Відео

You’re so right. Great description. Thanks for watching.

Hi Peter, Not sure what you mean. Sounds like you want to get the photos off the phone, but to where that requires internet? If you just want them on a computer you can do that over Air drop or a cable. If you want them on a drive there are wireless drives that support direct transfer as I recall. Could you add a little detail as to what your goal is?

Hey Bill, I don’t have an R7 to test it, but have passed the Q on to Rudy. If he answers I’ll post it here. I’ve seen some people say it enables / disables tracking, but the screen doesn’t seem to indicate that. Assuming you’ve tested it to see what it does?

@@BehindTheShot yes but I really haven’t seen a difference , what I am having trouble with is when I am t’aking victory lane pictures af/ter the stock car race I can’t get the people to focus clearly

@BillKeechPiperRacingPhotog Here is what Rudy said, after I mentioned I’d seen some references that it enables / disables tracking. “That is it, indeed. The little circle with speed lines logo/icon means Full Area AF Tracking, so pressing INFO toggles this on and off. While I likewise (at the moment) don’t have an EOS R7 in front of me, I’m almost positive that if you went into its magenta-colored AF Menu, the line-item for AF Tracking on-off likewise has the little “speed circle” icon, to symbolize AF Tracking with moving subjects. Obviously, this is separate and in addition to Servo AF, for moving subjects!”

@@BehindTheShot that makes sense , because the driver that I focus on isn’t clear but the people beside him are so I say they are closer to me this focusing on them instead, i appreciate your help tremendously!

@BillKeechPiperRacingPhotog Happy to help!

Hey Boston! First of all, thank you. Seriously appreciate you taking the time to watch. I didn’t remember what we said about using a fixed K vs Auto WB, so I checked a transcription, but if I’m talking about something different than what you meant let me know. You are correct, Auto can end up odd, with a wonky interpretation of the scene, but there are a few reasons that’s ok. A) if you’re shooting RAW it doesn’t really matter because you can change it in post. Changing it afterwards will be the best control in fact for a few reasons. The example David gave of cheap studio lights being one of them. We don’t know what lights we are shooting, and even if the whole lighting rig is technically 5600 we don’t know those lights are accurate, that they are not drifting. Plus, if some are drifting and some are not…. Now you have two different white balance temperatures, in addition to LED or gel colors. A fixed K setting will give a consistent WB across all images, so they might not need to be changed I post, but that’s only if the K was set correctly for the whole rig. We can estimate the most common K, but any given show can have light fixtures that are not the same. Some may be 5500 or 5600, while others are not. What you end up with is mixed lighting, not very different from shooting a portrait in a room with incandescent and fluorescent lighting. Another reason, we can call it B) accurate WB is just simply not as important for what we shoot. You can have a solid red or green or blue, or purple and magenta on the same face. Setting an “accurate” WB can actually make it look worse. Let me give an example. Let’s say that a kick drum head is true white, and we know that because we saw it under good light. Plus, the vocalist is wearing a white shirt, and the guitarist is playing a white guitar. (For those that will read this and yell at me that “you should set WB off neutral gray, not white”, ok. Pretend I said neutral gray for the drum head, shirt, and guitar…. Happy now?) So we have three strong spots to use an eye dropper on. Have you ever noticed that if you sample the drum the singer is clearly not right? Or sampling the shirt on a singer front of stage makes the drum head purple, even when we know it’s white? Do that with the guitar on stage left - now the other two points are “not right”. Why? We have a mix of colored lights. White isn’t white under a solid red light, it’s red. Even if the singer has a white follow spot on them there may hints of other stage lights you see. So our goal is to either leave the colors as the LD (Lighting Director) intended, or to correct enough to have more flattering skin tones and a more true look to what we think it should be. In either case, if you can get a clipped red, or a banded purple to not have a person look ill… we win. So, in the end, Auto allows for some adaptability in camera, at the expense of different WB per image - which could be accurate or not. But I think even people that lock a K setting still grab an eye dropper for some images anyway. Hope that makes sense, and sorry about the length. ~ Steve

That’s how I interpreted it too, but looking back I wish I’d followed up on it. I’ve never, ever, heard of using those two pieces together.

I was expecting that he uses the Canon r5. I wonder if he has tried that and has some solid reasons for staying DSLR.

@tomtracy5396 I find that most photographers are such creatures of habit, or maybe creatures of staying comfortable is a better way to word it. Otherwise no one would be staying with Lightroom, hahahah.

Great point, and it’s why your images are so amazing to me. I’ve never seen, and may never see in person, the beautiful birds you photograph. They are so special for that reason. Thanks, as always!

@@BehindTheShot And that's why I share them. It's great knowing that they bring pleasure to more than just myself. Thanks for the kind words!

Thanks for watching, as always. I kept thinking while we were chatting how many people shoot air shows like you. Brett’s air to air stuff is soooo good.

Interesting points. I do know of some serious pros using them, Nikon Ambassadors, Canon Explorers, and levels like that. I haven’t heard of the issues that you mention myself, which is not to say they don’t happen, just not something I’ve heard in my circle. The price, since this recording has been cut extremely far. I did a follow up video on that. It dropped below the cost of most top line speedlights. Can’t remember if the top of my head, but something like from over $1,200-ish to around $850 - and they trimmed the product line to only the S and Studio. Lastly, they released a battery upgrade, so instead of two power ratings where the battery was 60W and a 100W A/C supply gave you more output the battery is now 100W. The result is you get max power from the battery now - I found in the follow up you get about the 50% more they claim. That said, the biggest issue I see for many is that we all seem to try to get the softest light most of the time, is these by nature are a harder light source. You can use them in a softbox and they work great, in my experience, but you lose a lot of power. So for run and gun weddings, quick street portraits, or if you are actually aiming for harder more dramatic light, these are really nice. But as you indicate, yes, if you’re really looking for power then you need a true moonlight, bigger better studio light. A bulb really. Thanks for checking it out.

@@BehindTheShot The photogs in NYC are a tough crowd to win over, especially in advertising, where all the big bucks are. To sell new tech here, you better be GREAT at your game. When FotoCare starts selling StellaPro, maybe then I'll re-visit this research. Way too many complaints about managing the power cord. Modifiers are an issue. The ones that work are limited. And then there are the complaints about remote transceivers not working. Nothing worse than getting on a job and having your equipment fail. Looking cool, and screaming promising specs aren't enough. You gotta stand the test of time. Maybe the Instagram crowd can save them. I don't think this is a hot seller at B&H. Very good review, though.

@KJ_nyc Thanks for the kind words. I agree, when you show up gear has to work. I’ve not had those issues myself, but oh yeah. The limited modifiers make the light usage scenarios limited. I wanted a small GoDox softbox that was the right mount, but was told by Stella that the GoDox modifiers didn’t fit right. The power cord has been a non issue for me, but again, everyone has their needs, wants and preferences. The good thing is we all have lots to chose from in a lot of different quality, build quality, feature sets and prices. Thanks again, and have a great week! Steve

Thanks for watching, Ian. Yes, Sam is amazing. So kind and humble, and such a good photographer.

Thanks for watching!

Yup. That’s my fave part of this. That light changes the story significantly, and that’s the color temp difference I was speaking to. It adds depth and context to the heat and warmth of the fire. Thanks for watching!

​@BehindTheShot Actually I figured it out why that part of the Photo is intriguing to me. The people being lit under that light look almost cloud-like, almost looking like a nebula, the light a star. So this image actually is now very surreal looking to me because part of it (the right side) looks to be happening in space. Just an overall amazing image that doesn't look real but is!

@hersh23 Good call. I totally see that vibe now.

Agree 100%. David is an awesome guy too.

That’s a great question, Anatol. As you say, many sensors are from Sony, but Canon, for example, designs their own, as do others I believe. While in some cases sensors may come from the same manufacturer, they aren’t the same sensors. So at least for color, the engineers implement their own raw conversion, and color theory. How does that translate to infrared, I have no clue. I assume there could be slight differences in the conversation, but I’m guessing is much less noticeable, if at all. If we look at it like color vs grayscale, grayscale is 250 vs 256 X RGB. So there’s simply less data. To be clear, I’m just thinking out loud and have no idea if I’m right - I’m guessing because I don’t know the answer. My thought is this sounds logical, which of course means I’m probably wrong, hahaha.

@@BehindTheShot i v got a good deal on Hasselblad X1D mark 2.. slow but steady, you know, should be good for landscape photography anyway.. so i am thinking to convert it to ir or full spectrum- not sure yet, im not this much in astro.. probably just for B&W so how do you think, Hassy’s lenses- are they good for IR?

@Anatol19066 Unfortunately, I’m not much help today. I don’t shoot IR myself, my guest Troy does, and I’ve never shot a Hassy. Sorry. You might try reaching out to Troy on IG to see if he has any thoughts.

Hi Michal, Thanks for checking it out. It’s a lot to do shows for very specific models, since there are so many options. I usually try to go towards the top of the line because then I cover all the existing options. Some won’t be on lower bodies, but anything on a lower body should be covered. Here, using an R5, we covered a lot. Since this was 2.5 years ago, some newer bodies have had feature names changed or newer tech added, so if I do an R1 next it should include those features.

Hey Will! Thanks so much for watching. I hope to get Mitchel on again too.

Thanks for watching, Judy!

Thanks for watching, Steve!

Thanks, Norman! Dave’s show is awesome, with both the design and photo aspects, and Alan and Dave make their guests feel so relaxed.

Hey Stuart! Thanks, as always, for watching. You’ll love both of their shows.

Hey Steve! Enjoyed the episode. Both the Camera Shake Podcast and He Shoots He Draws are in my podcast lineup regularly and I always enjoy both. It was interesting to hear more about the podcasts and the general banter, and of course the bloopers at the end were a fun addition! Have a great weekend.

Hahaha. I was wondering if anyone would see the end bits. Appreciate you man. Hoping you have a great weekend!

Thanks for watching, Luke!

Thank you, Charles. And yes, I have talked to him about doing another show once any major new bodies are announced, preferably after an R1 comes out.

Criticism and critique are two different things, and there is more to a good critique than opinion. Having a trusted set of eyes critique your image can be immensely beneficial, as we don’t always see potential issues in our own work. Having someone point out ways an image, and the story it is telling, can be improved in a way to to better communicate to a viewer, to better control the viewer’s path through an image is a win. Finding out you that the story you thought your image was telling, because you were there, because you remember the sounds and smells, didn’t translate to a viewer is a benefit. These concepts of composition, dodge and burn, use of light, shadow and color, crop, and storytelling have been around for centuries, and are known to affect how we see art. Whats arrogant is believing that you can’t gain insight to improve your work by hearing input from someone qualified to do so. You, of course, can always chose to ignore any input, it is after all your creative voice, but to not be open to hearing the input isn’t the best way to grow as a creative.

Hi Bryan, Thanks for watching. I love the Orb, it’s a great modifier. Obviously, try both to see what you like, but for me the Med-Wide (36) is a good balance of not losing too much light and dispersing it. Even the regular Med works well in the softbox. Since you have them you’ll know, the optics spread the light very differently, but are never “soft”, as they’re just to small of a source and due to the fresnel design. Even a Spot optic in the box helped.

I only have the Med-Wide Spot (24) that came with the Reflex. So, I might purchase the Med-Wide (36) and try it out. Thanks for the feedback.

@BryanSLawler Personally I think the 24 will be fine. I’d start with the Apollo and that and see before buying another optic.

@@BehindTheShot Thank you very much for your honest opinion. That sounds like a good plan.

Hey Craig, I believe that Mark addressed that in the video. I’m not sure of the timestamp however. The issue with something like that is 10 photographers will give you 11 different answers. You’ll want continuous AF of course, but using a Lg zone vs a Sm zone vs a point type will vary. Same with eye AF. airs possible you may be able to get an eye detected, but in football you have a helmet. Really, based on the info Mark shared, I suggest trying a few options to find the one that best fits your needs.

That would explain the over 40 years on the radio, lol.

Hi Dora, First, thanks for watching. Much appreciated. Congrats on the new R62, great camera. There are so many variables that troubleshooting through UA-cam is tough. Given this question, 10 photographers very well might answer 11 different ways. That said, here’s my thoughts, and I will restate some of what you already know: Let’s talk about the exposure first… Wrestling is “fast”, but it’s not slow, and as you mention is unpredictable in its bursts of movement. So, shutter speed will be the main consideration. Decide what speed you feel your can freeze those bursts and set that. I would start at maybe 1/400 min, but if I could get faster great. Obviously the light will matter, and these events are usually not great for light. So, I would shoot wide open at 2.8, but be aware that the depth of field will be thin, so that could also be an issue you are seeing. Still, I would stay wide open. For ISO I would not do Auto ISO. I would lock it at a high enough ISO to allow the shutter you need. Yes, you could do Auto ISO, and set min shutter speeds, but since you are trying to solve a focus issue I would remove the variable and lock the exposure using fully manual, then adjust shutter yourself if needed. Make sure to have the ISO high enough to allow for the slowest shutter you can work with. I might lock in 6400 and leave it. Now on to the AF settings…I would not use eye / face detection for wrestling, but others might. I have shot a lot of fights and the issue is what you mentioned, a face is there - and then gone in an instant. The focus can easily miss once the eye or face moves. Personally I would use an expanded AF point - center with 8 surrounding. I would start with the Case set to Auto on the R62. That will most likely be fine. Otherwise I would try Case 4, Maybe 5, but I would have to check that as I don’t have a camera with me. I wouldn’t change the Case settings. I doubt that is the issue. Lastly, if you are focusing and recomposing I would stop that. Move the AF point where you need it. Also, I would highly suggest Back Button AF. In fact if you end up wanting eye / face sometimes, and an AF point others, I would setup the dual back-button AF I mention at the end of this video. Oh yeah, lens will matter here too. You want a good combo with that R62 that focuses quickly. Hope that helps! ~ Steve

So kind of you to say, Steve. Thank you, and thanks for watching, as always.

Hi Bill, If you asked 5 photographers, you get 5 different answers to this. It’s been a few years since we recorded this, but think Rudy touched on shooting racing at some point, along with planes in flight. The issue is the helmet, so getting an eye or face detected could be very difficult. The dirt track shouldn’t matter, as your subject would be the driver and or car. Some people would use a small zone, while others (probably myself included, but I don’t shoot racing) might choose an expanded point. I don’t think as many would pick a single or spot point, but I’m sure there are some people that would. In other words, the point type choice is going to be personal, based on your style of shooting. What I would say is the Case you chose could matter a lot. I’d start on Auto, and maybe try 4. Rudy does run through all the cases in here, so give that a watch.

Thanks, and hope you enjoy it.

Thanks for watching!

Thanks, as always, Norman! Appreciate your support, sir!

Thank you so much for the kind words, Steve. Appreciate you taking the time to watch. Have a great weekend.

Thanks, and totally agree. I learn more from the guests that aren’t music photographers than anything. And yes, his choice of velvet worked so well to focus our attention. Wish I thought that way, hahaha.

Hey Kurt! Thank you so much for watching, and for such a kind comment. Great catch on the embossing. I should have picked up on that. It just goes to emphasize how spot on his composition and light was. The lipstick in particular. That is something I think most people would struggle to get right, and most couldn’t. I’ll pass this on to Lenworth, and hopefully he’ll have time to stop by and answer that one question. Thank you again!

Thanks for watching Kurt, as far as your question goes the Chanel Brand tend to do some form of embossed or textured feature on there Limited Edition product, so I always try to look out for those as it add interest and drama to the shot. so the four color have different emboss/texture on it ranging from the logo to the perfume bottle shape swell as some geometric shapes. The focus was locked in about a third of the way based on what I wanted to be extremely sharp, so all of this was achieved during the shoot. I would also say when you are photographing products you have more control over what happens as far as nothing is moving providing you have a stable setup.

@lenworthjohnsonphotography Thanks for answering this question, Lenworth!

@@lenworthjohnsonphotography Thank you both, gentlemen! A most informative and enjoyable show.

Thanks, Tim. My guess is always that YT viewers don’t watch as much content at this length, but as I do it mostly as a podcast it is what it is. Appreciate you checking it out.

Thanks, John! I don’t anticipate people that need to leave bad comments will disappear anytime soon, hahaha. But I have fun at least.

Hi Stacy, Great question. I’ve not had that issue with mine. Have you tried contacting StellaPro Lights? They been very helpful when I’ve contacted them. If you do, and if they have a solution, could you post it here in case others have the issue?

Thanks for watching, Nicolas!

It’s spelled Baryta. Here’s the Red River Paper Baryta, which they say this about: “Palo Duro Baryta has been described as "as close as you can get to Oriental New Seagull G", which was a favorite of Ansel Adams.” Here’s the link: www.redrivercatalog.com/browse/palo-duro-baryta-fiber-paper.html

Thanks, Judy! Appreciate you taking the time to watch, and oh yeah, he’s a master at this craft.

Thanks for trying, Bob. Sorry it didn’t work for you. And to be clear, you don’t have to watch the interview part with Rudy. There are chapter timestamps, a lot of them, in the description. Jump wherever you’d like, or not.

Agree 100%. Awesome artist.

Thanks for watching, and yes, Joey did such a great job with this.