Telephoto compression is frequently misunderstood. It is not a property of the focal length — it is a property of the distance. A 200mm lens at ten meters produces the same perspective compression as a 50mm lens at ten meters, because compression is a function of camera-to-subject distance, not focal length. What the 200mm lens does is allow you to be at that ten-meter distance while filling the frame with a subject that would be a speck at 50mm.

First curtain sync fires the flash at the beginning of the exposure. Second curtain sync fires it at the end. The difference, on a stationary subject in a dark room, is invisible. The difference, on a moving subject with any ambient light at a shutter speed slower than 1/60s, is the difference between a motion blur that trails behind the subject and one that leads in front of it. The first looks like the subject is moving backward.

The EF 100mm f/2.8L Macro IS USM focuses to 1:1 — life size. At minimum focus distance, the working distance between the front element and the subject is approximately 14 centimeters. You are very close. The depth of field at 1:1 and f/2.8 is measured in millimeters. Almost nothing is in focus. This is not a problem to solve. It is the medium to work in. Most photographers who own this lens use it between 1:4 and 1:2 — close enough to feel macro, far enough to maintain a usable depth of field.

The EF 40mm f/2.8 STM is Canon’s pancake lens — 23mm long, 130 grams, and optically decent enough that photographers have been underestimating it for over a decade. On a mirrorless body via adapter, it pairs with something older than autofocus: zone focusing, the technique of pre-setting focus distance and shooting without confirming focus at all. The method is simple. Set the lens to manual focus via the adapter’s control ring or the camera’s MF button.