IntroductionWelcome| 00:04 | Hi! My name is Ben Long.
| | 00:05 | Understanding your gear is essential
to consistently taking good photos.
| | 00:10 | Sure, you can throw your camera into
Auto mode and get good shots most of the
| | 00:14 | time, but you will run into
situations that will flummox your camera's Auto
| | 00:18 | features, and in those instances you
need to know how to adjust your camera
| | 00:22 | to get good results.
| | 00:23 | In this course, you're going to learn all of
the critical features of your Canon EOS 60D.
| | 00:29 | You'll learn what its different modes
do, how you can alter and tweak those
| | 00:33 | modes, how to shoot video using the
camera's amazing HD video features, how to
| | 00:38 | customize the camera to make it
easier to use for your particular shooting
| | 00:41 | tasks, and how to use the camera's
various exposure controls to correct
| | 00:45 | exposure while you shoot.
| | 00:48 | Now, this is not a photography course.
We won't be going into detail into
| | 00:52 | exposure theory and the other
fundamentals of photography, but we will give you
| | 00:56 | reminders about specific terms and
processes and tell you when it's a good idea
| | 01:00 | to go watch an additional lynda course
that might help with the fundamentals.
| | 01:05 | This course combined with a couple of
other courses will provide you with a
| | 01:08 | full photo curriculum, but one built
around your specific camera. This means
| | 01:13 | you can learn photography in terms of the
specific buttons and controls on your exact camera.
| | 01:18 | So get your camera close to hand as
we delve into the particulars of the
| | 01:22 | Canon EOS 60D.
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| What is an SLR?| 00:00 | All cameras have at least one thing in common;
| | 00:02 | 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
| | 00:10 | film or paper or a digital image sensor.
| | 00:13 | The Focal Plane needs to sit directly
behind the lens because the lens is used
| | 00:17 | to focus light on to your recording medium.
| | 00:20 | Another way to think of it is that the
recording medium looks through the lens.
| | 00:25 | What's tricky about camera design is
that if the recording medium is sitting
| | 00:29 | there looking through the lens, how is
there room for you to look through the
| | 00:32 | lens to frame your shot?
| | 00:34 | Camera designers have wrestled with
this problem since the beginning of
| | 00:37 | photography, and they've
come up with lots of solutions.
| | 00:39 | For example, with a view camera you
actually take the recording medium off
| | 00:44 | so that you can look through your lens
to line up the shot, and then you put
| | 00:47 | the recording medium back on.
Needless to say, this doesn't make for
| | 00:51 | 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'm shooting up close my
framing might be off due to the parallax
| | 01:03 | shift between the two lenses.
| | 01:05 | Similarly, in a Rangefinder camera I
look through this viewfinder while the
| | 01:09 | camera looks through this lens.
| | 01:11 | I still might have parallax issues, but
with a camera like this I can actually
| | 01:15 | change lenses and still
have a viewfinder that works.
| | 01:18 | 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
| | 01:29 | medium look through that same lens.
| | 01:33 | To make that happen, there is
a mirror inside your camera.
| | 01:37 | Normally what happens is light comes
through the lens and hits a mirror here,
| | 01:43 | which bounces it up into this space up
here, where there is a prism, or in some
| | 01:48 | cameras, a series of additional mirrors,
and the light is then bounced back out
| | 01:52 | here through your viewfinder.
| | 01:54 | So if we look at it straight from the
side here, you can see the light would go
| | 01:57 | like this, and up here and out there.
| | 02:00 | If I take the lens off of the
camera, you can actually see that mirror.
| | 02:07 | So, now we're looking inside
the mirror chamber of the camera.
| | 02:10 | Here's the mirror. You can
see it's a 45 degree angle.
| | 02:13 | When I take a picture, when I press the
Shutter button, the mirror flips up, and
| | 02:17 | that allows the light to
get through to the Shutter.
| | 02:20 | So the mirror flips up, the shutter
opens, and what you see behind there is
| | 02:25 | actually the image sensor.
| | 02:26 | You can see it's got kind of
this weird, green, holographic look.
| | 02:30 | Here's a slow-motion movie
of this whole thing happening.
| | 02:33 | You can see the mirror flip up, the Shutter
open and close, and the mirror come back down.
| | 02:40 | So, because of this mirror, it's
possible when the mirror is down for light to
| | 02:45 | get all the way through to the
viewfinder so that I can see, but then when it's
| | 02:48 | time to take the picture, the mirror
comes up and light gets all the way
| | 02:51 | through to the Image Sensor.
| | 02:55 | So what's the downside?
| | 02:56 | SLRs are larger than a typical Rangefinder
camera, which makes them a little less convenient.
| | 03:01 | They can't have the giant
media sizes of a big viewfinder.
| | 03:05 | They've got lots of mechanical
parts that can break, they can be noisy.
| | 03:08 | But overall, today's SLRs, particularly
digital SLRs, offer the best all-around
| | 03:13 | camera design, allowing for incredible
flexibility of lens choice, shooting
| | 03:17 | options. They give you
portability and a lot of ease-of-use.
| | 03:21 | While there are a lot of great digital
point-and-shoots on the market, and a
| | 03:24 | point-and-shoot camera is often the
best camera choice depending on the
| | 03:27 | shooting situation...
| | 03:28 | In spite of that, SLRs score over their
smaller point-and-shoot counterparts both
| | 03:32 | in terms of image quality and shooting
flexibility. With their larger sensor
| | 03:37 | size, they provide better quality,
better low-light performance, and the ability
| | 03:41 | to shoot with shallower depths of field.
| | 03:44 | With their interchangeable lenses, fast
burst rates, and advanced features, you
| | 03:47 | can shoot just about any subject with an SLR.
| | 03:50 | Now, you just have to learn how to use
it, but you'll learn all about that in
| | 03:53 | this course.
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| Using this course| 00:00 | I divide the teaching of photography
into two major categories of instruction:
| | 00:04 | artistry and craft.
| | 00:06 | Artistry is the study of all of that
ephemeral stuff that goes into making a good photo--
| | 00:11 | learning to see, exploring your
emotional response to a scene, and learning how
| | 00:16 | to translate that into the
vocabulary of photography.
| | 00:19 | There is nothing magical about artistry.
| | 00:21 | It's an intellectual process that you can learn.
| | 00:23 | Craft skills are what you employ
to realize your artistic ideas.
| | 00:29 | In the case of photography they are
basically the button pushing skills--knowing
| | 00:33 | how to focus, knowing how to
configure your camera for particular types of
| | 00:36 | light, how to ensure that your image
is bright enough that you've captured
| | 00:40 | motion the way that you
want, and so on and so forth.
| | 00:43 | In this course, we're going to be
studying craft, specifically the craft skills
| | 00:48 | required to use your particular camera.
| | 00:51 | And in this course, we'll be assuming a
certain level of understanding of basic
| | 00:55 | photographic theory.
| | 00:56 | For example, in showing how your
camera's Program Shift feature might work, I
| | 01:02 | might say that it cycles through
all reciprocal exposures for a given
| | 01:05 | metering of a scene.
| | 01:07 | If you don't know what I'm talking
about-- if you don't understand what a
| | 01:09 | Reciprocal Exposure is or what it means
to meter a scene-- then you're going to
| | 01:13 | need to take a look at an
additional lynda.com course.
| | 01:16 | We'll put up graphics any time there's a
complementary course that will lead you
| | 01:20 | deeper into the theory that's being discussed.
| | 01:23 | This course also assumes that
you know nothing about your camera.
| | 01:26 | We're going to start with the assumption
that you've just pulled your camera out
| | 01:29 | of the box, and you want to get
shooting as quickly as possible.
| | 01:32 | That's easy enough, thanks to Auto modes.
| | 01:35 | We'll build your understanding from
there by delving into more advanced
| | 01:39 | features as we go along.
| | 01:41 | If you use this course and those
complementary courses that we'll be pointing
| | 01:45 | you to, you'll get full instruction in
both the art and craft of photography, and
| | 01:50 | your craft lessons will be
built around your specific camera.
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1. Getting to Know Your Canon SLRBasic camera anatomy| 00:00 | Before we go any further, we need to get
some basic terminology out of the way.
| | 00:04 | Now, a lot of what I'm going to explain
here may seem pretty cut and dry, but
| | 00:07 | it's important that we're all on the
same page when talking about specific
| | 00:11 | parts of the camera.
| | 00:13 | So let's take kind of a high level
overview, a look at all of the various
| | 00:18 | features and controls that are
situated on the outside of the camera.
| | 00:21 | We're going to take it from the top
and look at the top of the camera here.
| | 00:24 | I have my Shutter button, I have my LCD
Status Screen, various control buttons
| | 00:29 | right here behind this
Control Wheel, which turns.
| | 00:33 | I have a mode dial over here.
| | 00:35 | Flash Hot Shoe, where I attach an
external flash, and mounts for attaching a
| | 00:40 | strap. And you should have gotten a
strap with the camera, although that's kind
| | 00:44 | of a standard size; you can find
other straps that work with it.
| | 00:47 | Looking more from the side here,
you can see what should obviously be
| | 00:50 | recognizable as the lens.
| | 00:52 | I have the Lens Release right here.
| | 00:54 | This camera has a built-in pop-up
flash, which I can release by pressing this
| | 00:58 | Flash Release button. In some
modes that all happens automatically.
| | 01:03 | Over here on the side of
the camera I have some ports.
| | 01:06 | They are behind this little door.
It's a rubberized door; it just springs
| | 01:10 | open and pulls out.
| | 01:11 | I have a microphone input, HDMI
Output for connecting to an HDTV.
| | 01:17 | I have a port here for connecting
to a computer for data transfer or to
| | 01:20 | certain types of other TV sets, and
I have an input here for a remote control or
| | 01:26 | wireless remote control.
| | 01:28 | Close that back up. That door
| | 01:30 | is pretty sturdy but you
do need to be careful with it.
| | 01:32 | You can pull it off. Here is a speaker;
| | 01:35 | this is for listening to audio
on the camera when I've shot movies.
| | 01:39 | Coming around to the front, if you
look real closely you'll see a little
| | 01:42 | black dot right here.
| | 01:44 | This is the receiver for the infrared
remote control. The Canon infrared remote
| | 01:48 | talks to the camera right here.
| | 01:50 | You'll want to be sure that's not
covered up if you're using the remote.
| | 01:53 | This is the Autofocus Assist Light. It does
double-duty as the red-eye reduction lamp.
| | 01:59 | So when you're holding the camera, you want to
be sure your fingers don't get in front of that.
| | 02:03 | Moving on around to the side here,
we get to the media card slot.
| | 02:07 | This is a door that just pops
open, and there is my SD card.
| | 02:12 | And coming around to the back of the
camera, I've got the viewfinder, which we've
| | 02:17 | talked a little bit about already.
| | 02:19 | Menu Navigation controls here and just
some other controls for various functions
| | 02:23 | around the camera here on the back.
| | 02:24 | I've the Power Switch over here, I
have my LCD Screen right here, and finally
| | 02:30 | on the bottom of the camera is a little
door that opens up for inserting the battery.
| | 02:35 | So, we're going to be going over all
these controls in great detail. That's just
| | 02:39 | a quick overview to be sure
that you understand what's where.
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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
| | 00:04 | off and put on a different lens. Even
if you don't have multiple lenses, there
| | 00:08 | is still some point where you've got
to get the lens that came with your
| | 00:11 | camera onto the camera.
| | 00:12 | Knowing how to change lenses quickly
and easily is a good skill to have. As you
| | 00:16 | get more lenses, you're going to want
to be work quickly to get one off and the
| | 00:19 | other on, so that you don't miss a shot.
| | 00:21 | But also because once you open the
camera up, then you're exposing the Sensor to
| | 00:25 | dust and that can mess up your images.
| | 00:27 | So, your camera should have
come with a body cap on it.
| | 00:30 | This just screws off.
| | 00:31 | This is not something you want to throw
away. You're going to keep this, because
| | 00:34 | if you ever need to take the lens off
the camera to pack the camera for travel
| | 00:38 | or something, you're going to
want to put the body cap back on.
| | 00:41 | Your lens also has a cap on the camera
end and that just screws off, and to keep
| | 00:46 | from losing both of these things you
can screw them together, which means now
| | 00:50 | you can lose them both simultaneously.
| | 00:52 | Hopefully, what it means though is
you'll put this in your camera bag and always
| | 00:55 | know where these two things are.
| | 00:56 | It's a good idea not to stick this in
your pocket or especially not to take the
| | 01:02 | cap off the lens and stick that in your
pocket because it gets filled with dust
| | 01:06 | and lint and pocket stuff, and then
when you put it back on the lens, all of
| | 01:09 | that gets transferred to the lens. And
eventually the lens goes back onto your
| | 01:13 | camera and transfers all
of that into the camera.
| | 01:16 | So one of the best ways to keep your
Sensor clean is to keep your lenses clean
| | 01:20 | and to keep these caps clean, so keep
these together, keep them somewhere clean.
| | 01:25 | Now, if you look here inside the camera you
see I have two dots, a red dot and a white dot.
| | 01:31 | Your lens has either a white dot or a
red dot on it. Which colored dot it has
| | 01:36 | depends on the type of lens it is.
| | 01:38 | This is an EF-S Lens, which means that
this lens was designed specifically for
| | 01:45 | cameras with the Size Sensor that the 60D has.
| | 01:48 | Canon also makes a series of lenses--
two series of lenses actually--EF and L
| | 01:53 | series lenses, which are actually
designed for cameras with a larger sensor.
| | 01:57 | Those will have a red dot, and
those line-up in different places here.
| | 02:00 | So I take the white dot, I line it up
here, and then I just rotate clockwise
| | 02:04 | until there's a clicking sound and
the lens doesn't turn any further
| | 02:08 | clockwise, nor can I undo it.
| | 02:11 | So, all I've to do is take the Lens Cap
off now and I'm ready to start shooting.
| | 02:15 | To get the lens off of the camera, I
mostly just do everything in reverse, but I
| | 02:18 | have to press and hold this button, so
I press and hold that and twist to the
| | 02:22 | left until it doesn't go any further,
and then I can just pull it off.
| | 02:26 | Again, now another lens would go on
right away, or I would take my Body Cap
| | 02:32 | and put that on. And again, for sure, I'd
want this cap to go back onto the lens itself.
| | 02:38 | So that's changing a lens.
| | 02:39 | If you're doing this with a bag in your
hand and a couple of lenses, you're going
| | 02:43 | to need to figure out where to hold
some things. Having a strap on your camera
| | 02:47 | is going to make a big difference there,
because you can just leave the strap
| | 02:50 | hanging around your neck, and then you
don't have to worry about holding the
| | 02:52 | camera; all you have to do
is manipulate your lenses.
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| Batteries and media cards| 00:00 | Your camera needs power and it
needs a place to store its images.
| | 00:04 | It usually gets its power from a
rechargeable battery and it stores its images
| | 00:09 | on a removable media card.
| | 00:11 | The battery in your 60D can be
recharged with the included battery charger.
| | 00:15 | Just snap the battery into the charger,
it only goes the right way, and plug the
| | 00:20 | charger into the wall.
| | 00:21 | When it's charging, these lights on the
front will flash, and when the battery
| | 00:25 | is fully charged, you'll see a solid
green light on the front of the charger.
| | 00:29 | Now, these batteries are very
forgiving in their charging habits.
| | 00:32 | Unlike old rechargeable batteries,
you don't have to drain them completely
| | 00:36 | before you recharge them.
| | 00:37 | Don't hesitate to top it off before
you go out on a long shooting trip.
| | 00:41 | From time to time though, it is a good
idea to drain the battery completely and
| | 00:45 | then give it a good, solid
charge all the way back up to full.
| | 00:49 | The battery only goes in the right way.
| | 00:51 | It's round on one end, so
it can't go in backwards.
| | 00:54 | And it's got contacts at one end;
those go first into the camera.
| | 00:59 | The door opens off the bottom here
and the battery just slips inside, and it
| | 01:04 | catches there so it doesn't
come out, and then close the door.
| | 01:09 | The 60D uses Secure Digital, or SD, Media
Cards, and they go into the Media Card
| | 01:14 | slot in the side of the camera.
| | 01:16 | You have to open the door first,
which you do by pushing, and then it's
| | 01:19 | actually spring-loaded.
| | 01:21 | It's kind of like just let go and it
flies open like that. And the card just
| | 01:24 | goes right in here.
| | 01:25 | Again, it only goes in the correct way.
| | 01:27 | If I try to put it in the wrong
way, it just doesn't even fit.
| | 01:31 | Couple of things to know about these
cards--they have a write-protect or
| | 01:35 | lock switch right here.
| | 01:37 | If that is in the down position, I'm not
going to be able to store images on the
| | 01:40 | card and that camera will complain.
| | 01:41 | So make sure that that's unlocked, and
there's a little thing on the card to tell
| | 01:45 | you when you're locked or unlocked.
| | 01:46 | SD Cards come in various speeds or classes.
| | 01:49 | This is Class 4; that's a
little 4 with a circle around it.
| | 01:52 | For the most part, any
card is going to work fine.
| | 01:55 | However, a speedier card
is required to shoot video.
| | 01:58 | You need at least a Class 6 card to shoot video.
| | 02:01 | And the faster the card, the quicker
the buffer in the camera will drain, and
| | 02:05 | we'll talk about that later.
| | 02:07 | Be careful when you're
handling the cards. They are fragile.
| | 02:09 | If you flex them, they can come apart.
And you want to be very careful that you
| | 02:12 | don't shock them with static electricity.
| | 02:14 | That can completely erase the card.
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| Powering up| 00:00 | It may seem strange to devote an
entire movie to turning your camera on.
| | 00:05 | But a lot of things happen when you
power up your camera, and it's important to
| | 00:08 | understand what they are
and how you can alter them.
| | 00:12 | Because the lens of a camera is
removable, it's possible for dust to get inside
| | 00:17 | the camera body and get on the sensor.
| | 00:19 | If that happens, you'll see smudges
and spots and things on your images.
| | 00:23 | There is a clear filter in front
of the image sensor in your camera.
| | 00:27 | So dust never actually gets on the sensor
itself, but it gets on that filter instead.
| | 00:32 | When you turn the camera on, it
shakes that filter at a very high speed to
| | 00:37 | shake off any dust.
| | 00:39 | There's a sticky piece of tape or
something beneath the filter that traps any
| | 00:43 | dust bits that fall off, and there are
a number of ways that you can rearrange
| | 00:48 | and customize that cleaning function.
| | 00:51 | So let's get the camera actually turned on.
| | 00:52 | My power switch is right here.
| | 00:54 | Before I turn it on, I'm
going to open the LCD screen.
| | 00:56 | This is not necessary, I'm just opening
it because I want you to see something
| | 01:00 | that's going to happen.
| | 01:00 | If I pull it out, I turn it around, and
I fit it back-flush against the camera...
| | 01:04 | and we're going to talk about how
this moves later in a different movie.
| | 01:07 | Now I'm going to flip the switch on.
| | 01:09 | I just go from the OFF position to,
surprisingly enough, the ON position.
| | 01:13 | And when I do that, I see this brief little
Sensor cleaning display, and then it goes off.
| | 01:20 | So, while that Sensor cleaning thing
is up there, that's when it's in there
| | 01:22 | shaking the sensor to get any dust off.
| | 01:25 | There are options that we'll
see later for turning that off.
| | 01:28 | If you're worried that, well, what if
I want to turn the camera on and get
| | 01:31 | shooting right away, don't worry.
| | 01:33 | As soon as you half-press the shutter
button, if it's still in Sensor cleaning
| | 01:36 | mode, it will cancel that and
your camera will be ready to shoot.
| | 01:40 | When I turn the camera off, which I
do by moving the switch back to the OFF
| | 01:43 | position, Sensor cleaning comes on again.
| | 01:46 | So it's shaking the sensor every
time I turn the camera on or off.
| | 01:49 | It's surprisingly effective
at keeping the sensor clean.
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| Menu navigation and factory defaults| 00:00 | There are a lot of settings on your
camera and if you've been fiddling with the
| | 00:04 | thing, there is no telling
how it might be configured now.
| | 00:06 | To make sure that your camera
matches my camera for the sake of these
| | 00:09 | demonstrations, we're going to
reset yours to the factory defaults.
| | 00:13 | This can also be a handy thing to
do to if you ever sell your camera.
| | 00:16 | I suppose you could also do it if you
get your camera so messed up that you
| | 00:19 | can't figure out why it's
doing a particular thing.
| | 00:21 | But at that point, I'd encourage you to
really try to figure out why it's doing
| | 00:24 | what it's doing so that
you can understand it better.
| | 00:26 | Think of Reset as kind of a nuclear option.
| | 00:29 | And note that resetting does
not reset the clock in the camera.
| | 00:34 | So this is going to be our first trip
into the menuing system because we're
| | 00:37 | going to get to a menu option that
will reset us to factory defaults.
| | 00:40 | So we're going to talk
about how the menus work here.
| | 00:43 | Before we do that, you need to be in
a particular mode for the menu option
| | 00:47 | that we're looking for.
| | 00:48 | Right now, I want you to switch over
to Program mode, and you switch modes by
| | 00:52 | pressing this button in the middle
of the dial and then turning the dial.
| | 00:55 | So make sure that the dial
is set on the little P there;
| | 00:57 | that's for Program.
| | 00:59 | We'll be talking more in
detail about the Program mode later.
| | 01:02 | On the back of the camera, hit the
MENU button and you will see the camera's
| | 01:07 | menuing system appear.
| | 01:10 | Along the top, I have a long list of menus,
and then for each menu, I have a number of items.
| | 01:15 | Now, there are a few different
ways that I can navigate these menus.
| | 01:19 | Around the SET button is a little control
pad. It's got these little arrows around it.
| | 01:22 | If I just press Left and Right on it, I
move left and right through this list of menus.
| | 01:29 | In a particular menu, I can press Up and
Down to go up and down through that menu.
| | 01:33 | But there's another way
that I can navigate the menus.
| | 01:36 | I can turn this dial right here and that
takes me left and right through the various menus.
| | 01:42 | And then I can turn this wheel back
here to go up and down within a menu.
| | 01:47 | When I get to a menu option that I like, I
press the SET button and that picks that option.
| | 01:52 | Now, note that the menus that are shown
here--that can change from mode to mode.
| | 01:57 | So the reason I had you change to
Program mode is I know that the menu option
| | 02:01 | we're looking for is available in Program mode.
| | 02:03 | It's not available in some of the other modes.
| | 02:06 | So again, we want to get your camera back
to factory defaults so that it matches mine.
| | 02:10 | So navigate all the way over here to
the third tool menu and notice that these
| | 02:15 | menus are grouped by category.
| | 02:17 | I've got shooting menus and then
playback menus and now these tool menus, and
| | 02:21 | then scroll down here to
Clear all camera settings.
| | 02:24 | Hit the SET button, and now I'm into
this menu option where it says Clear
| | 02:29 | all camera settings.
| | 02:30 | And I have two buttons here,
a Cancel and an OK button.
| | 02:33 | I can switch back and forth between them
with this wheel or by pressing these buttons.
| | 02:37 | And then when I get the one that I want, I
want the OK button, I just hit the SET button.
| | 02:41 | It says it's Busy, tells me to wait, and
then the menu comes back up and it's done.
| | 02:46 | It's back to full factory defaults.
| | 02:48 | So, if you do that on your camera, we
know that yours will match mine and it's
| | 02:52 | less likely that you'll
get lost in a menu somewhere.
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| Setting the date and time| 00:00 | Your camera has a clock and a calendar in it.
| | 00:03 | Every time you take a picture, the date
and time are stored with that picture.
| | 00:08 | This can be very handy when you're
editing, not just to find out when you took
| | 00:11 | a picture, but for sorting your
images or searching for images or for
| | 00:15 | geotagging your images.
| | 00:17 | With the right hardware and software,
you can add longitude and latitude data to
| | 00:20 | your images in postproduction.
| | 00:22 | But for that to work, you have to
have the camera's clock set properly.
| | 00:26 | Also, if you travel, you'll want to
reset the clock as you change time zones.
| | 00:30 | So, knowing how to set the
date and time is very important.
| | 00:33 | You can set the time in any mode on the camera.
| | 00:36 | Just hit the MENU button to
get into the menuing system.
| | 00:38 | And you want to scroll over to the
second tool menu, that's this one right here,
| | 00:43 | and then scroll up and down until
you get to the Date/Time option.
| | 00:47 | Hit the SET button to select it.
| | 00:49 | And here I am in the Date/Time control
screen, and you see I've got the date here
| | 00:54 | and the time over here and
the first number is selected.
| | 00:57 | That lets me know which one
I have the option to edit.
| | 01:00 | So with the month selected, I'm going
to hit the SET button and now I can just
| | 01:03 | scroll up and down to set the month.
| | 01:06 | And then hit SET to take that, and
then I press the Right button to move
| | 01:10 | onto the next number.
| | 01:11 | So I can just navigate my
way through the date and time.
| | 01:15 | Once I'm done with the date, I jump on
over to the time and I can set it there.
| | 01:19 | And if I want, I can
change the date and time format.
| | 01:23 | Right now, I'm in month/day/year.
| | 01:25 | If I hit the SET button, I can
scroll through some other options:
| | 01:28 | year/month/day, day/month/year,
month/day/year, so on and so forth.
| | 01:32 | When I'm all done, I scroll down here
to the OK button and hit the SET button,
| | 01:38 | and now my date and time is reset.
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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
| | 00:04 | a different language.
| | 00:05 | Obviously, this can make it easier to
navigate your camera's menus and it's a
| | 00:08 | great way to bone-up on a foreign language.
| | 00:10 | For example, set it to Dutch and next
time you're in Holland, you'll be able to
| | 00:13 | walk into your hotel and say,
"peripheral illumination correction."
| | 00:16 | When you first turned on your camera,
it should've asked you for your language
| | 00:20 | preference, so you'll
probably never need to change this.
| | 00:23 | But if you do, here's how.
| | 00:25 | Go into the camera's menuing system--
this again will work when in any mode.
| | 00:30 | Scroll over to the second tool menu and
work your way down to the Language option.
| | 00:35 | Hit the SET button and you'll get
a nice big list of languages here.
| | 00:39 | You can just scroll
through to the one that you want.
| | 00:42 | Hit SET to select it and your
camera's menuing system will change.
| | 00:46 | Just for grins, let's go ahead
and change this to Portuguese.
| | 00:49 | So you can see sure enough, my
menus are all in Portuguese now.
| | 00:52 | Fortunately, they've put this little icon
here of a guy with a little speech balloon.
| | 00:57 | So even if you don't know the
Portuguese word for Set language, you can
| | 01:01 | just look for that icon.
| | 01:02 | If you accidentally get the language
changed, you can find your way back there
| | 01:06 | and put it back to
whatever your native language is.
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| Formatting the media card| 00:00 | Most media cards come from the factory
already formatted, but it's still a good
| | 00:04 | idea to format a new card
with your specific camera.
| | 00:08 | More importantly though, you'll use
your camera's Format command any time you
| | 00:13 | want to erase your card.
| | 00:14 | So, after you've pulled your images
into your computer, you'll need to put the
| | 00:18 | card back into your camera and format it there.
| | 00:21 | Now, it's very important that you choose
Format to do this rather than using the
| | 00:26 | camera's Erase or Delete function.
| | 00:28 | Repeated use of those functions can
leave your card unreliable and resulting you
| | 00:32 | being unable to get images off of the card.
| | 00:35 | You can usually use special file
recovery software to get to unreadable images,
| | 00:40 | but it's better to just avoid that
problem in the first place by always
| | 00:44 | formatting your card.
| | 00:45 | Now if a card does get messed up,
formatting it should put it back to normal.
| | 00:50 | Since Format is a command that you're
going to use very regularly, it's good to
| | 00:53 | learn exactly where it is.
| | 00:56 | Format is accessible in any mode on the camera.
| | 00:59 | To get to it, just go into the
menuing system and work your way over to the
| | 01:04 | first tool menu and scroll down to Format.
| | 01:07 | Hit the SET button and that
pops up the Format command.
| | 01:10 | First thing it does is warn me that
all data on the card will be lost.
| | 01:14 | Again, you want to use Format to erase
your card, so this is actually a good thing.
| | 01:18 | It tells me how much space is
currently used on the card, how high the
| | 01:21 | capacity of the card is.
| | 01:23 | So this is nice, this might remind you
whether this is a blank card you've put in or not.
| | 01:28 | And there's this option
here for Low level format.
| | 01:30 | If I hit the Trashcan button up here,
the Erase button, it checks this off.
| | 01:36 | Normally you don't need to do this.
| | 01:37 | If you do a Low level format, the
formatting operation is going to take longer.
| | 01:41 | What it's good for is if your card
seems to be slowing down, a Low level
| | 01:46 | format might put it back up to
normal speed, and it also leaves the card
| | 01:50 | completely unrecoverable.
| | 01:51 | So if you're going to sell the card or
give it to someone else, you might want
| | 01:54 | to do a Low level format first.
| | 01:56 | I'm going to select the OK button
and hit SET and the formatting process
| | 02:00 | starts, and it's done. That's it.
| | 02:02 | It doesn't actually erase
all of the data in the card.
| | 02:04 | It simply resets the card's file structure.
| | 02:07 | That's why it doesn't take very long,
and Low level format actually goes through
| | 02:10 | and erases everything on the card.
| | 02:13 | Format is a command that, again, you
will be using a lot, as you'll see later.
| | 02:16 | It's possible to build a custom menu
of commands, and you might want to build
| | 02:21 | a custom menu that has Format in it
since it's something you're going to need
| | 02:24 | ready access to.
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| Holding the camera| 00:00 | I suppose there's no real wrong way to
hold the camera, but there are definitely
| | 00:04 | better ways to hold the camera.
| | 00:06 | Proper camera handling will allow you
to shoot more stable shots, will keep
| | 00:10 | you from getting tired and sore as you
carry lots of gear around all day, and
| | 00:14 | will help ensure that you don't
damage your camera by bumping it into
| | 00:17 | something or dropping it.
| | 00:18 | Holding an SLR is pretty simple.
| | 00:20 | There is a good technique for it though,
and that is to take your left-hand and
| | 00:24 | get your elbow into your side here
because that gives me a really stable way to
| | 00:28 | support my left-hand. And then I
just drop the camera lens into it.
| | 00:32 | Even a large lens, a big heavy lens, if
I hold it right here, I've got some nice
| | 00:37 | balance between the body and the lens.
| | 00:39 | Next, I take my right-hand and I go
around the camera grip right here.
| | 00:43 | On a well-designed camera like the 60D,
the grip really fits my hand well.
| | 00:47 | That gives me, for one thing, a
comfortable grip, but also a very secure grip.
| | 00:51 | It's hard for it to slip out of my
hands if I really take advantage of this
| | 00:55 | molded grip that they've got.
| | 00:57 | My forefinger goes on the Shutter button.
| | 00:58 | I've got my thumb to work these controls
back here on the back of the camera and
| | 01:02 | my forefinger can move around from the
shutter button to the other controls on
| | 01:05 | the top of the camera.
| | 01:07 | Now, it's very important to remember that
your camera can go all the way to your head.
| | 01:11 | You don't put your camera up
here and then go like this.
| | 01:14 | Now, my neck is all bent up. That's
going to hurt over the course of the day.
| | 01:17 | It's also less stable than if I keep
my back straight and pull the camera
| | 01:22 | all the way up here.
| | 01:24 | Notice also that my right
elbow is up against my body.
| | 01:27 | I've got my arms all tucked in here.
| | 01:29 | This is all very, very secure.
| | 01:30 | That gives me more stability when I am
holding the camera, and I've still got
| | 01:34 | full access to all of my controls.
| | 01:36 | This stays true even when I am
shooting in Portrait Orientation.
| | 01:39 | Rather than doing this,
turn the camera this way.
| | 01:43 | So now my elbows are still at my
side; I am still much more secure.
| | 01:47 | This hand is no longer supporting the
camera, now it's being supported in my
| | 01:50 | right-hand and this is stabilizing
it, and I've still got room to get my
| | 01:54 | shutter finger on the button back over here,
and then I can easily switch back over here.
| | 01:58 | My feet are about shoulder-width
apart to give me extra stability.
| | 02:02 | When you squeeze the
Shutter, don't mash it down.
| | 02:05 | Remember, you're going to be half-
pressing the Shutter to focus, and then gently
| | 02:09 | squeezing it the rest of
the way to take the shot.
| | 02:12 | Don't, also, hold your breath
thinking that that's going to give you more
| | 02:16 | stability. That's really not real stable like
that. Just breathe normally and stay relaxed.
| | 02:22 | If you do that, you're going to have an
easier time keeping the camera steady
| | 02:25 | when you're doing longer exposures, your
neck is not going to get so tired, which
| | 02:28 | it's already possibly going to be a
little bit stressed just from having a
| | 02:33 | camera bag on your shoulder in that way.
| | 02:34 | So with a little bit of practice and
repetition, this should start to feel very
| | 02:38 | normal, so you don't even think about it.
You just grab the camera and you hold
| | 02:41 | it and it just feels right.
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|
|
2. Shooting in Auto ModeSetting Auto mode| 00:00 | On the top of your camera is a Dial
which lets you choose a Shooting mode.
| | 00:04 | The Shooting mode that you choose
determines what decisions the camera will make
| | 00:08 | and what decisions will be left up to you.
| | 00:10 | Sometimes, having the camera make
lots of decisions is a better way to go
| | 00:13 | because it allows you to shoot more
quickly, while at other times you'll
| | 00:17 | want control over some decisions to ensure
that you get the type of shot that you want.
| | 00:22 | For the rest of this chapter, we want you in
Auto mode, and that's this green box right here.
| | 00:27 | Now, the way you change the mode Dial
is you press down this button here in
| | 00:31 | the middle, and then you just rotate
the Dial. And there is a white line right
| | 00:35 | here next to the mode Dial. Just to make sure
the mode you want is lined up with that.
| | 00:39 | So again, we want you on Auto
mode, which is the green box.
| | 00:41 | In this mode, the camera is going to
decide pretty much everything for you, but
| | 00:44 | let's take a quick look at
what the other modes are.
| | 00:46 | We're going to be looking at these in
detail throughout the rest of this course,
| | 00:49 | but let's just look here at
what's next to the Auto mode.
| | 00:52 | P stands for Program mode, it's a lot like
Auto mode, except I get a little more control.
| | 00:58 | Next to that is TV.
| | 01:00 | This is Shutter Priority.
| | 01:01 | Now you may wonder how you
get TV out of Shutter Priority?
| | 01:04 | Think of it as time value. You're
changing the time that the Shutter is open.
| | 01:09 | Next to that is Aperture Priority or
AV, Aperture Value. M is Manual mode.
| | 01:16 | In Manual mode I have full control
over pretty much everything on the camera.
| | 01:20 | Next is B; that's Bold mode. We will
be looking at that when we talk about
| | 01:24 | remote controls. And then C, which of
course comes after B. In this case C is
| | 01:29 | Custom mode; I can set this
up to be anything that I want.
| | 01:33 | Now, Canon considers all of these
modes right here the Creative Zone.
| | 01:38 | These modes here on the other side are
what they consider the basic zone, which
| | 01:42 | implies that it's less creative,
and that's just not really true.
| | 01:45 | Let's take a look at these.
| | 01:47 | The first thing is the Flash Off mode.
| | 01:51 | So this is pretty much just Auto mode
but the camera will never use the flash.
| | 01:55 | This is great for times when you're
shooting in a place where the flash is
| | 01:58 | absolutely not appropriate, like a
concert or in a museum or something.
| | 02:02 | CA is Creative Auto mode, and after that
we get into the scene modes.
| | 02:06 | These are modes that are tailored
for very particular types of scenes.
| | 02:10 | Portrait mode for shooting portraits
obviously, Landscape mode for shooting
| | 02:15 | landscapes, the little flower is Close-up mode.
| | 02:19 | After that I get a little guy who is
running; that's Sports mode. And what Canon
| | 02:23 | defines as sports is
typically things that are fast-moving.
| | 02:26 | So that's sometimes appropriate for
certain types of wildlife shooting.
| | 02:30 | Night Portrait mode, which we will look
at in a little more detail, and finally,
| | 02:34 | Movie mode for shooting video with the camera.
| | 02:37 | So, those are your modes.
| | 02:38 | Again, right now, spin the Dial back
around to the big green box because we want
| | 02:42 | you in Auto mode for the rest of this chapter.
| | 02:45 | In Auto mode, the camera will
choose all exposure settings:
| | 02:48 | Shutter Speed, Aperture, ISO, as well as
choosing a white balance and whether or
| | 02:52 | not to fire the flash.
| | 02:54 | If it thinks you need the flash, then
it will automatically pop it up when you
| | 02:57 | half-press the Shutter button to meter.
| | 02:59 | In Auto mode, you won't have access to
Program Shift, Exposure Compensation, or
| | 03:03 | many of the other controls that we'll
talk about later, but you will be able to
| | 03:07 | select the file format
that you want to shoot in.
| | 03:10 | Auto mode basically gives you a
snapshot camera, albeit a very good one.
| | 03:13 | While you may think that Auto mode is
inherently a compromise, the fact is that
| | 03:17 | the Auto features on your camera are
very good and will probably make the
| | 03:21 | right choice 80 to 90% of the time.
| | 03:24 | When and how to use it will become
apparent as you learn more about exposure and
| | 03:27 | about the camera's other shooting modes.
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| The viewfinder display| 00:00 | On the top of the
viewfinder is the Diopter Control.
| | 00:03 | If you wear glasses, you might be able
to adjust the Diopter to compensate for
| | 00:07 | your prescription, which allows
you to shoot without your glasses.
| | 00:10 | I say, might, because if your eyes are
bad enough, then you won't be able to
| | 00:14 | adjust the Diopter far enough to
correct the viewfinder back to Full Sharpness.
| | 00:17 | Note though that it's
possible to bump the Diopter Control.
| | 00:20 | So if you ever think, "boy!
| | 00:21 | My camera really doesn't
seem to be focusing very well,"
| | 00:24 | check the Diopter and make sure
that it's set to No Correction.
| | 00:27 | You can tell when it's properly set
this way because there's this extra
| | 00:30 | wide flat mark here, which will line up with
the middle line between the Plus and Minus.
| | 00:36 | When you look through the viewfinder,
you'll see a number of focusing spots
| | 00:39 | superimposed over your image.
| | 00:41 | These spots light up when you auto-
focus to indicate where the auto-focus
| | 00:44 | mechanism has chosen to focus.
| | 00:46 | The big circle in the middle of the
viewfinder shows the size of the Spot Meter.
| | 00:50 | Below the viewfinder are
lots of status readouts.
| | 00:53 | These let you know certain things
about the camera's state, such as battery
| | 00:57 | strength, but more importantly, they let you
keep track of your current Exposure Settings.
| | 01:01 | From left to right,
you'll find the Battery Meter.
| | 01:05 | The AE Lock, that's Auto Exposure Lock
Light, which lets you know when you've
| | 01:09 | locked Exposure using the Exposure Lock button.
| | 01:12 | The Flash Ready Light, which indicates
when the flash is charged and ready to
| | 01:16 | fire. Flash charging begins
as soon as the flash pops up.
| | 01:20 | The High Speed Flash Sync Light
shows when you're set for high-speed
| | 01:23 | syncing with your flash, while the FE Lock
button shows when you've locked Flash Exposure.
| | 01:29 | Flash Exposure Compensation lights up
anytime you've dialed in any amount of
| | 01:34 | Flash Exposure Compensation
| | 01:36 | Next comes the Shutter Speed Readout.
Now, normally this will only show a single
| | 01:39 | number which represents the
denominator of the shutter speed.
| | 01:42 | So if you're shooting at 1/125th of a
second, you'll see 125 here, a 4 will
| | 01:48 | indicate 1/4th of a second.
| | 01:50 | Once you drop below a quarter-of-a-
second, the display will change to a seconds
| | 01:54 | and fractions of a second display.
| | 01:56 | So if you see this, then you're
shooting at one in a third second.
| | 02:00 | If you see this, you're
shooting a 15-second exposure.
| | 02:04 | To the right of the Shutter Speed
Readout is the Aperture Display.
| | 02:07 | This is simply the current F-number.
| | 02:09 | The Exposure Level
Indicator serves a few functions.
| | 02:12 | In most modes, it shows the amount of
Exposure Compensation that you've dialed in.
| | 02:17 | Each of the numbers represents one full
stop, and by default, the lines between
| | 02:21 | each number are a-third of a stop.
| | 02:24 | Positive Exposure Compensation is to
the right. Negative is to the left.
| | 02:28 | Note that you can actually dial-in
more than the three stops of Exposure
| | 02:31 | Compensation that the display shows.
| | 02:34 | When you do, the Compensation
Indicator will scroll off the scale, and a
| | 02:38 | little arrow will appear to indicate that
your compensation has gone beyond three stops.
| | 02:43 | As you change Exposure Compensation,
the Shutter Speed and Aperture displays
| | 02:46 | will update to indicate the new
exposure values that your Exposure
| | 02:49 | Compensation has defined.
| | 02:52 | When you're shooting in Manual mode,
that same exposure level readout works
| | 02:55 | more like a Light Meter.
| | 02:56 | When the indicator is at 0, then the
camera is telling you that you have a good
| | 03:00 | exposure, if the indicator goes above
or below 0, then the camera is indicating
| | 03:04 | that it thinks you have over or under exposure.
| | 03:07 | Now, you are still free to use any
settings you want of course, the readout is
| | 03:10 | just there to let you know that the
camera thinks your metering is off.
| | 03:15 | Next comes your ISO Indicator which
simply gives you a read-out of your
| | 03:19 | current ISO settings.
| | 03:20 | If you're coming to the digital world
directly from film, you may wonder why
| | 03:23 | you'd care to have a constant display
of ISO, but remember, with a digital
| | 03:26 | camera, you can change ISO on every
shot making it a third exposure parameter
| | 03:30 | that you have control over.
| | 03:32 | Directly beneath the ISO label is
an indicator that shows that you've
| | 03:35 | activated Highlight Tone Priority, which
you'll learn about in the Custom Functions chapter.
| | 03:39 | Next comes an indicator that shows if
you've dialed in any White Balance Shift.
| | 03:44 | Below that is an indicator that
shows whether you've activated the
| | 03:47 | Monochrome Picture Style.
| | 03:50 | The Max Burst Indicator just shows a
number, and that tells you how many pictures
| | 03:55 | the buffer can hold.
| | 03:56 | As you shoot quickly, that number will go
down indicating that the buffer is filling up.
| | 04:00 | If it gets to 0, the camera will stop
shooting until it's had time to empty out
| | 04:05 | the buffer, at which point the number
will slowly go up as the buffer empties.
| | 04:09 | The buffer can hold more JPEGs than
RAWs, so the maximum number will vary
| | 04:13 | depending on which format you're using.
| | 04:15 | Finally, on the very right side
is the Focus Confirmation Light.
| | 04:19 | When you half-press the Shutter button
to focus, this circle will light up when
| | 04:22 | the camera successfully meters and locks focus.
| | 04:25 | At that point, you can press the
button the rest of the way to shoot.
| | 04:28 | Don't worry about
remembering all of this stuff right now.
| | 04:31 | Exposure Settings are the critical
readouts that you need to understand.
| | 04:34 | The other status options will
become obvious as you activate those
| | 04:38 | specific features.
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| The LCD screen| 00:00 | On the back of the 60D is a nice, big, 3-inch
LCD Screen. You'll use this for
| | 00:05 | status information, possibly as a viewfinder,
and to review images that you have shot.
| | 00:09 | You've probably already figured out that it
flips out from the camera, and spins around.
| | 00:14 | When you first took the camera out of
the box, it was folded up this way, so
| | 00:17 | that the screen is completely covered.
| | 00:19 | If you're traveling, if you're
storing the camera for a long time, this is
| | 00:22 | a better way to keep the screen because it
will keep the screen from getting scratched.
| | 00:26 | Like the LCD screen on your phone or
other cameras, it is possible to scratch up
| | 00:30 | the screen, and that's kind of a drag
because then when you're reviewing images,
| | 00:33 | it can be harder to see.
| | 00:34 | You can get a Screen Protector that
can go over it; that's not a bad idea.
| | 00:38 | Also, be aware that this hinge is fragile.
| | 00:41 | You want to be careful with it.
| | 00:42 | You want to be careful when you're
taking it out and when you're rotating it,
| | 00:45 | don't ever force the screen.
| | 00:47 | Notice that the screen rotates this way.
It does not rotate back the other way,
| | 00:51 | this way, so don't force it that way.
| | 00:54 | What this screen is great for is if I'm
shooting with the camera way up high on
| | 00:59 | a tripod, I can tilt it down so I can
see it, I can hold the camera up over my
| | 01:03 | head, say if I'm standing in a crowd. Or
I can shoot with a camera down at waist
| | 01:07 | level and tilt the camera up like that.
| | 01:09 | If I'm doing macro-shooting and had the
camera in some weird spot, this is a way
| | 01:13 | that I can maybe see it a little better.
| | 01:15 | What's also nice is if I am doing self-
portraits or shooting video of somebody
| | 01:19 | else, or a still of somebody else and I
want them to be able to see what I see,
| | 01:23 | I can flip the screen all the way
around this way, and when it snaps into
| | 01:27 | position right there, the image
on the screen actually reverses.
| | 01:31 | So they will see a correct image when
they're standing in front of the camera.
| | 01:34 | When I flip it back, it switches back over.
| | 01:38 | Finally, note that if I fold the
screen in a little too far, it will shut off
| | 01:44 | because the camera shuts the screen
off before it goes completely closed.
| | 01:46 | So If I am trying to shoot at a really
weird view like this, I may not be able
| | 01:51 | to see the screen, because
it may have turned itself off.
| | 01:53 | So, this articulated screen is a
really nice feature of the 60D and probably
| | 01:57 | something you're going
to find a lot of uses for.
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| Autofocus basics| 00:00 | Your camera has an auto-focus feature,
and for most of your shots it will
| | 00:04 | provide faster, more accurate focus
than you'll achieve using manual focus.
| | 00:08 | However, auto-focus is not
completely foolproof. You still have to use it
| | 00:13 | properly to get good results, and you can
learn everything you need to know about
| | 00:17 | how to get good results with auto-focus in my
Foundations of Photography: Exposure course.
| | 00:23 | A quick summary for those of you
who need a little bit of a refresher.
| | 00:27 | To auto-focus, you half-
press the Shutter button.
| | 00:29 | When you press it down half way, and
there is a little stop about half-way down,
| | 00:33 | the camera will try to calculate focus.
| | 00:35 | Once it's got it, it will beep at you
and light up a little circle inside the
| | 00:40 | viewfinder to indicate
that it has achieved focus.
| | 00:43 | There was the beep.
| | 00:44 | At the same time it's also metering
and showing you your Shutter Speed and
| | 00:48 | Aperture up here and in the viewfinder.
| | 00:51 | So that's the basics of auto-focus.
| | 00:53 | Now with it halfway pressed, I can then,
once it's beeped and locked focus, press
| | 00:58 | it the rest of the way to take my shot.
| | 01:00 | Now, if you're shooting somewhere where
that beep is inappropriate or going to
| | 01:04 | disturb people or otherwise create
havoc and panic, you can go into the menu
| | 01:09 | here, and in the first menu,
there is a Beep option.
| | 01:12 | I just set that to Disable, and now
when I half-press the Shutter button, it
| | 01:17 | focuses, it lights up the circle
inside the viewfinder, but it doesn't beep.
| | 01:21 | So, that's a way of shooting a little less obtrusively.
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| Lens controls| 00:00 | You're probably already familiar with
this, but let's go over the controls on
| | 00:03 | your camera's lens because these are
fairly critical controls that you're going
| | 00:06 | to be using in just about
every shot that you take.
| | 00:09 | First of all, there is the Zoom Ring.
That's this right here. This allows me
| | 00:13 | to zoom in and out.
| | 00:15 | This ring may be in a
different place on your lens;
| | 00:17 | not all cameras are configured the same way
with where they put the zoom and focus rings.
| | 00:21 | Notice that on the top of the Zoom
Ring are these markings here. These
| | 00:25 | indicate what focal length I am at,
and there is a white notch right here, so
| | 00:30 | whatever number lines up with this
notch, that's how I know the focal length
| | 00:33 | that I am shooting at.
| | 00:35 | On the front of the lens, I have my
Manual Focus Ring for focusing manually.
| | 00:39 | Again, this may be in a
different place on your lens.
| | 00:43 | Back here on the back I have this Auto
Focus/Manual Focus switch, AFMF. That's
| | 00:48 | how I switch it into Manual mode and
back to Auto Focus; we'll be talking about
| | 00:52 | that a lot in other movies.
| | 00:54 | In addition to these numbers here, you
may have some other numbers that indicate
| | 00:59 | where you're focused at, the
distance you're focusing at.
| | 01:01 | Not a lot of new lenses
have that, some older lens do.
| | 01:05 | Finally, there maybe another switch
located near this one labeled IS. That's
| | 01:09 | Image Stabilization, which is a
function of your lens that allows you to shoot
| | 01:13 | more stable footage.
| | 01:15 | Again, you're probably already familiar
with these controls. I just wanted to be
| | 01:18 | sure that we were picking the same
name so that when I reference the Manual
| | 01:21 | Focus Switch, you will know what I am
talking about, or when I say I am zooming
| | 01:25 | in, you'll know how I am doing that.
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| Flash in Auto mode| 00:00 | When you shoot in Auto mode your
camera will automatically determine if
| | 00:04 | the flash is needed.
| | 00:05 | When you half-press the Shutter button
to auto-focus in meter, if your camera
| | 00:09 | decides that there is not enough light
in the scene to get a good handheld shot,
| | 00:13 | that is, if it decides that shutter
speed will go too low for stable handheld
| | 00:18 | shooting, then the camera will
automatically pop up the flash and charge it up.
| | 00:23 | That popping up is going to happen as
soon as I half-press the Shutter button,
| | 00:28 | if the camera thinks
that the flash is necessary.
| | 00:30 | So here I am half-pressing the Shutter button
to focus in meter, and there goes the flash.
| | 00:34 | It pops right up and I still get my
normal metering, metering readouts,
| | 00:39 | and focus confirmation.
| | 00:41 | So the camera has
decided that it needs to flash.
| | 00:44 | It's automatically deployed the flash ,and
there's really nothing I can do about that.
| | 00:47 | If I push the flash back down and try
again, it's just going to pop up again.
| | 00:51 | Something to know is that this may even
happen in bright daylight, because the
| | 00:55 | camera will also pop up the flash if
it thinks that you're facing a backlight
| | 00:59 | situation and that some
fill flash would be nice.
| | 01:02 | It's actually a very sophisticated mechanism.
| | 01:03 | It's smart enough to really
use flash when it's appropriate.
| | 01:07 | However, there are times when it's
maybe not culturally appropriate to use a
| | 01:11 | flash because you're in a
concert or a museum or something.
| | 01:14 | In those times, switch the
mode over to the No Flash mode.
| | 01:19 | Now, I am still basically in Auto mode, but
when I half-press to a meter, nothing happens.
| | 01:23 | So that's a way of keeping the flash
from popping up and firing when you
| | 01:26 | don't want it to.
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| Image review| 00:00 | As soon as you take a picture, your
camera displays it on the rear LCD Screen.
| | 00:05 | By default, the image stays up for a
few seconds, and then it goes away.
| | 00:08 | This gives you a chance to quickly
review your image without having to manage
| | 00:11 | any camera controls.
| | 00:13 | However, you do have a little bit of
control while that image is being displayed.
| | 00:17 | I want to start by showing you that
it's possible to change that review time.
| | 00:23 | You go down here in the first
shooting menu to Image review.
| | 00:26 | You see that it defaults to 2 seconds.
| | 00:28 | I can pop that open and I've got all
sorts of options, including an indefinite
| | 00:33 | option, which is Hold.
| | 00:35 | So now if I take a shot, it comes up,
and it's just going to stay there until I
| | 00:41 | half-press the Shutter button or
menu button or another control.
| | 00:44 | When I have an image up for review,
I can, if I want, choose to delete it.
| | 00:49 | I just hit the Trashcan button up here and
it pops up this menu asking me to confirm.
| | 00:55 | I am going to hit Erase.
| | 00:56 | It deletes it and then the screen goes blank,
because now I'm back into Shooting mode.
| | 01:01 | I can also take a shot, and when it
comes up, I can press the Info button to find
| | 01:09 | out my exposure settings, the name of
the file, the folder that it's in, and a
| | 01:15 | lot of other, what's called, Metadata,
and we will be looking at these screens in
| | 01:18 | detail later to learn exactly
what all those different things are.
| | 01:22 | Finally, I'd like you to take note of
one last thing in the Image review menu
| | 01:27 | here, and that's the
ability to turn Image review off.
| | 01:30 | Now when I take a picture it doesn't display.
| | 01:34 | If you're shooting somewhere where it
would be intrusive to have the brightened
| | 01:37 | display of light up, like in the middle
of a concert or a museum or something,
| | 01:40 | then turn Image review off.
| | 01:42 | Turning Image review off is also a good
option if your battery starts running low.
| | 01:46 | Running that LCD Screen can chew up some
battery power, so turning that off will
| | 01:50 | get you a little more time.
| | 01:51 | I am going to set it back now
to the default of 2 seconds.
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| Image playback| 00:00 | Your camera has a big collection of
image playback features. You've already seen
| | 00:04 | how it displays an image immediately
after you shoot, but of course you can also
| | 00:08 | go in and browse all of the pictures
that are stored on your media card.
| | 00:11 | What may not realize though is that
you can perform a lot of image editing
| | 00:15 | functions on those
images directly in the camera.
| | 00:18 | I am going to go into Playback mode now just
by pressing this Playback button right here.
| | 00:23 | When I do, I see the last image that I
took, along with some of the metadata that
| | 00:29 | is stored with the image.
| | 00:30 | I can see that this is image
number 11 of 11 images on the card.
| | 00:33 | It was shot at an 80th of a
second at 5.6. The image number--
| | 00:38 | this is part of the file name--is
0177 and it's in a folder called 100.
| | 00:43 | You'll learn more about
file names and folders later.
| | 00:46 | I can scroll forward and backward through
the images that I've shot using the Wheel here.
| | 00:51 | You can see there is
image number 10 and number 9.
| | 00:53 | I can also use the buttons on the
Control Pad to go forward and backward.
| | 00:58 | I can also zoom in and out of my images.
| | 01:01 | Maybe I want to do this to possibly check focus.
| | 01:04 | You can see these magnifying buttons right here.
| | 01:06 | There is a plus or minus one, so if
I hit the plus one, I go in tighter.
| | 01:11 | What this widget here is is it's
showing me the part of the image that I'm
| | 01:15 | looking at. The solid square
represents this screen full of data within this
| | 01:19 | larger square, which is the entire picture.
| | 01:21 | So I am going to zoom in some, and now
I can use the Control Wheel here or the
| | 01:27 | Control Pad here, I can push and navigate
around to look at various parts of my image.
| | 01:32 | Now, you can try and judge focus on
the Image review screen here, but it's
| | 01:35 | not super-accurate.
| | 01:37 | So if focus is really critical, you
need to either be very careful when
| | 01:41 | you're shooting or bring a computer along
and dump your images into there to check focus.
| | 01:45 | I can zoom back out with this minus button here.
| | 01:47 | I am going to press that and as you
can see, my image zooms out and this
| | 01:52 | square gets bigger.
| | 01:53 | When I get back up to full size, that
little thing disappears, but I can still
| | 01:56 | hit the minus button and now I get out to
thumbnail views of all of the images on my card.
| | 02:01 | This can make it a little bit easier to
quickly navigate around through all of
| | 02:06 | my languages to maybe zero on the one
that I want to look at, and then use the
| | 02:10 | plus button to go in tighter.
| | 02:13 | If I decide I don't like an image, I
can delete it with the Delete button here.
| | 02:16 | I am just going to press that.
| | 02:18 | It's going to ask me to confirm that deletion.
| | 02:20 | I am going to say yes, and now it's gone.
| | 02:22 | You can see I've only got ten images.
| | 02:25 | If I hit the Info button, I get
screens of additional metadata.
| | 02:29 | We are going to go over
these in detail in Chapter 9.
| | 02:32 | Just know that the repeatedly pressing
the Info button cycles all the through
| | 02:36 | and eventually gets me to the point
where there is no metadata at all, so I can
| | 02:39 | get a really nice clean view of my image.
| | 02:41 | There's another shortcut that I
can take here, which is the Q button.
| | 02:44 | I can press it and it pops up a
menu with all sorts of functions.
| | 02:48 | I can protect images, I can rotate, I
can rate images, add filters to make the
| | 02:54 | image look different, resize it,
and do all sorts of other things.
| | 02:56 | We are going to be looking at
these functions again in Chapter 9.
| | 03:00 | This is just a quick shortcut
to these different functions.
| | 03:02 | I am going to hit the Q
button to get rid of that.
| | 03:04 | When I am all done in Playback mode, I
can just half-press the Shutter button and
| | 03:08 | my camera is ready to shoot again.
| | 03:10 | I don't have to explicitly
go press the Play button.
| | 03:12 | This means if I am there reviewing
images and suddenly I see something that
| | 03:16 | needs to be shot, just a quick half-
press of the Shutter button kills Playback
| | 03:19 | mode and gets me ready to shoot again.
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|
|
3. Shooting in Program ModeWhat Program mode does| 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 lots
| | 00:12 | more--all of that can be changed by you.
| | 00:14 | What's more, through program shift and
exposure compensation, you can alter the
| | 00:18 | camera's initial shutter
speed and aperture choices.
| | 00:21 | Program mode is probably where you'll
spend the bulk of your time shooting.
| | 00:26 | Changing to Program mode is easy.
| | 00:28 | Just press the lock button in the
middle of the mode dial, change it over to
| | 00:31 | P, and there you are.
| | 00:33 | You're going to be staying in
Program mode for the rest of this chapter.
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| Exposure compensation| 00:00 | Exposure compensation is one of the most
powerful exposure controls on your camera.
| | 00:05 | As such, it may very well become one of
the most often used controls on your camera.
| | 00:09 | With it you can easily handle back
lighting situations, you can control
| | 00:13 | tonality, you can calm
down overexposed highlights.
| | 00:17 | To sum up, exposure compensation lets
you adjust the camera's exposure up or
| | 00:21 | down in fractional or whole stop increments.
| | 00:25 | Exposure compensation is very easy to
control on the 60D, but before I can add
| | 00:29 | any, I need to meter.
| | 00:31 | So I am going to half-press the Shutter
button, and there's my shutter speed and
| | 00:35 | aperture right there.
| | 00:36 | To apply any exposure compensation,
all I do now is turn this dial.
| | 00:40 | So if I rotate it to the right, I
get positive exposure compensation.
| | 00:44 | That is, my image will get brighter.
| | 00:46 | I will add exposure, so now at the 60th at F5.
| | 00:50 | And as I go to the left, I get
negative exposure compensation.
| | 00:54 | So this means no compensation of all;
| | 00:56 | this is what the camera
thinks is correct metering.
| | 00:59 | As I go up, this is brighter
and as I go left, this is darker.
| | 01:03 | The big stops there are full stops
and the little stops in between are
| | 01:07 | one-third stop increments.
| | 01:09 | Now, notice as I'm dialing this around,
it's changing both shutter speed and aperture.
| | 01:13 | Now, it's trying to work in my favor.
| | 01:16 | It's trying to make sure that it's
keeping shutter speed at something that
| | 01:20 | will be suitable for handheld shooting,
but there are going to be times when
| | 01:23 | it's got to change both.
| | 01:24 | If I change ISO to Auto, then it's
possibly going to change all three parameters,
| | 01:30 | depending on what the lighting is like.
| | 01:33 | It's not changing ISO here,
because we have so much light.
| | 01:35 | But there might be times when I want
to be sure that exposure compensation
| | 01:38 | leaves one parameter alone, and
for that I switch to a Priority mode.
| | 01:42 | We will be talking about these in
detail later, but when I am in Shutter
| | 01:45 | Priority mode, that means that
exposure compensation is never going to
| | 01:48 | change shutter speed.
| | 01:50 | In this case it's changing ISO,
because I am in auto ISO, and it's making
| | 01:53 | changes to aperture, but it's
leaving shutter speed alone.
| | 01:56 | The same thing happens in aperture priority.
| | 01:59 | Now it won't touch aperture.
| | 02:00 | It will only change shutter speed,
or ISO, if I'm in Auto ISO mode.
| | 02:06 | It's important to note that the
exposure compensation setting is sticky.
| | 02:10 | That is, if you dial in one stop of
overexposure, it will stay there until you
| | 02:15 | dial it to something
else or turn off the camera.
| | 02:18 | So be careful when you dial in some
exposure compensation, because you don't
| | 02:21 | want to screw up any shots
that you take after that.
| | 02:24 | This can also be very handy because
if you know that you will need to shoot
| | 02:27 | a whole batch of images with a
particular compensation, you can just dial it
| | 02:30 | in and leave it there.
| | 02:32 | Finally, if you would prefer the
exposure compensation interval to be something
| | 02:35 | other than one-third stopped, you can
change that, as we'll see in Chapter 16.
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| The Unlock button| 00:00 | One of the great things about the controls on
the 60D is that they're so easy to access and use.
| | 00:06 | One of the downsides about the
controls on the 60D is that they're so easy
| | 00:09 | to access and change.
| | 00:10 | In other words, you need to be a
little bit careful that you don't
| | 00:13 | accidentally bump the controls.
| | 00:14 | Now honestly, I've never run into
this problem, but if you find that you're
| | 00:18 | accidentally bumping that control pad
on the back of the camera while you carry
| | 00:22 | it around, you may want to change the
controls so that they're locked until you
| | 00:26 | press the unlock button on the back.
| | 00:30 | To do that, go into the camera's menuing
system, and I am in Program mode right now.
| | 00:36 | This works in several of the different modes.
| | 00:38 | Scroll over to the second tool
menu and down to the Lock button.
| | 00:44 | It defaults to being disabled.
| | 00:45 | If I click the Set button, I get
a menu that lets me say Enable.
| | 00:49 | So now this wheel is locked.
| | 00:53 | So, just to show you what I mean, I am
going to meter my scene here, and normally
| | 00:57 | I would be able to turn this wheel and
see my exposure compensation change, and
| | 01:02 | nothing is happening right now.
| | 01:03 | So I can't accidentally dial
in any exposure compensation.
| | 01:08 | If I hit the Unlock button, now the
wheel is working and you can see the dial
| | 01:13 | right here changing.
| | 01:14 | It will stay unlocked until the
metering times out, which is eight seconds by
| | 01:19 | default, just like it always would.
| | 01:21 | And now my button is locked again, and
isn't doing anything until I hit unlock.
| | 01:26 | So, again, if you prefer to leave
your controls locked so that you don't
| | 01:29 | actually change them, then enable the
Unlock button, and then you will have to
| | 01:33 | press it before the wheel on the back
of your camera actually does anything.
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| Metering revisited| 00:00 | As you've seen, when you half-
press the Shutter button, the camera
| | 00:03 | autofocuses, meters, and possibly
calculates, white balance and ISO, depending
| | 00:08 | on your camera settings.
| | 00:10 | When the camera has decided on all of
these parameters, it beeps and flashes a
| | 00:14 | light in the viewfinder.
| | 00:15 | If you want, you can continue to hold
the button down at the halfway point while
| | 00:19 | you reframe your shot.
| | 00:21 | This is sometimes necessary to get
the focus and metering that you want.
| | 00:24 | 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 half-press the Shutter button,
and when I hear the beep that means that
| | 00:33 | the camera has metered and autofocused
and I see my reading here, 1/100th of a
| | 00:37 | second at F5.6. One more bit of very
important metering behavior on your camera--
| | 00:45 | when you half-press that Shutter button
to meter, as long as you hold the button
| | 00:48 | down, the camera will hold that same
metering even as you pan around to areas
| | 00:54 | that might normally be metered differently.
| | 00:56 | If you half-press that button to meter
and let go of the button, the camera will
| | 01:00 | hold its metering, but as you move it
around, it will re-meter on the fly.
| | 01:05 | Then you can change your position,
| | 01:07 | press the button the rest of the way to
take a shot at that particular metering.
| | 01:10 | So it's important to understand the
difference between those two things.
| | 01:13 | Eventually, the camera will time out
and the metering screen will go blank, and
| | 01:18 | it will go back to its default
position of not having any metering at all.
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| Changing ISO| 00:00 | One of the great advantages of digital
cameras over film is that you can change
| | 00:04 | the ISO from shot to shot
with your digital camera.
| | 00:07 | As you increase ISO, you can use
faster shutter speeds and smaller apertures.
| | 00:13 | You'll most often increase ISO when
light levels drop low enough that your
| | 00:16 | shutter speeds go too low for handheld shooting.
| | 00:19 | But you might also increase ISO if you
want to use smaller apertures to capture
| | 00:23 | deeper depth of field.
| | 00:25 | If you're not clear on when and how
to effectively use ISO, check out my
| | 00:29 | Foundations of Photography: Exposure course.
| | 00:33 | Changing the ISO on the 60D is very easy.
| | 00:36 | All I do is go here to the ISO button,
press it, and turn the main Dial.
| | 00:40 | I don't have to hold down
ISO while I'm pressing it.
| | 00:44 | I just put it in basically ISO
changing mode, and then I can turn the Dial.
| | 00:48 | This will time out if I just let go,
and eventually you'll see the display is
| | 00:53 | just going to go back to its normal kind of
idling display, but it did take my change.
| | 00:58 | Also I can then take the change by
coming here and then half-pressing
| | 01:01 | the Shutter button.
| | 01:02 | That gets me back to normal
and it accepted my change.
| | 01:05 | ISO is changing by default
in one-third stop increments.
| | 01:09 | So here I am at ISO 400, I go one
notch to the right and I'm at 500, that's
| | 01:14 | a third of the stop higher.
| | 01:15 | 640 is a third of the stop higher still,
and then 800 is one stop higher than 400.
| | 01:21 | If you prefer to work in whole stop
increments, there is a custom function
| | 01:26 | you can set that will change that
behavior, and we'll get to that in the
| | 01:29 | Custom Function chapter.
| | 01:31 | All the way back down here at the
very bottom is A, that's Auto ISO.
| | 01:35 | When I'm in Auto ISO, the camera
automatically decides what ISO to use and
| | 01:40 | there it had chosen 100.
| | 01:42 | Now it's time to back out again.
| | 01:44 | You can change the behavior of Auto ISO
with a custom function, so we'll get to that.
| | 01:48 | There are a few other ISO options that
you can change with custom functions.
| | 01:52 | ISO by default goes all the
way to 6000, or 6400 rather.
| | 01:57 | I can bump that up through a custom function
to get me one stop more and get me up to 12500.
| | 02:03 | One thing I really like about this ISO
control is it's very easy to find without
| | 02:06 | taking my eye from the viewfinder.
| | 02:08 | I just pull my finger back from the
Shutter button, press the button, and then
| | 02:12 | turn the knob. And there's actually a
little blip on the button here so that I
| | 02:18 | can find it without looking.
| | 02:19 | And this same display that I have
here is also shown in the viewfinder.
| | 02:23 | ISO response on this camera is very good.
| | 02:26 | You'll find that anything from 100
up to 800 will probably have very
| | 02:31 | little change in Noise.
| | 02:33 | 1600 is still extremely usable and if
you're printing, you may not see any Noise
| | 02:37 | depending on your print size.
| | 02:39 | 3200 is just starting to get a little
bit noisy, 6400 is actually kind of chunky.
| | 02:45 | So you're going to want to investigate ISO
6400 before you go out and commit to shooting in it.
| | 02:50 | Still, ISO response for
this camera is exceptional.
| | 02:53 | There is no reason you shouldn't be out
shooting in very low light with the 60D.
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| Program shift| 00:00 | In Program mode, when you half-press
the Shutter button to meter, the camera
| | 00:04 | calculates an exposure and displays the
resulting shutter speed and aperture and
| | 00:08 | ISO, if ISO is set to Auto, on the
various displays around the camera.
| | 00:13 | But there are many reciprocal
combinations of those exposure parameters and they
| | 00:17 | all yield the same overall brightness.
| | 00:19 | This is all explained in
Foundations of Photography: Exposure.
| | 00:23 | Program Shift is a feature that allows
you to automatically cycle through all of
| | 00:28 | those reciprocal
combinations for any given metering.
| | 00:31 | With this feature, you can meter to get
an exposure that gets you proper overall
| | 00:36 | brightness and then use Program Shift
to change to an exposure combination that
| | 00:41 | serves up that same overall brightness,
but with the motion stopping or depth of
| | 00:45 | field control that you want.
| | 00:48 | Program Shift on the 60D is very simple.
| | 00:50 | It's the main Dial, this Wheel
right here behind the Shutter button.
| | 00:53 | So it's very easy to just reach back
here and grab it and start cycling through
| | 00:57 | all of my reciprocal combinations.
| | 00:58 | Now, if I just turn it right now, it's not
doing anything because there's nothing to shift.
| | 01:02 | I have to meter first and now you can see
I'm at a hundredth of a second at f/5.6.
| | 01:07 | Now as I turn the Dial, I'm
cycling through all of those
| | 01:11 | reciprocal combinations.
| | 01:12 | Now, note that when the metering times
out, if I let it sit too long and the
| | 01:17 | metering goes away, when I re-meter,
I'm not back at what I had dialed in.
| | 01:22 | I'm back to my original metering
that the camera thought was correct.
| | 01:25 | So it's very important if it times out,
you've got to remember to re-meter and
| | 01:28 | then do your Program Shift again.
| | 01:30 | So let's say I meter it like this but
I decide that actually I want a slow
| | 01:34 | shutter speed because there's something in
the frame that's moving and I want to blur it.
| | 01:37 | So I'm just going to Program Shift
my way down to a 15th of a second. My
| | 01:41 | Aperture has gone up to f/14, but that's okay.
| | 01:44 | I'll still get the motion control that I want.
| | 01:46 | Similarly, if I meter and decide I want
deeper depth of field, I could Program
| | 01:51 | Shift my way up to, say, f/11.
| | 01:53 | My shutter speed has gone down to 1/25th
of a second, so I need to be careful
| | 01:56 | about handheld shooting.
| | 01:58 | This gives me a tremendous amount of
manual control while I'm still in Program mode.
| | 02:03 | So, again, it's Program Shift is this
Dial up here and Exposure Compensation, as
| | 02:07 | we've seen, is this Dial back here.
| | 02:09 | So I've got those two things
under my thumb and forefinger.
| | 02:12 | If you're watching these movies in order,
then you've already seen the Exposure
| | 02:16 | Compensation Control.
| | 02:17 | Think now about how you can combine
Exposure Compensation with Program Shift.
| | 02:22 | You can meter a scene and then use
Program Shift to get the motion control or
| | 02:26 | depth of field that you want, and
use Exposure Compensation to apply
| | 02:30 | brightening or darkening.
| | 02:31 | In other words, without ever leaving
Program mode, you can have all the manual
| | 02:35 | control that you might need.
| | 02:37 | It's a good idea to practice working
with these two controls in combination.
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| Image format and size| 00:00 | By default, your camera shoots in JPEG format.
| | 00:04 | Established by the Joint Photographic
Experts Group, JPEG is a compressed image
| | 00:09 | format, that is, it takes the original
image data that your camera captures and
| | 00:13 | 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
| | 00:21 | quality when JPEG
compression is applied to an image.
| | 00:24 | The more compression you apply, the
more your image is visibly degraded.
| | 00:29 | Most cameras give you a few
different JPEG conversion choices.
| | 00:32 | Some compress more than others and
therefore degrade your image more than others.
| | 00:36 | 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
| | 00:44 | pixel counts in addition to
the full pixel extravaganza.
| | 00:48 | So you might be able to save
an image that's only half size.
| | 00:52 | This is another way of
saving space on your storage card.
| | 00:55 | Finally, some cameras also give you
the option to shoot in RAW mode, a
| | 00:59 | non-compressed format that offers a
lot of editing advantages over JPEG.
| | 01:05 | Changing mode on the 60D is very easy.
| | 01:06 | Go into the menu and your very
first menu, very first item is Quality.
| | 01:12 | Make sure that's
selected and hit the SET button.
| | 01:16 | So, right now I'm seeing the same
thing that I saw out in the menu.
| | 01:18 | I'm on large format with very fine
quality and it's telling me that I'm getting
| | 01:23 | an 18 megapixel image and it's giving
me the actual pixel dimensions and how
| | 01:28 | many images I can store
on the card at that size.
| | 01:31 | Then it's telling me that I'm not
shooting any--I'm not saving any--RAW images
| | 01:35 | and I'm saving a JPEG image,
again Large Size/Best Quality.
| | 01:39 | You'll see two Ls; that means there's
two large sizes to choose from, and I can
| | 01:43 | choose what JPEG format I want with
the Quick Control Wheel back here.
| | 01:48 | So I can have Large Size with very
fine JPEG quality or Large Size with more
| | 01:53 | compression which means lower quality.
| | 01:55 | Or I can go down to a Medium Size,
which is 8 megapixels with these pixel
| | 01:59 | dimensions, which almost doubles the
number of pictures I can store, and I get
| | 02:02 | two of those, good JPEG
quality, not-so-good JPEG quality.
| | 02:05 | Then I can go down to Small size,
which gets me down to 4.5 megapixels.
| | 02:10 | Once I hit 999 in Image Quality, the
counter is no longer accurate. I'm probably
| | 02:15 | well beyond 1,000 right now.
| | 02:16 | So, Small with good JPEG quality and not-
so-good quality, and then I have still
| | 02:22 | even smaller images, say 2.5 megapixel
size and a 0.3 megapixel size, 720x480.
| | 02:29 | These I don't get any
JPEG compression options for.
| | 02:33 | So, in addition to setting a JPEG
image, I can also select a RAW image.
| | 02:37 | I can shoot RAW plus JPEG at the same
time and I change the RAW setting using
| | 02:42 | the main Dial up here.
| | 02:43 | So I can go to RAW, I can go to a
Midsize RAW, that's a 10-megapixel RAW file,
| | 02:48 | or I can go to SRAW, which
is a 4.5 megapixel RAW file.
| | 02:54 | When I've set either of these on the
hyphen there, I'm not getting that format.
| | 02:58 | So if I want I can shoot RAW, but no
JPEG, and then I get only the RAW file.
| | 03:04 | So I can turn those on and off as I choose.
| | 03:06 | You might choose to shoot RAW+JPEG
if you are needing to work quickly in
| | 03:11 | postproduction but you want the
editing advantages of RAW files.
| | 03:14 | So you shoot RAW+JPEG, probably, most
likely use your JPEG files, but you've
| | 03:19 | got the RAWs as backup.
| | 03:21 | Once I'm done I hit the SET
button and that sets my Quality level.
| | 03:25 | This, again, is something you might be
changing rather regularly, so you may want
| | 03:28 | to stick quality into a custom menu
as we'll see later in this course.
| | 03:34 | If you're shooting JPEGs, my
recommendation is to always shoot at full pixel
| | 03:37 | count with the very best
quality that your camera can manage.
| | 03:41 | Storage is real cheap these days, so there's
little reason to try to save space on a card.
| | 03:45 | If you're finding you're running out
of space during a typical shoot, then
| | 03:48 | invest in some more media cards.
| | 03:50 | But if you're in the field and storage
is running low and buying another card
| | 03:54 | isn't an option and you absolutely need
to cram more images onto your card, then
| | 03:59 | you should change your JPEG settings
or your image size, ideally not both.
| | 04:04 | If your images are destined for print,
then be sure that you don't lower the
| | 04:07 | pixel count below what you need to
get the print size that you want. Maybe
| | 04:11 | you go down to half size and
one stop down in JPEG quality.
| | 04:14 | If your images are destined for online
viewing, then you can cut the pixel count
| | 04:18 | dramatically and probably not need to
increase JPEG compression and that will
| | 04:22 | preserve more quality.
| | 04:24 | Mostly though, I'd recommend shooting RAW.
| | 04:26 | You get tremendous postproduction and
image quality advantages if you leave JPEG
| | 04:30 | behind and become a RAW shooter.
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| Creative Auto mode| 00:00 | If you are up on your exposure theory,
then you know already that shutter
| | 00:04 | speed is used to control motion
stopping in your image while aperture is used
| | 00:08 | to control Depth of Field, and both
together are used to govern how light or
| | 00:12 | dark your image is.
| | 00:13 | If you are new to photography, then you
may still be a little fuzzy about which
| | 00:17 | parameter does what and how to
control them, even though you understand the
| | 00:21 | creative possibilities of
Motion Control and Depth of Field.
| | 00:24 | Creative Auto mode is a variation of
your camera's Auto mode that provides you
| | 00:29 | with a less technical interface for
deciding how much Depth of Field you want
| | 00:32 | and what kind of color
treatment you want on your image.
| | 00:35 | It also gives you a different way of
choosing Drive mode and Flash options.
| | 00:40 | Creative Auto mode is this
mode over here that says CA on it.
| | 00:44 | Not much changes on the outside of the
camera when I switch to Creative Auto mode.
| | 00:48 | To get to its features, I have to press
the Q button here, and when I do that, I
| | 00:51 | get this completely different interface.
| | 00:53 | First, I see that I am in Creative Auto.
| | 00:54 | I am on the Standard setting.
| | 00:56 | These settings control what Canon
calls the ambience of your image.
| | 01:00 | Yes, you can add ambience to a scene
simply by picking it from the menu.
| | 01:04 | So, Standard setting is not going to do
much to the color in my image, but these
| | 01:08 | others are going to change things.
| | 01:09 | Vivid is going to give me more saturation.
| | 01:11 | Soft is going to give me less contrast.
| | 01:13 | Warm is going to increase the
red, orangish tones in the image.
| | 01:18 | So, I can scroll through here and find an
ambience that I like for my image and dial it in.
| | 01:22 | Warm might be a good thing to
choose when I am shooting portraits.
| | 01:26 | And for a particular ambience, I have
different levels that I can dial in by
| | 01:33 | turning my main dial here.
| | 01:34 | So this is Low Warmth, Standard Warmth,
and Strong Warmth, so you can experiment
| | 01:38 | with those to see how things change.
| | 01:41 | Down below, I get the ability to control
how sharp or blurred the background is;
| | 01:46 | this is what real
photographers called Depth of Field.
| | 01:49 | So, as I scroll to the left here,
my background will get more blurry.
| | 01:54 | As I scroll to the right, my
Background will get more sharp.
| | 01:57 | Now, Depth of Field is not quite that
simple. How much blurriness or sharpness
| | 02:02 | you get is going to depend on the focal
length of your lens, how close you are
| | 02:07 | to your subject, and other things like that.
| | 02:09 | So that's still a nice way to
experiment if you're just getting started
| | 02:13 | with Depth of Field.
| | 02:14 | Down here on the bottom, I get the
option to change Drive mode and Flash mode.
| | 02:18 | If I hit the Set button with that
selected, I can use my main dial to change my
| | 02:23 | Drive mode and I can use the left and
right buttons to change whether my flash
| | 02:28 | decides if it should fire, whether I
get to control it with the Flash button
| | 02:32 | over on the side, or whether I
want to deactivate flash altogether.
| | 02:36 | This is just a way of getting control
of the flash in a way that you don't
| | 02:38 | normally have in full Auto mode.
| | 02:41 | Once those are set the way that I want,
I just hit the Set button and I come
| | 02:45 | back to here, and now I
am ready to start shooting.
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| The Info button| 00:00 | There are a lot of different parameters
and settings that you can configure on
| | 00:04 | your camera, and in most modes on the
60D, you can press the INFO button on the
| | 00:09 | back of the camera to get a single
page that summarizes all of your settings.
| | 00:13 | So this can be a handy way of checking in
on a whole range of settings on the camera.
| | 00:18 | First right here, this C, which is
currently set to P, is showing me what my
| | 00:22 | Custom mode is set to, and we'll
be getting to Custom mode later.
| | 00:26 | Color space tells me the
Color space that I've chosen.
| | 00:29 | Most of these features we're going to
be explaining in detail later, so I am
| | 00:32 | just going to gloss over them right now.
| | 00:34 | White Balance Shift and
Bracketing--I can see I have no White
| | 00:36 | Balance Shift dialed in, nor do I
have any White Balance Bracketing.
| | 00:40 | My current color temperature, that is
White Balance, is set to 5200 degrees Kelvin. The
| | 00:45 | camera is set to auto power off in 1 minute.
| | 00:48 | Redeye reduction is disabled.
| | 00:50 | Long exposure noise
reduction is currently turned off.
| | 00:54 | High ISO speed noise reduction
is set to the middle setting.
| | 00:58 | Possible shots in freespace is
showing 106 possible shots in 2.98 GB.
| | 01:04 | And here's my date and time.
| | 01:05 | Again, don't worry about what all of
these mean right now, we are going to
| | 01:09 | explore each of them in detail.
| | 01:10 | And, as you just saw, the display
does time out after a little while.
| | 01:14 | I am going to press it again to get back in.
| | 01:16 | Oh, notice up here, when I pressed INFO
button, nothing happened because I don't
| | 01:21 | have a metering up here right now.
| | 01:22 | The camera has dozed off completely.
| | 01:24 | So I am going to half press the Shutter
button. Then I can press the INFO button.
| | 01:27 | If I press the INFO button again, I
get through to the camera's level, which
| | 01:32 | we'll be looking at later.
| | 01:33 | And if I press it yet again, I get
through to the quick configure screen, which
| | 01:39 | we're also going to look at separately.
| | 01:41 | Press it one more time and it goes off,
| | 01:44 | If I want, I can go into the menu and
come over here to the tools section, and I
| | 01:49 | will find INFO button display options.
| | 01:53 | If I select that, then I can turn
these three different screens on and off.
| | 01:57 | If I don't want to see the shooting
function's screen, for example, I can just
| | 02:02 | toggle that right off, or if I want a
quick way of getting to the level and I
| | 02:05 | find that I never actually look at that
camera settings screen, I can just turn that off.
| | 02:10 | I am going to then go down
here and say OK, come back out.
| | 02:14 | Now when I hit the INFO button,
I get immediately to the level.
| | 02:18 | Second press takes me on through to here.
| | 02:20 | So the INFO button can be configured in
these different ways which, if you find
| | 02:25 | you're not using some of these
features, can be convenient because you can
| | 02:28 | simply turn them off.
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| Level| 00:00 | When you put your camera on a tripod,
you are usually going to want the
| | 00:05 | camera to be leveled. To help you
with that, the 60D gives you a built-in level.
| | 00:07 | I am going to press the INFO
button, which gets me my info screen.
| | 00:11 | If I press it again, I get through to
the level, and the level is showing me
| | 00:14 | that I'm out of black right now.
| | 00:16 | The red line and the gray
line are not in the same place.
| | 00:20 | So I am just going to loosen up my
tripod head here and tilt my camera, and
| | 00:25 | look--as I tilt it, the
horizon moves around there.
| | 00:28 | If I can get it to where the
line is green, I get level.
| | 00:32 | It's kind of like a little video game
| | 00:34 | you can play right on your camera.
| | 00:35 | So I am going to hold it right there and lock
that back down, and now my camera is leveled.
| | 00:41 | I can get out of this by just half-
pressing the shutter button, and now I am
| | 00:44 | ready to shoot straight, level pictures.
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| The Quick Control button| 00:00 | On the back of your camera is
a button with a big Q on it.
| | 00:04 | This is the Quick Control button.
| | 00:05 | If you press that once in just about
any mode on the camera, you'll get the
| | 00:09 | Quick Control screen, which shows you
current settings for a number of critical
| | 00:14 | camera shooting parameters.
| | 00:16 | In addition to showing me those
parameters though, I can change them from the
| | 00:19 | Quick Control screen.
| | 00:20 | So this is a really handy way to
work if I've got the camera mounted on a
| | 00:23 | tripod and I can't see the top mounted
screen, or I can't reach these buttons,
| | 00:28 | or I don't remember exactly what they
are. I can just come in here to the Quick
| | 00:31 | Control screen and drive the entire camera.
| | 00:34 | You navigate the screen with the
buttons on the Control pad. I can move up,
| | 00:37 | down, left, and right.
| | 00:38 | And when I get something highlighted, I can
change it, usually in a couple of different ways.
| | 00:42 | I've highlighted ISO right now.
| | 00:43 | I can simply turn either one of the
wheels to change ISO, or I can hit the SET
| | 00:48 | button to pick the ISO that I want
from a menu of all of my ISO options.
| | 00:53 | Then I hit the SET button, it takes
that ISO and puts me back in the Quick
| | 00:57 | Control screen, so I can keep working.
| | 00:59 | We've not gone over all of these
different parameters yet, but I am going to
| | 01:02 | just show them to you real quick;
you can get a further example later.
| | 01:06 | It's also the exposure bracketing control.
| | 01:08 | I can change exposure compensation
by simply turning the rear wheel.
| | 01:12 | I can change exposure
bracketing by turning the main dial.
| | 01:17 | Once I've dialed it in,
it's just set and it's there.
| | 01:20 | I can also hit the SET button and get
this screen, which now you can just get a
| | 01:26 | different view of the same information.
| | 01:27 | I can change the size of my bracketing here.
| | 01:29 | I can shift the entire bracket up and down.
| | 01:32 | When I am done, if I hit Set, I
come back to the Quick Control screen.
| | 01:36 | This is Drive mode.
| | 01:38 | I can change Drive mode by turning my
main dial or, again, I can hit the SET
| | 01:41 | button to go to a menu full of options.
| | 01:44 | This is the level on the camera.
| | 01:46 | With it selected, I hit the SET button
to go view the level, and here it prompts
| | 01:50 | me that if I hit MENU, I
come back to where I was.
| | 01:55 | Here we have flash exposure compensation.
| | 01:58 | I can dial in flash exposure compensation.
| | 02:02 | Here I have picture styles which let me
alter or choose a different picture style.
| | 02:07 | I am going to go over here to White Balance.
| | 02:10 | So I am set on Auto right now.
| | 02:12 | I can cycle through all my
different White Balance settings.
| | 02:17 | This is the Auto Lighting Optimizer.
| | 02:18 | Again, don't worry about
knowing all of these things;
| | 02:20 | we're going to go over them in detail.
| | 02:22 | I hit the SET button to come into the
menu, I can see all my options, but of
| | 02:25 | course I can also just cycle through over here.
| | 02:30 | Custom controls--this allows me
to change the functions of a few
| | 02:34 | different buttons here.
| | 02:35 | This is another one that
we'll be looking at later.
| | 02:39 | Auto Focus mode--I can cycle
through my different focus modes.
| | 02:43 | This lets me choose a focus point.
Again, we'll be looking at this later, so
| | 02:48 | don't worry about knowing
what all these things are.
| | 02:52 | Metering mode--I've got a few different
metering modes on the camera. And then
| | 02:56 | from here I can go straight into
picking the image format that I want to use,
| | 03:01 | and this goes back to the stock image
format screen that you've already seen.
| | 03:05 | The Quick Control screen stays
up until the camera times out.
| | 03:11 | When this screen would normally go
blank, this will go blank. But as long as
| | 03:14 | it's there, I can completely manipulate
the camera without having to touch any
| | 03:18 | other buttons or dials or go into
any of the normal menu settings.
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|
|
4. Controlling AutofocusManually selecting a focus point| 00:00 | When you look at a scene, you usually
take it for granted that out of the whole
| | 00:04 | vast view that you can perceive, you
automatically choose one place to focus on.
| | 00:10 | Your camera's autofocus
mechanism has to do the same thing.
| | 00:13 | It needs to focus at one
particular distance in your scene.
| | 00:16 | Ideally, you want that
distance to be on your subject.
| | 00:19 | Your camera includes a number of focus
points spread around its field of view.
| | 00:24 | By default, it automatically tries to
identify which one of those points is
| | 00:27 | sitting on the subject of your scene,
but there will be times when you'll
| | 00:31 | need to override that automatic mechanism,
because it will have chosen the wrong point.
| | 00:35 | So you'll need to manually choose a
focus point yourself, to force the camera to
| | 00:40 | focus to a particular place.
| | 00:41 | If you don't understand all this focus point
stuff, check out Foundations of Photography:
| | 00:46 | Exposure.
| | 00:48 | To select a focus point, you press this
button right here on the back of the camera.
| | 00:52 | I know it's this button right here,
because of this icon right here, which is
| | 00:57 | supposed to look like a little
viewfinder full of focus points.
| | 01:00 | Now, don't get confused, because this
icon that's supposed to look like a
| | 01:03 | little viewfinder full of focus points
looks a lot like this icon back here,
| | 01:07 | which is actually supposed to look
like a thumbnail view of a whole bunch of
| | 01:11 | images, a grid of images.
| | 01:13 | So, this is a playback control.
This is a shooting control.
| | 01:16 | Notice, the playback control is in blue and
that's true for a lot of controls on the camera:
| | 01:21 | the Play button here, the Delete button
over here, this little Printing button
| | 01:25 | down here. So blue things are
playback, white things are shooting.
| | 01:28 | So this is the focus point selection tool
and you'll remember that as you use it more.
| | 01:32 | I press it and I get this
display here in the upper LCD screen.
| | 01:36 | Now, this same display is being
shown inside my viewfinder right now.
| | 01:41 | Obviously, we can't show you that
from here, but you'll see the exact same
| | 01:43 | thing in your viewfinder.
| | 01:45 | So, you can actually change focus points
without having to take your eye from the viewfinder.
| | 01:50 | Once that's selected, I have a number
of different ways of changing the point.
| | 01:53 | Probably the one you will use the
most is to turn the main dial, and I say
| | 01:56 | you will use this the most because the
main dial is right behind the shutter button.
| | 02:00 | So you can easily move your finger back
to it. And you can see I am just cycling
| | 02:03 | through all of the different
focus points that the camera has.
| | 02:06 | When I've gone all the way around the
focus point horn here, I come back to
| | 02:12 | this, which is all points selected.
| | 02:14 | When it's showing this, that means the
camera will choose a focus point for me.
| | 02:18 | That's the autofocus point selection.
| | 02:21 | Now, I can also use the rear dial if
you prefer using your thumb because you
| | 02:24 | don't want to take your finger
off the shutter button--that's fine.
| | 02:27 | Or, of course, I can use the Quick
Control Screen that we saw earlier.
| | 02:32 | I prefer doing it back here rather than
the Quick Control Screen, again, because
| | 02:36 | I don't have to take my eye from the viewfinder.
| | 02:38 | So that's focus point selection.
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| Focus modes| 00:00 | Your camera's autofocus is pretty amazing.
| | 00:02 | It's speedy, it's able to work in
surprisingly low light, and it's often able to
| | 00:07 | figure out exactly what your subject is.
| | 00:09 | For most situations, autofocus will give
you all of the focusing power that you need.
| | 00:13 | By default, your
autofocus works in One Shot mode.
| | 00:16 | This is the autofocus
procedure that you're already used to.
| | 00:19 | You half-press the Shutter button, you
wait for the camera to beep to indicate
| | 00:21 | that it's locked focus, and you
double-check that the focus point it has
| | 00:24 | chosen is correct, then you press the Shutter
button the rest of the way to take the shot.
| | 00:28 | If you're manually choosing a focus
point, then your process will be a little
| | 00:31 | bit different, as we discussed earlier.
| | 00:33 | Your camera has two other focus modes though.
| | 00:36 | Servo focus, which attempts to track a
moving subject in your scene and always
| | 00:40 | keep it in focus, and AI Focus,
which attempts to automatically determine
| | 00:45 | whether to use One Shot or Servo focus.
| | 00:49 | Changing your Autofocus
mode very simple on the 60D.
| | 00:52 | Here is your AF button, that's Autofocus.
Press it once; you don't have to hold
| | 00:55 | it down or anything.
| | 00:56 | Turn the main dial, and you can see
right here that I cycled through my three
| | 01:00 | different Autofocus modes: One
Shot mode, AI Focus, and AI Servo.
| | 01:05 | Now remember, AI Focus is going to choose
automatically between One Shot and AI Servo.
| | 01:11 | So if I am in AI Focus mode and I
focus on something that's sitting still and
| | 01:16 | it starts moving, the camera will know to
automatically track it and keep it in focus.
| | 01:21 | I won't see a change in mode up here.
| | 01:23 | It's just going to make that decision for me.
| | 01:25 | So why not keep it in AI Focus all the time?
| | 01:27 | Well, sometimes that Servo tracking
mechanism can get confused and start
| | 01:32 | tracking something when all
you're doing is moving the camera.
| | 01:34 | So, if you know you're not trying to
track something, then go ahead and just
| | 01:38 | leave it in One Shot.
| | 01:39 | If you know you are trying to track
something, then go ahead and put in AI Servo.
| | 01:43 | If there's a chance you're going to
shoot something that's going to start moving,
| | 01:46 | put in an AI Focus.
| | 01:47 | But again, for most of the time you
will just leave it in One Shot mode.
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| Manual focus| 00:00 | While I rely heavily on autofocus
most of the time, there are still occasions
| | 00:04 | when I switch my camera over to manual.
| | 00:06 | For moving subjects, manual focus is
sometimes faster than autofocus, for the
| | 00:10 | simple reason that as good as your
autofocus system is, you are still
| | 00:14 | smarter than it is.
| | 00:15 | If you're in a situation where a
moving object is traveling in a very
| | 00:19 | predictable way, then you might be able
to track focus very smoothly as you wait
| | 00:23 | for the precise moment that you want to shoot.
| | 00:26 | Manual focus is also useful for
times when autofocus doesn't lock, either
| | 00:30 | because your subject lacks contrast or
because there's not light in the scene to focus.
| | 00:35 | Of course, if there's not enough light
for your camera to focus, then there may
| | 00:38 | not be enough for you to see
either, but it's still worth a try.
| | 00:41 | Finally, I sometimes use autofocus
and manual focus in combination if I'm
| | 00:46 | shooting the same subject over and over.
| | 00:48 | For example, if I am shooting a
landscape in rapidly changing light, I'll frame
| | 00:53 | my shot in autofocus, then switch
the camera to manual focus. As long as I
| | 00:58 | don't bump my lens, my
autofocus choice will now be locked in.
| | 01:02 | Now I can just keep shooting
without having to wait for autofocus.
| | 01:05 | This can also be handy for a
portrait shoot, where your camera-to-subject
| | 01:08 | distance never changes, and you want to be
able to shoot without waiting for focus.
| | 01:13 | To switch to manual focus, I just need
to find the autofocus/manual focus switch
| | 01:17 | on my camera's lens.
| | 01:18 | It's going to differ from lens to lens.
| | 01:20 | On most kind of lenses it's over on the
left-hand side, and it's marked AF/MF.
| | 01:23 | So I am just going to switch that to MF.
| | 01:27 | Now when I half-press the
Shutter button, nothing happens.
| | 01:31 | The camera beeps right away, because
it's metered, because it knows, "well, he
| | 01:35 | doesn't want me to bother focusing."
| | 01:36 | So it just doesn't even try.
| | 01:38 | To focus, I have to use the ring up
here, and I just turn left and right to
| | 01:42 | focus, just as you would on an old film camera.
| | 01:46 | One tricky thing about manually
focusing is depending on how dark it is, it
| | 01:50 | maybe harder to see detail in the viewfinder.
| | 01:52 | Also, your viewfinder does not
offer any kind of focusing aid.
| | 01:56 | So you're going to have to be
very, very careful about focus.
| | 01:59 | On most lenses, you can zoom in all the way,
focus, zoom back out, and still have good focus.
| | 02:07 | By zooming in, you can see fine detail, and
that's going to make it easier to see your focus.
| | 02:10 | When you're done with manual focus or
any time you try to autofocus and you
| | 02:14 | don't hear the lens doing anything,
check your Manual Focus switch and make
| | 02:18 | sure that it's flipped back to Autofocus.
| | 02:21 | As I mentioned before, sometimes
manual focus is a great way to work around
| | 02:25 | certain focusing problems, but it takes
practice to get good with Manual Focus.
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|
|
5. Controlling White BalanceAdjusting white balance automatically| 00:00 | Different types of light
shine with different colors.
| | 00:04 | For example, tungsten lights are
redder or warmer than fluorescent lights.
| | 00:08 | 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 fair so well.
| | 00:16 | Your camera has to be calibrated to the
type of light that you're shooting in.
| | 00:20 | If it's not, color is going to appear wrong.
| | 00:22 | This process is called White Balancing.
| | 00:25 | The idea is that you calibrate the
camera so that white appears correct. Because
| | 00:29 | white contains all other colors,
| | 00:30 | if you can get white looking good, then
you get all the other colors for free.
| | 00:34 | By default, your camera is
set to Auto White Balance.
| | 00:37 | With Auto White Balance the camera
will attempt to continuously white balance
| | 00:40 | itself on the fly as you shoot.
| | 00:43 | There is no external control on the
camera for changing white balance.
| | 00:47 | This is, I think, partly Canon's
confidence in their auto white balance mechanism.
| | 00:52 | To change white balance, you go into the
menu and go over to the second shooting
| | 00:57 | menu and scroll down to White Balance.
| | 00:59 | You can see right now that I am set to AWB;
| | 01:01 | that's Auto White Balance.
| | 01:03 | That's the camera's default. If you
haven't changed white balance and you want
| | 01:06 | to be on auto, you don't have to do anything.
| | 01:08 | It will probably just be there.
| | 01:10 | I can open it up though, and
there is my full White Balance menu.
| | 01:13 | Now, it may seem like it's a bit of a
drag to have to come all the way into
| | 01:16 | the menu to change white balance, but I want
you to notice something about menu behavior.
| | 01:20 | I am going to close the menu and now
maybe I go off and I do some shooting.
| | 01:24 | When I come back into the menu,
it's exactly where I left off.
| | 01:27 | So, what's great about this is... let's say
I normally shoot on Auto White Balance,
| | 01:31 | I go into a fluorescently lit room and
decide that I don't trust my Auto White
| | 01:36 | Balance, so I change over to
Fluorescent, and I do my shooting.
| | 01:40 | Then I leave and go back out into
daylight and I want to just switch back to
| | 01:43 | Auto, all I have to do is just pop
into here--I am already on White Balance--
| | 01:47 | I can switch it back to the Auto White Balance.
| | 01:49 | But the menu page is also smart enough
that--I am going to go out of the menu--
| | 01:55 | when I come back in, it still comes to
where I left off, but each page of the
| | 02:00 | menu system also
remembers what you were last on.
| | 02:03 | So when I go to the second page,
I'm already at white balance setting.
| | 02:06 | So, though white balance is buried in
the menu, because of menu behavior it's
| | 02:10 | pretty easy to get to white balance if
it's something you use regularly. And as
| | 02:14 | you will see later, there's a way
that you can stick it in a custom menu.
| | 02:17 | You'll probably find that you can stick
with auto white balance for most of your shots.
| | 02:21 | Where it will start to let you down
though is in shady light or situations with
| | 02:25 | mixed lighting--say, sunlight
streaming into a fluorescently lit room.
| | 02:30 | In those instances you'll need to
change to a different white balance setting.
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| Using white balance presets| 00:00 | For most situations, Auto White Balance
is going to be your best white balance
| | 00:04 | choice, but for times when Auto White
Balance is yielding bad color, you may
| | 00:08 | want to switch to one of
these White Balance presets.
| | 00:11 | The 60D offers a number of preset White
Balance Settings for specific types of light.
| | 00:16 | For example, I have Daylight, Shade,
Cloudy, Tungsten (these are just the normal
| | 00:23 | incandescent light bulbs
you find around your house),
| | 00:26 | Florescent, Flash, Custom White
Balance, which we're going to dedicate an
| | 00:30 | entire movie to, and something called Color
Temperature, which we'll get to in a moment.
| | 00:35 | As I said, most of the time Auto
White Balance is going to be okay.
| | 00:38 | If you take a shot and notice that the
color is off, you may want to consider
| | 00:42 | trying another White Balance Setting.
| | 00:44 | So, for example, if I am shooting in
some inside, in incandescent lighting, and
| | 00:48 | I'm noticing that my color is off, I
may want to switch to this white balance.
| | 00:52 | However, be careful judging color
on the LCD screen on your camera.
| | 00:56 | It's not necessarily accurate.
| | 00:58 | So, I think more probably what's going
to happen to you is as you review images,
| | 01:02 | you're going to start learning what
types of light Auto White Balance works well
| | 01:06 | in and what types of light it's not so good in.
| | 01:08 | In my experience Auto White Balance is
almost always dead on, except for when I
| | 01:13 | am shooting in shade or in
cloud, in cloudy situations.
| | 01:18 | So those are good times to switch to
either of these presets, and there is a
| | 01:21 | difference in color
temperature between Shade and Cloudy.
| | 01:23 | Cloudy will yield a
different color cast than Shade will.
| | 01:27 | Notice that under each of
these, there is a temperature.
| | 01:30 | So for Daylight, for
example, I have 5200 degrees Kelvin.
| | 01:33 | Color temperature is where color is measured;
| | 01:36 | the color of a light is
measured in terms of degrees Kelvin.
| | 01:40 | So if you've got a background where
you're used to thinking of light that way,
| | 01:43 | or if you're shooting under lights and
you have, maybe on the package that the
| | 01:47 | light bulb came in, an actual color
temperature, then these might give you a
| | 01:52 | clue as to which White Balance preset
you should use. Or you can go over here
| | 01:56 | to the Color Temperature Setting, and
you notice it says that my main dial has a
| | 02:00 | temperature setting next to it. I can
just set an actual color temperature in here.
| | 02:05 | So that's another way to
work with White Balance.
| | 02:08 | Again, you're going to learn more about
when your Auto White Balance works and
| | 02:11 | when it doesn't as you simply
get more experience with the camera.
| | 02:15 | Of course, another way around this
white balance question is to shoot RAW,
| | 02:18 | because in RAW mode you can
change white balance after the fact.
| | 02:21 | Most of the time you'll be leaving
White Balance on Auto, but again,
| | 02:23 | pay attention to certain lighting
situations and consider using one of
| | 02:26 | these presets.
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| Adjusting white balance manually| 00:00 | As I mentioned, for 80% to 90% of your shots,
Auto White Balance is going to work great.
| | 00:05 | But if you're shooting people in shade
and you want accurate flesh tones, or if
| | 00:08 | you're shooting something colorful in a
room that's got mixed lighting, that is
| | 00:11 | different types of lights, say
florescent and sunlight, then you could have some
| | 00:15 | color accuracy problems.
| | 00:16 | Take a look at this scene.
| | 00:17 | I've got a white vase with
some white flowers in it.
| | 00:19 | I am going to take a shot of it right now;
| | 00:21 | I am set on Auto White Balance.
| | 00:25 | If you look, you see that I got pretty
decent color, but the whites are a little
| | 00:29 | orange, they're a little
reddish, they're a little warm.
| | 00:32 | I would like to see this
with more accurate color.
| | 00:34 | So I am going to do a Manual White
Balance because, as I said, I am on Auto White
| | 00:37 | Balance and it's not
getting my whites truly white.
| | 00:39 | So I am going to have Josh, a member of
our crew, hold up a piece of white paper
| | 00:44 | in front of my scene.
| | 00:45 | I am going to zoom in on it to fill the
frame with as much of that white paper
| | 00:49 | as possible, and take a shot.
| | 00:50 | Now, it's very important right now...
thank you Josh. Here's my shot. It's
| | 00:55 | very important that the white piece of paper
be in the same light that the flowers are in.
| | 01:01 | It doesn't do me any good to just hold
a piece of paper right in front of the
| | 01:03 | camera, because my camera is not
being struck by the same light that is
| | 01:07 | striking the flowers.
| | 01:08 | Now, I am going to tell the camera to
use that piece of paper as a reference for
| | 01:12 | calculating an Auto White Balance.
| | 01:14 | Here in the menus, I am
in my second shooting menu.
| | 01:16 | I am going to scroll down to Custom
White Balance and hit Set, and now what it
| | 01:21 | does is ask me to scroll through the
images on the card and find a picture that
| | 01:24 | I took that I want to use
as a White Balance Reference.
| | 01:27 | I want this one, so I am
going to hit the Set button.
| | 01:29 | It asks me to Confirm, should it use
the White Balance Data from this image for
| | 01:33 | Custom White Balance?
| | 01:34 | I am going to say OK, and then it
reminds me to set my White Balance Setting to
| | 01:39 | this weird little icon right here.
| | 01:41 | So I am going to say OK, and
now I am going to go do that.
| | 01:42 | I go to White Balance, and change
from AWB, Auto White Balance, all the way
| | 01:48 | over here to Custom White Balance, which is
that same icon that it showed me earlier, and hit OK.
| | 01:54 | Now my White Balance is set to Custom,
and it's going to use the Custom White
| | 01:59 | Balance information that it's going to
calculate from that piece of white paper.
| | 02:03 | So let me take another shot,
and this is what we get.
| | 02:10 | Look, it's much cooler
than the image we shot before.
| | 02:14 | The vase is a little bluer.
| | 02:15 | It's a little more accurate to what
my eyes are seeing here in the scene.
| | 02:18 | Now, I may decide that I like that
first image better, the one that's warmer.
| | 02:22 | Still, it's important, even if that's my
ultimate aesthetic choice, to know how to
| | 02:26 | get accurate color, because very often
it's best to start with accurate color
| | 02:30 | and then decide if you want a
particular shading or tinting.
| | 02:35 | So remember, Manual White
Balance is a two-step process.
| | 02:38 | You have to shoot the image and choose
the image that you want to use for the
| | 02:41 | Manual White Balance calculation and
then set your White Balance Setting to
| | 02:46 | this icon right here.
| | 02:47 | Any time you change White Balance off
of Auto, it's critical to remember to set
| | 02:51 | it back to whatever your white
balance should be for the next shot.
| | 02:55 | This is the last shot I am going to
shoot here of this vase and I want to be
| | 02:58 | sure that I'm not continuing
to use that weird white balance.
| | 03:00 | So I am going to go back to Auto,
so that I don't mess up any of the
| | 03:03 | pictures that I take next.
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|
6. Using Drive Mode and the Self-TimerDrive mode| 00:00 | Henri Cartier-Bresson spoke
extensively about the decisive moment, that one
| | 00:05 | particular moment that happens that
is the perfect decisive expression of
| | 00:09 | the scene or event.
| | 00:11 | Because he was a genius, he was
often able to fire his camera at that
| | 00:14 | perfect decisive moment.
| | 00:15 | For the rest of us, there is Drive mode.
| | 00:18 | In Drive mode, as you hold down the
Shutter button, the camera will continue to
| | 00:22 | snap frames one after another.
| | 00:24 | Drive mode is a great tool for
shooting in fast moving environments-- sports,
| | 00:28 | street shooting, nature shots. But it
can also be ideal for portraiture, when a
| | 00:31 | person's face is making lots of tiny
subtle changes and you're not sure which is
| | 00:36 | the ideal expression.
| | 00:37 | However, you cannot use Drive mode indefinitely;
| | 00:40 | that is, you can't just hold the
button down and expect the camera to
| | 00:43 | always keep shooting.
| | 00:45 | When you take a picture, the camera
has to move a lot of data around and do
| | 00:48 | a lot of computation.
| | 00:50 | You can take pictures faster than
your camera can get them written to the
| | 00:53 | media card, so your camera has a memory
buffer that can hold a certain number of pictures.
| | 00:58 | As you shoot, your images can be
quickly thrown into that buffer. Then the
| | 01:03 | camera can start the process of
copying images from the buffer to the memory
| | 01:07 | card, while you continue to snap away.
| | 01:10 | If the buffer fills, then your camera
will cease to be able to take pictures and
| | 01:14 | you'll have to wait for it to empty
out before you can start shooting again.
| | 01:18 | To configure Drive mode, you just
press the Drive button that's here on top
| | 01:21 | of the camera. And you see that the screen
here goes blank, except for my Drive icon.
| | 01:25 | That single square means that I get one
frame whenever I press the Shutter button.
| | 01:31 | But once I press the Drive mode button,
I can turn the main dial and I cycle
| | 01:34 | through a whole bunch of other icons here.
| | 01:37 | First one is High-speed Drive mode,
then Regular Speed or Low-speed Drive mode,
| | 01:43 | then I get a Self-timer, and
then I get a Two Second Self-timer.
| | 01:48 | So I simply cycle through to each
one of those things to select them, and
| | 01:53 | half-press my Shutter
button to set the Drive mode.
| | 01:58 | You may be thinking, if I've got a fast
drive speed and a slower drive speed, why
| | 02:02 | would I ever use the slow one?
Isn't faster inherently better?
| | 02:05 | Not necessarily. With a faster drive speed,
you get less variation between frames.
| | 02:10 | So sometimes, you're going to want to
switch to the slower one if you're dealing
| | 02:13 | with a situation that isn't changing as quickly.
| | 02:16 | Facial expressions, for example, are
usually better with a slower drive speed.
| | 02:20 | If you shoot them with a faster drive
speed, you're not going to see a lot of
| | 02:23 | change from one picture to another.
| | 02:25 | If you're trying to stop a bicyclist at a
very particular moment in time, then you
| | 02:29 | probably want to go with a faster
drive speed to be sure that you really get
| | 02:33 | that razor thin slice of time
that's going to make the decisive moment.
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| The self-timer| 00:00 | Most people have used a Self-timer on a camera.
| | 00:02 | You balance the camera on a rock or
something, and you point it at your friends,
| | 00:07 | and then you set it off, and run back,
and try to get in the frame and look
| | 00:09 | natural before the camera takes the picture.
| | 00:11 | It works the same way on your digital camera.
| | 00:14 | The Self-timer is a Drive mode, so to
set the Self-timer I hit the Drive button
| | 00:19 | and I start cycling through.
| | 00:20 | I've got my first high-speed burst mode,
and then my regular burst mode, and then
| | 00:24 | my 10 second self-timer, and
then the two second self-timer.
| | 00:28 | The reason I have two is the 10 second
self-timer gives me 10 seconds to try to
| | 00:33 | run around from behind the
camera get back in my shot.
| | 00:36 | The two second self-timer is not so
much for trying to get in front of the
| | 00:40 | camera, but for times when I want to
shoot without my hands on the camera, maybe
| | 00:44 | I'm doing a long exposure and I need to
be sure the camera is very steady, so I
| | 00:48 | put it on a tripod, I set the two second
timer and press the Shutter button, and
| | 00:52 | then it shoots two seconds later.
| | 00:55 | So, after I've set the Self-timer, all
I do is meter as normal and press the
| | 00:59 | Shutter button, and you can see that
Autofocus Assist Light lights up. The camera
| | 01:05 | starts beeping to give me a warning.
| | 01:07 | On the 10 second timer it will start
beeping more slowly as it gets ready to
| | 01:11 | shoot, so you kind of get a
warning that it's getting ready to go.
| | 01:14 | Now if you're doing a self-portrait,
your eye is not going to be behind the
| | 01:19 | viewfinder, and that means that it
is possible for light to come in the
| | 01:22 | viewfinder and mess up your exposure.
| | 01:24 | So to help with that, on your camera strap
there should be something that looks like this.
| | 01:30 | This is a little eyepiece cover.
| | 01:32 | To use, it I take off this cover
just by squeezing and pulling, and if your
| | 01:37 | camera is new it can be
a little hard to get off.
| | 01:40 | And then this thing just slides down
into those same slots that were holding
| | 01:47 | on the eyepiece cover.
| | 01:48 | This now blocks light from coming in here.
| | 01:50 | I can take my self-timer shot.
| | 01:52 | Then when I'm done, I just take this off
and put the other eyepiece cover back on.
| | 01:56 | Another thing to remember is, when you
are taking self-portraits, you're going
| | 02:00 | to be standing behind the camera, you're
going to auto-focus, but there's nothing
| | 02:03 | to focus on because you are not
standing there, so you want to point the camera
| | 02:06 | down at the ground and focus on the
point where you're going to be standing to
| | 02:10 | get the distance set properly.
| | 02:12 | Then you can press the button rest
of the way and run around and get in
| | 02:14 | your shot.
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| Remote control and Bulb mode| 00:00 | A Remote Control is a must-have
for certain types of shooting.
| | 00:03 | With the Remote Control you can keep
your hands off of your camera to reduce
| | 00:07 | camera shake during long exposures.
| | 00:09 | In a portrait shoot a remote control
can keep you from having to go behind the
| | 00:12 | camera, which lets you maintain
better rapport with your subject.
| | 00:16 | A Wireless Remote Control or a Remote
Control with a really long cord can make
| | 00:20 | self-portraits much easier.
| | 00:22 | Remote controls are also great for
times when you've placed your camera in a
| | 00:25 | difficult to reach location,
like on a really high tripod.
| | 00:28 | Remote controls work great
in conjunction with Bulb mode.
| | 00:32 | In Bulb mode, as long as you hold the
Shutter button down, the Shutter will stay open.
| | 00:37 | So, again, this is a great way for
shooting long exposures because you've got
| | 00:40 | your Remote Control to keep your hands
off the camera, and the Shutter will just
| | 00:43 | stay open as long as you hold that button down.
| | 00:46 | Remote controls are very easy to connect.
| | 00:49 | The Remote Control Port is over here on
the side of the camera, behind the door
| | 00:54 | where all of the other ports are.
| | 00:56 | I have here the Canon RS-60E3 Remote Control.
| | 01:02 | This is a pretty no-frills, simple
little remote. It just gives me a Shutter
| | 01:06 | button, but the Shutter button actually has a
cool feature on it, which we'll see in a minute.
| | 01:10 | At the other end, there is just a
little plug like this, and so it just goes
| | 01:14 | right in here. It snaps in.
| | 01:17 | Now, all I have to do is press this
button and the camera takes a picture.
| | 01:22 | This particular Remote Control doesn't
have a super-long cord, so really what
| | 01:26 | this is for is when I'm on a tripod and
I want to keep my hands off the camera
| | 01:30 | to reduce shake, or again, to continue
to have a rapport with the subject. This
| | 01:34 | makes it easy to just
fire that Shutter button off.
| | 01:37 | Another thing Remote Control is
for, though, is for long exposures.
| | 01:41 | If I take my mode and change it to be B,
that's Bulb mode, and what that means
| | 01:46 | is as long as I hold the Shutter
button down, the shutter stays open.
| | 01:52 | If I want to do a really long exposure
like a 15-minute exposure, I can press
| | 01:57 | down and slide this up, and
now my Shutter is held open.
| | 02:01 | I could set this down, walk-away, go
have lunch, whatever, come back, close
| | 02:05 | the Shutter that way.
| | 02:07 | So this is an easy way of
doing really long exposures.
| | 02:10 | Canon remote controls are
pretty reasonably priced.
| | 02:13 | A lot of times though you'll find
third-party remote controls offer more
| | 02:16 | features for less money.
| | 02:17 | So shop around a little bit before
you buy, but a Remote Control can be
| | 02:21 | essential for all sorts of
different kinds of shooting.
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|
7. Using Exposure Control OptionsMetering modes| 00:00 | Accurate metering is critical to
getting good results from your camera, and
| | 00:04 | fortunately, metering technology is now
so good that your camera should yield
| | 00:07 | correct exposure 80%-90% of the time.
| | 00:10 | To help ensure that your metering
results are good though, your camera offers
| | 00:13 | several different metering modes, some
of which might be more appropriate for
| | 00:17 | one type of situation than another.
| | 00:19 | Evaluative Metering divides your scene
into a grid, meters each cell of that
| | 00:23 | grid and then averages all of those
results together to come up with a single
| | 00:27 | overall exposure setting.
| | 00:29 | Partial Metering meters a circular area that
covers about 6.5% of the middle of the frame.
| | 00:34 | It's good for backlit situations, such
as someone standing in front of a window.
| | 00:38 | Spot Metering meters only a very small
circle in the middle of the frame, one
| | 00:42 | that covers
approximately 2.8% of the viewfinder.
| | 00:46 | You'll use this for times when you're
facing a high dynamic range situation but
| | 00:50 | you need to be absolutely certain that
you've detail in one particular spot.
| | 00:54 | Center-Weighted Average Metering is like
Evaluative, the first one that I talked
| | 00:59 | about, but more statistical weight is
given to the center of the frame when all
| | 01:03 | of the various meterings
are being averaged together.
| | 01:06 | For most of the scenes you'll ever
shoot though, Evaluative will work fine.
| | 01:09 | In fact, you may find that you
never change metering from Evaluative.
| | 01:13 | This is another thing that's covered in
detail in Foundations of Photography: Exposure.
| | 01:18 | Changing metering modes
on the 60D is very simple.
| | 01:21 | It's this button right here;
this is the Metering mode button.
| | 01:24 | I just press it, like these other four
buttons, I press it, and then I turn
| | 01:28 | the main dial to cycle through my options.
| | 01:30 | So I've got Evaluative Metering,
Partial Metering, Spot Metering, and the empty
| | 01:36 | one is Center-Weight Average Metering.
| | 01:38 | Now, I'll be honest with you.
| | 01:39 | I've been a Canon shooter for a
long time and I never can remember what
| | 01:43 | these little icons mean.
| | 01:45 | So what I do is-- actually I'd just take
a picture of this page of the manual and
| | 01:49 | keep it in my phone.
| | 01:50 | Page 119 of the 60D manual has a little
key to what these little symbols mean.
| | 01:55 | So then if I get confused,
I can always look it up.
| | 01:56 | But that's all there is to
changing the metering mode on the camera.
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| Exposure lock| 00:00 | There will be times when you'll want
to shoot multiple frames with different
| | 00:04 | compositions, but use the same
exposure settings for all of them.
| | 00:07 | Panoramas are the most common
situation where you'll encounter this problem.
| | 00:11 | The Exposure Lock control lets you meter
a scene, then lock that exposure in as
| | 00:17 | you take multiple shots.
| | 00:19 | Locking the exposure is very simple.
| | 00:21 | It's this button right here
that has the big asterisk above it.
| | 00:24 | There is nothing on the outside of the camera
that tells you when Exposure Lock has happened.
| | 00:30 | So imagine, if you will, that you're looking
through the viewfinder of a 60D, at a 60D.
| | 00:36 | So you can see here your normal
viewfinder. For Exposure Lock to work, the first
| | 00:39 | thing that has to happen is I need to meter.
| | 00:41 | So I'm going to half-press my
Shutter button and now I've got a metering
| | 00:44 | 1/100th of a second at F5.6. Now if I
press the Exposure Lock button, you see
| | 00:51 | that little asterisk appears
over there on the left-hand side.
| | 00:53 | That means no matter where I turn the
camera, no matter what changes in my
| | 00:57 | scene, no matter how much it might
change how things should be metered, my
| | 01:02 | metering will stay locked at
1/100th of a second at F5.6.
| | 01:05 | And it will stay that way until the
metering times out in its normal default
| | 01:10 | eight second interval.
| | 01:12 | Exposure Lock can also be a critical
tool when shooting in Aperture or Shutter
| | 01:16 | Priority mode, as we'll see later.
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| Aperture Priority mode| 00:00 | In Program mode, when you meter a scene
by half-pressing the Shutter button, the
| | 00:05 | camera calculates an
appropriate shutter speed and aperture.
| | 00:08 | There will be times though when you
know that you're going to want a lot of
| | 00:11 | control of aperture.
| | 00:12 | Maybe you're shooting portraits, and
you know that you want them all to have
| | 00:15 | shallow depth of field.
| | 00:16 | So you want to make certain that the
camera is always using a wide aperture. Or
| | 00:20 | maybe you're out shooting landscapes
and you know that you want a really deep
| | 00:23 | depth of field in all of your shots,
so you want to make certain that you're
| | 00:26 | always using a small aperture. Or
maybe you're street-shooting, and as you're
| | 00:30 | shooting different subject matter,
you're changing your mind about depth of
| | 00:34 | field, and so you want to easily be able
to change from a big to small aperture.
| | 00:39 | In Aperture Priority mode you can choose
the aperture that you want and when the
| | 00:43 | camera meters, it will automatically
pick a corresponding shutter speed that
| | 00:47 | will yield a correct exposure.
| | 00:50 | You probably already know how to
switch to Aperture Priority mode.
| | 00:53 | That's pushing down this button
and changing the mode dial to AV,
| | 00:56 | that's Aperture Value.
| | 00:58 | Now watch what happens when I meter.
| | 01:00 | I am going to meter here and I get my
normal readout at 125th of a second and at F 4.5.
| | 01:05 | In Aperture Priority mode though, when
I change the main dial, I am selecting a
| | 01:09 | different aperture, and as I do that, my
shutter speed is changing automatically.
| | 01:13 | The camera is automatically
calculating a shutter speed that goes with the
| | 01:17 | aperture that I have selected.
| | 01:19 | Now, if the shutter speed, the number
over here on the left, if it ever gets to
| | 01:23 | 30 seconds and starts flashing, that
means the camera is saying I am facing an
| | 01:28 | underexposure situation.
| | 01:30 | Similarly, if it ever gets to 1/8000th
of a second and starts flashing, that's
| | 01:35 | indicating overexposure problem.
| | 01:38 | I can still shoot then. It's just I will get
images that are either under or overexposed.
| | 01:42 | It's just warning me that if I don't
want that I will need to take action.
| | 01:46 | Now notice too that my
ISO is currently set to 100.
| | 01:49 | I am going to put it back here on Auto, so
that you can see something else that happens here.
| | 01:54 | As I change... I am at a 60th of a second at F9.
| | 01:57 | As I change my aperture, notice that ISO is
changing and now shutter speed is staying still.
| | 02:03 | What's going on here is the camera
is recognizing that it should not drop
| | 02:08 | shutter speed much lower, because then
I'll face possibly a handheld shake issue
| | 02:12 | while I am shooting.
| | 02:13 | So it's trying to make its change
to ISO rather than shutter speed.
| | 02:18 | Now, when I get all the way up to 1600,
it's got to drop down to a 50th of a
| | 02:23 | second, but for the most part it's
trying to protect me from camera shakes.
| | 02:26 | So it's very intelligent in Auto ISO mode
about how it's going to make its changes.
| | 02:31 | So that's how you set aperture
when in Aperture Priority mode.
| | 02:36 | Aperture Priority does not allow you to
take any shots that you couldn't take in
| | 02:40 | Program mode using Program Shift.
| | 02:42 | Rather, it simply provides you with a
speedier way to get to the aperture-based
| | 02:47 | exposure settings that you want.
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| Depth-of-field preview| 00:00 | Just like your eye, your camera has an
aperture in it that can open and close to
| | 00:05 | let in more or less light.
| | 00:07 | When the aperture in your camera is more
open, you get shallower depth of field,
| | 00:11 | when it's more closed, you
get deeper depth of field.
| | 00:13 | This is all explained in detail in
Foundations of Photography: Exposure.
| | 00:17 | 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
| | 00:26 | look through the viewfinder,
you see a nice bright image.
| | 00:29 | Even if you've dialed in a very small
aperture, when you look through that
| | 00:33 | viewfinder, you're looking through a
wide open aperture to make sure that you
| | 00:37 | can see your scene clearly in the viewfinder.
| | 00:40 | When you finally press the Shutter
button, the camera closes its iris down to
| | 00:44 | your chosen aperture setting.
| | 00:46 | Because the aperture in your camera
is always wide open when you're looking
| | 00:49 | through it, you're not necessarily
seeing the true depth of field that you will
| | 00:53 | see in your final image.
| | 00:55 | If you've dialed in a very deep depth of
field, you won't see how deep the depth
| | 00:59 | of field is simply by
looking through the viewfinder.
| | 01:02 | To help you pre-visualize your depth of
field, your camera includes a Depth of
| | 01:06 | Field Preview button.
| | 01:07 | When you press it, the irises close
down, so that you can see the actual depth
| | 01:12 | of field that will occur in your image.
| | 01:15 | On the 60D, the Depth of Field Preview
button is located on the right side of
| | 01:18 | the lens-- that's the right side as
you're looking through the camera.
| | 01:21 | This is it right here.
| | 01:23 | You have to really feel
around for it and look closely.
| | 01:24 | It's kind of flush with the camera body.
| | 01:28 | When the iris closes down when you
press the Depth of Field Preview button,
| | 01:31 | your viewfinder will possibly get very
dark, because there's not as much light
| | 01:35 | coming into the camera.
| | 01:36 | This is why the iris was
open in the first place.
| | 01:38 | This can also make it more difficult to
actually see the depth of field in your image.
| | 01:42 | But if you wait a moment and give your
eyes time to adjust to the darker view,
| | 01:46 | and if you can find a way to maybe cup
your hand around the viewfinder and your
| | 01:50 | eye, then your eye should adjust and
you should be able to get a clear view of
| | 01:54 | your scene with truer depth
of field. One more thing--
| | 01:56 | the image in your viewfinder is much
smaller than the image that you most likely
| | 02:00 | view on your monitor or in a print.
| | 02:02 | So it's going to be harder for you to
tell fine sharpness in your viewfinder.
| | 02:05 | Depth of Field Preview doesn't give you
a perfect way to gauge very fine depth
| | 02:09 | of field effects, but it should let
you see if certain large things in your
| | 02:12 | scene are in focus or not.
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| Shutter Priority mode| 00:00 | In Program mode, when you meter a scene
by half-pressing the Shutter button, the
| | 00:04 | camera calculates an
appropriate shutter speed and aperture.
| | 00:08 | There will be times though when you
know that you're going to want a lot of
| | 00:10 | control of shutter speed.
| | 00:12 | Maybe you're shooting a sporting
event and you know that you want to
| | 00:15 | perfectly freeze motion,
| | 00:16 | so you want to make certain that the
camera is always using a fast shutter speed.
| | 00:21 | Or maybe you're shooting a landscape
with some moving water in it and you know
| | 00:24 | that you will want that silky
smooth blurry water in all your shots.
| | 00:28 | So you want to be 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
| | 00:36 | when the camera meters, it will
automatically pick a corresponding aperture that
| | 00:40 | will yield a correct exposure.
| | 00:42 | You should already know how to
change the Shutter Priority mode.
| | 00:45 | That's the mode Dial, change
it over to TV for Time Value.
| | 00:49 | When you do that, and meter, you'll
get a normal set of Exposure parameters.
| | 00:53 | I am at an 80th of a second at F 5.6.
| | 00:55 | As I turn my main dial, both numbers
are changing, but what's happening here is
| | 01:00 | I am in control of the shutter speed.
| | 01:02 | As I'm changing shutter speed, the
camera is automatically calculating an
| | 01:06 | aperture value that is correct for that
shutter speed, given the current lighting.
| | 01:10 | That's going to give me a good exposure.
| | 01:11 | So I can just move around--ooh, look,
what's happened here. 4.5 is flashing.
| | 01:15 | Now, what that's indicating is that
I'm in an underexposure situation at
| | 01:21 | 1/200th of a second, F 4.5 is as big as this
particular lens can open at this focal length.
| | 01:28 | So that's going to give me underexposure.
| | 01:30 | Now I can shoot anyway if I want to.
| | 01:32 | And if I do that, I will
possibly have an image that's too dark.
| | 01:36 | So instead, what I'll probably do is
back off, go back to 1/160th and now it's
| | 01:40 | not flashing anymore, and so now I'm okay.
| | 01:42 | So that's how you change shutter
speed in Shutter Priority mode.
| | 01:46 | Shutter Priority does not allow you to
take any shots that you couldn't take in
| | 01:49 | Program mode using Program Shift.
| | 01:52 | Rather, it simply provides you with a
speedier way to get the shutter speed
| | 01:55 | based exposure settings that you want.
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| Manual mode| 00:00 | Sometimes you might have a very
particular creative vision or be facing a
| | 00:05 | particularly complex exposure situation.
| | 00:08 | Maybe, say you are shooting a scene and
you want shallow depth of field and you
| | 00:12 | want to blur some motion in the scene,
and you don't care if the whole thing is
| | 00:15 | a little overexposed.
| | 00:16 | Or maybe you're used to working with
a handheld light meter and using it
| | 00:21 | to calculate exposure settings which you
then want to dial into your camera by hand.
| | 00:25 | Manual mode gives you full control of both
shutter speed and aperture on your camera.
| | 00:30 | You can dial in any setting you want,
regardless of whether the camera's meter
| | 00:34 | thinks they're a good idea.
| | 00:35 | It might flash warnings at you about
how it thinks you're making bad decisions,
| | 00:39 | but it will still take the shot.
| | 00:40 | I am going to change to Manual mode now,
just turning my mode Dial over to the
| | 00:45 | big M. That's Manual mode.
| | 00:47 | I am going to meter.
| | 00:49 | Now when I meter, it
doesn't change these values.
| | 00:52 | These are just whatever I have dialed in.
| | 00:54 | So I have got 1/100th of a second at F 5.6.
| | 00:56 | Now it just happens that
| | 00:58 | that's correctly metered for this
lighting, and yeah, that's because I set that
| | 01:01 | before we started this movie.
| | 01:03 | But I know that's correct because this
little line here on my what is normally
| | 01:06 | an exposure compensation display
is reading right in the middle.
| | 01:09 | So, I can change shutter speed by
turning the Main Dial here, and I can change
| | 01:14 | aperture by turning the
wheel on the back of the camera.
| | 01:18 | So, that's how I change the parameters, but
watch what's happening on this dial here.
| | 01:23 | As I turn this way, the dial is
going down or the meter is going down
| | 01:27 | showing under exposure.
| | 01:29 | So at 1/250th of a second
at F 5.6, I am underexposed.
| | 01:33 | If I really wanted to shoot at a 250th of
a second, I would need to open my aperture.
| | 01:37 | But 4.5 is as wide as it will go
and that doesn't quite get me back up
| | 01:43 | to correct exposure.
| | 01:44 | So I would need to back off of my
shutter speed until that's back up to normal.
| | 01:49 | Now this, of course, is all if I'm
dead set on getting correct exposure.
| | 01:53 | If I'm not, if I am willing to
shoot underexposed, that's okay.
| | 01:57 | So all this meter shows me is how
many stops or fractions of a stop over or
| | 02:02 | underexposed I am for the current
lighting, and I can simply adjust these
| | 02:06 | parameters in concert until I
get back to correct exposure.
| | 02:12 | Of course, along the way, I am making
decisions about motion stopping and
| | 02:15 | depth of field control.
| | 02:17 | Manual mode doesn't open up
any hidden power in your camera.
| | 02:20 | The only thing it gets you that you
can't get in other modes is the ability to
| | 02:25 | over or underexpose in a very particular way.
| | 02:28 | On very rare occasions, this will be the
only way to get the shot that you want.
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| Auto exposure bracketing| 00:00 | Bracketing is the process of shooting
the same scene with different exposures to
| | 00:05 | improve your chances of going home
with a shot that's correctly metered.
| | 00:08 | You might also use bracketing when
shooting a scene with lots of dynamic range
| | 00:12 | so that you go home with at least one
properly exposed image of each of the
| | 00:16 | different bright and dark bits in your scene.
| | 00:19 | Autoexposure bracketing is a
camera feature that tells the camera to
| | 00:23 | automatically alter exposures between
shots so that all you have to do is fire
| | 00:28 | off a certain number of shots
to have a fully bracketed set.
| | 00:32 | You activate bracketing from the menu.
| | 00:34 | It's over here on the second shooting
page, very first item, Expo.comp./AEB.
| | 00:40 | What this means is that from this
one control I can change both exposure
| | 00:44 | compensation and autoexposure bracketing.
| | 00:47 | I'm going to hit the Set button to come in here.
| | 00:50 | The rear wheel here changes exposure
compensation just like it would--just like
| | 00:55 | it does on the top screen.
| | 00:57 | The main dial up here, though, does this.
| | 01:01 | So here you can see what I've done is I've
dialed in a one-stop bracket on either side.
| | 01:06 | So the middle line represents
what the camera has metered.
| | 01:09 | Then this indicates that I'm going to
go one stop under and one stop over.
| | 01:13 | I can shift the whole bracket up and
down by changing exposure compensation,
| | 01:18 | or I can go out wider.
| | 01:20 | Each one of these
intermediate stops is a third of a stop.
| | 01:25 | So, I can hit the Set button to take my
bracketing, and I'm going to get out of here.
| | 01:30 | Now I'm going to meter my shot, and
if you watch this display here, you see
| | 01:34 | when I half-press, it's showing me that I'm
about to take the first frame, the metered frame.
| | 01:38 | So I press the Shutter button and
immediately all this stuff starts flashing.
| | 01:43 | This is to tell me that I'm
in the middle of a bracket.
| | 01:45 | So now I'm metering and it's
indicating that I'm about to shoot the one-stop
| | 01:49 | underexposure--that's
what that line is right there.
| | 01:52 | This flashing thing is telling me I'm
still in the middle of a bracket, so I'm
| | 01:55 | going to shoot that one, and
now I'm ready for one stop over.
| | 01:59 | This is still flashing.
| | 02:00 | I take that and I'm done.
| | 02:02 | I'm out of my bracket now.
| | 02:03 | The flashing number here indicates that
something's being written to the card,
| | 02:07 | but all this other stuff has stopped flashing,
to let me know that my bracket is finished.
| | 02:12 | Another way to do this is to go into Drive mode.
| | 02:14 | And I'm going to put myself on either one
of my burst modes--high speed or regular.
| | 02:19 | And now all I have to do is press
and hold the button down and there's a
| | 02:23 | three-step bracketed set.
| | 02:25 | That's a really easy way to knock off
a bracketed set without having to do
| | 02:29 | very much work at all.
| | 02:31 | There are two custom functions--
bracketing auto-cancel and bracketing
| | 02:34 | sequence--which we'll talk
about in detail in Chapter 16.
| | 02:38 | When you're done with your autobracket,
you need to turn it off, because you
| | 02:42 | don't want to end up accidentally
shooting under- or overexposed images.
| | 02:46 | So you can see that it's still on
because the bracketing display is showing up
| | 02:49 | here in my exposure compensation readout.
| | 02:51 | I'm going to go back into the menu,
click on it, and just dial that back down
| | 02:56 | until I only see one line.
| | 02:58 | There's no exposure
bracketing being shown anymore.
| | 03:01 | And then hit the Set button to take
it and now I'm back to normal shooting.
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| The auto lighting optimizer| 00:00 | Your eye has an incredible
ability to see in low light.
| | 00:03 | This means that you can very often see
details in shadow areas with your naked
| | 00:07 | eye, while your camera will render those
same areas as black and featureless.
| | 00:12 | The Auto Lighting Optimizer applies post
-processing to your image in camera to
| | 00:18 | brighten shadow areas in your image.
| | 00:20 | Note that it doesn't just brighten the
blacks; it actually figures out where the
| | 00:23 | shadowy areas are in your scene, and it
brightens those without washing out all
| | 00:28 | of the blacks in your picture.
| | 00:30 | Turning on the Auto Lighting
Optimizer is very simple you go in here to the
| | 00:33 | menu, to the second shooting menu, and
the second item down is simply Auto
| | 00:37 | Lighting Optimizer.
| | 00:38 | I'm going to pick that, and you'll see
that I actually get different levels
| | 00:42 | of Auto Lighting Optimizer. I can go all
the way over here and disable it completely.
| | 00:47 | By default, the camera is set to
Standard, meaning it is going to do some
| | 00:51 | brightening of some of
the shadows in your image.
| | 00:54 | I can set it to less
brightening, or I can set it to Strong.
| | 00:59 | The Auto Lighting Optimizer is going
to lighten the shadows which, while it
| | 01:03 | won't have a huge contrast hit on your image,
will possibly make the image look a little flatter.
| | 01:08 | Shadows are how you very
often get depth in a scene.
| | 01:11 | So you're going to want to experiment
with different levels of strength to see
| | 01:14 | if you like how much
shadow change you're getting.
| | 01:16 | Now remember, this only works on JPEG
images. RAW images are not affected.
| | 01:21 | However, RAW images are tagged as
having Auto Lighting Optimizer applied, so if
| | 01:26 | you're using Canon's DPP software, the
Auto Lighting Optimizer will get applied
| | 01:31 | when you process your images.
| | 01:32 | Also note that the Auto Lighting
Optimizer automatically deactivates Peripheral
| | 01:37 | Illumination correction
if you have that turned on.
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| Peripheral illumination correction| 00:00 | Vignetting is a darkening that can
occur in the corners of your image. Canon
| | 00:05 | calls this peripheral illumination, or falloff.
| | 00:09 | Vignettes most often occur with wide-
angle lenses, and sometimes a vignette can
| | 00:13 | add a nice effect to an image.
| | 00:14 | It can bring focus to the center of
the frame, but most of the time you don't
| | 00:18 | want vignettes in your image, and your
camera has a feature to remove these when
| | 00:22 | you're shooting in JPEG mode.
| | 00:25 | To activate Peripheral Illumination
correction, I just go into the Menu. It's right
| | 00:28 | here on the front page: scroll
down to Peripheral Illumin. correct,
| | 00:33 | and I get a couple of different things here.
| | 00:35 | It tells me what lens I have attached. I
currently have the Canon EF-S 18-55, and
| | 00:41 | it says correction data is available.
| | 00:43 | That means that the camera
has a profile for this lens.
| | 00:45 | It knows how much peripheral
illumination trouble it has.
| | 00:50 | So right now, Correction is enabled;
that's the default. If I want, I can disable it.
| | 00:55 | And now my peripheral illumination is
not there, so there is a better chance I'm
| | 00:59 | going to see vignetting on this
lens when shooting at wider angles.
| | 01:03 | If you're using a non-Canon lens,
it's best to disable Peripheral
| | 01:07 | Illumination correction.
| | 01:08 | If you're using a Canon lens, and you
don't see that there is Correction data
| | 01:13 | available, you may just have to wait
until there is a Firmware update for your
| | 01:16 | camera to be able to get that profile.
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|
|
8. More Playback OptionsMetadata display| 00:00 | Your camera stores a lot of data
about every image that you take.
| | 00:04 | In addition to the date and time, it
stores all of the exposure settings that
| | 00:08 | you used, which makes it possible to
later analyze exactly what happened during
| | 00:12 | a shot, exposure-wise.
| | 00:13 | This is often a great way to figure
out what went wrong if you get a picture
| | 00:17 | that's got a bad exposure,
or is maybe out of focus.
| | 00:21 | You can view most of this
metadata on the camera itself.
| | 00:24 | What's more, by using some of the
analysis features that are built in to the
| | 00:28 | camera, you can identify problems,
and possibly correct them, while you're
| | 00:31 | still in the field.
| | 00:33 | By default, when I'm in Playback mode, I
get this very simple metadata display,
| | 00:36 | which shows me the current image
number that I'm looking at. I'm looking at image
| | 00:40 | number 10 out of 10 images on the card.
| | 00:42 | It shows me my shutter speed, and aperture
and my folder number, and file name. But if
| | 00:47 | I press the Info button here, I get a
second screen full of metadata, and this
| | 00:51 | shows me all sorts of things.
| | 00:52 | I get a smaller thumbnail here. I
still have my exposure information, and my
| | 00:56 | file name, but I can see
that I was in Program mode.
| | 00:59 | I was shooting an evaluative metering
with Auto White Balance, and I was
| | 01:03 | shooting fine quality JPEG images.
| | 01:06 | I can see that this image
takes up 4.41 megabytes of storage.
| | 01:11 | It was shot in sRGB mode, with the
standard picture style at ISO 160.
| | 01:17 | Furthermore, I can see that it was
shot on July 31, 2011 at 5:12:34. And then
| | 01:23 | I've got this thing over
here: this is a histogram.
| | 01:26 | If you're not clear on histograms
and what they are, take a look at
| | 01:29 | Foundations of Photography: Exposure.
| | 01:30 | The histogram is a fantastic
diagnostic tool that makes it possible to assess
| | 01:35 | whether your image is properly exposed.
| | 01:37 | I'm going to hit Info button again, and
my histogram changes. Some of this other
| | 01:41 | metadata goes away so that I
now see a three channel histogram.
| | 01:45 | I can see separate
histograms for red, green, and blue.
| | 01:48 | It's a bad idea to judge exposure or color by
looking at the image on the rear LCD screen.
| | 01:55 | The camera very often amps up the
color and contrast to make the screen more
| | 01:59 | visible in bright light, but the
histogram lets you see if you've got
| | 02:03 | overexposure or underexposure.
| | 02:05 | If there were any overexposed parts on
this image, they would be flashing right
| | 02:08 | now, so I could see exactly where they
were, while the color histogram lets
| | 02:13 | me see if there is a possible colorcast.
| | 02:15 | So it's a very good idea to learn to
use these histogram tools. They make it
| | 02:20 | possible to diagnose your images in
the field, and know if your exposure
| | 02:23 | settings are correct.
| | 02:25 | Press Info again, and all of the
metadata goes away, so I can really just take a
| | 02:29 | look at my composition,
and see a nice clean shot.
| | Collapse this transcript |
| LCD brightness| 00:00 | You can change the brightness of
the LCD on the back of the camera.
| | 00:04 | This can make it easier to see in bright
daylight; it can make it less obtrusive
| | 00:08 | in low light situations.
| | 00:10 | Go into the Menu, and go all the way
over here to the second tool menu, and the
| | 00:14 | first item is LCD brightness.
| | 00:17 | I am going to go in here, and it gives me this
fancy thing with all these shades of gray.
| | 00:21 | These are just references to let you
see what's going to happen as you go
| | 00:24 | brighter and darker.
| | 00:25 | Notice this is white up here; black down
here. As I go down a notch, my white has
| | 00:29 | gone kind of dingy, and all my
other gray shades have followed.
| | 00:34 | So I've just got that nice reference to
be able to tell, here, full, all the way up;
| | 00:39 | I'm almost blowing out my
second brightest grayscale.
| | 00:42 | So that's just there to give you an
idea of how tones in your image might alter
| | 00:46 | as you adjust LCD brightness.
| | 00:48 | I wouldn't worry too much about this,
because the image on your LCD screen is
| | 00:52 | never that color or contrast accurate
anyway, because the camera amps up color
| | 00:56 | and contrast a lot to make
the display more visible.
| | 00:59 | So you shouldn't be trying to judge
color and contrast on the screen. You should
| | 01:02 | judge contrast using the
histogram, and color back on your computer.
| | 01:06 | When you get brightness set the way you
want, just hit OK and you're good to go.
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| Rotation| 00:00 | Your camera includes an orientation
sensor inside that lets it figure out if
| | 00:05 | you're shooting in
portrait or landscape orientation.
| | 00:08 | Your camera records the orientation of
your shot in the metadata for each image.
| | 00:12 | When you view the images on the back
of your camera, or in an image editing
| | 00:15 | program, the image should
appear rotated correctly.
| | 00:18 | Sometimes, though, the camera's
rotation sensor gets confused, and the proper
| | 00:22 | rotation doesn't get recorded with the image.
| | 00:24 | To fix this, you can rotate images in camera.
| | 00:28 | This rotation will actually change the
rotation tag that gets stored with the
| | 00:32 | image, so that images will appear
correctly rotated in your image editing
| | 00:35 | application on your computer.
| | 00:38 | When I find an image that is not
rotated properly, like this one -- this was shot
| | 00:42 | in landscape orientation, but as
you can see, the image is in portrait
| | 00:45 | orientation -- I can hit the Menu button,
and go here for the first Playback menu.
| | 00:50 | The second item on the list is Rotate.
| | 00:53 | Select that, and up here I see that
there's a little icon that shows Rotation,
| | 00:57 | it's a little circular arrow, and
next to it is the SET button.
| | 01:00 | That indicates that if I just keep
pressing the SET button, the image will keep
| | 01:03 | rotating. So I can spin it around
until it looks right, which that does.
| | 01:07 | I'm going to hit the Menu button to go
back, and go back into Playback mode, and
| | 01:11 | now my image looks okay.
| | 01:12 | So I can very easily go through and
rotate my images to get them back to normal.
| | 01:18 | This automatic rotation that the
camera performs can be turned off.
| | 01:21 | If I go into the menu, and go over
here to the first tools menu, there's an
| | 01:26 | Auto rotate option.
| | 01:27 | You can see that right now it's on for
both display on the camera, and display on
| | 01:31 | an external monitor.
| | 01:32 | That's if I've got a cable going out to a TV.
| | 01:35 | If I want, I can say no,
don't auto rotate on the camera;
| | 01:39 | only auto rotate on an external
monitor, or I can turn it off altogether.
| | 01:43 | The reason I might want to do that is
portrait images could appear, if they're
| | 01:48 | not rotated, to take up the whole screen,
so I would get a bigger view of them.
| | 01:51 | That's just a personal choice as to
how you want to look at the images,
| | 01:54 | but you might play with those
features and see which one you like.
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| Rating images| 00:00 | Rating your images is a critical part
of effective postproduction workflow.
| | 00:05 | If you're doing your job as a
photographer, then you should be shooting lots of
| | 00:08 | images of every scene that you shoot.
| | 00:11 | This process of working the shot is
how you explore a subject, and eventually
| | 00:15 | find the best image.
| | 00:17 | Working the shot this way also means
that you'll be going home with a lot of
| | 00:20 | images, most of which will not be keepers.
| | 00:23 | By rating your images, you can easily
filter out the good ones, and not have to
| | 00:28 | waste time reviewing or editing lesser shots.
| | 00:31 | You can start your rating process in
the camera itself by applying ratings
| | 00:35 | of one to five stars.
| | 00:36 | These ratings can be read by many
image editing applications, including Adobe
| | 00:41 | Photoshop, Photoshop Elements, and Lightroom.
| | 00:44 | So here I am in Playback mode.
| | 00:45 | To apply ratings to my image, I go into
a special rating mode, and I get there by
| | 00:50 | going to the menu, to the second
playback menu, down here to Rating; I'm going
| | 00:53 | to hit the SET button to choose that.
| | 00:55 | And here I am in Rating mode.
| | 00:57 | It looks like normal Playback mode,
except I have this additional control up here.
| | 01:01 | So you can see I've got one star, two
star, three star, four stars, five stars.
| | 01:06 | These zeros indicate how many images on
the current card have that many stars.
| | 01:11 | So right now I have no images with any ratings.
| | 01:14 | This image, the rating is turned off, and
you can see these up and down arrows here.
| | 01:18 | That indicates that I can increase the
rating of this image by hitting the up
| | 01:21 | arrow, and decrease it by hitting the down arrow.
| | 01:24 | Notice that as I increase it,
this one is moving across, because now
| | 01:27 | there is one image that has three stars.
| | 01:30 | I like that; I'm going to give that
three stars, and go on to the next image,
| | 01:33 | which I've done by hitting the forward button.
| | 01:36 | Well, I'll give that one star, and
I'll go over here. I don't like that,
| | 01:41 | because I don't like that stuff.
| | 01:42 | I'm not going to give that any stars at all.
| | 01:44 | And so I can just move through here
finding the images that I like and giving
| | 01:49 | them ratings, and along the way it
will keep track of how many of each type
| | 01:54 | of image that I have.
| | 01:55 | Let's go back to this one and give it two
stars, and now I can see that I've got
| | 02:01 | one image with one star, two images
with two stars, one image with three stars.
| | 02:05 | When I'm all done, I can hit the Menu
button to return, and now I'm back at the
| | 02:09 | menu, and now I can continue to shoot,
or simply go back and look at my images.
| | 02:13 | And now the rating that I've assigned
is shown up here next to the file name.
| | 02:18 | The ability to rate images in camera
means that you can rate an image as a
| | 02:22 | keeper while you're still on location
when the shoot is still fresh in your mind.
| | 02:26 | Or, if you're sitting in an airport
waiting to go home, you can go ahead and
| | 02:29 | start reviewing and rating your images
without having to drag out a computer.
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| Applying creative filters| 00:00 | We're all familiar with the idea that
you can apply special effects to an image
| | 00:03 | using image editing software on our computers,
| | 00:06 | but there are actually some special
effects you can apply in camera on the 60D.
| | 00:10 | I'm going to jazz up this
image a little bit with an effect.
| | 00:13 | I'm going to go to the MENU,
and in the first Playback menu
| | 00:16 | you'll see something called Creative filters.
| | 00:18 | You can actually launch into this
without being in Playback mode first.
| | 00:21 | When I go into here, it warns me that only
compatible images are going to be displayed.
| | 00:26 | That lets me know that if I've put
some images on the card from somewhere
| | 00:29 | else, they may not appear here, but
anything I've shot with the camera is
| | 00:32 | going to show up here.
| | 00:33 | I can browse through my images
until I find one that I want;
| | 00:35 | I'm just going to work with this one.
| | 00:37 | And I see that something is going to
happen if I hit the SET button, so I press
| | 00:40 | the SET button, and I get here to
my selection of creative filters.
| | 00:44 | I've got Grainy Black and White, Soft focus,
Toy camera effect, and Miniature effect.
| | 00:49 | Now, as I select these,
nothing happens to my image.
| | 00:52 | I have to pick one, so I'm
going to choose Toy camera effect.
| | 00:56 | And when I do that, it
makes a change to my image.
| | 00:58 | I've picked up a little vignetting;
my color shifted a little bit. I've got
| | 01:01 | three different options I can choose down
here, just using the left and right buttons.
| | 01:05 | And what this is doing is going for that
old kind of lousy toy camera look, like
| | 01:10 | shooting with a Holga, or something like that.
| | 01:12 | So I'm going to take this one, I like
this, I'm going to hit the SET button, and
| | 01:16 | it asks me, Save as new file?
| | 01:18 | If I say OK, then it will create a
new file with that effect applied.
| | 01:22 | If I say Cancel, it will
just take me out of there.
| | 01:25 | So these are these four
different effects that you can apply.
| | 01:27 | When I'm done, I'm still
here in Creative filter mode.
| | 01:33 | Let's take one more look
at what these effects are.
| | 01:35 | Grainy Black and White is just going to
give me just that: a grainy black and white image.
| | 01:38 | Soft focus is going to soften the image some.
| | 01:41 | You've seen Toy camera.
| | 01:42 | Miniature effect is going to be good
for landscapes. It's going to make a
| | 01:46 | landscape look more like a toy in
miniature, so that's a fun one to play with
| | 01:50 | if you're working with landscapes.
| | 01:51 | So, no substitute for a full-blown
image editor on your desktop computer, but
| | 01:55 | still, you may find these
fun to use from time to time.
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| Protecting and deleting images| 00:00 | There are a few different
philosophies about deleting images.
| | 00:03 | Some people like to delete images that
they think are bad, so that they don't
| | 00:07 | drown in image a lot when they
start their postproduction process.
| | 00:11 | Other people say you should never
delete an image, because you never know
| | 00:15 | whether it might be useful or not, later.
| | 00:17 | For the sake of this discussion, let's
split the difference, and say that there
| | 00:20 | will occasionally be images that you
know will have zero utility later; those
| | 00:25 | images where your finger is in front of the
lens, or you left the lens cap on, for example.
| | 00:30 | Your camera provides a number of ways
to delete images, as well as to lock
| | 00:33 | images, so that they can't be deleted.
| | 00:38 | The easiest way to erase images is,
when you're in Playback mode, simply hit
| | 00:42 | the trashcan button.
| | 00:43 | This is the delete button; it pops
up a menu asking if you want to erase.
| | 00:47 | If I want to delete a whole bunch of
images, though, that's going to take a
| | 00:50 | while to scroll though images, and hit
the delete button, and confirm, so I have
| | 00:53 | some other options.
| | 00:54 | I am going to go into the menu here.
| | 00:56 | In the first Playback menu, I
have the Erase images option;
| | 01:00 | I'm going to open that up.
| | 01:01 | And I have three different choices:
| | 01:02 | select and erase images, erase all
images in folder, or erase all images on card.
| | 01:08 | As you're going to see later in this
chapter, it's possible to create folders on
| | 01:12 | the card inside your camera and
store images in specific folders.
| | 01:15 | And if you've been following along
through this course, you know that I'm going
| | 01:18 | to tell you never to use
erase all images on card.
| | 01:21 | If you want to erase the
entire card, use the Format command.
| | 01:25 | Select and erase images is probably
the most useful thing in this menu.
| | 01:28 | I'm going to select that here, and
this puts me into an Erase mode.
| | 01:32 | And what this lets me do is just thumb
through my images and mark the ones I want to erase.
| | 01:35 | So I'm going to say yeah, I want
to erase that one, and I did that by
| | 01:38 | pressing the up arrow.
| | 01:40 | I can unmark it by pressing the down
arrow; that's what these little arrows over
| | 01:43 | here are indicating.
| | 01:44 | So I'm going to take that one, and then
just go ahead and move forward through
| | 01:48 | my images until I find something else that
I want to erase. I'm going to erase that.
| | 01:52 | So I could go through here,
pick a whole bunch of images,
| | 01:55 | when I've got them selected, I hit the
trashcan button, and they will all be erased.
| | 01:59 | It asks me to confirm that I
want to erase selected images.
| | 02:03 | I'll say OK, and there they went flying
into the trashcan, and now they're gone.
| | 02:07 | So that's another way of bulk
erasing images, which can be handy.
| | 02:12 | You also have the option of protecting images.
| | 02:14 | I'm going to go back here into the
menu, and go up here and choose Protect.
| | 02:18 | And here I can choose to protect
selected images, select all - to protect all
| | 02:23 | images in a particular folder, to
unprotect all images in a folder, to protect
| | 02:27 | all images on the card, or
unprotect all images on the card.
| | 02:30 | When an image is protected, it
cannot be deleted by the Erase command.
| | 02:34 | Now, it can be deleted by a Format.
| | 02:37 | What I find this most useful for is for
deleting all of the images, but one or two.
| | 02:42 | And here's what I mean.
| | 02:43 | I'm going to tell it to select image.
Let's say I had a hundred images on here,
| | 02:47 | and I wanted to keep two of them.
| | 02:49 | Normally I would erase the entire card
using the Format command, but since I
| | 02:52 | want to keep two of these images, I
don't want to format, I don't want to do an
| | 02:55 | erase all, because it would take to
long to select those other hundred images.
| | 02:58 | So instead I'm going to hit the SET
button to protect that image, and that image.
| | 03:04 | Those are now protected.
| | 03:05 | You can see I have eight images on this card.
| | 03:08 | So now I'm going to go into the
menu, and back to Erase images.
| | 03:14 | And now -- this is the one time I'm
going to let you do this -- I'm going to say
| | 03:17 | erase all images on card, and it says erase all
images, except protected images. I can say OK.
| | 03:24 | So it did an erase, and now if I go
back into Playback mode, you see that I
| | 03:28 | still have two images.
| | 03:29 | These are the two protected ones.
| | 03:31 | So that's a way that you can use Erase
images and Protect images in conjunction
| | 03:36 | to erase a whole bunch of images from
your card, but not all of them, without
| | 03:40 | having to go through one
image at a time and delete them.
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| File numbering options| 00:00 | When you take a picture, your camera
has to give it a name of some kind before
| | 00:04 | you can save it, and as you've probably
already discovered, the name is mostly numbers.
| | 00:08 | In fact, they are sequential numbers.
Every time you take a picture, the camera
| | 00:12 | increments its image number.
| | 00:14 | Now, by default, these numbers keep
going up until you hit 9999, at which point
| | 00:20 | they roll over to 1, and start over.
| | 00:23 | The images are stored on your media
card inside a folder, which is inside
| | 00:27 | another folder called DCIM.
| | 00:30 | Each folder can hold up to 9999 images.
| | 00:33 | If a folder fills, the camera
automatically creates a new one that has a
| | 00:37 | sequential number of its own.
| | 00:39 | You can change the numbering scheme,
though, so that it resets each time you put a
| | 00:45 | new card into your
camera, or create a new folder.
| | 00:48 | When it's set this way, every time you put
in a new card, you'll get a new numbering scheme.
| | 00:53 | You'll also get a new numbering scheme
every time you take out your old card,
| | 00:57 | empty it out, reformat it, and then reinsert it.
| | 01:00 | If you want, you can also reset
the numbering scheme manually.
| | 01:03 | In most situations, the default
continuous numbering scheme is the best way to go.
| | 01:08 | If you have numbering set to reset
every time you change cards, then you'll
| | 01:12 | possibly run into troubles
with duplicate filenames.
| | 01:14 | For example, maybe you are on vacation,
and at the end of each day you dump all
| | 01:19 | of the images that you shot that
day into a folder on your computer.
| | 01:23 | If the filenames are resetting each
time, then you will have duplicate
| | 01:26 | filenames everyday.
| | 01:29 | To change the file numbering options,
go into the Menu, and you are going
| | 01:33 | to scroll over to the Tools section, to the
first Tool menu, and down to File numbering.
| | 01:39 | You can see it defaults to Continuous;
that's where it's going to keep continuous
| | 01:43 | numbers, even as you take
cards out and put in new ones.
| | 01:46 | I can change to Auto reset; that's
what's going to tell it to reset its
| | 01:50 | numbering every time I put in a card,
whether it's a card that's in the
| | 01:53 | camera before or not.
| | 01:54 | I can also hit Manual reset, which
will manually reset the counter back to 1.
| | 02:01 | As I've mentioned before, I tend to leave mine
on Continuous, so I am going to set it there.
| | 02:06 | If you turn off continuous numbering,
then the camera will restart numbering
| | 02:11 | any time you create a new folder, and
you can manually create folders, as we'll
| | 02:15 | see in the next movie.
| | 02:16 | This allows you to stay
organized within the camera.
| | 02:19 | For example, let's say you're on vacation
again, but this time you've switched off
| | 02:24 | continuous numbering, and at the
start of each day you tell the camera to
| | 02:27 | create a new folder.
| | 02:29 | When you go home, you will have a
separate folder for each day, with each folder
| | 02:33 | containing images numbered starting
from 1. Or maybe you want to create a new
| | 02:39 | folder every time you
start shooting a new event.
| | 02:41 | This way, when you get home, you will
have all of your images already grouped by
| | 02:45 | event or subject into separate folders.
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| Creating folders| 00:00 | Located just below the File numbering
command is Select folder, which lets me
| | 00:05 | choose a folder to save my images into.
My card can have lots of folders on it.
| | 00:11 | This is my default single folder
that I have on the card right now.
| | 00:14 | It's called 100CANON, and it
has 62 images in it right now.
| | 00:18 | I obviously don't have
another folder to choose from.
| | 00:21 | So I am going to go down here and say
Create folder, and it tells me that it's
| | 00:24 | going to create folder number 101.
| | 00:26 | So I am going to say OK, and now I
have folder 100CANON, which has 62 images,
| | 00:32 | and folder 101CANON, which has 0
images. And I select that one, and now I have
| | 00:38 | chosen the folder I want.
| | 00:39 | And, as you learned in the last movie,
this works in conjunction with the Auto
| | 00:45 | reset File numbering scheme.
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| Copyright information| 00:00 | Amongst all the other metadata that
stored with your image, there's a copyright
| | 00:04 | field where you can put your
name and copyright information.
| | 00:07 | You can add this metadata using your
image editor, but you can also configure
| | 00:10 | your camera so that the copyright
information gets added to every single image you shoot.
| | 00:15 | Having your copyright included with
your images provides a fair amount of
| | 00:19 | legal protection should you find that
someone has used an image without your permission.
| | 00:23 | Located in the third tools menu,
this one right here, you'll see
| | 00:27 | Copyright information.
| | 00:28 | This is where I can enter my copyright
information. It gives me separate commands
| | 00:32 | for entering my name and my copyright
details. That's because I am going to want
| | 00:35 | to change the copyright details
every year as the year changes.
| | 00:38 | So I am going to enter my name here.
| | 00:40 | I've got two fields.
| | 00:41 | A field for where my name is going
to be, and then all these letters I can
| | 00:44 | choose from. And this is showing me that the
Q button swaps me between these two fields.
| | 00:49 | So I am going to press Q, and can come
down here and use the control pad to just
| | 00:53 | start very slowly hunting
and pecking out my name.
| | 00:56 | Fortunately my name is short, but
I am just going to stop right there.
| | 00:59 | If I make a mistake I can hit
the trashcan to backspace.
| | 01:02 | When I'm done, I hit Menu to select
my name; to take it. Info to cancel.
| | 01:07 | So I am gong to say Menu, and that takes my name.
| | 01:11 | Now I am going to go down and Enter
copyright details, and here I can spell out
| | 01:16 | really anything I want.
| | 01:19 | What you probably want to put in here
is spell out copyright, and the year, and
| | 01:23 | then when you're done say OK.
| | 01:26 | And if you want you can go up and look
at your copyright information, and you
| | 01:30 | should see these two fields filled in.
| | 01:32 | If you ever sell your camera, or give it
away, you might want to hit the Delete
| | 01:36 | copyright information button.
| | 01:38 | If all of that sounds really tedious,
that's because it is, but there is an
| | 01:41 | easier way, and with your camera
you should've gotten the EOS Utility.
| | 01:46 | It has a function that you can do in
your computer for entering this information,
| | 01:50 | and then you can download it to your camera.
| | 01:52 | All this information then
gets tagged into your images.
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|
|
9. Shooting with Scene ModesWhat is a scene mode?| 00:00 | By now you should be comfortable with
the idea that a mode on your camera is
| | 00:04 | simply a way of designating which
decisions the camera will make for you, and
| | 00:08 | which will be left up to you.
| | 00:10 | Scene modes are special modes that bias
the camera's decision-making process so
| | 00:14 | that they are more
appropriate for certain situations.
| | 00:17 | For example, a Sports mode would bias
the camera's shutter speed choices toward
| | 00:22 | faster speeds for better motion stopping power.
| | 00:25 | Scene modes can alter everything from
shutter speed, aperture, and ISO, to focus,
| | 00:31 | and flash performance.
| | 00:33 | Now, they don't open up any special
advanced features on the camera, but they can
| | 00:38 | make it easier to get good shots in
the situations that they're designed for.
| | 00:42 | It's important to note that, like
Auto mode, most Scene modes won't let you
| | 00:46 | override some parameters.
| | 00:48 | Also, most Scene modes force you to
shoot JPEG files. You won't be able to use
| | 00:52 | RAW when using a Scene mode.
| | 00:55 | Ideally, you'll want to build up your
skill level to the point where you can make
| | 00:58 | these decisions yourself, but for times
when you need to quickly snap off some
| | 01:02 | pictures in a situation for
which there is a Scene mode,
| | 01:04 | dialing in the appropriate mode can
improve your chances of getting a good shot.
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| Scene modes and image format| 00:00 | Let's take a quick walk through all
of these Scene modes on the camera, and
| | 00:04 | discuss a little bit about what
they do, and how you might use them.
| | 00:07 | First of all is Portrait Scene mode,
which is going to bias the camera to using
| | 00:11 | a shallower depth of field.
| | 00:12 | This will help blur out the background,
which can bring more focus to your subject.
| | 00:17 | It's also going to make some image
adjustments that will be a little more
| | 00:20 | flattering to skin tone.
| | 00:21 | It's going to go less contrast to try
and smooth out skin tone, and possibly even
| | 00:25 | make some color adjustments.
| | 00:27 | I can make additional color
adjustments in any Scene mode, though, by
| | 00:31 | pressing the Q button.
| | 00:32 | When I do, I get what should look
familiar to you if you've already looked at
| | 00:37 | the creative Auto mode.
| | 00:38 | I have the ability in
here to choose an ambience.
| | 00:41 | This is just a color treatment
that will be given to the whole image.
| | 00:44 | In the case of Portrait, I might
want to get with Soft, which will soften
| | 00:46 | skin tones even more, or Warm, which will
warm skin tones up; that can be very flattering.
| | 00:52 | I also have the options from this mode of
going into Drive mode or setting the self timer.
| | 00:57 | A lot of times using a burst when
you're shooting portraits is a good idea,
| | 01:01 | because it allows you to shoot a bunch
of images to try to capture really subtle
| | 01:05 | changes in expression. And when you're
shooting portraits, you typically want to
| | 01:10 | set your lens to a more telephoto
focal length. That will be a little more
| | 01:13 | flattering to your subject, and of
course, always be sure that you are auto
| | 01:18 | focusing on there eyes.
| | 01:20 | Next up we have Landscape mode.
| | 01:23 | Landscape mode actually does a
fair amount of color adjustment.
| | 01:26 | It's going to beef up greens and blues
in the image to make them a little more
| | 01:30 | vivid and little sharper than what you would
get in the other Scene modes, or in full Auto mode.
| | 01:35 | It's also going to disable the flash.
| | 01:37 | It's going to make sure that it doesn't
pop up. And finally, it's going to bias
| | 01:41 | toward smaller apertures, which are
going to give you deeper depth of field,
| | 01:45 | which is typically what you want
when you're shooting a landscape.
| | 01:50 | Next, we have Close-up mode.
| | 01:52 | This is going to be a little different
than the Macro mode that you may have on
| | 01:55 | your point-and-shoot camera, because it
doesn't actually change the focal length
| | 01:58 | of your lens. But if you look on your
lens, and see that it's indicating a macro
| | 02:02 | range, which will have the same little
flower icon, you want to zoom your lens to
| | 02:06 | that point, and get in as close as possible.
| | 02:09 | This is going to, again, aim for a more
shallow depth of field to help bring more
| | 02:14 | focus to the center of
the image and to your subject.
| | 02:18 | Sports mode is for shooting fast
moving things: fast moving athletes;
| | 02:22 | fast moving wildlife.
| | 02:23 | In Sports mode, you are going to
have faster shutter speeds for more
| | 02:27 | motion stopping action.
| | 02:29 | It's also going to set your
Auto focus to the center point.
| | 02:32 | This is to give you a better idea of
exactly where the camera will be focusing,
| | 02:36 | so you have a little more control
in a rapidly changing situation.
| | 02:41 | Night Portrait mode, we talk
about in its own movie;
| | 02:44 | this is for getting good flash pictures of
people when you're in a very dark situation.
| | 02:49 | And finally, Movie mode also gets an
entire chapter in this course, because
| | 02:54 | there's a lot to know about
shooting video with your SLR.
| | 02:56 | There is nothing you can do in any of
these Scene modes that you can't do in
| | 03:01 | Program mode, or a Priority mode.
| | 03:03 | The camera isn't doing
anything especially magical;
| | 03:05 | it just biases a lot of the automatic
decisions for you, and applies some special
| | 03:09 | post-processing for certain effects.
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|
|
10. Shooting with FlashFill flash| 00:00 | People often think that the flash on
their camera is only used when it's dark
| | 00:04 | out, but a dark scene is one of the times
when you probably shouldn't use your flash.
| | 00:09 | The pop-up flash on your camera is
really designed to provide extra fill light
| | 00:12 | when you're shooting in bright daylight.
| | 00:15 | If you've got a bad backlighting
situation, or someone with a hat on, you can
| | 00:18 | use fill flash to fill in the darker
shadowy areas of the scene to produce a
| | 00:23 | more even exposure.
| | 00:26 | If I'm in any of the modes where the
flash does not pop up automatically -- it pops
| | 00:29 | up automatically and Auto mode, or Night
Flash mode -- but if I'm in Program, or any
| | 00:34 | of the priority modes, and I want to be
sure that the flash fires, because I
| | 00:37 | want it to fill in shadowy areas in my
image, then all I have to do is press the
| | 00:44 | flash button, which is this one right
here. I push it, and the flash pops up
| | 00:48 | automatically and starts charging.
| | 00:50 | So now I can shoot, the camera will
automatically calculate a nice fill, and fill
| | 00:55 | in those shadowy areas. Remember, this is
something that you will regularly use
| | 00:58 | even if you are in bright daylight.
That's very often when you'll find flash to be
| | 01:02 | the most useful, when it's a
small pop-up flash like this.
| | 01:07 | So here's an example of a situation
where I did not shoot with fill flash, and
| | 01:12 | now look what happens when I turn the
fill flash on. It looks much nicer, much
| | 01:16 | more evenly lit; things are more balanced.
| | 01:18 | When I'm done with the fill flash, all
I do is push this down and that cancels
| | 01:22 | the flash. I don't have to
worry about it popping up again.
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| Flash exposure compensation| 00:00 | The flash on your camera has a
range of about 10 to 12 feet.
| | 00:04 | Beyond that, your flash simply won't
have any effect on your image, but within
| | 00:08 | that range, moving your camera and its
flash closer or farther from your subject
| | 00:12 | will result in more or less flash
illumination on that subject. That should be
| | 00:17 | pretty intuitive: put the flash right
in someone's face, and they might end up
| | 00:20 | with too much light on them.
| | 00:22 | Flash exposure compensation is a way
of controlling how much light the flash
| | 00:26 | puts out. By dialing in
negative flash exposure compensation,
| | 00:31 | you can reduce the intensity of the
flash to go from something like this, to
| | 00:35 | something like this.
| | 00:38 | You dial in flash exposure compensation
by hitting the Q button to bring up the
| | 00:42 | quick control screen, and come all the
way down here to this thing that's just
| | 00:47 | below exposure compensation. And
you can tell that it's got a exposure
| | 00:51 | compensation icon, which is the little
plus/minus, combined with a little flash
| | 00:54 | icon. You can see by default I'm at 0 right now.
| | 00:58 | So I'm going to just dial that up, and
I can go in one-third stop increments.
| | 01:03 | That's plus one stop, meaning my
flash is going to be one stop brighter.
| | 01:07 | I can go all the way up to three stops,
or I can go down to minus three stops;
| | 01:13 | this is going to get me less flash power.
| | 01:16 | So if I'm in close, and I am seeing that
my subject looks like they have radiation
| | 01:20 | burns, because my flash is so bright,
then I would want to dial a negative flash
| | 01:24 | exposure compensation.
| | 01:26 | If you feel like you're not
comfortable thinking in terms of stops, don't
| | 01:30 | worry about it; just experiment. Try a
little flash exposure compensation, check
| | 01:34 | out the histogram on your
image, and adjust accordingly.
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| Red-eye reduction| 00:00 | If you take a flash picture of
someone, and you're at such an angle that the
| | 00:04 | light from your flash bounces off the
back of their eyeballs, then their eyes
| | 00:08 | might look all red and creepy in
resulting image. This doesn't happen too often
| | 00:12 | with an SLR, because the flash on the
camera is far enough from the lens that
| | 00:16 | it's difficult to get that exact angle that
will create the red eye effect, but it can happen.
| | 00:21 | If it does, then you want to enable the
red-eye reduction flash, which works by
| | 00:26 | firing some initial small bursts of
light to close down the irises in your
| | 00:30 | subject's eyes before it fires
the full-strength real Flash.
| | 00:35 | By default Red-eye reduction is off.
You can turn it on very easily.
| | 00:39 | It's in the first shooting menu. Just go
down here to Red-eye reduc. You can see
| | 00:44 | that it set to Disable. Hit the Set
button, Enable, hit Set again,
| | 00:49 | and it takes, and you're ready to go.
| | 00:52 | When using red-eye reduction flash, be
sure to tell your subjects to hold still
| | 00:56 | until you tell them that you got the
shot. After those first flashes they might
| | 00:59 | start moving around and mess up the
actual shot if you haven't told them to
| | 01:03 | hold still.
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| Night Portrait scene mode| 00:00 | The flash on your camera has a
range of approximately 10 to 12 feet.
| | 00:04 | If you're standing in a dark scene
using your flash, that means that the only
| | 00:08 | things in your scene that are going
to have any illumination are the things
| | 00:11 | within that 10 to 12 foot wide
circle of light that your flash creates.
| | 00:15 | So if you take a picture of someone,
they'll be lit up by the flash, but the
| | 00:20 | background outside of that circle will
be plunged into darkness. This is because
| | 00:25 | the camera is using exposure settings
that are correct for the area that is
| | 00:28 | covered by the flash, but which are
under-exposing all of the stuff in the
| | 00:32 | background, and leaving it completely black.
| | 00:35 | Night Portrait Scene mode combines your
camera's flash with a longer shutter speed.
| | 00:41 | The flash exposes the foreground, while
the long exposure properly exposes the
| | 00:45 | background so that it becomes visible.
| | 00:48 | Night Portrait Scene mode is the
second to last mode all the way over here on
| | 00:54 | this end of the dial, just before the
Movie mode. It's this little person with a
| | 00:57 | star over their head.
| | 00:58 | When I dial it into there, I'm now ready to go.
| | 01:01 | When I half press the shutter button,
if it's dark enough to fire the flash,
| | 01:05 | the flash will automatically pop up,
and I will get a flash exposure with a
| | 01:09 | slow shutter speed.
| | 01:11 | As with red-eye reduction flash, when
you're using Night Portrait Scene mode, it's
| | 01:14 | very important to tell your subject
not to move until you're finished.
| | 01:19 | Often they'll move as soon as the flash
fires, and then they'll be kind of ghosty.
| | 01:24 | Because of the slow shutter speed,
they'll have all this blur around them.
| | 01:27 | Similarly, you need to remember to
think of this as a slow shutter speed shot,
| | 01:31 | so you need to work extra hard to
hold the camera steady, and to squeeze the
| | 01:35 | shutter button carefully, and generally
be sure not to introduce camera shake
| | 01:39 | during the long exposure.
| | 01:40 | Finally, note that there will be color
differences between the flash illuminated
| | 01:45 | foreground, and the longer exposed background.
| | 01:48 | This is because the camera will choose a white
balance that's appropraite for the flash,
| | 01:52 | typically leaving the background looking
very red, but this is still better than
| | 01:55 | not having a background at all.
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|
|
11. Shooting with Picture StylesPicture styles defined| 00:00 | When you shoot in JPEG mode, the computer
inside your camera has to do a lot of things.
| | 00:05 | It reads the raw data of the image
sensor, it converts into a color image, then it
| | 00:10 | applies your white balance settings,
sharpens your image, and finally compresses
| | 00:14 | it into a JPEG file.
| | 00:15 | Along the way, it also possibly
performs some image editing operations: changes
| | 00:20 | to saturation; contrast.
| | 00:22 | Picture styles are collections of image
editing operations that can be applied
| | 00:27 | to JPEG images when you shoot. Uour
camera comes with a selection of picture
| | 00:31 | styles that are tailored toward specific
subject matter. For example, the portrait
| | 00:35 | picture style will apply
| | 00:37 | color corrections and contrast
adjustments that will make skin tones look better.
| | 00:41 | If you're shooting RAW, picture styles
have no effect on your image, because no
| | 00:45 | image processing takes place
on RAW files inside the camera.
| | 00:49 | However, if you select a picture style
other then standard, a tag is set in your
| | 00:53 | RAW file. If you then open that RAW file
with Canon's Digital Photo Professional
| | 00:58 | software, it will identify that tag, and
automatically apply settings in DPP to
| | 01:03 | achieve the look of that picture style.
| | 01:05 | If you're processing your RAW images
with other RAW processors, then picture
| | 01:09 | styles have no effect, so there's no
need to use them when you're shooting RAW.
| | 01:13 | If you regularly shoot in the same
environments -- say your wedding shooter, or an
| | 01:18 | event shooter -- and you routinely shoot
the same types of subject matter in the
| | 01:23 | same type of lighting, then it's worth
trying to define a picture style that
| | 01:26 | gives you the results that you like.
| | 01:28 | If one of the default picture styles
works for your common shooting locations, or
| | 01:33 | if you can craft a picture style
that does, then you can save yourself a
| | 01:36 | tremendous amount of post-production time.
| | 01:39 | If you're shooting JPEG, then your
camera will automatically apply the
| | 01:43 | corrections defined in your picture style.
| | 01:44 | If you're shooting RAW, and
processing your images with DPP, then it will
| | 01:48 | automatically apply your picture
styles corrections to your RAW files.
| | 01:52 | If your picture style is configured
properly, this might mean you need do no
| | 01:57 | further image adjustment.
| | 01:59 | As you'll see later, picture styles
can contain extremely refined adjustments
| | 02:03 | that can create very subtle
changes in color and contrast.
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| Selecting a picture style| 00:00 | To select a picture style, you go into
the Menu, and jump over here to the second
| | 00:06 | shooting menu, and there
is a Picture Style option.
| | 00:08 | You can see that by default I
get the Standard picture style.
| | 00:11 | If I hit Set, I get a
scrolling list of picture styles.
| | 00:15 | I know it's a scrolling list,
because there is a scrollbar over here.
| | 00:17 | So I've got Standard, Portrait,
Landscape, Neutral, Faithful, Monochrome, and
| | 00:23 | three different User Defined picture
styles, which are currently all set to
| | 00:28 | the same as Standard, but those are
something I can customize, which we'll look at later.
| | 00:32 | I've got all these numbers over here.
This is the key to what the numbers are.
| | 00:35 | I've got the first number is sharpness,
then contrast, saturation, and tone.
| | 00:40 | So what I can see just by glancing at
some of these is that Landscape is going
| | 00:44 | to give me a big increase in sharpness,
over, say, Neutral. It's going to give me a
| | 00:48 | little increase in sharpness over Standard.
| | 00:51 | It's not going to have any impact
on contrast, or saturation, or tone.
| | 00:56 | So all Landscape is going to get me,
over what I've been shooting with, is a
| | 00:59 | little more sharpness.
| | 01:00 | So these numbers give me
a key to what's going on.
| | 01:02 | When I find the one that I want -- maybe I
don't like the sharpness adjustment that
| | 01:07 | Standard has been doing, so I'm
going to switch over to Neutral --
| | 01:10 | I'm going to hit the Set button, and
now any JPEG images that I shoot will
| | 01:15 | get this picture style.
| | 01:17 | Any RAW images will be tagged with it,
but only Cannon's DPP software is going
| | 01:23 | to pay attention to those.
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| Adjusting predefined styles| 00:00 | After you've shot for awhile with some
of the picture styles on the 60D, you may
| | 00:04 | decide that they're okay, but you'd like
to make a couple of tweaks to them, and
| | 00:08 | you can easily do that in the Picture
Style command in the second shooting menu.
| | 00:11 | For example, maybe I've been shooting
with the Portrait style, and I like it, but
| | 00:16 | I'd like the images to have
a little more saturation.
| | 00:19 | And as you will recall, these four
items here are sharpness, contrast,
| | 00:23 | saturation, and color tone. The
Portrait style makes changes to sharpness, but
| | 00:28 | it doesn't do anything else.
| | 00:29 | I'm going to dial in a little bit of saturation.
| | 00:31 | The way I do that is with Portrait
selected, you can see down here, Info
| | 00:35 | means Detail settings.
| | 00:37 | So I'm going to hit the Info button, and
that takes me to this screen, where I can
| | 00:41 | edit each of these
parameters using these slider controls.
| | 00:44 | So I'm going to go over here to
Saturation, hit Set, and now I can dial up
| | 00:48 | saturation a little bit.
| | 00:49 | I think I'm going to just stick it on 1
for now, hit OK, and now I'm going to hit
| | 00:53 | Menu to go back, and you can see that
now I've got a 1 over here in this slot
| | 00:58 | indicating that the Portrait picture
style now does some saturation adjustment.
| | 01:03 | Of course, now what I would want to do
is shoot some portraits with this, give it
| | 01:06 | a little test, and see if I like the results.
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| Monochrome picture styles| 00:00 | One of your default picture style
options is Monochrome which, of course, gives
| | 00:05 | you a black and white photo.
| | 00:07 | So, this is a way of taking
black and white pictures in camera.
| | 00:09 | Now, I would recommend that if you're
really interested in black and white
| | 00:12 | photography, this is not a good option.
| | 00:15 | This gives you a stock black and white
recipe, and if you know anything about
| | 00:19 | black and white photography, you know
that you kind of want control over how
| | 00:23 | your color image is converted to monochrome.
| | 00:26 | Still, in a pinch, this can be a quick
way of getting a black and white image, and
| | 00:29 | there are some customization options here.
You can alter Sharpness, and Contrast.
| | 00:34 | You can also apply Filter effect:
Yellow, Orange, Red, and Green. This is
| | 00:40 | analogous to shooting with a
colored filter over the end of your lens.
| | 00:44 | So if you're used to doing that, if
you're coming from a film background, and are
| | 00:47 | used to shooting black and white with
colored filters, these are a little virtual
| | 00:50 | filters that you can put on.
| | 00:51 | I can also apply a Toning effect:
Sepia, Blue, Purple, or Green.
| | 00:55 | This gives me either an old-
timey look, or more atmospheric look.
| | 00:59 | These are all things that I can dial
in to my Monochrome picture style. But
| | 01:03 | again, if you're really serious about
black and white photography, I don't
| | 01:06 | recommend using the Monochrome style.
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|
|
12. Using Live ViewActivating Live View| 00:00 | As we've seen, one of the great
advantages of an SLR is that you have a
| | 00:04 | viewfinder that looks through the
same lens that exposes the sensor.
| | 00:08 | However, there are times when looking
through that viewfinder is actually kind of a hassle.
| | 00:12 | Maybe the camera is on a tripod, in a
difficult to see position, or perhaps
| | 00:16 | you're shooting a portrait, and you
prefer to look directly into your subject's
| | 00:19 | eyes, rather than hiding behind the camera.
| | 00:22 | For those situations, live view
might be a preferable way to work.
| | 00:25 | In live view, the camera's LCD screen
becomes a viewfinder, just like on a
| | 00:29 | point-and-shoot camera.
| | 00:31 | The camera takes the image that's
being captured by its sensor, and it puts
| | 00:34 | it immediately up on the screen so
that you can see what the camera is
| | 00:38 | actually capturing.
| | 00:39 | One advantage of live view is that you
see absolutely 100% of the area captured
| | 00:44 | by your camera, as opposed to the
roughly 96% of the scene that you get when you
| | 00:48 | look through the normal viewfinder.
| | 00:51 | Activating live view is very simple.
| | 00:53 | There is a live view button right here
on the back of the camera. Just press
| | 00:56 | it, you'll hear the mirror flip up, and
then the image that your camera is seeing
| | 01:01 | should appear on the screen back here.
| | 01:03 | You get one focus spot by default
back here, and some simple readouts.
| | 01:07 | I can see my exposure compensation
readout, how many shots I have remaining, I
| | 01:11 | see that I'm in Auto ISO
mode, and I get a battery meter.
| | 01:15 | I can autofocus, and meter, just like I do
normally; half-press the shutter button.
| | 01:20 | Now, focus is going to take a little
bit longer than normal, and we'll explain
| | 01:23 | why in the next video.
| | 01:24 | When I do that, then I get my
shutter speed and aperture readout.
| | 01:27 | Note that this display is trying to
simulate as best it can the actual final image.
| | 01:33 | It's trying to show me depth of field
effects, it's applying any picture styles;
| | 01:38 | it's really trying to give me a good
view of what my final image will be.
| | 01:41 | Now, the actual final image might be a
tiny bit different when it's actually
| | 01:45 | processed by the camera and
everything, but this gives you a much more
| | 01:49 | realistic idea of what you're going to
shoot than what you get looking through
| | 01:52 | the optical viewfinder.
| | 01:53 | I can get some other status display,
though. If I press the Info button,
| | 01:57 | I can bring up these options. Here I can
see my drive mode, what focusing mode I'm
| | 02:01 | in, my white balance, what
picture style I have applied.
| | 02:05 | I can see that the auto lighting
optimizer is on, and is set to the middle setting.
| | 02:09 | I can see the format that I'm
shooting in; I'm in best quality large JPEG
| | 02:14 | right now. And I can see that exposure simulation is
turned on; this is what I was just talking about.
| | 02:18 | This is the feature that does as best
it can to really show me what my final
| | 02:22 | image is going to look like.
| | 02:23 | If I press the Info button
again, I get a histogram.
| | 02:27 | This can be an essential
tool for judging my exposure.
| | 02:31 | I can see from this histogram that nothing is
overexposed, and I don't have any bad shadows.
| | 02:35 | That's a real testament to the Lynda technical
crew here, and their setting up of the scene.
| | 02:39 | If I hit Info button yet again, I get
the camera's level, and once again it takes
| | 02:45 | me back to very little status information at
all. This can give me a nice clean interface
| | 02:50 | so that I don't get a lot of
clutter that I have to face.
| | 02:53 | In general, you'll probably find
this is what your going to want to shoot
| | 02:55 | with, because it's a good
simulation of what you also see inside the
| | 02:58 | optical viewfinder.
| | 03:00 | Pressing the quick Control button
gives me just what I would expect from the
| | 03:03 | quick control scene when I'm normally shooting.
| | 03:05 | These are interactive controls.
| | 03:07 | I can change my Drive mode by
highlighting it, pressing the Set button, dialing
| | 03:11 | in what drive mode I want.
| | 03:12 | So here, I can configure all of these
different settings on the back of the
| | 03:15 | camera without having to
deal with these buttons up here.
| | 03:18 | And a lot of times you'll choose to
shoot live view, because the camera is on a
| | 03:22 | tripod, and you can't see these controls up here,
so the quick control button can be very handy.
| | 03:27 | To deactivate live view, I just press
the live view button again, and if you
| | 03:31 | listen closely here, that was the mirror
coming back down, and of course my screen goes off.
| | 03:38 | Running the LCD screen on the camera
generates a lot of heat inside the camera,
| | 03:42 | and because heat is bad for
electronic components, and makes your image more
| | 03:46 | noisy, your camera will begin to
show you warnings as it heats up.
| | 03:50 | First you'll see this white icon. This
indicates that image quality might be
| | 03:54 | degraded, because the camera is getting too hot.
| | 03:57 | As you continue to shoot, the white icon
will turn red, and then it will start flashing.
| | 04:02 | Eventually the camera will just stop
shooting altogether, and you'll have to shut
| | 04:05 | it down to let it cool.
| | 04:06 | How quickly this will all happen
varies with ambient temperature.
| | 04:10 | You can avoid these overheating
problems by turning off live view when you're
| | 04:13 | not actively shooting,
especially if the weather is hot.
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| Focusing in Live View| 00:00 | When you activate live view, your
camera raises it's mirror out of the way so
| | 00:04 | that light can get from the
lens directly to the sensor.
| | 00:08 | It's the sensor that creates the
image that's shown on the LCD screen, so no
| | 00:11 | live view image can be created when the
mirror is down, because the mirror is in the way.
| | 00:15 | Unfortunately, there is something else
that happens when the mirror flips up.
| | 00:19 | The autofocus sensors in your camera
are located up here in the pentaprism.
| | 00:25 | So light from the lens gets bounced by
the mirror up into here, and that's where
| | 00:30 | the autofocus sensors are; that's
where they analyze to calculate focus.
| | 00:34 | When the mirror flips up, though,
these autofocus sensors up here go blind,
| | 00:38 | meaning your camera loses
it's normal autofocus capability.
| | 00:42 | When you're in live view, then, the camera
has to use a different method to autofocus.
| | 00:46 | By default, rather than relying on these
autofocus sensors up here, the computer
| | 00:50 | in your camera simply analyzes the
image that the sensor is capturing, and
| | 00:55 | figures out focus accordingly.
| | 00:57 | The practical upshot is that autofocus
in live view is much slower than it is
| | 01:02 | when you shoot normally.
| | 01:03 | Your camera has some additional
autofocus modes that you can activate to get it
| | 01:07 | to focus in different ways.
| | 01:09 | So here I am in live view, and as
you've seen already, to focus I simply do
| | 01:14 | what I would normally do: half press
the shutter button, the camera calculates
| | 01:17 | focus, and beeps when it's ready.
| | 01:19 | And, if you notice, the little box here
turns green to indicate that focus is locked.
| | 01:24 | Now, I only see one focus square in
this image, as opposed to when I'm looking
| | 01:28 | through the optical viewfinder and I
see all those different focus points.
| | 01:31 | The cool thing is, though, I
can move this square around.
| | 01:34 | So let's say I want to be sure that
the very front of that lens is in focus.
| | 01:37 | I'm going to just use the control pad
here to drive this little square to right
| | 01:42 | there, and then half press the shutter button,
and now it's focusing on that spot right there.
| | 01:47 | I can move this anywhere in the frame,
which gives me very precise control of focus.
| | 01:52 | If I decide that I want the point back
in the center, I can just hit the trashcan
| | 01:56 | button -- delete button -- and it
pops back to it's default position.
| | 02:00 | Now, as you've seen, when I do this,
focus takes a little while compared to what
| | 02:05 | it's like when I'm not using live view.
| | 02:07 | And as I mentioned, that's because the
autofocus sensors are blind right now.
| | 02:12 | There are some different focusing modes
that I can choose that can make focus go
| | 02:16 | a little bit faster.
| | 02:17 | I'm going to go into the Menu here, and
you see here in the fourth shooting menu
| | 02:21 | I have AF mode; that's autofocus mode.
| | 02:24 | Live mode is the default position,
meaning live view stays on, and it focuses
| | 02:30 | simply by analyzing the image.
| | 02:31 | I'm going to pop this menu open.
| | 02:33 | I have a second Live mode, which
is a face detection live mode.
| | 02:37 | So I turn that on, and if there are any
faces in the scene, it will highlight them
| | 02:41 | to indicate that that's
where it's going to focus.
| | 02:43 | If there are multiple faces, I can use
the control pad buttons to cycle through
| | 02:47 | the different faces that have been selected.
| | 02:50 | I can also go to Quick mode.
| | 02:52 | Now, Quick mode actually does use the
autofocus sensors that are up here.
| | 02:57 | However, for it to be able to use them,
it has to get the mirror back down to get
| | 03:02 | light up to the autofocus sensors, and
you can see, I've got focus spots back
| | 03:05 | here like I would normally.
| | 03:07 | So I'm going to half press the Shutter
button, and you're going to see the screen
| | 03:10 | go blank, because the mirror had to flip up.
| | 03:13 | Then it did focus with its autofocus
sensors, told me what focus points it wanted
| | 03:18 | to use, and then brought the mirror back down.
| | 03:20 | That's why the image went away for a minute.
| | 03:22 | So let's just see that again real quick.
| | 03:24 | For that split second there, I was
blind, basically. Live view was blind, because
| | 03:29 | the mirror had to move.
| | 03:30 | Now, I can select focus points, just like
I would if I was not shooting in live
| | 03:34 | view. I'm going to hit the Q button,
and I'm up here at the very top of my
| | 03:38 | options: AFQuick. I'm going to hit the up
button from there, and now all my focus
| | 03:42 | points have highlighted.
| | 03:43 | Now I just use the main dial like I
normally would to cycle through all the
| | 03:47 | various focus points until
I get the one that I want.
| | 03:50 | When they're all selected, then
the camera will choose for me.
| | 03:53 | Hit the shutter button to get rid of that.
| | 03:57 | Finally, there is another focusing
mode, and that is use manual focus just by
| | 04:01 | turning the focus ring on the camera's lens.
| | 04:04 | So I'm going to switch, using my
autofocus manual switch, over to manual mode, and
| | 04:09 | I can turn the focus ring to focus the camera.
| | 04:12 | Now, you could see my image going in
and out of focus here, but the screen
| | 04:16 | is pretty small. It's only 3 inches
diagonally, and I'm standing kind of far away from it.
| | 04:21 | Fortunately, I can zoom in. So I'm
going to move the box over here to the area
| | 04:27 | that I want to zoom in on, and then
hit this magnifying button over here.
| | 04:30 | This is normally the autofocus point
select tool, but you can also see it's got
| | 04:34 | a plus magnifying glass
on it; that means I zoom in.
| | 04:37 | That gives me a 5x magnification. Press
it again and I get a 10x magnification.
| | 04:42 | And now I can see that what looked in focus
when I was zoomed out is actually a little bit off.
| | 04:47 | So I'm just going to tweak that, and
this is really moving around a lot, because
| | 04:52 | I'm zoomed in so far, and
this part of my lens is moving.
| | 04:54 | So set focus there, press the plus
button again, and I go out to my normal
| | 05:00 | view, and now I can simply take my shot.
| | 05:04 | Just like when I'm normally using the
camera, when I'm done with manual focus, I
| | 05:08 | need to be sure to set this switch
back to autofocus, so that my autofocus
| | 05:13 | will work as normal.
| | 05:14 | So that's focusing in live view.
| | 05:15 | You'll find that these different modes
have different advantages, depending on
| | 05:18 | how quickly you need to work.
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| Aspect ratio| 00:00 | The ratio of the width to height of
your image is defined as its aspect ratio.
| | 00:05 | For example, your HD TV has a different
aspect ratio than what your camera shoots.
| | 00:10 | With its 16:9 aspect ratio, your HD TV
shoots a wider image than the 3:2 aspect
| | 00:16 | ratio of your camera.
| | 00:18 | If you have a point-and-shoot
camera, it probably has an even narrower
| | 00:20 | aspect ratio of 4:3, which
incidentally is the aspect ratio of standard
| | 00:25 | definition television.
| | 00:26 | When you're shooting JPEG images,
you can choose something other than the
| | 00:30 | camera's native 3:2 aspect ratio.
| | 00:32 | If you're in live view, the camera
will show you guidelines for that
| | 00:36 | chosen aspect ratio.
| | 00:38 | So here I am in live view, and
you can see I am in 3:2 mode.
| | 00:41 | You know that because the image is
filling the entire screen, and this is a 3:2
| | 00:45 | aspect ratio screen.
| | 00:46 | I can go in here into the menu, and
this fourth shooting menu is all live view
| | 00:51 | related options, and the fourth one down is
Aspect ratio, and sure enough it's set to 3:2.
| | 00:56 | I am going to pop that open, and you
can see I've got 4:3 which, again, is the
| | 01:00 | aspect ratio of standard definition television,
| | 01:02 | 16:9, which is the aspect ratio
of HD TV, and 1:1, which is square.
| | 01:08 | Let's take a look at square.
| | 01:11 | Now when I go back to live view,
these big black lines have appeared.
| | 01:15 | These are the lines that indicate
what the actual crop of my image is.
| | 01:19 | Now, I can still see image outside of them.
| | 01:21 | I have to just try to ignore that,
because this is all that's going to be
| | 01:25 | stored in the JPEG file.
| | 01:26 | Now, if I am shooting RAW, this will still work.
| | 01:29 | I can still choose an aspect
ratio from the live view menu.
| | 01:34 | My RAW file will not be cropped. When I
open it up in, say, Photoshop, I will see
| | 01:39 | the whole image. But if I open it up in
Canon's Digital Photo Professional, DPP,
| | 01:43 | it will crop this image for me accordingly.
| | 01:46 | So it does store the crop in the file.
| | 01:48 | Square is an interesting format.
| | 01:49 | I chose this one because if you are just
starting out with photography, it's good
| | 01:53 | to experiment a square.
| | 01:54 | It's a very different compositional
exercise than shooting rectangular.
| | 01:58 | The trick is to think about the
corners, and putting things in the corners, and
| | 02:01 | balancing things there.
| | 02:02 | So that's different aspect ratio.
| | 02:04 | It's something to play with.
| | 02:05 | It's a good photographic exercise. And
having those guidelines can be handy
| | 02:08 | for times when you know, for
example, that you're going to be shooting
| | 02:11 | something that's going to be
displayed on a standard definition television.
| | 02:14 | Stick it into 4:3, and you can see
exactly where your crop will be. Same for
| | 02:18 | HD; just put it into 16 by 9.
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| Live View's drawbacks| 00:00 | Live view is great for certain
shooting situations, as we've discussed, but it
| | 00:04 | also has some drawbacks.
| | 00:06 | Running the LCD screen takes
a tremendous amount of power.
| | 00:08 | This is why, if your battery is running
low, it's a good idea to turn off the
| | 00:12 | image review on your camera, and to
not spend any time looking at images
| | 00:16 | you've already shot.
| | 00:17 | Because live view requires the LCD
screen, it is a big battery drain, so you
| | 00:21 | will want to keep an eye on your battery
status if you're doing a lot of live view.
| | 00:25 | If you know you are heading into a
situation that requires a lot of live view
| | 00:28 | shooting, then you might want to consider
investing in some additional batteries.
| | 00:31 | If you're trying to shoot
unobtrusively in a darker environment, such as a
| | 00:35 | performance, or a concert, then the light
from the LCD screen might be disturbing
| | 00:39 | to people around you.
| | 00:40 | In those instances, it's probably
better to stay away from live view. But the
| | 00:43 | biggest drawback with live view
shooting has to do with dynamic range.
| | 00:47 | Dynamic range is the range of
darkest to lightest tones that you or your
| | 00:51 | camera can perceive.
| | 00:52 | Your eyes have a much wider
dynamic range than your camera does.
| | 00:56 | This means that they can see
details in areas that your camera cannot.
| | 01:00 | This can complicate things when you're
trying to frame a shot with live view,
| | 01:03 | because live view is not going to be
able to show you the same detail that you
| | 01:07 | can see with your eye.
| | 01:09 | If you're wanting to compose
around those details, you might find
| | 01:11 | yourself frustrated.
| | 01:13 | Say, for example, that you see a scene
like this, where your eye can see detail in
| | 01:17 | all those shadowy areas.
| | 01:19 | When you look at the scene using live view,
you are going to see something more like this.
| | 01:22 | Now, if you were thinking about those
shadow details as elements that you wanted
| | 01:26 | to compose around, then the fact that
they are invisible in live view might be
| | 01:29 | confounding when you're actually
trying to stand there and frame your shot.
| | 01:33 | A big part of the artistry of
photography is knowing which parts of the dynamic
| | 01:37 | range that you want to capture from
the full range that your eye can see.
| | 01:40 | If the camera is only showing you its
limited view of that full range, then
| | 01:44 | compositional decisions become more
complicated, because you won't necessarily
| | 01:48 | notice all of the possibilities in a scene.
| | 01:50 | Now, this is all true for any camera
that uses an LCD screen as a viewfinder.
| | 01:55 | One workaround is when you're using
live view, be sure to look often at your
| | 01:59 | scene with your naked eye. Then you
can take note of details that you can't
| | 02:03 | see in live view.
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| Other Live View options| 00:00 | When you are working in live view,
pretty much all of the controls that you are
| | 00:03 | used to having still work just as they
would when you're shooting normally. I half
| | 00:07 | press my shutter button to focus in
meter, I've still got exposure compensation,
| | 00:11 | just as I always would,
I've still got program shift;
| | 00:14 | all of this stuff works normally.
| | 00:15 | There are, though, some features that are
specific to live view shooting, and you
| | 00:20 | can get to those here in the menu.
| | 00:21 | This fourth shooting menu is a bunch of
options that are live view only options.
| | 00:26 | So you have already seen the focusing ones.
| | 00:29 | I've also got a grid that I can turn on;
| | 00:31 | this just gives me a reference
that I can use while I am shooting.
| | 00:34 | Now, these grid lines won't appear in my
final image; they're just there to help
| | 00:38 | me make sure that
things are lined up properly.
| | 00:40 | I've got two different frequencies of
grid, so I can have a really fine grid, or
| | 00:44 | a more coarse grid.
| | 00:45 | You've already seen aspect ratio.
| | 00:47 | We've talked about exposure simulation.
| | 00:49 | If you want you can turn this off, and
now the live view display will not try to
| | 00:53 | show you depth of field,
| | 00:54 | it won't try to show you how
bright your image is, or the effects of
| | 00:57 | any picture styles.
| | 00:59 | You might want to do that if you want to
speed up processing, or if you find that
| | 01:04 | you simply really want to see the
scene more as it actually exists.
| | 01:08 | Silent shooting modes try to
make live view shooting quieter.
| | 01:12 | There are a couple of them.
| | 01:14 | Mode 2 can slow down burst shooting
when you're using it. They don't make
| | 01:18 | the camera actually silent, but they
do make it a little bit quieter, which
| | 01:21 | can be handy if you're shooting in a
situation where you need the camera to
| | 01:24 | be not quite so noisy.
| | 01:26 | Metering timer controls how long the
metering holds before it times out, and
| | 01:31 | resorts back to the camera just kind
of idling in its non-metered state.
| | 01:35 | Default is 16 seconds, which is much longer
than it is when you're shooting normally.
| | 01:41 | You can change that to
something much shorter or much longer.
| | 01:44 | You might want to do that if you're
working on a tripod, maybe in a studio
| | 01:47 | situation, maybe you are doing product
shots, or portraits, or something. You want
| | 01:50 | to meter, and have it stay up there for
a while, while you really think about what it
| | 01:54 | is you are wanting to do.
| | 01:56 | Finally, if you want, you can
turn live view off altogether.
| | 01:59 | Live View shoot, Enable.
| | 02:01 | I can put that on Disable.
| | 02:03 | Now my live view just shut down, and now my
live view button just doesn't do anything.
| | 02:09 | So this can be handy if you rarely
shoot in live view, and you want to be sure
| | 02:14 | that when you're carrying your camera
around, maybe on a strap, that it doesn't
| | 02:17 | bump the live view button and turn on,
which can rapidly drain your battery.
| | 02:21 | So if your battery is running low, or if
you simply never use live view, go ahead
| | 02:26 | and turn it off, and then you don't have
to worry about accidentally tripping it
| | 02:29 | and draining your battery.
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|
|
13. Shooting VideoConfiguring and activating video| 00:00 | In addition to stills,
your camera can shoot video.
| | 00:03 | Digital SLRs are actually extremely
capable video cameras, but there are a few
| | 00:07 | things to know about how they differ
from dedicated video cameras, and from
| | 00:12 | point-and-shoot digital cameras.
| | 00:14 | You should already have a
comfortable understanding of depth of field.
| | 00:17 | If you don't, check out
Foundations of Photography: Exposure.
| | 00:20 | One of the factors that control depth
of field in an image is sensor size.
| | 00:24 | When you have a bigger sensor, it's
possible to shoot much shallower depth of
| | 00:28 | field. Now, your SLR has a much bigger
sensor than what you will find in almost
| | 00:33 | any video or point-and-shoot camera,
which means you have the capability to
| | 00:37 | shoot video with very shallow
depth of field when you use your SLR.
| | 00:42 | This affords you far more creative
options, and let's you shoot video that can
| | 00:45 | have a much more a film-like look than
what you'll shoot with a dedicated video
| | 00:49 | camera, or a point-and-shoot camera.
| | 00:51 | Of course, your SLR also scores over a
dedicated video camera thanks to its
| | 00:55 | removable lenses, which let you choose
lens features and quality that are better
| | 00:59 | suited to your particular project.
| | 01:01 | On the downside, when you're shooting video
with your SLR, you won't have any auto focus.
| | 01:07 | So if you move the camera closer or
farther from your subject during a shot, or
| | 01:12 | if your subject moves closer or farther,
there's a chance that your focus will go off.
| | 01:17 | In this regard, shooting with a point-
and-shoot camera is much easier, because
| | 01:20 | your camera will auto focus
for you as you move around.
| | 01:24 | However, most point-and-shoot cameras
lack the ability to zoom while shooting
| | 01:27 | video; something that's
not a problem with an SLR.
| | 01:30 | Video on the 60D is actually a dedicated mode.
| | 01:33 | I just turn the mode dial all the way
over here to the little movie camera
| | 01:36 | that's on the far end.
| | 01:38 | When I do, the screen activates.
| | 01:39 | You probably heard the
mirror come up there.
| | 01:41 | Now, I can go into Movie mode
even when I have live view disabled.
| | 01:45 | The camera considers Movie
mode and live view two different things.
| | 01:48 | Notice that I am not in 3:2 aspect ratio;
the top and bottom here are letterboxed.
| | 01:53 | I am in 16 by 9; that is HD aspect ratio.
| | 01:57 | I've got my focus metering marker, just
as I always would, and for the most
| | 02:01 | part, I do just what I always would.
| | 02:03 | I half press the shutter
button to focus and meter.
| | 02:06 | By default, I am in the Live Focus
mode, which can take a little while.
| | 02:10 | Once I've got focus set, though, and am
ready to start recording video, I press
| | 02:14 | the live view button back here; the
one with the little red dot next to it.
| | 02:18 | I press that, and I see a
little red dot right here.
| | 02:21 | This is my little tally light, which
indicates that I'm recording video, and you
| | 02:24 | can see the activity light over here
showing that video or data is being
| | 02:28 | written out to the card. And here I go.
| | 02:30 | I can just shoot video, I can pan my
camera around; do all the normal things.
| | 02:33 | I can also, in the middle of this, take a still.
| | 02:37 | If I just come up here and press the
shutter button all the way down, my mirror
| | 02:42 | moves, it grabs a still, and what's
going to happen inside the video is that
| | 02:47 | still image is going to be placed in
the video for a few seconds, and a still
| | 02:52 | file is going to be written out to the card.
| | 02:54 | So I will be freezing the motion in that
video for that time, but I will also get
| | 02:57 | a still image that I can work with later.
| | 02:59 | When I want to stop recording video, I
just press the live view button again, and
| | 03:04 | you can see my light goes out.
| | 03:06 | To record video, you need an SD
card that's class 6 or higher.
| | 03:10 | If your card is too slow, then you might see
an indicator appear over here on this side.
| | 03:16 | It's a little thermometer indicator
that shows how full the buffer is.
| | 03:19 | As long as there's buffer space,
you'll still be able to shoot video.
| | 03:23 | So even if you only have a class 4 or
class 5 card -- this is a class 4 card that's
| | 03:27 | in here now, and you saw that
it was able to shoot video okay.
| | 03:29 | So give it a try even if
you don't have a class 6.
| | 03:32 | Just as with still shooting, I have
my Info button here, which lets we cycle
| | 03:36 | through a number of
information displays, including the level.
| | 03:40 | I also have the quick control button,
which lets me set all of these parameters
| | 03:44 | from the quick control screen,
just as you've already seen.
| | 03:47 | If you're using a stabilized lens, be
aware that once you start recording, the
| | 03:53 | stabilization on the lens will be
turned on, and image stabilization can drain
| | 03:57 | your battery very quickly.
| | 03:58 | If you're on a tripod, you probably
don't need stabilization, so flip the
| | 04:02 | stabilization switch on your lens off. That
will really help you extend your battery life.
| | 04:07 | There is a built-in microphone on the camera.
| | 04:10 | It does pick up camera handling noise.
| | 04:12 | So when you're shooting video, you
want to be very careful about how you're
| | 04:14 | handling the camera.
| | 04:15 | You don't want to bump it,
| | 04:16 | you don't want to turn controls if you
don't have to, because all that stuff can
| | 04:19 | be recorded on the movie's audio track.
| | 04:22 | Focusing and exposure are a little bit
different when you're shooting video, and
| | 04:25 | we are going to cover those in
dedicated movies, but you also want to be
| | 04:28 | careful about camera moves.
| | 04:29 | You don't want to whip the camera into
a pan too quickly, because sometimes you
| | 04:33 | will get what's called a rolling shutter
effect, which makes your image look like
| | 04:36 | kind of a tower of Jello; the top
will pan faster than the bottom.
| | 04:41 | So you need to do a little
experimenting when you're shooting video, and learn
| | 04:44 | kind of what the idiosyncrasies are of
shooting with an SLR, as opposed to the
| | 04:48 | video camera or point-and-
shoot that you might be used to.
| | 04:51 | The critical watch word when
shooting video with your SLR is care.
| | 04:56 | You have to take great care to ensure
that your images are in focus, and this
| | 05:00 | typically means that you can't do the
type of run and gun shooting that you are
| | 05:04 | used to doing with a video
camera, or a point-and-shoot camera.
| | 05:08 | If you're shooting a documentary, or
candid footage of rapidly changing subject
| | 05:12 | matter, then your SLR may not be
the best choice for shooting video.
| | 05:16 | If image quality and creative control
are paramount, though, then it's hard to beat
| | 05:20 | the results that you will get from your SLR.
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| Focusing and menu options| 00:00 | When you're in Movie mode, you get a very
different set of menus than you do when
| | 00:04 | you're in any other mode. You can see I
have got these four different menus here that
| | 00:07 | actually have a little movie camera there.
There are number of options here that
| | 00:10 | you may find useful.
| | 00:11 | First of all, I've got Movie exposure; we're
going to talk about that in the next movie.
| | 00:15 | Auto Focus mode; this is exactly what
you'll find when you're working with the
| | 00:19 | live view Auto Focus modes. I've got
Live mode, which is our default, which is
| | 00:23 | fairly slow, I've got facial
recognition, and I've got Quick mode. We're going to
| | 00:26 | talk more about auto focus in a minute.
| | 00:28 | I can control which button I want to use
for start -- for triggering auto focus.
| | 00:34 | I can change my ISO speed increments. If
I don't like third stop increments, I can
| | 00:38 | go higher, and that kind of thing.
| | 00:40 | Highlight tone priority is another one
that you're probably already familiar with.
| | 00:43 | Movie recording size is a fairly
important option. By default I get 30 frames
| | 00:47 | per second at 1920x1080. That's full HD
resolution; that's going to use up the most space.
| | 00:53 | If I know that my image is not going
out to an HDTV, if I am only going to
| | 00:57 | post it on the Web,
| | 00:58 | I might not want to shoot that much. I
can make my card last a lot longer if I
| | 01:01 | go to a smaller size.
| | 01:03 | I can go to the same resolution at 24
frames per second, which might give me
| | 01:06 | more of a film like frame rate.
| | 01:09 | I can go to 1280x720 at 60 frames per second.
| | 01:14 | And then finally, there is a 640x480
crop at 60 frames per second. Watch what
| | 01:18 | happens when I activate that.
| | 01:22 | Going back into Movie mode, and
basically I'm getting a rectangle of 640x480
| | 01:27 | pixels taken out of the very center of
the frame. So it gives me, effectively, a
| | 01:32 | big zoom on my image.
| | 01:33 | I'm going to switch back, now, to normal
resolution. I'll take a look at the rest
| | 01:37 | of these menu options.
| | 01:39 | Do I want to record sound?
| | 01:41 | I can turn sound off, or control level,
or activate a virtual Wind filter, which
| | 01:47 | can be handy when I'm shooting outside.
| | 01:49 | I've got the Silent shooting, metering
timer, grid displays, and other features
| | 01:54 | from regular live view shooting, so
those are all in there. Let's go back,
| | 01:57 | though, and take a look at focusing.
| | 02:00 | As I mentioned, by default I am in
Live mode focusing, which means that it's
| | 02:04 | analyzing the image that the sensor
is capturing, and that's a fairly slow
| | 02:08 | process. But say, for example, that I'm in
the middle of shooting video, and I want
| | 02:13 | to move the camera in or out,
or my subject moves in or out.
| | 02:17 | At that point, I might want to refocus,
because remember, this camera is not
| | 02:20 | continuously auto focusing like a regular
video camera, or a point-and-shoot camera does.
| | 02:25 | I am going to start recording here, and
watch what happens if I try and focus
| | 02:29 | again in the middle of a shot.
| | 02:30 | First thing you should know is, while you
can use the shutter button to initially
| | 02:34 | grab focus, if you want to auto focus
again while the camera is rolling, you have
| | 02:38 | to use the AF-ON button.
| | 02:40 | So I'm going to press that to ask it
to recalculate focus, and it goes through
| | 02:43 | this whole mess. That's going to
happen any time I press that button.
| | 02:47 | Needless to say, that's not something I
want to see in the middle of the shoot.
| | 02:50 | So auto focusing while
rolling video is a pretty bad idea.
| | 02:54 | If something moves, and you want to try
and follow it, you're going to have to
| | 02:57 | switch to manual focus, and try and rack
focus by turning the focus ring on the
| | 03:01 | camera, and that can take a little practice.
| | 03:04 | The way you tend to shoot video with
this camera is you've either got to know
| | 03:07 | ahead of time where things are going to
be moving, or you've simply got to stop,
| | 03:11 | refocus, and start shooting again if
you want to change the subject to camera
| | 03:15 | distance.
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| Exposure control| 00:00 | You have a couple of different exposure
control options when you're shooting video.
| | 00:04 | By default you're in an Auto Exposure
mode, so when you focus and meter the
| | 00:10 | camera comes up with an exposure, just
as it would when you're shooting a still.
| | 00:13 | And you can see here that my exposure
looks a little dark, so I'm going to use my
| | 00:17 | exposure compensation control, just as
I always would, to brighten the image.
| | 00:21 | Now, here I am at three stops of
overexposure, and you can see that it's
| | 00:26 | brightened up quite a bit.
| | 00:27 | In Video mode, I can actually just keep
going. I can go to four; I can go all the
| | 00:30 | way up to five stops of exposure
compensation, so you can try and brighten or
| | 00:36 | darken your image that way.
| | 00:37 | If you think it's too bright, you can put
in some negative exposure compensation.
| | 00:41 | Notice that it's making a lot
of these changes through ISO.
| | 00:45 | One of the great things about
shooting video with your 60D is you can take
| | 00:48 | advantage of its incredible low light
ability. You can manually set your ISO
| | 00:52 | just as you would when shooting
stills, and be able to shoot video in
| | 00:55 | extraordinarily low light.
| | 00:58 | You also, though, have a manual exposure control.
| | 01:00 | I'm going to set my exposure compensation
back to where it was, and go into the Menu.
| | 01:05 | To get manual exposure control, you
have to change Movie exposure from Auto,
| | 01:09 | to Manual, and now when I do that, I
actually get independent control of
| | 01:15 | shutter speed and aperture.
| | 01:16 | If I change my main dial up here on top,
I'm altering shutter speed. If I change
| | 01:23 | my wheel here on the back, I'm changing aperture.
| | 01:26 | So I can go in and manually dial in
exactly the shutter speed and aperture that
| | 01:30 | I want, and as I do that, it's just like
working in Manual mode, the camera will show
| | 01:36 | me down here whether it thinks
I'm over or under exposed.
| | 01:39 | Now, I'm in Auto ISO right now, so it's
adjusting ISO to keep things properly
| | 01:43 | exposed. I could lock that down
also, and have full manual control.
| | 01:47 | There will be times when you'll
probably want to fiddle with shutter speed to
| | 01:50 | get the motion in your movie
looking the way you want it.
| | 01:53 | If you're shooting sports, you might
want a faster shutter speed. You'll do that
| | 01:56 | at the expense of more stuttery video,
but sometimes that's the way to capture
| | 02:00 | the motion that you need.
| | 02:03 | For most day to day video shooting, just
keeping your exposure options on auto is
| | 02:07 | going to be the way to go.
| | 02:08 | You have still got your exposure
control for brightening and darkening, and the
| | 02:11 | camera is going to do a good job
with picking the ideal shutter speed,
| | 02:14 | aperture, and ISO for you.
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| Movie playback| 00:00 | You can watch movies that you've shot
on the camera itself, complete with audio;
| | 00:04 | there is a little speaker over here.
| | 00:06 | To go into Playback mode, I do just
what I would do in still image mode.
| | 00:09 | I hit the play button, and that takes
me into the Playback mode of the camera.
| | 00:14 | Anything that's on the card that's a
movie is denoted by this little movie
| | 00:19 | camera icon, and notice that
right next to it is a Set button.
| | 00:22 | If I press the Set button on the
camera, I get these playback controls.
| | 00:25 | Now, these are pretty straightforward.
I've got, by default, a Play button. If I
| | 00:30 | press the Set button, then my movie
starts playing. This is a little progress
| | 00:34 | indicator up at the top that
shows where I am in my movie.
| | 00:38 | I can navigate about these controls by
using the left and right arrow buttons,
| | 00:42 | so you can see that I've got a slow-
motion button. I can go back to the first
| | 00:46 | frame; that's basically a rewind button.
| | 00:49 | I can go to the previous
frame, or the next frame.
| | 00:51 | I can jump to the last frame of the movie.
| | 00:53 | And then I've got an Edit button.
This allows me to trim the beginning and
| | 00:56 | ending of the movie.
| | 00:57 | So say, for example, I started rolling,
and then it took a while to get the camera
| | 01:02 | into position, or to get the actors into
position, or I needed to run into the
| | 01:04 | front of the camera, or
whatever; I can trim that off.
| | 01:08 | So I've got the ability to
trim the beginning, or the ending.
| | 01:10 | I am going to pick Cut beginning, and
now this arrow up here highlights. I can
| | 01:15 | jump forward in one second intervals, and
when I get to something that I think is
| | 01:20 | a better start point, I can hit the
Set button, and the beginning of my movie
| | 01:24 | will be trimmed off there.
| | 01:26 | As you move forward and backward with
the editing tool, you're moving one frame
| | 01:28 | at a time, but note that when you
actually perform the edit, the camera will
| | 01:32 | cut at the closest second, so your
edit may not appear in the exact spot that
| | 01:38 | you think it's going to. It's still
enough for a rough cut to lop sloppy
| | 01:41 | beginnings and ends off of your movie. I
can then do the same thing at the ending.
| | 01:45 | Maybe I needed to run back behind the
camera, and that took a couple of seconds,
| | 01:48 | so I'm going to trim the end off. And
then, when I'm done, I can actually watch the
| | 01:54 | edited version, and if I want, I can save that.
| | 01:58 | I can either save it into a new
separate file, so I don't have to lose my
| | 02:02 | original file, or I can just overwrite
the original movie -- it asks me to confirm
| | 02:06 | that -- and destroy the
original with my new edited version.
| | 02:10 | Note also that when you're in Playback
mode, the main dial works as a volume
| | 02:15 | control. This will also work while the
movie is playing; you can adjust volume
| | 02:19 | on the fly, so that's a way to crank
the sound up so that you can hear your
| | 02:24 | movie's audio better.
| | 02:25 | Those are playback controls. They are
very simple, but for reviewing video in the
| | 02:28 | field, they're probably all that you need.
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|
|
14. Customizing Menus and FunctionsCustom modes| 00:00 | By now you should be comfortable
with the idea that different modes leave
| | 00:03 | different decisions up to the camera
allowing you to take more or less control.
| | 00:08 | You've also seen that your camera has
a lot of different features that can be
| | 00:11 | turned on or off within any mode.
| | 00:14 | There might be a combination of
features that you regularly switch on and off.
| | 00:18 | For those instances, you might want to
create a custom mode, which will allow you
| | 00:22 | to immediately activate all
of those features at once.
| | 00:25 | For example, let's say that you've taken to
shooting HDR, or High Dynamic Range images.
| | 00:30 | When you're ready to shoot in HDR, you
set your camera to ISO 100, you put it
| | 00:34 | in Aperture Priority mode, you set
it to f/8, and then you activate Auto
| | 00:37 | Exposure Bracketing, and there you
dial in a three-stop bracket with each
| | 00:41 | exposure spaced one stop apart.
| | 00:42 | That's a lot of configuring.
| | 00:44 | When you're done, you have to go back,
and turn off bracketing, and set ISO back
| | 00:48 | to Auto, and maybe switch
back to, say, Program mode.
| | 00:51 | You can store all of those settings
in a custom mode, so that when you want
| | 00:54 | to shoot in HDR, all you have to do is
switch to that custom mode, and you're configured.
| | 00:58 | When you're done, you can switch
out of that mode, and all of those same
| | 01:02 | settings are deactivated.
| | 01:04 | So let's just do that.
| | 01:05 | Let's build a custom mode that will
configure my camera for HDR shooting.
| | 01:10 | Before we do that, I'm going to hit the
Info button here. I want you to notice
| | 01:13 | right here it's showing that the
Custom mode is currently set to set my
| | 01:17 | camera to Program mode.
| | 01:18 | That's going to change when we're done.
| | 01:20 | So now, all I do is set up my camera
just as I would normally, if I was doing
| | 01:25 | this manually to shoot HDR.
| | 01:26 | First thing I'm going to do is change
to Aperture Priority, because I want to be
| | 01:30 | sure that my aperture doesn't change
across my bracket of shots, so that I don't
| | 01:33 | get a depth of field change.
| | 01:35 | Next I'm going to set the aperture that
I want to use in this mode, and I'm going
| | 01:38 | to dial up to an aperture of f/8.
| | 01:39 | That'll give me good depth of field,
since I'll probably be using this
| | 01:44 | for landscape shooting.
| | 01:45 | Next I'm going to change my ISO.
| | 01:47 | I'm going to bump my ISO up to 200,
because I don't want my overexposed shot to
| | 01:53 | give me a shutter speed that is going
to be too slow for handheld shooting.
| | 01:56 | So that gives me a
little shutter speed latitude.
| | 01:58 | Next, I need do activate Auto Bracketing,
so I'm going to go here into the menu,
| | 02:03 | go to Auto Bracketing, turn that on,
hit OK, and now I've got bracketing set.
| | 02:09 | Finally, I'm going to set Drive mode.
| | 02:11 | I want to be sure that I can just
hold the shutter button down, and get a
| | 02:14 | full burst of shots.
| | 02:16 | So I'm going to set Drive mode, and I'm
going to set it to the high-speed mode,
| | 02:19 | because there may be things moving in my
shot, so I want as little time between
| | 02:23 | the shots in my bracket as possible.
| | 02:24 | So that's a good HDR setup there.
| | 02:27 | Now we just need to store that as a custom mode.
| | 02:29 | I'm going to go into my menu, and zip
over here to the third tool menu, to
| | 02:35 | Camera user settings.
| | 02:37 | I pick that, and I have the option to
register settings, and we'll take that.
| | 02:41 | And it asks me to confirm:
Register Camera user settings to 'C'.
| | 02:45 | In other words, store all of my user settings in
C mode. I'm going to say OK; it says it's Busy.
| | 02:51 | When it's done, I now have a custom mode.
| | 02:53 | There is no real way to tell
that without just giving it a try.
| | 02:56 | So the first thing I'm going to do is
to deactivate all of these different
| | 03:00 | features, so you can see the
difference when I switch into Custom mode.
| | 03:03 | So I'm going to turn off Drive mode,
I'm going to set my ISO back to 100, I'm
| | 03:08 | going to switch back to Program mode,
and finally, I'm going to turn off Auto
| | 03:15 | Exposure Bracketing; just dial that back down.
| | 03:18 | So now you can see, I have no Drive mode,
I have an ISO of 100, and when I meter, I
| | 03:23 | get no bracketing here. And
let's take a look at the Info screen.
| | 03:27 | And now we can see that when I switch
to Custom mode, I'm going to be getting
| | 03:33 | Aperture Priority, rather than Program mode.
| | 03:36 | So let's see what happens here.
| | 03:37 | I'm going to turn my mode dial over to C,
and sure enough, I get all those settings.
| | 03:42 | I have high-speed burst, I have
ISO 200, and I've got bracketing.
| | 03:46 | So now I can just fire off my
bracketed set, and when I'm done, switch back to
| | 03:51 | whatever mode that I want, and all
of that stuff is now turned off.
| | 03:55 | I no longer have burst, the
higher ISO, or my Auto Bracketing.
| | 03:58 | So this is a very speedy way to
immediately activate and deactivate a bunch
| | 04:02 | of settings.
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| Custom menu| 00:00 | By now you've probably discovered that
there are a lot of menu options that you
| | 00:04 | use regularly, but which are
scattered throughout lots of different menus.
| | 00:07 | So for example, maybe you're regularly
changing Quality, maybe you're regularly
| | 00:11 | setting Auto Exposure
Bracketing, because you like to shoot HDR.
| | 00:16 | You're probably very regularly coming
to the Format command to erase your card, and
| | 00:19 | those are spread across three different menus.
| | 00:21 | But way over here on the
right-hand side, I have My Menu.
| | 00:25 | This is a custom menu that appears in
all of the creative zone modes, and I can
| | 00:29 | populate this menu with anything I want.
| | 00:31 | Here's how it works.
| | 00:32 | I select My Menu settings, and this
first command, Register to My Menu, lets me
| | 00:37 | pick commands to go into the menu.
| | 00:40 | This is a long scrolling list of
every menu command the camera has, so I'm
| | 00:44 | going to pick Quality.
| | 00:46 | And it asks me, Register in
My Menu the command Quality;
| | 00:49 | I'm going to say OK.
| | 00:51 | And that one is in there,
and now I can just keep going.
| | 00:54 | So I'm going to scroll around, there's
Auto Exposure Bracketing; I'm going to
| | 00:57 | put that in My Menu.
| | 01:00 | And you can really pick anything
you want. If you regularly change
| | 01:02 | White Balance, maybe you
want to throw that in there.
| | 01:05 | And let's go pick up that Format
command. And these are listed in order, just as
| | 01:10 | they appear throughout the menu structure.
| | 01:13 | So there's Format; I'm
going to put that in there.
| | 01:16 | When you're all done, you hit the Menu
button to go back, so I'm going to say
| | 01:20 | Menu. And I have some other options here:
| | 01:23 | I can sort the commands in the menu, I
can delete items, I can delete all items.
| | 01:27 | I'm going to now just go
back, and here, look at My Menu.
| | 01:32 | I've got Quality, Exposure Compensation
and Bracketing, White balance, and Format.
| | 01:36 | Now, if these are the commands that
I'm using the most, I may never need
| | 01:38 | to leave this menu.
| | 01:39 | They're just all in there.
| | 01:41 | And as you've already seen, any time I
go into the menu system, I come to the
| | 01:46 | last place that I was at.
| | 01:47 | So My Menu is always there, as
long as I never move away from it.
| | 01:51 | So this is a very speedy way to
get access to the commands that you
| | 01:55 | regularly use.
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|
|
15. Using Custom FunctionsWhat are custom functions?| 00:00 | By now you've probably come to
realize that your camera has a lot of
| | 00:04 | functions and features.
| | 00:05 | Many of these functions can be modified and
customized through the use of custom functions.
| | 00:11 | For example, maybe you would prefer
that your Exposure compensation changes go
| | 00:16 | in full stop increments instead of one-
third stop increments, or maybe you want
| | 00:21 | to be sure that the auto focus assist
light doesn't fire, because you're shooting
| | 00:24 | somewhere where that would be disruptive.
| | 00:26 | These are things that you can easily
change through the use of custom functions,
| | 00:30 | allowing you to tailor your camera
to your particular tastes and needs.
| | 00:34 | Custom functions are not available in Auto
mode, nor can you get to them in most Scene modes.
| | 00:39 | You'll need to be in Program, or a
Priority, or Manual mode to get to the
| | 00:43 | Custom functions menu.
| | 00:45 | They're all grouped together right here
in this menu, second to last on the right
| | 00:50 | side, and you can see the Custom
functions are grouped into four groups:
| | 00:53 | Exposure, Image, Autofocus
/Drive, Operation/Others.
| | 00:57 | So I can dig into a group here, and I
can see, in this group, there are seven
| | 01:01 | different custom functions.
| | 01:02 | I can scroll around them using the
rear wheel here, and if there's one that I
| | 01:07 | want to change, say ISO expansion, I
hit the Set button, and that lets me go in
| | 01:12 | and toggle on and off, or
change parameters accordingly.
| | 01:16 | We're not going to cover every custom
function in this course, but you can find a
| | 01:21 | full detailed reference of all of them
starting on Page 252 of your 60D manual.
| | Collapse this transcript |
| Exposure level increments| 00:00 | By now you should know that when you
use Exposure Compensation, this little
| | 00:04 | meter moves one small notch at a time, and
each one of those notches is a third of a stop.
| | 00:09 | So I'm going from as metered, to one-third
stop over, two-third stops over, one stop over.
| | 00:15 | If you would like this display to
be less granular, there's a custom
| | 00:18 | function you can change.
| | 00:19 | If I go in here to the Menu, and go to
the Custom Function menu, and into this
| | 00:24 | first group of Custom Functions, Exposure, the
very first item is Exposure level increments.
| | 00:29 | It defaults to one-third stop, but I
also have an option for one-half stop, so
| | 00:34 | I'm going to change that out there.
| | 00:36 | And now my Exposure Compensation
dial changes in half-stop increments.
| | 00:41 | So watch what happens here: I'm
going to meter, so this is as metered.
| | 00:45 | If I dial it up one, I get
this; both of these highlight.
| | 00:49 | That indicates one half-stop over, and
then up from there is one stop over.
| | 00:54 | In other words, there is now only one
space between each full stop increment.
| | 00:59 | So if you happen to think better
in half-stop increments than third-stop
| | 01:03 | increments, or if you would just like it
to be less space between your full stop
| | 01:07 | increments, this is a very
easy change that you can make.
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| ISO speed setting increments| 00:00 | By now you should be pretty comfortable
with changing ISO, and you've seen that
| | 00:05 | it changes in one-third stop increments.
| | 00:08 | So if I go up one click from 100,
| | 00:10 | I'm at 125. One click from there is
160. One more is the first full stop
| | 00:15 | change, which is 200.
| | 00:16 | A full stop is always a doubling, so
100 to 200 is a full stop, but I've got
| | 00:21 | these two other settings in between.
| | 00:23 | If it's easier for you to think in
full stop increments, if you'd rather not
| | 00:27 | deal with this level of granularity,
you can change the ISO increments in the
| | 00:32 | Custom Functions menu here
in the first set: Exposure.
| | 00:36 | The second custom function is
ISO speed setting increments.
| | 00:39 | It defaults to one-third stop,
but I can change it to one stop.
| | 00:44 | And now when I go to change my ISO, a
single rotation of the dial gets me from
| | 00:49 | 100 to 200, 200 to 400,
then to 800, 16, 32, and 64.
| | 00:56 | So this can be an easier way to think,
particularly if you're coming from a
| | 00:59 | film background where you usually, or
often, only thought about stops in full
| | 01:04 | stop increments.
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| ISO expansion| 00:00 | One of the great things about your 60D
is its incredible ability to shoot in
| | 00:04 | very low light, which you can
achieve by turning up your ISO.
| | 00:08 | By default, you can go all the way up
here to ISO 6400; a speed that would make
| | 00:14 | older film shooters green with envy.
| | 00:17 | Your camera can actually go higher than this.
| | 00:19 | If you go into the menus, into Custom
Function, into the Exposure group, and
| | 00:24 | go to the third custom function, ISO
Expansion, and turn it On, that gets you
| | 00:29 | one more stop of ISO.
| | 00:31 | That's a whopping ISO 12800.
| | 00:35 | So now I can go from 6400 up one
more full stop, which is 12800, which it
| | 00:41 | displays as an H for High ISO;
| | 00:43 | not that 6400 is particularly low.
| | 00:46 | And now I can shoot at a full ISO 12800.
| | 00:49 | Now you maybe thinking, well, why I
can't just by default set ISO to 12800?
| | 00:55 | Why has Canon locked this out into
this custom function? I don't know.
| | 00:59 | My theory has always been that they're
kind of trying to tell you ISO 12800 is
| | 01:04 | really pushing things, and it is.
| | 01:05 | You're going to want to do some tests,
because high ISO is pretty chunky, and
| | 01:09 | there's a lot of noise in it.
| | 01:11 | Try it out, see if you like it.
| | 01:12 | If not, then you're probably going to
want to turn that custom function off, and
| | 01:16 | keep your max ISO at 6400.
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| Safety shift| 00:00 | Consider this scenario:
| | 00:02 | you're in Aperture Priority.
| | 00:04 | you're shooting with a lens
that can open all the way at F2.8.
| | 00:07 | You've dialed in 2.8 on your camera,
which tells your camera to shoot at F2.8.
| | 00:11 | Because you're in Aperture Priority
mode, it knows that it has to calculate a
| | 00:15 | shutter speed that's
appropriate for that aperture.
| | 00:17 | Your camera decides that 1/8000th,
| | 00:20 | its maximum shutter speed, is the only
one that's fast enough to give you a
| | 00:24 | good exposure at 2.8. So there you are,
| | 00:26 | you're shooting away, and then in mid-
shoot, the sun comes out from behind the
| | 00:30 | cloud, which makes your
entire scene much brighter.
| | 00:33 | But because it's Aperture Priority mode,
the camera is not allowed to change
| | 00:37 | aperture, and it needs to cut down the
light, because the sun has just come out,
| | 00:40 | but it's already at its faster shutter speed.
| | 00:42 | Since it can't do anything,
your image will be overexposed.
| | 00:46 | If you enable the Safety Shift Custom
Function, then the camera is allowed to
| | 00:50 | change aperture, even when
you're in Aperture Priority mode.
| | 00:54 | Similarly, it's allowed to change
shutter speed, even when you're in
| | 00:57 | Shutter Priority mode.
| | 00:59 | Activating Safety Shift is very simple.
| | 01:01 | Go into the Custom Functions menu,
into the Exposure group, and it's way over
| | 01:05 | here, number 6 is Safety Shift.
| | 01:08 | I just set it to Enable, and
now Safety shift is turned On.
| | 01:12 | Remember, Safety shift can be
activated in any mode, but it's only going to
| | 01:16 | take effect when I'm in a Priority
mode; either Shutter Priority, Tv, or
| | 01:19 | Aperture Priority, Av. Don't worry;
| | 01:22 | Safety Shift won't be
wantonly changing your aperture.
| | 01:26 | The only time that it will happen are
on those rare occasions when you're kind
| | 01:29 | of up against the wall exposure-wise,
and you're in a Priority mode, and your
| | 01:33 | current priority choice will
result in an over- or under-exposure.
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| Long-exposure noise reduction| 00:00 | When you take a shot with an
exposure longer than one second, there's a
| | 00:03 | chance that you're going to get a very
particular type of noise called long exposure noise.
| | 00:07 | This is the result of pixels
on the sensor getting stuck on.
| | 00:11 | There's a custom function you can enable
that will possibly eliminate this noise.
| | 00:15 | It's here in the Custom Function menu,
in the second group, Image, very first
| | 00:18 | one: Long exposure noise reduction.
| | 00:21 | By default, it's set to Off.
| | 00:23 | If you turn it to Auto, the
camera will automatically look for that
| | 00:28 | specific type of Long exposure noise
reduction any time you're doing a shot over one second.
| | 00:33 | And if so, if it finds it, it will
perform Long exposure noise reduction.
| | 00:38 | You can also just set it to On.
| | 00:39 | When you do this, any shot with a
shutter speed longer than one second will get
| | 00:44 | the Long exposure noise
reduction treatment on it.
| | 00:47 | Now, that Long exposure noise
reduction treatment can take time.
| | 00:51 | On some images, it will take as long as
the original shutter speed that you've used.
| | 00:55 | So if you shoot a 30-second exposure,
it will take 30 seconds to perform the
| | 01:00 | Long exposure noise reduction.
| | 01:01 | So if you're wanting to shoot very
quickly, then you'll want to turn this Off.
| | 01:05 | I personally keep mine set to Auto,
because Long exposure noise reduction
| | 01:08 | does do a good job of eliminating
noise when you're shooting with exposures
| | 01:12 | longer than one second.
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| High ISO speed noise reduction| 00:00 | By now you should have some
experience increasing ISO, and taking shots,
| | 00:04 | and you've probably seen firsthand
how noise increases as you raise ISO.
| | 00:09 | Now, you can very comfortably go up to
ISO 800 on this camera without seeing a
| | 00:14 | really hideous amount of noise.
| | 00:16 | In fact, I regularly shoot at 1600, and am
usually shocked at how little noise there is.
| | 00:22 | Nevertheless, if you're a real
stickler for clean images, you might want to
| | 00:26 | enable High ISO speed noise reduction,
which is a custom function here in
| | 00:31 | the Image group of Custom Functions. It's
the second one: High ISO speed noise reduction.
| | 00:35 | It's got a few different settings.
| | 00:36 | Your camera defaults to Standard.
| | 00:38 | This is an actual post-processing step
that the camera will take, and it does a
| | 00:42 | very good job of reducing noise.
| | 00:44 | If you like, if you don't like your
images manipulated that much, you can set it
| | 00:49 | to Low, which will do less noise
reduction, allowing you to take care of noise
| | 00:53 | reduction yourself in
your post-production process.
| | 00:56 | You can also set it to Strong, which does
even more High ISO speed noise reduction.
| | 01:02 | Strong takes time to process, though, so
this will slow your burst rate down. Or
| | 01:07 | you can turn it off altogether if you
want full control over noise reduction in
| | 01:11 | your image editing software.
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| 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
| | 00:07 | complete detailless white.
| | 00:10 | Underexposure is not as pesky a
problem, because if a shadow underexposes to
| | 00:14 | complete black, it often
just looks like a dark shadow.
| | 00:17 | Highlight tone priority is a
custom function that can dramatically
| | 00:20 | reduce overexposure.
| | 00:22 | Consider this image, which has
badly overexposed highlights.
| | 00:26 | Now here's the same image shot with
Highlight tone priority turned on.
| | 00:30 | Note that the overexposed
bits now have detail in them.
| | 00:33 | For JPEG shooters, Highlight tone
priority can mean the difference between
| | 00:36 | usable shots and overexposed rejects.
| | 00:39 | Now, as with many really, really good
things, there is a price to pay for using
| | 00:43 | Highlight tone priority.
| | 00:45 | While your highlights will be better
exposed, there's a chance that your shadows
| | 00:48 | will have more noise in them.
| | 00:49 | For this reason, Highlight tone
priority defaults to being turned off.
| | 00:53 | For the most part, it's best to
try to control overexposure through
| | 00:57 | better exposure choice; dialing
down your exposure with Exposure
| | 01:00 | Compensation, for example.
| | 01:02 | But if you're in a situation where
you need to shoot quickly, or if you're
| | 01:05 | shooting something bright white, like a
wedding dress, then dialing down exposure
| | 01:09 | is a drag, because the
bright white thing will go dingy.
| | 01:12 | In those situations, Highlight
tone priority can be a real lifesaver.
| | 01:15 | To activate Highlight tone priority,
just go to the Custom Function menu,
| | 01:19 | into the Image group.
| | 01:21 | It's the third custom function,
and it's simply an Enable switch.
| | 01:25 | Notice, though, that when I turn on
Highlight tone priority, a couple of things happen.
| | 01:29 | First, I get this little D+ indicator
here on my display to remind me that
| | 01:35 | Highlight tone priority is turned on.
| | 01:37 | This will also appear in the viewfinder.
| | 01:38 | But also, my minimum ISO is now 200.
| | 01:42 | I can't go lower than 200.
| | 01:45 | So if you were really hoping to
shoot at 100, you need to turn Highlight
| | 01:48 | tone priority Off.
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| AF-assist beam firing| 00:00 | When your camera doesn't have enough
light to autofocus, it will shine some
| | 00:04 | light into your scene using
this autofocus assist light here.
| | 00:08 | This is also what it flashes
when you're doing red-eye reduction.
| | 00:11 | If it's not appropriate to be shining
a bunch of extra light in your scene,
| | 00:15 | maybe you don't want to disturb the
people you're shooting, maybe you're trying
| | 00:18 | to shoot sneaky, maybe you're
shooting in a museum, or a performance, or
| | 00:21 | something, you can turn that
Off with a custom function.
| | 00:24 | I'm going here into my Custom
Functions menu, into Autofocus/Drive, and the
| | 00:31 | fourth option is AF-assist beam firing.
| | 00:34 | By default it's enabled.
| | 00:36 | If I want, I can disable it.
| | 00:38 | I can also tell it to only enable if
I'm using an external flash, and that will
| | 00:43 | use the external flash as a focus
assist, instead of this light up here.
| | 00:47 | A lot of external flashes have an
infrared assist being built into them, so I
| | 00:52 | can say, if I have an external flash
attached that has that feature, only use
| | 00:58 | that for autofocus assist.
| | 01:00 | In general, you'll probably want to
keep it enabled, as it is handy when you're
| | 01:02 | shooting in low light.
| | 01:03 | You'll just want to turn it
off on a case-by-case basis, when
| | 01:06 | it's inappropriate.
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| Mirror lockup| 00:00 | When you're shooting a long exposure
image, you want to be very careful that the
| | 00:03 | camera does not shake.
| | 00:04 | So typically you put the camera on a
tripod; maybe you use a remote control.
| | 00:09 | There's another way to reduce camera
shake, and that's to lock up the mirror.
| | 00:12 | What that means is when the mirror is
locked up, the mirror will flip up so
| | 00:17 | that it's not going up and down during my shot,
and that can reduce some camera vibration.
| | 00:20 | I'm here in Custom Functions, in
Autofocus/Drive, the third group.
| | 00:25 | The very last custom function in
this group is Mirror lockup.
| | 00:28 | I have Disable, and Enable,
so I'm going to Enable it.
| | 00:30 | Now the way I use this is I focus and
frame my shot as normal, but when I press
| | 00:36 | the button, you notice the
camera sounded much different.
| | 00:39 | All it did at that point was flip the mirror up.
| | 00:41 | To actually take a shot, I
need to press the button again.
| | 00:46 | That took the shot, and then lowered the mirror.
| | 00:49 | So now that I'm all done, I want to
be sure to turn Mirror lockup back Off,
| | 00:54 | because next time I take my shot, I
don't want to have to -- if I'm not doing a
| | 00:57 | long exposure, I don't want to have to
hassle with that whole two button process.
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| The AF and Metering buttons| 00:00 | As I've been discussing at length,
when you're ready to take a shot, you
| | 00:03 | frame your shot, and then half-
press the shutter button to begin the
| | 00:06 | autofocus and metering process.
| | 00:08 | Once the camera has achieved focus, and
taken a meter reading, it will beep at
| | 00:13 | you, and show a little circle in the viewfinder.
| | 00:15 | At that point, you can then press the shutter
button the rest of the way to take your shot.
| | 00:19 | You can change this
behavior with a custom function.
| | 00:21 | If I go in here to the menus, and go to
the Custom Function menu, to the fourth
| | 00:26 | group, Operation/Others, the very first
custom function here is AF and metering buttons.
| | 00:32 | This lets me separate the autofocus
and metering process, and spread them out
| | 00:36 | amongst multiple buttons;
| | 00:37 | the shutter button, the Autofocus ON
button, back here, and the Exposure Lock button.
| | 00:42 | The idea here is that I can separate the
metering process from the focusing process.
| | 00:48 | This can be handy for times when I want to
focus in one location, and meter in another.
| | 00:52 | The way this works is I click to
activate this little field here, this number
| | 00:58 | field here, and now I can just start
cycling through the nine different options
| | 01:01 | that there are for this customization.
| | 01:05 | So number 1 is -- well, by default, I'm
on number 0 which is a normal behavior.
| | 01:10 | Number 1 is that the shutter button
becomes metering start, and the AF ON button
| | 01:16 | becomes meter and autofocus.
| | 01:18 | In other words, the shutter button
becomes just a metering button, and the AF
| | 01:22 | ON button becomes what my shutter button
normally is, which is it does both of those functions.
| | 01:27 | AE lock stays the same.
| | 01:30 | The second option gives me shutter
button as Metering start, changes AF ON to be
| | 01:36 | my lock, and changes this button to
behave as the shutter button normally does.
| | 01:41 | Of course, you still have to press
the shutter button to take a picture.
| | 01:44 | Let's take a look at one more.
| | 01:46 | Here I get shutter button to lock
exposure, AF ON to meter and start focus.
| | 01:52 | In other words, this becomes just like
my shutter button normally is, and AE
| | 01:56 | lock stays what it normally is.
| | 01:58 | So there's a bunch more options here.
| | 02:00 | You can cycle through until you
find a combination that you like.
| | 02:03 | So this is a way, again, to
separate autofocus from metering.
| | 02:08 | Another way of doing that, of course,
is to use the button as we've been
| | 02:11 | describing, and work with AE lock.
| | 02:13 | So there are a lot of ways of
achieving this same functionality.
| | 02:16 | So you might just want to dig through
here, and see if there's an option that
| | 02:19 | makes more sense to you.
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| Clearing all custom functions| 00:00 | When we started this course, I had you
reset your camera to factory defaults,
| | 00:03 | which resets everything on the camera
back to its original factory settings.
| | 00:08 | There is also a way that you can reset
only the custom functions, which can be
| | 00:11 | handy if you've been fiddling with lots
of custom functions, and you want to be
| | 00:14 | sure they're back to normal.
| | 00:15 | Just go to the Custom Functions menu,
and go all the way down here the bottom to
| | 00:19 | Clear all Custom Functions.
| | 00:20 | Hit set, it asks you to confirm, and
when you do, all custom functions are set
| | 00:25 | back to the factory default settings.
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16. Caring for Your CameraCamera and sensor cleaning| 00:00 | Basic maintenance of your camera
is pretty intuitive. Don't drop it;
| | 00:05 | don't bang it in to things.
| | 00:06 | 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 how the camera
cleans its own sensor, but there are some
| | 00:16 | other built-in sensor cleaning options.
| | 00:18 | In the Sensor cleaning command, in
the second tools menu, you get a few
| | 00:22 | different options here.
| | 00:23 | First of all, Auto cleaning.
| | 00:25 | This is the whether the camera cleans its
sensor when you turn it on and off feature.
| | 00:30 | I can just enable or disable that.
| | 00:33 | By default it's enabled, and I recommend
that you leave it there, because it does
| | 00:35 | a good job of cleaning things.
| | 00:37 | Nevertheless, if you do find that
you're seeing some spots in your image, and
| | 00:41 | you want the camera to shake itself off, or
give it a try to shake itself off hit Clean now.
| | 00:45 | When I do that it asks me to confirm.
| | 00:47 | I say OK, and it goes through its
sensor cleaning scheme there, and you will
| | 00:52 | hear it doing some things.
| | 00:53 | Down here at the bottom
you've got Clean manually.
| | 00:57 | This is something you'll only use
if you have sensor cleaning gear.
| | 01:00 | When you activate this, the camera flips
its mirror up to give you access to the
| | 01:04 | sensor with your fancy cleaning gear.
| | 01:06 | If you don't have that stuff, this is
something you should probably stay away
| | 01:09 | from, because you don't want the
mirror up if it doesn't need to be.
| | 01:11 | So for the most part, you will just
leave this set on Enable, and if you find
| | 01:15 | some dust, you will hit the Clean now button.
| | 01:17 | If that doesn't take care of it,
then you'll need to look into more
| | 01:20 | serious sensor cleaning.
| | 01:23 | The camera's built-in cleaning is very
effective, but there will be times when
| | 01:27 | your sensor gets dust that the
built-in cleaning can't remove.
| | 01:30 | In Foundations of Photography:
| | 01:31 | Lenses, I cover how to
clean your camera's sensor.
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| Battery info| 00:00 | Your 60D can give you some
interesting information about its own battery.
| | 00:04 | If you go into the Menu, to the third
tool menu, the first item is Battery Info,
| | 00:09 | and it gives me this little
status page about the battery.
| | 00:13 | LP-E6 is the type of battery that this
camera uses, so if you ordering a new
| | 00:16 | one, you want to look for that.
| | 00:18 | Right now it's saying I have 84%
charge remaining in this particular charge.
| | 00:23 | I have taken 26 pictures with this camera.
| | 00:25 | This is a very valuable piece of
information if you ever want to sell your camera.
| | 00:29 | A lot of people will ask you how many
shutter actuations there have been; they
| | 00:34 | just mean how many pictures have you taken.
| | 00:36 | Recharge performance is just a simple
little three dot scale to give you an idea
| | 00:40 | of how well the battery
is continuing to recharge.
| | 00:43 | As this goes down, you know
your battery's wearing out.
| | 00:46 | So if you are getting ready to go on an
extended trip, and you've got one bar over
| | 00:49 | here, you might want to invest
in a new battery before you go.
| | 00:53 | Canon sells, of course, their own
batteries, and their manual will say that's the
| | 00:57 | only kind you should use.
| | 00:59 | There are third-party batteries that are
much cheaper, while Canon will tell you, oh,
| | 01:03 | you are going to blow up
your camera if you use these,
| | 01:05 | I've used them before, and never had any trouble.
| | 01:07 | So you might want to shop around for
batteries before you buy any extras.
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| Operating conditions and temperatures| 00:00 | When you first get a new piece of gear,
you are, of course, very careful with it,
| | 00:04 | and proud 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
| | 00:13 | get over trying to keep it all pristine,
you will be more likely to take it into
| | 00:17 | more shooting conditions.
| | 00:18 | The 60D manual lists the working temperature
range as 32 to 204 degrees Farenheit --
| | 00:27 | that's 0 to 40 degrees Celsius --
in 85% humidity or less.
| | 00:29 | While it's a good idea to
follow these guidelines,
| | 00:32 | I've also gone beyond them,
and never had any problems.
| | 00:35 | I am not saying that you can
absolutely go into extreme heat or deep cold and
| | 00:40 | not have issues, but my experience is
that that specified temperature range is a
| | 00:44 | little conservative.
| | 00:45 | Fortunately, the camera will begin to
exhibit certain symptoms when you start
| | 00:49 | pushing the limits of its temperature range.
| | 00:51 | If you're in extreme heat, the camera
will show you the temperature warning
| | 00:55 | icons that we discussed earlier, and
the LCD screen on the back might start to
| | 00:59 | discolor, or turn dark.
| | 01:00 | Of course, the camera can look
after itself pretty well in hot weather.
| | 01:03 | If it's too hot it will just
simply refuse to do anything.
| | 01:06 | In cold weather, your LCD screen might start to
discolor, or exhibit a really slow refresh rate.
| | 01:11 | It will look kind of sluggish.
| | 01:13 | If this starts to happen, just turn it off.
| | 01:14 | In fact, go ahead and flip the screen
back around so that it's no longer visible.
| | 01:19 | Cold weather will also reduce your battery life.
| | 01:21 | Don't worry, there won't be any
permanent damage, but you may find that your
| | 01:24 | battery goes dead quicker in cold whether.
| | 01:26 | If it does lose its charge, take it out
of the camera, and put it in your pocket
| | 01:30 | or against your body.
| | 01:32 | If you warm it back up, you may be
able to coax a few more shots out of it.
| | 01:35 | One of the biggest problems with cold
weather is when you take your camera back indoors;
| | 01:40 | a sudden warming of the camera can cause
condensation to form inside the camera,
| | 01:44 | which can mess up your viewfinder.
| | 01:46 | If you've been out shooting in sub-
freezing temperatures for a while, put the
| | 01:49 | camera in a ziplock bag, and seal
it before you come back inside.
| | 01:54 | Leave it in the bag for a while,
while the temperature equalizes, before you
| | 01:57 | take it out and use it.
| | 01:59 | Water and electronics typically don't
mix very well, but just because it's
| | 02:02 | raining doesn't mean
you should stop shooting.
| | 02:04 | Light rain or splashes on the outside
of the camera won't hurt anything, so
| | 02:08 | don't use a little rain as
an excuse to stay inside.
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| Firmware updates| 00:00 | Your camera is a piece of hardware,
of course, and it comes with editing
| | 00:05 | software that you install on your computer.
| | 00:08 | Somewhere between the hardware and
software is firmware: software that runs on
| | 00:14 | the computer inside your hardware.
| | 00:17 | The firmware in your camera is what
controls all of the cameras functions and
| | 00:21 | operations, and occasionally,
Cannon will update that firmware.
| | 00:25 | The firmware in your camera is what
controls all of the cameras' functions and
| | 00:28 | operations, and occasionally Canon
will update that firmware, and you can
| | 00:31 | download firmware updates from their Web site.
| | 00:34 | Before you do that, you need to know
what version of the firmware you're running
| | 00:37 | in your camera. And if you go into the
menuing system, you can find that over
| | 00:41 | here in the third tools menu, just
right down at the bottom, it tells you this
| | 00:44 | camera is currently running Firmware
version 1.1.0, so if you go to their
| | 00:48 | Web site and find something newer than
that, you know that you need to update.
| | 00:53 | To find out if there's a newer
firmware version, go to www.canonusa.com, and
| | 00:59 | click on Consumer & Home Office on the
top toolbar, then click on Cameras, and
| | 01:05 | then Digital SLR Cameras. Click on EOS
60D, and finally, Drivers & Software.
| | 01:12 | If there's a firmware update
available, you'll see a Firmware section;
| | 01:16 | from there you can download the
firmware, and instructions for installing.
| | 01:21 | Installation is a simple process, so
don't be afraid to keep your camera's
| | 01:24 | firmware up to date. In addition to
fixing problems, and possibly improving
| | 01:28 | performance, you might also
occasionally get entirely new features.
| | 01:32 | If you're in a different country, then
you may go through a different Web site to
| | 01:36 | get to the same Firmware section,
but firmware updates should be released
| | 01:40 | globally for all 60D users.
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ConclusionGoodbye| 00:00 | You should now have a pretty good idea about
what all those buttons and dials on your camera do.
| | 00:05 | Of course, understanding what they do,
and being comfortable with using them, are
| | 00:07 | two different things.
| | 00:09 | Now you need to take that understanding out
in the field, and practice with your camera.
| | 00:13 | To be adept at shooting with your 60D;
| | 00:14 | you'll need to know all the controls
by touch and feel, and the best way to
| | 00:18 | get that is practice.
| | 00:19 | So turn off your computer, and
get out there and start shooting.
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