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But in the past months there have been three distinct moments that have made me think that, rather than being an evolutionary dead-end, the Eye Control concept (and maybe technologies similar to it) might come to be seen as a critical feature of cameras in the future.

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The second pang of recognition came when we were shooting football (soccer) with the EOS R3. I've shot sports with high-end cameras before, but I wouldn't consider myself particularly adept at it. I can sometimes set up the camera to do what I want, and I can sometimes focus enough on the action to anticipate what's might happen next, but I've only had fleeting periods where those two have overlapped.

In that sudden moment of noticing the Eye Control point and what it was doing, I realized that I hadn't been paying it any attention before: I'd just been watching the players and the camera had been focusing on the player I'd been looking at. And, while none of this helped me position myself in the right place on the sidelines for those decisive moments in the game, it did mean I came back with better action shots (and more of them) than I'm used to getting.

At its best, Eye Control isn't just about more quickly selecting an AF point, it's also about it doing so in a way that's almost subconscious. I was setting focus without ever having to consciously think about focus, giving me one less thing to think about and leave me more able to concentrate on the game.

If you can anticipate roughly where in the frame you want your subject to be, then maybe you'll be able to pre-place your AF point with a joystick and then initiate tracking when it's over them as you try to follow their movement.

I get the impression I will need this technology. At least the writer tries to push this idea. But who is he to do that ? A professional sports photographer ? Or rather a sales person or a web writer ?

This reminds me of another general idea, that is pushed without much thinking in this forum: Panasonic AF (called DFD) is slow and is not good enough for professionals. A professional needs pdaf.

Look at the gallery for the R3. Are the photos good ? Are they a proof for superior technology ?

By chance I found a video of a professional sports photographer working without pdaf and with a SL2. See for yourself which photos are better .... (Sorry you need to skip the first 3 minutes)

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It also has limitations, when you are shooting one thing but need to look or pay attention to other things. But all these things are easy to mitigate, with for example an override button that when held pressed will suspend subject switching, so one would press to look elsewhere and release to have Eye Control.

it bears repeating that this ECAF is used to position the initial focus acquisition point and then let tracking take over. You can also switch the AF point to another subject during the tracking, but to do that you have to let up on the shutter, move the focus point with your eye, and then press the shutter again.

I had been using Canon 5 with ECF for almost 10 years 1994-2004, it never failed, only one occasion the focusing system was seemed erratic, then I just need to re-calibrate it myself in less than 10 seconds, probably someone used my camera without permission. With the USM Lens, this camera is even better in autofocusing than Nikon F4 which hunted so much.

ECAF may be a new milestone in camera tech but still unproven in real world use. And you, all singing-all dancing Canon guys, make its usefulness a gross exaggeration, prematurely proclaiming "no, from now on, we won't be using any camera without ECAF, ever".

Can you guys get it settled first and then dry yourselves before getting any wetter?

Potoughto. I had been using Canon 5 with ECF for almost 10 years 1994-2004, it never failed. The ECF is proven and at least very useful for me. It's ok if you like being skeptical but your comment seems like ignorant opinion and baseless.

SECOND PART: Point and Shoot (POS) cameras are very popular. At $6,000 I don't think most POS consumers are buying this camera. And, on the other side.... I don't think the majority of us who are pro spots photographers and currently have 1DXMKII and 1DXMKIII based kits are switching platforms for the R3. There is a market for this camera but it's not IMHO for those who "hope" that the R1 will be the next step for those with an average of $50K to $100K current kits base around the 1DXMKII & III's who are professional sports photographers.

For me, single point, single point expanded in an "emergency" use a zone. But filling my frame and composing based on what I want and adjusting my DOF as I see fit. With AISERVO Set to Case 4 and First Shot Focus at +2 and Second Shots at +2 Focus at 15fps you are getting exactly what you want without the camera interfering.

"I'm using an OVF to setup my next shot looking a 100 things. 99 of which I have no desire to focus on or take a shot of".

And with eye focus, you don't lock on until you half press the shutter button (you know, after you've made the decision on what you want to shoot). The camera doesn't take over your eye or your shutter release. Nor do you have to switch between single, expanded, or zone, which I'm not sure how you have time to do in fast action.

I agree... subject selection is definitely the limiting factor here and I can't think of a faster or better way than just looking at it once besides a fully fledged neural interface.

I'm just an amateur but with my R5 and the Sony's use here and there for event photos and a little sports. By far the most cumbersome UI is choosing the subject!

Eye selection is a UI game-changer IMHO, a revelation not just action photographers can benefit from, but EVERYBODY that takes photos of people, animals or other moving subjects.

obviously this can't be tested unless you are affected, but I wonder how well this tech works if you are a bit cockeyed. VR, 3D glasses and other things like that don't really sit well with me because of it, so i'm very wary over new eye-tech. A minority I know, but still interested in results.

These techs are what effectively eliminated professional photography as of today. The less skills required the more inclusive is the profession, payment goes down, skilled personal extinguish. And thousands of dpreview drones are applauding the new promising tech as if they are know something. This is how common knowledge "it's impossible without X..." appears, even though it was possible before you know it. Yeh, great.

There are so many people running around thinking they are great photographers because the know how to use their camera and also mastered the light, no you are at best a medicore photographer by that, but also can be a terribly bad one.

Photography is about getting the subject look good, if one photographs people that means guiding the model to look good, you need to understand the light and be great with people, know body language, be able to explain people what why to do, need to have your tricks to brighten up their mood, make them confident, or if the client demands it then sad or angry. If you can't do that, no matter how good you are with your gear you're a lousy people photographer. Similar goes for architecture or product shots, you don't take but create a photo

@armandino how the tech can raise any bar in art? Is it somekind of tech competition? I know that a man who can make the photo in his head with OVF probably sees more, then one who relies solely on EVF. And EVF is what dictates you how your photo will look like.

"While as a good photographer it's a blessing" - As I told you before. Expectations are not that skyrocketing. To make money it's not that important if you are good or not. "Good enough" photography will do for satisfactory price. Digital provides satisfactory level without knowledge of actual photography as you put it.

@armandino "Tech expands creative opportunities, obviously." - How so? Do you imply you with a new camera is now a more creative person then some artist who spent all his live drawing in XVIII century? Too much marketing bullsh1t distorted your vision.

@Constantin V

"How so? Do you imply you with a new camera is now a more creative person then some artist who spent all his live drawing in XVIII century" Also, offensive harsh language does not work in your favour in making a point, most likely the opposite.

It is pretty simple, as much as you are in total denial:

artists need tools to express themselves. The fact that some form of art can be expressed in full in the XVIII century does not mean that new tools or technologies do not offer new opportunities. No much of movie making in the XVIII century wasn't it? Besides, you are making my point, painting and photography are NOT the same art form and cannot be simplistically compared as you are doing.

You have made some good points above, but they are far too exaggerated.

I would be curious to see what sort of photography you do, that would explain your position. But like most here, you make your snobbish comments while hiding in your cave, the beauty of internet.

@ Constantin V, I don't see payment going down, it goes up as photography is becoming more and more complex. That however only applies to the market of skilled people. And there skill alone doesn't help you if you can't sell it.

That's the biggest problem creatives have but has nothing to do with technology.

But there are way more photographers these day including a lot of bad ones that sell themselves for cheap money. If they are a threat to your business than you've done something wrong. e24fc04721