IntroductionWelcome| 00:04 | Hi! My name is Ben Long.
| | 00:05 | Understanding your gear is essential
to consistently taking good photos.
| | 00:09 | Yes, you can throw your camera into
auto mode and get good shots most of the
| | 00:13 | time, but you will run into
situations that will flummox your camera's auto
| | 00:17 | features, and in those instances you
need to know how to adjust your camera
| | 00:21 | to get good results.
| | 00:23 | In this course, you're going to explore all
of the critical features of your Nikon D5100,
| | 00:28 | the features that any beginning-to-
intermediate shooter will need to know.
| | 00:32 | You'll see what the D5100's different modes do,
| | 00:35 | how you can alter and tweak those modes,
how to shoot video using the cameras
| | 00:39 | amazing HD video features, how to
customize the camera to make it easier to use
| | 00:43 | for your particular shooting tasks, and
how to use the camera's various exposure
| | 00:47 | controls to correct exposure while you shoot.
| | 00:51 | Now this is not a photography course;
| | 00:53 | we will not be going into detail,
into exposure theory and the other
| | 00:56 | fundamentals of photography, but we will
give you reminders about specific terms
| | 01:00 | and processes, and tell you when it's a
good idea to watch an additional lynda
| | 01:04 | course that might help with the fundamentals.
| | 01:07 | This course, combined with a couple of
other courses, will provide you with a
| | 01:10 | full photo curriculum, but one
that's build around the D5100.
| | 01:14 | This means that you can learn
photography in terms of the specific buttons and
| | 01:18 | controls on your exact camera.
| | 01:21 | So get your camera close to hand as
we delve into the particulars of the
| | 01:24 | Nikon D5100.
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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 film
| | 00:10 | or paper or a digital image sensor.
| | 00:13 | The focal plane needs to sit directly
behind the lens because the lens is used
| | 00:17 | to focus light onto your recording medium.
| | 00:20 | Another way to think of it is that the
recording medium looks through the lens.
| | 00:25 | What's tricky about camera design is
that if the recording medium is sitting
| | 00:29 | there looking through the lens, how is
there room for you to look through the
| | 00:32 | lens to frame your shot?
| | 00:34 | Camera designers have wrestled with
this problem since the beginning of
| | 00:37 | photography, and they've
come up with lots of solutions.
| | 00:39 | For example, with a view camera, you
actually take the recording medium off
| | 00:44 | so that you can look through your
lens to line up the shot, and then you put
| | 00:47 | the recording medium back on.
Needless to say, this doesn't make for
| | 00:51 | particularly speedy shooting.
| | 00:53 | In a twin-lens reflex camera, you
look through one lens and a second
| | 00:57 | 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
| | 01:10 | camera looks through this lens.
| | 01:12 | I still might have parallax issues, but
with a camera like this I can actually
| | 01:15 | change lenses and still
have a viewfinder that works.
| | 01:18 | The SLR, or Single Lens Reflex, solves all
of the issues with these other designs.
| | 01:23 | With an SLR there is just one lens, a
single lens, and both you and the recording
| | 01:29 | medium look through that same lens.
| | 01:31 | So how is it possible that that same
lens can expose the image sensor and
| | 01:37 | give me a viewfinder?
| | 01:39 | You know where the lens is on your
camera and of course this is the viewfinder.
| | 01:42 | My image sensor sits right back here,
directly behind the lens, so light can come
| | 01:47 | straight through the lens directly to
the image sensor, but how is it that it
| | 01:51 | can also get up here so that I
can see it out the viewfinder?
| | 01:54 | On this camera it's all done with mirrors.
| | 01:56 | Light comes into the lens and hits a
mirror that's sitting right here like this.
| | 02:01 | That bounces the light up here into
another system of mirrors called a
| | 02:05 | pentamirror. That pentamirror in turn
sends the light back out through the
| | 02:09 | viewfinder where you can see it.
| | 02:10 | When the mirror is up, light is no
longer being bounced up into the viewfinder.
| | 02:15 | That's why the viewfinder goes
black when you press the shutter button.
| | 02:18 | Now you can actually see a lot of this stuff
if you just take the lens off of your camera.
| | 02:25 | You can look here into the mirror
chamber and see that there is in fact a
| | 02:29 | mirror right there.
| | 02:30 | In fact, you can even look up
there and see other mirrors.
| | 02:34 | Now watch what happens when you
press the shutter button. This is some
| | 02:37 | high-speed video of another camera.
| | 02:38 | Notice the mirror flips up, the
shutter opens and closes and then the mirror
| | 02:43 | comes back down, and sitting directly behind
that shutter was the camera's image sensor.
| | 02:50 | So what's the downside?
| | 02:52 | SLRs are larger than a typical rangefinder
camera, which makes them a little convenient.
| | 02:57 | They can't have the giant media
sizes of a big viewfinder.
| | 03:00 | They have got lots of
mechanical parts that can break.
| | 03:02 | They can be noisy. But overall today's
SLRs, particularly digital SLRs, offer the
| | 03:07 | best all-around camera design,
allowing for incredible flexibility of lens
| | 03:11 | choice, shooting options,
| | 03:13 | they give you portability,
and a lot of ease of use.
| | 03:16 | While there are a lot of great
digital point-and-shoots on the market--and a
| | 03:19 | point-and-shoot camera is often the
best camera choice depending on the
| | 03:23 | shooting situation--
| | 03:24 | in spite of that, SLRs score over their
smaller point-and-shoot counterparts, both
| | 03:28 | in terms of image quality
and shooting flexibility.
| | 03:31 | With their larger sensor size, they
provide better quality better, better
| | 03:35 | low-light performance, and the ability
to shoot with shallower depth of field.
| | 03:39 | With their interchangeable lenses,
fast burst rates, and advanced features you
| | 03:43 | can shoot just about any subject with an SLR.
| | 03:46 | Now you just have to learn how to use
it, but you will learn all about that
| | 03:49 | in this course.
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| How to use this course| 00:00 | I divide the teaching of
photography into two major categories of
| | 00:03 | instruction: artistry and craft.
| | 00:06 | Artistry is the study of all 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 Digital SLRBasic camera anatomy| 00:00 | Before we go any further, we need to
get some basic terminology out of the way.
| | 00:03 | 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 and the power switch which
| | 00:16 | surrounds the shutter button.
| | 00:17 | A few fairly critical controls here:
exposure compensation, video recording, and
| | 00:22 | then an info button, which helps
you control the rear LCD screen.
| | 00:27 | Live View switch, a mode dial, a hot
shoe for attaching an external flash and
| | 00:32 | finally mounts for attaching a camera strap.
| | 00:35 | On the back of the camera is where
you'll find the bulk of the controls: the
| | 00:38 | main dial, which you will use for
navigating menus and changing exposure
| | 00:42 | parameters in different ways;
| | 00:44 | the Auto Exposure Lock button; the Info
Edit button, which is a shortcut button
| | 00:49 | for changing lots of different parameters;
the menu button for getting into the menu
| | 00:53 | system; playback button for starting playback--
| | 00:56 | this is a little four-way
controller with an OK button in the middle--
| | 00:59 | you will use this for navigating menus;
| | 01:01 | finally, we've got zoom-in and zoom-out buttons--
The zoom-out button is also a help button;
| | 01:06 | finally, the Delete button that you will
use in Playback mode for deleting images.
| | 01:10 | Your LCD screen on this
camera flips out and moves around.
| | 01:13 | This is a really handy feature that
gives the camera a lot of flexibility. And of
| | 01:17 | course, we have our viewfinder, the
diopter control, which you will see, and a
| | 01:22 | media slot for inserting a
secure digital card into the camera.
| | 01:27 | Over here on the side we have some
ports that are used for connecting the camera to
| | 01:32 | your computer or to a video monitor.
| | 01:34 | I open those up and I have got audio-
visual out, a GPS connection, a connection
| | 01:39 | for attaching an external microphone--that
can be very handy when you're shooting
| | 01:43 | video--and finally an HDMI port for
attaching to an external monitor.
| | 01:47 | This door is fixed by only one
small little piece of rubber there.
| | 01:51 | It's sturdy but still, be careful with
this when you're opening and closing it.
| | 01:54 | You've kind of got to mash it back
in there to get it back in properly.
| | 01:59 | Around towards the front of the camera,
we have a flash button for popping up
| | 02:03 | the flash and for controlling
flash exposure compensation;
| | 02:07 | a function button which is programmable--
you can make that do lots of different
| | 02:11 | things; a lens release button
that you use for changing lenses.
| | 02:15 | The lens itself has some controls on it.
| | 02:16 | We are going to discuss
those in a separate movie.
| | 02:19 | Moving on around to here, you can see
the auto-focus assist Lamp, which is also
| | 02:25 | used for red-eye reduction.
| | 02:27 | This is an infrared receiver for when
you're using an infrared remote, and
| | 02:31 | finally over here on the side, as I
mentioned before, a slot for inserting a
| | 02:36 | secure digital card.
| | 02:37 | So don't worry about
remembering every one of those things.
| | 02:39 | We are going to go over most of those
controls in great detail, and you are going
| | 02:43 | to learn about them as we go,
where they are, and how to use them.
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| Attaching a lens to your camera| 00:00 | One of the great advantages of an SLR is
that you can change the lens on the camera.
| | 00:04 | This affords you a tremendous
amount of flexibility and power because
| | 00:08 | you can select a focal length or focal-
length range that's ideally suited to
| | 00:11 | your subject matter.
| | 00:12 | You can also attach specialized lenses, such
as fish-eyes and tilt-shift lens and macros.
| | 00:19 | Attaching a lens to your
camera is actually very easy.
| | 00:22 | First of all though, notice that there
is a cover on the front of the camera.
| | 00:26 | This is very important.
| | 00:27 | Anytime I don't have a lens attached
to my camera, I want to be sure that this
| | 00:30 | cover is on here because underneath
this cover are the guts of the camera.
| | 00:34 | They are directly exposed.
| | 00:36 | This is the mirror chamber.
| | 00:37 | Inside there is the image sensor.
| | 00:39 | If stuff gets on there, that
can show up all my final image.
| | 00:42 | So I want to be sure that this is
covered anytime I don't have a lens attached.
| | 00:45 | Similarly, if I have a lens that's not
attached to a camera, I want to be sure
| | 00:49 | that this cover is on the end of the
lens, because this is the end that goes into
| | 00:55 | the camera and if it gets dirty or
if it gets dust on it, that can be
| | 00:58 | transferred directly to the image sensor.
| | 01:00 | Most dust that you end up with on your
sensor ends up coming from the end of the lens.
| | 01:04 | So to attach a lens, I first
need to remove these two caps.
| | 01:08 | Now, I want to think
about what to do within here.
| | 01:10 | I don't want to just stuff them in my
pockets like this, because if I do, they are
| | 01:13 | going to get lint and pocket
stuff all over them, and that could end up
| | 01:17 | getting transferred to the inside of
a camera, or to the end of a lens, which
| | 01:20 | could then be transferred
to the inside of the camera.
| | 01:22 | So what I am going to do is screw them
together, and now that's pretty well sealed up.
| | 01:26 | I can put that in my
camera bag or even in my pocket.
| | 01:29 | I do just want to keep an eye on it
though. When I unscrew them to put them on
| | 01:32 | the camera and the lens, just make sure
they are clean so that they don't become
| | 01:36 | a vector for getting dust into either place.
| | 01:40 | To attach the lens, I find the white dot
that's on the outside of the lens body
| | 01:44 | and I match it up with the
white dot that's on the camera body.
| | 01:47 | So those get lined up, the lens goes
flush with the body of the camera, and then
| | 01:52 | I just rotate until I hear that click,
and that click happens when the white dot
| | 01:56 | is pointing straight up.
| | 01:58 | It's a really solid attachment.
| | 01:59 | The lens shouldn't wiggle or shake at all.
| | 02:02 | To get the lens off, I push and hold
this lens release button and turn until the
| | 02:06 | white lines are aligned, and
then the lens just pulls off.
| | 02:09 | If you are having any trouble doing this,
if you are having to pull and twist
| | 02:13 | and shake, then you're doing something wrong.
| | 02:15 | This is a very fluid, easy process.
| | 02:17 | The lens just goes in and turns.
| | 02:19 | There shouldn't be any difficulty.
| | 02:20 | If you're having any, you need to go
back and review the process and make
| | 02:23 | sure that everything is lined up properly and
that you're pushing the lens all the way in.
| | 02:27 | So I've got a lens on my camera.
| | 02:30 | Now it just needs a battery and a media card.
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| 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 D5100 can be
recharged with the included power supply.
| | 00:15 | All you do is take the
battery and snap it in to place.
| | 00:18 | It only goes in the right way. And if
you notice, there are contacts here on the
| | 00:21 | battery; they need to line up
with those contacts right there.
| | 00:24 | It goes in like this and then pushes down,
and then you'll need to flip this out
| | 00:30 | and plug it into the wall.
| | 00:31 | While it's charging, this light will
flash. When it's completely charged, the
| | 00:36 | light will turn solid.
| | 00:37 | Now these batteries are very
forgiving in their charging habits.
| | 00:40 | Unlike old rechargeables, you don't have
to drain them completely before recharging,
| | 00:44 | so don't hesitate and top them off
before you go on a long shooting trip.
| | 00:47 | From time to time though, it is a good
idea to drain the battery completely and
| | 00:51 | then give it a good solid charge. That
will recondition it and possibly make it
| | 00:55 | last a little bit longer.
| | 00:56 | To get the battery into your camera, you
just open this door on the bottom of the camera.
| | 01:02 | There is a little switch that you
pull down, and pull the door out, and it
| | 01:05 | hinges open like that.
| | 01:07 | Just as with the charger, the battery
only goes in the right way, and there's
| | 01:10 | actually little illustration here to show you.
| | 01:12 | You take the contacts and they go in first,
and I cannot put the battery in the wrong way,
| | 01:17 | so this is pretty easy.
| | 01:18 | I just put it in and push until it snaps.
| | 01:21 | If the battery pops back out, I don't
have it in the right place. And then I
| | 01:26 | push and close the door.
| | 01:27 | To get the battery back out, I
need to pull this little lever and the
| | 01:31 | battery slides out.
| | 01:32 | You may have to shake the
camera or grab on and pull.
| | 01:36 | Once you've got the battery in,
you're ready to put in a media card.
| | 01:39 | Right on the same side of
the camera is a little door.
| | 01:42 | I pull it towards the back of the
camera and let go and it pops open.
| | 01:45 | Just like the battery, the
card only goes in the right way.
| | 01:48 | This is a Secure Digital, or SD, card.
| | 01:50 | You can get this at any type of
electronic store or camera store.
| | 01:54 | Push it in, and push it until it clicks,
and let go and the card should not pop
| | 02:01 | out. Then you can close the door.
| | 02:03 | Now to get the card out,
you don't just pull it out;
| | 02:07 | you push on it and it pops out a little ways.
| | 02:09 | That gives you room to grab on and pull.
| | 02:12 | So if you find that you are having to
dig around in there, it's because you
| | 02:14 | didn't push the card first.
| | 02:16 | When it pops out, it really pops out far
enough for you to get a good hold on it.
| | 02:19 | These cards are pretty delicate; be very
careful when you're putting them in and out.
| | 02:23 | If they get flexed at all, if you bend
it at all, it's possible for the little
| | 02:26 | plastic casing to split open.
| | 02:28 | You might be able to mash it back shut
and have it stay or even glue it with
| | 02:32 | like some model airplane
glue or something like that.
| | 02:34 | In general, it is just best to be very
careful with them; they are delicate.
| | 02:37 | So the card is in, the battery is in.
| | 02:38 | I am ready to start shooting.
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| Powering up| 00:00 | It may seem strange to devote an
entire movie to turning your camera on, but a
| | 00:06 | lot of things happen when you power
up your camera and it's important to
| | 00:08 | understand what they are
and how you can alter them.
| | 00:12 | Because the lens of a camera is
removable, it's possible for dust to get inside
| | 00:17 | the camera body and get on the sensor.
| | 00:19 | If that happens, you will see smudges
and spots and things on your images.
| | 00:24 | There is a clear filter in front of
the image sensor in your camera, so dust
| | 00:28 | never actually gets on the sensor
itself, but 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 fall off, and there are
number of ways that you can rearrange and
| | 00:48 | customize that cleaning function.
| | 00:51 | Powering up the 5100 is very simple.
| | 00:53 | My power switch is right here,
located just around the shutter button.
| | 00:57 | Simply flip that to on and
the camera does its thing.
| | 01:00 | After it's cleaned its sensor and
pulled itself up by its own bootstraps, it
| | 01:04 | shows me the basic status display, which
then times out after a certain amount of time.
| | 01:10 | The camera is on. There's no indication
that it's on, other than the position of
| | 01:13 | this switch, and the fact when I half-
pressed the shutter button, all of this
| | 01:17 | stuff lights up again.
| | 01:18 | We will learn more about
this half-pressed thing later.
| | 01:20 | Note that the camera will doze
off eventually to save your battery.
| | 01:25 | To turn it off, I just switch
it back to the off position.
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| Menu navigation and factory defaults| 00:00 | There are a lot of settings on your
camera, and if you've been fiddling with the
| | 00:04 | thing, there's 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 can't
| | 00:19 | figure out why it's doing a particular
thing, but at that point, I'd encourage
| | 00:22 | you to really try to figure out why
it's doing what it's doing so that you can
| | 00:25 | understand it better.
| | 00:26 | Think of reset as kind of a nuclear option.
| | 00:30 | Note that resetting does not
reset the clock in the camera.
| | 00:34 | Your D5100 has a lot of functions and
parameters to control, and you'll control a
| | 00:38 | lot of them through buttons
on the outside of the camera.
| | 00:41 | You'll control a lot of others
through the menu that appears in the status
| | 00:44 | display, but you'll do still others
through the camera's menuing system.
| | 00:49 | If I hit the menu button, I get a
collection of menus that I can navigate
| | 00:53 | through these tabs over here.
| | 00:55 | Right now, my cursor is set on this menu item.
| | 00:57 | If I hit the left arrow
button, it pops over here.
| | 01:00 | Now I can go up and down
through all of these different menus.
| | 01:03 | So I have the Playback menu,
Shooting, Custom Settings, Setup, Retouch,
| | 01:08 | and Recent Settings.
| | 01:10 | Once I've picked the menu I want to explore,
| | 01:13 | I can hit the right arrow button,
and then navigate up and down the
| | 01:16 | different parameters.
| | 01:18 | To adjust a parameter, in most cases I
just hit the right arrow and then pick
| | 01:23 | something from a menu, and it
prompts me to hit OK to select that item.
| | 01:29 | When I do, it goes back up a level.
| | 01:31 | If I'm in here and don't want to
select one of these and just want to go
| | 01:34 | back a level, I can hit the left arrow and
that takes me back here to my Shooting menu.
| | 01:39 | I'm going to set this back
where it was and hit OK.
| | 01:42 | I can get out of the menu at anytime by
simply half-pressing the shutter button.
| | 01:47 | That means that I'm always just one
half-press of the shutter button away from
| | 01:51 | being able to take a picture.
| | 01:53 | So you don't have to worry about going
into the menus possibly keeping you from
| | 01:56 | being able to get a shot.
| | 01:59 | This last menu here, Recent Settings,
always shows the last settings or the last
| | 02:06 | menu items that I've accessed.
| | 02:08 | So you can see just now, by way of
example, I had showed you a change to the
| | 02:12 | Image Quality Setting.
| | 02:13 | So now it's right up here.
| | 02:15 | This means the things that you use
the most will always appear in this
| | 02:18 | menu automatically.
| | 02:19 | So it may be that you rarely need to go
into any of these other menus. You can
| | 02:24 | just stay here in the Recent Settings menu.
| | 02:26 | One nice thing about the menu command,
or the menu button, is when I push it, it
| | 02:30 | always takes me back to the last place I was.
| | 02:33 | So if I just go to this Recent
Settings menu, now anytime I go back to the
| | 02:37 | menus, this is where I'll pop up.
| | 02:39 | So this will automatically kind of
aggregate the most common functions that I
| | 02:44 | use, and because I will now always
come back to this menu--until I change to
| | 02:48 | another menu--most of the
functions that I use will be right here.
| | 02:51 | I am going to look at one specific function,
and that is over here in the Shooting menu,
| | 02:57 | if I scroll down, first of all
notice as I scroll down my scrollbar moves,
| | 03:02 | so I can see that there are
actually a lot of commands in this menu.
| | 03:06 | In this course, I'm not necessarily always
going to take you through the entire menu.
| | 03:11 | I'm going to show you what menu to go
to and show you the name of the command,
| | 03:15 | and you're going to need to
find the command yourself.
| | 03:18 | In the Shooting menu,
there is Reset Shooting menu.
| | 03:22 | Because you may have been playing with
your camera and changing some settings, I
| | 03:26 | would like you to reset it now, hit
the right arrow, and then just say Yes to
| | 03:31 | the Reset Shooting menu command.
| | 03:33 | That will guarantee that your Shooting
menu looks the same as mine, and that will
| | 03:37 | make it easier for you to follow along
with some of the examples in this course.
| | 03:41 | I also need to come down here to Custom
Setting menu and say reset custom settings.
| | 03:47 | If you do those two commands,
there is a much better chance that what
| | 03:49 | your camera looks like will match
what ours looks like through the rest
| | 03:53 | of this course.
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| Setting the date and time| 00:00 | Your camera has a clock and a calendar in it.
| | 00:03 | Every time you take a picture, the date
and time are stored with that picture.
| | 00:08 | This can be very handy when you're
editing, not just to find out when you took
| | 00:11 | a picture, but for sorting your
images or searching for images or for
| | 00:15 | geotagging your images.
| | 00:17 | With the right hardware and software,
you can add longitude and latitude data to
| | 00:20 | your images in post-production,
| | 00:22 | but for that to work you have to
have the camera's clock set properly.
| | 00:26 | Also, if you travel, you'll want to
reset the clock as you change time zones,
| | 00:30 | so knowing how to set the
date and time is very important.
| | 00:33 | To set the date and time on a
5100, press the menu button.
| | 00:37 | By default, you'll probably come up
to the Shooting menu, unless you've
| | 00:40 | already been fiddling with the menus,
in which case you'll come up to the last
| | 00:43 | menu you were looking at.
| | 00:44 | We want to go down here to the Setup
menu, which is the one that looks like a
| | 00:48 | little wrench, and then right-arrow over
to here, and you've got to scroll down
| | 00:52 | a ways, and there is Time Zone and Date.
| | 00:55 | Now you've probably already set the
time because the camera asks you to do that
| | 00:59 | when you first turn it on,
| | 01:00 | but there are some other features in
here that you might use somewhat regularly.
| | 01:04 | Well, let's go through the whole processor here.
| | 01:05 | First, we set the time zone.
| | 01:07 | I can just scroll left and right to find
the particular spot in the world where I live,
| | 01:12 | so I'm going to do that and then hit OK.
| | 01:15 | Next, I need to set the date and time.
| | 01:18 | I've got Year, Month, Date,
Hours, Minutes, Seconds.
| | 01:20 | You can just scroll back and forth
with the left and right arrow keys, up and
| | 01:24 | down to change a value.
| | 01:26 | When you're done, hit the OK button.
| | 01:29 | I can choose the Date format that I want;
| | 01:31 | Day/Month/Year, Month/Day/Year, Year/
Month/Day, whatever your preference is for
| | 01:35 | your particular location.
| | 01:37 | I've got a toggle switch
here for Daylight Savings Time.
| | 01:40 | As Daylight Savings Time goes on and
off, you can also change the Daylight
| | 01:43 | Saving Time feature here, and your
camera will adjust its time automatically.
| | 01:48 | Most importantly though, I
can now change my time zone.
| | 01:51 | If I go traveling, I can come in here
and just dial in a new time zone, and
| | 01:55 | notice that for every time zone that's
highlighted, I get some sample cities
| | 01:59 | that are in that time zone to give me a better
idea of exactly where I am in the world here.
| | 02:04 | Hit OK and my clock is automatically
adjusted for the time difference between
| | 02:09 | my original time and where I moved to, and
then I can just set it back when I get back home.
| | 02:13 | So this is a great way of ensuring
that the date and time metadata that's
| | 02:16 | written into my images is
correct as I go traveling.
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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
| | 00:13 | to 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.
| | 00:26 | Press the menu button to get into your menus.
| | 00:28 | You want to be in the Setup menu.
| | 00:29 | I'm going to scroll way down because
language is not something that you change
| | 00:34 | very often, so Nikon has
kind of buried it down here.
| | 00:37 | You can see that there's this little
icon of a guy with a speech balloon.
| | 00:40 | That always stays there, so that no
matter what the language says, you can
| | 00:44 | still find your way back.
| | 00:45 | Then you just have this long list of languages
| | 00:48 | you can scroll through until you find
the one that's right for you, and just hit
| | 00:52 | OK, and the menus in
your camera will be changed.
| | 00:56 | I'm going to set that back to
English, and then I'm ready to go.
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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
| | 00:11 | anytime that you want to erase your card.
| | 00:14 | So after you've pulled images into
your computer, you'll need to put the card
| | 00:17 | 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, hit the menu button.
| | 00:51 | In the Setup menu, which is this little
wrench menu, the very first item is Format
| | 00:56 | Media Card. Just hit OK.
| | 00:58 | It's going to warn you that all
images on the memory card will be deleted.
| | 01:02 | We know that. That's why we're
doing this in the first place. Hit OK.
| | 01:06 | It says it's formatting. Depending on
the size of your card, it probably won't
| | 01:10 | make that much difference in time.
| | 01:12 | When it's done, you'll be back to
your menu, and you're ready to go.
| | 01:14 | Remember, this is how you're going to
erase your card every time you've pulled
| | 01:18 | images off of it and are ready to start over.
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| Holding the camera| 00:00 | I suppose there's really no wrong way to
hold a camera, but there are definitely
| | 00:03 | better ways to hold a camera.
| | 00:05 | Proper camera handling will allow
you to shoot more stable footage,
| | 00:09 | it'll keep you from getting tired and
sore, and it will help ensure that you
| | 00:12 | don't damage your camera.
| | 00:14 | If this is your first SLR, if you're
coming from a point-and-shoot camera, it may
| | 00:17 | take you a little while to get used to
the weight and balance of working with an
| | 00:21 | SLR, but holding one is actually pretty simple.
| | 00:24 | Take your left hand, and
just drop the lens right in it.
| | 00:26 | This is the main source of support for
your camera. And if you look at the rest
| | 00:30 | of my fingers, you see the camera
body is just sitting on top of my other
| | 00:34 | fingers, which are folded under here.
| | 00:36 | Most important thing to know about holding
a camera though is it's about the elbows.
| | 00:40 | Look at where my elbow is
when I'm holding my camera.
| | 00:42 | It's mashed against my body.
| | 00:44 | That makes this whole thing very, very
stable. So the camera is resting in here,
| | 00:48 | and with my right hand, I
wrap around the battery grip.
| | 00:50 | This gives me a little extra
stability and it puts my finger right where it
| | 00:54 | needs to be to press the shutter button.
| | 00:57 | My right elbow is also mashed against my body.
| | 01:00 | So I've got both arms up against my body,
the camera just resting in my hands.
| | 01:03 | This is a very, very stable position.
| | 01:06 | You want to just get used to the
feeling of having your arms pressed against
| | 01:09 | your body when you're shooting, and
that's true even when you turn the camera to
| | 01:13 | start shooting portrait-oriented images.
| | 01:15 | Rather than going like this and
throwing this elbow up into the air and losing
| | 01:19 | all that nice stability you had, turn
the camera the other way. Put it up here.
| | 01:23 | Now, you've got to
change your grip a little bit.
| | 01:25 | My left hand is no longer
what's supporting the camera;
| | 01:27 | it's now my right hand. And my left hand
is serving to stabilize it, and you may
| | 01:31 | have to change your finger
around to grab the shutter button.
| | 01:35 | But this should still be very
comfortable, and you still feel your elbows
| | 01:38 | pressed against your side.
| | 01:39 | You can then easily change
back to the landscape orientation.
| | 01:43 | Remember, too, that your
hands go all the way to your face.
| | 01:45 | You don't put the camera up to
here and then crane your neck in.
| | 01:48 | This is bad for your neck.
| | 01:49 | It's less stable because now your spine
isn't straight. And it's going to make
| | 01:53 | your neck tired over the course of a
long day of doing that, particularly if
| | 01:56 | you're carrying a heavy
bag on your shoulder also.
| | 01:58 | Take the camera all the way up to your
eye and then gently squeeze the button.
| | 02:04 | We're going to talk a lot about
pressing the shutter button throughout this
| | 02:06 | course, not just in terms of camera
stability, but also in terms of auto-focus.
| | 02:12 | Your camera should have come with a
camera strap; be sure and put that on.
| | 02:16 | If you don't have one, go buy one,
or maybe even consider a wrist strap--
| | 02:20 | something that will help you to keep
from dropping the camera will just
| | 02:23 | generally make it more sturdy and
sometimes give you a way of stabilizing the
| | 02:27 | camera you can pull against
the strap, that kind of thing.
| | 02:29 | It's worth taking the time to
practice exactly what I have shown you, get
| | 02:33 | used to the feeling.
| | 02:34 | It will help you shoot more stable
footage, and that means a better chance of
| | 02:37 | more of your shots coming out 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
lots of decisions is a better way to
| | 00:14 | go because it allows you to work more
quickly, while at other times, you'll
| | 00:18 | want control over some decisions to ensure
that you get the type of shot that you want.
| | 00:22 | You change modes using the mode dial right here.
| | 00:25 | It probably came out of the box already set
to auto mode, so you may not need to change it.
| | 00:29 | If you've been changing modes and
fiddling with your camera though, change it
| | 00:32 | back to auto by just turning the mode
dial until the green auto icon lines up
| | 00:37 | with the white line here,
and then you're ready to go.
| | 00:40 | For the rest of this chapter, we're
going to be working in auto mode, so set
| | 00:43 | the mode dial to auto.
| | 00:45 | In auto mode, the camera will choose
all exposure settings--shutter speed
| | 00:49 | and aperture--as well as choosing a white
balance and whether or not to fire the flash.
| | 00:54 | If it thinks you need the flash then
it will automatically pop it up when you
| | 00:57 | half-press the shutter button to meter.
| | 00:59 | In auto mode you will not have
access to Flexible Program, Exposure
| | 01:03 | Compensation, or many of the other
controls that we'll talk about later, but
| | 01:07 | you'll be able to select the file
format that you want to shoot in.
| | 01:10 | Auto mode basically just gives you a
snapshot camera, albeit a very good one.
| | 01:15 | While you may think that auto mode is
inherently a compromise, the fact is that
| | 01:19 | the auto features on your camera are
very good and will probably make the right
| | 01:23 | choice 80% to 90% of the time.
| | 01:25 | When and how to use it will become
apparent as you learn more about exposure and
| | 01:29 | about the camera's other shooting modes.
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| The viewfinder display| 00:00 | As we discussed, one of the great
advantages of an SLR is that you actually look
| | 00:04 | through the same lens that exposes the sensor.
| | 00:07 | This gives you a very accurate
viewfinder and allows you to have a very bright,
| | 00:11 | clear view of your scene.
| | 00:13 | Your viewfinder also provides you
with a tremendous amount of status
| | 00:16 | information, as we'll see.
| | 00:18 | On the top of the
viewfinder is the diopter control.
| | 00:22 | If you wear glasses, you might be able
to adjust this diopter to compensate for
| | 00:25 | your prescription, which will let
you shoot without your glasses on.
| | 00:28 | Now, I say might because if your eyes
are too bad, you won't be able to adjust
| | 00:32 | the diopter far enough to get the
viewfinder back to full sharpness.
| | 00:36 | Note that it's possible to bump the
diopter control, so if you ever think Wow my
| | 00:39 | camera really is not auto-focusing
very well, check the diopter and make sure
| | 00:43 | that it's set to no correction.
| | 00:45 | When you look through the viewfinder,
you'll see a number of focusing spot
| | 00:49 | superimposed over your image.
| | 00:50 | These spots light up when you
auto-focus to indicate where the auto-focus
| | 00:54 | mechanism has chosen to focus.
| | 00:57 | Below the viewfinder are
a lot of status readouts.
| | 01:00 | These let you know certain things about
the camera states, such as battery strength,
| | 01:04 | but more importantly, they let you keep
track of your current exposure settings.
| | 01:07 | So from left to right,
you'll find the focus indicator.
| | 01:11 | When you half-press the button to
focus, this circle will light up when the
| | 01:14 | camera successfully meters and locks focus.
| | 01:17 | At that point, you can press the
button the rest of the way to shoot.
| | 01:20 | Next there is the AE lock light.
| | 01:22 | That's Auto Exposure lock light,
which lets you know when you've locked the
| | 01:25 | exposure using the exposure lock button.
| | 01:27 | Next is the Flexible Program Indicator.
| | 01:30 | It shows you when you've
activated flexible program.
| | 01:33 | After that comes the Shutter Speed readout.
| | 01:35 | Now normally this will only show a
single number, which represents the
| | 01:38 | denominator of the shutter speed.
| | 01:40 | So if you're shooting at say 1/125th of
a second, you'll see 125 here. A 4 will
| | 01:45 | indicate 1/4th of a second.
| | 01:47 | Once you drop below a quarter of a second,
the display will change to a seconds display.
| | 01:51 | So if you see this, then
you're shooting at 1.6 seconds.
| | 01:57 | If you see this, you're
shooting at 15 second exposure.
| | 02:01 | To the right of the Shutter Speed
readout is the Aperture display;
| | 02:04 | this is simply the current F number.
| | 02:05 | Next is the Exposure indicator,
which serves a few functions.
| | 02:09 | In most modes, it shows the amount of
exposure compensation that you've dialed in.
| | 02:14 | You'll learn more about this display
when we discuss exposure compensation.
| | 02:17 | When you're shooting in Manual mode,
the same exposure-level readout works more
| | 02:21 | like a light meter, and you'll learn
more about that when we cover Manual mode.
| | 02:25 | Next comes Low Battery, and
below that is the Flash Exposure
| | 02:29 | Compensation indicator, which
lights up if you dial in any amount of
| | 02:32 | flash exposure compensation.
| | 02:34 | To the right of that is the Exposure
and Flash Bracketing indicator, and below
| | 02:37 | that is the Exposure Compensation indicator.
| | 02:39 | Now, these three digits here can be
set to display a number of things.
| | 02:43 | By default, they show you
approximately how many shots can fit in the
| | 02:47 | remaining space on your card.
| | 02:49 | If the number goes over a thousand,
then this K will light up and the number
| | 02:53 | will show a fractional amount.
| | 02:54 | For example, if you see 1.2K then
you've got space on your card for
| | 02:58 | approximately 1,200 pictures.
| | 03:00 | When you half press the shutter button,
you'll see an R and a two-digit number.
| | 03:04 | This indicates how many shots will fit
in the camera's buffer, and you'll learn
| | 03:08 | why this is relevant when we
discuss continuous shooting.
| | 03:11 | This display can also be used to show
ISO, in which case this ISO light lights up.
| | 03:16 | This auto light shows up
when ISO is set to auto.
| | 03:20 | Finally, this lights up when
the flash is ready to fire.
| | 03:23 | The camera's built-in flash
begins charging as soon as it pops up.
| | 03:27 | Now above the main status display, there
are three additional lights that can appear:
| | 03:31 | there is a battery indicator; there is
the no memory card indicator, which will
| | 03:35 | light up if you've forgotten to put a
card in the camera; and then there's the
| | 03:39 | B/W light, which shows you if you've
chosen a black-and-white picture style.
| | 03:43 | Now don't worry about
remembering all of the stuff right now.
| | 03:47 | Exposure settings are the critical
readouts that you need to understand right away.
| | 03:50 | The other status options will
become obvious as you activate those
| | 03:54 | specific features.
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| The LCD screen| 00:00 | On the back of your 5100 is this big
beautiful three-inch LCD screen, and one of the
| | 00:05 | nice things about it is that
it's articulated. It folds out.
| | 00:08 | It can come all the way out here.
| | 00:10 | I can tilt it down. I can tilt it up.
| | 00:12 | This is great if I want to shoot over
my head. Maybe I'm standing in a crowd--I
| | 00:16 | can hold the camera up
above and tilt the screen down.
| | 00:19 | This can be really nice for shooting at
waist level or macro work, that kind of thing.
| | 00:23 | Note that I can also turn it all the
way around this way, so if I'm shooting a
| | 00:27 | self-portrait or if I want the subject
of my shot to be able to see themselves,
| | 00:31 | I can flip it around.
| | 00:32 | When I do flip it around, the image
on the screen reverses to show a mirror
| | 00:36 | image so that they see exactly what
the final shot will look like. And of
| | 00:40 | course I can fold it flush against the
back of the camera, which is where you'll
| | 00:44 | probably keep it most of the time.
| | 00:46 | This screen is also where you see all
of the critical status information for
| | 00:50 | your camera, and it's where you
manipulate a lot of the camera's controls.
| | 00:54 | When I half-press the shutter
button with the camera turned on,
| | 00:57 | it lights up to show me this nice big display.
| | 01:00 | There's a lot of information on here
about not just the camera's settings, but
| | 01:04 | what its light meter is figuring out
right now and some other things that we'll
| | 01:08 | be exploring throughout the rest of this course.
| | 01:10 | Now, while this is a great way of
configuring my camera and seeing its current
| | 01:15 | status, when I look through the viewfinder,
this bright light can be shining in my eyes.
| | 01:19 | One of the smart things that Nikon has
done though is the background ramps up,
| | 01:24 | so that while it's bright and white
down here, it's pretty dark up at the top,
| | 01:28 | so it doesn't put too much glare into your eyes.
| | 01:30 | Note though that when I have the
shutter button halfway down, which is what I'll
| | 01:36 | be doing after I've auto-focused,
the screen automatically turns off.
| | 01:39 | So when I'm actually working, a
lot of the time the screen is off.
| | 01:43 | If I want to turn it off myself, I
can press this button up here. The Info
| | 01:48 | button, toggles the screen on and off.
| | 01:51 | This is the information display, so
it's the Info button that makes it
| | 01:55 | visible or invisible.
| | 01:57 | Finally, if you're traveling with the
camera or packing the camera or shipping
| | 02:01 | the camera, just to protect the screen,
you probably want to fold it back and
| | 02:05 | get it flush against the camera body.
| | 02:07 | Note that you can buy screen
protectors for the screen, although I typically
| | 02:11 | find they're very
scratchproof as long as you're careful.
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| Autofocus basics| 00:00 | Your camera has an Auto Focus feature,
and for most of your shots it'll provide
| | 00:04 | faster, more accurate focus than
you'll achieve using manual focus;
| | 00:08 | however, Auto Focus is not completely foolproof.
| | 00:11 | You still have to use it properly
to get good results, and you can learn
| | 00:16 | everything you need to know about how
to get good results with autofocus in my
| | 00:20 | Foundations of Photography Exposure course.
| | 00:23 | Quick autofocus overview here:
| | 00:26 | After I frame my shot, I need to
press my shutter button halfway down.
| | 00:30 | There is a halfway point that I can feel.
| | 00:33 | When I do that, a lot of things happen.
| | 00:36 | First of all, the flash popped up.
The flash popped up because the camera also
| | 00:40 | metered my scene and in the process of
doing that, it determined there was not
| | 00:44 | enough light, so it decided to use the flash.
| | 00:46 | It also auto-focused.
| | 00:47 | When it was done, it displayed its
exposure settings--what it thinks are the
| | 00:51 | right shutter speed and aperture
for this scene--in my Viewfinder.
| | 00:55 | If I let go of the button, I can see that
they're also displayed back here on my LCD screen.
| | 01:00 | It turns the LCD screen off when I
half-press the shutter button so that I don't
| | 01:05 | get blinded by it as I'm
looking through the viewfinder.
| | 01:08 | So it did all that stuff, and only
after it's done all that and shown me its
| | 01:12 | focus confirmation light and beeped,
does that mean, only at that time, that I'm
| | 01:16 | ready to take the shot.
| | 01:17 | Now, I push the button the rest
of the way and the camera fires.
| | 01:21 | This is a very, very important
instinct that you have to develop.
| | 01:25 | You have to not even think about it.
| | 01:26 | You always press the shutter halfway
down after you've framed your shot.
| | 01:30 | If you've been frustrated by maybe
missing some fleeting moments, this might be
| | 01:34 | why. Take a look at this.
| | 01:36 | I'm going to just press the
button all the way down right now.
| | 01:40 | There was a moment there before it could fire.
| | 01:42 | That's because it had to
focus. It had to meter.
| | 01:44 | It had to calculate white balance.
| | 01:45 | It had to decide if the flash needed
to be used. And by the time it did all
| | 01:49 | that, if I was trying to catch a
fleeting expression or an animal doing
| | 01:53 | something or something like
that, I might have missed it.
| | 01:54 | So if you've been missing shots,
it's possibly because you haven't been
| | 01:59 | half-pressing or pre-focusing the
camera. Again, this is a critical skill that
| | 02:03 | you need to develop.
| | 02:05 | Now if it decided that there was not
enough light in my scene for it to be able
| | 02:09 | to focus--focus is dependant on there
being contrast in the scene and if there
| | 02:13 | is not enough light, it may not
have enough contrast to focus--
| | 02:16 | so if it's decided there is not, it
might turn on this Focus Assist Light,
| | 02:20 | which is right here, and that's going
to shine a bunch of light into my scene
| | 02:24 | to make it easier to focus.
| | 02:25 | So if this light comes on, don't worry.
| | 02:27 | That's all it's doing is using Focus
Assist to have a better chance of focusing.
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| Lens controls| 00:00 | Your lens has a number of controls on it.
| | 00:03 | First of all, there's the zoom ring.
| | 00:05 | This is the one that zooms in and out.
| | 00:07 | It's got a number of markings on it
that indicate the exact focal length
| | 00:11 | that you've dialed into.
| | 00:12 | It should have a focus ring.
| | 00:14 | This is for manually focusing.
| | 00:15 | It should also have an Auto-Manual focus
switch. A is Auto Focus, M is Manual Focus.
| | 00:21 | It may have a switch labeled VR.
| | 00:24 | This is vibration reduction.
| | 00:26 | It helps you out in low-light
situations or anytime that you have to have
| | 00:30 | a slow shutter speed.
| | 00:31 | You'll most of the time
want to keep that switched on.
| | 00:34 | Again, your lens may not have this,
because not all Nikon lenses have
| | 00:37 | vibration reduction.
| | 00:39 | It's also a very good chance that
your lens is not going to have these
| | 00:42 | controls in the same place.
| | 00:43 | The focus ring might be in a different
place, the Manual Focus switch may be
| | 00:47 | in a different place.
| | 00:48 | If you're using an older Nikon lens, it
may not have this switch at all, and you
| | 00:52 | may have a focus ring that has markings on it.
| | 00:54 | You can learn more about all of these
different controls and how to use them in
| | 00:59 | Foundations of Photography: Lenses,
and we're going to be talking more about
| | 01:02 | manual focus later in this course.
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| Using flash in Auto mode| 00:00 | When you shoot in Auto mode, your
camera will automatically determine if
| | 00:04 | the flash is needed.
| | 00:06 | When you half-press the shutter button
to auto-focus in 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.
| | 00:24 | So here I am in Auto mode. I half
press my shutter button and oh my, the
| | 00:28 | camera has decided that it's too dark
here, that it needs the flash, so it's
| | 00:31 | popped it up automatically.
| | 00:33 | That's great, and it's one of the
reasons you might choose to shoot in Auto
| | 00:36 | mode, but let's say I'm in a museum or
at a concert or trying to shoot through
| | 00:39 | a window or something, where the flash
is either going to not be appropriate or
| | 00:43 | not work very well.
| | 00:44 | I might say yeah, you know, I don't
want the flash and put it back down.
| | 00:48 | The problem is then when I half-press to
meter again, it's going to pop back up.
| | 00:52 | On the mode dial, right next
to Auto is this No Flash mode.
| | 00:56 | This is actually full auto
mode, but without the flash.
| | 00:59 | So you can see it's a little flash
indicator with the circle and a line through it.
| | 01:03 | Now I can put my flash
back down and when I shoot,
| | 01:06 | it will actually take the shot.
| | 01:08 | So if you find yourself in a
situation where you want to shoot auto and it
| | 01:11 | keeps popping up the flash and you don't want it,
just dial on over to the mode right next to it.
| | 01:17 | Note also that if the camera is
deciding to fire its flash, that's probably
| | 01:20 | because it's pretty dark, and if it's
dark, your auto-focus system may be having
| | 01:23 | trouble and so it might be
lighting up the auto-focus illuminator.
| | 01:27 | That may be inappropriate
for your current circumstances.
| | 01:31 | Note that you can turn that off,
and you'll find out how to do that in
| | 01:35 | Chapter 15.
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| Image review| 00:01 | 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're probably already familiar
with image review on your 5100.
| | 00:22 | When you take a shot, the image is
almost immediately shown on the rear
| | 00:25 | screen, hangs out there for a while and gives
you a chance to admire it, and then goes away.
| | 00:30 | Something very important for you to know is
that that image review process is interruptible.
| | 00:34 | So if I take a shot, I can go Oh
yeah that's great and then half-press my
| | 00:38 | shutter button and I'm back to shooting.
| | 00:40 | Image review will never keep me from shooting;
| | 00:43 | I can always immediately get
back to having a functional camera.
| | 00:47 | Something else you should know about
image review is that once I go into it, I'm
| | 00:50 | actually into the full
playback mode of the camera.
| | 00:53 | I can now scroll through my images, I
can zoom in and out, I can delete images,
| | 00:57 | I can look at metadata; all of the
things that we're going to cover in the image
| | 01:02 | playback chapter are also
available right here in image review.
| | 01:05 | So that's a nice set of utilities that
you have at your disposal and of course,
| | 01:09 | a half-press of the shutter
button always takes me back to shooting.
| | 01:13 | One last image-review feature that you should
probably know about is here in my Playback menu.
| | 01:18 | If I go down to Image review, I can turn it off.
| | 01:22 | So now when I take a picture,
there's no review at all.
| | 01:25 | I'm right back to shooting.
| | 01:27 | This is very handy for times when you
are maybe shooting somewhere in a dark
| | 01:31 | location, like a concert or a performance.
| | 01:33 | It's also a good way to break yourself
of a potentially bad habit, which is the
| | 01:36 | habit of chimping: that's where every
time you take a shot, you looked down at
| | 01:40 | your camera to see if you like it.
| | 01:41 | When you're out shooting, you should
be out shooting; you can always look at
| | 01:44 | your images at home.
| | 01:45 | Turning image review off will get
you focused more on the shooting process
| | 01:49 | and less on review.
| | 01:50 | Obviously, it's okay, if you're facing a
| | 01:52 | really tricky image, to check in and
see if you got it, but for the most part
| | 01:56 | you don't want to miss out what's
going on in front of your camera, because
| | 01:59 | you're looking at the back of your camera.
| | Collapse this transcript |
| Image playback| 00:01 | Your camera has a big
collection of image-playback features.
| | 00:04 | You've already seen how it displays an
image immediately after your shoot, but
| | 00:08 | of course you can also go in and
browse all of the pictures that are stored
| | 00:10 | on your media card.
| | 00:12 | What you may not realize though is that
you can perform a lot of image-editing
| | 00:16 | functions on those
images directly in the camera.
| | 00:19 | I can review the images that I've
shot on the camera's LCD screen just by
| | 00:24 | pressing the play button.
| | 00:25 | By default, I'm looking at the last
image that I shot, and I can see here that
| | 00:30 | this is image number 28 of 28.
| | 00:32 | I can see that it was shot in fine-
quality JPEG mode at these pixel dimensions,
| | 00:36 | I get the date and time of the
image, and some file-naming information.
| | 00:40 | There's other data that I can get about
this image; we'll look at that later.
| | 00:44 | I can navigate through the images on
the card using the left and right arrow
| | 00:47 | buttons and if I get to one that I want
to get a closer look at, I can zoom in
| | 00:52 | using the zoom buttons right here.
| | 00:53 | So I can zoom in like this,
| | 00:56 | and now I get this nice little
display showing where I am in my image.
| | 01:00 | I can then pan around using the arrow
keys, so that I can get a nice tight view
| | 01:06 | of any particular part of my image.
| | 01:08 | This can be an okay way of checking
focus. Know that your screen is not the
| | 01:12 | ideal way of measuring focus.
| | 01:15 | Sometimes images will appear
a little softer than they are.
| | 01:18 | I'm zooming back out with the zoom-out key.
| | 01:20 | When I get back to full size, if I continue
to zoom out, then I get a thumbnail display.
| | 01:25 | This shows me little thumbnails of
the images on my card, so that I can see
| | 01:29 | more of them per screen, and I can keep
zooming out, and then I can scroll up and down.
| | 01:33 | This makes a little faster to
navigate a card loaded up with images.
| | 01:38 | I can get all the way out to here, which
is a ridiculous number of thumbnails.
| | 01:41 | If I then zoom out from here, I get
to this really cool calendar display.
| | 01:46 | This shows all of the days on which I
have images shot on this card, and I can
| | 01:51 | simply navigate to one of those days
and all the images shot on that day appear
| | 01:56 | as scrolling lists over here.
| | 01:58 | Down here at the bottom, you see this
zoom-out button, and there is a little
| | 02:01 | colon indicating that when I press this
button, I'm going to move from the big
| | 02:05 | calendar panel over to the scrolling list panel.
| | 02:08 | So I'm going to do that right now, and
you see my cursor just jumped over there.
| | 02:12 | Now I can scroll down this list. And if
I get to an image that I want to see,
| | 02:17 | I've got two options:
| | 02:18 | I can either press the zoom-in button
and it shows me a larger thumbnail of it
| | 02:21 | right there, or I can press the OK
button and it takes me right to that image.
| | 02:26 | So that's a very easy way of getting to an
image that you know you shot on a particular day.
| | 02:32 | Finally, if I want to delete an image,
I can press the trashcan icon, the little
| | 02:36 | delete button right here.
| | 02:37 | It asks me to confirm by pressing that same
button again and then the image is deleted.
| | 02:41 | So that's a way of quickly taking out an image.
| | 02:44 | We're going to look at some other
ways to delete an image, as well as more
| | 02:46 | playback features, later in this course.
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| The Info Edit button| 00:00 | By now you should have some experience
with this status display that's always
| | 00:04 | shown on the back of the
camera while you're shooting.
| | 00:07 | What's cool about this display is
it's also kind of your control center for
| | 00:10 | changing parameters on the camera.
| | 00:12 | This right here is the info edit button.
| | 00:15 | If I press it then my
status display becomes editable.
| | 00:19 | You can see that I still get my
readouts of exposure and everything else, but now
| | 00:22 | I've got all these buttons around
here that I can scroll around with the
| | 00:28 | four-way control here.
| | 00:30 | And once I get on one that I want to
edit, I can hit the OK button to get into
| | 00:35 | an editing mode of some kind.
| | 00:37 | I can back out of here by pressing the
info button again if I want to cancel an
| | 00:41 | operation without making a change.
| | 00:43 | Now, if you notice right now,
only a few things are editable;
| | 00:47 | the rest of these are grayed out.
| | 00:48 | That's because in Auto mode, I
can't alter very many parameters.
| | 00:53 | These are the only things that I'm
allowed to change when in Auto mode.
| | 00:57 | We're going to be looking at what each
of these do and how to change them and
| | 01:00 | why you might want to
throughout the rest of 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--can be changed by you.
| | 00:12 | What's more, 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.
| | 00:25 | To change to Program mode, you just
rotate the mode dial over to the big P there--
| | 00:29 | that's Program mode.
| | 00:30 | Notice that the screen blanks out
during mode changes, but when it comes back
| | 00:33 | up, pay attention to all of the new
things over here that are editable.
| | 00:37 | I am going to go back to Auto mode for
a while, and notice that we don't have
| | 00:41 | flash exposure compensation, exposure compensation,
bracketing. All sorts of other things
| | 00:47 | over here are not adjustable or
editable because Auto mode is making all
| | 00:51 | those decisions for your.
| | 00:52 | But when I switch to Program mode,
suddenly there is just a wealth of
| | 00:56 | new possibilities here.
| | 00:57 | I can change all of this stuff, and
we'll be going over those features in the
| | 01:01 | 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.
| | 00:13 | You can control tonality.
| | 00:14 | You can calm down overexposed highlights.
| | 00:17 | To sum up, exposure compensation lets
you adjust the camera's exposure up or
| | 00:21 | down in fractional or whole-stop increments.
| | 00:25 | This is the exposure
compensation button right here.
| | 00:28 | Notice it's just behind the shutter
button, so you can very easily reach back
| | 00:32 | here without taking your eye off the viewfinder.
| | 00:35 | So to dial in exposure compensation,
I press and hold the button and turn my
| | 00:40 | main dial here. And to the left
is positive exposure compensation.
| | 00:45 | It shows me to readout here on this
little thermometer gauge, but it also gives
| | 00:49 | me an actual numeric readout right here,
so I can see that I have dialed in +1
| | 00:53 | stop of exposure compensation.
| | 00:56 | Each one of these little tick
marks is a third of the stop, so that's
| | 00:59 | +1/3rd, +2/3rd, +1 stop.
| | 01:02 | I can go all the way up to 2.
| | 01:05 | If I go beyond 2, it shows me this
little arrow, and down here on the numeric
| | 01:11 | display, it goes ahead and shows me
what my full range is. And as you can see, I
| | 01:16 | can go all the way to +5. Of course, I
can go to the other direction to get
| | 01:21 | negative exposure compensation.
| | 01:23 | Same thing works here.
| | 01:24 | I can go beyond the range of this
gauge and see all the way to -5.
| | 01:30 | The gauge is also shown inside your
optical viewfinder, so you don't have to
| | 01:35 | take your eye away and look down here;
| | 01:37 | you can see how much you have dialed in.
| | 01:39 | Also note that exposure compensation is sticky.
| | 01:42 | If I dial in some exposure compensation,
it's going to stay that way for all
| | 01:49 | subsequent shots until I dial it off.
| | 01:52 | Also, I can simply activate exposure
compensation without pressing the shutter
| | 01:58 | button first. When I simply hit the
button and start dialing, the camera will
| | 02:02 | automatically meter.
| | 02:03 | So to sum up, dialing a positive
exposure compensation is going to give me a
| | 02:08 | brighter image; dialing a negative exposure
compensation is going to give me a darker image.
| | 02:13 | So I would use positive if I feel like I
need to pull some detail out of some shadows;
| | 02:17 | I might use negative if I want to deal
with a bad back-lighting situation.
| | 02:21 | I would also use exposure compensation
for trying to control tonality in an image.
| | 02:26 | You can use exposure
compensation in program and priority modes.
| | 02:29 | You cannot use it in auto mode.
| | 02:31 | You might be able to use it in
some scene modes, but not others.
| | 02:34 | If you can't use it, it
simply won't do anything.
| | 02:37 | In manual mode that whole readout
works completely differently, and you learn
| | 02:41 | about that in another movie.
| | 02:43 | You can learn all about this
in Foundations of Photography: Exposure.
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| Metering revisited| 00:00 | As you've seen, when you
half-press the shutter button, the camera
| | 00:03 | autofocuses, meters, and possibly
calculates white balance and ISO, depending
| | 00:08 | on your camera's settings.
| | 00:10 | When the camera has decided
on all of these parameters,
| | 00:12 | it beeps and flashes a light in the viewfinder.
| | 00:15 | If you want, you can continue to hold
the button down at the halfway point
| | 00:19 | while you reframe your shot.
| | 00:21 | This is sometimes necessary to get
the focus and metering that you want.
| | 00:24 | Once you'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
there is a halfway point that I can feel
| | 00:33 | right there, and you hear the
camera beep, which indicates that it has
| | 00:36 | successfully focused and metered, and
now I'm ready to take the picture by
| | 00:41 | pressing the button the rest of the way.
| | 00:43 | Notice also the screen went blank so
that it's not shining in my eyes while I'm
| | 00:46 | looking through the viewfinder.
| | 00:47 | If I was looking through the
viewfinder, I would see the shutter speed
| | 00:50 | and aperture displayed.
| | 00:51 | I'm going to let go of the button now
and the screen turns back on and shows me
| | 00:55 | the metering, 1/100th of a second at f5.
| | 00:59 | Watch what happens if I wait for a bit though.
| | 01:01 | The screen goes blank.
| | 01:02 | If I was looking through the viewfinder,
the status display in there would go blank.
| | 01:06 | That means the camera has
returned to kind of its idling state.
| | 01:09 | It's no longer metered for my scene,
so I have to re-meter before I can take a
| | 01:14 | picture, again, half-press the shutter button.
| | 01:16 | My focus will not have changed,
because my camera-to-subject distance didn't
| | 01:20 | change at all, and my metering
didn't change because the lighting hasn't
| | 01:23 | altered. But it's re-metered my scene.
I'm ready to go now.
| | 01:26 | Something to notice though:
| | 01:27 | if I meter my scene and it calculates
something, as I pan the camera around or
| | 01:33 | move it around in any way,
my metering numbers change.
| | 01:35 | That's because the camera is
constantly re-metering on the fly once you half-
| | 01:41 | press to that shutter button.
| | 01:42 | If I want to lock the metering to
ensure that it doesn't change, I can use
| | 01:46 | my exposure lock button, and we'll be
looking at that in great detail in a
| | 01:50 | later movie.
| | Collapse this transcript |
| Changing ISO| 00:00 | One of the great advantages of digital
cameras over film is that you can change
| | 00:04 | the ISO from shot to shot
with your digital camera.
| | 00:07 | As you increase ISO, you can use faster
shutter speeds and smaller apertures.
| | 00:13 | You'll most often increase ISO when
light levels drop low enough that your
| | 00:16 | shutter speeds go too low for handheld
shooting, 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 just hit the Info
button, scroll down here to ISO, hit OK, and
| | 00:38 | now I can pick the ISO that I want from my menu.
| | 00:41 | Of course, as I raise ISO, I introduce
the possibility of noise in my image, but
| | 00:47 | I also greatly improve my
ability to shoot in low light.
| | 00:51 | The ISO scale goes all the way up here
to 6400, and then it changes and I start
| | 00:56 | seeing these Hi things:
Hi0.3, Hi0.7, Hi1, and Hi2.
| | 01:01 | These are additional stops beyond 6400.
| | 01:05 | So Hi1 is going to be a full stop.
That's going to be 12,800. Hi2 is going to get
| | 01:09 | me up over ISO 25,000.
| | 01:10 | So why they didn't they
just list those as numbers?
| | 01:15 | I think this is Nikon kind of
hedging their bets and admitting that those
| | 01:18 | particular ISOs are going to be very,
very noisy, so you maybe don't want to
| | 01:22 | think about those as really being in
the realm of the ISOs that's you want
| | 01:26 | to just casually use.
| | 01:27 | If you absolutely need to get a shot
and bumping up the ISO to these points is
| | 01:33 | the only way you can get it, then these
options are here, but you don't want to
| | 01:37 | go there if you don't have to, because
you're going to get a tremendous amount
| | 01:39 | of noise in your image.
| | 01:41 | So do some test shots on a range of
ISOs and see how noise changes across
| | 01:45 | the ISO range of the 5100. That will
give you a better idea of what ISOs
| | 01:49 | you're comfortable using.
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| Flexible program| 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 an 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 | Flexible Program is very easy to use.
| | 00:44 | First I meter and my camera comes up
with an initial meter reading, in this
| | 00:48 | case 1/100th of a second at f5.
| | 00:51 | Now if I just start rotating my main
dial, I get through to all the other
| | 00:55 | reciprocal combinations of
exposures that yield the same brightness as
| | 00:59 | that initial reading.
| | 01:00 | Notice my P up here now has an
asterisk next to it; that indicates that I have
| | 01:04 | dialed in a flexible program setting.
| | 01:08 | That setting sticks;
| | 01:09 | it's going to remember that I want
flexible program, that I want this shift by a
| | 01:13 | certain number of degrees.
| | 01:15 | Even though the meter has now timed
out, when I re-meter, I'm still in my
| | 01:19 | Flexible Program mode,
| | 01:21 | so it's automatically
adapted to the other meter reading.
| | 01:24 | To get back to non-flexible program, to
whatever it thinks its default settings
| | 01:29 | should be, I can either scroll back up
until the asterisk disappears, or I can
| | 01:33 | change modes, or I can
simply turn the camera off and on.
| | 01:36 | So what might I use this for?
| | 01:37 | Well, let's say that I metering here
but I'm shooting a landscape and so I know
| | 01:42 | that I want deep depth of field.
| | 01:43 | Well, f5 is pretty wide open, as
I can see from my display here,
| | 01:47 | so I would like to go to a smaller
aperture to get me deep depth of field, but I
| | 01:51 | don't need a change in brightness.
| | 01:52 | So the actual meter reading is okay.
| | 01:55 | I'm going to just then flexible-program
my way down to a smaller aperture, and I
| | 02:00 | can see I've got a smaller aperture, f10.
| | 02:02 | Now my shutter speed is gone way down,
| | 02:04 | so I would either want to be sure that
I'm on a tripod, or I would need to raise
| | 02:08 | my ISO so that my shutter speed
wouldn't have to go so far down.
| | 02:12 | Conversely, if I was shooting a portrait, I
could try to dial out to a wider aperture.
| | 02:18 | This particular lens at this focal
length can't go any wider, so that's as
| | 02:22 | shallow as I could go.
| | 02:23 | So that's Flexible Program.
| | 02:24 | It gives me a tremendous amount of manual
control without ever leaving program mode.
| | 02:29 | If you're watching these movies in order
then you've already seeing the Exposure
| | 02:33 | Compensation control.
| | 02:34 | Think now about how you can combine
exposure compensation with flexible program.
| | 02:40 | You can meter a scene and then use
flexible program to get the motion control or
| | 02:44 | depth of field that you want and
then use exposure compensation to apply
| | 02:48 | brightening or darkening.
| | 02:49 | In other words, without ever leaving
Program mode, you can have all of the
| | 02:53 | manual control that you might need.
| | 02:55 | 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,
| | 00:08 | JPEG is a compressed image format,
that is, it takes the original image data
| | 00:12 | that your camera captures and it crunches
it down so that it takes up far less storage.
| | 00:17 | JPEG compression is a lossy
compression scheme, that is, there is a loss of
| | 00:21 | quality when JPEG
compression is applied to an image.
| | 00:24 | The more compression you apply, the
more your image is visibly degraded.
| | 00:29 | Most cameras give you a few
different JPEG conversion choices.
| | 00:32 | Some compress more than others and
therefore degrade your image more than others.
| | 00:36 | Your camera also captures
a certain number of pixels.
| | 00:40 | When shooting JPEG images, most cameras
give you the choice of shooting at lower
| | 00:44 | pixel counts, in addition to
the full pixel extravaganza.
| | 00:48 | So you might be able to save
an image that's only half size.
| | 00:52 | This is another way of
saving space on your storage card.
| | 00:55 | Finally, some cameras also give you
the option to shoot in RAW mode, a
| | 00:59 | non-compressed format that offers a
lot of editing advantages over JPEG.
| | 01:04 | To change image quality or format, I
press the info/edit button, and right up
| | 01:10 | here in the corner I've got
image quality and image size.
| | 01:13 | These are going to allow me to select
a JPEG size or format and an amount
| | 01:17 | of JPEG compression.
| | 01:18 | If I pop up in image quality, I get
quite a few options here. First is Normal.
| | 01:22 | This is just a mid-range level of
JPEG compression that's going to give me
| | 01:26 | 670 images on my card.
| | 01:28 | I can lower it to Basic, which is going to
bought me up to 1.3K, or 1,300 images, on my card.
| | 01:35 | I'm going to take an image quality hit
when I do that though, because basic is
| | 01:41 | applying more JPEG compression than normal.
| | 01:44 | I can work my way up the menu to Fine.
| | 01:47 | This is going to be less JPEG
compression, which means I'm going to go from 670
| | 01:51 | images at Normal compression
to 337 at Fine compression.
| | 01:56 | So I won't get as many images,
but they will look better.
| | 01:59 | I'm going to go and set on Fine, and
let's go down here and look at Image size.
| | 02:04 | If I pop this office, I see that I get
three size options: Large, Medium, and
| | 02:09 | Small, and as you would expect, Small
allows me to fit more images on my card
| | 02:14 | than Large. Normally that's set on
Large. And now go back to Quality.
| | 02:19 | Moving up from Fine, I can go to a
RAW image and when set on RAW, I only get
| | 02:25 | 137 images on my card, but I get RAW
files, which offer me far more image-
| | 02:30 | editing options and allow me to keep a higher
level of quality throughout my post-production.
| | 02:36 | From RAW I can go to Raw+ Basic JPEG.
| | 02:40 | That is a JPEG compressed with Basic
compression settings, or Normal compression
| | 02:45 | settings, or Fine settings.
| | 02:47 | In other words, this is
going to write out two files:
| | 02:49 | in this case a RAW image
plus a Fine quality JPEG.
| | 02:54 | I am going to take that.
| | 02:55 | I thought I was going to take that.
| | 02:58 | Dial up to Raw+Fine JPEG, tell it I want that.
| | 03:01 | Now I can also go in and set the size
of that JPEG file. So if I go from Large
| | 03:06 | down to Small, what I end up with is
it's going to record a RAW file plus a
| | 03:11 | small fine-quality JPEG.
| | 03:13 | Small is not going to
change the size of the RAW file;
| | 03:16 | RAW files always go at the same size.
| | 03:20 | If you're shooting JPEGs, my
recommendation is to always shoot at full pixel
| | 03:24 | count with the very best
quality that your camera can manage.
| | 03:27 | Storage is real cheap these days, so there is
little reason to try to save space on a card.
| | 03:32 | If you're finding you're running out
of space during a typical shoot, then
| | 03:35 | invest in some more media cards, but
if you're in the field and storage is
| | 03:39 | running low and buying
another card isn't an option
| | 03:42 | and you absolutely need to cram more
images onto your card, then you should
| | 03:46 | change your JPEG settings, or
your image size--ideally not both.
| | 03:51 | If your images are destined for print,
then be sure that you don't lower the
| | 03:54 | pixel count below what you need to get
the print size that you want, maybe go
| | 03:58 | down to half size, and one
stop down in JPEG quality.
| | 04:01 | If your images are destined for online
viewing then you can cut the pixel count
| | 04:05 | dramatically and probably not need to
increase JPEG compression and that will
| | 04:09 | preserve more quality.
| | 04:11 | Mostly though, I'd recommend shooting
RAW. You get tremendous post-production
| | 04:14 | and image-quality advantages if you
leave JPEG behind and become a RAW shooter.
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|
|
4. Controlling AutofocusAutofocus, Area mode, and focus points| 00:00 | When you look at a scene, you usually
take it for granted that out of the whole
| | 00:04 | vast view that you can perceive,
| | 00:07 | you automatically choose one place to focus on.
| | 00:10 | Your camera's autofocus
mechanism has to do the same thing.
| | 00:13 | It needs to focus at one
particular distance in your scene;
| | 00:16 | ideally, you want that
distance to be on your subject.
| | 00:20 | Your camera includes a number of focus
points spread around its field of view.
| | 00:24 | By default, it automatically tries to
identify which one of those points is
| | 00:28 | sitting on the subject of your scene,
but there will be times when you'll need
| | 00:31 | to override that automatic mechanism
because it will have chosen the wrong
| | 00:35 | point, and so you'll need to manually
choose the focus point yourself to force
| | 00:39 | the camera to focus to a particular place.
| | 00:41 | If you don't understand all this focus
point stuff, check out Foundations of
| | 00:46 | Photography: Exposure.
| | 00:48 | By default, your camera has an
autofocus area mode that is set to
| | 00:53 | auto-area autofocus.
| | 00:55 | That's what this icon means right here.
| | 00:56 | In this mode, the camera will
automatically try to figure out what the subject
| | 01:00 | of your image is and select the
appropriate focus point, but you have some
| | 01:04 | other options here.
| | 01:05 | If I pop open this menu, I see
that I have four different options.
| | 01:09 | These middle two have to do
with shooting on a moving subject.
| | 01:13 | Let's come back to those and go
down here and look at this one,
| | 01:15 | single-point autofocus.
| | 01:17 | If I pick this, then when I come back out
here, my Focus Point display has now changed.
| | 01:23 | I just see a single focus
point and I can move it around.
| | 01:27 | I can pick which focus point I want of
eleven different focus points, and I will
| | 01:32 | see this same display superimposed over my
viewfinder when I'm using the optical viewfinder.
| | 01:38 | So what this lets me do is just pick one
point that I know the camera is going to analyze.
| | 01:42 | So, for example, maybe I'm set on a
tripod and I'm shooting a landscape scene
| | 01:46 | and there is something in the left part
of the frame that I want to be in focus.
| | 01:49 | I can go pick that focus point and
make sure that it's sitting on my subject.
| | 01:53 | Or maybe I prefer to just not have to worry
about which focus point is going to be used.
| | 01:57 | I might want to choose just the center one.
| | 02:00 | And now, I always know that the
camera is going to autofocus on the dead
| | 02:04 | center of the frame.
| | 02:05 | I can then focus there and reframe
accordingly as I want different things in
| | 02:11 | focus in different parts of my frame.
| | 02:13 | If I'm shooting moving subjects then I may
want to consider one of these two focus modes.
| | 02:19 | If I choose dynamic-area
autofocus, then when I come out here in
| | 02:24 | dynamic-area autofocus,
| | 02:26 | I can pick a point and the camera will
focus on the thing underneath that point,
| | 02:30 | but it will also pay attention
to some of the surrounding points.
| | 02:33 | So, if my subject leaves that point and
goes into another one, it will still be
| | 02:38 | able to keep it in focus.
| | 02:40 | This is a great mode for things that
are moving erratically, that might suddenly
| | 02:44 | change position and then go
back to where they originally were.
| | 02:47 | For something that's moving a little
more predictably or a little more fluidly
| | 02:51 | then I might want to go to
3D-tracking. It says 11 points.
| | 02:56 | It's going to use all the eleven points, but
I'm going to pick one and it's going to
| | 03:01 | focus on whatever is in that spot,
and as it moves, it's going to keep it in
| | 03:06 | focus--or it's going to try to keep it in focus.
| | 03:09 | If the subject leaves the viewfinder
entirely, you need to take your finger
| | 03:13 | off the button and refocus on it so
that it can, again, lock onto that subject
| | 03:17 | and try to track it.
| | 03:19 | So let's review here.
| | 03:20 | I've got these four different modes.
| | 03:22 | In single-point auto-focus, I can just pick the
focus point that I want the camera to use.
| | 03:27 | In dynamic-area auto-focus, I pick a point and
it watches what's there, and if it moves
| | 03:33 | a little bit into one of the
surrounding auto-focus points it will be able to
| | 03:36 | keep it in focus. And then finally I
have 3D-tracking, wherein I select a point,
| | 03:43 | the camera starts focusing on that,
and tracks it throughout my frame.
| | 03:47 | Most of the time though, you're probably
going to be okay just leaving things on
| | 03:51 | the auto-area autofocus.
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| Focus modes| 00:00 | Your camera's autofocus is
pretty amazing. It's speedy,
| | 00:03 | it's able to work in surprisingly low
light, and it's often able to figure out
| | 00:08 | 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, there is the way we've already discussed.
| | 00:19 | You half-press the shutter button and
the camera focuses and locks focus and
| | 00:23 | then 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.
| | 00:34 | Your camera has several different servo
features and three different focusing modes.
| | 00:39 | To choose a focus mode, go into your
Info/Edit screen and about halfway down you
| | 00:44 | see this AF-A. That's Focus mode.
| | 00:46 | That's your default focus mode, Auto-servo AF.
| | 00:50 | You can see it's giving me a little
hint over here as to what it does.
| | 00:52 | This mode automatically makes a choice
between a focus mode that's appropriate
| | 00:58 | for shooting stationary objects and
a focus mode that's appropriate for
| | 01:02 | shooting a moving object.
| | 01:03 | So in most cases this is going
to be a good mode to stick with.
| | 01:07 | Single-servo AF is going to lock
you into the mode that's good for
| | 01:11 | shooting stationary objects.
| | 01:12 | This is the focus mode
that you're probably used to.
| | 01:14 | You half-press the shutter button on
an object, the camera beeps, does its
| | 01:18 | thing, and then you take the picture.
| | 01:20 | Autofocus-Continuous or rather
continuous-servo autofocus is for shooting moving objects.
| | 01:31 | The camera is going to try to track
the moving object that's in the frame.
| | 01:34 | It's going to try to predict where it's
going to go, and it's going to try and
| | 01:37 | keep it in focus all the time.
| | 01:39 | So really I only have two
Autofocus modes: I have Single-servo and
| | 01:43 | Continuous-servo, and then I have my
default mode which tries to automatically
| | 01:48 | switch between the two.
| | 01:49 | So if you are shooting something
moving and you don't want it falling into
| | 01:53 | Single-servo mode, then you can
lock it in to Continuous mode.
| | 01:57 | Conversely, if you're shooting something
that's not moving, you can lock it into that mode.
| | 02:00 | MF is manual focus, and we're
going to discuss that in its own movie.
| | 02:05 | Most of the time you're going to
want to stay with Auto-servo autofocus.
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| Manual focus| 00:00 | While I rely heavily on autofocus,
most of the time there are still occasions
| | 00:04 | when I switch my camera over to manual.
| | 00:06 | For moving subjects, manual focus is
sometimes faster than autofocus, for
| | 00:10 | the simple reason that, as good as
your autofocus system is, you're still
| | 00:14 | smarter than it is.
| | 00:16 | 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
| | 00:24 | for the precise moment that you want to shoot.
| | 00:27 | Manual focus is also useful for times
when autofocus doesn't lock, either
| | 00:31 | because your subject lacks contrast
or because there is 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.
| | 00:42 | 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'm shooting a
landscape in rapidly changing light, I'll frame
| | 00:53 | my shot in autofocus, then switch the
camera to manual focus. As long as I don't
| | 00:58 | 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
| | 01:09 | distance never changes, and you want to
be able to shoot without waiting for focus.
| | 01:13 | To use manual focus, I just need
to put my camera into the manual focus
| | 01:18 | configuration here. And right here on
my lens there is in an A and an M switch.
| | 01:23 | Auto is Autofocus, M is manual focus.
| | 01:27 | Once it's in manual focus, I then
focus by turning my focus ring right here.
| | 01:32 | Now the position of this switch, the
position of this ring, they may vary
| | 01:36 | depending on the lens that you have.
| | 01:38 | Your lens may also have some focus
markings on here that will indicate exactly
| | 01:42 | what distance you're focused at.
| | 01:44 | Obviously this lens does not have
those, so that means I have to rely on the
| | 01:48 | view through the viewfinder to focus.
| | 01:49 | Now the viewfinder doesn't have any
focusing aids in it. There is no little
| | 01:54 | split prism or anything like that, so you've got
to be careful when you're manually focusing.
| | 01:58 | You've got to pay attention.
| | 01:59 | One thing you can do is zoom in, focus,
and then zoom back out to the focal
| | 02:04 | length that you want.
| | 02:05 | That can make focus a little bit easier,
because you've got a bigger view of your subject.
| | 02:09 | Obviously, any time the distance from
your camera to subject changes, you'll
| | 02:14 | need to be refocusing.
| | 02:16 | When I change to manual focus,
the status display on the rear screen shows me
| | 02:23 | right here an MF to indicate
that I'm now in manual focus mode.
| | 02:28 | So if you ever try to autofocus and
nothing happens, you might want to check
| | 02:32 | this manual focus switch and make sure
that you switched it back to autofocus.
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|
|
5. Controlling White BalanceAuto white balance| 00:00 | Different types of light
shine with different colors.
| | 00:03 | For example, tungsten lights are
redder, or warmer, than fluorescent lights.
| | 00:08 | While your eye does an amazing job of
adjusting automatically to different types
| | 00:12 | of light so that colors always look
correct, your camera doesn't fare so well.
| | 00:16 | Your camera has to be calibrated to the
type of light that you're shooting in.
| | 00:20 | If it's not, colors can appear wrong.
| | 00:22 | This process is called white balancing.
| | 00:25 | The idea is that you calibrate the
camera so that white appears correct. Because
| | 00:29 | white contains all other colors,
| | 00:30 | if you can get white looking good, then
you get all the other colors for free.
| | 00:34 | By default, your camera is
set to auto white balance.
| | 00:37 | With auto white balance the camera
will attempt to continuously white-balance
| | 00:41 | itself on the fly as you shoot.
| | 00:44 | It's easy to tell what your
current white balance setting is.
| | 00:47 | Right here you can see WB;
| | 00:49 | white balance is set to Auto.
| | 00:51 | If I want to change it, I just hit the
Info button to bring up my editable menu,
| | 00:55 | and I select White balance, hit OK, and
I get a choice of white balance settings
| | 01:00 | here, all of my presets.
| | 01:02 | And what's nice is it actually gives me
a little thumbnail to help me remember
| | 01:06 | what these different white
balance settings are for.
| | 01:10 | So I've got Auto, I've got Incandescent,
and it's showing me a scene of a little
| | 01:14 | room with an incandescent light.
| | 01:15 | I've got Cool-white fluorescent,
Direct sunlight, Flash, Cloudy, Shade, and
| | 01:22 | Preset manual, which is a manual white balance
process that we'll talk about in another movie.
| | 01:27 | So I just dial in the one that I want,
hit OK, and now you can see that white
| | 01:31 | balance is set to, in this case, incandescent.
| | 01:34 | One of the most critical things about
white balance is to always remember to
| | 01:38 | change it back when you go back
into a different type of lighting.
| | 01:41 | Again, you'll mostly be staying in
auto mode, so if you do find a situation
| | 01:45 | where you need to go a different white
balance setting, you're going to want to
| | 01:48 | be sure to set white balance back to
auto when you're done in that setting.
| | 01:53 | In general, you just want somewhere
in the back of your mind, anytime
| | 01:55 | the lighting changes,
| | 01:57 | you want to think about white balance.
| | 01:58 | You'll probably find that you can stick
with auto white balance for most of your shots.
| | 02:03 | Where it will start to let you down
though is in shady light or situations with
| | 02:07 | mixed lighting--say, sunlight
streaming into a fluorescently lit room.
| | 02:11 | In those instances, you'll need to
change to a different white balance setting.
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| White balance presets| 00:00 | As I mentioned before, auto white
balance is going to be right for most of the
| | 00:04 | pictures that you take;
| | 00:05 | however, there will be times when
auto white balance will let you down.
| | 00:08 | Most typically shooting in shade or
shooting on a cloudy day, your images could
| | 00:13 | end up looking a little too cool, that is,
it will be able too bluish. Flesh tones
| | 00:16 | especially will look just a little unhealthy.
| | 00:20 | Fortunately, to help you with
these situations, the 5100 offers some
| | 00:24 | white balance presets.
| | 00:25 | If I hit my info/edit button, I can
go in here to my White balance option.
| | 00:30 | I can see here by default it's set to Auto.
| | 00:33 | If I pop that open, I get a
scrolling list of different types of light
| | 00:37 | sources, with a little thumbnail
giving me a picture of what those light
| | 00:42 | sources may be appropriate for.
| | 00:43 | So, for example, here is an incandescent light.
| | 00:45 | That's the typical kind of light
bulb you'll find in a light at home.
| | 00:49 | I've got cool-white fluorescence, I
have direct sunlight, I have flash, cloudy,
| | 00:56 | shade, and then something called preset
manual, which we're going to discuss in
| | 01:01 | an entirely separate movie.
| | 01:02 | So let's say again that I've gone into
a typical situation that can flummox my
| | 01:06 | auto white balance, that being shade.
| | 01:08 | I would just dial in my shady white
balance preset, hit OK, and now I can see
| | 01:14 | that it has taken us right there.
| | 01:15 | Now I would do my shooting, and I
should find that the white balance in my
| | 01:19 | images looks much nicer.
| | 01:21 | The critical thing with changing
white balance is you've got to remember to
| | 01:24 | change it back to something
appropriate when you leave the special
| | 01:29 | circumstance that you're in.
| | 01:30 | So when I leave the shade I would want
to set it back to Auto, since auto is
| | 01:34 | working most of the time for me. So I would
just scroll back up here and put it back on Auto.
| | 01:40 | The thing to remember about white
balance is there is there's nothing
| | 01:42 | mysterious about it;
| | 01:43 | you just have to remember any
time you change light sources,
| | 01:46 | you need to take a moment to just try
to decide, is my current white balance
| | 01:51 | setting right for this new light source?
| | 01:53 | If you're on Auto, most of the time the
answer to that question is going to be
| | 01:56 | yes, my current setting is right.
But for certain times--shade, clouds, or a
| | 02:01 | mixed-lighting situation--
| | 02:03 | you're going to need to
think about white balance.
| | Collapse this transcript |
| Manual white balance| 00:01 | As I have mentioned, auto white
balance is going to be right for most of the
| | 00:04 | shots that you take;
| | 00:04 | however, there will be times, like
what we're shooting right now, where auto
| | 00:08 | white balance might fail.
| | 00:09 | What I've got here is a
mixed-lighting situation.
| | 00:12 | I've got a white vase with white
flowers in it, but that vase is sitting in a
| | 00:16 | pool of tungsten light,
which is a very warm light.
| | 00:18 | It has kind of an orangish color to
it. But my background is being lit by
| | 00:22 | daylight-balanced light.
| | 00:24 | So this is a situation that can really
confuse an auto-white-balance mechanism.
| | 00:28 | Take a look at what happens when
I shoot with auto white balance.
| | 00:33 | The image doesn't look bad, but if you
look at that white vase you'll see it
| | 00:36 | doesn't really look white.
| | 00:37 | It's got an orange cast to it, and I
would like it to actually be white.
| | 00:41 | So what I'm going to have to do
is give up on auto white balance.
| | 00:45 | I can't use a tungsten present,
because I'm in a mixed-lighting situation
| | 00:48 | here, so I'm going to go to a fully
manual white balance by using the white-
| | 00:52 | balance-preset feature.
| | 00:53 | So what I'm going to do here is ask Josh,
a member of our crew, to put something
| | 00:57 | white in my scene, big
enough to fill the entire frame.
| | 01:01 | So he's got a white piece of
cardboard; you can use paper.
| | 01:03 | You're probably going to have to ask
somebody other than Josh to do it when
| | 01:05 | you're doing this, because
he probably won't be there.
| | 01:08 | Notice that he is putting the piece of
paper in the same pool of light that's
| | 01:11 | striking the flowers.
| | 01:12 | He is not putting it right up
here directly in front of my camera.
| | 01:15 | My camera is actually sitting in daylight also.
| | 01:18 | So it needs to be getting the
light that is causing the problem.
| | 01:22 | Now what I do is go into my menu,
and in my white balance menu, which is
| | 01:26 | currently set to Auto, I'm going to
scroll all the way down here to Preset
| | 01:31 | manual, go into that menu, and I
have two options: Measure or Use photo.
| | 01:36 | Let's take a look at Measure.
| | 01:37 | What I'm going to do is say
OK, and it's going to prompt me.
| | 01:40 | It says, first of all, do I want to
override existing preset data? I do.
| | 01:44 | And then it says, "Take photo of white or
gray object filling viewfinder under lighting."
| | 01:49 | And you see PRE is flashing here, so I'm
just going to press my shutter button.
| | 01:53 | It says Data acquired.
| | 01:54 | Now it didn't actually take a
picture, so there won't actually be
| | 01:57 | anything stored on the card. Thanks Josh.
| | 02:00 | So now I'm set for preset white balance.
| | 02:02 | I'm going to take another
picture, and this comes out better.
| | 02:07 | Notice the vase now is actually white.
| | 02:09 | It's lost that orangish tinge, so I
have corrected for the tungsten light.
| | 02:14 | Now the background may look a little weird.
| | 02:15 | It looks a little blue because that
correction has thrown it off, but I've at
| | 02:19 | least got good color on my
subject, which is what I wanted.
| | 02:22 | Now let's take a look at that
other option, which was Use photo.
| | 02:25 | I'm going to ask Josh to put the card
back in my scene, and this time I'm going
| | 02:28 | to take a picture of it.
| | 02:30 | Remember, before even though I press
the Shutter button to measure, it didn't
| | 02:32 | actually store an image.
| | 02:34 | Now that image is completely white.
| | 02:35 | There is no contrast, so
autofocus is not going to work.
| | 02:38 | I'm going to switch focus back to
manual, and I'm just going to take a shot.
| | 02:43 | I've got it filling the frame as much as possible,
so this is what I end up with. Okay, thanks Josh.
| | 02:47 | He is going to take that away while I
go into the menu here and go back into the
| | 02:52 | white-balance preset, and this
time I'm going to say Use photo.
| | 02:57 | It asked me, do I want to use this image,
or I can select an image from my card?
| | 03:05 | And these are all of the images on my card.
| | 03:06 | I'm going to just pick that image
that I just shot and say yes, use that.
| | 03:11 | And it's going to now do it's
white-balance analysis off that image.
| | 03:15 | I take a shot, and again I
have nice white balance.
| | 03:18 | Now you may be thinking, You know,
actually I like to the auto white balance
| | 03:21 | better than either of those.
| | 03:23 | Well, aesthetically, the auto-white-
balance image might be nicer, because that
| | 03:27 | warmth adds a little atmosphere to the
scene, but the manually white-balanced
| | 03:31 | images are far more accurate.
| | 03:33 | And personally, I find it's usually
better to aim for accuracy, because I can
| | 03:37 | always add warmth to an image or cool
an image down; what's very difficult to
| | 03:41 | do is correct inaccurate color in
an image that has bad white balance.
| | 03:45 | So if you're ever facing a mixed-
lighting situation or if you're in shade or
| | 03:50 | on a cloudy day, these are all things that
might trip up your auto-white-balance mechanism.
| | 03:55 | If you find that a preset doesn't work,
then you're going to want to fall back
| | 03:58 | to this manual white-balance process.
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|
6. Understanding Release ModesContinuous mode| 00:00 | Henri Cartier-Bresson spoke
extensively about the decisive moment, that one
| | 00:05 | particular moment that happens that
is the perfect decisive expression of
| | 00:10 | whatever scene or event you're shooting.
| | 00:12 | Because he was a genius, he was often
able to fire his camera at that perfect
| | 00:16 | decisive moment. For the rest
of us, there's Continuous mode.
| | 00:19 | In Continuous mode, as you hold down
the shutter button, the camera will
| | 00:22 | continue to snap frames one after another.
| | 00:25 | Continuous mode is a great tool for
shooting in fast-moving environments--
| | 00:29 | sports, street shooting, nature shots--
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, that is, you can't just hold
| | 00:44 | down the button and expect the
camera to 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
| | 00:55 | can get them written to the media card,
so your camera has a memory buffer that
| | 00:59 | can hold a certain number of pictures.
| | 01:01 | As you shoot, your images can be
quickly thrown in to that buffer. Then the
| | 01:05 | camera can start the process of
copying images from the buffer to the memory
| | 01:09 | card while 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.
| | 01:20 | I set Continuous mode by changing
the Release mode, which I can do in
| | 01:24 | my Info/Edit screen.
| | 01:26 | It's this one right here;
by default, it's set to S, which a single shot.
| | 01:29 | I can see that I'm in the Release mode menu here.
| | 01:32 | Press OK to bring out my options.
| | 01:33 | The second one down is Continuous.
| | 01:35 | Now there are some other options down
here: Self-timer, and Delayed remote,
| | 01:38 | Quick-response, Quite shutter release.
| | 01:40 | We're going to look at those in other movies;
| | 01:42 | right now what we're
interested in is Continuous mode.
| | 01:44 | Hit OK to take that and then back to my
shooting mode, and now I'm ready to go.
| | 01:49 | As long as I hold the button down, I will shoot
| | 01:54 | usually around up to four frames per second.
| | 01:56 | I say up to because as the camera's buffer
fills, up your shooting rate will go down.
| | 02:01 | Now the buffer is that number over on
the right side inside your viewfinder.
| | 02:05 | When you're not shooting, it shows you
the number of frames remaining; when you
| | 02:08 | are shooting, it shows you little
lower case R and a two-digit number.
| | 02:12 | That two-digit number is how many shots
you can continue to take at full speed.
| | 02:17 | When it gets down to 0, the camera will
need to take time to dump images out to
| | 02:21 | the card, and you'll see the
light right here light up.
| | 02:23 | And then as it's getting images out,
that number will start to go back up, and
| | 02:27 | slowly your shooting speed
will come back up to normal speed.
| | 02:31 | Your buffer is going to be larger
working with JPEG images because they don't
| | 02:34 | take up as much memory as RAW files, and
how quickly it takes them to get out to
| | 02:38 | the car is going to depend
on the speed of your card.
| | 02:41 | If you've got a Class 6 card, which is
the bare minimum recommended for shooting
| | 02:46 | video using the camera's video mode,
then you have a very speedy card and you
| | 02:49 | shouldn't have to worry about
images going out to the buffer.
| | 02:52 | If you have a slower card, you
may more regularly hit a delay.
| | 02:55 | When you're done, you'll probably want
to turn shooting mode back to Single Shot
| | 03:00 | mode just so that you don't
accidentally rifle off more shots than you need and
| | 03:04 | take up more space than you want to.
| | 03:07 | That's Continues mode.
| | 03:08 | It's very handy for obviously
shooting fast action where you're not sure
| | 03:12 | precisely where the decisive
moment is, but it's also useful for
| | 03:15 | shooting portraits.
| | 03:16 | People's expressions can be very
fleeting and change very subtly from one
| | 03:20 | moment to the next, so sometimes
hitting a burst of four or eight frames over a
| | 03:25 | couple seconds can be a good way of
ensuring that you get precisely the
| | 03:29 | expression that you want.
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| Quiet mode| 00:01 | One thing I really like about the
D5100 is that it's a very quiet camera.
| | 00:04 | Take a listen to this. Ah!
(camera shooting)
| | 00:07 | I mean that's just a quiet shutter sound.
| | 00:09 | However, I can get it even quieter
| | 00:11 | if I go into my Release mode menu and
change it to Quiet shutter release. And
| | 00:17 | they give you a little hint here.
| | 00:18 | This is what you want to do
when you're at the symphony.
| | 00:21 | When you're illegally taking pictures at
the symphony, you want it in Quiet mode.
| | 00:24 | So dial that in.
| | 00:29 | Now when I press the shutter button,
the camera is a little bit quieter.
| | 00:33 | It's manipulating how it opens and
closes the separate shutter curtains.
| | 00:37 | There is a little bit of a
performance hit for this.
| | 00:39 | The camera will not burst as quickly. It's
just generally slower to fire off its shutter.
| | 00:44 | So you really don't want to leave it
there unless you need the quiet performance.
| | 00:49 | Most of the time you'll want to stay
with single frame, which is still a very
| | 00:52 | quiet shutter sound.
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| Self-timer| 00:00 | Most people have used a self-timer on a camera.
| | 00:03 | You balance the camera on a rock or
something and you point it at your friends,
| | 00:07 | and then you set it off and run back
and try to get in the frame and look
| | 00:09 | natural before the camera takes a picture.
| | 00:11 | It works the same way on your digital camera.
| | 00:14 | The self-timer is a Release mode, so I
changed it in just the way I would change
| | 00:18 | any other Release mode.
| | 00:20 | I've highlighted Release mode here.
| | 00:21 | You can see I'm currently in Single frame.
| | 00:23 | I'm going to go down here to self-timer, and
it's reminding me that it's a 10-second timer.
| | 00:28 | I'm going to hit OK.
| | 00:31 | So now the way this works is I press
the shutter button, the camera starts
| | 00:36 | beeping, and flashing its auto focus assist lamp.
| | 00:39 | This is giving me time to run
around and get in front of it.
| | 00:41 | When it gets within two seconds it
starts doing that and then takes the shot.
| | 00:47 | The self-timer on the 5100
has some very nice options.
| | 00:50 | You can change the number of shots that
will be taken when it finally fires. You
| | 00:54 | can change the duration of the timer.
| | 00:56 | You can learn all about that in Chapter 15.
| | 00:59 | Something to know if
you're shooting a self-portrait:
| | 01:01 | if I am standing back here pointing at
the place where I would be standing and I
| | 01:05 | half-press my shutter button, well, I'm
not standing there right now, so it's
| | 01:09 | probably going to focus on
something beyond where I'm standing.
| | 01:12 | So to get proper focus, I need to tilt
the camera down towards the ground where I
| | 01:16 | would be standing, half-press
the shutter button to focus,
| | 01:19 | once it's focused, I can then switch
the Manual Focus switch on my camera to
| | 01:24 | manual focus to lock that
focus in, then frame my shot.
| | 01:27 | Now I go through my whole normal self-
timer process and when I get in front of
| | 01:31 | the camera, it should be focused on me.
| | 01:33 | You can also use a remote control in
combination with your self-timer, and we'll
| | 01:37 | talk about that in a separate movie.
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| Remote controls and Bulb mode| 00:00 | A remote control is a must-have
for certain types of shooting.
| | 00:03 | With the remote control, you can keep
your hands off of your camera to reduce
| | 00:07 | camera shake during long exposures.
| | 00:09 | In a portrait shoot, a remote control
can keep you from having to go behind the
| | 00:12 | camera, which lets you maintain
better rapport with your subject.
| | 00:16 | A wireless remote control or a remote
control with a really long cord can make
| | 00:20 | self-portraits much easier.
| | 00:22 | Remote controls are also great for
times when you've placed your camera in a
| | 00:25 | difficult-to-reach location,
like on a really high tripod.
| | 00:28 | Remote controls work great
in conjunction with Bulb mode.
| | 00:32 | In Bulb mode, as long as you hold the
shutter button down, the shutter will stay open.
| | 00:37 | So again, this is a great way for
shooting long exposures, because you've got
| | 00:40 | your remote control to keep your hands
off the camera and the shutter will just
| | 00:43 | stay open as long as you hold that button down.
| | 00:46 | Remote controls are very easy to connect.
| | 00:49 | This is the Nikon ML-L3
wireless remote control. It's small.
| | 00:53 | It's light. It doesn't cost very much.
| | 00:55 | It's a little no-frills, but it does the job.
| | 00:58 | It helps to get away from the camera
and still be able to trigger the shutter.
| | 01:02 | For that to work, I need to be in
the Remote Control Release mode.
| | 01:06 | So I'm going to go here into my Release
mode menu and change from Single frame
| | 01:12 | down here to one of
these remote control options.
| | 01:15 | I have Delayed remote, which gives me
a two-second delay before it shoots, or I
| | 01:19 | have Quick-response remote.
| | 01:21 | I'm going to set on that right now.
| | 01:23 | And now the way this works is instead of
pressing this button, I just press this
| | 01:27 | button and the camera fires.
| | 01:31 | Notice it makes that alarm sound at
the end, which can be handy if you're
| | 01:34 | standing farther away from the camera.
| | 01:36 | The camera's shutter is so quiet,
| | 01:38 | having that beep will let you
know that you actually took the shot.
| | 01:43 | As we've discussed, you'll
use a remote control for several
| | 01:45 | different applications.
| | 01:46 | One of those is getting your hands off
the camera during long-exposure shots so
| | 01:51 | that you can reduce camera vibration.
| | 01:54 | Let's look at how you take a long-
exposure shot with a remote control.
| | 01:58 | If I go into Shutter Priority here, I can
dial in a very long exposure, up to thirty seconds.
| | 02:05 | Beyond thirty seconds, I have
to take a different approach.
| | 02:07 | I have to go over to Manual
mode and dial over to here, Time.
| | 02:13 | When my Release mode is set to Remote
Control, going past thirty seconds gets me
| | 02:19 | to this Time shutter speed, and what
that means is that my Remote Control
| | 02:23 | button is now a toggle.
| | 02:25 | I press it and the shutter opens
and it will stay open until I press it
| | 02:29 | again, and then it closes.
Now there is a time limit.
| | 02:33 | It will shut automatically after half
an hour, but that's probably much longer
| | 02:36 | than you'll ever need.
| | 02:37 | So this is a way that I can take
extremely long exposure pictures--
| | 02:41 | astrophotography pictures, extremely
low-light pictures--without having to
| | 02:45 | actually touch the camera.
| | 02:47 | Note that if I'm using a wired remote--
that is, a remote that attaches to the
| | 02:51 | camera with a cable--this will not say Time;
| | 02:53 | it will say Bulb. And we can simulate
that right here by changing our Release
| | 02:58 | mode back to Single frame.
| | 03:01 | And now you see that this is turned
into Bulb, but that means as long as the
| | 03:04 | Shutter button is held down,
the shutter stays open;
| | 03:07 | when I let go, it opens back up again.
| | 03:10 | If I had a wired remote attached,
I could be getting that same functionality
| | 03:13 | with my hands off the camera.
| | 03:16 | Obviously, when you're using a remote,
your face is not going to be up against
| | 03:20 | the viewfinder, and that means that
light can get in there that can possibly
| | 03:24 | impact your exposure, so
you want to cover this up.
| | 03:27 | If you look on the strap that came with
your camera, you'll find a little cover
| | 03:30 | that can go over here, and that
can help improve your exposures.
| | 03:33 | So remote controls are a great way of
triggering the camera from far away for
| | 03:37 | doing self-portraits or any other
time when you want the camera out of your
| | 03:40 | reach, but they're also great for
getting your hands off the camera to reduce
| | 03:44 | camera shake when you're
shooting long exposures.
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|
7. Understanding 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 percent 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-weight metering is like matrix,
but more statistical weight is given
| | 00:40 | to the center of the frame when all of 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 percent of your viewfinder.
| | 00:52 | You'll use this for times when you're
facing high dynamic range but you need to
| | 00:55 | be absolutely certain that
you've detail of one particular spot.
| | 01:00 | For most of the scenes that you ever
shoot, matrix metering will work fine; in
| | 01:03 | fact, you may find that you
never change metering from matrix.
| | 01:07 | However, if you're shooting portraits,
you might want to experiment with
| | 01:10 | center-weight metering.
| | 01:11 | Either center-weight or spot are
good for backlighting, and all of this is
| | 01:14 | covered in detail in
Foundations of Photography: Exposure.
| | 01:19 | To change metering on the D5100, press the
I button to get into the Info/Edit screen.
| | 01:26 | This is the metering icon right
here, and it's labeled Metering.
| | 01:29 | I can see that I'm currently set on matrix.
| | 01:31 | If I hit the OK button with that highlighted,
I get a choice of other metering options.
| | 01:37 | From matrix, I can go to center-weight
metering and then spot metering, and it's
| | 01:41 | giving me a little example.
| | 01:42 | So, for a matrix metering, it's
showing me an example of something with some
| | 01:46 | dark stuff and some light stuff and
showing that matrix is a good choice for
| | 01:51 | that type of situation.
| | 01:54 | For center-weight metering, it's
showing me something in the center;
| | 01:56 | in this case, this flower that
they've composed right in the center.
| | 01:59 | I want to be sure that's metered properly, so
center-weight metering would be a good choice.
| | 02:04 | And then finally, for spot
metering, they're showing in this case a
| | 02:08 | black-and-white image, where I
might have spot-metered off this bright
| | 02:12 | thing over here to ensure
that it held the detail.
| | 02:15 | Obviously, spot metering is not only for black-
and-white imagery, but that is a good example.
| | 02:21 | Most of the time you'll want
to stick with matrix metering.
| | 02:23 | It's going to give you good results in
most situations that you'll get into.
| | 02:26 | Remember, if you do get a backlight
situation, give center-weight metering a try.
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| Exposure lock| 00:00 | There will be times when you will want
to shoot multiple frames with different
| | 00:04 | compositions but use the same
exposure settings for all of them.
| | 00:07 | Panoramas are the most common situation
where you will encounter this problem.
| | 00:11 | The Exposure Lock control lets you
meter a scene, then lock that exposure in as
| | 00:17 | you take multiple shots.
| | 00:19 | This is the Exposure Lock button on the 5100;
| | 00:22 | it's also a focus lock. Using it is very simple.
| | 00:25 | I half-press the shutter button to
meter and focus and then press and hold the
| | 00:30 | Exposure Lock button.
| | 00:31 | That will keep my exposure from
changing as I move the camera around.
| | 00:36 | Now inside the viewfinder I will see a
little AEL light light up to remind me
| | 00:41 | that exposure is locked.
| | 00:43 | With exposure locked, when I'm in
Program mode, I can still use my Flexible
| | 00:47 | Program control so I can still use
the dial to change the reciprocal
| | 00:51 | exposure combinations.
| | 00:53 | If I'm in Shutter Priority mode,
I can still change shutter speed.
| | 00:56 | If I'm an Aperture Priority mode,
I can still change aperture.
| | 00:59 | So it's locking the exposure; it's not
necessarily locking a specific values that
| | 01:05 | are being used to achieve that exposure.
| | 01:07 | So this is a critical tool for times
when you want to meter in one place and
| | 01:11 | then recompose your shot to
take a different composition.
| | 01:15 | Exposure Lock can also be a critical
tool when shooting in Aperture or Shutter
| | 01:19 | Priority mode, as we'll see later.
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| Aperture Priority mode| 00:00 | In Program mode when you meter is 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,
| | 00:24 | so you want to make certain that
you're always using a small aperture.
| | 00:27 | Or maybe you're street-shooting and as
you're shooting different subject matter,
| | 00:31 | you're changing your mind about depth
of field and so you want to be able to
| | 00:34 | 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 switch to Aperture Priority mode, I
just changed my mode dial to the A. I can
| | 00:53 | see that I am currently set on aperture of F14.
| | 00:55 | It will remember the last aperture that I
had dialed in in Aperture Priority mode.
| | 01:00 | I can change that aperture by turning my
main dial, and as I do that, my F number changes.
| | 01:05 | Notice that over here my shutter speed
is always changing to what the camera
| | 01:09 | thinks is a good shutter
speed for my chosen aperture.
| | 01:12 | In other words, if I want an aperture
of F8, it's saying I need a shutter speed
| | 01:17 | of a 50th of a second to get
a good exposure of this scene.
| | 01:21 | Or if I want an aperture of F11, it's
saying I need a shutter speed of 1/125th to
| | 01:26 | get a good exposure of this scene.
| | 01:28 | Now this thing is really cool.
| | 01:30 | This shows me the size of my aperture.
| | 01:33 | So if you've always had trouble
remembering, well, is a big number a bigger
| | 01:36 | aperture, or a smaller aperture,
| | 01:37 | this will just show you.
| | 01:38 | So you can see if I go all the way out
here to F5.6, which is as wide as this
| | 01:45 | lens will go at this focal length, I
can see I have a very wide open aperture.
| | 01:49 | Or if I dial it down, I can
see my aperture shrinking.
| | 01:54 | So, this is a really easy way of
understanding what aperture you dialed in.
| | 01:59 | So when I am really wide open,
I've got shallow depth of field;
| | 02:02 | when I am closed down much smaller,
I have narrower depth of field.
| | 02:06 | This ring around the outside
has to do with your shutter speed.
| | 02:08 | You will learn about that in
the Shutter Priority movie.
| | 02:11 | Now while this is very helpful, I want to
reinforce that you need to learn the numbers also,
| | 02:17 | so don't rely too heavily on this.
| | 02:19 | As you're looking at those, take note
of the corresponding number until you
| | 02:23 | start to really learn that
bigger number means smaller aperture.
| | 02:26 | That's critical exposure information
that you need to understand that will come
| | 02:30 | up when you're choosing a lens, it
will come up if you ever move to another
| | 02:34 | camera, one that doesn't have that feature.
| | 02:36 | You don't want to be left dependent on
that little display if it's not there.
| | 02:40 | Now there might be times where I
choose an aperture and for my current
| | 02:45 | situation, my current lighting
situation, the camera cannot pick a shutter speed
| | 02:49 | that it thinks is safe for handheld shooting.
| | 02:53 | For example, I am just going to cover up
the lens cap here, and that causes it to
| | 02:56 | re-meter, and now it's saying that it
needs a full one-second exposure to get my
| | 03:01 | shot, and this question mark starts flashing.
| | 03:04 | If I press the question mark button on the
camera, I see that it says, "Lighting is poor;
| | 03:09 | flash recommended."
| | 03:10 | What it's really getting at there is that at
one second I'm going to risk handheld shake.
| | 03:16 | It can get a good exposure.
| | 03:17 | It can get enough light to properly
render the scene, but it's going to be very
| | 03:20 | hard to hold the camera still at one second.
| | 03:23 | So I need to either pop up the flash,
get on a tripod--of course a tripod is not
| | 03:27 | going to help if my subject is moving,
so that little warning there is a good
| | 03:32 | way of understanding when you've
entered the realm of a shutter speed that's
| | 03:35 | possibly too slow to get good results.
| | 03:38 | Aperture Priority doesn't allow you to
take any shots that you couldn't take in
| | 03:42 | Program mode using Flexible Program;
rather it simply provides you with a
| | 03:45 | speedier way to get the aperture-
based exposure settings that you want.
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| Shutter Priority mode| 00:00 | In Program, mode when you meter a scene
by half-pressing the shutter button the
| | 00:05 | 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're shooting a sporting
event and you know that you want to
| | 00:15 | perfectly freeze motion,
| | 00:16 | so you will want to make certain that the
camera is always using a fast shutter speed.
| | 00:20 | Or maybe you're shooting a landscape
with some moving water in it and you know
| | 00:23 | you want that silky smooth
blurred-water look in all of your shots,
| | 00:27 | so you want to make certain that
you're always using a slow shutter speed.
| | 00:30 | In Shutter Priority mode, you can choose
the shutter speed that you want and when
| | 00:34 | the camera meters, it will automatically
pick a corresponding aperture that will
| | 00:39 | yield a correct exposure.
| | 00:41 | To change the Shutter Priority mode, I
simply turn my mode dial to the S here,
| | 00:46 | and I can see that I've dialed
in right now a 20th of a second.
| | 00:50 | Now that's a little slow.
| | 00:52 | If I turn my main dial, I can alter
shutter speed, because that's what
| | 00:56 | Shutter Priority mode does.
| | 00:57 | I can go to a slower shutter speed;
I can go to a faster shutter speed.
| | 01:01 | And notice that as I'm doing that,
the aperture is changing on the fly.
| | 01:05 | The camera is automatically choosing
an aperture that it thinks will yield a
| | 01:09 | good exposure at my current shutter speed.
| | 01:12 | So if I choose a 30th of a second, I get F9.
| | 01:15 | If I choose a 40th of a second, I get F9.
| | 01:18 | If you're not clear what this display is,
take a look at the Aperture Priority movie.
| | 01:22 | I explain what this is there.
| | 01:24 | That ring around the aperture here
shows my entire shutter-speed range.
| | 01:30 | So this is the slowest shutter speed.
| | 01:32 | This is the fastest shutter speed.
| | 01:33 | So I can see that when I'm about here,
I'm roughly halfway through my entire
| | 01:37 | shutter speed range.
| | 01:38 | So this just gives me quick
visual clue as to how much more shutter
| | 01:42 | speed latitude I have.
| | 01:43 | Watch what happens though, as I keep
turning shutter speed up, my shutter
| | 01:47 | speed gets faster, which means to preserve
the same exposure, my aperture has to be opening,
| | 01:52 | because with a faster shutter speed I
get less light, so we are letting more
| | 01:55 | light in through from a wider aperture.
| | 01:57 | When I get up to here, if I go once a bit
faster, up to a 100th of a second, now a
| | 02:03 | number of things have happened:
| | 02:05 | my aperture reading is flashing,
it's saying subject is too dark,
| | 02:08 | it's flashing this question mark at
me, and it's showing a 3rd of a stop of
| | 02:13 | underexposure on my
exposure readout right here.
| | 02:16 | That's because at an 80th of a second
my aperture is as wide as it can go on
| | 02:21 | this particular lens.
| | 02:22 | At this focal length, on this lens,
I can't go any wider than 5.6.
| | 02:28 | So when I go to a faster shutter speed, it
wants to go to a wider aperture, but it can't.
| | 02:31 | It's going to let me take the picture anyway;
| | 02:33 | it's going to do at 1/100th of a second.
| | 02:35 | I can keep going up here.
| | 02:37 | But it's telling me that if I do that I
am not getting enough light and my image
| | 02:40 | is going to be underexposed.
| | 02:42 | At this point, at 1/60th of a second, I
am now underexposed by a whole stop.
| | 02:46 | The flashing question mark means that
if I press the question mark button, it
| | 02:50 | tells me, "Subject is too dark;
cannot adjust exposure.
| | 02:53 | Choose a slower shutter speed."
| | 02:55 | That's almost a little threatening,
but really nothing bad will happen if you
| | 02:58 | don't choose a shutter speed.
| | 02:59 | It's just your image will be a little too dark.
| | 03:01 | So, when I'm in Shutter Priority mode I
just have these little guides there that
| | 03:05 | help me understand that yeah,
| | 03:07 | I can shoot at this shutter speed,
but I am going to be underexposing.
| | 03:10 | So you'll want to keep an eye on those
as you're choosing your shutter speed.
| | 03:14 | Shutter Priority doesn't allow you to
take any pictures that you couldn't take
| | 03:17 | in Program mode using Flexible Program;
| | 03:20 | rather, it simply provides you with a
speedier way to get to the shutter-speed-
| | 03:23 | based exposure settings that you want.
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| Manual mode| 00:00 | Sometimes you might have a very
particular creative vision or be facing a
| | 00:05 | particularly complex exposure situation.
| | 00:07 | Maybe say you are shooting a scene and
you want shallow depth of field and you
| | 00:12 | want to blur some motion in the scene,
and you don't care if the whole thing is
| | 00:15 | a little overexposed.
| | 00:17 | Or maybe you are used to working
with a hand-held light meter and using it
| | 00:21 | to calculate exposure settings, which you
then want to dial into your camera by hand.
| | 00:25 | Manual mode gives you full control of both
shutter speed and aperture on your camera.
| | 00:30 | You can dial in any setting you want,
regardless of whether the camera's meter
| | 00:34 | thinks they're a good idea.
| | 00:35 | It might flash warnings at you about
how I think you're making bad decisions,
| | 00:39 | but it will still take the shot.
| | 00:42 | To change to Manual mode, just dial the
mode Dial over to M, and now it shows the
| | 00:47 | last manual settings that I had dialed in.
| | 00:49 | So I just happened to have been
shooting at a 25th of a second, at F11.
| | 00:53 | To change shutter speed, I simply
turn the main dial so I can dial my
| | 00:57 | shutter speed up faster.
| | 00:59 | Don't worry about this stuff right now,
just pay attention to the numbers.
| | 01:01 | My shutter speed is going faster.
| | 01:03 | To change aperture, I press and hold
the Exposure Compensation button while
| | 01:08 | turning my main dial and
now I'm adjusting aperture.
| | 01:12 | Now, what this is down here is no
longer my Exposure Compensation meter;
| | 01:16 | this is now just a light meter that
tells me when I'm over- or underexposed.
| | 01:21 | So right now, with this scene, a
50th of a second at F8 is good metering.
| | 01:26 | It's showing me at zero, which
means this is actually a good exposure.
| | 01:30 | But if I maybe want to speed up my
shutter speed to stop some motion, I can see
| | 01:35 | uh-oh, now I'm one stop underexposed.
| | 01:38 | That means my image is
going to be a little too dark.
| | 01:41 | So to compensate for that, I
might want to open up my aperture.
| | 01:45 | So I am going to press and hold the
Exposure Compensation button and open up my
| | 01:49 | aperture and now my metering goes back
to zero, so I know I have good exposure.
| | 01:54 | So this is simply a light meter.
| | 01:56 | It let's me work with my two parameters
and see whether I'm over- or underexposed.
| | 02:00 | Now if my exposure is off, it doesn't matter;
| | 02:02 | the camera will still let me shoot.
| | 02:04 | It's just I am going to get a result
that is either over- or underexposed,
| | 02:08 | depending on what my meter is saying.
| | 02:10 | So, your idea when you're shooting
manual is to try and find parameters
| | 02:14 | that leave that at zero.
| | 02:15 | If it's not possible to do that, that's okay.
| | 02:17 | You may want to take the shot anyway and trust
that you can fix it later in your image editor.
| | 02:22 | Manual mode doesn't open up
any hidden power in your camera.
| | 02:25 | The only thing it gets you that you
can't get in other modes is the ability to
| | 02:30 | over- or underexpose in a very particular way.
| | 02:33 | On very rare occasions, this will be
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 the different
| | 00:04 | exposures to 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 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 activate bracketing, I press my Info/
Edit button and press it again to make
| | 00:36 | the screen editable.
| | 00:37 | Down here at the very bottom, I have
Bracketing, which by default is set to off.
| | 00:41 | I hit OK to go into my bracketing menu.
| | 00:43 | On the 5100, Auto
Bracketing always takes three shots.
| | 00:47 | What I'm picking here is the exposure
differential between each one of those shots.
| | 00:54 | So for example, if I set it to AE1.0,
that means I'm going to be taking three
| | 00:59 | shots, each spaced one
stop apart. Exit out of here.
| | 01:03 | And now I can see that on here these
little hash marks are showing up to show me
| | 01:07 | that I am going to have one shot as
metered, one shot underexposed, and one shot
| | 01:12 | overexposed by one stop.
| | 01:14 | Now I take a shot and you could see
that that middle mark has disappeared,
| | 01:19 | indicating that I have taken that
shot, and my next shot knocks out the
| | 01:23 | underexposed one, and my last one knocks
out the overexposed one, meaning I'm now
| | 01:27 | back to starting with a three-step bracket.
| | 01:31 | To make that a little easier, I can
change my Release mode to Continuous, and now
| | 01:37 | if I just rifle off three shots, I have
shot my whole bracket and it comes back
| | 01:43 | ready to shoot the next bracket.
| | 01:45 | It will stay like this until I turn it off.
| | 01:47 | So now I am going to go back in
here and dial Bracketing back to Off.
| | 01:51 | These other options,
| | 01:53 | 0.3 is a third of a stop, 0.7 is two
thirds of a stop, or one and a third, one and
| | 01:58 | two thirds, or two stops.
| | 02:00 | Beyond that, you really probably
don't ever need a bracket that high.
| | 02:03 | Two stops is very possibly going to
lead you into over- and underexposure.
| | 02:07 | I am going to set that back to off and
remember to set my Release mode back to
| | 02:12 | Single Shot, and now my camera is
back ready for normal shooting.
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| Active D-lighting| 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
| | 00:16 | brightly lit objects with your eye,
while your camera will render those same
| | 00:20 | 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.
| | 00:43 | By default, Active D-Lighting, or ADL as
it appears here in your info screen, is
| | 00:48 | set on an auto setting that causes the
camera to automatically try to figure out
| | 00:53 | how much D-Lighting correction might
be needed for your particular scene.
| | 00:56 | You can control it manually though by
coming here into your editing screen,
| | 01:01 | making sure Active D-Lighting is set.
| | 01:03 | If I open this menu, I see what all
of my options are, and I get this great
| | 01:07 | little thumbnail that shows
what Active D-Lighting can do.
| | 01:10 | So by default, I am on Auto, but I can also set
that to varying degrees of Active D-Lighting.
| | 01:17 | So I've got extra high, high,
normal, low, and off completely.
| | 01:23 | So this would be what my
original image looks like.
| | 01:25 | I know you probably can't see this too
well on the screen, but you can look at
| | 01:28 | it on your own camera.
| | 01:29 | What I see when Active D-Lighting is
off is that there's not a lot of highlight
| | 01:34 | detail in this scene.
| | 01:35 | But as I dial in varying degrees of
Active D-Lighting, I see more detail in my
| | 01:42 | highlight areas and more
detail in my shadow areas.
| | 01:45 | So the trade-off here is, as I increase
the amount of Active D-Lighting, yes, I
| | 01:50 | get more detail in those areas,
| | 01:52 | but possibly my image starts to
look a little flat, or over-edited.
| | 01:56 | So that's purely a matter of taste or
purely a matter of what you have in mind
| | 02:00 | for a particular image.
| | 02:01 | You're going to want to play with
your Active D-Lighting settings to find
| | 02:04 | out what you would like and what's
best for your particular photographic
| | 02:08 | application.
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| Auto distortion control| 00:00 | When you shoot at a short focal length,
either because you've zoomed your lens
| | 00:04 | out to its widest angle or because
you're 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 its
bulging or being pinched in the middle.
| | 00:16 | 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.
| | 00:27 | It's in the Shooting menu,
and it's right down here.
| | 00:30 | By default, it's set to Off;
just come in here and turn it on.
| | 00:34 | You don't necessarily want to leave it
on all the time because there might be
| | 00:37 | times when you don't want it
performing these transformations on your image:
| | 00:41 | maybe you'd like a little distortion,
maybe you feel like it's doing too much
| | 00:44 | correction and that's
confusing the geometry in your scene.
| | 00:48 | But if you do have a wide-angle lens,
you're going to want to experiment with
| | 00:51 | Auto Distortion Control and
see how you like the results.
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| Long exposure noise reduction| 00:00 | You should already be familiar with the
noise that can occur in your images when
| | 00:04 | you shoot with a higher ISO,
| | 00:06 | but there's another type of noise that
can show up anytime you're shutter speed
| | 00:10 | goes longer than one second.
| | 00:11 | At these longer shutter speeds, it's
possible for pixels on your camera's image
| | 00:15 | 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 menu, into the Shooting
| | 00:36 | menu, and scroll down until you find
Long exposure NR--that's Noise Reduction.
| | 00:42 | Just come in here and turn it on.
| | 00:45 | Long Exposure Noise Reduction will do a
very good job of reducing noise in your
| | 00:49 | long-exposure images.
| | 00:50 | You may wonder then, why don't
I just leave it on all time?
| | 00:53 | That's because it's going to increase
the time it takes the camera to write
| | 00:57 | images out to the card.
| | 00:58 | It's going to increase that time
by one and a half to two times.
| | 01:01 | And what's more, while it's writing, you
won't be able to do anything with the camera.
| | 01:06 | The camera will be completely locked up.
| | 01:07 | It's a non-interruptible process.
| | 01:09 | So, you only want to turn
this on when you really need it:
| | 01:12 | astrophotography, shooting skies late at night,
that kind of thing--you'll want to turn this on.
| | 01:17 | It's very effective noise reduction.
| | 01:19 | The rest of the time, you'll want to
leave it off so that you don't slow down
| | 01:23 | your shooting process.
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| High ISO noise reduction| 00:00 | As you increase the ISO setting on
your camera, you also increase the chance
| | 00:04 | that 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 filmgrain.
| | 00:12 | Sometimes noise appears as a speckly
pattern, which can look like filmgrain,
| | 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.
| | 00:29 | Now, before you get too panicked about
noise, it's important to remember that
| | 00:34 | noise that's visible
onscreen may not be visible in print.
| | 00:37 | If you zoom into 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
| | 00:49 | check 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.
| | 01:02 | To activate High ISO Noise Reduction, I
go into my menu, into my Shooting menu,
| | 01:07 | and it's grouped here with
Long Exposure Noise Reduction.
| | 01:10 | Just go down here to High ISO Noise
Reduction. And I have a few options.
| | 01:14 | By default, I am set to Normal,
meaning by default there is always a bit of
| | 01:19 | noise reduction going on on the camera.
| | 01:21 | I can lower the amount of noise
reduction, which means possibly increasing the
| | 01:25 | amount of noise in my images, or I can
increase the amount of noise reduction,
| | 01:29 | which means possibly decreasing
the amount of noise in my image.
| | 01:32 | I say possibly because
noise is a random process.
| | 01:35 | It occurs more or less in shadows or
highlights or at different ISOs or with
| | 01:40 | different subject matter and so on and so forth.
| | 01:42 | So you will notice noise more or less
depending on the type of image you're
| | 01:47 | shooting as you change these settings.
| | 01:49 | So you might wonder,
| | 01:50 | why don't I just leave it on High all the time?
| | 01:52 | I don't like noise. I want to be
sure I always get rid of it. Well,
| | 01:55 | there's a trade-off, too, we had for
increasing noise reduction, and that's that
| | 01:59 | you'll possibly see less
sharpness in your image.
| | 02:02 | Noise reduction introduces a
little bit of blurring to your image,
| | 02:05 | so there might even be times
when you just want to turn it off.
| | 02:08 | If you decide that you don't like the
softening that you're getting from your
| | 02:12 | noise reduction, then
you can just switch it off.
| | 02:13 | If you've already been shooting without
worrying about this and have been okay
| | 02:17 | with noise levels on your camera,
then Normal is probably just fine.
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| HDR| 00:00 | As we've discussed, your eye can see a
much wider dynamic range than your camera
| | 00:05 | can. That is, it can see a much
wider range of dark to light.
| | 00:08 | So if, for example, I'm standing at
the bottom of this canyon, my eye can see
| | 00:13 | all of the shadowy details at the
bottom and all of the bright details at the
| | 00:16 | top and everything in between.
| | 00:18 | Your camera though cannot see that whole range.
| | 00:21 | It can only capture either the bright stuff
at the top or the dark stuff at the bottom.
| | 00:26 | There's a process called High Dynamic
Range photography, or HDR, that allows you
| | 00:31 | to shoot multiple images of the same
scene, each exposed a little bit differently
| | 00:35 | and then combine them into a
finished image with a wider dynamic range.
| | 00:40 | Your camera has a built-in HDR feature
that does a pretty good job of creating
| | 00:44 | HDRs in the camera, and you can learn all
about HDR in my Shooting and Processing
| | 00:49 | High Dynamic Range Photographs course.
| | 00:52 | You configure HDR from the Shooting menu.
| | 00:55 | Scroll down until you find
HDR, (high dynamic range).
| | 00:57 | Go into that menu, and you have a few options.
| | 00:59 | First, you can simply
turn the feature off and on.
| | 01:02 | Second, you can pick the exposure differential.
| | 01:05 | This is the amount of exposure between the
two shots that the camera is going to take.
| | 01:09 | It's going to do a two-shot HDR.
| | 01:11 | Auto is going to work most of the time.
| | 01:13 | It's going to automatically assess the
brightness in your scene and choose an
| | 01:16 | appropriate exposure differential.
| | 01:18 | If your results though show overexposure--
maybe clouds have gone to complete white--
| | 01:24 | you may want to come back in and
try manually selecting an exposure
| | 01:27 | differential and experiment with your
different options there and see if one
| | 01:31 | works better than another.
| | 01:33 | I've also got Smoothing.
| | 01:34 | This has to do with how the tones
from two different images are combined.
| | 01:39 | If I set Smoothing to Lower, I'm
going to get less of that HDR look.
| | 01:43 | It's not going to pull as
many tones in from both images.
| | 01:46 | It's going to create something
that's going to look more like a normal
| | 01:48 | photograph but has
slightly expanded dynamic range.
| | 01:51 | Normal is going to pull more tones and
get me still more detail in more areas.
| | 01:57 | High is going to pull lots
of tones from both images.
| | 02:00 | It's really going to give me that HDR
look, which means lots and lots of detail
| | 02:03 | throughout the scene.
| | 02:04 | That may not be what you're wanting;
| | 02:06 | sometimes that can look a little garish.
Or it may be exactly what you're after
| | 02:09 | and Low isn't giving enough
of the result that you want.
| | 02:12 | You're going to need to experiment with
the smoothing options to see which one
| | 02:15 | best suits your taste.
| | 02:16 | After these are configured, simply turn
HDR mode on, and then when you do, take
| | 02:23 | two pictures and they will
automatically be combined, and the result will be
| | 02:27 | written out to the card.
| | 02:28 | You can see that I am in HDR mode right here;
| | 02:30 | it will stay that way until I
turn it back off in the HDR feature.
| | 02:35 | This feature works, but you're still
probably going to get better results doing
| | 02:39 | it the old-fashioned way, that is,
shooting multiple shots with your camera and
| | 02:43 | combining them using HDR
software on your computer.
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| 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'd taken a picture.
| | 00:14 | If you had such a camera and you exposed
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 exposed to the same bit of film to
| | 00:24 | more 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 configure multiple exposures,
go into your Shooting menu.
| | 00:46 | Down almost at the bottom is Multiple
exposures. You've got three parameters you can control.
| | 00:50 | First is simply turning it on or off.
| | 00:52 | Second is the number of shots you want
combined in your final exposure--you can have two or three.
| | 00:58 | And then finally, Auto gain, this
controls how much images will be brightened so
| | 01:03 | that they combine well.
| | 01:04 | In most circumstances you are
going to want to leave it on.
| | 01:07 | If you do have an overexposure or an
underexposure problem, then experiment
| | 01:11 | with turning it off and see
if you get better results.
| | 01:14 | With that I configured, I simply turn
this on, and then I go and I shoot two
| | 01:18 | images, and the camera will
automatically combine them to produce a third final
| | 01:23 | image that will get stored on the camera's card.
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| Interval timer shooting| 00:00 | You've probably seen a timelapse 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,
| | 00:14 | those are all time lapse.
| | 00:15 | 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
| | 00:24 | 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 timelapse.
| | 00:35 | To configure the interval timer, I go
to the Shooting menu, and down at the very
| | 00:39 | bottom is Interval timer shooting.
| | 00:41 | If I open that up, I get a few
different options to configure here.
| | 00:44 | First is when the
timelapse will actually start.
| | 00:47 | We are going to come back to that one.
| | 00:48 | If I hit the right arrow, notice there
are these three parameters down here that
| | 00:52 | I can configure, and I can use the
right and left arrows to move these yellow
| | 00:55 | brackets up and down.
| | 00:57 | So now I've selected the second one,
which is Interval, and up here I get my
| | 01:00 | controls for editing that.
| | 01:01 | Interval is simply how much
time passes between each shot.
| | 01:05 | It defaults to one minute.
| | 01:06 | This is hours, minutes, and seconds.
| | 01:07 | I am going to just leave it on one
minute and go on to my next parameter, which
| | 01:11 | is Number of times, that is how many
intervals do I want to go through?
| | 01:15 | I am going to go through two of those.
| | 01:18 | In other words I am going to cover two minutes.
| | 01:21 | It's going to take one picture
every minute for two minutes.
| | 01:24 | I am going to end up with
two shots when I am done.
| | 01:26 | Not much of a timelapse, but
it serves as a good example.
| | 01:30 | Now I can tell it when to start.
| | 01:31 | I could enter a time.
| | 01:32 | I could say don't start until midnight;
instead, I am just going to tell it to
| | 01:35 | start right now, and it's off.
| | 01:39 | So it takes the first image.
| | 01:41 | Now notice here on my display it
tells me that I'm in the middle of Interval
| | 01:45 | timer shooting, and it's
flashing this question mark.
| | 01:47 | If I push and hold the question mark
button here, it says, "Interval timer shooting.
| | 01:51 | To exit, turn the camera off."
| | 01:54 | That's the only feedback it gives
me about it being in the middle of
| | 01:57 | an interval-timer shoot.
| | 01:58 | So, notice that I can't do
anything else with my camera.
| | 02:02 | So if I can't figure out why my
camera is locked up, it's not a bad idea to
| | 02:07 | look for this little badge here and see if
maybe I'm in the middle of an interval shoot.
| | 02:11 | I can interrupt it though
by turning the power off,
| | 02:13 | so I am going to do that right now,
because two frames a minute apart is
| | 02:17 | not much of a timelapse.
| | 02:18 | I am going to turn that on and
reconfigure and go up here to my menu, and now I
| | 02:23 | am going to go down here and tell it to
shoot, say, every five seconds and to do
| | 02:29 | that twelve times. That will
give me one minute of coverage.
| | 02:34 | I tell it to start, and it's off, and so now
it's going to be shooting every five seconds.
| | 02:40 | Notice that it doesn't
matter what release mode I'm in.
| | 02:43 | If I was in Continuous mode, it's still
only going to shoot one frame, and it's
| | 02:48 | still only going to shoot
them five seconds apart.
| | 02:50 | I can, if need be though, change my
release mode to Quiet, and then it will go
| | 02:54 | into the Quiet mode and shoot
with that quieter shutter sound.
| | 02:58 | Note, also, that I'm not in the
standing here looking through the viewfinder
| | 03:01 | the whole time, which means light could get
into the viewfinder and impact my exposure.
| | 03:06 | Ideally I want this covered.
| | 03:08 | There should be a cover on the strap
that came with your camera that can cover
| | 03:11 | up your viewfinder to help ensure that
your exposure stays accurate when you're
| | 03:15 | not actually behind the viewfinder.
| | 03:17 | Note that I had turned off image review, so
it was not showing images as they came up.
| | 03:22 | That helps conserve battery life
because it's not running the screen.
| | 03:25 | I can go a step farther and actually
just close my screen up, and then I won't
| | 03:29 | get that status display either.
| | 03:30 | So if I am going to leave the camera
sitting for five hours while it does
| | 03:34 | something, I probably want to just
close this up so that I am not using any
| | 03:37 | extra battery running my LCD screen.
| | 03:41 | Timelapse is a really fun thing.
| | 03:42 | It's a great way to take pictures, or
to take movies rather, of dramatic clouds
| | 03:47 | that are passing overhead, shadows
moving over an area, any longer process
| | 03:52 | than you can document.
| | 03:54 | So I really encourage you to explore
the interval timer and go out and practice
| | 03:57 | some timelapse photography.
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|
|
8. Learning More Playback OptionsMetadata display| 00:00 | Your camera stores a lot of
data about every image that you take.
| | 00:04 | In addition to the date and time, it
stores all of the exposure settings that
| | 00:08 | you've used, which makes impossible
to later analyze exactly what happened
| | 00:12 | during a shot exposure-wise.
| | 00:13 | This is often a great way to figure
out what went wrong if you get a picture
| | 00:17 | that's got a bad exposure
or is maybe out of focus.
| | 00:21 | You can view most of this
metadata on the camera itself.
| | 00:24 | What's more, by using some of the
analysis features that are built into the
| | 00:28 | camera, you can identify problems and possibly
correct them while you're still in the field.
| | 00:33 | By default, camera displays some very
basic metadata when I review my images.
| | 00:38 | I can see here that I'm
looking at image number thirty of thirty.
| | 00:41 | I can see the compression and pixel
dimensions of this image, the date and
| | 00:46 | time, and some file-naming information
about the file name and folder that are
| | 00:50 | being used on the card.
| | 00:51 | There's other metadata that I can view,
but before I can do that, I need to
| | 00:55 | activate a feature in my menu.
| | 00:57 | Here in my Playback menu, if I go to
Playback display options, I have all these
| | 01:02 | other pages of metadata that
I can activate if I'd like.
| | 01:05 | I am going to just turn them
all on so we can see them all.
| | 01:07 | I am going to turn on Highlight display,
which is going to show me overexposure,
| | 01:10 | RGB histogram, shooting
data, and a general overview.
| | 01:15 | When I am all done, I hit the Done button.
| | 01:17 | Now when I go back into Playback mode,
nothing really looks very different right now--
| | 01:21 | I am still seeing my basic metadata--
| | 01:23 | but if I hit the up arrow, I get on to
a next page of metadata. So I can go
| | 01:28 | forward and backward through
these different pages of metadata.
| | 01:31 | So what I get here are all
of my shooting parameters.
| | 01:33 | So I can see metering mode, and the
shooting mode I was in, shutter speed, and
| | 01:37 | aperture, ISO, the focal length of the
lens that I was using, that I was using
| | 01:41 | some exposure compensation, white
balance settings, the color space of
| | 01:46 | shooting into, on and on.
| | 01:47 | There is just lots of
settings here that I can review.
| | 01:50 | But there is more metadata than that.
| | 01:52 | I can go on to the next page
and see even more settings.
| | 01:56 | I can keep going, and here is some
more. So these are just page after page of
| | 02:00 | metadata, and I can get rid of some of
these by deactivating a couple of those
| | 02:03 | options in the command that we
just configured. Here is some more.
| | 02:06 | Finally, I can get to a three-channel histogram.
| | 02:09 | Now if you're not clear about this
histogram business, the histogram is a
| | 02:13 | critical shooting tool, both
for shooting and post-production.
| | 02:17 | With the histogram, I can very
easily tell if I've got overexposure, under-
| | 02:20 | exposure, what kind of contrast I've got,
whether I've got a colorcast problem.
| | 02:25 | All of these things can be
easily diagnosed with the histogram.
| | 02:29 | Because the LCD screen is not
color-accurate, nor contrast-accurate,
| | 02:33 | the histogram is really the only way
to tell anything about your exposure.
| | 02:37 | You can learn all about it in
Foundations of Photography: Exposure.
| | 02:40 | On to the next one. Now look at this.
I've got this big flashing black blob.
| | 02:45 | Because I had turned on highlights,
it's now showing anything in the image that
| | 02:50 | is an overexposed highlight.
| | 02:51 | It's flashing it black.
| | 02:52 | So this is another way that I can very
easily see that I have an overexposure
| | 02:56 | problem, and then finally I can click
on back here to get back to my original
| | 03:01 | display, which has very minimal metadata.
| | 03:03 | Metadata can be very valuable both
in the field and in post-production.
| | 03:07 | In the field it can help you
diagnose potential problems and fix them.
| | 03:11 | In post-production you can often
review your metadata to find out why
| | 03:14 | something went wrong.
| | 03:15 | For example, if you see that your
image is out of focus, you might go back and
| | 03:19 | look at your metadata and see that it
wasn't a focus problem, but that may be
| | 03:22 | your shutter speed was very slow.
| | 03:24 | So, configure your camera for the
metadata display that you'd like to use and
| | 03:28 | you'll probably find it very handy.
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| Monitor brightness| 00:00 | Your D5100 has this wonderful
nice big LCD screen on the back.
| | 00:04 | If you're in bright sunlight though, you
may find it's a little difficult to see.
| | 00:08 | Fortunately, you can brighten the
screen by going down here to the setup menu
| | 00:13 | and choosing Monitor brightness.
| | 00:15 | I've got six levels of
brightness, from minus three to plus three.
| | 00:19 | This is a default setting. And this
gray ramp is here to help me understand
| | 00:22 | what's going to happen as I
brighten or darken the screen.
| | 00:25 | If I dial in some brightness, I can see
that my darker tones, my blacks, have gone
| | 00:29 | to a very, very dark
gray rather than true black.
| | 00:32 | On the other side of things, if I darken
my screen, I can see that my whites have
| | 00:36 | gone to a dingy gray.
| | 00:38 | So, I might choose to brighten my
screen in direct sunlight because that will
| | 00:42 | make it stand out more.
| | 00:43 | I might choose to darken the screen because,
| | 00:45 | if I'm shooting in low light, if I am
in a darkened room, sometimes the screen
| | 00:49 | is so bright that it will disturb
other people or blow your night vision.
| | 00:53 | So, this is just a way you can
control the monitor brightness.
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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 in image a lot when they
start their post-production process.
| | 00:11 | Other people so you should never delete
an image because you never know whether
| | 00:15 | 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 cap
| | 00:29 | on, for example.
| | 00:30 | Your camera provides a number of ways to
delete images as well is to lock images
| | 00:34 | so that they can't be deleted.
| | 00:37 | You've already seen how in playback
mode you can delete an individual image by
| | 00:41 | pressing the little trashcan button
and then pressing it again to delete or
| | 00:44 | pressing playback to cancel.
| | 00:46 | There are other ways that you can delete images.
| | 00:49 | If I go into my menu here, at the top of
my Playback menu is a Delete command. I
| | 00:54 | am going to open that up
and I see a number of options.
| | 00:57 | First of all, I can choose to delete all.
| | 00:59 | Now I've already nagged you about how
you should never use that command to erase
| | 01:04 | all the images on your card and
| | 01:05 | you should always use Format, and I
stand by that. That's still true.
| | 01:08 | However, we are going to see a
potential use for that command later.
| | 01:12 | I can also choose to select
images that I went to delete.
| | 01:15 | If I hit selected, I get the scrolling
list of thumbnails of all of the images
| | 01:18 | on my card and I can simply work my way
through and check off the ones I would
| | 01:22 | like to delete by pressing
the zoom-out button here.
| | 01:26 | So I am going to say yeah, I want to
delete that one and I want to delete that
| | 01:28 | one, and you see these little trashcans
getting marked on them. That's a toggle.
| | 01:32 | I can turn that on and off.
| | 01:33 | Once I've selected all the images I
want to delete, I hit the OK button.
| | 01:37 | It prompts me to be sure
that I want to delete them.
| | 01:40 | I'll go ahead and say Yes,
and then they are gone.
| | 01:42 | So that's a way of selectively deleting images.
| | 01:45 | If you're not ready to get rid of
everything but you need to clear some space
| | 01:47 | off your card or you just shot a bunch
of bad images, maybe you have the wrong
| | 01:51 | white balance set or something like that,
| | 01:53 | you could go through and simply
pick those and get rid of them.
| | 01:55 | I can also choose to select all of
the images shot on a particular date.
| | 01:59 | If I go in here, it shows me all of the
dates available on this card, meaning on
| | 02:04 | this card I've got images shot on these dates.
| | 02:07 | So I can simply check off one or more--
| | 02:10 | I can check off as many as I want--and
again I hit the zoom-out button to confirm,
| | 02:14 | it will delete every
image on the card with that date.
| | 02:17 | In addition to the deleting images,
I can also protect images to guarantee that
| | 02:21 | they won't be deleted.
| | 02:23 | I am going to go into Playback mode here.
| | 02:24 | If you notice the Auto Exposure Lock
button also has a little key above it. When
| | 02:28 | I press that, a little key icon appears here.
| | 02:31 | That's also a toggle.
I can turn it on and off.
| | 02:33 | This means that the image cannot be
deleted by any of the erase commands.
| | 02:37 | Now formatting the card
will still delete these images.
| | 02:41 | So, what does gets me is the
ability to selectively delete more images.
| | 02:46 | Let's say that I have shot a bunch
of images today and dumped them to my
| | 02:50 | computer and now I put the card back
in my camera and start shooting before I
| | 02:56 | reformat the card. I get maybe a
dozen images in and realize, oh no, I've got
| | 03:00 | those hundred images that
I shot earlier in the day.
| | 03:02 | I want to delete those, but I don't
want to delete these ones that I just shot.
| | 03:06 | Can't do another format or it will
erase my new images, and I don't want to sit
| | 03:10 | there and count through a hundred
images to mark them for deleting.
| | 03:14 | Instead I could just go through and
protect the images that I had just shot and
| | 03:19 | then go back to my Delete menu
and this time choose delete all.
| | 03:23 | That will delete everything on the
card except for the image that I protected.
| | 03:27 | So, together the Delete command and
the Protect commanded give you a lot of
| | 03:31 | power for selectively
deleting images from your card.
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| Creating folders| 00:01 | Just as you can create folders on
your desktop computer to keep your files
| | 00:04 | organized, you can create folders
on your D5100 to keep your images
| | 00:08 | organized while you shoot.
| | 00:09 | If I go into the menu, into the Shooting
menu, there's this option Storage folder
| | 00:14 | that allows me to choose where on the
card my images are going to be stored.
| | 00:19 | Your D5100 automatically creates
folders and puts images inside them, just as
| | 00:24 | you would create folders on your computer.
| | 00:26 | I can say Select folder and it will
show me all of the folders on the card.
| | 00:31 | Notice there is even a CANON folder here
because I've been using this card in another camera.
| | 00:34 | So it's reading the
entire directory of the card.
| | 00:37 | So if you also have a point-and-shoot
camera and you move your card around, you
| | 00:39 | can even pick folders from there.
| | 00:41 | If I want, I can create a new folder and
give it a name and then when I say OK,
| | 00:48 | that will show up in my list of folders.
| | 00:50 | So, you might want to think about this.
| | 00:51 | Let's say you're traveling and you're
in Italy and you go to Rome and you shoot
| | 00:54 | a bunch of pictures.
| | 00:55 | You might have those go into one
folder, which could be your Rome folder.
| | 00:59 | Then you head up to Florence and you
shoot a bunch of pictures there. You
| | 01:01 | could make a folder just for those.
| | 01:03 | Then maybe head on to Milan and you
make a new Milan folder and select that for
| | 01:08 | when you're in Milan. And maybe finally
you head back to Rome to fly out so you
| | 01:11 | would switch back to your Rome folder.
| | 01:13 | In this way you can keep your images
organized on your camera as you go, just by
| | 01:18 | using the Storage folder option.
| | 01:20 | Now, you might also want to take a
look in Chapter 15 at the "File number
| | 01:24 | sequence" movie, which is using controls
over how files are numbered when they go
| | 01:29 | into a particular folder.
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9. Shooting with Scene ModesWhat is a scene mode?| 00:00 | By now you should be comfortable with
the idea that a mode on your camera is
| | 00:04 | simply a way of designating which
decisions the camera will make for you and
| | 00:08 | which will be left up to you.
| | 00:10 | Scene modes are special modes that bias
the camera's decision-making process so
| | 00:14 | that they're more
appropriate for certain situations.
| | 00:17 | For example, a sports mode would bias
the camera shutter speed choices toward
| | 00:22 | faster speeds for better motion-stopping power.
| | 00:25 | Scene modes can alter everything from
shutter speed, aperture, and ISO to focus
| | 00:31 | and flash performance.
| | 00:33 | Now they don't open up any special
advanced features on the camera, but they can
| | 00:38 | make it easier to get good shots in
the situations that they're designed for.
| | 00:42 | It's important to note that like auto
mode, most scene modes won't let you
| | 00:46 | override some parameters.
| | 00:48 | Also, most scene modes
force you to shoot JPEG files.
| | 00:51 | You won't be able to use
RAW when using a scene mode.
| | 00:55 | Ideally you want to build up your
skill level to the point where you can make
| | 00:58 | these decisions yourself, but for times
when you need to quickly snap off some
| | 01:02 | pictures in a situation for
which there is a scene mode,
| | 01:04 | dialing in the appropriate mode can
improve your chances of getting a good shot.
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| Scene modes and image format| 00:01 | On this part of the mode dial,
you'll find your scene modes.
| | 00:04 | These are modes that bias the camera's
decision-making to make it better suited
| | 00:08 | to certain types of shooting situations.
| | 00:10 | For example, if I dial over here to
Portrait Scene mode, I get some decisions
| | 00:17 | on the part of the camera that are
going to be better suited to shooting
| | 00:19 | portraits of people.
| | 00:20 | First of all, it's automatically going
to choose a portrait picture style which
| | 00:23 | is going to make skin tones look
better, possibly make hair look better.
| | 00:27 | It's also going to bias the cameras
exposure decisions so that it will lean more
| | 00:31 | on the side a wider apertures, which
will get me shallower depth of field. That
| | 00:35 | will help blur out the background
and bring more attention to my subject.
| | 00:38 | And really this is all that scene modes
are: they just are changing the cameras
| | 00:42 | decision-making process a little bit.
| | 00:44 | If I go to Landscape mode, I'm going
to automatically get landscape picture
| | 00:48 | control as well as smaller
apertures for deeper depth of field.
| | 00:52 | The flash will be turned off.
| | 00:54 | The auto focus assist light will be
turned off because there is no need to use
| | 00:57 | those in landscape mode.
| | 00:58 | I've got a child mode and a
sports mode and a close-up mode.
| | 01:02 | These are all of the modes that
Nikon thinks you'll most often;
| | 01:06 | that's why they put them right out here on
the dial where you can get to them easily.
| | 01:10 | But you've got another twenty or so scene
modes that you can get to right here from
| | 01:14 | the scene mode menu.
| | 01:15 | Once I'm in scene, I can just turn my
main dial and I can cycle through all of
| | 01:20 | these different alternate scene modes.
| | 01:22 | I've got party/indoor, I've got beach/
snow, I've sunsets and dusk/dawn and pet
| | 01:29 | portraits and candlelight.
| | 01:31 | Your manual details what all of these do.
| | 01:33 | Now, it's important to know that when
you're in a scene mode, you are going to
| | 01:36 | lose control of a lot of the
camera's normal configurations.
| | 01:40 | You may not be able to switch out of
JPEG mode, for example, or you might not be
| | 01:43 | able to change ISO, or you might
not have white balance control.
| | 01:46 | So, know that when you're going to
these, you are going to kind of a
| | 01:50 | one-button, one-stop solution
| | 01:52 | that's meant to really help you get
a better picture in those situations,
| | 01:55 | but these modes aren't doing anything magical.
| | 01:58 | They are not doing anything that you
can't do on your own through manual control
| | 02:02 | of various camera features.
| | 02:04 | So, if you know your exposure theory,
you are probably going to be better off
| | 02:07 | leaving scene modes behind and staying
in your normal modes and simply taking
| | 02:11 | more control of the camera.
| | 02:12 | Until you get to that point, or if
you're feeling a little shaky and you want to
| | 02:15 | sure you don't miss a particular shot in
one of the situations that a scene mode
| | 02:19 | is good for, then by all means go ahead
and go with the appropriate scene mode.
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10. Shooting with FlashFill flash| 00:00 | People often think that the flash on
their camera is only used when it's dark out,
| | 00:05 | but a dark scene is one of the times
when you probably shouldn't use your flash.
| | 00:09 | The pop-up flash on your camera is
really designed to provide extra fill light
| | 00:12 | when you're shooting in bright daylight.
| | 00:15 | If you've got a bad-back lighting
situation or someone with a hat one, you
| | 00:18 | can use fill flash to fill in the
darker shadowy areas of the scene to
| | 00:23 | produce more even exposure.
| | 00:26 | You've already seen how in auto mode
the flash life pops up automatically.
| | 00:29 | If I'm in Program mode or Priority
or a Manual mode then I can take
| | 00:33 | control of the flash myself and pop it up by
hand by pressing the flash button over here.
| | 00:38 | When I do that, I am automatically in Fill
Flash mode, which is indicated by this icon here,
| | 00:44 | so I am ready to go for
my normal fill-flash use.
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| Flash exposure compensation| 00:00 | The flash on your camera has a
range of about ten to twelve 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
| | 00:13 | 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 like 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 the
something like this to something like this.
| | 00:38 | There are two ways to dial flash
exposure compensation into the 5100.
| | 00:42 | First, I can push and hold the Flash
mode button, the same one that I used to
| | 00:48 | pop up the flash, and then I can press
and hold the Exposure Compensation button
| | 00:53 | and you can see my Flash Exposure
Compensation display lights up right here.
| | 00:56 | Now I just turn the dial, and
I can dial in whatever I want.
| | 01:00 | So that's negative one-third stop,
negative two-thirds stop, negative one stop.
| | 01:05 | That's going to not put as
much flash into my scene.
| | 01:08 | So if I've been shooting somebody and
there is lot of--with my flash and there's
| | 01:12 | a lot of glare on their face,
| | 01:13 | I might want to dial in some negative
exposure compensation because that will
| | 01:17 | not hit them with as much flash.
| | 01:19 | On the other side of things, I can
dial in positive one third, positive two
| | 01:22 | thirds, positive one stop.
| | 01:24 | That's going to get more flash into my
scene, give me more illumination. So if I
| | 01:28 | am finding that shadows aren't
brightening the way that I want then I might
| | 01:32 | want to dial in some
positive exposure compensation.
| | 01:35 | The other way I can set flash
compensation is to hit my i button here and come
| | 01:40 | over here and dial it in this way.
| | 01:44 | So it's really six of one, half a dozen of
another, whichever interface you prefer to
| | 01:48 | use to get your compensation set.
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| Red-eye reduction| 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 far
| | 00:15 | enough from the lens that it's
difficult to get that exact angle that will
| | 00:19 | create the red-eye effect, but it can happen.
| | 00:21 | If it does then you'll want to enable
the red-eye-reduction flash, which works by
| | 00:26 | firing some initial small bursts of
light to close down the irises in your
| | 00:30 | subject's eyes before it fires
the full-strength real flash.
| | 00:35 | Red-eye reduction is a flash mode.
| | 00:37 | To change flash mode, I push and hold the
flash button while turning the main dial.
| | 00:41 | So, this is the icon for normal fill
flash. When I see the little I ball
| | 00:46 | I know I'm in red-eye-reduction mode.
| | 00:47 | Notice there's a second mode
with the red-eye-reduction eyeball.
| | 00:51 | That's slow red-eye reduction.
| | 00:53 | Don't worry about that. We are going
to talk about that in the next movie.
| | 00:56 | This is the mode you want if
you're after red-eye reduction.
| | 00:59 | Now there is another way that you can
change flash mode and that's to hit the i
| | 01:04 | button and scroll over here to Flash mode,
pop that open, and you can pick red-eye
| | 01:10 | reduction. And it gives you a clue
right there with our little icon showing
| | 01:14 | red eye disappearing, so dial
that in and you're ready to go.
| | 01:19 | When using red-eye reduction flash, be
sure to tell your subjects to hold still
| | 01:23 | until you tell them that you got the
shot. After those first flashes, they might
| | 01:27 | start moving around and mess up the
actual shot if you haven't tell them to
| | 01:31 | hold still.
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| Slow sync flash| 00:01 | The flash on your camera
has a range of about ten 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 ten-
| | 00:12 | foot-wide circle of light.
| | 00:14 | So if you take a picture of someone,
they'll be lit by the flash, but the background will be
| | 00:19 | plunged into darkness.
| | 00:20 | This is because the camera is using
exposure settings that are correct for the
| | 00:24 | area 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.
| | 00:42 | Slow Sync is a flash mode, so you activate
it just like you would any other flash mode.
| | 00:45 | I am going to go on here to my flash
mode menu and come down here to where it
| | 00:50 | says slow, and the icon is showing me
that I've got a flash-illuminated foreground
| | 00:53 | and a nice background that's been
properly exposed with a long exposure.
| | 00:57 | Now if I'm shooting a person in the
foreground then I might want to choose
| | 01:02 | red-eye-reduction slow-sync flash.
| | 01:04 | This'll give me red-eye-reduction flash
for the person foreground and still my
| | 01:08 | long-exposure background.
| | 01:10 | Now the shutter in your
camera is composed of two curtains.
| | 01:13 | One opens and another
follows very quickly to close.
| | 01:16 | Normally, in Slow Sync Flash the flash
fires immediately after the curtain has opened.
| | 01:21 | I can change it so instead it fires
just before the second curtain closes.
| | 01:26 | The practical upshot of this is it
changes the way motion in my image will look.
| | 01:31 | If I come down here and dial REAR,
what's going to happen is any motion blur in
| | 01:36 | the image is going to come behind the
moving object rather than in front of it.
| | 01:40 | So if you are shooting motion in your
slow-sync work, you are going to want to play
| | 01:43 | with both normal slow sync and rear
slow sync to see what the differences is.
| | 01:49 | As with red-eye-reduction flash, when
you're using slow-sync flash, it's very
| | 01:52 | important to tell your subject
not to move until you're done.
| | 01:56 | Often they'll move as soon as the
flash fires, and then they'll be all ghosty
| | 01:59 | because of the slow shutter speed.
| | 02:01 | Similarly, you need to remember to
think of this as a slow-shutter-speed shot,
| | 02:05 | so you have to work extra hard to
hold the camera steady and to squeeze the
| | 02:09 | shutter button carefully and just
generally be sure not to introduce camera
| | 02:13 | shake during the long exposure part.
| | 02:16 | Finally, note that there will be color
differences between the flash-illuminated
| | 02:20 | foreground and the long
exposure at the background.
| | 02:23 | This is because the camera will choose
a white balance that's appropriate for
| | 02:26 | the flash and that will typically
leave the background looking very red.
| | 02:30 | Still, this is better than
not having a background at all.
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|
11. Shooting with Picture ControlsPicture controls defined| 00:00 | When you shoot in JPEG mode, the computer
inside your camera has a lot of things to do.
| | 00:05 | It reads the raw data off of the image
sensor, it converts that into a color
| | 00:09 | image, then it has to apply your white
balance settings, sharpen your image, and
| | 00:13 | then finally compress it into a JPEG file.
| | 00:15 | Along the way, it also possibly
performs some image-editing operations--maybe
| | 00:19 | changes the 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
| | 00:31 | toward specific subject matter. For
example, the portrait picture control will
| | 00:35 | apply color corrections and 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 no
| | 00:44 | 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're 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, then its 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 post-production 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 control's 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 | By default, your 5100 is configured
to use this standard picture control.
| | 00:05 | This is where you are going
to leave it most of the time.
| | 00:06 | It gives you very balanced results for
most situations, but if I want to change
| | 00:10 | it, I can hit the Information Edit
button, the big i on the back of the back of
| | 00:13 | the camera, and navigate over to
Set Picture Control and hit OK.
| | 00:18 | And now I get a little scrolling menu
with a nice thumbnail preview of what each
| | 00:22 | picture control is going to do. So I
can go from Standard to Neutral, which is
| | 00:26 | going to apply very minimal processing.
The idea is that you are going to get a
| | 00:31 | more natural-looking picture,
possibly more color accuracy.
| | 00:35 | Next, I have Vivid, which is going to amp up
saturation, possibly even amp up some contrast.
| | 00:41 | It's going to make really bright primary
colors and give you kind of a glossy photo look.
| | 00:46 | I have Monochrome, which is going to
give me a somewhat traditional-looking
| | 00:50 | black-and-white picture.
| | 00:51 | I have Portrait, which is going to
try to improve skin tones and texture
| | 00:56 | by lowering sharpening and the blanks and
color adjustments to make skin look better.
| | 01:04 | And finally, I have Landscape, which is
going to possibly apply a little more
| | 01:10 | sharpness than I am used to and give me
more saturation in my blue and green tones.
| | 01:16 | So it's very simple to select from the
menu, and the thumbnail gives you a slight
| | 01:20 | clue as to what they do.
| | 01:22 | There is another way to set a picture
control and that's to go into your Normal
| | 01:26 | menuing system and here in the
Shooting menu is a Set Picture Control option.
| | 01:31 | If I pick that, I get a list.
| | 01:32 | I don't get any previews or anything.
| | 01:34 | I can just pick the one I
want, hit OK, and it's set.
| | 01:36 | So if you find that you like working
with the Shooting menu better--maybe
| | 01:40 | you are faster with it--
| | 01:41 | you can also set your picture control this way.
| | 01:43 | Again, you will simply have to remember
what these are, because you won't get the
| | 01:45 | little preview, although the names
are pretty self-explanatory. And again, if
| | 01:50 | you'd like to go back to defaults,
that's just the standard picture control.
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| Modifying a picture control| 00:01 | For the situations they are designed
for, picture controls can definitely give
| | 00:04 | you nicer-looking results. For example,
shooting a landscape with the Landscape
| | 00:07 | picture control can definitely give
you a better final image than shooting it
| | 00:11 | with the Standard picture control.
| | 00:13 | If you don't like the results though,
you might be able to improve things by
| | 00:16 | modifying your picture controls.
| | 00:18 | If I go here into the menu, to the Set
Picture Control option, and choose one
| | 00:24 | of my picture controls--like let's just go ahead
and go with Landscape--and hit the right arrow,
| | 00:30 | I get into my adjustment control here.
| | 00:33 | I can change sharpness, contrast, brightness,
saturation, and hue of the picture control.
| | 00:38 | All I do is go down here, and let's say I
want landscapes with more contrast in
| | 00:42 | them. I can select that one and
just dial contrast up and down.
| | 00:45 | So this is a way that I can
modify the existing picture controls.
| | 00:49 | If I want, I can hit the Reset button
to restore to original picture control
| | 00:52 | settings or just hit OK to take that,
and now my Landscape picture control is
| | 00:57 | going to give me a little more sharpness.
| | 00:58 | Obviously, before you commit to
using a modify picture control for
| | 01:02 | anything really serious you are going
to want to do a few tests. So modify
| | 01:05 | it, go out, shoot some images, take them back,
bring them into your computer and look at them.
| | 01:08 | Don't just look at them on the rear screen.
| | 01:10 | It's not necessarily going to
be color- or exposure-accurate.
| | 01:13 | If you like it then you know that
you can go out and use your modified
| | 01:16 | picture control for real.
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| Monochrome picture controls| 00:01 | Earlier, you saw that there's a
monochrome picture control which gives you a
| | 00:04 | black-and-white image from your camera,
and you may have thought, Wow, that's great!
| | 00:06 | I've always had trouble with black and
white because I have troubled visualizing
| | 00:10 | it, and this way I'll actually be able
to see my black-and-white images
| | 00:13 | right on the back of a
camera--and that's all true.
| | 00:15 | As soon as you shoot with the
Monochrome picture control, you will see a
| | 00:18 | black-and-white image on
the back of your camera.
| | 00:21 | I still, though, don't recommend using the
monochrome picture control, and here's why.
| | 00:26 | When you're shooting black-and-white
images, there's no direct correspondence
| | 00:30 | between any particular color in the
world and any particular shade of gray, so
| | 00:33 | part of the artistry of black-and-
white shooting comes from how you choose to
| | 00:37 | convert colors to grayscale.
| | 00:39 | When you use the Monochrome picture
control, you are using Nikon's default
| | 00:45 | recipe for how to do a black-and-white
conversion, and it may not be the best one
| | 00:49 | for your particular scene.
| | 00:50 | So I recommend still shooting color and doing
black-and-white conversion in your computer.
| | 00:55 | If you are not clear about how all that
works, take a look at my Foundations of
| | 00:59 | Photography: Black and White course.
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12. Using Live ViewActivating Live View| 00:01 | Activating live view on the 5100 is very simple.
| | 00:03 | There's this switch here
labeled Lv for Live view.
| | 00:06 | I can just pull it this
way and live view activates.
| | 00:10 | When it does, the rear LCD screen
lights up, with all this status information
| | 00:15 | displaying and this should
all be pretty familiar to you.
| | 00:17 | You can pick it apart pretty easily.
| | 00:18 | I've got auto-focus modes, and
I've got white balance modes.
| | 00:22 | I've got my aperture settings and my
shutter speed setting and all the normal
| | 00:26 | status information that I am used to seeing.
| | 00:29 | A couple of things are different in live
view though. Notice I don't have the
| | 00:32 | normal selection of focus points, and
that's because in live view, anywhere on
| | 00:37 | the screen can be a focus point.
| | 00:38 | I can steer this box around just by
using the arrow keys here. And note that it's
| | 00:44 | kind of got some inertia to it; after I
hold it down for a while, it speeds up,
| | 00:48 | so I can quickly zip around the screen.
| | 00:50 | If I want to be sure that I am focused
right on the end of that lens, I can put
| | 00:54 | the box right there, and then I do just
what I would always do if I was taking
| | 00:57 | a shot: I have pressed the shutter
button and it focuses. And it had already
| | 01:02 | done a rough metering. Now it has refined
its ideas and shown me some new meter readings.
| | 01:06 | I could choose to focus
somewhere else. So this is great.
| | 01:09 | I am not limited by any predefined focus points;
| | 01:12 | I can focus exactly where I want.
And if I want to put the focus box right
| | 01:18 | back in the center of the screen, all
I have to do is press the OK button.
| | 01:23 | Then it jumps back to there. And I
know when I am at the center because that
| | 01:26 | little dot appears.
| | 01:27 | I also have access to all of the usual
controls over ISO and focus mode and all
| | 01:33 | that other stuff just by pressing the i
button up here. And here I have got the
| | 01:39 | menu that you should already be used to,
so I've got Auto-focus area mode and
| | 01:42 | focus mode and ISO and white
balance and all that other stuff.
| | 01:45 | I can set that in here and continue to
take pictures just as I normally would.
| | 01:50 | Finally, when I am ready to shoot, after
I've locked focus and everything, I do just
| | 01:55 | the same old thing and half-press the
shutter button and it takes my shot and
| | 01:59 | shows me an image review
just like it always would.
| | 02:01 | One thing you might have noticed
there: live view is a very quite way of
| | 02:04 | shooting because the mirror
doesn't have to be raised and lowered.
| | 02:07 | So sometimes live view is a great option,
if you are aiming to shoot somewhere
| | 02:12 | where you want to be a
little more surreptitious.
| | 02:14 | So that's getting into live mode.
| | 02:16 | To get out, I simply flip this
switch again, the mirror comes down, my
| | 02:20 | viewfinder goes back to normal,
and I am 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.
| | 00:08 | 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.
| | 00:20 | The autofocus sensors for this
camera are located up here in the
| | 00:24 | camera's pentamirror.
| | 00:25 | Light from the lens gets bounced up
here, and the autofocus sensors analyze it
| | 00:30 | to calculate focus.
| | 00:31 | When the mirror flips up though,
those sensors go blind, meaning your camera
| | 00:35 | loses its normal autofocus capability.
| | 00:38 | When you are in live view then, the camera
has to use a different method to autofocus.
| | 00:42 | By default, rather than relying on
its autofocus sensors, the computer in
| | 00:46 | your camera will analyze the image that the
sensor is capturing and then focus accordingly.
| | 00:51 | the practical upshot of all this is that
autofocus in live view is much slower than
| | 00:55 | it is when you shoot normally.
| | 00:57 | You have already seen how you can move
your focus point around in live view to
| | 01:02 | focus exactly where you want.
| | 01:04 | I want you to pay attention for
a moment though while I focus.
| | 01:07 | I am going to use my manual ring to
throw this out of focus, and I am going to
| | 01:10 | autofocus, and just watch how long this takes.
| | 01:13 | There is a lot of time spent focusing,
much longer than it would have taken if I
| | 01:18 | was not in live view, and that's because,
again, my autofocus sensors are cut off.
| | 01:22 | So that's something you have to be ready for.
| | 01:24 | Focusing in live view mode
takes longer than it does normally.
| | 01:29 | I do, though, still have access to all
of the same focus modes and all of the
| | 01:35 | same autofocus area modes that we looked at
earlier; all that stuff still works in live view.
| | 01:41 | What you may find in a lot of cases is
that manual focus is a good way to go.
| | 01:46 | Maybe you are having difficulty
getting autofocus to focus because lack of
| | 01:49 | contrast in your image or something
like that, or you just find that you can
| | 01:52 | focus manually faster than
autofocus can in live view.
| | 01:56 | You still have to switch your lens over to
manual focus just like you normally would.
| | 02:01 | You may find though that trying to
manual-focus on this little LCD screen is
| | 02:07 | pretty difficult because
it's hard to see fine detail.
| | 02:09 | Well, fortunately, Nikon's already
thought about that problem for you.
| | 02:12 | My zoom buttons down here that I use in
playback mode will still work here in live view.
| | 02:18 | I've zoomed into an area, I've got a
nice big view of it, and now look there, I
| | 02:23 | can razor--I can get
razor-sharp manual focusing there.
| | 02:27 | When I am done I can just zoom
back out, and now I am ready to go.
| | 02:31 | I am ready to take my shot.
| | 02:33 | Just as with normal shooting, I won't
see a focus lock confirmation in live
| | 02:37 | view when I am using manual, but I
can still take my shot just as I always would.
| | 02:41 | As always, once you are done manually
focusing, it's a good idea to switch back
| | 02:45 | to autofocus, just so you
don't get confused later.
| | 02:47 | So for the most part, you should find
focusing works just the way you expect it
| | 02:51 | to, but a little bit slower.
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| Live View drawbacks| 00:00 | Live view is great for certain shooting
situations, as we have discussed, but it
| | 00:04 | also has some drawbacks.
| | 00:06 | Running the LCD screen takes
a tremendous amount of power.
| | 00:08 | This is why, if you are battery is
running low, it's a good idea to turn off the
| | 00:12 | image review on your camera and to
not spend any time looking at images you
| | 00:16 | have already shot. Because live view
requires the LCD screens, 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 are heading into a
situation that requires a lot of live view
| | 00:28 | shooting then you might want to consider
investing in some additional batteries.
| | 00:31 | If you're trying to shoot
unobtrusively in a darker environment, such as a
| | 00:35 | performance or a concert, then the light
from the LCD screen might be disturbing
| | 00:39 | to people around you.
| | 00:40 | In those instances, it's probably
better to stay away from live view.
| | 00:43 | But the biggest drawback with live
view's 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
| | 01:17 | in all those shadowy areas.
| | 01:19 | When you look at the scene using live view
you are going to see something more like this.
| | 01:22 | Now if you were thinking about those
shadow details as elements that you wanted
| | 01:26 | to compose around, then the fact that
they are invisible in live view might be
| | 01:29 | confounding when you're actually
trying to stand there and frame your shot.
| | 01:33 | A big part of the artistry of
photography is knowing which parts of the dynamic
| | 01:37 | range that you want to capture from
the full range that your eye can see.
| | 01:40 | If the camera is only showing you its
limited view of that full range then
| | 01:44 | compositional decisions become more
complicated, because you won't necessarily
| | 01:48 | notice all of the possibilities in a scene.
| | 01:50 | Now this is all true for any camera
that uses an LCD screen as a viewfinder.
| | 01:55 | One workaround is when you're using
live view, be sure to look often at your
| | 01:59 | scene with your naked eye. Then you
can take note of details that you can't
| | 02:03 | see in live view.
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13. Shooting VideoConfiguring and activating video| 00:01 | Shooting video with your D5100 is very simple.
| | 00:03 | There is no dedicated video mode; instead
you simply put the camera into live view.
| | 00:09 | Your live view screen activates just as
it always would and when you are ready
| | 00:12 | to roll video, you just press the video
button up here, right behind the shutter button.
| | 00:17 | I press and a couple of things happen.
| | 00:19 | I get my video-record light.
| | 00:21 | You'll also see that my screen has gone
letterbox. That's because by default I am
| | 00:25 | shooting a 16x9 aspect ratio, but I
have a 3:2 aspect ratio screen, so it has
| | 00:29 | to crop it like that.
| | 00:31 | Press it again and video stops recording.
| | 00:33 | Now there are a few options that I
can configure for video by going into
| | 00:38 | the menu. And here in my Shooting menu, way
down at the bottom, I've got Movie settings,
| | 00:42 | so I am going to go in there. And I can
choose Movie quality, and here I get a
| | 00:47 | big range of options.
| | 00:49 | I've got two sets of 1920x1080
options, so those are my pixel dimensions.
| | 00:55 | They are both thirty frames per second, but
one is high quality and the other is normal.
| | 00:58 | This just has to do with the amount
of video compression and simply, high
| | 01:03 | quality takes up more space than normal
quality does. So if I am dealing with a
| | 01:06 | small card, or I really need to
conserve some space, then I might want to switch
| | 01:11 | over to normal quality.
| | 01:13 | I could also go 1920x1080 at twenty-four frames per
second, also with high quality or normal quality.
| | 01:18 | The difference here is thirty frames per
second is going to look a little more like
| | 01:21 | video, twenty-four frames per second is going to
have more of the motion quality of film.
| | 01:25 | 1280x720 at thirty frames per second or
1280x720 at twenty-four frames per second, again, both
| | 01:33 | with two quality settings, and again
my difference there is image size: the
| | 01:38 | smaller frame size is going to
take up less space than 1920x1080.
| | 01:42 | I've got my different compression sizes
to say further space, and my frame rate
| | 01:46 | choices are going to change the look of
the motion in the video. Finally, 640x424
| | 01:52 | at thirty frames per second high quality and normal.
| | 01:54 | If I'm ultimately going to use my
videos just for the web then I may just want
| | 01:58 | to shoot at this smallest size.
| | 02:00 | I'll get a lot more space on my card.
Things will be a little bit easier to deal
| | 02:04 | with on the post-production end because
I won't have these gigantic files. But
| | 02:08 | you need to think about the future.
| | 02:11 | Sometimes you repurpose videos for
other purposes, or maybe you're shooting and
| | 02:15 | something really great happens beyond
what you were thinking that was simply
| | 02:18 | going to go up on YouTube, something like that.
| | 02:20 | So if you can afford the space,
it's nice to shoot at very large pixel
| | 02:24 | dimensions because you can
always shrink them down smaller.
| | 02:27 | I've got another option, which is Microphone.
| | 02:29 | I can set some sensitivity
levels for my microphone.
| | 02:33 | When you're shooting video, you need
to be very careful about handling the
| | 02:36 | camera because every bump, every movement of
a control of the camera is going to pick up.
| | 02:41 | So I can change the sensitivity or
even turn the microphone off altogether.
| | 02:45 | If you are serious about audio
though, you are going to want to use an
| | 02:48 | external mic that plugs into an
external mic jack on the side. That's
| | 02:52 | going to give you much better
quality, though it will complicate your
| | 02:54 | post-production a little bit.
| | 02:56 | Let's go back out here to my main display.
| | 02:59 | You can see that I've got all the
normal status readouts that I would have
| | 03:02 | in live view shooting.
| | 03:03 | I also have the normal autofocus mechanism.
| | 03:06 | I can move my focus point around and autofocus.
| | 03:10 | I can also choose all of my normal
autofocus modes, just like I would in
| | 03:15 | any normal shooting.
| | 03:17 | We're going to come back to focusing
in the next movie because it's a rather
| | 03:20 | critical issue when you're shooting video.
| | 03:22 | Finally, be aware that you need a fast
media card when you're shooting video.
| | 03:26 | You need at least a class six
video card to get good video results.
| | 03:31 | So if you are working with a
slower card, you may need to upgrade.
| | 03:35 | The critical watchword when
shooting video with your SLR is care.
| | 03:39 | You have to take great care to ensure
that your images are in focus, and this
| | 03:44 | typically means that you can't do the
type of run-and-gun shooting that you're
| | 03:47 | used to doing with a video
camera or a point-and-shoot camera.
| | 03:51 | If you're shooting a documentary or
candid footage of rapidly changing subject
| | 03:55 | matter then your SLR may not be
the best choice for shooting video.
| | 03:59 | If image quality and creative control
are paramount though, then it's hard to
| | 04:03 | beat the results that
you will get from your SLR.
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| Focusing and menu options| 00:01 | If you are used to shooting video
with the video mode of a point-and-shoot
| | 00:04 | camera or with a video camera, then you
are used to an autofocus that continuously
| | 00:07 | updates. The camera constantly
refocuses to ensure that your subject stays in
| | 00:12 | focus, and it does that probably pretty quietly.
| | 00:15 | Your SLR doesn't work that way.
| | 00:17 | Your SLR has a much slower autofocus
mechanism, so you don't get that continuous
| | 00:21 | really smooth updating of autofocus.
| | 00:24 | This means that usually what you will do
is autofocus before you start rolling video.
| | 00:29 | Now my focus is locked.
| | 00:31 | I can start rolling video. As long as
my camera to subject distance doesn't
| | 00:36 | change--that is, as long as I don't move
the camera in and out, as long as the
| | 00:39 | subject doesn't move in and out--
everything will stay in focus.
| | 00:42 | If things start moving
around, life gets more complicated.
| | 00:45 | I've got a couple of options.
| | 00:47 | I can switch to manual focus and try to
follow the action by changing the focus
| | 00:52 | ring of my camera. That can be a little tricky.
| | 00:54 | It takes practice to get
good at following manually.
| | 00:57 | The advantage of that is it's a quiet
process, and it can often be the speediest
| | 01:01 | process for keeping things in focus.
| | 01:03 | Another thing that I can do though
is change my autofocus mechanism here.
| | 01:07 | I am going to hit the info button
and go to focus mode and change from
| | 01:12 | single-servo autofocus to
full-time-servo autofocus.
| | 01:16 | If I select that, now the camera will track
moving subjects and try to keep them in focus.
| | 01:21 | This is a good workaround when things
are moving, but it's still not perfect.
| | 01:25 | Your camera's lens is going to be
making a lot of noise as it focuses back and
| | 01:29 | forth, and there might be times where it
does this focus-hunting thing like this,
| | 01:33 | where we see it going in and out,
and that can be a little distracting.
| | 01:36 | One thing to note: you can half-press
the shutter button at anytime and hold it
| | 01:41 | and that will lock focus there, so you
can keep the camera from refocusing if
| | 01:46 | it seems to be focused in the right place
and you want to be sure that it doesn't change.
| | 01:51 | Another thing to notice
is it's going to be noisy;
| | 01:52 | the camera is going to pick up that
audio, so you might want to be using an
| | 01:56 | external microphone if you
are going to be doing this.
| | 01:59 | The main thing to take away here is you've got
to give some thought to shooting video
| | 02:02 | when you are shooting moving subjects.
| | 02:04 | If you want more manual control than
just focus then just do all the same
| | 02:08 | things you would do if you were
shooting stills: take advantage of your
| | 02:12 | different shooting modes.
| | 02:13 | For example, let's say that I
once in depth of field control,
| | 02:16 | something that I normally don't have
on a video camera. One of the great
| | 02:19 | advantages of an SLR is that I can
put a fast lens on the camera and take
| | 02:24 | control of my aperture to
get nice soft backgrounds.
| | 02:27 | So I've gone to aperture priority
mode here, and I am just going to dial in
| | 02:31 | a nice wide aperture.
| | 02:32 | I am opening up all the way.
On this lens, at this focal length,
| | 02:35 | that's as open as I can go.
| | 02:36 | That's going to give me nice soft background.
| | 02:38 | Conversely, I might want to stop down to be
sure that I get a really deep depth of field.
| | 02:44 | Similarly, I could switch to shutter
priority mode and dial in a shutter speed
| | 02:48 | that I like. Maybe if I am shooting
sports, I want the fast shutter speed to
| | 02:52 | really freeze action so I can see
exactly when someone crosses a finish line or
| | 02:56 | something like that.
| | 02:57 | In general, with video a shutter speed of
about a 50th of a second is a good way to go.
| | 03:01 | That's going to give you a nice overall look.
| | 03:04 | For the most part, you'll probably stay
on program mode or aperture priority and
| | 03:07 | again when you're shooting video,
| | 03:09 | you really need to give thought to focus
at how you want to approach focusing on
| | 03:14 | a subject that's moving.
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| Movie playback| 00:01 | Just as you can review still images
on the 5100's LCD, you can also watch
| | 00:04 | any movies that you have shot. Going into
playback mode here just like I normally would.
| | 00:09 | Anything that's a video has
this OK Play button on it.
| | 00:12 | If I hit OK, I get my playback controls
and immediately the movie starts playing.
| | 00:17 | Now my control pad here lets me control
playback, and there is a little key right here.
| | 00:21 | I can press the down arrow to
pause, the OK button to play.
| | 00:26 | I can go fast forward by pressing the
right button and if I repeatedly press it,
| | 00:30 | it goes faster and faster: 2x, 4x, or 8x.
| | 00:34 | If I hit the up arrow, I leave playback mode.
| | 00:37 | Now I can go back in again with
Play. Again it starts playing.
| | 00:41 | I can rewind with the left arrow and
again, repeated pressings of that will
| | 00:47 | accelerate the rewinding.
| | 00:49 | If I'm paused, the left and right
arrow go forward and backward by one frame.
| | 00:53 | I can control volume of the
movie with my zoom-in and -out button.
| | 00:56 | And as you've already seen when I'm
done with playback, I can just hit the up
| | 01:00 | arrow to return to my normal image-viewing mode.
| | 01:05 | If I want to delete the movie, it's just
like deleting a still image: I hit the
| | 01:08 | trashcan icon and then hit it again to delete.
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|
14. Customizing Menus and Settings What 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 would be disruptive.
| | 00:23 | These are things that you can easily
change through the use of custom settings, which
| | 00:27 | allow you to tailor your camera to
your particular tastes and needs.
| | 00:31 | To change a custom setting, you go to
the camera's menu, and Custom Settings get
| | 00:35 | their own dedicated menu--it's the one
with a little pencil on it. And right at
| | 00:39 | the top, I've got an option to reset
Custom Settings to factory defaults, and
| | 00:43 | then I've got all of my settings
grouped into these categories, A through F,
| | 00:46 | Autofocus, Exposure, Timers/AE lock,
Shooting/display, Bracketing/flash, and just
| | 00:51 | a generic control setting.
| | 00:53 | So for example, all of my autofocus
custom settings are grouped together here
| | 00:58 | under the A menu. There are three of
them, and then I get right to the B group.
| | 01:02 | So notice that this big long
list is not just the A group;
| | 01:06 | it's actually the entire
list of custom settings.
| | 01:09 | So I can get to any custom
setting from within any group.
| | 01:13 | These groups just give me a
shortcut to a particular part of that
| | 01:17 | larger scrolling list.
| | 01:18 | When I am looking at my custom
settings, I can see not only the name, but
| | 01:23 | the current setting.
| | 01:24 | For example, I can see the Built-in AF-
assist illuminator is currently set to on.
| | 01:28 | So I can very quickly see exactly
how my custom settings are configured.
| | 01:32 | In the rest of this chapter we are
going to look in detail at many of these
| | 01:36 | custom settings, not all of them, but
the ones that are probably particularly
| | 01:40 | useful to you right now.
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| AF-C priority selection| 00:00 | We have already talked about continuous
servo autofocus--that's the AF-C autofocus--
| | 00:05 | the focus mode that tries to track a
moving object in your scene and keep it
| | 00:08 | in focus. And you've seen how in AF-C
mode you cannot actually take a picture
| | 00:13 | until focus is locked.
| | 00:14 | If you like, you can go in here to the
Autofocus custom setting menu and change
| | 00:19 | AF-C priority selection from Focus to Release.
| | 00:24 | This means that no matter what the
camera is thinking, whether you've got focus
| | 00:28 | or not, you can still take a picture
simply by pressing the shutter button.
| | 00:31 | So you're going to risk getting some
out-of-focus shots, but if it's absolutely
| | 00:35 | critical that you get the scene, whether
it's in focus or not, while you're using
| | 00:38 | AF-C focus mode, then you may
want to set this to Release.
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| The built-in AF-assist illuminator| 00:00 | As you've seen, the autofocus
illuminator light will light up if the camera
| | 00:07 | is having trouble autofocusing.
| | 00:08 | This will throw some extra light into
your scene, possibly create a little bit
| | 00:11 | of extra contrast, and help
the D5100's autofocus system.
| | 00:15 | There will be times though when it's
not appropriate to have this light light
| | 00:18 | up--maybe you are at a concert
or in a museum or something.
| | 00:21 | You can disable it by going into the
Autofocus section of the Custom Settings
| | 00:25 | menu, to Built-in Autofocus-assist
illuminator, which defaults to being on. Just
| | 00:30 | turn it off, and now not matter what
the conditions, your AF-assist illuminator
| | 00:35 | light will not fire.
| | 00:36 | Obviously most of the time you want
it on because it is a very handy thing
| | 00:39 | when you're working in low light.
| | 00:41 | So once you leave those conditions where
you wanted it off, just be sure to turn
| | 00:44 | it back on so that you get autofocus
working back the way you are used to.
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| Self-timer| 00:00 | We've already seen the D5100's
self-timer, which makes it easier to get yourself
| | 00:04 | into a shot or to get your hands off the
camera when you're worried about camera shake.
| | 00:08 | You can modify the self-timer though.
| | 00:10 | If you go into Custom Settings, into
the Timers/AE lock section, and go down to
| | 00:15 | Self-timer, you get two options.
| | 00:17 | You can change the delay from when you
press the button and when the picture is
| | 00:22 | actually taken--now of course this is
only when the self-timer is activated.
| | 00:25 | By default, it's ten seconds.
| | 00:27 | I can bump it down to five seconds or
two seconds, or all the way up to twenty.
| | 00:30 | Obviously, twenty seconds gives me a lot
more time to get into frame and get ready.
| | 00:35 | Two seconds is not so much for
self-portraits as it is for helping to
| | 00:38 | reduce camera shake.
| | 00:39 | With a two-second delay, I press the
shutter button and then only two seconds
| | 00:43 | elapse before the picture is taken.
| | 00:44 | That's enough time for the camera
to stop vibrating if my hand has
| | 00:47 | introduced any camera shake.
| | 00:49 | I can also tell it how many shots I
wanted to take when it finally fires the
| | 00:54 | shutter, and this can be from one to nine.
| | 00:56 | This is particularly good for group
shots where if you just fire off one shot,
| | 01:00 | there's no guarantee that somebody
doesn't have their eyes closed or is making a
| | 01:03 | weird expression or something.
| | 01:04 | So you may want to bump that up to
two or three shots so that it takes a
| | 01:07 | handful of shots, improves your
chances that everyone in the frame is looking
| | 01:12 | as good as possible.
| | 01:13 | So by default you are at
ten seconds with one shot.
| | 01:16 | That's probably where you'll want
to restore this when you're done with
| | 01:18 | your Custom Settings.
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| ISO display and adjustment| 00:00 | In the viewfinder, over on the right
side, there is a display of the number of
| | 00:04 | pictures that can fit in the
remaining space on your card.
| | 00:08 | That's handy to have to tell if you still
got space on your card, but by the time
| | 00:11 | you've decided you do have space on
your card and you've started metering and
| | 00:14 | preparing to shoot, you don't really
need to know how much space you have;
| | 00:17 | you know you've already got enough.
| | 00:19 | So you might want to go in here to
Custom Settings, to the Shooting display
| | 00:23 | category, and go down here to
ISO display and turn it on.
| | 00:27 | That will change that number from the
number of remaining pictures to your
| | 00:31 | current ISO, which is a much more useful
parameter to have when you are actually shooting.
| | 00:37 | Note that when you have the shutter
button halfway pressed, that display
| | 00:41 | still changes to show you the amount
of space remaining in your buffer, so
| | 00:44 | that behavior is normal.
| | 00:46 | If you are wondering though, well, how
do I find that I how many pictures I have
| | 00:49 | remaining, note that this number back
here still shows you the remaining number
| | 00:53 | of pictures. So now I've got remaining
number of pictures back here, but in my
| | 00:57 | viewfinder I've got ISO display.
| | 00:58 | Personally, I find this to be a
much more useful configuration.
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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 want it 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
| | 00:15 | have a way to keep your
images organized as you shoot.
| | 00:18 | To configure the file-numbering
options on the 5100, I go into my menuing
| | 00:22 | system, to Custom Settings menu,
Shooting display, down to the third option,
| | 00:26 | File number sequence. By default this is off.
That means that anytime I create a new
| | 00:31 | folder, format a memory card, put in a new
memory card, file numbering always goes back to one.
| | 00:37 | If I turn it on then anytime any of
those things happen--new folder, format
| | 00:42 | a media card, new media card--file numbering
simply picks up from where it left off before.
| | 00:47 | File numbering goes up to 9999
and then rolls over back to 1.
| | 00:51 | If I've had file numbering off and I
want to pick up numbering so that I get
| | 00:56 | sequential images at the end of
some images that I've already got,
| | 00:59 | I can hit the Reset button.
| | 01:01 | This turns sequential numbering on and
starts with a number that is one higher
| | 01:06 | than the highest numbered
image in the current folder.
| | 01:09 | So if I've already got some images
on my card and I want to pick up with
| | 01:12 | numbering past where the numbering
currently ends, I just hit the reset button
| | 01:17 | and I am good to go.
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| Exposure Delay mode| 00:00 | If you've ever had an older digital,
camera particularly an older point-and-shoot
| | 00:04 | camera, you might have found
yourself frustrated by shutter lag.
| | 00:07 | This is the delay that can happen
between the time when you finally push the
| | 00:10 | button down all the way and
when the camera takes the picture.
| | 00:13 | Fortunately, your 5100 has
practically no discernible shutter lag.
| | 00:17 | Yes, you have to half-press to
meter and focus, but when you finally push
| | 00:21 | the button the rest of the way, the camera
will take the picture almost instantaneously.
| | 00:24 | If you want though, you can intentionally
introduce some shutter lag using a custom function.
| | 00:29 | If I go here into the Shooting display
group of my Custom Settings menu and down
| | 00:33 | here to Exposure delay mode, I can
turn this on, and now there will be a one-
| | 00:38 | second delay between when I press the
button and when I actually take a picture.
| | 00:42 | This is obviously not like the
self-timer. One second doesn't mind me much, but
| | 00:46 | it's enough that when I take my hand off
the camera, any remaining vibration can
| | 00:51 | dissipate before the image is actually shot.
| | 00:53 | So if you're doing long-exposure
images, or maybe product shots on a tripod
| | 00:58 | and sharpness is essential then you may want
to turn on this exposure delay mode. Obviously
| | 01:04 | when you're done with it, you're
going to want to turn it back off.
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| Assign Fn button| 00:00 | We've explored how the Function button
over here on the side of the camera lets
| | 00:04 | you toggle Self-Timer mode on and off,
| | 00:07 | but you can program it to do other things.
| | 00:09 | If you find you don't really need
that functionality or if you are really
| | 00:13 | looking for quick access to a
different function, you can go here into
| | 00:17 | the Controls section of the
Custom Setting menu, to Assign
| | 00:22 | Self-Timer/Function button.
| | 00:24 | When I open this up, look at this,
| | 00:25 | I get this huge list of features. It
scrolls on, and I can assign any of these to
| | 00:30 | that button, so I could change it to
being control over Release mode or Image
| | 00:34 | quality or ISO or White balance.
| | 00:36 | So look through this list and see if
there is something that maybe you use
| | 00:40 | more than the Self-Timer, go ahead
and assign it to the Function button, and
| | 00:44 | see how you like it.
| | 00:44 | If you find you are not using it,
you can go ahead and set this back to
| | 00:47 | Self-Timer, which you may already be used to.
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| Assign AE-L/AF-L button| 00:01 | You've seen how you can press the AE
lock button to lock exposure and focus
| | 00:05 | after you've focused and metered.
| | 00:07 | You can change the behavior of
this button through a custom setting.
| | 00:11 | I'm going to go here into
Controls, Assign AE-L/AF-L button.
| | 00:16 | If I go into here, I get
a few different options.
| | 00:18 | My default behavior is that pressing
this button locks exposure and autofocus.
| | 00:23 | If I come down to here though, I
get the option to lock exposure only.
| | 00:27 | My shutter button will still lock focus,
but now this button is locking exposure.
| | 00:31 | So I have separated the function of
those two buttons. Or I can do the opposite.
| | 00:35 | I can have this lock focus and now my
shutter button will only lock exposure.
| | 00:41 | If I set AE lock (Hold) when I press
this button, exposure will be locked, which
| | 00:47 | means I'm still controlling focus with my
shutter button, but now it's in a hold mode.
| | 00:51 | It will stay locked until I press this
button again or until the exposure times out.
| | 00:56 | So this basically gives me a
toggle control over exposure.
| | 01:00 | And finally, AF-ON causes
this button to start autofocus.
| | 01:06 | My shutter release button now has nothing
to do with autofocus; it's now exposure.
| | 01:10 | By default, again you're set for
autoexposure and autofocus lock when you
| | 01:16 | press this button.
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| Reverse indicators| 00:00 | By default, the exposure compensation
indicator that you see in your viewfinder
| | 00:05 | shows positive exposure
compensation to the left and negative exposure
| | 00:09 | compensation to the right.
| | 00:11 | If you prefer at the other way around,
with negative to the left and positive
| | 00:14 | to the right--maybe you are coming
from a Canon camera or maybe that's just
| | 00:17 | more how you think--
| | 00:19 | you can change a custom
function that will alter that.
| | 00:22 | If I go in here to Controls and down to
Reverse indicators, you can see here is
| | 00:27 | my default behavior, and this
should look familiar to you.
| | 00:29 | This is just what you see in your
viewfinder: plus over here, minus over here.
| | 00:33 | I can swap this around, so now plus
is over here and minus is on the left.
| | 00:37 | Just hit OK and now the
indicator will look different.
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| Reverse dial rotation| 00:01 | By now you should have spent a good
amount of time using the main dial on your
| | 00:04 | camera to configure all sorts of options.
| | 00:07 | You can reverse the direction that
the dial works in by going here into the
| | 00:12 | Custom Setting menu, into Controls, and
scrolling down to Reverse dial rotation.
| | 00:18 | Now, the reason we're talking about this
particular custom setting is that if you
| | 00:23 | watched the previous movies and chose
to reverse your indicators--this is the
| | 00:27 | one where plus and minus are swapped
in the Exposure Compensation display--
| | 00:33 | if you've done that then you're
probably going to want to reverse the dial
| | 00:36 | location for your camera,
simply to feel like it makes sense.
| | 00:39 | So if I just turn this on, now things
that used to happen when I scrolled to the
| | 00:43 | left will happen when I scroll to the right.
| | 00:45 | So if I reversed my indicators,
reversing the dial rotation is going to make the
| | 00:49 | dial feel like it's fitting more
with what I'm seeing in my Exposure
| | 00:53 | Compensation indicator.
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|
15. Retouching ImagesWhat image retouching does| 00:00 | Post-production 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, but there
is also a fair amount of image editing
| | 00:11 | 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| 00:01 | You will find your image-retouching
options in the Retouch menu--that's the one
| | 00:05 | with the little paintbrush on it.
| | 00:06 | If you dial that up, you get this long
scrolling list of possible retouchings.
| | 00:12 | You can look up what these do and see
examples of them in the D7000 manual, or
| | 00:15 | you can just start playing with them.
One thing you will find is that it doesn't
| | 00:19 | cost you anything because you
never write over your original images.
| | 00:23 | Most of these options will have a set
of controls of some kind. For example,
| | 00:27 | let's go in and apply a
fisheye effect to an image.
| | 00:30 | Anytime I pick an effect, it then takes
me to this menu where I can choose what
| | 00:34 | image I want to apply it to.
| | 00:35 | So I am just going to pick
that one by hitting the OK button.
| | 00:38 | Now I see that I am applying Fisheye.
| | 00:40 | I see that I can cancel by hitting the
Play button, and now I've got a simple
| | 00:43 | control here, in this case for adding
more or less fisheye distortion. And so
| | 00:49 | most of your image-retouching effects
will have a control of some kind that
| | 00:52 | allow you to manipulate it.
| | 00:54 | When I'm done, I can still cancel, or
I can hit OK to save and when I do that,
| | 00:59 | it's going to write out a separate JPEG file.
| | 01:02 | Notice that it puts a little badge on
the image to show that it's been retouched.
| | 01:06 | You can only apply a
particular retouching once to an image.
| | 01:09 | I can't keep adding Fisheye. And if I am
shooting RAW, this little badge becomes
| | 01:13 | very handy, because what it means is
that the image has been tagged as being
| | 01:17 | retouched and when I take that into
Nikon image-editing software, it will
| | 01:21 | automatically apply that retouching for me.
| | 01:24 | So since it's writing out a separate
JPEG file, every time I do a retouching, I
| | 01:29 | don't need to worry about
damaging any of my original images.
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| NEF (RAW) processing| 00:01 | If you shoot RAW and you are working
in the field, you may occasionally find
| | 00:04 | that you need to produce a
JPEG image from one of your RAWs.
| | 00:07 | Now obviously one workaround for this is
to simply shoot RAW plus JPEG, but that
| | 00:11 | eats up a lot of storage
and slows your camera down.
| | 00:14 | Another option is to have the
camera produce a JPEG for you.
| | 00:18 | If you have it do a RAW conversion,
that spits out a JPEG image, and I've got
| | 00:21 | that option right here.
| | 00:22 | In the Retouch menu there is NEF
(RAW) to remind me that NEF is a RAW
| | 00:27 | format, NEF processing.
| | 00:29 | If I open that up, I can choose a RAW
file that's currently sitting on my card,
| | 00:35 | and when I do that, I get this
big menu of RAW-conversion options.
| | 00:39 | I can choose a level of JPEG compression,
an image size, I can choose the white
| | 00:44 | balance setting that I
want, exposure compensation.
| | 00:48 | I can apply a picture control, configure
High ISO Noise Reduction and Active D-Lighting.
| | 00:53 | I can get all of that configured and
then have it save me out a JPEG file.
| | 00:58 | So if I am needing to email a JPEG to
someone or maybe I am working in the field
| | 01:02 | with someone whose computer doesn't
support the RAW format of the D5100,
| | 01:06 | then I can actually just produce a JPEG.
| | 01:08 | When I've got these set up the way
that I want, I'll highlight the Execute
| | 01:12 | button and hit OK and it actually
does some thinking and it writes out a
| | 01:16 | converted JPEG into the same folder.
| | 01:18 | It will have the same name as my
original RAW image, with a JPEG extension.
| | 01:23 | So this is a nice a workaround for
times when you might need a JPEG but don't
| | 01:28 | want to commit completely to the
RAW-plus-JPEG mode of shooting.
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16. Taking Care of Your CameraCamera and sensor cleaning| 00:00 | Basic maintenance of your camera is
pretty intuitive: don't drop it, don't
| | 00:05 | bang it into things.
| | 00:06 | If you want to clean it, use a dry cloth.
| | 00:09 | If you are going to store the camera for
awhile, 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 do find that your images have a
sensor-dust problem--and you will know
| | 00:22 | that because they'll have little
spots on them--you can assume that your
| | 00:26 | built-in sensor cleaning has not done the job.
| | 00:29 | That doesn't mean that it still
can't though, and you can have it work a
| | 00:32 | little bit harder by going here into
the Setup menu and dialing your way down
| | 00:36 | to Clean image sensor.
| | 00:38 | Open that up and you have the option to
force the sensor cleaning mechanism to
| | 00:41 | run again. Just hit Clean now and
it'll go through its cleaning cycle. Then
| | 00:44 | you can test again to see if you've
still got your sensor-dust problem.
| | 00:48 | You can also configure the automatic cleaning.
| | 00:51 | In this menu, I have options to tell it
to clean at startup or shutdown or both
| | 00:55 | or turn it off altogether.
| | 00:57 | Now honestly, I cannot give you any good
reason for manipulating these settings.
| | 01:01 | By default, it will be set to
clean at startup and shutdown.
| | 01:04 | I really recommend just leaving it there.
| | 01:06 | It doesn't take very long.
| | 01:07 | It's interruptible, so it's not
going to lead you miss a shot.
| | 01:10 | You could maybe make an argument that
sensor cleaning does have a battery-power
| | 01:14 | price to pay, so if your battery is
running low, you might want to turn it off,
| | 01:18 | but in general, I would leave sensor cleaning on.
| | 01:21 | The camera's built-in cleaning is very
effective, but there will be times when
| | 01:24 | your sensor gets dust that the
built-in cleaning can't remove.
| | 01:27 | In Foundations of Photography:
| | 01:28 | 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 it
| | 00:04 | and you are proud of it, and it's
great how clean it looks and all that.
| | 00:07 | Fortunately that wears off.
| | 00:08 | I say, fortunately, because your camera
is actually quite durable and once you
| | 00:12 | get over trying to keep it pristine,
you will be more likely to take it into
| | 00:15 | more shooting conditions.
| | 00:17 | The D5100 manual lists the working
temperature range as 32 to 104 degrees
| | 00:22 | Fahrenheit--that's 0 to 40 degrees Celsius.
| | 00:25 | Now it's a good idea to follow these
guidelines, but I've also gone beyond them
| | 00:28 | and I've never had any problems.
| | 00:29 | I'm not saying that you can go
absolutely into extreme heat or deep cold and not
| | 00:34 | have issues, but my experience is that
that's specified temperature range is a
| | 00:38 | little conservative.
| | 00:39 | Fortunately, the camera will begin to
exhibit certain symptoms when you start
| | 00:43 | pushing the limits of its temperature range.
| | 00:45 | If you're in extreme heat, the LCD
screen on the back might start to discolor.
| | 00:49 | Cold weather might also cause the
screen to discolor, or it may cause it to
| | 00:52 | exhibit a really slow refresh rate.
| | 00:54 | If that starts to happen
just turn the screen off.
| | 00:56 | In fact, go ahead and flip the screen
back around so that it's no longer visible;
| | 01:00 | that will ensure that it stays off.
| | 01:02 | Cold weather will also reduce your
battery life. Don't worry, there won't be any
| | 01:05 | permanent damage, but you may find
that your battery goes dead quicker.
| | 01:09 | Now if it does lose its charge, take
it out of the camera and put it in your
| | 01:12 | pocket or against your body.
| | 01:14 | If you warm it back up, you may be
able to coax a few more shots out of it.
| | 01:18 | One of the biggest problems with cold
weather is when you take your camera back
| | 01:22 | indoors. A sudden warming of the
camera can cause condensation to form inside,
| | 01:27 | and that can mess up your viewfinder.
| | 01:28 | If you've been out shooting in
sub-freezing temperatures for a while, put the
| | 01:32 | camera in a zip-lock bag and seal it up
before you come back inside. Leave it
| | 01:36 | in the bag for a while while the temperature
equalizes, before you take it out and use it again.
| | 01:41 | Water and electronics typically don't
mix very well, but just because it's
| | 01:44 | raining doesn't mean you should stop shooting.
| | 01:47 | Light rain or splashes on the outside of
the camera won't hurt anything, so don't
| | 01:50 | use a little bit of rain
as an excuse to stay inside.
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| Firmware updates| 00:00 | Your camera is a piece of hardware,
of course, and it comes with editing
| | 00:04 | software 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 can find out if there is a
firmware update available for your camera,
| | 00:25 | you need to know what version of the
firmware is currently installed on it.
| | 00:29 | You can find out by going to the menu.
| | 00:31 | Into the Setup menu, scroll all the way
down to the very bottom. The very last
| | 00:35 | entry is Firmware version.
| | 00:37 | If you just pick that, you get
this list of firmware numbers.
| | 00:40 | You can compare those to the
firmware numbers on Nikon's web site.
| | 00:44 | Once you've figured out what firmware
version your camera is running, point your
| | 00:48 | web browser to nikonusa.com.
| | 00:51 | When it loads, go to the Service &
Support menu, and go down to the Download
| | 00:55 | Center. Click on that and you will
see a number of different things here.
| | 00:58 | You can download manuals,
software and down at the very bottom,
| | 01:01 | it says Download Current Firmware,
Get the most recent Nikon firmware
| | 01:05 | versions. Click on that.
| | 01:07 | And when the page loads, you will see
some categories of products here: Coolpix--
| | 01:11 | those are little point-and-shoot
cameras--DSLRs, scanners, and so on.
| | 01:14 | Click on DSLR and you will get a
long list of Nikon digital SLRs.
| | 01:18 | This list may look different depending
on when you are looking at the site, but
| | 01:22 | if you scroll down, you should find,
here we go, D5100 and at the time I'm
| | 01:26 | looking, it says no firmware updates available.
| | 01:29 | If there were, you would see something
like this, a link that you could click on
| | 01:33 | to download the firmware.
| | 01:34 | Once you have downloaded the firmware,
you should find instructions for how
| | 01:37 | to install.
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ConclusionGoodbye| 00:00 | You should now have a pretty good idea about
what all those buttons and dials on your camera do.
| | 00:05 | Of course understanding what they do
and being comfortable with using them are
| | 00:07 | two different things.
| | 00:09 | Now you need to take that understanding out
in the field and practice with your camera.
| | 00:13 | To be adept at shooting with your 60D,
you will need to know all the controls by
| | 00:16 | touch and feel, and the best
way to get that is practice.
| | 00:19 | So turn off your computer and
get out there and start shooting.
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