and at this point, we're gonna take Sum's more questions. Do you have any questions in the question of the class? We're gonna microphone over to him, and I have some lens questions I'll get one is I noticed that the assortment that you showed some of them were, ah, crop lenses, and some of them were full frame. So, for instance, the 50 that you showed was a full frame, which would really come out to being like an 80 or something, right? So you mean us than to use an 80? Is the general shooting lens, not 50? It's just a good lens toe have in the bag. It's 80 is a very good lens for shooting people. It is a bit telephoto, so it's not a general purpose lens. So for landscapes where you're trying to encompass the horizon, it's not the right lens for that. But it's just a general handy tool that people, I think would find would find would be very useful for those people. Using full frame cameras a very fast 80 millimeter lands is a pretty expensive thing to get, and in this case you can get...
it for a little over 100 bucks with a crop frame camera, and that's a great lens, and it seems like almost everybody I probably put it at. Maybe 70 to 80% of the students in the classes that I teach are interested in taking better portrait's. And that lens is one piece of equipment that will help out taking better portrait's okay and then also about zooms versus primes. I didn't hear you say anything about that, and I'm wondering, right in this level how much of a difference, right? The zoom lens that the camera comes with is oh so convenient. The prime lenses that cameras used to come with our fixed lens is like a 50 millimeter lens does not zoom. So we called our prime or fixed wins, and they typically are of higher optical quality. And a lot of professional photographers like to shoot with primes. They typically let in more light. They're better built and they're sharper. So there's some nice things about him. But for the typical T two I user to go out and buy an 18 millimeter lands first off it doesn't exist. And a 24 and 35 55 changing them all the time. It would be a bit of a hassle, but I think as the experience and potentially it's like I kind of want to encourage that 50 millimeter prime because it's a good way to experiment with the prime lens because once you know what you're doing and you're pretty specific about what you're doing, Ah, Prime lens is a great way to to give you a little bit more creativity, cause you can shoot with shallower it up the field. You can shoot in lower light. The optical quality on the zoom lenses are very good across the board. It does get better with the prime lenses at this level. I think most people are going to be happy if they could get to zoom lenses. But I would encourage that 50 millimeter lens just to experiment. And as people get involved more, they get more and more our prime lenses myself. I've got a couple of zooms because they are convenient practical, but I also have a few fixed because they work really well for what they're designed to. Dio. Yes, OK, John, I have another question. Um, as far as the movie mode goes. I went to use it for the first time. Um, not too long ago my daughter's concert and it was just recording, like a moment like a second or two and that should often second to shut off. So I Googled, you know, why is it stopping on me? And they said that it average SD cards had troubles that I needed to get an extreme three SD card. Okay? And so I did purchase one and seemed, you know, so far it's working good. So have you had experience? Yeah, it sounds like you had one of the fairly old card. Remember how large it waas 14 gig a four gig? I was probably It's pretty high. Yeah, size of the card in the speed of the car. Don't always go hand in hand because it was sounded like a card from maybe a few years ago. That was very large. But when people when they make the large cards, the first ones they make are not very fast. And so it just sounds like it was an old card you were using. You could use it for use it as a backup card for taking still pictures, but leave your faster card in there as your primary card. Okay, One other thing. As far as shooting goes, I don't think you went through the exactness of how to starve it. Start shooting in the video mode. Is it just a matter? Oh, it's the It's the button on the back of the camera. That's the red button on the back of the camera that you would normally go into a live view. So to shoot video, the first step is to go all the way to video. And what's gonna happen is the camera is going to automatically go into a live view mode, and then you would press the red button to record, and then you would press it once again to stop. So it's You don't have to hold the button down. Its wants to start what, once again, to stop what shows up on the display when it's recording. Does it show? It depends on what you have chosen with the display button, so you can choose to have different amounts of information in there. Okay, thank you. More questions online that, um, Hubbard asked which of the flashes that you showed could be fired off camera. All of them could be fired off camera depends on how you want to trigger them. This camera One of the differences between this camera and the next level up camera, which is the 60 D, is the ability for the excuse me for the in camera flash to trigger a wireless flash. So one of the other flashes sitting on the stand and this camera doesn't have that ability the next level up does, and so to trigger it from here would require some gadgets from the camera store because you would need a PC adapter up here than accord to go to the other one so you could fire off the greatest lighting set up in the world with this camera. But you're just gonna need a on attachment from the camera store, but you can use the to 80 camera. You can use all of them off camera. There's when you get off camera. We're getting into a very potentially complicated area with any of the cannon flashes that I mentioned you will mounted on here and everything's automatic. Very, very simple. If you want to get it off camera, there is a chord that you could buy from Canon. It isn't in the accessories that I listed, but it is available. It's around 100 some dollars, and it will enable you to take the flash and hold it about as far as you can. Hold it from the cameras two or three feet and so you can mount it on a flash bracket. Or you could mounted anywhere off to the side, and everything is fully automatic and very simple. This camera won't allow you to completely get rid of that courting Go wireless. You would have to have some sort of wire or some external radio transmission system. There's a pocket wizard system that you could mount on here and mount on the flash and trigger it. It's not gonna be automatic once the flash is not physically connected on camera. It's a manual setting, which isn't necessarily a bad thing. It just requires a little bit more work to get in and tune it right for each photograph. Donna had a question from Emmanuel in the chat room. Not sure if this is a question, but he just says suggestions about old lenses with adapters. I don't know that saying, Can you use it after little ambiguous as to how old of Lens? Because at the beginning of the day I talked about 1987 is when they change the lens mount everything from then trying to think. If there's any exceptions, I can't think of anything off. Stop my head. Everything since 1987. We'll work on here before that. It won't work, and if somebody makes an adapter for it, it's not worth it. There's just too many restrictions, too many problems with that. And so get an E f or an E F s lens, whether it's made by Canon or somebody else. That's what you want to concentrate on. Nick would like you to mention the lens that you suggested for portrait. The portrait, once again, is the millimeter, 1.8 lens. It sells for around $125. It's not the greatest lens in the world, but it's a great value. And for somebody who has this camera, it's probably one of the most valuable lenses that you could buy. You can't buy many lenses for 100 bucks, but it's just opens up a lot of new doors. They make a 51.4. That's better. That's about 400 bucks. And then if you got a lot of bucks to spend, they make a 50 millimeter 1.2 that somewhere around $1600. So for a one stop difference at 100 bucks, that's a good one. To start with, we have in class questions. Go ahead and grab the microphone. All right. You had a question speaking about glass. How l series lenses and lenses getting more expensive as the higher quality you go. What? Your thoughts on what we should look for if we're to buy a used lens. Right, Right. Okay, you mentioned l lenses. And some people may not may not be familiar with l lenses and Canon L lenses are very recognizable because they have a red stripe and that costs you a lot of money. That red stripe? Not really. But it's not the red stripe that cost you money. It's that it's their luxury. It's basically the best lens that they know how to design for that, that high in whatever it is that it does. And so those air good lenses to look at their kind of overkill on this camera. So it's not what most people with this camera are likely to have if you are buying a used lens. I have never bought a use lens on eBay. I have sold a lot, but it's just one of those things that I like to take a close look at. And so what I will do is I will look real closely at the glass. I'll bring the lens cleaning cloth so that I can make sure that it doesn't have any major scratches in it. I look on the front and back, see if there's dust in between the elements. One of the things that happens with a lens over a long period of time and one of the downsides to a zoom lenses As you zoom it back and forth. You can see if I got this overhead Cameron, that lens moving back and forth that's causing a suction, pulling in dust and on older lenses. They'll have dust between the elements that you can't clean, and one little piece of dust is not gonna make a big difference. But I wouldn't want to buy a lens that was all filled with dust in between the elements. Having said that, I would check, you know, just isn't smooth focusing. Is it smooth on the focusing and zooming? Are there any glitches and bumps? Look at the condition. Is it been warned? How often has it been mounted? Amounted and just looking at the general conditions. A number of the lenses that I own now are used. I I That sounds pretty bad. I troll Craigslist looking for equipment, you know, seen if somebody selling something interesting every once in a while. Somebody selling something that's, you know, a pretty good deal. There's a lot of people they're trying to sell their stuff for too much money. Put it on a camera, shoot some pictures, take a look at the results. If you're real picky, bring your laptop with you and download the images and really take a closer look at amount. Your carom on a tripod and do a good test to see if it's sharp. If a lenses dropped, typically, the focusing and zooming will not be smooth, and that could be a problem. If the lenses dropped, it could potentially be out of focus on the right or left hand side or in a certain portion of it, and you should be able to tell that with some simple pictures. Good question. The question from the chat room, which was, Can you quickly touch on filter holders, especially for a wide angles? Filter holders? Well, we mentioned earlier that the filter threats in this is 58. So for standard filters, you would just screw that in. There are filter systems that you can use. Were you mount larger brackets on their Koken has one of the most popular system. There's other brands, like Lee, that make higher in systems that you can mount for Mount Special filters in there, there really love. I'm trying to think if there's some white angle lenses that it's gonna be a major issue with on this. Cannon does make E. F s 10 millimeter to 22 millimeter lands. That's pretty wide, but you can still use a polarizer straight in there with it. You could use a graduated neutral density with it, so I don't think it's something that's really gonna be of issue with this camera, and the lens is, most people shoot with this with this camera. Next question grin would like to know. How do you prevent over and under exposure when shooting in manual? How do you prevent over and under exposure? Well, one. By looking at the light meter as you're setting it up eso when I'm setting up a shot. I'm usually thinking about what's most important here shutter speed or aperture, and I get that set and then I go after the other one and get it set where it needs to be set. And when I say get it sets to meet, get it set toe where it needs to be set. What I mean is, I'm usually centering out where that exposure indicator is somewhere towards the middle zero. Sometimes it's a little over. Sometimes it's a little under. It depends on if it's a light subject or a dark subject. And so just looking at that light meter is pretty easy way. But then I'll shoot a picture. Look at the results in the back of the camera, and just looking at the picture is a pretty accurate result of the lightness and darkness of what you're going to get in the final picture. But looking at the history, Graham is another great way. And once again, this class is a little beyond the scope of this class to get in how to read a history, Graham. But understanding how to work that will guarantee that you get the right exposures using that technique, I think I said before, I don't have any bad pictures due to exposure anymore. When you use that technique, you could be guaranteed. You're getting the correct exposure. So take a look into that fundamentals class. A question from she Bo Yang was, Can you, John, recommend a flash trigger a flash trigger? I know what a flashes and it would trigger and what a flash trigger. But I'm not sure exactly how may be they can follow up with you a little bit more if you're trying to trigger the flash. If you mount the flash on the camera when you take a picture, it's synchronized with the camera. Okay, If you have a flash off the camera and you don't have that little magic cord that we talked about, then you're going to need a cable to run it. Or you're gonna need a wireless system, which may be what they're talking about and So Pocket Wizard is a company that makes a wireless system that will send a signal from a little Basically, it's like a walkie talkie to another walkie talkie attached to the flash. Those systems can be rather expensive. And I don't see most people with this camera spending $500 on a radio remote to fire a remote flash. You can do it, but it's not gonna happen in most cases. So we have another question audience. Okay, go ahead. Problem. Mike, I noticed with cannon software that came with a camera that you're able toe plug this into your computer and sink it. Ah, program that is able to view through live you What's on the camera, right? Do you know of any practical applications for it? That would be more used in, uh, a studio? Potentially, If you were showing clients what you were shooting, for instance, you set up Ah, model shoot. And you had a stylist and an art director, and they wanted to see not just on the back, your camera, but on a full size monitor. What you were getting. That's how it might be used in a professional application. It could also be used in the scientific application. If you're mounting your camera in a place that you physically cannot be inside of a certain gas chamber to photograph a certain process, you could have it connected via wires to a computer. It's not something most photographers would do, but it's it's kind of remote application. And some of the higher end canon cameras have more remote capabilities for firing cameras, like on the backboards of a basketball game. Okay, um, is it possible to explain further the focus point settings? Focus point settings on this camera, I think, is very, very easy because there's a button right back here to activate the focus points. Actually, make sure my care, mr not activate focus points. And on this camera, it's very simple. Either all the points are selected or one of the nine points is selected, and when you press that button, you can turn the main dial in front to select any one of the points. And it just kind of goes around all the options, and you can go back and forth on the dial. Or you can use the crosshairs right in the middle or the cross arrows excuse me to navigate through. If you use the cross arrows, you can't get to all points. You have to go to the dial on the main front of the camera and get to the right area. And it just has a sequence that it goes through on all the different ones he suggests use in the center. I suggest using the center so that you could be precise about what you want in focus. OK is a good general sport for sport's. I kind of like all points. I think it works better for capturing action that's moving fast. OK, do you want to talk at all about focus and re composing or a little bit out of the scope? We talked about it a little bit on the focus and recomposed because normally when you have it on the single point, if you're taking a picture of a person and you don't want them directly in the center, you can focus on them while they're in the center and then move the camera off to the side and actually take the picture. And that's called Focus Lock. And that's a technique that you could get used to you just need to be used to pressing halfway down on the shutter release. Thank you, John. I have a question from Pam earlier. I was when updating firm. Where can I go straight from version six, for example to version nine. Or do I have to go through seven and eight? First, they can go straight up to the current version. So wherever you're at, just download the current version and upgrade. Yep. Tim would like to know after you've set auto exposure lock. How do you cancel it without pressing the shutter? That one? You may actually have to turn the camera off. Let me go ahead and try this. So I'm gonna put Cameron Aperture priority, and I would activate exposure lock, actually help. You know, we went through and we changed all the settings on this. It's a hut. I need to clear the custom functions on this so that it's acting normal. Let's make sure there we go. So if I activate that, it's turned on. My guess is that it will either turn off after a period of time. Yeah, turns off after about six seconds if you're in a hurry and you don't have time to wait six seconds. I would just turn the camera off and turn it back on. Resets it very quickly. I had a request, John, when we're going through the different camera settings and that was from ever of our aerial, uh, can John discuss the camera settings he choose in low light situations when you don't want to use flash for low light? What I would do is first off, I'd figure out, you know, using a tripod and one of my photographic, uh, low light in a house where there's just furniture. I'm using a tripod and I'm using I s 0 100 I don't care what my shutter speed is, even if it's 30 seconds. Now, if I'm photographing in the nightclub and they got a jazz band or something and I'm trying to shoot pictures of people well, I know to get people still, I need to have a good idea of a shutter speed that I need. So you need to be clear about that And maybe 1/60 of a second. Totally, very. But I'm gonna choose 1/60 of a second, and then I'm gonna let it as much light as my lens will allow. And then I'm just gonna bump the I s so up until I could get a decent picture. If I have to go up to 800 or 1600 or 3200 that's where I will go to get the picture. And so that's the order that I would approach a low light situation in class. We have a question. Do you have a general rule of thumb for the slowest shutter speed for handheld pictures? You know, I think that is a great test for you to do on your own. Is too Put your camera either into a cheddar priority mode. Maybe if you just want to keep simple and try taking a picture at 1/60 of a second with image stabilization turned on and then go down to 1/30 in 1/15 and an eighth in 1/4 of a second to see if you can hold it steady and then turn the image stabilization off and then take four more pictures, download him and look at him on your computer myself. I could hold the camera steady with a standard lands at about 1/30 of a second. Some people are a little bit shakier, maybe at 1/60 of a second. You know, it depends on how many, how frequently you go to Starbucks. Do you have a wall to lean up against to? There's a lot of factors involved in their in general. The standard rule of thumb is one over the focal length of the lance. And so, if I have my Lens said at 35 is gonna be about a 35th of a second. The stabilization will help you out as much as two or three stops beyond that. So 1/15 and an eighth of a second, potentially for taking a picture. But if I can brace my elbows, brace it up against my I like this, I might be able to get a couple stops lower than that. So there's a lot of different techniques, but nothing beats a tripod. Spoken like a true, experienced blur shooter. Garbo has a couple questions. If you could explain how to get good metering for a sunrise like what toe lock on? And if you have any drills as faras, honing your focusing sunrises and sunsets could be a little tricky, especially when the sun is in the frame. And so if you're photographing a sunrise or sunset, it's sometimes best to get the meter reading to the side of the sun s so that the sun's not in the frame. To be honest with you, I will just set my camera up on a tripod. I'll put it in a live. You I'll set it where I think it needs to be. I'll take a picture and I look at the results and they'll make a little fine to an adjustment From there. I may need to make two or three adjustments before I get it right both that live you. I've been able to just nail exposures perfectly with a little bit of trial and air. But if you couldn't look at the back and you just wanted to get it right in one shot, I would focus a little bit away from the sun, not 90 degrees away, but a little bit away. And so for focusing, would you focus on the horizon? I would focus on the horizon, probably unless I had something in the foreground where I was shooting and I had an object in the foreground. and I'm trying to shoot a landscape, the head everything in. And then that kind of changes the equation and goes beyond the scope of this class. So what about the second part of his request of any drills he would suggest for honing those focusing skills, practice, practice, practice practice, go out and shoot pictures? Great thing with these digital's is that you can shoot all you want, and it's just pennies to charge the battery and download the images. The question from Bruce Specs earlier When you choose manual exposure for video for movies, how do you set aperture and speed when those controls don't seem available? I don't know. Let's go to try So we're gonna set our camera to you. The video mode. Sure cameras turned on and our camera goes into a live view, and what we want to do is we want to be able to change these settings, but we need to go change it into manual, which is movie exposure mode. We have to go into the menu. Second tab on the video menu, changes to manual. See, I've never done this, and I'm hoping I can, so we now have our shutter speeds, which are changing by our aperture dial. And one of things you'll notice is that you can't go below 30th of a second, and it's because we're shooting at 30 frames a second. And we can't shoot slower shutter speeds for each of those 30 frames so it can go faster up to 500. That can go up to 4/1000 of a second. Most video shooters are going to shoot at around 50th of a second. If you want a quick little tip now to change, our aperture will press r a V button, turn our dial, and we can change our aperture. So it is working exactly as it does in the manual mode, and so I'm not sure why it wasn't working for them in that regard. Now what's happened is I've noticed that I eso has gone toe automatic, and so the I s O is making some compensations for light as you adjust the aperture. So manual video is just like manual still shots. Did that work for our live audience? They're nodding their head. Yes. So I have a second on that. Thank you. Okay. Questioning class My It's actually commented you click the I s o bun. You could actually manly adjust that as well. Okay, that's a good tip there. So, yeah, I had that in auto. Why did I have that? An auto. So, yeah, you could manually adjust that. So what happens if you manually select that we go in and we just are apertures congested up yet? We have full manual control in this, which is pretty amazing. That's great. So, anyone to the young filmmakers out there, this is your camera. Not the best one in the world, but it can get you quite a bit out of it. So, John, I have a question for much earlier, I think Wanted to know if you could give more information on copyright copyright? Well, there was a setting if we make sure we're in the one of the manual modes so that we have access to all the menus and if I recall, it was at the very last setting of the set up menu. So the last Wrench tab there is a copyright information. Enter author's name. He would press set to enter that. And then there's a somewhat difficult a system for choosing your the going through the alphabet and choosing letters and symbols and so forth. And in this let's see what we do here. Down. We hit the cue button to get down to the letters, and I am not going to go through an inter creative life here. Just that would take too long. It's one of those things where it takes you two minutes to enter a simple name. But that is how you would do it. Once you have done that me back out of this, you can enter the copyright details, which is the same way you enter that mode. You press the queue, but to get down to the alphabet and you would enter the appropriate letters and spaces. You don't have a huge space, but but you could write a whole sentence. You could write maybe a paragraph in there. Not sure if you I think you may have covered this earlier. This is a question from earlier from Lizzie. 24. Can you demonstrate auto bracketing a shot? Auto bracketing will go ahead and set this up for auto bracketing. And so auto bracketing is not something that you would do in manual exposure if you were in manual, you could just manually do it. So let's do it in the program mode. What you need to do is you need to go into the menu system and it's gonna be in the shooting modes. And I don't recall exactly where it iss. There it is. It's in the second tab. Exposure compensation in a E B. That's the short for auto exposure. Bracketing will enter that and we will turn the dial and you can see the main dial. When you do that, you suddenly get options. Three little markings indicating that you're gonna shoot one picture at zero and one in minus one when it plus one is We are right here. But we can take that whole thing and we can shift it lighter or darker as well, with the cross arrows and back. And so we could shoot his white as we want. And this is a three step adjustment. And so when we shoot that, we're shooting three different exposures of different brightness. Actually, did I get that set right? Let me double check this tiles. Okay, so I think it's gonna sound, and so it's gonna happen in the back of the camera when you have it set properly is it will show you the indicators on the plus side in the minus side where you haven't said and so the key thing says particulars and see if this works. Uh, these very bad pictures see, there is the normal version. There's a dark version, Actually, that's the normal, the dark and the light. And so in this case, I can like the light version. And so the key thing when you did that is that when you said it, you had to turn the dial to adjust the settings you want. But you had to press set to enter that you wanted that in there, and then it turned it on. And you can actually see it turned on in the back of the camera with the three little indicators. And so that's how you said it. Because I want to get it out of the system. I have a kind of a specific question. I'm not sure if you can answer this, but Christina has has having some focusing issues. Um, and she feels at one of the focus points is not very accurate on her t two, she said. Overall, she finds the back back button focus to be harder to press that on a previous camera. Okay, excess I and wondering, Is it possible to have a single focus point? Be inaccurate and it's unlikely. But I guess anything's possible. I would stress that the center point is the best cause it's best on all different types of, uh, lines. Some of the brackets are only sensitive to horizontal lines, and some of them are only sensitive to vertical lines. And so some of those outer brackets just are not the most receptive to different types of devices. And so try the center bracket, the the outside ones, the top ones. They're not as good, um, and that's why I don't usually recommend selecting one of those outside. Once I usually select the middle one, which is the best of all of them, and it is possible. It's bad if it's focusing in the wrong area. The camera's not that old. I would have it checked out by somebody in person at a camera store repair shop if it's bought within the last year, is probably covered under the warranty. And yes, occasionally focused goes bad on these cameras and focus points have problems, and you need to have things fixed. Okay, well, she says it is under warranty, and she's wondering if she should send it in. It's something that I would still have to see more about why it's doing it. Because if I focus on this white piece of paper right here with almost any of the brackets, my camera is not gonna be able to focus because there's just not enough contrast on it. If I focus right on this edge line where it's black and it's white, it'll be able to pick that up. And on this little Matt that we have here, it's got some contrast. But it may not be something that the outside brackets can pick up eso try it with something that's got a lot of contrast to it, you know. A brick wall, for instance, has a lot of contrast to a lot of lights and darks to it. And so if it can't focus on a brick wall, it's definitely got a problem. Question from Johnson. How to invoke the five x or 10 x or x five x 10 for focusing. How do you engage that well in order to do that, the camera doesn't need to be in live view, and so we're not in a video mode. We activate live view Camera takes a moment to click in its dark as I pointed at a dark desk, but the buttons up on the top, right with the blue magnifying glass. The right hand one is the magnify in, and you'll see over in the bottom right hand corner of the screen, the five X or the X five, and the extent and it shows you a little frame as to where you are in the normal frame. And so you can use the, uh, plus, once you're at X, you go to plus again, it goes back to normal. So it's just a cycle through the magnification, so you need to be in live you and just those little fun buttons. He has a question. If you could talk a little bit about dead pixels on the LCD, did pixels Oh, on the back of the camera, back of the camera. The monitor back here LCD has over a 1,000,000 pixels. One of them could potentially come from the factory dead. No information getting to it or something could happen to it and it could die. And I guess if you wait long enough, they'll all die. And it shouldn't be like that. But there's usually a standard that they have is acceptable. And that's true. Also on the sensor. If your camera coming off the line at Cannon has three dead pixels, they're probably going to still ship it. It doesn't need to be perfect. You know it. Once it hits 10 bit dead pixels, then they're going to say, OK, that doesn't meet our standards And the same is true on the back. You shouldn't have a dead pixel, and if you bought a brand new camera, you took it out of the box and it had a dead pixel. I'd go back to the store, and I exchange it for another camera. If you've had your camera for six months, that may not be covered by the warranty. It depends on what's covered. I haven't read the fine details of the warranty, but that may or may not be covered after a certain period of time. I wouldn't worry about it, cause if it's just on the back of the camera. It's a very, very minor problem, and it doesn't affect picture quality in any way. I just wantedto say, Have a common that came up on the chat room from Star Julia. I'm saying, Please, I want to thank you for suggesting the t two I to her last year really for him last year and said that they had mailed Bruce and he had asked you during one of last session's of fundamentals and that it's an awesome, awesome camera. And thank you very much, John. Okay, I'm glad that worked out another happy customer. Yes, exactly way. Have any more questions in the audience ready to get out there? Everybody's ready to start practicing real shooting. Now that's where you start getting good. I'm gonna become more gear questions. If you want to take them. Let's take three questions and call it a day. All right, three more questions. Um, A J. Baker would like to know if you recommend any certain types of tripod tripods. Oh, boy. There's a whole game there. There's Ah, there is a There's a whole What was it? No, that was the John Gringo show we had. We had Brent from Glazers in talking about tripods. Ah, the quick, skinny 32nd answer on tripods is the two major name brands are get so very expensive but very nice. Uh, and man photo sometimes noted, spoken, which is a little bit more affordable, practical, but still wrote good stuff. And then there's everyone else. I prefer the band photo and get so because they're very durable products. We have a wide variety of selection, and they have parts that are replaceable. So on some of those cheap $100 tripods, yes, $100 is cheap for a tripod. They have plastic levers. Once you break the lever, you just throw away the whole tripod with get so in Bogan, If you break a leg or apart, you can go spend 10 or $20 replace that one part. And so that part I really appreciate I have a get so tripod they make carbon fiber man. Photo makes carbon fiber as well. Most of the people who use a tripod on on a regular basis like that gets us. They're the most expensive ones out there, but they're the lightest weight, the smoothest operating the easiest to operate tripods. You can easily spend 500 to $1000 on a good get so tripod. If you're a little bit more budget minded, I would look more towards the man photo. The value there, I think, is a little bit better if you're looking in the same 150 to $250 price range. And when you get a tripod and you go in the camera store, get one that at least gets up to your eye level. Most people get too small a tripod, Um, and they find that it doesn't work really well for them out in the field cause it's often too short. So make sure you get a tripod that's tall enough, and it's tall enough without raising the center post. So the center post is just an emergency override. You don't want to use it on a regular basis. Question number two of three final questions, right? This might be the last question, actually. Really. Okay. Um, Lori asked about the rubber lens covers that you can push back when not in use. Can't seem to find one. What do you think? Yeah, yeah, there's ah, generic lens. hoods that we're kind of like rubber Tupperware, that you could pop out according to how far and how telephoto your lens waas. And they're kind of nice because they're collapsible lens hoods and they get out of the way when you want to put him in a camera bag. And the problem is, is that either there, covering too much of the lands and you're actually going to see them, which means you have to push them back further, which means that they're not as effective as they should be. And so, in pretty much every case that I can think of, you want to get the one lens hood that is designed for that particular lands. And there is a lens hood for every lands. Well, there's a couple of there's an exception to that, but might I digress? For virtually every lands, there is one specific lens hood on, and there's not just a big variety of choices that you can choose, and generally you're gonna want to get that specific lens hood. And so do we have one final simple. Yes, I have one final simple. It was all right. It's a good one. What is it can. Are all of your classes on Canon or do you have classes on Nikon? Well, you know, I shot Nikon for a long time, and I think we have a Nikon class next week. I think we might d 31. You know, I'm gonna put a class together for next week, so if you want to see a Nikon D last, I'm gonna put one together right now for next week at 10 o'clock, same time, same place, same crew. Thinks it'll be good. So, yeah, we're gonna have This is the first to four classes. This is three Canady to I class. Next week, we're going to do the D 3100 and then I think we go back to Canon and do the 60 d, and then we go to the Nikon de 7000 class. And if you guys like this class, if we get people downloading this and weaken support what we're doing here, I would like to do a class on every new SLR that comes out that has a lot of interest in it. That would be awesome. And so that would be fun. I have one more comment. Comment. We will take a comment on a question. Dusk says that you are his or her photography hero and wishes that you would write a book. And I agree. You're my photography here. Thank you very much. I appreciate that. And a great class. Thank you so much. Thanks a lot. Thanks for everybody to dinner. Thanks for everyone coming into class. See some of you next week.