not totally unique. Other brands have something similar, but yeah.

Right. You're absolutely right that they are indeed presets. They were intended as a way

to simplify telling the focusing system what, when you're in servo, what type of subject

movement you expect.

So all of this, yeah, I should have mentioned, this is all servo AF.

Yeah. And you can see it just right above the highlighted number one there on the screen,

you can see it says servo AF. You can set it and then go to one shot AF, but it will

have no effect. It just gets ignored. Basically what if we... I was starting to say, if we

had a high end sports photographer or wildlife photographer sitting with us, they could certainly

tell you that there are lots of different types of subject movement.

Not all subject movement is created equal. You have subject movement where subjects kind

of zig and zag. You can think of American football where, you know, running back, maybe

running through the line and cutting and zigging and stuff, and, you know, not running at a

steady speed. You've got other situations where even in a football game, but certainly

think about a photographer photographing the a hundred yard dash in the Olympics or auto

racing or something where you've got a subject that's coming at, it could be a pretty fast

speed, but just coming steadily right at the camera. That's a different type of movement.

And basically at the highest level, photographers want to be able to fine tune their auto focus

so that they can get the best possible results frame to frame, to frame, to frame. That's

what the cases are all about. The concept is exactly the same on the mirrorless cameras

like the R5 and the R6 as it was back with the digital SLRs. We're basically telling

the system, Hey, what kind of subject movement do we expect? And then we're tuning the focusing

system, the Servo AF to do its best to deal with it.

Okay. So case number one says, yeah, go ahead. Let's, let's run through these actually.

Yeah. Case one, in effect, you're telling the system, Hey, expect more or less steady

continuous movement, but there is a fair amount of wiggle room in the system so that if it

suddenly sees stops and starts or, you know, that kind of thing, it can up to a certain

point, it can adjust for those. You haven't optimized it for that, but it's, it basically

is the way to go. If you know that most of the time, your movement is going to be steady,

whether it's a toddler taking their first steps or whether it's a, you know, an Olympic

sprinter speed, isn't the issue here. It's the type of movement that is.

And if you hit the rate microphone button, it takes you to the two settings that you

see here. Let's start with tracking sensitivity.

We're going to get into this when we get into case two and a case three tracking sensitivity

is telling the system, okay, we are servo focusing on a subject. We've started focusing.

If there is suddenly an interference, if I'm on that subject with a big telephoto lens,

and I thought that subject was going to zig a little bit and instead they zagged and all

of a sudden I'm looking at the background or if a referee steps in front momentarily

or a player on an opposing team, if we're shooting sports or whatever.

I'll give it, I'll share an example where I run into this shooting live music. I'll

have a guitarist whipping their hair up and down and I'm focused on their face. And when

they throw their head forward and that hair flies at me, or there are the singer's microphone

comes in front of between me and them or their, their guitar stock, a guitar headstock does

the camera switch to it? Exactly. That's it. What will the subject do if it sees, what

will the auto-focusing system do? Excuse me. If the system sees a sudden change in what

it's trying to focus upon. Okay. Basically, will it try to immediately react to that change

and refocus on whatever the quote new end quote subject is, or will it try to continue

to drive the lens at the rate it was before the interference for a perceptible one Mississippi

or whatever to give you that moment to get back on the real subject, your choice with

the tracking sensitivity. But you got a couple of cases that automate the choice as well.

Right. You can increase it sensitivity to switching faster or decrease it to keep it

longer and then acceleration, deceleration tracking.

This is where we're telling the system, okay, are we really expecting steady, continuous

movement, or are we anticipating that we are going to see changes in speed of the subject?

Again, think of you got in American football, you got wide receivers, uh, you know, lined

up at the end of the line that are going to run like a long fly pattern, which for those

who weren't into football, just means they're going to run straight down the field, uh,

looking to put as much distance between them and a defender as they can, but they just

come in straight at the camera, uh, on, on that same team on the next play, you could

have a running back who's handed the balls handed to him and they're, you know, kind

of zigging through the line and they're making cuts and they're trying to, you know, sidestep

a linebacker and that kind of thing. They're changing speeds. So Excel D cell tracking

is telling the system, okay, I expect I'm going to get a lot of that continuous movement

or I expect I'm going to get a lot of stops and starts fine tune the AF to optimize it

for one or the other.

That makes sense. So now that we've gone through the versatile one where both of those are

set to zero, the rest of the cases are going to make a little bit more sense. Number two,

continue to track subjects. Meaning if something comes in between you try tracking the original

subject the way they did that tracking sensitivities at minus one, ignore possible, you know, obstacles

and then acceleration deceleration is at zero. And based on your descriptions, case

number two makes total sense. Just hang a little bit longer. Right. Case number three,

instantly focus on subjects suddenly entering an AF point. So notice the tracking sensitivity

here is plus one, but yes, acceleration deceleration is plus one. What role is that playing here?

Going to plus one.

Basically you're telling the system to expect something suddenly appearing at the active

focusing point or focusing points and to be on its guard. Number one, to jump right on

it. I gotcha. And to expect that we may have, since this is suddenly appearing, it may start

changing speeds on us. We don't know yet. Perfect example. It's not the only one for

sure. If you were shooting a Olympic skiing and a photographer was positioned with a telephoto

lens looking up the crest of a hill and a skier is expected to come bounding over the

hill and, you know, coming right at the camera, but you can't see them until they literally

hit the crest of the hill and start coming down. The idea is that the system can grab

that moving subject as fast as it can. When you have the system alert to suddenly focus

on a new subject.

Okay. Track it faster. And when you see it, get over there and switch to it. Okay. Makes

sense. So here's mine. I normally use case four until the R5. Case four, tracking sensitivity

is at zero. This is for subjects that accelerate or decelerate quickly. In other words, don't

necessarily, I want you to be sensitive to tracking, but I don't want you to be overly

sensitive if something comes in the way, kind of think about it. I also don't want you to

go, something's in the way. I'm not even going to pay attention to it. I kind of want you

to be in the middle, but I do want you to switch to it when you do see it fairly quickly.

As much as anything, I think of this setting as something that, for instance, a wildlife

photographer might want to use if he or she was working probably with a telephoto lens.

And you, maybe you are just hypothetically, maybe you're around a watering hole in Africa

or wherever, where you know wildlife is going to come and predators may come too. And you

may suddenly have a situation where all of a sudden, an animal is kind of suddenly set

upon by predators and they're not running just in a straight line. I mean, they're going

to be cutting and zigging and zagging as whatever the proposed victim is trying to escape and

so on. In other words, they could be, you're telling the system expect sudden changes in

subject speed. This isn't the a hundred yard dash at the Olympics or a hundred meter dash

at the Olympics. This is something where you got a subject that is likely to be suddenly

cutting, zigging, zagging, not so much a change of direction, but change of speed.

Okay. Which is why it works perfect for me for live music, except now we have auto. Here's

the question. It wraps up cases. Should I still as a live music photographer, that's

not normally shooting a James Taylor sitting on a stool at a microphone, but I'm shooting

people to jump in the air in extremely low light scenarios with gear all over and whipping

hair, is auto going to be that good? I mean, should everybody just do auto or should I

really lock it in to four or customize my own?

Like most forms of auto, the one thing you got to keep in mind is the system does have

to take a perceptible. It's not like a whole second or whatever, but it's got to take a

split second to begin to read the subject and decide what is this subject doing? Because

it doesn't know. And then say, okay, this looks like steady movement. We'll go to case

one internal. You're not going to see anything change in the menu or whatever. And so on.

Oh, hold on. So that's really what it's doing. It's switching. Auto is really honestly choosing

one through four. It's not adjusting the individual settings.

Yeah, exactly. It's basically just saying, okay, we, you know, what should we do here?

It's designed to simplify the case selection for most situations with moving subjects.

If you are really, really super critical shooting, really, really tight with super long lenses,

you know, 400, two, eight, 600 F fours, you know, coming down the road, even the new 800

and 1200 millimeter lenses, you know, if you're working really tight and your subjects are

really, you know, you're shooting professional sports or whatever, you may still be better

off making an intelligent and appropriate selection from one through four, because it

doesn't have to take that little, you know, just half of a one Mississippi to say, okay,

is this steady movement or changing speeds or whatever?

Most of us, the auto setting will probably work fine. You'll notice. I just set mine

back to four. So just so that you know. Okay. So lens, electronic, manual focus. This is

page four of the auto focus settings out of five. Right. This is something much more appropriate

with the, with the mirrorless cameras, because the RF lenses for our DSR series, manual focusing

on all of them is done electronically. In other words, you can manually turn a focus

ring, but you're not just mechanically turning a helicoid. What you're doing is you're sending

signals to the focusing motor to move the focusing elements in the lens by a certain

amount and a certain, you know, at a certain rate. So this is something that's done with

all RF lenses, a few of the EF lenses, and you can adapt those onto the EOS R's with

a mount adapter. A few of the EF lenses also use electronic manual focusing. Most did not.

Okay. Most of the EF lenses, it was mechanical manual focusing. In other words, you could

take the lens off the camera and turn it and you could see, you know, focusing elements,

moving and stuff. So that being said, if the lens has electronic manual focusing, basically

it's saying, okay, particularly when you're in the one shot auto focus mode, where we

can focus on something with auto focus, lock it and hold it. After we held it, keeping

a finger on the, on the appropriate activation button, do we want the ability to be able

to go in and fine tune the focusing manually? Or is that something we're saying, hey, look,

auto focus is fine. I just want that to do the job. I don't even want to run the risk

of accidentally hitting the focusing ring as I'm holding the lens. So if you're, if

you're one of the latter, put it on disable after one shot, and then you could, you know,

inadvertently hit the focusing ring or whatever, nothing will happen. If you like the idea

of being able to fine tune the auto focus after one shot, auto focus, when you have

it locked again, you've got to have your finger on the button lock, holding it in that lock

position. You can set it to the second item, one shot auto focus. You've enabled electronic

manual focusing. Okay. The enabled with magnify is actually kind of cool. In some situations,

it lets you get very precise manual focusing, either on the LCD screen or in the electronic

viewfinder, because as soon as you start to turn the ring to manually fine tune the focus,

after you've locked it in one shot, you'll immediately get a magnification of the central

area. And it's, it's actually a very keen way of being able to tell that I focus right

on the eye, you know, the edge of the eye, or did I, you know, get, you know, the back

edge here or the tip of the nose or something. So it's actually pretty cool. And just, you

know, you try it and see what you think is what I would recommend to people. It works

in some situations, maybe not the right idea in others. And then disable just simply means,

Hey, no matter what, if I don't want to be able to inadvertently run the risk of turning

the manual focusing ring and having manual focus switch on me, just turn it off. And

then you can not manual focus until you, unless you go to manual focus and switch the whole

lens to manual focus. And in other words, get totally out of auto focus, then you can

manually focus, but disable in AF mode means exactly that. Okay. One shot AF release prior.

Another thing that carries over from the digital SLRs going back in history with EOS on the

digital SLR side, when we use one shot auto focus, the cameras worked on a focus priority

system, meaning that in one shot, if you focused on something, the camera would not let you

take the picture. Even if you push down all the way on the shutter button quickly, it

would not fire the shutter until the focusing system had confirmed sharp focus and that

the focus was locked. Okay. So the idea was to protect photographers from accidentally

taking a picture before the focusing system had kind of done its thing. In recent cameras,

certainly the R5 and the R6 among others, we have the ability now with this one shot

release priority to tell the system, Hey, when I'm in one shot, do I want it to let

me hold off shooting until the actual moment we've achieved sharp focus, or is my priority

on simply getting the shot. And even if it's off by just a smidge in terms of the auto

focusing, the moment is more important than the sharpness. I could easily see a photo

journalist covering like a news conference in Washington or something, you know, might

be in one shot focusing on what's essentially a stationary subject at a podium. But he or

she might say, Hey, look, if you know that that person at the podium makes a good gesture

or something, I want to get that gesture. And if it if the face isn't just tack, tack,

tack, tack, sharp, hey, this is for newspaper anyway, it probably doesn't matter. So the

photographer gets the choice. Okay, that makes that makes total sense. Actually, switching

tracked subjects, I have it set to one, which is the default.

Let's understand real quick in a modern world. When we say focus tracking, this is industry

wide, not just can. It used to be back when I was a lad, and autofocus cameras were first

getting started. We often use the word tracking, meaning what Canon now calls servo autofocus.

If we were just put a focusing point on that Olympic sprinter running at the camera from

behind the finish line, and we're just shooting straight down the track, okay, and we just,

you know, you know, bang, bang, bang, bang, bang, bang, continuous servo autofocus. We

used to call that tracking focus tracking. Nowadays, in the modern world, this isn't

just Canon, this is across the industry. When the industry says focus tracking, that's not

what we mean anymore. Focus tracking means that we can start with a subject and a focusing

point on that subject in one part of the picture area. It could be in the middle, could be

off the one side, up, down, whatever. And then once we start shooting for focusing,

if that subject starts to move to a different part of the frame, we don't have to keep a

focusing point on that subject like I did with most of my digital SLRs, okay? We can

give that compositional freedom and have the autofocusing system simply change focusing

point locations as long as it's somewhere within the active AF area.

- Zone AF or whatever, yeah.

- Right. That's what focus tracking means. Now, how that relates to this. If we are on

a subject, let's say we got an athlete or something, or it could be an animal, let's

say that. If we got a couple of animals and they're moving, and we've got animal A and

we decide, "Hey, for compositional reasons, I would love to start with animal A on the

far right side of my picture." And so you've got animal A lined up and he or she or it

starts to kind of move around the frame, but other animals begin to come into the picture

area. How readily will the system give up on animal A and go to animal B or C if they

are detected? How readily will it switch from an initial subject to another subject? And

it's up to you whether you want the system to pretty much do everything in its power

to hold the original subject, which would be initial priority, or if you're saying,

"Given the dynamics of what's going on, I'm actually okay if it switches to the next subject,

the next bird that's flying in this pattern or whatever, this group of birds that are

flocking around." You can determine which you want, whether you want the system to be

able to fluidly switch as it detects a new subject coming into the picture area, or whether

it kind of stays with that original one.

- I could almost see this being part of the cases because I'm wondering now if in my case,

with live music or somebody shooting sports, putting it on initial priority might be great

when the singer walks in front of the guitarist for a second, but I was focusing on the guitarist.

This kind of relates-

- Perfect example.

- To the case settings. So that's interesting. I never thought about combining this with

the case settings. That's interesting. Okay. Lens drive when AF impossible.

- All of us, I'm sure, especially if you've worked with a macro lens or a telephoto lens,

have run into a situation where you either just pick the camera up from scratch and maybe

the last shot you took was at the lens's minimum focusing distance. You shot a macro type shot,

closeup shot in a botanical garden or something like that. And now you're looking to photograph

a bird that's 50 feet away from you or something like that. You pick the camera up and as you

initially go to focus, it is so hopelessly out of focus initially that the AF system

may not even really know what to do. And instead it's immediately zipping on your subject.

It just kind of sits there and does nothing.

- Hunting.

- Exactly. It'll often just start to kind of hunt back and forth. Basically, you're

telling the system here in those situations where you've got what we call defocus, the

lens is so far out of focus that the AF system is left scratching its head. Do you want the

system to try to drive the lens and hunt back and forth? Or do you want to just tell the

system, look, I don't want to waste the time. I will use that full-time manual focus and

quickly manually move the lens in the right direction and then let the auto-focus pick

back up again. So your choice.

- This one is self-explanatory and it's as you switch between the focusing modes that

we went through earlier, do you want every single one of them available to you? And I

personally uncheck the three zone ones, but obviously that's going to be kind of a personal

choice.

- Exactly.

- So AF method selection control, I have mine set up to the multifunction button, but you

have this or the main dial. I think now the main dial is the default if I'm not mistaken.

And that messed me up. Anything that's not self-explanatory here?

- No, this is just basically as you cycle, if you're using the buttons to pick your AF

method, again, single point, expansion points, zone AF, any of those. Basically, this is

one of those areas where you can, you got several different places you can do it. You

can do it on the menu screen and never touch a button, or you can do it with buttons on

the camera body, whichever you find quicker and easier to do. If you're using the buttons,

this just simply defines, okay, push what and then turn what. So the default method

is on most of the cameras, push the AF point select button and then press the multifunction

button, which is that little tiny button up by the shutter button.

- And it looks like this. If I hit the selection button and then I hit the multifunction button,

it cycles through them and you can actually see on screen. Let me put that in the middle

so that people can see it. As I hit multifunction, it actually cycles through the different options.

I have zones turned off now, obviously, but you get the idea.

- Yeah. And the choice is just simply, do you want to do it by pressing that multifunction

button or would you rather turn the main dial, which is that dial that protrudes up on a

Canon camera at the front of the camera, just near the shutter button. So that's all that

is.

- Okay. Orientation linked AF, and this is basically when you choose a specific focus

point, if you rotate the camera vertical, like you got a battery grip on or whatever,

if you go from landscape orientation to portrait orientation, do you want to be able to choose

the starting focus point independent in those orientations, right?

- Yeah, basically it's just saying, especially if you move a focusing point off center manually,

do you want to keep it at exactly the same location, no matter whether you are shooting

horizontal or vertical, or when you switch to vertical, do you want the focusing point

to move and be in another place for your verticals than it is for your horizontals? So I actually

find this a cool feature. It's not unique to Canon, a number of other cameras nowadays

have it, but it can really speed things up if you switch quickly from horizontal to vertical

in the type of shooting you do, whether it's wildlife or portraits or whatever.

- Yeah. Like for me, photographing live music, quite often I will have a particular focus

point and I might have that slightly off center. When I rotate the camera, it will automatically,

notice it went out of it. Notice now I'm in portrait mode and I'm going to put this, I'm

going to leave it in the bottom right corner there, which is technically upper right corner.

And then when I rotate the camera, it's moving just from rotating the camera. It's actually

a really, really handy tool for me. I use it often because I'll be shooting landscape

orientation with a guitarist, but you know, the name of the band and the drummer on the

left, and then I'll rotate vertical and I want it to start at the top immediately to

get the singer's face, you know, something like that.

- Exactly. That's a good example.

- Page number five, the last commands, then we'll get into the listener questions. Yes,

this is a long episode. I did warn you at the beginning, it was going to be a long episode,

people. Initial servo AF point for face and autofocus. So this one, there's three options.

Name these three options.

- This is yet another one where the wording is, as my friends from the United Kingdom

would say, a little wonky. Basically what we're talking about is if we have the AF method,

set the AF area, set for face detect plus tracking. In other words, we're using the

maximum available real estate in the picture to be able to have focusing take place in.

We're not using just a single point or whatever. If we're set there and we want to now track

a subject, okay, do we want the camera to decide when I push the shutter button down

halfway or activate my back button autofocus and initially push it in? Do you want the

camera to decide what to focus upon, which usually means the auto setting, or do you

want to define a point yourself and you want to say, "Hey, start here. Start on the left-hand

side because in this composition, I want to start with this on the left-hand side. Maybe

from there, we'll now track that subject across the frame, but I want to start here." That

can actually be a very effective way of working with a modern camera.

Especially if there's five faces and you want it to start towards the left.

There you go. Exactly. Exactly. That's one instance. There could be a million, bicycle

racing, auto racing, whatever, a whole bunch of different things. Okay. Initial point set

for face detect plus tracking means that if you've chosen that option and then you get

out of the menu, you're going to see that you've got the little corners indicating that

the whole picture area or much of the picture area is available. It's face detect plus tracking,

but you're also going to see a focusing point, a box that you can now move side to side,

up and down, whatever, throughout the available AF area and tell the system, "Hey, here's

where I want you to start." You are setting that point in face detect plus tracking.

The second option, and this is the one that confuses the hell out of people, and I'll

admit it confused the hell out of me for a while, is if I was using a single focusing

point. Steve, your example of that you normally use AF point expansion, and you may move that

point manually up, down, left, right, depending on just the situation. But let's say you were

using that AF point expansion, and then you decided, "Hey, I want to switch to face detect

plus tracking here. I want to be able to track a subject across the whole picture area."

As soon as you set face detect plus tracking, the system initially is going to put that

box the last place you had it with your AF point expansion. Wherever it last was before

you went into face detect plus tracking, that's where it's going to start. Now, you are totally

free to use the multi-controller on the back of the camera to move it up, down, left, right,

so it doesn't have to be there, but that's where it's going to start.

Gotcha. And then auto is self-explanatory. It chooses where to start.

Yeah, it'll just pick what it thinks is the most appropriate starting point.

So focusing ring rotation?

Yeah, this is another cool thing that happens with electronic manual focusing. Anybody who's

been around cameras for a long time, I got my start in photography, among other things,

working in photo retail, so I had to handle lots of different cameras. You probably know

that Nikon, Pentax, and probably one or two others that I'm not thinking of, they manually

focus the opposite of the way Canon and some other brands do. In other words, you turn

the lens counterclockwise, you're going in one direction with those cameras and going

in the opposite direction with another. So if you're coming to Canon from a different

brand and you're used to your manual focusing being opposite of the way Canon's is, you

can actually change that now in the menu.

Okay. And then sensitivity is somewhat self-explanatory, and that is, is it tied, let me jump in there,

is it tied directly to how fast you turn that manual ring? Or if you turn the ring faster,

does it move faster? And the way I always explain this to people is it's like scrolling

on a mouse nowadays, right? If you drag, it goes slow. If you flick fast, it'll jump faster.

So that's a good analogy. That's a good analogy. And, uh, you know, I'd say to everybody, try

it and try it with, if you own more than one lens, try it with a couple of different lenses

and just see what you prefer. You may find that with some lenses that one or the other

almost makes you crazy. Whereas the opposite one just seems like, oh, okay, this works.

And that may not be the same for every lens you own. So just try it. If you do a lot of

manual focusing and just get familiar with what your gear does.

Yeah. Yeah. Uh, okay. This one sensitivity AF point select is currently set to zero.

Right. The key thing here is that little sunburst icon right at the beginning, which actually,

if you look very close, I know it's hard to see with old eyes like mine. It's actually

a set of little arrows, not just sunburst lines. Uh, and what it indicates is the eight

way multi-controller on the back of the camera, the little, what some people euphemistically

call a joystick on the back of the camera that we call an eight way multi-controller

on the R5 and the R6. They really raised the game in a design sense, in terms of how quickly

you can use that multi-controller to move a focusing point or a focusing area, like

the zone AF or whatever across the screen up and down and so on reposition a focusing

point manually. It's actually so brisk that they added this menu setting to let you adjust

how fast as you just jog it, you know, one way or the other up, down, left, right. How

fast are those points going to move? Right. Right. So that's what we mean when we say

multi-controller sensitivity. Okay. Uh, do you want it to really zip or do you want to

have like a little finer control as you just sort of sit there and nudge it? Okay. So that

kind of sums up the, the, you know, sensitivity one. What about electronic full-time manual

focus? The last command, page number five. This can be a little confusing because back

on screen number four, we already had something for electronic manual focusing in one shot.

Think of this one. There you go. Lens electronic AMF. Uh, now we're on screen number five and

we've got another one about full-time manual focusing. Think of this one as basically just

an overall master setting saying, okay, do I want full-time manual focusing capability

if the lens has electronic manual focusing? Again, any RF lens, some adapted EF lenses,

but not most of them. Okay. Uh, this basically just says, do I want to be able to do it with

the electronic manual focusing? Yes or no. Okay. That's a little surprising that they

split them up, but they did. That's pretty self-explanatory. Now in a second, I'm going

to show people the setup that I use. I kind of got it from David Bergman and then he was

doing it a little differently and I made a suggestion to him. What if we did this? He

did a whole thing on his Ask David Bergman for AdoramaTV. You can go watch his full video

on it cause he's got fantastic demos in it. But, uh, I'll show you how I set up my dual

back button focus here in just a second, but I want to run through some listener questions

and some of these will be fairly quick because we've answered them. But, uh, first of all,

on Instagram, AK, uh, AK Chang, uh, just known as AK, AKAY. Question is best AF settings

for low light concerts, AF speed tracking, et cetera. So what would you do shooting a

concert? I'm guessing you do case four. Um, I'm guessing you would also do that, you know,

switch subject adjustment that we found later on in the menus. What, what, what would you

say is best for low light and concerts?

Well, I fall back on something I said at the beginning of our discussion or early in our

discussion when I said that, you know, one of the things you want to do is not get too

deep in overthinking things at the beginning. If I realize that sometimes whether you're

a working professional or just an enthusiast, you have situations and opportunities that

come up where it's like, Oh my God, I'm going to get the, I'm just making this up. You know,

I get the photograph, the Rolling Stones. Oh my God, I got to get this right. And then

there's other situations where it's just like, you know, Hey, me and my, me and my buds are

going to go and, you know, watch a couple of bands and shoot some pictures and stuff.

Uh, you know, at the local college auditorium or whatever it might be. Um, so in, in the

beginning I would say my main concerns are going to be what focusing area do I think

I need AF method in the case of the R five and the R six. And again, they've changed

on the R three, they changed the wording to AF area, which makes a lot more sense. It

means the same thing. Anyway, do I, you know, do I want to work with a single point? Do

I want to work with expanded points? Uh, like you do, uh, you know, or whatever, get that

underway first and then ask yourself, okay, in terms of the type of subject movement,

if any, that we're going to be experiencing, what's the nature of it? Is this something

where stylistically, you know, you, you made a great example. It's stylistically, some

musicians are, you know, they're constantly moving things up and down and you're grabbing

the mic and, you know, doing all kinds of other things and others, you know, maybe it

isn't quite like James Taylor sitting in a chair, but others, you know, not quite so

much. Um, you know, it's whether you shoot music or any other moving subjects, wildlife

or anything else in the beginning, it's hard to go wrong with case one. Okay. I'm not saying

it's perfect for everything. It's not optimum for everything. My, as you're getting used

to a new camera system in the Canon line, my recommendation is if you're in servo, start

with case one and see what happens. Okay. See what your hit rate is. If you start seeing

that, you know, Oh my God, every time this guy reaches for the mic and starts moving

it, it's focusing on his hand or something or her hand, you know, then, okay, now you

gotta, you know, kind of make a decision. All right. Do I, do I want to have the system

sustain and interference, uh, you know, with like case two, uh, that kind of thing. Um,

but you know, I, I try to tell people at least as you're getting warmed up with this, start

with case one, evaluate what happens. It's never going to be perfect. So don't wig out

if you shoot a thousand pictures and two of them are out of focus or something. But if

you're seeing a trend, that's when with the servo adjustments, case one, two, three, four

and auto, you may want to consider, you know, dipping in and trying something different.

Okay. Steven Berkich on Twitter and Steven, I've known Steven for a long time and I'm

hoping I'm pronouncing his last name right now that I think about it, uh, says I've always

been bewildered by all the cases and what those settings actually do. We've kind of

answered that today, but always trying to find the optimal settings for moving animals

either on the ground or in the air. And I'm guessing because of the way moving animals

move. Yeah, you could start with one, but I'm actually thinking four would be a good

starting point or auto. It may be for a lot of things. Okay. Um, part of it just depends

on what cameras are using to the R five and the R six. I'm not here to just do a, you

know, uh, an infomercial, but they truly changed the whole dynamic of using autofocus to focus

on moving subjects with their ability to do subject detection, uh, as well as subject

tracking. And again, when you said tracking is following a subject around the frame, not

just to and from the camera, right? So it's horizontal as opposed to, to the Z axis horizontal,

exactly. Horizontal and vertical as opposed to just simply back and forth. Okay. Which

case is best for, is there a case that's best for left, right up, down versus, you know,

like somebody that's jumping versus somebody that's running at or away from you? It really

comes down to, again, just how is the, are you or the camera going to be able to keep

a focusing point on that subject? And then what is their movement going to be? Okay.

Makes sense. What is the character of their movement? Uh, because again, to the, to somebody

who just got their first camera, you know, and they're on a sidelines at a pop Warner

football game with their, you know, eight year old kid, uh, playing their idea of a

moving subject and a professional wildlife photographers idea of a moving subject, they're

probably going to be two very different things. Not just because one shooting sports and one

shooting wildlife.

Alchemist Tim on Twitter says, and this is a sarcastic question, so take it for what

it is. My question would be where in the menu can I set metering to the selected focus point?

He's talking about spot metering. This is my biggest complaint about Canon. I'm sorry

that you're here to hear this, but you know, on a one DX Mark three, not even on an R three,

but on a one DX Mark three, if I'm in single focus point or something similar to a single,

like an expansion and I'm in spot metering and I move my focus point up into the right,

I'm still metering from the middle on anything but the one DX.

And that's always driven me nuts because it's just software. It's the software's written.

And in my particular case, if I want spot metering is perfect for a concert where I

have a black stage and a spotlight on somebody's face and I'll put a focus point on their face

composed, which is what photography is all about is composition, but I'm metering on

and their face is lit up by a spotlight, but I'm metering on the black part of the stage.

It's always driven me nuts.

But I had that conversation on a show actually with Drew one day and he, or he sent me an

email and I answered it for somebody. It's there. It's not as big of a deal now. And

the truth is with an EVF, I don't watch my meter nearly as often as I used to. So let's,

let's move on to a Mikey shot.

In fairness, just real quickly, we have definitely passed that sentiment along over the years

to our product planners and designers in Japan. And I'll be happy to repeat it one more time.

Yeah, please do. Because you see my, my, my, my concert example is perfect. And that is,

if I've got a singer lit up and I move my focus point to him, I need to meter his lit

up face, his or her lit up face, but I'm not, I'm, I might be metering literally a pure

black area of the stage and my meters wrong. And in photography, that, that compositional

tool is very, very handy. Mikey shot 84 on Instagram says, thank you for this interview.

I'd love to know the best method for tracking a football player during a game. What's the

best setting for AF to ignore other players moving into the shot and just be sticky on

the initial subject? Thank you. And I think we kind of answered that when we talked about

the, the custom settings.

One of the, one of the ones to look for in the AF menu is that switching tracked subjects.

Okay. And you want to make sure it's not going to eliminate it, but you want to make sure

that that set to that initial zero setting where you're telling the system, Hey, I'm

on an initial subject, do your darndest to stick with it. And it can still get thrown

off when you're shooting things like American football and so on with it. Sometimes lots

of subjects similarly dressed and so on in the scene, but that would be the place to

start. I got a couple of well-known people that ask questions to my buddy, Jeff Harmon

on Twitter. It's Harmon underscore Jeff. He hosts the photo taco podcast and also the

mag master photography podcast. His question I think is exactly what we just answered on

the last one. And that is best settings for tracking basketball players. I've tried a

lot of different case types and technique, but I'm not convinced I have the best one

yet. And I think Jeff, based on what we just said on the last question, that kind of answers

that one. And the two more questions I think is what it is. This one is Brit Bowman on

Instagram, Brit underscore Bowman, B R I T T. Brit is an amazing tour photographer for

Genesis for Volbeat and other bands. And when she saw the request for questions, she said,

Oh, this is one I need to hear. I mostly just want to hear what he has to say to see if

maybe I have a setting wrong or something. I think my main question has nothing to do

with autofocus. Sadly, I'm trying to get crowd shots from the stage on my R five. And it's

like they don't show up, but the exact same settings on my five D I see people. So in

other words, I think what she's saying is she's got identical exposure settings on a

five D four and an R five and those exposure settings on a five D four, she sees people.

I'm assuming that's because it's optical through the lens, but on the, but on the R five, she

doesn't see any people. And I'm wondering if it's because the EVF isn't in simulation,

not seeing it, but I don't know. Do you have any ideas?

The way I thank you so much, first off for sending the question in the way the question

is worded. I'm not sure if what you're talking about is what you're seeing in the viewfinder

versus what you're, unless I missed something versus what you're seeing in a finished image.

Because obviously if you're in manual mode, it doesn't have to be manual, but if you're,

you know, shooting the same area at the same exposure setting, you know, you could be an

aperture priority or whatever. It doesn't matter. I mean, they should be essentially

very similar exposures again, presuming, you know, lighting hasn't changed all that good

stuff. I think your point is a good one about that. If what we're talking about is what

you're seeing in the viewfinder that can be very much influenced by whether you have exposure

simulation on or off. And in addition, we don't have this on the R five and the R six,

but we did introduce it on the R three. Now, again, I understand this, this person may

not be using an R three and many of your users, many of your viewers may not be either. But

one of the things we introduced on the R three is a new feature called optical viewfinder

simulation. One of the problems that a lot of folks coming over from SLRs have said that

they've experienced with any electronic viewfinder on a mirrorless camera, not just a Canon,

but you know, anything is that sometimes in a high contrast situation that can be bright

sun outside at high noon. It could be under theater, you know, or stage type lighting

or whatever, where you have, you know, harsh spotlighting, but then a lot of stuff going

very, very dark is that oftentimes the electronic viewfinder basically lets the bright stuff

wash out and the dark stuff just suddenly goes pure black. And you're sitting there

trying to see, and it just, you know, the viewfinder is kind of fighting you a little

bit. We don't have this on the R five and the R six, but on the R three, we introduced

a new feature just so you know, called this optical viewfinder simulation, which literally

engages a high depth, not a high dynamic range image in the viewfinder. It doesn't change

your picture, but it takes, it takes away exposure simulation and instead gives you

an automated high dynamic range image where suddenly most human eyes can see more detail

in the bright stuff and the dark stuff. I'm not saying go out and buy an R three. All

I'm saying is just be aware that if what you're talking about is indeed a viewfinder thing,

we're aware of it.

See, and that's, that's actually similar to one of the issues. The only issue I have

with the EVF is in exposure simulation, it's wonderful. I can see everything and it's,

it tends to be accurate, but I have had occasions and I think it's because I have EVF brightness

on auto. I have had situations where the scene gets so dark that suddenly the viewfinder

decides on its own, even though it's an exposure simulation mode to brighten. At which point

I think that's the exposure and it's not at which point you got to go in and set your

EVF to a fixed exposure. Last question from a listener, Marty Sprague on Instagram. It's

marty.sprague. When using an R five to capture small birds and branches, the autofocus system

doesn't work well. It locks on a branch and it's difficult to find the bird. Even with

eye detect, I have to focus on something else and then try again. Usually by that time the

bird is gone. Any autofocus tips, thanks in advance, Marty. And I'm going to guess this

one, go to that first single point that's super small and super detailed. Is that his

best bet?

Keep in mind, if you do that, you're, you're manually telling the system, Hey, here's exactly

where I want you to focus. And you know, we'll put it right over the eye and all that, but

you're no longer talking eye detection. Right? Because as soon as you go to a

single focusing point or whatever, eye detection is basically ignored.

But the eye detection isn't working for him though, because of all the branches.

So that certainly is an alternative right there. So I'd be the last person in the world

to pour cold water on what you just said. You know, just, you know, sometimes, you know,

a football team, you know, is facing fourth down and you know, 20 yards or something,

you got to punt the ball away. Sometimes you just gotta, you gotta punt it away and wait

for the next time you get the ball.

Okay.

So geographically, we sometimes have to do that too. In terms of though, using the technology,

one thing that may be helpful on the R5 and the R6 is that initial point for focus tracking

that we talked about in the AF menu. And you had the three choices there, the auto, and

then the two others where you can tell the system, okay, here's what I want you to focus

on, even though we're in face detect plus tracking, wide area capability and subject

detection can be active birds or animals or whatever that can give you a leg up in terms

of telling the system, Hey, look, try to ignore those branches and get that, you know, a little

bugger that's, you know, on the branch there in the lower third of the frame.

You know, another good part is he may be in the default people changing that to animal

would also, yeah, that'll mess you up. Probably help too. That'll mess you up. I know Rudy's

got a meeting to get to, and I've got a few more things I want to go through really quick.

Can you hang out for just another sec? Sure. Okay. This is fun. I'm happy to. I know I'm

the same way. I love this. People are going to go, Steve, you released an almost two hour

episode. Sorry, but it's just is what it is. So let me jump to here. I promise I would

show people how I set up my auto focus. And this is absolutely key. I customize my buttons.

Now this is where the David Bergman video really comes in handy because in the Bergman

video he shows you these settings, but he also takes it out in the field and lets you

see through his, through his camera as he's focusing on things. And in this scenario,

I'm not going to go through that. I highly recommend that video. Maybe I'll put a link

to it in the show notes, but here's what I do for my particular setup. I go to the custom

functions menu, which is the sixth tab. I go to customize buttons, which is on page

number three of the custom functions button. First thing is the shutter button. I have

it on metering start. It starts where you are actually on metering and auto focus. I

disable auto focus from my shutter button and I am in metering start only on that. Then

I go down to the rear AF on button and the rear AF on button. I customize to do my metering

and my auto focus. So basically that becomes my shutter button except for actually triggering

the shutter. Okay. But here's the key. When you are in here, most people miss that. It

says info detail set. I go in here and everything is just a line meaning don't change anything

when I do this. Okay. That'll come into play here in, in just a second. Trust me. So then

I go down to the next button, which is the asterisk button. And I go into asterisk and

that one I have on metering and AF start exactly like the AF on button. Why would I have two

buttons do the exact same thing? And that's where this little info button detail set comes

in. When you go in there, you can say, when I hit the AF on button, don't change anything.

And I want you to do, uh, you know, auto focus and metering. When I hit the asterisk button,

I want you to do auto focus and metering. And regardless of what mode I was in, I want

you to switch to the servo mode so I can come into AF operation and change it. Don't change

anything, leave it what the camera's at. That's what my AF on button is or one shot or servo.

I'm in servo. And anytime I hit the asterisk button, you can have it changed to whatever

auto focus zone setting you want. In my particular case, I'm in a point selection, point expansion,

the nine point expansion. When I'm using AF on, anytime I hit the asterisk button, it

auto switches to face detection. Why do I use this? I'll tell you why I use this. When

I do trade shots backstage with an artist and a venue general manager, my camera was

already set up to use point expansion, servo for the show. All I got to do is hit the asterisk

button and I get face detection. It's just, it's, ah, it's just so fun. Uh, and then you

can also change the servo characteristics and pick your case. So you can say when I

hit the asterisk button, I want you to use the auto case or case one or case four, or

don't change it. Face detection and servo. And that my friends is basically my, my auto

focus setup, which brings me to the speed round with you, Rudy. What is your, as a photographer,

what is your favorite composition rule? I mean, for me, stuff that lights me up is when

I can, I like putting things off center. And I mentioned, you know, at the beginning of

our discussion, I love not exclusively, but I love the opportunities that an ultra wide

angle lens presents. And it gives you just a lot more space that you're working with

within that space. If there is a discernible, obvious subject, there are a lot of times

I'm inclined to move it like way off center, not the rule of thirds, but I mean, like,

I don't mind sometimes putting things in a corner. If there's not a lot of other competing

stuff in the frame, visually, it makes it hard to identify, Hey, what was I trying to

take a picture of in the first place? Um, don't be afraid to put things way off center

is maybe a quick and easy one that works for me. Everybody's eyeballs and sensitivities

are different. So I'm not saying that's the right answer for everyone. Okay. Now I'm a

music photographer have to ask your favorite album of all time or favorite artist. Oh boy.

You know, you keep in mind, this is weird as this sounds, you're talking to the one

kid when I graduated from high school, I didn't, I was probably the only kid in my graduating

class that did not own a record album. Um, so it's hard for me to pick any one, any one,

any album or group, but, um, I love, I love all British invasion stuff. Okay. So, uh,

early, early Beatles, that kind of stuff works for me early stones. Oh, I love that stuff.

Um, and, uh, you know, it did extends to other oldies, you know, Motown and that kind of

thing. Uh, that's the stuff that lights me up. And I realized that that's not what the

David Bergman's of the world of photographing. Uh, I'm, I'm way behind in their wake, so

to speak. Favorite drink. Uh, I'm going to keep it tame and a G rated thing here. Uh,

iced coffee, iced coffee. Okay. And last question is there, if you were to recommend one photographer

that people should follow, who would it be? Oh my God. Somebody that people may not know

about or may know about that, but more people need to pay attention to.

All right. I'm going to go out on a bit of a limb here and I hope that this doesn't rub

any of your viewers and listeners the wrong way. Never. I mentioned that I've lately gotten

into shooting models and fashion type photography and that kind of thing. It's not exclusively

what I do or it's not my total background or whatever, but I've gotten into it lately

and I very much enjoy it. A photographer whose work I think is just sensational is a guy

in Florida used to be a sports illustrated staff photographer. So he kind of reinvented

himself a guy named Anthony Neste, N E S T E. Okay. Anthony does a lot of what could

be described as kind of sexy fashion. So I understand his, the way he works and he does

include some nudes and stuff too, but that's not, he's not exclusively doing that. The

way he works may not be everybody's cup of tea. So I'm not, I understand if you're just,

if you don't like that kind of stuff, just follow somebody else. Anthony Neste really

though to me makes magic out of the subject matter that he works with. Anybody can take

a pretty person, a model, and take a decent picture of them. Anthony goes way beyond.

Okay. So his is one name that would pop to mind. So if people want to know more about

Canon, the Canon website, USA.canon.com. All the socials I believe are @canonusa on every

social right? Twitter, Instagram, everything. Yeah. Yeah. Yeah. We have, we're active on

Instagram as Canon USA. We're active on Instagram and Facebook and so on. And usually if you

just punch Canon USA into the search field, it'll bring you right to us. So again, Rudy,

this has just been wonderful. Technical advisor, product planning department for Canon USA.

Dude, this seriously, I've wanted, you know, cause we've talked, wanted to do this for

so long. I can't say thank you enough. I really appreciate it. Oh, this is, I love doing this

stuff. This is the fun part of my job. So coming right back at you when I say thank

you for the opportunity. Thank you to all the listeners and certainly hope that you

know, those folks that sent questions in and so on. Certainly hope that we gave you some

insights into using the system and keep in mind, it's not just an R5 or an R6 thing.

Even if you use a different brand, you'll see similar stuff, maybe worded very differently,

but you'll see similar kinds of controls in your menus too. Yeah. And like I said, sometimes

it'll be more or less granular or, you know, wording differently. There's usually some

kind of an equivalent there. And more importantly, if you understand the concepts that we're

talking about, that in and of itself can help a lot. All the show notes for today, all the

links for today, I'll put David Bergman's video in there too, are at behindtheshot.tv.

So make sure you head over there. Of course, if you're on YouTube, please head down, hit

the like button, please do subscribe, please tell your friends about the show. And in fact,

wherever you get your podcasts, like Apple podcasts, where you can get it in audio or

video or Spotify or whatever, if you'd take a moment and just drop a, both a star rating

and maybe a nice written comment, it would be much appreciated. Of course, if that is

something that you liked in the show today, please be sure to join us next time. Next

time, as we take a look inside the mind of a great photographer by taking a closer look

behind one of their shots, I'm Steve Brazill and we'll see you on the next show.