IntroductionWelcome| 00:04 | Hi my name is Ben Long.
| | 00:05 | Understanding your gear is essential
to consistently taking good photos.
| | 00:10 | Yes, you can throw your camera into
auto mode and get good shots most of the time,
| | 00:14 | 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.
| | 00:23 | In this course, you are going to explore all
of the critical features of your Nikon D7000.
| | 00:27 | The features that any beginning to
intermediate shooter will need to know.
| | 00:32 | In this course among many other
things, you'll see what the D7000's
| | 00:36 | different modes do.
| | 00:37 | How you can alter and tweak those modes.
How to shoot video using the camera's
| | 00:41 | amazing HD video features.
| | 00:43 | How to customize the camera to make
it easier to use for your particular
| | 00:47 | shooting tasks and how to use the
camera's various exposure controls to correct
| | 00:51 | exposure while you shoot.
| | 00:53 | Now this is not a photography course.
We won't be going into detail into
| | 00:57 | exposure theory and the other
fundamentals of photography.
| | 01:00 | But we will get your reminders about
specific terms and processes and will tell
| | 01:04 | you when it's a good idea to watch an
additional lynda course that might help
| | 01:07 | out with the fundamentals.
| | 01:08 | This course combined with a couple of
other courses will provide you with a full
| | 01:12 | photo curriculum, but
one built around the D7000.
| | 01:15 | This means you can learn photography
in terms of the specific buttons and
| | 01:19 | controls on your exact camera.
| | 01:22 | So get your camera close to hand as
we delve into the particulars of the Nikon D7000.
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| What is an SLR?| 00:00 | All cameras have at least one thing in common.
| | 00:02 | They have a lens that sits
in front of a focal plane.
| | 00:06 | On that focal plane is a recording
medium, either a piece of light-sensitive
| | 00:10 | film or paper or a digital image sensor.
| | 00:13 | The focal plane needs to sit directly
behind the lens because the lens is used
| | 00:17 | to focus light 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 looking through the lens, how is
there room for you to look through the
| | 00:32 | lens to frame your shot?
| | 00:34 | Camera designers have wrestled with
this problem since the beginning of
| | 00:37 | photography and they've
come up with lots of solutions.
| | 00:40 | 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 there is just
one lens, a single lens.
| | 01:27 | And both you and the recording
medium look through that same lens.
| | 01:31 | You already know where
the lens is on your camera.
| | 01:34 | It's this big thing sticking off the
front and of course here's your viewfinder.
| | 01:37 | Your image sensor sits right
back here directly behind the lens.
| | 01:41 | So to expose the sensor, light comes
straight through the lens to the sensor.
| | 01:46 | So how is it that I can look through
this viewfinder up here and see the light
| | 01:50 | coming into the lens?
| | 01:52 | On this camera it's all
done with mirrors and prisms.
| | 01:54 | Light comes into the lens and
there is a mirror right here.
| | 01:58 | It bounces off that mirror and comes
up here into something called a pentaprism,
| | 02:02 | a complex prism arrangement that then
bounces the light back out so my eye can see it.
| | 02:08 | Sitting right behind this mirror,
there is a shutter that opens and closes.
| | 02:11 | So when I push the shutter button, the
mirror raises up, at that point the light
| | 02:15 | can no longer get into my viewfinder.
| | 02:17 | That's why the viewfinder goes
black when you press the shutter button.
| | 02:20 | So the mirror flips off and now light
can get straight back to the shutter.
| | 02:24 | The shutter opens and
closes to expose the sensor.
| | 02:26 | You can actually see this if you take
the lens off your camera, right in here in
| | 02:34 | what's called the mirror chamber.
| | 02:36 | You can see the mirror sitting right
there, now when I press the shutter button
| | 02:40 | that mirror pops up and then behind it
is the shutter which opens and closes.
| | 02:44 | In this video you can see that
happening on a different type of camera.
| | 02:48 | You can see the mirror pop up, the
shutter open and close and then the
| | 02:53 | mirror come back down.
| | 02:54 | So sitting right behind that mirror is
the shutter that opens and closes and
| | 02:58 | behind the shutter is the image sensor.
| | 03:01 | So what's the downside?
| | 03:03 | SLR is a larger than a typical
rangefinder camera, which makes them a
| | 03:06 | little less convenient.
| | 03:08 | They can have the giant
media sizes of a big viewfinder.
| | 03:11 | They've got lots of mechanical
parts that can break, they can be noisy.
| | 03:14 | But overall, today's SLRs,
particularly digital SLRs offer the best
| | 03:19 | all-around camera design allowing for
incredible flexibility of lens choice, shooting options.
| | 03:24 | They give you portability
and a lot of ease-of-use.
| | 03:27 | While there are a lot of great
digital point and shoots on the market and a
| | 03:30 | point-and-shoot camera is often the
best camera choice depending on the
| | 03:34 | shooting situation.
| | 03:35 | In spite of that, SLRs score over
their smaller point-and-shoot counterparts
| | 03:39 | both in terms of image
quality and shooting flexibility.
| | 03:42 | With their larger sensor size, they
provide better quality, better low light
| | 03:46 | performance and the ability to
shoot with shallower depths of field.
| | 03:50 | With their interchangeable lenses,
fast burst rates and advanced features you
| | 03:54 | can shoot just about any subject with an SLR.
| | 03:57 | Now you just have to learn how to
use it, but you'll learn all about that in this course.
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| Using 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 that
ephemeral stuff that goes into making a good photo.
| | 00:10 | Learning to see, exploring your
emotional response to a scene and learning how
| | 00:14 | to translate that into the
vocabulary of photography.
| | 00:17 | There is nothing magical about artistry.
| | 00:19 | It's an intellectual process that you can learn.
| | 00:22 | Craft skills are what you employ
to realize your artistic ideas.
| | 00:26 | In the case of photography craft skills
are basically the button pushing skills
| | 00:30 | knowing how to focus, knowing how to
configure your camera for particular types
| | 00:34 | of light, how to ensure that your
image is bright enough, that you captured
| | 00:38 | motion the way that you want and so on.
| | 00:40 | In this course, we're
going to be studying craft.
| | 00:42 | Specifically, the craft skills
required to use your particular camera.
| | 00:47 | And in this course we'll be assuming a
certain level of understanding of basic
| | 00:51 | photographic theory.
| | 00:52 | For example, in showing you how your
camera's flexible program feature works
| | 00:57 | I might say that it cycles through
all reciprocal exposures for a given
| | 01:01 | metering of a scene.
| | 01:02 | If you don't understand what a
reciprocal exposure is or what it means to
| | 01:06 | meter a scene, then you are going to need to
take a look at an additional Lynda.com course.
| | 01:10 | We'll put up graphics anytime there's a
complementary course that will lead you
| | 01:14 | deeper into the theory that's being discussed.
| | 01:17 | This course also assumes that
you know nothing about your camera.
| | 01:20 | We're going to start with the assumption
that you just pulled your camera out of
| | 01:23 | the box and that you want to get
shooting as quickly as possible.
| | 01:26 | That's easy enough, thanks to auto modes.
| | 01:28 | We'll build your understanding from there by
delving into more advanced features as we go.
| | 01:34 | If you use this course and those
complementary courses that we'll be pointing
| | 01:37 | you to, you'll get full instruction in
both the art and craft of photography and
| | 01:42 | your craft lessons will be
built around your specific camera.
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|
|
1. Getting to Know Your Nikon SLRUnderstanding basic 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 am going to
explain here may seem pretty cut and dry, but
| | 00:07 | it's important that we're all on the
same page when talking about specific
| | 00:11 | parts of the camera.
| | 00:13 | Taking it up from the top, we have the shutter
button, which obviously you'll be using a lot.
| | 00:16 | We have a power switch, which also let's you
turn on a light behind your LCD display here.
| | 00:21 | This shows you critical status information.
| | 00:24 | Exposure compensation, metering mode
selection buttons, hot shoe for attaching an
| | 00:30 | external flash, a mode dial over here, and
finally mounts for attaching the camera strap.
| | 00:37 | Moving around to the back, we have the
main dial which we'll use for changing
| | 00:40 | parameters on a number of controls.
| | 00:43 | The exposure lock button. Beneath that
the Live view switch which in the middle
| | 00:47 | of it has a button for starting movie shooting.
| | 00:50 | Below that I have a navigation
pad with an OK button in the middle.
| | 00:54 | You'll use that for menu navigation.
| | 00:56 | Directly beneath that I have a lock
switch that locks certain controls.
| | 01:00 | And info button which brings up a
very handy information display on my nice
| | 01:04 | big LCD screen here.
| | 01:06 | Above the LCD of course I have the
viewfinder with the diopter control.
| | 01:11 | Next to that I have a little trashcan
button. This is the delete button that I
| | 01:14 | use for deleting images when I am in
playback mode, which I can get to by
| | 01:17 | pressing the playback button.
| | 01:20 | Beneath that I have four buttons. A
menu button which takes him into the
| | 01:24 | camera's menuing system.
| | 01:25 | These three buttons do different things
depending on whether I'm in shooting or playback mode.
| | 01:30 | If I'm shooting, then these buttons do
what the label above the button says.
| | 01:35 | So in that case this button is a
white balance button, this button changes
| | 01:39 | the ISO and this button changes
quality-- that is the format I'm shooting in
| | 01:45 | and the size of the image.
| | 01:46 | If I'm in playback mode then these
buttons do what's on the front of the button,
| | 01:50 | the label that's on the front.
| | 01:51 | So this button becomes a help button
and a button for protecting images.
| | 01:55 | This button becomes a zoom out
button when I'm in playback mode and this
| | 01:59 | button becomes zoom in.
| | 02:01 | Finally, around the mode dial is another
ring that rotates. This is for changing
| | 02:07 | the release mode of the camera.
| | 02:09 | That's for going from shooting
individual images to bursts of images, to using
| | 02:13 | self timer and other functions.
| | 02:15 | Moving around to the side of the camera,
I've got port covers here that I can
| | 02:21 | open up to reveal ports inside
that can be a few different things.
| | 02:26 | This is A/V OUT for going to one type of video.
| | 02:29 | This is HDMI out for going to a
different type of video monitor.
| | 02:34 | And this is an A/V port for attaching my
computer to my camera for a transfer of
| | 02:40 | images, as we'll see later.
| | 02:42 | Close that up. I sometimes kind of
mash these in to get them to stay.
| | 02:46 | Down below I have a port cover for
attaching an external microphone.
| | 02:50 | This can be very handy for shooting
video and attaching a GPS attachment.
| | 02:55 | That's a standalone device that will tag
your images with the location where you
| | 03:00 | were when you shot them.
| | 03:02 | Moving around to the front of the camera,
I've got a few critical controls here.
| | 03:08 | A button for attaching and removing the lens.
| | 03:11 | Above that I have the flash button.
This pops up, the pop-up flash that's built
| | 03:16 | into the top of the camera.
| | 03:17 | It also lets me control
flash exposure compensation.
| | 03:21 | Below that I have a button
for controlling auto bracketing.
| | 03:24 | And down at the very bottom here I have
an Auto Focus and Manual switch that has
| | 03:29 | to do with switching the
camera into a manual focus mode.
| | 03:32 | On the front of this switch is a
button that allows me to change certain
| | 03:35 | auto focus features.
| | 03:38 | Continuing on to the other side of the
camera, I have here in auto focus assist
| | 03:43 | lamp that's used for
focusing in low light conditions.
| | 03:47 | The camera will control that automatically.
| | 03:49 | And there's a function button here
that I can program to do different things.
| | 03:53 | Finally I have my sub-command dial.
| | 03:56 | This is for changing certain
parameters that I don't control with the
| | 04:00 | dial that's on the back.
| | 04:02 | And then down below, I have my depth of
field preview button that allows me to
| | 04:07 | see depth of field when I'm trying to figure
out exactly what I want in focus in my image.
| | 04:13 | And finally, over here on the side of
the camera, I have my media card slot.
| | 04:19 | One of the really nice features of this
camera is that I have two media card slots.
| | 04:24 | I can put in two secure digital cards
and we'll talk about that in detail in later movies.
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| Attaching a lens to your camera| 00:00 | one of the great advantages of an SLR
of course is that you can change the
| | 00:04 | lens on the camera.
| | 00:05 | This affords you a tremendous amount
of flexibility and power, because you
| | 00:08 | can select a focal length or focal length
range that's ideally suited to your subject matter.
| | 00:13 | You can also attach specialized lenses such
as fish eyes and tilt shift lenses and macros.
| | 00:19 | Attaching a lens is pretty simple.
| | 00:22 | Notice that my camera has a body cap on it.
| | 00:24 | This is because when there's no lens
attached, I want this opening covered,
| | 00:28 | because just inside it is the mirror
chamber and the image sensor and basically
| | 00:33 | the guts of the camera.
| | 00:34 | If dust gets in there that can
actually show up in my final images.
| | 00:38 | Similarly my lens has this big cap on the end.
| | 00:41 | This is the end that attaches to the camera.
| | 00:44 | Anytime I'm not using a lens I want
to be sure that it's got its cap on it.
| | 00:48 | Because, the way that most dust gets to
your sensor is actually through the lens.
| | 00:53 | So I want to be sure that this never
gets dirty, because that's going to
| | 00:56 | transfer directly on to my image sensor.
| | 00:58 | So when I'm ready to put a lens on, I
obviously need to take this cap off and I
| | 01:03 | need to take this cap off.
| | 01:05 | Now, I want to be very
careful about what I do with these.
| | 01:07 | If I just stick them in my pockets,
they are going to get all covered with lint
| | 01:11 | and pocket dust and who knows what else.
| | 01:14 | That could then get transferred to the
inside of the camera or to the end of the
| | 01:17 | lens and from the lens to
the inside of the camera.
| | 01:20 | So I am going to just screw these
together and now they are pretty well
| | 01:23 | sealed up, I can put that in my pocket and put
it in my camera bag and it'll probably be okay.
| | 01:28 | Still, before I put either of these
back on the camera or lens, I want to be
| | 01:31 | sure that they are clean.
| | 01:33 | Now, to get the lens onto the camera I
find a white dot that's on the end of the
| | 01:38 | lens and there is a white dot on my
cameras as you may have already surmised.
| | 01:43 | I line these two white dots up and
push the lens and until it's flushed with
| | 01:47 | the camera body and then I just rotate it
until the white dot is pointing straight up.
| | 01:52 | And you had a very good solid click there.
| | 01:54 | The lens is now on.
| | 01:55 | It's not going anywhere.
| | 01:56 | To get the lens off, I push this button
and twist until the white lines -- white
| | 02:01 | dots are aligned and
then I just pull them apart.
| | 02:04 | If you're struggling to get the lens
off or on then you are doing something
| | 02:07 | wrong, because it's actually
a very smooth, easy process.
| | 02:11 | If you're having to pull really hard
or something, you need to go back and
| | 02:15 | rethink what you are doing, because
this should not be a difficult procedure.
| | 02:19 | So with the lens attached to my camera
I'm now ready to insert a battery and a media card.
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| Using batteries and media cards| 00:00 | Your camera needs power and it
needs a place to store images.
| | 00:04 | It gets its power usually from a
rechargeable battery and it stores its images
| | 00:08 | on a removable media card.
| | 00:10 | The battery in your D7000 can be
recharged with the included power supply.
| | 00:15 | Just snap the battery into the battery
cable, only goes in the right way and
| | 00:19 | then attach the cord and plug it into the wall.
| | 00:23 | When it's charging, this light will be flashing.
| | 00:25 | When it's fully charged
you'll see a solid light.
| | 00:28 | Then you can take the battery
out and put it into your camera.
| | 00:30 | These batteries are very
forgiving in their charging habits.
| | 00:34 | Unlike old rechargeables, you don't have
to drain them completely before recharging.
| | 00:37 | Don't hesitate to top them off
before you go out on a long shooting trip.
| | 00:41 | From time to time though, it is a good
idea to drain the battery completely and
| | 00:45 | then give it a good solid charge.
| | 00:46 | This will recondition it and will give you
a little more life time out of the battery.
| | 00:52 | To insert the battery, you open the
battery door on the bottom of the camera.
| | 00:56 | There is a little lever that you
just pull and the door just swings open.
| | 01:00 | The battery only goes in the right way.
| | 01:02 | There is these contacts here that stick
out a little bit and they go in like this.
| | 01:07 | There is actually little
diagram to help you out here.
| | 01:09 | So that just goes in there and the battery
snaps into place and then the door closes.
| | 01:14 | To get the battery out you not only have
to open the door, you need to move this
| | 01:17 | little lever and then the
battery just slides out.
| | 01:21 | To insert the media card on the same
side of the camera there's a door here.
| | 01:26 | You pull it towards the back of the
camera and it will just flip open.
| | 01:30 | Now there are two media card slots here.
| | 01:32 | This is one of the great
things about this camera.
| | 01:33 | You can put two cards in
simultaneously and later we'll see what kind of
| | 01:37 | advantages that gets you.
| | 01:39 | If you are only putting one card in,
you want to put it in the top slot.
| | 01:42 | This is a Secure Digital card or SD card,
readily available at any RadioShack or
| | 01:47 | Best Buy or electronic store
like that. I just push it in.
| | 01:51 | It only again goes in the right way and
I push it in until it snaps into place.
| | 01:57 | To get it out I don't just pull it out, I
push and it pops out and then I can remove it.
| | 02:03 | These cards are pretty delicate.
| | 02:04 | You do need to be careful.
| | 02:05 | It's very easy for them to split open.
| | 02:08 | When that happens you can often mash
them back together, maybe even glue them
| | 02:11 | back together with a little
bit of like model airplane glue.
| | 02:15 | But in general it's just good to be
very careful with them as they are -- as
| | 02:17 | you're handling them.
| | 02:18 | Pop it in like that and close the door
and now you're 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.
| | 00:05 | But a lot of things happen when you
power up your camera and it's important to
| | 00:08 | understand what they are
and how you can alter them.
| | 00:12 | Because the lens of a camera is
removable, it's possible for dust to get inside
| | 00:17 | the camera body and get on the sensor.
| | 00:19 | If that happens, you'll see smudges
and spots and things on your images.
| | 00:24 | There is a clear filter in front
of the image sensor in your camera.
| | 00:27 | So dust never actually
gets on the sensor itself.
| | 00:30 | But it 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 falloff.
| | 00:44 | And there are number of ways that you can
rearrange and customize that cleaning function.
| | 00:51 | Before we turn the camera on, notice
that even when it's off it still tells me
| | 00:55 | how many shots are remaining on the
current card that I have and that I have a
| | 01:00 | media card loaded in slot 1.
| | 01:01 | So without even turning the camera on, I
can tell if I've got enough space on my
| | 01:06 | card for whatever
shooting I am intending to go do.
| | 01:09 | To power up the camera, I just rotate
this switch to the on position and almost
| | 01:13 | immediately the camera is ready
to shoot, the display lights up.
| | 01:16 | It also went through its cleaning cycle.
| | 01:19 | And that will happen again when I shut it off.
| | 01:21 | You can configure that
cleaning cycle if you want.
| | 01:23 | Although, really there is no
reason to turn it off if it's defaults.
| | 01:26 | Also, this switch allows me to
activate a light behind this LCD.
| | 01:31 | You are not going to be able to
see that very well right here.
| | 01:32 | But if I just rotate on around here,
this screen lights up and this is spring
| | 01:37 | loaded, I let go and it goes back to
the on position and the light goes out.
| | 01:41 | So, if I am shooting in low light, I
need to be able to see what my settings
| | 01:44 | are, this is a very easy way to just light
up that display and let me see what they are.
| | 01:49 | To turn the camera off I just
flip back to the off position.
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| Navigating the menus and understanding factory defaults| 00:00 | There are a lot of settings on your
camera and if you've been fiddling with the
| | 00:04 | thing, there is no telling
how it might be configured now.
| | 00:06 | To make sure that your camera
matches my camera for the sake of these
| | 00:09 | demonstrations, we're going to
reset yours to the factory defaults.
| | 00:13 | This can also be a handy thing to
do if you ever sell your camera.
| | 00:16 | I suppose you could also do it if you
get your camera so messed up that you
| | 00:19 | can't figure out why it's doing a
particular thing, but at that point I'd
| | 00:22 | encourage you to really try to figure
out why it's doing what its doing so that
| | 00:25 | you can understand it better.
| | 00:26 | Think of Reset as kind of the nuclear option.
| | 00:30 | Note that resetting does not
reset the clock in the camera.
| | 00:33 | Your D7000 has lots and lots of
functions and features and you can control a lot
| | 00:39 | of them with buttons and dials
on the outside of the camera.
| | 00:42 | You control others by going
into the camera's menuing system.
| | 00:44 | We are going to spend a lot of time digging
into menus, so it's good to know how they work.
| | 00:49 | If I hit the menu button, that
puts me into the menu system.
| | 00:53 | Right now, this item Movie settings, which
is part of my shooting menu as highlight.
| | 00:57 | I am going to hit the left arrow button right
here and that pops my cursor back over to here.
| | 01:02 | These are each different
menus that I can navigate to.
| | 01:06 | So there's the PLAYBACK MENU, the
SHOOTING MENU, CUSTOM SETTINGS, SETUP, RETOUCH
| | 01:13 | and MY MENU which is a custom menu
that I can tailor to my exact needs.
| | 01:17 | Once I've found the menu that I want, I
can hit the right arrow to go into that
| | 01:21 | menu and then navigate
around it to different settings.
| | 01:24 | Now notice this SHOOTING MENU actually has
lots and lots of screen-fulls of settings.
| | 01:28 | I can see my scrollbar over here moving around.
| | 01:31 | For the rest of this course, when I
want you to go to a particular item in a
| | 01:36 | particular menu I will tell you what
menu that is and what the item name is but
| | 01:40 | I'm not necessarily going to take the
time to scroll through the whole thing, so
| | 01:43 | you'll need to look for those items yourself.
| | 01:46 | Most of these items are manipulated
in the same way I highlight them and
| | 01:51 | then hit the right arrow to go to
another menu where in I can start
| | 01:55 | configuring parameters.
| | 01:57 | Note that this OK button means that
if I press that, that will change that
| | 02:02 | parameter to the one that I selected.
| | 02:04 | If I get into a menu and decide that I
don't want to change something there, I
| | 02:08 | can hit the back arrow to go
back up to the previous menu level.
| | 02:12 | At any time, I can half press the
shutter button and the menuing system goes
| | 02:16 | away and I'm ready to shoot.
| | 02:18 | In other words, being in the menuing
system never really gets in the way of
| | 02:21 | shooting, because at any time I'm only
a half press of the shutter button away
| | 02:25 | from having the camera
ready to take another picture.
| | 02:27 | I'd like you to go into the menu now
and go to the SHOOTING MENU and find the
| | 02:33 | Reset shooting menu option.
| | 02:35 | You may have been playing with your camera,
changing some parameters and things like that.
| | 02:39 | If I reset my camera right now and you
reset yours, then we'll know that your
| | 02:44 | menus are going to look like
mine for the rest of the course.
| | 02:46 | So I am going to hit the right arrow
and say, Yes to the Reset shooting menu
| | 02:52 | option here, hit OK.
| | 02:55 | It's warning me that some
settings that I've configured my change.
| | 02:57 | That's okay, I am going to hit OK
and now my shooting menus are back to
| | 03:01 | their factory defaults.
| | 03:02 | Now, go down to the CUSTOM SETTING MENU,
hit the right arrow to go over here and
| | 03:07 | reset the custom settings as well.
| | 03:10 | If you do those two menu options then
you'll have an easier time following along
| | 03:15 | with examples through the rest of this 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.
| | 00:22 | But for that to work, you have to
have the camera's clocks set properly.
| | 00:26 | Also, if you travel, you'll want to
reset the clock as you change time zones.
| | 00:30 | So knowing how to set the
date and time is very important.
| | 00:33 | To set date and time on the
D7000 I press the menu button.
| | 00:37 | Now, by default you should be at the
shooting menu, if you've already been
| | 00:41 | fiddling around with your
menus you maybe somewhere else.
| | 00:44 | You need to come down here to the
Setup menu and right-arrow your way over to
| | 00:48 | here and scroll down a little bit
until you get to Time Zone and Date.
| | 00:53 | Hit the right-arrow key and
you're going to see a bunch of options.
| | 00:57 | First is Time Zone, let's go in here
and set the Time Zone for where we are.
| | 01:02 | I can just use the left and right arrow
keys to travel around the world and find
| | 01:06 | the Time Zone that's right for me.
| | 01:09 | It's best probably to keep the Time
Zone set for where you live, because that's
| | 01:13 | most likely where you're
going to do the most shooting.
| | 01:15 | So I am going to set my Time Zone
there and then I am going to say OK.
| | 01:20 | Now I can go in here and set the Date and Time.
| | 01:22 | Year (Y), Month (D), Date (D), Hours (H
), Minutes (M), Seconds (S), just use the
| | 01:26 | left and right arrow to move back and
forth between these fields, up and down
| | 01:29 | arrows to change them.
| | 01:31 | Once I get them set the way that I want,
I just hit the OK button and now my
| | 01:35 | Date and Time is set.
| | 01:37 | I can also change the Date Format.
| | 01:39 | By default here in North America it's
going to come in as Month, Day, Year, I
| | 01:43 | can change that if I want, if I
prefer reading the date in a different way.
| | 01:48 | As Daylight savings Time changes, I
can turn it on and off and my clock will
| | 01:52 | automatically be reset properly.
| | 01:54 | But the coolest thing is that as I travel, I
can just go in here and change my Time Zone.
| | 01:59 | So let's say I go to New York.
| | 02:03 | I can go over here to my New York Time Zone.
| | 02:05 | It's Eastern time and I get some sample
cities for each Time Zone and now when
| | 02:10 | I hit OK, my clock will automatically be
updated accordingly from where it was before.
| | 02:15 | When I go back home I just hop back
over to home and my clock changes there.
| | 02:20 | So as I travel around, it's very
easy to change the Time Zone and ensure
| | 02:24 | that all of my images have a date
and time stamp that's appropriate for
| | 02:27 | where I am shooting.
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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 are in Holland, you'll be able to
| | 00:13 | walk into your hotel and say,
peripheral illumination correction.
| | 00:16 | When you first turned on your
camera, it should've asked you for your
| | 00:20 | language preference.
| | 00:21 | So you'll probably never need to
change this, but if you do, here is how.
| | 00:25 | To set the language, I press my menu button.
| | 00:27 | I am going to get to the SETUP MENU.
| | 00:29 | That's the little wrench over here.
| | 00:31 | Once I'm there I start scrolling down
and I've got to go quite a ways, because
| | 00:35 | this is a menu option that's kind of
buried, because it's not one that you are
| | 00:39 | going to use very often.
| | 00:40 | You see the Language always shows, no
matter what language I am set for, always
| | 00:44 | shows this little icon of a
little guy with a speech balloon.
| | 00:47 | Because once I've changed the language I'm
not going to be able to read my menus anymore.
| | 00:51 | So if I don't know the Dutch word for
language, I wouldn't be able to find my
| | 00:55 | way back to the language menu.
| | 00:56 | So having that icon there makes
it easier to find my way back.
| | 01:00 | If I accidentally change from
English to say Indonesian, so now all of my
| | 01:06 | menus have changed.
| | 01:07 | Oh, actually it's nice it does
keep language in there in English.
| | 01:10 | Still I can just look for that
little icon and change it back.
| | 01:13 | So if you accidentally change your
language, this is how you can set it back,
| | 01:16 | you've probably been through this
already, when you unpacked the camera.
| | 01:19 | If you've bought the camera from may be an
Indonesian, this is the way you can change it.
| | 01:23 | If you are selling the camera to a
French person, this is the way you can do
| | 01:27 | them a favor and set it up for
them automatically ahead of time.
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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.
| | 00:07 | More importantly though, you'll use
your camera's Format Media Card Command any
| | 00:12 | time that you want to erase your card,
so after you've pulled images into your
| | 00:16 | computer, you'll need to put the card
back into your camera and format it.
| | 00:20 | It's very important that you choose
Format Memory Card to do this, rather than
| | 00:24 | using the Camera's Delete function.
| | 00:26 | Repeated use of delete can leave your
card unreliable and result in you being
| | 00:30 | unable to get images off of it.
| | 00:32 | You can usually use Special File
Recovery software to get to the unreadable
| | 00:36 | images, but it's just better to
avoid all that in the first place.
| | 00:39 | If a card does get messed up then
formatting should put it back to normal.
| | 00:43 | Since formatting is a command that
you're going to use very regularly, it's good
| | 00:46 | to learn exactly where it is.
| | 00:49 | To format the media card in your D7000,
go to the menu and then come down to the
| | 00:53 | SETUP MENU, the one with the little wrench.
| | 00:55 | Hit the right-arrow to get over here, and
the very first item is Format media card.
| | 01:00 | I am going to hit the right-arrow again.
| | 01:02 | And I have cards in both slots, so I
can choose which one I want to format.
| | 01:07 | If you only have a card in Slot
1, this one will be grayed out.
| | 01:11 | Pick the card you want to
format and hit the OK button.
| | 01:13 | It asks you to confirm, warns you that All
images on the memory card will be deleted.
| | 01:18 | We are going to go ahead and
say Yes. Hit the OK button.
| | 01:21 | It then starts formatting.
| | 01:23 | Doesn't take very long and when
it's done, I am back in my SETUP MENU.
| | 01:26 | You can also format the card using
buttons on the outside of the camera.
| | 01:30 | Notice that underneath the trashcan
there is a little red format badge there,
| | 01:34 | and underneath this button there's another one.
| | 01:36 | If I press and hold both of those for
about two seconds with the camera turned
| | 01:40 | on, it will start flashing format.
| | 01:43 | I can pick which card I want to format
by rotating the main dial and you can see
| | 01:46 | that changing right here.
| | 01:48 | When I've configured it the way that I
want, I press these two buttons again and
| | 01:52 | now the card is formatting and it
flashed while I was doing it and it said 4
| | 01:57 | right here and then when
it's done, I am ready to go.
| | 01:59 | So, formatting is
something you'll be doing a lot.
| | 02:01 | Remember, any time you've taken images
off your card and you want to erase it to
| | 02:05 | start over, you want to format it, and
so just pressing these two buttons and
| | 02:09 | going through that routine is
a very easy way of doing that.
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| Using two cards| 00:00 | If I have two media cards installed, I need to
tell the camera how to handle the second one.
| | 00:07 | So if I go here into my menu, in my SHOOTING
MENU I have the Role played by card in Slot 2.
| | 00:13 | If I open that up, I have a few options.
| | 00:15 | I have Overflow, when one card fills up.
| | 00:18 | it simply goes to the
next card and keeps writing.
| | 00:20 | This can be a really, really
great feature for event shooters.
| | 00:23 | It keeps you from having to stop and swap cards.
| | 00:26 | Now you may thing well why don't I
just buy a bigger card? You can do that.
| | 00:29 | That's more expensive.
| | 00:30 | It also means that if that bigger
card fails, you lose more images.
| | 00:34 | This allows you to work with smaller
cards, so that you don't have all of your
| | 00:37 | eggs in one basket and you
still don't have to be interrupted.
| | 00:41 | Say, you are shooting a sporting
event or a performance of some kind.
| | 00:44 | you don't have to be interrupted to swap cards.
| | 00:46 | You can just let it Overflow.
| | 00:48 | Backup writes the same image to both cards.
| | 00:51 | So I automatically have a Backup.
| | 00:53 | This can be good both for safety or
if I need to deliver images to someone
| | 00:57 | very quickly and I want to keep
copies for myself, I can just hand off one
| | 01:00 | card and keep the other.
| | 01:02 | If I'm shooting in RAW plus JPEG mode,
I can say put RAW images on Slot 1
| | 01:08 | and JPEGs on Slot 2.
| | 01:10 | This means that in my postproduction
workflow I don't even have to hassle
| | 01:13 | with looking at either the RAW or
JPEGs if I don't want to, because they are
| | 01:17 | own separate cards.
| | 01:18 | It can also be handy if I
have cards of different speeds.
| | 01:21 | it takes longer to write RAW images
than it does JPEGs, so I could tell it to
| | 01:25 | put RAW images on the faster card.
| | 01:28 | Speaking of faster cards, if I'm
shooting video, I need to be sure that I'm
| | 01:32 | using at least a Class 6 card or better
and if I go down here to Movie settings,
| | 01:38 | I can tell it in the destination field
which card I want it to write video to.
| | 01:44 | So in addition to allowing me to
ensure that video goes on a faster card, it
| | 01:48 | also means I can keep video separate
from my still images which can make things
| | 01:52 | easier for postproduction.
| | 01:53 | Or again, if I'm shooting both stills
and video and need to handoff stills
| | 01:57 | to say one producer and video to another,
they'll automatically be on separate cards.
| | 02:02 | So if you stick a second card in your
D7000, be sure to configure those two
| | 02:07 | options appropriately.
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| Holding the camera| 00:00 | I suppose there's no wrong way to hold a
camera, but there are definitely better
| | 00:04 | ways to hold a camera.
| | 00:05 | Proper camera handling will allow
you to shoot more stable footage.
| | 00:08 | It'll keep you from getting sore and
tired and it will help ensure that you
| | 00:12 | don't damage your camera.
| | 00:14 | If this is your first SLR then it may
take you a little while to get used to the
| | 00:17 | weight and the balance if you are
coming from a small point-and-shoot.
| | 00:20 | But handling an SLR is actually pretty simple.
| | 00:22 | Take your left hand, drop the lens into it.
| | 00:25 | This is your main source of camera
support and look what's going on with the
| | 00:29 | rest of my fingers, they are
you're holding the bottom of the camera.
| | 00:33 | Most important thing about holding an
SLR though, or holding any camera really,
| | 00:37 | look where my elbow is.
| | 00:39 | It's pressed against my body.
| | 00:41 | It's not hanging out here.
| | 00:42 | When it's pressed up like this, I have a
very sturdy support for the camera right here.
| | 00:47 | My right hand then goes around the battery grip.
| | 00:50 | This continues to help support the
camera and it puts my finger just where it
| | 00:53 | needs to be for the shutter release and
I've got easy access to the controls on
| | 00:58 | the back of the camera.
| | 00:59 | Same thing with his elbow
though. It's not out here.
| | 01:02 | it's up against my body.
| | 01:03 | So with my arms tucked into my body and
the camera resting right here, I have a
| | 01:07 | very, very sturdy camera support.
| | 01:10 | You always want to feel your
arms pressed against your side.
| | 01:13 | This is true even when you rotate the
camera to shoot in portrait orientation.
| | 01:17 | Rather than going like this which throws
this elbow up into the air in and makes
| | 01:21 | my camera much less stable,
turn the camera this way.
| | 01:24 | Now my arms stay at my side.
| | 01:26 | I've changed my grip though.
| | 01:28 | Now the main support for the
camera is my right hand and this is just
| | 01:32 | stabilizing it and then I can easily go
back to my normal landscape orientation grip.
| | 01:38 | The other thing to remember is that
your hands go all the way to your eyes.
| | 01:41 | So you can lift your camera all the way up here.
| | 01:44 | You don't lift the camera up here and
then crane your neck out to look into it.
| | 01:47 | That's far less stable position
because now my spine isn't straight.
| | 01:51 | It's also going to make my neck tired if
I am carrying a heavy camera back on my
| | 01:54 | shoulder, I am going to be
facing a little bit of fatigue anyway.
| | 01:57 | So I put my camera all the way to my face, my
elbows are at my sides, I am very, very stable.
| | 02:01 | When it comes time to shoot, I gently
squeeze the shutter button and we're going
| | 02:05 | to be talking a lot about how you
press the shutter button, not just for the
| | 02:08 | sake of camera stability, but to
make your Autofocus system work.
| | 02:12 | Your camera should've come with a strap.
| | 02:14 | Be sure to put it on.
| | 02:15 | It helps keep things stable.
| | 02:17 | It keeps you from dropping your camera.
| | 02:18 | You might want to try sometime if you
don't like dealing with a shoulder strap,
| | 02:21 | at least get a wrist strap, something
that will just give you a little bit of
| | 02:24 | extra support when you're moving
your camera around and handling it.
| | 02:28 | This will help you get more steady
images and keep you less fatigued and
| | 02:32 | generally improve your results of
having images that are in focus.
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|
|
2. Shooting in Auto ModeSetting Auto mode| 00:00 | On the top of your camera is a dial
which lets you choose a shooting mode.
| | 00:04 | The shooting mode that you choose
determines what decisions the camera will make
| | 00:09 | and what decisions will be left up to you.
| | 00:10 | Now sometimes having the camera make a
lot of decisions is a better way to go,
| | 00:15 | because it allows you to work more quickly.
| | 00:17 | While at other times, you'll want
control over some positions to ensure that you
| | 00:20 | get the type of shot that you want.
| | 00:22 | For the rest of this chapter we're
going to be working in Auto mode.
| | 00:25 | So set the mode dial to AUTO.
| | 00:27 | In AUTO mode the camera will choose
all exposure setting, shutter speed
| | 00:31 | and aperture as well as choosing a white
balance and whether or not to fire the flash.
| | 00:36 | If it thinks you need the flash, then
it will automatically pop it up when you
| | 00:39 | half press the shutter button to meter.
| | 00:42 | In Auto mode you will not have access to
Flexible Program, Exposure Compensation
| | 00:47 | or many of the other controls
that we'll talk about later.
| | 00:49 | But you will be able to select the
file format that you wan to shoot in.
| | 00:53 | AUTO mode basically just gives you a
snapshot camera, albeit a very good one.
| | 00:58 | While you may think that AUTO mode is
inherently a compromise, the fact is that
| | 01:01 | the AUTO features on your camera are
very good and will probably make the right
| | 01:05 | choice 80% to 90% of the time.
| | 01:08 | When and how to use it, will become
apparent as you learn more about Exposure
| | 01:11 | and about the camera's other shooting modes.
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| Using the viewfinder display| 00:00 | As we have discussed one of the great
advantages of an SLR is that you actually
| | 00:04 | look through the same
lens that exposes the sensor.
| | 00:07 | This gives you a very accurate
viewfinder that allows you to have a very bright
| | 00:11 | clear view of your scene.
| | 00:12 | Now your viewfinder also provides
you with a tremendous amount of status
| | 00:16 | information, as we'll see in just a minute.
| | 00:18 | The viewfinder eyepiece cover is removable.
| | 00:21 | You just squeeze the size
and pull it off like this.
| | 00:25 | This allows you for easier cleaning of
the viewfinder eyepiece and it allows you
| | 00:29 | to swap in other covers.
| | 00:31 | You can get an eyepiece cover that comes out
farther to give you a more shaded viewfinder.
| | 00:35 | You can also get a right angle eyepiece.
| | 00:37 | To put it back on, you
just slide it back into place.
| | 00:41 | On top of the viewfinder is the diopter control.
| | 00:43 | If you were glasses, you might be able
to adjust the diopter to compensate for
| | 00:47 | your prescription, which will let you
shoot without your glasses on, and I say
| | 00:50 | might, because if you're eyes are too
bad, you won't be able to adjust the
| | 00:53 | diopter far enough to get the
viewfinder back to full sharpness.
| | 00:57 | Note that it is possible to bump the
diopter control, so if you ever think,
| | 01:00 | well, my camera really isn't
autofocusing very well, check the diopter and make
| | 01:04 | sure that it's set to No Correction.
| | 01:06 | When you look through the viewfinder,
you'll see a number of focusing spots
| | 01:10 | superimposed over your image.
| | 01:11 | These spots light up when you
autofocus to indicate where the autofocus
| | 01:15 | mechanism is chosen to focus.
| | 01:17 | Below the viewfinder are
lots of status readouts.
| | 01:20 | These let you know certain things
about the camera's state such as battery
| | 01:24 | strength, but more importantly they let you
keep track of your current exposure settings.
| | 01:28 | So from left to right here, you
will find the focus indicator.
| | 01:33 | When you half-press the button of
focus, this circle will light up when the
| | 01:36 | camera successfully meters and locks focus.
| | 01:38 | At that point you can press the
button the rest of the way to shoot.
| | 01:41 | Next, there's the Auto Exposure lock
light or AE Lock light that lets you know
| | 01:47 | when you have locked the
exposure using the Exposure Lock button.
| | 01:50 | Below that is the FV Lock indicator
and just to the right of that is the
| | 01:55 | Flash Sync Indicator.
| | 01:57 | Next comes the Shutter Speed Readout.
| | 01:59 | Now normally this will only show a
single number which represents the
| | 02:03 | denominator of the shutter speed.
| | 02:04 | So if you're shooting at 1 1/25th
of a second, you will see 125 here.
| | 02:08 | A 4 will indicate 1/4 of a second.
| | 02:11 | Once you drop below a 1/4 of a second, the
display will change to a second's display.
| | 02:15 | So if you see this, then you
are shooting at 1.6 seconds.
| | 02:19 | If you see this, you're
shooting a 15 second exposure.
| | 02:23 | To the right of the Shutter Speed
Readout is the Aperture Display.
| | 02:26 | This is simply the current F number.
| | 02:28 | Next is the Exposure Indicator
which serves a few functions.
| | 02:31 | In most modes, it shows the amount of
exposure compensation that you have dialed in.
| | 02:36 | Each of the numbers represents one
full stop and by default the lines between
| | 02:40 | each number are a third of a stop.
| | 02:42 | Positive exposure compensation is to
the left, negative is to the right, though
| | 02:45 | you can swap this if you
like, as we'll see later.
| | 02:48 | Note that you can actually dial in
more than the two stops of exposure
| | 02:52 | compensation that the display shows.
| | 02:53 | When you do, the competition indicator
will scroll off the scale and a little
| | 02:57 | arrow will appear to indicate that your
compensation has gone beyond two stops.
| | 03:01 | As you change exposure compensation,
the shutter speed and aperture displays
| | 03:05 | will update to show the new exposure values
that your exposure compensation has defined.
| | 03:10 | When you're shooting in manual mode
that same exposure level readout works more
| | 03:13 | like a light meter, when the indicator
is at 0 then the camera is telling you
| | 03:17 | that you have a good exposure.
| | 03:18 | If the indicator goes above or below 0,
then the camera is indicating that you
| | 03:22 | have over or under exposure.
| | 03:24 | Now you are still free to use any
settings you want of course, the readout is
| | 03:27 | just there to let you know that the
camera thinks the metering is off.
| | 03:30 | Next comes the Low Battery Indicator.
| | 03:32 | Below that's the Flash Exposure
Compensation Indicator which lights up if you
| | 03:36 | dial in any amount Of
Flash Exposure Compensation.
| | 03:38 | To the right of that is the Exposure
and Flash Bracketing Indicator and below
| | 03:42 | that is the Exposure Compensation Indicator.
| | 03:45 | These three digits here can be
set to display a number of things.
| | 03:48 | By default they show you
approximately how many shots can fit in the
| | 03:52 | remaining space on your card.
| | 03:53 | If the number goes over a thousand
then this K will light up, and the number
| | 03:57 | will show a fractional amount.
| | 03:59 | So for example, if you see (1.2)k
then you have got space on your card for
| | 04:02 | approximately 1200 pictures.
| | 04:04 | When you half-press the Shutter button,
you'll see an r here and a two digit
| | 04:08 | number, this indicates how many
shots will fit in the camera's buffer.
| | 04:12 | As you shoot quickly, that number will
go down indicating that the buffer is
| | 04:15 | filling up, if it gets to 0 the
camera will stop shooting until it has time
| | 04:19 | to empty out the buffer at which point the
number will slowly go up as the buffer empties.
| | 04:23 | The buffer can hold more JPEGs than
RAWs, so the maximum number will vary
| | 04:27 | depending on which format you're using.
| | 04:29 | This display can also be set to show
ISO, in which case the ISO lights up.
| | 04:35 | This Auto Light shows up
when ISO is set to AUTO.
| | 04:38 | Finally this lights up when the Flash
is ready to fire, the camera's built-in
| | 04:41 | Flash begins charging as soon as it pops up.
| | 04:45 | Above the Main Status Display there are
three additional lights that can appear.
| | 04:48 | The No Memory Card Indicator will
light up if you have forgotten to put a
| | 04:51 | card in the camera.
| | 04:52 | The B/W light will show if you have
chosen a black-and-white picture style.
| | 04:57 | Now don't worry about
remembering all of this stuff.
| | 05:00 | Exposure Settings are the critical
readouts that you need to understand,
| | 05:03 | the other Status Options will become
obvious as you activate those specific features.
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| Using the LCD screen protector| 00:00 | Like yours, our D7000 came with a
screen protector attached to its LCD screen.
| | 00:06 | We took it off because the lighting we
are using here was creating bad reflections.
| | 00:10 | You are going to want to leave it on.
| | 00:11 | this is a really great
piece of gear. It's very clear.
| | 00:15 | It doesn't degrade the quality of the
image and it really does protect your screen.
| | 00:19 | With this on, you can toss your
camera in your bag and not worry about
| | 00:22 | scratching the screen.
| | 00:24 | This can be replaced, your screen can't.
| | 00:26 | So while this is removable and you may
occasionally find situations like this
| | 00:30 | one where you need to take it off,
for the most part, I really recommend
| | 00:32 | leaving it on, because it's a great
way of protecting the investment you've
| | 00:36 | made in your gear.
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| Understanding autofocus basics| 00:00 | Your camera has an Autofocus feature
and for most of your shots it will provide
| | 00:04 | faster, more accurate focus than
you will achieve using manual focus.
| | 00:08 | However, autofocus 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 Autofocus in my
| | 00:20 | Foundations of Photography: Exposure Course.
| | 00:23 | Let's take a quick autofocus overview.
| | 00:25 | After I've framed my shot, I need
to half-press the Shutter button.
| | 00:29 | There is a halfway point on the Shutter
button and if I just push down to right
| | 00:33 | there, not all the way down,
a lot of things happen.
| | 00:36 | The flash pops up, because the
camera has metered my scene and determined
| | 00:41 | that it's not bright enough as it is,
so it's popped up the Flash to put
| | 00:44 | there in a little more light.
| | 00:45 | It's calculated a shutter speed and an
aperture and it's showing those on this
| | 00:49 | screen and in the viewfinder.
| | 00:51 | It's also autofocused and locked focus,
and lit up a focus assist light inside.
| | 00:56 | Only after it's done all of that
stuff and told me that it's ready, by
| | 01:00 | showing me that autofocus light, do I press
the button the rest of the way to take my shot.
| | 01:05 | Now this half-press pre-
focusing step is critical.
| | 01:09 | You have to do this on
every single shop that you take.
| | 01:12 | Watch what happens if I just press the
Shutter button all the way down right now.
| | 01:17 | There was a delay there.
| | 01:18 | It took it a moment before it actually
took the picture and that's because it
| | 01:22 | had to calculate focus, it had to meter my
scene, and it had to calculate white balance.
| | 01:26 | It had to decide if the flash was
necessary, pop it up, wait for it to charge,
| | 01:29 | only then it could have fire.
| | 01:31 | If I was trying to capture a fleeting
moment of some kind of facial expression
| | 01:35 | or a very slight action, I would have missed it.
| | 01:37 | If you've been missing those moments, if
you've been feeling like there is a lag
| | 01:41 | between when you press the shutter and
when you get a picture, that's probably
| | 01:44 | why you are just mashing
the button all the way down.
| | 01:46 | Watch what happens when I pre-focus,
let it get ready, and now when I press
| | 01:51 | the button the rest of the way right
now, that was pretty much immediate that
| | 01:55 | it took the picture, and that's going to
guarantee that I'm going to get the shots they want.
| | 01:59 | So this pre-focusing step is an
essential instinct that you have to develop.
| | 02:03 | You have to not even think about it,
this just has to be a standard part of
| | 02:06 | your shooting process.
| | 02:07 | By the way this is true for any
autofocus camera that you ever use.
| | 02:11 | even an old autofocus film camera will
still require this pre-focusing step.
| | 02:15 | One last quick thing, if there's not
enough light in your scene for the camera
| | 02:19 | to autofocus, it will light up this lamp right
here to throw some extra light in your scene.
| | 02:23 | So if you see that happened, don't worry.
| | 02:25 | That's just part o the autofocus system.
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| Understanding lens controls| 00:00 | There are a number of
controls on your camera's lens.
| | 00:03 | They may not all be in the same place
as what we have on this lens, but you
| | 00:06 | should have a Focus Ring.
| | 00:09 | This is for manually focusing your lens.
| | 00:12 | You should also have a Zoom Ring.
| | 00:14 | This is for zooming in and out and on
that zoom ring you'll also see markings
| | 00:19 | that show your current focal length.
| | 00:21 | There are probably a couple of switches
something labeled A and M. This is for
| | 00:24 | switching from AUTO to Manual Focus and
you might also have something called VR
| | 00:29 | that's Vibration Reduction.
| | 00:31 | You can turn that on or off.
| | 00:34 | If you're using an older lens, you may
not have an A and M switch, you may have
| | 00:39 | focus markings on your focus ring
that's going to be an additional series of
| | 00:43 | numbers, and again, these switches
maybe in different places, you may have an
| | 00:47 | extra VR switch, you may
have rings in different orders.
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| Using the 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 autofocus 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.
| | 00:23 | There's really nothing more to it than that.
| | 00:24 | It's very easy to use.
| | 00:26 | If I don't want to use the Flash, I
can try just pushing it back down, but
| | 00:29 | that's not going to work because the
camera is still going to think that it's
| | 00:32 | necessary and it's going
to pop it back up again.
| | 00:34 | So rather than sitting there just
arguing with the camera, know that there is a
| | 00:38 | no flash mode, so I am going to close
my flash and turn my mode dial over to
| | 00:43 | here to the flash symbol with
a circle and a line around it.
| | 00:47 | Now I am still at Auto mode,
but it won't raise the Flash.
| | 00:52 | This is great for times when you
are shooting somewhere where Flash is
| | 00:55 | inappropriate may be a museum or a
concert or you are trying to shoot through a
| | 00:58 | window or something like that.
| | 01:00 | So if you are finding yourself
frustrated by your flash in Auto mode, don't
| | 01:03 | forget about the Flash Cancel mode.
| | 01:06 | Note that even in no flash mode the
autofocus assist light will still light up.
| | 01:11 | This is something that will happen
when the camera is having trouble
| | 01:14 | autofocusing because your scene is too dark.
| | 01:17 | So if you're somewhere where a flash
is inappropriate there is a good chance
| | 01:19 | that autofocused assist
light is also inappropriate.
| | 01:23 | Later you will see a custom
setting that will disable the autofocus assist light.
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| Reviewing images| 00:00 | As soon as you take a picture your
camera displays it on the rear LCD screen.
| | 00:05 | By default the image stays up for a
few seconds and then it goes away.
| | 00:08 | This gives you a chance to quickly
review your image without having to manage
| | 00:12 | any camera controls.
| | 00:13 | However, you do have a little bit of
control while that image is being displayed.
| | 00:18 | You've probably already
experienced Image review.
| | 00:21 | When you take a picture, the image
shows up on your screen, hangs out there for
| | 00:25 | awhile, giving you a chance to
admire it and then it disappears.
| | 00:28 | Not it's important to note that while
it's up there, you do not have to wait for
| | 00:32 | it to disappear before you can keep shooting.
| | 00:34 | I am going to knock off another picture.
| | 00:36 | Oh yeah, there it is, okay I am done and I can
half press the Shutter button and it goes away.
| | 00:40 | You are never beholden to Image review.
| | 00:42 | You can interrupt it if you need to.
| | 00:44 | Another important thing to know is
that when you go into Image review you're
| | 00:48 | actually going into normal playback mode.
| | 00:50 | So image review can come up.
| | 00:52 | I can start doing any of the normal
things that I might do in playback mode like
| | 00:55 | delete or zoom in and out or view
metadata or navigate to another image.
| | 00:59 | You are going to get an entire movie
on what all of those functions are,
| | 01:03 | just know that anything you can do in
normal playback mode, you can also do
| | 01:07 | during image review.
| | 01:09 | Another handy feature of image
review is the ability to turn it off.
| | 01:13 | If I go down here to Image review, I see,
I can go to Off and now when I take a
| | 01:19 | picture there's no review at all.
| | 01:21 | This is great if you're shooting in
a dark location like a concert or a
| | 01:24 | performance and you don't
want to disturb other people.
| | 01:26 | It's also handy though to break
yourself up the habit of chimping.
| | 01:30 | Chimping is a thing when you take an
image and you immediately look at it on
| | 01:33 | the back of the screen.
| | 01:34 | When you're not shooting,
you should be shooting.
| | 01:35 | You can review your images when you get home.
| | 01:37 | Yes, there are times when you might
have a problem image and one want to see
| | 01:40 | if you got it okay, but turning
Image review off is a great way to keep
| | 01:44 | yourself from being distracted by the
camera to ensure that you stay focused
| | 01:48 | on your subject.
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| Playing back images| 00:00 | Your camera has a big
collection of image playback features.
| | 00:03 | You have already seen how it displays
an image immediately after you shoot,
| | 00:07 | but of course you can also go in and
browse all of the pictures that are
| | 00:10 | 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.
| | 00:19 | After you have shot some images, you
are probably going to want to look at them
| | 00:21 | and you can do them very easily
by pressing the Playback button.
| | 00:24 | When you do you'll see the last image
that you shot and you will see some simple
| | 00:28 | data displayed with it, I can see
that I am looking at image 16 of 16.
| | 00:31 | I can see the file size and format I
was shooting, date and time the image was
| | 00:35 | shot and the folder and file
them where it's stored on the card.
| | 00:39 | I can go back and forth through my
images with the left and right arrow buttons.
| | 00:43 | If I want, I can zoom in on an
image by pressing the magnifying glass
| | 00:48 | (plus) button right here.
| | 00:50 | As I zoom in, I get this reference
frame that shows where I am in the image now
| | 00:53 | I can pan about and explore
different areas in my image.
| | 00:58 | This is a way that you
can double-check your focus.
| | 01:00 | I can see that I was
really out of focus right here.
| | 01:02 | You don't want to get too critical with
your focus examinations on this screen
| | 01:06 | because sometimes things can look a
little bit softer than they really are.
| | 01:10 | I can zoom back out with the minus button here.
| | 01:13 | When I've zoomed back out to full size
I can keep pressing minus and that will
| | 01:16 | take me out to a thumbnail display.
| | 01:18 | This lets me go through images much
faster and I can see in this case, four at a
| | 01:22 | time, I can keep zooming out and get
nine at a time so this is just a way of
| | 01:26 | quickly getting about a really full card.
| | 01:29 | I can go all the way out to here
and see just gobs of thumbnails.
| | 01:32 | If I go even further I see this calendar.
| | 01:35 | This shows me every day on the card
that I've shot images on in this case I've
| | 01:40 | only got one day and that was the 15th.
| | 01:43 | So if I want to look at images on a
particular day, I can follow this little
| | 01:49 | guide right here which says I should
push the zoom out button, the minus button
| | 01:52 | and that will change panes here so I can
move my cursor over to there and then I
| | 01:57 | can scroll up and down this list of
images that were shot on that day.
| | 02:00 | If I hit the plus button, I get a nice
larger view of my images or I can simply
| | 02:04 | hit OK and it will take me right to that image.
| | 02:08 | Finally if I want to delete an image,
I can simply select it and press
| | 02:12 | the trashcan button.
| | 02:14 | It asks me to confirm which I do by pressing
the trashcan button again and then it goes away.
| | 02:18 | We are going to look at some other ways
to delete images later in this course.
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|
|
3. Shooting in Program ModeProgram mode| 00:01 | In program mode, the only decisions that the
camera makes are shutter speed and aperture.
| | 00:05 | Everything else autofocus mode, drive
mode, Flash, white balance, ISO and more
| | 00:11 | can be changed by you. What's more?
| | 00:13 | Through flexible program and exposure
compensation you can alter the camera's
| | 00:18 | initial shutter speed and aperture choices.
| | 00:20 | Program mode is probably where you'll
spend the bulk of your time shooting.
| | 00:24 | To change to program mode, I will
rotate it around to the big P that indicates
| | 00:29 | that I'm in program mode and now a
bunch of new commands are going to be unlock
| | 00:33 | things that I was not able to change in
program mode will now be accessible from
| | 00:38 | here and we're going to be looking at
how you alter those parameters throughout
| | 00:41 | the rest of this course.
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| Exposure compensation| 00:00 | Exposure compensation is one of the most
powerful exposure controls on your camera.
| | 00:05 | As such it may very well become one of
the most often used controls on your camera.
| | 00:09 | With it you can easily handle back
lighting situations, you can control
| | 00:13 | tonality, you can calm
down over exposed highlights.
| | 00:17 | To sum up, exposure compensation let's
you adjust the camera's exposure up or
| | 00:21 | down in fractional or whole stop increments.
| | 00:25 | This is the exposure compensation button.
| | 00:27 | Note that it's right behind the
shutter button so it's very easy for me to
| | 00:30 | simply reach right back here.
| | 00:31 | I don't need to take my
eye off of the view finder.
| | 00:33 | I can do this while I am shooting.
| | 00:35 | To change exposure compensation I push
and hold the exposure compensation button
| | 00:40 | while turning the main dial.
| | 00:42 | Rotating to the left gets me positive
exposure compensation and you can see that
| | 00:46 | it's going up in one third stop increments.
| | 00:48 | Inside my viewfinder right now down at
the bottom, I will also see the little
| | 00:53 | thermometer gauge showing exposure compensation.
| | 00:56 | It goes up to two stops in either direction.
| | 00:58 | If I go beyond that, I will simply see
a little arrow up here, but up here on
| | 01:05 | top of the camera, I can see exactly
how much I've dialed in and I can go all
| | 01:09 | the way out to five stops or I can go
the other direction and dial in negative
| | 01:15 | exposure compensation.
| | 01:17 | You can see here, I am at minus two
stops, same thing once I go beyond that, I
| | 01:21 | won't see the readout inside, I'll
simply see a little arrow up here.
| | 01:26 | However, also in the viewfinder, as I
am changing exposure compensation, I will
| | 01:30 | see my shutter speed and aperture
change to reflect the new values that the
| | 01:34 | exposure compensation is yielding.
| | 01:36 | Exposure compensation is a sticky control.
| | 01:39 | You can see that that little
plus minus icon is still lit up.
| | 01:43 | That shows that exposure
compensation is dialed in.
| | 01:45 | I had left it at -5 stops.
| | 01:48 | So anytime I re-meter, it's going to re-
meter with -5 stop exposure compensation
| | 01:54 | until I change this.
| | 01:56 | I can change it to a different
value or I can simply turn it off.
| | 01:59 | Because it's sticky, that means if I go
into a situation where I know while I am
| | 02:03 | going to need half a stop of under
exposure or a whole stop of under exposure
| | 02:08 | through this whole thing, I can just
dial that in and it will stay there.
| | 02:12 | So to sum up, I might choose to use
positive exposure compensation, if I'm
| | 02:18 | shooting something and really want to
bring more detail out of the shadows, I
| | 02:21 | might choose use a
negative exposure compensation.
| | 02:24 | If I am facing maybe a backlight
situation, I need to calm down some bright
| | 02:29 | highlights to keep
midtones from going to bright.
| | 02:31 | Exposure compensation is available in
program mode and both priority modes
| | 02:36 | and some scene modes.
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| Revisiting metering| 00:00 | As you have seen when you half
press the Shutter button, the camera
| | 00:03 | autofocuses meters and possibly
calculates white balance and ISO depending on
| | 00:08 | your camera settings.
| | 00:10 | When the camera has decided on all of
these parameters, it beeps and flashes a
| | 00:14 | light in the viewfinder.
| | 00:15 | If you want, you can continue to hold
the button down at the halfway point while
| | 00:19 | you reframe your shot.
| | 00:20 | This is sometimes necessary to get
the focus and metering that you want.
| | 00:24 | Once you're ready to take the shot you
can press the button the rest of the way.
| | 00:28 | So I half press the Shutter button and
you can feel there is a little halfway
| | 00:31 | point there it's not full press.
| | 00:33 | I half press the Shutter button, the
camera focuses it meters, and after it's
| | 00:38 | metered, it shows the results of
its calculations right up here.
| | 00:41 | It's decided that a 50th of a second
at a 5.3 is correct for this scene.
| | 00:46 | Now those same exposure readings are
going to be shown inside my viewfinder.
| | 00:50 | So I can keep track of all this
without taking my eye off the viewfinder.
| | 00:54 | Once it's focused and metered and
locked focus and it will light up the
| | 00:58 | lock focus light inside the viewfinder, I
press it the rest of the way to take my shot.
| | 01:03 | Now something very important to
understand, after I meter watch what happens
| | 01:07 | when I let go with the button, it stays
with that meter reading for a while, but
| | 01:11 | then eventually the meter
reading times out like that.
| | 01:14 | It goes blank and that means that now
the camera has gone back to kind of its
| | 01:19 | idling mode it's not focused
on anything. It's not metering.
| | 01:22 | So if I press again, it is
now re-metering the scene.
| | 01:26 | While it's in this mode where it's
remembering that last metering, if I move the
| | 01:30 | camera around it automatically re-
meters for a light that I'm now shining into.
| | 01:36 | So I get real-time re-
metering of my scene as I go.
| | 01:40 | So it's important to understand that if
you move the camera around that exposure
| | 01:44 | is not going to stay locked.
| | 01:46 | To lock it you need to use the
exposure lock button which we'll talk about later.
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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 in 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 ISO
| | 00:21 | 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.
| | 00:33 | To change ISO, I push and hold the
ISO button and then rotate my main dial.
| | 00:38 | Notice that, by default it's going up
in one-third stop increments so from 100
| | 00:42 | to ISO 125 is the third of a stop, 160
is two thirds of a stop upto my first
| | 00:48 | full stop change of ISO 200.
| | 00:52 | My ISO scale goes from 100 all the way up
in one-third stop increments to ISO 6400.
| | 01:00 | Now of course, as I increase ISO the
noise in my image is going to increase.
| | 01:05 | One of the great things about the
D7000 tough is it's not going to increase
| | 01:08 | very much, you will find that high ISOs are
extremely usable on this camera, noise stays down.
| | 01:15 | Note though, that after I go past 6400,
I get into this H 0.3, H 0.7, H 1.0,
| | 01:22 | these are additional stops above 6400.
| | 01:25 | So this is high basically High 1.0
means I'm one stop higher than 6400 which
| | 01:31 | is going to be 12,800.
| | 01:33 | The reason Nikon has labeled in this
way instead of putting actual numbers on
| | 01:37 | them is it's kind of their
way of hedging a little bit.
| | 01:40 | They're saying yeah!
| | 01:41 | We are giving you these ISOs,
but they're very, very noisy.
| | 01:45 | So we're not going to put them into
the main list because they may be noisier
| | 01:49 | than you're willing to accept.
| | 01:50 | I can go all the way up here to H 2.0
which is going to get me above ISO 25,000.
| | 01:55 | So before you use these higher ISOs and
really even before you use ISO 6400, go
| | 02:01 | and do some tests, get into a
lowlight situation, shoot the same scene with
| | 02:05 | several different ISOs and see what you
think about the amount of noise you get.
| | 02:10 | You may find that there's a kind of
acceptable noise limit that you personally
| | 02:14 | find you don't want to go beyond.
| | 02:16 | Note that when you're in Auto mode you get
one additional ISO option and that is Auto.
| | 02:23 | This means that the camera will
automatically adjust ISO if it thinks it needs
| | 02:27 | to, to keep your shutter
speed in a good handholding range.
| | 02:31 | Now I can still go in and dial in ISOs by
hand, but I get this additional Auto option.
| | 02:37 | You will also find this in certain scene modes.
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| Flexible Program mode| 00:00 | In program mode, when you half press
the Shutter button to meter, the camera
| | 00:05 | calculates an exposure and displays
the resulting shutter speed and aperture.
| | 00:09 | But there are many reciprocal
combinations of those exposure parameters that all
| | 00:13 | yield the same overall brightness.
| | 00:15 | Now this is all explained in
foundations of photography exposure.
| | 00:19 | Flexible program is a feature that
allows you to automatically cycle through all
| | 00:24 | reciprocal combinations for any given metering.
| | 00:27 | With this feature, you can meter to get
an exposure that gets you proper overall
| | 00:31 | brightness and then use flexible
program to change to an exposure combination
| | 00:36 | that serves up that same overall
brightness but with the motion-stopping or
| | 00:40 | depth of field that you want.
| | 00:42 | To use flexible program, first I have
to meter, so I half press the Shutter
| | 00:46 | button and now I see my
shutter speed and aperture.
| | 00:48 | If I start turning my dial, notice
that my exposure parameters are changing.
| | 00:53 | Also notice that I get this little
icon here, P with an asterisk over, this
| | 00:58 | indicates that I am now
in flexible program mode.
| | 01:02 | So these values 48th of a second at F8,
they're going to yield the same overall
| | 01:07 | brightness as my initial metering.
| | 01:09 | This is just a different reciprocal
combination that yields the same overall exposure.
| | 01:13 | So my metering has just timed out now.
| | 01:15 | When I re-meter, notice that
I come back to where I was.
| | 01:17 | It's remembered how much shift I have
dialed into flexible program and it will
| | 01:22 | continue to do that until I either dial
all of that shift back out that is until
| | 01:27 | the P goes away or until I change
modes or turn the camera off and on.
| | 01:33 | So what might I use this for?
| | 01:34 | Well, let's say that I'm shooting a
landscape and I have metered my scene
| | 01:37 | and it's chosen F5.
| | 01:38 | Well, I am thinking gosh!
| | 01:40 | I want really deep depth of field,
so that aperture is too wide, I would
| | 01:43 | rather go to a smaller aperture so I
am going to just flexible program my way
| | 01:47 | down to something more F11.
| | 01:50 | That's going to give me
nice deep depth of field.
| | 01:52 | Now my shutter speed has gone very, very slow.
| | 01:55 | So I would want to be sure that I'm
on a tripod or go to a higher ISO.
| | 01:59 | Conversely, if I were shooting a
portrait, I may want to go the other direction
| | 02:03 | and get my aperture open as far as it will go.
| | 02:06 | On this particular lens of this focal
length, I can't go any wider than 4.5,
| | 02:09 | but still that's going to get me slightly
shallower depth of field than I had before.
| | 02:13 | So this is the flexible program, it
gives me a tremendous amount of manual
| | 02:17 | control while I'm still in program mode.
| | 02:20 | If you're watching these movies in
order, then you have already seen the
| | 02:23 | exposure compensation control.
| | 02:25 | Think now about how you can combine
exposure compensation with flexible program.
| | 02:31 | You can meter a scene and then use
flexible program to get the motion control or
| | 02:35 | depth of field that you want and
then use exposure compensation to apply
| | 02:39 | brightening or darkening.
| | 02:40 | In other words without ever leaving
program mode, you can have all of the manual
| | 02:44 | control that you might need.
| | 02:46 | 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 that is there's a loss of quality
| | 00:22 | 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 image quality, size or both,
I press and hold the quality button on
| | 01:08 | the back of the camera.
| | 01:09 | My LCD screen blanks out except for my
Quality and Size Readout and the number
| | 01:15 | of images that can be stored on the card.
| | 01:17 | Now if I turn the main dial while holding
that button-down, I can change the quality level.
| | 01:22 | So notice what happens.
| | 01:23 | By default I am at Normal, which
gives me 670 images on my card.
| | 01:26 | If I bump it down to Basic, which is
more JPEG compression meaning lower
| | 01:31 | quality, my image count goes
up to (1.3)k or 1300 images.
| | 01:37 | I can go the other direction and go up
to Fine, which is less JPEG compression,
| | 01:42 | which means better quality and then
my image count goes from 670 to 337.
| | 01:48 | If I turn the sub-command dial while holding
in the quality button, I can change image size.
| | 01:53 | Right now I'm at L. That's large
that's the largest size I can shoot.
| | 01:57 | I can also go down to a to medium size,
and notice again my image count is
| | 02:01 | changing, from 337 to 598, because the
medium size is a smaller image, and then
| | 02:08 | I can go down to small, which again
gets me up to (1.3)K.If I combine these and
| | 02:13 | take a small image with basic
compression, I get up to 4500 images.
| | 02:19 | So I am going to put this back on Large.
| | 02:21 | So beyond Fine, if I rotate my main
dial again, I get to RAW, so now I am
| | 02:27 | shooting a RAW image that gives me 92
images on the card, but I can also go
| | 02:32 | beyond RAW and get to RAW + a
Basic large JPEG that gets me 86.
| | 02:38 | That's going to write up both of those files.
| | 02:40 | Keep turning my main dial and now I
get RAW with a Normally Compressed JPEG
| | 02:45 | image or RAW with a
Finely Compressed JPEG image.
| | 02:48 | I can also continue to use my sub-
command dial to change the size of that JPEG.
| | 02:54 | It's not changing the size of the RAW file.
| | 02:56 | it's just changing the
size of the associated JPEG.
| | 03:00 | By default, your camera is
going to shoot at normal large JPEG.
| | 03:05 | If you are going to shoot JPEGs, I
really recommend bumping that up the Fine,
| | 03:10 | yes, you will take a hit on how many
images you can store on your card, but
| | 03:14 | storage is cheap these days and it's
worth getting the extra quality by going up
| | 03:18 | to the better level of compression.
| | 03:20 | Now if you are going to shoot RAW,
you have another option for fitting more
| | 03:24 | images on your card.
| | 03:25 | Here I am in RAW mode and I
can get 92 images on my card.
| | 03:29 | If I go into the menu, into the
Shooting menu, you see NEF and (RAW) recording
| | 03:34 | NEF is the name of Nikon's RAW file format.
| | 03:38 | The images that come out of your camera, when
you shoot RAW will have a dot NEF extension.
| | 03:43 | I am going to go ahead into this
menu and I get a few different options.
| | 03:45 | First I've got NEF bit depth which
defaults to 14 bits that's 14 bits per pixel.
| | 03:52 | Notice that if I open that up, I
have a choice between 14 and 12.
| | 03:56 | If I bump this down to 12, note that
my image count went from 92 to 120.
| | 04:02 | So that buys me a little bit of
extra space. What's the price?
| | 04:05 | I will have a less editability in
my images before I start to see some
| | 04:10 | visual artifacting.
| | 04:12 | If you're going to be doing a lot of
image editing and you want the most
| | 04:15 | flexibility possible, you
want to leave that one 14 bit.
| | 04:18 | There is another option though, which
is to go here into Type menu and you see
| | 04:23 | that I have the choice of
Lossless compressed or Compressed.
| | 04:28 | All Nikon RAW images have a bit
of compression applied to them.
| | 04:32 | By default they are set to be
losslessly compressed, meaning the compression
| | 04:36 | does not degrade the image at all.
| | 04:38 | If I turn on Compressed, you see
that my image count goes up to 137.
| | 04:44 | So here's another way that I can
squeeze out a little more space.
| | 04:47 | Now there is a price to pay for that.
| | 04:50 | There is possible image degradation here.
| | 04:53 | Honestly depending on how picky you
are and what types of edits you choose to
| | 04:56 | make, you will probably never notice the image
quality hit that you are going to take there.
| | 05:01 | Nevertheless, as I said before,
storage is cheap right now, there's really no
| | 05:05 | reason not to leave your RAW settings
set for Lossless compressed and keep
| | 05:10 | them on 14 bit files.
| | 05:12 | It's good to know about these though
for times when maybe you are on a shoot,
| | 05:16 | it's near the end of the day, you are
running out of storage and you know you
| | 05:19 | need to eke out a little more space,
you can fiddle with these settings to try
| | 05:22 | to buy yourself some more room.
| | 05:25 | If you're shooting JPEGs, my
recommendation is to always shoot at full pixel
| | 05:28 | count with the very best
quality that your camera can manage.
| | 05:32 | Storage is real cheap these days, so there's
little reason to try to save space on a card.
| | 05:36 | If you're finding you're running out
of space during a typical shoot, then
| | 05:39 | invest in some more media cards.
| | 05:41 | But if you're in the field and storage
is running low and buying another card
| | 05:45 | isn't an option, and you absolutely
need to cram more images onto your card,
| | 05:50 | then you should change your JPEG
settings or your image size, ideally not both.
| | 05:55 | If your images are destined for print,
then be sure that you don't lower the
| | 05:58 | pixel count below what you need to get
the print size that you want, maybe you
| | 06:02 | go down to half size and
one stop down in JPEG quality.
| | 06:05 | If your images are destined for online
viewing, then you can cut the pixel count
| | 06:09 | dramatically and probably not need to
increase JPEG compression and that will
| | 06:13 | preserve more quality.
| | 06:15 | Mostly though, I'd recommend shooting RAW.
| | 06:17 | You get tremendous postproduction and
image quality advantages if you leave JPEG
| | 06:21 | behind and become a RAW shooter.
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| The Info button| 00:00 | Should be dawning on you now that your
D7000 has a lot of features and options.
| | 00:05 | If I press the Info button on the back of
the camera I get this really nice display here.
| | 00:10 | First of all on the top, I get at an
exact duplicate of what I see in my
| | 00:15 | top mounted LCD screen.
| | 00:17 | So I have got my shutter speed and
aperture, ISO, focus modes all of that
| | 00:20 | stuff, everything that I would see up here in
the exact same layout can be seen back here.
| | 00:25 | This is really handy when you're working
on a tripod and maybe you can't see the
| | 00:29 | top of the camera or you don't want to
have to bend and twist and can torque
| | 00:35 | around to be able see it, you can
just bring this us up right here and see
| | 00:38 | exactly where your camera is at.
| | 00:40 | Notice though that I have also got this extra
display down here that shows me a lot of stuff.
| | 00:43 | I can see the Long Exposure Noise
Reduction is off and ISO Noise Reduction is
| | 00:48 | off and my color space is set to RGB
and I can see how my video is configured.
| | 00:53 | These are settings that
we'll be looking at later.
| | 00:55 | What's more I can alter these
settings by pressing the Info button again.
| | 00:59 | When I do that, this thing becomes editable.
| | 01:02 | So I can scroll around to any of
these features and then simply hit the OK
| | 01:08 | button to go directly to the
menu that lets me alter them.
| | 01:12 | Pressing Info again will
take me back out to here.
| | 01:14 | So again, I am working on a tripod and
I don't want to hassle with my menus, I
| | 01:17 | want just do everything from here.
| | 01:19 | I can quickly get to that from the Info button.
| | 01:21 | Even if I'm not working on a tripod, I
just don't want to have to dig through
| | 01:24 | the menus to figure out where a
particular option is, having these all right
| | 01:29 | down here, these are some of the
things that you'll use more commonly.
| | 01:32 | Having those all right down
there can be a great convenience.
| | 01:35 | To turn this off again, I just hit
the Info button twice and it goes off.
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|
|
4. Controlling AutofocusFocus modes| 00:00 | Your camera's Autofocus is pretty amazing.
| | 00:03 | 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.
| | 00:10 | For most situations, Autofocus will give
you all the focusing power that you need.
| | 00:14 | Your Autofocus mechanism can
work in two different ways.
| | 00:17 | first, that's the way
we've already discussed to you.
| | 00:19 | Half-press the shutter button and the
camera focuses and locks focus and then
| | 00:23 | lets you know that it's ready to
shoot or it can work in a servo mode.
| | 00:28 | If you frame a moving subject, the
camera will track that moving subject
| | 00:32 | and keep it in focus.
| | 00:33 | Your camera has several different servo
features, and three different focusing modes.
| | 00:39 | Your current focus mode is
indicated right here on your viewfinder.
| | 00:42 | That AF-A that's Auto Servo
Autofocus, in that mode the camera will
| | 00:49 | automatically try to determine whether
it should be tracking a moving object or
| | 00:54 | just engaging in normal locking autofocus.
| | 00:57 | That's going to be the best mode
choice for the majority of your shots.
| | 01:01 | However, if you know that you're
shooting a moving subject, then you may want to
| | 01:05 | lock the camera into a Continuous
Servo Autofocus mode, so that it absolutely
| | 01:10 | will track a moving subject and not
fall into just trying to fix focus.
| | 01:15 | Conversely, if you are shooting that
you know is going to standstill, you may
| | 01:18 | want to lock your camera into single
servo focus, so that it won't start
| | 01:22 | trying to track something, say if it moves a
little bit or if you move the camera around.
| | 01:27 | To change focus mode, you come over
here and your autofocus manual switch here
| | 01:33 | also has a button in the middle.
| | 01:34 | I can push a button to change autofocus mode.
| | 01:37 | So let's go back and you can see
what happens when I push the button.
| | 01:41 | When I press it, my LCD view
screen up here goes blank, and only my
| | 01:46 | focus controls are left.
| | 01:48 | Now if turn the main dial, I can switch
from AF-A that's Auto Servo Autofocus,
| | 01:55 | to Single Servo Autofocus.
| | 01:57 | That's going to be what I want to use
if I am shooting something that I know is
| | 02:00 | not moving and then I can go to
Continuous Servo Autofocus, this is what I want
| | 02:04 | to use if I know that my
subject is going to be moving.
| | 02:09 | Again, most of the time, you'll be
fine sitting on the automatic mode.
| | Collapse this transcript |
| Manually selecting a focus point| 00:00 | You have seen how you can choose a
different autofocusing mode that's the AF-A.
| | 00:05 | AF-S and AF-C switch that you
learned about in the last movie.
| | 00:09 | I can also change the autofocus area
mode, this controls what focus points are
| | 00:15 | used in a given mode and that's
what this display right above is.
| | 00:20 | Before we cover AF-A, I think it's
going to be easier if we switch to
| | 00:24 | Autofocus Single Servo.
| | 00:26 | So I am going to switch over here to S
. Now this is where the camera does not
| | 00:30 | try to track moving objects.
| | 00:32 | By default it's set to automatic
selection of focus point and you can see here
| | 00:36 | that all 39 of my focus points are active.
| | 00:39 | What this indicator means is that when
I have pressed the Shutter button, it's
| | 00:42 | going to pick amongst those 39 focus
points to find one or a few that it thinks
| | 00:47 | are on top of my subject.
| | 00:48 | If I want, I can change that mode
to a single focus point selection.
| | 00:53 | If I press the same button over here
that I used earlier to change autofocus
| | 00:58 | mode and turn the subcommand dial,
the one on the front of the camera, now
| | 01:02 | rather than changing focus mode, I am
changing autofocus area mode, and you can
| | 01:09 | see that I have two options, I am
going from automatically selecting from
| | 01:13 | amongst all 39 points, to just a single point.
| | 01:17 | Now this means I have one focus point
and I can choose exactly which one I want
| | 01:21 | to use from amongst those 39.
| | 01:22 | Basically I am doing now the same
thing that the camera was doing before.
| | 01:25 | I am going to turn on the Info Display so
that you can see the focus point I am selecting.
| | 01:29 | If you watch this display right here,
you can see that as I move this thing
| | 01:35 | around nothing happens.
| | 01:36 | That's because I first
need to unlock this control.
| | 01:40 | That's what this lock switch is for.
| | 01:42 | It's to ensure that I don't
accidentally change focus points.
| | 01:46 | Now I can drive around and
pick any focus point that I want.
| | 01:50 | I will see the same thing that I'm
seeing here on the Focus Point Display in my
| | 01:54 | Viewfinder, so I don't have to take my
eye away from the camera, away from the
| | 01:58 | viewfinder, just select the focus point.
| | 02:00 | So I can pick the focus point that's
appropriate for where my subject is in the
| | 02:04 | frame and leave it there.
| | 02:05 | Now it's going to stay there until I
change it and this is a critical thing that
| | 02:09 | you have to remember.
| | 02:10 | If you change the focus point to
something, you need to change it back, because
| | 02:15 | if I set it over here to the right side,
from now on the camera will always be
| | 02:20 | focusing on that thing or on
whatever' is over here on the right side.
| | 02:23 | If I want, I can flip my lock switch back and
now it's impossible to take it off of there.
| | 02:30 | I can also press the OK button and
that will automatically return my focus
| | 02:34 | point to the center.
| | 02:35 | Now this is how a lot of people like
to work all the time, because now I
| | 02:38 | know exactly where the camera is
going to focus, rather than worrying about
| | 02:41 | what focus point it might be choosing
and rather having to always remember
| | 02:45 | to pay attention to the focus point
that it chooses, I can just put it on
| | 02:48 | the center point, know that that's
where it's always going to focus and
| | 02:51 | manage focusing myself.
| | 02:52 | I can place my subject in the center
of the frame focus, and then reframe and
| | 02:56 | take the rest of my shot.
| | 02:58 | So if you are choosing to do that,
to lock focus anywhere, but if you are
| | 03:02 | choosing to leave it in the center,
again, you are going to want to move
| | 03:04 | your lock switch, so that you don't
accidentally bump this control and move
| | 03:08 | your focus point around.
| | 03:10 | If I'm working in one of the
Continuous Servo modes, for example if I change
| | 03:16 | my mode here to AF-C, then I know
that the camera is going to be trying to
| | 03:21 | track moving subjects within the frame and
it has a lot of different ways of doing that.
| | 03:26 | Single Point Autofocus is not a good
choice when you're in a Continuous Servo
| | 03:30 | mode, because the camera is just not
going to do a very good job of being able
| | 03:33 | to track your subject.
| | 03:34 | You want to change to a different
Autofocus Area Mode, which again you do that
| | 03:38 | by pressing and holding your autofocus button.
| | 03:40 | That's the one down here and
turning your subcommand dial.
| | 03:44 | So let's go back to the default, which is this.
| | 03:47 | When I'm in Continuous Servo
Autofocus mode or if I'm AF-A mode and it is
| | 03:54 | choosing to do a Continuous Autofocus,
then the Auto Area Autofocus mode
| | 04:00 | is automatically going to try to figure
out what the subject is and keep it in focus.
| | 04:04 | And as it does that.
| | 04:05 | I will see the focus point in my viewfinder
move around and hopefully follow my subject.
| | 04:11 | This is an okay autofocus area mode for
tracking moving subjects, there are some
| | 04:15 | others that are a little more refined
that are going to give you better results
| | 04:19 | depending on how your subject is moving.
| | 04:22 | For example, I can go here to 3D tracking.
| | 04:28 | This is a good choice if you're
composing a shot on a subject that is moving
| | 04:32 | fairly erratically from side
to side across your screen.
| | 04:35 | It's taking a lot of 3D information
off your lens and using that to predict
| | 04:40 | where your subject is going to
go and try to keep it in focus
| | 04:43 | From there, I can go down to
39 point Dynamic Area Autofocus.
| | 04:49 | This uses the same number of focus
points, but you notice, the 3D bit is gone.
| | 04:53 | Same thing here, I will pick the focus
point that's appropriate for where my
| | 04:57 | subject is in the frame, and in this case,
the camera doesn't just pay attention
| | 05:03 | to that focus point.
| | 05:04 | It pays attention to some of the
surrounding ones, which gives it a better
| | 05:07 | chance of being able to predict
where my subject is going to go.
| | 05:11 | This is good for something that is
moving quickly and cannot be easily framed in
| | 05:15 | the viewfinder, such as birds or
certain types of high-speed sporting activity.
| | 05:19 | From here I can go down to fewer
focus points with the same algorithms.
| | 05:23 | This is 21 point Dynamic Area Autofocus.
| | 05:26 | This is good when I am the
shooting a subject that's moving really
| | 05:29 | unpredictably, like a football player.
| | 05:31 | Because it's using fewer focus points,
it's less likely to be confused by
| | 05:36 | some of these less relevant focus
points that lie on the very extreme ranges
| | 05:41 | of the autofocus area.
| | 05:42 | Similarly, I can go down from there
to a 9 point Dynamic Area Autofocus.
| | 05:48 | This is a good choice when I am
shooting something that is moving predictably,
| | 05:51 | like a runner or a racecar on a track,
something that's moving in an area
| | 05:56 | that's very well-defined.
| | 05:57 | Because it is using a very small set of
focus points right in the middle and you
| | 06:02 | can see it highlights the only relevant
ones, I can work to recompose my shot,
| | 06:06 | so that that batch of focus
points stays on my subject as I move.
| | 06:11 | Finally, all of these autofocus area
modes that I have just been discussing in
| | 06:15 | terms of tracking a moving image, as I
said before, are also relevant when I'm
| | 06:19 | using autofocus A mode, because again,
in that mode the camera is free to switch
| | 06:25 | into servo tracking.
| | 06:26 | Shooting, moving subject matter takes
practice and using these autofocus area
| | 06:31 | modes, understanding which one is best
for your choice, understanding how to
| | 06:36 | work with the camera's servo
focus modes, it all takes practice.
| | 06:40 | This is easy to do, go outside, find
some kids that are playing, find a bird
| | 06:43 | that's flying around and try the
different modes, try the different autofocus
| | 06:47 | area modes, and see which ones are
right for the subject matter that you are
| | 06:50 | shooting, and try to get a feel for
how you need to recompose to keep things in focus.
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| Manually focusing| 00:00 | While I rely heavily on autofocus,
most of the time there are still occasions
| | 00:04 | when I switch my camera over to manual.
| | 00:06 | For moving subjects manual focus is
sometimes faster than autofocus for the
| | 00:10 | simple reason that as good as your
autofocus system is, you are still
| | 00:14 | smarter than it is.
| | 00:15 | If you're in a situation where a
moving object is traveling in a very
| | 00:19 | predictable way, then you might be able
to track focus very smoothly as you wait
| | 00:23 | for the precise moment that you want to shoot.
| | 00:26 | Manual focus is also useful for
times when autofocus doesn't lock, either
| | 00:30 | because your subject lacks contrast
or because there's not 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 autofocus
and manual focus in combination if I'm
| | 00:46 | shooting the same subject over and over.
| | 00:48 | For example, if I am shooting a
landscape in rapidly changing light, I'll frame
| | 00:53 | my shot and autofocus, then
switch the camera to manual focus.
| | 00:57 | As long as I don't bump my lens, my
autofocus choice will now be locked in.
| | 01:02 | Now I can just keep shooting
without having to wait for autofocus.
| | 01:05 | This can also be handy for a
portrait shoot where your camera to subject
| | 01:08 | distance never changes and you want to be
able to shoot without waiting for focus.
| | 01:13 | To focus manually, you need to
put the lens in manual focus mode.
| | 01:16 | That's this switch right here.
| | 01:17 | Just flip it over from A for Autofocus
to M for Manual Focus and then to do your
| | 01:23 | focus that's this ring right here.
| | 01:25 | Now on your lens this focus ring maybe
in a different place, the manual focus
| | 01:29 | switch maybe in a different place,
but they should be pretty easy to find.
| | 01:34 | This camera does not have a focusing
aid inside the viewfinder, so you are
| | 01:37 | going to have to be very careful when
you are manually focusing, make sure you
| | 01:40 | really do have focus.
| | 01:42 | One thing you can do to make
focusing easier, zoom the lens in.
| | 01:45 | That will give you a nice big
view focus then zoom back out.
| | 01:48 | As long as your camera to subject
distance doesn't change, you should be okay.
| | 01:53 | Now what I have just described
works for any lens that is an AF-S lens.
| | 01:58 | If you're using an older AF lens, then
you need to switch this switch right down
| | 02:03 | here on the camera body from AF to M.
When you're using one of these older AF
| | 02:10 | lenses, it's very important
that these switches match.
| | 02:15 | As it says in the manual, if you have
the camera switch set to AF and the lens
| | 02:20 | switch set to M, you could
actually damage your camera.
| | 02:24 | So if you are using one of these
older lenses, be very, very careful.
| | 02:27 | I am going to switch this back to AF.
| | 02:29 | Because I am only using newer lenses,
I'll never need to be switching this.
| | 02:33 | If you ever do go to autofocus and
find that autofocus isn't doing anything,
| | 02:37 | come check this switch, because
maybe that you were focusing manually and
| | 02:40 | you just forgot to flip it back, which
obviously would keep the camera from autofocusing.
| | 02:45 | Finally, if you are using a newer lens,
you probably don't have focus markings.
| | 02:50 | That is there's no line of numbers along
your focus ring to indicate focus distance.
| | 02:55 | Sometimes those can be helpful in
certain instances where you want to measure
| | 02:59 | out focus and really set the lens properly.
| | 03:01 | If you don't have those, you're
probably not going to miss them.
| | 03:03 | If you're used to working with those,
then you will want to go to an older lens.
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|
|
5. Controlling White BalanceAdjusting white balance automatically| 00:00 | Different types of light
shine with different colors.
| | 00:04 | For example, tungsten lights are
redder or warmer than fluorescent lights.
| | 00:08 | While your eye does an amazing job of
adjusting automatically to different
| | 00:12 | types of lights so that the colors always
look correct, your camera doesn't fair so well.
| | 00:16 | Your camera has to be calibrated to the
type of light that you are 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 the white appears correct, because
| | 00:29 | white contains all other colors.
| | 00:30 | If you can get white looking good, then
you get all the other colors for free.
| | 00:34 | By default your camera is
set to Auto-White Balance.
| | 00:37 | With Auto-White Balance the camera
will attempt to continuously white balance
| | 00:40 | itself on-the-fly as you shoot.
| | 00:43 | There are two ways to set
white balance on the D7000.
| | 00:46 | The way you will probably use the most is
to press the white balance button back here.
| | 00:51 | When I press and hold if, I can turn the
main command dial back here and you can
| | 00:56 | see my white balance setting change here.
| | 00:59 | So here I have got auto white balance
and that's Tungsten and then Fluorescent,
| | 01:04 | Daylight, Flash, Cloudy, Shady.
| | 01:09 | This is the ability to dial in a
specific color temperature for white
| | 01:12 | balance, and then I have white
balance presets which we are going to talk
| | 01:16 | about in a separate video.
| | 01:17 | So I want to just be sure that I'm set
on A. That's the default, so your camera
| | 01:21 | is probably already there.
| | 01:23 | Now there's another way to set white
balance and that's to go into the menu, and
| | 01:28 | here in my Shooting menu, about
halfway down there is a White balance option,
| | 01:33 | and the reason you might come in here
to set white balance is that you get some
| | 01:37 | additional options for
each white balance preset.
| | 01:40 | For example, in AUTO if I go to the
right over here I get the choice of Normal
| | 01:45 | AUTO white balance and AUTO2
which says keep warm lighting colors.
| | 01:50 | This is ideal if you're shooting in a
tungsten lit room, it will still give you
| | 01:55 | a good white balance, but it will keep
the actual warmth of the lights in there
| | 02:00 | and possibly do a slightly better job
than the tungsten preset would, if you're
| | 02:05 | in a mixed lighting
situation or things like that.
| | 02:08 | Notice that when I do set that as my
auto setting, so now I have taken that,
| | 02:16 | don't worry about this, we are
going come back to this in a minute.
| | 02:18 | I now have White balance set to AUTO2.
| | 02:21 | If I then go up here and change to
another white balance, say maybe I go and
| | 02:25 | shoot in some fluorescent light for
awhile, when I change back to AUTO, what I'm
| | 02:31 | actually changing back to is the AUTO2 setting.
| | 02:33 | That is now my AUTO setting.
| | 02:35 | So if I want that to go back to just
Normal AUTO, I need to select that.
| | 02:40 | Now on any of these white balance
presets, when I hit the OK button to select
| | 02:44 | it, I get this weird colory grid here
thing, this is a way of fine-tuning the
| | 02:49 | white balance and we're not
going to cover that in this course.
| | 02:51 | It's a fairly complex procedure and honestly,
I doubt it's something you will ever do.
| | 02:56 | It's a way of redefining the presets
using an industry-standard color scale
| | 03:01 | that's pretty complicated, and if
you're really going to be that picky about
| | 03:04 | white balance, you are going to be
better off just shooting in RAW mode and not
| | 03:09 | having to deal with all of this.
| | 03:10 | So when this comes up, just hit the
OK button and your White balance takes
| | 03:15 | and you're ready to go.
| | 03:15 | You will probably find that you can stick
with auto white balance for most of your shots.
| | 03:21 | Where it will start to let you down
though is in shady light or situations with
| | 03:24 | mixed lightings, say sunlight
streaming into a fluorescent lit room.
| | 03:29 | In those instances you'll need to
change to a different white balance setting.
| | Collapse this transcript |
| Using white balance presets| 00:00 | Most of the time Auto White Balance
is going to give you good results.
| | 00:03 | There will be times
though when it gets tripped up.
| | 00:06 | The Auto White Balance on the D7000
can be confused by shade or cloudy days.
| | 00:12 | When that happens, you can get images
that are a little too cool, skin tones
| | 00:15 | especially can start suffering.
| | 00:17 | Fortunately, the camera has a
number of other white balance options.
| | 00:20 | First there are presets.
| | 00:22 | These allow you to dial in a white
balance for a specific type of white.
| | 00:26 | to change white balance, I press the WB
button and then rotate the main dial and
| | 00:32 | you see my white balance
display down here change.
| | 00:34 | So A is Auto, after that I get Tungsten,
this is for the type of incandescent
| | 00:40 | light bulbs that you
might have inside your house.
| | 00:42 | Then I get a Fluorescent light bulb
and then Daylight, Flash, Cloudy, Shade.
| | 00:52 | The ability to enter in the
temperature of a light in degrees Kelvin and then
| | 00:57 | finally something called
PRE for preset white balance.
| | 00:59 | We are going to devote an
entire movie to this last option.
| | 01:02 | So, for example, let's say I am
shooting under the shade of a tree, on a nice
| | 01:06 | sunny day, but because I'm in shade I
am finding that the skin tones in my
| | 01:09 | subject just look a little blur,
have a lot of warmth to them.
| | 01:13 | The person doesn't look especially healthy.
| | 01:16 | I might choose to at that point go in here
and change my white balance over to shade.
| | 01:23 | Shoot again, compare the
result, see how they come out.
| | 01:26 | Odds are, if you're shooting in shade
and cloud, you are going to find good
| | 01:29 | results with either of those presets.
| | 01:31 | Now the thing about changing white
balance is it's critical that you change back
| | 01:34 | to something more appropriate when you
leave your kind of exceptional situation
| | 01:39 | that you are shooting in.
| | 01:39 | As I said most of the time
Auto is going to be the way to go.
| | 01:43 | So when I leave the shade, I want to
dial back over here to Auto White Balance.
| | 01:48 | Over time you're going to develop just
the habit of taking that moment anytime
| | 01:53 | the light changes to consider white balance.
| | 01:55 | And think, oh is Auto going to work or not.
| | 01:57 | Most of the time the answer
will be yes Auto will work.
| | 02:00 | But on those rare occasions when it
doesn't being able to dial in a white
| | 02:04 | balance preset should get you out of trouble.
| | 02:06 | For the rest of the times, there's
manual white balance which we'll discuss
| | 02:10 | in another movie.
| | Collapse this transcript |
| Adjusting white balance manually| 00:00 | As I've said for most shots that you take
Auto White Balance will be the right choice.
| | 00:04 | But there will be times like this
situation that we've got right here where auto
| | 00:08 | white balance is not going to work so well.
| | 00:09 | This is a mixed lighting situation.
| | 00:12 | Well I have white vase full of white
flowers just sitting in a pool of tungsten
| | 00:14 | light, while my background is in daylight.
| | 00:17 | Watch what happens when I
shoot with Auto White Balance.
| | 00:23 | This doesn't look bad, except that my vase
doesn't really look white, Its a little warm.
| | 00:27 | The flowers are a little warm also.
| | 00:29 | they've got a slightly orangish tinge to them.
| | 00:31 | Auto White Balance was not able to
figure out the right white balance for this
| | 00:35 | mixed lighting situation.
| | 00:36 | So I'm going to go to a Manual White Balance.
| | 00:39 | I'm going to specifically tell
it what white balance we need.
| | 00:44 | To white balance manually, I need a
white reference in the frame that fills the
| | 00:48 | majority of the frame.
| | 00:49 | So I am going to have Josh, a
member of our crew put a piece of white
| | 00:53 | cardboard or white foam core, you
could just as easily use a white piece of
| | 00:56 | paper right there in my shot.
| | 00:58 | Notice he's not putting it
right in front of the camera.
| | 01:00 | He's putting it in the pool of
light and you can see that it doesn't
| | 01:04 | look perfectly white.
| | 01:05 | It looks a little orange.
| | 01:06 | So now what I am going to do is press
the White Balance button on the back of
| | 01:09 | the camera and hold it down and I am
going to turn my dial here to go all the
| | 01:14 | way over to PRE on White Balance menu.
| | 01:18 | Now I am going to let go
of the White Balance button.
| | 01:21 | I am going to press it again and then
immediately press and hold it until PRE
| | 01:26 | starts flashing here and I've got a
little time while that's flashing, I can let
| | 01:29 | go and now I am just going to press the
shutter and you see good flashing here.
| | 01:33 | That means that it's successfully
analyzed that image and captured a white balance.
| | 01:38 | Thanks Josh.
| | 01:38 | It didn't actually take a picture.
| | 01:41 | All its done is stored the information that
it needs to get a good manual white balance.
| | 01:46 | Now your D7000 can actually store
four of these white balance presets.
| | 01:51 | And that's what PRE, P-R-
E stands for right here.
| | 01:54 | This is white balance preset that we are using.
| | 01:56 | It's stored his one in preset d-0.
| | 02:00 | If it had been unable to calculate a
good white balance, I would've seen no
| | 02:04 | flashing up here or actually no good
let's say NO and then a space and then GD.
| | 02:09 | So now I should have good
manual white balance set.
| | 02:11 | I am ready to take my shot.
| | 02:12 | So I am going to shoot just like I always would.
| | 02:14 | And here is what we've got.
| | 02:15 | Now notice, this image the
white vase is actually white.
| | 02:21 | Now the background is a little bit off
because my background is in different light.
| | 02:24 | But it actually got white correct and
if it got white correct that means the
| | 02:27 | other colors in the scene
should be falling into place.
| | 02:30 | Now you may think, well, I don't
know I've up the auto one looked better.
| | 02:34 | Maybe the Auto one does look better
from an aesthetic standpoint that extra
| | 02:37 | warmth in the Auto White
Balance might have been nicer.
| | 02:39 | What's important to notice here
is that this one is more accurate.
| | 02:44 | And personally, I find it's best to
shoot for accuracy because you can was
| | 02:48 | always warm and cool image later in your
image editor, but you cannot correct an
| | 02:52 | inaccurate white balance very easily.
| | 02:54 | So this is God knows very accurate color.
| | 02:57 | I mentioned before that you can store
up to four white balance presets and you
| | 03:00 | can actually copy them for
one preset slot to another.
| | 03:04 | We are not going to go into that right
now but you can find out how to do that
| | 03:07 | on page 126 of your D7000 manual.
| | 03:10 | There is another way of setting white
balance though and that's to actually
| | 03:14 | shoot a picture of your white balance card.
| | 03:16 | So, Josh if you could come back in here
with that card, I'm going to set white
| | 03:20 | balance back to Auto again, just
pressing and holding the White Balance Button
| | 03:24 | and rotating till I get A. And this
time I am going to take a shot of my image.
| | 03:28 | Now when I half press the button
the camera is unable to focus because
| | 03:31 | there's no contrast there.
| | 03:32 | So I am going to switch over to Manual
Focus and you've already seen how to do
| | 03:36 | that and now I am just going to
take shot. Okay, thanks Josh.
| | 03:41 | Now, I need to go back to Preset White
Balance, so I am pressing the and holding
| | 03:44 | the white balance button and
scrolling over to PRE, again right here.
| | 03:48 | Now I need to tell it to use that frame that
we just shot for its white balance reference.
| | 03:52 | I am going to go into the menu and right
here in my SHOOTING MENU it's not at the top.
| | 03:58 | You can see it's part way down.
| | 04:00 | There is an entry called White Balance.
| | 04:01 | I'm going to hit the right
-arrow button to select.
| | 04:04 | I want to configure Preset manual and I can
see the four preset slots that I have available.
| | 04:11 | d-0 is currently filled with the
white balance that we took earlier.
| | 04:15 | I am going to tell it that I
want to configure slot d-1.
| | 04:18 | So I am going to follow the menus down here.
| | 04:21 | It says I should push the zoom
out button to select an image.
| | 04:25 | So I am going to do that and come
down here and choose Select image.
| | 04:30 | Now it's showing all of the images on the card.
| | 04:32 | I just pick the image of my white balance
card that I shot and I do that by hitting OK.
| | 04:38 | Now that's shoved into slot d-1.
| | 04:41 | Now I can just say OK to select
that as my white balance preset.
| | 04:46 | Let's double-check that I properly
chose the white balance presets that I want.
| | 04:49 | I am going to push my White Balance
button and I can see d-1 highlighted here.
| | 04:53 | So I know I've got the one that I want.
| | 04:55 | It also now put it into the
white balance sampling mode.
| | 04:59 | I am going to let that time out and
I'm going to put my lens back on Auto
| | 05:04 | Focus and take my shot.
| | 05:07 | So here again, I've got a
nice corrected white balance.
| | 05:10 | So why do I have all of
these different preset slots?
| | 05:12 | Well, the idea is if I'm regularly
moving between situations where I need custom
| | 05:17 | white balances, I can configure for each
one of those situations and not have to
| | 05:22 | redo this manual process every time.
| | 05:24 | I can just change from preset d-1 to d-
2 to preset d-3 as I move around between
| | 05:30 | these places where I regularly shoot.
| | 05:32 | The thing to take away from here though
is that Manual White Balance is the best
| | 05:36 | way to deal with a situation where
you're getting inaccurate color off of Auto
| | 05:40 | White Balance or any of the
other white balance presets.
| | Collapse this transcript |
|
|
6. Understanding Release ModesContinuous mode| 00:00 | Henri Cartier-Bresson spoke
extensively about the decisive moment.
| | 00:04 | That one particular moment that happens
that is the perfect decisive expression
| | 00:09 | of whatever scene or event you are shooting.
| | 00:12 | Because he was a genius he was
often able to fire his camera at that
| | 00:15 | perfect decisive moment.
| | 00:17 | For the rest of us there's continuous mode.
| | 00:19 | In continuous mode as you hold down the
shutter button, the camera will continue
| | 00:23 | to snap frames one after another.
| | 00:25 | Continuous mode is a great tool for
shooting and fast-moving environment,
| | 00:29 | sports, street shooting, nature shots.
| | 00:32 | But it can also be ideal for portraiture.
| | 00:34 | When a person's face is making lots of
tiny subtle changes and you're not sure
| | 00:38 | which is the ideal expression.
| | 00:40 | However, you cannot use
continuous mode indefinitely.
| | 00:43 | That is, you can't just hold down
the button and expect the camera to
| | 00:46 | always keep shooting.
| | 00:48 | When you take a picture, the camera
has to move a lot of data around and do
| | 00:52 | a lot of computation.
| | 00:53 | You can take pictures faster than your
camera can get them written into the media card.
| | 00:57 | So your camera has a memory buffer that
can hold a certain number of pictures.
| | 01:01 | As you shoot your images can be quickly
thrown into that buffer, then the camera
| | 01:05 | can start the process of copying images
from the buffer to the memory card while
| | 01:09 | you continue to snap away.
| | 01:11 | If the buffer fills, then your camera
will cease to be able to take pictures and
| | 01:15 | you'll have to wait for it to empty
out before you can start shooting again.
| | 01:19 | Continuous mode is what's
known as a release mode.
| | 01:22 | Normally, I'm in Single Shot Release mode.
| | 01:25 | In other words, when I release
the shutter I take a single shot.
| | 01:29 | But if I press down the
lock button and turn this dial.
| | 01:32 | This is not the mode dial.
| | 01:33 | It's a ring that surrounds the mode dial,
I have some other options, C is continuous.
| | 01:38 | And if you notice, I have two
those CL and CH that's Continuous Low
| | 01:42 | and Continuous High.
| | 01:44 | In Continuous Low mode I can shoot
from one to five frames per second.
| | 01:49 | That's configurable and you'll
learn how later in this course.
| | 01:52 | In Continuous High mode, I can
shoot up to six frames per second.
| | 01:57 | In continuous mode as long as I hold
down the shutter button, the camera
| | 02:01 | will just keep firing.
| | 02:03 | And as you could see in
Continuous High mode it fires very quickly.
| | 02:05 | Now it will keep doing that until I
run out of space on the card or until the
| | 02:10 | camera's internal buffer fills up.
| | 02:12 | Now in your viewfinder over on the
right side there's a number that normally
| | 02:16 | shows how many shots you have remaining.
| | 02:18 | But when I'm pressing the shutter
button down that changes to a lowercase R and
| | 02:22 | a two digit number that shows how
much space there is in my buffer.
| | 02:26 | As I rattle off shots that
remaining number goes down.
| | 02:30 | You can also see it up here.
| | 02:31 | watch this I've got 250 odd
shots remaining right now.
| | 02:36 | That number is changing because it's
still writing out data to the card.
| | 02:39 | And as I push and hold the button, see
now I've got 18 shots left in the buffer.
| | 02:43 | As I go that number goes down.
| | 02:45 | When it gets to zero, continuous
shooting stops and now it's slowing down
| | 02:51 | because it's only able to
shoot as buffer space fills up.
| | 02:56 | Now it should have filled up a little bit, I
can rattle off four shots before it slows down.
| | 03:00 | So if you are really needing to shoot a lot
you're going to need to manage your buffer space.
| | 03:05 | I can't really think of very many
situations where you need to shoot more than
| | 03:08 | 27 pictures in a row like I just did though.
| | 03:11 | So, rather than worrying about trying
to manage your buffer space too much, try
| | 03:15 | to get more intelligent about
when you press that shutter button.
| | 03:18 | Try and anticipate action even
when you're in continuous mode.
| | 03:21 | Don't push it down until you are
pretty close to the moment that you want to
| | 03:25 | capture and then burst
through that moment and let go.
| | 03:28 | So why do I have two speeds, why
would I not want to always shoot at the
| | 03:31 | highest speed possible.
| | 03:33 | Well, sometimes the action in my
scene may not be changing very quickly.
| | 03:37 | This is particular true shooting portraits.
| | 03:39 | Continuous mode is a great
tool for shooting portraits.
| | 03:42 | Because sometimes there can be very
subtle changes in facial expression and
| | 03:46 | they can be hard to predict, which
makes it difficult to get them when shooting
| | 03:49 | in single shot mode.
| | 03:51 | But if I change to a continuous mode, I
stand a better chance of getting just a
| | 03:54 | subtle change that I like.
| | 03:56 | Facial expression may not be
changing that quickly though.
| | 03:58 | So sometimes switching down to the slower
Continuous Low mode is a better way to go.
| | 04:03 | This can also be true even for shooting
some kind of action scene that's maybe
| | 04:07 | just not changing too quickly.
| | Collapse this transcript |
| Quiet mode| 00:00 | Personally, I really like the shutter
sound on the D7000, let's just take a
| | 00:03 | little listen here, Ah! It's so quiet.
| | 00:06 | Nevertheless, it can be quieter still
if I change my release mode dial over to
| | 00:11 | this Q, I go into Quiet mode. Oh my gosh!
| | 00:16 | did I take a picture.
| | 00:17 | I am not sure I could
barely hear anything there.
| | 00:19 | Quiet mode is going to slow your
camera down a little bit, your burst rate
| | 00:22 | is going to go down.
| | 00:23 | It's basically manipulating the
curtain shutters in a different way.
| | 00:26 | So, if you're somewhere where quiet
shooting is paramount then go ahead and dial
| | 00:31 | in to Quiet mode, but know that you
will take a little bit of performance hit.
| | 00:34 | When your done, just go back to S or
whatever release mode it is that you're looking for.
| | Collapse this transcript |
| The self-timer| 00:00 | Most people have used a self timer on a camera.
| | 00:02 | You know you balance the camera on a
rock or something and you point it at your
| | 00:07 | friends then you set it off and run
back and try to get in the frame and look
| | 00:09 | natural before the camera takes picture.
| | 00:11 | It works the same way on your digital camera.
| | 00:14 | The self timer is a release mode on the D7000.
| | 00:17 | So to change to it, I want to turn my
release mode dial I've to press the Lock
| | 00:22 | Down all the way over here to this
little picture of a Clock that's kind of the
| | 00:27 | universal self timer icon.
| | 00:29 | Now all that happens, is I half press
my Shutter button to meter and focus just
| | 00:33 | like I normally would.
| | 00:34 | Once it's locked my press it the rest of
the way and now this Lamp starts lighting.
| | 00:39 | It starts flashing to indicate
that I am in self timer mode.
| | 00:42 | Now as when I would be running around
in front of the camera it goes solid two
| | 00:46 | seconds before it's about to take
the picture and then the shutter fires.
| | 00:50 | There are lot of ways you can
customize the self timer, you can change the
| | 00:54 | amount of time that it takes between
when you press the shutter button when it
| | 00:56 | fires, you can change how many shots
it takes when it finally does fire, how
| | 01:01 | much time elapses between each of those shots.
| | 01:03 | You can learn all about that in the
custom settings Chapter, Chapter 16.
| | Collapse this transcript |
| Remote control and Bulb mode| 00:00 | A remote control is a must-have
for certain types of shooting.
| | 00:03 | With remote control you can keep your
hands off of your camera to reduce camera
| | 00:07 | 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 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 each
location like on a really high tripod.
| | 00:28 | Remote controls were 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 got your
| | 00:40 | remote control to keep your hands off
the camera and the shutter will just stay
| | 00:44 | open as long as you hold that button down.
| | 00:46 | Remote controls are very easy to connect.
| | 00:49 | This is the ML-L3 Wireless Remote Control.
| | 00:52 | it's one of several remote
controls you can get for your D7000.
| | 00:56 | It's small and light.
| | 00:58 | It doesn't cost very much.
| | 00:59 | It's kind of no-frills.
| | 01:00 | It's really just a remote shutter
button, but it's wireless switch is nice.
| | 01:03 | It's got decent range.
| | 01:05 | To use it, you have to put your camera
into it's Remote Control Release Mode
| | 01:10 | which is right here.
| | 01:12 | Now there are a few different ways
that you can customize the remote control.
| | 01:16 | If I go into the menu here in my
SHOOTING MENU, I've got Remote control mode.
| | 01:20 | I can go into there and I see three
options Delayed remote which means after I
| | 01:24 | press the shutter button it will be a
two second delay before it fires, or
| | 01:28 | Quick-response remote which will cause
it to just shoot as soon as I press the
| | 01:31 | button, and Remote mirror-up
which we'll look at in a minute.
| | 01:34 | I'm going to put it on Quick-
response remote and now all I have to do is
| | 01:39 | press the button on the remote and the
camera fires and it trips the shutter
| | 01:43 | pretty much immediately.
| | 01:45 | The rest of the process
is just like it would be.
| | 01:47 | If I was using the actual Shutter
button to all of my autofocus, all of my
| | 01:51 | metering all of the controls on my
camera continue to work the same way as just
| | 01:55 | I can trigger them from long-distance.
| | 01:58 | One of the reasons you might choose to
use a remote is to get your hands off the
| | 02:01 | camera to reduce camera
shake during long exposures.
| | 02:05 | I am going to put my camera over here
into shutter priority mode, so I can get
| | 02:09 | some control of shutter speed.
| | 02:10 | So I can dial in increasingly long
shutter speeds here up to 30 seconds that's
| | 02:16 | as far as the D7000 can go.
| | 02:20 | If I switch to manual mode though I
get another option and that is to go past
| | 02:25 | 30 seconds into this.
| | 02:27 | I don't see a time there this is called
time mode and when I'm working with the
| | 02:31 | wireless remote in this mode with
while your shutter speed set to time the
| | 02:35 | shutter button becomes a toggle.
| | 02:37 | I press it and the shutter opens I can
now wait as long as I want and then press
| | 02:42 | it again to close the shutter.
| | 02:44 | Now if I'm working with a wired remote
instead of seeing this I would see the
| | 02:49 | word bulb and the way that works with
a wired remote is as long as I hold the
| | 02:53 | shutter button down the shutter will
stay open and most wired remotes have a
| | 02:57 | lock, so that you don't actually have
to stay in there and hold the shutter.
| | 03:00 | So for extremely low light
photography anytime when you want longer than 30
| | 03:05 | seconds you'll be using this mode.
| | 03:08 | To further reduce camera shake, you
might want to go into mirror-up mode.
| | 03:13 | You've seen how when I press a button that
mirror inside my camera goes up and down.
| | 03:17 | Well, I can create a little bit of vibration.
| | 03:19 | In mirror-up mode I can isolate the
mirror move from my actual exposure.
| | 03:24 | Now since I've gone out of remote
control mode note that this is changed to bulb
| | 03:28 | mode, so my Shutter button is
my going to work in bulb mode.
| | 03:32 | Watch what happens I'm going to
press the Shutter button once.
| | 03:35 | That was the sound of the mirror going up.
| | 03:38 | Now I can press it again the shutter
just opened and because I'm in bulb mode it
| | 03:43 | will stay open as long
as I hold the button down.
| | 03:45 | I want to let go now and the shutter
closed and the mirror came back down.
| | 03:49 | So you wouldn't normally use the
shutter release for that, you would normally
| | 03:53 | want to use the remote control.
| | 03:54 | Well I'm no longer in my remote
control mode so that's not going to work.
| | 03:58 | I'm going to change my
Release Mode back to remote control.
| | 04:01 | I'll go back in here into my menu and
into my Remote control mode option and
| | 04:07 | change to Remote mirror-up, hit OK.
| | 04:12 | And notice I'm still in my Time mode up here.
| | 04:15 | So now I'm going to press the
Shutter button on the remote control once.
| | 04:20 | That just raised the mirror.
| | 04:22 | Now I'm going to press it again to
open the shutter and because I'm in Time
| | 04:28 | mode, it just opens it doesn't close.
| | 04:30 | Now I can press it again and it closes.
| | 04:33 | So again that's a way that I can reduce
camera vibration even further by taking
| | 04:38 | that mirror movement out of my process.
| | 04:40 | When you're working remotely like this,
this means your face is not going to be
| | 04:44 | up against the viewfinder and that
means light can actually get in there.
| | 04:47 | So actually when I'm doing these
kind of remote exposures I want the
| | 04:52 | viewfinder covered up here.
| | 04:53 | On your strap that came with the camera
you'll find a little cover that you can
| | 04:57 | remove this and slip the cover on
there and take care of that problem.
| | 05:00 | So remote controls are a great way of
doing self-portraits and simply to get
| | 05:05 | your hand off the camera and this is
not just about long exposure photography
| | 05:09 | and maybe you're on a tripod doing
product shots or portraits, having a remote
| | 05:13 | control can really help you reduce
camera vibration in those circumstances also.
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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 | Fortunately, metering technology is
now so good that your camera should yield
| | 00:07 | correct exposure 80 to 90% of the time.
| | 00:10 | To help ensure that your metering
results are good, your camera offers several
| | 00:14 | different metering modes.
| | 00:15 | Matrix metering divides your scene
into a grid, meters each cell of the grid,
| | 00:20 | and then averages all of those results to
come up with a single overall exposure setting.
| | 00:25 | The camera considers overall tonal
distribution in the scene as well as
| | 00:28 | color and composition.
| | 00:30 | If you're using G or D-series lenses,
then it also factors in distances to
| | 00:35 | objects in your scene.
| | 00:36 | Center-weighted metering is like matrix,
but more statistical weight is given
| | 00:40 | to the center of the frame when all the
various meterings are being averaged together.
| | 00:45 | Spot metering meters only a very small
circle right in the middle of the frame,
| | 00:48 | one that covers
approximately 2.5% of your viewfinder.
| | 00:52 | You will use this for times when you're
facing high dynamic range, but you need
| | 00:55 | to be absolutely certain that you
have detail on one particular spot.
| | 01:00 | For most of the scenes that you ever
shoot, matrix metering will work fine.
| | 01:03 | in fact, you may find that you
never change metering for matrix.
| | 01:07 | However, if you're shooting portraits,
you might want to experiment with
| | 01:10 | center-weighted metering, either
center-weighted or spot are good for
| | 01:12 | backlighting and all of this is covered in
detail in Foundations of Photography: Exposure.
| | 01:19 | To change metering modes, you press
and hold the Metering Mode button while
| | 01:23 | you turn the main dial.
| | 01:25 | Now, notice when I press the Metering
Mode button, my display goes blank and
| | 01:29 | shows only the Metering Mode
indicator which is currently set to Matrix.
| | 01:33 | I can dial to Spot meter or
to Center-weight metering.
| | 01:38 | Now I'm dialing to the right.
| | 01:40 | It cycles back around to Matrix.
| | 01:42 | If I go the other way, I get Center-
Weighted metering first and then the Spot
| | 01:45 | meter and then Matrix.
| | 01:47 | If you're having trouble remembering
what those icons mean, you can find a key
| | 01:52 | on Page 105 of your D7000 manual.
| | 01:56 | You might take a picture that
with your camera phone or something.
| | 01:58 | if you have one then you
always have it with you.
| | 02:00 | It can be pretty easy to remember what
they are, but if you ever get confused,
| | 02:04 | just remember that Matrix metering is
where you are going to spend the most of
| | 02:07 | your time and it's the metering icon
that has the most stuff and it's filled
| | 02:13 | with the most black.
| | 02:14 | Matrix will be best for pretty
much anything but a backlit situation.
| | 02:18 | At that point, you're going
want to switch to Center-Weighted.
| | 02:20 | Spot is pretty rarely used unless you
are really needing to preserve detail in
| | 02:25 | one particular part of your scene and
you are not worried about what happens to the rest.
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| Exposure lock| 00:00 | There will be times when you want to
shoot multiple frames with different
| | 00:04 | compositions, but use the same
exposure settings for all of them.
| | 00:08 | 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 | This is the Exposure Lock button right here.
| | 00:21 | So after I meter, I can press
and hold the Exposure Lock button.
| | 00:27 | Now it also a Focus Lock button so if
need to be, I can take my shutter finger off.
| | 00:31 | And now exposure is locked.
| | 00:32 | no matter how I move the camera around,
I will still see these exposure settings.
| | 00:37 | Remember, without the Exposure Lock
button when I have pressed the Shutter
| | 00:41 | button to Meter, as I move the camera
around, it automatically re-meters as I go.
| | 00:47 | So, you use Exposure Lock any time
that you want to meter in one location but
| | 00:52 | reframe to a different location.
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| Aperture Priority mode| 00:00 | In Program mode, when you meter a scene
by half pressing the shutter button, the
| | 00:04 | camera calculates an
appropriate shutter speed and aperture.
| | 00:07 | There will be times though when you
know that you're going to want a lot of
| | 00:11 | control of aperture.
| | 00:12 | Maybe you are shooting portraits and
you know that you want them all to have
| | 00:15 | shallow depth of field.
| | 00:16 | So you'll want to make certain that the
camera is always using a wide aperture,
| | 00:20 | or maybe you are shooting landscapes
and you know that you want really deep
| | 00:23 | depth of field in all your shots, so you
want to make certain that you're always
| | 00:26 | using a small aperture, or maybe you
are street shooting and as you're shooting
| | 00:30 | different subject matter, you're
changing your mind about depth of field.
| | 00:33 | So, you want to be able to easily change
from a big aperture to a small aperture.
| | 00:38 | In Aperture Priority mode, you can
choose the aperture that you want and when
| | 00:42 | the camera meters, it will automatically
pick a corresponding shutter speed that
| | 00:46 | will yield a correct exposure.
| | 00:49 | To change the Aperture Priority mode, just
turn the mode dial over to the A setting.
| | 00:54 | Now when I meter, I can see that I have
an aperture of F11 but I can change that
| | 00:59 | aperture by rotating the subcommand dial.
| | 01:02 | So I can turn the aperture to anything
that I want and go all the way open here
| | 01:06 | to F5.6 or can go more
closed, all the way out to F36.
| | 01:14 | Now notice that as I am doing that the
shutter speed is changing automatically.
| | 01:18 | The camera is automatically
calculating a shutter speed that it thinks will
| | 01:22 | yield a good result for that
particular aperture setting.
| | 01:26 | Whatever aperture I choose will stay,
until I choose a different aperture.
| | 01:31 | So even if I switch to a different mode
and then come back to Aperture Priority,
| | 01:37 | I will still be set for the
last aperture that I had chosen.
| | 01:41 | As always, you are going to want to
keep an eye on shutter speed and make sure
| | 01:44 | that it doesn't drop too low once it
gets below a 50th or 60th of a second,
| | 01:48 | you're possibly going to
be facing handheld shake.
| | 01:50 | So as you're selecting your aperture,
keep an eye on shutter speed and make sure
| | 01:54 | it's still appropriate
for your shooting situation.
| | 01:58 | Aperture Priority doesn't allow you to
take any shots that you couldn't take in
| | 02:01 | Program mode using flexible program.
| | 02:04 | Rather it's simply provides you with a
speedier way to get the aperture based
| | 02:08 | 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.
| | 00:30 | Even if you've dialed in a very small
aperture, when you look through that
| | 00:33 | viewfinder, you are 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 are 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 for the viewfinder.
| | 01:02 | To help you pre-visualize your depth of
field, your camera includes a depth of
| | 01:06 | field preview button.
| | 01:08 | 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
around on the front of the camera, just
| | 01:19 | below the lens right here.
| | 01:23 | So as my hand is cupping the lens, I
can easily reach this and when I press it,
| | 01:28 | you can actually hear the iris closing down.
| | 01:31 | So I press it, the iris closes down and
then I can see through the viewfinder a
| | 01:36 | better idea of what my depth of
field is, let go, and it opens back up.
| | 01:41 | When the iris closes down when you press
the depth of field preview button, your
| | 01:44 | viewfinder will possibly get very dark,
because there is not as much light
| | 01:48 | coming into the camera.
| | 01:49 | This is why the iris was
open in the first place.
| | 01:51 | This can also make it more difficult to
actually see the depth of field in your image.
| | 01:55 | But if you wait a moment, and give your
eyes time to adjust to the darker view
| | 01:59 | and if you can find a way to maybe cup
your hand around the viewfinder in your
| | 02:03 | eye, then your eye should adjust and you
should be able to get a clearer view of
| | 02:06 | your scene with truer depth of field.
| | 02:08 | One more thing, the image in your
viewfinder is much smaller than the image that
| | 02:12 | you'll most likely view on
your monitor or in a print.
| | 02:15 | So it's going to be harder for you to
tell fine sharpness in your viewfinder.
| | 02:18 | Depth of field preview doesn't give you
a perfect way to gauge very fine depth
| | 02:22 | of field effects, but it's should let
you see if certain large things in your
| | 02:25 | 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.
| | 00:07 | There will be times though when you
know that you're going to want a lot of
| | 00:10 | control of shutter speed.
| | 00:12 | Maybe you are shooting a sporting event
and you know that you want a perfectly
| | 00:15 | freeze motion, so you want to make
certain that the camera is always using a
| | 00:18 | fast shutter speed, or maybe you're
shooting a landscape with some moving
| | 00:22 | water in it and you know you want that
silky smooth blurred water look in all
| | 00:26 | of your shots, so you want to make certain
that you are always using a slow shutter speed.
| | 00:30 | In Shutter Priority mode, you can
choose the shutter speed that you want and
| | 00:34 | when the camera meters, it will
automatically pick a corresponding aperture that
| | 00:38 | will yield a correct exposure.
| | 00:41 | To switch to Shutter Priority, I
simply turn the mode dial to S. Now when I
| | 00:45 | meter, I can see that I am currently set
at 125th of a second that's awfully slow.
| | 00:50 | By turning the main dial, I
can change my shutter speed.
| | 00:53 | And if you notice, as I'm changing
shutter speed, my aperture is changing, also
| | 00:57 | the camera is automatically calculating
an aperture that it feels is appropriate
| | 01:03 | for my current shutter speed to get a
good exposure for this particular scene.
| | 01:08 | Now watch what happens as I
speed up my shutter speed.
| | 01:10 | my aperture is getting wider and wider,
until I get here to F5.6 at 1/100th of a second.
| | 01:17 | Now, if I decide that I want to go to a
faster shutter speed, I have a problem
| | 01:21 | because 5.6 is as wide as this lens
can go at this particular focal length.
| | 01:27 | So when I bump to that higher shutter
speed, now this changes to low indicating
| | 01:33 | that I am now shooting an underexposed image.
| | 01:36 | I will see that same low rating
show up in my optical viewfinder.
| | 01:39 | So once I see that, once I stop seeing an
aperture, I know that I'm going to be underexposed.
| | 01:44 | I can take the shot anyway and it will
come out a little dark and I can most
| | 01:48 | likely, with just a little bit of
underexposure, recover the image back to where
| | 01:52 | I wanted my image editor.
| | 01:53 | But it's still letting you know that
that's not going to be a properly exposed
| | 01:57 | image and so I may want to
back off and go back to there.
| | 02:00 | So keep an eye out for that
warning as you're selecting an aperture.
| | 02:05 | Shutter Priority doesn't allow you to
take any pictures that you couldn't take
| | 02:08 | in Program mode using flexible program.
| | 02:11 | Rather it simply provides you with a
speedier way to get to the shutter speed
| | 02:14 | 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 a 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, or maybe you
are used to working with a handheld light
| | 00:19 | meter and using it to calculate exposure
settings which you then want to dial in
| | 00:23 | 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 cameras will
| | 00:34 | meter things that are good idea.
| | 00:35 | It might flash warnings at you
about how it thinks you are making that
| | 00:38 | decisions, but it will still take the shot.
| | 00:42 | To change to Manual mode, just set the
mode dial to M. Now when I meter, you can
| | 00:47 | see that I am set at a 50th of a second at F6.3.
| | 00:51 | These were the last manual settings that I used.
| | 00:55 | These settings are not
actually based on any metering.
| | 00:57 | it's just where things happen to be
set before so that's what the camera
| | 01:00 | is bringing up again.
| | 01:02 | I can change the shutter
speed by turning my main dial.
| | 01:06 | you see here my shutter speed changing.
| | 01:08 | I can change the aperture by changing
my subcommand dial so I can as dial in
| | 01:13 | whatever I want either parameter.
| | 01:15 | I will see those parameters
change inside the viewfinder.
| | 01:18 | I will see something else in the viewfinder
that you can also see here in the Info screen.
| | 01:23 | If I pull this up, let me dial these back down.
| | 01:26 | So I have dialed in a 50th of a second at F6.3.
| | 01:30 | If I look at my Exposure Compensation
meter, I see that that is at 0, meaning
| | 01:35 | the camera deems this a good
exposure based on its metering.
| | 01:38 | It thinks this exposure will look okay.
| | 01:40 | But let's say, I wanted a faster
shutter speed because I was little bit worried
| | 01:44 | that I can't hold my camera
still enough at a 50th of a second.
| | 01:48 | So I am going to speed up
my shutter speed. Oh my!
| | 01:50 | Look what's happening here.
| | 01:51 | It's now showing me that I am heading
into underexposure, meaning my image is
| | 01:54 | going to be too dark at 1/100th of a second.
| | 01:57 | So what I might do now, if I don't care
so much about depth of field, is open up
| | 02:02 | my aperture until I get back to 0.
| | 02:06 | Now there's nothing at all
stopping me from shooting like this.
| | 02:10 | Maybe I want 1/100th of a second,
because I need to stop motion, but I also want
| | 02:14 | to be sure I have some depth of field
so I am going to dial my aperture down.
| | 02:17 | This showing two stops of underexposure
but I want to take that picture anyway,
| | 02:22 | because I am trusting that I am going
to be able to brighten it back up in my
| | 02:26 | image editing application later.
| | 02:28 | This is what Manual mode gets you the
ability to shoot with what you could
| | 02:32 | consider things that the
camera considers illegal settings.
| | 02:36 | The important thing to know is that this
does not indicate exposure compensation
| | 02:41 | because I'm dialing in all
of my parameters by hand.
| | 02:44 | This is showing me how over or under
exposed the camera thinks I'm going to
| | 02:48 | be at this setting.
| | 02:51 | Manual mode doesn't open up
any hidden power in your camera.
| | 02:54 | The only thing it gets you that you
can't get in other modes is the ability to
| | 02:58 | over or under expose in a very particular way.
| | 03:02 | On very rare occasions, this will be the
only way to get the shot that you want.
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| Exposure bracketing| 00:00 | Bracketing is the process of shooting
the same scene with different exposures to
| | 00:05 | improve your chances of going home
with a shot that's correctly metered.
| | 00:09 | You might also use bracketing when
shooting a scene with lots of dynamic range,
| | 00:13 | so that you go home with at least one
properly exposed image of the each of the
| | 00:17 | different bright and dark bits in your scene.
| | 00:19 | Auto Exposure Bracketing is a
camera feature that tells the camera to
| | 00:24 | 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 configure Auto Bracketing, you use
the Bracketing button which is over here
| | 00:36 | on the side of the camera.
| | 00:37 | It's just below the Flash button.
| | 00:38 | It's the one labeled BKT for bracketing.
| | 00:41 | If I push and hold that button, then my
LCD screen up here goes blank and shows
| | 00:47 | me only the read outs for the
bracketing configurations. It's two numbers.
| | 00:50 | This number which indicates how many
images will be in my bracketed set, and
| | 00:55 | this number which tells the
exposure differential between those images.
| | 00:59 | If I turn the Main Dial, then I can
control the number of images in the set, so
| | 01:04 | right now I am going to have
three images in my bracketed set.
| | 01:06 | I know each piece based one-stop apart.
| | 01:09 | If I turn the Sub-command dial, I
can change the exposure differential.
| | 01:13 | So I could go from a one-stop
bracket to two-thirds of a stop or higher.
| | 01:18 | Now, there's another way of seeing
the Auto Bracketing Configuration.
| | 01:23 | If I press the Info button, I can see
on my exposure compensation readout, how
| | 01:28 | my bracket is configured.
| | 01:29 | I will get one shot as metered, one shot
one-stop overexposed, and the last shot
| | 01:34 | will be one-stop underexposed.
| | 01:36 | As I shoot, take my first image, you
can see that that middle shot has dropped
| | 01:41 | out and my next shot takes out my one-
stop underexposed and the next one takes
| | 01:47 | out one-stop overexposed.
| | 01:49 | So now I am seeing all three because
I'm back to starting a new bracketed set.
| | 01:55 | As I turn my Sub-command dial with the
Bracketing button pushed, I can see how
| | 02:00 | the size of the bracket changes.
| | 02:02 | So that's a two-stop bracket, meaning
two stops between each of my three frames.
| | 02:07 | That's two-thirds or excuse me, that's
one and two-thirds, one and one-third,
| | 02:12 | two-thirds, one-third and so on.
| | 02:14 | Now I can also do something
besides shooting a three-stop bracket.
| | 02:17 | I can shoot a two-stop bracket.
| | 02:19 | So I can dial over here, this
is turning bracketing back off.
| | 02:22 | I'm now shooting no frames in my bracket.
| | 02:25 | Now I can shoot two-stops underexposed,
and what that means is my first shot
| | 02:30 | will be taken as metered, my
second shot will be taken underexposed.
| | 02:34 | And I can go the other way
and say two shots overexposed.
| | 02:38 | So one stop as metered, one-shot as
metered, one-shot overexposed and the
| | 02:43 | overexposure or in this case, the
underexposure is of course according to my
| | 02:48 | exposure differential.
| | 02:50 | This is a really handy feature,
because very often if you're bracketing, it's
| | 02:53 | because you're only worried about an
exposure problem of a particular kind,
| | 02:57 | maybe you are looking at a scene
and saying, well I am not sure that
| | 03:00 | backlighting is awfully strong.
| | 03:02 | I might need to overexpose this but
I'm not sure, so you dial in a two-stop
| | 03:06 | underexposed bracket and you get one
image that's shot as metered and the one
| | 03:10 | that's underexposed.
| | 03:11 | Obviously in that situation, I don't
care about having one that's overexposed
| | 03:14 | because that's actually not
the problem I am trying to solve.
| | 03:18 | Another feature that works very well
in conjunction with bracketing is to
| | 03:23 | change your Release Mode.
| | 03:24 | I am going to set it back to a three-
stop bracket, one-stop apart, and I am
| | 03:30 | going to turn my Release Mode to
Continuous High, and now if I just press and
| | 03:35 | hold the button until three shots
are taken, I just shot a bracketed set.
| | 03:39 | So this is a very speedy easy way
of getting a range of exposures.
| | 03:44 | You will use this technique if you're
shooting HDR or any type of situation
| | 03:48 | where you're not sure what the
exposure should be and you want to get a nice
| | 03:51 | bracketed set of images.
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| The Active D-Lighting controls| 00:00 | Your eye has an amazing ability to see
an incredibly wide range of light to dark.
| | 00:05 | This means that you can very often see
details in shadow areas with your naked
| | 00:09 | eye, while your camera will render
those same areas as black and featureless.
| | 00:13 | On the opposite end of the scale, you
can make out detail in really brightly
| | 00:16 | lit objects with your eye, while your camera
will render those same areas as solid white.
| | 00:22 | Active D-Lighting applies post-
processing to your image in camera to brighten
| | 00:27 | shadow areas in your image
and darken highlight areas.
| | 00:30 | Note though, that it doesn't just
alter the blacks and whites in your image.
| | 00:33 | It actually figures out where the
shadow and highlight areas are in your
| | 00:37 | scene and alters those without
washing out all the blacks in your image and
| | 00:41 | dulling all of the whites.
| | 00:44 | To activate Active D-Lighting go to
your menu, we want to be in the Shooting
| | 00:47 | menu and you want to scroll down until you
see Active D-Lighting, which defaults to Off.
| | 00:52 | If I open up this menu, you'll see
that I have a number of different options
| | 00:56 | ranging from Low to Normal, to High,
to Extra high, to an Auto setting.
| | 01:01 | Now what these do is as I go up the
menu, as I turn up the level from Low to
| | 01:06 | Extra high, I am
increasing the amount of processing.
| | 01:09 | So at Extra high, it's really
going to brighten up dark shadows.
| | 01:12 | It's really going to lighten bright highlights.
| | 01:14 | It's going to try and pull
detail out of all those areas.
| | 01:17 | High, it's not going to do that quite
as much, Normal it's going to do it even
| | 01:20 | less, and Low you are
barely going to see anything.
| | 01:23 | Auto, means the camera will attempt
to figure out what the right setting is
| | 01:27 | based on your subject matter and
will apply the appropriate amount of
| | 01:31 | processing automatically.
| | 01:33 | Now the trade-off here is as I
increase the amount of Active D-Lighting,
| | 01:37 | the more my image is going to look a
little bit flat, the more it's going
| | 01:40 | to be visibly processed.
| | 01:42 | A lot of times you don't want detail in
shadows, you don't want detail in highlights.
| | 01:45 | So you are going to want to play with
these different settings and see which
| | 01:49 | ones you like for your personal taste
and see which ones are appropriate for the
| | 01:53 | type of shooting that you are doing.
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| The Auto Distortion control| 00:00 | When you shoot at a short focal length,
either because you have zoomed your lens
| | 00:04 | out to its widest angle or because you
are using a prime lens with a short focal
| | 00:08 | length, either way, you
run the risk of distortion.
| | 00:11 | A distorted image looks like it's
bulging or being pinched in the middle.
| | 00:15 | Your camera has an Auto Distortion
Control feature that attempts to process the
| | 00:20 | image in a way that will
compensate for this distortion.
| | 00:23 | To activate Auto Distortion control, go
into your menu, into the Shooting menu
| | 00:27 | and scroll down until you find the Auto
Distortion Control, you can simply turn that On.
| | 00:32 | You might not want to leave it On
all of the time, because the camera is
| | 00:36 | manipulating your image and you may
decide that sometimes it's manipulating it
| | 00:40 | too much or there are times
when you want a little distortion.
| | 00:43 | If you are working with a really wide
-angle lens though, you are going to
| | 00:45 | want to turn this On and check out
the results and see if you think it's improving things.
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| Long-exposure noise reduction| 00:01 | You should already be familiar with the
noise that can occur in your images when
| | 00:04 | you shoot with a higher ISO, but there
is another type of noise that can show up
| | 00:08 | anytime your shutter speed
goes longer than one second.
| | 00:12 | At these longer shutter speeds it's
possible for pixels on your camera's image
| | 00:16 | sensor to get stuck turned on and that can
leave speckly patterns in your final image.
| | 00:21 | To combat this, your camera offers a
special Long-Exposure Noise Reduction
| | 00:25 | feature which can help out any
images shot with a longer exposure time.
| | 00:29 | By default it's turned off.
| | 00:32 | To activate Long Exposure Noise
Reduction go to your camera's menu into the
| | 00:36 | Shooting menu, scroll down a
ways until you see Long exp.
| | 00:40 | NR or Noise Reduction.
| | 00:42 | By default it's set to off,
just go in here and turn it On.
| | 00:46 | Now bear in mind that when you have
activated Long Exposure Noise Reduction it's
| | 00:50 | going to take one-and-a-half to two
times the amount of time that it normally
| | 00:54 | takes to record an image to your card.
| | 00:56 | This is the tradeoff for this feature.
| | 00:58 | While it's doing that process
your camera is going to be unusable.
| | 01:03 | So when you have Long Exposure Noise
Reduction turned on it's going to greatly
| | 01:07 | increase the amount of time
that you have between shots.
| | 01:10 | You're not going to be able to use your
camera, you're not going to be able to
| | 01:13 | activate it, so you only want to turn
this on when you really need it and when
| | 01:16 | you know you have time to wait
for the Noise Reduction process.
| | Collapse this transcript |
| High-ISO noise reduction| 00:01 | As you increase the ISO setting on your
camera you also increase the chance that
| | 00:04 | you're going to see visible noise in your image.
| | 00:06 | Noise is roughly akin to grain in film,
although noise can oftentimes be uglier
| | 00:11 | than traditional film grain.
| | 00:12 | Sometimes noise appears as a speckly
pattern which can look like film grain,
| | 00:16 | while at other times it can
appear as weird colored splotches.
| | 00:20 | The good news is that your camera is
capable of shooting incredibly low noise
| | 00:23 | images even at high ISOs.
| | 00:25 | Nevertheless noise will become
more pronounced once you pass ISO 400.
| | 00:30 | Now before you get too panicked about
noise, it's important to remember that
| | 00:34 | noise that's visible on
screen may not be visible in print.
| | 00:37 | If you zoom in to your image and look
at the individual pixels you're looking
| | 00:41 | at dots that would probably be invisible
if you printed them out on a piece of paper.
| | 00:45 | So before you get too concerned about
noise that you're seeing remember to check
| | 00:49 | what your image looks like in its final form.
| | 00:52 | To help combat noise your camera
includes a special High ISO noise
| | 00:56 | reduction feature that can go a long
way toward reducing noise when you're
| | 01:00 | shooting at higher ISOs.
| | 01:03 | You activate High ISO Noise
Reduction by going into your menu.
| | 01:07 | Here in the Shooting menu scroll down, you got
to go quiet a ways and you'll see High ISO NR.
| | 01:12 | That's Noise Reduction.
| | 01:12 | You can see that by default it set to Normal.
| | 01:15 | If I go in, I have a few different settings.
| | 01:17 | I can turn down noise reduction,
which means I'm going to possibly see more
| | 01:21 | noise in the image, or I can turn up
noise reduction which means I will possibly
| | 01:26 | see less noise in my image, or
I can turn it Off altogether.
| | 01:29 | Now you might be thinking, well,
less noise isn't that better?
| | 01:33 | Why wouldn't I leave it on high all the time?
| | 01:35 | The problem with noise reduction is there
is a price to pay in terms of sharpness.
| | 01:39 | Noise reduction is very often
achieved by a softening of your image.
| | 01:43 | So if you're really after superfine
detail you may find that as you turn up
| | 01:47 | noise reduction you're taking
an unacceptable image sharpness.
| | 01:50 | So you may want to play with turning
it down or turning it Off altogether.
| | 01:54 | This is simply a matter of taste
and the particulars of your specific shooting application.
| | Collapse this transcript |
| Multiple exposures| 00:00 | In the old days film shooters would
sometimes create composite images by
| | 00:05 | exposing the same piece of film multiple times.
| | 00:08 | To do this you had to have a camera
that didn't force you to advance the film
| | 00:12 | after you've taken a picture.
| | 00:14 | If you had such a camera and you expose
the same section of film multiple times,
| | 00:18 | you got strange abstract composite images.
| | 00:21 | It was tricky to do well, because as
you expose to the same bit of film to more
| | 00:24 | light you ran the risk of ending
up with a wildly overexposed image.
| | 00:29 | Your camera has the ability to take
multiple exposures, if you simply enable the
| | 00:32 | Multiple Exposure option.
| | 00:34 | However, it has the added benefit of
being able to adjust the overall exposure
| | 00:39 | to ensure that you don't get a
final image that's overexposed.
| | 00:43 | To enable multiple exposures go to the
menu, go to your Shooting menu into the
| | 00:48 | Multiple exposures option which is
pretty far down the list and you'll have a
| | 00:52 | couple of different options.
| | 00:53 | First you can say the Number of shots that
you want combined into a single exposure.
| | 00:58 | By default it will be on 2,
you can crank that up to 3.
| | 01:00 | You're also going to want to consider Gain.
| | 01:05 | It's best to leave gain set to Auto.
| | 01:07 | This is going to automatically
brighten the images appropriately so that they
| | 01:11 | merge together well.
| | 01:12 | If you're getting a bad result, if
you're getting an image that's overexposed or
| | 01:16 | underexposed you can turn this feature off.
| | 01:19 | Once I've configured this the way that
I want I hit Done and now up here I see
| | 01:24 | the Multiple exposure icon lit up so I
know that I'm in Multiple Exposure mode.
| | 01:29 | The next two pictures I take
will automatically be combined.
| | 01:32 | You might want to think about using
Continuous mode if you're shooting moving
| | 01:36 | subject matter and want it combined in someway.
| | 01:39 | And generally you'll just
work in single shot mode.
| | 01:41 | When you're done obviously you
need to turn it off, so go to Multiple
| | 01:45 | exposures hit Reset and now as you
can see up here my Multiple Exposure
| | 01:51 | feature is turned off.
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| The interval timer| 00:00 | You've probably seen a time-lapse movie.
| | 00:03 | Anytime you've seen film or video of
say clouds racing across the sky, or of a
| | 00:08 | construction site quickly assembling
itself into a building, or the petals of a
| | 00:12 | flower rapidly opening and
closing, those are all time-lapse.
| | 00:16 | If you shoot an image with your
camera at regular intervals and then string
| | 00:20 | all of those single images together
into a video you end up effectively
| | 00:23 | shooting video with an extremely slow frame
rate and that serves to speed up time in the video.
| | 00:30 | Your camera has a built-in interval
timer that lets you easily shoot time-lapse.
| | 00:35 | To configure the Interval Timer, go to
the Shooting menu, go all the way almost
| | 00:39 | to the very bottom you'll
find Interval timer shooting.
| | 00:42 | When I go in here I get a number of options.
| | 00:44 | First Start time, that's when
the time-lapse will actually begin.
| | 00:48 | We're going to skip that one for now.
| | 00:50 | I hit the Right Arrow and you can see
these yellow brackets move down to the
| | 00:53 | next option which is the Interval.
| | 00:56 | So I highlight one of these options
down here I get editing controls up here.
| | 00:59 | Interval is how often it will shoot.
| | 01:02 | By default it's set to 1 minute, I'm
going to slow that down and rather than 1
| | 01:05 | minute I'm going to put it at 5 seconds.
| | 01:09 | I guess actually that's
speeding it up, isn't it?
| | 01:11 | I'm going to shoot an interval every 5 seconds.
| | 01:13 | Now I need to tell it how many intervals?
| | 01:15 | By default it will be 1
which is pretty much the same.
| | 01:17 | It's just taking one picture,
I'm going to bump that up to 3.
| | 01:20 | So it's going to take three shots 5
seconds apart and each time it's going
| | 01:24 | to take one picture.
| | 01:25 | If I wanted I can change that so that it
shot more images, but for now I'm going
| | 01:30 | to leave that alone and
come up here to Start time.
| | 01:33 | If I wanted I could dial in a specific time.
| | 01:35 | I could say, don't start shooting till
midnight and as long as the clock on my
| | 01:38 | camera was set properly, it
would start shooting at midnight.
| | 01:41 | Instead, I'm going to tell it to start
right now, hit the OK button and it shows
| | 01:45 | me Timer active and we're off.
| | 01:47 | So it's flashing my Interval badge up here.
| | 01:49 | It's showing me that on the next
interval it's going to shoot 1 frame and it's
| | 01:53 | showing me how many frames it has
left to shoot, in this case one, so it's
| | 01:56 | made it all the way through and I
have successfully shot a three shot
| | 02:01 | time-lapse interval.
| | 02:02 | Now let's look at some more
sophisticated uses of the Interval Timer.
| | 02:06 | I can come in here and keep it on every
5 seconds, but now I'm going to tell it
| | 02:13 | to do more frames, I'm going
to tell it to do 10 frames.
| | 02:18 | And instead of shooting 1 shot
I'm going to have it do 3 shots.
| | 02:22 | If I wanted to shoot a time-lapse HDR I could
configure it to shoot three shots every time.
| | 02:27 | I could turn on Auto Bracketing and now
every time an interval went off it would
| | 02:31 | actually shoot a bracketed set.
| | 02:33 | I could then take those into
my computer and merge them.
| | 02:35 | So this is a way of really
easily doing time-lapse HDR sequences.
| | 02:39 | I'm going to tell it to start right now,
again it shows Timer active and now
| | 02:46 | it's firing off three shots every time.
| | 02:48 | Notice that I'm still in single shot
mode, even though I'm in single shot mode
| | 02:53 | it's shooting three images, because
that's how I configured the Interval Timer.
| | 02:58 | It's shooting them at the continuous
low speed, the same speed that I would get
| | 03:02 | if I dialed in Continuous-low mode.
| | 03:05 | If I want the full speed, the continuous
high speed I need to actually dial into
| | 03:09 | Continuous High release mode
before I start my interval timer.
| | 03:14 | Note too that I did not actually turn
on Auto Bracketing, so I'm not getting a
| | 03:17 | bracketed set here, but still I would
configure the timer this way if that's
| | 03:21 | what I was trying to do.
| | 03:22 | Now it's going to continue to shoot
until it either gets all the way through, or
| | 03:27 | until it runs out of space on the card.
| | 03:29 | If it runs out of space on the card
it will actually pause, I can turn the
| | 03:33 | camera off take the card out, put in a
new card, turn the camera back on and
| | 03:37 | pick up where I left off.
| | 03:38 | Now let's look at how you can control
the Interval Timer while it's running.
| | 03:42 | I can't reconfigure it while it's
running, but I can pause and restart it.
| | 03:46 | I'm going to increase the speed of my
timer here, I'm going to put it up to a minute.
| | 03:51 | It's difficult to actually pause and
restart it with a very short interval like
| | 03:55 | we had, so if you're shooting short
intervals once you get going you kind of
| | 03:59 | just have to keep going with it.
| | 04:01 | I'm going to put that on 1 shot and
we're going to do 10 intervals spaced one
| | 04:05 | minute apart and now I'm going to
go up here and Start my interval.
| | 04:11 | There is my first shot.
| | 04:12 | Now it's not going to
shoot again for another minute.
| | 04:15 | In the meantime, I can press my menu
button and get to my Interval timer
| | 04:19 | shooting menu, you can see that it set to On.
| | 04:21 | I can go in here and now if I want I
can tell it to Pause and if I come back in
| | 04:26 | here I can now tell it to pick
up again, just by saying Now.
| | 04:32 | Clicking right on Now and hitting Restart
and now it will pick up where it left off.
| | 04:37 | If I shut the camera Off, because I
need to maybe replace the memory card,
| | 04:43 | when I turn it back on I can go into
my Interval timer shooting, you can see
| | 04:48 | that it's Off right now, but it's remember my
configuration and it's told me that it is Paused.
| | 04:53 | I can hit the Right Arrow and say
Restart and it will pick up where it left off,
| | 04:57 | or I could shut it off altogether.
| | 05:00 | Because I'm typically not going to be
around looking through the viewfinder when
| | 05:03 | I'm shooting at time-lapse, the
viewfinder is going to be uncovered.
| | 05:06 | That can let light to get inside
there which can impact my exposure.
| | 05:10 | I do it, I would like this covered up.
| | 05:12 | There is a little cover on the strap
that came with your camera that can fit
| | 05:15 | right in there to take care of that problem.
| | 05:17 | There is a lot of fun stuff you can
do with time-lapse, floating clouds,
| | 05:22 | traveling shadows, all sorts of things.
| | 05:24 | So this is a great feature
to have built into the camera.
| | 05:27 | It means you don't have to
carry any extra hardware.
| | 05:29 | So I really encourage you to go
out and try playing with your D7000's Interval Timer.
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|
|
8. More Playback OptionsThe metadata display| 00:01 | 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 use which makes it possible to
later analyze exactly what happened during
| | 00:12 | a shot exposure wise.
| | 00:14 | This is often a great way to figure
out what went wrong if you get a picture
| | 00:18 | 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
| | 00:32 | still in the field.
| | 00:34 | You've already seen that when you're
reviewing your images in Playback mode, you
| | 00:37 | get some very basic metadata.
| | 00:38 | I can see here that I'm
looking at shot number 44/44.
| | 00:42 | This is a RAW image shot at these
dimensions and this date and time with these
| | 00:46 | filenames and folder information.
| | 00:48 | There is more metadata that I can view
about this image, there is a lot more
| | 00:53 | metadata, but I need to turn on
these extra metadata displays.
| | 00:57 | In my Playback menu under Display mode,
I can go inhere, and I've got lots
| | 01:01 | of different options.
| | 01:02 | I'm going to just go ahead and turn them
all on, so that we can see what they are.
| | 01:07 | And once I've checked all of these
off, I hit Done to activate them.
| | 01:11 | Now when I go back into Playback mode,
right away things look different.
| | 01:15 | I can see what appears to be the same
focus point display that I have inside my
| | 01:20 | camera, and that's exactly what it is.
| | 01:21 | This is showing me what focus point the
camera was using when I shot this image.
| | 01:27 | And as I scroll through, I can see
everything that I might have chosen.
| | 01:31 | If I hit the Up button, I
get other pages of metadata.
| | 01:35 | This is my second page which shows
me all of my shooting parameters.
| | 01:38 | I can see that I was using a
particular metering mode and shutter speed and
| | 01:43 | aperture and ISO, what focal length I was using.
| | 01:46 | I can see color space and many other
options, as well as this histogram.
| | 01:50 | Now if you're not clear or what the
histogram is, it is a critical shooting and
| | 01:54 | postproduction tool.
| | 01:55 | With the histogram, I can tell if image
is over or underexposed, I can tell if I
| | 02:00 | have a colorcast, all sorts of
critical diagnostic information.
| | 02:03 | Remember, you cannot judge color and
exposure and contrast on your LCD screen.
| | 02:08 | It's not accurate, but the histogram is,
and so it's a really handy tool for
| | 02:12 | both shooting and editing your images later.
| | 02:16 | The next page starts to show me some
more metadata, all sorts of camera settings
| | 02:21 | all sorts of different parameters that
I can see, I can find out exactly how my
| | 02:25 | camera was configured when I took this shot.
| | 02:28 | Then I get to another histogram display,
this is a 3 Channel histogram display.
| | 02:33 | This lets me do some color analysis.
| | 02:35 | You can learn all about this histogram
stuff in Foundations of Photography: Exposure.
| | 02:41 | When I finally get to here,
notice that this RGB thing is blinking.
| | 02:45 | This is indicating that if there are
any overexposed highlights in my image,
| | 02:49 | they're going to be flashing and I can
see some little flashing bits right here,
| | 02:53 | they're flashing black.
| | 02:54 | That indicates that my
exposure was a little hot here.
| | 02:58 | So this is great, if I notice this
while I'm shooting, then I can maybe dial in
| | 03:01 | some underexposure shoot again
and take care of that problem.
| | 03:05 | That's one example of how metadata can
help you in the field to avoid some problems.
| | 03:09 | You can also see that Highlights is
displayed right here to indicate that I am
| | 03:12 | viewing overexposed highlights.
| | 03:15 | Click Up one more time and
I'm back to my normal display.
| | 03:19 | If you decide you don't like some of
this metadata, or you never take advantage
| | 03:22 | of it, or need it, you can
turn off these different things.
| | 03:25 | For example, if I just need basic
Highlight information, I don't care about
| | 03:30 | Focus points, or all that extra Data I
can turn on Highlights and histogram and
| | 03:34 | probably have everything I need for the
type of exposure analysis that I would
| | 03:38 | want to do in the field.
| | 03:39 | So, play with these metadata options,
see which ones you use the most.
| | 03:43 | I think once you get used to them,
you'll find that they're a great diagnostic tool.
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| Adjusting LCD brightness| 00:00 | Your D7000 has a nice big beautiful LCD
on the back, but there might be times if
| | 00:05 | you're in direct sunlight where the
screen gets washed out and you can't see it.
| | 00:10 | Fortunately, you can change
the brightness of the screen.
| | 00:12 | If you go inhere to your Setup
menu there is an item, LCD brightness.
| | 00:15 | Pick that and you'll find
that you got a range of -3 to +3.
| | 00:18 | They give you this gray ramp here, so you
can see the effects of your brightness change.
| | 00:24 | So for example, if I crank up all the
way to here, I can see the blacks in my
| | 00:28 | image are going to turn kind of a dark-gray.
| | 00:30 | On the other hand, if I go darker by
dialing in a negative value, I can see that
| | 00:34 | the whites in my image are
going to go to kind of a light gray.
| | 00:37 | Why would I ever want to darken my screen?
| | 00:39 | If I'm shooting somewhere in very
low light conditions, the screen maybe
| | 00:42 | really bright, too bright.
| | 00:43 | That maybe disturbing or it my
blowout your night vision, so you may want
| | 00:47 | to darken the screen to give
yourself a break when shooting in low light conditions.
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| Protecting and deleting images| 00:00 | There are a few different
philosophies about deleting images.
| | 00:04 | Some people like to delete images that
they think are bad, so that they don't
| | 00:07 | drown an image a lot when they
start their post-production process.
| | 00:11 | Other people say you should never
delete an image, because you never know
| | 00:15 | whether it might be useful or not later.
| | 00:17 | For the sake of this discussion, let's
split the difference, and say that there
| | 00:20 | will occasionally be images that
you know will have zero utility later.
| | 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 | You've already seen that you can
delete an image in Playback Mode by pressing
| | 00:41 | the Trashcan button and then
pressing it again to delete your image, or
| | 00:45 | pressing Playback to cancel.
| | 00:46 | There are some other ways of deleting images.
| | 00:48 | I'm going to go into the Menu here and in my
Playback menu, the very first item is Delete.
| | 00:52 | If I pick that, I get a few
different deleting options.
| | 00:56 | There is Delete All and I've already
nagged you about how when it's time to
| | 01:01 | empty your media card, you should
always use format, and that is still true.
| | 01:05 | This is not the way that you want to
delete all the images on your card, but we
| | 01:09 | are going to look at this function in a minute.
| | 01:10 | There is a use for it.
| | 01:11 | I can also delete selected images.
| | 01:14 | To do that, I hit the Select command
and now it shows me thumbnails of all
| | 01:20 | the images on my card.
| | 01:21 | I can go through and just start
tagging images that I want to get rid of.
| | 01:26 | If I hit the Zoom-out button, it
puts a little Trashcan on my image.
| | 01:31 | So I can pick the ones that I want.
| | 01:33 | That's a toggle, I can turn it on and off.
| | 01:36 | And then when I've got everything
configured, I can just hit the OK button.
| | 01:39 | It asks me to confirm that I
want to delete those two images?
| | 01:42 | I say Yes, and then it tells me it's done.
| | 01:45 | So that's a way of selectively deleting a
lot of images from a card. That's great!
| | 01:49 | If it turns out you shot some stuff,
reviewed it, realized it didn't work, but
| | 01:53 | there are still things on the card you
want to keep and you can go through and
| | 01:55 | just select those few
images and get rid of them.
| | 01:57 | I can also select all of the
images shot on a particular date.
| | 02:00 | If I choose Select date, it shows me all
of the dates available on the current card.
| | 02:06 | I could check that one by hitting the
Right-arrow to set and when I hit OK, any
| | 02:11 | image on the card shot on this
particular date would be deleted.
| | 02:15 | I am going to back out of that for now.
| | 02:17 | So those are some nice ways of being
able to easily delete a range of images.
| | 02:22 | I can also protect images, so
that they can not be deleted.
| | 02:26 | I can simply go to an image that I
want to protect, and hit the White Balance
| | 02:30 | button in Playback Mode.
| | 02:31 | This is the button with the key on it.
| | 02:33 | So now I see a little key up there
showing that, that image is protected.
| | 02:37 | Any deleting commands will not work on this.
| | 02:39 | However, if I format the card,
protected images will still get wiped.
| | 02:44 | Protecting images is a good way of
handling a problem you may have already run into.
| | 02:48 | Let's say you go out and you shoot for
a day, you come home, you dump all the
| | 02:52 | images on your card into your computer,
you get up the next morning, and you
| | 02:55 | forget to format your card.
| | 02:57 | You go out, you shoot half-a-
dozen pictures before you realize, oh!
| | 03:00 | No, all those pictures from
yesterday are still on there.
| | 03:03 | Well, going through and selecting each
one and deleting it could be a real pain.
| | 03:07 | Instead, what you can do is go into
Playback Mode, and protect the images
| | 03:11 | that you've just shot.
| | 03:13 | So I've just protected those three images.
| | 03:15 | Now, I can go into my Menu, go to
Delete, choose All, and that will delete
| | 03:20 | everything on the card
except those protected images.
| | 03:24 | So delete and protect can work together
to give you some really easy speedy ways
| | 03:29 | of deleting just certain images.
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| Creating folders| 00:00 | Just as you can create folders on
your desktop computer to keep your files
| | 00:04 | organized you can create folders
on your D7000 to keep your images
| | 00:08 | organized while you shoot.
| | 00:10 | If I go into Menu, here in the Shooting
menu there is a Storage folder option.
| | 00:15 | This lets me control what folder on
my media card images will be stored in.
| | 00:20 | I can Select from existing folders either
from a list of them or select a folder by number.
| | 00:26 | Select a folder by number is
also where I create a new folder.
| | 00:29 | So I'm going to go in here and
create a new folder called 106.
| | 00:33 | Folder name is always have three digits.
| | 00:35 | That's the extent of the naming that you can do.
| | 00:37 | Once I've dialed in the number that I wanted,
just hit OK and that will create a new folder.
| | 00:41 | It doesn't tell me anything.
| | 00:43 | It just says that it has now selected
folder number 106 to be my storage folder.
| | 00:48 | Any new images that I
shoot will go into that folder.
| | 00:51 | If I want to choose a different
folder from the list that I've already made
| | 00:56 | I can go Select folder from list and
here is a list of the different folders
| | 01:00 | I have on this card.
| | 01:01 | I can hit OK and now images will go in there.
| | 01:04 | So the idea is let's say I'm traveling
around through Italy and I'm in Florence
| | 01:08 | one day, I might make a folder and
just put images in there while I'm in
| | 01:13 | Florence, then I might go to Venice I could
create another folder and put images in there.
| | 01:17 | Maybe I go back to Florence I could
then switch back to my original Florence
| | 01:21 | folder and when I get home all of my
images from these various cities will be
| | 01:24 | grouped together into different folders.
| | 01:27 | Related to this is making sure that all
of my images are numbered properly and
| | 01:32 | the D7000 presents a couple of
different file numbering options and you're
| | 01:36 | going to learn more about that in the
File Number Sequence movie that shows up in Chapter 16.
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| Copyright information| 00:00 | Amongst all the other metadata that
stored with your image there is 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 | To enter your copyright
information go into the Menu.
| | 00:26 | In the Setup menu you'll see a
Copyright information item. Go over there.
| | 00:32 | By default it set to Off.
| | 00:33 | I can enter two different
pieces of copyright information.
| | 00:36 | first I can put in my name, so I just
go through here and pick out my name.
| | 00:43 | When I'm done I hit the magnifying
glass button the Plus button for OK and that
| | 00:50 | stores my name there.
| | 00:52 | I can also enter some other Copyright
information here, I could say Copyright
| | 00:56 | and the year or something like that.
| | 00:58 | I'm not going to bother
to fill that in right now.
| | 01:00 | So just because I have these filled out
it doesn't mean that it's actually going
| | 01:04 | to do anything, I have to tell it
to Attach copyright information.
| | 01:07 | So what's nice is you can very
easily turn this information on and off.
| | 01:11 | If you loan your camera to someone else
you can just uncheck that button and it
| | 01:14 | won't put that information there.
| | 01:17 | When you're all finished with
everything you need to go up to the Done item and
| | 01:20 | highlight it and now I can see that
my Copyright information is turned On.
| | 01:24 | That's going to be stored in all of my files.
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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
| | 00:15 | 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
| | 00:37 | 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.
| | 00:47 | 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.
| | 00:54 | Ideally, you'll want to build up your
skill level to the point where you can
| | 00:58 | make these decisions yourself, but for
times when you need to quickly snap off
| | 01:01 | some 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.
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| Scene modes and image format| 00:01 | As we've changed modes from Auto to
Program to Priority to Manual modes,
| | 00:05 | you have seen how the camera gives up control
and puts more decision-making into your hands.
| | 00:10 | You can go to the opposite direction
if you want and put more decision-making
| | 00:13 | into the camera by switching to a Scene mode.
| | 00:17 | Scene modes are simply modes
that are designed for shooting under
| | 00:20 | particular circumstances.
| | 00:22 | They bias the camera's decision-making
process so that it will do a better job
| | 00:26 | of making exposure and processing
decisions for a particular type of scene.
| | 00:30 | Once I'm in a Scene mode I can come in
here and turn my Main Dial to select the
| | 00:35 | type of scene that I am in.
| | 00:37 | So for example, Sunset or Beach/snow,
Party/indoors, Night landscape, Night
| | 00:43 | portrait, Closeup, Sports, Child,
Landscapes, this goes on and on and on.
| | 00:49 | For any particular Scene mode the
camera has made some certain decisions.
| | 00:52 | For example, in Landscape mode it's
going to automatically choose the landscape
| | 00:57 | picture control that's going to give me
better blues and greens in my landscape.
| | 01:00 | It's also going to opt for better depth
of field, deeper depth of field by going
| | 01:05 | for smaller apertures.
| | 01:06 | It's going to shut off the flash.
| | 01:08 | it's going to shut off the auto focus'
light, because there is no need for those.
| | 01:12 | Every scene mode works this way and
manual details exactly what exactly
| | 01:15 | the scene mode does.
| | 01:16 | But it's pretty obvious from the names
of Scene modes what they're used for.
| | 01:20 | Scene modes do not do anything magical.
| | 01:23 | They don't do any extra processing.
| | 01:25 | give any extra control that you can't
get by hand from using one of the modes
| | 01:30 | that we've already looked at.
| | 01:31 | So if you're just starting out, sure
rely on Scene modes that will help you
| | 01:34 | ensure that you get a good shot in
the scenes for which they are intended.
| | 01:38 | But know that as you improve in your
skills as you gain more understanding, you
| | 01:43 | are probably going to want to come back
to having more manual control, because
| | 01:46 | the Scene modes are going to
make you give up some options.
| | 01:49 | You may not have white
balance control or ISO control.
| | 01:52 | you may not be able to override
things for times when a Scene mode makes a bad choice.
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10. Shooting with FlashFill flash| 00:00 | People often think of 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 some
| | 00:23 | more even exposure.
| | 00:25 | You've seen how the flash pops-up
automatically when you're in Auto mode.
| | 00:29 | If you're in Program mode or Priority
mode or Manual mode and you've decided
| | 00:33 | that you want use Fill Flash, you need
to pop-up the flash yourself by hitting
| | 00:37 | the Flash button right here.
| | 00:39 | The current Flash mode is
shown in the upper LCD right here.
| | 00:44 | If it's empty like this,
just a little Flash icon.
| | 00:46 | That means that you are set for Fill Flash mode.
| | 00:50 | So you're in good shape for your
Fill Flash work just with the camera's
| | 00:53 | default flash settings.
| | 00:54 | We are going to look at what some of
those other modes are in the rest of this chapter.
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| The Exposure Compensation setting| 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 a 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 flash exposure compensation,
I just press-and-hold the Flash button.
| | 00:42 | Now earlier you saw that when I am
holding this button I can turn the Main Dial
| | 00:46 | to change Flash mode, but I can also at
the same time use the sub-command dial
| | 00:51 | to dial in exposure
compensation which shows right up here.
| | 00:55 | So that's -1/3rd stop.
| | 00:57 | That's -2/3rd stop, -1 stop.
| | 01:00 | So if I'm shooting a flash picture
maybe I am up real close to somebody and I
| | 01:04 | notice a lot of glare on their face,
then I might want to dial in some
| | 01:07 | negative flash exposure compensation to lower
the flash power and get that glare off of them.
| | 01:13 | Or I can go the other way plus a third
of a stop, plus two thirds, one stop.
| | 01:18 | That's going to get more flash into my
image if I am hitting the flash and it's
| | 01:22 | just not filling in the shadows enough,
if things need to be a little brighter,
| | 01:26 | then I am going to want to dial that up.
| | 01:28 | With a little practice you will learn
to recognize how much flash exposure
| | 01:32 | compensation is appropriate
for a particular flash problem.
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| Reducing red-eye| 00:00 | If you take a flash picture of someone
and you are at such an angle that the
| | 00:04 | light from your flash bounces off the
back of their eyeballs, then their eyes
| | 00:08 | might look all red and
creepy in 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, but it's
difficult to get that exact angle that we
| | 00:19 | will create the red eye
effect. But it can happen.
| | 00:21 | If it does, then you will 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's eyes before it fires
the full strength real flash.
| | 00:35 | Red eye reduction on the D7000 is
a Flash mode and to change mode I
| | 00:40 | press-and-hold the Flash
button and turn the Main Dial.
| | 00:43 | So by default I am here in Fill Flash mode.
| | 00:47 | The little Flash window is empty
which indicates I am just in Fill Flash.
| | 00:50 | If I turn this to here,
a little eyeball pops up.
| | 00:53 | That's Red Eye Reduction mode.
| | 00:55 | So I just dialed right there and
I am good for red eye shooting.
| | 00:58 | Notice there is a second Red Eye
Reduction mode called Slow Sync Red Eye and we
| | 01:04 | will be talking about that in another movie.
| | 01:08 | When using Red Eye Reduction Flash be
sure to tell your subjects to hold still
| | 01:12 | until you tell them that you've got.
| | 01:14 | After those first flashes they might
start moving around and mess up the actual
| | 01:18 | shot if you haven't told them to hold still.
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| The Slow Sync flash setting | 00:01 | The flash on your camera
has a range of about 10 feet.
| | 00:04 | If you're standing in a dark scene that
means that the only things in your scene
| | 00:08 | that are going to have any illumination
from the flash are things within that 10
| | 00:13 | foot wide circle of light.
| | 00:14 | So if you take a picture of someone
they will be lit by the flash, but the
| | 00:18 | background will be plunged into darkness.
| | 00:20 | This is because the camera is using
exposure settings that are correct for the
| | 00:24 | areas that is covered by the flash, but
which are underexposing all of the stuff
| | 00:28 | in the background leaving it completely black.
| | 00:31 | Slow Sync flash combines your
camera's flash with a longer shutter speed.
| | 00:35 | The flash exposes the foreground while
the long exposure properly exposes the
| | 00:39 | backgrounds so that it's visible.
| | 00:41 | Slow Sync is just another flash mode.
| | 00:44 | So as we are changing any flash mode
you push and hold the Flash button while
| | 00:48 | turning the Main Dial until you see Slow.
| | 00:52 | Now notice the first thing I saw was a
red eye reduction with Slow sync flash.
| | 00:55 | So if you're shooting people at night
and you want to have both the background
| | 01:00 | and red eye reduction,
you're going to want to do that.
| | 01:02 | Otherwise, you can just go
straight to Slow Sync flash.
| | 01:05 | The shutter in your camera is
composed of two curtains, one that opens and
| | 01:09 | another that follows to close.
| | 01:12 | You can control whether the flash fires
before the shutter closes or just after
| | 01:17 | it opens by turning on Rear Sync flash mode.
| | 01:22 | So if I dial this until it says Rear then
the flash is going to fire at a different time.
| | 01:26 | The practical upshot is that I'm going
to see blurred motion in a different part
| | 01:31 | of my scene either in
front of my object or behind.
| | 01:33 | So if you are shooting moving objects
with Slow Sync flash, you might want to
| | 01:37 | play around with both of those modes.
| | 01:39 | As with red eye reduction flash when
you're using Slow Sync flash it's very
| | 01:43 | important to tell your subject
not to move until you're done.
| | 01:46 | Often they'll move as soon as the flash
fires and then they will be all ghosty,
| | 01:49 | because of the slow shutter speed.
| | 01:51 | Similarly, you need to remember to
think of this as a slow shutter speed shot.
| | 01:55 | So you have to work extra hard to
hold the camera steady and to squeeze the
| | 01:59 | Shutter button carefully and just
generally be sure not to introduce camera
| | 02:03 | shake during the long exposure part.
| | 02:06 | Finally, note that there will be color
differences between the flash illuminated
| | 02:10 | foreground and the long exposured background.
| | 02:13 | This is because the camera will choose
a white balance that's appropriate for
| | 02:16 | the flash and that will typically
leave the background looking very red.
| | 02:20 | Still, this better than not
having a background at all.
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11. Shooting with Picture StylesDefining picture controls| 00:00 | When you shoot in JPEG mode the computer
inside your camera has a whole lot of things to do.
| | 00:05 | It reads the raw data off of the image sensor.
| | 00:07 | It converts that into a color image, and
then it has to apply your white balance
| | 00:11 | settings, sharpen your image, and then
finally compress it into a JPEG file.
| | 00:15 | Along the way, it also possibly
performs some image editing operations.
| | 00:19 | maybe changes to saturation and contrast.
| | 00:21 | Picture controls are collections of
those image editing operations that can be
| | 00:26 | applied to JPEG images when you shoot.
| | 00:29 | Your camera comes with a selection of
picture controls that are tailored toward
| | 00:32 | specific subject matter.
| | 00:33 | For example, the portrait picture
control will apply color corrections and
| | 00:37 | contrast adjustments that
will make skin tones look better.
| | 00:40 | If you're shooting raw, picture
controls have no effect on your image, because
| | 00:44 | no image processing takes place
on raw files inside your camera.
| | 00:47 | However, if you select a picture control other
than standard, a tag is set in your raw file.
| | 00:53 | If you then open that raw file with
Nikon's image editing software it will
| | 00:57 | identify that tag and automatically
adjust the image to achieve the look of the
| | 01:01 | picture control that you chose.
| | 01:03 | If you are processing your raw images
with other raw processors, then picture
| | 01:06 | control will have no effect.
| | 01:08 | If you regularly shoot in the same
environment say you're a wedding shooter or
| | 01:12 | an event shooter and you routinely shoot
the same types of subject matter in the
| | 01:16 | same type of light, and it's worth
trying to define a picture control that gives
| | 01:20 | you results you like.
| | 01:21 | If one of the default picture controls
works for your common shooting locations
| | 01:25 | or if you can craft a picture control
that does, then you can save yourself a
| | 01:29 | tremendous amount of postproduction time.
| | 01:31 | If you're shooting JPEG then your
camera will automatically apply the
| | 01:35 | corrections defined in your picture control.
| | 01:36 | If you're shooting raw and processing
your images with Nikon software, then it
| | 01:40 | will automatically apply your
picture controls corrections.
| | 01:43 | If your picture control is configured
properly, this might mean that you need to
| | 01:47 | do no further adjustment.
| | 01:49 | Picture controls can contain extremely
refined adjustments that can create very
| | 01:53 | subtle changes in color and contrast.
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| Selecting a picture control| 00:00 | To select a picture control on
your D7000, hit the Menu button.
| | 00:05 | Here in the Shooting menu you are going
to scroll all the way down here to Set
| | 00:09 | Picture Control and here I get a
menu of my Picture Control options.
| | 00:13 | By default I am on Standard which is
probably going to be the best for most situations.
| | 00:18 | It provides nicely balanced results and
looks good for just about anything you
| | 00:22 | are going to be shooting.
| | 00:24 | Neutral is going to apply
less processing than standard.
| | 00:28 | It's going to give you a
very natural looking result.
| | 00:30 | It probably means you are going to
have to do more work in your computer.
| | 00:33 | The advantage of Neutral is since the
camera has not already manipulated your
| | 00:37 | image, you will possibly be able to
do a little more manipulation in your
| | 00:40 | computer before you start
seeing certain types of artifacts.
| | 00:46 | If I go down to Vivid, I will
get a picture control that gives me
| | 00:50 | really saturated colors and
bright primary colors and possibly even
| | 00:54 | little more contrast.
| | 00:55 | Monochrome gives me a black and white image.
| | 00:58 | Portrait gives me an image with softer
contrast less sharpening, and the idea is
| | 01:04 | that skin tones and even hair will look better.
| | 01:07 | I will also get some color correction
that's more appropriate to skin tones.
| | 01:11 | Finally, Landscape, which is going to
play out blue and green tones and give me
| | 01:16 | better landscape shots.
| | 01:17 | So I just picked the one I want, hit
OK, and now I'm set in this case for
| | 01:22 | Landscape Picture Control, and again
the default if you want to go back to what
| | 01:26 | you normally use is simply Standard.
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| Modifying a picture control| 00:00 | In the right circumstance a Picture Control
can really make a difference in your final image.
| | 00:05 | For example, shooting landscapes with
the Landscape picture control will very
| | 00:09 | often give you much better results
than using simply the Standard control.
| | 00:12 | If you're finding that it's almost
there, but you want something a little bit
| | 00:15 | different you can modify these Picture Controls.
| | 00:18 | Just hit the Right button to go here
into my Modifications screen, Sharpening,
| | 00:24 | Contrast, Brightness, Saturation, and Hue.
| | 00:25 | I can alter each of these.
| | 00:27 | So let's say I want my landscapes to
be a little more saturated, maybe I'm
| | 00:31 | shooting really lush forests or something
and I really want those greens to be deep.
| | 00:36 | I can dial up the saturation.
| | 00:39 | So I can just configure these however I
want, hit OK, and now a little asterisk
| | 00:43 | appears to indicate that I'm
using a Modified Picture Control.
| | 00:46 | If I want I can go back into editing
that one and hit the Trashcan to reset it
| | 00:52 | and that puts it back to its default
values after it asks me to confirm.
| | 00:57 | You can also create your own
picture controls from scratch.
| | 01:00 | That's not something we are going to
cover in this course, but you can find
| | 01:02 | detailed instructions in your D7000 manual.
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| Using monochrome picture controls| 00:00 | Earlier when we looked at Picture
Controls, you saw this Monochrome Picture
| | 00:03 | Control and you may have
thought, wow! That's great!
| | 00:05 | I really want to try black and white
shooting, but I always have trouble
| | 00:08 | visualizing black and white and now
I'll be able to just see it on the LCD
| | 00:11 | screen on the camera. And that's true.
| | 00:13 | When you shoot with a Monochrome picture
control, you can see your results right
| | 00:16 | away, but still I really recommend that
if you're interested in black and white
| | 00:20 | shooting, do not use the
Monochrome picture control, and here's why?
| | 00:25 | Part of the artistry of black and
white shooting comes from the way that you
| | 00:28 | convert your color image into black and white.
| | 00:31 | There's no direct correspondence
between any particular color in the world, and
| | 00:34 | any particular shade of gray, and the
ability to choose how colors will convert
| | 00:39 | to gray is part of how you achieve a
nice black and white image and one that
| | 00:43 | maybe fits the mood or the
image that you have in your mind.
| | 00:47 | So it's much better to shoot color and
do black and white conversion yourself.
| | 00:51 | If you like to know more about that, check out
my Foundations of Photography: 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
| | 00:11 | of a hassle, maybe the camera is on a
tripod, difficult to see position or
| | 00:16 | perhaps you're shooting a portrait and
you prefer to look directly into your
| | 00:19 | subject's 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
| | 00:30 | point-and-shoot camera.
| | 00:31 | The camera takes the image that's
being captured by its sensor, and it puts
| | 00:34 | it immediately up on the screen, so
that you can see what the camera is
| | 00:38 | actually capturing.
| | 00:39 | One advantage of Live View is that you
see absolutely 100% of the area captured
| | 00:44 | by your camera, as opposed to the
roughly 96% of the scene that you get when you
| | 00:49 | look through the normal viewfinder.
| | 00:51 | Activating Live View on
the D7000 is very simple.
| | 00:54 | It's this switch right here.
| | 00:55 | It's not the button. That's for movies.
| | 00:57 | It says, Rocker Switch, I just move it
to the right and the mirror pops-up, my
| | 01:01 | screen goes live and I'm now
seeing what the camera is pointed at.
| | 01:04 | I've also got all this nice status
information and they should all be
| | 01:08 | pretty self-explanatory.
| | 01:09 | You ought to be
recognizing all of the stuff by now.
| | 01:11 | Shutter Speed, Aperture, ISO, Metering
Mode, Shooting Mode, Focusing Modes, all
| | 01:17 | sorts of other stuff that you
recognize from other status screen.
| | 01:20 | They're all displayed right here.
| | 01:22 | I can hit the Info button to cycle
through some other displays, including a
| | 01:26 | Metadata free display, if I just want a
nice view of my image, a grid, a level,
| | 01:31 | all sorts of handy extra data.
| | 01:34 | You maybe thinking, well,
where did my focus points go?
| | 01:36 | I'm used to seeing that through the viewfinder,
and you don't have fixed focus points here.
| | 01:40 | This is really one of the advantages of
Live View, I can move this box anywhere
| | 01:44 | on the screen and focus on that point
and I do that just by driving it around
| | 01:48 | with the Arrow keys here and this thing
does accelerate as long as you hold the
| | 01:51 | button down, so you got to be careful with that.
| | 01:53 | I'm going to put the box right there on
the end of that lens, then all I do is
| | 01:56 | half-press my shutter button,
focuses, locks and I'm ready to go.
| | 02:01 | To take a shot, I'd do
just what I'd normally do.
| | 02:04 | Press the button down the rest of the way.
| | 02:06 | It takes the picture and it shows
me the result on the rear screen.
| | 02:11 | You might have noticed that the shutter
was a little quieter that way and that's
| | 02:13 | a nice thing about shooting in Live
view, because it doesn't have to move the
| | 02:16 | mirror around, I can shoot more quietly.
| | 02:18 | So Live View is a good option for
times when you need to be little more
| | 02:21 | surreptitious when you're shooting.
| | 02:22 | If I press the OK button here, my Focus
box sits right back to the very center
| | 02:27 | of the frame so I don't have to try to get it
right back in the middle if I need to do that.
| | 02:32 | As far as actually controlling the
camera and controlling exposure, all of the
| | 02:36 | controls that I'm used to,
still work in Live View.
| | 02:39 | So let's say I want to increase my ISO
from 100, I just press and hold the ISO
| | 02:44 | button, notice this turns yellow, but
also notice up here on your Top Status
| | 02:48 | display you get your normal read out up here.
| | 02:50 | The screen goes blank showing me only
ISO and then I can change that with my
| | 02:54 | Main Dial and you can see it
changing down here and my Exposure Settings
| | 02:59 | changing in real time.
| | 03:01 | So all of these controls, White Balance,
ISO, Exposure Compensation, they all
| | 03:05 | work just the way that you would expect.
| | 03:06 | So for the most part you can shoot just
like you always would, but you get this
| | 03:11 | nice display on the LCD screen,
instead of having to use your viewfinder.
| | 03:15 | To turn Live View off, just flip the
switch again, Live View shuts down, and
| | 03:20 | you're back to normal shooting.
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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
| | 00:04 | that light can get from the
lens directly back to the sensor.
| | 00:07 | It's the sensor that creates the
image that's shown on the LCD screen.
| | 00:11 | 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.
| | 00:19 | The Autofocus Sensors are located
up here in the camera's pentaprism.
| | 00:24 | Light from the lens gets bounced up
into here and the Autofocus Sensors analyze
| | 00:29 | it to calculate focus.
| | 00:30 | When the mirror flips up though, those
sensors go blind, meaning your camera
| | 00:34 | loses its normal Autofocus capability.
| | 00:37 | When you're Live View then, the camera
has to use a different method to Autofocus.
| | 00:41 | By default, rather than relying on
its Autofocus sensors, the computer in
| | 00:45 | your camera will analyze the image that the
sensor is capturing and focus accordingly.
| | 00:50 | Practical upshot of all this is that
Autofocus in Live View is much slower than
| | 00:54 | it is when you shoot normally.
| | 00:55 | You've already seen how in Live View
you can move your focus point around to
| | 01:00 | focus wherever you want, but I want
to do a quick little experiment here.
| | 01:03 | I'm going to rack this Autofocus with
my manual focus ring there, and watch how
| | 01:08 | long it takes to Autofocus.
| | 01:09 | I'm half-pressing the button
right now. That took a while.
| | 01:14 | That's because again, we don't have
Autofocus Sensors up here, so the camera is
| | 01:18 | really having to work just off of the
image that it's capturing to analyze focus
| | 01:21 | and that's a slower process than what
it can do with the Autofocus Sensors.
| | 01:25 | So you're going to have to be ready
for Autofocus to be slower when you're
| | 01:28 | shooting in Live View.
| | 01:29 | One way around that though is to switch
to manual focus, and you can do that by
| | 01:34 | moving the Manual Focus switch on your lens.
| | 01:37 | You might have a lens that allows you
to simply move the manual focus ring when
| | 01:41 | you're in Autofocus Mode.
| | 01:42 | either way, the problem with manually
focusing here is that it's just hard to
| | 01:46 | judge focus on this little screen.
| | 01:48 | Fortunately, Nikon's got a solution for that.
| | 01:51 | My Zoom buttons, the Plus and Minus
buttons that I'd use for Playback mode,
| | 01:54 | those work here also.
| | 01:55 | I can just zoom right in there and that
gives me a nice big image that I can use
| | 02:00 | for focusing and there I've
got nice razor-sharp focus now.
| | 02:04 | I can zoom back out and take my shot.
| | 02:07 | Of course, just as in normal shooting
when I half-press the button, I'm not
| | 02:10 | going to get a Focus Lock, because
I'm in the Manual Focus mode, but I can
| | 02:14 | still take my shot.
| | 02:16 | Also, as in normal shooting, when I'm
done with manual focus, I want to be sure
| | 02:20 | to go back to Autofocus, so that I
don't confused when I'm ready to start
| | 02:25 | shooting with Autofocus again. So there you go!
| | 02:27 | For the most part, focusing and
shooting with Live Mode is just like you'll do
| | 02:31 | in Normal mode, just be ready for that
focusing step to take a little longer.
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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.
| | 00:05 | Running the LCD screen takes
a tremendous amount of power.
| | 00:08 | This is why if your battery is running low.
| | 00:11 | It's a good idea to turn off the Image
Review on your camera and to not spend
| | 00:14 | any time looking at images you've already shot,
because Live View requires the LCD screen.
| | 00:19 | It's a big battery drain.
| | 00:20 | So you'll 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 a darker environment, such as a
| | 00:35 | performance or a concert, then the light
from the LCD screen might be disturbing
| | 00:39 | to people around you.
| | 00:40 | In those instances, it's probably
better to stay away from Live View.
| | 00:43 | But the biggest drawback with Live View
shooting has to do with Dynamic Range.
| | 00:47 | Dynamic Range is the range of
darkest to lightest tones that you or your
| | 00:51 | camera can perceive.
| | 00:52 | Your eyes have a much wider
dynamic range than your camera does.
| | 00:56 | This means that they can see
details in areas that your camera cannot.
| | 01:00 | This can complicate things when you're
trying to frame a shot with Live View,
| | 01:03 | because Live View is not going to be
able to show you the same detail that you
| | 01:07 | can see with your eye.
| | 01:09 | If you're wanting to compose
around those details, you might find
| | 01:11 | yourself frustrated.
| | 01:13 | Say for example, that you see a scene
like this where your eye can see detail in
| | 01:17 | all those shadowy areas.
| | 01:18 | 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 are invisible in Live View might be
| | 01:29 | confounding, when you're actually
trying to stand there and frame your shot.
| | 01:33 | A big part of the artistry of
photography is knowing which parts of the dynamic
| | 01:37 | range that you want to capture from
the full range that your eye can see.
| | 01:40 | If the camera is only showing you its
limited view of that full range, then
| | 01:44 | compositional decisions become more
complicated, because you won't necessarily
| | 01:48 | notice all the possibilities in a scene.
| | 01:50 | Now this is all true for any camera
that uses an LCD screen as a viewfinder.
| | 01:55 | One workaround is, when you're using
Live View be sure to look often at your
| | 01:59 | scene with your naked eye, then you
can take note of details that you can't
| | 02:03 | see in Live View.
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|
|
13. Shooting VideoConfiguring and activating video| 00:00 | In addition to stills,
your camera can shoot video.
| | 00:03 | Digital SLRs are actually extremely
capable video cameras, but there are a few
| | 00:07 | things to know about how they differ
from dedicated video cameras and from
| | 00:11 | point-and-shoot cameras that have a video mode.
| | 00:13 | You should already have a
comfortable understanding of depth of field.
| | 00:16 | If you 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 | Your SLR has a much bigger sensor
than what you'll find in almost any video
| | 00:33 | camera or a point-and-shoot camera,
which means you have the capability to shoot
| | 00:37 | video with very shallow depth
of field when you use your SLR.
| | 00:41 | 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
| | 00:48 | camera or a point-and-shoot camera.
| | 00:49 | Of course, your SLR also scores
over a dedicated video camera.
| | 00:53 | thanks to its removable lenses which
lets you choose lens features, and quality
| | 00:57 | that are better suited to
your particular project.
| | 00:59 | On the downside, when you're shooting video
with your SLR, focusing is much more complicated.
| | 01:05 | However, most point-and-shoot cameras
lack the ability to zoom while shooting
| | 01:08 | video is something that's
not a problem with an SLR.
| | 01:11 | There's no special movie
shooting mode on the D7000.
| | 01:15 | All you do is activate Live View and
you're ready to start shooting video.
| | 01:19 | This is the Video toggle switch.
| | 01:22 | If I press it, I'm now shooting, and you
can se my Record Light is on and flashing.
| | 01:27 | My Viewfinder has been cropped or
letterboxed because this particular video
| | 01:32 | format that I'm shooting in is 16:9 aspect
ratio, press the button again and video stops.
| | 01:38 | Now, I mentioned that this
was a 16:9 aspect ratio video.
| | 01:42 | I have some other options for shooting video.
| | 01:44 | I'm going to go into the Menu and way
down at the bottom of the Shooting menu is
| | 01:49 | something called Movie Settings.
| | 01:50 | I can open that up and I get a few options.
| | 01:53 | The first one is Movie Quality.
| | 01:55 | I'm going to open that up and here I
get a big set of movie quality options.
| | 02:00 | 1920x1080, that's HD pixel dimensions.
| | 02:04 | By default, I'm at 1920x1080, 24
frames per second and high quality.
| | 02:09 | I could bump that down to same size
and frame rate, but normal quality.
| | 02:14 | That's going to take up less space on the card.
| | 02:16 | Then I've got 1280x720, I've got two
of those both at 30 frames per second,
| | 02:21 | again, high quality and normal.
| | 02:23 | Then I've got 1280x720 at 24 frames
per second, again, two quality settings.
| | 02:29 | Then down here at the bottom, I've
got 640x424, 30 frames per second and
| | 02:35 | two quality levels.
| | 02:36 | So again, my quality choice is going
to be about how much space these things
| | 02:40 | take up on the card.
| | 02:41 | Obviously, going to a smaller
frame size also consumes less space.
| | 02:45 | These frame rate choices
give me choice between a look.
| | 02:49 | 24 frames per second is going to be
more of a film like motion, 30 frames per
| | 02:54 | second is going to be
more of a video like motion.
| | 02:57 | If what I'm ultimately doing is
destined for the web, then I might want to just
| | 03:01 | go all the way down here to 640x424
if I know that I don't need more room.
| | 03:05 | But you want to be careful with that.
| | 03:06 | You never know for sure how you
might repurpose a video later.
| | 03:10 | I'm just going to leave this back
here on its best quality default setting.
| | 03:14 | Microphone allows me to adjust the
sensitivity of the internal microphone.
| | 03:18 | Of course, if I'm serious about audio,
I want to plug in an external microphone
| | 03:22 | because the microphone in the
camera will pick up handling sounds.
| | 03:26 | my hand bumping into the camera, the lens
moving back and forth, that kind of thing.
| | 03:31 | Destination allows me to choose which of
the SD Cards I want to record movies to.
| | 03:37 | If I've got more than one card in here,
I could for example set the second card
| | 03:41 | to be movie card, so that my still
images always go to the first card, and
| | 03:45 | movies always go to second card.
| | 03:47 | That's particularly useful if you
don't have cards that are all fast enough
| | 03:51 | for recording video.
| | 03:53 | To shoot video on this camera,
you need at least a Class 6 card.
| | 03:57 | That's possibly more
expensive than another card.
| | 04:00 | So you might get a slower card for
shooting stills and save your fast card for video.
| | 04:05 | Finally, Manual Movie Settings which
we're going to talk about in a separate movie.
| | 04:08 | I get all of my same info
displays if I want them.
| | 04:12 | This will show the crop of the movie.
| | 04:14 | I get no data at all, a grid, or a level.
| | 04:17 | So I've still got those features
and of course I still have all of my
| | 04:21 | normal status output.
| | 04:22 | For the most part, you should find
shooting video to be very simple on the D7000.
| | 04:25 | The critical watchword when you're
shooting video with your SLR is care.
| | 04:30 | You have to take great care to ensure
that your images are in focus and this
| | 04:34 | typically means that you can't do the
type of run-and-gun shooting that you're
| | 04:37 | used to doing with a video
camera or a point-and-shoot.
| | 04:40 | If you're shooting a documentary or
candid footage of rapidly changing subject
| | 04:43 | matter, then your SLR
may not be the best choice.
| | 04:46 | If image quality and creative control
are paramount though, then it's hard to
| | 04:50 | beat the results that you'll get from your SLR.
| | 04:53 | You can learn more about how to shoot
video with your SLR in Rob Sheppard's
| | 04:57 | Video for Photographers: Shooting with a DSLR.
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| Focusing and exposure| 00:00 | If you're used to shooting video at the
Video mode of a point-and-shoot camera
| | 00:03 | or with an actual video camera, then
you're used to continuous auto-focus.
| | 00:08 | That is, you're used to the camera
constantly auto-focusing on the fly to ensure
| | 00:12 | that your subject remains in focus.
| | 00:14 | When you shoot with your DSLR, it
doesn't work that way unfortunately.
| | 00:17 | Because the auto-focus sensors are blind
as we've discussed, it can't constantly
| | 00:21 | keep your subject in focus, and that
means you need to think a little bit harder
| | 00:25 | about focus when shooting video.
| | 00:27 | You've seen already how auto-
focusing can take a little while.
| | 00:30 | see how it hunts in and out to find the focus.
| | 00:33 | I typically don't want that to happen
while I'm in the middle of shooting video.
| | 00:37 | So in general, it's best to auto-
focus before you start rolling video.
| | 00:42 | Now, when video is rolling, you can
still half-press the shutter button to
| | 00:45 | focus, but you just need to know that
there's a good chance that it may start
| | 00:48 | doing that focus hunting thing
which can be a little distracting.
| | 00:52 | There are a couple of workarounds to that.
| | 00:53 | You can switch to Manual mode on your
lens and focus manually with the focus ring.
| | 00:58 | That's a difficult skill to develop.
| | 01:00 | You're going to need some practice to
learn how to follow your subject, and keep
| | 01:04 | them in focus, but it's a nice way of
focusing quickly and focusing quietly.
| | 01:08 | You don't hear the motor
and the lens moving that way.
| | 01:11 | Another option though is to do
something else that we've already seen and turn
| | 01:16 | on Full-time-servo focus, so that the
camera will constantly track a moving
| | 01:22 | subject, and keep it in focus.
| | 01:23 | You can even turn on face
detection and have it work that way.
| | 01:27 | It's not a foolproof solution, you still
won't find auto-focus that's as fast or
| | 01:30 | quiet or as accurate as what
you get from a video camera.
| | 01:33 | But it's a nice workaround for times
when you absolutely need to shoot video
| | 01:38 | of something that's moving or when you are
moving, when you're carrying the camera around.
| | 01:43 | If you want more manual control than
just focus control, then you're going to
| | 01:46 | want to think about your Mode dial and
you're going to want to think about it in
| | 01:49 | the same way that you do
when you're shooting stills.
| | 01:51 | You've got full shutter speed
and aperture control if you wanted.
| | 01:54 | So, for example, one of the great
advantages of working with a Digital SLR for
| | 01:59 | video is that I've got aperture control.
| | 02:01 | I can go here into Aperture Priority
mode and choose any aperture that I want.
| | 02:06 | So, for example, I might dial in a nice
small aperture to ensure very deep depth
| | 02:10 | of field, or I might open up all the
way to have really shallow depth of field
| | 02:14 | and therefore very blurry backgrounds.
| | 02:16 | I can get softer backgrounds than I
can with any video camera that you
| | 02:19 | maybe shooting with.
| | 02:20 | You can get a really film like look out of
your video by taking control of aperture.
| | 02:26 | I can also take control of shutter speed.
| | 02:27 | I can switch to Shutter Priority mode
and dial in any shutter speed that I want.
| | 02:32 | So for example, I might go to a faster
shutter speed to try and freeze motion,
| | 02:37 | so that I can more clearly
see sports action for example.
| | 02:40 | In general though, it's best for everyday
shooting to stay around at 50th of a second.
| | 02:44 | That's going to give you a very nice video look.
| | 02:47 | If I want, I can even take full manual
control of all of my Exposure parameters.
| | 02:53 | But to do that, in addition to
switching to manual mode, I need to go here into
| | 02:57 | my Menu and go to Movie settings, and
then I need to go down here to Manual
| | 03:03 | movie settings and I need to
make sure that these are turned on.
| | 03:07 | This is a safeguard that Nikon has
provided to keep you from accidentally
| | 03:11 | shooting poorly exposed video.
| | 03:12 | If I come out now, see my
video has gotten very dark.
| | 03:15 | I need to slow down my
shutter speed to get it up brighter.
| | 03:19 | So this is just a way to keep me from
accidentally shooting overexposed video
| | 03:24 | or underexposed video.
| | 03:25 | If you're okay with doing that, then
by all means go into Manual mode, enable
| | 03:29 | manual shooting, and
overexpose to your heart's content.
| | 03:32 | In general though, you're probably
going to want to leave this feature turned
| | 03:36 | off just so that you don't
accidentally do something you shouldn't.
| | 03:39 | Typically, you're going to stay in
Aperture Priority mode because you want
| | 03:43 | depth of field control, or you're
going to stay in Program mode because you
| | 03:47 | simply want easy shooting.
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| Playing back movies| 00:00 | Just as you can review your still images,
you can watch any videos you've shot
| | 00:04 | right here on the screen.
| | 00:05 | Just go into Playback mode.
| | 00:07 | Anything that is a video will
have this OK Play control on it.
| | 00:11 | Hit OK to go into Playback mode, your
video will immediately start playing.
| | 00:15 | You can see the current time
ticking off here, total time over here.
| | 00:19 | I can control the volume of the audio
with the Zoom In and Out buttons, and I've
| | 00:23 | got Transport controls right here.
| | 00:25 | This is the little key that shows
what these different buttons do.
| | 00:28 | Down pauses video, OK causes video to play.
| | 00:32 | My video is about to finish,
so I come back out here.
| | 00:35 | I'm going to hit OK again to start it up.
| | 00:38 | I can stop video
altogether by hitting the Up button.
| | 00:41 | That'll take me back out.
| | 00:42 | I can press the Forward button to fast
forward, and as I keep pressing it, my
| | 00:47 | fast forward accelerates.
| | 00:49 | That only happens if I'm
playing. You should notice.
| | 00:53 | I'm going to start playing the video again here.
| | 00:59 | As long as it's playing, I can fast
forward, I can also rewind by hitting the
| | 01:04 | Left button and that can go at varying
speeds as I repeatedly press the button.
| | 01:09 | If I'm paused, then hitting Left and
Right goes forward one frame at a time, so
| | 01:13 | I can step through my movie that way.
| | 01:16 | So those are my playback controls.
| | 01:17 | Just like with a still image, if I want
to delete a video, I need to be back out
| | 01:22 | here in my normal image browsing mode.
| | 01:24 | All I do is hit the Trashcan button,
hit it again to confirm, and my video is deleted.
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|
|
14. Customizing Menus and ModesUser modes| 00:00 | You've seen how changing modes changes
what decisions the camera makes and what
| | 00:04 | decisions are left up to me.
| | 00:06 | You've also seen how choosing a
scene mode not only changes the
| | 00:10 | decision-making processes of the camera,
but can also force the camera to dial
| | 00:15 | in certain image editing parameters.
| | 00:17 | These last two modes on your Mode dial,
U1 and U2 allow you to create custom
| | 00:22 | modes that configure the
camera anyway that you like.
| | 00:26 | As an example, let's consider HDR shooting.
| | 00:29 | I regularly shoot HDR, and when I want
to go to an HDR configuration, I have to
| | 00:35 | turn on Auto Bracketing, I have to
switch to Aperture Priority, I have to dial
| | 00:39 | in a particular aperture.
| | 00:41 | I can take all of that stuff and
store it into a custom user mode.
| | 00:45 | Here's how that works.
| | 00:46 | I'm going to go to Aperture Priority.
| | 00:47 | Basically, I'm going to just configure
my camera exactly as I would if I were
| | 00:51 | getting ready to shoot in HDR.
| | 00:53 | I want to be sure that I'm shooting
RAW, so I'm going to change my Quality
| | 00:56 | setting over here to RAW.
| | 01:00 | I also need to turn on Bracketing.
| | 01:04 | So I'm going to define a three
-step one-stop auto-bracket.
| | 01:09 | That's going to shoot three
shots each spaced one stop apart.
| | 01:14 | What else do I need?
| | 01:14 | I need Release mode.
| | 01:16 | I need to go to continuous shooting,
but that's not something that I can store
| | 01:19 | in a user mode, so I'm not
going to worry about that right now.
| | 01:22 | I also want a particular aperture.
| | 01:24 | I'm in Aperture Priority because I
want to be sure that my aperture does not
| | 01:27 | change between shots in my bracket set,
and I'm shooting typically landscapes
| | 01:32 | when I'm doing HDR, so I
want a nice deep depth of field.
| | 01:35 | So I'm going to put that on f/11.
| | 01:37 | So that's pretty good.
| | 01:38 | I think I'm ready to go.
| | 01:39 | I want to now store this as a User mode.
| | 01:41 | So I'm going to go into the menu, and
here in my Setup menu, I highlight Save
| | 01:46 | user settings, go into that,
I have two choices. U1 or U2.
| | 01:50 | I'm going to store this in U1 and just
go ahead and say OK to save my settings.
| | 01:55 | Now, I'm going to deactivate some of
these things that I've configured by hand,
| | 02:00 | so that you can see the
change when I go into my user mode.
| | 02:03 | I've turned off bracketing.
| | 02:05 | I'm going to set my Quality back onto fine JPEG,
and I'm going to switch back to Program mode.
| | 02:11 | So here I have no particular aperture set.
| | 02:13 | I'm back to just having my normal camera.
| | 02:16 | Now, if I switch to U1 though,
you don't see an immediate change.
| | 02:21 | But if I meter the screen update, so
now you can see I'm in RAW format, I'm at
| | 02:25 | f/11, and I have Bracketing turned on.
| | 02:29 | So now all I have to do is change
to the Release mode that I want.
| | 02:32 | So with just those two quick changes,
dialing into U1 and dialing in my Release
| | 02:37 | mode, I'm all set for HDR shooting.
| | 02:40 | What's more, when I'm done, I can
simply turn off my Release mode, and change
| | 02:44 | back to whatever my shooting mode
of choice is and I'm back to normal.
| | 02:49 | So this is a really handy way of very
quickly configuring your camera, and
| | 02:52 | you've got two user modes
that you can store settings in.
| | 02:55 | So if you find yourself regularly
dialing in a whole bunch of settings, consider
| | 03:01 | storing those settings into a user mode.
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| My Menu| 00:00 | By now you've probably explored the menu
system in your D7000 pretty extensively
| | 00:05 | and you've probably noticed that
navigating it can take a while just because
| | 00:08 | there are so many options.
| | 00:10 | There is so much you can do, so many
ways you can customize functions on this
| | 00:13 | camera that navigating
the menus can take a while.
| | 00:16 | If you go over here to your menu
list and go down to the very bottom,
| | 00:18 | you'll find MY MENU.
| | 00:20 | This is a custom menu that you can
populate with only items that you like.
| | 00:24 | So you can build one menu that has the
things that you tend to use the most.
| | 00:28 | If I hit Add Items, I get just a list
of all of my menus, and I can then open
| | 00:33 | them up to see the
contents of each of those menus.
| | 00:36 | Any item that has this box next to it
means that's something that I cannot
| | 00:40 | put in a custom menu.
| | 00:43 | In this case, there's no need to
have reset shooting menu in my custom
| | 00:46 | menu according to Nikon.
| | 00:49 | So I'm going to just pick a few things here.
| | 00:51 | What's something I might
regularly want to change?
| | 00:54 | I might want to manipulate how my images
are stored by changing the folder they go in.
| | 00:59 | So I can choose what
position I want the menu in.
| | 01:02 | Right now I have no other item,
so I'm just going to say OK.
| | 01:06 | Then I'm going to go in here, and
change the Playback folder also.
| | 01:10 | So now I've got, and then Choose
position again, I can move this item up or
| | 01:15 | down, so I'll put it after storage folder.
| | 01:18 | So now I have these two items.
| | 01:20 | If I want, I can go through and remove
items, I can reorder them, and I can just
| | 01:23 | slowly build up a menu that has only
the functions in it that I regularly use.
| | 01:28 | Another way though of getting a custom
menu is to let the camera build it for you.
| | 01:33 | If I go down here to Choose Tab, and open
that up, I see that I'm currently set on my menu.
| | 01:38 | If I want, I can change that to Recent Settings.
| | 01:41 | And now what happens is this menu
becomes automatically populated with all of
| | 01:48 | the commands that I've recently used.
| | 01:49 | So for example, if I go down here and
change my Role played by card in Slot 2
| | 01:55 | item, when I now go into my Recent
Settings menu, that's right at the very top,
| | 02:02 | so automatically, the functions that I
used the most will populate this menu
| | 02:07 | with the most recent one being at the top.
| | 02:09 | Now, as you've already seen, when I go
back to my menuing system, I always go to
| | 02:14 | the last place that I had navigated to.
| | 02:17 | So if I just pull things out of recent
settings after it's been populated with
| | 02:21 | my most commonly used things, hitting
the Menu button will always take me here,
| | 02:25 | so all of the things that I use the
most will always be at very easy disposal.
| | 02:29 | So as you use your camera more, you'll
get a better idea of what functions you
| | 02:33 | might want quicker access to.
| | 02:34 | If Recent Settings isn't bringing those
functions up to you, then you may want
| | 02:39 | to build a custom menu.
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|
|
15. Using Custom SettingsWhat are custom settings?| 00:00 | By now, you've probably come to
realize that your camera has a lot of
| | 00:03 | functions and features.
| | 00:05 | Many of these functions can be modified and
customized through the use of custom settings.
| | 00:11 | For example, maybe you'd prefer your
Exposure Compensation changes to go in full
| | 00:14 | stop increments instead of one-third
stop increments, or maybe you want to be
| | 00:18 | sure that the Autofocus Assist Light
doesn't fire because you are shooting
| | 00:22 | somewhere that it would be disruptive.
| | 00:23 | These are things that you can easily
change with the use of custom settings
| | 00:27 | which allow you to tailor your camera
to your particular tastes and needs.
| | 00:31 | To get to the Custom Settings menu,
I just go into my menu system.
| | 00:35 | They have their own dedicated menu.
| | 00:37 | it's the one with the little pencil here.
| | 00:38 | Notice the custom settings
are divided into categories.
| | 00:41 | I've got Autofocus, Metering, Timers,
Shooting, Bracketing, and then a
| | 00:44 | generic Controls category.
| | 00:46 | So if I come down here to Metering/
exposure and select into that, I get all of
| | 00:51 | my Metering/exposure custom settings and
there are five of them, they're labeled with Bs.
| | 00:57 | Notice though that actually all of
my custom functions are just in one
| | 01:00 | long scrolling list.
| | 01:01 | So when I'm scrolling down here, I'm
actually going through every single custom function.
| | 01:06 | That is, all five of these
categories end up running together.
| | 01:09 | This is just a shortcut for
getting to a particular place.
| | 01:13 | Within any one of these menus, I see
the name of the custom setting, and over
| | 01:17 | here on the right, I can see
what it's currently set to.
| | 01:19 | So I can very quickly glance
through and see exactly how each of these
| | 01:23 | settings is configured.
| | 01:24 | We're going to spend the rest of
this chapter not looking at every single
| | 01:28 | custom setting, but just some of the
critical ones that you probably want to know about.
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| Focus Priority| 00:00 | The first two settings in the
Autofocus category, AF-C priority selection and
| | 00:05 | AF-S priority selection can help you
possibly shoot fewer out of focus photos.
| | 00:11 | When I'm in AF-C focus mode, that is
Continuous-servo focus mode, if I switch
| | 00:16 | this custom setting from Release to
Focus, then I will not be able to take a
| | 00:23 | picture until I have had focus lock confirmed.
| | 00:27 | So with it set this way, it will simply
be impossible for me to mash the button
| | 00:32 | down at anytime, you take a picture I
will only be able to take a picture when
| | 00:35 | the camera has achieved focus.
| | 00:37 | By default it's set on Release.
| | 00:39 | That means shutter release, meaning that it
will shoot when the shutter button is pressed.
| | 00:44 | This is the same function for
AF-S single servo autofocus.
| | 00:49 | So Servo focus as you'll recall are
the focus tracking modes that the camera
| | 00:54 | has, so these are ways of controlling
whether you want to be able to take a
| | 00:58 | picture at any time or
only when you have got focus.
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| Number of focus points| 00:00 | You will be hard press to find a camera
with a better Autofocus system than your
| | 00:04 | D7000, and part of that is because it's
got thirty-nine focus points so that it can really
| | 00:09 | zero in on exactly the right area.
| | 00:11 | If you're manually setting focus
points though, having to scroll through that
| | 00:15 | plethora of focus points can be a bit of a drag.
| | 00:17 | Fortunately, there is a custom setting
right here, Number of focus points, that
| | 00:21 | lets you go from thirty-nine down to eleven.
| | 00:24 | These are going to be more widely
scattered throughout the focusing area, but
| | 00:28 | that can allow you to more
quickly get to the focus point you want.
| | 00:31 | It also makes your
viewfinder a little less cluttered.
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| The built-in AF-assist illuminator| 00:00 | We have talked about how the Autofocus
assist light can light up to help you
| | 00:04 | when you are focusing in situations
where there's not enough light for the
| | 00:08 | autofocus mechanism to work.
| | 00:09 | There will be times when you
absolutely do not want that light to light up if
| | 00:13 | you're shooting a concert or in
a museum or something like that.
| | 00:16 | Fortunately, there is a custom setting for that.
| | 00:18 | Go into the Autofocus category, and
down to number A7 Built-in Autofocus-assist
| | 00:24 | illuminator, you can simply switch
that Off and that will never fire.
| | 00:28 | Obviously, if this is something you
depend on from time to time and you normally
| | 00:32 | want it on, once you leave that
situation where you don't want it to fire you
| | 00:36 | need to be sure to turn it back On.
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| Easy exposure compensation| 00:00 | By now, you've probably discovered
that exposure compensation is a critical
| | 00:04 | feature that you use everyday and you
know that to get exposure compensation you
| | 00:08 | press and hold the Exposure
Compensation button while turning the main dial.
| | 00:12 | However, you can configure the
camera so that you can activate exposure
| | 00:16 | compensation in a different way.
| | 00:18 | If I go into my Custom settings menu
to the b category and go down to the
| | 00:24 | Easy exposure compensation, by default it
set to Off, that the cameras normal behavior.
| | 00:30 | If I set it to On Auto reset, then
turning the Subcommand dial, after I've
| | 00:39 | metered will automatically
dial in Exposure Compensation.
| | 00:43 | Now as you probably noticed when I
turn the Subcommand dial, I don't see
| | 00:47 | anything in this display other than
just a notification that there is exposure
| | 00:50 | compensation but inside my viewfinder
I get my normal Exposure Compensation
| | 00:54 | display so I can see how much I've dialed in.
| | 00:57 | Now, the meter just timed out.
| | 00:59 | That means that my Exposure
Compensation has reset to zero that's because this
| | 01:04 | particular setting that I've
chosen is on with Auto reset.
| | 01:08 | So that always gets my exposure
compensation back to zero after the meter times
| | 01:13 | out or in other words after I taken a shot.
| | 01:15 | If I want, I can switch it to simply On
and that means any Exposure Compensation
| | 01:20 | that I dial in is sticky.
| | 01:22 | It will always be there so I can dial
in some Exposure Compensation there and
| | 01:27 | you can see my little
Exposure Compensation icon.
| | 01:29 | When the meter times out,
that icon is still there.
| | 01:32 | So that Exposure Compensation is stuck,
it will stay there until I dial it
| | 01:37 | back down and notice before I can change
Exposure Compensation, I have to have a meter reading.
| | 01:41 | But again the default behavior, the
one you're probably used to is simply to
| | 01:45 | turn that feature off.
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| The AE-L button| 00:00 | As you've seen by default, when you
half-press the Shutter button to meter on
| | 00:04 | the D7000, as you move the camera
around, it will continuously re-meter.
| | 00:09 | You can of course use the Exposure
Lock button to lock your exposure.
| | 00:13 | You can also reconfigure the
camera using a Custom Setting.
| | 00:16 | I am going to go in here to my
Custom Setting menu, into the C category
| | 00:19 | Timers/AE lock, and the first
item Shutter-release button AE-L.
| | 00:24 | If I switch that to on, then my
exposure will stay locked as long as I continue
| | 00:31 | to hold the Shutter button halfway down.
| | 00:33 | So now, if I half-press to meter, I
can continue to keep the button halfway
| | 00:40 | down, recompose my scene,
and I won't get a re-metering.
| | 00:44 | My AE lock button will still
work the way it always has.
| | 00:46 | I just also get a lock
off of the Shutter button.
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| The self-timer| 00:00 | You've seen the D7000's self-timer
which is great for taking self-portraits or
| | 00:06 | group shots that include yourself.
| | 00:08 | What's really cool about the self-timer is
you can customize it to an amazing degree.
| | 00:12 | If I go into my Custom Settings menu,
into the Timers category, I have down
| | 00:17 | here at c3, Self-timer.
| | 00:19 | This gives me three different options.
| | 00:20 | First of all, by default, my camera
is set to a 10 second timer delay.
| | 00:24 | That is, I press the Shutter button
with the timer on, there will be 10 seconds
| | 00:28 | before it finally takes the shot.
| | 00:29 | If I want, I can change that.
| | 00:31 | I can bump it up to 20 seconds.
| | 00:32 | If I really need a lot of time to run to
wherever it is I need to be to get into
| | 00:36 | frame or I can slow it down
to 5 seconds or 2 seconds.
| | 00:39 | A 2 second delay is not so much for
you to get in front of the camera.
| | 00:42 | It's for you to get your hands off the
camera and give the camera time to settle
| | 00:46 | down, so that there's no camera shake.
| | 00:48 | So this is something you'll typically use
when you are trying to do a longer exposure.
| | 00:52 | Again, by default, it's on 10 second delay.
| | 00:55 | I can also tell it how many shots I
want it to take when it finally fires off.
| | 00:59 | I can do 1 through 9 shots.
| | 01:01 | So if I want to do a group shot,
there's no guarantee that if I just take one
| | 01:05 | shot that someone's eyes aren't
going to be closed in the group.
| | 01:07 | But if I take 3 or 4 shots, I have
a better chance that everyone has a
| | 01:11 | reasonable expression on their face.
| | 01:13 | So I can dial that from 1
to 9, again the default is 1.
| | 01:16 | I can also control how much time
passes between each one of those shots.
| | 01:20 | By default, it's half-a-second, but I
can link them that to 1, 2 or 3 seconds.
| | 01:25 | If what I'm shooting is changing more
slowly, then maybe a better delay is
| | 01:29 | a better way to go.
| | 01:30 | So an incredible amount of flexibility
in the D7000's Self-Timer and you can
| | 01:35 | configure it all right here.
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| ISO display and adjustment| 00:00 | By default, your top-mounted LCD and
your viewfinder shows you the remaining
| | 00:05 | number of shots right here.
| | 00:06 | If you like, you can set a custom
function to change that to show you your
| | 00:10 | current ISO setting.
| | 00:12 | If I go in here to the Menu, to Shooting/
display the d category, and down to ISO
| | 00:17 | display and adjustment, by
default, that is set to off.
| | 00:21 | I can go in here and change it to Show
ISO sensitivity, and now you see that
| | 00:26 | I've got ISO 100 up here.
| | 00:28 | I am going to see the
same thing in my viewfinder.
| | 00:31 | I can also go in and choose Show ISO/
Easy ISO, and what that does is go ahead
| | 00:38 | and activate the same display
up here and in my viewfinder.
| | 00:43 | When I am in program Shutter-priority
and Aperture-priority, I can change ISO by
| | 00:50 | turning the main dial.
| | 00:52 | Now, note when I'm not metered,
this reverts to a display of the
| | 00:56 | remaining number of shots.
| | 00:57 | So typically, if you are metered, it's
because you're already engaged in a shot,
| | 01:01 | so you don't really care what the
remaining shot count is, you care about ISO.
| | 01:05 | So this is a much more efficient use
of your display to turn on the Show ISO option.
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| CL mode shooting speed| 00:00 | As you've seen, I have two
continuous shooting modes on the D7000.
| | 00:04 | Continuous Low and Continuous High
which offer different bursting speeds when I
| | 00:09 | am shooting continuously.
| | 00:11 | I can change the speed of the lower mode.
| | 00:14 | Continuous Low can be altered by
going into the Custom Settings menu, into
| | 00:19 | Shooting/display, the d group, then
going down here to CL mode shooting speed.
| | 00:25 | So that's the shooting
speed of continuous low mode.
| | 00:28 | When I go in here by default,
I am at 3 frames per second.
| | 00:31 | If I want, I can slow that down to 2
or 1, or I can speed it up to be the
| | 00:36 | same as Continuous High.
| | 00:38 | This setting also controls the Frame
Advance Rate for single frame shooting when
| | 00:42 | I am using the Interval Timer.
| | 00:44 | That's why I get the option to
speed it up as well as slow it down.
| | 00:48 | So what this can be useful for is if
your Continuous Low mode is still too
| | 00:51 | fast, if your action is progressing so
slowly that 3 Frames Per Second is not
| | 00:56 | showing much change from one frame to
another, then you may want to slow it
| | 00:59 | down to 2 frames or 1 frame.
| | 01:01 | Note that your frame rate may drop
below this value if you're using a slower
| | 01:06 | shutter speed because it simply will
take longer to shoot an individual shot,
| | 01:10 | and so it won't be able to
necessarily knock off 2 or 3 frames per second.
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| File number sequence| 00:00 | Your camera numbers images that
you shoot in sequential order.
| | 00:04 | You can change whether you wanted to
restart the numbering of those files every
| | 00:08 | time you insert a new card.
| | 00:10 | When you combine this feature with the
ability to create and manage folders, you
| | 00:14 | have a way to keep your
images organized as you shoot.
| | 00:18 | To control how files are numbered
on that the D7000 I go into my Menu,
| | 00:22 | into Custom Settings > Shooting/display,
and go down to number 8, File number sequence.
| | 00:27 | By default, this is set to On.
| | 00:30 | That means anytime a new folder is
created, your card is formatted, or a
| | 00:34 | new card is put in the camera, file
numbering will pick up just where it left of before.
| | 00:38 | So your images will say sequentially numbered.
| | 00:40 | Image numbers can only go up to 9999,
after that they will roll over to one,
| | 00:45 | same thing with folder numbers.
| | 00:47 | Now, if I take that same
setting and turn it Off. Oops!
| | 00:53 | Turn it Off there we go.
| | 00:56 | Now, file numbering is reset to one,
anytime a new folder is created or the
| | 01:00 | memory card is formatted or a new
memory card is inserted in the camera.
| | 01:05 | One last option here, if I've had this
off and I want to go back to On but I
| | 01:10 | don't want it to start at one, I can hit Reset.
| | 01:14 | That will turn file numbering back on
and it will analyze the current folder,
| | 01:19 | find the highest numbered image there
and start new numbering with a number one
| | 01:24 | higher than whatever my highest number image is.
| | 01:26 | So this is the way of getting
back into sequential numbers with a
| | 01:29 | particular starting point.
| | 01:31 | I usually leave this On because that
works best for my particular workflow.
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| Exposure Delay mode| 00:00 | If you've ever had an older digital
camera, you might have found yourself
| | 00:03 | frustrated by shutter lag.
| | 00:05 | That's the lag that can happen
between the time when you finally press the
| | 00:08 | button all the way down and
when it actually takes a picture.
| | 00:11 | You've probably already noticed that the
D7000 has practically no shutter lag at
| | 00:15 | all, taking a picture is
pretty much instantaneous.
| | 00:18 | However, if you want, you
can give it shutter lag.
| | 00:20 | If I go in here into the Menu,
into Custom Settings into the d group
| | 00:24 | Shooting/display and scroll all the way
down here into the second page, I'll get
| | 00:30 | to Exposure delay mode.
| | 00:32 | I can come in here and turn this On,
and now I will get a one-second delay
| | 00:37 | between the time when I finally push
the shutter button down all the way and
| | 00:41 | when it actually takes a picture.
| | 00:42 | This as another tool I can use to help
ensure that I have no camera shake at all
| | 00:47 | when I'm shooting long exposure shots
or even just when I'm working on a tripod
| | 00:51 | at all, it gives me time to get
my hand completely off the camera.
| | 00:55 | If I don't have a remote control,
this can be a really nice workaround.
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| The Assign Fn button| 00:00 | One of the nice things about the D7000
is that the Function button on the front
| | 00:04 | of the camera as well as the Depth of
Field Preview button on the front of the
| | 00:07 | camera are programmable,
I can change what they do.
| | 00:10 | If I go here into the Controls section
of my Custom Setting menu and down to
| | 00:14 | Assign Function button, I see that by
default my Function button is assigned
| | 00:20 | to Flash Value lock.
| | 00:22 | But I've got this huge menu of
other things I can set it to.
| | 00:25 | I can make it my Depth of Field
Preview button or my Auto-Exposure Lock or a
| | 00:31 | combination of Auto-Exposure and Autofocus.
| | 00:33 | I can have it be a metering button, I
can have it change my image format or turn
| | 00:37 | Active D-Lighting on and off.
| | 00:39 | Basically there is just dozens of
features here that I could choose to
| | 00:43 | program onto this button.
| | 00:45 | So if you're funding you don't use the
Flash Value Lock feature very much or you
| | 00:49 | don't like the location of the Exposure
Lock button or you need better access to
| | 00:54 | one of the functions that's listed here,
try assigning it to the Fn button for a
| | 00:58 | while and see how you like it.
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| The Assign Preview button| 00:01 | We've looked at the Depth of Field
Preview button and you've seen how you can
| | 00:03 | use it to try and get a better idea of
what the depth of field in your scene
| | 00:07 | is going to be like.
| | 00:08 | If you don't do a lot of depth of field
control or if you find that the depth of
| | 00:12 | field preview is just too hard to work
with, because it makes your viewfinder so
| | 00:15 | dark and all of that kind of thing,
then you may want to just give up on that
| | 00:18 | and assign that button to do something else.
| | 00:20 | If I go into the Controls section of my
Custom Settings menu and go down here to
| | 00:25 | Assign preview button, I can see that
it defaults to Depth of Field Preview.
| | 00:30 | But just as with the function button I
can give it any of these other functions.
| | 00:35 | So this is actually the exact same menu
that you have with the Assign Function button.
| | 00:40 | I can choose it to activate the level on
the camera or the grid or the spot meter.
| | 00:45 | I can change it to be Exposure lock or
Flash Value lock, any number of other things.
| | 00:50 | So if you're finding you're not using
it for Depth of Field Preview or if you
| | 00:54 | want readier access to another
function that's shown on this list, try
| | 00:58 | reassigning the Depth of Field
Preview button and see how you like it.
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| The Assign AE-L/AF-L button| 00:00 | By default, the Auto-Exposure Lock
button locks my exposure and focus when it's
| | 00:05 | pressed, but I can change that behavior.
| | 00:07 | Into the Controls section in my
Custom Settings menu and down to number 5,
| | 00:12 | Assign AE-L/AF-L button.
| | 00:15 | Now you see I get a number of options here.
| | 00:18 | Here's my default behavior.
| | 00:19 | I can also tell it to be an
exposure only lock button.
| | 00:23 | This means that this will lock exposure
and I'm still getting focus lock off of
| | 00:27 | my shutter release or I can tell it to
only lock focus and I will still have
| | 00:33 | exposure lock on my shutter release.
| | 00:34 | Basically, this is allowing
me to separate the functions.
| | 00:38 | I can also set it to AE lock (Hold).
| | 00:41 | When this is activated,
the switch becomes a toggle.
| | 00:43 | I press it and exposure and focus
remain locked until I press it a second time.
| | 00:49 | Now the metering timing out will also
cancel exposure lock, but this lets me
| | 00:54 | turn it on and off within that time.
| | 00:57 | If I go back to that feature and tell it AF On,
then this button will now start autofocus.
| | 01:07 | The Shutter Release button can no
longer be used for autofocus when this is
| | 01:11 | dialed in, but it will still work for exposure.
| | 01:13 | Finally, I can make this
button lock the flash value.
| | 01:17 | So if you would like to separate the
autofocus/auto-exposure functions, you can
| | 01:23 | do that from this menu and divide them
up between your Auto-Exposure Lock button
| | 01:27 | and your Shutter button.
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| Release button to use dial| 00:00 | By now you should be used to have the
controls on the D7000 are interlocked.
| | 00:04 | For example, to change exposure
compensation I need to press and hold the
| | 00:08 | Exposure Compensation button
while I turn the Main Dial.
| | 00:11 | That's also true for ISO and
quality and white balance and so on.
| | 00:15 | I can set it so that I don't have
to hold these buttons down though.
| | 00:18 | If I go to Menu > Controls >
Release button to use dial.
| | 00:23 | Right now I do not release the button
to use the dial, and if I set it to Yes,
| | 00:30 | I can now just press the Exposure
Compensation button and that stays there
| | 00:34 | while I turn the dial.
| | 00:36 | So I don't need to keep my
finger here while rotating the dial.
| | 00:39 | If you've been a little uncomfortable
having to do all those things at the same
| | 00:42 | time, then this custom function
can make your life a little easier.
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| Reverse indicators| 00:00 | As you've seen the Exposure
Compensation indicator that you see inside your
| | 00:04 | viewfinder shows positive values to the
left and negative values to the right.
| | 00:08 | If that seems backwards to you, you
can simply go in here to the Controls
| | 00:13 | section of the custom menus and scroll
down to number 9, Reverse indicators.
| | 00:19 | So here I can see it.
| | 00:20 | I've got positive over here, negative
over here, but I can move down here and
| | 00:25 | change it so that negative is on
the left and positive is on the right.
| | 00:28 | If you're coming from a Canon camera,
this maybe more used to how you're working.
| | 00:33 | So it's worth turning this on or if
simply you think of negative being to the
| | 00:36 | left, positive being to the right,
this will make a little more sense.
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| The customized command dial| 00:00 | By now you should be well-accustomed
to using the two different command dials
| | 00:04 | that you have on your D7000.
| | 00:06 | However, you can't change their
behavior, you can configure them in some
| | 00:09 | different ways, and there's one
configuration in particular that maybe critical
| | 00:13 | to set depending on how
you've set up your camera.
| | 00:16 | Here I am in the Custom Settings menu.
| | 00:17 | If I go down to the Controls batch and
work my way down to Customize command
| | 00:22 | dials, I get four different options here.
| | 00:25 | First one is very important if you
have used another custom setting that we
| | 00:30 | looked at in the last movie,
and that is Reverse indicators.
| | 00:35 | This reversed where positive
and negative are in the exposure
| | 00:39 | compensation control.
| | 00:42 | If I've swapped those, then I probably
want to reverse rotation on my command dial.
| | 00:47 | That means that if I've swapped it so
that positive is to the right, now rolling
| | 00:51 | the wheel to the right will
move in a positive direction.
| | 00:54 | So those do kind of need to go
together to really make sense.
| | 00:58 | Change main/sub lets me change the behavior of
the command dials when I'm in priority modes.
| | 01:03 | Off is simply the default behavior.
| | 01:05 | When I choose On (Mode A), then the
main command dial, that's this one, is used
| | 01:10 | to select aperture when I'm
in Aperture Priority mode.
| | 01:13 | If I switch to On, then I use the
main command dial to select aperture in
| | 01:18 | Aperture Priority mode and Manual
mode, and the subcommand dial to select
| | 01:23 | shutter speed in Shutter
Priority mode and Manual mode.
| | 01:27 | In other words, I'm
reversing the behavior of the dials.
| | 01:30 | Aperture setting gives me a few options.
| | 01:32 | By default, it's set so that
subcommand dial changes aperture.
| | 01:36 | This is the behavior that you're used to.
| | 01:38 | If you're using a lens
that has an aperture ring.
| | 01:41 | That is an actual ring on the lens for
controlling aperture, this is going to
| | 01:44 | be an older lens, then I can switch down here to
Aperture ring and control my aperture that way.
| | 01:50 | Menus in playback give me a couple of
options for how the command dials work for
| | 01:54 | navigating menus and navigating playback mode.
| | 01:57 | If I set to either of these On options,
then the main command dial, that's this
| | 02:02 | one, can be used to choose the picture
that's being displayed when I'm in full
| | 02:07 | frame playback mode.
| | 02:08 | It's used for moving the cursor around
thumbnails in playback mode and it's used
| | 02:13 | for moving the menu highlight up or
down in any menu that I'm navigating.
| | 02:18 | Meanwhile the subcommand dial, the one
on the front, is used to display photo
| | 02:21 | metadata when I'm playing back my images.
| | 02:24 | It's also used for moving the cursor
up and down during thumbnail playback.
| | 02:28 | If though I choose On (image review
excluded), all of that still holds true for
| | 02:36 | my menus and my playback mode, but the
command dials don't do anything when I'm
| | 02:41 | in image review mode.
| | 02:43 | So this is just a way of changing how
you want to be using the command dials for
| | 02:47 | navigating images when you're playing
back and for how you're navigating menus.
| | 02:51 | The real critical command here though is
this Reverse rotation dial which you're
| | 02:55 | definitely going to want to activate
if you have also reversed the display
| | 02:59 | indicator as we looked at in the last movie.
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16. Retouching ImagesWhat image retouching does| 00:00 | Postproduction is a critical part
of the photography process and you'll
| | 00:04 | probably spend a lot of time
adjusting your pictures using image editing
| | 00:07 | software on your computer.
| | 00:09 | But there is also a fair amount of image
editing that you can perform on your camera.
| | 00:13 | Now when you use the camera's built-
in image retouching options, the camera
| | 00:17 | alters your original image
and saves out a new version.
| | 00:20 | If you're working with RAW files, then
no actual edits are made to your RAW file.
| | 00:24 | Instead, the file is
tagged as having been edited.
| | 00:27 | If you use Nikon editing software on
your computer, then the edits will be made
| | 00:31 | to the RAW file when you open it.
| | 00:33 | These features are handy if you
absolutely need to get an edit made quickly, but
| | 00:36 | in general, I don't recommend that
you use these features that much.
| | 00:39 | The editing capabilities in the image
editing software on your computer offers
| | 00:43 | much more control and will often
yield much better quality results.
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| Applying image retouching| 00:00 | You'll find Image Retouching Effects
here in the Retouch menu that's the one
| | 00:04 | that looks like the little paintbrush,
and when you select it, you get this long
| | 00:07 | scrolling list of effects
that you can apply to your image.
| | 00:11 | These are all detailed in the D7000
manual, and applying them for the most part
| | 00:16 | is the same no matter what effect you choose.
| | 00:17 | For example, I'm going to convert a
picture to monochrome, this is going to give
| | 00:20 | me a black and white image.
| | 00:21 | So I select that effect and the first
thing I get is a couple of different options.
| | 00:26 | in addition to just straight Black-and-
white, I can do a Sepia toning to make
| | 00:30 | the image look antique.
| | 00:31 | I can do a Cyanotype which will
give it a blue duotone like look.
| | 00:35 | I'm going to just go for straight Black
-and-white, and when I get in here, it
| | 00:39 | gives me a batch of thumbnails
of all the images on my card.
| | 00:42 | Now I just pick the one that I want to edit.
| | 00:44 | I'm going to go for this one right
here and hit OK and it pulls me up a nice
| | 00:49 | full-screen view so I can
see if I really like it.
| | 00:51 | If I want it, I just hit the OK
button to save it, and of course, this is
| | 00:55 | writing out a copy as we explained
earlier, so I haven't damaged my original
| | 00:59 | image and you can see that it's
been tagged as being retouched.
| | 01:03 | You cannot apply the same
effect to an image more than once.
| | 01:06 | That's part of the reason that tag is on there.
| | 01:09 | So if you're interested in these, just
again, browse the manual and see what the
| | 01:13 | effects are, do some fiddling on your own,
you can't damage any of your original
| | 01:17 | images since it's writing out copies.
| | 01:19 | If you're working with RAW files, then
those tags that are applied will be read
| | 01:24 | by Nikon's RAW processing software and
it will then do these effects for you
| | 01:28 | once you get back to your computer.
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| NEF (raw) processing| 00:00 | If you're a RAW shooter and you're
working in the field, you may from time to
| | 00:04 | time find that you need a JPEG file,
maybe you need to email an image to
| | 00:08 | somebody or get an image off to somebody
who can't work with your particular RAW files.
| | 00:13 | You could, of course, shoot RAW plus
JPEG but that will use up more storage.
| | 00:16 | Another option is to let the camera
convert your RAW file into a JPEG for you.
| | 00:21 | If you look in the Retouch menu,
you'll see down here NEF (RAW) Processing.
| | 00:26 | This lets me pick a RAW image on my
camera, say OK, and after it does a little
| | 00:31 | bit of thinking, I get a full
assortment of RAW controls over here.
| | 00:36 | I can choose the quality of the
resulting JPEG image, I can choose the size, a
| | 00:41 | White balance setting, I can apply
Exposure Compensation to brighten or darken
| | 00:44 | it, apply a Picture Control, turn on
High ISO Noise Reduction, choose a Color
| | 00:50 | space, activate or modify my
Active D-Lighting settings.
| | 00:55 | And once I've got all that ready, I
just hit OK and it writes out a JPEG file
| | 01:01 | directly to my card with the same
filename as my RAW file but a JPEG extension.
| | 01:05 | I can now pull that JPEG off of the
card and do whatever I need to with it.
| | 01:09 | So this is a really nice way of
getting JPEGs when I need them, but without
| | 01:14 | having to commit to a full
RAW+JPEG approach to shooting.
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17. Caring for Your CameraCamera and sensor cleaning| 00:00 | Basic maintenance of your
camera is pretty intuitive.
| | 00:03 | Don't drop it, don't bang it into 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.
| | 00:18 | If you end up with some dust on your
sensor, which you will see a spot in your
| | 00:22 | image, then it's safe to assume that the
built-in sensor cleaning that activated
| | 00:27 | when you turned the camera on, didn't work.
| | 00:29 | That doesn't mean that it still can't
solve your problem if you just maybe run
| | 00:33 | it again or even a couple more times.
| | 00:35 | If I go here to my Tools menu and come
down here to Clean image sensor, I can
| | 00:41 | hit the OK button on Clean now and it
will go through its shaking mechanism
| | 00:46 | again to try and clean my sensor.
| | 00:47 | If I want, I can configure this
startup and shut down cleaning.
| | 00:51 | I can tell it to clean at startup or at
shutdown or both, or I can turn that off altogether.
| | 00:56 | Honestly, I can't give you a good
reason for modifying these settings because
| | 00:59 | the cleaning is so quick and interruptible.
| | 01:03 | there is really no reason not to leave it on.
| | 01:06 | Perhaps there is a battery argument
that you could make that if your battery is
| | 01:10 | running down, you should maybe turn it
off altogether, but in general, I would
| | 01:13 | leave this on, because it does a very good.
| | 01:16 | The camera's built-in cleaning is very
effective, but there will be times when
| | 01:19 | your sensor gets dust that the
built-in cleaning can't remove.
| | 01:23 | In Foundations of Photography:
| | 01:24 | Lenses, I cover how to
clean your 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
| | 00:04 | that and you're proud of it and it's
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 get
| | 00:13 | over trying to keep it pristine,
you'll be more likely to take it into more
| | 00:17 | shooting conditions.
| | 00:18 | The D7000 manual lists the working
temperature range as 32 to 104 degrees Fahrenheit.
| | 00:24 | That's 0 to 40 degrees Celsius.
| | 00:26 | While it's a good idea to follow those
guidelines, I've also gone beyond them
| | 00:30 | and I've never had any problems.
| | 00:31 | Now, I am not saying that you can
absolutely go into extreme heat or deep cold
| | 00:36 | and not have issues, but my
experience is that that's specified temperature
| | 00:39 | range is a little conservative.
| | 00:41 | Fortunately, the camera will begin to
exhibit certain symptoms when you start
| | 00:45 | pushing the limits of its temperature range.
| | 00:46 | If you're in extreme heat, the LCD
screen on the back might start to
| | 00:50 | discolor, cold weather might also
cause the LCD screen to discolor or exhibit
| | 00:54 | a really slow refresh rate.
| | 00:56 | If that starts to happen, just turn it off.
| | 00:58 | Cold weather will also reduce
your battery life, but don't worry.
| | 01:01 | there won't be any permanent damage
to your battery, but you may find that
| | 01:04 | it goes dead quicker.
| | 01:06 | If it does lose its charge, take it out
of the camera and put it in your pocket
| | 01:10 | or against your body.
| | 01:11 | If you warm the battery backup, you maybe
able to coax a few more shots out of it.
| | 01:14 | One of the biggest problems with cold
weather is when you take your camera back indoors.
| | 01:19 | A sudden warming of the camera can
cause condensation to form inside and that
| | 01:24 | can mess up your viewfinder.
| | 01:25 | If you have been out shooting in
subfreezing temperatures for a while, put the
| | 01:28 | camera in a Ziploc bag and seal
the bag up before you come indoors.
| | 01:33 | Leave the camera in the bag for a while,
while the temperature equalizes before
| | 01:36 | you take the camera out and start to use it.
| | 01:39 | Water and electronics typically don't
mix very well, but just because it's
| | 01:42 | raining doesn't mean that
you should stop shooting.
| | 01:44 | Light rain or splashes on the
outside of the camera won't hurt anything.
| | 01:47 | So don't use a little rain
as an excuse to stay inside.
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| Firmware updates| 00:00 | Your camera is a piece of hardware, of
course and it comes with editing software
| | 00:05 | that you install on your computer.
| | 00:07 | Somewhere between hardware and software
is firmware, software that runs on the
| | 00:12 | computer inside your hardware.
| | 00:14 | The firmware in your camera is what
controls all of the camera's functions and
| | 00:17 | operations and occasionally
Nikon will update that firmware.
| | 00:22 | Before you go look for a firmware
update for your D7000, you need to know what
| | 00:25 | version of the firmware
you're currently running.
| | 00:28 | Hit the Menu button and go to
the very bottom of the Setup menu.
| | 00:31 | That's a little wrench menu, the
very last item is Firmware version.
| | 00:35 | If I pick that, it tells me what version
of the firmware I am using, you'll need
| | 00:40 | this information when you go to the
website to look for a newer version.
| | 00:44 | Once you know what version firmware is
already installed on your camera, point
| | 00:47 | your web browser to nikonusa.com.
| | 00:51 | From the main screen go to the Service &
Support menu and choose Download Center.
| | 00:56 | From there, you'll have a number of options.
| | 00:57 | You can download product manuals, new
versions of the software that was included
| | 01:01 | with your camera, and down at the very
bottom there you see Download Current
| | 01:04 | Firmware, Get the most recent Nikon
firmware versions. Click on that.
| | 01:09 | When the page loads, you'll see a
number of different categories right here.
| | 01:12 | I have got Coolpix.
| | 01:13 | those are some point-and-shoot cameras,
DSLRs, and then Scanners and other products.
| | 01:17 | Click on DSLRs and that will take you
down to a long scrolling list of SLRs and
| | 01:22 | right down here I see D7000.
| | 01:24 | Obviously, the list maybe different
when you look at it depending on what other
| | 01:27 | cameras Nikon may have released.
| | 01:29 | At the time that I am looking it
says there is a 1.02 firmware update.
| | 01:33 | If that turns out to be newer than
what my camera has, I can just click on
| | 01:36 | that link to download it and then
follow the included instructions to install the firmware.
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ConclusionGoodbye| 00:00 | You should now have a pretty good idea about
what all those buttons and dials on your camera do.
| | 00:05 | Of course, understanding what they do
and being comfortable with using them are
| | 00:08 | two different things.
| | 00:09 | So now you need to take that
understanding out in the field and practice.
| | 00:13 | To be adept at shooting with your camera
you'll need to know all of 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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