IntroductionWelcome| 00:00 | (music playing)
| | 00:04 | The Canon 5D Mark III is the latest
generation in Canon's incredibly successful 5D series.
| | 00:11 | With a 22 megapixel sensor, and Canon's latest
DIGIC image processor, the DIGIC 5+, the Mark
| | 00:17 | III delivers better image
quality than ever before.
| | 00:20 | In addition to the new image processor, the
Mark III adds a new 61 point autofocus system
| | 00:25 | that brings advanced top of the
line autofocus to the 5D series.
| | 00:30 | Finally, interface changes make it simple
to keep all of this power at your fingertips,
| | 00:34 | and new customization options let you
choose exactly which fingertips to put it under.
| | 00:39 | Whether you're an amateur, or a professional,
the Mark III provides you with a spectacular
| | 00:43 | photographic instrument.
| | 00:46 | Hi! My name is Ben Long.
| | 00:48 | Understanding your gear is essential to
being able to consistently take good photos.
| | 00:52 | Sure, you can throw your camera in Auto mode,
and get good shots most of the time, but you
| | 00:57 | will run into occasions that will flummox your
camera's auto features, and in those instances,
| | 01:02 | you need to know how to adjust
your camera to get good results.
| | 01:05 | This course will show you how to make
those adjustments, how to customize your camera,
| | 01:09 | and how to drive all of the
features on your Canon 5D Mark III.
| | 01:12 | In this course, we are going to explore all
your camera's critical features; the features
| | 01:16 | that any beginning to
intermediate shooter will need to know.
| | 01:20 | Among many other things, you will see what
the 5D Mark III's different modes do, how
| | 01:25 | you can alter and tweak those modes, how to
shoot video using the camera's HD video features,
| | 01:30 | how to customize the camera to make it
easier to use for your particular shooting tasks,
| | 01:35 | and how to use the camera's various exposure
controls to correct exposure while you shoot.
| | 01:41 | Now, this is not a photography course.
| | 01:42 | We won't be going into detail into exposure
theory, and the other fundamentals of photography,
| | 01:48 | but we will give you reminders about
specific terms and processes, and tell you when it's
| | 01:52 | a good idea to watch an additional Lynda
course that might help with the fundamentals.
| | 01:57 | This course, combined with a couple of other
courses, will provide you with a full photo
| | 02:01 | curriculum, but one built
around your specific camera.
| | 02:04 | This means you can learn photography in terms of the
specific buttons and controls on your exact camera.
| | 02:10 | So get your camera close to hand as we delve
into the particulars of the Canon EOS 5D Mark III.
| | 02:15 |
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| What is an SLR?| 00:00 | All cameras have at least one thing in common;
they have a lens that sits in front of a focal plane.
| | 00:06 | On that focal plane is a recording medium;
either a piece of light sensitive film, or
| | 00:10 | paper, or a digital image sensor.
| | 00:13 | The focal plane needs to sit directly behind
the lens, because the lens is used to focus
| | 00:17 | light onto that recording medium.
| | 00:20 | Another way to think of it is that the
recording medium looks through the lens.
| | 00:24 | What's tricky about camera design is that
if the recording medium is sitting there
| | 00:28 | looking through the lens, how is there room for
you to look through the lens to frame your shot?
| | 00:34 | Camera designers have wrestled with this
problem since the beginning of photography, and they
| | 00:38 | have come up with lots of solutions.
| | 00:40 | For example, with a view camera, you
actually take the recording medium off, so that you
| | 00:45 | can look through your lens to line up the shot,
and then you put the recording medium back on.
| | 00:50 | Needless to say, this doesn't make
for a particularly speedy shooting.
| | 00:53 | In a twin lens reflex camera, you look
through one lens, and a second lens exposes the film.
| | 00:59 | However, if I am shooting up close, my framing might be
off, due to the parallax shift between the two lenses.
| | 01:05 | Similarly, in a rangefinder camera, I look through
this viewfinder, while the camera looks through this lens.
| | 01:11 | I still might have parallax issues, but
with a camera like this, I can actually change
| | 01:14 | lenses, and still have a viewfinder that works.
| | 01:17 | The SLR, or single-lens reflex, solves all
of the issues with these other designs.
| | 01:23 | With an SLR, there is just one lens, a
single lens, and both you and the recording medium
| | 01:30 | look through that same lens.
| | 01:32 | To make that happen, there is
a mirror inside your camera.
| | 01:35 | Now, here is how this works.
| | 01:37 | Normally, light comes through the lens, it
enters the body, and it bumps into a mirror
| | 01:42 | that's sitting right here at 45 degrees.
| | 01:45 | The mirror bounces light up into this
thing, which is called a pentaprism. Inside this
| | 01:50 | part of your camera, there is a five-sided
prism that knocks the light around until it
| | 01:56 | comes out the viewfinder here.
| | 01:58 | So when you look through the viewfinder,
thanks to this series of prisms and mirrors, you're
| | 02:02 | looking through this lens right
here; this single lens on the camera.
| | 02:07 | When you press the shutter button, the
mirror that sits right here flips up. When that
| | 02:12 | happens, light can pass into the camera body, and
instead of bouncing up here, it just keeps going straight.
| | 02:18 | The shutter opens, it passes through
the shutter, and hits the image sensor.
| | 02:22 | When the shutter -- when the exposure is done,
the shutter closes, and the mirror comes down.
| | 02:28 | When that happens, light goes
back to being bounced up here.
| | 02:32 | This is why, when you press the shutter button,
your viewfinder goes dark for a moment, because
| | 02:36 | when this mirror pops up, the
viewfinder basically goes blind.
| | 02:40 | So with this single lens, I can, thanks to
the mirror, get light out the viewfinder, and
| | 02:46 | get light back to the sensor.
That's the SL part of SLR.
| | 02:50 | The reflex part is referring to the fact
that the mirror moves; that it goes up and down.
| | 02:56 | You can actually see the mirror in your camera.
I am going to turn the camera around to the
| | 03:01 | front, so that we can look
inside the mirror chamber itself.
| | 03:06 | Now, if I take the lens off the camera --I'm just
going to take it off, just like I normally would here.
| | 03:13 | This is the mirror chamber.
| | 03:16 | So you can see the mirror right there.
| | 03:17 | It is, in fact, sitting at a 45° angle.
| | 03:20 | Your lens sticks into this chamber as
far back as these metal contacts here.
| | 03:25 | Sitting behind the mirror is the shutter,
which is closed right now, and then behind that is
| | 03:30 | the image sensor, obscured by the shutter.
| | 03:32 | I have got the camera in a mode where if I
press and hold the shutter button down, the
| | 03:36 | mirror will stay up, and the shutter will
stay open for as long as I hold the button.
| | 03:40 | So I am going to do that right now.
| | 03:42 | I am going to pop the shutter open, and that mysterious
glowing thing back there is your image sensor.
| | 03:48 | Now, your image sensor doesn't actually
glow, but you can think of it that way.
| | 03:52 | What's going on here is every pixel on the
surface of the sensor has a little lens over
| | 03:56 | it. It's part of how light gets focused
properly onto the sensor, and those mirrors are tiny
| | 04:01 | microscopic things, and they're all reflecting
and refracting light in this weird way that's
| | 04:06 | giving us this cool rainbow effect back there.
| | 04:09 | I am going to let go of the button now, and the
shutter and mirror are going to come down.
| | 04:15 | Here is a slow-motion movie of this
whole thing happening on a different camera.
| | 04:19 | You can see the mirror flip up, the shutter
open and close, and the mirror come back down.
| | 04:25 | So what's the downside?
| | 04:27 | Well, SLRs are larger than a typical rangefinder
camera, which makes them a little less convenient.
| | 04:33 | They can't have the giant media sizes of a big
view camera. They have got a lot of mechanical
| | 04:37 | parts that break down, and they can be noisy,
but overall, today's SLRs, is particularly digital
| | 04:42 | SLRs, offer the best all-around camera
design, allowing for incredible flexibility of lens
| | 04:48 | choice, shooting options, portability, and ease of use,
while all giving you a nice big bright viewfinder.
| | 04:54 | While there are a lot of great point-and-shoots
on the market -- and a point-and-shoot is often
| | 04:59 | the best camera choice, depending on the shooting
situation -- SLRs score over their smaller point-and-shoot
| | 05:04 | counterparts both in terms of image quality,
and shooting flexibility. With their larger
| | 05:09 | sensor size, they provide quality, better
lowlight performance, and the ability to shoot
| | 05:15 | with shallower depths of field. With their
interchangeable lenses, fast burst rates, and
| | 05:19 | advanced features, you can shoot
just about any subject with an SLR.
| | 05:24 | Now you just have to learn how to use it, and
that's what you are going to do in this course.
| | 05:27 |
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| A note for 5D Mark II users| 00:00 | If you shoot with a 5D Mark II, then
you should still find this course useful.
| | 00:05 | At the time of the shooting, the 5D Mark II
is still for sale, and with good reason. It's
| | 00:10 | a great camera. However, there are some
interface differences between the Mark II, and the Mark
| | 00:15 | III, and obviously, the Mark
III has some different features.
| | 00:18 | For most of the basics, though, the cameras
have matching features, and matching interfaces,
| | 00:23 | so you should easily be able to follow
through this course with your Mark II.
| | 00:26 | For times when I am covering a feature that
the Mark II does not have, we're going to put
| | 00:31 | up this graphic to let you know that what you're
seeing in that movie may not apply to your camera.
| | 00:38 | We'll also be showing you this whenever a Mark
III feature is radically different from the Mark II.
| | 00:42 | So, when you see this, you'll either be
able to skip a movie entirely, or you'll need to
| | 00:47 | check your Mark II manual for more details.
| | 00:49 |
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| Using this course| 00:00 | I divide the teaching of photographic subject
matter into two categories of instruction;
| | 00:05 | artistry, and craft.
| | 00:08 | Artistry is the study of all that
ephemeral stuff that goes into making a good photo;
| | 00:13 | learning to see, exploring your emotional
response to a scene, and learning how to translate
| | 00:18 | that into the vocabulary of photography.
| | 00:19 | There's nothing magical about artistry; it's
an intellectual process that you can learn.
| | 00:25 | Craft skills are what you employ to realize
your artistic ideas. In the case of photography,
| | 00:31 | they're basically the button pushing skills.
Knowing how to focus, knowing how to configure
| | 00:35 | your camera for particular types of light,
how to ensure that your image is bright enough,
| | 00:40 | that you've captured motion
the way that you want, and so on.
| | 00:43 | In this course, we're going to be studying
craft; specifically the craft skills required
| | 00:48 | to use your particular camera.
| | 00:50 | And in this course, we'll be assuming a certain
level of understanding of basic photographic theory.
| | 00:56 | For example, in showing how your
camera's exposure compensation feature works,
| | 01:01 | I might say that it allows you to alter the
camera's default metering in one-third stop increments.
| | 01:06 | Now, if you don't understand what one-third
stop increments means, or you're unclear what
| | 01:12 | it means to meter a scene, then you're going to
need to take a look at an additional lynda.com course.
| | 01:17 | We'll put up graphics any time there's a
complementary course that will lead you deeper into the
| | 01:22 | theory that's being discussed.
| | 01:24 | This course also assumes that
you know nothing about your camera.
| | 01:27 | We're going to start with the idea that you've
just pulled your camera right out of the box,
| | 01:32 | and you want to get
shooting as quickly as possible.
| | 01:34 | That's easy enough to do,
| | 01:35 | thanks to your camera's Auto modes.
| | 01:37 | We'll start with Auto modes, and build your understanding
from there by delving into more advanced features.
| | 01:43 | If you use this course, and those complementary
courses, you'll get full instruction in both
| | 01:48 | the art and craft of photography, and your craft
lessons will be built around your specific camera.
| | 01:53 |
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1. Getting to Know Your Canon SLRExploring basic camera anatomy| 00:00 | Before we go any further, let's quickly go
over the basic anatomy of the Mark III, just
| | 00:05 | to get some names and terms out of the way.
| | 00:07 | Don't worry about memorizing
all of these things right now.
| | 00:10 | We're going to be coming back to each of these
controls in detail throughout the rest of this course.
| | 00:14 | So, taking it from the top,
here is the top of the camera.
| | 00:18 | You should be pretty
familiar with the shutter button.
| | 00:20 | It's just like what you
find on any typical camera.
| | 00:23 | I've got a customizable button right behind
it, and then my main dial right here, which
| | 00:28 | I am going to use for changing lots of different
parameters on the camera, as well as menu navigation.
| | 00:33 | There is a button right here that lights up
this thing if I'm in the dark, which is the
| | 00:37 | status display, which gives me a lot of
critical information while I am shooting.
| | 00:41 | These three buttons right here
we're going to be using a lot.
| | 00:44 | They're how you change any number of very
critical exposure parameters while you're working.
| | 00:49 | Over here, I have the Mode dial for changing the
shooting mode that I'm in. My Power switch is right here.
| | 00:55 | The hot shoe for an external
flash is located on top of the camera.
| | 00:59 | I have a diopter control right here above
the viewfinder; that allows me to adjust the
| | 01:04 | focus of the viewfinder, in case I need
glasses, and want to try shooting without them.
| | 01:08 | On the ends of the camera,
I have mounts for a strap.
| | 01:11 | Your camera should have
shipped with a Canon strap.
| | 01:14 | It's a perfectly good strap.
| | 01:16 | There are other strap options
that you might want to look into.
| | 01:19 | Moving around to the back of the camera, over
here on the left, we've got these five buttons.
| | 01:24 | Notice that some of them are labeled
in blue, and this last one is white.
| | 01:28 | All of the blue things are playback related.
| | 01:30 | They are things that you will do
when you're reviewing your images.
| | 01:34 | This last one has to do with processing
your images with certain kind of canned effects,
| | 01:39 | just like you might do in your computer later.
| | 01:41 | I've got some controls here
for getting into the menu system.
| | 01:44 | Those are related directly to most of the
controls over here, which all have to do with
| | 01:49 | navigating menus, and making selections, and
generally driving both playback and shooting
| | 01:54 | functions on the camera.
| | 01:56 | This little switch button combination
thing here has to do with shooting in Live View,
| | 02:01 | and shooting video.
| | 02:03 | I have a Lock button down here, which locks
up a lot of these controls, so that I cannot
| | 02:07 | accidentally press them.
| | 02:09 | There's more kind of critical shooting controls right
here that you'll use when you're actually taking pictures.
| | 02:14 | Over here on the right, I have a door that pops
open to reveal the media slots inside the camera.
| | 02:20 | You may have noticed that when I opened
that door, this little light here flashed.
| | 02:24 | This is the activity indicator that shows when
the camera is reading or writing data from the card.
| | 02:29 | You'll want to keep an eye on that
any time you take a card out of the camera.
| | 02:32 | You want to make sure that data is not being read or
written to or from the card when you're removing a card.
| | 02:39 | Down at the bottom, right here -- it's a little
difficult to see right now -- you'll see three
| | 02:42 | little dots. That's actually a speaker grill.
| | 02:44 | That's the speaker that the camera plays
sound out of when you're playing back movies.
| | 02:48 | There is also a very small little window here,
which is a light sensor that the camera uses
| | 02:53 | for automatically setting the
brightness of the LCD screen.
| | 02:57 | And that bring us to our last item here on
the back of the camera: the nice big 3 inch
| | 03:00 | LCD screen, which you will use for setting
camera functions, and of course, reviewing your images.
| | 03:06 | Moving on to the left side of the camera,
there are two little doors here, a left, and
| | 03:13 | a right one, and they're
labeled different things.
| | 03:15 | These are ports for attaching
different kinds of things to your camera.
| | 03:18 | I have a microphone port, I have an
external flash port, I have a remote control port,
| | 03:23 | and behind the other door, I've got a headphone
jack, and controls for connecting a USB cable
| | 03:29 | for attaching the camera to my computer, and
a port for attaching an HDMI cable for getting
| | 03:34 | video out to any kind of video
device that has an HDMI connector.
| | 03:39 | You can also use this port, in addition, to
attach into your computer to get video out
| | 03:43 | to an analog video
device of one kind or another.
| | 03:48 | Heading around to the front of the camera, a couple
of things here. I've got the lens release button.
| | 03:54 | This is what I press to get the lens on and off. And
speaking of the lens, I haven't have a lens right here.
| | 04:00 | Your lens maybe a little bit different,
depending on what you have on the camera.
| | 04:02 | This is the Canon 24-105 L, which is the
standard kit lens for the 5D Mark III.
| | 04:08 | So this is probably what you have, unless you
bought the body only, and attached a different lens.
| | 04:13 | We're not going to go too deep into lenses in
this course, but really quickly, the controls
| | 04:17 | on this lens are an Auto/Manual focus switch
for changing the lens from Auto focus to Manual
| | 04:22 | focus, and a stabilizer switch for turning
on the lens' built-in image stabilization.
| | 04:28 | This red dot on the lens isn't a button, or
a switch, or anything; it's just a guide for
| | 04:31 | how to position the lens when
you're putting it on and taking it off.
| | 04:35 | These five little holes are
the camera's built-in microphone.
| | 04:38 | It's used when you're recording video.
| | 04:39 | You want to be very careful about not touching
it, or handling it when you're shooting video
| | 04:44 | if you are relying on the internal microphone.
| | 04:47 | We'll have more to say about audio when we
get to shooting video later in this course.
| | 04:52 | Moving on around here, I have
the depth of field preview button.
| | 04:58 | This odd little black patch here on the handgrip is a
remote control sensor for Canon's wireless remote control.
| | 05:05 | And this thing right here is actually a red
light that will flash when you're using the
| | 05:09 | camera's self-timer to give you an indication of
when the camera is actually going to take its picture.
| | 05:15 | So again, the rest of this course is going to be
devoted to all of these controls that you've seen.
| | 05:19 | We're going to be looking at them in detail,
talking about how you use them, and why you
| | 05:24 | might use them in particular shooting instances.
| | 05:26 |
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| Attaching a lens to your camera| 00:00 | One of the great advantages of an SLR, of
course, is that you can take the lens off, and put
| | 00:05 | on a different lens.
| | 00:07 | Even if you don't have multiple lenses, though,
you still need to know how to attach the lens
| | 00:10 | that came with your camera.
| | 00:12 | If you do have multiple lenses, knowing how to
change them quickly and easily is a good skill to have.
| | 00:17 | When you're carrying more than one lens,
you're going to want to be able to work quickly to
| | 00:20 | get one off, and the other one
on, so that you don't miss a shot.
| | 00:23 | Also, you want to be able to work quickly,
because once you open the camera up, then
| | 00:27 | you're exposing the sensor to dust,
and that can mess up your image.
| | 00:31 | So it's a good idea to practice this a
little bit before you get out in the field.
| | 00:34 | So I have here my camera, and
the kit lens that came with it.
| | 00:37 | This is the Canon 24-105.
| | 00:40 | The camera has a body cap on it already, and the
lens has this cap here on the body side of the lens.
| | 00:45 | So first thing is, those need to come off.
| | 00:47 | It's pretty simple.
| | 00:49 | They just twist to the left, and lift off.
| | 00:51 | And now again, I'm exposing the inside of
the camera here, so I want to work quickly.
| | 00:55 | If I was working outside, in windy conditions,
if there was sand around, I would want to
| | 00:59 | keep this sheltered.
| | 01:00 | Ideally, I would want to
keep the camera pointing down.
| | 01:03 | It's going to be less likely that something
is going to come in and up, and if something
| | 01:06 | does get in the mirror chamber,
gravity might pull it back out.
| | 01:10 | I am going to take the cap off of the lens.
| | 01:13 | Now, to get the lens on, I just look for the
red dot that's right here, and I line it up
| | 01:19 | with this red dot right here, so that just
fits right in there until the lens is flush,
| | 01:24 | and then I rotate to the right
until it clicks, and now the lens is on.
| | 01:28 | So that's on there, it's all good
and sturdy; everything is ready to go.
| | 01:32 | All the electrical contacts are in place.
| | 01:34 | That's what makes auto focus
work, and all of that kind of stuff,
| | 01:37 | so it's very important that you
have the lens seated properly.
| | 01:39 | I'm left with these, with these two caps,
and you may think, well, I'm not going to
| | 01:42 | need those anymore.
| | 01:43 | No, you are going to need these.
| | 01:44 | These are very important.
| | 01:46 | If you've got another lens, when you take
this lens off, you're going to need to put
| | 01:50 | the lens cap back on.
| | 01:52 | And if you ever take the lens off because you
want to pack the camera and the lens separately,
| | 01:56 | even if you only have one lens, then
you're going to want to put the body cap back on
| | 01:59 | the camera, in addition to
putting this cap back on the lens.
| | 02:02 | So what I usually do is just fit them
together, and now they're all sealed up.
| | 02:07 | It's very, very important
to keep these caps clean.
| | 02:10 | Don't take them off, and just stick them in
your pocket; then they get lint all over them.
| | 02:13 | Then when you put them back on the lens,
or on the camera, that lint gets transferred
| | 02:17 | to the end of the lens, or into the camera,
and that's how you end up getting sensor dust.
| | 02:22 | Most sensor dust comes
into the camera from the lens.
| | 02:26 | So it's very important to keep
these clean, and to keep the lens clean.
| | 02:29 | I am going to take the lens off,
just so you can see how that works.
| | 02:32 | There's a button right here that you push.
| | 02:34 | You can either push it with this finger.
| | 02:36 | Sometimes I'll actually just slide my hand
over to the lens, push with my forefinger,
| | 02:41 | and then just twist to the left until the
red dots are lined up, and the lens comes
| | 02:46 | straight away, and then, again,
my caps go on.
| | 02:49 | One other accessory that should have
come with your camera is this sunshade.
| | 02:54 | This can be a really critical piece of gear,
especially if you're shooting at the wide-angle
| | 02:59 | range of this lens.
| | 03:00 | It's very easy to put on.
| | 03:02 | You just -- he says, not being able to get it on --
you just put it on until it fits, and then you twist.
| | 03:09 | What this does is it helps reduce flare.
| | 03:11 | Flare are those bright colored circles that
appear when you are looking into a bright light.
| | 03:15 | Even if you're not seeing full on circles,
you might see an overall washing out of your
| | 03:19 | image, a loss of contrast in your
image; a good sunshade can prevent that.
| | 03:23 | This makes the lens longer, which can
make it a little bit harder to pack.
| | 03:27 | You can easily remedy that by taking it
off, and just putting it on the other way.
| | 03:32 | So same thing; it just goes on, and
rotates until it locks into position.
| | 03:36 | So my lens is a little wider now, but it's not as
long. It's going to be easier to get into a bag.
| | 03:42 | So that's changing a lens.
| | 03:43 | If you're doing this with a bag in your hand,
and a couple of lenses, you're going to need
| | 03:46 | to figure out how to hold onto everything.
| | 03:49 | Having a strap on your camera is going to
make a big difference, because you can just
| | 03:52 | leave the camera hanging around your neck, which
means you don't have to worry about dropping it.
| | 03:56 | All you have to do is worry
about dropping your lenses.
| | 03:58 | So over time, you'll learn how to
manipulate all of those different parts.
| | 04:01 |
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| Examining batteries and media cards| 00:00 | Your camera needs power, and it
needs a place to store images.
| | 00:04 | It gets its power, usually, from a rechargeable battery,
and it stores its images on a removable media card.
| | 00:11 | The battery in your Mark III can be
recharged with the included power supply. Just snap
| | 00:16 | the battery into the little battery cradle,
and then flip this out, and plug it into the wall.
| | 00:22 | When it's charging, these lights here on the
front will flash, and when it's fully charged,
| | 00:27 | you'll see a solid green light.
| | 00:28 | Now, note that this charger will work in other
countries as long as you have the appropriate plug adapter.
| | 00:34 | These batteries are very forgiving in their
charging habits. Unlike older rechargeables,
| | 00:39 | you don't have to drain them
completely before recharging.
| | 00:41 | Don't hesitate to top them off
before you go out on a long shooting trip.
| | 00:45 | From time to time, though, it is a good idea
to drain the battery completely, and then give
| | 00:50 | it a good solid charge to recondition it.
| | 00:52 | At room temperature, it will take about two and
a half hours to completely recharge your battery.
| | 00:57 | That time will get lower as the
temperature drops, maxing out at about four hours.
| | 01:02 | If you store the battery in the
camera, the battery will slowly drain.
| | 01:06 | The camera does actually trickle a
little bit of power out of the battery,
| | 01:10 | so for long term storage, it's a good
idea to remove the battery from the camera.
| | 01:14 | The battery meter on the camera itself has
four different levels, and these represent
| | 01:19 | roughly 25% power each.
| | 01:21 | When only one bar is visible,
you have 10-20% of full power.
| | 01:26 | When that bar starts flashing, you're down
to only 1-9%, and when it's gone, your battery
| | 01:31 | is dead, at which point you won't be able to
see the battery meter anymore, because your
| | 01:34 | camera won't have any power.
| | 01:35 | At room temperature, you should be able to
get about 950 shots from a charged battery.
| | 01:40 | That will vary depending on what else you're
doing with the camera; reviewing lots of images,
| | 01:45 | using lots of lenses that have stabilization
built into them, shooting lots of video, all
| | 01:51 | of those things will cause
your battery to drain faster.
| | 01:54 | Now, over time, your battery will wear out.
| | 01:56 | If it goes through a certain number of recharging
cycles, it's going to start to lose capacity.
| | 02:01 | If you notice that it's dying sooner than
it used to, then there's a good chance that
| | 02:05 | it's time to get a new battery.
| | 02:06 | Fortunately, your camera has a built-in
facility for judging the battery's capacity, and we'll
| | 02:11 | take a look at that later.
| | 02:12 | Now, your camera also needs
some media to store its images on.
| | 02:15 | The 5D Mark III has two media slots; one
that takes CompactFlash Cards, and a second that
| | 02:20 | takes Secure Digital cards. Which you should
use is determined by what types of cards you
| | 02:24 | have, but it's important to note
that there are some differences.
| | 02:29 | You should have gotten a battery with your
camera; it probably looks something like this.
| | 02:32 | Actually, it probably looks exactly like this, and
it should have a cover on it that looks like this.
| | 02:37 | Now, your inclination after you take the
cover off is probably to just throw it away,
| | 02:41 | but that's not a great
idea, for a couple reasons.
| | 02:44 | First of all, you've got these
contacts here exposed on the battery.
| | 02:47 | If you just put this in a bag with your
keychain, or paperclips, or something else metal, it
| | 02:53 | is possible to short the battery out,
| | 02:55 | so that's the big reason to keep the
cover on the battery when you're not using it.
| | 02:59 | But there's another reason; if you've got
multiple batteries, the cover here can help
| | 03:03 | you keep track of which
batteries are charged, and which are not.
| | 03:07 | If you notice, there is a little cutout
right here that's the shape of a battery, and on
| | 03:11 | the bottom of your battery, one
side is blue, and the other isn't.
| | 03:14 | So if you put the battery in, so that the
cover is on the blue side, and you decide
| | 03:18 | that blue batteries are good batteries --
| | 03:21 | I suppose you could say that blue
batteries are sad, and so lack charge --
| | 03:25 | but anyway, I tend to do it that if
there is color there, the battery is charged,
| | 03:29 | and then when the battery dies, I just put it
on this way, so that I don't see any color there.
| | 03:33 | So if I've got multiple batteries in my bag,
that's a way of keeping track of which ones
| | 03:37 | are charged, and which ones aren't.
| | 03:39 | This battery needs to go
in the camera to be useful.
| | 03:41 | It only goes in the right way, and Canon gives you a
little hint right here: there's an arrow pointing up.
| | 03:46 | Now, there is a little battery door on the
bottom of the camera that says battery open,
| | 03:50 | and it's just got this
switch here that I pull down.
| | 03:53 | The battery, as I said, only goes in the
right way, and that arrow is where I start,
| | 03:58 | so I just click that in,
and push it until it clicks.
| | 04:03 | The battery is actually locked in there.
| | 04:04 | This white plastic thing is holding it in
there, and then I can just close the door.
| | 04:09 | If I want to take the battery out, I open
the door, and just slide this plastic switch,
| | 04:14 | and it's a spring-loaded battery; it will come
shooting out at your head if you are not careful.
| | 04:18 | So then I can close the battery door back up.
| | 04:21 | I want to actually use this camera, so I'm
going to put the battery back in, and close it up.
| | 04:27 | So I've got power.
Now I need storage.
| | 04:31 | The card slots for your Mark
III are over here on the side.
| | 04:34 | I'm going to open the door here, and then
rotate this around, so that you can see them.
| | 04:39 | The door is spring-loaded; you just pull
it straight out, and it's going to pop open,
| | 04:43 | and I have a CompactFlash
slot right here, and an SD slot.
| | 04:46 | CompactFlash cards only, like
the battery, go in the right way.
| | 04:50 | So I push that in until
this little knob comes out.
| | 04:53 | To get the card out, I push the knob, and
then I can reach in, and pull out the card.
| | 04:58 | CompactFlash cards are very durable.
| | 05:00 | That's what I like about them.
| | 05:01 | Even with both slots, I prefer CompactFlash.
| | 05:05 | It is possible to bend the pins inside the
reader, so do be a little bit careful when
| | 05:10 | you're putting the card in the camera.
| | 05:13 | The Secure Digital card also
only goes in the right way.
| | 05:16 | It goes in with the notched corner first.
| | 05:19 | So just stick it in the slot, and push it until
it clicks into place, and then it doesn't come out.
| | 05:25 | To get the card out of the camera, push it,
and it pops out, and then you can just grab it.
| | 05:30 | Secure Digital cards are quite a bit
more fragile than CompactFlash cards.
| | 05:34 | I have accidentally broken them
just through ordinary handling.
| | 05:38 | Be very careful that you don't flex them
in this direction, because it's possible for
| | 05:42 | the case to pop open.
| | 05:44 | When that happens, you
can glue them back together.
| | 05:46 | I've just used model airplane glue, or super
glue, or anything that will work on plastic.
| | 05:50 | Use very sparing amounts, and you can glue these
back together, and usually get them working just fine.
| | 05:55 | SD cards have a lock switch on them.
| | 05:58 | When I pull that down,
the card is write protected.
| | 06:01 | It's now impossible to write to it.
| | 06:03 | So if I'm dealing with a lot of
cards over a long period of time,
| | 06:06 | I might choose to lock them after I pull them
out of the camera, and that will keep me from
| | 06:10 | accidentally shooting over a
card that already has images.
| | 06:15 | With the cards in place, I just close
the door, and I'm ready to start shooting.
| | 06:20 | Later in this course, you're going to see
how to select which card you want to shoot on
| | 06:23 | to, and you're going to see that it's possible to
have the camera deal with the cards in different ways.
| | 06:29 | The CompactFlash slot on your Mark III supports
all type 1 and type 3 CompactFlash cards, including
| | 06:35 | UDMA 7 cards, which are, at the time of
this shooting, the fastest cards available.
| | 06:41 | Now, how fast a card you need depends
on what you want to do with that card.
| | 06:44 | If you're going to shoot video, then you
need a CompactFlash card that can transfer data
| | 06:48 | at either 10 MB or 30 MB per second, depending
on which video format you're going to use,
| | 06:53 | and you'll learn more about video formats later.
| | 06:55 | If you want to shoot video to an SD card,
then you need a card that can manage at least 6
| | 07:00 | MB, or 20 MB per second,
depending on video format.
| | 07:03 | That means you need an SD
card that's at least Class 6.
| | 07:06 | For stills, there is no minimum card speed that you
need, but a faster card really does have advantages.
| | 07:13 | When you shoot an image, the camera
immediately dumps that image into an internal buffer to
| | 07:17 | free up the camera for more shooting.
| | 07:20 | That buffer is then dumped to the
card as fast as the card will allow.
| | 07:24 | So if the buffer fills up completely, then
the camera will cease to shoot until some
| | 07:29 | more buffer space becomes available.
| | 07:30 | So a faster card means that the buffer can
clear out faster, and that translates into
| | 07:35 | faster shooting times.
| | 07:36 | If you tend to shoot subject matter such
as performances, or sports, where you need to
| | 07:41 | be able to shoot lots of images in quick
succession, then a faster card will really pay off.
| | 07:46 | If you don't tend to shoot lots of pictures
in quick succession, then a super speedy card
| | 07:50 | won't be so critical.
| | 07:52 | Faster cards are more expensive, so if you
do a little of both types of shooting, then
| | 07:56 | you might want to invest in a speedy card
for times when you need fast shooting, but
| | 08:00 | spend the rest of your money on less expensive,
slower cards, because you can get more of those.
| | 08:05 | One very important detail about the 5D
Mark III: it will always slow its CompactFlash
| | 08:11 | card down to the speed of its SD card.
| | 08:14 | So if you have a really fast CompactFlash
card, and a slow SD card, you're going to lose
| | 08:19 | the advantage of that fast CompactFlash card.
| | 08:22 | In that case, take out the SD card to get
the CompactFlash back up the full speed.
| | 08:27 | The Mark III has some cool options for controlling
what types of images get stored on each card,
| | 08:32 | and we'll explore those in more detail later.
| | 08:33 |
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| Powering up| 00:00 | It may seem strange to devote an entire
movie just to turning your camera on, but a lot
| | 00:05 | of things happen when you power up your
camera, and it's important to understand what they
| | 00:09 | are, and how you can alter them.
| | 00:11 | One of the most important things that
happens when you turn the camera on has to do with
| | 00:14 | the image sensor that sits inside the camera.
| | 00:17 | Because the lens of the camera is removable,
it's possible for dust to get inside the camera
| | 00:22 | body, and then get on the sensor, and if that
happens, you're going to see smudges, and spots,
| | 00:26 | and things on your image.
| | 00:27 | There is a clear filter that
sits in front of the image sensor,
| | 00:31 | so dust never actually gets on the
sensor itself; it gets on that filter.
| | 00:35 | When you turn the camera on, it shakes the
filter at a really high speed to shake off any dust,
| | 00:41 | and there's a little sticky substance or something
beneath the filter that traps any dust bits that fall off.
| | 00:47 | The power switch on your Mark III is
located right here underneath the Mode dial.
| | 00:50 | You're going to want to watch this closely;
I'm going to move it to the ON position.
| | 00:56 | Now watch what's happening back here. On my
rear screen, I get this Sensor cleaning screen;
| | 01:01 | that indicates that the sensor is being shaken.
| | 01:04 | And as I mentioned before, there's a
little sticky substance down here at the bottom,
| | 01:08 | so any dust that falls off will hopefully
stick to that, and not float around inside
| | 01:12 | the mirror chamber.
| | 01:13 | I'm going to turn the camera off, and
again, I get the Sensor cleaning message.
| | 01:16 | So the camera cleans its sensor
every time you turn the camera on or off.
| | 01:20 | Now, if you're worried that that sensor
cleaning could interrupt your shooting, don't, because
| | 01:24 | it's something you can stop with
just a half-press of the shutter button.
| | 01:29 | So in the middle of the cleaning cycle, I
did the half-press, and it immediately stopped
| | 01:32 | the cleaning, and the
camera was ready for shooting.
| | 01:35 | So the camera is always in
a shooting priority mode.
| | 01:37 | Later you'll see that you can
change these cleaning parameters.
| | 01:40 | You can set it to clean either when you turn the camera on
or off, or you can disable cleaning altogether.
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| Exploring the menu system| 00:00 | One of the things that I really like about
the 5D Mark III is almost all of the everyday
| | 00:04 | features that you need are readily available
from controls on the outside of the camera.
| | 00:09 | The rest are things that you get to
through the camera's menuing system.
| | 00:13 | We're going to talk about how to
navigate that right now, because we're going to be
| | 00:16 | spending a lot of time dealing with the
camera's menus through the rest of this course.
| | 00:20 | So to activate the menu system, I just press
the Menu button right up here, and that drops
| | 00:24 | me into the last menu that I looked at, with the
last item that I manipulated already selected.
| | 00:31 | So this is great. If there's something that
you're regularly doing, like changing image quality,
| | 00:35 | that will just always be selected
until you change to something else.
| | 00:38 | Right now I am in Auto mode, and so I'm only
seeing these three different categories of menus.
| | 00:44 | Note that more advanced modes offer more
menus; all of these different categories here.
| | 00:50 | So for right now, since we're just going to be
shooting in Auto mode for a little bit, I'm
| | 00:53 | going to leave it on there, and go
back into my menuing system here.
| | 00:57 | So I have got three different categories of
menus; I have Shooting, I have Playback, and
| | 01:00 | then I have this Utility menu here.
| | 01:03 | And within each category, I have a couple
of different menus, each one represented by
| | 01:07 | one of these little dots.
| | 01:08 | Each dot is a single page full of menus.
| | 01:11 | One of the nice things about the 5D
menuing system is you don't have to scroll.
| | 01:15 | There are no other menu items hidden down
here off the bottom of the menu, so you can
| | 01:19 | very quickly see the full contents
of any page full of menus at one time.
| | 01:23 | Now, within a menu, I can move up and
down by turning the quick control dial here.
| | 01:28 | That's pretty straightforward.
| | 01:29 | When I get to something that I want to change,
I press the Set button, and it will pop
| | 01:33 | open a menu; a submenu that I
can then scroll up and down.
| | 01:37 | And to select a parameter, I
press the Set button again,
| | 01:41 | and now you can see I've changed my Image
review time from 2 seconds to 4 seconds.
| | 01:46 | Let's turn that back; I'm going
to pop this back here to 2 seconds.
| | 01:50 | Something to know -- notice I haven't selected
yet; 4 seconds is still blue -- something to
| | 01:53 | know about the 5D; this trips me up sometimes:
| | 01:56 | To make the selection, you
have to set the Set button.
| | 01:59 | Sometimes I will put this where I want it,
and then just half-press my shutter button
| | 02:04 | to make the menus go away,
| | 02:06 | but that's actually a cancel function.
| | 02:08 | If we go back into the menus, you
can see this is still set at 4 seconds.
| | 02:12 | To make a selection stick, you
have to press the Set button.
| | 02:17 | Now it's on 2 seconds.
| | 02:18 | To get out of the menu, I can either press
the Menu button to get rid of it, or as you
| | 02:22 | just saw, once everything is selected, I can
simply half press my shutter button, and it goes away.
| | 02:28 | What's nice about this is, when I'm in the
menu system, if something comes in front of
| | 02:32 | me that I absolutely need to take a picture
of right now, just a quick half-press takes
| | 02:36 | me away, and I'm ready to shoot.
| | 02:38 | It's very speedy, so
shooting is always the priority.
| | 02:40 | This is a really easy to use system;
just don't forget about the Q button.
| | 02:45 | That's going to save you a lot of frustration as you
find yourself facing lots of different pages of menus.
| | 02:49 | It makes for very quick
and easy way to move around.
| | 02:51 |
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| Clearing all settings| 00:00 | There are a lot of settings on your camera,
and if you've been shooting with it, or just
| | 00:04 | fiddling around with it, there's no
telling how it might be configured right now.
| | 00:08 | To make sure that your camera matches mine,
we're going to now reset it to the factory defaults.
| | 00:13 | This feature can be a handy thing
to do if you ever sell your camera.
| | 00:16 | I suppose you could also do it if you just
get the camera so messed up that you can't
| | 00:20 | figure out why it's doing a particular thing,
but at that point, I would encourage you to
| | 00:24 | really try to figure out why it's doing what
its doing, so that you can understand it better.
| | 00:28 | Think of reset as kind of a nuclear option.
| | 00:31 | Note that when we do this reset, we're
not going to end up resetting the clock.
| | 00:36 | The menu item that we want to access is
not available in Scene Intelligent Auto mode.
| | 00:42 | So we need to be in Program mode.
| | 00:43 | So I'm going to change the mode now.
| | 00:45 | To make a change to the mode dial, you just
press down on this button in the middle of
| | 00:49 | the dial, and then turn it.
| | 00:50 | So now I'm over here on the P; it's lined
up with that little white mark right there.
| | 00:54 | In Program mode, I will get a much
larger array of menus to choose from here.
| | 01:01 | So what we're looking for is
over here in the Tools menu.
| | 01:05 | So I'm going to press the Q button a couple
of times until I get over to here, and now
| | 01:09 | you can see I'm on the first page.
| | 01:11 | I'm looking for something called Clear
all camera settings, which is right here.
| | 01:17 | It's in the very last page of these menus.
| | 01:20 | So I'm going to hit the Set button, which takes
me to this page that asks me to confirm, Clear
| | 01:25 | all camera settings.
| | 01:26 | So I can turn my dial here to move over to OK.
| | 01:29 | Hit the Set button, it takes it a moment, and
it wipes everything back to the defaults.
| | 01:34 | If you'd like to know what those default
settings are, you can look on Page 56 of your manual.
| | 01:39 | They're all listed in there.
| | 01:40 | One thing you might notice here is the screen
is a little bit dimmer now than it was before,
| | 01:44 | because we had brightened up the screen to
make it more visible on camera, and it has
| | 01:48 | reset that back to where it was before.
| | 01:50 | Later, we'll be showing you how
to change the screen brightness.
| | 01:54 | With your camera settings cleared, you should
now be facing the exact same set of parameters
| | 02:00 | and configurations that I am, and hopefully that will
make it a little bit easier for you to follow along.
| | 02:04 |
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| Setting the date and time| 00:00 | Your camera has a clock and calendar in it.
| | 00:03 | Every time you take a picture, the date and
time are stored in the resulting image file.
| | 00:08 | This can be really handy when you're editing,
not just to find out when you took a picture,
| | 00:12 | but for sorting your images, or searching for
image shot on a particular day, but also for
| | 00:16 | geo-tagging your images.
| | 00:18 | With the right hardware and software, you
can add longitude and latitude data to your
| | 00:23 | images in postproduction, but for all of that to
work, you have to have the camera's clock set properly.
| | 00:29 | To change the date and time, just drop into
the cameras menuing system by hitting the
| | 00:33 | Menu button. Press the Q button to work
your way over to the setup category; that's
| | 00:37 | the little wrench. And then use the joystick here
to go to the second page; you'll see Date/Time/Zone.
| | 00:42 | I'm going to turn the wheel to get down there,
hit the Set button, and here you can see that
| | 00:47 | I've properly set my date and time already.
| | 00:50 | The way this works is I just use the wheel
to change from one field to another, and if
| | 00:54 | I want to edit a field, I hit the Set
button, and I can turn it up and down.
| | 00:59 | I can also go down here,
and set Daylight savings time.
| | 01:03 | So as the time changes, I can just hit the
Set button, and turn that on or off, and I
| | 01:08 | can set my Time zone.
| | 01:10 | What's nice about these two things is they mean
that I don't have to go in and manually ever
| | 01:14 | reset my time, unless it gets wildly off.
| | 01:17 | So let's say I fly from Pacific Time to
New York. I could hit the Set button, and then
| | 01:23 | just dial through. There's
Denver; that's in Mountain Time.
| | 01:26 | Chicago is Central Time. New York is East Coast time;
hit Set, and now my clock has automatically been adjusted.
| | 01:33 | When I come back home, I just scroll back to
Pacific Time, which is represented Los Angeles,
| | 01:37 | and my clock is set back to where it
needs to be, and hit the OK button to accept any
| | 01:42 | of those changes that I make.
| | 01:43 | So that's a really speedy way of adjusting
the time as you travel, without having to
| | 01:47 | actually adjust the time, and risk maybe
messing it up, and then not knowing what time it is,
| | 01:51 | and having to start all over from scratch.
| | 01:53 |
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| Setting the language| 00:00 | If you're not an English speaker, you can switch
the interface of your camera to a different language.
| | 00:06 | Obviously, this can make it
easier to navigate your camera's menus.
| | 00:09 | But it's also a great way to
bone up on a foreign language.
| | 00:11 | For example, you can set your camera to Dutch,
and then next time you are in Holland, you'll
| | 00:15 | be able to walk into your hotel, and say
peripheral illumination correction in perfect Dutch.
| | 00:20 | Anyway, when you first turned on your camera, it
should have asked you for your language preference,
| | 00:25 | so you'll probably never need to do
this again, but if you do, here's how.
| | 00:30 | To change the language, we go
into the cameras menuing system.
| | 00:33 | You'll be able to do this from any mode that
you're in, so even though we're in full Auto
| | 00:37 | mode, I still have access
to the language command.
| | 00:39 | I'm going to hit the Q button to
jump over here to the playback category.
| | 00:43 | I'm going to press it again, to
go over here to the tools category.
| | 00:46 | I'm going to use the little joystick here
to come over to where I see language, and then
| | 00:50 | I just scroll down, hit the Set button,
and I get this big list of languages.
| | 00:55 | So I can set this to any of the myriad
languages that I don't actually speak here.
| | 01:01 | But just so you can see how this works, let's
switch this to Portuguese, and now, sure enough, all
| | 01:07 | my menus are in Portuguese.
| | 01:09 | And so they are now
completely incomprehensible to me.
| | 01:12 | Fortunately, if you accidentally change the
menu item to something that you can't read,
| | 01:18 | there's always going to be this little icon down
here that indicates that that's the language menu item.
| | 01:23 | So once you are in here, you can switch
back to whatever your native tongue is.
| | 01:28 | So again, you probably set this when you first
configured the camera; you may not ever need to reset it.
| | 01:33 | If it gets accidentally changed, just remember
to look for the little guy with a speech balloon,
| | 01:38 | and that's how you can get back, and
switch it back to a language you understand.
| | 01:40 |
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| Formatting the media card| 00:00 | Most media cards come from the factory
already formatted, but it's a really good idea to
| | 00:05 | format a new card with your specific camera.
| | 00:08 | You'll use your camera's Format command
any time that you want to erase the card.
| | 00:12 | So, after you've pulled your images into
your computer, you'll need to put the card back
| | 00:16 | into your camera, and format it.
| | 00:17 | It's very important that you choose Format
to do this, rather than using the camera's
| | 00:23 | Erase All function.
| | 00:24 | Repeated use of Erase All can leave your
card unreliable, and result in you being unable
| | 00:29 | to get the images off your card.
| | 00:30 | Now, you can usually use special file
recovery software to get to unreadable images, but
| | 00:35 | it's a lot better to just avoid
the problem in the first place.
| | 00:37 | If a card does get messed up, then
formatting it should put it back to normal.
| | 00:42 | Since Format is a command that you're going to use
very regularly, it's good learn exactly where it is.
| | 00:47 | Format is located over here in the setup
category, so I am going to use the Q button to get over
| | 00:51 | there, and it's right here on the first page, there
at the bottom: Format card. Scroll down. Hit Set.
| | 00:58 | Now, the 5D Mark III can hold two different
cards; it's got a CompactFlash, and an SD slot.
| | 01:03 | I have cards in both slots right now,
so I can select either one of these.
| | 01:08 | If I only had a card in one slot or the other,
the missing slot would be grayed out, and
| | 01:14 | so I wouldn't have a choice here.
| | 01:15 | So, I am going to start with the CompactFlash card; I
am just going to select that, and hit the Set button.
| | 01:20 | It tells me how big the card is, how much
is used right now, and asks me to confirm,
| | 01:24 | so I am going to say OK.
| | 01:25 | And this goes pretty quickly, because when
it's formatting, all it's doing is wiping out
| | 01:29 | the directory information on the card;
it's not actually wiping out any of the data.
| | 01:33 | That means that if you were to give the card to
someone else, or sell the card, or something
| | 01:37 | like that, it is possible for them to recover
images from that card, so you want to be careful
| | 01:43 | about that when you're giving a card away.
| | 01:45 | The good news is, that means if you accidentally
erase a card, it is possible for you to recover
| | 01:51 | lost images also, sometimes.
| | 01:53 | That's not a guarantee, so you
want to be careful with this command.
| | 01:56 | Note that when I go over to the SD card, I
get an additional option, Low level format,
| | 02:01 | which I can activate by hitting the little trashcan
button here, and that puts a checkmark right there.
| | 02:06 | That actually does go through and wipe out
every sector on the card, so it's a really
| | 02:11 | thorough formatting.
| | 02:12 | It takes longer, so you don't want
to leave that on unless you have to.
| | 02:16 | This card is empty, so I'm not going
to bother reformatting it right now.
| | 02:19 | You want to reformat any time you need to
erase all the images on the card; it's a much
| | 02:23 | more reliable way of erasing images.
| | 02:26 | You also want to do it if you've got a new card.
| | 02:28 | It's best to use a card that's been
formatted by the camera you're shooting with, so any
| | 02:32 | time you get a new card, stick it in
the camera, and format it right away.
| | 02:36 | You might also sometimes get an error on your
card, and that'll show up on the upper LCD display.
| | 02:41 | If that happens, the first thing you
should do is try formatting the card.
| | 02:44 | It may be that you simply have a bad card; it
could be that the formatting has simply gone wrong.
| | 02:48 | So very often, formatting will fix a
card that you might be having trouble with.
| | 02:53 | Formatting is an option
you're going to use a lot.
| | 02:56 | Later in the course, we're going to show you
how to put it into a special custom menu,s so
| | 03:00 | that you can have quick and easy access to it.
| | 03:02 |
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| Holding the camera| 00:00 | I suppose there is no wrong way to hold a
camera, but there are definitely better ways.
| | 00:04 | Proper camera handling will allow you to
shoot more stable footage, it will keep you from
| | 00:08 | getting tired, and sore, and it will help ensure
that you don't drop your expensive camera here.
| | 00:13 | The 5D is very comfortable to hold. It's got
this wonderful molded hand grip. There's a
| | 00:18 | nice ridge right here under the shutter
button that you can hook your middle finger under,
| | 00:21 | and with that wedged in there, I've
got a really good grip on the camera.
| | 00:25 | There is this nice non-skid material around it.
As heavy as this camera is, particularly with
| | 00:29 | a big lens on it, if I'm holding it like that, I
really am never that worried about dropping it.
| | 00:35 | I've got another grip back here, another
molding back here, that my thumb fits along.
| | 00:39 | This is a really nicely designed hand grip here.
| | 00:43 | So good camera holding starts with good posture.
| | 00:46 | I'm standing up straight, my feet are about
shoulder width apart, and I am going to start
| | 00:50 | here with my left hand. With my elbow at my
side, I just drop the camera here into my hand.
| | 00:56 | So I've got two fingers around the lens, I've
bunched up my other fingers here, so the camera
| | 01:01 | is just resting on them.
| | 01:03 | The reason I'm specifying such a very
particular way of holding is I'm going for stability.
| | 01:08 | With my elbow up against my side, and the camera
just resting here, I'm a really stable platform
| | 01:13 | for holding the camera.
| | 01:14 | Now my right hand can be over here holding
the camera, and manipulating all of its controls.
| | 01:19 | One thing I really like about the Mark
III's layout is I can do most of what I need to
| | 01:23 | do in so far as changing
settings just with my right hand.
| | 01:27 | So with my hand here where it's supposed to be,
I am not only stabilizing the camera, I am
| | 01:31 | getting access to all of the stuff that I need.
| | 01:33 | So notice that not only is this elbow up against my
body; this elbow over here is also up against my body.
| | 01:40 | I'm holding everything really tightly together.
| | 01:43 | It makes the camera feel very sturdy, and I
feel like I am getting little hug; it's a
| | 01:47 | really nice warm feeling while I am shooting.
| | 01:50 | So the next bit is, remember that your
hands actually can go all the way to your face.
| | 01:55 | Not a lot of people realize this. They bring
the camera up to here, and then they jut their
| | 02:00 | neck forward to look through the camera.
| | 02:02 | This does a couple things; it makes you much
less stable, and it also really makes your neck hurt.
| | 02:07 | If you are already carrying a heavy bag on
your shoulder all day along, you don't want
| | 02:10 | to be walking around like a Neanderthal also.
| | 02:12 | So remember, I have got my elbows at my side,
and I can move my camera all the way to here.
| | 02:17 | Now I'm really, really stable, and I can be
shooting away, with a camera that I am not
| | 02:22 | going to going drop, that's going to be stable
enough that I can shoot at pretty slow shutter
| | 02:27 | speeds, especially since this lens is stabilized.
| | 02:30 | So let's say I want to switch to a different
orientation; I now want to shoot a vertical shot.
| | 02:33 | Well, the temptation is to go like this, and
you look real cool when you are doing this;
| | 02:37 | you really look like you are, like,
that war photographer kind of look.
| | 02:40 | The problem is, my right elbow, I am not sure if you
have noticed what happened to it; it's way up here.
| | 02:45 | I have lost all that great stability I had.
| | 02:48 | So instead, keep your elbows at your
side, and just rotate the camera this way.
| | 02:52 | Now I've still got all of that great
stability I had before, I still get the feeling of
| | 02:56 | being hugged all the time, and I
have got a really stable platform.
| | 03:00 | Something has to happen to my right hand when
I do that though. I'm actually, if you notice,
| | 03:04 | rotating my hand up here, and picking the
camera up, and turning it like this, and now
| | 03:08 | my hand goes over here.
| | 03:09 | I'm not really doing much camera holding
with my right hand; it's all happening with my
| | 03:13 | left hand, but still, I am getting a really,
really stable camera platform here no matter
| | 03:18 | what orientation I'm in.
| | 03:20 | And I stay like this even on uneven ground.
If you are having to perch against a boulder
| | 03:24 | or something, you still work to keep your
neck upright, keep the camera all the way
| | 03:28 | up here, and keep your elbows at the side.
| | 03:30 | So, actually I was wrong; it turns out there
is a wrong way to hold the camera. It's any
| | 03:35 | way other than the way that I just showed you.
| | 03:37 | There are going to be times, obviously, when
you have to give up on some of that, just
| | 03:39 | to get into the position that you need, you
can't keep your elbows at your side, but if
| | 03:43 | you have control over your situation, if you
can get yourself into a position, it's a really
| | 03:47 | stable way to shoot.
| | 03:50 | Stability is going to be the biggest thing
that -- after autofocus, and knowing how to use
| | 03:54 | your autofocus system -- stability is going
to be the thing that really guarantees that
| | 03:58 | you're coming home with sharp images.
| | 04:01 | So give a little care, and a little thought
to how you're holding your camera, because
| | 04:04 | it can go a long way to helping ensure
that you get home with tack sharp images.
| | 04:09 |
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|
|
2. Shooting in Auto ModeSetting Scene Intelligent Auto mode| 00:00 | On the top of your camera on the left is a
dial which lets you choose a shooting mode.
| | 00:05 | The shooting mode that you choose determines
what decisions the camera will make, and what
| | 00:09 | decisions will be left up to you.
| | 00:11 | Now, sometimes having the camera make lots
of decisions is a better way to go, because
| | 00:15 | it allows you to work more quickly, while
at other times, you'll want control over more
| | 00:20 | decisions, to ensure that you get
the type of shot that you want.
| | 00:24 | Changing modes on the Mark III is very simple.
| | 00:27 | The mode dial here has a locking button in the
middle; I can't turn it unless I press that button.
| | 00:32 | So I am going to press that down, and make
sure that my mode dial is on the green box
| | 00:37 | with the A in the middle of it.
| | 00:40 | For the rest of this chapter, we are going to
be working and Scene Intelligent Auto mode,
| | 00:44 | so set the mode dial to the
green box with the little A in it.
| | 00:48 | From here on, I am just
going to call this Auto mode.
| | 00:50 | In Auto mode, the camera will choose all
exposure settings, shutter speed, aperture, ISO, as well
| | 00:55 | as choosing a white balance.
| | 00:57 | In Auto mode, you will not have access to
program shift, exposure compensation, or many of the
| | 01:02 | other controls that we'll talk about later,
but you will be able to select the file format
| | 01:06 | that you want to shoot in.
| | 01:07 | Auto mode basically gives you a
snapshot camera, albeit a very good one.
| | 01:12 | While you may think that Auto mode is inherently
a compromise, the fact is that the Auto features
| | 01:15 | on your camera are very good, and will
probably make the right choice 80 to 90% of the time.
| | 01:21 | When and how to use it will become apparent
as you learn more about exposure, and about
| | 01:25 | the camera's other shooting modes.
| | 01:26 |
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| Exploring the viewfinder display| 00:00 | As we've discussed, one of the great advantages
of an SLR is that you actually look through
| | 00:04 | the same lens that exposes the sensor.
| | 00:06 | This gives you a very accurate viewfinder, and that
allows you to have a very bright, clear viewfinder.
| | 00:12 | Now, the viewfinder eyepiece is surrounded
by a cover, and it happens to be removable,
| | 00:17 | which allows you easier access for cleaning, and
lets you swap in other covers and accessories.
| | 00:22 | To remove it, you just pinch the sides and
lift straight up, and it just slides off there,
| | 00:27 | and you can see it's slotted around here, so now
you could put on a different type of eyepiece cover.
| | 00:33 | You might put on, like, a right angle viewfinder,
so if you do a lot of macro work, that can be handy.
| | 00:38 | The back of your manual will show a lot of
different accessories that can go here.
| | 00:42 | But as I said, it also makes it
easier to clean this out if it gets dirty.
| | 00:46 | To put it back on, I just slot this in, it only
goes the right way, and push down until it clicks.
| | 00:52 | If it's seated properly, then it won't
lift up without being squeezed on the sides.
| | 00:57 | On the top of the viewfinder is a
diopter control; that's this little wheel here.
| | 01:02 | If you wear glasses, you might be able to adjust
the diopter to compensate for your prescription,
| | 01:06 | which would let you shoot
without your glasses on.
| | 01:08 | Now, I say might, because if your eyes are bad
enough, then you won't be able to adjust it
| | 01:12 | far enough to correct the
viewfinder back to full sharpness.
| | 01:16 | Note that it is possible to bump the
diopter control; it just rotates one direction or
| | 01:21 | another, and you just dial it in until you
can see okay. If you bump it, though, it's going
| | 01:26 | to make your viewfinder blurry.
| | 01:28 | So if you ever think, boy, my camera really
doesn't seem to be focusing very well, check
| | 01:31 | the diopter, and make sure
that it's set to no correction.
| | 01:34 | You can tell when it's properly set,
because there's this little flat mark on it, which
| | 01:38 | lines up with this white line right here.
| | 01:42 | When you look through the viewfinder, you'll see
focusing indicators superimposed over your image.
| | 01:46 | These indicators light up when you
autofocus to indicate where the autofocus mechanism
| | 01:51 | has chosen to focus.
| | 01:52 | The circle in the middle of the
viewfinder shows you the size of the spot meter.
| | 01:57 | Below the Viewfinder are
lots of status readouts.
| | 02:00 | These let you know certain things about the
cameras state, such as battery strength, but
| | 02:04 | more importantly, they let you keep
track of your current exposures settings.
| | 02:07 | Now, I'm going to walk you through these,
but don't worry about remembering all of them
| | 02:12 | yet, because we'll be revisiting them
as we look at each relevant feature.
| | 02:15 | So from left to right,
you'll find the battery meter,
| | 02:20 | the AE lock light, which lets you know when you've
locked exposure using the exposure lock button.
| | 02:26 | The flash ready light, which indicates
when the flash is charged, and ready to fire.
| | 02:30 | The high-speed flash sync light, which shows
when you're set for high-speed syncing with
| | 02:35 | your flash. The FE lock button, which
shows that you've locked flash exposure.
| | 02:42 | Flash exposure compensation will light up
any time you've dialed in any amount of flash
| | 02:46 | exposure compensation.
| | 02:48 | Obviously, these last few settings are only
relevant if you have attached a flash to the
| | 02:52 | camera; there's no flash
built-in to the Mark III.
| | 02:55 | Next comes the shutter speed readout.
| | 02:57 | Now, normally this will only show a single number,
which represents the denominator of the shutter speed.
| | 03:02 | So if you're shooting at 1/125 of a second,
you'll see 125 here.
| | 03:07 | A 4 will indicate one fourth of a second.
| | 03:09 | Once you drop below a quarter of a second, the
display will change to a seconds and fractions
| | 03:14 | of a second display.
| | 03:15 | So if you see this, then you're
shooting at one and a third seconds.
| | 03:18 | If you see this, you're
shooting a 15 second exposure.
| | 03:23 | To the right of the shutter speed readout is the
aperture display; this is simply the current f number.
| | 03:28 | The exposure level
indicator serves a few functions.
| | 03:31 | In most modes, it's going to show you the amount
of exposure compensation that you've dialed in.
| | 03:36 | Each of the numbers represents one stop, and by
default, the lines between are each a third of a stop.
| | 03:42 | Positive exposure compensation is to
the right; negative is to the left.
| | 03:46 | Note that you can actually dial in more
than three stops of exposure compensation.
| | 03:50 | When you do, the compensation indicator will
scroll off the scale, and a little arrow will
| | 03:55 | appear to indicate that your
compensation has gone beyond three stops.
| | 03:59 | As you change exposure compensation, the
shutter speed and aperture displays will update to
| | 04:03 | indicate the new exposure values that
your exposure compensation has defined.
| | 04:08 | When you're shooting in Manual mode, the
exposure level readout works more like a light meter.
| | 04:12 | When the indicator is at 0, then the camera
is indicating that you have good exposure.
| | 04:16 | If the indicator goes above or below, then
the camera is indicating that it thinks you
| | 04:21 | have over or under exposure.
| | 04:23 | You are still free to use any setting
you want, of course; this is Manual mode.
| | 04:27 | The readout is just there to let you
know how your current settings are metering.
| | 04:31 | Next comes your ISO indicator, which simply
gives you a readout of your current ISO settings.
| | 04:36 | If you're coming to the digital world directly
from film, you may wonder why you'd care to
| | 04:39 | have a constant display of ISO, but remember,
with a digital camera, you can change ISO on
| | 04:44 | every shot, making it a third exposure
parameter that you have control over.
| | 04:49 | Directly beneath the ISO label is an
indicator that shows that you've activated highlight
| | 04:53 | tone priority, which you'll learn about later.
| | 04:56 | The max burst indicator shows a number
indicating how many pictures the buffer can hold.
| | 05:02 | As you shoot quickly, that number will go
down, indicating that the buffer is filling up.
| | 05:06 | If it gets to 0, the camera will stop
shooting until it's had time to empty images out of
| | 05:11 | the buffer, at which point,
the number will slowly go up.
| | 05:15 | The buffer can hold more JPEGs than RAW files,
so the maximum number there will vary depending
| | 05:20 | on which format you're using.
| | 05:22 | Finally, on the very right side is the autofocus
status indicator, and the focus confirmation light.
| | 05:28 | When you half press the shutter button to
focus, this circle will light up when the
| | 05:32 | camera successfully meters, and locks focus.
At that point, you can press the button the
| | 05:37 | rest of the way to take your shot.
| | 05:38 | Again, don't worry about remembering all of
this stuff right now. Exposure settings are
| | 05:43 | the critical readouts
that you need to understand.
| | 05:45 | The other status options will become
obvious as you activate these specific features.
| | 05:49 |
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| Touring the LCD screen and the status display| 00:00 | Your Mark III, of course, has this big nice
3 inch LCD screen on the back, which you'll
| | 00:05 | use for reviewing your images, for driving
the menu system, and as a viewfinder when
| | 00:10 | you're shooting video, or
choosing to shoot stills with live view.
| | 00:14 | You've also got this
status LCD display on the top.
| | 00:17 | Now, with the power turned on, it's going to
be blank, unless you half press the shutter
| | 00:21 | button, and that's when it wakes up, and gives
you, really, all the critical status information
| | 00:26 | that you need while you're shooting.
| | 00:28 | Right over here, I've got
my white balance display.
| | 00:30 | I'm currently set to auto white balance.
| | 00:32 | Down here, I've got exposure compensation;
that's what this little dial is, and right
| | 00:36 | now, I can see that I've got no
exposure compensation dialed in.
| | 00:39 | My current ISO setting. I can see that
my auto lighting optimizer is turned on.
| | 00:44 | The Mark III has two different card slots;
I can tell that I've got a card in slot 1,
| | 00:50 | and it's currently selected for recording.
| | 00:52 | I'm using large JPEG format.
| | 00:55 | My autofocus mode is set to one shot. I'm
set on single shot mode, rather than bursts.
| | 01:01 | This is my metering mode, this is my
battery meter, and up here is the really critical
| | 01:06 | exposure metering stuff. I'm currently set to
f/5.6, because I'm in an aperture priority mode.
| | 01:13 | If I half-press the shutter button to meter, I can
see that the camera has selected a 50th of a second.
| | 01:18 | If you're not clear on what all that means, we'll
be going over some of that later in this course.
| | 01:22 | Now, you saw that that 50 just disappeared.
That's because after a while, after you've
| | 01:26 | metered, the camera times out, and goes
back to it's default neutral position.
| | 01:31 | Similarly, this screen will eventually
time out, and shut back down to blank just to conserve
| | 01:38 | battery power, but of course, you can always
get it back up at any time with a half-press
| | 01:41 | of the shutter button.
| | 01:43 | If you're working in the dark, there's a built-in
light, which you turn on by pressing this button
| | 01:46 | right here. You are not really going to see
anything under all these lights that we've got
| | 01:50 | the camera under, but this really
makes this very, very visible in low light.
| | 01:54 | Now, what you are seeing right now, is also, most
of it, mirrored inside the viewfinder in the camera.
| | 02:00 | So you don't have to constantly be looking
up here; you'll see your shutter speed, and
| | 02:04 | aperture, and exposure compensation, and ISO, and
many other things in here. We will be looking
| | 02:08 | at the viewfinder display later.
| | 02:10 | Also, this screen can display many more
things than what we're seeing here. You can find
| | 02:16 | a full workup of all of the things that
it can show on page 21 of your manual.
| | 02:20 |
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| Exploring the top-mounted control buttons| 00:00 | Just above the LCD status
display are these three buttons.
| | 00:04 | These buttons, in addition to the two dials,
are the controls that you are going to use
| | 00:09 | the most on your camera,
second to the shutter release button.
| | 00:12 | Notice that each button has two labels
underneath it; each button doubles up to give you
| | 00:17 | control over two different things. This
button gives you metering mode, and white balance.
| | 00:23 | This button gives you autofocus, and drive
mode, and this button gives you ISO, and flash
| | 00:28 | exposure compensation.
| | 00:29 | Now, the way Canon has doubled up the functionality
on these three buttons is that the first item
| | 00:34 | shown is controlled by the main dial, and the
second item is controlled by the command wheel
| | 00:40 | on the back of the camera.
| | 00:41 | So, for example, if I want to change the
metering mode, I would press this button, and then turn
| | 00:49 | the main dial, and now you see my
metering mode changing over here.
| | 00:54 | But this button also lets
me control white balance,
| | 00:56 | so by turning the rear wheel,
I've got control of white balance.
| | 00:59 | Similarly, if I press this button, the main
dial gives me autofocus control, while the
| | 01:05 | command dial gives me drive control.
| | 01:08 | And with this button, the main dial gives me
ISO, while the command dial gives me flash
| | 01:13 | exposure compensation.
| | 01:15 | After changing any of these, I don't
need to do anything to confirm the setting.
| | 01:18 | I can simply half-press the shutter button,
and my display goes back, with my parameters set.
| | 01:23 | So if you ever get confused about how you
get to a particular thing you're seeing labeled
| | 01:28 | on any of these buttons, remember, the first
thing you see, the thing on the left side of
| | 01:32 | the little bullet there, is
the main dial; the dial on top.
| | 01:35 | The second thing you see, the thing to the
right of the little bullet on the label, is
| | 01:38 | the command dial, and
that's the dial on the back.
| | 01:40 |
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| Autofocus basics| 00:00 | Your camera has an autofocus feature, and
for most of your shots, it will provide faster,
| | 00:06 | more accurate focus than you'll
ever achieve using manual focus.
| | 00:10 | However, autofocus is not completely foolproof.
You still have to use it properly to get good
| | 00:14 | results, and you can learn everything you
need to know about how to get good results with
| | 00:19 | autofocus in my Foundations of
Photography: Exposure course.
| | 00:24 | For right now, there are some very simple
things that you need to know about autofocus.
| | 00:27 | First of all, your lens can be
switched between Auto focus, and Manual focus.
| | 00:32 | There's a switch right here on the side that
says AF, and MF. You want to be sure that it's
| | 00:36 | set on AF for autofocus to work.
| | 00:39 | We are in Scene Intelligent Auto mode, which
limits our autofocus choices, and that's fine
| | 00:44 | for right now, because there are some basic things
that you really need to spend some time learning.
| | 00:49 | Using autofocus is very simple.
| | 00:50 | You frame your shot, and then you
half-press your shutter button.
| | 00:54 | Now, there is a halfway spot as you press
the Shutter button down, and when you get there,
| | 00:59 | the camera will go through its autofocus process. It
autofocuses, and then once it's achieved focus, it beeps.
| | 01:06 | You'll also see, in the viewfinder, a little
circle light up that shows that autofocus
| | 01:11 | is locked, and you'll see a bunch
of squares appear on your image.
| | 01:13 | Don't worry about those squares right now.
| | 01:15 | The point I want to make is, now I've got
focus. I have half-pressed my shutter button, and
| | 01:20 | my image is in focus.
| | 01:22 | Now I press it the rest of the
way, and the camera takes my shot.
| | 01:26 | It is critical that you go through this pre-focusing
step; this process of half-pressing the shutter button.
| | 01:32 | A lot of times I have students come up to
me, and say, well, you know, my camera is
| | 01:36 | no good, because when I press the shutter
button down, it doesn't take the picture right
| | 01:39 | away, and I miss my shots.
| | 01:41 | Well, that's because if you just mash
the button down all the way, the camera has to
| | 01:46 | autofocus, it has to meter, it has to
calculate white balance, it has do some other things,
| | 01:50 | and those things take time.
| | 01:52 | So it goes through all those calculations,
and then when it's ready, it takes the shot.
| | 01:56 | So you might miss the
moment while it's doing all that.
| | 02:00 | If you half-press, then it gets the chance
to do all those things, and tell you that it's
| | 02:05 | ready. Then when you press
it, you get an instant result.
| | 02:08 | This is absolutely how you have to use
autofocus, and this is true on any autofocus camera,
| | 02:13 | not just the Mark III.
| | 02:15 | This must become second nature to you. There's
no way to cheat this, or think, well yea,
| | 02:20 | yea, I can work differently.
| | 02:21 | No, you can't. This has to just become a
habit that any time you're framing a shot, you
| | 02:26 | half-press the button to get the camera ready.
Otherwise your camera is going to go slow,
| | 02:30 | and you're going to miss shots.
| | 02:32 | Now let's go back to those dots
that appeared in the viewfinder.
| | 02:35 | When you focus, what you're actually doing
is calculating a distance to your subject,
| | 02:40 | and setting your lens to focus at that distance.
| | 02:44 | When I half-press the shutter button, inside
the viewfinder, I get that focus confirmation
| | 02:48 | light, and I get those dots all
over my image; those squares.
| | 02:51 | Those squares are showing everything in the
image that will be in focus, and if you pay
| | 02:57 | attention to them, all the dots
are probably in the same plane.
| | 03:00 | So in this case, I am going
to see dots on the camera.
| | 03:03 | If there were other things in other parts
of the image that were at the same distance
| | 03:06 | those would have focus
point squares on them also.
| | 03:09 | The important thing for you to do at this point is
make sure that squares are lit up over your subject.
| | 03:15 | If they're actually on the subject's elbow,
or on something behind the subject, then you
| | 03:20 | have a problem. Your camera has not picked
the right thing. It's not focused properly.
| | 03:24 | So the autofocus habits that you need to
develop are making sure you always half-press the
| | 03:29 | button to pre-focus, and then if you're in a
mode where you're seeing lots of focus points,
| | 03:34 | you need to make sure that some of those
little focus point squares are in the right place.
| | 03:39 | Your 5D Mark III has several different focus
modes. When you're in Auto mode, when you're
| | 03:43 | an Intelligent Auto mode on the
camera, the focus mode is set to AI focus.
| | 03:48 | Now, we'll be looking at all these
different focus modes in more detail later.
| | 03:52 | AI Focus is a good general purpose focus mode.
| | 03:55 | In this mode, the camera tries to determine
if your subject is moving, and if it is, then
| | 04:00 | it will track it, and keep it in focus.
| | 04:03 | Now, in this case, I have a non-moving subject,
so it doesn't have to do that; it just lights
| | 04:07 | up the appropriate focus squares.
| | 04:10 | If you half-press the shutter button, and
you don't see the autofocus light, but you
| | 04:16 | hear a persistent soft beeping, that means
that the camera has decided your subject is
| | 04:20 | moving, and it's tracking it.
| | 04:23 | You can actually go ahead and mash that
button down the rest of the way to take the shot,
| | 04:26 | and you're just never going to get an actual
lock, and an actual focus confirmation light,
| | 04:31 | but your subject should be in focus if
the camera has done its job properly.
| | 04:35 | When I say mash down, I don't mean mash down;
obviously, you don't want to shake the camera.
| | 04:39 | It's a process of half-pressing the button,
and then giving it a gentle squeeze to take
| | 04:43 | the picture without shaking the camera too much.
| | 04:46 | Your Mark III has very sophisticated autofocus
options. We're going to be returning to autofocus
| | 04:52 | in great detail later in this course.
| | 04:54 | For now, you've just really got to work on
getting the habit of half-pressing, and paying
| | 04:59 | attention to the focus confirmation light,
and the autofocus squares that light up to
| | 05:04 | show where your camera has chosen to focus.
| | 05:06 |
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| Metering basics| 00:00 | In the last movie, you saw how when I
half-pressed the shutter button, the camera
| | 00:04 | autofocuses on my scene,
| | 00:06 | but it does another critical step, which is
it meters the scene. That is, it measures the
| | 00:11 | light in the scene, and calculates a
shutter speed, and an aperture that will render the
| | 00:15 | scene with a nice level of overall illumination.
| | 00:18 | After it's done that metering, it shows me
the shutter speed and aperture that it came
| | 00:23 | up with, and it shows it in
a couple of different places.
| | 00:26 | First, I've got here in my status
display on the top of the camera.
| | 00:30 | Shutter speed is one 1/100th a second at f/4,
but it also shows it in the viewfinder down
| | 00:36 | below the image, along with a
lot of other status information.
| | 00:39 | It is critical that you pay attention to that
shutter speed number. We're here in Intelligent
| | 00:45 | Auto mode, where I don't have a lot of
control, but I do want to know if shutter speed at
| | 00:50 | the moment is going to be
too slow for handheld shooting.
| | 00:53 | If it's much less than a 60th of a second,
there's a good chance I'm going to be facing
| | 00:57 | a handheld shake issue.
| | 00:59 | Now, this gets minimized, thanks to my image
stabilized lens, and you can actually calculate
| | 01:04 | a minimum shutter speed based on your
focal length, and a lot of other things.
| | 01:07 | It's a complex topic, and you can learn more
about it in Foundations of Photography: Exposure.
| | 01:12 | But for working in Auto mode right now, at
the very least, what you need to know is, every
| | 01:16 | time you half-press that shutter button, in
addition to looking at all the autofocus concerns
| | 01:21 | we looked at in the last movie, you need to
pay attention to that shutter speed number,
| | 01:25 | the one on the left, which tells you
the shutter speed the camera has chosen.
| | 01:30 | It's the denominator of a fraction, so
just think of this as 1 over 100,
| | 01:34 | or 1/100 of a second.
| | 01:35 | If it's much below one 1/60 of a second,
you are going to need to take action to really
| | 01:40 | try to stabilize the camera.
| | 01:41 |
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| Reviewing images| 00:00 | As soon as you take a picture, your
camera displays it on the rear LCD screen.
| | 00:05 | Now, by default, the image stays up for a few
seconds, and then it goes away. This gives
| | 00:08 | you a chance to quickly review your image, without
having to manage any of the controls on the camera.
| | 00:13 | However, you do have a little bit of
control while that image is being displayed.
| | 00:17 | I am going to just take a shot here, and as
soon as I do, you see the image that I just
| | 00:23 | took appear on the screen.
| | 00:25 | It stays up there for two seconds.
| | 00:26 | You can change that if you like, and
we'll look at how in just a moment.
| | 00:30 | But there are some things I can
do while the image is displayed.
| | 00:33 | First of all, if I decide I don't like it
right away, I can hit the trashcan button.
| | 00:38 | Now I have got all the time in the world to
make a decision here about whether to keep it.
| | 00:41 | If I want to erase it, I can turn over to Erase, and
then hit the Set button, and it will delete the image.
| | 00:48 | There are other things I can do with an
image while it's up on that playback screen.
| | 00:52 | Take another one here, and if I hit the Info button,
I can see some parameters about how I shot the image.
| | 00:59 | I see that I was using a 1/100 of a second
shutter speed at f/4, and I get the folder
| | 01:04 | file name, and what card it was stored on.
| | 01:07 | If I press Info again, I
get even more information.
| | 01:10 | We are going to look into
what this metadata is later.
| | 01:14 | The reason that you might want this is
this histogram display here, which is going to
| | 01:17 | give me a good idea as to
whether I've got decent exposure here.
| | 01:21 | Press Info again; I get even more histograms.
Press it again, and I'm back to my full image.
| | 01:27 | Now, obviously I have gone
way beyond my two seconds here.
| | 01:29 | So once I am in here looking at an image, I've got
all the time that I need to browse through the info.
| | 01:35 | When I'm done, I can just half-press the
shutter button, and I'm out of that playback mode, and
| | 01:40 | ready to continue shooting.
| | 01:42 | If you go to the menu screen, and look at the
first page under the shooting menu, you will
| | 01:47 | see something called Image review,
which is currently set to 2 seconds.
| | 01:50 | This is how I control how long the image
stays onscreen: 2 seconds, 4 seconds, 8 seconds,
| | 01:55 | or stays there indefinitely until I half-press
the shutter button, or press the menu button,
| | 02:00 | or do something else to put
that camera into another mode.
| | 02:03 | Alternately, I can turn the
Image review off altogether.
| | 02:07 | This is great if you are shooting a concert,
or performance, or in a dark room; any time
| | 02:12 | where you don't want the screen lighting
up with that image after you take a shot.
| | 02:15 | If you are working in low light, you may want
to turn Image review off, because when it turns
| | 02:19 | on, the bright light of the
screen will blow your night vision.
| | 02:22 | If you are working with Image review off,
it's very likely because you are in a place
| | 02:27 | where you are trying to shoot a little more
stealthily, or less obtrusively. In that case,
| | 02:32 | you might want to turn the beep off also. I can
go in here, and say disable beep, and now, when
| | 02:38 | I half-press to autofocus, I get all my normal
focus confirmation, but the camera never actually
| | 02:43 | beeps; it goes into a silent mode.
| | 02:45 | So there is a lot you can do during image review
to analyze your image, or delete unwanted images.
| | 02:51 | Later in this course, you are going to see
other options for deleting, and learn more
| | 02:54 | about what that information is that
you see when you hit the Info button.
| | 02:58 |
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| Working with image playback| 00:00 | Your camera has a big
collection of image playback features.
| | 00:03 | You've already seen how it displays
an image immediately after you shoot,
| | 00:07 | but of course, you can also go in and browse all
the pictures that are stored on your media card.
| | 00:12 | When it comes time to review your images,
just press the playback button over here on
| | 00:16 | the left side of the camera.
| | 00:18 | That shows you the last image that you shot,
and you can easily scroll through to your
| | 00:22 | other images using the quick control dial.
| | 00:25 | If you'd like to jump through a little bit
faster, turn the main dial up here. That actually
| | 00:28 | activates the jump feature, which
by default goes 10 images at a time.
| | 00:32 | You can change that interval later from a menu item,
if you'd rather go 50 images, or some other amount.
| | 00:39 | If I want to check some fine detail, I
can use the magnifying glass over here.
| | 00:43 | That will get me into the zoom interface.
| | 00:45 | So, this rectangle here shows me my full
image size. That inset solid rectangle shows me
| | 00:51 | the part of the image that
I'm looking at right now.
| | 00:53 | If I turn the main dial up here,
I can zoom in farther still.
| | 00:57 | Now, judging sharpness on this screen is
a little bit of a dubious proposition.
| | 01:01 | It gives you a pretty good idea, but if you are
really going to get particular about sharpness,
| | 01:05 | this may not be a good enough screen.
| | 01:07 | Still, it can let you know if the image is
grossly out of focus, or even a little bit soft.
| | 01:11 | Now, when I'm zoomed in, and this can be
zoomed in any amount, not just all the way,
| | 01:15 | I can pan around my image
using the multi-controller here.
| | 01:19 | So that allows me to really zero in on the
place that I want to check focus on; that
| | 01:24 | can be really handy.
| | 01:25 | Again, I don't have to be zoomed in all the way,
| | 01:26 | just zoomed in at all, and then I can pan
my little current location thing around with
| | 01:32 | my multi-controller.
| | 01:34 | Now, watch what happens when I start zooming out.
| | 01:36 | I come back out to my original image size.
| | 01:40 | So here I'm looking at my full size image.
| | 01:42 | Now, if I keep spinning
this dial to the left, Aha!
| | 01:44 | I zoom out, and now I see thumbnails.
| | 01:47 | So this is also a nice way of quickly
navigating through your entire card,
| | 01:52 | and it gives you an easier way of zeroing in
on an image that you might want to look at.
| | 01:57 | So maybe this was the batch of
images that I was curious to see.
| | 02:00 | With this selected, I can now just zoom back in,
| | 02:03 | and now I'm back to looking at full size images.
| | 02:07 | So the main dial will continue to zoom in
and out as long as this a magnifying glass
| | 02:12 | is showing down here.
| | 02:12 | So to get rid of it, I just exit Zoom mode by
pressing the magnifying glass button again.
| | 02:18 | By default, the first time you ever go
into Playback mode here on your camera, you're
| | 02:22 | in this nice clean view,
where all you see is the image,
| | 02:24 | but there's a lot of
metadata that you can view as well.
| | 02:27 | If I hit the Info button, that
brings up a first screen of metadata.
| | 02:31 | I can see here what my
shutter speed and aperture was.
| | 02:33 | I can see the folder number, and file
number, and what card the image is stored on, and
| | 02:39 | I can see that this is image 5 of
16 images currently on the card.
| | 02:43 | If I press the Info button again,
I get a lot more information.
| | 02:47 | I'm still seeing my exposure and file name
information up here; I'm seeing a smaller thumbnail,
| | 02:52 | but now I'm getting a lot of other metadata.
| | 02:54 | I was in Program mode, here is my Metering mode,
my white balance, what format the image is,
| | 02:58 | how big it is on the card,
| | 03:00 | my ISO, any picture style information I had
dialed in, the color space, the date and time
| | 03:05 | it was shot, and finally, a histogram display.
| | 03:08 | This can be a critical tool for shooting.
| | 03:11 | If you don't understand the histogram, take a look
at my Foundations of Photography: Exposure course.
| | 03:16 | That will clue you in
as to what this is.
| | 03:19 | This is a way that you can judge exposure
onscreen; something that you can't really
| | 03:23 | do simply by looking at the
image that the camera shows you.
| | 03:26 | Another press of the Info button
takes me to a different type of histogram.
| | 03:31 | I've now got the luminance histogram that I saw
before, but I also have this nice 3 channel histogram.
| | 03:37 | This can help me determine if maybe
I've got a color cast to my image.
| | 03:41 | Finally, if I press Info again, I'm back to my
original display, which has no metadata at all.
| | 03:47 | We'll look at some additional
playback controls later in this course,
| | 03:50 | but these are the basic ones that you'll use
pretty much every day that you're using the camera.
| | 03:54 |
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|
|
3. Shooting in Program ModeExploring Program mode| 00:00 | In Program mode, the only decisions that the
camera makes are shutter speed and aperture.
| | 00:06 | Everything else -- autofocus mode, drive mode, flash,
white balance, ISO, and more -- can be changed by you.
| | 00:13 | What's more, through program shift, and exposure
compensation, you can alter the camera's initial
| | 00:18 | shutter speed and aperture choices, and that
means that you have a good amount of manual
| | 00:23 | override, without ever
changing out of Program mode.
| | 00:26 | Program mode is probably were you'll
spend the bulk of your time shooting.
| | 00:30 | To change to Program mode, I just press the
unlock button on the mode dial; rotate to the big P.
| | 00:36 | We're going to be spending the rest of this
chapter in Program mode, learning all of its ins and outs.
| | 00:40 |
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| Working with exposure compensation| 00:00 | If you've watched Foundations of Photography:
Exposure, then you know that in photographic
| | 00:05 | terms, exposure is a measure of the
brightness of light, and you know that on your camera,
| | 00:11 | you control how much light is captured by
altering shutter speed, aperture, and ISO.
| | 00:17 | Through careful choice of how you alter these
parameters, you can not only control the overall
| | 00:21 | brightness in a scene, but how deep the focus is,
whether motion is frozen, or blurry, and more.
| | 00:27 | Exposure compensation is a control that lets
you adjust exposure to alter overall brightness
| | 00:33 | without control of any specific parameter.
| | 00:36 | So, for example, you can use your camera's
exposure compensation control to specify a
| | 00:40 | one-stop brightening of a scene.
| | 00:43 | Your camera will automatically adjust
shutter speed, and aperture, and possibly ISO to get
| | 00:47 | that one stop of additional brightness, but
you won't know which parameter it's changing,
| | 00:52 | or how much, to get this alteration.
| | 00:54 | Now, why would you be willing to give up
control over those specific parameters?
| | 00:58 | Because a lot of times you don't have any
particular depth of field or motion stopping
| | 01:02 | goals in mind; you simply want
good overall brightness.
| | 01:05 | Also, a one- or two-stop difference usually is
not going to make a huge difference in motion
| | 01:10 | stopping, or depth of field, but it
might make a huge difference in brightness.
| | 01:13 | So exposure compensation gives you a really
quick way to brighten or darken an image, without
| | 01:19 | having to think about specific parameters.
| | 01:21 | It gives you a quick fix for backlight situations,
shooting at dusk, restoring tone to dark objects,
| | 01:26 | and many, many other situations, which are all
explained in Foundations of Photography: Exposure.
| | 01:33 | Exposure compensation is very easy to
adjust on the Mark III, but before you can adjust
| | 01:38 | exposure compensation, you
have to have the camera metered.
| | 01:41 | So I'm going to half-press the shutter button,
and it meters in at 1/100 of a second at f/4.
| | 01:47 | This is my exposure
compensation meter right here.
| | 01:50 | To dial in exposure compensation, I simply
turn the rear wheel. I am going to meter again,
| | 01:55 | and as I turn to the right, you can see the
meter going up; that's one stop of positive
| | 02:00 | exposure compensation, that's two, that's
three, and note that as I'm turning it, my
| | 02:05 | shutter speed is changing. That's how the
camera has decided to get its exposure compensation.
| | 02:10 | In other words, I'm saying now I want the
image to be one stop brighter, and so it's
| | 02:14 | gone from 1/100 of a second to 1/50 of a
second. That's a doubling; that's one stop.
| | 02:20 | It chose shutter speed in this case, because
it can't actually alter the aperture, because
| | 02:26 | this lens has a maximum aperture of
f/4, so the aperture cannot go any wider.
| | 02:31 | In other situations, it might choose to perform an
adjustment to aperture, or it might choose to do both.
| | 02:37 | Now, I'm currently set on ISO 100, which means
that the camera is not allowed to change ISO.
| | 02:43 | That's why it's making its
adjustments to shutter speed and/or aperture.
| | 02:48 | Watch what happens if I change ISO to Auto.
| | 02:53 | So I'm metered at 1/125, at f/4, at ISO 125.
| | 02:59 | So the metering, right away, is different.
It's bumped up the ISO a little bit, so that it
| | 03:03 | could get the shutter speed a little bit faster,
and the reason it's decided to go for a slightly
| | 03:08 | faster shutter speed is I'm going to have a better
chance of getting a sharp image while shooting handheld.
| | 03:12 | Now, if I adjust my ISO, look; it's not touching
shutter speed at all this time. It's altering
| | 03:17 | the ISO; it's cranking it up.
| | 03:19 | It's cranking it all the way up
to a 1000 at three stops over.
| | 03:23 | And it's interesting, because if you go look
at other -- at older Canon cameras, they won't
| | 03:27 | do this; the ones they have auto ISO.
| | 03:30 | They won't go quite as far with the ISO.
Canon knows that on the Mark III they can really
| | 03:35 | crank the ISO up a good amount
before they start seeing noise.
| | 03:39 | So nowadays, a lot of times it's really
going to be doing ISO changes if you're in auto
| | 03:44 | ISO, rather than fiddling with your shutter
speed, or aperture. That will guarantee that
| | 03:49 | they're not messing up your depth of field or
motion stopping that you might have dialed in.
| | 03:53 | Now, of course, I can also go to the other
direction, and lower my exposure compensation.
| | 03:59 | This is one stop under now, and if you
notice here, it's not making changes to ISO, because
| | 04:04 | ISO can't go any lower, and it's not going
to -- it's not altering my shutter speed.
| | 04:08 | This time it's chosen to go with aperture,
and now it's doing both. Here you can see
| | 04:12 | it altering both shutter speed and aperture to
get a metering that matches what I've dialed in.
| | 04:18 | If I'm back to here, of course, I'm back
to what the camera thinks is correct.
| | 04:23 | So again, this is a way of getting over or
under exposure, without worrying about how
| | 04:27 | I'm getting there; the
camera is making those decisions.
| | 04:30 | Now, there might be times where I know I
want a particular aperture, but I still want to
| | 04:35 | use exposure compensation to get the adjustment
I want. I can do that in aperture priority mode.
| | 04:40 | Similarly, I can lock down my
shutter speed in shutter priority mode.
| | 04:43 | We'll be looking at those
situations when we discuss priority modes.
| | 04:47 | In the meantime, I think you'll find that
exposure compensation is an everyday feature;
| | 04:50 | it's something you are going to use a lot.
| | 04:53 | It's a great way to get your image brighter or
darker, especially if you don't have particular
| | 04:58 | depth of field or motion stopping ideas in mind.
| | 05:00 |
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| Using the lock switch| 00:00 | One of the great things about the controls on the
Mark III is that they're so easy to access and use.
| | 00:05 | One of the downsides about the controls on the Mark
III is that they are so easy to access and change.
| | 00:10 | In other words, you need to be a little bit
careful that you don't accidentally bump the
| | 00:14 | controls on the camera.
| | 00:15 | Now, honestly, I've never run into this
problem, but if you find that you are accidentally
| | 00:19 | bumping the controls on the back of the camera,
or the top of the camera while you're carrying
| | 00:23 | it around, then you may want to
consider using the camera's lock switch.
| | 00:28 | This is the LOCK switch right here. Just move it
to the right, and that locks the multi-controller,
| | 00:34 | the main dial, and the quick control dial.
| | 00:37 | If you have this unset, it's possible to bump
these, and possibly change a setting on your camera.
| | 00:43 | For example, by default, if you were to accidentally
bump the quick control dial, you could possibly
| | 00:48 | end up dialing in some exposure compensation.
| | 00:50 | That means that anything you shoot from
then on, if you weren't paying attention, could
| | 00:54 | be over or under exposed.
| | 00:56 | So if you're finding yourself doing that,
just move the LOCK switch over when you're
| | 00:59 | packing or toting the camera.
| | 01:01 | Personally, I have never found these to be
a problem. They're pretty sturdy controls,
| | 01:05 | so I never find a need for the LOCK switch,
| | 01:08 | but again, know it's there; it can be handy.
| | 01:09 | Also, it's possible to reprogram it.
| | 01:11 | It's possible to change what it locks to be
just one, or some of these things, and we'll
| | 01:16 | see how to do that when we look at
custom functions later in this course.
| | 01:20 |
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| Revisiting metering| 00:00 | As you've seen, when you half-press the shutter
button, the camera autofocuses, meters, and
| | 00:05 | possibly calculates white balance, and
ISO, depending on your camera settings.
| | 00:10 | When the camera has decided on all of those parameters,
it beeps, and it flashes a light in the Viewfinder.
| | 00:15 | If you want, you can continue to hold the button
down at the halfway point while you reframe your shot.
| | 00:20 | Now, this is sometimes necessary to
get the focus and metering that you want.
| | 00:25 | Once you're ready to take the shot, you
can press the button the rest of the way.
| | 00:28 | So once again, metering is very simple.
| | 00:30 | I just press -- half-press the shutter
button, and when I hear that beep, that means that
| | 00:36 | the camera has metered, and autofocused, and I
see my metering readings inside the Viewfinder;
| | 00:41 | in this case, it's 1/200 at f/4.5.
| | 00:44 | Now, one bit of very important
metering behavior on your camera:
| | 00:47 | when you half-press that shutter button to
meter, as long as you hold the button down,
| | 00:52 | the camera will hold that same metering, even as
you pan around to areas that might be brighter
| | 00:58 | or darker than where you originally metered.
| | 01:01 | If you half-press the button to meter, like
I'm doing right now, and let go of the button,
| | 01:06 | the camera will hold its metering,
| | 01:09 | but as you move it around,
it will re-meter on the fly.
| | 01:12 | So then I can change my position, press the
button down again, it will have the metering --
| | 01:17 | it will meter those same values that I'd
already seen, it will focus, then I can press
| | 01:22 | the button the rest of the way to take
a shot at that particular metering.
| | 01:25 | So it's a way of previewing
metering as I pan the camera around.
| | 01:28 | So it's very important to understand
the difference between these two things.
| | 01:32 | Eventually, once you've half-pressed the
button, and let go, the camera will time out, and the
| | 01:37 | metering screen will go blank, and it will go back to
its default position of not having any metering at all.
| | 01:42 |
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| Changing the ISO| 00:00 | One of the great advantages of digital cameras
over film is that you can change the ISO on
| | 00:05 | your camera from shot to shot.
| | 00:08 | As you increase ISO, the image sensor in your
camera becomes more sensitive to light, which
| | 00:11 | means you can use faster
shutter speeds, and smaller apertures.
| | 00:15 | Now, you'll most often increase ISO when light
levels drop low enough that your shutter speeds
| | 00:20 | go too low for handheld shooting,
| | 00:23 | but you might also increase ISO if you want to use
smaller apertures to capture deeper depth of field.
| | 00:30 | If you're not clear on when and how to effectively use ISO,
check out my Foundations of Photography: Exposure course.
| | 00:38 | Setting ISO on the Mark III is very easy.
This is the ISO button right here. It's also
| | 00:42 | the flash exposure compensation button.
| | 00:45 | Most importantly, it's a
different shape from the other buttons.
| | 00:48 | It's concave instead of convex, and it's
bigger than the back screen light button over here.
| | 00:54 | The reason I say that's important is that
if I'm looking through the viewfinder, and
| | 00:58 | I've got my hand on the camera grip, and my
finger on the shutter button, I can simply
| | 01:02 | come straight back, and find the ISO button,
because it feels different than these two.
| | 01:08 | Again, it's recessed, and it's got
that little bump right in the middle.
| | 01:11 | What that means is it's very easy for me to
find the ISO control without taking my eye
| | 01:15 | off of the viewfinder.
| | 01:16 | That means I can change ISO without having
to pull my face away from the camera, and lose
| | 01:20 | my framing, and all that kind of stuff.
| | 01:23 | So to set ISO, I just press the ISO button, and then
turn the main dial here, and that bumps me up or down.
| | 01:31 | I'm currently set to change ISO in one-third
stop increments. I can change that, as we'll
| | 01:35 | see later, to full stop increments, and
I can simply dial in whatever I want.
| | 01:40 | Now, the ISO readout that I'm seeing here
is also reflected inside the viewfinder, so
| | 01:44 | still, I don't have to take
my eye off the viewfinder.
| | 01:47 | There's nothing to press to confirm that
ISO choice, I simply press the button, and dial
| | 01:52 | it to wherever I want, and then it either
times out and goes back to the normal display, or
| | 01:57 | a half-press of the shutter
button gets me back into shooting.
| | 01:59 | So I don't have to press any
kind of confirmation to set ISO.
| | 02:03 | So, this is a control you're going to be
using a lot. ISO is your third exposure parameter,
| | 02:08 | it's a critical exposure parameter, so it's really
nice that the Mark III makes it so easy to change.
| | 02:12 |
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| Looking at ISO speed settings| 00:00 | By default, your camera's ISO range goes from
100 to 25600, but your Mark III is actually capable
| | 00:08 | of shooting at an even wider range of ISOs.
| | 00:11 | However, most of the time you'll probably
just stick to auto ISO, simply for the ease
| | 00:15 | and flexibility of shooting
that it provides. That said,
| | 00:18 | you might want to tweak the auto ISO
functions to tailor it to the ISO range that you like.
| | 00:23 | You can adjust all of
these from a single menu item.
| | 00:28 | In this second page of my shooting menu, I
have something called ISO speed settings, which
| | 00:32 | is a single menu option that gets me a
bunch of different ISO related controls.
| | 00:37 | First of all, I can simply set my ISO speed.
We get a menu of all the possible ISO
| | 00:42 | speeds here. It's probably the least
convenient way to set ISO, but it's there if you happen
| | 00:47 | to find yourself on this menu
page when you need to set ISO.
| | 00:50 | Below that, though, things get more interesting.
| | 00:53 | ISO speed range let's me set the range of my
ISO settings. By default, they go from 100 to 25600.
| | 00:59 | I'm going to go into this item,
and I can change my Minimum here.
| | 01:05 | So the first interesting thing about this
option is I can actually change my Minimum
| | 01:10 | to something lower than 100.
| | 01:12 | L50 means that I can actually
have this really nice, slow ISO.
| | 01:17 | If I'm shooting in bright daylight, this is
the way of shooting and absolutely guaranteeing
| | 01:21 | that I'm not going to
have any perceptible noise.
| | 01:23 | So that's what that's
there for on the bottom end.
| | 01:25 | The other thing I might do here, though, is
let's say I'm going to be shooting in low
| | 01:29 | light for a while, but I might be changing
things up between, say, ISO 400 and ISO 1600,
| | 01:36 | and I want to be sure that I don't
accidentally bump it down below 400.
| | 01:39 | So I could just bump up my Minimum there, and
then when I'm using my top mounted ISO control,
| | 01:44 | I wouldn't have to worry about
accidentally getting my ISO set too low.
| | 01:50 | Take that, and spin the wheel
to come over here to Maximum.
| | 01:53 | By default, the cameras maximum ISO
is 25600, which is amazingly fast.
| | 01:59 | And yet, it can go a little more amazing.
| | 02:01 | I can crank it up to 25600, 51200, 102400;
so I have these higher options available.
| | 02:11 | The reason that I have to explicitly
turn those on is that they're pretty noisy,
| | 02:17 | so Canon is kind of telling you that, yeah,
the camera will work at 51000, but its higher
| | 02:22 | noise then we're willing to sign off on,
basically it's what they're saying.
| | 02:26 | These are some things you are going to want
to experiment with on your own to decide if
| | 02:29 | it is an acceptable amount of noise to you.
| | 02:31 | In a pinch, I think it's better to be able to
get a shot than not, and these ISOs definitely
| | 02:37 | give you the ability to capture still motion
in really low light situations, and honestly,
| | 02:43 | they yield less noise than I have
had on older SLRs at much lower ISOs.
| | 02:49 | So fiddle with those, see what you think about them,
and you may want to change the Maximum setting.
| | 02:54 | Conversely, if you decide already that ISO
25600 is too noisy for your taste, or even
| | 03:00 | that ISO 6400 is too noisy for your taste;
you can bump the Maximum down to wherever
| | 03:05 | you want, so that you accidentally don't
stray into an ISO area that you don't like.
| | 03:10 | I'm going to leave mine set on the default
there, and come down here, and say OK.
| | 03:15 | I can also change my Auto ISO range.
| | 03:18 | Auto ISO, of course, tries to automatically
pick an ISO, and again, if I'm a person who
| | 03:22 | doesn't like shooting over, say, ISO 3200, I
can bump this down to 3200, and now auto will
| | 03:30 | not choose an ISO faster than that. And of
course, I can do the same thing on the Minimum
| | 03:35 | if I want to constrain the minimum
ISO when it's making an ISO choice.
| | 03:41 | Finally, when I'm shooting in auto ISO, I can
also specify a Minimum shutter speed, because
| | 03:46 | of course, when I'm shooting an auto ISO, my
camera might still be picking a shutter speed
| | 03:51 | for me, depending on what mode I'm in.
| | 03:53 | If I'm shooting fast motion in, say, low light,
I may want to make sure that shutter speed
| | 03:58 | doesn't dip below 1/125, for example. So I
could set that, and now that would be factored
| | 04:04 | into the auto ISO settings, so it knows that
it can't drop shutter speed below that, which
| | 04:10 | means it's an going to err
on the side of higher ISOs.
| | 04:13 | So these are all ways that you can
custom tailor the ISO setting on your camera.
| | 04:18 | If you are coming from a film world, you're
going to be facing a very different relationship
| | 04:22 | to ISO, because ISO in the digital world
is a third parameter of kind of equal weight
| | 04:28 | alongside shutter speed and aperture.
| | 04:30 | So it's really nice to have these controls to be
able to customize ISO exactly the way you like.
| | 04:34 |
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| Exploring long exposure noise reduction| 00:00 | Noise is the bane of all digital photographers.
| | 00:03 | If you're seeing those ugly, speckled patterns
in your image, you are facing a noise problem.
| | 00:08 | And fortunately, the Mark III is wonderfully
low noise, Nevertheless, there are times when
| | 00:13 | you might face some noise troubles, and one
of those times is if you are shooting with
| | 00:16 | a shutter speed longer than one second.
| | 00:19 | Long exposure noise reduction, which is here
on the third page of my shooting menu, offers
| | 00:23 | an in-camera processing option that can take
out noise when you're shooting longer exposures.
| | 00:29 | So I am going to hit Set to go in here into
this setting, and by default, it's set to off.
| | 00:35 | Noise reduction will not be applied at all.
| | 00:38 | Auto is going to analyze the image, and see
if it's a good candidate for long exposure
| | 00:44 | noise reduction. If it is, it
will then process the image.
| | 00:48 | Enable simply forces it to be on all the time.
| | 00:51 | Now, long exposure noise reduction does an
amazing job in reducing noise in these longer exposures.
| | 00:57 | There is possibly a catch, though, and that is
that sometimes that noise reduction process
| | 01:02 | will take as long as the original exposure.
| | 01:06 | So if I am shooting at 30 second exposure,
and I have long exposure noise reduction turned
| | 01:09 | on, I'm actually going to need another 30
seconds after the exposure is finished for
| | 01:15 | the noise reduction process to happen, and
that's going to completely tie up my camera,
| | 01:18 | so that could really slow
down my shooting process.
| | 01:21 | That's one reason that Auto is a better
option than Enable, because if the camera doesn't
| | 01:25 | think it can do anything, it won't bother.
| | 01:28 | If you're shooting at ISO 1600 or higher,
you are possibly going to get better results
| | 01:34 | with Auto than you are with Enable.
| | 01:36 | Sometimes just simply enabling it is not
going to give you very good results, so you want
| | 01:41 | to have the Auto option there,
making that decision ahead of time.
| | 01:45 | If you are in the middle of a noise reduction
process, and something amazing happens in front
| | 01:50 | of you, and you want to take a picture of it,
there is no way to cancel out of that process.
| | 01:54 | In fact, you are going to see a
busy indicator on your status display.
| | 01:57 | So if you absolutely need to override it,
there is one thing you can do, and that's to
| | 02:00 | turn the camera off.
| | 02:02 | However, if the red light back here is
flashing, that means it's writing data to the card.
| | 02:07 | You don't want to interrupt that
process; that could screw up your card.
| | 02:10 | If it's still in the middle of processing,
though, you could shut the camera down with
| | 02:13 | no risk to your card. You are, of
course, going to lose that image.
| | 02:17 | So, this is something that's worth playing
around with to make up your own mind about
| | 02:21 | what you think about the
quality of the noise reduction.
| | 02:22 | Personally, I think it's an essential feature to have
turned on if you are shooting an extremely low light.
| | 02:28 | You might do some experiments with
shooting the same lowlight shot with long exposure
| | 02:32 | noise reduction turned Off, and with it on
Auto, and On, and see what the differences are,
| | 02:37 | and try to come up with some idea of what
level of noise reduction you like, and whether
| | 02:41 | you want it turned off all the time, or if
you want the camera making some choices about
| | 02:46 | when to apply it, or if you just absolutely
want it on for any image with a one second
| | 02:51 | or longer shutter speed.
| | 02:52 |
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| Exploring high ISO noise reduction| 00:00 | As you increase ISO on your camera, you buy
yourself a lot of exposure latitude, but you
| | 00:07 | also end up increasing the noise in your image.
| | 00:10 | By going here to my third shooting menu, I
have something called High ISO speed Noise
| | 00:16 | Reduction, and by default, it is set to a
standard setting, which means that at higher ISOs, the
| | 00:24 | camera is going to digitally try to remove some
noise before it writes the image out to the card.
| | 00:30 | Standard settings are very good, and as you
probably already noticed, this camera works
| | 00:33 | great at high ISOs.
| | 00:35 | You probably won't see much of a change in
noise up to ISO 400, or even 800. Starting at 1600,
| | 00:41 | you'll start to see a little bit.
| | 00:42 | If you turn this off, though, or turn it to
Low, either one, you'll see a little bit more
| | 00:47 | than you're probably used to now.
| | 00:48 | You can also turn the Noise Reduction up to
try to get it to eliminate even more noise.
| | 00:53 | You might ask, well, why wouldn't I
just keep it on High all the time?
| | 00:56 | The tradeoff with noise reduction is
that you'll see softening in your image.
| | 01:00 | So noise reduction works by trying
to blur out areas that are noised,
| | 01:04 | so if you turn it up, you are going to end
up with less pronounced detail in your image.
| | 01:09 | I tend to keep mine on Standard;
it's probably a rather personal choice.
| | 01:12 | You might want to experiment. Set up some
tests in low light, with high ISOs; shoot the
| | 01:18 | same image with each of these
settings, and see what you like.
| | 01:21 | Notice that even at lower ISO settings, you're
probably going to see less noise in the shadows
| | 01:26 | in your image set to any of these high ISO
speed noise reduction settings than you will
| | 01:32 | if you turn it off altogether.
| | 01:33 | It's a very valuable feature. You are
probably going to be fine leaving it on Standard, but
| | 01:36 | you may want to experiment with some of
the other settings to see how you like them.
| | 01:39 |
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| Using program shift| 00:00 | In Program mode, when you half-press the
shutter button to meter, the camera calculates an
| | 00:05 | exposure, and displays the resulting shutter
speed, and aperture, and ISO, if ISO is set to
| | 00:11 | Auto, but there are many reciprocal combinations
of those exposure parameters that all yield
| | 00:16 | the same overall brightness, This is all
explained in Foundations of Photography: Exposure.
| | 00:21 | Program shift is a feature that allows you
to automatically cycle through all reciprocal
| | 00:26 | combinations for any given metering.
| | 00:30 | So with this feature, you can meter to get
an exposure that gets you the proper overall
| | 00:34 | brightness, and then use program shift to
change to an exposure combination that serves up
| | 00:39 | that same overall brightness, but with the
motion stopping, or depth of field that you want.
| | 00:46 | Program shift on the Mark III is very easy;
it's just the main dial right here. I turn
| | 00:49 | it, and I get reciprocal
options off of my normal metering.
| | 00:53 | Now, nothing's happening right now, because I don't
have a metering; there are no options off of nothing.
| | 00:58 | So I'm going to meter here, and the
camera has decided 125th at f/4, and ISO 125.
| | 01:03 | If I turn my main dial, then I get all the
reciprocal combinations that the camera can
| | 01:08 | muster that will yield that same level of
exposure; that is, that same overall brightness.
| | 01:15 | So let's say, for example, that I meter, and
I see that the camera has chosen f/4, but I
| | 01:20 | want deeper depth of field than that.
| | 01:21 | I've decided that I really want a nice deep
depth of field, so I'm going to dial the program
| | 01:26 | shift control out to f/11.
| | 01:29 | So that's going to give me deep depth of
field at the cost of motion stopping power.
| | 01:33 | Now, notice that it's chosen a 15th of a
second at f/11 after I'd program shifted my way down,
| | 01:37 | but now the meter just timed out.
| | 01:39 | So if I re-meter, I'm back
to the original metering.
| | 01:43 | So when you do a program shift,
it's not really locked in in any way.
| | 01:47 | As soon as the metering timer goes away, then
you're back to whatever your default metering is.
| | 01:52 | So if you're working slowly, like I am right
now, you've got to really keep an eye on these
| | 01:56 | settings as you use program shift.
| | 01:59 | So in this case, I was program shifting to
get a different aperture. I could do the same
| | 02:02 | thing to dial in a particular shutter speed.
| | 02:04 | It's a really great, easy way of having some
manual control without having to leave Program mode.
| | 02:10 |
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| Exploring image format and size| 00:00 | By default, your camera shoots in JPEG format.
Established by the Joint Photographic Experts
| | 00:07 | Group, JPEG is a compressed image format;
that is, it takes the original image data
| | 00:12 | that your camera captures, and it crunches
it down, so that it takes up far less storage.
| | 00:17 | JPEG compression is a lossy compression scheme;
that is, there is a loss of quality when JPEG
| | 00:23 | compression is applied to an image.
| | 00:25 | So the more compression you apply,
the more your image is degraded.
| | 00:29 | Most cameras give you a few
different JPEG conversion choices.
| | 00:32 | Some of those choices compress more than others,
and therefore degrade your image more than others.
| | 00:37 | Your camera also captures
a certain number of pixels.
| | 00:40 | When shooting JPEG images, most cameras give
you the choice of shooting at lower pixel counts.
| | 00:45 | So you might be able to save an
image that's only half size, for example.
| | 00:49 | This is another way of
saving space on your storage card.
| | 00:52 | Finally, some cameras also give you the option
to shoot in RAW mode, a non-compressed format
| | 00:58 | that offers a lot of
editing advantages over JPEGs.
| | 01:02 | You control image quality from this very first
item, on the very first page, of the very first
| | 01:07 | category of menus. It's
one called the Image quality.
| | 01:10 | You can see right now I'm
set to best quality large JPEG.
| | 01:13 | I'm going to hit the
Set button to go in here,
| | 01:16 | and I get a little
summation of my current settings.
| | 01:18 | I'm currently at large; that's full size image,
which is 22 megapixels. That's 5760 by 3840 pixels.
| | 01:26 | And what I've got down here are
a couple of different options.
| | 01:32 | If I want to change the JPEG
quality, I can turn this rear wheel,
| | 01:35 | and what's happening here is I'm
lowering first my JPEG compression.
| | 01:41 | So this is still the same pixel size.
| | 01:43 | If you watch up here as I change,
the pixel size is not changing.
| | 01:47 | What's changing is my quality thing is
getting degraded here; it's looking more jagged.
| | 01:52 | As I continue to move over, I get to the
medium size, which is 9.8 megapixels, and here are
| | 01:57 | the pixel dimensions, and I have
two compression settings there.
| | 02:01 | So these are going to be the same pixel counts,
but the higher quality is going to actually
| | 02:05 | be a larger file size, because it's
not compressed as much as this one.
| | 02:10 | Then I get to a small size, which is 5.5
megapixels, and I have two quality settings there.
| | 02:15 | Then I get to a really small size, 2.5 megapixels,
and I don't have any choice of JPEG compression there.
| | 02:22 | And then finally, I get down to a very small
size, a third of a megapixel, and again, no
| | 02:28 | compression settings there.
| | 02:30 | This little thing right here is showing me --
that's a little icon for my wheel right here --
| | 02:34 | it's showing me which
wheel to turn to change these.
| | 02:37 | Now, I can also set it to
not shoot JPEG at all.
| | 02:41 | This means currently I have no actual Image quality
settings, and the camera is not going to let me do this.
| | 02:46 | I have to pick one or the other;
either JPEG, or RAW, or both.
| | 02:49 | If I turn the main dial up
here, I can select a RAW format.
| | 02:53 | So this is RAW at full pixel count, 22
megapixels, or I can go to a medium size, which is 10
| | 03:00 | megapixels, or I can go to a small size, which is
5.5, and I can see the pixel dimensions up here.
| | 03:06 | Now, I don't have separate compression settings
here, because RAW files have no compression.
| | 03:11 | So if configured this way, I'm shooting a
full pixel count RAW image, and no JPEGs.
| | 03:17 | But if I want, I can turn this on,
| | 03:20 | and now I'm shooting a full pixel count RAW
image, and a full pixel count, high quality
| | 03:25 | JPEG image. Or maybe I want to shoot RAW
files, and something really small for the Web.
| | 03:31 | So I can configure these any way that I want.
| | 03:33 | I can shoot a RAW, and no JPEG.
| | 03:35 | I can shoot RAW, plus any one of these JPEGs, or I
can shoot no RAW at all, and just these JPEG files.
| | 03:43 | So this is a really streamlined, easy way to
configure exactly of what image formats you want.
| | 03:49 | Notice that if you have multiple cards in
the camera, before this, you're going to have
| | 03:53 | another screen, and I'll explain
how that works in a separate movie.
| | 03:56 |
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| Using the Info button| 00:00 | There are a lot of parameters to
configure and adjust on your Mark III.
| | 00:04 | You can get a summation of some of
them by pressing the Info button.
| | 00:08 | This brings up this page
that shows me a few things.
| | 00:10 | First of all, it tells me what shooting
mode is assigned to each custom mode.
| | 00:15 | We're going to be looking at
custom modes in detail later.
| | 00:18 | I can see that I currently have no
white balance shift or bracketing dialed in.
| | 00:22 | My Kelvin white balance setting is set to 5200.
| | 00:25 | I can edit that inside the white balance menu.
| | 00:29 | I have a color space of Adobe RGB, Long
exposure noise reduction is set to Auto, High ISO speed
| | 00:36 | Noise Reduction is set to
its default middling setting.
| | 00:40 | My file name prefix is set here, and down
here I can see that I have possible shots
| | 00:46 | on card number 1 of 6463, because there are
currently 59.5 GB of free space available.
| | 00:54 | So these are some settings that you
can't get off of the status display on top.
| | 00:58 | They would normally be spread
through several different menu screens,
| | 01:01 | so this is just a quick way of seeing these settings if
you're wondering what their current configuration is.
| | 01:07 | If I continue to press the Info button past
this first screen -- the camera just timed out
| | 01:12 | here, so I'm going to wake it up again --
| | 01:14 | if I continue to press, it I get onto the
level, which we're going to look at shortly,
| | 01:18 | and then my quick control screen, which of
course, I can also get to from the quick control
| | 01:22 | button, as we'll see in another movie.
| | 01:25 | Press it again, and it goes off.
| | 01:27 | Now, I can configure that cycling process,
if I go here into the menu, on the third page
| | 01:33 | of the setup menu, there's
Info button display options.
| | 01:36 | If I pick that, I can check and
uncheck what I want to have done here.
| | 01:41 | So I'm going to go down here and uncheck
Displays shooting functions, because I have another
| | 01:45 | way to get to those, so it's just a waste
of my time to have to cycle through that.
| | 01:49 | At least one of these has to be checked.
| | 01:50 | I can't uncheck them all, because then the
Info button wouldn't do anything at all.
| | 01:54 | I hit OK, and now I'm done.
| | 01:56 | So again, a somewhat easy way to get to a simple
status readout right here on the Info button.
| | 02:03 |
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| Examining level and grid display| 00:00 | The lynda.com crew works really hard on
getting the details right in these movies,
| | 00:05 | so I don't want you to blame them for the fact
that the camera is a little bit crooked right now.
| | 00:09 | I put it that way on purpose, because the 5D
Mark III has this really cool level feature,
| | 00:13 | which I am now going to use
to straighten the camera out.
| | 00:16 | You saw the Info button in the last movie.
| | 00:18 | If I press it once, I get this screen,
which gives me some camera status info.
| | 00:23 | If I press it again, I get my level.
| | 00:24 | Now, this is actually a two axis level. It's
showing me whether I am level this way;
| | 00:29 | it's also showing me if my tilt is correct.
| | 00:31 | So let's just address both of these.
| | 00:34 | This line, this horizontal line, if
the camera is level, will be green.
| | 00:39 | So the fact that it's red
shows me that things are off.
| | 00:41 | In this particular instance, you can see
the camera is unlevel, because you've got the
| | 00:46 | reference lines of the frame here.
| | 00:48 | But out in the wild, it
can be a little harder to tell,
| | 00:50 | so it's really nice that it's color-coded.
| | 00:52 | Then there is this short little
horizontal white line, which is showing tilt.
| | 00:58 | As I start moving the camera around,
you are going to see how these work.
| | 01:00 | So, as I tilt back and forth, that kind of
little virtual horizon line goes all wonky,
| | 01:07 | and as I tilt side to side,
you can see my level line.
| | 01:11 | So you can actually, like, play a little flight
simulator game with the level in your camera,
| | 01:16 | which is good for times when you're
waiting for a subject to get ready.
| | 01:19 | So, what I'm going to do is --
there we go.
| | 01:21 | I've now leveled it all out.
| | 01:24 | Uh oh; and then my display timed out, so
I'm going to have to start over.
| | 01:27 | So, the lesson there is, don't talk a lot
while you're trying to get your level set. Oh,
| | 01:34 | I'm really lousy at this.
| | 01:38 | Now you're all going to be looking
closely at my pictures to see if they're level.
| | 01:43 | Okay, that's pretty good.
| | 01:45 | Now I'm right between.
| | 01:48 | The level moves in 1 degree increments,
which means it has a margin of error of 1 degree.
| | 01:53 | So it's maybe not as perfectly
accurate as a dedicated level,
| | 01:57 | but for ballparking it, it's
certainly better than using nothing.
| | 02:01 | If I press the Info button again, I get onto the
status display, and it again takes me back to here.
| | 02:06 | Now, you may find that you never actually
use this display, and that you want a quick
| | 02:11 | way to get to the level.
| | 02:13 | All you have to do is go to the Menu, and
go to this third page of the setup category,
| | 02:19 | and you have Info button display options.
| | 02:21 | So I'm just going to turn off Display camera
settings, and then I'm going to come down here, and hit OK.
| | 02:28 | So now, when I hit the Info button, bang!
| | 02:30 | I get my level right away. Press it again;
I can get onto my quick control screen.
| | 02:35 | If that's still not fast enough for you, or if
you'd rather have the Info button be dedicated
| | 02:39 | to the quick control screen, there are ways
of programming some of the other buttons on
| | 02:43 | the camera to show the level right away, and
you'll learn how to do that in the customization
| | 02:48 | chapter later in this course.
| | 02:50 | The Mark III can also display a grid in
your viewfinder, which can help you keep things
| | 02:54 | aligned properly, both
horizontally, and vertically.
| | 02:57 | I'm going to go over here to the shooting menu,
| | 03:00 | and you'll see that here on the fourth page of the
shooting category is something called Grid display.
| | 03:05 | I'm going to select that.
| | 03:07 | It defaults to Off, of course.
| | 03:09 | I have a choice of three different grids;
a 3×3 grid, a finer 6×4 grid, or a 3×3
| | 03:16 | grid with diagonal lines though it.
| | 03:18 | So I'm going to just pick, say, the 3×3
grid, which makes any image I shoot look like an
| | 03:24 | episode of Hollywood Squares.
| | 03:26 | So now I'm going to actually see
gridlines there in my viewfinder.
| | 03:30 | This, as you'll see later, is also visible when
working in live view, or when shooting video.
| | 03:34 | When I'm done using the grid, or if I decide
it's not as helpful as I was hoping it might
| | 03:38 | be, I just come back to my Grid display command,
switch it off, and I'm back to a clear viewfinder.
| | 03:44 |
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| Using the Quick Control screen| 00:00 | You've been seeing so far how we can use a
lot of these external controls to drive the
| | 00:05 | camera, but there is another way to change
many of the same parameters, and that's to
| | 00:09 | use the quick control screen.
| | 00:10 | From any shooting mode, with the camera
turned on, obviously, if I just press the Q button,
| | 00:15 | I get this screen here, which gives me a
readout of the camera's current settings, many of
| | 00:20 | the current settings, as
well as a way to change them.
| | 00:22 | So I can see that I'm
currently in Program Mode.
| | 00:26 | It times out, just like many
of the displays on the camera.
| | 00:29 | I am set to Auto ISO, I have no
exposure compensation, and so on, and so forth.
| | 00:34 | Using the multi-controller, I can actually
select different features here, and alter them
| | 00:39 | on the back of the camera.
| | 00:40 | So for example, I could go here to AWB -- Auto
White Balance -- and it's giving me a hint down
| | 00:45 | here as to what this is. This is set to Auto.
Hit the Set button, and now I've got my white
| | 00:49 | balance control. So I could change to, say,
shady white balance, hit the Set button to
| | 00:53 | accept that; it takes me back to the quick
control screen, and now I can see that I've
| | 00:57 | changed my white balance.
| | 00:59 | What this is really great
for is working on a tripod.
| | 01:03 | If you've got the camera mounted on a tripod,
and maybe it's up too high to see, or you're
| | 01:07 | just tired of looking through the viewfinder,
you've set your shot already, and you're waiting
| | 01:11 | for the light to change or whatever,
| | 01:13 | you can completely drive the camera from
this nice big display back here using only the
| | 01:18 | controls on the back of the camera.
| | 01:19 | So it's a really easy way to work when you
have trouble seeing the upper display, or getting
| | 01:24 | to any of these other controls, maybe you're
mounted on a tripod, again, with a remote shutter release,
| | 01:30 | it's just a very nice way to work, and you
get to it simply by pressing the Q button.
| | 01:34 |
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| Setting the color space| 00:00 | Your camera captures color images, of
course, but color is a tricky thing.
| | 00:05 | What looks blue to you
may not look blue to me.
| | 00:08 | To help improve color consistency across different
devices from, say, a camera, to a computer, to a printer,
| | 00:15 | your camera maps the colors in
your image into a color space.
| | 00:19 | A color space is a mathematical model
that defines the boundaries of color.
| | 00:24 | You can learn all about color spaces
in Inkjet Printing for Photographers.
| | 00:28 | For now, all you need to know is that if
you are ultimately shooting with the idea of
| | 00:33 | printing your images on an inkjet printer, then you
should change that color space setting in your camera.
| | 00:39 | As you've probably guessed,
Color space is a Menu option.
| | 00:42 | It's here in the shooting menu, over on
the second page, down at the very bottom.
| | 00:46 | By default, it will be set to sRGB, which is
a fine color space if all you're going to
| | 00:50 | do is deliver your images online.
| | 00:53 | But we are going out to print here, so I am
going to switch over to Adobe RGB; these are
| | 00:57 | the only two color spaces offered, and for
the most part, that's all you need. All major
| | 01:02 | image editors are going to provide support
for both of those color spaces if you're trying
| | 01:06 | to work a color manage workflow.
| | 01:08 | Again, this is a big topic, so right now
we're not going to go beyond just discussing how
| | 01:13 | you make the change. I leave my
camera set on Adobe RGB all the time.
| | 01:17 | If you shoot without this set the way you
want it, you can always change it later in your
| | 01:21 | image editor. This is
just a very nice convenience.
| | 01:24 |
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| Configuring multiple media cards| 00:00 | As you've seen, the Mark III has two media
slots, it's got a CompactFlash slot, and right
| | 00:05 | next to it, there is a Secure Digital slot.
| | 00:08 | I do not have to have cards in both slots;
I can have a single card in either slot, or
| | 00:12 | I can have cards in both.
| | 00:14 | I can configure the camera to use
those two cards in a few different ways.
| | 00:18 | I am going to drop into the menu system here
and in the setup menu, in the very first menu,
| | 00:23 | the very first item is Record
function and card/folder select.
| | 00:27 | If I go into there, I have a
number of different options.
| | 00:30 | First off, I'm set for Standard Record function.
| | 00:33 | That means that it is going to
record what I shoot onto a single card.
| | 00:38 | I can select which card I want it to record to by
going here to the second option, which is Record/play.
| | 00:43 | If I go into there, I can now switch from
CompactFlash to Secure Digital, so now it's recording to
| | 00:49 | the SD card, and you can
see it's moved over here.
| | 00:51 | I am currently set for shooting at best quality
JPEG, so it's showing me the format that's being
| | 00:56 | recorded on this card.
| | 00:57 | It's going to record into this particular
folder; we'll look at changing folders later.
| | 01:02 | I am going to switch it back to the CompactFlash
card, and you can see that's jumped back over to there.
| | 01:07 | So that's the standard recording behavior.
| | 01:10 | If I pop this menu open, I
get a couple of other options.
| | 01:13 | Auto switch card will automatically fill up
this card, and then switch to the second card.
| | 01:20 | So if my CompactFlash card fills up, it will
start recording on this Secure Digital card.
| | 01:25 | If I go to Record separately, I can now
record separate formats onto each card.
| | 01:32 | So let's say I am shooting RAW plus JPEG; I
can record RAW to my CompactFlash, card and
| | 01:38 | JPEGs to my Secure Digital card.
| | 01:40 | Now, right now it's showing that
I've got the same format on both.
| | 01:44 | So to switch to JPEG over here, I need to go
back up a level, which I can do by pressing
| | 01:49 | the Menu button, and I am going to switch back over to
my shooting settings, and go in here to Image quality.
| | 01:55 | Now in Image quality, you can see
that there are two options here.
| | 01:58 | If I go in, I can independently set
recording settings for each slot.
| | 02:02 | So I'm going to change CompactFlash to be
a RAW, and then I'm going to leave my Secure
| | 02:11 | Digital card set to best quality JPEG.
| | 02:14 | So now, when I come back over here to my
tools menu, and go back in here, I can see that I
| | 02:19 | am set to record separately, with RAWs on this
card, and JPEGs on this card. Or, I can choose
| | 02:26 | Record to multiple.
| | 02:28 | This will record the same image to
both cards, so I get built-in redundancy.
| | 02:33 | So it's defaulted back to my JPEG setting here.
| | 02:36 | So it's going to record a best
quality JPEG image to both cards.
| | 02:40 | Now, when I'm doing that, my maximum burst
speed is going to go down, because that's just a
| | 02:44 | lot of data for it to be moving.
| | 02:46 | And of course, with any of these operations,
the speed of my cards are going to have an
| | 02:51 | impact on how quickly I can burst, how
quickly my buffer will fill, and so on.
| | 02:55 | So if I have a fairly slow CompactFlash
card, but a nice speedy SD card, then if I
| | 03:02 | was doing my record separately thing, in that
case, I might want to put the RAWs over here,
| | 03:07 | and the JPEGs over here.
| | 03:09 | Notice that it did remember my last settings.
| | 03:11 | So with these two slots, I have the ability
to have a lot more storage on the camera at
| | 03:15 | any given time, and with the commands in
this menu, I can really control how to use those
| | 03:20 | cards to make sure that I'm using
them to the best possible advantage.
| | 03:23 |
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| Using the feature guide| 00:00 | Your Mark III has a huge number of features, and you
don't need to worry about trying remember every one of them.
| | 00:07 | Carrying your manual isn't always
practical, because it's pretty large,
| | 00:10 | so Canon has built a
help system into the camera.
| | 00:14 | For example, if I come here to Long exposure
noise reduction, I first get a little hint
| | 00:19 | as to what the feature is:
| | 00:20 | Noise reduction is applied to images exposed
at one second or longer. But any time I see
| | 00:24 | this Info Help thing down here, that means
I can press and hold the Info button to get
| | 00:30 | a little more information.
| | 00:31 | Auto is generally
recommended for noise reduction.
| | 00:34 | It may not be possible to shoot
again until noise reduction is finished.
| | 00:37 | So I'm going to set to Auto, because that's what
the help is recommending, and I'm going to trust it.
| | 00:44 | So any time you see that little icon, you're
going to be able get a little more information.
| | 00:48 | Here you see that there's a hint,
but not as separate help page.
| | 00:52 | So just keep an eye on that if you're confused.
| | 00:54 | If you find it again just remember it's
the Info button to read the feature guide.
| | 00:58 |
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|
|
4. Controlling AutofocusExploring focus modes| 00:00 | Your camera's default autofocus system is
very good, and should be able to provide you
| | 00:05 | with accurate focus for most
of the subjects that you shoot.
| | 00:08 | However, focusing is a complex process. Your
camera's autofocus can be stymied by low light
| | 00:13 | situations, moving subjects,
solid colors, and more.
| | 00:17 | For that reason, the camera
includes several different focus modes.
| | 00:22 | Your Mark III has three different focusing
modes that change a little bit of the behavior
| | 00:27 | of how the autofocus system works.
| | 00:29 | By default, you'll be in One Shot mode, unless
you are shooting in Scene Intelligent Auto mode.
| | 00:34 | The rest of the modes default to One Shot mode.
| | 00:36 | This is pretty much probably
how you expect autofocus to work.
| | 00:39 | You half-press the shutter button, the camera
calculates focus, and then locks focus, beeps;
| | 00:44 | shows you your focus lock
indicator in the viewfinder.
| | 00:47 | If you press the AF-Drive button, and then
turn the main dial, you can see the other
| | 00:51 | two modes: AI Focus, and AI Servo.
| | 00:54 | AI Servo also tries to find focus
when you half-press the shutter button.
| | 01:00 | The difference is, if there is a moving
subject in your frame, it will track it, or it will
| | 01:05 | try to track it, and keep it in focus.
| | 01:08 | So there is a difference here in AI Servo
mode; when I half-press the button, I never
| | 01:11 | actually hear a beep. I
can still shoot at any time.
| | 01:15 | It's just I'm not hearing a beep, because the
camera is trying to track a moving subject.
| | 01:19 | Now, I don't have a moving subject here, but
for shooting sports, or wildlife, or any other
| | 01:24 | situation where you've got something moving
around, this might be an easier way to autofocus.
| | 01:30 | Let's go back and take a look at AI Focus.
| | 01:33 | This does either One Shot, or AI Servo. The camera
tries to decide on its own which mode it should be in.
| | 01:40 | So if something is not moving, it
will go to the One Shot autofocus.
| | 01:44 | If something is moving, then
it will start tracking it.
| | 01:47 | You are never going to see
this display up here change.
| | 01:49 | You will just feel the
behavior of the camera change.
| | 01:52 | So nothing is moving in my scene right now;
if I half-press the shutter I hear a beep,
| | 01:57 | because it's basically treating
this as a One Shot autofocus situation.
| | 02:01 | If something was moving, I wouldn't hear that
beep; instead, I would hear a subtle, quieter,
| | 02:08 | continuous beeping to indicate that it was
in the middle of focus tracking. Again, I
| | 02:12 | could shoot at any time.
| | 02:13 | I'm going to switch back to One Shot.
| | 02:16 | My other focus control has to do with where
the camera is choosing to focus in the scene,
| | 02:21 | and that's what we're going to spend
the rest of this chapter looking at.
| | 02:24 |
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| Selecting autofocus areas| 00:00 | When we were shooting in Scene Intelligent
Auto mode, you got to experience the Mark
| | 00:05 | III's automatic autofocus
point selection feature.
| | 00:08 | So, when I half-press my shutter button, it
analyzes my scene, decides that the camera
| | 00:14 | on the left is the subject, and
automatically picks points on that camera.
| | 00:19 | So when I take that shot,
that camera is in focus.
| | 00:23 | Now, with deeper depth of field, I could
possibly get both cameras in focus, but that's where
| | 00:27 | the Mark III has chosen to focus.
| | 00:30 | When I switch to another mode, such as
Program, things get a little bit different.
| | 00:34 | By default, Program mode does not opt
for the automatic focus point selection.
| | 00:39 | What's great about automatic focus point selection
is that if you're shooting a rapidly changing
| | 00:44 | scene, and you're working quickly, autofocus
point selection can keep you from having to
| | 00:49 | worry about whether you've
got your subject in focus.
| | 00:51 | There will be other times, though, where you will
want control of which focus point the camera uses,
| | 00:57 | either because you don't have time to worry
about whether the camera is got it right, or
| | 01:01 | because the camera is choosing the
wrong focus point; it's getting it wrong.
| | 01:05 | So when you switch to Program mode, the camera
defaults to choosing only the center focus point.
| | 01:12 | Watch what happens when I autofocus here;
| | 01:15 | it chose that point right in the dead center.
| | 01:18 | It's always going to choose that
point, by default, in Program mode.
| | 01:21 | This is what Canon calls single-point AF mode.
| | 01:24 | Now, in this case, it's not working really well for me,
because the center point is not actually on either camera.
| | 01:29 | It's not on my subject.
| | 01:31 | There are two things I can do at this point.
| | 01:32 | I can either move the camera to put the focus point
where I want it, half-press the button, and then reframe,
| | 01:39 | or I can simply manually
choose another focus point.
| | 01:43 | I can use the multi-controller, the quick
control dial, or the main dial to move around
| | 01:48 | amongst any of the Mark
III's 61 autofocus points.
| | 01:52 | So I'm going to do that now.
| | 01:53 | I'm going to manually change the focus
point, so that it's no longer in the center.
| | 01:57 | Instead, I'm going to choose one of the
focus points on my leftmost camera over there.
| | 02:03 | So the way you do this is you
press the AF point selection button.
| | 02:07 | That's the one right here, and you can tell, this
icon now, it might make a little more sense to you.
| | 02:11 | It's supposed to be a frame with a
bunch of little autofocus points in it.
| | 02:14 | When I press that, inside my viewfinder, all of
the focus points, all 61 of them, light up in red.
| | 02:21 | My status display, meanwhile,
shows me that I'm in Selection mode.
| | 02:25 | So I'm going to use the multi-controller
here, and I'm going to just move this over to the
| | 02:29 | left until I've got a focus point lit up on
the camera; on the place where I want to focus.
| | 02:36 | Now, again, I could also use either
dial to move focus points around.
| | 02:40 | I'm just going to half-press the shutter button,
and now any time I half-press that's the point
| | 02:45 | it's going to focus on.
| | 02:46 | Now I can take my shot,
and that camera is in focus.
| | 02:51 | Let's go the other direction,
and focus on the other camera.
| | 02:54 | So again, I press my AF point selection button,
come over here, and I'm going to go up a little bit.
| | 03:03 | So that puts me right on a nice
contrasty part of that camera.
| | 03:05 | I'm going to half-press to autofocus,
take my shot, and now that camera is in focus.
| | 03:12 | Any time I move the focus point, I want to be
very careful to always put it back somewhere,
| | 03:17 | usually in the center,
| | 03:17 | someplace where I'm going to expect it to be,
because it's very easy to forget to change
| | 03:22 | it, go into a different shooting situation,
and end up coming home with a lot blurry photos,
| | 03:26 | because the camera is focusing in the center
when you expect it to be focusing in the center.
| | 03:31 | This is a really handy feature any time you're
locked on a tripod, if you're studio shooting,
| | 03:36 | if you're landscape shooting.
| | 03:38 | You probably won't use it so much when
you're handheld shooting, and later in this course
| | 03:42 | we will see why, as we walk you through the focus
and reframing technique that I mentioned earlier.
| | 03:47 | There are a lot of other ways of configuring
the focus points in your camera, and we're
| | 03:52 | going to look at those in
the rest of this chapter.
| | 03:53 |
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| Exploring other autofocus options| 00:00 | In the last movie, you saw how your Mark
III defaults in Program mode to a single
| | 00:05 | autofocus point, but it's one that you can
steer around to place on very specific things in
| | 00:10 | your image if you need to.
| | 00:11 | Your Mark III has many other focus modes, though,
for controlling autofocus points. I'm going
| | 00:17 | to cycle through to the next one.
| | 00:19 | To change to different autofocus area modes
you first press the autofocus point selection
| | 00:25 | button, just like you would if
you're going to steer a point around.
| | 00:28 | And then you press the multi-function button;
the one that's back here behind the shutter button.
| | 00:33 | And when you do that, you should move
on to the next mode, which you see here.
| | 00:37 | This is autofocus point expansion mode, and as you can
see, it has lit up four points around the center point.
| | 00:45 | Focus is still happening around that center
point, but if I'm in a servo tracking mode,
| | 00:50 | those other four points around that point
will be used to improve the tracking reliability.
| | 00:57 | Now, as with single point autofocus, I can
steer this whole thing around to different
| | 01:02 | parts of the frame, but it's moving both my main
point, and the four surrounding points as I move around.
| | 01:10 | Moving on from there, I'm going to again press
my autofocus point selection button, and then
| | 01:15 | my multifunction button. I'm going to press
it once. That moves me on to a second autofocus
| | 01:20 | point expansion, but now you can see
there are more boxes lit up; more focus points.
| | 01:25 | I've got eight around each point.
| | 01:27 | This is, again, going to affect servo tracking, or
any time when the camera is tracking a moving object.
| | 01:34 | I am going to go on to the next mode, again,
I'm pressing autofocus point selection, hitting
| | 01:38 | my multifunction button,
| | 01:40 | and now I'm through to zone autofocus,
this divides the 61 area focus points into nine
| | 01:47 | different zones. As before, I can still move
these things around, just as I would with
| | 01:54 | any of the other modes.
| | 01:56 | This, again, is all about focus tracking, and
you're going to learn more about these focus
| | 01:59 | tracking modes in the next movie.
| | 02:02 | Moving on, I'm going to go to the next option
here, which is 61 point automatic selection.
| | 02:07 | Now, this is exactly what you saw when you
were shooting with Scene Intelligent Auto mode.
| | 02:12 | This is going to automatically figure out
what my subject is, or try to, and choose the
| | 02:17 | appropriate focus points.
| | 02:18 | Finally, I have got one more mode, It cycles
around to what looks like our original mode.
| | 02:24 | I now have one focus point in the center,
but there's an important difference between
| | 02:29 | this, and the mode we were in before.
| | 02:30 | Now my little focus point dot there in the
center has a dot in the middle, and I'm sure
| | 02:36 | you can just imagine what that means.
| | 02:38 | This is single point spot autofocus, so it
works just like the single point area focus
| | 02:43 | mode that we saw originally, but it focuses
off of a much, much smaller area, so if you're
| | 02:48 | really trying to nail focus, say, on someone's
eye, and maybe you're standing back far enough
| | 02:53 | that it could be hitting their eye, or their
eyebrow, or something, this is going to nail
| | 02:57 | you into a much, much tighter focus.
| | 03:00 | One more cycle through here, and I'm back to
where I started; back in single point autofocus mode.
| | 03:07 | Now, this is a very complex array of options
here, and I'm going to tell you that for most
| | 03:11 | of your shooting, you can ignore everything
that I just said. You're probably going to
| | 03:15 | stick with either single point autofocus,
single point spot autofocus, or the 61 point
| | 03:21 | automatic selection.
| | 03:22 | If you do find yourself trying to shoot a moving
object, then you will use one of those other modes.
| | 03:28 | For the most part, you're never going to touch
them, there not going to be useful for anything,
| | 03:32 | and once you get into tracking moving objects,
you're possibly going to want to use one of
| | 03:38 | these modes over another, depending on the
direction the object is moving, and how quickly,
| | 03:42 | and you'll see about that in the next movie.
| | 03:43 |
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| Customizing servo auto focus| 00:00 | If you shoot in servo focus mode, that is, if
you ever are dialed in here to AI Servo, or
| | 00:08 | AI Focus, which might drop into servo mode;
| | 00:10 | in either of those cases, you might want to
tweak the way that servo focus is working.
| | 00:16 | If you think about it, moving
objects can move in different ways.
| | 00:19 | They might be moving in a particular direction;
predominantly horizontally, or vertically.
| | 00:23 | They might move with different speeds.
| | 00:24 | They might start, and stop.
| | 00:26 | To that end, the first page of the autofocus
tab gives you different cases of autofocus
| | 00:34 | tracking; of servo tracking.
| | 00:36 | For each of these cases, there are three
parameters that Canon is changing: Tracking sensitivity,
| | 00:43 | Acceleration and deceleration
tracking, and Autofocus point switching.
| | 00:46 | We'll look at what those
individual parameters are in a minute.
| | 00:50 | First, let's look at what
these different cases are.
| | 00:52 | Basically, these are five different collections
of different settings for these three parameters.
| | 00:57 | Case 1, Canon describes as just
a versatile multipurpose setting.
| | 01:01 | If you look at page 86 of your manual, you'll see
more detailed descriptions of what each case is.
| | 01:08 | Case 2 says it will continue to
track subjects, ignoring possible obstacles.
| | 01:12 | So if you've got something that's moving behind,
like, a telephone pole, or another moving object,
| | 01:18 | it will continue to track your original subject.
| | 01:21 | Case 3 claims to instantly focus on
subjects suddenly entering autofocus points.
| | 01:26 | So this means, if you're tracking one object
at a certain distance, and another object comes
| | 01:31 | into frame, and actually by frame, I mean
comes over any of your autofocus points, it will
| | 01:36 | switch to that object.
| | 01:38 | Maybe you're shooting a foot race, and you're
tracking someone who is in the lead, and someone
| | 01:42 | suddenly overtakes them, runs into your
field of view, and overtakes them, it would start
| | 01:45 | tracking that person.
| | 01:47 | Case 4 is for subjects that accelerate
or decelerate quickly, and they're kind of
| | 01:51 | showing a soccer player here, which
might not be a bad example of what that is.
| | 01:56 | Case 5, for erratic subjects moving quickly
in any direction, and they're showing you either
| | 02:01 | someone who's an ice skater, or
is slipping on a banana peel;
| | 02:05 | I can't really tell. Either of those is going
to be someone quickly moving in any direction.
| | 02:10 | Finally, we have subjects that change
speed and move erratically, and I couldn't begin
| | 02:16 | to tell you what the person in this icon is
doing, but if you think about a tennis player,
| | 02:20 | or somebody that might suddenly change
direction, even though they've got a tennis player icon
| | 02:25 | up here. Obviously, you're going to need to work
with these in different cases to see what works best.
| | 02:31 | So let's say I want to change
the particulars of this case.
| | 02:35 | As you can see, first of all, I can get
some help here by pressing the Info button,
| | 02:38 | although it doesn't really
give me a lot of help.
| | 02:40 | I can also press the Rate
button to get to my Detail settings.
| | 02:44 | So if I press Rate, now
these things become editable.
| | 02:48 | Tracking sensitivity is basically controlling
how sensitive the camera is to the subject
| | 02:53 | moving from one point to another.
| | 02:56 | Acceleration/deceleration tracking controls
sensitivity for a subject who's suddenly changing
| | 03:01 | speed, and Autofocus point switching sets a
sensitivity to a subject that's moving fast
| | 03:08 | enough that they're suddenly
going from one point to another.
| | 03:11 | Now, when you're working with these, notice
that the scales aren't normalized the same way.
| | 03:14 | In this case, zeroes are in the
middle, and you can have less or more.
| | 03:18 | Here I can't have less;
| | 03:19 | I can only have more.
| | 03:20 | There are detailed descriptions of these parameters
starting on page 90 of your manual, and if
| | 03:25 | you're really going to go in and mess with
the stuff, you're going to want to read those
| | 03:28 | pages in great detail.
| | 03:30 | I'm going to make sure these are set to
the default right now by hitting the trashcan
| | 03:33 | button, and get out of here, because I
don't actually want to change any of those.
| | 03:39 | One important thing to know about servo tracking,
and about the Mark III's autofocus system
| | 03:43 | in general, is that those
61 points are not all equal.
| | 03:47 | Some can measure focus only vertically, some
measure horizontally, some measure on multiple axes.
| | 03:54 | You can see a diagram of that on page 78.
| | 03:56 | It's a complex diagram, and to be honest,
you don't really need to know this stuff.
| | 04:00 | If you're really going to go in and maniacally
tweak one of these autofocus cases, then understanding
| | 04:07 | the points may make a little bit
of difference, but probably not.
| | 04:10 | The other thing to know is that different
Canon lenses use different numbers of focus points.
| | 04:16 | Not all Canon lenses can use all 61 focus
points, and you can see which lenses use which
| | 04:22 | focus points starting on page 79.
| | 04:25 | If you are going to be doing a lot of
servo tracking, you're going to want to consult
| | 04:29 | that part of your manual to find out if the
lens that you're using actually can use all
| | 04:33 | of the focus points that the Mark III has.
| | 04:35 | If it cannot, and servo tracking is something
that you really need capability for, then you
| | 04:39 | may need to invest in a new lens.
| | 04:42 | There's a lot of depth to
the servo tracking feature,
| | 04:45 | so you're going to want to review
those parts of your manual very carefully.
| | 04:47 |
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| Exploring autofocus custom functions| 00:00 | Starting on the second page of the autofocus
tab are a bunch of functions for customizing
| | 00:06 | the autofocus capabilities of your Mark III.
| | 00:09 | We're not going to go through
all of these in great detail.
| | 00:11 | I'm going to call out some
particularly useful ones.
| | 00:13 | You can find explanations of all of
them starting on page 94 of your manual.
| | 00:17 | First off, we have AI Servo 1st image priority.
| | 00:21 | If you've used servo focus at all, you know
that sometimes, after you've half-pressed the
| | 00:25 | shutter button to start servo tracking, when
you press it the rest of the way, the camera
| | 00:30 | won't necessarily take a picture of that moment.
| | 00:32 | If it's in the middle of searching for focus,
or if it doesn't think it's got an image that's
| | 00:36 | in focus, it simply won't shoot.
| | 00:38 | If I open this up, I can see that by default,
servo focus is set to try and balance between
| | 00:45 | when I press the shutter
button, and when I may have focus.
| | 00:47 | In other words, when I press the button all
the way down, it's going to go well, okay,
| | 00:52 | he's pressed the button, but, well, okay yeah, I
mostly got focused, I guess I'll take the picture.
| | 00:57 | There's no guarantee that it's
going to actually take a picture.
| | 00:59 | If I skew this over here,
I'm giving release priority.
| | 01:03 | That means if I press the button, it doesn't
matter what the camera is doing, it takes a picture.
| | 01:07 | So I may not get a picture that's in focus.
| | 01:09 | If I put it over here, what I'm saying is, when
I press the button, don't take a picture until
| | 01:14 | you have found focus.
| | 01:16 | I'm going to pop back out here, and I have
something else called 2nd image priority.
| | 01:21 | This allows me to set
priority for when I'm burst shooting.
| | 01:26 | If I'm burst shooting with servo tracking, I
can opt for more speed, which means I'm going
| | 01:30 | to end up with images that may not be focused,
or I can opt for only shooting when the camera
| | 01:37 | has achieved focus.
| | 01:39 | There is a similar command over here on the second
page called One-Shot autofocus release priority.
| | 01:44 | This does the same thing when
I'm working in One Shot mode.
| | 01:47 | When I'm not servo tracking, I can say, I
absolutely want you to take a picture;
| | 01:52 | I don't care if you're in focus,
| | 01:53 | or I can say, no, no, don't shoot
until you absolutely have focus.
| | 01:56 | This is the default mechanism here.
| | 01:59 | If you're shooting a rapidly changing scene,
and you're thinking that focus maybe isn't
| | 02:04 | so super critical, then you could change this.
| | 02:06 | Most of the time you'll
probably want to leave this right here.
| | 02:08 | Moving on to the next page;
couple of possibly useful things here.
| | 02:13 | First of all, Selectable AF point.
| | 02:16 | I can change the number of points available. If you
find that 61 is too many, because it's too granular,
| | 02:23 | maybe the camera is going so fine that it's
selecting things regularly that you don't want,
| | 02:27 | you can try to narrow the number
of points; you can reduce them.
| | 02:32 | In some ways, that's going to
make the autofocus less accurate.
| | 02:34 | In other situations, it
might make it more accurate.
| | 02:38 | If you never use servo tracking, or if you
certainly don't need the level of servo tracking
| | 02:44 | detail that the camera provides, you can come
here to Select AF area select mode, and turn
| | 02:49 | off any selection modes that you never use.
| | 02:53 | So, for example, maybe I do
a little servo tracking,
| | 02:56 | so I'll keep an expanded autofocus area
mode, but I never get so detailed that I'm
| | 03:01 | dealing with the cases, and that kind of thing;
| | 03:03 | I'm just going to turn that off.
| | 03:05 | I'm also going to turn off the zone autofocus
mechanism; that's far more detailed than I need.
| | 03:10 | So now when I'm cycling through all of my
different autofocus modes, they are two less
| | 03:15 | that I have to go through.
| | 03:16 | If you never use anything, but the spot area
focuses, the single point autofocus mechanisms,
| | 03:23 | maybe you want to turn off the rest of these.
| | 03:24 | That can make it much easier to
change between the two of them.
| | 03:27 | Notice that you can't turn off the
default autofocus selection option.
| | 03:34 | When you're ready to cycle through from
one area focus selection method to another, as
| | 03:38 | you've seen, you first press this button, and
then you press the multi-function button back here.
| | 03:43 | If you'd like, you can set that to a different control.
You can set it to the main dial, rather than that button.
| | 03:49 | Finally, a couple of other
options you may want to play with.
| | 03:52 | You can change the way that autofocus points
are displayed using these two options right here.
| | 03:58 | If you have very, very fast lenses, like a
F1.850 mm lens, or a 1.2, you might want to try
| | 04:06 | the Autofocus Microadjustment.
| | 04:08 | This allows you to fine tune the
autofocus for those particular lenses.
| | 04:12 | Now, this requires some very particular kind
of targets that you need to measure off of,
| | 04:17 | so you may not actually
have what you need to do this.
| | 04:20 | You can find out more details about how to
use this feature on page 104 of your manual.
| | 04:24 | Also, a company called Michael Tapes Design offers a
product to help you do this; a thing called LensAlign.
| | 04:31 | You can find out about them
at michaeltapesdesign.com.
| | 04:36 | So there are a lot of options here to play
with, and there are a lot of ways of tweaking
| | 04:39 | the autofocus system to get it not only
more reliable for the way you shoot, but also to
| | 04:45 | improve the interface.
| | 04:46 | So you're probably going to want to spend
some time looking at these different options.
| | 04:49 |
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| Using manual focus| 00:00 | While I rely heavily on Auto focus most of
the time, there are still occasions when I
| | 00:04 | switch my camera over to Manual focus.
| | 00:07 | For moving situations, Manual focus is sometimes
faster than Auto focus for the simple reason
| | 00:12 | that, as good as your Auto focus
system is, you're still smarter than it is.
| | 00:17 | If you're in a situation where a moving
object is traveling in a very predictable way, then
| | 00:21 | you might be able track focus manually very
smoothly as you wait for the precise moment
| | 00:25 | that you want to shoot.
| | 00:27 | Your Auto focus system may rack in and
out of focus as it looks for the point.
| | 00:31 | Manual focus is also useful for times when
Auto focus doesn't lock, either because your
| | 00:35 | subject lacks contrast, or because
there's not enough light in the scene to focus.
| | 00:39 | Of course, if there is not enough light
for your camera to focus, then there may not
| | 00:43 | be enough for you to see either,
but that's still worth a try.
| | 00:46 | Finally, I sometimes use Auto
focus and Manual focus in combination.
| | 00:50 | If I'm shooting the same subject over and
over, for example, if I am shooting a landscape
| | 00:55 | in rapidly changing light, I'll frame my shot
in Auto focus, or using Auto focus, then switch
| | 01:00 | the camera to Manual focus.
| | 01:02 | As long as I don't bump the lens, my
Auto focus choice will now be locked in.
| | 01:06 | Now I can just keep shooting
without having to wait for Auto focus.
| | 01:09 | This can also be handy for a portrait shoot,
where your camera to subject distance never
| | 01:13 | changes, and you want to be able
to shoot without waiting for focus.
| | 01:17 | To switch to Manual focus, you need to look
on your lens, and find an Auto focus/Manual
| | 01:22 | focus switch; there should be one somewhere.
| | 01:24 | So I'm currently set on AF, Auto focus. I am just
going to move that over to the MF, Manual Focus.
| | 01:30 | And now when I half-press the shutter button,
I don't get a beep, because the camera is not
| | 01:34 | engaged in any focusing.
| | 01:36 | Instead, to focus I need to
turn the focus ring on my lens.
| | 01:39 | And as I turn it, the distance gauge turns also.
| | 01:43 | This is showing me at what point I'm focused
on, and it's measuring both in feet and meters.
| | 01:48 | It's not a real granular gauge, so if you're
thinking that you would measure focus to your
| | 01:52 | subject, and dial in a very precise
measurement here, you are not going to really have an
| | 01:57 | easy time doing that.
| | 01:59 | Manual focus is difficult to do in low light,
because of course, you are just looking through
| | 02:02 | the optical viewfinder, and if it's real dark in
there, it can be hard to see if something is in focus.
| | 02:07 | I will very often use Manual focus in conjunction
with Auto focus. For example, let's say I am
| | 02:13 | shooting a portrait, and the distance between
my camera and my subject is not going to change.
| | 02:18 | So I want to be able work quickly, I don't
want to have to refocus all the time, but
| | 02:22 | I want to be shooting a lot, because
their expression is going to be changing.
| | 02:26 | And maybe I've got enough depth of field
that I know that after I've manually focused, I
| | 02:30 | don't have to worry too much
about things going out of focus.
| | 02:33 | So what I would do in that instance is
actually put the camera on Auto focus, half-press to
| | 02:39 | let the camera choose focus, and then switch my
lens over to Manual focus. Now focus is locked in.
| | 02:46 | Now I can just shoot, and shoot, and shoot, and
not have to worry about it hunting for focus.
| | 02:51 | Notice, it's beeping right now. That's because,
when you're in Manual focus mode, if the camera
| | 02:56 | thinks that the focus you've
dialed is correct, it will beep at you.
| | 03:00 | So I am going to throw that off
a little bit, and I get no beep.
| | 03:03 | If I turn it back just a little bit -- and now I am
going to have to find it, which could be tricky.
| | 03:08 | But when I get in there, and actually get the
focus set to what the camera thinks is correct,
| | 03:13 | it will beep at me; there it is.
| | 03:14 | So that's a little kind of automatic verification
you get, even when you're shooting in Manual focus mode.
| | 03:20 | So don't entirely write off Manual focus as
something that's left over from the old days,
| | 03:25 | it actually can be useful in a lot of situations,
particularly when you combine it with the
| | 03:29 | Auto focus capabilities of your camera.
| | 03:30 |
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|
|
5. Controlling White BalanceUsing auto white balance| 00:00 | Different types of light
shine with different colors.
| | 00:03 | For example, tungsten lights are
redder, or warmer, than fluorescent light.
| | 00:08 | Now, while your eye does an amazing job of
adjusting automatically to different types
| | 00:12 | of light, so that colors always look
correct, your camera doesn't fare so well.
| | 00:16 | Your camera has to be calibrated to the
type of light that you are shooting in. If it's
| | 00:20 | not, then colors are going to appear wrong.
| | 00:23 | This process of calibration
is called white balancing.
| | 00:26 | Now, the idea is that you calibrate the camera,
so that white appears correct. Because white
| | 00:32 | contains all other colors, if you can get white looking
good, then you get all the other colors for free.
| | 00:37 | By default, your camera is
set to auto white balance.
| | 00:40 | With auto white balance, the camera will attempt to
continuously white balance itself on the fly as you shoot.
| | 00:47 | Your Mark III defaults to auto white balance,
and you can see that indicated right here
| | 00:51 | on the status display;
that's what that AWB stands for.
| | 00:54 | If yours has been changed, you can change it
back by pressing the metering white balance
| | 00:58 | button, and then turning the quick control
dial to cycle around until you get to AWB.
| | 01:04 | There is really not much more to auto white balance.
You set it, and it neither works, or it doesn't.
| | 01:10 | Your Mark III, though, does have a white balance
shift feature, and a white balance auto bracketing
| | 01:14 | feature. You get to both of
those through the menuing system.
| | 01:17 | We are not going to cover those in this course.
| | 01:19 | They are very complicated, and in my opinion, they
are not that useful. There are other ways
| | 01:24 | to deal with the problems that they solve.
| | 01:27 | If you want to know more about those two features,
though, check out page 140 of your Mark III manual.
| | 01:32 | You'll probably find that you can stick
with auto white balance for most of your shots.
| | 01:36 | Where it will start to let you down is in
shady light, or situations with mixed lightings;
| | 01:41 | sunlight streaming into a
fluorescently lit room, for example.
| | 01:44 | In those instances, you'll need to
change to a different white balance setting.
| | 01:47 |
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| Exploring white balance presets| 00:00 | For most situations, auto white balance is
going to be your white balance of choice.
| | 00:05 | The auto white balance
mechanism on the Mark III is very good.
| | 00:08 | However, if you're taking some shots with
auto white balance, and you're noticing on
| | 00:12 | the back of the screen that maybe the
white balance is a little off, that your colors
| | 00:15 | look a little strange, you can
change to a different white balance.
| | 00:20 | So, to change white balance, I press the white
balance button, and now I've got the option
| | 00:25 | to change white balance, and metering mode.
| | 00:28 | But of course, because white balance is on the
right side of the little dot, it's the rear dial.
| | 00:34 | So I can cycle through these by
turning the command dial back here.
| | 00:36 | From auto white balance, I get daylight, shade,
cloudy, incandescent or tungsten, fluorescent,
| | 00:46 | flash, a manual white balance setting, which
we'll look at in a separate movie, and the
| | 00:51 | option to dial in a specific white balance
in degrees Kelvin, and then it cycles back
| | 00:57 | to auto white balance.
| | 00:58 | So let's say that I'm outside shooting in
shade, and I take some pictures with auto white
| | 01:03 | balance, and I am shooting a person, and I
notice their skin just looks a little cold.
| | 01:08 | I could simply press this
button, and drop down here to shade.
| | 01:12 | In my experience, auto white balance on the
Mark III really does a great job in pretty
| | 01:16 | much all situations, except for shade, or
maybe on a cloudy day, and I've got two different
| | 01:22 | settings there: shade, and cloud. They are
slightly different. Which one is going to
| | 01:25 | be right for your situation is just something
you are going to have to experiment with.
| | 01:29 | Now, there are some other
ways to change white balance.
| | 01:32 | From the camera's menuing system, I can go
here to the second shooting page, and there's
| | 01:38 | a white balance entry; it shows where I'm
currently set, and now I've got all of my different
| | 01:43 | options arrayed here.
| | 01:45 | And I can cycle through them with the command
dial, and actually get a label of what they are.
| | 01:50 | So if you forget what the icons are, this is a
way of getting a little feedback while you're
| | 01:53 | selecting white balance.
| | 01:55 | Now, white balance is measured in degrees
Kelvin, and one thing that's nice about this display
| | 01:59 | is it tells me the actual color temperature
that's being dialed in by each of these settings.
| | 02:05 | If I want, if I know the exact color temperature
of the lights that I am using in degrees Kelvin,
| | 02:10 | I can come over here to the K setting, and
change the temperature specifically with the
| | 02:16 | main dial up here, so I can dial
in a very particular temperature.
| | 02:19 | When I get all of this configured the way
that I want, I hit the Set button, and drop
| | 02:24 | back out, and now you can see it's automatically
changed me over to K, and that's going to be
| | 02:29 | K at the temperature setting that I specified.
| | 02:31 | Now, you want to be careful about judging
color on the LCD screen. You don't want to get too
| | 02:36 | picky about the colors that you're seeing,
but the color on the LCD screen is good enough
| | 02:40 | to judge a bad white balance,
| | 02:42 | so keep an eye on that while you're shooting.
Over time, you're going to get more experience
| | 02:46 | into when you should change out of auto white
balance, and when you should use a white balance preset.
| | 02:52 | One way to avoid this entire issue is simply
to shoot RAW, because in RAW mode, you can
| | 02:56 | change white balance after the fact.
| | 02:58 | Even as a RAW shooter, though, it's a good
idea to get white balance set correctly in
| | 03:03 | camera, because it's going to save
you a lot of post-processing time later.
| | 03:05 |
| | Collapse this transcript |
| Using manual white balance| 00:00 | Most of the time, auto white balance will
be all you need to get good color. There will
| | 00:05 | be times, though, when auto
white balance might let you down.
| | 00:08 | Maybe you're shooting in shade, or on a
cloudy day, or perhaps you're in a very difficult
| | 00:13 | white balance situation, like I'm in right now.
| | 00:15 | We've got a mixed lighting situation here.
| | 00:17 | We've got daylight lights
mixed with tungsten lights.
| | 00:21 | And the practical upshot is those flowers
back there, which are supposed to be white,
| | 00:25 | are looking very yellowish, or orangish, and that's
going to confuse the white balance on the camera.
| | 00:32 | We haven't looked at live view yet, but
I'm going to go ahead and turn it on now.
| | 00:36 | Don't worry, you're going to get a whole
chapter on live view later in this course,
| | 00:39 | but this is going to be easier for you to
understand if you can watch what's happening in camera.
| | 00:43 | You can see right off the bat that my white
flowers don't look white, even to the camera;
| | 00:48 | they've got a real
yellowish orange look to them.
| | 00:51 | I'm going to go ahead and take a picture here,
because I want to store this bad white balance
| | 00:57 | scene that we've got here.
| | 00:58 | Now, I could change to a white balance preset.
| | 01:01 | I could change to tungsten, or
daylight, or something like that,
| | 01:04 | but none of those are actually going to be
right for this particular lighting instance.
| | 01:07 | What I need to do here is a
completely manual white balance.
| | 01:11 | This is always going to be the most accurate
way to get white balance for any scene, but
| | 01:15 | especially for one like this, that's
confusing the auto white balance mechanism.
| | 01:19 | So, the manual white balance process starts by
pointing at something that is a neutral gray, or a white.
| | 01:26 | So I'm going to ask Lauren to put this
big piece of white foam core in the scene,
| | 01:32 | and if Lauren is not hanging around your scene,
that's okay; you can get someone else to do this.
| | 01:35 | You just need a piece of white paper; something
white, or get a neutral gray. It needs to
| | 01:40 | fill most of the frame.
| | 01:42 | Most importantly, it needs
to be back there in the light.
| | 01:45 | Notice, she is not putting it
right here in front of the camera.
| | 01:47 | It needs to have the light on
it that's causing the problem.
| | 01:50 | Now I need to take a picture of it.
| | 01:52 | I'm going to switch to Manual focus right
now, because that bare white card, the
| | 01:59 | autofocus is not going to be able to focus on,
and I'm just going to take a picture.
| | 02:03 | So now I have a picture of my white card.
| | 02:05 | I'm going to switch back to Auto focus.
| | 02:07 | Lauren, you can take the
card out of there. Thank you!
| | 02:09 | I'm going to use that as a reference for the
camera to generate a correct white balance off of.
| | 02:15 | I'm going to go into my menuing system here now.
| | 02:18 | And in the second page of the shooting menu,
you'll find two white balance related entries.
| | 02:22 | Actually, you'll find three, but
we're only going to use two of them.
| | 02:24 | White balance, which you can see, is
currently set to auto white balance.
| | 02:27 | With this command, I can do the exact same
thing that I would do if I simply push the
| | 02:31 | white balance button up here,
and chose a new white balance.
| | 02:34 | And down here, Custom White
Balance; this is what I want right now.
| | 02:37 | I'm going to hit Set.
| | 02:38 | Now, when I do, it shows me the last image
that I took, which in this case, is my white card.
| | 02:43 | If I had taken some more images in the meantime,
I would need to navigate back to this image.
| | 02:47 | You notice here that this is the sign for
manual white balance, and next to it, it says Set.
| | 02:52 | So, by pressing the Set button, I'm going to tell the
camera to calculate white balance off of this image.
| | 02:58 | So I'm going to do that now,
| | 03:00 | and it's telling me to be sure to -- or it's
asking me to confirm, do I want to use white
| | 03:03 | balance data from this image?
| | 03:05 | I'm going to say Yes.
| | 03:06 | Then it's reminding me to set
white balance to the custom setting.
| | 03:10 | So I'll say, thank you for reminding me about
that, and I'll just go do that right now with
| | 03:14 | this very menu command.
| | 03:16 | I'll come up here and change from Auto
white balance over to Custom white balance.
| | 03:20 | So I hit Set there, and say OK.
| | 03:24 | And now, right away in live view, I can
see that things are very different.
| | 03:27 | My white flowers are back to being white.
| | 03:30 | So I'm going to take a shot here.
| | 03:32 | Now let's go back and compare.
| | 03:38 | Here is my image shot with a custom white balance,
here is the image shot with auto White Balance,
| | 03:43 | and you can see there is a big difference
between the two; a huge color shift here.
| | 03:47 | So this is a much better
white balance for my white flowers.
| | 03:51 | But, you might be saying, I like the other image
better, because it's got all that nice warmth to it.
| | 03:56 | That's fine!
| | 03:57 | From an aesthetic standpoint, you might
like having more warmth in your image.
| | 04:00 | I would argue that it's better,
though, to shoot for accuracy.
| | 04:04 | You can always warm and cool an
image later in your image editor.
| | 04:08 | It's very difficult to correct a bad white
balance, especially if it's a scene with lots
| | 04:12 | of different colors in it, and
especially if you're shooting JPEG.
| | 04:15 | Now, if you're shooting RAW, you can always
change white balance after the fact. It would
| | 04:20 | be very easy to correct this
RAW file in my image editor.
| | 04:24 | That said, if I get white balance right in
camera, it's going to save me a lot of image
| | 04:28 | editing time later.
| | 04:29 | So I would press upon you to always go for
accurate white balance in camera, both because
| | 04:34 | it's difficult to correct
later, and it's a timesaver.
| | 04:37 | If you get it right in camera, it's
less editing that you need to do later.
| | 04:40 | One of the most important things to know about
working with white balance is that the really
| | 04:44 | hard part of the work is not what's done in
camera; it's what you do with your eye when
| | 04:48 | you're looking at the scene.
| | 04:49 | You need to learn to recognize when you are facing a
scene that might need some white balance attention.
| | 04:55 | The problem is that your eye
is constantly correcting color.
| | 04:58 | So even though these flowers look very red
and yellow, a less subtle lighting shift may be
| | 05:04 | more difficult to detect, because my eye is
really going to impress upon me that they are white.
| | 05:09 | So it takes some practice to learn to
really get in the habit of recognizing, oh,
| | 05:14 | I think the flesh tones in this image are
too cool, because I'm shooting in shade, or
| | 05:18 | I think this tungsten light is
lending an orange cast to my image.
| | 05:21 | So good white balance starts with paying
attention to the colors in your scene, learning
| | 05:27 | to recognize when you might need to compensate
for bad color, and then turning to the white
| | 05:32 | balance capabilities of your 5D.
| | 05:35 |
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|
6. Using Drive Mode and the Self-TimerExploring Drive mode| 00:00 | The great photographer Henri Cartier-Bresson
spoke extensively about the decisive moment;
| | 00:06 | that one particular moment that happens
that is the perfect decisive expression of the
| | 00:12 | scene or event that you're trying to photograph.
| | 00:14 | Now, because he was a genius, he was often able
to fire his camera at the perfect decisive moment.
| | 00:20 | For the rest of us, there's Drive mode.
| | 00:23 | In Drive mode, as you hold the shutter button
down on your camera, the camera will continue
| | 00:28 | to snap frames one after another.
| | 00:30 | Drive mode is a great tool for shooting in fast
moving environments; sports, street shooting,
| | 00:35 | and nature shots, for example.
| | 00:37 | But it can also be ideal for portraiture, when
a person's face is making lots of tiny subtle
| | 00:42 | changes, and you're not sure
which is the ideal expression.
| | 00:46 | However, you can't use Drive mode indefinitely.
| | 00:48 | That is, you can't just hold the button down,
and expect the camera to always keep shooting.
| | 00:52 | When you take a picture, the camera has to move a
lot of data around, and do a lot of computation.
| | 00:57 | You can take pictures faster than your
camera can get them written to the media card, so
| | 01:01 | your camera has a memory buffer that
can hold a certain number of pictures.
| | 01:05 | Now, as you shoot, your images can
be quickly thrown into that buffer.
| | 01:10 | Then the camera can start the process of copying
images from the buffer to your memory card,
| | 01:14 | while you continue to snap away.
| | 01:16 | If the buffer fills, then your camera will
cease to be able to take pictures, and you'll
| | 01:20 | have to wait for it to empty out
before you can start shooting again.
| | 01:25 | Your current Drive mode is displayed right here.
| | 01:27 | A single frame, that is, a single little rectangle
right there indicates that I'm in single shot mode.
| | 01:32 | If I press the shutter
button, it takes one picture.
| | 01:35 | I can change Drive mode by pressing my Autofocus-
Drive button up here, and then turning the
| | 01:40 | command dial on the back.
| | 01:41 | One click to the right
takes me to high-speed burst.
| | 01:45 | This is going to get me
approximately 6 frames per second.
| | 01:48 | Well, that was only five, but I
let my finger off the button.
| | 01:53 | As you can see, it's a really fast burst mode.
| | 01:55 | If I continue from there,
I get a slower burst mode.
| | 01:58 | This is the one that
doesn't have the H next to it.
| | 02:01 | That gets me about three frames per second.
| | 02:03 | So you can see that that is noticeably slower.
| | 02:06 | Now, you may think, well, if I've got that
really fast burst mode, why would I ever bother
| | 02:09 | with the slower burst mode?
| | 02:11 | Well, sometimes you actually don't want to capture
things at six frames per second; portraits, for example.
| | 02:17 | It's nice using a burst mode for portrait,
because people's expressions do change, and
| | 02:21 | sometimes a subtle expression change from one
moment to the next will make for a better picture.
| | 02:26 | But people's faces don't tend to change expression
fast enough to need a six frame per second burst.
| | 02:32 | On the other hand, if you're shooting HDR, or
trying to stop a really fast moving car or
| | 02:37 | something at a particular moment, then going to
that faster drive mode is going to be a better choice.
| | 02:42 | So it's really nice having these two different
burst speeds, and this is one of the nice improvements
| | 02:46 | of the Mark III over the Mark II
is the six frames per second burst.
| | 02:50 | Going on, I get a new silent shooting mode.
| | 02:54 | So this is going to shoot a single frame,
but it's going to try and do it a little more
| | 02:57 | quietly than it did the last time.
| | 02:59 | I think you can hear the difference.
| | 03:02 | That's definitely quieter
than my normal single shot sound.
| | 03:08 | So if you're shooting a performance, or shooting
in a museum, or shooting espionage, then having
| | 03:14 | a quieter shutter can be a real bonus.
| | 03:17 | I also have a quieter burst mode.
| | 03:20 | If I go here, I'm back to my slower speed at about
three frames per second, but it's definitely quieter.
| | 03:29 | Moving on from there, I get my self-timer mode.
| | 03:32 | So this is the old thing where I press the
shutter button, and it starts beeping, and then
| | 03:36 | I run around in front of the camera.
| | 03:37 | I've got two different timers, though.
| | 03:39 | I've got this timer, and this one.
| | 03:42 | So this first one is a ten second timer; that
means the shutter is going to go off in ten
| | 03:46 | seconds, giving me a plenty of time
to get around in front of the camera.
| | 03:49 | The second one is a two second timer, which
is not going to be nearly enough time to get
| | 03:53 | around in front of the camera, and stop breathing
heavy, and get a decent expression on my face.
| | 03:57 | What this is good for is times when I want
the self-timer just because I want camera
| | 04:02 | vibration to reduce.
| | 04:04 | So maybe I'm locked down on a tripod.
| | 04:06 | I'm getting ready to do a product shot, or I'm
getting ready to do a long exposure shot of some kind.
| | 04:10 | A two second timer will give the camera
two seconds to stop moving after I've touched it
| | 04:16 | before it actually takes the picture.
| | 04:18 | So that's really handy for
studio shooting, and lowlight shooting.
| | 04:22 | Finally, either of these will also
allow me to work with a remote control.
| | 04:28 | It's not necessary to dial
these into use a remote control;
| | 04:31 | this is just a self-timer that will
work with a wired or wireless remote.
| | 04:37 | All of these eventually loop back around to
my normal, single shot, loud shooting, as opposed
| | 04:42 | to do the single shot, quiet shooting.
| | 04:43 | So that's Drive mode. Very easy to get to, even
while you're looking through the viewfinder.
| | 04:47 | It's just the button right to the left of
the ISO button, which you can feel very easily.
| | 04:51 |
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| Using the self-timer| 00:00 | Most people have used a self-timer on a
camera. You know, you balance the camera on a rock
| | 00:05 | or something, and you point it at your friends,
and then you set it off, and you try and run
| | 00:09 | back, and get in the frame, and look
natural before the camera takes a picture.
| | 00:13 | To use the self-timer on the Mark III, you
need to have the camera stabilized somehow,
| | 00:17 | so that means either putting it on a tripod,
setting it on a table, or a rock, or whatever.
| | 00:22 | Next, you need to activate the self-timer,
which you do with the Drive button, and I'm
| | 00:27 | just going to, because it's the second item
listed, the one on the right, I'm going to turn
| | 00:31 | the command dial to get over to here to one
of my self-timer options; either the 10 second
| | 00:36 | self-timer, or the 2 second self-timer. I'm going
to go ahead and set it on the 10 second self-timer.
| | 00:42 | And now I would frame my shot, make all my
exposure decisions, and so on, and so forth, and
| | 00:47 | then I'm ready to take my picture. I half-press
the shutter button to meter, and focus,
| | 00:51 | and once I'm ready to go, press it the rest
of the way, and now its starts counting down.
| | 00:55 | So you can see the countdown timer going off
here; it's beeping. As it gets closer to finishing,
| | 01:01 | within two seconds, the beep goes
faster, and then it takes the shot.
| | 01:05 | So that's the 10 seconds that I have to
run around, and get in front of the camera.
| | 01:09 | Obviously, that's only going to be 2 seconds
if I switch to the 2 second timer, and there
| | 01:14 | you're just going to hear the fast beep,
see the countdown, and then it's going to fire.
| | 01:18 | Now, if you're doing a self portrait, odds
are, there's not going to be anyone behind the
| | 01:22 | viewfinder here, and without your head there
to block light, light can actually come into
| | 01:27 | the viewfinder, bounce around off the pentaprism,
and possibly create flare inside your lens.
| | 01:34 | Now, you should have gotten one of these
with your camera; it's a little piece of rubber
| | 01:38 | that threads onto the strap. It's got these
little brackets here with holes that you can
| | 01:42 | thread your strap through, so that you always
have it with you, and if you notice, it's got
| | 01:46 | a little grooves in here that can fit on over your
viewfinder, if you just take the viewfinder cap off.
| | 01:55 | So I can, in theory, thread that over there.
| | 02:00 | Now, with that there, I'm not going to get
any light in through here, and I'm going to be
| | 02:04 | able to get around and shoot without worrying
about flare in the lens. And then this just
| | 02:09 | slides off, and this comes back on.
| | 02:12 | Now, we're showing this to you now as I kind
of standalone thing. You can actually leave
| | 02:15 | it on your strap, and still get that slid over
there. You don't have to take your strap off,
| | 02:20 | and unthread this, and all that kind of thing.
| | 02:22 | One thing to know about using the self-timer
is that autofocus happens normally.
| | 02:26 | In other words, it happens at the
time that I half-press my shutter button.
| | 02:31 | So if I was doing a self-portrait right now,
and let's say I was going to stand 10 feet
| | 02:35 | in front of the lens, and behind me, way, way back
there in the distance was, say, the Eiffel Tower,
| | 02:40 | if I'm not standing out there right now, when I
focus, it's going to focus way in the distance.
| | 02:46 | When I then run, and stand around 10 feet in
front, I'm possibly going to be out of focus.
| | 02:50 | So what I usually do is to tilt the camera
down, focus on a point on the ground, and switch
| | 02:56 | the camera over to Manual focus;
that will lock that focus back in.
| | 03:00 | Then I can tilt the camera back up, start my
self-timer, run around and get in the shot,
| | 03:04 | and I should be in focus.
| | 03:06 | If you're feeling a little cautious about
that, you could opt for a deeper depth of
| | 03:10 | field, go for a larger aperture number,
and then focus isn't quite so critical.
| | 03:15 | So, once you're done using the self-timer,
be sure to set it back to whatever it is you
| | 03:19 | normally shoot in, because it's a real drag
to get out and have something happen right
| | 03:24 | in front you press the button, and
not get a picture for 10 seconds.
| | 03:26 | So that's the self-timer. Very full featured,
very easy to use, and a really handy thing
| | 03:30 | for capturing self portrait, or for reducing camera
shake when you're working in a studio, or in low light.
| | 03:36 |
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| Using remote controls| 00:00 | A remote control is a must have
for certain types of shooting.
| | 00:04 | With a remote control, you can keep your hands off of
the camera to reduce camera shake during long exposures.
| | 00:10 | In a portrait shoot, a remote control can keep
you from having to go behind the camera, which
| | 00:14 | allows you to maintain
better rapport with your subject.
| | 00:18 | A wireless remote control, or a remote control with
a very long cord can make self portraits much easier.
| | 00:23 | Remote controls are also great for times
when you've placed your camera in a difficult to
| | 00:27 | reach location, on a very high tripod, say.
| | 00:30 | Connecting a remote to your
camera is very easy.
| | 00:33 | I have here one of Canon's wired remotes.
This is one of the fancier remotes. In addition
| | 00:38 | to a locking shutter button, it also has an
intervalometer in it, which is what I can
| | 00:42 | use to take time lapse.
| | 00:43 | The intervalometer will control the camera,
and shoot shots at regular intervals, which
| | 00:47 | can then be stitched into a time lapse movie.
| | 00:50 | They make simpler remote controls.
| | 00:51 | There are also the third-party remote controls
that have these features, that typically cost
| | 00:55 | a lot less than Canon's remotes.
| | 00:57 | There are also wireless remote controls.
| | 00:59 | One thing that all of these remote controls
have in common is that they all have to be
| | 01:02 | plugged into the side of the camera.
| | 01:04 | The remote control port on the Mark III is
over here on the left side of the camera,
| | 01:09 | if you're facing the rear of the camera.
| | 01:11 | There are two doors over here, and you can
see there is a little remote control icon
| | 01:14 | right here, so I want to get this door open.
| | 01:16 | It's just a piece of rubber that's hinged
at the top, so if you just grab there, and
| | 01:20 | peel it up, you can get it open.
| | 01:22 | Be careful; it's only connected by that thin piece of
rubber right there, so you don't want to tear that off.
| | 01:27 | That's the remote control port
right there, down at the very bottom.
| | 01:31 | The connector only goes in the right way.
It's got three little pins in it, and most
| | 01:35 | of the Canon connecters go in with the cord
facing forward, so I'm just going to put that
| | 01:41 | in there, and push, and now that's locked in;
it can't come out, and I can just leave the
| | 01:45 | door hanging like that.
| | 01:48 | Wireless remote controls will also
have a part that needs to plug in here.
| | 01:51 | On a wireless remote, you typically have a
receiver, which sits in the camera's hot shoe,
| | 01:56 | and connects via wire down to here.
| | 01:57 | And then you have a little transmitter that
you take with you, and that's your shutter button.
| | 02:01 | To get the remote control out, all I do is
pull real hard, and it just pops out, and then
| | 02:07 | I can mash all of this back down.
| | 02:10 | So with it plugged in, I'm ready to go for
any of the types of shooting where I want
| | 02:14 | my hands off the camera.
| | 02:15 |
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7. Exposure and Control OptionsExploring metering modes| 00:00 | Accurate metering is critical to
getting good results from your camera.
| | 00:05 | Fortunately, metering technology is now so
good that your camera should yield correct
| | 00:08 | exposure 80 to 90% of the time.
| | 00:11 | To help ensure that your metering results are good,
your camera offers several different metering modes.
| | 00:17 | Your Mark III shows the current metering mode right
here. This icon will change as you change metering modes.
| | 00:23 | The default, and the mode that's currently
being shown by this icon, is evaluative metering.
| | 00:29 | In evaluative metering, your image is divided
into a grid. Each cell of the grid is metered,
| | 00:35 | and a bunch of complex calculations are performed
based on all of those different bits of information
| | 00:40 | to come up with a good
overall metering for your scene.
| | 00:44 | Evaluative metering is probably
where you'll stay most of the time,
| | 00:47 | but you do have three other metering modes.
| | 00:49 | To change them, press the metering/white balance
button, and it's pretty easy to remember this,
| | 00:54 | because this icon
corresponds to your meter down here.
| | 00:57 | Press this, and then turn the main dial.
| | 00:59 | Your next mode is partial metering.
| | 01:02 | This meters just an area in the middle of
the frame. It's an area that comprises 6.2%
| | 01:09 | of the viewfinder, according to the Canon
manual, and your metering is simply derived from the
| | 01:14 | brightness of that circle
in the middle of the frame.
| | 01:18 | Next comes spot metering,
which is shown by this icon.
| | 01:23 | This is a lot like partial metering, except
it's a much smaller circle that it's metering;
| | 01:27 | it's only 1.5% out of the center
of the viewfinder.
| | 01:31 | Finally there is one more metering mode, and that is
center-weight average metering, which looks like this.
| | 01:38 | This is similar to spot metering, and
partial metering, but it's a wider area out of the
| | 01:44 | center, and Canon doesn't say how wide it is.
| | 01:47 | Personally, I have never found a use
for center-weight average metering.
| | 01:51 | In theory, what it's good for is heavily backlit
situation, but spot and partial are also good
| | 01:56 | for those, so I tend to think of this as the
extra, kind of useless metering mode on the camera.
| | 02:01 | You'll probably find that spot metering and
partial metering are going to be the alternate
| | 02:06 | meters that you use the most.
| | 02:09 | I've been shooting with Canon cameras for
years, through lots of different models, that
| | 02:13 | have all used the same icons, and I tell you,
I never can remember what they are; I always
| | 02:18 | get confused, because they're really
just variations on the same thing.
| | 02:22 | This, to me, doesn't look anything like a matrix
metering situation like the camera defaults to.
| | 02:27 | So, a couple of recommendations for that. You can pull
a PDF of the Mark III manual off the Canon Web site.
| | 02:34 | Do that, and print out page 167. There's a
very simple, tiny little chart that shows all
| | 02:40 | of your different
metering options, and their icons.
| | 02:42 | Cut that out, and tape it to the inside of one of
your lens caps. Then you'll always have it with you.
| | 02:47 | Or just take the PDF, and stick it on your
smart phone if you have one. That's another
| | 02:50 | way of getting access to this information,
because I very often get confused about what
| | 02:54 | these are, so it's nice to have a key with me.
| | 02:57 | For most of the scenes you'll ever shoot, evaluative
metering will work fine. In fact, you may find
| | 03:02 | that you never change metering from evaluative.
| | 03:05 | Partial, spot, and center-weight give you options
for handling higher dynamic range situations,
| | 03:10 | such as shooting someone in front of the
window, or any place where you've got more dynamic
| | 03:15 | range than your camera can handle, and you
want to be sure that a particular thing in
| | 03:18 | your scene is properly exposed.
| | 03:20 | This is another thing that's covered in detail
in my Foundations of Photography: Exposure course.
| | 03:25 |
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| Using exposure lock| 00:00 | There will be times where you'll want to
shoot multiple frames, with different compositions,
| | 00:04 | but use the same
exposure settings for each shot.
| | 00:08 | Panoramas are the most common
situation where you'll encounter this problem.
| | 00:13 | The exposure lock control lets you meter a
scene, and then lock that exposure in as you
| | 00:18 | take multiple shots.
| | 00:20 | Exposure lock on the Mark III is very simple.
| | 00:22 | First of all, you need an exposure to lock,
so I'm going to just half-press the shutter
| | 00:26 | button, I'm here at a 125th at f/4.
| | 00:29 | The exposure lock is this button right here
under my thumb; the one with the asterisk on it.
| | 00:34 | If I meter, and then press that, inside the
viewfinder, I'll see the asterisk appear
| | 00:40 | over on the right-hand side.
| | 00:42 | That means, as long as I'm metered, my
metering will hold from shot to shot.
| | 00:46 | So now, after I've metered, and locked, no
matter where I turn the camera, no matter how the
| | 00:52 | lighting in my scene changes, no matter how
the subject matter in my scene changes, the
| | 00:56 | camera will still use that same exposure.
| | 00:59 | Now, after a while, this will time out,
just like the normal metering does,
| | 01:04 | so when you're done shooting your exposure
lock stuff, you may need to wait a little
| | 01:08 | bit for the lock to wear off.
| | 01:10 | The default is eight seconds, but it is possible
to change that later if you find that's too long.
| | 01:15 | Exposure lock can also be a critical tool
when shooting in aperture or shutter priority
| | 01:19 | mode, as we'll see later.
| | 01:20 |
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| Working with focus points and metering| 00:00 | Now that we've gone over exposure modes, I
would like to return for a moment to the subject
| | 00:06 | of focus points, because there's something
you need to know about how exposure behavior
| | 00:11 | changes as you start
manually selecting focus points.
| | 00:14 | Consider this scene that I have here.
| | 00:16 | I have this dark film projector over
here; these light flowers over here.
| | 00:20 | I have the Mark III set to automatically select a
focus point, and I am set for evaluative metering.
| | 00:28 | So I'm going to just take a picture here,
| | 00:31 | and let's take a look at what I got.
| | 00:33 | It's not any kind of photographic
masterpiece, but it is well exposed.
| | 00:37 | Notice that I have not overexposed the flowers, and
I have got a little detail here on the projector.
| | 00:42 | I don't know where it chose to focus; I
am assuming it chose to focus over here.
| | 00:46 | If it was choosing wrong, then I might want to
override that, and manually select a focus point.
| | 00:51 | So I'm going to do that now.
| | 00:53 | I'm just going to get in here, and change my
focusing mode to let me pick a single focus
| | 01:00 | point that's parked
right there on the projector.
| | 01:02 | I'm still in evaluative focus mode,
and now I'm going to take a shot.
| | 01:08 | Okay, this is very different.
| | 01:11 | Look what's happened here.
| | 01:13 | My flowers are all blown out now,
and my projector is much brighter.
| | 01:17 | Even though I'm in evaluative metering, I am
no longer getting a true evaluative metering
| | 01:22 | of my scene. Instead, the metering is being
weighted to the focus point that I've picked.
| | 01:28 | In other words, I've got something akin
to a center-weight focus, but one centered
| | 01:33 | around the focus point that I chose.
| | 01:35 | So it's chosen to meter here, and it's done
a good job of bringing out a lot of detail.
| | 01:40 | In the process, it's overexposed my flowers.
| | 01:43 | Most of the time, this is
not going to be a problem.
| | 01:46 | I typically shoot, most of the time, with a
single focus point in the center of my frame,
| | 01:50 | and so I'm most of the time shooting with
center-weight metering, and it's never really
| | 01:55 | turned out to be a problem.
| | 01:56 | In an instance like this, though, it is a
problem, because the meter, in metering properly
| | 02:02 | for this, is overdriving my
flowers. So what can I do?
| | 02:05 | Well, there are a couple of things I could do.
| | 02:07 | I could, after putting my focus point on the
dark projector, just assume that things are
| | 02:13 | going to be overexposed on the flower, and I
could choose to dial in some exposure compensation
| | 02:18 | to try to make up for it, and that has
brought back a little bit of detail.
| | 02:22 | Far easier than that, though, is to just go
back to where I was before; put it back on
| | 02:26 | autofocus point selection, which gets
me back to a true evaluative metering.
| | 02:31 | The takeaway here is that when you are manually
selecting a focus point, no matter what your
| | 02:36 | meter dial says here, you're not actually
getting an evaluative metering that is analyzing
| | 02:41 | the entire frame; you are getting a metering
that is biased towards the focus point that
| | 02:47 | you're centered on.
| | 02:48 | Now let's look at spot metering.
| | 02:50 | If I switch my meter over to spot metering,
which is, of course, going to meter off of one
| | 02:57 | tiny little area. That area is always measured
in the very center of the frame; it does not
| | 03:03 | follow focus point. So that effect that I just
got by accident before, I cannot intentionally
| | 03:09 | get; I cannot actually move a focus point around
to somewhere else, and spot meter off of that point.
| | 03:14 | Spot metering and center-weight focus metering are
always going to happen in the middle of the frame.
| | 03:20 | So, if you're now suddenly worried that you
have a lousy autofocus, and a lousy metering
| | 03:24 | system on your camera, don't.
| | 03:26 | As I said, most of the time this is not going
to be a problem. It's only in rare instances
| | 03:30 | like this situation that I've got
here where you might run into this issue,
| | 03:34 | and in those instances, you can either make
up for it with the exposure compensation, or
| | 03:38 | actually just throw the camera into autofocus
select, and trust that it's going to do the right thing.
| | 03:42 | I think you'll find that
99% of the time, it will.
| | 03:45 |
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| Exploring Aperture Priority mode| 00:00 | In Program mode, when you meter a scene by
half-pressing the shutter button, the camera
| | 00:05 | calculates an appropriate shutter speed, and
aperture, and maybe ISO, if you're set to Auto ISO.
| | 00:10 | There will be times, though, when you know that
you're going to want a lot of control of aperture.
| | 00:15 | Maybe you're shooting portraits, and you know
that you want them to all have shallow depth
| | 00:19 | of field, so you want to make certain that
the camera is always using a wide aperture.
| | 00:22 | Or maybe you're shooting landscapes, and you
know that you want really deep depth of field
| | 00:26 | in all of your shots, so you want to make certain
that you're always using a very small aperture.
| | 00:31 | Or maybe you're street shooting, and as you're
moving around quickly, you're shooting different
| | 00:36 | subject matter, and so you're changing your
mind about depth of field, and so you want
| | 00:39 | to be able to really quickly and easily
change from a big to a small aperture.
| | 00:43 | In Aperture priority mode, you can choose
the aperture that you want, and when the camera
| | 00:48 | meters, it will automatically pick a corresponding
shutter speed that will yield a correct exposure.
| | 00:55 | By now you should already know how to change
to Aperture priority mode; that's Av on your
| | 00:59 | mode dial, and that's aperture value, so I am just
pressing the lock button, and turning the mode dial.
| | 01:03 | Now watch what happens when I meter, and the
camera is metering at f/5 at a 60th of a second.
| | 01:10 | When I turn the main dial, what's happening
is I'm changing the aperture; I am in control
| | 01:14 | of aperture, and the camera is
automatically calculating a new shutter speed.
| | 01:19 | So notice that as I go to a smaller aperture,
my shutter speed is getting longer, because
| | 01:25 | with a smaller aperture, it
needs to let in more light.
| | 01:28 | As I go the other direction, my aperture gets
bigger, my shutter speed is getting shorter,
| | 01:31 | so there is less light coming in.
| | 01:34 | So I've got all the control of aperture that I
want, and the camera is automatically calculating
| | 01:37 | shutter speed for me.
| | 01:38 | Now, I am going to let the meter time out
here, and notice I can still change my aperture.
| | 01:44 | So I can do this even before I meter.
| | 01:46 | If I am going into a scene, and say I know
that I want deep depth of field, I can just
| | 01:50 | go ahead and drop it here on maybe f/11, and
it will just stay there until I change it,
| | 01:55 | and now my metering will go accordingly.
| | 01:59 | I'm currently set on ISO 100; watch
what happens if I change ISO to Auto.
| | 02:05 | Now I'm metering at f/11, my shutter speed
has gone up to 100, because the camera has
| | 02:11 | decided it can go at ISO 800.
| | 02:13 | And as I change here, notice that shutter speed
isn't really changing; it's just manipulating the ISO.
| | 02:19 | The idea here is it's trying to keep my
shutter speed at something that's going to be good
| | 02:22 | for handheld shooting.
| | 02:24 | So Auto ISO is very smart when
I am working in priority modes.
| | 02:28 | Of course, it can go quite a long
ways here; I am up to ISO 3200.
| | 02:34 | If you decide that you don't like ISO
going that high because of the amount of noise,
| | 02:39 | you can actually reprogram the Auto ISO
feature to not go beyond a certain point, and you can
| | 02:44 | see that in a separate movie.
| | 02:48 | Aperture priority doesn't allow you to take
any shots that you couldn't take in Program
| | 02:51 | mode using program shift.
| | 02:53 | Instead, it just provides you with a
speedier way to get to the aperture-based exposure
| | 02:58 | settings that you know you need.
| | 02:59 |
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| Using the depth of field preview button| 00:00 | Just like your eye, your camera's lens has
an aperture in it that can open and close
| | 00:05 | to let in more or less light.
| | 00:07 | When the aperture is more open, you get shallower
depth of field; when it's more closed, you
| | 00:12 | get deeper depth of field.
| | 00:13 | This is all explained in detail in
Foundations of Photography: Exposure.
| | 00:18 | Obviously, as the aperture closes,
less light gets into the camera.
| | 00:21 | So by default, the camera always leaves its
aperture wide open, so that when you look through
| | 00:26 | the viewfinder, you see a nice bright image.
| | 00:29 | Even if you have dialed in a very small aperture
for shooting, when you look through the viewfinder,
| | 00:34 | you're still looking through a wide open aperture,
to ensure that you can see your scene clearly.
| | 00:39 | When you finally press the shutter button, the camera
closes it's iris down to your chosen aperture setting.
| | 00:45 | Because the aperture in your camera is
always wide open when you're looking through it,
| | 00:48 | you are not necessarily seeing the true depth
of field that you will see in your final image.
| | 00:53 | If you have dialed in a very deep depth of
field by using a small aperture, you won't
| | 00:57 | see how deep the final image will be
simply by looking through the viewfinder.
| | 01:02 | To help you pre-visualize your depth of field,
your camera includes a depth of field preview button.
| | 01:08 | When you press it, the iris is closed down,
so that you can see the actual depth of field
| | 01:13 | that will occur in your final image.
| | 01:17 | The depth of field preview button is
located on the front of the Mark III body.
| | 01:21 | Its tucked away right here.
| | 01:24 | So what's great about this position over
the traditional depth of field preview button
| | 01:28 | position, which was before down under here,
is that when your hand is around the camera
| | 01:33 | grip, your ring finger should be resting
right here, so you can have your forefinger up on
| | 01:38 | the shutter button, and your ring finger
right here on the depth of field preview button.
| | 01:42 | Once you press it, the iris will close down,
and it will stay closed down until you lift
| | 01:46 | your finger off the button.
| | 01:48 | Now, when the iris closes down, your viewfinder
will possibly get very dark, because there's
| | 01:53 | just not as much light coming into the camera.
| | 01:55 | This is why the iris was wide open in the
first place, just so you could see the viewfinder.
| | 02:00 | This can also make it more difficult to
actually see the depth of field in your image.
| | 02:03 | But if you wait a moment, and give your
eyes time to adjust to the darker view, and if
| | 02:08 | you can find a way to cup a hand over your
other eye, and over the viewfinder, then your
| | 02:13 | eye should adjust, and you should be able to get a
clear view of your scene, with truer depth of field.
| | 02:18 | One more thing; the image in your viewfinder
is much smaller than the image that you will
| | 02:22 | most likely view on your monitor, or in a print,
so it's going to be harder for you to tell
| | 02:26 | fine sharpness in your viewfinder.
| | 02:28 | Depth of field preview doesn't give you a
perfect way to gauge very fine, subtle depth
| | 02:34 | of field effects, but it should let you
see if certain large things in your scene are
| | 02:38 | in focus or not.
| | 02:39 |
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| Using Shutter Priority mode| 00:00 | In Program mode, when you meter a scene by
half-pressing the shutter button, the camera
| | 00:05 | calculates an appropriate shutter speed, and
aperture, and maybe ISO, if you're set to Auto ISO.
| | 00:10 | There will be times, though, when you know that
you're going to want a lot of control of shutter
| | 00:13 | speed. Maybe you're shooting a sporting event,
and you know that you want to perfectly freeze
| | 00:18 | motion, so you want to make certain that
your camera is always using a fast shutter speed,
| | 00:22 | or maybe you're shooting a landscape with
some moving water in it, and you know that
| | 00:26 | you want that silky smooth blurred water
effect in all of your shots, so you want to make
| | 00:30 | certain that you're always
using a slow shutter speed.
| | 00:32 | In Shutter priority mode, you can choose the
shutter speed that you want, and when the camera
| | 00:37 | meters, it will automatically pick a corresponding
aperture that will yield a correct exposure.
| | 00:44 | You should already know how to switch to
Shutter priority mode; that's Tv on your mode dial,
| | 00:48 | for time value. I'm going to press
the locking button; turn that to there.
| | 00:53 | Now watch what happens when I meter.
| | 00:55 | I'm at a 60th of a second,
and the camera has chosen f/5.
| | 00:59 | I'm in control of shutter
speed here on my main dial.
| | 01:02 | As I turn it, I'm changing the shutter speed,
and the camera is automatically calculating
| | 01:07 | a correct corresponding
aperture for the current metering.
| | 01:11 | So I can go to faster
or slower shutter speeds.
| | 01:14 | Now, watch what happens here as I speed up my shutter
speed. Uh oh; suddenly my aperture is flashing.
| | 01:20 | What that's indicating is that
I am going to be underexposed.
| | 01:25 | The camera cannot open the aperture any wider,
because this particular lens, at this focal
| | 01:30 | length, only goes to f/4.
So it's flashing;
| | 01:33 | that doesn't mean it won't take the
picture. I can still take the picture.
| | 01:36 | It's just warning me that I'm
going to have an exposure problem.
| | 01:38 | The same thing can happen at the
other end of the exposure dial here.
| | 01:43 | So this gives me full control over shutter
speed, and leaves aperture up to the camera.
| | 01:48 | Now, I'm going to let the meter time out here,
and notice it's still showing my shutter speed.
| | 01:52 | That's because that's something I can just set,
and I can actually set that even before I meter.
| | 01:57 | So maybe I'm shooting a
fast moving sporting event;
| | 02:00 | before I even get started, I might just
decide I want to shoot this at a thousandth of a
| | 02:03 | second, I don't want that to change,
because I'm really trying to freeze motion here.
| | 02:07 | And now I would just be able to shoot my way
through, with the camera taking care of aperture.
| | 02:12 | I am set at ISO 100; that's one reason I'm
getting the underexposure warning is, not only
| | 02:19 | will my lens not open enough, but I'm at
an ISO that's too slow for this light.
| | 02:24 | I'm going to set the ISO over to Auto, and
now watch what happens. It's not flashing
| | 02:30 | f/4 at me, because it's bumped the ISO up for me.
| | 02:34 | As I change shutter speed, it's not messing
with aperture as much as it's messing with ISO.
| | 02:40 | So the camera is going to be pretty intelligent
about trying to make a change to ISO rather
| | 02:46 | than mess up your depth of field.
It's going to prioritize its ISO changes.
| | 02:50 | One thing to be aware of is that means
that it might go up to a really high ISO. Here
| | 02:55 | it's gone up to 6400.
| | 02:56 | If you've already decided that 6400, or any
of these ISOs, is far noisier than you like,
| | 03:02 | then you're going to want to constrain your
Auto ISO settings, so that ISO doesn't go beyond
| | 03:09 | an ISO that you think is acceptable, and
we'll show you how to do that in another movie.
| | 03:14 | Shutter priority doesn't allow you to take
any shots that you couldn't take in Program
| | 03:18 | mode using program shift. Rather, it simply
provides you with a speedier way to get the
| | 03:23 | shutter speed based
exposure settings that you want.
| | 03:25 |
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| Using Manual mode| 00:00 | Sometimes you might have a very peculiar creative
vision, or be facing a particularly complex
| | 00:06 | exposure situation; maybe you're shooting
a scene, and you want shallow depth of field,
| | 00:10 | and you want to blur some motion in the scene,
and you don't care if the whole thing is a
| | 00:14 | little overexposed.
| | 00:15 | Or maybe you're used to working with a hand-held
light meter, and you were using it to calculate
| | 00:21 | exposure settings, which you
then need to dial in by hand.
| | 00:24 | Manual mode gives you full control of both
shutter speed and aperture on your camera.
| | 00:29 | You can dial in any settings you want, regardless of
whether the camera's meter thinks they've a good idea.
| | 00:34 | It might flash warnings to you about how it
thinks you are making bad decisions, but it will
| | 00:37 | still take the shot.
| | 00:40 | M on the mode dial is Manual mode, so I am just
going to press the lock button, and move that over there.
| | 00:45 | Now, notice on my screen, I haven't done any
metering, but it's already showing me a shutter
| | 00:49 | speed, and an aperture. That's because the
camera doesn't do anything to pick shutter
| | 00:54 | speed and aperture when you're in Manual
mode; you are in complete control of that.
| | 00:57 | The main dial lets you change shutter speed.
The quick control dial lets you change aperture.
| | 01:02 | Now I am going to meter with these settings
dialed in, and you can see that I have got
| | 01:05 | a little mark showing up here on
what is normally exposure compensation.
| | 01:10 | In Manual mode, rather than exposure compensation,
this is just showing me kind of an old-fashioned
| | 01:14 | light meter, and right now, that mark is letting me
know that the camera thinks that this is good metering.
| | 01:19 | Watch what happens as I change
shutter speed. Uh oh!
| | 01:22 | As I slow shutter speed down, I am getting
overexposure. That's one stop of overexposure,
| | 01:26 | two stops, and so on. I can also see underexposure over
here; same thing happens when I fiddle with aperture.
| | 01:33 | So when I'm in Manual mode, this just becomes
a meter, not an exposure compensation control.
| | 01:40 | So let's say that I'm facing a scene
where I know I want some deep depth of field.
| | 01:44 | I might come in here and say, well, I
am going to dial my aperture down to 11.
| | 01:50 | And now when I meter, I find out
that I'm two stops underexposed.
| | 01:53 | Okay, well I'd just change my shutter
speed to get it back to proper metering.
| | 01:57 | I am now at a 13th of a second; it would be
up to me to decide if I can deal with that
| | 02:01 | slow of a shutter speed.
| | 02:02 | If I have got a tripod, I'm fine; if I am
handholding, that might be a little more complicated.
| | 02:07 | Now, even if I see incorrect metering, or what
the camera thinks is incorrect metering -- let's
| | 02:13 | say I decide that 13th of a second is too
slow, so I am going to back it back up here;
| | 02:19 | maybe 15th of a second --
| | 02:21 | I can still shoot this way. The
camera will still take the shot.
| | 02:24 | It's just going to come out dark, and as far
as the camera is concerned, it's going to
| | 02:27 | be two stops underexposed.
| | 02:28 | I might be able to brighten that up in
post without suffering too much noise.
| | 02:32 | I am at ISO 100 so far for all of these. Let's go back
to a decent metering, and change the ISO setting here.
| | 02:40 | I am going to put it on Auto.
| | 02:43 | And now, as I manipulate these, the camera is
automatically changing ISO to preserve good metering.
| | 02:51 | It will do that as far as it can.
Let's see if I can get it to -- there we go.
| | 02:56 | It's decided it can't go any higher with ISO,
so now it is starting to show me underexposure.
| | 03:01 | And as you may have already encountered, you
can control the range of your Auto ISO function,
| | 03:07 | and you can see how to do
that in a separate movie.
| | 03:10 | Manual mode does not open up
any hidden power in your camera.
| | 03:15 | The only thing that it gets you that you
can't get in any of the other modes is the ability
| | 03:19 | to over or underexpose in a very particular way.
| | 03:22 | On very rare occasions, this will be the
only way to get the shot that you want.
| | 03:26 |
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| Using auto exposure bracketing| 00:00 | Bracketing is the process of shooting the
same scene with different exposures to improve
| | 00:05 | your chances of going home with
a shot that's correctly metered.
| | 00:09 | You might also use bracketing, though, when
you're shooting a scene with a lot of dynamic
| | 00:12 | range, so that you go home with at least one
properly exposed image of all of the different
| | 00:16 | bright and dark bits in your scene.
| | 00:20 | You can use the Mark III's auto bracketing
feature in Program mode, either priority mode,
| | 00:24 | or Manual mode, and of course, you can
build it into any custom modes that you define.
| | 00:28 | I'm going to go ahead and set
up an auto bracketing sequence here.
| | 00:31 | I'm going to hit the Menu button.
| | 00:33 | On the second page of my shooting menu,
the very first item is Exposure comp./AEB.
| | 00:37 | AEB stands for auto exposure bracketing.
| | 00:42 | I have this little readout here that
shows how this tool is currently configured.
| | 00:46 | So I'm going to hit the Set
button, and I get this thing.
| | 00:50 | There are two things you can do from this
screen; you can set exposure compensation,
| | 00:54 | or auto exposure bracketing.
| | 00:56 | By turning the quick control dial, you
get an exposure compensation adjustment.
| | 01:01 | This works just like it
does on the readout up here.
| | 01:04 | Each little mark is a third of a stop.
| | 01:06 | So that's one full stop, one and a third,
one and two thirds, two stops.
| | 01:10 | You can change this if you like,
and we'll see how to do that later.
| | 01:13 | As I mentioned before, the difference here
is I can go beyond three stops to up to five.
| | 01:17 | Now, watch what happens if I dial
in four stops here, and set that.
| | 01:22 | My readout up here now has a little
arrow that's off the right side of the scale.
| | 01:26 | That indicates that I've
got more than three stops.
| | 01:29 | If I meter, and start to dial that backwards,
you can see it comes back in, and as I go
| | 01:34 | off, it continues to go up.
| | 01:37 | So, I've actually got that full range of exposure
compensation at my disposal, even outside of that screen;
| | 01:44 | I just can't see exactly where I am up here,
| | 01:47 | but if you're really paying attention, you
can keep track. That would be one -- three
| | 01:52 | and one third, two thirds, that
would be four stops right there;
| | 01:54 | I'm just counting the clicks that I'm turning.
| | 01:57 | If you really need more than that,
it's going to be easier to set it in here.
| | 02:00 | I'm going to put that back to zero.
| | 02:03 | Now, if I turn the main dial,
I get something different.
| | 02:06 | I get the auto exposure bracketing control.
| | 02:09 | So, this lights up this additional
meter, which shows what my bracket is.
| | 02:14 | By default, the Mark III
gives you a three shot bracket,
| | 02:19 | and what these are telling me are what
the exposures are going to be for each shot.
| | 02:23 | The first shot taken is this long bar, and
right now, it's going to be shot as metered.
| | 02:28 | That's what the zero is.
| | 02:30 | The second shot is going to have one stop
of underexposure, and the third stop is going
| | 02:35 | to have one stop of overexposure.
| | 02:38 | I'm in Program mode, so it's going to generate
those over and underexposures just as it would
| | 02:43 | any other time I'm in Program mode.
| | 02:44 | It's going to mix up a shutter speed or
aperture adjustment, or possibly an ISO adjustment if
| | 02:50 | I'm set for Auto ISO.
| | 02:53 | So right now, I've got one stop of underexposure,
one stop of overexposure. I can change that.
| | 02:57 | That would be two thirds of a stop in either direction,
one third of a stop in either direction, and so on.
| | 03:03 | I cannot have an asymmetric adjustment.
| | 03:05 | I can't say, well, I want one and two thirds stop
underexposure, and only one third stop overexposure;
| | 03:10 | they are always going to be equal.
| | 03:13 | After I've defined a bracket, I can then add
exposure compensation to move the whole thing around.
| | 03:19 | So now this is going to say that my first
shot is going to be underexposed by one stop,
| | 03:25 | my second shot is going to be one stop under
that, and my final shot will be one stop over
| | 03:32 | that, which happens to be
back to normal metering.
| | 03:36 | By default, it always goes in that order.
| | 03:38 | The first shot is always the middle bar, the
second shot is always the underexposure, the
| | 03:41 | third shot is always the overexposure;
| | 03:43 | it is possible to change that if you want.
| | 03:45 | I'm going to set this back to middle here.
| | 03:49 | I'm going to accept this, and let's
actually shoot this bracketed set.
| | 03:53 | I'm back here, ready to go, and you can see
my bracketed set dialed in there; same readout
| | 03:58 | that I got back here.
| | 03:59 | So, I'm going to half-press to
focus and meter, and take my first shot.
| | 04:04 | So, that was shot as metered.
| | 04:07 | And now, all this stuff up here is flashing;
my exposure compensation readout is flashing,
| | 04:12 | and this auto exposure
bracketing icon is flashing.
| | 04:15 | That means that I'm in the
middle of a bracketed set.
| | 04:17 | So if I take another shot, you can see it lights
up my second option, which is the underexposed shot.
| | 04:24 | Let's shoot that.
| | 04:26 | This one comes out a little bit darker.
| | 04:28 | Everything is still flashing, because I'm
still in a set, so I'm going to take my third
| | 04:31 | shot, and that's now
highlighting the overexposed exposure.
| | 04:34 | I'm going to take that.
| | 04:36 | There is my third one, which
is overexposed by one stop.
| | 04:39 | Now all this stuff has stopped flashing, because
I'm out of bracketing, and back into normal shooting.
| | 04:45 | So, if I start again, now
I'm into a new bracketed set,
| | 04:49 | so it's going to be three
shots before I get out of it.
| | 04:52 | An easier way to work with auto exposure
bracketing is to turn on Drive mode.
| | 04:56 | So I'm going to press my Auto focus/Drive
button, turn the quick control dial
| | 05:03 | back here, and now I'm
into high speed bracketing.
| | 05:06 | So now, if I just press the shutter button,
and hold it down through three shots, I just
| | 05:12 | knocked off a bracketed set.
| | 05:13 | I might want to use the slower drive option
if I want more change between my shots,
| | 05:20 | but most of the time, you want your shots
to be pretty much identical, so high speed
| | 05:24 | is a good way to go for there.
| | 05:26 | Once I'm done with my bracketing, I need to
turn it off, because it's a real drag to shoot
| | 05:31 | your bracketing, turn the camera off, go home,
come out later to shoot something else that
| | 05:35 | you don't want bracketed, and
then immediately find yourself, oh wait,
| | 05:38 | I'm in this bracketed set now.
| | 05:40 | So I'm going to go in here to the menu,
come back to here, and I just turn my main dial
| | 05:47 | until I'm back to no bracketing at all, hit
my Set button, and I'm back to normal shooting.
| | 05:52 | As I mentioned, it's possible to change the
number of shots in a bracketed set, and the
| | 05:56 | order in which they are shot,
| | 05:58 | and you'll see how to do
that in the customizing chapter.
| | 06:01 |
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| Exploring Bulb mode| 00:00 | Your camera's built-in meter cannot
specify a shutter speed over 30 seconds.
| | 00:05 | Whether you're in Program mode, Shutter priority,
or Manual mode, 30 seconds is as long as it can go.
| | 00:11 | If you're shooting an extreme low light, 30
seconds might not be enough to capture the
| | 00:15 | scene that you are aiming for. For those times,
you'll want to turn to the camera's Bulb mode.
| | 00:21 | You get to Bulb mode the way you would any
other mode: press the lock button on the dial,
| | 00:24 | and spin it over to the B.
| | 00:26 | The status display shows
you that you are in Bulb mode.
| | 00:29 | I don't get to pick a shutter speed, because
my shutter speed is bulb; that means it's
| | 00:33 | going to stay open as long
as I hold the shutter button.
| | 00:35 | I can control aperture, so I can
dial my aperture in to whatever I want.
| | 00:40 | And now, for as long as I hold the shutter
button down, the shutter will stay open, and
| | 00:45 | it's nice, you can see, the Mark III gives you a
counter, or a timer, rather, so I can see exactly
| | 00:49 | how long I am exposing for. I don't need to
hassle with a stop watch, or anything, and that
| | 00:54 | will go until I let off the shutter
button, and then my image is stored.
| | 00:59 | If I have long exposure noise reduction
turned on, note that there might be an additional
| | 01:03 | time period here where the camera is processing
the noise in the image, and that time will
| | 01:08 | be as long as whatever my
actual shutter time was.
| | 01:11 | Now, normally, when you shoot in bulb mode,
you are not going to stand there and hold
| | 01:14 | your finger on the shutter button, because
for one thing, your finger will get tired;
| | 01:18 | two, that can lead you to shake the camera,
| | 01:21 | so normally you will use a remote control
of some kind. This is one of the Canon wired
| | 01:28 | remotes. I don't have it plugged in right now.
| | 01:29 | This one also has some additional features,
such as an intervalometer for doing time lapse.
| | 01:34 | What's nice about using it for Bulb mode is
when I press the shutter button, I can slide
| | 01:38 | it up to lock it, and then I can walk away.
| | 01:41 | Now it will stay open until I
come back and slide that back down.
| | 01:45 | You can get third party remotes that do the
same thing. You can also get wireless remotes,
| | 01:50 | which can be nice for
working from farther away.
| | 01:53 | When you are working in Bulb mode, you
might also want to use your viewfinder cap. This
| | 01:59 | should be attached to the strap of your camera.
You can see that the strap threads through
| | 02:03 | right there. And what this does is, I can
take the viewfinder cover off, and slide this on,
| | 02:10 | and that will keep me from getting light polluting
the inside of the camera through the viewfinder.
| | 02:16 | I say I can slide that on, but I'm using the
wrong side, so let's just put that on that way.
| | 02:20 | Note that you don't need to take it off the
strap to use it; even with the strap still
| | 02:24 | threaded through, you can put this on, and that
will keep light from getting in there that way.
| | 02:27 | You are going to learn a little bit more
about the remote control when we get to the
| | 02:32 | self-timer movie later in this course.
| | 02:33 |
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| Working with the Auto Lighting Optimizer| 00:00 | Your eye has an incredible
ability to see in low light.
| | 00:04 | This means that you can very often see details
and shadow areas with your naked eye, while
| | 00:08 | your camera will render those
areas as black, and featureless.
| | 00:12 | The auto lighting optimizer applies post-processing
to your image in camera to brighten shadow
| | 00:18 | areas in your image.
| | 00:20 | Note that it doesn't just brighten the blacks
in your image; it actually figures out where
| | 00:24 | the shadowy areas are in your scene, and it
brightens those, without washing out all of
| | 00:28 | the blacks in your picture.
| | 00:31 | The auto lighting optimizer controls are located
in the second page of the shooting menu. They
| | 00:35 | are right here; Auto Lighting Optimizer.
| | 00:37 | I can see that I'm currently set to a
middle setting; what Canon calls Standard.
| | 00:43 | I've basically just got three
settings: Low, Standard, and High, and Off.
| | 00:48 | I can also tell it to Disable the Auto
Lighting Optimizer during manual exposure.
| | 00:53 | By default, Auto Lighting Optimizer is turned
on for program, shutter priority, and aperture
| | 00:59 | priority, and Disable during manual;
| | 01:01 | I can turn that off, and
then it's on all the time.
| | 01:04 | This is another case where you might want
to do some experiments to decide what you
| | 01:07 | think about the amount of brightening that
the auto lighting optimizer is doing. Set
| | 01:12 | up a scene with some good amount of dynamic
range, some nice shadows in it, some bright
| | 01:17 | areas, and shoot it with all four
settings here, and see which you like better.
| | 01:21 | Remember, the auto lighting optimizer is only
affecting JPEG images; it has no impact on RAW.
| | 01:27 | So if you are a RAW shooter, you don't
really need to think about this at all.
| | 01:31 | If you are a JPEG shooter, though, the auto
lighting optimizer can really make a big difference
| | 01:34 | in high dynamic range situations,
| | 01:36 | so it's worth doing a little experimenting
to see how you would like it set.
| | 01:39 |
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| Correcting lens aberration| 00:00 | Sometimes optical problems in a lens can
create visible artifacts in your image.
| | 00:06 | Lens aberration correction attacks
two different kinds of optical problems.
| | 00:11 | Vignetting is a darkening that can
occur in the corners of your image.
| | 00:15 | Vignettes most often occur with wide-angle
lenses, and sometimes a vignette can add a
| | 00:18 | nice effect to an image; it can bring
attention to the center of the frame.
| | 00:23 | Most of the time, though, you don't want vignettes
in your image, and your camera has a feature
| | 00:26 | to remove these when
you're shooting JPEG images.
| | 00:31 | Chromatic aberration occurs when the lens
doesn't focus all wavelengths of light to
| | 00:35 | precisely the same point.
| | 00:37 | The practical upshot is that you'll see
colored fringes around some areas of your image.
| | 00:42 | As with vignetting, your camera can address
these issues when you're shooting in JPEG mode.
| | 00:48 | Lens aberration correction, which is in the
first page of the shooting menu, is where you
| | 00:52 | will find controls for both
correcting vignettes and chromatic aberration.
| | 00:56 | This big thing up here is showing me the
lens that I currently have attached; I have the
| | 01:01 | Canon 24 - 105 f/4; that's the kit lens that comes
with the Mark III, and it says Correction data available.
| | 01:07 | Mark III has a database of 25 Canon lenses
in it that are profiled, so that it knows
| | 01:13 | exactly what it's vignetting and
chromatic aberration characteristics are.
| | 01:18 | So here I have got Peripheral illumination. That's
basically vignette correction. I can turn it on or off.
| | 01:24 | So if you're finding a vignetting problem --
this defaults to Enable -- if you're finding
| | 01:28 | you still have a vignetting problem, you
might want to consider looking at a different copy
| | 01:36 | of your lens, because the camera should be
able to correct a good amount of it away.
| | 01:39 | If you're still getting it, there
might be something wrong with your lens.
| | 01:43 | If you like having the vignette in your image,
you can simply disable this, or if you find
| | 01:48 | that it's a little too aggressive, and it's
brightening the corners, you could disable this.
| | 01:53 | Chromatic aberration is going to occur
when you are shooting high contrast edges.
| | 01:59 | So, say, telephone lines up against a blue
sky, or the edge of roofs up against a blue sky.
| | 02:06 | You might see purple, or reddish, or bluish
fringes along those edges, and you are going
| | 02:13 | to find them worse at wide
angles, and at certain apertures.
| | 02:16 | Chromatic aberration reduction will simply
try to eliminate those for you. It does a
| | 02:19 | very good job, but if you, for some reason,
find that it's degrading your image somehow,
| | 02:24 | you might want to Disable it.
| | 02:25 | Again, as with any in camera processing
operation, except for noise reduction, these features
| | 02:31 | only work on JPEG images. If you are a RAW
shooter, you don't need to worry about these.
| | 02:35 | You are going to have to figure out a way
to fix these problems in post-production.
| | 02:38 | If you are JPEG shooter, this is a very simple,
easy way to deal with these two kind of pesky
| | 02:44 | image editing hassles.
| | 02:45 |
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| Exploring Highlight Tone Priority| 00:00 | Overexposure is the bane of all photographers.
| | 00:03 | When an image is overexposed, highlight
areas can blow out to complete detailless white.
| | 00:11 | Underexposure is not as pesky a problem,
because if a shadow underexposes to complete black,
| | 00:15 | it often just looks like a really dark shadow.
| | 00:18 | Highlight tone priority is a feature that can
dramatically reduce overexposure in an image.
| | 00:24 | Consider this image, which has
badly overexposed highlights.
| | 00:27 | Now here's the same image shot with highlight
tone priority turned on. Note that the overexposed
| | 00:32 | bits now have detail in them.
| | 00:35 | For JPEG shooters, highlight tone priority
can really mean the difference between usable
| | 00:39 | shots and overexposed rejects.
| | 00:42 | Now, as with many really, really good things, there
is a price to pay for using highlight tone priority.
| | 00:48 | While your highlights will be better exposed,
there is a slight chance that your shadows
| | 00:51 | will have more noise in them;
those annoying speckly patterns.
| | 00:54 | So for this reason, highlight tone
priority defaults to being turned off.
| | 00:58 | Now, for the most part, it's best to try to
control overexposure through better exposure
| | 01:03 | choice; dialing down your exposure
with exposure compensation, for example.
| | 01:07 | But if you are in a situation where you need to
shoot quickly, or if you are shooting something
| | 01:11 | bright white, like a wedding dress, then
dialing down exposure is a drag, because the bright
| | 01:16 | white thing will go kind of dingy.
| | 01:18 | So in those situations, highlight
tone priority can be a real lifesaver.
| | 01:23 | Highlight tone priority is either
simply on or off. By default, it's Off.
| | 01:28 | This is in the third page of
the shooting menu.
| | 01:30 | I can go down here and Enable it, which has
this D+ next to it, and so when I Enable it
| | 01:35 | I have this D+ here, which might be a little
demoralizing when you just see it in here,
| | 01:39 | but what they are actually
referring to is more dynamic range.
| | 01:43 | As soon as I enable highlight tone priority,
the camera will automatically disable the
| | 01:48 | auto lighting optimizer. And notice that with
this turned on, I might see a little bit more
| | 01:53 | noise in my images than I would without it.
| | 01:55 | So you want to keep an eye on that.
| | 01:57 | Finally, it's also going to change my ISO range.
| | 02:00 | When I turn on the highlight tone priority option,
my ISO range is going to go from 200 to 25600.
| | 02:05 | So I'm going to lose the
bottom end of my ISO range.
| | 02:11 | So most of the time, you'll probably want to
keep this off, but again, if you were shooting
| | 02:15 | in a situation where you are trying to
capture bright highlights, like a woman in a wedding
| | 02:20 | dress, this is a great option to help
ensure that you don't suffer overexposure.
| | 02:24 |
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| Understanding high-dynamic range (HDR)| 00:00 | Any scene that you look at has a dynamic
range; that is, it has a range of brightness.
| | 00:06 | One of the things that complicates the photographic
process is that your eye can perceive a much
| | 00:10 | wider dynamic range than your camera can.
| | 00:13 | That is, it can see a much
greater range of dark to light.
| | 00:16 | So while your eye might be able to see details
in bright highlights, and dark shadows within
| | 00:21 | your scene, your camera will only be
able to see detail in one or the other.
| | 00:26 | In high dynamic range imaging, or HDR, you
shoot multiple frames, each exposed to capture a
| | 00:32 | different part of the dynamic range, and
then you use special software to combine these
| | 00:37 | multiple images into a single final image that
has detail across all of its highlights and shadows.
| | 00:43 | Your camera has the ability to shoot and
merge HDR images automatically in camera.
| | 00:50 | I've got a scene with a good
amount of dynamic range here.
| | 00:53 | I've got a dark projector over there.
| | 00:54 | I've got those bright flowers back there.
| | 00:57 | Watch what happens if I just take a shot.
| | 00:58 | I am in Program mode,
autofocus, evaluative metering.
| | 01:01 | I am just going to take a quick shot, and if I
go into playback mode here, you can see that
| | 01:08 | I've got okay detail on the projector over here.
| | 01:11 | As I stand here looking at it with my eye,
I can see tremendous detail; much more than
| | 01:15 | I can see in there.
| | 01:17 | Over here, the flowers are well exposed.
| | 01:18 | I can see detail on them.
| | 01:20 | This is actually what the meter has decided to do is
protect the flowers at the expense of the projector.
| | 01:27 | So, though my eye can see detail in both, my
camera has to choose between one or the other,
| | 01:31 | and it's chosen to protect the flowers.
| | 01:33 | Now, I could tell it to do something different.
| | 01:35 | I could meter, and then dial in one stop of
overexposure on my exposure compensation.
| | 01:41 | Now when I take the shot, I
get nice detail on my projector.
| | 01:45 | Look at all this stuff that's opened up in here.
| | 01:47 | That's actually a little brighter than I can
see with my eye. But whoa; the flowers have
| | 01:51 | gone out to complete white.
| | 01:52 | That's just not going to work at
all; they're completely overexposed.
| | 01:55 | This is where HDR comes in.
| | 01:57 | I am going to turn my exposure compensation
back down to 0, before I forget, and then go
| | 02:02 | into my shooting menu, because in here, over
here on the third page, at the very bottom,
| | 02:09 | you will find something called HDR Mode.
| | 02:12 | It's defaulting to Disabled, obviously.
| | 02:14 | Here is where I can turn on an HDR process.
| | 02:17 | This is going to shoot three different
images, and combine them to create one image that
| | 02:22 | will have detail in both the
shadows and the highlights.
| | 02:25 | So the first thing I
need to do is to turn it on.
| | 02:28 | I do that by changing this Adjust dynamic range
option from Disabled to one of these settings.
| | 02:33 | These are simply going to govern how much
exposure differential there is between each
| | 02:39 | shot. I can put it on Auto, and the camera
will try and calculate the differential itself,
| | 02:44 | or I can specify 1 EV, 2 EV,
3 EV; EV is exposure value.
| | 02:48 | It's roughly the same as a stop.
| | 02:49 | I am going to just put it on put on Auto.
| | 02:51 | The Auto dynamic range option does a very
good job of figuring out how much exposure
| | 02:56 | space to put between each shot.
| | 02:59 | Next they have this thing called Effect.
| | 03:01 | So I'm going to end up with one shot that's
underexposed to bring in more detail on the
| | 03:06 | flowers, a shot that's overexposed to bring
in more detail in the shadow areas on my projector,
| | 03:12 | and a shot that's exposed
normally to pick up all the midtones.
| | 03:16 | Those three images are then going to be combined. How
they are combined is controlled by my Effect setting.
| | 03:21 | Natural is really the best way to go. As I
go up from here, I am going to start seeing
| | 03:26 | an image that looks really processed.
| | 03:27 | I am probably going to see
halos around really bright areas.
| | 03:30 | I typically find that these
are pretty useless, actually.
| | 03:33 | So you're going to be best served
by just leaving this on Natural.
| | 03:37 | Continuous HDR lets me control whether the
HDR process stops after this shot that I am
| | 03:42 | going to take -- and by shot, I mean three shots
that are combined into one HDR -- or if that continues
| | 03:48 | until I explicitly turn it off.
| | 03:50 | Basically, they're saying, we are going to
turn HDR off, so that you don't forget that
| | 03:54 | it's on, and screw up your next shot, or
they're saying, we're going to leave it on, so that
| | 03:57 | you can continue to work
this scene in an HDR mode.
| | 04:00 | I'm going to leave on 1 shot only.
| | 04:03 | I can also do this shooting handheld, and
the camera will try to align the images.
| | 04:07 | I still need work to hold the images very stable, and
I want to be sure that Auto Image Align is turned on.
| | 04:13 | Since I'm on a tripod, I am
going to set this to Disable.
| | 04:16 | If you leave it enabled, there is a chance
your image might get cropped a little bit.
| | 04:21 | Finally, the camera is shooting three images,
and then combining them into a fourth image.
| | 04:26 | If I want, I can tell it to save both the
three original images, and the merged image,
| | 04:31 | or the HDR image only.
| | 04:33 | The reason I might choose to save all of them
is that if I don't like the camera's results,
| | 04:37 | I can take those original images back home,
and merge them on my computer using Photoshop,
| | 04:42 | or special HDR software.
| | 04:44 | For the sake of easy review here, I'm
going to switch this to HDR image only.
| | 04:48 | I don't need the original images, and this is
going to make it easier for us to do comparisons
| | 04:53 | of the HDR image against the
images that I have already shot.
| | 04:56 | So with that all configured, I'm ready to go.
| | 04:59 | So I just frame my shot,
which I have already done.
| | 05:01 | I have got autofocus turned on, so I
don't need to look through the viewfinder.
| | 05:04 | I am just going to press the button once,
and it shoots all three images, and then merges
| | 05:09 | them, and then shows me the results.
| | 05:11 | Let's go into playback mode here.
| | 05:14 | And I want to issue a very strong caveat here.
| | 05:17 | We have the screen brightness turned up all
the way here, so that you can better see the
| | 05:22 | images onscreen through our video cameras,
| | 05:25 | so what you're seeing is actually a little bit
different than the actual results I am getting.
| | 05:30 | Unfortunately, the results are looking worse.
| | 05:31 | With the screen brighter, you're seeing
these maybe as a little washed out, and you're not
| | 05:36 | seeing detail here that's as good.
| | 05:39 | But still, I want to show you the difference
between this image, and the overexposed image
| | 05:44 | that I shot before, and the
original image that I shot.
| | 05:48 | So this image compared to the overexposed.
| | 05:53 | Yes, I've got better detail here in the overexposed
image, but here I've got much better detail in my highlights.
| | 06:00 | Then compare it to the original, where I've
got very little detail here, compared with
| | 06:04 | what I get in HDR.
| | 06:05 | Again, I'm probably seeing more detail on my
screen here than you're seeing on your screen.
| | 06:12 | I want to look at the histogram to give
you a better idea of what I've captured.
| | 06:16 | You can see that though these might look
blown out, they're actually not, and I've got
| | 06:19 | a nice range of data across my entire histogram.
| | 06:23 | In the overexposed one, I was blatantly overexposed,
and in the original, I actually had a lot of
| | 06:30 | detail in the highlights;
not a lot of detail down here.
| | 06:32 | In my HDR, I've got a little
more midtone data down here.
| | 06:36 | So when you're going to want to use HDR are
those occasions where you want to preserve detail
| | 06:41 | in your shadows, detail in your highlights.
| | 06:43 | That said, I can guarantee you you're
always going to get better HDR results doing the
| | 06:48 | merge yourself on your computer
than letting the camera do it for you.
| | 06:51 | If you would like to know more about HDR,
you can check out my Shooting and Processing
| | 06:57 | High Dynamic Range Images course.
| | 06:59 | It will walk you through the entire process of
shooting and processing images on your computer.
| | 07:04 |
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| Creating multiple exposures| 00:00 | In the old days of film shooting, if you
ever forgot to advance the film in your camera,
| | 00:05 | then you would end up shooting multiple
images onto the same piece of film, resulting in a
| | 00:09 | weird composite image.
| | 00:11 | Eventually, the camera makers engineered their
cameras so that it was not possible to accidentally
| | 00:15 | create multiple exposures, but by that point,
it was to late; all the artsy types had already
| | 00:19 | decided that multiple
exposures were a very cool effect.
| | 00:22 | You can create multiple exposures in your
camera right now using the multiple exposure feature.
| | 00:29 | To create a multiple exposure with your 5D,
go into the menu, and work your way over to
| | 00:33 | the third page of the shooting category. Down at the
bottom, you'll see something called Multiple exposure.
| | 00:38 | It defaults to being Disabled, of course.
I need to enable it, and configure it.
| | 00:42 | There are a lot of different
things you can do with this command.
| | 00:45 | First of all, I need to tell it that I want
it turned on, but there are two different ons.
| | 00:50 | The first one is for shooting
still objects, like I have here.
| | 00:54 | We have built a scene here with two different
objects, and I'm going to merge them together,
| | 00:59 | and along the way, it's going to give me a lot of
really cool feedback for building a composition.
| | 01:04 | The second one is for continuous shooting;
going into Drive mode, and quickly firing off
| | 01:09 | a burst of images, usually of a moving subject,
and letting the camera put them all together.
| | 01:13 | So maybe I've got a bicyclist
that's moving through frame;
| | 01:17 | it would take a picture here, and here, and
here, and here, and then merge them all together.
| | 01:21 | So I'm going to pick this one, because
it's better suited to my still subject matter.
| | 01:26 | There are lots of different ways of digitally
combining images, and that's what's going to
| | 01:29 | happen here; I'm going to have two
digital images that need to be composited.
| | 01:32 | You can see I've got
these four different methods.
| | 01:36 | If you've ever worked with blending modes in
Photoshop, then this should be familiar to you.
| | 01:41 | These are simply different ways that the
numeric values in each image can be combined.
| | 01:46 | If you look on page 178 of your 5D manual,
you'll see descriptions of all of these.
| | 01:51 | I'm going to go with Dark right now, because
that's going to be the best for the subject
| | 01:55 | matter that I'm working with, and this is
going to give us a fairly clean composite.
| | 01:59 | Next, I need to tell it how many pictures I want
in this particular multiple exposure; I want 2.
| | 02:06 | I can save all of the source images; that is,
the two shots that I'm going to take, plus
| | 02:10 | the final composite, or I
can save the Result only.
| | 02:14 | I'm just going to go with the Result only,
because I think the original images are actually
| | 02:17 | going to be kind of boring. I won't need them.
| | 02:19 | Finally, I have this: Continue Multiple-exposure.
It defaults to Continuously, which means when
| | 02:26 | I'm done shooting this two shot multiple exposure,
the camera will simply stay in this mode with
| | 02:31 | these parameters, so that I can
just go right into doing another one.
| | 02:35 | What's nice is that Canon has given you the
option of saying, no, when I'm done with this
| | 02:39 | one, turn off the multiple exposure thing.
| | 02:42 | This is a great way of protecting yourself
from forgetting that you're in multiple exposure
| | 02:46 | mode, and accidentally starting another one.
| | 02:48 | So I'm going to go here.
| | 02:50 | You might want to use this if you think,
well, I'm not sure that I can get this right on
| | 02:53 | the first try; I'm going to want to really
be experimenting with this. But I'm feeling
| | 02:56 | confident that I can nail this one.
| | 02:59 | Finally, it won't always be the case that
I want to create a multiple exposure out of
| | 03:04 | things that are in the location that I'm at
right now. Maybe I want to combine something
| | 03:09 | that is in front of me right now with
something I shot somewhere else earlier.
| | 03:13 | If that's the case, I can choose this:
Select image for multiple exposure. This lets me
| | 03:17 | pick an image that I've
already shot as my first image.
| | 03:20 | I will still be doing only a 2
shot multiple exposure, in this case,
| | 03:24 | but the first image will be one that I select
right now; the second one will be one that I shoot.
| | 03:29 | Obviously, that's not
relevant to what I'm going to do here.
| | 03:32 | So I'm going to half-press the shutter button
to accept all of those, and I'm going to turn
| | 03:36 | on live view, so that you
can watch what I'm doing.
| | 03:38 | Live view is not necessary for multiple exposures,
but it's going to make it easier for you to
| | 03:42 | see how I'm setting this up, and also, if you
do this with live view, you get some really
| | 03:47 | cool additional aids for
building your multiple exposure.
| | 03:51 | So the first thing I'm going to do is just
frame my shot, just like I normally would.
| | 03:55 | Really, right now all I'm doing is all the
same normal photography that I would always do.
| | 04:01 | I'm thinking about focus; I'm going to
focus right there on the end of the lens.
| | 04:05 | I'm thinking about exposure, so I've got my
lens open all the way to try and get some
| | 04:10 | shallow depth of field.
| | 04:11 | I'm just doing all of my normal photographic
process, and I'm metering, and taking my shot.
| | 04:18 | A couple of things happen now.
| | 04:20 | This icon starts flashing on the status display to
indicate that I'm in the middle of a multiple exposure.
| | 04:25 | It's also flashing back here.
| | 04:27 | And something else really cool happens,
which you'll see as soon as I move the camera.
| | 04:34 | It's giving me a semi-opaque
version of the shot that I just took.
| | 04:39 | This makes it much easier
to compose my composite.
| | 04:43 | I can get this merged with these flowers exactly
the way that I want, and when I get it where
| | 04:48 | I want it, I think about taking this shot.
| | 04:51 | Now, just because I'm seeing this camera here,
remember, I still need to think about all of
| | 04:55 | my other photographic concerns. So I'm
going to make sure that it focuses on this part
| | 04:59 | of the flower, I'm going to half-press to focus
and meter, and now I'm going to take my second shot.
| | 05:05 | And it's going to think for a moment, show
me a quick review, tell me it's busy, and then
| | 05:11 | I'm back to normal shooting.
| | 05:13 | But I'm no longer in multiple exposure
mode, because I asked the camera to bail out of
| | 05:19 | it when I was done taking the shot.
| | 05:21 | So let's do a quick image review
here, and see what this looks like.
| | 05:24 | I'm going to drop into playback, and zoom in
here, but we don't want to zoom in that far.
| | 05:34 | So you can see that it has merged these
two images, and where there are darker pixels
| | 05:40 | in my second image, they override lighter
pixels that were underneath, so it's really just
| | 05:45 | laid the other right on top.
| | 05:47 | Other modes are going to create more of a
blend. So this is a really interesting way
| | 05:51 | of getting some abstract stuff in camera.
| | 05:53 | Now, of course, I could set
the same thing up in Photoshop.
| | 05:57 | I could shoot my two images, put
them in layers, and merge them together.
| | 06:01 | What's nice about this is there's a little
bit of a random element to it, so it's more
| | 06:04 | like shooting multiple exposures used
to be. Plus, if I use the Continuous option,
| | 06:09 | I have the ability to very quickly create
multiple exposures of a moving object, taking
| | 06:14 | different slices of time, and
merging them into a single image.
| | 06:17 | So to get a handle on this, take a look at
the manual, and do a little practicing with
| | 06:21 | it. You'll probably find it's an
interesting thing to play with.
| | 06:23 |
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| Using the mirror lockup feature| 00:00 | When you're shooting an exposure of a second
or two long, you want to be very careful to
| | 00:05 | ensure that the camera doesn't shake,
| | 00:07 | so typically, you put the camera on a tripod,
and maybe you use a remote control to ensure
| | 00:12 | that your hands don't touch the camera, but
even with all of that, the camera can still
| | 00:16 | pick up some vibration from
its mirror flapping up and down.
| | 00:20 | Depending on the length of your exposure, that little
bit of vibration can cause a softening in your image.
| | 00:25 | Your camera includes a feature that
can help you prevent this problem.
| | 00:30 | The mirror lockup feature is located here in the
first shooting menu, down at the bottom of the page.
| | 00:35 | If I just scroll down here,
you see that the default is Off.
| | 00:37 | So I'm going to hit the Set button to go in
here, and hit Enable, and now I've got my mirror
| | 00:43 | lockup icon; that's supposed to be a little
mirror hanging down, and there is an arrow
| | 00:47 | indicating it's swinging upward.
| | 00:48 | So you can just imagine what's
happening in the camera when this goes on.
| | 00:52 | Here's my mirror lockup
icon on the status display.
| | 00:55 | So I'm half-pressing the
shutter button to meter and focus.
| | 00:59 | Now when I press at the rest of the way to
take the shot, that was the mirror swinging
| | 01:04 | up, and now my mirror lockup icon is flashing to
let me know that I'm in locked up mirror mode.
| | 01:11 | Now I can take as long as I need.
| | 01:12 | When I am ready to take my shot, there is no
more metering or autofocus; that's all locked in.
| | 01:18 | Now I press the shutter button all
the way down, and it takes my shot.
| | 01:23 | It takes my shot, and the mirror comes back
down, which means the next time I take a shot,
| | 01:27 | because I'm still in mirror lockup mode, when
I press the button, it's going to go up again,
| | 01:32 | and wait for me to go the rest of the way.
| | 01:36 | Notice that if I switch the power Off, and
turn it back On, I'm still in mirror lockup
| | 01:45 | mode, so that's going to stay there
until I explicitly go in, and turn it off.
| | 01:50 | It's important to remember after you've been
using mirror lockup mode to turn it back off.
| | 01:53 | There's nothing more frustrating to go out,
say, the next day, and take a shot that's
| | 01:58 | passing by very quickly, only to find
that all you've done is lock up the mirror.
| | 02:01 | This is another reason that it's great
that the menu system remembers where you were.
| | 02:06 | It remembers the last item you did.
| | 02:07 | If the last thing you did was to lock up the
mirror, when you come back into the menuing
| | 02:10 | system, you're right there, ready to go.
| | 02:13 | So that's mirror lockup, which is going to
let you reduce vibration in your camera when
| | 02:17 | you're doing longer shutter speeds.
| | 02:19 |
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|
|
8. More Playback OptionsModifying LCD brightness| 00:00 | That big LCD screen on the back of your camera
is a great photographic aid. You can use it
| | 00:05 | to review your images in live view mode,
you can actually use it as a viewfinder,
| | 00:10 | but there are some things to understand about
it. It is not an accurate way of assessing
| | 00:16 | tone or color in your image.
| | 00:18 | So if you're trying to figure out if something
is over or under exposed, just looking at that
| | 00:22 | image on the back of your
viewfinder is not the way to do it.
| | 00:25 | Similarly, if you're trying to decide that
colors are accurate, or if you have got a level
| | 00:28 | of saturation that you like,
still don't want to go with the LCD.
| | 00:33 | One thing to understand is that the camera
might be brightening up the image that it
| | 00:37 | puts to the LCD to make it easier to view in brighter
light, and that can cause a shift in tone and color.
| | 00:44 | So we never use the LCD as a really accurate
way of assessing anything other than composition.
| | 00:50 | Now, you can change the brightness of the
LCD, and this is a good thing to do, if you find
| | 00:55 | yourself in direct sunlight, and your screen looks
washed out, brightening it up can make a big difference.
| | 00:59 | Similarly, if you're shooting in a dark room,
a performance, or a museum, or something like
| | 01:04 | that, you may want to turn the brightness down.
| | 01:07 | Now, there are some tools that make the LCD
screen a little more useful for judging both
| | 01:13 | tone and color, and you can learn
about those by studying your histogram.
| | 01:17 | For now, here is how you
can change the brightness.
| | 01:21 | Over here in the second page of the tools
menu, you will find an option for changing
| | 01:26 | the brightness of the LCD, and as you saw earlier,
we have got the brightness of this LCD turned
| | 01:31 | up all the way, because we've got it under
really bright lights, so it was getting washed out.
| | 01:35 | That's a perfect example of why you
might need to change the LCD brightness.
| | 01:40 | Or another example is you might want to turn
the brightness down if you're shooting, say.
| | 01:43 | a concert, or an event, or something, and you want to
minimize the amount of glare coming from the camera.
| | 01:48 | By default, you can set the brightness to
Auto, which I did with the main dial up here,
| | 01:54 | and within Auto, I have three different settings, and
you can see that it gives me an okay range of brightness.
| | 02:01 | I am going to switch back to Manual, where I have got
seven different levels of brightness to choose from.
| | 02:06 | I have got two things
going on here in the display.
| | 02:09 | This is actually showing me
a view outside the camera.
| | 02:11 | You're seeing white right now, because
we are just pointed at the white wall.
| | 02:14 | It's also giving me this gray ramp, which can
make it easier for me to see how much shadow
| | 02:19 | and highlight detail I am going to lose
in my image as I lower the brightness.
| | 02:24 | So as I pull this down, I am actually picking
up a little more detail in my middle grays,
| | 02:28 | but I am dropping out the bottoms.
| | 02:30 | It can be a good idea to take a look at this
little test wedge to get a better understanding
| | 02:34 | of the accuracy that you might be seeing on the
viewfinder when you are reviewing your images.
| | 02:39 | That said, you should never trust
contrast and color on this screen.
| | 02:44 | All of the image data going to this screen is
amped up, so that it's easier to see in bright light.
| | 02:49 | Be aware that as you increase brightness,
you are also going to increase battery drain.
| | 02:52 | It takes more power to drive a brighter screen,
so you are going to want to balance those concerns.
| | 02:56 | You are also going to heat up the
camera faster with a brighter LCD.
| | 03:00 | If you're mixing shooting stills with video,
or you are shooting a lot of video, you are
| | 03:04 | going to want to watch that screen brightness,
because you will already be battling heat
| | 03:08 | issues in video mode.
| | 03:10 | The screen is really about judging composition.
You can use the image's histogram to get a
| | 03:15 | better idea of exposure.
| | 03:17 | But for simply being able to see the
screen in bright lights, or to not see it so well
| | 03:21 | in really dark light, you'll want to go to the LCD
brightness screen, and turn the brightness up or down.
| | 03:25 |
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| Rotating images| 00:00 | Your camera includes an orientation sensor
that lets it figure out if you're shooting
| | 00:05 | in portrait or landscape orientation.
| | 00:07 | Your camera records the orientation of
your shot in the metadata for each image.
| | 00:11 | When you view the images on the back of the
camera, or in an image editing program, the
| | 00:15 | image should appear rotated correctly.
| | 00:17 | Sometimes, though, the camera's rotation
sensor gets confused, and the proper rotation data
| | 00:22 | doesn't get recorded with the image.
| | 00:24 | So to fix this, you can rotate images in camera.
| | 00:27 | This rotation will actually change that
rotation tag that gets stored with the image so that
| | 00:31 | images will appear correct in your
image editing application on your computer.
| | 00:37 | If you're reviewing your images, and you
come across an image that needs to be rotated,
| | 00:41 | all you need to do is drop into the menuing
system, and in the first page of the playback
| | 00:45 | section, you will find an item for rotate image.
| | 00:47 | Hit the Set button to go into there, and now what
I have actually got is a full image browser here.
| | 00:53 | I can scroll through my different images, and
find anything that needs to be rotated, such
| | 00:57 | as this image, which was actually shot in a
landscape orientation, and this tells me that
| | 01:01 | if I hit the Set button,
I am going to rotate 90°.
| | 01:05 | So, that's not quite right; there we go.
| | 01:07 | Now I'll just keep rotating the
image around until it looks right.
| | 01:10 | Now remember, this rotation tag is stored
with the image, so when I get this into my image
| | 01:13 | editor, it should have the correct orientation.
| | 01:17 | Another rotation feature that I find very
handy; consider this image that I shot in
| | 01:22 | portrait orientation.
| | 01:23 | Now, the camera has correctly rotated it, so
that it's upright, so that when I am holding
| | 01:27 | the camera like this, I see the
image in its proper orientation.
| | 01:31 | However, I'm wasting all this screen space.
| | 01:34 | My image is kind of small after it's rotated.
I would really much rather have it be displayed
| | 01:38 | this way at full size, because since I am
just holding the camera, I could always rotate
| | 01:42 | it, and have a much nicer,
larger view of my image.
| | 01:45 | I can actually tell the
camera to start doing that instead.
| | 01:48 | If I go into the menu, and go here to the
first page of the setup category, I have an item
| | 01:54 | called Auto rotate, which is currently set to
On for both the camera, and computer, meaning
| | 02:00 | images are going to be rotated for display
on the camera, and they are going to be tagged
| | 02:03 | for rotation on the computer.
| | 02:04 | If I pop that open, I have two choices; I
can turn off rotation altogether, or I can
| | 02:10 | say, actually, go ahead and tag the images
for rotation on the computer, but don't rotate
| | 02:15 | them on the camera; there's
no camera icon right there.
| | 02:17 | So I am going to hit Set to take that,
and now when I play back that image, aha!
| | 02:22 | It's filling the whole screen.
| | 02:24 | It's sideways, but that's okay, because I can
always just rotate the camera, and look at it that way.
| | 02:28 | This gives me a much nicer, larger view. It's
a setting I really recommend. It's going to
| | 02:32 | make it easier to review
fine details in your images.
| | 02:35 |
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| Using the playback grid| 00:00 | You've seen the level in grid display
that you can use while you're shooting.
| | 00:04 | There's also a grid display you can use in
playback mode if you want to really double-check
| | 00:08 | whether an image is level are not.
| | 00:10 | If I go in here to the menu, to the third screen
of the playback section, I have Playback grid.
| | 00:16 | I can turn that on, and I get the same
options that I get in the normal grid display.
| | 00:21 | I can control the frequency of the
grid, and whether I want diagonal lines.
| | 00:24 | I'm going to go head and set this up to 6x4,
and now when I go into playback mode, I get
| | 00:30 | a grid displayed over my images.
| | 00:32 | This is going big to be
displayed over every image.
| | 00:35 | So this is a way that I can go in,
check whether an image is level, and
| | 00:38 | if it's not, I can decide
whether I want to shoot it again.
| | 00:41 |
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| Enabling AF point display| 00:00 | There are a few reasons that you might have
an image that's out of focus. One, you might
| | 00:06 | have a slow enough shutter speed that your
hand shakes the camera, and blurs your image.
| | 00:10 | Two, you might have a shallow enough depth
of field that things in your image that you
| | 00:14 | want to be in focus are actually
falling out of the range of depth of field.
| | 00:18 | And three, your autofocus just
might not be focused in the right place.
| | 00:22 | If you're reviewing an image, and finding
that it's a little soft, and wondering why it's
| | 00:26 | out of focus, and there's no immediate explanation,
such as a conspicuously slow shutter speed,
| | 00:33 | you might want to go in here, into the
third page of the playback category, to AF point
| | 00:38 | display, and set it to Enable.
| | 00:41 | This will now show you which autofocus
point was used when the image was taken.
| | 00:46 | Here I can see that there's one of my thigh,
and here is one on this tree branch, and here
| | 00:50 | it was right in the center.
| | 00:51 | So this is a way of reviewing where
autofocus was working, and that can cue you in
| | 00:56 | as to whether maybe you're not using autofocus
properly, maybe you had your camera
| | 01:01 | set to weird focus point, or maybe autofocus
is working fine, and you need to look for another
| | 01:06 | explanation, such as slow shutter
speed, or shallow depth of field.
| | 01:10 | So it's a nice kind of forensics tool that
can help you get an understanding of what's
| | 01:14 | going wrong when you get
an image with soft focus.
| | 01:16 |
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| Rating images| 00:00 | Rating your images is a critical part
of effective post-production workflow.
| | 00:05 | If you're doing your job as a photographer,
then you should be shooting lots of images
| | 00:10 | of every scene that you shoot.
| | 00:12 | This process of working the shot is how you explore
a subject, and eventually find the best image.
| | 00:18 | Working the shot this way also means that
you'll be going home with a lot of images,
| | 00:22 | most of which will not be keepers.
| | 00:24 | By rating your images, you can easily filter
out the good ones, and not have to waste time
| | 00:30 | reviewing or editing lesser shots.
| | 00:32 | You can start your rating process in the camera
itself by applying ratings of one to five stars.
| | 00:38 | These ratings can be read by many image editing
applications, including Adobe Photoshop, and
| | 00:43 | Photoshop Elements, and Lightroom.
| | 00:45 | The ability to rate images in camera means
that you can rate an image as a keeper while
| | 00:50 | still on location, when the shoot is still
fresh in your mind, or if you're sitting in
| | 00:55 | an airport waiting to go home, you can go
ahead and start reviewing and rating your
| | 00:58 | images, without having to drag out a computer.
| | 01:01 | The rating interface on the Mark III is a
little goofy, so follow along closely here,
| | 01:05 | and we'll take a look at it.
| | 01:06 | I am going to go into the menu, and here in
the second page of the playback screen, I have
| | 01:11 | an item called Rating.
| | 01:11 | If I go in here, I see the last image that
I was looking at, I can scroll around
| | 01:16 | through other images,
| | 01:18 | and I've got this thing up on top, which is
an interface both for assigning a rating while
| | 01:22 | simultaneously looking at how many
images on the card currently have each rating.
| | 01:27 | In other words, right now I have zero
images with any rating of any kind.
| | 01:32 | Here's one star, two, three, four, and five.
| | 01:35 | So let's say I want to give this three stars;
I am going to hit the Set button, and that's
| | 01:38 | unqueued for that right there, and then
it changes to this up and down thing.
| | 01:43 | Now watch where it says Off; I am going to go
one, two, three, so now I've got three stars.
| | 01:48 | Also, over here I can see that I now have
one image on the card with three stars.
| | 01:52 | I am going to hit the Set button to
take that, and move on to the next image.
| | 01:56 | I don't want to do anything with
that. I am not crazy about that.
| | 01:59 | Oh, that's a nice enough picture;
I'll give that three stars also.
| | 02:02 | I am going to Set again, dial up to
three stars, and now I've got a 2 over here.
| | 02:08 | So then maybe I decide that's a little overexposed,
but maybe I could fix it later; I'll give that two stars.
| | 02:13 | Hit Set, dial it up to two stars, and now I've got one
image with two stars, and two images with three stars.
| | 02:20 | This gets a little confusing, because you see
the one, and the two, and the zero, and you think
| | 02:23 | maybe those are ratings, but those aren't.
| | 02:25 | The ratings are the
little star icons in brackets.
| | 02:29 | There are a lot of different rating strategies; I
typically don't get so granular as one and two star images.
| | 02:34 | I typically go through, and find the
images I like, and give them three stars.
| | 02:38 | Later, if it turns out that there are some
of those that I like more than others, I've
| | 02:42 | got some kind of rating headroom that
I can use to dial up higher ratings.
| | 02:46 | Again, you'll probably do the bulk of your
rating on your computer, but this is a nice
| | 02:49 | way to, if you need to deliver a batch of
images quickly to someone, and need them to
| | 02:53 | know your selects, so you can
quickly rate them in camera.
| | 02:56 | Or if you've got some downtime on your vacation,
or on a job, you can go ahead and start your
| | 02:59 | post-production right here in camera
by getting started with your ratings.
| | 03:03 |
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| Protecting and deleting images| 00:00 | There are a few different
philosophies about deleting images.
| | 00:04 | Some people like to delete images that they
think are bad, so that they don't drown in
| | 00:09 | image glut when they
start their post-production.
| | 00:10 | Other people say you should never delete an
image, because you never know whether it might
| | 00:14 | be useful or not until later.
| | 00:17 | For the sake of this discussion, let's split the
difference, and say that there will occasionally
| | 00:21 | be images that you know
will have zero utility later.
| | 00:24 | Those images where your finger is in front of
the camera, or you left the lens cap on, or
| | 00:28 | something like that.
| | 00:29 | Your camera provides a number of ways to delete images,
as well as to lock images, so that they can't be deleted.
| | 00:36 | Earlier, I was very adamant about how after
you've dumped the images from your card, and
| | 00:41 | you're ready to erase the card, you absolutely
need to use the Format card command, and I
| | 00:45 | stand by that; that's still true.
| | 00:47 | Nevertheless, there are still times when you'll
find a use for the Erase images command, which
| | 00:52 | is here on the first page
of the playback section.
| | 00:55 | Let's go in here, and you will
see a few different options.
| | 00:58 | First one is Select and erase images.
| | 01:00 | This allows me to select and
erase specific images on the card.
| | 01:04 | I'm going to select that.
| | 01:06 | Now what I've got is a
normal playback interface.
| | 01:08 | I can scroll around, and find an image.
| | 01:10 | Here's one that's blatantly out of
focus, so I would like to delete that.
| | 01:14 | If I hit the Set button,
it marks it for deletion.
| | 01:17 | So it put the checkmark on this image, and shows me
that I currently have one image that I want to delete.
| | 01:22 | So I'm just going to keep looking around here.
| | 01:24 | Here are two images that are mostly the same;
I don't need both of them, so I'll go ahead
| | 01:28 | and hit the Set button.
| | 01:28 | Now I have got two images to delete.
| | 01:30 | Once I have picked all the images I want to
get rid off, I simply hit the trashcan button,
| | 01:35 | and it asks me to confirm, I'll say
OK, and it erases those two images.
| | 01:39 | So that's the way I can selectively erase,
and of course, different people, as I mentioned
| | 01:43 | earlier, have different
philosophies about erasing.
| | 01:46 | As we'll see in a little bit, it's possible
to specify folders on your card, just as you
| | 01:51 | would on the hard drive on your computer,
and erase images only within a folder.
| | 01:56 | Then we get down here to delete
or erase all images on a card.
| | 02:01 | Now, I've already said
you don't want to use this.
| | 02:03 | If you need to erase the whole card, use Format.
| | 02:05 | However, consider this.
| | 02:07 | You're out shooting one day,
and you shoot 600 pictures.
| | 02:10 | You take them home, you dump them onto your
computer, and you forget to erase the card.
| | 02:14 | The next day you go out, and you start
shooting again, and you get maybe 20 images in, and
| | 02:18 | you realize, oh my gosh!
| | 02:19 | I forgot to delete those 800
pictures that I took yesterday.
| | 02:22 | Now, when I dump the card, I'm going to have all this
extra stuff, and also I've got less space on my card.
| | 02:27 | I've got 800 images less on my card.
| | 02:30 | I need to fix this somehow.
| | 02:32 | Well, you could go in and selectively erase
those 800 pictures that you took yesterday,
| | 02:37 | but that would take a long time.
| | 02:38 | A better way is to go up
here, and go to protect images.
| | 02:42 | If I choose this, I have all of these different options
for selecting images that I want to lock or protect.
| | 02:48 | I can select images, I can lock all the
images in a folder, I can unprotect all the images
| | 02:54 | in a folder, I can protect
everything on the card, and so on.
| | 02:57 | I am just going to select a couple of images,
and I do that by, again, I am in a normal navigation
| | 03:02 | scheme here, I just hit the Set button,
| | 03:04 | and that locks an image.
It's got a little key on it now.
| | 03:07 | Now, what's cool about this is that the
Erase command won't erase protected images.
| | 03:13 | So if I go in here to erase now, and say
erase all images on card, it will erase everything
| | 03:19 | except for the locked images.
| | 03:21 | So in the scenario I described earlier,
I could go through and lock those 20 or so
| | 03:26 | images that I shot today, and then hit Erase all,
and it will erase everything that I shot yesterday.
| | 03:31 | I'm not going to do that erase.
| | 03:34 | After I had done that, I could then come back
up here to Protect images, and say Unprotect
| | 03:38 | all images on card, and
| | 03:40 | that will unlock all of those images,
so that they will be erasable later.
| | 03:44 | Note that a format will
wipe out protected images,
| | 03:47 | so that really does truly wipe the card.
| | 03:50 | So these are some easy ways for
managing images while you're shooting.
| | 03:55 | If you find you're running out of space, you
might need to go in and selectively erase some images.
| | 03:59 | If you've got some images that you know are
just absolutely duds, and you don't want to
| | 04:02 | hassle with them later, and you've got some
time now, you can deal with that on the camera
| | 04:06 | using the Select and erase images command.
| | 04:08 | Finally, there's another way of erasing images,
and that's from within the playback mechanism itself.
| | 04:14 | So as I'm reviewing images, if I come
across one that I don't like, I can simply hit the
| | 04:18 | trashcan button, confirm,
and that image will be erased.
| | 04:22 | So this is a way that I can erase images
as I'm reviewing if I come across a dud.
| | 04:27 | So again, a lot of different philosophies
about whether you should erase images, or keep
| | 04:31 | everything. If you decide you need to erase
something, you've got several really handy
| | 04:36 | mechanisms for doing that right in camera.
| | 04:38 |
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| Using Quick Control during playback| 00:00 | You've seen how you can use the quick control
button, this little button with a Q on it,
| | 00:04 | while you're shooting to get a single interface
to a lot of different shooting controls.
| | 00:09 | It'll do the same thing in playback mode.
| | 00:11 | If I'm reviewing images, I can hit the Q
button, and get this single interface to a lot of
| | 00:16 | things that I might want to
do to an individual image.
| | 00:19 | So, for example, right off the
bat, I can protect to the image.
| | 00:22 | Now, the way this interface works is the wheel
here lets me control my confirmation or not,
| | 00:29 | while the multi-controller lets me move up
and down my selection over here. So I've got
| | 00:35 | rotate, I've got ratings; I've got the
ability to process a RAW file into a JPEG.
| | 00:40 | If this was a JPEG, the next item
would be lit up, which is resizing.
| | 00:45 | I can enable highlight alert, I can enable
autofocus point display, or I can jump forward --
| | 00:52 | or I can control my jump interval down here.
| | 00:56 | So this is just a really nice way to
quickly get into a bunch of different functions.
| | 01:00 | I don't have delete on here, because I get
delete simply from the delete button down
| | 01:06 | here, so there's no need for a shortcut.
| | 01:08 | So as you're reviewing, you might find the
quick control an easier way to get to some
| | 01:12 | of the features that you're using more often,
quicker than digging into the menu system.
| | 01:16 |
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| Exploring file numbering options| 00:00 | When you take a picture, your camera has to
give it a name of some kind, and as you have
| | 00:04 | probably already discovered, it tends
to give it a name that's mostly numbers.
| | 00:08 | In fact, though, they're sequential numbers.
| | 00:10 | Every time you take a picture,
the camera increments its image number.
| | 00:13 | By default, these numbers keep going up
until you hit 9999, at which point they roll over
| | 00:19 | to 1, and start over.
| | 00:21 | The images are stored inside a folder on the
camera's media card, which is inside of another
| | 00:25 | folder called DCIM.
| | 00:27 | Each folder can hold up to 9999 images.
| | 00:31 | If a folder fills, a new one is
created with a sequential number of its own.
| | 00:36 | You can change the numbering scheme, though,
so that it resets every time you put in a
| | 00:41 | new card, or create a new folder.
| | 00:44 | So every time you put in a new card,
you will get a new numbering scheme.
| | 00:47 | You will also get a new numbering scheme
every time you take out your old card, empty it,
| | 00:51 | reformat it, and reinsert it.
| | 00:53 | If you want, you can also
reset the numbering manually.
| | 00:56 | In most situations, the default continuous
numbering scheme is the best way to go.
| | 01:01 | If you have numbering set to reset every
time you change cards, then you'll possibly run
| | 01:05 | into troubles with duplicate filenames.
| | 01:07 | For example, maybe you are on vacation. At
the end of each day, you dump all of the images
| | 01:12 | you have shot into a folder.
| | 01:14 | If the file names are resetting each time,
then you will have duplicate names every day.
| | 01:20 | The File numbering control is here in
the first page of the setup category.
| | 01:24 | By default, it's set to Continuous, so that's
going to keep my new images being numbered
| | 01:29 | sequentially, even after I've replaced cards,
formatted cards, turned the camera off, gone
| | 01:33 | on vacation, whatever.
| | 01:35 | If I open this up, I have some other options.
| | 01:37 | Auto reset will restart file numbering at
1 any time I put in a new card, or format
| | 01:44 | a card that I've been using.
| | 01:47 | Manual reset is something that I just call up from
this menu, and that resets the card numbering to one.
| | 01:52 | So I can choose to have it automatically happen
whenever a new card is inserted, or formatted,
| | 01:56 | or I can tell it to restart right now,
or I can simply leave it on Continuous.
| | 02:01 | If you turn off Continuous numbering, then
the camera will restart numbering any time
| | 02:06 | you create a new folder, and you can manually
create folders, as we'll see in the next movie.
| | 02:11 | This allows you to stay
organized within the camera.
| | 02:14 | So let's say, again, that you're on vacation,
but this time you have switched off Continuous
| | 02:18 | numbering, and at the start of each day,
you tell the camera to create a new folder.
| | 02:22 | When you go home, you will have a separate
folder for each day, with each folder containing
| | 02:27 | images numbered starting from one.
| | 02:30 | Or maybe you want to create a new folder
every time you start shooting a new event.
| | 02:35 | This way, when you get home, you will have
all of your images already grouped by event
| | 02:39 | or subject on the camera's media card.
| | 02:41 |
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| Creating folders| 00:00 | You can manually create and manage folders
on your Mark III using, from the first screen
| | 00:07 | of the setup category here,
| | 00:09 | the Record function and card/folder
select command. I come in here --
| | 00:14 | you've seen this before -- this is where I
chose the card I wanted to record on, but I can
| | 00:17 | also create and manage folders.
| | 00:20 | If I come down here and select Folder, I see
that I'm currently shooting into the folder
| | 00:25 | 100EOS5D, which has 16 images in it. I get
the thumbnails of the starting -- of the first
| | 00:32 | and last images in that folder.
| | 00:34 | I can, if I want, come down
here and create a new folder.
| | 00:37 | It tells me it's going to create a folder
called 101. I can say OK, and now I've got
| | 00:41 | two different folders, and I can select
which one I want to start shooting into.
| | 00:45 | So I'm going to select the second one, and now
any images that I take will go into that folder.
| | 00:50 | So if I'm trying to stay organized during a
shoot, if I'm shooting a couple of different
| | 00:55 | subjects, and I want to be very clear on where
that dividing line is between the two different
| | 01:01 | subject matters, I can create separate folders,
and shoot into those and add some automatic
| | 01:06 | organization going on, even
before I get back to my computer.
| | 01:08 |
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| Changing file names| 00:00 | Every time you take an image with your
Mark III, it needs to generate a file name for
| | 00:05 | the resulting image file, and as you have probably
already discovered, those file names are a little weird.
| | 00:09 | Fortunately, you can change them.
| | 00:11 | If you come in here to page 1 of the setup
category, you will see something called File name.
| | 00:15 | I am going to open that up, and what I
see here is what the current file name is.
| | 00:21 | Now, yours might look different than this, because
every Mark III has a unique file name prefix here.
| | 00:26 | So these are four characters that
form the beginning of every file name.
| | 00:31 | After this come four characters that are the
sequential number that the camera is generating.
| | 00:36 | And then, of course, after that is a file name
extension of some kind; either a CR2 extension,
| | 00:41 | or a JPEG extension, or a
video extension of some kind.
| | 00:44 | I have two other user selectable
file names that I can choose from.
| | 00:48 | Right now, User setting1 is set to IMG_, so
every file name would begin IMG_, and then be
| | 00:56 | followed by my four digit serial number.
| | 00:59 | I also have User setting2, which is three digits,
IMG, plus a single letter that indicates the
| | 01:06 | file size of the image.
| | 01:09 | You can find a key to these file
digits on page 153 of your manual.
| | 01:14 | So, if I configure with User setting2, and
take a picture, I am going to see IMG, and maybe
| | 01:20 | a capital L, which indicates that I'm
currently using the full pixel count of my camera.
| | 01:26 | It doesn't tell me anything about whether it's a
JPEG or RAW; I pick that up from the file extension.
| | 01:31 | Now, I can edit either of these.
| | 01:33 | User setting1 has to be four characters.
User setting2 has to be three characters, because
| | 01:39 | it's going to append that image
size code there on the end.
| | 01:43 | So I am going to change User setting1 here.
| | 01:44 | I am going to pick four new
characters to serve as a prefix.
| | 01:47 | If I just select that, I come into here.
| | 01:50 | Now, this is the same interface that you see
if you have edited the copyright information
| | 01:53 | in your camera, and we look at how
to do that in a different movie.
| | 01:56 | I've got two different fields here; this one tells
me my current filename. I can scroll around in it.
| | 02:01 | I can use the delete button as a backspace
key, and then if I hit the Q button, it takes
| | 02:06 | me down here to where I can select
letters, and type out a new file name.
| | 02:12 | So you might choose different file names depending
on a job you're working on, or maybe a department
| | 02:18 | in your company, or something like that, so
this might be something you want to change
| | 02:21 | for different jobs.
| | 02:23 | So once I've gotten a new file name prefix
in here, I can either say Menu to select it,
| | 02:29 | or hit Info to cancel it.
| | 02:30 | I'll just go ahead and say Menu, and now
you can see that here's User setting1.
| | 02:34 | So my file names are actually going to be LNDA,
plus a four digit file number, and again, that
| | 02:41 | file number is generated sequentially
every time you shoot a new image, although there
| | 02:45 | are ways you can edit that as well,
and we'll see that in another movie.
| | 02:48 | So this can be a useful way of kind of
getting some file organization done even before I
| | 02:52 | get back to my computer.
| | 02:54 | By changing my user setting here, I can have
file names generated that are specific to different
| | 02:59 | projects, maybe different departments
in my company, different jobs, whatever.
| | 03:04 | After I've got these organized the way that
I want, I can either hit Menu to go back to
| | 03:07 | my menu system, or just half-press the
shutter button, and I'm ready to start shooting.
| | 03:11 |
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| Adding copyright information| 00:00 | Amongst all the other metadata that's stored
with your image, there's also a copyright
| | 00:04 | field, where you can put your
name, and copyright information.
| | 00:08 | You can add this metadata using your image
editor, but you can also configure your camera
| | 00:12 | so that copyright gets added to
every single image that you shoot.
| | 00:16 | Having your copyright included with your
images provides you a pretty good amount of legal
| | 00:19 | protection, should you find that someone
has used an image without your permission.
| | 00:25 | You can enter your copyright information
directly on the camera by going into the menu system,
| | 00:30 | and going over here to the very last setup menu.
There is an entry called Copyright information.
| | 00:35 | By going here, I get a few options.
| | 00:37 | I can't right now display copyright
info, because I have not entered any.
| | 00:41 | I can enter my name, I can enter my
copyright details, or I can delete everything.
| | 00:45 | I am going to go in here to Enter author's name,
| | 00:48 | and I've got two fields here. Right now this is
showing me my name, but I don't have anything in there.
| | 00:53 | So I need to get down here
to where I can select letters,
| | 00:56 | and I do that with the Q button. That's what
this little icon is showing me here; that pressing
| | 01:00 | Q will swap back and forth between fields.
| | 01:03 | You can see that this field is highlighted,
because it's got a blue box around it.
| | 01:06 | So I am going to press the
Q button to come down here,
| | 01:09 | and now I just go through the tedious
process of either turning the wheel to move around,
| | 01:14 | or navigating with the joystick to
come in here and spell out my name.
| | 01:21 | So I am just going to go that far for now.
| | 01:24 | Note that the trashcan button over here
works as a backspace, so if you make a mistake,
| | 01:30 | you can just do that.
| | 01:32 | When you're done, you either hit the Info
button to cancel, or the Menu button to accept this.
| | 01:38 | You don't use the Set button; the
Set button is how you pick a letter.
| | 01:42 | So I am going to hit the Menu
button, and that should save my name.
| | 01:46 | Yes; now I can say display copyright
info, and you see the author is set.
| | 01:52 | So I would also like to enter copyright details.
| | 01:55 | Same interface here, but what I'm going to
do here is spell out copyright, and the year,
| | 02:02 | and probably a copyright symbol, and all of that
kind of stuff, and put all of that stuff in here.
| | 02:09 | Actually, they don't have a copyright symbol, so I
will probably use parentheses and a c to do that.
| | 02:13 | The correct syntax is copyright, parentheses
with a c in it, the year, and that's all you
| | 02:21 | need, because you have got
your name in the other field.
| | 02:23 | So when you're all done, again, it's
going to be Menu for accepting it.
| | 02:27 | And now if I display my copyright
info, I see I have got both of those.
| | 02:32 | This information is going to be embedded
in the metadata of every single image that I
| | 02:36 | shoot, for as long as the camera survives.
| | 02:40 | So if you ever give your camera away, or
sell it, or something like that, you are probably
| | 02:44 | going to want to delete
your copyright information.
| | 02:46 | So I just come in here, and confirm that I
want to delete it. Otherwise, it's going to
| | 02:51 | be embedded in all of the images
that the next person is going to shoot.
| | 02:55 | You know, if you think they are a really
good photographer, maybe you want to leave your
| | 02:58 | copyright information in there, and
you know, pick up some free images.
| | 03:01 | But then you are running the risk that they
are a bad photographer, and your name is getting
| | 03:03 | put all over bunch of lousy images.
| | 03:05 | Anyway, that's all in here. You can read
this information inside any EXIF capable image
| | 03:11 | browser or image editing program.
| | 03:13 | If you think this interface is a drag,
that's because it is kind of a hassle. You can do
| | 03:16 | the same thing using the EOS utility
software that's shipped with your camera.
| | 03:21 | It's got a place where you can enter copyright information,
and then just download it directly to your camera.
| | 03:26 | You will probably find
that's quite a bit easier.
| | 03:27 |
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|
|
9. Shooting with Picture StylesDefining picture styles| 00:00 | When you're shooting JPEG mode, the computer
inside your camera has to do a lot of things.
| | 00:05 | It reads the raw data off of the image sensor,
it converts that into a color image, then
| | 00:10 | it applies your white balance settings, it
sharpens the image, and finally, it compresses
| | 00:15 | it into a JPEG file.
| | 00:17 | Along the way, it also possibly performs some
image editing operations; changes to saturation
| | 00:23 | and contrast, for example.
| | 00:24 | Picture styles are collections of image editing
operations that can be applied to JPEG images when you shoot.
| | 00:31 | Your camera comes with a selection of picture
styles that are tailored towards specific subject matter.
| | 00:35 | For example, the portrait picture style will
apply color corrections and contrast adjustments
| | 00:40 | that will make skin tones look better.
| | 00:42 | If you're shooting RAW, picture styles have
no effect on your image, because no image
| | 00:47 | processing takes place on
RAW files inside the camera.
| | 00:50 | However, if you select a picture style other
than standard, a tag is set in your RAW file.
| | 00:55 | If you then open that RAW file with Canon's
Digital Photo Professional, it will identify
| | 01:00 | that tag, and automatically apply settings in
DPP to achieve the look of the picture style.
| | 01:07 | If you're processing your RAW images with other RAW
processors, then picture styles will have no effect.
| | 01:12 | If you regularly shoot in the same environment,
say, you're a wedding shooter, or an event shooter,
| | 01:16 | and you routinely shoot the same types of
subject matter in the same type of light,
| | 01:21 | then it's worth trying to define a
picture style that gives you results you like.
| | 01:24 | If one of the default picture styles works
for your common shooting locations, or if you
| | 01:29 | can craft a picture style that does,
then you can save yourself a tremendous amount
| | 01:33 | of post-production time.
| | 01:35 | If you're shooting JPEG, then your camera
will automatically apply the corrections defined
| | 01:38 | in your picture style.
| | 01:39 | If you're shooting RAW, and processing your
images with DPP, then it will automatically
| | 01:44 | apply your picture styles corrections.
| | 01:47 | If your picture style is configured properly,
this might mean that you don't need to do
| | 01:51 | any further adjustment.
| | 01:53 | As you'll see later, picture styles can contain
extremely refined adjustments that can create
| | 01:57 | very subtle changes in color and contrast.
| | 01:59 |
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| Exploring predefined picture styles| 00:00 | There are two ways to select a
picture style in the Mark III.
| | 00:04 | First, I can press this creative photo button here,
which brings up a menu with a few different effects options.
| | 00:09 | I've got Picture Style,
Multiple exposures, or HDR.
| | 00:12 | We'll be looking at these in other movies.
| | 00:15 | So I can select Picture Style, hit the Set
button, and that takes me to this Picture
| | 00:19 | Style selection screen.
| | 00:22 | I'm currently set to a Portrait picture style.
| | 00:24 | I have other choices: Standard, Auto, Landscape, Neutral,
Faithful, Monochrome, and three User-defined picture styles.
| | 00:33 | Each one has a separate setting for sharpness,
contrast, saturation, and tone, and there
| | 00:41 | are numeric values for each of these. So I
can see that Portrait has a sharpness setting
| | 00:46 | of 2, whereas Landscape has
a sharpness setting of 4.
| | 00:50 | Let's find a more complex one here.
| | 00:53 | Actually, none of them have
alterations to contrast, saturation, and tone.
| | 00:59 | I also have this Auto setting, which applies
some sharpness, and also automatically makes
| | 01:04 | a color adjustment to try to improve
saturation, and make colors more vivid.
| | 01:10 | So I can simply choose the one that I want,
and now if I'm shooting JPEG images, those
| | 01:15 | settings will be applied
to any image that I shoot.
| | 01:18 | Another way that I can choose a picture style
is to go into the menu, and here in the third
| | 01:22 | shooting menu, there is a Picture Style option.
| | 01:24 | Pick that, and I get a scrolling list of the picture
styles, and I can see their settings all arrayed here.
| | 01:32 | One note for RAW shooters;
| | 01:34 | though no image data is altered by your picture
style selection, your RAW file is still tagged
| | 01:40 | with your chosen picture style.
| | 01:43 | If you're using Canon's DPP software, it will
automatically adjust to your RAW image according
| | 01:48 | to the picture style, just
the way that your camera would.
| | 01:52 | So this is a way that you can shoot RAW, and
still take advantage of some predefined automated
| | 01:56 | processing. Again, an easy
way to speed up your workflow.
| | 02:00 |
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| Adjusting predefined picture styles| 00:00 | If I want, I can edit the built-in
picture styles, or even define new ones.
| | 00:06 | As you saw before, each picture style has a
sharpness setting, contrast, saturation, and
| | 00:10 | tone, and those are
represented by these numbers right here.
| | 00:13 | With a picture style selected, if I hit
the Info button, I'll get Detail settings, so
| | 00:18 | I am going to do that right now. And here you
see I've got four different sliders; one for
| | 00:22 | each of the picture style parameters.
| | 00:24 | It's very important to take note of
where 0 is for each of these settings.
| | 00:28 | For Sharpness, 0 is over here on the left,
because I can't have negative sharpness.
| | 00:33 | For Contrast, Saturation, and Tone, it's in
the middle, because I can either remove Contrast,
| | 00:37 | Saturation, and Tone, or add it.
| | 00:39 | So let's say I wanted to
modify this picture style.
| | 00:43 | I might want to go in here and turn down the
Sharpness, say, and maybe I am going for more
| | 00:48 | of an antique look,
| | 00:49 | so I am going to dial back the Saturation as
well. I am going to now hit the Menu button
| | 00:53 | to go up a level, and I can see that, sure enough, I now
have a Sharpness setting of 2, and a Saturation of -1.
| | 01:00 | If I wanted, I could come down here to these
User-defined picture styles, and start completely
| | 01:04 | from scratch. That would allow me to create
picture styles without messing up the default ones.
| | 01:10 | It's worth noting that the CD that came with
your Mark III includes software for building
| | 01:14 | picture styles with a far
more extravagant level of control.
| | 01:19 | You can go in and perform very sophisticated
color adjustments to very specific tonal ranges.
| | 01:25 | So, for example, you could create a picture
style that makes very particular color and
| | 01:30 | hue adjustments to, say, skin tones, and then you
can upload those picture styles into the camera.
| | 01:35 | So if you are a serious JPEG shooter, and
you want to be sure that you can get images of
| | 01:41 | a particular type, looking a very
particular way, that's a good way to do it.
| | 01:45 | It's fairly complex software, so you may want to
look at it before you get too married to that idea.
| | 01:50 | Still, the ability to tweak and adjust picture
styles can really help improve your JPEG workflow.
| | 01:54 |
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| Working with the monochromatic picture style| 00:00 | If you scroll down the list of picture
styles, you'll find this Monochrome entry.
| | 00:05 | This automatically converts
your images to black and white.
| | 00:09 | Now, personally I would not
recommend ever using this.
| | 00:12 | If you've watched my Foundations of Photography:
Black and White course, then you know that
| | 00:17 | black and white conversion is a really important
part of the black and white shooting process.
| | 00:22 | It's where you have a tremendous amount of
creative control. It's where you really get
| | 00:26 | to define what colors
equate to what grayscale tones.
| | 00:30 | If you just choose this picture style, then
you're getting a default, recipe based, kind
| | 00:34 | of cookie cutter conversion that might look okay,
but it might not be the best conversion you could have.
| | 00:39 | Still, one advantage to shooting this way is
if you're in a hurry, or if you're not in the
| | 00:44 | practice of visualizing in black and white,
this is a way of seeing your images in black
| | 00:49 | and white on the LCD screen.
| | 00:50 | Notice I've got these ends here.
| | 00:53 | That's because if I go in and edit the Monochrome
picture style, I have some different options here.
| | 00:58 | I still have Sharpness and Contrast, but
instead of saturation, which would be irrelevant to
| | 01:04 | black and white shooting, I have Filter effect.
| | 01:07 | So if I come down here, I can
say yellow, orange, red, or green.
| | 01:11 | This is just like shooting black and white
film with one of these filters over the lens.
| | 01:16 | So if you're used to doing that, this is a way
that you can regain that level of functionality,
| | 01:22 | and actually have some control over how
different colors are toned in your final image.
| | 01:27 | Finally, I have a Toning effect here, which allows
me to apply sepia, blue, purple, or green tones.
| | 01:33 | Sepia is going to give me an old-time look.
| | 01:35 | These others are going to
give me more of a stylized look.
| | 01:38 | So all of that's built-in right here.
| | 01:39 | I can dial those in, and have those features
automatically applied to a monochrome conversion
| | 01:46 | of every image that I shoot.
| | 01:47 | Again, not the best choice for black and
white shooting, but perhaps a good option if you
| | 01:52 | are in a hurry, or just curious about experimenting
with black and white, and you're having trouble
| | 01:57 | visualizing it through the camera.
| | 01:58 |
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10. Using Live ViewActivating Live View| 00:00 | As we've seen, one of the great advantages
of an SLR is that you have a viewfinder that
| | 00:05 | looks through the same lens that exposes the
sensor. However, there are times when looking
| | 00:10 | through that viewfinder is actually a hassle.
Maybe the camera is up on a tripod, in a difficult
| | 00:14 | to see position, or perhaps you're shooting a
portrait, and you would prefer to look directly
| | 00:18 | in your subject's eyes, rather
than through the viewfinder.
| | 00:22 | For those situations, live view
might be a preferable way to work.
| | 00:26 | In live view, the camera's LCD screen becomes
a viewfinder, just like on a point-and-shoot
| | 00:30 | camera, or on the camera on a cell phone.
| | 00:33 | The camera takes the image that's being
captured by the sensor, and puts it immediately up on
| | 00:37 | the screen, so that you can
see exactly what it's capturing.
| | 00:41 | To activate live view, you go to this
weird looking little control right here.
| | 00:45 | I say it's weird looking, because
it's actually two different controls.
| | 00:47 | There is this rocker switch, which goes
left and right, which changes me from live view
| | 00:53 | to movie shooting mode, and then
in the middle of it is a button.
| | 00:57 | For life view, we want it in the straight up
and down position, and to actually activate
| | 01:00 | live view, I just press the Start button.
| | 01:02 | Now, listen carefully as I press this.
That was the sound of the mirror in the camera
| | 01:08 | flipping up, and the shutter opening.
| | 01:10 | So with all of that stuff out of the way of
the sensor, light can now get through the lens,
| | 01:14 | back to the sensor, and the camera
can create an image here on the screen.
| | 01:18 | By default, I get this status readout here,
which is the exact same one that I get in
| | 01:22 | my viewfinder, with a
couple of little variations.
| | 01:25 | I will get my shutter
speed and aperture over here.
| | 01:27 | I am not seeing a shutter speed
right now, because I haven't metered.
| | 01:30 | I have an exposure compensation display.
| | 01:33 | This is the number of shots remaining on the card;
an estimated number of shots remaining on the card.
| | 01:38 | Now, this number differs than
the number that I see up here.
| | 01:40 | Here I'm seeing 1999;
here I am seeing 6400.
| | 01:46 | I like this number better; it
means more storage on my card.
| | 01:49 | Fortunately, this is the accurate number.
| | 01:51 | This display simply can't
read out higher than 1999.
| | 01:55 | So I actually do have an estimated
6400 images available on this card.
| | 02:00 | I am currently in Auto ISO
mode, and here's my battery meter.
| | 02:04 | As you may have noticed,
live view just turned off.
| | 02:08 | This happens if I don't touch the camera for a while
to save battery, and to keep the camera from heating up.
| | 02:13 | We're going to talk more about heat issues in
a minute. So I am going to start that up again.
| | 02:17 | I've got other information readouts that I
can get here, just by pressing the Info button.
| | 02:21 | So if I press it once, I get this. This shows
me my shooting mode; I am currently in Aperture
| | 02:26 | priority, and I've got my drive mode here,
which is in single shot mode, white balance,
| | 02:32 | picture style, auto lighting optimizer,
which card I am shooting on, my format, and it's
| | 02:37 | showing me that I am in live view
mode here; Auto Focus Live view mode.
| | 02:42 | And then down here, I see this
badge for exposure simulation.
| | 02:45 | We're going to talk about that in another movie.
| | 02:46 | So, just some simple status readout there; I
still change these things the way that I always would.
| | 02:51 | For example, if I want to change white balance,
I press the white balance button on the top
| | 02:55 | of the camera, and now I get a white
balance menu here that I can choose from.
| | 02:59 | I am going to stick with Auto white balance.
| | 03:02 | If I press the Info button again from here,
I get to a histogram display, where I can see
| | 03:07 | that I have no clipped highlights or shadows;
a real testament to the Lynda lighting crew
| | 03:11 | that this set is so well lit.
| | 03:13 | I am going to press the Info
button again, and now I get my level.
| | 03:16 | This works just like it does
in the normal shooting mode.
| | 03:19 | One more press of the Info button wipes everything off
the screen, giving me a nice clean view for composition.
| | 03:25 | I am going to stick with the default
view, showing my exposure parameters.
| | 03:29 | Now, in the middle of the screen,
I have a single focus point.
| | 03:33 | I don't get all those multiple focus points
that I get when I'm shooting in normal mode;
| | 03:38 | I only get the one.
| | 03:40 | So let's go ahead and try and autofocus here.
| | 03:42 | I am going to shoot just
the way that I always would.
| | 03:43 | I am going to half-press the shutter button to
focus and meter. So you can see that it's metered,
| | 03:49 | but autofocus is going very slow, and it's
giving me a big red box, and it's left me an
| | 03:53 | image that's very blurry.
| | 03:54 | As I mentioned before, when the mirror flips
off the autofocus sensors, which are up here
| | 03:59 | in the pentaprism, go blind.
| | 04:01 | So my normal speedy autofocus doesn't work.
| | 04:03 | Instead, what happens is the onboard
computer in the Mark III is reading this image off
| | 04:08 | the sensor, analyzing it, and driving the
focus motor in the lens according to what
| | 04:12 | it finds off of its analysis.
| | 04:14 | My problem is, since I've only got the one focus
point, and since that focus point is currently
| | 04:18 | sitting on something with very little
contrast, the camera is not able to focus.
| | 04:23 | So I can't switch to a different focus point,
| | 04:24 | but what's cool about live view is I can
actually just put this focus point wherever I want.
| | 04:28 | Using the multi-controller, I
can juts drive it around here.
| | 04:31 | I am going to put it on that camera right
there, half-press my shutter button; Aha!
| | 04:36 | And now I get focus.
| | 04:38 | My image brightened up also,
because this is also my metering point.
| | 04:41 | This is what it's basing its metering off of.
| | 04:44 | If I want metering that's different than that,
I will need to use exposure compensation, or
| | 04:50 | put it into some manual control,
and just take control on my own.
| | 04:54 | I can also put it on this camera over here,
any part of that camera, and that, again, is
| | 05:00 | going to change my focus, and my metering.
| | 05:03 | What's cool about this is I can actually
put this anywhere in the frame that I want.
| | 05:07 | I can put it in places where I
normally don't have focus spots.
| | 05:10 | So it's actually a pretty versatile focus tool;
it's just a little slow, but still very accurate.
| | 05:17 | Earlier, we saw that I was in an exposure
simulation mode; we saw a little badge down here.
| | 05:22 | What that means is that the camera is actually
trying to simulate the exposure of the final
| | 05:26 | image, which is something that I
don't get to see in my normal viewfinder.
| | 05:30 | For example, let's say that I dial in some
underexposure in my exposure compensation.
| | 05:36 | The image is actually getting darker.
| | 05:37 | I can see the changes that have been made
to my exposure; it's changed the ISO, because
| | 05:42 | I am in Auto ISO mode, but I am also
seeing the overall effect on my image. Conversely,
| | 05:46 | if I go the other way,
| | 05:47 | I see a simulation of what would happen
if I dialed in two stops of overexposure.
| | 05:52 | So this is a really nice way of
previsualizing my final scene.
| | 05:56 | I also get if, I want it, depth of field
preview, just like I would in normal shooting.
| | 06:02 | I don't get it through the exposure simulation;
as you can see, my depth of the field is very
| | 06:05 | shallow, but I'm at f/11, so
it should be deeper than that.
| | 06:09 | If I press the depth of field preview button,
which is located on the front of the camera
| | 06:13 | right next to the lens, I actually
do get a preview of depth of field.
| | 06:16 | There you see that it just sharpened up;
the camera in the back got clearer.
| | 06:21 | So I can get a very nice final preview of my
image before I shoot; something that I can't
| | 06:26 | do in my normal viewfinder.
| | 06:28 | For the most part, all of the other exposure
and shooting controls that you have will be
| | 06:32 | the same in live view as they
are when you're shooting normally.
| | 06:37 | Running the LCD screen and the image
sensor generates a lot of heat inside your camera.
| | 06:42 | Because heat is bad for electronic components,
and because it makes your image more noisy,
| | 06:46 | your camera will begin to show
you warnings as it heats up.
| | 06:49 | First, you will see this white icon; this
indicates that image quality might be degraded.
| | 06:54 | As you continue to shoot, that white icon
will turn red, and then it will start flashing.
| | 06:59 | Eventually, the camera will just stop shooting
altogether, and you will have to shut it down
| | 07:02 | to let it cool off.
| | 07:04 | Now, how quickly that will all happen varies with
the ambient temperature that you're shooting in.
| | 07:08 | You can avoid these overheating problems by
turning off live view when you're not actively
| | 07:12 | shooting, especially if the weather is hot.
| | 07:15 |
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| Focusing in Live View| 00:00 | When you activate live view, your camera raises
its mirror out of the way, so that light can
| | 00:05 | get all the way through the lens, and
back to the sensor that's back here.
| | 00:09 | It's the sensor that creates the image that's
shown on the LCD screen, so no live view image
| | 00:15 | can be created when the mirror is
down, and in the way of the sensor.
| | 00:19 | Unfortunately, there's something else
that happens when the mirror flips up.
| | 00:22 | The autofocus sensors in your camera are
located up here in the camera's pentaprism.
| | 00:27 | Light from the lens gets bounced up here, and the
autofocus sensors analyze it to calculate focus.
| | 00:33 | But when the mirror is flipped up, those sensors
basically go blind, meaning your camera loses
| | 00:38 | its normal autofocus capability.
| | 00:40 | So when you're in live view, the camera
has to use a different method to autofocus.
| | 00:45 | By default, rather than relying on its
autofocus sensors, the computer in your camera will
| | 00:50 | analyze the image that the sensor
is capturing, and focus accordingly.
| | 00:53 | A practical upshot is that autofocus in live view
is much slower than it is when you shoot normally.
| | 01:00 | Your camera has some additional autofocus
modes, though, that you can activate to help
| | 01:04 | deal with this problem.
| | 01:06 | In the last movie, you saw how the Mark
III's default autofocus works, and while it's
| | 01:11 | good for a lot of situations, the camera does offer
a couple of other live view autofocusing options.
| | 01:17 | I'm going to go into the menu here, and on
the very last page of the shooting category,
| | 01:22 | I've got a bunch of live view Options.
| | 01:23 | The second one is Auto Focus mode.
| | 01:26 | It defaults to Live mode, which is what you've
seen so far; that's where I get the one focus
| | 01:30 | point in the middle of the screen that I
can steer around with the multi-controller.
| | 01:33 | If I pop this open, though, I have two other
options. I have a really happy Live mode.
| | 01:39 | I think what this is actually referring to
is face detection Live mode, so this will
| | 01:43 | actually try to identify faces
in your scene, and focus on those.
| | 01:50 | And then I have Quick mode, which gets us back
to using the camera's autofocus sensors, and
| | 01:56 | it has a few different
advantages over Live mode.
| | 01:59 | I'm going to Set that right now,
and go back into live view here.
| | 02:05 | So things have changed here.
| | 02:06 | I still have the box I had before, but now I
have this other little box, which looks suspiciously
| | 02:11 | to be the same size as one of the camera's
standard focus points, and that's because it is.
| | 02:15 | This is actually my focus
point now; this small box.
| | 02:18 | The larger box is a metering box.
| | 02:21 | So, a couple of things are cool here; I can
meter independently of focus now, and I get
| | 02:26 | faster, and more accurate focus.
| | 02:28 | So this is actually a focusing point;
one of the 61 that I have available.
| | 02:32 | I can choose to focus right now on that
focus point by half-pressing the shutter button,
| | 02:38 | and the screen went black,
and the camera beeped.
| | 02:41 | So what happened was when I half-pressed
the button, the mirror came back down.
| | 02:46 | That allowed light to get
back up to my focus sensors.
| | 02:49 | It quickly took a focus reading; once it had,
it beeped to lock focus, and then it raised
| | 02:53 | the mirror back up to give me live view.
| | 02:55 | So when that mirror went down, my autofocus
sensors could see, but my sensor no longer
| | 03:01 | could, so my viewfinder went black.
| | 03:02 | The camera makes a lot of
noise and shakes during that also.
| | 03:05 | The problem right now is I'm focusing on that
part of the table, which I don't really want;
| | 03:09 | I'd rather focus on this camera.
| | 03:11 | I do that just like I would
in normal shooting.
| | 03:13 | I select a different focus point.
| | 03:15 | So I'm going to press my focus point select
button back here, and now I get this menu
| | 03:19 | of all the different focus points I have,
and I'm going to steer -- oops! Timed out there.
| | 03:25 | I'm going to steer over here with my
multi-controller, and put it right there.
| | 03:28 | If I wanted, I could also change focus point
by using the quick control dial here. If I
| | 03:35 | use the main dial,
that will steer it around also.
| | 03:38 | And this is showing me what focus mode I'm in.
I can change that by pressing my multi-function
| | 03:43 | button up here, and get all
of the normal focus modes.
| | 03:47 | In other words, I have the full autofocus
system that I would normally have in normal shooting.
| | 03:51 | So I'm going to accept that, and now when I
autofocus you can see that it lit up green there.
| | 03:56 | It is autofocused on this point,
which is great; that's where I want it.
| | 03:59 | My metering box is still where it was.
| | 04:01 | I can just drive that around with the
quick controller, and if I put it on the camera,
| | 04:05 | notice how my exposure brightened up so
much, because now it's metering specifically off
| | 04:10 | of the camera here.
| | 04:11 | I think that's a little bright, so I'm
going to ask it to underexpose, and try to pull
| | 04:16 | it back down to a more reasonable exposure.
| | 04:19 | If you're not sure of what a more reasonable
exposure might be, then you'd probably want
| | 04:23 | to bring up your histogram, because your histogram
will update in real time as you dial in your
| | 04:30 | exposure compensation.
| | 04:32 | If I didn't want to do exposure compensation,
I could try to position my metering square
| | 04:38 | somewhere else in the frame;
an area that's not so black.
| | 04:42 | So I have kind of split the difference here
between the really bright where it was, and
| | 04:44 | the really black over here, and I am
getting a different exposure that way.
| | 04:48 | So these are all ways that I can control exposure, in
addition to just changing shutter speed and aperture.
| | 04:54 | It's difficult to tell whether this is a faster
way of focusing than using the normal Live mode.
| | 05:00 | Live mode can take time to search around, but
with this, I have got to wait through the process
| | 05:05 | of it raising and lowering its mirror.
| | 05:08 | Most of the time, this probably will be a little bit
faster. More importantly, it's going to be more accurate.
| | 05:12 | There are going to be many times where you
cannot get the live focusing mode to work.
| | 05:16 | In fact, our original example was that way.
| | 05:18 | Live focus could not focus on this point of the
table, but in the regular quick focus mode, I can.
| | 05:25 | So if you're having trouble focusing live
view, you might want to change to this focus
| | 05:29 | mode, because it's far more capable.
| | 05:30 |
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| Focus manually in Live View| 00:00 | You can also focus manually in live view,
and sometimes this is a way to work around
| | 00:06 | the camera's autofocus not being
able to lock focus on what you want.
| | 00:10 | I am going to start just like I always
would, by switching the Manual focus switch over
| | 00:15 | to Manual, away from Auto focus,
and I'm going to activate live view.
| | 00:19 | So here I see my scene.
| | 00:21 | Now, the problem with manual focusing in live
view is I have just got this 3 inch LCD, so
| | 00:27 | it can be kind of difficult know if
I've actually got focus set properly.
| | 00:31 | Fortunately, I have this button
with a big magnifying glass on it.
| | 00:34 | If I put my focus spot on top of the area
I want to focus, which I am doing with my
| | 00:40 | multi-controller, and then hit the magnifying
button, that takes me into approximately 5
| | 00:46 | times magnification, and
that bumps me up to 10.
| | 00:49 | So I am going to put that right there, and
now I have got a really clear view of my focus.
| | 00:55 | So I am just going to go about right there.
| | 00:58 | Press the magnifying glass again, and I come back
out of full size, and now I'm ready to take my shot.
| | 01:04 | Metering will still be based on this square,
so the same square where I was focusing is
| | 01:10 | also going to be the source of my meter.
| | 01:13 | So manual focus in live view is also a good
way to work around autofocus problems. It's
| | 01:19 | going to be much easier if you zoom in first. Trying
to judge focus on the screen could be very difficult.
| | 01:23 |
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| Working with aspect ratio| 00:00 | The ratio of the length to width of
your image is defined as its aspect ratio.
| | 00:05 | For example, your HDTV has a different
aspect ratio than what your camera shoots.
| | 00:10 | With its 16:9 aspect ratio, your HDTV shows a
wider image than the 3:2 aspect ratio of your camera.
| | 00:16 | Now, if you have a point-and-shoot camera,
it probably has an even narrower aspect ratio
| | 00:21 | of 4:3, which incidentally is the
aspect ratio of standard definition TV.
| | 00:27 | When you're shooting JPEG images, you can choose
something other than the camera's native 3:2 aspect ratio.
| | 00:33 | If you're in live view, the camera will show you
guidelines for the aspect ratio that you've chosen.
| | 00:39 | Here in the fourth page of the shooting menu,
I have an option for aspect ratio, which is
| | 00:45 | currently set to its default of 3:2. 3:2,
| | 00:47 | of course, is the aspect ratio of the camera's sensor,
of the LCD screen; it's the native resolution of the camera.
| | 00:53 | It's also the aspect ratio
of traditional 35 mm film.
| | 00:57 | If I pop this open, I get some up some
other options; 4:3, the aspect ratio of standard
| | 01:02 | definition TV, and most point-and-shoot cameras.
| | 01:05 | 16:9, the aspect ratio of HDTV, and some theatrically
released movies, and 1:1, which of course, is square.
| | 01:12 | Let's take a look at 16:9. If I select
this, and now activate live view, you can see I
| | 01:18 | do, in fact, have a different shaped frame
here. The letter boxing has been applied to
| | 01:23 | my screen to show me my new frame.
| | 01:26 | I can go ahead and focus, and meter,
and do everything else as normally.
| | 01:30 | So I'm going to take that shot.
| | 01:32 | I'm currently shooting in JPEG mode, so when I
go to play that back, I actually see a letterboxed
| | 01:39 | version of my image, and when I take this
into my computer it will look like this.
| | 01:42 | If I'm shooting in RAW, the camera cannot
actually crop the RAW file, so instead it
| | 01:47 | will tag it as having been shot
with a particular aspect ratio.
| | 01:51 | If I then open it in Canon's DPP software,
it can take care of cropping it to the aspect
| | 01:56 | ratio that I chose. And then finally, I can
have a square aspect ratio, as I mentioned.
| | 02:01 | I just want you to see a more extreme one here.
So this is pillar boxed, and again, JPEG images
| | 02:07 | will show this way; RAW images
will have to be cropped manually.
| | 02:10 | So if you are a RAW shooter, this isn't so
handy, unless you are using Canon's DPP software.
| | 02:15 | If you've got a different workflow, if you use some
different software, this may not help you so much.
| | 02:20 | When we get to the customizing your camera
section, you'll learn about an option that
| | 02:23 | allows you to change this letter boxing
from solid black bars to a simple line, so that
| | 02:29 | you can actually see what else is in the frame.
| | 02:32 |
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| Exploring other Live View options| 00:00 | There are still more live view related
options here on page 4 of the shooting category.
| | 00:07 | First off, I can actually completely disable
live view. If I just go into the Live View
| | 00:11 | shoot option here, and say Disabl,
| | 00:14 | now pressing the live view
button won't do anything.
| | 00:18 | If you never use live view, or if you find
that in your bag, or when you're carrying the
| | 00:21 | camera around, you keep accidentally bumping
this, and live view pops on, you may want to
| | 00:25 | disable it, because having it turn on accidentally
can drain your battery, and heat up your camera.
| | 00:32 | I can activate a Grid display, so I'm
going to just turn on one of these. I'll turn on
| | 00:36 | the 6x4 grid, and now when I go into live
view, I see this grid superimposed. This makes
| | 00:43 | it easier for me to make sure the camera's level,
or that vertical things are aligned properly.
| | 00:48 | Back in here, and turn that off.
| | 00:50 | I've got also a 3x3 grid, or 3x3 grid with diagonal
lines through it. We have already seen aspect ratio.
| | 01:00 | Exposure simulation, we looked at earlier.
| | 01:01 | This tries to simulate, on your live view
screen, a number of different in camera processes.
| | 01:07 | In addition to exposure, you'll see any picture
styles that you've applied, your white balance,
| | 01:11 | any white balance correction, depth of field,
| | 01:14 | if you press the depth of field preview button,
auto lighting optimizer, peripheral illumination
| | 01:19 | correction, highlight tone
priority, and aspect ratio.
| | 01:23 | Now, there might be a slight difference in
your final shot and the simulation, but in
| | 01:28 | my experience, it does a pretty
good job of getting it right on.
| | 01:31 | I can choose to have it enabled, so that it's
always showing, or to only show it when I press
| | 01:38 | the depth of field preview button
around here on the front of the camera.
| | 01:42 | I might want to do this if I find that there
is a lot of processing, and it's slowing things
| | 01:46 | down, or if I simply want a really clean view
of my image, and only the preview image when
| | 01:52 | I press the button.
| | 01:53 | If I have got a really extreme picture
style, that might be a time to switch it over to
| | 01:58 | a push-button preview, or I
can disable it all together.
| | 02:03 | Silent live view shooting is on by
default, and it tries to make live view quieter.
| | 02:10 | Now honestly, if I disable it, I've
never been able to tell the difference.
| | 02:14 | Here we are in the default behavior, and that's
pretty quiet, because the camera doesn't have
| | 02:20 | to have that mirror flapping
around, which makes a lot of noise.
| | 02:23 | If I disable it, I really
don't hear a big difference.
| | 02:30 | If I am shooting somewhere where I really
need to be quiet, I can put it here into
| | 02:33 | Mode 2, which works little bit differently.
| | 02:36 | First of all, in Mode 2, I can't do any burst
shooting, and the reason is that the way
| | 02:40 | Mode 2 works is I'm going to press the
button, and hold it down. So I only, so far, I have
| | 02:46 | heard the first half of the live
view process; the shutter opening.
| | 02:48 | Now, when I release the button,
the shutter closes, and resets.
| | 02:53 | So it's not the whole open
and close thing all at once.
| | 02:58 | I'm kind of -- I'm not necessarily making any
of the sounds any quieter; I'm just spreading
| | 03:02 | them out. I'm going to
switch that back to Mode 1.
| | 03:05 | Finally, Metering timer; this defaults to
16 seconds. This is just how long the meter
| | 03:11 | holds after I've metered. So right now, when
I meter, 100th of a second at f/11; it's going
| | 03:19 | to keep that up there for 16 seconds
before it times out. I can change that if I want.
| | 03:23 | If I'm using exposure locks, I might
want to shorten it to speed my shooting.
| | 03:28 | So these are just a few
ways of customizing live view.
| | 03:30 | There are few others that you'll find when we get
to the custom functions chapter later in this course.
| | 03:34 |
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| Reviewing the drawbacks to using Live View| 00:00 | Live view is great for certain shooting situations,
as we discussed, but it also has some drawbacks.
| | 00:07 | Running the LCD screen takes
a tremendous amount of power.
| | 00:10 | This is why if your battery is running low,
it's a good idea to turn off the image review
| | 00:13 | on your camera, and to not spend any
time looking at images you've already shot.
| | 00:18 | Because live view requires the LCD screen,
it's big battery drain, so you want to keep
| | 00:22 | an eye on your battery status if
you're doing a lot of live view shooting.
| | 00:26 | If you know you're heading into a situation
that requires a lot of live view, then you
| | 00:30 | might want to consider
investing in some additional batteries.
| | 00:33 | If you're trying to shoot unobtrusively in
a darker environment, such as a performance,
| | 00:38 | or a concert, then the light from the LCD screen
might be disturbing to the people around you.
| | 00:43 | In those instances, it's probably
better to stay away from live view.
| | 00:46 | But the biggest drawback with the live
view shooting has to do with dynamic range.
| | 00:51 | Dynamic range is the range of darkest to
lightest tones that your camera can see.
| | 00:55 | Your eyes have a much wider
dynamic range than your camera does.
| | 00:59 | This means that they can see
details in areas that your camera can't.
| | 01:02 | Now, this can complicate things when you're
trying to frame a shot using live view, because
| | 01:06 | live view is not going to be able to show you
the same detail that you can see with your eye.
| | 01:11 | If you're wanting to compose around those
details, you may find yourself frustrated.
| | 01:15 | Say, for example, that you see a scene like
this, where your eye can see detail in all
| | 01:19 | those shadowy areas.
| | 01:21 | When you look at the scene using live
view, you would see something more like this.
| | 01:24 | Now, if you were thinking about those
shadow details as elements you wanted to compose
| | 01:28 | around, then the fact that they're invisible
in live view might be confounding to you when
| | 01:32 | you're trying to frame your shot.
| | 01:33 | A big part of the artistry of photography
is knowing which parts of the dynamic range
| | 01:37 | that you want to capture from the
full range that your eye can see.
| | 01:41 | If the camera is only showing you its limited
view of that full range, then compositional
| | 01:46 | decisions become more complicated, because you won't
necessarily notice all the possibilities in a scene.
| | 01:51 | This is all true for any camera that
uses an LCD screen for a viewfinder.
| | 01:55 | One workaround is, when you're using live
view, be sure to look often at your scene with a
| | 02:00 | naked eye. Then you can take note of details
that you can't see when you're looking at
| | 02:04 | the live view screen.
| | 02:05 |
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|
|
11. Shooting VideoShooting video in Auto and Program modes| 00:00 | With the release of the 5D Mark II,
Canon revolutionized video production.
| | 00:05 | The combination of a 35mm sensor, and high
quality removable lenses brought a film look that
| | 00:11 | video shooters simply couldn't get before.
| | 00:13 | With the Mark III, Canon has greatly improved
on the video interface on the camera, making
| | 00:18 | it even easier to get the
control you need when shooting video.
| | 00:22 | Your Mark III offers a few different options
for video sizes, and frame rates, and you can
| | 00:26 | change those from the video menus.
I want you to notice something;
| | 00:30 | I'm currently not in video mode. My
camera is just hanging out like a normal camera.
| | 00:36 | If I go into the menu, and look at my shooting
category, I have four pages of menus, and the
| | 00:42 | last page has nothing to do with video on it.
| | 00:45 | If I switch over to video mode, which I can
do by changing the live view switch here from
| | 00:50 | the still camera to the video camera, my live
view activates, the mirror goes up, the shutter
| | 00:56 | opens, and now when I go to the
menu, there is an additional fifth page.
| | 01:01 | So I am going to come over here, and here I've
got some video options, and down at the bottom
| | 01:07 | of the fourth page, I now
have some video options.
| | 01:09 | Movie recording size is going to let me change the
size and frame rate of the video that I am recording.
| | 01:17 | By default, the Mark III sets you
at 1920X1080, 30 frames per second.
| | 01:22 | It's saying that I am going to be able to
get about half an hour on the space that's
| | 01:25 | available on my card right now.
| | 01:27 | It's also saying that I'm using a higher compression;
something called IPB, or inter frame rate compression.
| | 01:33 | This is going to possibly degrade my image
quality a little bit, but it's going to afford
| | 01:38 | much more video on a card.
| | 01:39 | However, it's possibly going to
complicate the editing process.
| | 01:43 | So I can switch up here to a lower
compression, intra frame, or ALL-I compression.
| | 01:49 | I've got the same pixel dimensions, the same frame
rate, but you can see I am down to only 10 minutes.
| | 01:53 | I've got only about a third the
time that I had with the other format.
| | 01:57 | Some other options I have here are 1920x1080
at 24 frames per second, and I have the same
| | 02:04 | two choices for compression. Or I can go
over here to 1280x720 at 60 frames per second,
| | 02:12 | which gives me a nice slow motion. This is
using the ALL-I compression; that's the lower
| | 02:18 | compression, which means better
quality, better editing capability.
| | 02:22 | I can get those same video specs with my higher
compressor by going here, or finally, if I really
| | 02:28 | want to be able to knock out a lot of video,
I have a 640x480 with a high compression
| | 02:33 | at 30 frames per second.
| | 02:35 | This is going to be fine for shooting stuff
that I know is, maybe, only destined for the Web.
| | 02:39 | I am going to stick with my default settings
for now, and hit the Set button, and that configures
| | 02:46 | my movie recording parameters.
| | 02:48 | I am going to want to also think about sound.
| | 02:51 | There is a microphone built into the Mark III,
and while that's fine for just simple
| | 02:56 | point-and-shoot kind of video, for serious
work, I am going to want to add an external
| | 03:00 | microphone, which can plug into
the mic jack over here on the side.
| | 03:04 | Whichever microphone that I am using, I am
going to want to think about sound levels.
| | 03:07 | By default, I'm set to Auto, so it's automatically
going to determine what it thinks are the
| | 03:12 | proper levels. Here I get this nice audio
level meter here, and you can see that it's
| | 03:16 | picking up my voice right now.
| | 03:18 | I can change it out of Auto mode to a Manual
mode, and now I get control of the recording level.
| | 03:25 | All I have to do is move down here, and go
into this control, and I can turn up and down
| | 03:30 | to the lower level, and here you can see
I've gotten quieter, or raise it back up.
| | 03:36 | The blue indicator is showing you
my original position. Hit that.
| | 03:40 | I can, if I want, turn off sound altogether.
| | 03:44 | Now, that is also going to disable the
external mic, if I have it connected.
| | 03:48 | If I'm just shooting stuff where I don't need
the sound, this might actually save a little space.
| | 03:53 | I am going to put it back on Auto.
| | 03:56 | Finally, I have another option if I'm using
the internal microphone, and that's to activate
| | 04:00 | a wind filter, which is a little virtual wind filter
that's going to try and cut down on some wind noise.
| | 04:06 | Again, that doesn't work
with an external microphone.
| | 04:10 | I am inside right now, so I am not real
worried about wind, so I am going to turn that off.
| | 04:14 | A press of the menu button
takes me back out to my menus.
| | 04:19 | I am going to jump over here to the last page,
because I want to show you this silent control
| | 04:22 | feature, which is a really
nice feature on the Mark III.
| | 04:25 | This gives me silent control of some shooting
parameters. Which shooting parameter is going
| | 04:30 | to vary depending on what
shooting mode I am in.
| | 04:32 | Once I have enabled it, which I am going to
do right now, all I have to do is tap on the
| | 04:38 | wheel here to make changes to whatever parameter
the shooting mode I am in gives me access to.
| | 04:44 | So this is a very, very quiet way of making changes
to, say, ISO, or sound levels, or something like
| | 04:49 | that, without actually having to turn a
wheel, which can make a clicking noise.
| | 04:54 | This is a great if I am
working with the internal microphone.
| | 04:56 | Even if I'm working with an external microphone,
if it's located close to the camera, being
| | 05:01 | able to have this extra silent
control can make a real difference.
| | 05:03 | So I am going to enable that, and
now I'm ready to go shoot some video.
| | 05:07 | So I am going half-press my shutter
button, and that takes me out here.
| | 05:12 | Now, video shooting, for the most part, is largely
like what you saw when you were working with live view.
| | 05:18 | I have a single focus
point that I can steer around.
| | 05:21 | So I am going to put it right there on my projector,
and half-press the shutter button to focus.
| | 05:27 | I get the beep and the
green box when focus is ready.
| | 05:30 | I'm in Program mode right now,
| | 05:33 | so the camera has automatically determined
a shutter speed, aperture, and ISO.
| | 05:36 | So I am going to start my
projector going there.
| | 05:41 | Now, to start shooting video, all I have to
do is press the Start and Stop button right
| | 05:45 | here, and as you can see, I get my red light, my
tally light, showing that I'm capturing video.
| | 05:51 | You also see the activity light down here
running, which indicates that data is being
| | 05:55 | written to the card.
| | 05:56 | When I am done with my shot, I hit the
Start/Stop button again, and it finishes.
| | 06:03 | As in live view mode, a few presses of the
Info button will cycle me through various
| | 06:08 | pages of useful information.
| | 06:09 | For most shooting, you're probably going
to want to keep a fairly clean screen.
| | 06:13 | Note that things that we are looking at here also hold
when you're shooting in Scene Intelligent Auto mode.
| | 06:19 | There is a lot more to video shooting, and
we are going to cover some additional video
| | 06:23 | considerations in this chapter, but if you
really want to go deep into shooting video
| | 06:28 | with your SLR, check out the Video for
Photographers: Shooting with a DSLR course.
| | 06:33 | In the meantime, get ready, because in the
next movie, we are going to take a look at taking
| | 06:37 | more control of shutter speed.
| | 06:38 |
| | Collapse this transcript |
| Shooting video in Priority or Manual modes| 00:00 | In the last movie, you saw me
shoot a video in Program mode.
| | 00:04 | If you are just shooting home videos, or casual
videos, or any type of amateur video, that's
| | 00:09 | fine to use Program mode, or
Scene Intelligent Auto mode.
| | 00:13 | But if you want to be serious about video --
and with this camera, you can be very serious
| | 00:16 | about video -- you're going to want to
give some more thought to shutter speed.
| | 00:20 | So I am going to you switch
over to Shutter priority mode.
| | 00:24 | Now, ideally, when you're shooting video, you
want to use a shutter speed that is double
| | 00:28 | your frame rate; that's going to give you
the best quality of motion in your video.
| | 00:32 | Earlier you saw me configure the camera to
shoot at 30 frames per second, so I've dialed
| | 00:38 | in a 60th of a second for my shutter speed.
| | 00:41 | This is just like working with
Shutter priority when shooting stills.
| | 00:44 | With my shutter speed selected, when I meter,
the camera is automatically going to choose
| | 00:49 | an aperture, and it's chosen f/10 here, and
ISO is set to Auto, so it's chosen ISO of 800.
| | 00:56 | Thanks to Mark III's great high ISO capability, I
don't really have to worry about noise at ISO 800.
| | 01:03 | If I want to brighten or darken my scene, I
can simply do that with exposure compensation.
| | 01:07 | And as I do that, you can see that it's getting my
exposure compensation changes through ISO changes.
| | 01:14 | In a pinch, it might fall back to changing
aperture, but because I'm in Shutter priority
| | 01:19 | mode, it's not going to change shutter speed.
| | 01:22 | Now, if I wanted, I could even go here into
Aperture priority, and take control of aperture.
| | 01:28 | However, if I do that, I'm giving
up my control of shutter speed.
| | 01:31 | For example, if I decided I wanted really
shallow depth of field, I could open up my lens all
| | 01:35 | the way, but look what's
happened to my shutter speed.
| | 01:38 | And again, if I'm serious about video, I am going
to be wanting to ride my shutter speed correctly.
| | 01:43 | So I would not recommend using Aperture
priority to take control of depth of field.
| | 01:49 | Instead, move on over to Manual if
you really need depth of field control.
| | 01:53 | That's going to let you set your shutter
speed to a 60th of a second, and then take control
| | 01:58 | of aperture, just as you normally would.
| | 02:00 | Now, the way that I am getting my
aperture changes here, again, is through Auto ISO.
| | 02:04 | Notice that I can change this around, and my
ISO is changing, but because I'm in Manual
| | 02:09 | mode, I've got a fixed shutter speed.
| | 02:11 | So that's giving me the shutter speed that I
want to get good quality motion in my video,
| | 02:16 | but I'm still getting the depth of field
control that I want through changes in aperture.
| | 02:22 | It is possible that I might get to an aperture that
the camera cannot compensate for with an ISO change.
| | 02:30 | If that happens, then it's going to show me on
my meter, just like it would when I am shooting
| | 02:34 | manual mode for stills.
| | 02:36 | If the image ends up overexposed or underexposed,
this little mark is going to move back and
| | 02:40 | forth, and I'm going to need to make an aperture change
if I want to get things back to being properly metered.
| | 02:47 | Now, it might be that the camera is being
more conservative than I would normally be, and
| | 02:51 | I'm willing to put up with some video
that's slightly dark, or slightly light.
| | 02:55 | The point is, you've got that level of
control when you're shooting in Manual mode.
| | 02:59 | You've seen how autofocus works, both in the first
movie in this chapter, and in the live view chapter.
| | 03:04 | You can, of course, also use Manual focus to
switch the lens over to manual focus, zoom
| | 03:09 | in on your image, and focus carefully.
| | 03:11 | The thing to remember when you're shooting
video is that it is not going to autofocus
| | 03:16 | while you move the camera around.
| | 03:18 | So you've got to be very, very careful about
shooting video with an SLR. You've got to think
| | 03:22 | of it more like an old-school movie camera,
where you lock it down, and you treat focus
| | 03:26 | very, very seriously.
| | 03:28 | We've got some video on the card. In the next
movie, we are going to take a look at how to
| | 03:31 | review it, using the playback features.
| | 03:34 |
| | Collapse this transcript |
| Exploring movie playback| 00:00 | Video is appear in my playback system alongside
stills, but where stills fill my entire LCD,
| | 00:07 | and have my exposure settings up here, videos
are a 16x9 aspect ratio, they've got a duration
| | 00:14 | up in the corner, and they have
this little movie camera icon.
| | 00:17 | Right next to it is an icon for the Set button,
indicating that if I hit the Set button, I
| | 00:22 | get here to my movie playback controls.
| | 00:25 | I can step through them, the different
controls, using the quick control dial.
| | 00:29 | If I just put it on the play button, and hit
the Set button my video will play. I can then
| | 00:34 | bring the controls back up again,
which pauses.
| | 00:36 | I can step through in slow motion. I can jump
to the first frame, which is basically rewind.
| | 00:43 | I can step through one frame at
a time, or jump to the last frame.
| | 00:49 | I even have editing
capabilities. I can trim clips.
| | 00:53 | Needless to say, editing video on a little three inch
LCD screen with dubious controls is not the best idea.
| | 00:59 | You're probably going to want to stick to
your computer for serious editing. But if
| | 01:03 | you need to trim the ends off a clip or something,
because you're running out of disk space, or
| | 01:07 | because you need to send a video over
the Internet, or something like that,
| | 01:12 | this might work just fine in a pinch.
| | 01:14 | Notice, too, that I can control
volume using my main dial up here.
| | 01:20 | When I'm done viewing my movie, a push of the
Menu button takes me back out to my normal
| | 01:25 | playback interface, where I can continue
to step through different pieces of media.
| | 01:30 | Deleting works the same way for
movies as it does for still images.
| | 01:33 | I can use my delete button here; I can also use
the delete menu command for a batch deleting movies.
| | 01:39 | If you're going to be very serious about reviewing
your movies, you're probably going to want
| | 01:43 | to plug some headphones into the camera to
get a better sense of your audio. You can
| | 01:47 | do that in a headphone jack over there.
| | 01:50 | There are one or two other movie related features
that you may want to know about. You can find
| | 01:54 | out about those in chapter 8 of your manual.
| | 01:56 | You'll even find a section in there on enjoying
movies, so if you find that you're not enjoying
| | 02:00 | your movies, you might want to check that out.
| | 02:01 |
| | Collapse this transcript |
|
|
12. Customizing Menus and FunctionsExploring custom modes| 00:00 | By now you should be comfortable with the
idea that different modes leave different
| | 00:05 | decisions up to the camera,
allowing you to take more or less control.
| | 00:09 | You've also seen that your camera has a lot
of different features that can be turned on
| | 00:12 | or off within any mode.
| | 00:14 | Now, there might be a combination of
features that you regularly switch on and off.
| | 00:18 | For these instances, you might want to create a
custom mode, which will allow you to immediately
| | 00:23 | activate specific features.
| | 00:25 | The custom modes on your mode dial are
these C1, C2, and C3 modes over here.
| | 00:31 | When I switch to one of those, any settings that
I have embedded in that mode automatically take.
| | 00:37 | So by default, these three modes are really
just Program mode, they work exactly the way
| | 00:40 | that Program mode does.
| | 00:42 | To get them to do something more
useful, I have to configure them.
| | 00:45 | So, let's look at a typical case here.
| | 00:47 | I very often shoot HDR images, High Dynamic
Range images, and I need my camera configured
| | 00:53 | a very particular way to do that,
| | 00:55 | so I would like to store all of those settings
in a custom mode, because they are kind of
| | 00:59 | spread all over the camera, and they
take a while to get set exactly right.
| | 01:03 | So the first thing I do to build a custom
mode is simply set my camera the way that
| | 01:06 | I want it, and I am going to start by switching
to Aperture priority mode, because in HDR shooting,
| | 01:12 | I always want control of aperture.
| | 01:14 | So I've got aperture
dialed into f/11, which is good;
| | 01:17 | that's where I usually shoot.
| | 01:18 | I tend to also usually work at ISO 100,
| | 01:20 | so I am just going to go ahead and set that.
| | 01:24 | The real critical thing for HDR is I need
a bracketed set, so I am going to turn on
| | 01:29 | auto bracketing,
which I can get to over here.
| | 01:32 | I use a 3 step, 1 stop bracket; 1 stop between
each shot. I will take that, and now I can
| | 01:40 | see that confirmed here.
| | 01:41 | I also get an auto
bracketing light lighting up there.
| | 01:44 | So let's see; I am in auto white balance, I am
in an Aperture priority mode at f/11, ISO 100;
| | 01:50 | I am still on large quality JPEG.
| | 01:53 | I would much rather shoot these in RAW, so
I'm going to come back over here, and change
| | 01:59 | this to RAW format.
| | 02:02 | I would also like burst mode.
| | 02:03 | I need those three shots to be taken quickly,
because I want to minimize movement between frames.
| | 02:08 | So I am going to go here to Drive, and turn
on my high speed drive mode. I am not going
| | 02:13 | to use the slower drive mode, because again, I
want my frames as close to identical as possible.
| | 02:19 | So this is looking pretty good. Aperture
priority at f/11, ISO 100, auto bracketing, and burst
| | 02:24 | mode, and shooting in RAW format.
| | 02:26 | So I think these are the
settings I want for my custom mode.
| | 02:29 | So what I need to do now is tell the camera
to register those to a custom mode, and I do
| | 02:33 | that over here in my setup menu,
on page 4; Custom shooting mode.
| | 02:38 | So I am going to hit Set, and I want
this first menu item: Register settings.
| | 02:42 | I am just going to choose Register settings,
and I can pick which mode I want them set to.
| | 02:47 | I am going to choose C1.
| | 02:49 | So I am going to turn that on; Register camera
settings to custom shooting mode C1. OK. There we go!
| | 02:58 | Now let's take a look.
| | 03:02 | I am still in Aperture priority mode.
| | 03:03 | I am going to turn off some of
these things that I turned on.
| | 03:05 | I am going to turn off drive mode, I am going
to cancel my auto bracket, and actually while
| | 03:12 | I am over here, I will set my image quality
back to JPEG, even though actually I am normally
| | 03:16 | a RAW shooter, and I am looking for
auto bracketing here; turn that off.
| | 03:21 | So now when I look at my camera -- I
guess Auto ISO would be the last thing --
| | 03:26 | I am pretty much back to
where I normally would be.
| | 03:28 | Watch what happens when I
switch to custom mode here.
| | 03:34 | Everything is changed automatically.
| | 03:35 | I've got all the things I had before; auto
bracketing, which is confirmed over here, RAW
| | 03:40 | mode, high speed burst; I am at f/11.
| | 03:42 | What you can't see from here is that
I'm actually in Aperture priority mode.
| | 03:46 | I can change my aperture here.
| | 03:48 | I can confirm that by hitting the Info button,
and you can see that now Custom mode 1 is
| | 03:53 | Aperture priority, rather than
Program mode where it was before.
| | 03:57 | So this is pretty nice.
| | 03:58 | I've got a single dial I can turn that will do
all of these complex configurations of my camera.
| | 04:04 | However, I made a mistake
when I was configuring this,
| | 04:07 | so I would like to change it here,
| | 04:08 | but before I do that, I want to make sure
something is enabled here in my custom mode
| | 04:14 | setup. Going back to my
Custom shooting mode page here,
| | 04:20 | and as you see down here, I have Auto update
settings. This defaults to being disabled.
| | 04:23 | I have it enabled for
Custom mode 1, which is great.
| | 04:27 | That means, if I change something, it will
automatically update the mode, and the mistake
| | 04:32 | that I made here is I
configured for full size RAW files.
| | 04:36 | My experience when working with the Mark III
or the Mark II is that a full size RAW file
| | 04:41 | is too big for Photoshop's HDR
merge feature to accurately align.
| | 04:47 | So I want to change this.
| | 04:48 | I am going to come back here, and change my
image quality from RAW to a medium RAW file,
| | 04:54 | which is only 10 megapixels.
| | 04:56 | In my experience, Photoshop does a
good job of merging these files.
| | 04:58 | I am going to take that,
| | 05:00 | and now my custom mode
is updated to medium RAW.
| | 05:05 | Let me change out of this, and
you can see I am back to JPEG,
| | 05:08 | and now when I change back to C1,
I am back to my medium RAW file.
| | 05:13 | You can get a full list of everything that that
auto updating updates on page 333 of your manual.
| | 05:19 | Some other things you might use
custom modes for; panoramic shooting.
| | 05:24 | If you regularly find that you want a higher
ISO, and a particular aperture, or something like
| | 05:28 | that, you can embed those in there.
| | 05:30 | Three custom modes is a lot of customization
power, and if you get these set up right,
| | 05:34 | you can really save yourself a lot of
time when you're shooting in the field.
| | 05:37 |
| | Collapse this transcript |
| Using the custom menu| 00:00 | The Mark III has a lot of different menu
options, and there are some that you will probably
| | 00:04 | find yourself using fairly regularly. Unfortunately,
they may be spread out amongst several different
| | 00:09 | menus, or several different categories of menus.
| | 00:12 | To help streamline that process, the Mark
III has a custom menu over here; that's the
| | 00:16 | one with the star on it, and it has only one menu
item in it by default, and that's My Menu settings.
| | 00:23 | From here I get controls that allow me to add any
function that I want to the My Menu custom menu here.
| | 00:30 | So I am going to in here, and say Register
to My Menu. That allows me to pick, from this
| | 00:36 | list of every single function that the camera has,
anything that I want to go in my custom menu.
| | 00:42 | So some things that I use regularly; I regularly
use Format, and so I am going to go try and
| | 00:49 | find that. Now, these are in here in the
order that they appear in the camera's menus.
| | 00:54 | They are, unfortunately,
not in alphabetical order,
| | 00:56 | so this might take me a little while here.
| | 00:58 | I am going to keep my eyes open
for other things that I might want.
| | 01:02 | Now, there is Erase images. Of course, I don't
want that; I never want to use Erase images,
| | 01:06 | I always want to use Format.
| | 01:08 | So, Format card, I can hit that. It asks me
to confirm, Register in My Menu Format card;
| | 01:15 | I am going to say OK, and there it is.
| | 01:18 | I also regularly use auto exposure bracketing,
so I am going to go find that. That's a Shooting
| | 01:25 | menu thing, so it should be fairly close to
the top. Exposure compensation/AEB; that's
| | 01:31 | it, so I am going to pick that, and say OK.
| | 01:32 | So I have got two things in My Menu now.
Let's go look at it. I am going to hit the Menu
| | 01:36 | button to go back up a level, and
then I am going to go up a level again.
| | 01:40 | And now here is my custom menu. It's got
Format card, and Exposure compensation. So I could
| | 01:44 | continue to add items
until I've filled up the page.
| | 01:47 | I cannot create a scrolling menu, so I
have only got room for a few items here.
| | 01:52 | This will always be one of my items,
because there are some utility functions in here.
| | 01:56 | I can tell it how I want them sorted, and
this allows me to pick an item, and move it up or
| | 02:03 | down, so I can put these
in any order that I want.
| | 02:06 | I can go in here and delete an item. I can
simply pick the one I want; it asks me to
| | 02:10 | confirm. I am not going to
actually do that; I like that command.
| | 02:13 | I can delete all items.
| | 02:16 | Finally, if I want to be sure that My Menu,
my custom menu, is the first thing that I see
| | 02:21 | whenever I come to the menu system, I can
Enable this. This means that no matter where
| | 02:26 | I left off, any time I activate the menu system,
I am right here. I am going to go ahead and
| | 02:32 | change over to here, come out, I am going to
hit the menu button, I am still back in my menu.
| | 02:37 | So if these really are the
things that I use the most,
| | 02:39 | I can make sure they are always the things I get
to right away as soon as I hit that Menu button.
| | 02:44 | So this can really streamline and speed up
the way you get into the menu items in your
| | 02:48 | camera. If you're someone who needs to be
able to shoot and change parameters, certain
| | 02:52 | parameters, in a hurry, you are going
to want to build yourself a custom menu.
| | 02:55 |
| | Collapse this transcript |
| Exploring custom controls| 00:00 | You can customize a lot of the controls on
your Mark III, and to see a list of which ones,
| | 00:05 | just go into the menuing system.
| | 00:07 | Go to the second page of the custom function category,
and down at the bottom, you'll find Custom Controls.
| | 00:11 | If I come in here, I get this screen, which looks
pretty complicated, but it's actually fairly simple.
| | 00:16 | I've got a diagram of my camera, with
the current selected control highlighted.
| | 00:21 | This is the list of the controls
that I can customize over here.
| | 00:24 | So this first one is the shutter button;
| | 00:26 | I can see that highlighted right there.
| | 00:28 | Let's take a quick look at what
the other customizable controls are.
| | 00:31 | There is the AF-ON button, which is right
back here, the AE Lock button, which of course, is
| | 00:37 | this one highlighted right here. The depth of field
preview button, which is around here on the front.
| | 00:43 | You can see it highlighted right there.
| | 00:45 | Something that you may or may
not have; the Lens AF stop button.
| | 00:50 | That's going to be on my lens over here.
| | 00:52 | The lens that I'm using doesn't have one,
| | 00:53 | but you can see that Canon is indicating
that if I did have one, it would be right there.
| | 00:58 | The M-Fn button, which is right here; that's
the Multi-function button right in front of
| | 01:02 | the command dial. The Set button, which is
this one right here. The Main Dial; my dial
| | 01:09 | on top here. My Quick Control Dial, which of
course, is this one back here, and finally,
| | 01:14 | the Multi-controller.
| | 01:15 | So even these three controls can be customized.
| | 01:19 | Now, each of these controls gives you a
different set of options to assign to them.
| | 01:24 | So, let's start by
looking at the Shutter button.
| | 01:26 | I'm going to select that, and hit the Set
button, and you can see that by default, it is set
| | 01:31 | the way that you're probably used to it
behaving, which is that when I half-press it, I get
| | 01:35 | Metering, and AF start.
| | 01:37 | I have the option of changing
it to Metering start, or AE Lock.
| | 01:41 | I am going to put it on Metering start.
| | 01:43 | I'm going to show you a different way of using
your camera; one that you might find pretty useful.
| | 01:48 | Now I'm going to come down here to the AF-ON
button; that's this button right here.
| | 01:52 | And before we get to it, I want you to
realize that when I'm holding the camera, I've got
| | 01:56 | my forefinger here, and my thumb is
just right here on this AF-ON button.
| | 02:01 | So, with that in mind, I'm going to leave
it where it's set right now, which is to be
| | 02:06 | the same as the Shutter button was
originally, which is Metering and AF start.
| | 02:10 | I have other options, though; these are
different than what I had on the shutter button.
| | 02:12 | I've got AE lock, Auto Focus stop --
| | 02:16 | if you're ever in a situation where the lens
starts grinding back and forth, and is slowing
| | 02:21 | you down, because it can't lock focus, you could
set this button to just cause it to stop doing that.
| | 02:26 | I have a Flash Exposure lock, I've got AE
lock, and I can set it to no function at all.
| | 02:32 | But I'm going to leave
it where it's at right now.
| | 02:34 | Now, with the camera configured this way,
what happens is, when I press the shutter
| | 02:38 | button, all I get is a meter reading.
Let's go ahead and come on out of here.
| | 02:43 | So all I get is a meter reading.
| | 02:45 | There is no actual focusing happening.
| | 02:47 | To get focus, I have to press this button.
| | 02:48 | So I have separated my
metering and focusing operations.
| | 02:53 | When I press this, I get focus and metering,
| | 02:55 | but when I press this, I override the metering.
| | 02:58 | This is great for times where you're shooting a
lot of pictures of something at the same distance.
| | 03:02 | Maybe you're shooting a landscape, or a portrait, or
something, and you're doing a lot of subtle recomposition.
| | 03:08 | You only have to focus once, but you can
keep metering as you take shot after shot.
| | 03:13 | So a lot of people
really prefer working that way.
| | 03:16 | Let's look quickly at some of the other things
you can do, because as I said, a lot of these
| | 03:19 | buttons have different
functions that you can assign to them.
| | 03:22 | The AE lock button can be configured
with the same options as the AF-ON button.
| | 03:28 | The depth of field preview button
gives you a lot of different options.
| | 03:31 | I've got depth of field preview, I have Auto
Focus stop, AE lock, switching from one shot
| | 03:37 | focus to servo focus, turning image stabilization
on or off, switching to a different autofocus
| | 03:44 | function, changing the quality settings;
there's just all sorts of things I can do.
| | 03:47 | I can bring up my level.
| | 03:49 | So you're probably going to want to dig
through all of these different customization options,
| | 03:53 | because there are a lot of different things that I
can do with everything from the wheels, to the buttons.
| | 03:58 | So you can really get controls that you find
yourself regularly using that might be buried
| | 04:03 | in a menu up on top of the camera into a button that
allows you to activate them on the fly, whenever you need.
| | 04:09 | So dig through these; see if you
can find changes that you might like.
| | 04:13 | If you Google around on Mark III custom
controls, you'll find a lot of discussions and forums
| | 04:19 | of different configurations that users have
used, and you might get some ideas there for
| | 04:23 | some other ways of configuring your camera.
| | 04:25 |
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|
|
13. Custom FunctionsWhat are custom functions?| 00:00 | By now you've probably come to realize that
your camera has a lot of functions and features.
| | 00:05 | Many of these functions can be modified and
customized through the use of custom functions.
| | 00:10 | For example, maybe you'd prefer your exposure
compensation changes to go in full stop increments
| | 00:15 | instead of one third stop increments, or maybe you
want to change the behavior of the auto bracketing feature.
| | 00:20 | These are things you can easily change
through the use of custom functions, allowing you to
| | 00:24 | tailor your camera to your particular taste.
| | 00:27 | Custom functions are not available in Auto mode.
| | 00:29 | You'll need to be in Program, or a priority, or
manual mode to get to the custom functions menu.
| | 00:34 |
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| Working with exposure level increments| 00:00 | By default, your exposure compensation
indicator works in one third stop increments.
| | 00:06 | So when I move one click after metering, that
means one third of a stop of overexposure,
| | 00:12 | two thirds of a stop, one full
stop, one and a third, and so on.
| | 00:16 | If you want, you can change that.
| | 00:18 | If you go in here to the first page of the custom
function category, you get Exposure level increments.
| | 00:24 | If I come in here, I can change from
one third stop to one half stop.
| | 00:29 | The idea here is, a third of a stop might be
far more granularity than you need for the
| | 00:34 | way that you like to expose, or for
the lighting situation that you're in,
| | 00:38 | so if you switch to a half a stop, you can
move up and down the scale with fewer steps.
| | 00:43 | So now, when I do one click of the dial, I get one
half stop over exposure; another click gets me to one.
| | 00:52 | So that's one and half, that's two, two and
a half, three; of course, the same thing works
| | 00:57 | in the other direction.
| | 00:58 | So this gives me just two clicks to get to
one stop of underexposure, rather than three.
| | 01:03 | So you can tell the time savings is going
to just send my productivity through the roof
| | 01:07 | while I am shooting.
| | 01:08 | It might be that you want to change this,
because you have an easier time thinking in terms
| | 01:12 | of half stops rather than third stops.
| | 01:14 | It might be easier math for you to do in your
head if you haven't simply memorized the one
| | 01:19 | third stop increments.
| | 01:20 | So that's there if you need to change it.
| | 01:21 | If you find yourself frustrated by how granular
the scale is, or if you find that you are used
| | 01:27 | to thinking in half stop increments, this
very first custom function allows you to make
| | 01:31 | that very simple change.
| | 01:32 |
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| Bracketing auto cancel| 00:00 | By default, if you have an auto exposure bracketing
configuration set up, then when you turn the
| | 00:06 | camera off, that bracketing setup is lost.
| | 00:10 | When I turn it back on, I don't have to
worry about any bracketing happening.
| | 00:15 | I think is a really good behavior.
| | 00:16 | It means that the next morning, after a long
shoot of auto bracketing, I won't pick it up,
| | 00:20 | and have my images messed of
by all of this auto bracketing.
| | 00:24 | However, if you regularly shoot bracketing,
and are tired of turning it on or off all
| | 00:27 | the time, you can change that behavior.
| | 00:29 | I'm going to go over here to my custom functions,
and on the first page, I have something called
| | 00:35 | Bracketing auto cancel,
which by default is set to On.
| | 00:39 | If I turn it Off, then auto
bracketing will stick through power cycles.
| | 00:44 | So again, if you want to be sure that your
bracketing settings stick, even through turning
| | 00:48 | the camera off, just change this
custom function, and you'll be ready to go.
| | 00:51 |
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| Changing the number of bracketed shots| 00:00 | By default, your Mark III's auto bracketing
feature is configured for three shots,
| | 00:05 | but you can change that if you
want, using this custom function.
| | 00:08 | I am here on the first page of my custom
functions tab, Number of bracketed shots.
| | 00:13 | I can choose between the 3, 2, 5, and 7.
| | 00:17 | If you're an HDR shooter, you might be interested
in 5 or 7 shots, as that will give you a much
| | 00:21 | wider selection of dynamic range.
| | 00:24 | I really like the 2 shot option.
| | 00:26 | Very often, when I'm looking at a confusing
exposure situation, usually what I'm confused
| | 00:31 | about is only one direction or the other.
| | 00:33 | Hmm, I am not sure if this shot should be taken as
metered, or if it should be a little overexposed,
| | 00:37 | or maybe a little underexposed.
| | 00:39 | So with just two shots I can knock off those
two different options, which I find very handy.
| | 00:43 | And of course, there is the default for three, which is
also, I think, a perfectly useful bracketing sequence for HDR.
| | 00:50 | Note that you do also have the option of
changing the Bracketing sequence; I'm not going to
| | 00:54 | go into that here, because I personally don't
find it that useful, but you can find out more
| | 00:58 | details in your manual.
| | 01:00 | Number of bracketed shots, though,
is a really handy option to have.
| | 01:03 |
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| Changing ISO speed setting increments| 00:00 | By default, your ISO control let's you
change ISO in the third stop increments.
| | 00:05 | In other words, if I press the ISO button,
and turn my main dial, I go from 100, to 125,
| | 00:12 | then to 160, and then to 200;
| | 00:14 | 200, of course, being a doubling
of my original ISO, or one stop.
| | 00:19 | If you don't like going in third stop
increments, either because you're used to thinking in
| | 00:24 | terms of whole stop increments, or you feel
like it takes too long to get to the ISO that
| | 00:29 | you want, you can change this, so
that it goes in whole stop increments.
| | 00:34 | Go into the Menu, go to the first page of
the custom function screen, and you'll find
| | 00:39 | ISO speed setting increments, which defaults
to one third of a stop. Go in there, bump
| | 00:44 | it up to 1/1, or that is a full stop, and now
when I come out here and hit my ISO button,
| | 00:50 | I go from to 100, to 200, to 400, and so on.
| | 00:54 | If you're working in Manual mode, you might
have an easier time thinking in terms of full stops,
| | 00:57 | particularly if you're not using
third stop increments in your shutter speed, and
| | 01:02 | aperture. If you are coming from an older
digital camera, or for film, this is simply
| | 01:06 | more what you're used to.
| | 01:07 | You may find that when you're working on your
own, just don't need that level of granularity,
| | 01:11 | so this can be an easier way to work.
| | 01:13 | Note that when I have this set to whole stops,
Auto ISO will still work in third stop increments.
| | 01:21 | So here I've metered, and I'm using exposure
compensation, and you can see that it's going
| | 01:25 | up and down in third stop increments.
| | 01:26 | So I'm not losing that capability; I'm just
changing basically the granularity of this one control.
| | 01:32 |
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| Exploring the Live View shooting area display| 00:00 | If you change the aspect ratio on your Mark
III to something like 4:3, or 16:9, you can
| | 00:06 | change how that aspect ratio is masked off
when working in live view by altering the
| | 00:11 | LV shooting area display custom function, which
is located on page two of the custom function tab.
| | 00:16 | Basically, I've got two options: Masked,
which completely masks the edge of the frame, or
| | 00:21 | simply Outlined, which just shows me a
line where the edge of the frame would be.
| | 00:26 | The advantage of Outlined is I can
still see things in that part of the frame,
| | 00:29 | so if I'm wanting to keep track of things
that are off camera, or about to move into
| | 00:33 | camera, I can still see those things.
| | 00:36 | Masked makes it a little bit easier to
visualize exactly what the final frame looked like.
| | 00:39 |
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| Enabling safety shift| 00:00 | I want you to consider a scenario with me.
Just bear with me; I think you're going to
| | 00:04 | find this a really gripping tale,
and it's got a really nice ending.
| | 00:08 | You're in aperture priority, you're shooting
with a lens that can open all the way to 2.8,
| | 00:12 | you've dialed in 2.8 on your camera, which
tells your camera to shoot at f/2.8, gives you
| | 00:17 | super shallow depth of field, and your camera calculates
a shutter speed that's appropriate for that aperture.
| | 00:22 | In fact, it decides that 1/8000 of a second,
its maximum shutter speed, is the only one
| | 00:29 | that's fast enough to give
you a good exposure at f/2.8.
| | 00:33 | Then everything is going great, and suddenly,
in mid-shoot, the sun comes out from behind
| | 00:38 | a cloud, and it makes your scene much brighter.
| | 00:41 | But because your camera is in Aperture priority
mode, the camera isn't allowed to change aperture,
| | 00:46 | and it needs to cut down the light,
| | 00:47 | but it's already at its fastest shutter speed.
| | 00:50 | It can't do anything! Your
image will be over exposed!
| | 00:54 | But, if you enable the safety shift feature,
then the camera is allowed to change aperture,
| | 01:00 | even when you're in Aperture
priority mode, and the shot is saved.
| | 01:04 | Similarly, it's allowed to change shutter
speed even when you're in Shutter priority mode.
| | 01:10 | When I'm in Program, Shutter, or Aperture
priority mode, if the camera needs to change ISO, and
| | 01:16 | I'm not in Auto ISO, it
will be allowed to do so.
| | 01:19 | So basically, with Safety shift, I can just
give the camera a manual override capability
| | 01:25 | whenever I'm in one of these modes.
| | 01:27 | Most of the time, I leave this off, because
it's a better idea to just be able to know
| | 01:33 | what you're doing actually, and ride your exposure
controls with some level of control, and make
| | 01:39 | sure that you're not
getting over or under exposure.
| | 01:41 | If you're in a rapidly changing situation,
or a really dynamically lit situation, where
| | 01:46 | it's possible for something to suddenly change
brightness, like maybe a stage show or something,
| | 01:50 | then Safety shift can be a real lifesaver.
| | 01:52 | Now don't worry; safety shift won't be wantonly
changing your aperture. The only time it will
| | 01:57 | happen are on those rare occasions where
you're up against the wall exposure-wise, and your
| | 02:02 | current priority choice will
result in an over or under exposure.
| | 02:05 |
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| Clearing all custom functions| 00:00 | If you would like to reset all of the camera's
custom functions to their factory defaults
| | 00:05 | without resetting all of the other commands
and functions, you can come over here to the
| | 00:10 | last page in the custom function tab, and
you'll find Clear all Custom Functions.
| | 00:14 | If I choose that, it asks me to confirm.
| | 00:16 | I can say OK, and now all of my custom
functions are back to where they were originally.
| | 00:22 | So this is a nice way, if you get your custom
functions a little messed up, you can wipe them
| | 00:25 | back to where they used to be, and not lose the
other settings you've made in the other menus.
| | 00:29 |
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|
|
14. Care and MaintenanceCamera and sensor cleaning| 00:00 | Basic maintenance of your camera is pretty
intuitive: don't drop it, don't bang it into things;
| | 00:05 | if you want to clean it, use a dry cloth.
| | 00:08 | If you are going to store the camera for a
while, be sure to take the battery out of it.
| | 00:12 | You've already seen a little bit about how
the camera cleans its own sensor, but there
| | 00:15 | are some other built-in
sensor cleaning options.
| | 00:19 | By default, your Mark III cleans its sensor
any time you turn the camera on or off. You
| | 00:22 | can change that behavior, and take a little
more control of the cleaning function by going
| | 00:27 | to page 3 of the setup menu, and
going to the Sensor cleaning option.
| | 00:31 | So I've got a few different choices in here.
Auto cleaning can either be enabled or disabled.
| | 00:36 | This simply controls whether the camera does
clean its censor when you turn it off and on.
| | 00:42 | Clean now simply goes through the
sensor cleaning cycle right now.
| | 00:46 | So if I've reviewed an image, and seen a big
dust spot on it, I would come in here and tell
| | 00:50 | it to clean its sensor again.
| | 00:52 | It's doing a slightly more thorough cleaning
than it does when you simply turn it on or off.
| | 00:57 | Or there is Clean manually. This is what I use
if I've got sensor cleaning equipment of my own.
| | 01:02 | This involves taking the lens
off, and cleaning the sensor.
| | 01:05 | This could be a kind of hairy operation.
You can learn more about it in my Foundations
| | 01:09 | of Photography: Lenses course.
| | 01:12 | So that's all the ways that you
can get the sensor clean.
| | 01:15 | The camera also offers a feature that can
help you if you've got dust on an image, and
| | 01:20 | you want to try to remove it
later using Canon's DPP software.
| | 01:25 | If I come in here into my Menu, and go to the
shooting menu category, over here on the third
| | 01:29 | page I have something called Dust Delete Data.
| | 01:32 | So I am going to select that, and it tells
me what it's going to do here; it's going
| | 01:36 | to obtain data for removing dust using software,
and it asks me to refer to the manual, and
| | 01:42 | it tells me the last time I did this.
| | 01:44 | What it's going to do is it's going to
make a map of the dust that's on the sensor.
| | 01:48 | Canon's DPP software can later use that map
to automatically remove the dust from images
| | 01:53 | that I've already shot.
| | 01:55 | So I am going to tell it
to go ahead and do this.
| | 01:56 | I am going to say OK, and it's going to go
through a sensor cleaning cycle to try and
| | 02:00 | get the sensor as clean as possible.
| | 02:01 | So this means, at this point, that this dust
map that I'm creating is not going to be good
| | 02:06 | for any images that I have already shot.
| | 02:09 | Next thing is I need to be pointed at something
white; something white, and ideally evenly lit.
| | 02:13 | I've got a nice white wall in front of me, so
I am just going to press the shutter button.
| | 02:18 | It takes a picture, it's analyzing it,
trying to figure out some dust delete information.
| | 02:23 | It's not actually storing a full image;
it's going to then sock that data away.
| | 02:29 | Now, using DPP, I can pull that Dust Delete
Data image out, and use it to remove any dust
| | 02:35 | from images that I shoot from here on out.
| | 02:38 | So if you're finding that you have a dust
problem, what you want to do is go through
| | 02:42 | this process, because first it's going to
clean your sensor, which may take care of your dust
| | 02:45 | problem. If not, it's going to sock away
this delete data that you can use later, just in
| | 02:50 | case the cleaning cycle did not
actually get rid of your dust.
| | 02:55 | You can learn more about the Dust Delete
Data feature on page 291 of your manual.
| | 03:00 | The camera's built-in sensor cleaning is very
effective, and because it runs all the time,
| | 03:03 | it should mean that you
rarely face a sensor dust problem.
| | 03:06 | When you do, you'll need to resort to a more
drastic sensor cleaning process, as I mentioned earlier.
| | 03:11 |
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| Using the Battery Info command| 00:00 | Your Mark III battery will get you
through a lot of shooting on a single charge,
| | 00:04 | but your battery will wear out over time.
| | 00:06 | You can get some status info about your
battery by going here to the Battery info.
| | 00:10 | command, which is on the third page of the setup menu.
This gives me a few different pieces of data.
| | 00:16 | First, it tells me the name of my battery;
the type of the battery, which is an LP-E6.
| | 00:20 | So if you're at the camera store, or going
online to order a new battery, that's what
| | 00:26 | you are going to want to order.
| | 00:27 | It tells me that currently my battery has
27% of its power remaining, and I have taken
| | 00:32 | 20 pictures with it.
| | 00:34 | Now, this is not a total running shutter count.
| | 00:38 | If you are looking for the total number of
shutter actuations that you have on the camera,
| | 00:42 | because maybe you want to sell it or something,
this is not how you're going to get it, because
| | 00:45 | this number is reset every
time you recharge the battery.
| | 00:48 | It also tells me what it thinks about its recharging
performance, and this is a scale of one to three.
| | 00:53 | So right now, it's saying that performance
is very good, which is to be expected, because
| | 00:58 | it's a brand new battery.
| | 01:00 | When it gets down to just the leftmost bar,
Canon recommends that you buy a new battery.
| | 01:04 | You are not going to harm
your camera using an old battery;
| | 01:07 | you are just going to find that the battery
doesn't last very long, and so that's a good
| | 01:12 | indicator that maybe it's time
to go shopping for a new one.
| | 01:15 | Canon really recommends using Canon brand
batteries. They'll tell you that you'll damage
| | 01:19 | your camera if you use a third-party battery.
| | 01:21 | I have never heard of anyone damaging their
camera with a third-party compatible battery.
| | 01:26 | They are much less expensive. The ones that I've
used have very high capacity, and work very well.
| | 01:31 | Notice that they do not respond to the Battery info.
page; the Canon camera cannot read third-party batteries.
| | 01:38 | So, the choice is up to you. Either way, this
screen gives you a good idea of letting you
| | 01:42 | know when it's time to go battery shopping.
| | 01:44 |
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| Looking at operating conditions and temperatures| 00:00 | When you first get a new piece of gear, you
are, of course, very careful with it, and proud
| | 00:05 | of it, and it's great how
clean it looks, and all that.
| | 00:08 | Fortunately, that wears off eventually.
| | 00:09 | I say fortunately because your camera is actually
quite durable, and once you get over trying
| | 00:14 | to keep a pristine, you'll be more likely to
take it out into more shooting conditions.
| | 00:17 | The Mark III manual lists the working temperature
range of the camera as 32 to 104 degrees Fahrenheit;
| | 00:24 | that's 0 to 40 degrees
Celsius, in 85% humidity or less.
| | 00:29 | Now, it's a good idea to follow these guidelines, but
I've also gone beyond them, and I've never had any problems.
| | 00:34 | I'm not saying that you can absolutely go
into extreme heat or deep cold, and not have
| | 00:38 | issues, but my experience is that the
specified temperature range is a little conservative.
| | 00:43 | Fortunately, the camera will begin to
exhibit certain symptoms when you start pushing the
| | 00:47 | limits of its temperature range.
| | 00:49 | If you're in extreme heat, the camera will
show you the temperature warning icons that
| | 00:53 | we discussed earlier, and the LCD screen on
the back might start to discolor, and look weird.
| | 00:58 | Of course, the camera can look after itself
pretty well in hot weather. If it's too hot,
| | 01:02 | it will simply refuse to work.
| | 01:04 | In cold weather, your LCD screen might start to
discolor, or exhibit a really slow refresh rate.
| | 01:09 | If that happens, just turn it off.
| | 01:12 | Cold weather will also reduce your battery
life. Don't worry; there won't be any permanent
| | 01:15 | damage, but you may find that
your battery goes dead quicker.
| | 01:18 | If it does lose its charge, take it out, and
put it in your pocket, or against your body.
| | 01:23 | If you warm it back up, you might be
able to coax a few more shots out of it.
| | 01:27 | One of the biggest problems with cold
weather is when you take your camera back indoors.
| | 01:31 | The sudden warming of the camera can cause condensation
to form inside, which can mess up your viewfinder.
| | 01:37 | If you've been out shooting in subfreezing
temperatures for a while, put the camera in
| | 01:41 | a Ziploc bag, and seal it up
before you come back indoors.
| | 01:45 | Leave it in the bag for a while, while the temperature
equalizes, and then you can take it out and use it.
| | 01:50 | Water and electronics typically don't mix
very well, but just because it's raining doesn't
| | 01:54 | mean you should stop shooting.
| | 01:55 | Light rain, splashes on the outside of your
camera; they're not going to hurt anything.
| | 01:59 | So don't use a little rain
as an excuse to stay inside.
| | 02:02 |
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| Getting firmware updates| 00:00 | Your camera is a piece of hardware, of course,
and it comes with editing software that you
| | 00:05 | install on your computer.
| | 00:07 | Somewhere between hardware
and software is firmware;
| | 00:11 | software that runs on the computer inside
your hardware. The firmware in your camera
| | 00:15 | is what controls all of the camera's functions,
and operations, and occasionally Canon will
| | 00:19 | update that firmware.
| | 00:22 | Before you can find out if there is a firmware
update for your camera, you need to know what
| | 00:26 | version of the firmware you already
have, and the camera will tell you.
| | 00:30 | In the Menu system, here in the setup menu,
on the fourth page, down at the very bottom, it
| | 00:34 | just tells you this camera is
using firmware version 1.1.2.
| | 00:38 | To find out if there's a newer version, go
to www.canonusa.com, click on consumer and
| | 00:46 | home office on the top toolbar, then click
on cameras, and then Digital SLR cameras.
| | 00:51 | From there, you can click on 5D Mark III.
| | 00:54 | Finally, from that page, drivers and software.
If there is a firmware update available, you'll
| | 00:59 | see a firmware section on the page.
| | 01:01 | From there, you can download the firmware,
as well as instructions for installing.
| | 01:05 | Installation is a simple process, so don't be
afraid to keep your camera's firmware up to date.
| | 01:09 | In addition to fixing problems, and possibly
improving performance, you might also occasionally
| | 01:14 | get entirely new features.
| | 01:15 |
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|
|
15. Shooting ExamplesExploring focus and composition| 00:00 | If you've slogged through the previous 14
chapters, and now arrived here, I commend you.
| | 00:06 | That's a lot of material, and
it's a lot of dry material in places.
| | 00:10 | But it's good to study the individual features
of your camera, know what they are, know how
| | 00:14 | they work; even if you never use them,
it's nice to know that the option is there.
| | 00:19 | That said, learning your camera's features
in a room, with a manual, just simply studying
| | 00:24 | it, or with these videos, and simply learning how to
push the individual buttons only gets you so far.
| | 00:29 | A lot of these features are designed to
work together. They work in unison to build up
| | 00:35 | kind of a greater photographic power than any of
the individual features can convey on their own.
| | 00:40 | So in this chapter, we are going to take a
few movies to get out in the field with the
| | 00:44 | 5D, and do some kind of applied shooting.
| | 00:47 | Remember, these cameras were designed with
photography in mind. It's not just a random
| | 00:52 | assortment of features stuck on
wherever the engineers could find them.
| | 00:56 | Buttons are in particular places for particular
reasons; some functions are on the outside
| | 00:59 | of the camera, some are buried
in menus, for particular reasons.
| | 01:03 | So we are going to look at how you can
make some of these features work well together,
| | 01:07 | and explore the thought process I go through as
I work with the camera in a particular situation.
| | 01:12 | Now again, this is not a photography class.
I'm expecting that you know certain things.
| | 01:17 | I am going to be tossing some terms
around that you may or may not know.
| | 01:20 | If you don't, you are going to need to
go do some study in some other courses.
| | 01:24 | We're just trying to focus more on how I'm
thinking about the camera, and driving the camera.
| | 01:29 | First thing I want to talk about is autofocus.
| | 01:32 | Now, you've seen how I can half-press the
shutter button, and the camera will autofocus.
| | 01:36 | You've seen that I have got different autofocus
modes; that I have different autofocus
| | 01:40 | points that I can choose from.
| | 01:41 | In the field, I tend to work with
those in a couple of different ways.
| | 01:45 | So take a look at this scene I've got behind
me here. I have these pink flowers here that
| | 01:49 | are really beautiful. I would like to take
a shot of them, but I really don't want them
| | 01:52 | in the dead center of the frame;
I would like them off to the side.
| | 01:55 | I have my camera in a mode where it will
automatically choose an autofocus point,
| | 02:01 | and so if I frame my shot, and take a picture --
if I turn the camera on first; this is one
| | 02:06 | of those features that works in concert with
other features. You turn it on, and then the
| | 02:10 | other features work.
| | 02:11 | Anyway, if I frame my shot the way I want
it, and fire away, I actually get good focus,
| | 02:17 | because the camera was able to successfully
figure out that the flowers were the subject,
| | 02:21 | and position a focus point on them.
| | 02:23 | To be honest, I rarely use
that feature, and here's why;
| | 02:28 | It adds an extra step to my shooting process.
| | 02:30 | After I half-press to meter and focus, I
then have to stop and go, is that my subject, is
| | 02:36 | that, or is there a focus point on my
subject, and it just slows me down a little bit.
| | 02:41 | So what I tend to do is leave my focus point as a
single focus point in the dead center of the frame.
| | 02:48 | Now, that means that any time I focus,
I am focusing on what's in the middle.
| | 02:51 | In this case, with my shot framed with the
flowers on the left-hand side, what's in the middle
| | 02:55 | is way in the background, and the
flowers are going to go out of focus.
| | 02:58 | So instead what I need to do is first focus
on the flowers; put the center point spot
| | 03:04 | on the flowers, half-press the shutter button
to meter and focus. That will lock the focus,
| | 03:09 | but now my composition is all wrong.
| | 03:11 | So while still holding the shutter
button down halfway, I reframe my shot.
| | 03:15 | I've still got my focus locked; now I press
it the rest of the way, and I get the shot.
| | 03:19 | So I'm putting the center point on the flowers,
I am half-pressing to focus and meter; they
| | 03:25 | are in the dead center of the frame.
| | 03:26 | Now I am tilting down, I am panning
over to the right, and I'm taking my shot.
| | 03:32 | That took a little bit of extra time,
but honestly, I can work faster that way.
| | 03:37 | It may just be that that's how I worked for so
long before reliable autofocus point selection
| | 03:41 | came along that I just have that habit,
| | 03:43 | but I would recommend trying that, because I
think what you'll find is it partly changes
| | 03:48 | the way you see your scene, because you're
really going, there is my subject; I'm putting
| | 03:52 | the center spot on it, and really looking at
it, I am thing about the light on it, great!
| | 03:55 | I've got it; now I am reframing.
| | 03:57 | I know that focus is going to be
where I want it to be, and now I can fire.
| | 04:01 | If I need to work quickly,
that gets a little more hairy.
| | 04:05 | If I'm in a rapidly changing scene, if I am
shooting a portrait, where someone's face is
| | 04:08 | changing all the time, and I want them off to
the side, I am constantly having to re-grab
| | 04:12 | focus, and re-shoot.
| | 04:14 | At that point, I might want to switch back
to autofocus point selection if I find it's
| | 04:18 | choosing the right focus point.
| | 04:20 | But another thing I can do is go ahead
and center point focus on my flowers,
| | 04:25 | so I did my focus, the focus racked to the
right point, now I am going to switch my camera
| | 04:30 | over to Manual focus.
| | 04:31 | That's going to lock the focus in there, so
now I can frame however I want, and as long
| | 04:36 | as the distance between my subject and the
camera doesn't change, it will stay in focus,
| | 04:40 | so I can just shoot away as much as I want.
| | 04:43 | So it's worth experimenting
with these different focus modes.
| | 04:45 | Now remember, on your Mark III, when you choose
an individual focus point, your metering changes.
| | 04:50 | You're no longer in a matrix metering; you're in a
matrix metering that's biased towards that focus point.
| | 04:56 | So with it locked in the center, you're
kind of shooting with a center weight focus.
| | 05:00 | Personally, I never find this to be a
problem except for very rare, very extremely weird
| | 05:05 | situations, where I've got something really
bright in one part of the frame, and something
| | 05:07 | really dark in another.
| | 05:09 | At that point, you can meter, and adjust settings by
hand, or switch back to autofocus point selection.
| | 05:16 | So play around with that style
of shooting; see how you like it.
| | 05:18 | What you'll probably find is
you'll change back and forth.
| | 05:21 | Most of the time, I stay on center point focusing.
For some situations where I need to work quickly,
| | 05:25 | and I know I can trust its decision, I'll switch the
camera back to automatically selecting a focus point.
| | 05:29 |
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| Using an exposure strategy| 00:00 | So I found this shot that I want to take here.
I just like the composition of this triangle
| | 00:06 | here, with this stone path coming out of it,
and I also like the dynamic range here; I
| | 00:12 | like the dark shadow, and the lit up path.
| | 00:15 | So there are a lot of
decisions that I need to make here.
| | 00:17 | I am not going to go into too
many of their creative ones.
| | 00:21 | I need to consider, how dark do I want the
shadows? Do I want detail back there in the
| | 00:25 | shadows, or do I like it a solid black triangle?
How much detail do I want on the path? Well,
| | 00:29 | I know I don't want the path to overexpose.
| | 00:32 | Great thing about digital is that it's not
going to cost me anything to experiment; its
| | 00:36 | not going to cost me anything to shoot.
| | 00:38 | So I'm going to try a few
different exposures here.
| | 00:41 | Now, the way that I would normally approach
this is I would just start with the composition.
| | 00:44 | I would get my shot framed the way that
I want it, and I am in Auto mode here, so I
| | 00:49 | am just going to take that shot, and this
is the composition that I'm thinking of.
| | 00:55 | And the camera's auto metering is going to
err on the side and making sure that the bright
| | 00:59 | stuff is properly exposed.
| | 01:00 | I am not sure there isn't a better exposure
in there, though. Maybe I want more detail
| | 01:05 | in the shadows, or maybe I would like
the highlights to be a little bit darkened.
| | 01:09 | Now, obviously I can take this image
into Photoshop, and play with it lot,
| | 01:12 | but even with that in mind, I want to be sure that
I've captured as much exposure latitude as possible.
| | 01:16 | If I look at the histogram on the back of the
camera, I want data across as wide a range as I can get.
| | 01:22 | Maybe I don't have time to stand here and do
too much chimping on the back of the camera,
| | 01:26 | too much studying histograms; I just want to shoot
a range of shots that are going to get me
| | 01:30 | some good exposure latitude.
| | 01:31 | Well that's really easy to do with
my exposure compensation control.
| | 01:36 | My next decision is going
to be one of depth of field.
| | 01:41 | I want to be sure that
all of this is in focus.
| | 01:42 | So I am going to switch to Aperture priority
mode, and I am going to dial in a depth of
| | 01:45 | field of about 11; actually, I am going to
dial in a depth of field of exactly 11.
| | 01:49 | I am choosing 11, because that's going to
give me a really nice deep depth of field.
| | 01:53 | Now, I could stop this down to f/22, but as
I go much past 11, there is a chance that I
| | 01:59 | am going to start to see a softening in my
image due to an optical affect called diffraction.
| | 02:03 | You can learn all about this in
Foundations of Photography: Lenses.
| | 02:05 | So I am going to focus in a particular point,
I've got my camera set to center point
| | 02:11 | autofocus, and I'm going
to take my shot here.
| | 02:15 | Now I would like to do an overexposure of
a little bit, so I am just going to meter,
| | 02:19 | and then turn the rear wheel to dial in an
additional stop of overexposure, and now I would
| | 02:25 | like to underexpose, so I am going to
do that again in the other direction.
| | 02:29 | So now I've shot a bracket, so I've really got a
lot to play with here in post-production if I need it.
| | 02:34 | I am not sure about my composition now, though. I
think there are some other things I would like to try,
| | 02:38 | and you know, I could get that bracketing
effect much easier by turning on the camera's auto
| | 02:42 | bracketing feature.
| | 02:44 | Now, I can do that from the menus, or, before
I left home, I happened to have built a custom
| | 02:48 | mode that activates auto
bracketing and high speed burst.
| | 02:52 | So now I can play with some other compositions.
I can put the path off to one side, and knock
| | 02:57 | off a bracket. I can put the path to the
other side, and maybe play with that tree that's
| | 03:02 | a different color there,
and knock off a bracket.
| | 03:06 | As I'm doing this, I'm increasing my post-production
complexity, because now I'm shooting three
| | 03:10 | times as many shots as I was before,
| | 03:13 | so I don't recommend bracketing all the time.
| | 03:15 | You don't want to just walk through the
world shooting three shots of everything, because
| | 03:18 | really, you are not going to need them. It's
going to chew up your storage faster, and it's
| | 03:21 | better to be a little
smarter about how you shoot.
| | 03:23 | I am choosing to do it here, because I know
I've got a high dynamic range situation that
| | 03:26 | I think I might want to play with.
| | 03:28 | Now, I have another option here, which is to
actually let the camera take care of that
| | 03:32 | high dynamic range stuff for me.
I can turn on HDR in my camera.
| | 03:36 | That's going to shoot three shots,
and merge them into an HDR image.
| | 03:41 | Now, I don't get a lot of control over that
merge, so I am not sure that I'm really going
| | 03:46 | to want the camera's HDR
merging to be my final shot.
| | 03:49 | So I'm setting the merge feature
to save the original three shots.
| | 03:54 | So that's going to give me a merge that I
can see on the camera, that's kind of a nice
| | 04:00 | pre-visualization, but I've still got those
three shots that I can merge back when I get home.
| | 04:05 | So that's an array of different exposure
options that I have on a camera, that I can
| | 04:11 | get to very easily, and I'm kind of using a little bit in
combination as I try to solve the exposure puzzle here;
| | 04:16 | this big dynamic range that I'm not entirely
sure how I want to represent it when I get home.
| | 04:21 | Ultimately, this may become a black and white
image, in which case the dark shadow may really
| | 04:25 | be an important thing, or maybe I like
the HDR look that's got a lot more detail.
| | 04:28 | So I am trying to be sure I get the coverage
that I need, so that when I get home, I've
| | 04:32 | got a lot of options to play with, and I'm doing
that by driving my exposure compensation control.
| | 04:38 | I am in Aperture priority, and I've got my
aperture locked down, so exposure compensation
| | 04:41 | is only going to change shutter speed.
| | 04:44 | If I wasn't in such bright daylight, I might
then need to ride the ISO a little, because
| | 04:48 | my shutter speed might need to be a little
bit low. And I'm also playing with the camera's
| | 04:52 | HDR feature, just because it's giving me
some pre-visualization tools, and it's allowing
| | 04:58 | me to have some more imagery
to play with when I get home.
| | 05:00 | These are the kinds of ways that I work with
the exposure controls on my camera to be sure
| | 05:04 | that I've got the exposure latitude that I need
to get the results that I want in my image editor.
| | 05:09 |
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| Controlling exposure through Program mode| 00:00 | I've noticed that some people think that as
you work your way up with the mode dial, further
| | 00:05 | away from Auto mode, somehow they think that
you're unlocking extra features in your camera,
| | 00:11 | or you're becoming a more
sophisticated photographer,
| | 00:13 | and none of that's necessarily true.
| | 00:15 | All modes really are equal in terms
of their ability to yield great shots.
| | 00:20 | The difference is, some modes give you more
control of one kind than another, and sometimes,
| | 00:24 | in certain situations, having that additional control
can help, and other times it doesn't help at all.
| | 00:29 | You can take fantastic shots in full Auto mode.
| | 00:33 | You can take fantastic shots in Manual mode.
| | 00:35 | The advantage of different modes is they allow
you to give up more or less control to focus
| | 00:39 | on one thing or another.
| | 00:41 | So I'm walking around these gardens here,
| | 00:44 | and to be honest, I am not expecting to
come out of here with any great shots. I'm here
| | 00:48 | today just kind of looking around.
| | 00:50 | I'm looking at forms, and I'm just shooting them,
and I'm looking at texture, and shooting that.
| | 00:53 | That can be a valuable exercise, because the
more you look at a particular form, sometimes
| | 00:58 | just one day, something clicks, and you see
it in a different way, and now you're seeing
| | 01:01 | photos that you didn't see before.
| | 01:03 | So to facilitate that kind of thing, which
is really just, I'm just doing an exercise
| | 01:06 | in seeing, I put my camera in Program mode,
because now I don't have to think about exposure.
| | 01:11 | I can just really look at things, and look
at their shapes, and look at their textures,
| | 01:14 | and just focus on that part of photography.
| | 01:16 | That said, one of the great things about
Program mode on the Mark III is I've actually still
| | 01:21 | got a lot of manual override.
| | 01:22 | So, I was walking along and I saw
this thing here; this is a plant.
| | 01:27 | I know that, and I don't know much more,
because really, my knowledge of botany goes really
| | 01:31 | nowhere beyond being able
to identify this is a plant.
| | 01:33 | So, I was walking along,
and I saw this plant,
| | 01:36 | and it caught my eye for some
reason; you don't have to know why.
| | 01:39 | So I decided to get a shot
of it, and I come down here.
| | 01:43 | I'm not doing anything fancy compositionally; I
am just putting it in the middle of the frame.
| | 01:47 | And as I am shooting, I began to realize, oh,
| | 01:50 | you know, it'd actually be nice to
play with a little depth of field stuff.
| | 01:53 | What's great about the Mark III is that without
taking my eye from the viewfinder, without
| | 01:57 | breaking my composition, without leaving Program
mode, I can actually play with my depth of field.
| | 02:02 | I'm just going to turn my main dial here all the
way to the right to get my aperture all the way open.
| | 02:08 | Now I'm going to spin it out to about f/11
to get me a lot of deep depth of field.
| | 02:13 | So I haven't left my mode, I haven't left my
viewfinder, and I've shot three very different
| | 02:18 | pictures, because as I'm changing
the style, I'm getting program shift.
| | 02:22 | The camera is automatically cycling through
every reciprocal combination of exposures
| | 02:27 | that yields that same metering.
| | 02:28 | So this is giving me the opportunity to go
to a wider aperture, or a smaller aperture,
| | 02:33 | or if this was a moving plant, I could be
opting for one shutter speed over another.
| | 02:39 | So it's a great amount of manual control
right there without leaving Program mode,
| | 02:43 | and without breaking up
the rhythm of my shooting.
| | 02:46 | Now, as I am looking here, and playing
with depth of field, I might also think, boy,
| | 02:50 | there is this nice shadow being
cast halfway across the flower.
| | 02:54 | I would like to exaggerate that some more,
and I want shallow depth of field still.
| | 02:58 | So I'm going to meter, I'm going to turn
my main dial here to get the aperture all
| | 03:02 | the way open, and then I'm going to dial
in a one stop of underexposure, and I'm just
| | 03:07 | doing that with my thumb.
| | 03:08 | So I've got my forefinger up here controlling aperture,
and my thumb controlling over or underexposure.
| | 03:14 | I never left Program mode.
| | 03:16 | So this is just a really nice way to be
able to stay in Program mode, where I've got the
| | 03:21 | freedom to just shoot without thinking that
much about technical stuff, I can really focus
| | 03:25 | on seeing, and whatnot,
| | 03:26 | but then when there are those moments where I
do have a technical impulse, I can just do it.
| | 03:31 | So as my day would probably progress from
here, if I was going to stay here shooting
| | 03:34 | this stuff, I would
probably begin to realize, ah,
| | 03:38 | I'm really just doing depth of
field control all day long.
| | 03:41 | So, now I'm going to leave Program mode;
now I'm going to go to Aperture priority mode,
| | 03:45 | because now when I'm working,
I've just got control of aperture.
| | 03:48 | If I decide, actually, everything I'm shooting
today, I'm shooting shallow, then I would just
| | 03:52 | open the lens up all the way, and
shoot that way for the rest of the day.
| | 03:55 | I would still have my thumb to control
overall brightness with exposure compensation.
| | 04:00 | So these are the ways that I am
thinking about mode as I move through the day.
| | 04:04 | Most of all, I'm not thinking about mode;
I'm either staying in Program mode, and taking
| | 04:07 | manual override when I need it, or I've
zeroed in on one parameter, and I've dialed in the
| | 04:12 | Appropriate priority mode.
| | 04:14 | So, if there are things in there that don't
make sense to you, you need to go back and
| | 04:18 | review priority modes, exposure compensation,
program shift, because those are the parameters
| | 04:25 | that I'm working with together here.
| | 04:26 |
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ConclusionGoodbye| 00:00 | You should now have a pretty good idea about
what all those buttons and dials do on your camera.
| | 00:05 | Of course, understanding what they do, and being
comfortable with using them are two different things.
| | 00:10 | Now you need to take that
understanding out in the field, and practice.
| | 00:13 | To be adept at shooting with your camera,
you'll need to know all the controls by touch and
| | 00:17 | feel, and the best way to
get that is by doing.
| | 00:20 | So turn off your computer, and
get out there, and start shooting.
| | 00:22 |
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