IntroductionWelcome| 00:04 | Hi, My name is Ben Long.
| | 00:06 | 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
| | 00:17 | features, and in those instances, you
need to know how to adjust your camera
| | 00:21 | to get good results.
| | 00:22 | In this course, we'll cover all of the
critical features of your Canon Rebel T3i.
| | 00:27 | The features that any beginning to
intermediate shooter will need to know.
| | 00:31 | Among many other things, you'll see
what the Rebels different modes do, how you
| | 00:35 | can alter and tweak those modes, how to
shoot video using the cameras amazing HD
| | 00:40 | video features, how to customize the
camera to make it easier to use for your
| | 00:44 | particular shooting tasks, and how to
use the cameras various Exposure controls
| | 00:48 | to correct exposure while you shoot.
| | 00:50 | Now this is not a photography course.
| | 00:52 | We won't be going in detail into
exposure theory and the other fundamentals of
| | 00:57 | photography, but we will give you
reminders about specific terms and processes,
| | 01:02 | and tell you when it's a good idea to
go watch an additional lynda course that
| | 01:05 | might help with the fundamentals.
| | 01:07 | This course, combined with a couple of
other course, will provide you with
| | 01:11 | a full photo curriculum, one
built around your specific camera.
| | 01:15 | This means you can learn photography
in terms of the specific buttons and
| | 01:19 | controls on your exact camera.
| | 01:21 | So get your camera close to hand as
we delve into the particulars of the
| | 01:25 | Canon Rebel T3i.
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| What is an SLR?| 00:00 | All cameras have at least one thing
in common, they have a lens that sits in
| | 00:04 | front of a focal-plane.
| | 00:06 | On that focal-plane is a recording
medium either a piece of light sensitive film
| | 00:10 | 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 onto 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 and looking through the lens, how
is there a room for you to look through
| | 00:32 | the 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 so
| | 00:44 | that you can look through your lens to
line up the shot, and then you put the
| | 00:47 | recording medium back on.
| | 00:49 | Needless to say this doesn't make
for 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 is just one lens, a
single lens, and both you and the recording
| | 01:29 | medium look through that same lens.
| | 01:32 | To make that happen, there
are a lot of mirrors involved.
| | 01:35 | So my image sensor is back here,
and my viewfinder is up here, and
| | 01:39 | obviously here is my lens.
| | 01:40 | Light comes in here.
| | 01:42 | It needs to get back to the image
sensor back here when I finally take the
| | 01:46 | picture, but it needs to get up here
for me to be able to have any kind of
| | 01:49 | viewfinder, and that's where
all these mirrors come in to play.
| | 01:53 | First of all, there is a
mirror directly behind the lens.
| | 01:56 | I'm going to take the lens off
here and you can actually see it.
| | 01:59 | There is a mirror right inhere.
| | 02:02 | Now when I press the shutter button that
mirror flips up, that's the reflex part
| | 02:07 | of SLR, and with the mirror up, light
can then get straight back to the image
| | 02:13 | sensor that's behind the shutter.
| | 02:15 | In this video right here you can see
in slow motion that shutter button being
| | 02:19 | pressed and then the mirror popping up,
the shutter opening and closing and then
| | 02:24 | the mirror coming back down.
| | 02:26 | So when the mirror is down like it is
here, light is bouncing up here into
| | 02:30 | this pentamirror that's up here and going
back out to the viewfinder where I can see it.
| | 02:34 | When I press the shutter button, the
mirror comes out of the way, so that light
| | 02:37 | can go straight back to the image sensor.
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| How to use this course| 00:00 | I divide the teaching of
photography into two major categories of
| | 00:03 | instruction, 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 to
| | 00:16 | 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're
basically that button pushing skills,
| | 00:32 | knowing how to focus, knowing how to
configure your camera for a particular
| | 00:36 | types of light, how to ensure that
your image is bright enough that you've
| | 00:40 | captured 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
and in this course we'll be assuming a
| | 00:52 | certain level of understanding
of basic 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 in an
additional lynda.com course.
| | 01:16 | We'll put up graphics anytime there is 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 will 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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|
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1. Getting to Know Your Canon Digital 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 parts of a camera.
| | 00:12 | Taking it from the top I have my
Shutter button, my main dial, which I use for
| | 00:16 | menu navigation and configuring parameters.
| | 00:19 | I have ISO, and display button, my mode
dial, Power switch, mounts for attaching
| | 00:26 | the camera strap, and a hot-shoe
for attaching an external flash.
| | 00:30 | On the back, I've got Exposure Lock and
Focus Point Selection, Live View, button
| | 00:37 | for activating the menus for getting
into the cameras menuing system, which I'll
| | 00:41 | use for configuring lots of different
commands, Info button is going to give me
| | 00:45 | a lot of different information, both in
playback and shooting mode, and my main
| | 00:48 | Instrument cluster here.
| | 00:50 | Now we're going to go over
all of these controls in detail.
| | 00:53 | These are the controls that we'll use for
driving most of the cameras major functions.
| | 00:57 | And then of course I've got my LCD
screen and on the Rebel the LCD screen has
| | 01:00 | this cool thing where it's articulated.
| | 01:02 | I can rotate it around, get it into
different angles for different types of
| | 01:06 | shooting, close it against the camera to
protect it, or fit it flush against the
| | 01:10 | back of the camera for
typical kind of regular shooting.
| | 01:14 | Moving around to the side of the camera,
I can see that I've got a couple of
| | 01:20 | different ports here under
these two different doors.
| | 01:23 | I have my AV Digital out and my HDMI port.
| | 01:27 | And so that's where I would
attach a monitor or a computer.
| | 01:31 | Under the other door I have remote
control and microphone, there's smaller
| | 01:37 | little ports in there.
| | 01:38 | These doors are sturdy, but they are
held on by just that one little bit, so do
| | 01:42 | try to be a little careful with them.
| | 01:43 | You have to really mash them
in to get them closed sometimes.
| | 01:48 | Moving on around the camera, I have
my lens release button, depth of field
| | 01:56 | preview, button for popping
up the camera's built-in flash.
| | 02:00 | Now there are some controls on my lens,
but we're going to discuss those in a
| | 02:03 | separate lens movie.
| | 02:05 | Moving around to this side, I have my
Autofocus Assist Light which also works
| | 02:10 | for red-eye reduction.
| | 02:11 | We'll be discussing that later.
| | 02:13 | This is an Infrared Receiver that's
used for some infrared remote controls,
| | 02:17 | that is wireless remote controls, and
then of course, around on this side I have
| | 02:23 | the slot for my media card, and
underneath I have the battery, and we'll be
| | 02:28 | looking at those separately.
| | 02:29 | So that's a kind of grand overview of
the buttons and dials on your camera.
| | 02:34 | Again, don't worry about
remembering all of that.
| | 02:36 | We're going to be looking at these
in detail throughout this course.
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| Attaching a lens to your camera| 00:00 | One of the great advantages of an SLR is
that you can change the lens on the camera.
| | 00:04 | This affords you a tremendous amount
of flexibility and power, because you
| | 00:09 | can select a focal length or a focal
length range that's ideally suited to
| | 00:13 | your subject matter.
| | 00:14 | You can also attach specialized
lenses, such as fisheye's, and
| | 00:17 | tilt/shift lenses, or macros.
| | 00:19 | Changing the lens is very easy on the Rebel.
| | 00:22 | Your camera should have
come with the body cap on it.
| | 00:24 | If you don't have a lens on the
camera, you want to keep this on here.
| | 00:27 | This protects the sensor.
| | 00:28 | Sensor is just right inside
there, so that just screws off.
| | 00:31 | Similarly, my lens on the camera end has a cap,
in addition to the lens cap on the other side.
| | 00:36 | I want to take that off and that just unscrews.
| | 00:39 | Now the thing with these caps is I'm going
to put them back on the lens at some point,
| | 00:44 | so I don't want to just take this and
stick it in my pocket, because it's going
| | 00:46 | to get covered with lint
and all sorts of other stuff.
| | 00:49 | Whenever I put that back on the lens,
all that lens going to be transferred to
| | 00:53 | there, and then eventually
that can go right into my sensor.
| | 00:56 | So if you take these two caps you can
just screw them together and now that's
| | 01:00 | all sealed up, and I can't put this in
my pocket for a while, in my camera bag
| | 01:04 | would be a better thing.
| | 01:05 | Keeping this end of the lens clean is
the best way to prevent the dust from
| | 01:10 | getting on your sensor, dust that
can appear in your final images.
| | 01:14 | So I've got a white dot on this lens
right here and there is a white dot here on
| | 01:19 | the ring on the camera here, and if I
just line those up and then turn, there is
| | 01:24 | a click as the lens goes into place.
| | 01:27 | I can press this release button and come back
this way and then pull off to take the lens out.
| | 01:32 | Now there is also a red dot here
that's because Canon makes two different
| | 01:36 | categories of lenses that work with this camera.
| | 01:39 | Lenses that have a white dot
on them are called S lenses.
| | 01:42 | This is a 18-55 EFS.
| | 01:45 | That's a lens designed specifically
for a camera like the Rebel that has an
| | 01:49 | image sensor that's smaller
than a piece of 35 millimeter film.
| | 01:53 | If I have a camera that has an image
sensor that's the same size as a piece of
| | 01:57 | 35 millimeter film, then I can only
use lenses that have a red dot on them.
| | 02:03 | With this camera, I can use either.
| | 02:05 | So if I have a lens with a red dot, I would
just line that up there and then screw it in.
| | 02:09 | So attaching the lens is very, very simple.
| | 02:11 | Caring for the lens is also pretty easy, again,
just make sure that this doesn't get dusty.
| | 02:16 | If you ever find that your Autofocus
is not working, or something, check out
| | 02:19 | these contacts right here,
make sure they're clean.
| | 02:21 | That's the little gold or
brass looking bits right there.
| | 02:25 | They line up with these contacts down here.
| | 02:27 | You can just clean those off with a Q-tip.
| | 02:29 | There are instructions for that in the manual.
| | 02:31 | So I'm going to put the lens on now,
twist it into place, and I'm ready to go.
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| Batteries and media cards| 00:00 | Your camera has needs.
| | 00:02 | It needs power, needs a place to store images.
| | 00:05 | Usually it gets its power from a
rechargeable battery and it stores its images
| | 00:09 | on a removable media card.
| | 00:11 | Now the battery in your Rebel T3i can be
recharged with the included power supply,
| | 00:16 | you just snap the battery in here.
| | 00:18 | The good news is the battery
only goes in the right way.
| | 00:20 | There are these contacts
on this side of the battery,
| | 00:23 | they need to match up with those
contacts right there, so you just push the
| | 00:26 | battery in like that and snap it down.
| | 00:28 | There should have been a cable, a
power cord included with it, put that in
| | 00:32 | there, plug it into the wall.
| | 00:33 | When it's charging, the
Charge light will light up.
| | 00:35 | When it's finished, it will light up
the Full light, then you're ready to take
| | 00:39 | it back out and put in your camera.
| | 00:42 | To get it into the camera, you just go
to the battery door on the bottom side of
| | 00:46 | the camera right here.
| | 00:47 | There is a little switch on that you have to
flip, and then you just pull the door open.
| | 00:52 | Like the charger, the battery only goes
in the right way, and there is actually
| | 00:55 | a little diagram here to show you how it
goes, but the contacts go first and you
| | 01:01 | just slide it in like that and push it,
until it clicks, this little switch down
| | 01:05 | here grabs on to the battery.
| | 01:06 | So if the battery comes out of the camera,
it's because you didn't push it far enough.
| | 01:11 | So shove it all the way in
there, and then close the door.
| | 01:14 | To get the battery back out, you have
to obviously open the door, and then you
| | 01:18 | need to pull this little switch, and
the battery will come shooting out.
| | 01:22 | You can then grab onto it, pull it the
rest of the way and recharge it or get
| | 01:25 | another battery in there.
| | 01:27 | To insert the media card, you just go
right around the corner to this door right
| | 01:31 | here, pull it towards the back of
the camera and then swing it out.
| | 01:34 | Like the battery, the media card only
goes in the right way and there's a little
| | 01:38 | diagram to show you.
| | 01:39 | One corner of the card is chopped off,
so that corner goes towards the top of
| | 01:44 | the camera and the label of the card
goes towards the front, but don't worry.
| | 01:47 | It actually won't go in the wrong way.
| | 01:50 | So you just push it in and like the
battery you push it until it clicks and stays.
| | 01:55 | If it comes popping back out,
you didn't push it in far enough.
| | 01:58 | And then the door just closes and snap shot.
| | 02:01 | To get the card out, don't just pull it
out, and in fact, you are going to have
| | 02:05 | a hard time doing that because there's
not really any room to grab on, instead
| | 02:08 | you push on the card and it comes popping out.
| | 02:11 | Now it's basically let go of it,
so you can grab on and pull it out.
| | 02:15 | Now these cards are pretty fragile.
| | 02:17 | You have got to be careful with them.
| | 02:18 | If you bend them, if you flex them, which
is easy to do if you pull it out in an angle.
| | 02:22 | If you do that, the case can split open.
| | 02:24 | It won't necessarily damage the actual
recording medium that's inside the case,
| | 02:28 | and you can very often just match the
case back together, maybe even glue it
| | 02:32 | with a teeny bit of model airplane glue
or plastic epoxy, just be sure that you
| | 02:37 | don't get any inside on
the actual recording medium.
| | 02:40 | So there we go, my camera has
got a battery and a media card.
| | 02:43 | It's ready to start shooting.
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| Powering up| 00:00 | It may seem strange to devote an entire
movie to turning your camera on, but a
| | 00:06 | 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.
| | 00:18 | If that happens, you will see smudges
and spots and things on your images.
| | 00:24 | There is a clear filter in front of
the image sensor in your camera, so dust
| | 00:28 | never actually gets on the sensor
itself but gets on that filter instead.
| | 00:32 | When you turn the camera on, it
shakes that filter at very high speed to
| | 00:37 | shake off any dust.
| | 00:38 | There is 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 | You've probably spotted
the power switch already.
| | 00:53 | It's this Of/On thing right here,
the switch next to the mode dial.
| | 00:56 | Just switch it to the On position.
| | 00:58 | You won't see much happen.
You may see this red light, light up.
| | 01:01 | This is the Read/Write activity light,
so anytime the camera is reading or
| | 01:06 | writing to the card, it will light this up.
| | 01:08 | Now at power-up, it's not actually
writing any data to the card, but it does
| | 01:11 | check to see that it's there, so
that's why we were getting a little activity
| | 01:14 | there. And obviously the LCD screen
lights up, and we will be looking in great
| | 01:18 | detail at what the various
things are that happen on the screen.
| | 01:22 | If you are not using your flash a lot
and if you're not using the LCD screen a
| | 01:27 | lot--maybe you are reviewing images
after every shot, doing a little bit of
| | 01:30 | image review but not sitting around
watching it a whole lot--you ought to be
| | 01:33 | able to get about 1600 shots off of
a fully charged brand-new battery.
| | 01:38 | That will go down over time as the
battery starts to wear out, but believe me
| | 01:41 | that's a tremendous amount of
shooting off of a single charge.
| | 01:44 | This camera is very
economical in its battery use.
| | 01:48 | Something else that happens that you
didn't see was that the sensor cleaned
| | 01:51 | itself, and that same thing
happens when you switch the camera off.
| | 01:55 | But when you do that, it actually tells you
that it's cleaning the sensor for a little bit.
| | 02:00 | Something else to know: the sensor
cleaning does take a little while, but if you
| | 02:04 | switch the camera on and half-press
the Shutter button, it immediately stops
| | 02:08 | cleaning the sensor.
| | 02:09 | So that means you don't have to wait
for the sensor to finish doing something
| | 02:12 | before you can take a shot.
| | 02:13 | Don't worry about the sensor cleaning.
| | 02:15 | It will just be there doing its
thing, and it will stay out of your way.
| | 02:18 | As you will see later, there are some
settings you can adjust to change how
| | 02:23 | sensor cleaning works.
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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 are going to
reset yours to the factory defaults.
| | 00:13 | This can also be a handy thing to do if
you ever sell your camera, I suppose you
| | 00:16 | could also do it if you get your camera
so messed up that you can't figure out
| | 00:20 | why it's doing a particular thing, but
at that point I would encourage you to
| | 00:23 | really try to figure out why it's
doing what it's doing so that you can
| | 00:25 | 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 | You access the Reset command through
the menuing system and since this is our
| | 00:37 | first time going into the menus, we are
going to take a quick look at how they work.
| | 00:41 | This is the menu button right here, press
that and the camera's menuing system comes up.
| | 00:45 | The menuing system is divided
into a number of different menus.
| | 00:49 | I've got six of them right here,
| | 00:50 | they are what these little tabs are up here.
| | 00:52 | And as you can see there are different
colors and they had different icons on them.
| | 00:55 | That's because menus are
grouped into categories.
| | 00:58 | I can move from one menu to another
using the left and right arrow keys.
| | 01:01 | So I can see that I have two Shooting menus,
| | 01:04 | those are the ones with the little camera on it.
| | 01:06 | I have two Playback menus or Play menus,
| | 01:09 | those are the ones with a little Play
button like you will find on a DVD player.
| | 01:12 | I have two tool menus,
| | 01:14 | those are the ones with
little tool on it, little wrench.
| | 01:16 | And so I can move back and forth
that way and within a particular menu,
| | 01:20 | I can use the Up and Down
arrows to move up and down.
| | 01:25 | I can also change from one menu to
another by turning the dial up here and then
| | 01:30 | still move around within the
menu with the Up and Down arrows.
| | 01:34 | Now there are no menus that contain
more than one screen full of items.
| | 01:39 | So every screen full shows you
everything that's on that menu.
| | 01:43 | You don't need to worry about well do I
need to know and scroll down a bunch to
| | 01:46 | find what I am looking for.
| | 01:47 | If you don't see it on any
of these menus it's not there.
| | 01:50 | Now bear in mind, that you get a
different number of menus depending on
| | 01:54 | what mode you're in.
| | 01:56 | We're in Auto mode right now
which shows just these six menus.
| | 01:59 | I am going to switch to Program mode
which you should do also by turning the
| | 02:02 | mode Dial Up here to P, and the screen
tells me that I've switched to Program AE
| | 02:08 | mode, and then it doesn't take me back
to the menu unfortunately, so I have got
| | 02:12 | to press the menu button to get back there.
| | 02:14 | Now I've got a whole bunch of extra menus.
| | 02:15 | I have got extra Shooting menus, I
have got extra tool menus and I have this
| | 02:18 | extra green menu out here which
we'll look at later in this course.
| | 02:21 | So I am going to go over here through my
menus, to the tools menu because I know
| | 02:26 | that factory reset is part of the
toolset and I don't see it here.
| | 02:30 | I don't see it here, but
it is here, Clear Settings.
| | 02:34 | So I am going to navigate down.
| | 02:36 | Now to trigger a menu item, I hit the
Set button, the bottom right here in the
| | 02:40 | middle of my control pad, and that
takes me to the Clear Settings menu.
| | 02:44 | I've got a few different options.
| | 02:45 | I can Clear all camera settings.
| | 02:47 | I can Clear only Custom Functions and
we are going to devote a whole chapter
| | 02:51 | to Custom Functions so you will learn all
about those, or I can cancel back out of here.
| | 02:54 | If I cancel, then nothing will happen
and it will take me back to my menu system.
| | 02:58 | I want to go to Clear all camera settings,
| | 03:01 | hit the Set button to select
that and now it asks me to confirm.
| | 03:04 | I can use the left and Right arrow buttons to
move from one button to another. Hit Set to say OK.
| | 03:10 | Takes it a minute to clear all
out its settings and now it's done.
| | 03:12 | It puts me back on this page.
| | 03:14 | If I hit the menu button, I
go back up the menu system.
| | 03:18 | So the menu button is your way
of going backwards in the menu.
| | 03:21 | If I hit any other control on the
camera such as half-pressing the Shutter
| | 03:24 | button, it takes me out of the
menu system and I'm ready to shoot.
| | 03:28 | One thing you should know about the menu
system, I can always get out of it very
| | 03:31 | quickly just by half-
pressing the Shutter button.
| | 03:34 | What you need to be careful about
though, is if I'm in the middle of doing
| | 03:38 | something and we'll be
looking at this command later.
| | 03:41 | If I'm in the middle say of setting
Auto Exposure Bracketing, and I hit the,
| | 03:45 | half-press the Shutter button.
| | 03:48 | It didn't actually take that command.
| | 03:50 | That was basically the same thing as a
cancel, so be very careful with that.
| | 03:53 | When you're trying to set
something you actually hit the Set button.
| | 03:56 | Those are the menus.
| | 03:57 | We are going to be into great
detail into them throughout the rest of
| | 04:00 | the course.
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| Setting the date and time| 00:00 | Your camera has a clock and calendar in it.
| | 00:03 | Every time you take a picture the date
and time are stored 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, but
for that to work you have to have the
| | 00:24 | camera's clock set properly.
| | 00:26 | Also, if you travel you will 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 | Setting the clock is done through the
menu system, so I am going to hit the
| | 00:35 | menu button to get into my menus, and I am just
going to scroll over here to the tools section.
| | 00:40 | Most of these utility kind of
functions are going to be in one of these tools
| | 00:43 | menus, and sure enough right here,
and the second one is Date/Time.
| | 00:47 | Hit the Set button and it shows me
its current Date and Time settings.
| | 00:51 | And this is pretty simple.
| | 00:52 | I use the Left and Right arrow to pick
the number I want to change, and then
| | 00:57 | I hit the Set button to select it and the
Up and Down arrow to make a change to it.
| | 01:02 | So it's pretty simple.
| | 01:03 | I can work through all these,
| | 01:04 | set the date, then set the time.
| | 01:05 | I can also tell it what date format I
want, month-day-year or year-month-day,
| | 01:10 | day-month-year, however I want to do it.
| | 01:13 | When I am all done I come down here to
the OK button and hit the Set button to
| | 01:18 | select, and then I got my Date and Time set.
| | 01:21 | Note that if the battery and the
camera dies and stays dead for a long time,
| | 01:26 | that can mess up the clock and
require you to reset the date and time.
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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 walk
| | 00:13 | into your hotel and say
"peripheral illumination correction."
| | 00:16 | When you first turned on your
camera it should've asked you for your
| | 00:20 | language preference.
| | 00:21 | So you'll probably never need to change
this, but if you do you're here its how.
| | 00:25 | You'll find the Language function in
the same menu where Date and Time was.
| | 00:29 | I am here in second tools menu and there
is just this option that says Language.
| | 00:32 | One thing that's nice about it as
it has a little icon next to it,
| | 00:35 | a little cartoony guy with a speech
balloon, because after you've changed the
| | 00:38 | language to something that you can't
read this may be your only way to find
| | 00:42 | your way back to it.
| | 00:43 | So I just select that and hit Set and
it gives me this big menu of all the
| | 00:47 | different languages that the camera speaks.
| | 00:49 | I can pick the one that I want,
hit OK, and now my menus has changed.
| | 00:53 | So I'm just going to set that right back
to English and that will be the end of that.
| | 00:57 | Again, this is probably not something
that you'll ever need to do once you've
| | 01:01 | initially set the language of the camera.
| | 01:03 | But if you accidentally change it,
this is where it is and this is how to
| | 01:06 | get back to it.
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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 a very important that you
choose Format to do this rather than using
| | 00:26 | the cameras Erase or Delete function.
| | 00:28 | Repeated use of those functions can
leave your card unreliable and result in 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
| | 00:54 | learn exactly where it is.
| | 00:56 | It is of course in the menuing systems.
| | 00:58 | So I'm going to hit my menu button to
bring up the menus and work my way over
| | 01:02 | to the tools section.
| | 01:04 | Most of these utility type functions
are in one of the tools menu and sure
| | 01:07 | enough here in the first tool
menu third item down I get Format.
| | 01:10 | So I'm going to scroll
down to Format and hit Set.
| | 01:14 | Immediately, I get a big warning
Format card All data will be lost!
| | 01:18 | And I get a little thermometer that
shows how much of my card has been used and
| | 01:22 | I've an option here called Low Level Format.
| | 01:24 | We'll get to that in a second.
| | 01:25 | To format the card I would simply go
over here choose the OK button and hit the
| | 01:29 | Set button and that would set about formatting.
| | 01:32 | Low Level Format is a much grislier
formatting option and to activate it there
| | 01:37 | is a little trashcan next to it.
| | 01:39 | So I know that that means that I just
hit the trashcan button and that checks it.
| | 01:43 | Low level format will take longer.
| | 01:45 | It's something you'll use if you ever
notice that your card seems to be slowing down.
| | 01:50 | If it's taking longer to read and write data
from it, might be time to do a Low Level Format.
| | 01:54 | Honestly, I have never encountered that.
| | 01:56 | I've never had to do that.
| | 01:57 | I usually get along just
fine by doing a normal format.
| | 02:00 | So I'm going to turn that off by
hitting the trashcan button again and hit OK
| | 02:05 | and it gives me a little progress indicator.
| | 02:07 | When it's done I'm back to my menuing system.
| | 02:09 | Now that went very quickly, because it
didn't actually erase any data from the card.
| | 02:13 | It just reset the part of the card
that says whether there are pictures there
| | 02:17 | and where on the card they are.
| | 02:19 | That means that if I accidentally format,
it is possible to use special software
| | 02:25 | to go and recover the images.
| | 02:27 | This is the same sort of thing you can
do with your hard drive at home, although
| | 02:29 | you don't want to use the same file
recovery software that you use on your
| | 02:33 | computer's hard drive.
| | 02:34 | You want to use some special software
designed specifically for recovering
| | 02:39 | photos from a camera media card.
| | 02:41 | I use something called
PhotoRescue by DataRescue.
| | 02:44 | That's the format command
you'll be using very regularly.
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| Holding the camera| 00:00 | I suppose there is no real wrong way to
hold a camera, but there are definitely
| | 00:03 | better ways to hold a camera.
| | 00:05 | Proper camera handling will
allow you to shoot more stable shots,
| | 00:09 | it'll keep you from getting tired, it'll
keep you from getting sore, and it will
| | 00:12 | help you ensure that you
don't damage your camera.
| | 00:14 | Now an SLR is a little bit different
than holding a point and shoot, because
| | 00:17 | it's this weird shape and it's kind of
heavy and if you got a big lens on it, it
| | 00:20 | might be weighted strange, but holding
a camera is actually, an SLR camera, is
| | 00:23 | actually very simple.
| | 00:24 | You take your left-hand and
you set the lens in it like this.
| | 00:28 | So I've got my thumb and my forefinger
around the lens and if you look I've got
| | 00:32 | the back of my hand supporting
the bottom of the camera over here.
| | 00:35 | So this is pretty stable.
| | 00:37 | But what's really making it stable is my elbow.
| | 00:39 | Notice my elbow is up against my side.
| | 00:41 | It's tucked into my body here.
| | 00:43 | This makes a really sturdy
platform that's really going to help me
| | 00:46 | prevent camera shake.
| | 00:48 | My right-hand goes around the camera
grip over here on the right side and that
| | 00:52 | positions me just fine to have my index
finger right there on the Shutter button
| | 00:56 | and I can easily get back here to this
dial which is very critical for making
| | 01:00 | changes while I'm shooting.
| | 01:01 | But again notice my elbow.
| | 01:03 | Over here I got my right
elbow tucked into my sides also.
| | 01:06 | So I've got both elbows tucked into my side.
| | 01:08 | I am kind of forming a little
tripod here with my hand and my arms and
| | 01:11 | it's very, very stable.
| | 01:13 | Now the next thing to remember is that
your hands do go all the way to your face.
| | 01:17 | So rather than putting the camera up
here and going like this and crunching my
| | 01:20 | neck in, take the camera all the way up
to your eye, having my neck like this is
| | 01:25 | again much more stable than sticking it out.
| | 01:27 | It's also going to keep it from
getting sore and tired particularly if I'm
| | 01:30 | carrying a big heavy camera
bag on my shoulder all day long.
| | 01:33 | So elbows at my side, camera right up
to my face, and I've got a very, very
| | 01:38 | stable shooting platform here.
| | 01:40 | Now, if I want to switch and start
shooting portrait orientation, that is
| | 01:45 | vertically, again I keep my elbows at my
side rather than doing this which blows
| | 01:50 | all that nice stability that I had.
| | 01:52 | Turn the camera this way and now
my elbows are still at my side.
| | 01:56 | I have now switched so that the bulk of
the way to the camera is supported by my
| | 02:00 | right-hand and my left-hand is
stabilizing things, but still I can just shoot
| | 02:04 | away with no problem and I've got
this very, very stable position.
| | 02:08 | When you press the Shutter
button remember to squeeze it gently.
| | 02:10 | Don't hold your breath when
you're pressing the button.
| | 02:12 | A lot of people think, well, it will
be more stable if I hold my breath like
| | 02:16 | this and it that really doesn't work too well.
| | 02:18 | So this posture is going to keep you
from getting tired, it's going to let you
| | 02:22 | hold the camera really steady, and
it's going to give you much better chance
| | 02:24 | that you're not going to drop the camera,
because you got two hands on it in a
| | 02:27 | really sturdy position.
| | Collapse this transcript |
|
|
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
decision is a better way to go because
| | 00:13 | it allows you to shoot more quickly
while at other times you'll want control
| | 00:17 | over some decisions to ensure that
you get the type of shot that you want.
| | 00:21 | You change modes simply
by turning this mode dial.
| | 00:24 | If you've been working through this
course in order we've already changed modes
| | 00:28 | a couple of times while
we were looking at menus.
| | 00:30 | Let's go over exactly
what's on the mode dial here.
| | 00:33 | First there is Auto mode and I know
what mode I'm in because the thing on the
| | 00:37 | dial here lines up with that
little white line right there.
| | 00:39 | So the green box with an A
and it is Intelligent Auto mode.
| | 00:43 | We will be talking about all
these modes in more detail later.
| | 00:46 | P is Program mode which does a
little bit less than Auto mode.
| | 00:51 | TV stands for Time Value, although most
people refer to this as Shutter Priority mode.
| | 00:57 | This gives you a little more manual control.
| | 01:00 | AV is Aperture Value.
| | 01:01 | We will be referring to that as
Aperture Priority mode as most people do.
| | 01:05 | M is full Manual mode.
| | 01:08 | It gives you the maximum amount of
manual control and actually you probably
| | 01:13 | won't be spending a lot of time there
and we will explain why when we get more
| | 01:16 | into these different manual modes.
| | 01:19 | A-Dep is a special mode for trying
to ensure that you can get the deepest
| | 01:23 | depth of field possible.
| | 01:24 | That is to have as much in
your image in focus as possible.
| | 01:28 | This is something that you might
use if you're landscape shooter.
| | 01:31 | So this is one half of the mode dial
where in we're increasingly getting more
| | 01:36 | manual control as we go
with the exception of A-Dep.
| | 01:39 | The other half brings us a
different kind of approach.
| | 01:42 | First there is this mode which is a
little flash icon with a line through it.
| | 01:46 | This is basically Auto mode, but
without allowing any flash to happen.
| | 01:51 | Then we've got Creative Auto mode which
gives you a little bit more control than
| | 01:55 | normal Auto mode with an
interface that's very easy to use.
| | 01:57 | Then we get into Scene modes.
| | 02:00 | Each of these is a Scene mode and we're
going to be discussing these in detail.
| | 02:03 | Then finally the little
video camera is Movie mode.
| | 02:07 | That's for shooting using
the camera's HD video features.
| | 02:11 | Now if the camera is active that is if
I've got controls up here on my screen,
| | 02:17 | my camera was powered on.
| | 02:19 | It has dozed off, which is
why the screen went black.
| | 02:21 | I just half-press the Shutter
button and all the stuff came up.
| | 02:24 | When it's active and I change modes
it shows me this little mode change
| | 02:28 | animation, and tells me a little
hint about what that mode can do.
| | 02:32 | So here I can see that Shutter
Priority lets me adjust shutter speed to make
| | 02:36 | moving object looks still
or capture more motion blur.
| | 02:40 | So that's a nice little hint that will
remind you what that particular mode does
| | 02:44 | and that stays up for a while.
| | 02:46 | That little screen there is
interruptible as soon as I half-press the Shutter
| | 02:50 | button it goes away.
| | 02:51 | So you don't have to wait for this stuff
to go away before you can start shooting.
| | 02:55 | In fact, if you find this to
be annoying you can turn it off.
| | 02:59 | I am going to go into the menu here and
look for something called Feature guide
| | 03:05 | which is right here.
| | 03:06 | By default, it's enabled.
| | 03:07 | I can disable it, and it will hide that feature.
| | 03:10 | Now when I change modes nothing happens.
| | 03:13 | It just goes to that mode.
| | 03:15 | Feature guide also disables a couple
of other hints that are scattered around
| | 03:18 | the camera and because I want us to see
those as we go long I'm going to turn my
| | 03:22 | Feature guide back on.
| | 03:24 | As you use the camera you may decide
that you don't want those extra little
| | 03:27 | hints to appear on screen.
| | 03:30 | In Auto mode the camera will choose
all exposure settingS, shutter speed,
| | 03:33 | aperture, ISO as well as to the white
balance and whether or not to fire the flash.
| | 03:38 | If it thinks you need the flash then
it will automatically pop it up when you
| | 03:42 | half-press the Shutter button to meter.
| | 03:44 | In Auto mode you won't have access to
program shift, exposure compensation, or
| | 03:48 | many of the other controls that we will
talk about later, but you will be able
| | 03:51 | to select the file format
that you want to shoot in.
| | 03:54 | Auto mode basically gives you a
snapshot camera albeit a very good one.
| | 03:58 | While you may think that Auto mode is
inherently a compromise, the fact is that
| | 04:02 | the auto features on your camera are
very good and will probably make the right
| | 04:06 | choice 80% to 90% of the time.
| | 04:08 | When and how to use it will become
apparent as you learn more about exposure and
| | 04:12 | about the camera's other shooting modes.
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| The viewfinder display| 00:00 | As we've discussed, one of the great
advantages of an SLR is that you actually
| | 00:04 | look through the same
lens that exposes the sensor.
| | 00:08 | This gives you a very accurate
viewfinder and it allows you to have a very
| | 00:11 | bright clear view of your scene.
| | 00:13 | Your Viewfinder also provides you
with a tremendous amount of status
| | 00:16 | information as we'll see.
| | 00:18 | Now in the Rebel, the viewfinder
eyepiece cover here is removable.
| | 00:22 | You just squeeze the edges
and pull it out like this.
| | 00:25 | This allows you easier access for
cleaning the viewfinder eyepiece and it allows
| | 00:30 | you to swap in other covers.
| | 00:32 | You can get an eyepiece cover that comes out
farther to give you a more shaded viewfinder,
| | 00:36 | you can also get a right-angle
eyepiece which can be useful if you're doing
| | 00:39 | macro work, down low, things like that.
| | 00:41 | To put it back on, you just
slide it back into place here.
| | 00:45 | Now, on the top of the
Viewfinder is the diopter control.
| | 00:48 | If you wear glasses, you might be able
to adjust the diopter to compensate for
| | 00:52 | your prescription which will let
you shoot without your glasses on.
| | 00:55 | Now, I say might, because if your eyes
are too bad, you won't be able to adjust
| | 00:59 | the diopter far enough to get the
Viewfinder back to full sharpness.
| | 01:02 | Note that it's possible to
bump the diopter control.
| | 01:05 | So if you ever think, well, my camera
just really isn't auto-focusing very well,
| | 01:09 | check the diopter and make sure
that it's set to No Correction.
| | 01:12 | You can tell when it's set this way,
because there's this extra flat part on
| | 01:17 | the edge of the knob.
| | 01:17 | You want that to line up with
the middle line between the +/-.
| | 01:22 | Now, when you look through the Viewfinder,
you'll see a number of focusing spots
| | 01:25 | superimposed over your images.
| | 01:27 | These spots light up when you auto-
focus to indicate where the auto-focus
| | 01:31 | mechanism has chosen to focus.
| | 01:33 | The big circle here in the middle of the
Viewfinder shows the size of the spot meter.
| | 01:37 | Now below the Viewfinder
are a lot of status readouts.
| | 01:40 | These let you know certain things
about the camera state such as when
| | 01:43 | you've locked in focus.
| | 01:44 | But more importantly, they let you keep
track of your current Exposure Settings.
| | 01:47 | So from left to right,
you'll find the AE Lock Light,
| | 01:52 | That's Auto Exposure Lock Light which
lets you know when you've locked the
| | 01:55 | exposure using the Exposure Lock button.
| | 01:58 | The Flash Ready Light indicates when the
flash is charged and ready to fire, and
| | 02:02 | flash charging begins as
soon as the flash pops up.
| | 02:06 | The High-Speed Flash Sync Light
shows when you're set for high-speed
| | 02:09 | syncing with your flash, while the FE Lock
Light shows when you've locked flash exposure.
| | 02:15 | Flash Exposure Compensation lights up
when you've dialed in any amount of Flash
| | 02:20 | Exposure Compensation.
| | 02:22 | Next comes the shutter speed readout.
| | 02:24 | Now normally this will only show a
single number which represent the denominator
| | 02:27 | of the shutter speed.
| | 02:28 | So if you're shooting at say 1 1/25th
of a second, you'll see 125 here,
| | 02:33 | a 4 will indicate 1/4th of a second.
| | 02:36 | But once you drop below a quarter-of-a
-second, the display will change to a
| | 02:39 | seconds and fractions of a second readout.
| | 02:42 | So if you see this, then you're
shooting at 1 and 1/3rd seconds.
| | 02:46 | If you see this, then you're
shooting a 15-second exposure.
| | 02:51 | To the right of the shutter speed
readout is the aperture display.
| | 02:54 | This is simply the current F number.
| | 02:56 | The Exposure Level
Indicator serves a few functions.
| | 02:59 | In most modes, it shows the amount of
exposure compensation that you've dialed in.
| | 03:04 | Each of the numbers represents one full
stop, and by default, the lines between
| | 03:09 | each number are a third of a stop.
| | 03:11 | Positive Exposure Compensation is to
the right, negative is to the left.
| | 03:15 | Note that you can actually dial in more
than two stops of exposure compensation
| | 03:19 | than the display shows.
| | 03:21 | When you do, the Compensation Indicator
will scroll up the scale, and a little
| | 03:25 | arrow will appear to indicate that your
compensation has gone beyond two stops.
| | 03:29 | As you change Exposure Compensation,
the shutter speed and aperture displays
| | 03:32 | will update to show the new exposure values
that your Exposure Compensation has defined.
| | 03:37 | When you're shooting in Manual mode,
that same exposure level readout works
| | 03:41 | more like a light meter.
| | 03:42 | when the indicator is at 0, then the camera
is telling you that you've got a good exposure.
| | 03:47 | If the indicator goes above or below 0,
then the camera is indicating that you
| | 03:51 | have over or under-exposure.
| | 03:53 | Now you're still free to use
any settings that you want.
| | 03:56 | The readout is just there to let
you know that the camera thinks that
| | 03:59 | the metering is off.
| | 04:01 | Next comes the ISO Indicator, which
simply gives you a readout of your
| | 04:04 | current ISO Settings.
| | 04:05 | If you're coming to digital directly
from film, you may wonder why in the world
| | 04:09 | would you want to have a
constant display of ISO?
| | 04:11 | But remember with a digital camera, you
can change ISO on every shot which makes
| | 04:15 | it a third exposure
parameter that you have control over.
| | 04:19 | Directly beneath the ISO label is
an indicator that shows that you
| | 04:22 | activated Highlight Tone Priority which
you'll learn about in the Custom Functions chapter.
| | 04:27 | Next comes an indicator that shows if
you've dialed in any White Balance Shift
| | 04:30 | and below that is an indicator that
shows whether you've activated the
| | 04:34 | Monochrome Picture Style.
| | 04:37 | The Max Burst indicator just shows you
a number, and that number tells you how
| | 04:41 | many pictures the buffer can hold.
| | 04:43 | As you shoot quickly, that number will go
down, indicating that the buffer is filling up.
| | 04:47 | If the number gets to 0, the camera
will stop shooting until it's had time to
| | 04:52 | empty out the buffer, at which point the
number will slowly go up as the buffer empties.
| | 04:57 | The buffer can hold more JPEGs than
RAWs, so the maximum number will vary
| | 05:02 | depending on which format you're using.
| | 05:04 | Finally, on the very right side
is the Focus Confirmation Light.
| | 05:09 | When you half press the shutter button
to focus, this circle will light up to
| | 05:13 | indicate that the camera
has metered and locked focus.
| | 05:17 | Now, please don't worry about
remembering all of this stuff right now.
| | 05:20 | Exposure Settings are the critical
readouts that you need to understand right now.
| | 05:24 | The other status options and lights
will become obvious as you learn about
| | 05:28 | those specific features.
| | Collapse this transcript |
| The LCD screen| 00:00 | On the back of my camera, I've
got this nice big 3 inch LCD screen.
| | 00:04 | You've already seen how it
can flip out, and move around.
| | 00:07 | When I'm in Auto mode, it gives me
some fairly simple status information.
| | 00:10 | I can see first of all that I'm in Auto mode.
| | 00:12 | Next, it tells me what the
camera is controlling in Auto mode;
| | 00:16 | Auto-focus, Brightness, Flash, Color
Tone, those are all set according to what
| | 00:21 | the camera figures out
from its analysis of my scene.
| | 00:24 | I get some other simple
status information down here.
| | 00:26 | I get a Battery Readout.
| | 00:29 | I have a fully charged battery.
| | 00:30 | I'm shooting in JPEG mode at best
quality, and I can also see that I've got
| | 00:35 | approximately room for 482 shots on my card.
| | 00:40 | This little square here indicates
that I'm shooting Single Shot mode.
| | 00:43 | When I press the shutter button,
it's only going to take one shot.
| | 00:46 | If I want, I can change that to a
Burst mode by either pressing this button
| | 00:50 | right here, and this gives me some other
options that we'll look at later, or by
| | 00:55 | pressing the Q button, I get to the same menu.
| | 00:58 | That's really the only thing that I can
control in here other than Image Formatting
| | 01:02 | and we'll look at Image Format later.
| | 01:04 | Other than that, I don't get a lot of
status information because Auto mode is
| | 01:07 | meant to be a fully automatic mode.
| | 01:08 | If I want more control, I'll switch to
a different mode, and when I do that,
| | 01:12 | I'll start seeing more status
information on here and we'll cover that when we
| | 01:15 | talk about each of those modes.
| | 01:17 | Now, the screen can be kind of bright when
you've got your eye up to the Viewfinder.
| | 01:21 | You will be able to see this out of the
bottom of your eye and particularly if
| | 01:24 | you're shooting in low light,
it can be kind of blinding.
| | 01:27 | So when you half press the shutter
button to take a shot, the screen actually
| | 01:31 | goes off to save your eye.
| | 01:33 | So sometimes when you're trying to
compose, if the screen is bothering you, just
| | 01:37 | press the shutter button in half way,
and that'll turn the screen off giving you
| | 01:40 | the chance to compose.
| | 01:41 | Once you've figured out what your
shot is, you may want to let go of the
| | 01:44 | shutter button and then half press it
again to get the camera to meter and
| | 01:47 | focus, but just know that you can turn
the screen off and on by half pressing
| | 01:52 | the shutter button.
| | 01:53 | Also, if you're shooting self-portraits,
you may want to know that when you flip
| | 01:57 | the screen out and face it forward like
this, the image on the screen reverses.
| | 02:02 | You get a mirror image.
| | 02:03 | So this image that's pointed that way
now looks correct to whoever is looking
| | 02:07 | at it from over here.
| | 02:07 | So again this is good for self-
portraits or even just for portrait shooting, if
| | 02:11 | you want your subject to be able to
see exactly the framing that you've got.
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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.
| | 00:11 | You still have to use it properly
to get good results and you can learn
| | 00:16 | everything you need to know about how
to get good results with auto-focus in my
| | 00:20 | Foundations of Photography Exposure course.
| | 00:23 | For right now, there are just a few simple
things you need to know about auto-focus.
| | 00:26 | First of all for auto-focus to work
at all, you've got to be sure that the
| | 00:30 | auto-focus switch on your camera's
lens is set to AF, not MF, MF is Manual
| | 00:35 | Focus, and we'll be
looking at that in detail later.
| | 00:38 | Second, it is critical, always critical
that when you go to use your auto-focus
| | 00:42 | mechanism, you don't just mash the
button down all the way to take a picture.
| | 00:46 | You simply press it halfway.
| | 00:48 | And look what happens, a
lot of things went off here.
| | 00:51 | First of all, the camera
auto-focused and it beeped.
| | 00:53 | You may not have been able to hear that,
| | 00:55 | we'll get back to that in a second.
| | 00:56 | It also took a light meter reading of my
scene and decided that it needed the flash.
| | 01:02 | So because I'm in Auto mode it
automatically popped up the flash that won't
| | 01:05 | happen in many of the other
modes we're going to look at.
| | 01:07 | I'm going to half press again, and you
should have heard the beep that time and
| | 01:11 | maybe you even heard the
camera focusing a little bit.
| | 01:14 | What also happened was inside the
Viewfinder, the Focus Confirmation Light lit up.
| | 01:18 | So what's going on here is I half press.
| | 01:20 | It meters me at my scene, it auto-
focuses, then it beeps, and it shows me a
| | 01:24 | little light inside the Viewfinder.
| | 01:26 | That indicates that okay, I'm focused.
| | 01:28 | I have my meter reading. I'm ready to go.
| | 01:30 | Now, I can press the button the
rest of the way to take the shot.
| | 01:33 | If I just come in and mash the
button down all the way, a whole lot of
| | 01:38 | things have to happen and there is
a little bit of a delay before the
| | 01:40 | picture is actually taken.
| | 01:42 | In this case, that's not a problem
because my subject isn't moving,
| | 01:44 | but if this was a person moving around
or any kind of scene that was changing
| | 01:48 | rapidly, I might miss that moment that I want.
| | 01:50 | So I always half press, let everything lock
into the place, then press the rest of the way.
| | 01:55 | This is a critical auto-focus technique that
you have to just learn to do instinctively.
| | 02:00 | You can't even think about it.
| | 02:01 | So you need to practice that if
you don't already understand that
| | 02:04 | auto-focus mechanism.
| | 02:06 | We're going to learn some ways that
you can alter the auto-focus mechanism
| | 02:10 | later in the course.
| | 02:11 | I want to go over one, quick one right
now though, and that is if I go into my
| | 02:15 | menu, the second item in the
first shooting menu is Beep.
| | 02:19 | I can tell it to disable.
| | 02:21 | That means now, when I half press the
shutter button, when it auto-focuses, I'll
| | 02:26 | see a light inside the Viewfinder.
| | 02:27 | I won't hear that beep.
| | 02:29 | If I was shooting in a concert or a
performance or maybe in a museum somewhere,
| | 02:32 | that's a way of silencing the camera
which is a good idea if you're shooting
| | 02:35 | somewhere where that beep might be distracting.
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| Lens controls| 00:00 | You're probably already familiar with
the controls on your lens and for the most
| | 00:03 | part, they're very straightforward.
| | 00:05 | But let's take a quick look at them.
| | 00:06 | First of all, I have a zoom ring.
| | 00:08 | This is how I zoom in and out.
| | 00:10 | I also have a manual focus
ring for manually focusing.
| | 00:13 | On your lens, these may be in different places.
| | 00:15 | They may be in reversed order,
| | 00:16 | they may be different sizes.
| | 00:18 | I have an Auto Focus manual switch.
| | 00:21 | We will be looking at that in detail
that allows me to go from Auto Focus
| | 00:24 | to manually focusing.
| | 00:25 | As I have all these numbers here.
| | 00:27 | In this case, this ring of numbers tells
me the Focal Length that I have dialed in.
| | 00:32 | That white line right there shows
me which focal length I've chosen.
| | 00:36 | That's 24 mm, for example.
| | 00:38 | And again, this ring may be in a
different place on your camera, might have
| | 00:41 | different numbers on it
depending on the lens that you're using.
| | 00:44 | You might also have an additional ring
of numbers that have to do with focus and
| | 00:48 | how far you're focused.
| | 00:49 | In addition to this Auto Focus Manual
Focus switch, you might have some other
| | 00:53 | switches related to Image
Stabilization, if your lens has a Stabilization
| | 00:57 | feature and those will probably be labeled IS.
| | 01:01 | Finally, your lens probably has threads
out here on the end for attaching filters.
| | 01:06 | We are not going to talk about filters in
this course, but that's what those are for.
| | 01:10 | As I said, all of this may be different
on your lens, but any lens that you get
| | 01:13 | is going to have some
combination of these features.
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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 and meter, if your camera
| | 00:09 | decides that there's 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.
| | 00:22 | I am here in Auto mode.
| | 00:24 | I am going to half-press the Shutter
button and there it goes, the flash is
| | 00:27 | popped up because the camera has decided
that we need some extra light in our scene.
| | 00:32 | Now bear in mind, this is not only
going to happen in low light situations.
| | 00:36 | Same thing might happen in bright
daylight and you'll see more about why that
| | 00:39 | happens when we talk about
Fill Flash later in this course.
| | 00:43 | If I push the Flash back down, let's
say I decide well I don't really want
| | 00:46 | flash in this shot.
| | 00:47 | I can push it back down but when I
press the Shutter button again, it's going
| | 00:50 | to pop back up again.
| | 00:51 | So in Auto mode, if the camera has
decided it needs to use the flash, it's going
| | 00:55 | to use the flash and there's
nothing you can do about that.
| | 00:58 | However, right next to Auto mode, you
can see right here there's a little flash
| | 01:01 | with a line through it.
| | 01:02 | If I switch to this, I still get all
of my normal Auto mode features, but now
| | 01:07 | the flash will stay off.
| | 01:08 | So I am going to half-press the Shutter
button and now the flash does not pop-up.
| | 01:13 | So that's a way out of the automatic
flash if you're in a place where it's
| | 01:17 | not appropriate, or you don't want
flash, otherwise you are not going to have
| | 01:20 | any control over it.
| | 01:21 | And you'll learn more about what you
can use the flash for, when we talk
| | 01:24 | about Fill Flash later.
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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 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.
| | 00:18 | When an image pops-up for image review,
there are a number of things that I can do.
| | 00:22 | First of all, if I don't like the
image I can hit the Delete button, that
| | 00:25 | pops-up a Delete menu.
| | 00:26 | I can go over here to Erase and hit
Set and there goes the image and I am
| | 00:31 | right back to shooting.
| | 00:32 | I can also, if I want, do something
that you are going to learn little bit
| | 00:35 | more about it later.
| | 00:36 | I can pull up metadata displays.
| | 00:39 | These are displays of
Information about the image.
| | 00:42 | They're good for diagnosing
problems and things like that.
| | 00:44 | We will be looking at that in detail later.
| | 00:47 | Notice that when I'm in Image Review,
once I have pressed a button to do
| | 00:52 | something the image does not time out.
| | 00:54 | I have really now got
time to sit and look at it.
| | 00:56 | If I press another camera button though,
that takes me right back into whatever
| | 01:01 | function that button is, so I just
pressed my Drive mode button and it brought
| | 01:05 | up my Drive mode menu.
| | 01:06 | This is a shooting priority philosophy.
| | 01:09 | When I am reviewing the image,
anything I do is going to get the camera back
| | 01:13 | ready to shoot doing what it would normally do.
| | 01:15 | This is going to help me
ensure that I don't miss a shot.
| | 01:19 | Now I can change that image review time
by going into the menu, going here to my
| | 01:24 | first Shooting menu and
right here is Image Review.
| | 01:26 | It defaults to 2 seconds.
| | 01:28 | If I want I can make it to 4 or 8
seconds, or I can set it on Hold, that means
| | 01:32 | it will just pop-up and not go away
until I press the camera control, or I can
| | 01:37 | turn it off altogether.
| | 01:39 | This can be great if you are shooting
in a dark room and you don't want to
| | 01:41 | disturb other people like at
a performance or a concert.
| | 01:45 | This is also a good thing to employ to
break yourself of the habit of Chimping.
| | 01:49 | Chimping is that process where you shoot
an image and you immediately look at it.
| | 01:52 | It's okay to review an image from time
to time if you think that maybe there
| | 01:56 | was a problem that you want to look for,
but if you spend all your time looking
| | 01:59 | at the back of the camera, you might
miss something in the scene that you are
| | 02:02 | shooting, a scene that might be developing.
| | 02:04 | So try not to rely too much on Image
Review, turning it off altogether is a way
| | 02:09 | to keep yourself from doing that.
| | 02:11 | I tend to keep mine on the default of 2 seconds.
| | 02:15 | No matter how long the Image
Review time, it's always interruptible.
| | 02:18 | So I can even before my 2 seconds is up,
half-press the Shutter button and I
| | 02:23 | am right back to shooting, so Image
Review is never in the way of you getting
| | 02:27 | a shot.
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| Image playback| 00:00 | Your camera has a big
collection of image playback features.
| | 00:03 | You've already seen how it displays an
image immediately after you shoot, but
| | 00:07 | of course you can also go in and browse all of
the pictures that are stored on your media card.
| | 00:11 | What you 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 | To enter Playback mode, I simply press
the playback button here at the bottom of
| | 00:22 | the back of the camera, and I
see the last image that I shot.
| | 00:25 | I can navigate through all of the
images on the card using the Forward and
| | 00:29 | Back-arrow keys that will
just step through each one.
| | 00:32 | I have a few other simple
functions that can be kind of handy.
| | 00:35 | First of all, I can press the Info button
and see some information about my image,
| | 00:38 | the shutter speed and
aperture, the image number.
| | 00:41 | There are few other screens of information.
| | 00:43 | We're going to be looking
at those in detail later.
| | 00:45 | I can also zoom in to my
image using the +/- buttons here.
| | 00:51 | As I zoom in, I get this little key to show
exactly what part of the image I'm looking at.
| | 00:55 | When I'm zoomed in, I can pan
around my image by using the arrow keys.
| | 01:01 | Now, you might think, well, this is great,
| | 01:02 | I can zoom in and really make
sure that my image is in focus.
| | 01:05 | You can kind of get an idea of
focusing your image, but this screen is not
| | 01:09 | a super accurate way of judging
focus, but if an image is wildly out of
| | 01:13 | focus, you'll see it.
| | 01:14 | Still it is a nice way to
examine some fine details.
| | 01:17 | Finally, if I want, I can delete an image.
| | 01:19 | I just press the Trashcan Icon.
| | 01:21 | It asks me to confirm.
| | 01:23 | I scroll over there, hit Set,
and the image is deleted.
| | 01:27 | Note that you can recover images if you
accidentally delete them sometimes, and
| | 01:32 | we'll talk about that in a later movie.
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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
| | 00:05 | Aperture. Everything else, Auto Focus
mode, Drive mode, Flash, White Balance,
| | 00:11 | ISO and lots more all of
that can 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
will spend the bulk of your time shooting.
| | 00:26 | To switch to Program mode, I just go
here to my mode Dial and change to the big
| | 00:30 | P. When I do that, if I have the
guide feature on, it shows me the screen,
| | 00:35 | remember that's interruptible just
by half-pressing the Shutter button.
| | 00:37 | My Status display is very different here
in Program mode than it was in Auto mode.
| | 00:42 | I get a lot more information.
| | 00:43 | First, I can see that I'm in Program mode.
| | 00:46 | I can see that my ISO is set to Auto.
| | 00:49 | I currently have no
Exposure Compensation dialed in.
| | 00:53 | My Scene mode is set to Auto.
| | 00:54 | I am in Auto White Balance.
| | 00:56 | I have my Auto Lighting
Optimizer on standard setting.
| | 01:00 | I am in One Shot Auto Focus mode, Burst
mode or Drive mode, which means I'll get
| | 01:06 | multiple shots as long
as I hold the button down.
| | 01:08 | Evaluative Metering mode, I am
shooting JPEG images at best quality.
| | 01:12 | I've got a full battery and I can fit
approximately 482 images on the space
| | 01:18 | that's currently available on my card.
| | 01:20 | When I half-press the Shutter button you
can see I get some additional things here.
| | 01:25 | It has metered to choose 1/100th
of a second Shutter speed and F6.3.
| | 01:30 | And as you can see that times out
if I don't take a picture within a
| | 01:33 | certain amount of time.
| | 01:34 | So this is all of the critical
information that you need not just to see status
| | 01:38 | information about how your camera is
configured, but also to see your Exposure
| | 01:42 | settings after you've metered.
| | 01:44 | So you'll be referring to this a lot
as you shoot, just to keep track of what
| | 01:49 | your camera is up to, but of course,
most of this information is also mirrored
| | 01:52 | inside the Viewfinder so you don't
have to take your eye away to see this
| | 01:56 | while you're shooting.
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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.
| | 00:10 | With it, you can easily
handle backlighting situations,
| | 00:13 | you can control tonality,
| | 00:14 | 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 | The Rebel's exposure
compensation control is very easy to use.
| | 00:28 | This is the exposure
compensation read-out right here.
| | 00:31 | You can see I have got +3 stops over
here, -3 stops over here and currently at
| | 00:35 | 0, meaning I have no exposure compensation.
| | 00:38 | So if the camera meters say, in this
instance, at 1/100th of a second and at
| | 00:42 | F5.6, that's what I am going to shoot with.
| | 00:44 | But let's say I decide that I
want to underexpose this shot.
| | 00:48 | This is my Exposure
Compensation button right here.
| | 00:51 | If I push that, then this control lights up.
| | 00:54 | Now I can use this dial up here.
| | 00:56 | If I turn it to the left, my
little marker there goes down.
| | 01:00 | That's one stop of negative exposure
compensation, and this is one stop of
| | 01:05 | overexposure compensation.
| | 01:08 | These are 1/3rd stop increments here.
| | 01:10 | So I am going to dial in one stop under and
let go the button, and now that just stays there.
| | 01:15 | That exposure compensation is locked in now.
| | 01:18 | It's going to stay at one
stop under until I change this.
| | 01:22 | Now when I meter, I get a different exposure.
| | 01:26 | I can also meter first and then change
my exposure compensation, and when I do
| | 01:30 | that, I actually see my exposure
parameters change, so I can see exactly what
| | 01:34 | the exposure compensation is going to do.
| | 01:37 | The Rebel's Exposure Compensation is very smart.
| | 01:39 | It's not going to just
willy-nilly change parameters.
| | 01:42 | It's going to try and change them intelligently.
| | 01:44 | It's going to try to not let shutter
speed go below something that would be too
| | 01:49 | shaky for handheld use.
| | 01:51 | If you're in Auto ISO mode, then it's
going to automatically adjust ISO to buy
| | 01:56 | you more latitude so that you don't
have to get shutter speeds down too low.
| | 01:59 | So it's a very smart mechanism, one
that's going to try to keep you from getting
| | 02:04 | in to a handheld shaking problem.
| | 02:05 | If you want to control a specific
parameter, then you'll put the camera into a
| | 02:09 | Priority mode, either Shutter or
Aperture priority and we'll talk about that
| | 02:13 | when we get to those chapters.
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| Metering revisited| 00:00 | As you've seen when you half-press the
Shutter button the camera auto focuses,
| | 00:04 | meters, and possibly calculates white
balance and ISO depending 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 view finder.
| | 00:15 | If you want, you can continue to hold
the button down at the half way point
| | 00:19 | while you reframe your shot.
| | 00:21 | This is sometimes necessary to get
the focus and metering that you want.
| | 00:24 | Once you are ready to take the shot, you
can press the button the rest of the way.
| | 00:28 | So I half-press the Shutter button and
there is a little stop there that I can
| | 00:31 | feel and a few things
happened. It auto focuses.
| | 00:35 | If I am in auto white
balance mode, it white balances.
| | 00:38 | It blacks out the LCD screen so that
it's not shining in my eyes as I am
| | 00:42 | looking through the view finder, and if
you could see in the view finder right
| | 00:45 | now you would see the shutter speed,
aperture, and possibly ISO that the
| | 00:50 | camera has calculated.
| | 00:51 | I say possibly because it will
only do that if you're set on Auto ISO.
| | 00:55 | I am going to let go of the button and
now the screen turns back on and you can
| | 00:59 | see the exposure settings that its
chosen and now they just went black because
| | 01:04 | if I let go off the button, the
exposure settings eventually timeout.
| | 01:09 | That's after about 8 seconds and they go
back to here and now I have to re-meter
| | 01:14 | if I want to take another shot.
| | 01:16 | One more bit of very important
metering behavior on your camera.
| | 01:20 | When you half-press that Shutter button
to meter, as long as you hold the button
| | 01:24 | down the camera will hold that same
metering even as you pan around to areas
| | 01:29 | that might normally be metered differently.
| | 01:31 | If you half-press that button to meter
and let go of the button, the camera will
| | 01:35 | hold its metering, but as you move
it around it will re-meter on the fly.
| | 01:40 | Then you can change your position;
| | 01:42 | press the button rest of the way to
take a shot at that particular metering.
| | 01:45 | So it's important to understand the
difference between those two things.
| | 01:49 | Eventually, the camera will time out
and the metering screen will go blank and
| | 01:53 | 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.
| | 00:12 | You will most often increase ISO when
light levels drop low enough that your
| | 00:16 | shutter speeds go too low for handheld
shooting. But you might also increase
| | 00:20 | ISO, if you want to use smaller
apertures to capture 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.
| | 00:32 | Changing ISO on the Rebel is very
simple and you can see here on the LCD screen
| | 00:37 | what my current ISO setting is. I'm at Auto.
| | 00:40 | If I half-press to meter, you are going
to see this change. It changed to 100.
| | 00:44 | That's to let me know that Auto mode has
automatically selected an ISO of 100 and
| | 00:49 | now the metering just timed
out, so it's gone back to Auto.
| | 00:51 | If I want to change it to something other than
Auto, my ISO button up here, I just press that,
| | 00:58 | I don't have to hold it down,
| | 00:59 | I press that and I get this Auto menu
and now I can use either the left and
| | 01:03 | right buttons here or the dial up here.
| | 01:06 | So I'm going to skip on
over here to say ISO 400.
| | 01:10 | Now I can half-press the Shutter button and
you can see that I have locked ISO in at 400.
| | 01:15 | I can, as I mentioned
also use this style up here.
| | 01:18 | This is probably what you will want to use
when you're looking through the viewfinder.
| | 01:21 | That gives you a very easy kind of
finding your ISO control just by touch thing.
| | 01:26 | I can go straight back from the
shutter button, press my ISO button, and then
| | 01:29 | just turn this and watch the
status update inside my viewfinder.
| | 01:36 | When you're in Auto ISO mode by
default the maximum ISO that the camera will
| | 01:40 | ever pick is ISO 3200.
| | 01:43 | Now ISO 3200 on this camera is good,
but it's pretty noisy and you may decide
| | 01:47 | that you don't like ISO 3200 images,
because they're simply too noisy, so when
| | 01:52 | you get into lower light you
may not want Auto to go that high.
| | 01:55 | You can change the maximum ISO
setting that auto will use by going into the
| | 02:00 | menus and going here to the third
shooting menu, ISO Auto, which is the second item,
| | 02:06 | I am going to hit Set, and
now I can fix the maximum ISO.
| | 02:10 | Personally, I find ISO 1600 to be very usable.
| | 02:13 | I am going to hit Set and now
Auto ISO will never go about 1600.
| | 02:19 | Now conversely if you're in a situation
where you're shooting at low light, you
| | 02:22 | want to use Auto, because you don't
want to have to be thinking about your ISO
| | 02:25 | and you don't mind noise, you wanted
to go as fast as possible just to ensure
| | 02:29 | that you can get the shot, then you can
bump maximum ISO all the way up to 6400.
| | 02:35 | So if you're going to stay in Auto ISO
think about what the maximum you want to use is.
| | 02:40 | I would recommend before relying too
much on ISO, start controlling ISO manually
| | 02:44 | just to give yourself better
understanding of it and to start thinking of ISO as
| | 02:48 | an exposure parameters that you can control.
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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
| | 00:08 | and 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 a depth
| | 00:45 | of field control that you want.
| | 00:47 | After I've metered and I have to meter
to get a set of exposure parameters that
| | 00:53 | I can shift, after I've metered, all I
have to do is turn this dial and you can
| | 00:57 | see both of these numbers changing.
| | 01:00 | So I'm going to let that time out.
| | 01:03 | Now I have no metering.
| | 01:04 | I am going to half press and I
get 1/100th of a second at F5.6.
| | 01:07 | Let's say I wanted really deep depth of field.
| | 01:10 | I wanted a smaller aperture.
| | 01:12 | I'm just going to turn my Program
Shift dial until I get an aperture of F11.
| | 01:16 | Now, my shutter speed has gone way
down, so I'm going to have to be careful
| | 01:19 | about handheld shake,
| | 01:20 | but I've managed to get the depth of
field control that I want. Or let's
| | 01:24 | say that I meter here, I get 1/100th at F5.
6 and I really want motion stopping power.
| | 01:29 | So I'm going to dial in a faster shutter speed.
| | 01:31 | I'm going to go up to here.
| | 01:32 | Now, I've hit 1/200th of a second and
I'm turning and it's not going any farther.
| | 01:37 | That's because my aperture is open as
wide as it will go on this lens at this
| | 01:42 | particular focal length.
| | 01:43 | So if I wanted a faster shutter speed,
I would need to switch to a lens that
| | 01:46 | could go to a wider aperture.
| | 01:49 | So with Program Shift as you can see, I
can get to pretty much any shutter speed
| | 01:53 | or aperture that I want for the lens
that I have currently available without
| | 01:58 | having to go to a Manual mode.
| | 01:59 | This is a great level of control.
| | 02:01 | If you're watching these movies in order,
then you've already seen the Exposure
| | 02:04 | Compensation control.
| | 02:06 | Think now about how you can combine
Exposure Compensation with Program Shift.
| | 02:11 | You can meter a scene, and then use
Program Shift to get the motion control or
| | 02:15 | depth of field that you want and
use Exposure Compensation to apply
| | 02:19 | brightening or darkening.
| | 02:20 | In other words, without ever leaving
Program mode, you can have all the manual
| | 02:24 | control that you might need.
| | 02:25 | 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 format.
| | 00:09 | That is, it takes the original image
data that your camera captures and it
| | 00:13 | crunches it down so that it
takes up far less storage.
| | 00:17 | JPEG compression is a lossy compression scheme.
| | 00:19 | That is, there is a loss of 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.
| | 01:04 | To change file formats, I hit menu
button to go in to my menuing system.
| | 01:08 | Very first menu, very first item is
Quality, Image Quality, because the format I
| | 01:13 | choose has a large bearing on
the quality of my final image.
| | 01:16 | You can see that I am set to Large JPEG
and I think this little icon is going to
| | 01:20 | make a little more sense to you
when you see what our options are.
| | 01:23 | L refers to the size of the image and
right now, I am at an 18 Megapixel image
| | 01:28 | with 5184x3456 pixels.
| | 01:32 | I can fit approximately 431 of
those onto the space on my card.
| | 01:37 | There's this curve here that's very smooth.
| | 01:39 | That indicates that I'm at the
best level of JPEG compression.
| | 01:42 | If I go over here, I still have an L so
I'm getting the same pixel dimensions,
| | 01:47 | but now that curve has gotten kind of chunky.
| | 01:48 | That indicates that I'm not at
such a good level of JPEG compression.
| | 01:52 | But look at my image count.
| | 01:53 | Even though my pixel dimensions have
stayed the same, my image count has
| | 01:56 | gone from 431 to 863.
| | 01:58 | So I'm getting dramatically more
images with the lower quality compression.
| | 02:03 | I've also got two sets of Ms.
| | 02:05 | This is Medium size, 8 Megapixels,
basically 3000x2000 approximately, and I have
| | 02:11 | got two level of JPEG settings there.
| | 02:14 | And at that setting I'm up
to a count of 1700 images.
| | 02:18 | Then I have two S1s.
| | 02:20 | This is a 4.5 Megapixel image and
I have got two JPEG settings there.
| | 02:25 | Then I have S2 which is a 2.5 Megapixel image.
| | 02:29 | I don't have JPEG choices here.
| | 02:31 | I can just go there and get a
tremendous number of images.
| | 02:34 | Then I have got S3 which
is a third of a Megapixel.
| | 02:36 | This is 720x480, so this is
kind of a standard video size.
| | 02:40 | Then I have these two options
out here, RAW + High-Quality JPEG.
| | 02:45 | So when I am in this mode, I'm going to
shoot a RAW image plus my best-quality JPEG.
| | 02:50 | I only get 96 of those on the card.
| | 02:52 | It's going to write both files out
separately, and that's going to take a while.
| | 02:56 | So when I am shooting RAW + JPEG,
my buffer is going to fill up faster.
| | 03:00 | It's going to take longer for it to clear out.
| | 03:02 | I'm possibly not going to be able
to burst as quickly or as often.
| | 03:05 | Or, I've got just a straight RAW file.
| | 03:07 | This is the same RAW file that
would be written here, but there's
| | 03:10 | no accompanying JPEG.
| | 03:12 | So those are my different settings.
| | 03:14 | I'm going to go back here to Best-Quality
JPEG for now and hit OK and my quality is set.
| | 03:22 | If you're shooting JPEGs, my
recommendation is to always shoot at full pixel
| | 03:26 | count with the very best
quality that your camera can manage.
| | 03:29 | Storage is real cheap these days, so there is
little reason to try to save space on a card.
| | 03:34 | If you're finding you're running out
of space during a typical shoot, then
| | 03:37 | invest in some more media cards.
| | 03:39 | But if you're in the field and storage
is running low and buying another card
| | 03:43 | isn't an option and you absolutely need
to cram more images onto your card, then
| | 03:47 | you should change your JPEG settings,
or your image size, ideally not both.
| | 03:52 | If your images are destined for print,
then be sure that you don't lower the
| | 03:56 | pixel count below what you need to
get the print size that you want.
| | 03:59 | Maybe go down to half size and
one stop down in JPEG quality.
| | 04:03 | If your images are destined for online
viewing, then you can cut the pixel count
| | 04:07 | dramatically and probably not need to
increase JPEG compression and that will
| | 04:11 | preserve more quality.
| | 04:12 | Mostly though, I would recommend shooting RAW.
| | 04:15 | You get tremendous postproduction and
image quality advantages if you leave JPEG
| | 04:19 | behind and become a RAW shooter.
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| Creative Auto mode| 00:00 | If you're 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're 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,
| | 00:33 | 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.
| | 00:39 | Creative Auto mode is a mode,
so I get to it from my mode Dial.
| | 00:42 | I switch over here to CA, that's
Creative Auto, and my camera tells me I'm
| | 00:47 | in Creative Auto mode.
| | 00:48 | I am going to half press to
go right to my Status Screen.
| | 00:50 | I see my Exposure Settings over here.
| | 00:52 | I see some different things here,
| | 00:54 | Standard Setting, Background Blur,
and then controls for Drive mode.
| | 00:57 | Background Blur is my primary
control here in Creative Auto mode.
| | 01:00 | If I hit that Q button, I get this dial
here, and it says Set to left for a more
| | 01:06 | blurred background,
right for a sharp background.
| | 01:08 | So I hit my Left-arrow and I've got two
settings that basically go more blurry,
| | 01:13 | or two settings that go sharper.
| | 01:16 | Now, as I mentioned before, if you're
up on your exposure theory, you know that
| | 01:19 | all that's happening here
is we are changing aperture.
| | 01:23 | This is not going to guarantee
that I get a soft background.
| | 01:26 | I have to do some of the other things
that you need for a soft background.
| | 01:28 | I want to be framing my image in a
particular way and using a particular lens.
| | 01:33 | But if you're not comfortable with what
F number equates to what size aperture
| | 01:36 | and how that relates to depth of field,
that can be an easier way of getting to it.
| | 01:40 | I have in addition to that all of the
normal controls that I get in a Scene mode.
| | 01:45 | I can go up here and choose an Ambience.
| | 01:47 | This is going to just change the color
treatment in my image, or I can go down
| | 01:52 | here, and choose a Drive mode and
these are my standard Drive modes.
| | 01:57 | But the main feature here really is
the ability to just dial in hopefully the
| | 02:01 | amount of blur that I want.
| | 02:03 | If your are sophisticated enough that
you're really thinking about Background
| | 02:06 | Blur and Depth of Field.
| | 02:07 | I would really recommend that you do
learn that exposure theory, and learn how
| | 02:11 | to do this by the numbers rather than
by this interface, mostly because you'll
| | 02:14 | have a much finer degree of control, and
a better chance of predicting what kind
| | 02:18 | of results you're going to get.
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| The Info button| 00:00 | Your camera has a lot of features
and parameters and you might not always
| | 00:03 | remember exactly how they're all configured.
| | 00:06 | Fortunately, there's an easy way to
get a summary of the camera's essential
| | 00:09 | settings, and that's the INFO button right here.
| | 00:12 | If when I'm in Program mode I press
the INFO button, I get this screen full
| | 00:16 | of status information.
| | 00:17 | First, Freespace, the amount of space
available on my card in bytes, not number
| | 00:23 | of images available.
| | 00:24 | I've got 3.68 Gigabytes available.
| | 00:26 | I'm shooting in the sRGB color space.
| | 00:28 | I have no White Balance
Shift or Bracketing dialed in.
| | 00:32 | Live View is enabled.
| | 00:34 | Sensor Cleaning is enabled.
| | 00:36 | You can see the camera with the little
zs over it, that indicates that the camera
| | 00:39 | is going to doze off in 30 seconds if I
don't do anything, which probably means
| | 00:43 | I need to talk faster.
| | 00:44 | Beeping is enabled.
| | 00:46 | That's the beeping that I get
when I half-press the Shutter button.
| | 00:48 | There is the camera dozing off, so
I'm going to hit the INFO button again.
| | 00:53 | Red-Eye reduction is disabled right now.
| | 00:56 | That's on my flash.
| | 00:57 | And Auto-Rotating is turned on.
| | 01:00 | That's going to auto-rotate images in
playback and there are different settings
| | 01:03 | for that for camera and external display.
| | 01:06 | Finally, I can see the
current date and time settings.
| | 01:09 | So this is a way of quickly getting
kind of some essential information
| | 01:12 | without having to dig into the menus
and look up each one of these settings
| | 01:16 | individually.
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| The Quick Control button| 00:00 | Your Rebel has a lot of buttons and
dials on it and we've looked at several of
| | 00:04 | them already and we're going to be
looking at the rest of these later.
| | 00:07 | You've got a White Balance
button and an Auto-Focus button.
| | 00:09 | These give you dedicated
controls to those features.
| | 00:12 | But there's another way of controlling
your camera, and that's to use the Quick
| | 00:15 | Control screen which I get
to by pressing this Q button.
| | 00:19 | Now when I do that, my status display
mostly stays the same, except now each of
| | 00:23 | these items is actually editable and I
can scroll around to each one of these
| | 00:27 | controls and change it.
| | 00:28 | So, for example, let's say
that I want to change ISO.
| | 00:31 | I can highlight ISO and my guide pops
up here to tell me what that's about.
| | 00:35 | Hit the SET button and I'm into my ISO menu.
| | 00:37 | So now I can pick a different ISO
and hit SET and my camera comes out.
| | 00:42 | I'm still in Quick Control mode.
| | 00:44 | Or, for example, I could come in
here and dial in Exposure Compensation.
| | 00:48 | There is another way of
changing these parameters.
| | 00:51 | I can highlight an item and just turn
the main dial and it will actually change
| | 00:56 | that particular item
without taking me into the menu.
| | 00:59 | So that can be a little bit faster.
| | 01:00 | Another thing that's nice about Quick
Control is if you're working on a tripod
| | 01:03 | like we are here and you're using
perhaps Live View, so you're not even
| | 01:08 | looking through the viewfinder anyway,
or maybe you can't reach the controls on
| | 01:12 | the top of the camera, you've still got access
to full control of your camera from back here.
| | 01:17 | Now remember, if you don't like having
these messages pop up, if you already
| | 01:20 | know what ISO is and you don't need the
little reminder, you can turn that off
| | 01:24 | by going into the menu and scrolling
over here to the tools and finding Feature
| | 01:30 | guide and setting that to Disable.
| | 01:33 | Now with that disabled, when I go into
my Quick Control screen, I don't have
| | 01:36 | those little messages popping
up and cluttering up the screen.
| | 01:40 | That's Quick Control, a very easy way
to take control of your camera without
| | 01:43 | having to work with all of the
individual buttons and dials.
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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 Auto-Focus mechanism
has to do the same thing. It needs to
| | 00:13 | focus at one particular distance in
your scene, ideally, you want that distance
| | 00:17 | 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
| | 00:28 | sitting on the subject of your scene.
| | 00:30 | But there will be times when
you'll need to override that automatic
| | 00:33 | mechanism because it will have chosen
the wrong point, and so you'll need to
| | 00:36 | manually choose the focus point yourself to
force the camera to 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 | This button right here
lets you select a focus point.
| | 00:50 | This is meant to look like a
viewfinder display with a bunch of little
| | 00:53 | focus points in it.
| | 00:54 | When I press it, I get my
focus point display back here.
| | 00:58 | This is showing the same arrangement of
focus points that I'd see in the viewfinder.
| | 01:02 | And right now they're all highlighted
blue meaning I'm on Automatic selection.
| | 01:06 | That means the camera is
automatically going to try to figure out what the
| | 01:09 | subject is in my image and pick the
appropriate focus point or focus points.
| | 01:13 | It might pick more than one.
| | 01:15 | With this, when I'm in this mode
though, I can turn my dial here and start
| | 01:20 | cycling through all of the other focus points.
| | 01:23 | So I can pick any one that I want
and eventually it cycles back around to
| | 01:27 | Automatic selection, or I can go
the other way and work around with the
| | 01:31 | focus points that way.
| | 01:33 | So if I've got say my camera on a tripod
and I'm framing a shot where my subject
| | 01:37 | is over here, I would want to just dial
over to this focus point, half-press the
| | 01:42 | shutter button, and now that focus point is set.
| | 01:44 | I'll see the same display up here in
my viewfinder, so you can actually go
| | 01:47 | through this whole process without
ever taking your eye off the viewfinder.
| | 01:51 | When you're holding the camera like this,
all you have to do is reach over here
| | 01:53 | to the last button, press that with
your thumb, and then turn this with your
| | 01:57 | forefinger and you'll see this same
screen inside the viewfinder up here.
| | 02:03 | Now a lot of people will set their
camera to just the center focus point.
| | 02:06 | That way they'll always know exactly
where the camera is going to be focusing.
| | 02:10 | So with center point selected, they
can put that center focus point on their
| | 02:13 | subject, half-press to focus, and then
while still holding the button halfway
| | 02:17 | down, frame their shot however they want.
| | 02:20 | That's how I leave my camera.
| | 02:21 | Although there are times when I'm
working on a tripod or something where I don't
| | 02:25 | want to be pivoting the camera around
that I will either go in and manually
| | 02:28 | select a more appropriate focus point,
or even just go all the way to Auto.
| | Collapse this transcript |
| Focus modes| 00:00 | Your camera's Auto-Focus 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, Auto-Focus will give
you all the focusing power that you need.
| | 00:13 | By default, your Auto-
Focus works in one-shot mode.
| | 00:16 | This is the Auto-Focus
procedure that you're already used to.
| | 00:19 | You half-press the Shutter button,
you wait for the camera to beep to
| | 00:21 | indicate that it's locked focus and
you double-check that the focus point it
| | 00:24 | has 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 whether
| | 00:45 | to use one-shot or Servo Focus.
| | 00:49 | AF is your Auto-Focus mode select button.
| | 00:52 | I just press that and I get my Auto-Focus menu.
| | 00:55 | Here I am on ONE SHOT.
| | 00:56 | That's the mode that we're used to where I
half-press the Shutter button and it focuses.
| | 01:01 | I can use either the left and right
buttons or the main dial up here to switch
| | 01:05 | to whatever mode that I want.
| | 01:06 | When I get the one that I like, I
just hit the SET button and it takes.
| | 01:09 | There is no readout of focus
mode inside the viewfinder.
| | 01:13 | So this is one where you'll need to be
looking at the LCD screen on the back of
| | 01:16 | the camera to figure out what
focus mode you're switching to.
| | Collapse this transcript |
| Manual focus| 00:00 | While I rely heavily on auto-focus,
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 auto-focus for the
| | 00:10 | simple reason that, as good as your
auto-focus system is, you're 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 auto-focus doesn't lock, either
| | 00:30 | because your subject lacks contrast
or because there's not enough light in
| | 00:34 | the scene to focus.
| | 00:35 | Of course, if there is 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 auto-focus
and manual focus in combination if I'm
| | 00:46 | shooting the same subject over and over.
| | 00:48 | For example, if I'm shooting a
landscape in rapidly changing light, I'll frame
| | 00:53 | my shot and auto-focus, then
switch the camera to manual focus.
| | 00:58 | As long as I don't bump my lens, my
auto-focus choice will now be locked in.
| | 01:02 | Now, I can just keep shooting
without having to wait for auto-focus.
| | 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 manually focus, the first thing I
have to do is switch the auto-focus switch
| | 01:17 | on my lens from AF to MF;
| | 01:20 | that's obviously Manual Focus.
| | 01:22 | Once I've done that, I can
turn the focus ring to focus.
| | 01:25 | This particular lens does not have any
focus markings on it, and actually these
| | 01:29 | days most lenses don't.
| | 01:31 | An older lens though may have actual
distance markings here that you can use.
| | 01:35 | So for manual focus, you're going to
have to rely on the Viewfinder and you're
| | 01:39 | going to need to be careful.
| | 01:40 | There are no manual focusing aids in
the Viewfinder, so you're going to have to
| | 01:44 | really look for a fine detail and focus on it.
| | 01:46 | One thing to do to improve your
manual focusing is zoom in with your lens,
| | 01:51 | focus, then zoom back out and frame your shot.
| | 01:54 | If you ever find that your auto-focus is
not working, check the position of this
| | 01:59 | switch, and make sure that you
switched it back to auto-focus.
| | 02:01 | It might be that you are manually
focusing and forgot to switch it back.
| | 02:04 | It's a pretty stiff little switch,
| | 02:06 | it's hard to bump by accident.
| | 02:08 | So you usually don't have to worry about that.
| | 02:10 | Well, I am in Manual Focus mode.
| | 02:12 | The back of the camera shows me on its
Status Display an MF right here instead
| | 02:20 | of one shot or AI Servo or
any of the other readings.
| | 02:23 | So that clues me in that I'm in Manual Focus.
| | 02:25 | So that's another way of
keeping track of how your lens is set.
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|
|
5. Controlling White BalanceAuto white balance| 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 fare 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.
| | 00:44 | Setting White Balance on the Rebel is very easy.
| | 00:46 | First of all, let's take a look at this
spot on our screen right here shows us
| | 00:50 | what we're currently set to,
| | 00:51 | AWB is Auto White Balance.
| | 00:53 | So we're still set to the
default which is Auto White Balance.
| | 00:56 | We don't actually need to change anything.
| | 00:57 | But if we did, we would simply hit this WB.
| | 01:00 | That's the White Balance button.
| | 01:02 | I hit that, and I get my White Balance
menu and I've got a range of options here,
| | 01:06 | Auto White Balance, and then
I've got a bunch of presets,
| | 01:09 | we're going to go over these
separately in another movie, and then I've got
| | 01:12 | Manual White Balance out here.
| | 01:13 | Notice that I can move back and
forth using the dial or my left and
| | 01:18 | right buttons back here.
| | 01:19 | Once I've chosen the White Balance
that I want, I hit the OK button.
| | 01:23 | It highlights and goes
away and I see my change here.
| | 01:27 | Again, it's very important when you're
manipulating these menus that you don't
| | 01:30 | dial over to what you want, and then
just half press the Shutter button.
| | 01:33 | That did not actually change anything.
| | 01:35 | You've got to hit the Set button.
| | 01:36 | You'll probably find that you can stick
with Auto White Balance for most of your shots.
| | 01:41 | Where it will start to let you down
though is in shady light or situations with
| | 01:46 | mix lighting, say sunlight
streaming into a fluorescently lit room.
| | 01:50 | In those instances, you'll need to
change to a different White Balance Setting.
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| White balance presets| 00:00 | Here on the back of the camera, I can
see that I'm set for Auto White Balance.
| | 00:04 | As we've discussed, there will be times when
Auto White Balance is not your best choice,
| | 00:07 | if you're shooting in shade or on a
cloudy day, you may find that Auto White
| | 00:11 | Balance is yielding images that are a
little too cool, a little blue where you
| | 00:15 | may really notice that as flesh tones.
| | 00:16 | So I want to change my White Balance.
| | 00:18 | I've got this button here WB.
| | 00:20 | If I press that, I get a White Balance
menu full of presets and basically, each
| | 00:24 | one of these little icons
represents a different type of light.
| | 00:27 | I can scroll through them with
either the wheel or my buttons back here.
| | 00:30 | And it clues me in as to what this is.
| | 00:35 | So the big sun icon is Daylight.
| | 00:37 | I've got Shade, Cloudy, Tungsten,
| | 00:40 | these are the types of lights you find
around the house, White Fluorescent Light.
| | 00:44 | I have got my Flash, and then
I have something called Manual.
| | 00:46 | Right underneath that,
there is also a temperature.
| | 00:49 | This is saying that this camera's
daylight White Balance preset is set for light
| | 00:54 | that's approximately 5200 Degrees Kelvin.
| | 00:57 | We measure the color of light in Degrees Kelvin.
| | 01:00 | So if you're used to working that way,
this is just a nice handy reference.
| | 01:04 | So I would just pick the one that I want
and hit the Set button, and now you can
| | 01:08 | see that I'm set for Shady White Balance.
| | 01:10 | I'm probably at this point going to
take the same pictures and find that now
| | 01:13 | maybe my skin tones have turned
better or my image just isn't so cool.
| | 01:17 | One of the most important things to
remember when you're changing White Balance
| | 01:22 | is to change it back to the
appropriate White Balance when you move into a
| | 01:26 | different light source.
| | 01:27 | On this camera, you're going to be
able to stay in Auto most of the time.
| | 01:30 | I think that you'll find that again
shade and clouds are probably the only time
| | 01:34 | you need to go to a preset or if
you're in a really weird mixed lighting
| | 01:37 | environment, and in that case you're
not going to use a preset, you're going to
| | 01:39 | go to a manual white
balance which we'll look at later.
| | 01:42 | So when I leave the shade, I want to be
sure, and go back to Auto White Balance
| | 01:46 | unless I'm walking into cloudy
in which case I change to there.
| | 01:49 | If I don't change that, when I go
back into a non-shady light and take
| | 01:53 | pictures, my color is going to be all
wrong and it's going to be very, very
| | 01:57 | difficult to correct it.
| | 01:58 | So if you do change White Balance, it's
critical that you remember to change it
| | 02:02 | back to something appropriate anytime
you go into a new lighting situation.
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| Manual white balance| 00:00 | As I've said, Auto White Balance is going to
be good for most of the shots that you take.
| | 00:04 | There will be times though
when Auto White Balance will fail.
| | 00:07 | Very often if you're shooting in shade
or on a cloudy day, you might find that
| | 00:11 | your images appear too cool, or if
you're in a situation like we have here where
| | 00:15 | we have a mixed lighting situation, the
light on the flowers is warmer than the
| | 00:20 | light on the background, and
the scene doesn't look bad.
| | 00:23 | Let me just take a picture
of it with Auto White Balance.
| | 00:26 | You can see that it looks pretty good,
but the white on the vase, that vase
| | 00:31 | is supposed to be white, the flowers are
supposed to be white and they look a little warm.
| | 00:34 | They've got just a little bit of
orange in them, and that's because there is
| | 00:37 | some tungsten light shining into our scene.
| | 00:40 | The background meanwhile looks okay.
| | 00:42 | Let's try a manual white balance to
get those whites back to where they're
| | 00:46 | supposed to be, because if whites are
in place, the rest of our colors are
| | 00:50 | going to be good also.
| | 00:51 | So, to change to manual white balance I need
a reference of something that I know is white.
| | 00:56 | So I'm going to have Josh, a member
of our crew, hold in a white card here.
| | 01:01 | Now, notice he is not holding it
right in front of the camera, he has put
| | 01:04 | it back there in the scene, so that
the light that's falling on the flowers
| | 01:07 | is hitting the card.
| | 01:09 | Now I'm going to try and take a picture of it.
| | 01:10 | I half press my shutter button and I'm
not getting focus, because there is no
| | 01:15 | contrast on that white card.
| | 01:17 | So I'm going to quickly switch to
Manual Focus and take a picture.
| | 01:21 | It doesn't even matter if the shot is in focus.
| | 01:23 | See if it's going to do
that, and now I've got this.
| | 01:26 | It's just a shot of a white piece
of cardboard. Okay, thanks Josh.
| | 01:30 | Now, what I need to do is tell the
camera that that is what I wanted to use for
| | 01:35 | its White Balance calculations.
| | 01:36 | So I'm going to go into the menu here
and in the second shooting menu the forth
| | 01:40 | item down is Custom White Balance.
| | 01:42 | I say Set, and it says only
compatible image is displayed.
| | 01:47 | What it's wanting me to do is pick the
image of the white balance reference that
| | 01:51 | I shot, and that happens to be the
last image that I shot, so it comes up.
| | 01:55 | I'm going to hit the Set button and now
it says Use White Balance data from this
| | 01:59 | image for Custom White Balance.
| | 02:00 | This is actually a question,
| | 02:01 | so I'm going to say OK.
| | 02:04 | Now, it reminds me to set the White
Balance Setting on my camera to this weird
| | 02:07 | little icon which is the
icon for manual white balance.
| | 02:11 | Don't ask me what that's
supposed to be. I have no idea.
| | 02:13 | I'm going to say, OK.
| | 02:15 | Now, what I need to do is follow its
instructions, and set the white balance.
| | 02:18 | So I'm going to hit my White Balance
button here and dial over to Custom.
| | 02:24 | So now it's set for Custom White
Balance and what it's going to use for Custom
| | 02:28 | White Balance is that white balance
reference card that we shot earlier.
| | 02:31 | So I'm going to take my shot again. Oh,
| | 02:32 | actually first, I'm going to
put my camera back on Auto Focus.
| | 02:35 | Now, I'm going to half
press to meter, and focus.
| | 02:38 | It beeps, I take the shot, and now we get this.
| | 02:42 | Now, look at the white in the
vase, and the white on the flowers.
| | 02:45 | It actually looks white now.
| | 02:47 | It doesn't have that orange cast.
| | 02:49 | The background looks a little more blue,
but that's because the background is
| | 02:52 | not in the light that's striking the flowers.
| | 02:55 | I'm not going to worry about that.
| | 02:56 | Now, you may think well you
didn't really fix the image here.
| | 02:59 | It doesn't look as good as it did before.
| | 03:01 | It may be that you decide you
like the warmer image better.
| | 03:05 | What we've got here is accurate
color, not necessarily the most
| | 03:09 | aesthetically pleasing color.
| | 03:11 | I personally think it's better to go
for accuracy first, because you can always
| | 03:14 | warm or cool the image
later in your Image Editor.
| | 03:17 | What you cannot do necessarily is
correct wildly inaccurate color, and that's
| | 03:22 | something that Manual White Balance is
great for getting accurate white balance
| | 03:26 | when you're in lighting
situations that are difficult.
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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 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 environment, 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 can not use Drive mode
indefinitely, that is, you can't just hold
| | 00:42 | the button down and expect the
camera to 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.
| | 00:59 | As you shoot, your images can be
quickly thrown into that buffer, then the
| | 01:04 | camera can start the process of
copying images from the buffer to the memory
| | 01:07 | card while you continue to snap away.
| | 01:09 | 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 change from Single Shot to Drive
mode, I press this button right here and
| | 01:21 | it's marked with these three rectangles
that are stacked on top of each other,
| | 01:25 | indicating that I get
multiple frames very quickly.
| | 01:28 | It's also got a self-timer, and a
remote control underneath it, that's because
| | 01:31 | this one button pops up this menu that
gives me all of these different options.
| | 01:35 | We'll look at these later.
| | 01:36 | Right now, we're just
concerned with continuous shooting.
| | 01:39 | So I'm going to select that, and hit Set,
and now as long as I hold the shutter
| | 01:43 | button down, my camera will shoot as
long as there's space in the buffer, and
| | 01:49 | it's going to go quite a
ways because, there we go.
| | 01:51 | You just heard it slow down.
| | 01:53 | It was able to go quite a ways
because I'm shooting JPEG images which don't
| | 01:56 | take up a lot of space.
| | 01:58 | Now, my remaining count here is
flashing to indicate that the camera is writing
| | 02:03 | data to the card which you can
also see because of the red light.
| | 02:05 | There, it just finished.
| | 02:07 | So I'm going to let it go
till the buffer fills up.
| | 02:12 | Now, you hear it slowing down because
I'm still holding the button down, but
| | 02:15 | it's only shooting when enough space
has emptied out of the buffer for it to
| | 02:19 | be able to get a shot.
| | 02:20 | If I wait a little bit, the buffer is
going to clear some, and now I'm going to
| | 02:24 | be able to shoot a few more at
regular speed, and then it slows down again.
| | 02:30 | That buffer number inside is letting me know
when the buffer is filling up and going down.
| | 02:33 | So, if you're really wanting to shoot a
lot, you need to keep an eye on that.
| | 02:37 | It's very rare that you need to be
shooting 20 frames in a row though.
| | 02:40 | If you're a sport shooter, you may be
doing that, if you're a wildlife shooter,
| | 02:44 | you may be doing that.
| | 02:44 | But instead of relying on Drive mode to
blanket a scene with gobs of shots, it's
| | 02:51 | better to practice zeroing in on the
Decisive Moment and only firing off when
| | 02:56 | you think things are really about to happen.
| | 02:58 | Not only will that be easier on your
camera because you won't be having to worry
| | 03:01 | about these buffer issues.
| | 03:02 | It'll be easier on the post-
production end because you won't be drowning in
| | 03:05 | images when you get home.
| | 03:06 | So don't just hold that
button down and stop thinking.
| | 03:09 | Really try to pay attention to your
scene, predict when the decisive moment is
| | 03:12 | coming up, and then you can
start firing off your shots.
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| The self-timer| 00:00 | Most people have used a self-timer on a camera.
| | 00:03 | 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 a picture.
| | 00:11 | It works the same way on your digital camera.
| | 00:14 | The self-timer control is located on
the same button as the Continuous mode.
| | 00:18 | If I pop this open, I get my Drive mode menu.
| | 00:21 | So here is Single shot
which is where we normally are.
| | 00:23 | Here is Continuous mode
which we've already looked at.
| | 00:26 | Then there is a 10-second Self-timer.
| | 00:28 | There are actually three Self-timers.
| | 00:30 | We're going to look at this one first.
| | 00:31 | I'm going to select that.
| | 00:32 | Now remember to select it, I have to hit
the SET button to make it take, and now
| | 00:36 | I'm in Self-timer mode
which I can see right there.
| | 00:39 | When I press the Shutter button, the light
on the front of the camera starts flashing.
| | 00:42 | So this is when I would be running
around to try and get in front of the camera
| | 00:45 | and get some kind of reasonable
expression pasted onto my face. And it fires.
| | 00:51 | And if you notice, the light went solid
and the beep started beeping faster just
| | 00:55 | a few seconds before it was ready to take.
| | 00:56 | So that gives you a little warning.
| | 00:57 | I don't know if you noticed also on the
back of the camera, there's a countdown
| | 01:01 | here that we'll see in a minute.
| | 01:02 | I also have a 2-second timer.
| | 01:04 | So I'm going to press that and now
when I hit the button, I get a timer that
| | 01:09 | only lasts two seconds.
| | 01:10 | Obviously, two seconds is not enough
time for you to run around and get in
| | 01:12 | front of the camera.
| | 01:13 | What that's for is for times when you're
shooting on a tripod and you want to be
| | 01:18 | sure that the camera is very, very
sturdy or very steady I should say.
| | 01:22 | Press the Shutter button, the
camera will wait two seconds.
| | 01:25 | That gives a time for any handheld shake
that you might have introduced to wear off.
| | 01:30 | And let's look at this last one.
| | 01:31 | This is a Self-timer Continuous.
| | 01:33 | So this is going to be a 10-second
timer and when it goes off, it's going to
| | 01:37 | take a certain number of pictures.
| | 01:38 | The default is 2, but I could say I
want 5 shots right here because maybe I'm
| | 01:43 | taking a picture of a large group of people
and I want to be sure that someone's eyes
| | 01:47 | aren't closed, so I want a
range of images to work with.
| | 01:50 | So I'm going to hit OK and I hit the
button and again this light is flashing.
| | 01:55 | I get my countdown back here and when I
get down to the last couple of seconds,
| | 02:00 | this is going to go solid. There we go.
| | 02:02 | The beep goes faster and it rattles off my five
images and now it's writing it on to the card.
| | 02:08 | So these are the self-
timer options that you have.
| | 02:10 | It's a really nice range of options.
| | 02:12 | There are higher-end cameras that don't
have as sophisticated timers as what you
| | 02:16 | will find on the Rebel.
| | 02:17 | I think you'll find them very useful.
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| Remote controls and Bulb mode| 00:00 | A remote control is a must-have
for certain types of shooting.
| | 00:03 | With a 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 port on your Rebel is over here
on the side right next to the other ports.
| | 00:53 | So just open this door, plug it in right there.
| | 00:56 | Even if I'm using a wireless remote,
I'll still need to plug something in here
| | 00:59 | because the wireless
remote will have a receiver.
| | 01:02 | That receiver we'll plug in here
and usually they sit in the hot shoe.
| | 01:07 | In this case, I've plugged
in Canon's simplest remote.
| | 01:10 | This is a very inexpensive wired remote,
the Canon RS-60E3. Pretty no frills.
| | 01:15 | I get a Shutter button and that's about
it, but it works just like the Shutter
| | 01:19 | button on the camera.
| | 01:21 | I can half-press it to focus and meter,
press it the rest of the way to take a shot.
| | 01:25 | As I mentioned, what a remote can be
especially useful for is taking longer
| | 01:30 | exposures when you want to
be careful of camera shake.
| | 01:33 | For example, I can go over here to
Shutter priority and dial in a longer exposure.
| | 01:40 | Here is a look at, 15-second exposure.
| | 01:40 | That's an instance where I wouldn't
necessarily want to be handling the camera
| | 01:43 | because the shutter is going to be open so long
| | 01:45 | I might introduce camera shake as I'm
getting my hand to and from the camera,
| | 01:50 | where with the remote I can put it
on 15 seconds and just let it fire.
| | 01:54 | In Shutter priority mode,
I can go up to 30 seconds.
| | 01:58 | If I want to go longer than that,
then I need to use the camera's Bulb mode
| | 02:02 | which I access from Manual mode.
| | 02:04 | So I'm going to zip over here to Manual
mode and start dialing towards the slow
| | 02:09 | end of the shutter speed spectrum.
| | 02:11 | And here is 30 seconds, and
when I go past that, I get BULB.
| | 02:16 | In Bulb mode, the shutter stays open
as long as I leave the button down.
| | 02:20 | I can push the button, let go.
| | 02:23 | But obviously if I want to do a really
long exposure, I may not want to stand
| | 02:27 | here the whole time.
| | 02:28 | So if I push the button and slide
upwards, the remote control locks.
| | 02:32 | But I can tell it's open because
I see this nice red strip here.
| | 02:35 | So I can leave the shutter open for
hours as long as my battery will last.
| | 02:38 | When I'm done, just slide it
back down and the shutter closes.
| | 02:43 | So in addition to these types of long
exposure tricks, obviously a remote
| | 02:48 | control is also good for self-
portraits or other times when you need to be
| | 02:52 | farther from the camera and still drive it.
| | 02:54 | This particular remote does
not have an especially long cord.
| | 02:57 | This one is really just for
managing longer shutter speeds.
| | 03:01 | If you want to be farther away from the
camera when you trip it, you'll probably
| | 03:04 | want to go with a wireless remote.
| | 03:05 | You might also want to go with a remote
that has some extra features such as an
| | 03:09 | intervalometer which will
allow you to do time lapse.
| | 03:12 | Also know that you don't
have to buy Canon remotes.
| | 03:14 | There are a lot of third-party remotes that
work just as well and cost far less money.
| | 03:18 | So shop around a little
bit before you buy a remote.
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|
|
7. Using the Exposure Control OptionsMetering modes| 00:00 | Accurate metering is critical to
getting good results from your camera.
| | 00:04 | And fortunately, metering technology
is now so good that your camera should
| | 00:07 | yield 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 the
circular area that covers about 6.5% of the
| | 00:33 | middle of the frame.
| | 00:34 | It's good for backlit situations such as
if someone is 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 have 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 | There's no external control for
changing metering mode on the Rebel.
| | 01:21 | Instead, you have to go into the menu,
go over here to the second shooting menu,
| | 01:25 | down to Metering mode, you can see that
it shows you your current Metering mode.
| | 01:28 | Hit the SET button and here are
your four options and they're plainly
| | 01:31 | labeled, so you don't have to worry about
remembering these somewhat obscured little icons.
| | 01:35 | Evaluative, Partial metering, Spot
metering and Center-weight averaging.
| | 01:39 | Of course, you'll most likely stay
on the Evaluative most of the time.
| | 01:43 | Partial metering is great for
portraits or for dealing with
| | 01:46 | backlighting situations.
| | 01:48 | Spot metering for times when you
really want to be sure that a particular
| | 01:51 | thing is well exposed.
| | 01:53 | And Center-weight average is also
possibly going to help you when you're dealing
| | 01:57 | with backlit situations.
| | 01:59 | Honestly, it's a little bit redundant.
| | 02:01 | Partial metering usually does a
better job and gives you a nicer way of
| | 02:05 | dealing with backlight and ensuring
that you've got good metering in the
| | 02:08 | centre of your frame.
| | 02:09 | Again, after you've changed meter,
this is a lot like White Balance.
| | 02:12 | Be sure that you go back to a metering
that's appropriate for the rest of your
| | 02:15 | shooting, which most often
is going to be Evaluative.
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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 will 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 | The Exposure Lock or AE Lock button is
this one right here, the one with the
| | 00:22 | little asterisk above it.
| | 00:24 | And it's very simple.
| | 00:25 | I press the Shutter button halfway
to meter and then press this button.
| | 00:31 | Now you're not going to see anything
back here, but in your viewfinder, you'll
| | 00:34 | see this same little asterisk
appear over on the left-hand side.
| | 00:37 | That indicates that exposure is locked
and it won't change no matter what you're
| | 00:40 | pointing the camera at.
| | 00:42 | It will stay locked until metering times out.
| | 00:44 | That is, once my meter readings here
disappear, then the Exposure Lock is broken.
| | 00:49 | Exposure Lock can also be a critical
tool when shooting in Aperture or Shutter
| | 00:53 | 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 times though when you
know that you're going to want a lot of
| | 00:11 | control of aperture.
| | 00:12 | Maybe you are 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.
| | 00:20 | Or, maybe you are out shooting
landscapes and you know that you want really deep
| | 00:23 | depth of field in all of your shots.
| | 00:25 | So you want to make certain that
you're always using a small aperture.
| | 00:28 | Or, maybe you're street shooting and
as you're shooting different subject
| | 00:31 | matter, you're changing your mind about
depth of field and so you want to easily
| | 00:36 | be able to change from a big to small aperture.
| | 00:39 | In Aperture priority mode, you can
choose the aperture that you want.
| | 00:43 | And when the camera meters, it will
automatically pick a corresponding shutter
| | 00:47 | speed that will yield a correct exposure.
| | 00:50 | You've probably figured this out
already, but to change to Aperture priority
| | 00:53 | mode, I use the mode dial and I go
right over here to the AV, Aperture Value.
| | 00:58 | That's a good way of remembering what this does.
| | 01:00 | I'm going to dial in an Aperture
Value and the camera will calculate a
| | 01:04 | corresponding shutter speed.
| | 01:05 | So you can see on my display here I
now have the aperture outlined and there
| | 01:10 | are little arrows, that indicates that I
can turn my dial here to change the aperture.
| | 01:15 | So let's say I am shooting a landscape
and I want to guarantee deep depth of field.
| | 01:18 | So I am going to dial in F11, a
small aperture that's going to give me
| | 01:21 | deeper depth of field.
| | 01:22 | Now when I half-press the Shutter
button to meter, I get a shutter speed that's
| | 01:27 | going to work for my scene at that aperture.
| | 01:29 | Conversely, let's say that I'm shooting
a portrait and I want shallow depth of
| | 01:33 | field to blur out the background.
| | 01:34 | So I am going to open my iris up all
the way and now when I meter, I have a
| | 01:38 | faster shutter speed because I
haven't changed my lighting conditions.
| | 01:41 | So I always get the right shutter speed
for whatever aperture that I've chosen.
| | 01:45 | Now notice that if I use Exposure
Compensation while in Aperture Priority mode,
| | 01:51 | the Exposure Compensation control
will respect my aperture choice.
| | 01:55 | So if I dial in some exposure,
well, let me meter first,
| | 01:59 | If I dial in some Exposure Compensation,
only the shutter speed is changing.
| | 02:04 | It will not change the aperture.
| | 02:06 | Now this does mean that unlike Program
mode, it is possible for me to get into a
| | 02:13 | shutter speed that's
possibly too slow for handheld.
| | 02:15 | Notice though that it didn't go
below a 40th of a second in this case
| | 02:18 | because I'm in Auto ISO.
| | 02:20 | So when shutter speed got too low,
it started cranking up the ISO.
| | 02:23 | So again, this is an example of how smart the
Exposure Compensation control is on this camera.
| | 02:29 | Even in a Priority mode, if your ISO is
in Auto, it's still working to safeguard
| | 02:34 | your shutter speed as best it can.
| | 02:37 | Aperture Priority does not allow you to
take any shots that you couldn't take in
| | 02:41 | Program mode using Program Shift.
| | 02:44 | Rather, it simply provides you with a
speedier way to get to the aperture-based
| | 02:48 | 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 ensure that you can
| | 00:37 | 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 have dialed in a very deep
depth of field, you won't see how deep the
| | 00:59 | depth 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 iris is closed
down so that you can see the actual depth
| | 01:12 | of field that will occur in your image.
| | 01:15 | The Depth of Field Preview
button is this one right here.
| | 01:18 | It's kind of recessed against the body,
so you've really got to be sure you give
| | 01:21 | it a good hard shove when
you are ready to push it.
| | 01:25 | When the iris closes down when you
press the Depth of Field Preview button,
| | 01:28 | your viewfinder will possibly get very
dark because there is not as much light
| | 01:32 | coming into the camera.
| | 01:33 | This is why the iris was
opened in the first place.
| | 01:35 | This can also make it more difficult to
actually see the depth of field in your image.
| | 01:39 | But if you wait a moment and give your
eyes time to adjust to the darker view
| | 01:43 | and if you can find a way to maybe cup
your hand around the viewfinder and your
| | 01:47 | eye, then your eye should adjust and you
should be able to get a clearer view of
| | 01:50 | your scene with truer depth
of field. One more thing.
| | 01:53 | The image in your viewfinder is much
smaller than the image that you'll most
| | 01:56 | likely view on your monitor or on a print.
| | 01:59 | So it's going to be harder for you to
tell fine sharpness in your viewfinder.
| | 02:02 | Depth of Field Preview doesn't give you
a perfect way to gauge very fine depth
| | 02:06 | of field effects, but it should let
you see if certain large things in your
| | 02:09 | 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.
| | 00:13 | Maybe you are 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 are shooting a landscape
with some moving water in it and you know
| | 00:24 | that you 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.
| | 00:36 | And when the camera meters, it will
automatically pick a corresponding aperture
| | 00:40 | that will yield a correct exposure.
| | 00:42 | Shutter Priority is marked
on the mode dial with TV,
| | 00:45 | That's Time Value, because again I am
going to be dialing in the time, the
| | 00:50 | shutter speed that I want, and
the camera is going to calculate a
| | 00:52 | corresponding aperture.
| | 00:53 | So let's say that I'm shooting in a fast-
moving race car or something like that.
| | 00:59 | I might dial in a very fast
shutter speed and when I meter, I get a
| | 01:03 | corresponding aperture.
| | 01:05 | Or, perhaps I'm shooting a lovely flowing
stream out in the wood somewhere and I
| | 01:11 | want a slow shutter speed to really
blur out the water and now I get a
| | 01:14 | different aperture.
| | 01:16 | I am on Auto ISO, so that when I
went up to that fast shutter speed, the
| | 01:23 | aperture opened as wide as it would go.
| | 01:25 | On this particular lens at this focal
length, I can't go any wider than F4.0,
| | 01:29 | so notice it cranked the ISO up to 800.
| | 01:32 | Watch what happens
| | 01:33 | if I force the ISO to 200, I'll take
that, and now when I meter, it's flashing
| | 01:41 | the aperture indicating
that I have a bad exposure.
| | 01:45 | It will take the shot anyway, but the
shot is probably going to be underexposed.
| | 01:50 | So if these lights start flashing, you know
that you're out of the realm of good exposure.
| | 01:55 | As in Aperture Priority mode, Exposure
Compensation respects my shutter speed decision.
| | 02:00 | Let's turn it back down to
something a little more reasonable.
| | 02:02 | And as I meter and change Exposure
Compensation, only the aperture is changing.
| | 02:08 | It won't touch my shutter speed.
| | 02:11 | Shutter Priority does not allow you to
take any shots that you couldn't take in
| | 02:14 | Program mode using Program Shift.
| | 02:17 | Rather, it simply provides you
with a speedier way to get the shutter
| | 02:20 | speed-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.
| | 00:07 | Maybe say you are shooting a scene
and you want shallow depth of field and
| | 00:12 | you want to blur some motion in the
scene and you don't care if the whole thing
| | 00:15 | is a little overexposed.
| | 00:16 | Or, maybe you are 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.
| | 00:42 | Manual mode is the big M on your mode dial.
| | 00:44 | When I switch to Manual mode, notice
that now on my screen back here there's no
| | 00:50 | dot under the Exposure Compensation control.
| | 00:53 | I also have a box around shutter speed.
| | 00:55 | That box means that I have control of
shutter speed up here on my main dial.
| | 01:00 | To get aperture, I press the Exposure
Compensation button because I no longer
| | 01:04 | have exposure compensation.
| | 01:06 | In Manual mode, there's really no need
for Exposure Compensation because what
| | 01:10 | Manual mode is telling the camera is you
will shoot at these exposure parameters
| | 01:15 | and there's no way for it to
automatically know how to change them.
| | 01:18 | I am going to press that button and
hold it, and when I do that, the box jumps
| | 01:22 | over here to aperture.
| | 01:23 | So I can press and hold and
now I can change aperture.
| | 01:26 | Now you might be thinking, well, how
do I have any idea if these settings are
| | 01:31 | right for my scene, if they are
good exposure settings in other words.
| | 01:35 | If I half-press to meter, when I come
back, now there's a little dot under here.
| | 01:39 | This is telling me now an
exposure reading for my scene.
| | 01:43 | This is no longer an
Exposure Compensation control.
| | 01:45 | It's telling me that I'm two-
thirds of a stop underexposed.
| | 01:49 | So I could choose to change my shutter
speed until that goes back to there, or I
| | 01:55 | could choose to change my
aperture until that goes back to there.
| | 01:58 | I could also not worry about it.
| | 02:00 | I could say, no, these are the
parameters that I want and I know it's going
| | 02:03 | to be one stop under. That's okay.
| | 02:05 | So this Exposure Compensation gauge
becomes more of a light meter just to show
| | 02:10 | you when you're over or underexposed.
| | 02:12 | And it's up to you to figure out
which parameter you want to change, either
| | 02:15 | shutter speed, aperture, or ISO to get
back to either metered properly according
| | 02:20 | to the camera or
intentionally over or underexposed.
| | 02:23 | This same display that you see here also
shows up in your viewfinder, so you can
| | 02:27 | do all this without ever taking
your eye away from the viewfinder.
| | 02:32 | Manual mode doesn't open up
any hidden power in your camera.
| | 02:35 | The only thing it gets you that you
can't get in other modes is the ability to
| | 02:39 | over or underexpose in a very particular way.
| | 02:42 | 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 the 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 | Auto Exposure 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 | To activate Auto Exposure
Bracketing, I go into the menu.
| | 00:35 | There is no external button for this.
| | 00:37 | And if I go over to the second
shooting menu, the very first item is Exposure
| | 00:41 | Compensation/Auto Exposure Bracketing.
| | 00:43 | I am going to hit SET here.
| | 00:45 | And the first thing I get is just a
normal Exposure Compensation control.
| | 00:48 | I could dial that in here.
| | 00:50 | And you may wonder why would go into to
here when I've got an external control?
| | 00:53 | The only reason is that you've got
five stops of Exposure Compensation here.
| | 00:58 | That's about the only time that
you would ever choose to do this.
| | 01:01 | If you knew I very precisely want four
and one-thirds stops overexposure, you can
| | 01:06 | dial that right in here.
| | 01:07 | That's something you can't
see on the normal control.
| | 01:10 | What I also get here is Auto Exposure
Bracketing and I control that with my dial up here.
| | 01:16 | As I turn it to the right,
I am defining a bracket.
| | 01:19 | So I can see here I have got a one-stop
bracket, one stop under and one stop over.
| | 01:24 | That would be a two-thirds stop
bracket, two-thirds under, two-thirds over.
| | 01:28 | I can go up to two stops in either direction.
| | 01:31 | So I am going to dial it in for one
stop under and one stop over and hit OK.
| | 01:36 | And now that shows up here.
| | 01:37 | It also shows up here and it
shows up inside my viewfinder.
| | 01:42 | Something else I can do with this
bracket once I have defined it is hit my
| | 01:45 | Exposure Compensation control and I
can shift the whole thing up and down.
| | 01:50 | So that's basically applying Exposure
Compensation to all three of those shots.
| | 01:54 | I am in Single Shot mode right now.
| | 01:56 | I am going to take my first shot.
| | 01:58 | And after it's done, notice these are flashing.
| | 02:00 | That's indicating that I'm in
the middle of shooting a bracket.
| | 02:03 | So I take the second shot, that's my
underexposed one, and my third shot that's
| | 02:06 | the overexposed one.
| | 02:08 | And now it's back to not flashing to
indicate that I am done with the bracket.
| | 02:12 | An even better way of doing a bracketed
set is to turn on Continuous mode, hit
| | 02:18 | OK, and now I just press and hold the
button down for three shots and I have
| | 02:23 | just taken a bracket.
| | 02:24 | So if you are wanting to get a
bracketed set in quick succession maybe because
| | 02:28 | you want to ensure that something
doesn't move between your frames, Drive mode
| | 02:32 | or Continuous mode is a great way to do that.
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| 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.
| | 00:22 | It actually figures out where the
shadowy areas are in your scene and it
| | 00:25 | brightens those without washing out
all of the blacks in your picture.
| | 00:30 | By default, the Auto Lighting Optimizer is on.
| | 00:32 | This is the icon for it right here.
| | 00:34 | And notice that little bar chart there,
those three bars, that's to indicate
| | 00:37 | that we're currently on the middle setting.
| | 00:39 | If we go into the menu, to the second
shooting menu, and down to Auto Lighting
| | 00:43 | Optimizer, we can see that there are
three settings and an OFF position.
| | 00:47 | We are in the Standard setting which is
applying a certain amount of correction.
| | 00:50 | I can if I want to go to Lower
setting less correction, or Stronger setting
| | 00:56 | which is going to be more correction,
or I can turn it off altogether.
| | 00:59 | Now, why would I want to manipulate this at all?
| | 01:01 | Well, a lot of times you may find
that it's brightening up the shadows more
| | 01:05 | than you would like.
| | 01:06 | Maybe you've shot with the idea that I
really want this to be a deep dark shadow
| | 01:10 | and now you're seeing details in it.
| | 01:12 | In that case, you may want to try
turning Auto Lighting Optimizer off altogether.
| | 01:17 | Or, maybe you like it getting a
little darker but don't want to see as many
| | 01:20 | details you could lower it.
| | 01:21 | There might be other times where
you're having trouble getting detail in the
| | 01:24 | shadows in the way that you want,
so you might turn it up to Strong.
| | 01:28 | This is one that you really
need to do some experimenting with.
| | 01:30 | Go out and take the same shot with all
four of these settings and go back and
| | 01:34 | look at your scene and see how they
differ and start to get a feel for what the
| | 01:38 | Auto Lighting Optimizer does.
| | 01:40 | Note that this is only going
to impact your JPEG images.
| | 01:43 | RAW files of course are
not processed in the camera.
| | 01:46 | However, if you're using Canon's image
processing software DPP, any images you
| | 01:51 | shoot with the Auto Lighting
Optimizer will be tagged as such.
| | 01:54 | And when they get into DPP, it will
automatically apply these same corrections.
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| Peripheral illumination correction| 00:01 | is a darkening that can occur in the
corners of your image, Canon calls this
| | 00:06 | 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.
| | 00:15 | It can bring focus to the center of the frame.
| | 00:17 | But most of the time you don't want
vignettes in your image and your camera has
| | 00:21 | a feature to remove these when
you're shooting in JPEG mode.
| | 00:25 | The camera removes vignetting by
applying a brightening to the corners.
| | 00:28 | And if it ever gets its calculations
wrong or if it's a little too aggressive
| | 00:33 | with its de-vignetting, or its
peripheral illumination correction, you may
| | 00:36 | want to turn it off.
| | 00:38 | Or, maybe you actually want
some vignetting in your image.
| | 00:40 | Maybe you're intentionally trying to vignette
to get more focus to the center of your image.
| | 00:44 | Right down here in the first
shooting menu is Peripheral
| | 00:47 | illumination correction.
| | 00:48 | Hit that and I can just Disable it.
| | 00:50 | Now notice though it's giving me some
information here, Attached lens and it's
| | 00:54 | saying EF-S18-55, 3.5-5.6.
| | 00:57 | That is in fact the lens
that I have on my camera.
| | 00:59 | It's identified it properly and it's
saying that Correction data is available.
| | 01:04 | The firmware in this camera has a
little database of lenses that have been
| | 01:07 | profiled for their vignetting characteristics.
| | 01:10 | So what this is telling me is that it
knows what lens this is and it knows
| | 01:13 | exactly it thinks how to
correct any vignetting problems.
| | 01:16 | If you attach a lens and it's not in
here, and third-party lens, Tamron and
| | 01:21 | non-Canon lenses are not going to show
up there, but your Canon lenses should.
| | 01:25 | If it's a brand-new lens, you may not
see Correction data available and you
| | 01:30 | won't until you get a firmware update
that updates your database to include
| | 01:34 | information for that particular lens.
| | 01:37 | In general, you are going to
want to leave this Enabled.
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|
|
8. Using 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 into the
| | 00:28 | camera, you can identify problems
and possibly correct them while you're
| | 00:31 | still in the field.
| | 00:32 | I'm going to go into Playback mode just like
I normally would by hitting the Play button.
| | 00:36 | Here is the first image on my card.
| | 00:39 | If I hit the Info button, I
can bring up a metadata display.
| | 00:42 | I can see that this is image
number 1 out of 14 images on the card.
| | 00:47 | It was shotted at 60th of a second at f/5.6.
| | 00:49 | Here is the folder number and file name.
| | 00:52 | If I press the Info button
again, I get even more metadata.
| | 00:55 | I can see that I was in Program mode.
| | 00:57 | I can see my Metering mode, White
Balance, Image Format, how much space the
| | 01:01 | image takes up on the card, what color
space it was in, when it was shot, the
| | 01:06 | picture style that I was using, the
ISO I was at, and I get a Histogram here.
| | 01:10 | If I press it again, my Histogram
changes to show me both a Luminance Histogram
| | 01:16 | and a Three-Channel Color RGB Histogram.
| | 01:19 | If you're not clear on what these are for,
check out my Foundations of Photography:
| | 01:23 | Exposure course.
| | 01:25 | These are great image analysis tools
that allow you to figure out if your image
| | 01:28 | is over or underexposed.
| | 01:30 | One thing to bear in mind, and notice
that I just press the Info button again,
| | 01:33 | I'm back to just my image with no
metadata, one thing to bear in mind is that
| | 01:38 | trying to judge exposure on this
screen is not a very good idea.
| | 01:41 | The image on the screen is
intentionally brightened and possibly saturated a
| | 01:46 | little bit to make the screen
more visible in bright light.
| | 01:49 | So it's very difficult to
accurately judge exposure.
| | 01:52 | That's why the Histogram is so useful.
| | 01:54 | I want to show you another feature
that can show up in the metadata.
| | 01:58 | I am going to dial in a
bunch of overexposure here.
| | 02:00 | I'm going to go up to two stops of
overexposure and I'm going to take a shot.
| | 02:05 | And here's my image.
| | 02:06 | I'm going to right into my metadata display.
| | 02:08 | Notice that I can get the same metadata
displays during image review simply by
| | 02:14 | pressing the Info button.
| | 02:15 | Now see this flashing black thing right here.
| | 02:19 | That's the camera telling me
that that area is overexposed.
| | 02:23 | Let me get you a more dramatic example there.
| | 02:26 | I am going to go all the way up to
three stops of overexposure, take another
| | 02:30 | shot, and now let's go into Playback mode.
| | 02:34 | Now this whole big area is flashing black.
| | 02:37 | That's indicating lots of overexposure.
| | 02:39 | I can also see that in my Histogram.
| | 02:40 | So this is a very handy metadata
display that actually gives me some critical
| | 02:45 | exposure information.
| | 02:46 | So with these tools, I can use my
image playback not just for judging
| | 02:52 | composition of an image, but getting
some accurate exposure information that can
| | 02:56 | let me know if I've got the shot the
way that I needed, or if need to make some
| | 02:59 | exposure adjustments and shoot again.
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| LCD brightness| 00:00 | The Rebel has a great LCD screen,
but there still might be times when you
| | 00:04 | have trouble seeing it.
| | 00:04 | Especially if you are in bright light,
it might get washed out by direct
| | 00:08 | sunlight, or if you are in low light,
you may even find that it's too bright.
| | 00:11 | Fortunately, you can change the
brightness of the screen by going here to the
| | 00:14 | second tools menu, to LCD brightness,
and you can simply dial it up and down.
| | 00:19 | It shows the last image you took just
as a reference and you also get this gray
| | 00:23 | ramp here to give you a better idea
of what detail you might be losing.
| | 00:27 | I can see here that my brightest tones
are starting to wash out a little bit and
| | 00:32 | I picked up some extra shadow detail.
| | 00:34 | I can also go the other direction to
keep track of what I'm losing there.
| | 00:37 | This is not a super accurate display,
so I wouldn't get too hung up on paying
| | 00:41 | too much attention to this.
| | 00:42 | Mostly, you can just brighten it if
the screen is getting washed out by
| | 00:46 | direct light, or darken it if it's too
glary and bright and when you're in a
| | 00:51 | darker environment.
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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 and 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 | If I go into Playback mode and see that
an image is rotated incorrectly, I can
| | 00:43 | simply go to the menu and here in the
first Playback menu is the Rotate command.
| | 00:48 | I open that up and it says that Set
will rotate the image, so I can just start
| | 00:53 | spinning it around until I
get it the way that I want.
| | 00:56 | When I am done I can hit the menu
button to go back and now when I am in
| | 01:00 | Playback mode looking at that image,
I see that it's rotated correctly.
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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 will 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.
| | 00:43 | Obviously, to rate my images I need to
be in Playback mode, so I am going to hit
| | 00:46 | the Play button here.
| | 00:48 | Next I go to menu and in my second
playback menu I have a Rating option.
| | 00:52 | If I just pick that, I go into a
Rating mode, and the way this works is I can
| | 00:57 | scroll back and forth through
my images just as I always would.
| | 01:00 | But if I want to apply a rating, I
just hit the up and down arrow keys.
| | 01:04 | So I can hit 1, 2, 3, 4 or 5
stars, or I can take stars away.
| | 01:10 | And what this is doing over here is
just giving me a running total of how many
| | 01:13 | images on the card have each rating, so
right now I have one three-star image.
| | 01:18 | When I am done I just hit the menu
button to go back to my menuing system.
| | 01:21 | The main thing to remember with ratings
is that there is no rule to it, whatever
| | 01:25 | makes sense to you is fine.
| | 01:28 | The ability to rate images in camera
means that you can rate an image as a
| | 01:31 | keeper while you're still on location
when the shoot is still fresh in your mind.
| | 01:36 | Or if you are sitting in an airport
waiting to go home, you can go ahead and
| | 01:39 | start reviewing and rating your images
without having to drag out a computer.
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| Applying creative filters| 00:00 | We are all used to the idea that
we can edit and adjust our images in
| | 00:03 | our computer, but you can also perform
some simple special effects inside the camera.
| | 00:08 | Let me go into Playback mode
here and then hit my menu button.
| | 00:11 | In the first Playback menu, I
have a Creative Filters option.
| | 00:14 | If I pick that, I get a warning that
Only compatible images will be displayed,
| | 00:19 | but anything you shoot with this
camera is going to be compatible.
| | 00:22 | I also see that I get into my
mode by hitting the Set button.
| | 00:26 | Now I see a menu of five different
effects that I can apply, Grainy B/W, Soft
| | 00:31 | focus, Fish-eye effect, Toy
camera effect and Miniature.
| | 00:34 | And obviously I'm not seeing
previews of these as I scroll through these.
| | 00:38 | A Miniature effect gives me the look
of kind of a popular special effect
| | 00:42 | right now that's using a tilt shift
lens to make a large landscape appeared
| | 00:46 | to look like a toy.
| | 00:48 | Toy camera effect is just going to make
my image look kind of like it was shot
| | 00:51 | with an old toy retro
camera like a Holga or something.
| | 00:54 | Fish-eye is going to give me a real
bulbous look in the middle of my images, as
| | 00:58 | if I shot it with a fish-eye lens.
| | 00:59 | Soft focus is going to give me a
diffusion effect over the whole image or Grainy
| | 01:03 | black and white , which is going to
give me a Grainy black and white image.
| | 01:07 | Let's go for the Fish-eye and see what happens.
| | 01:10 | Once I highlight one of these, I can
hit the Set button to select it and the
| | 01:14 | camera thinks for a bit and then
shows me a preview of the effect.
| | 01:17 | I have in this case, three levels of
effect that I can apply, and I just dial up
| | 01:22 | and down to get more or less Fish-eye effect.
| | 01:25 | Once I have dialed in, the amount
that I want, I hit the Set button and it
| | 01:29 | says, Save as new file.
| | 01:30 | This is just giving me a chance to
cancel out of this, or I can hit OK.
| | 01:35 | It says it's saving and when it's
finished it will tell me that it has saved it
| | 01:39 | with a new image number and that it's
going to return me to my original image,
| | 01:43 | so when I hit OK, I'm back to my original image.
| | 01:46 | This was the last image that I had shot
so it's now save a new image after this
| | 01:50 | one, so if I go forward
I see my Fish-eye effect.
| | 01:53 | So those are the Creative effects.
| | 01:55 | They don't cost you anything in terms of an
image because you keep your original image.
| | 01:59 | So you might want to play with these and
see what you think about these effects,
| | 02:02 | some of them can be a nice way of
adding a little extra pizzazz to an image.
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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 the discussion let's
split the difference and say that there
| | 00:20 | will occasionally be images that
you know will have zero utility later.
| | 00:25 | Those images where your finger is in
front of the lens, or you left the lens
| | 00:28 | cap on, for example.
| | 00:30 | Your camera provides a number of ways to
delete images as well as to lock images
| | 00:34 | so that they can't be deleted.
| | 00:37 | Now I know I said earlier that you should
always use the Format command to erase your card.
| | 00:42 | Nevertheless, there are some
uses for the erase images command.
| | 00:46 | If I go in here first Playback menu into
Erase Images I see a few different options.
| | 00:51 | I can erase all images in the
current folder or on the card.
| | 00:56 | I definitely always want to
use format in place of this.
| | 00:59 | But if I've been meticulously
organizing my images into folders as a shoot and
| | 01:04 | I know that I want to get rid of one
folders worth of images, but not another
| | 01:07 | then this is a way I can do that without
actually trashing all of the images on the card.
| | 01:12 | Or I can go through and
selectively erase images.
| | 01:15 | This can be handy for times when
maybe I've accidentally shot a bunch of
| | 01:19 | pictures at the wrong ISO or something.
| | 01:21 | I know I don't want to erase the entire card.
| | 01:23 | I want to just erase some
images and go back and re-shoot them.
| | 01:25 | If I pick this I go into
basically a select and delete mode.
| | 01:29 | So I can scroll back and
forth through my images.
| | 01:32 | When I find one that I want to delete,
I just hit the up arrow and a little
| | 01:36 | check mark goes off.
| | 01:37 | This shows a running count of how
many images I'm going to delete.
| | 01:40 | So I'm going to select those two and then
hit the trashcan to execute the deleting.
| | 01:45 | It asks me to confirm.
| | 01:46 | I say OK, and those images are deleted.
| | 01:49 | So these are some handy features for
selectively deleting, for times when you
| | 01:53 | don't want to erase the entire card.
| | 01:56 | Now I can also protect images to
guarantee that they won't be deleted.
| | 01:59 | If I go in here to protect images I
get a number of different options.
| | 02:03 | I can select images to protect, I can
protect all the images in a single folder,
| | 02:07 | or I can unprotect all images in a
folder, or unprotect all images on the card.
| | 02:13 | Note that protecting images does
not protect them from a formatting.
| | 02:17 | If I have all the images on my card
protected any images on the card protected
| | 02:20 | and I format, they're all going to be lost.
| | 02:22 | Now what this can be useful for is
times when you want to delete all of the
| | 02:27 | images on the card except for just a few.
| | 02:29 | Let's say that you go out one day
shoot, you dump images to your computer,
| | 02:34 | you forget to format the card, and
the next day you go out shooting again,
| | 02:38 | and now you've got images that are
already on your computer on the card and
| | 02:41 | you're getting new images.
| | 02:42 | So you want to delete only certain images.
| | 02:46 | You want to protect today's
images and delete all the others.
| | 02:49 | I can go in here and say I'm going to select
this image, and it's just a one shot thing.
| | 02:55 | I press the Set button to protect or
unprotect an image and I'm now going to go
| | 03:00 | back and protect this image.
| | 03:03 | Now I'm going to go back to my menu
and go down here to erase and now if I
| | 03:08 | say erase all images on the card, it
will erase everything, but those two
| | 03:12 | images that I protected.
| | 03:14 | So this is probably the only time where
you'll ever use erase all images on card.
| | 03:18 | Once I get the new day's images off,
then I'd want to do a format to ensure that
| | 03:24 | my card is all erased properly.
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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
| | 00:04 | before you can save it and as you've probably
already discovered the name is mostly numbers.
| | 00:08 | In fact, they're sequential numbers.
| | 00:10 | Every time you take a picture, the
camera 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 one 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
| | 00:52 | 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 will
| | 01:12 | possibly run into troubles
with duplicate file names.
| | 01:14 | For example, maybe you're on vacation
and at the end of each day you dump all of
| | 01:19 | the images that you shot that
day into a folder on your computer.
| | 01:23 | If the file names are resetting each time,
then you'll have duplicate file names everyday.
| | 01:28 | If I go into the menus here in the first
tool menu there's a File numbering option.
| | 01:34 | It defaults to Continuous.
| | 01:35 | Now this is the behavior that you're
used to where every time you put in a new
| | 01:39 | card it doesn't matter.
| | 01:40 | That camera just keeps going
with its sequential numbers.
| | 01:43 | I can pop that open and I
get a couple of options.
| | 01:45 | Auto reset will reset the file
numbering every time I put in a new card that
| | 01:51 | doesn't have to be a physically
different card, but every time a card is removed
| | 01:54 | from the camera and another card put in
and even if it's the same card that you
| | 01:57 | took out, it'll still reset,
or I can force it to reset.
| | 02:02 | So that gives me some control of
when I want start renumbering at one.
| | 02:06 | Most of the time though you're
probably just going to leave it in Continuous.
| | 02:10 | If you turn off Continuous numbering
then the camera will restart numbering any
| | 02:15 | time you create a new folder and you can
manually create folders as we'll see in the next movie.
| | 02:20 | This allows you to stay
organized within the camera.
| | 02:23 | For example, let's say you're on vacation again.
| | 02:25 | But this you've switched off Continuous
numbering and at the start of each day
| | 02:30 | you tell the camera to create a new folder.
| | 02:32 | When you go home, you'll have a
separate folder for each day with each folder
| | 02:37 | containing images numbered starting from 1.
| | 02:40 | Or maybe you want to create a new folder
every time you start shooting a new event.
| | 02:45 | This way when you will get home you'll
have all of your images already grouped
| | 02:48 | by event or subject into separate folders.
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| Creating folders| 00:00 | In the last movie we saw how you can
turn off continuous numbering which will
| | 00:04 | tell the camera to restart
numbering anytime you create a new folder.
| | 00:08 | Creating a folder is actually very simple.
| | 00:10 | I go here into the menu and in my first
tools menu there's an item called Select folder.
| | 00:15 | There is no item that's
explicitly called create.
| | 00:18 | But when I go into Select folder I
can choose any of the folders that are
| | 00:23 | currently on the card, or I can
tell to it just create a new one.
| | 00:26 | It chooses the number for me.
| | 00:28 | It's sequentially numbered based on the
last folder that was created and now I
| | 00:32 | see I have a new folder with no images in it.
| | 00:34 | I can select that one and now
new images will go in there.
| | 00:38 | If file numbering is turned to Auto
Reset my next image will now go into that
| | 00:45 | new folder with number 1.
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| Copyright information| 00:00 | Amongst all the other metadata that's
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 | You enter your copyright
information using a menu command.
| | 00:26 | I'm going to go here into the menu
over here, to the third tools menu, to
| | 00:30 | Copyright information, hit set.
| | 00:32 | There are four options.
| | 00:34 | I cannot choose Display copyright
info or Delete copyright info right now,
| | 00:38 | because I don't have any in
here to display or delete.
| | 00:40 | So those are grayed out.
| | 00:41 | I'm going to enter author's name.
| | 00:43 | I get these two fields.
| | 00:44 | This upper field is where my
name will be displayed as I type it.
| | 00:47 | This lower field is an alphabet
that I can pick out my name from.
| | 00:50 | There is a little hint here what to do.
| | 00:51 | There is a Q button and next to it, it
shows two squares with an arrow going
| | 00:55 | back and forth between them.
| | 00:56 | That indicates that pressing the Q button
swaps me back and forth between these two fields.
| | 01:00 | So I can come down here and now I
just use these arrow keys to come through
| | 01:05 | and pick out my name.
| | 01:07 | If I need to I can back space
by using the trashcan button.
| | 01:11 | If I wanted to just give up on these,
I can hit the Info button to cancel.
| | 01:14 | When I'm done, I can hit the
menu button to accept my entries.
| | 01:18 | So I'm going to do that now.
| | 01:19 | I am going to hit menu and
that should take my name.
| | 01:21 | Now Display lights up as does Delete.
| | 01:24 | I can also if I want enter copyright details.
| | 01:26 | This is just a space where I could
write copyright and the year just to let it
| | 01:32 | piece together a full copyright display.
| | 01:34 | I'm not going to do that now, because
that would take a little while and if I go
| | 01:38 | up here to Display, you
can see that that's in there.
| | 01:41 | So this information will travel with
my images whether they are JPEG or RAW.
| | 01:44 | They will be stored in the metadata.
| | 01:46 | If you sell your camera you may want to
take this out of there or maybe you want
| | 01:50 | to put it in so that you've got your
copyright on other people's images.
| | 01:54 | If you buy a used camera you want to
check and make sure that this is cleared
| | 01:58 | out and set with your name.
| | 02:00 | This is a good idea to put
your information in here.
| | 02:03 | It does give you a little bit of legal
protection if you find that someone has
| | 02:06 | appropriated one of 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're more
appropriate for certain situations.
| | 00:17 | For example, a Sports mode would bias
the camera 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.
| | 00:51 | You won't be able to use
RAW when using a Scene mode.
| | 00:55 | Ideally, you 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's a scene mode dialing in the
| | 01:05 | appropriate mode can improve
your chances of getting a good shot.
| | Collapse this transcript |
| Scene modes and image formats| 00:00 | Scene modes on your Rebel are all grouped
together over here on this part of the mode Dial.
| | 00:06 | Let's just go through them real
quick and look at what they are.
| | 00:08 | First is Portrait Scene mode, which is
as you may have guessed what you want to
| | 00:13 | use for shooting portraits.
| | 00:15 | When you go into Portrait Scene
mode, a couple of things happen.
| | 00:17 | The camera is going to bias its
exposure decisions to produce shallower depth
| | 00:22 | of field if that's possible,
because a blurry background will get more
| | 00:25 | attention to your subject.
| | 00:27 | That's also going to help make
hair look softer and skin look softer.
| | 00:31 | Of course, when you're shooting that way,
you want to make sure that eyes are in focus.
| | 00:34 | Watch what happens when I
half press the shutter button.
| | 00:37 | Camera meters and focuses as it
normally would, but I also get this set of
| | 00:41 | controls here that are
specific to Portrait mode.
| | 00:43 | It's still showing me all of my
Exposure Settings, but I have some other things
| | 00:47 | that I have access to by pressing the Q button.
| | 00:49 | When I hit the Q button, the first
thing that happens is the Standard Setting
| | 00:53 | thing pops up and I get this little
tip down here that says this is going to
| | 00:56 | allow me to choose the
desired ambience for my shot.
| | 01:01 | I shoot my ambience selection.
| | 01:03 | So if I hit the Set button, I get a
menu of different Ambience Settings.
| | 01:08 | So if I go to Vivid, I'm going to get
sharper color or more saturated colors.
| | 01:12 | I can get softer colors.
| | 01:14 | I can get a nice warm ambience.
| | 01:16 | So I can really dial in all sorts of
different atmospheres into my image and
| | 01:20 | those are basically color treatments.
| | 01:22 | I hit the Q button again and hit the
Down button to go down here to this thing
| | 01:28 | that says Default Setting which allows
me to shoot my lighting or scene type.
| | 01:31 | This is basically a White Balance Control.
| | 01:33 | So now I can go in here and pick the
type of light that I'm shooting under,
| | 01:36 | if I'm worried about my Auto White
Balance setting not being able to accurately
| | 01:40 | handle the light that I am in.
| | 01:42 | If you're shooting in shade or a mix lighting
situation, it's going to be worth doing that.
| | 01:45 | Q button again, hit the Down button again,
and now I get to choosing Burst mode,
| | 01:50 | or Self-timer, or Remote Control Settings.
| | 01:53 | So these are just a way of getting a
little bit more manual control of those
| | 01:57 | three different parameters while I am
in my Scene mode and all the Scene modes
| | 02:01 | have those settings.
| | 02:02 | I'm not going to go over those for everyone.
| | 02:03 | You'll be able to do this in any of
the Scene modes we're going to look at.
| | 02:06 | As always when you're shooting
portraits, you're going to do better using a
| | 02:09 | slightly telephoto lens that's going to
be more flattering to your subject, and
| | 02:12 | if you really want shallow depth of
field, you're going to want to go with a
| | 02:14 | really long telephoto lens.
| | 02:16 | Let's go to the next scene
mode here which is Landscape mode.
| | 02:20 | In Landscape mode, my camera is going
to default to smaller apertures to get me
| | 02:24 | deeper depth of field, because
typically in a landscape image, you want
| | 02:28 | everything very sharply focused.
| | 02:31 | It's also going to bias the colors to
play up blues and greens a little bit
| | 02:34 | more, because that's
typically what's in a landscape shot.
| | 02:37 | This is the Close-up mode.
| | 02:38 | And as you can see every time, I'm
changing modes, I'm still getting my
| | 02:41 | updated screen there.
| | 02:43 | Ideally, you want to be
using this with a macro lens.
| | 02:45 | If you don't have a macro lens, look on
your zoom lens and see if it has a Macro
| | 02:48 | Range and its focal length range that
will be clearly labeled on the lens.
| | 02:53 | Sports mode, this is going to bias towards
faster shutter speeds for stopping motion.
| | 02:58 | So this is great not only for
sports, but also for wildlife shooting.
| | 03:03 | Night Portrait mode, which we're going
to devote an entire movie to, so we'll
| | 03:06 | be coming back to that one, and then finally,
Movie mode which isn't really a Scene mode.
| | 03:10 | That's an actual control just for
getting your camera into video shooting.
| | 03:15 | All of these force you to shoot in JPEG mode.
| | 03:18 | So if you are a RAW shooter, you're
probably not going to want to be using these
| | 03:21 | Scene modes, but there is nothing in
here that you can't do with other controls,
| | 03:27 | and menu options and manual controls.
| | 03:29 | If you're just starting though,
this is a great way to be sure that for
| | 03:32 | certain situations.
| | 03:34 | You're going to be getting
good settings on your camera.
| | 03:36 | As you get more advanced in your
understanding, you're probably going to stop
| | 03:39 | using these either because you're
going to want even more control, or you're
| | 03:43 | going to be wanting to leave
JPEG mode for RAW shooting.
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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 out.
| | 00:05 | 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.
| | 00:25 | All you have to do to activate
Fill Flash is just pop-up the flash.
| | 00:30 | So if I just hit this button right
here, the flash pops up and now it will
| | 00:34 | charge and when I shoot, the flash will fire.
| | 00:36 | Here is an example of a shot without Fill Flash.
| | 00:40 | Notice the shadowy areas, and after
popping up the flash and shooting again, the
| | 00:45 | exposure is more evened out, and the
shadowy areas are nicely filled in.
| | 00:49 | So again, Fill Flash is something
that you're going to use in the daytime.
| | 00:52 | You'll very often use your flash more
in the daytime than you will at night.
| | 00:56 | When you are shooting at night, you
want to use a special flash mode called
| | 00:59 | Night Portrait mode which we'll look at later.
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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.
| | 00:17 | That should be pretty intuitive.
| | 00:18 | Put the flash right in someone's face and
they might end up with too much light on them.
| | 00:22 | Flash Exposure Compensation is a way of
controlling how much light the flash puts out.
| | 00:27 | By dialing in negative Flash Exposure
Compensation you can reduce the intensity
| | 00:32 | of the flash to go from something
like this to something like this.
| | 00:38 | To dial in some Flash Exposure
Compensation, we'll hit the Q button to go to
| | 00:42 | the Quick Control screen and this entry right
here, it's a little flash with a +/- next to it.
| | 00:47 | You may recognize the +/- as
the Exposure Compensation icon.
| | 00:51 | So this is Flash Exposure Compensation and
you can see that it's currently set to 0.
| | 00:57 | So I'm going to go down here and hit
Set and here I get a Flash Exposure
| | 01:02 | Compensation menu where I
can dial up or down in stops.
| | 01:06 | So that's going to emit less flash
that's going to give me a weaker flash,
| | 01:10 | because it's dialed into -1 stop.
| | 01:13 | This is going to give me more flash.
| | 01:15 | Another way of changing Flash Exposure
Compensation is to go into the Q menu,
| | 01:20 | highlight this, and just turn the dial
up here and you can dial it in that way.
| | 01:24 | Most of the items on this menu
are also available somewhere else.
| | 01:28 | For example, White Balance, you
can also get to from this button
| | 01:31 | Exposure Compensation
| | 01:32 | you can get to from this button.
| | 01:34 | Flash Exposure Compensation is the only
thing that's only available in the Q screen.
| | 01:39 | So you just really got to
try to remember this one.
| | 01:41 | You're not going to find a button for it.
| | 01:43 | You're not going to find a menu item for it.
| | 01:45 | This is where it is and it is a command
that you'll probably find yourself using
| | 01:49 | fairly regularly if you use a lot of flash.
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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 and their eyes
| | 00:08 | might look all red and
creepy in the resulting image.
| | 00:11 | This doesn't happen too often with an
SLR, because the flash on the camera is
| | 00:14 | far enough from the lens and it's
difficult to get that exact angle that will
| | 00:19 | create the red eye effect, but it can happen.
| | 00:21 | If it does, then you'll want to enable
the Red Eye Reduction Flash which works
| | 00:25 | by firing some initial small bursts of
light to close down the irises in your
| | 00:30 | subject eyes before it fires
the full strength real flash.
| | 00:35 | To activate Red Eye Reduction, go into
the menu, first Shooting menu, second
| | 00:39 | from the bottom Red-eye
Reduction, defaults to Disabled.
| | 00:43 | I'm going to switch that to Enable.
| | 00:45 | Now when I press the, with the flash up,
when I half press the shutter button to
| | 00:49 | meter, you can see this
lamp on the front lights up.
| | 00:52 | This is what it's trying to shine into
my subject's eyes to get their irises to
| | 00:56 | close down, so that I don't
get such a red-eye problem.
| | 00:59 | So I press that, let it do its thing, and
then when I fire my shot, the flash fires.
| | 01:05 | Now, when you're looking through the
Viewfinder, you're going to see the
| | 01:07 | Exposure Compensation
Control down at the bottom.
| | 01:10 | It's going to light up and slowly shrink.
| | 01:12 | It's shrinking to let you know that's
about how long it takes for this lamp to
| | 01:17 | close someone's irises down.
| | 01:18 | So don't take the picture
until you see it disappear.
| | 01:21 | Then you can press the button to take the shot.
| | 01:23 | When using Red-eye Reduction Flash, be
sure to tell your subjects to hold still
| | 01:27 | until you tell them that you've got the shot.
| | 01:29 | After those first flashes, they might
start moving around and mess up the actual
| | 01:34 | shot if you haven't told them to 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.
| | 00:24 | This is because the camera is using
Exposure Settings that are correct for the
| | 00:28 | area that is covered by the flash, but
which are under-exposing all of the stuff
| | 00:32 | in the 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 all the way
over here, almost at this end of the mode Dial.
| | 00:53 | It's this little icon here of a little
person with a star over their shoulder.
| | 00:58 | As with other Scene modes, I've got
controls of Ambience, and Drive mode, and
| | 01:01 | all of those things.
| | 01:02 | The important thing to know about Night
Portrait Scene mode is that when I half
| | 01:05 | press the shutter button, if the camera
thinks that the flash is necessary, it
| | 01:09 | will pop it up just like it does in Auto mode.
| | 01:12 | It's automatically going to use a long
exposure to properly expose the background.
| | 01:18 | As with Red-eye Reduction Flash, when
you're using Night Portrait Scene mode,
| | 01:21 | it's very important to tell your
subject not to move until you're finished.
| | 01:26 | Often they'll move as soon as the
flash fires, and then they will be kind of
| | 01:30 | ghosty because of the slow shutter speed
that will have all those blur around them.
| | 01:34 | Similarly, you need to remember to
think of this as a slow shutter speed shot.
| | 01:38 | So you need to work extra hard to hold
the camera steady, and to squeeze the
| | 01:42 | shutter button carefully and generally
be sure not to introduce camera shake
| | 01:46 | during the long exposure.
| | 01:47 | Finally, note that there will be color
differences between the flash illuminated
| | 01:52 | foreground and the longer exposed background.
| | 01:55 | This is because the camera will choose
a white balance that's appropriate for
| | 01:58 | the flash, typically leaving
the background looking very red.
| | 02:01 | But this is still better than
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 off the image sensor.
| | 00:07 | It converts it into a color image, then
it applies your White Balance Settings,
| | 00:11 | sharpens your image, and finally
compresses 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.
| | 00:29 | Your camera comes with a selection of
Picture Styles that are tailored towards
| | 00:32 | specific subject matter.
| | 00:33 | For example, the Portrait Picture
Style will apply Color Corrections, and
| | 00:38 | 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
than Standard, a tag is set in your RAW file.
| | 00:54 | And 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.
| | 01:10 | So there is no need to use
them when you're shooting RAW.
| | 01:13 | If you regularly shoot in the same
environments, say, you're a wedding shooter,
| | 01:18 | or an event shooter, and you routinely
shoot the same types of subject matter in
| | 01:22 | the 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,
| | 01:32 | or 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 to know
| | 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 | By default, the Rebel
chooses automatic picture style.
| | 00:04 | This means that the color tone in the
image is going to be adjusted according to
| | 00:08 | what the camera thinks it needs.
| | 00:10 | Typically you're going to get
bluer skies, greener greens, and redder
| | 00:14 | sunsets that kind of thing and in
other words you're going to get a
| | 00:17 | saturation hit on your images.
| | 00:19 | If I want to change to a different
picture style though I can use the Picture
| | 00:22 | Style button, which is right here.
| | 00:24 | I press this and I get a
menu of Picture Style options.
| | 00:29 | So this is Auto that's the default.
| | 00:30 | Standard, which is just a
general-purpose picture style.
| | 00:34 | It's not going to amp up the colors
too much it's going to leave things
| | 00:37 | pretty much alone, but do a little
bit of adjustment to make the typical
| | 00:41 | picture look better.
| | 00:43 | Portrait, which is going to try to
improve skin tones and soften the image.
| | 00:48 | Landscape, which is going to try to
improve skies and foliage, so typically
| | 00:53 | blues and greens are going to get ahead and
it's going to go for little more sharpness.
| | 00:57 | Neutral is going to be pretty
much not do anything at all.
| | 01:00 | This is going to give you what probably
appears to be a slightly flatter image
| | 01:04 | not as contrasty without as much color boost.
| | 01:07 | Faithful is for shooting under sunlight.
| | 01:09 | It's going to give you kind of flat
dull images, but your colors would
| | 01:13 | probably be very accurate.
| | 01:15 | With both Neutral and Faithful, you'll
probably find you need to do quite a bit
| | 01:19 | of adjustment in your computer later.
| | 01:21 | Monochrome is a black and white picture style.
| | 01:25 | It allows you to shoot black
and white stuff in the camera.
| | 01:27 | And then you've got three User Defined
picture styles so these give you three
| | 01:31 | slots where you can set up your own
picture styles for the particular type of
| | 01:34 | lighting situations that
you may regularly shoot under.
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| Adjusting predefined styles| 00:00 | You can edit the predefined picture
styles or save your own picture styles by
| | 00:05 | going to the Picture Style screen and
picking the picture style that you want to
| | 00:09 | manipulate and then hitting the INFO button.
| | 00:11 | So let's say I've been shooting with
the Landscape picture style and I'm not
| | 00:14 | completely pleased with my results.
| | 00:15 | I'm going to hit the INFO button to go
into the editing screen and there are
| | 00:18 | four parameters that I can edit here
Sharpness, Contrast, Saturation, and Color tone.
| | 00:23 | So perhaps I'm not liking
the sharpness in my images.
| | 00:27 | They are coming out too sharp and you may
think well how can an image be too sharp?
| | 00:30 | Well, that has to do with the way that
the camera actually sharpens the image.
| | 00:33 | It's kind of an optical illusion and
too much sharpening can end up making your
| | 00:37 | image look kind of garish.
| | 00:38 | So I'm going to hit the SET button
and I'm going to dial the Sharpness down
| | 00:42 | 1 notch and hit OK.
| | 00:44 | You can see there is still a light gray,
a little marker there that shows me the
| | 00:47 | original default position.
| | 00:49 | Let's also say that I've been out
shooting nice lush forests and they're
| | 00:53 | coming out a little dull somehow, so I'm going
to increase the Saturation by 1 notch and hit OK.
| | 00:59 | When I'm done I can just hit the menu
button to go back to my main Picture Style
| | 01:03 | page and now I have altered
the Landscape picture style.
| | 01:07 | Let's say that I want to create my own
picture style say for a different type of
| | 01:10 | landscape, maybe I've been
spending a lot of time shooting deserts.
| | 01:13 | So I'm going to go in here and hit
the INFO button on User Defined 1.
| | 01:17 | Now I have basically an empty
picture style that I can work with.
| | 01:22 | It will be based on
another existing picture style.
| | 01:26 | I can choose Auto, Standard,
Portrait, Landscape, Neutral.
| | 01:29 | So I can choose any of these.
| | 01:30 | I'm going to start with the
Landscape one and I get the normal default
| | 01:34 | Landscape settings.
| | 01:35 | And I'm going to go in here and say
that I've been shooting onto sand dunes and
| | 01:39 | I want them really contrasty.
| | 01:41 | I really want to see the crunchiness
of the sand and that kind of thing and
| | 01:44 | maybe I want to desaturate them a little bit.
| | 01:47 | And so now when I hit MENU and save
that I have my own special user defined
| | 01:53 | picture style for that particular application.
| | 01:56 | Again, Picture Styles are
only applied to JPEG images;
| | 01:59 | however they are stored in the raw files.
| | 02:02 | So, if you're editing your raw images in
Canon's DPP these adjustments will be made.
| | 02:07 | Picture Styles are not a full blown
substitute for image editing on your
| | 02:12 | computer, but if you regularly shoot
under the same situations and you don't
| | 02:16 | want to spend a lot of time editing
Pictures Styles can be a great shortcut.
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| Monochrome picture styles| 00:00 | Earlier when we looked at the list of
picture styles that the Rebel provides you
| | 00:04 | saw that there was a monochrome one
and you may think, wow, this is great.
| | 00:06 | This means that I can just shoot black
and white images and see exactly what
| | 00:10 | they look like on the viewfinder, and
that's good, because I often have trouble
| | 00:13 | visualizing what a black
and white scene may look like.
| | 00:16 | That's all true, but still I
really recommend that you do not use the
| | 00:20 | monochrome picture style.
| | 00:22 | One of the great advantages of black
and white shooting is you can choose
| | 00:24 | exactly what shade of gray any
particular object will be in your scene.
| | 00:29 | There is no the default right
grayscale conversion from color when you're
| | 00:34 | shooting in black and white and if you
use the monochrome picture style you're
| | 00:37 | using Canon's canned recipe for black
and white, and it may be okay for some
| | 00:41 | images, but it's not going to be okay for all.
| | 00:43 | You really don't want to give up that
control of the color to black and white conversion.
| | 00:48 | If you'd like to know more about that,
you can find out all the details in my
| | 00:51 | Foundations of Photography:
| | 00:52 | Black and White course.
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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, then 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.
| | 00:50 | To activate Live View, you just press
the Live View button which is right here.
| | 00:54 | Now when I press this you're
going to hear the mirror come up.
| | 00:56 | That was the mirror flipping up to
allow light to get all the way back to
| | 01:00 | the image sensor which is creating this
image that I'm seeing here on the LCD screen.
| | 01:05 | So the first thing you should notice is
I get a status display at the bottom of
| | 01:09 | the screen that's very much like what
I would see in my normal viewfinder.
| | 01:12 | I've got a exposure compensation.
| | 01:14 | I've got a number of shots remaining.
| | 01:15 | I can see that I'm in Auto ISO mode.
| | 01:17 | I can see that I have a full battery.
| | 01:19 | This is actually a fairly critical
piece of status information here, because
| | 01:22 | Live View will drain your battery very quickly.
| | 01:25 | If I half-press the Shutter button I
get my shutter speed and aperture just
| | 01:30 | like I always will.
| | 01:31 | So this is pretty much everything you
need when you're shooting, but there are
| | 01:34 | some additional displays that I can pop up.
| | 01:37 | If I hit the Info button I get all this stuff.
| | 01:39 | Now this is all the stuff that I would
normally see back here on the display if
| | 01:43 | I was just shooting in
regular mode, not in Live View.
| | 01:45 | And I can see that I'm in Single Shot mode,
| | 01:48 | I'm in Autofocus, in Live View,
| | 01:50 | I am at Auto White Balance selected,
my Auto Picture Style, the Auto
| | 01:53 | Lighting Optimizer is set to the
middle setting and I'm shooting a
| | 01:56 | high-quality JPEG image.
| | 01:58 | I can also see that
Exposure Simulation is turned on.
| | 02:01 | This means that it's really trying to
simulate what the final image will look like.
| | 02:04 | That means it's applying a picture style.
| | 02:07 | It's trying to show the actual
white balance that it will use.
| | 02:10 | It's trying to show the ambience that
I may have selected, and a lot of other
| | 02:13 | parameters that really make this a
fairly accurate view of what my final
| | 02:19 | image will look like.
| | 02:20 | If I press this button again,
I get a histogram display.
| | 02:24 | Now if you're not familiar with a histogram
it's something you really need to learn about.
| | 02:27 | It's a critical exposure tool.
| | 02:29 | This makes it very simple for me to see
if I've over or underexposed an image,
| | 02:33 | if I've got enough contrast, if
I have a very low contrast image.
| | 02:36 | This is also a live histogram.
| | 02:38 | As the scene changes the histogram
updates in real time, well close to real time.
| | 02:43 | So a very, very useful shooting
feature you can learn more about that in my
| | 02:47 | Foundations of Photography: Exposure course.
| | 02:49 | If I press the Info button again, all of
that stuff goes away, leaving me a very
| | 02:54 | clean, uncluttered view of my scene
which can make composition much easier.
| | 02:58 | I typically work with my standard
display down here, because I want to keep
| | 03:02 | track of my exposure settings as I'm working.
| | 03:04 | I can also use the Q button just like I
would in normal shooting to bring up an
| | 03:10 | interactive set of controls.
| | 03:11 | Now I can work through these and change
any of these settings without having to
| | 03:15 | manipulate any of the
other controls on the camera.
| | 03:17 | So this is particularly nice
when you're working on a tripod.
| | 03:20 | I can be working with Live View and
not have to look through the viewfinder,
| | 03:23 | not have to reach for control, I can really see
and do everything right here on this one screen.
| | 03:29 | I can also deactivate this button.
| | 03:31 | If I were to accidentally press this
button the Live View might activate and as
| | 03:35 | I've said it can be a real battery
drain and maybe my camera's bumping on my
| | 03:39 | belt or something and
continually turning it on and off.
| | 03:42 | Before I know it, I could lose battery.
| | 03:44 | So I'm going to go in here to the menu
and you see right here Fourth Shooting
| | 03:48 | Menu>Live View shooting.
| | 03:50 | I can just choose to Disable that and now
pressing this button does nothing at all.
| | 03:55 | So if you don't ever use Live View you
might as well turn that off so that you
| | 03:59 | don't ever accidentally get into Live
View mode when you don't want to be.
| | 04:04 | Running the LCD screen on the
camera generates a lot of heat inside the
| | 04:07 | camera and because heat is bad for
electronic components and makes your image more noisy.
| | 04:12 | Your camera will begin to
show you warnings as it heats up.
| | 04:15 | First, you'll see this white icon.
| | 04:18 | This indicates that image
quality might be degraded, because the
| | 04:21 | camera's getting too hot.
| | 04:22 | As you continue to shoot the white icon
will turn red, and then it'll start flashing.
| | 04:27 | Eventually, the camera will just stop
shooting altogether and you will have to
| | 04:30 | shut it down to let it cool.
| | 04:32 | How quickly this will all happen
varies with ambient temperature.
| | 04:35 | You can avoid these overheating
problems by turning off Live View when you're
| | 04:39 | 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 its mirror out of the way so that
| | 00:05 | light can get from the
lens directly to the sensor.
| | 00:09 | It's the sensor that creates the
image that's shown on the LCD screen.
| | 00:12 | So no Live View image can be created
when the mirror is down and in the way.
| | 00:16 | Unfortunately, there is something else
that happens when the mirror flips up.
| | 00:20 | The autofocus sensors in the
camera are located up here.
| | 00:23 | Light from the lens gets bounced up
here and the autofocus sensors analyze it
| | 00:29 | to calculate focus.
| | 00:30 | When the mirror flips up, those
autofocus sensors go blind, meaning your camera
| | 00:35 | loses its normal autofocus capability.
| | 00:38 | When you're in Live View then the camera
has to use a different method autofocus.
| | 00:42 | By default, rather than relying on
its autofocus sensors the computer in
| | 00:46 | your camera will analyze the image that the
sensor is capturing and focus accordingly.
| | 00:51 | The practical upshot of this is that
autofocus in Live View is much slower than
| | 00:55 | it is when you shoot normally.
| | 00:57 | Your camera has some additional
autofocus modes that you can activate.
| | 01:02 | By default, when I half-press the
Shutter button in Live View mode the image
| | 01:06 | that the camera sensor has captured
is analyzed and focus is calculated and
| | 01:10 | you can see it goes through some work and
it takes a while and it finally locks focus.
| | 01:14 | My little box has turned green, the
camera beeped just like it would if I
| | 01:18 | was shooting normally.
| | 01:19 | I don't have a set of focus points here
like I would see in my normal viewfinder.
| | 01:23 | That's because I've got something better.
| | 01:25 | In Live View mode I can actually move
this box anywhere I want on the screen
| | 01:29 | just by driving it around
with my arrow keys here.
| | 01:32 | So I can put it right there on the end
of the lens, half-press to focus and now
| | 01:37 | it's focused right there.
| | 01:38 | So I've got, not quite an infinite
set of focus points, but I've got a lot
| | 01:42 | of focus points to work with when I'm focusing
in Live View which is very, very convenient.
| | 01:47 | But as you can see Live View focuses a
little bit slow because I'm not using the
| | 01:52 | dedicated autofocus sensors.
| | 01:54 | I'm having to analyze this image data.
| | 01:56 | If I would like to focus faster,
there are a few different things I can do.
| | 02:00 | First of all, I can leave Live
View altogether and focus out here.
| | 02:06 | So you just heard the beep.
| | 02:07 | My camera just focused.
| | 02:09 | Now if I wanted I could switch the
switch on my lens to manual focus and that
| | 02:12 | would lock that focus in.
| | 02:14 | Then I could go into Live View and know that
my image was in focus and not going to change.
| | 02:18 | So that's one option.
| | 02:19 | Another option is to change the focusing mode.
| | 02:22 | I'm going to go into menu and in my
fourth shooting menu I have Auto Focus mode
| | 02:27 | and it's set to Live mode.
| | 02:29 | I'm going to open this up and you
see I have a couple of other options.
| | 02:32 | I have basically the same mode that we've
already seen, but with the face detection.
| | 02:36 | It will automatically try and identify
the face in this scene and focus on it.
| | 02:39 | That's not what I'm looking for.
| | 02:40 | I'm looking for a Quick mode which
is going to give me faster autofocus.
| | 02:44 | So I'm going to select
that and come back out here.
| | 02:48 | Now you see I get back to my
normal set of focus points.
| | 02:51 | That's because now I'm actually back to
using the autofocus sensors that are up
| | 02:55 | here in the top part of the camera.
| | 02:57 | When I half-press to focus, you
notice the screen went black, and then it
| | 03:01 | analyzed my image, picked what it
thought were the right focus points, focused
| | 03:05 | on them, and then my image came back.
| | 03:07 | The reason the screen went black is
the way this works is that the mirror
| | 03:12 | came back down which shut off my Live View,
but returned light to my autofocus sensors.
| | 03:17 | So basically I've put the mirror down,
quickly autofocused, and then flipped
| | 03:21 | to the mirror back up.
| | 03:22 | So the trade-off here is I get faster
autofocus, but my screen goes black for a second.
| | 03:28 | Finally, you have one other option for
focusing in Live View and that's Manual
| | 03:32 | Focus and just like when you're
shooting normally you have to switch your lens
| | 03:36 | from Auto Focus to Manual Focus to
enable manually focusing in Live View.
| | 03:40 | What I do then, I can now turn the focus ring on
my camera and focus just like I normally would.
| | 03:45 | Now the difficult thing about focusing
in Live View is that my screen is small
| | 03:49 | enough that it's really
hard to tell if I am in focus.
| | 03:52 | I could look through the viewfinder, but
typically if I'm choosing to shoot Live
| | 03:55 | View it's probably because I've got
the camera configured in someway where I
| | 03:59 | can't easily look through the viewfinder.
| | 04:01 | Fortunately, Canon has built in a
focusing aid in the form of the zoom buttons
| | 04:06 | up here, the same ones that I
use for zooming in during playback.
| | 04:09 | I can zoom into my image.
| | 04:12 | If I press it twice I get here to 10x zoom,
so I see a very enlarged view of my image.
| | 04:18 | That makes it much easier to focus, and
you can see that tiny little movements
| | 04:24 | are really jittering the frame around,
but still that's enough for me to see
| | 04:28 | that the image is in focus.
| | 04:29 | Press it a third time and I
go back to my normal view.
| | 04:33 | So now I'm focused and I can go ahead and shoot.
| | 04:36 | So manual focus is great for times
when you are perhaps shooting a product
| | 04:41 | like this and you want to adjust the
focus and set, you know your focus is
| | 04:44 | never going to change.
| | 04:46 | You can manually focus and just leave it there.
| | 04:48 | You can of course as I explained
earlier autofocus and then switch to manual
| | 04:51 | to make it stay there.
| | 04:52 | If you're finding that your autofocus
simply isn't focusing in the right place
| | 04:56 | either because your scene is too dark,
or you just can't get it to see the area
| | 05:01 | that you want to focus, maybe because
there's not enough contrast there, then
| | 05:03 | manual focus is a great fallback position.
| | 05:06 | If you're shooting something that's
not moving, you probably don't care about
| | 05:09 | losing the image on the screen.
| | 05:11 | In which case this is a better way to work,
because you'll get much faster autofocus.
| | 05:14 | But if you're really needing to keep
track of things while you're working, then
| | 05:19 | you would probably want to go right
back to the normal Live mode autofocus.
| | 05:25 |
| | 05:25 | So that's focusing a Live View.
| | 05:27 | It's a little more complicated, but
with a little practice you should have
| | 05:30 | no trouble using it.
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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 HDTV has a different
aspect ratio than what your camera shoots.
| | 00:10 | With its 16:9 aspect ratio, your HDTV
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 4:3 which
incidentally is the Aspect ratio of
| | 00:24 | standard 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 | To alter aspect ratio go into the menu
and over here in the fourth shooting menu come
| | 00:43 | right down to aspect ratio.
| | 00:45 | You can see my default is 3:2.
| | 00:46 | I'm going to set it to 16:9.
| | 00:49 | This is the same as what you'd find on an HDTV.
| | 00:53 | So if I pick that and leave my menus,
now you see I'm still seeing my full 3:2
| | 00:59 | full frame image, but I've got
guidelines showing where by 16:9 aspect ratio is.
| | 01:04 | Let's kill this status display like we
learned about earlier by taking that out
| | 01:09 | and now you can really see it.
| | 01:10 | If I'm shooting in JPEG mode my final image
will actually be cropped to this aspect ratio.
| | 01:15 | If I'm shooting in RAW mode, the
image will be tagged as being this aspect
| | 01:20 | ratio, and if I open it up in
DPP, I will see a cropped image.
| | 01:24 | So, if I'm using a different RAW
converter, this Aspect ratio feature doesn't
| | 01:29 | buy me anything, and obviously changing
aspect ratio doesn't do anything in my
| | 01:33 | viewfinder up here.
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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 of the
| | 00:12 | Image Review on your camera and to not spend
any time looking at images you've already shot.
| | 00:17 | Because Live View requires the LCD
screen, it's a big battery drain.
| | 00:20 | So you want to keep an eye on your battery
status if you're doing a lot of Live View.
| | 00:25 | If you know you're heading into a
situation that requires a lot of Live
| | 00:27 | View shooting, then you might want to
consider investing in some additional batteries.
| | 00:31 | If you're trying to shoot
unobtrusively in the darker environment such as a
| | 00:35 | performance or a concert, then the light
from the LCD screen might be disturbing
| | 00:39 | to the people around you.
| | 00:40 | In those instances, it's probably
better to stay away from Live View.
| | 00:43 | But the biggest drawback with Live
View shooting has 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,
| | 01:17 | and all those shadowy areas.
| | 01:19 | When you look at the scene using Live View
you're 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're 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 you 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 the 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 a lot of details that you can't
| | 02:03 | see in Live View.
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|
|
13. Shooting VideoConfiguring and activating video| 00:00 | In addition to stills
your camera can shoot video.
| | 00:03 | Digital SLR's 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 point
| | 00:12 | and shoot digital cameras.
| | 00:14 | You should already have a comfortable
understanding of depth of field, if you
| | 00:17 | don't check out
Foundations of Photography: Exposure.
| | 00:20 | One of the factors that controls
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 field.
| | 00:29 | Now your SLR has a much bigger sensor
than what you'll find in almost any video
| | 00:34 | or point and shoot camera, which means
you have the capability to shoot video
| | 00:38 | with very shallow depth of
field when you use your SLR.
| | 00:42 | This affords you far more creative
options and lets you shoot video that can
| | 00:45 | have a much more film like look than
what you'll shoot with a dedicated video
| | 00:49 | camera or 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.
| | 01:31 | To shoot videos I first need to put the
camera into Video mode that's the little
| | 01:35 | movie camera over here on
the very end of the mode Dial.
| | 01:38 | When I do that the mirror pops up, my live
view screen activates and I'm ready to start.
| | 01:42 | Before we do that, let's look at some options.
| | 01:44 | If I open my menu you can see that in
Video mode things have changed, I now have
| | 01:49 | these four video shooting menus that
have a whole lot of options in them.
| | 01:53 | I want to look specifically at Movie
Recording Size and you can see by default
| | 01:57 | I'm at 1920x1080 at 30 frames per second.
| | 02:00 | If I open this up I see that I have
some other options and I can cycle through
| | 02:05 | them by using the wheel up here.
| | 02:07 | I can do 1920x1080 at 24 frames per second.
| | 02:11 | I can go down here and do 1280x720 at
60 frames per second, or I can go down to
| | 02:16 | 640x480 at 30 frames per second.
| | 02:19 | Notice here my remaining time on the
card for shooting videos has jumped way up
| | 02:22 | on then, about half an
hour as opposed to 11 minutes.
| | 02:25 | If I am just shooting something for the
Web and I'm not overly concerned about
| | 02:29 | image quality, this is going to
buy me a lot more shooting time.
| | 02:33 | 24 frames per second, here it's going
to give you a little more of a film style
| | 02:38 | motion as opposed to 30 which is to
look more like the normal video that you're
| | 02:41 | used to seeing on TV.
| | 02:43 | Obviously, the amount of time that I
have available to shoot is going to depend
| | 02:46 | on the size of the card
that I have in the camera.
| | 02:48 | The speed of the card is also
fairly critical for video shooting.
| | 02:52 | You need a card that's at least
class six or higher to be shooting video.
| | 02:57 | If your card is slower then you may
see an indicator flashing that lets you
| | 03:01 | know that your buffer is filling up
and that you're possibly going to have a
| | 03:06 | stall in video recording.
| | 03:08 | So let's go back to our Live View display.
| | 03:10 | When I'm ready to start shooting, all I
do is press the Live View button and I
| | 03:14 | get this little red dot here that
indicates that I'm now recording video and I
| | 03:17 | can see video being written out to the card.
| | 03:20 | While I'm shooting video I can also take stills.
| | 03:23 | If I half press my Shutter button and
then push it all the way down to take a
| | 03:29 | picture, I capture a still that gets
written out to my card and that same image
| | 03:34 | gets written to the video for one second.
| | 03:37 | So I don't see an interruption of my video.
| | 03:39 | Just everything freezes for one second.
| | 03:42 | So I can't shoot stills and have a
constant capture of motion at the same time.
| | 03:47 | Pressing the Live View
button again stops recording.
| | 03:50 | As with Live View mode I can cycle
through my various Info displays.
| | 03:55 | I don't get a Histogram here, but I can
get my Status displays and a view of the
| | 04:00 | rest of my settings.
| | 04:01 | Most of the rest of these controls work
exactly the same as they do in Live View
| | 04:05 | mode, so you should already
be comfortable with those.
| | 04:08 | Note that when you are recording video,
Image Stabilization if your lens has it
| | 04:13 | is turned on and left on
through your whole video shoot.
| | 04:16 | That's great for stabilizing your
footage, but it also means your battery is
| | 04:20 | going to drain faster.
| | 04:21 | If you're working from a tripod turn
Image Stabilization off, you won't need it
| | 04:25 | then and it will buy you
some extra battery time.
| | 04:27 | Also note that the built-in microphone
on the camera is going to pick up any
| | 04:31 | camera handling noise, all your
hand bumping into the camera, pushing
| | 04:35 | buttons that kind of thing.
| | 04:36 | So while you're recording video you
want to be very careful about how you hold
| | 04:39 | the camera and how you move around with
the camera so that you don't pick up a
| | 04:42 | bunch of bumps and little
rumbling sounds from your hands.
| | 04:46 | The critical watchword when
shooting video with your SLR is care.
| | 04:50 | You have to take great care to ensure
that your images are in focus and this
| | 04:55 | typically means that you can't do the
type of run and gun shooting that you're
| | 04:59 | used to doing with a video
camera or point and shoot camera.
| | 05:02 | If you're shooting a documentary or
candid footage of rapidly changing subject
| | 05:06 | matter then your SLR may not be
the best choice for shooting video.
| | 05:10 | If image quality and creative control
are paramount though, then it's hard to
| | 05:15 | beat the results that you'll get from your SLR.
| | Collapse this transcript |
| Focusing| 00:00 | For the most part focusing in Movie mode
is exactly the same as it in Live View mode.
| | 00:05 | I half press the Shutter button,
the image on the screen is analyzed,
| | 00:09 | when focus is found the green box
lights up, the camera beeps and now I'm ready
| | 00:13 | to start recording just like I always would.
| | 00:15 | I want to note though that if I half
press the Shutter button again, nothings
| | 00:19 | happens. It's not possible to auto-
focus again while video is rolling and Canon
| | 00:24 | did this on purpose.
| | 00:26 | Let's take a look at why.
| | 00:27 | I'm going to skew things out of focus a
little bit here and just watch how long
| | 00:32 | it takes the camera to auto-focus and
all the things that happens while it's
| | 00:35 | doing, and I half press it goes out,
| | 00:37 | it goes in, it goes out,
| | 00:38 | it goes in, it grinds back and
forth and then finally beeps.
| | 00:42 | If I was allowed to focus while
shooting that whole process would be recorded
| | 00:47 | and not only what I see it go in and
out of focus, but I would hear the lens
| | 00:50 | grinding if I was using the
camera's internal microphone.
| | 00:53 | So by default Canon disables that,
so that you don't accidentally go into
| | 00:58 | Auto-focus or even intentionally go
into Auto-focus and mess up your video with
| | 01:01 | a bunch of distracting focus moves.
| | 01:04 | If you need to though, you can enable
the ability to auto-focus during video.
| | 01:10 | AF with Shutter button
during little movie camera icon.
| | 01:14 | If I go into there I can hit Enable.
| | 01:16 | So if I'm in a situation where I don't
care about that distracting auto-focus, I
| | 01:20 | just absolutely need to keep the camera
rolling and I want to be sure that I can
| | 01:23 | auto-focus while it's rolling then you
might want to enable that feature, most
| | 01:27 | of the time you will
want to leave that disabled.
| | 01:30 | Auto-focus modes, as you can see I've got the
same three modes that I would have in Live View,
| | 01:35 | Live mode which is the one we just saw,
Face Detection Live mode and Quick mode,
| | 01:40 | which will flip the mirror up and
actually use the Auto-focus sensors.
| | 01:43 | Now this one I definitely cannot use
while I'm shooting video, because we can't
| | 01:48 | have the mirror go up without
interrupting the video completely, but I could do
| | 01:52 | that before I focus and of
course I can manually focus.
| | 01:55 | And if you're really good at writing
the manual focus, you can do that while
| | 01:58 | you're rolling and have pretty
good effect, but that's a very, very
| | 02:02 | difficult skill to acquire.
| | 02:04 | Back into the menus let's looks
at the couple of other things here.
| | 02:07 | I've got most of the same post
processing and many of the same exposure controls
| | 02:11 | that I have when I'm shooting still
images. I have Highlight Tone Priority.
| | 02:15 | I have Auto Lighting Optimizer.
| | 02:16 | I can choose Picture
Styles and Custom White Balance.
| | 02:19 | Look over here I also got just a normal
shooting menu where I can pick a still
| | 02:23 | image Quality and
Peripheral Illumination Correction.
| | 02:26 | That's because as you've already seen
while I'm rolling video I can shoot stills
| | 02:30 | also, so this just lets me
configure what those stills are going to be.
| | 02:34 | I want to take a look back here
| | 02:37 | at something you may have noticed
earlier when we looked at Movie Recording Size.
| | 02:41 | When I go in here and as you saw if I
turn the dial I can pick these different
| | 02:45 | sizes, but if I use the left and right
arrow buttons I can also opt for digital
| | 02:50 | zoom when I have chosen a
movie size of 1920x1080.
| | 02:53 | So let me just turn that on, and
now let's go out here and you see that
| | 03:01 | I've zoomed in here.
| | 03:02 | I'm in a digital zoom mode right now.
| | 03:05 | If I press and hold the Display button
as you can see I can use the Zoom in and
| | 03:09 | Zoom out buttons to digitally zoom in farther.
| | 03:13 | So this gives me an extra bit of
reach over what my lens can do on its own,
| | 03:18 | so if I really need a little bit of extra
zooming power this is a nice feature to have.
| | 03:22 | I can even use it while I'm rolling,
but there is possibly an image quality hit
| | 03:26 | to be taken, so you're going to want to
experiment with this a little bit before
| | 03:29 | you depend on it for an important shot.
| | 03:31 | Let's turn that back off and now when I
come out, I'm back to the shoot I had before.
| | 03:37 | The critical thing to remember about
focusing video is that while I have
| | 03:41 | Auto-focus before I start shooting I don't
have continuous auto-focus while I'm shooting.
| | 03:46 | So if my camera to subject distance
changes, either because I move the camera
| | 03:50 | or because my subject moves, there is a very
good chance things are going to fall out of focus.
| | 03:54 | This is not like shooting video with a
point and shoot camera or a real video
| | 03:58 | camera, so you're going to have to
learn a new set of skills for either keeping
| | 04:02 | things in focus or just paying
attention to when things go out of focus.
| | Collapse this transcript |
| Exposure control| 00:00 | Just as with still shooting in movie
mode the Rebel does a very good job of
| | 00:04 | calculating exposure.
| | 00:05 | There still might be times though when
you want to override it and take some
| | 00:08 | manual control and you have
a couple of options for that.
| | 00:10 | First of all, you have Exposure
Compensation just like you would in still mode,
| | 00:15 | so I'm going to half press to focus
and meter and now I can press and hold my
| | 00:19 | Exposure Compensation
button and dial up and down.
| | 00:22 | As I dial up my image gets brighter
and you notice that's bringing out some
| | 00:26 | more detail here in the shadowy parts of
the camera, so that might be something I want.
| | 00:29 | On the other hand, I've really blown out
the background so maybe if my aesthetic
| | 00:33 | was a little different I would want to
underexpose to darken the image and calm
| | 00:37 | the background down and plunge this into
mysterious shadows if I'm doing my film
| | 00:42 | noir version of a movie of
a camera that's not moving.
| | 00:46 | However, like in still mode I have no
control over how Exposure Compensation is
| | 00:51 | achieving this brightening and darkening
and there may be times when I want that
| | 00:55 | level of control for creative reasons.
| | 00:58 | Let's go into the Menu here.
| | 00:59 | Movie exposure is currently set to Auto.
| | 01:02 | I'm going to change it to Manual and
that's going to open up a whole new realm
| | 01:06 | of possibility here.
| | 01:08 | I meter and I see that the camera is
chosen a shutter speed of 1/30th of a second
| | 01:14 | and an aperture of 5.6.
| | 01:15 | If I turn the main dial up here I can
control my shutter speed, so I can choose
| | 01:21 | a different shutter speed.
| | 01:22 | If I am shooting sports, for example,
I may want to have individual frames
| | 01:27 | that are more frozen that will give me
more of a stuttery effect, but it will
| | 01:29 | make the image, the split second, moments of
action in the image are little more clear.
| | 01:34 | Notice that as I am doing this my
Exposure Compensation dial is showing a
| | 01:37 | little bit of overexposure, so I may try and
back that back down to get it back to good exposure.
| | 01:44 | I can also change aperture by holding
down the Exposure Compensation button
| | 01:48 | and turning the dial.
| | 01:49 | This is just like it works in
Manual mode when I am shooting stills.
| | 01:52 | This gives me the option of depth of
field control, so I may want to open up
| | 01:55 | my aperture to try and get shallower
depth of field or close it down to get
| | 02:00 | deeper depth of field.
| | 02:01 | So I have full Manual control
when I'm shooting in movie mode.
| | 02:04 | This is something you don't
even have a lot of video camera.
| | 02:07 | It's a very nice feature of
shooting video with your SLR.
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| Movie playback| 00:00 | Just as with still shooting I can
playback videos right here on the camera, just
| | 00:05 | hit the Play button.
| | 00:06 | Anything that's stored on the card that
is a video will have this little video
| | 00:09 | camera icon on it and there is a
prompt next to it at the Set button.
| | 00:13 | If I hit that it brings up
these transport controls.
| | 00:16 | First one by default is Play. All I
have to do is hit the Set button and my
| | 00:20 | video will start playing.
| | 00:21 | Complete with audio out my little speaker
here, I can press Set button again to pause.
| | 00:24 | If I want to change the volume out of
the speaker, I can just turn the wheel
| | 00:28 | over here to turn the volume up and down.
| | 00:31 | I can use the left and right
button to go to the other controls.
| | 00:33 | I've got a Slow motion control, a
Rewind which goes back to the First frame.
| | 00:38 | I can go to Previous frame, Next
frame, zip all the way to the end.
| | 00:42 | This is an Edit feature that
lets me trim the beginning and end.
| | 00:45 | Honestly if you really are serious
about cutting anything out of your movie
| | 00:49 | you're going to have a much easier time
working on your computer if you like to
| | 00:52 | know more about this there are
detailed instructions in the manual.
| | 00:55 | I can also choose to have
some Background music play.
| | 00:58 | This is if I want to play videos
from here onto a monitor that might be
| | 01:03 | connected, basically using this as a
playback mechanism for driving my home
| | 01:08 | movies out of my TV.
| | 01:09 | Again, you're probably not going to
want to do that to your edited videos,
| | 01:12 | and then you're going to be burning them to
DVD or playing them back from your computer.
| | 01:16 | So simple playback controls that
are everything you need to review your
| | 01:20 | images on camera.
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|
|
14. Customizing Menus and FunctionsCustom menus| 00:00 | If you've been using your camera very
much, you've probably found that it's a
| | 00:03 | little bit of hassle having to navigate
from menu to menu to find the particular
| | 00:08 | function that you want.
| | 00:09 | Fortunately the Rebel has this cool
custom menu over here called My Menu, which
| | 00:14 | let's me put only items that I want in here.
| | 00:17 | So, for example, let's think about
some functions that we use regularly and
| | 00:21 | add them to this menu.
| | 00:22 | I regularly use, for example, the Format menu.
| | 00:25 | So I'm going to go in here top My menu
settings and I want to Register to My
| | 00:29 | Menu, registering is simply the
process of adding an item to the menu.
| | 00:33 | When I select that I get a list of every
menu option that the camera offers, and
| | 00:39 | now I just have to go
through and find the one I want.
| | 00:42 | They're presented in the same order
that they are in the normal menu hierarchy.
| | 00:47 | So I'm going to go down here till I
find the Format, hit the Set button.
| | 00:51 | It asks me to confirm that I want to
register that, so I'm going to say OK, and
| | 00:55 | now that's in My menu.
| | 00:57 | Let's look around to find some other
things. I tend to do a lot of bracketing, so
| | 01:03 | I'm going to go look for the auto
exposure bracketing, which is right here.
| | 01:08 | I'm going to select that, say OK.
| | 01:10 | When I'm done I can get out
by pressing the menu button.
| | 01:13 | I'm going to do that and hit
it again to look at My menu.
| | 01:17 | So now you can see that my menu
contains Format and My exposure compensation,
| | 01:22 | Auto Exposure racketing command.
| | 01:24 | The last item is always My menu settings
because you need that to be able to get
| | 01:27 | in and edit the menu and change
things around. So this is great.
| | 01:30 | Now all I have to do is come in here
and I got those two commands which I
| | 01:34 | use very regularly.
| | 01:35 | What you may have noticed already is
that when you hit the menu button you
| | 01:38 | always go back to the last menu you were at.
| | 01:41 | So if I just leave it there I
possibly never need to look at any of these
| | 01:45 | other menus again, except for the rare
occasions when I need some more unusual menu option.
| | 01:50 | Let's look one more time at
this My menu settings thing.
| | 01:53 | You'll see that I can sort the items in My menu.
| | 01:56 | I can also delete individual items or
delete everything, so that I can get My
| | 02:02 | menu back to normal and
make edits and changes later.
| | 02:06 | So this is a really handy way of
speeding up access to menu items on
| | 02:10 | your camera.
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| 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 1/3
stop increments, or maybe you want to be
| | 00:21 | sure that the autofocus assist light
doesn't fire because you're shooting
| | 00:24 | somewhere where that would be disruptive.
| | 00:26 | These are things you can easily
change through the use of Custom Functions,
| | 00:30 | allowing you to tailor your camera
to your particular taste 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.
| | 00:46 | So to get them, I'm going to press the
menu button and if I come all the way
| | 00:49 | over here to the third tools menu,
the very first item is Custom Functions.
| | 00:54 | So I'm going to hit the Set button to
go in there and down here at the bottom
| | 00:57 | here is a long list these are the 11
custom functions that I have and you can
| | 01:01 | see there is a little brown line
above it to indicate that I'm currently
| | 01:04 | looking at the first one.
| | 01:05 | So I can just go back and forth
through these with the left and right arrow
| | 01:08 | keys, and if I hit the Set button I
get a cursor that I can move up and down
| | 01:15 | to alter the function, and when I
do I can see which menu item of that
| | 01:20 | function I've chosen.
| | 01:21 | So I've chosen the first item here, so
this is kind of a quick way to see which
| | 01:24 | custom functions you've altered.
| | 01:26 | In the rest of this chapter, we're
going to go through and look at just some of
| | 01:28 | the critical custom functions that
you're going to want to know about.
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| Exposure level increments| 00:00 | By now you should be comfortable with
Exposure compensation and the Exposure
| | 00:04 | compensation readout right here.
| | 00:06 | When I adjust Exposure compensation,
by default I'm going in 1/3 stop
| | 00:11 | increments, so that's one stop of over exposure.
| | 00:15 | This is 2/3 of a stop.
| | 00:17 | That's 1/3 of a stop.
| | 00:19 | If you prefer to think in half stop
increments or if you don't want that much
| | 00:22 | granularity between your big exposure
compensation chunks, there's a custom
| | 00:27 | function you can change.
| | 00:29 | I'm going to go here into menu and go
into Custom Functions, and the very first
| | 00:33 | thing is Exposure level increments.
| | 00:35 | By default, I'm at 1/3 of stop.
| | 00:37 | If I want I can hit OK, scroll
down to here and choose 1:1/2-stop.
| | 00:43 | Now, you notice that my Exposure
compensation readout only has one notch
| | 00:48 | between each full stop, so that's 1/2
stop of overcompensation and that's one full stop.
| | 00:54 | So if you prefer thinking in half stops
rather than whole stops that's just an
| | 00:58 | easy way to simplify things.
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| ISO expansion| 00:00 | We've talked a fair amount about ISO
and hopefully you have been shooting with
| | 00:04 | the Rebel at higher ISOs and have had
the chance to see, how well it does in low
| | 00:08 | light when you crank up the ISO.
| | 00:10 | Even with its maximum ISO of 6400
though, which is astonishingly high,
| | 00:16 | you might still run in to times when
you just don't have that extra bit of ISO
| | 00:20 | latitude that you need to either shoot
in low light or get the shutter speed or
| | 00:24 | aperture settings that you want.
| | 00:28 | As you may have guessed, since this is
the Custom Function chapter, there is a
| | 00:30 | Custom Function that can help you with this.
| | 00:32 | I am going to go here into the Custom
Functions menu and go over here to ISO expansion.
| | 00:37 | If I turned this on, I
get one additional ISO stop.
| | 00:42 | So I am going to go into my ISO menu
here and you can see, now after 6400
| | 00:46 | there's ISO H. That's High.
| | 00:49 | That's One Stop higher than 6,400
which would make this ISO 12,800.
| | 00:55 | Now the reason that Canon has buried
that as a Custom Function is that, ISO
| | 00:59 | 12,800 is actually pretty
noisy and pretty grainy.
| | 01:03 | So you are going to want to do some
experimenting with that before you decide,
| | 01:05 | if it's really something you
want to use for a critical shot.
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| Long exposure noise reduction| 00:00 | When you use a shutter speed longer
than one second, you potentially face a
| | 00:04 | noise problem that's a little bit
different than the type of noise you get when
| | 00:07 | you simply raise ISO.
| | 00:09 | As the shutter stays open longer and
the sensor is exposed for a longer period
| | 00:14 | of time some of the
pixels can get stuck turned on.
| | 00:17 | And that can make noise in your image.
| | 00:19 | There is a Custom Function, number 4
here, Long exposure noise reduction.
| | 00:26 | By default, it's turned off.
| | 00:27 | If you switch it to Auto, any time you
shoot longer than one second, the camera
| | 00:31 | will automatically engage in a special
type of noise reduction that can help
| | 00:35 | with that type of noise you get when
you're shooting long exposure images.
| | 00:39 | If you switch it to On, it will
always be on, which you don't really want
| | 00:43 | because when you activate this feature,
after you take the shot, the camera
| | 00:48 | needs the same amount of time that
you used for your exposure to do a long
| | 00:53 | exposure noise reduction process.
| | 00:54 | So if you do a 15-second exposure,
there will be an additional 15 second wait
| | 00:59 | after the shot while the camera
processes its noise reduction.
| | 01:02 | This is a very effective process so if
you are doing lots of long exposures,
| | 01:07 | it's worth turning this on.
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| High ISO speed noise reduction| 00:00 | Hopefully by now, you've had the
chance to shoot with your Rebel at a higher
| | 00:04 | ISOs and you have seen how as you increase ISO.
| | 00:07 | You get an incredible
ability to shoot in very low light.
| | 00:10 | You have probably also seen that as you
increase ISO, the noise in your images increases.
| | 00:16 | Now it's not so bad up to about 400 and
it's quite usable at 800 or even 1600,
| | 00:22 | but still it's nice to
have less noise in your image.
| | 00:25 | Fortunately, your camera has noise
reduction processes built into it and you can
| | 00:29 | control these through a Custom Function.
| | 00:31 | If I go in here to Custom Functions,
the fifth Custom Function is High ISO
| | 00:36 | speed noise reduction.
| | 00:37 | By default, it's set to Standard which
means there is noise reduction applied to
| | 00:41 | every image that you take, whether JPEG or Raw.
| | 00:45 | But I've also got three different
strength settings that I can use.
| | 00:49 | And the reason I might want to play
with these is that as you apply noise
| | 00:52 | reduction, you possibly lose sharpness.
| | 00:55 | So if you are finding that your images
are little soft and you're wondering, well
| | 00:59 | maybe when even I am shooting at ISO
1600 it's because of that noise reduction.
| | 01:02 | You could go in and change it to low, or
if you are finding when you're shooting
| | 01:06 | at ISO 1600, your images
are noisier than you like.
| | 01:09 | You could turn up the noise reduction.
Put it on strong and you'll get less
| | 01:15 | noise but possibly less sharpness as well.
| | 01:18 | If you would like completely
unadulterated images, you can disable noise
| | 01:21 | reduction altogether.
| | 01:23 | One note if you put noise reduction
on strong, your maximum burst rate is
| | 01:27 | possibly going to decrease because the camera
is going to be doing a little more processing.
| | 01:31 | So High ISO speed, we are
talking about 800, 1600 and higher.
| | 01:36 | Fiddle with these and see if there's a
setting that you like more than just the Standard.
| | 01:40 | My personal experience is that
Standard is usually the best for any situation
| | 01:44 | that I am shooting in.
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| Highlight tone priority| 00:00 | Over exposure is the bane of all photographers.
| | 00:03 | When an image is overexposed, highlight
areas can blow out to complete detailess white.
| | 00:10 | Under exposure is not as pesky a problem
because of a shadow under exposes to complete black.
| | 00:14 | It often just looks like a dark shadow.
| | 00:17 | Highlight Tone Priority is a custom function
that can dramatically reduce over exposure.
| | 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 shooter's, 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 you're highlights will be
better exposed, there is a chance that your
| | 00:47 | shadows 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 over exposure 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 these situations, highlight
tone priority can be a real lifesaver.
| | 01:27 | You activate highlight tone priority
through the Custom Functions menu so I am
| | 01:32 | over here again in my third tools menu,
first item Custom Functions and it's
| | 01:36 | Custom Function number six,
| | 01:37 | Highlight tone priority. Not much to it.
| | 01:39 | I just go in here and choose
Enable and now I have highlight tone
| | 01:43 | priority turned on.
| | 01:44 | You are going to want to go out and
do some experiments with that and see
| | 01:47 | exactly how it tones down highlights
and whether you think that can help with
| | 01:51 | the types of shots you have been taking.
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| AF-assist beam firing| 00:00 | If you're shooting in a situation
that's too hard for the camera's autofocus
| | 00:04 | system to handle, it will use its
autofocus assist beam to shine some light into
| | 00:08 | your scene, so that it can focus.
| | 00:10 | There might be times though
when that's an appropriate.
| | 00:12 | Maybe you're shooting in a
concert or in a museum or something.
| | 00:16 | So if you're going to the Custom
Functions menu over here custom function number
| | 00:19 | seven is AF-assist beam
firing. By default it's Enabled.
| | 00:23 | If you want you can go down here and
Disable it that will keep that bright light
| | 00:27 | from shining into your
scene when you least expect it.
| | 00:30 | If you're using an external flash, you
can say well only use the external flash
| | 00:35 | for autofocus assist and a lot of
external flashes have an infrared assist beam
| | 00:40 | that you can activate instead which
is nice, because that's less visible.
| | 00:44 | So this is just a way to get around
that annoying light that can shine in
| | 00:48 | sometimes might be necessary for
autofocus, but there might be times when you
| | 00:51 | need to turn it off, so that you don't
have your camera acting inappropriately.
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| Mirror lockup| 00:00 | If you're shooting a longer shutter
speed then you've probably got your camera
| | 00:04 | mounted on a tripod. You might even be
using a remote control so that your hands
| | 00:08 | aren't on the camera and
introducing camera shake.
| | 00:11 | If you want to be absolutely sure
that you've got as steady a shot as you
| | 00:15 | possibly can get, you might want to
tell the camera to lock up its mirror.
| | 00:19 | The mirror that we saw earlier in the
mirror chamber as it flaps up and down can
| | 00:23 | introduce a little bit of
vibration to the camera.
| | 00:25 | I'm going to go here into Custom
Functions and Custom Function #8 Mirror Lockup.
| | 00:30 | I'm going to take that off
Disable and put it on Enable.
| | 00:34 | This changes the way the
camera works when I'm shooting.
| | 00:36 | Now when I press the Shutter button, the
mirror goes up, but I have not actually
| | 00:40 | taken a picture and the mirror is still up.
| | 00:43 | If I press the button to rest or press
the button again rather, now it's taking
| | 00:48 | my eight second exposure and when
it's done the mirror will come back down.
| | 00:53 | Note that it does stay in Mirror Lockup
mode, so the next time I take a picture
| | 00:57 | the same thing is going to happen.
| | 00:58 | So when you're done shooting this way,
you want to be sure that you come in here
| | 01:02 | and say disable Mirror lockup.
| | 01:04 | So again, this is a great feature if
you're shooting skies at night or anything
| | 01:09 | else where you're doing very long
exposures and want to be sure that you don't
| | 01:13 | have extra blur in your
image from a shaky camera.
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| Shutter/AE Lock button| 00:00 | As you already know, when I half
press the Shutter button my camera
| | 00:03 | autofocuses and meters.
| | 00:05 | But there will be times when you want
to meter and focus separately and there's
| | 00:10 | a custom function that can help change
the controls on your camera to make that
| | 00:14 | a little bit easier.
| | 00:15 | Custom Function #9 Shutter/AE lock
button gives me four different options, and
| | 00:21 | with each option I've got an item
and then a slash and then another item.
| | 00:25 | The first item is telling me what the
function of the Shutter button will be,
| | 00:29 | the second item is telling me what the
function of the AE lock button will be,
| | 00:34 | the one right here with a
little asterisk over it.
| | 00:36 | So by default I've got my shutter's
autofocused and my AE lock button is
| | 00:41 | Auto exposure lock.
| | 00:42 | You've seen how those work.
| | 00:44 | But if I switch down here to option #1, now
my shutter -- it's basically I'm reversing --
| | 00:49 | now my Shutter is AE lock
and this button is autofocus.
| | 00:53 | So now I've got Exposure
lock up here, focus back here.
| | 00:57 | If I go down here to the second option,
I go back to autofocus on my Shutter
| | 01:02 | button, but now I also have autofocus back
here and I get no Auto exposure lock ever.
| | 01:08 | What this is for as when I'm shooting
in AI Servo focus mode and the camera is
| | 01:13 | tracking a moving object.
| | 01:15 | This gives me the ability to stop it
from autofocusing by pressing this button.
| | 01:20 | When I release this button it will
start again, so this gives me a way of
| | 01:23 | working around something moving
between me and the moving subject that
| | 01:27 | I'm trying to focus on.
| | 01:28 | Finally, there is a fourth option
here, which is AE/AF, no AE lock.
| | 01:35 | This is the same as the third one except I do
get Auto exposure lock on my Shutter button.
| | 01:40 | This is good for subjects
which keep moving and stopping.
| | 01:44 | I can start and stop Servo focus with
my AE lock button back here, but I still
| | 01:50 | get Exposure lock up here which means
my exposure will be set right at the
| | 01:54 | moment that I press the
Shutter button all the way down.
| | 01:56 | For the most part you'll probably
find that you stay with your normal
| | 01:59 | functioning if that's what you're used to.
| | 02:01 | Although for certain situations you
may want to go to the second option for
| | 02:06 | having separate control
of exposure in autofocus.
| | 02:09 | If you do a lot of Servo shooting
fiddle with these and see if you get one that
| | 02:13 | works better for your subject matter.
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|
|
15. Caring for Your CameraCamera and sensor cleaning| 00:00 | Basic maintenance of your camera is
pretty intuitive, don't drop it, and don't
| | 00:05 | bang it in to things.
| | 00:06 | If you want to clean it, use a dry cloth.
| | 00:09 | If you're 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.
| | 00:19 | If I go here into the menu system, over
here in the second tools menu down near
| | 00:24 | the bottom I have Sensor cleaning.
| | 00:26 | I'm going to open that up and
you see I have three options.
| | 00:28 | By default, I'm set for Auto cleaning.
| | 00:31 | This means whenever the camera is turned on
and off it automatically cleans its sensor.
| | 00:35 | But if I'm shooting and I see some dust
in my image playback, I can come in here
| | 00:40 | and hit the Clean Now button that will
just tell it to go ahead and shake its
| | 00:42 | sensor real good, and then you can
take another shot and see if it worked.
| | 00:46 | If none of that works then you're going
to want to look into cleaning manually
| | 00:50 | which you do with this option right here.
| | 00:53 | The camera's built-in cleaning is very
effective, but there will be times when
| | 00:56 | your sensor gets dust that the
built-in cleaning can't remove.
| | 00:59 | In Foundations of Photography -
Lenses, I cover how to clean your
| | 01:02 | camera's sensor.
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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
| | 00:03 | and your proud of it and its great
how clean it looks and all of that.
| | 00:08 | Fortunately that wears off.
| | 00:09 | I say fortunately, because your camera
is actually quite durable and once you
| | 00:12 | get over trying to keep it pristine,
you'll be more likely to take it into more
| | 00:15 | shooting conditions.
| | 00:17 | The T3i manual lists the working
temperature for this camera as 32 to 104 degrees farenheit
| | 00:23 | that's 0 to 40 degrees celcius in 85% humidity or less.
| | 00:28 | Now it's a good idea to follow these
guidelines, but to be honest, I have always
| | 00:32 | gone a little bit beyond them
and I've never had any problems.
| | 00:35 | Now I'm not saying that you can
absolutely go into extreme heat or deep cold and
| | 00:40 | not have any issues, but my experience
is that the specified temperature range
| | 00:44 | is a little conservative.
| | 00:46 | 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 its temperature warning
| | 00:54 | icons that we discussed earlier and the LCD
screen on the back might start to discolor.
| | 00:59 | Of course, the camera can look after
itself pretty well in hot weather if it's
| | 01:02 | too hot it'll just shut down.
| | 01:04 | In cold weather, your LCD screen might start
to discolor or exhibit a very slow refresh rate.
| | 01:10 | If this starts to happen just turn it off.
| | 01:12 | In fact, go ahead and flip the screen
background, so that it is no longer visible.
| | 01:17 | Cold weather will also reduce your
battery life don't worry there won't be any
| | 01:20 | permanent damage, but you may find
that your battery goes dead quicker.
| | 01:24 | If it does lose its charge take it out
and put in your pocket or against your body.
| | 01:28 | If you warm it backup you may be
able to coax a few more shots out of it.
| | 01:31 | One of the biggest problems with cold-
weather though is when you take your
| | 01:34 | camera back indoors, a sudden warming
of the camera can cause condensation to
| | 01:39 | form inside the camera and
that can mess up your viewfinder.
| | 01:42 | So if you've been out of shooting in sub
-freezing temperatures for a while put
| | 01:47 | the camera in a ziplock bag and zip it
up before you come back indoors leave in
| | 01:51 | the bag for a while, while the temperature
equalizes before you take it back out and use it.
| | 01:55 | Now, water and electronics typically
don't mix very well, but just because it's
| | 02:00 | raining it doesn't mean
you should stop shooting.
| | 02:02 | Light rain, splashes on the outside of
the camera those want hurt anything, so
| | 02:06 | don't use a little rain as
an excuse to stay inside.
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| Firmware updates| 00:00 | All right, your camera is a piece of
hardware of course and it comes with editing
| | 00:05 | software that you install on your
computer, but somewhere between hardware and
| | 00:09 | software is firmware.
| | 00:11 | Software that runs on the
computer inside your hardware.
| | 00:15 | The firmware in your camera is what
controls all of the cameras functions and
| | 00:19 | operations and occasionally
Canon will update that firmware.
| | 00:23 | Before I can find out if there's a newer
version of the firmware, I need to know
| | 00:27 | what my current version is and that's
very easy to figure out I just hit the
| | 00:31 | menu button and go over here to the
third tools menu and the last item in the
| | 00:35 | menu is simply a display of my firmware version.
| | 00:37 | This particular camera is running
Firmware Version 1.0.0.To find out if there's
| | 00:44 | a newer firmware version for your
camera go to www.canonusa.com and click on
| | 00:51 | Consumer & Home Office on the top
toolbar then click on Cameras and then Digital
| | 00:56 | SLR Cameras, click on EOS Rebel T3i
18 to 55 millimeter IS II Kit and then
| | 01:03 | finally Drivers & Software.
| | 01:05 | If there's a firmware update available,
you'll see a Firmware section. From there
| | 01:09 | you can download the Firmware
and instructions for installing.
| | 01:12 | Insulation is a simple process, so
don't be afraid to keep your camera's
| | 01:15 | firmware up-to-date.
| | 01:16 | In addition to fixing problems and
possibly improving performance you might also
| | 01:21 | occasionally get some entirely new features.
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ConclusionGoodbye| 00:00 | You should now have a
pretty good idea about what all those
| | 00:02 | buttons and dials on your camera do.
| | 00:05 | Of course understanding what they do
and being comfortable with using them are
| | 00:08 | two different things.
| | 00:09 | Now you need to take that
understanding out into the field and practice.
| | 00:13 | To be adept at shooting with your camera,
you'll need to know all the controls
| | 00:16 | by touch and feel, and the
best way to get that is by doing.
| | 00:20 | So turn off your computer and
get out and start shooting.
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