Canon EOS 6D DSLR User Guide for every photographer | John Hoeft | Skillshare

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Canon EOS 6D DSLR User Guide for every photographer

teacher avatar John Hoeft, Photographer / Instructor

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

32 Lessons (2h 60m)
    • 1. Course Overview

    • 2. 6D Camera Overview

    • 3. 6D Camera Controls

    • 4. 6D Camera Menus Camera Settings

    • 5. 6D How to handle difficult shooting situations

    • 6. 6D Camera Menus Overview

    • 7. 6D Camera Menus Live View

    • 8. 6D Camera Menus Playback

    • 9. 6D Camera Menus Setup

    • 10. 6D Camera Menus My Menus Settings

    • 11. 6D Camera Menus Custom Functions

    • 12. Optional Equipment

    • 13. Exposure Triangle

    • 14. Aperture

    • 15. ISO

    • 16. Shutter

    • 17. Lenses

    • 18. Focus Points

    • 19. 6D Sensor

    • 20. Quick Control Button

    • 21. Flash

    • 22. Info Button

    • 23. White Balance

    • 24. 6D Memory Cards

    • 25. Recommended Settings

    • 26. Metering and Drive Modes

    • 27. Shooting video overview

    • 28. Histogram

    • 29. Image Playback

    • 30. Course Wrap Up

    • 31. Exposure Modes

    • 32. Focus Modes

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About This Class

With this course I will be going through the Canon 6D body from top to bottom, inside and out. I will explore and explain all of the menus and tell you what they are, when to use them, and why.

I will cover in depth:

  • ISO
  • Aperture and Depth of Field
  • Shutter speed
  • Focus modes and points
  • Exposure modes
  • Metering modes
  • Flash
  • Lenses
  • And much more

This course is for anyone who owns the Canon 6D body be it brand new or since it was first released.

I have been shooting professionally with Canon cameras for over 7 years have several Canon DSLR bodies that I shoot with regularly. When I first get a new camera I generally do some initial setup of the camera, check out some of the new features and then start shooting with it. Over time I will return and explore the new features, functions, and capabilities and often times will discover something I didn't know existed or forgot was new with the body I am using.

I recommend this course for anyone interested in getting the most out of their Canon DSLR be it the 6D or any of their other camera bodies.

Over 80% of the content is applicable to any Canon camera and 60% is germane to any DSLR or advanced P&S camera.

Meet Your Teacher

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John Hoeft

Photographer / Instructor


I have been hooked on photography for over 30+ years. For the last 9 years I have been shooting professionally. I enjoy shooting fashion, glamor, travel, and portrait photography. I also conduct live workshops when my schedule allows.

In the typical left brain / right brain way of separating people I have found that there are two generally two types of successful photographers. Artistic photographers that see the image before they take it and Technical photographers that right away spot the challenge that a scene will present and formulate a plan to best capture that scene. There are of course hybrids of these two as I believe we are all trying to be masters of both in today's digital photography age. I tend to be a more technical photographer that is always looking to improve my... See full profile

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1. Course Overview: Hi. Welcome to the Canon six D DSLR course. My name's John. Hey, if I'm gonna be your instructor for this course, I'm a long time canon shooter. I've actually been shooting with canon cameras for over 20 years. I love the brand, very familiar with it on a number of different digital bodies. One of the challenges that I've seen is that as they've evolved, they've become more and more powerful mawr and Mawr tools at your fingertips, if you will. But also a little bit more complex on hoping with this course that you're going to be able to learn how to use this tool that you have in your hands, even mawr effectively than you already dio. So during the course, I'm gonna have some sections where we're gonna review certain items and then drill down a little bit mawr into that. Some examples of that is the menus. We're going to do a quick review of the menus themselves and then drill down into each individual menu item. Same with the camera controls, review the camera controls and then some of those we're going to select and drill down into , like, two Q menu. The info button again. The menu key on the back of the camera, etcetera. I want to go through and explain all of the different modes the focus modes, the shutter modes, the exposure modes so that now when you're out shooting, you're going to know one what all of these different modes offer for you. But also which one's gonna best work for you to achieve the results that you're looking for so again, quickly, we're going to go into the cannon 60 in depth. Then we're going to talk about the exposure triangle. To me, this is really the key to everything that's going on. You've got to understand how the I s o the aperture and the shutter speed of the camera work together to give you that perfect exposure. Along with that, we need to understand more about meeting focus and exposure modes on a touch on some optional equipment, some recommended equipment, and then I'm also going to wrap up with some composition and difficult shooting situations and tips. And then, of course, an overall course wrap up. So I hope you enjoy this course and just go ahead and dive in. You don't have to go through the course. Lecture my lecture, Jump around if you need Teoh. And certainly if you start playing around with something and you get a little lost Come back to that lecture again. Watch it again. So I look forward to seeing you in other lectures. Thanks. 2. 6D Camera Overview: alrighty. So on to the introduction of the camera body itself. So in this course, we're going to be talking, Of course, about the Eos Canon six D. This is a great body. I really, really like this body, a couple of things that are standouts about it. First off, it is a 20 megapixel body, so that's going to be giving you, ah, lot of picture information for your images. Also, this is a full frame sensor body. So unlike the rebels, STDs the 70 etcetera. When you put a E F Mount lens on this camera, that's wide angle. There's not gonna be a crop factor. It's actually going to give you a wide angle shot. So if that's something that you're looking for, that's one of the big advantages of this body. Also, with that larger sensor means less noise because each one of the pixels itself or the light sensors on the sensor can now be larger than it would be for a 20 megapixel crop sensor. You're gonna end up overall with a better quality image, lower noise. So he's just start using those higher I esos and what kind of touch on that little bit when we go into the I s so lecture in this course. Overall, I think of body is being a great pro Sumer Kamerad e. I don't think that this body is just for pros, but certainly it's a great camera for pros, but it's also very approachable and very usable by that high end consumer. Again, I think this is a great body. Some of the other things I like about it, it has the built in WiFi works great for me when I'm shooting in the studio, and I want to be able to wirelessly tether with the computer next to me so I can see the images that are popping up, do the same thing out in the field by using my iPad, um, again, likely built in WiFi, as opposed to having to plug a cable into the camera when I want to do that. Also, the GPS nice feature for me. Personally, I don't use it a lot, but what I am out during vacation photos kind of out in the field, things like that. It's really kind of a nice help so that now I can go back later and see exactly where I was standing and exactly what time it was when I took that image. So again, good high overview introduction to the Canon 60 body. 3. 6D Camera Controls: All right, So now we're on to lecture three. The buttons and controls of the units of the first button up that we've got is our lens release button. That's what we're gonna press to go ahead and release the lens when we want to dismount it . Next up here, this red section is actually going to be the self timer lamp. So when you're using your self timer, then that guy's going to start blinking at you and start blinking faster and faster just before it takes the photo. All right, so we turned the body just slightly. We're going to see the remote control sensor. So that's where the infrared remote control is going to be picked up. Just above that, the shutter button and then down on the front of the camera just underneath the lens can't see it real well. Here. We'll see it a little bit better later in this section, but that is the depth of field preview button. All right, so irritated the camera body a little bit more to the one side. And now you can see in this area this is actually the trapdoor. Where if you're using a external battery adaptor the cable for the dummy plug for the battery that would be in the camera is actually going to come out through that slot. And then here on the far end, you can see one of the two camera strap plugs again. I recommend whenever possible that you are using your cameras track with your camera. It's gonna give you a little bit more of extra degree of safety when you're carrying the camera holding the camera, etcetera already Rufin the camera a little bit more here. You can see that these are the two pork covers that are covering up the ports on the edge of the camera. Get those moved out of the way. And so the first port, he is going to be your wired remote port. So you go ahead and plug in your wired remote into that. Just beneath it is going to be the external microphone port again. The camera has a built in mic. I really recommend that you, if possible, get a little bit better audio by plugging a mic into that on and then next to that, we've got the combination a V. U S B port. So if you're plugging your camera in to a non HTM my source. You can plug in the special cable that comes with your camera and output this to your television or component or composite video on Below. That, of course, is the HTM I severe plugging it into your HD TV. You want to watch movies off of the camera that you've recorded, or if you just want to go ahead and do like a slide show or review the images on an external monitor, you would use that HTM aiport. All right, next up on the camera is we've got the info button. We're gonna have an entire lecture sections dedicated just to this button on all of the information that it provides for you, as well as how powerful it is. Next to that is the menu button actually gonna have Ah, four different lecture sections dedicated to this one for each of the different menu groups , and the next after that is your still video and start stop button. So you would just move that switch so that the white indicator is either pointing up to where we've got the still frames or the small video camera beneath it. and then use that start stop button to start and stop your video. Next. Underneath that is the index magnify reduce button, depending on the mode here in as to what you're going to be using. That four will cover that a little bit mawr in the playback section on. Then here's also the playback button. Press that, and it's going to go ahead and bring up your most recent video and or still image. And then after that, the quick control button. Again, we're gonna do a whole section on nothing but just the quick control button moving down a little further. We've got the trash button. If you want to go ahead and taken image that's being displayed and trash it, then we'll go ahead. Push that button. It will bring up a dialog box asking for you to confirm after that is the multi function lock switch. So that'll actually allows you to take the large multi control dial, and you can basically lock it so you don't accidentally manipulate it when you're using the camera. Next is the set button, so it's the center of this three way button group. This is what you're going to use to set or select different menu options. Just outside of that is the multi controller that's going to allow you to stroke the left scrolled with right up, down, left and right and on the outside of that is actually the quick control dial. And that's going to allow you to adjust your F stop your shutter speed or move through the menus. And then last but not least, we've got an access control. And keep an eye on this when you're shooting and you've shot a number of photos before you turn the camera off, or certainly before you open up the door to get the SD card out, you're gonna want to make sure that that lamp is no longer blinking. It's basically going to be blinking while the camera is writing to the memory card. Okay, so next up we've got the other camera strap plug again. Make sure using that camera strap whenever you can on. Then we've also got the SD card port, so you're going to go ahead and flip that door open, and that's where you're going. Teoh. Insert or reject your SD card from, or the memory card for the camera next moving over to the left hand top edge of the camera . We've got the off on indicators and then you can see the switch kind of in between there. Just flip that to the left or to the right to turn the camera on or off. Next, we've got the mode selection indicator. So that White Dash is going to tell you which mode is selected on your mode dial. We're gonna do a complete lecture just on the mode dial itself and all of the different shooting modes Which ones to use when etcetera in another chapter. And then, lastly, here on the top of the camera, we've got the hot shoe adaptor, So if you're plugging in an external flash or any other type of ah, hot shoe Mount accessory all right, moving over to the top right of the camera. We've got the Diop ter adjustment Well, so you can adjust that for your eyeglasses. Just behind it is the focal plane indicator. In case you need to have that for the project you're working on auto focus button. We're gonna cover this and in another lecture entirely next to that, a swell as the different Dr Moves will be covering that, and then the eyes. So button collides you to select your eyes. So on that we also cover that in the menu section and then the meat oring mode selection again. We're going to cover this in a lecture. All of the different modes, and the next to that is the LCD illumination. Great. If you're in a little light situation, need to see your LCD. Here's autofocus. Select a lock button a F on button and then moving up a little bit. Here, we've got the shutter button, and then just behind that is the main dial's. So this is what I am using it to set your shutter speed or your aperture or selecting from different menus, etcetera. All right, so we'll take another look at the top of the camera. You can see here for stuff that the LCD illuminations turns out, it's a little easier to see that LCD. So this is the focal Kim indicator, and this is actually going to tell you exactly where the sensor is in the cameras. So if you ever doing like some sort of ah super precise Merkel work that may come in handy Next were to take a look at the Diop ter adjustment. This is going to give you the ability to make sure you get a good sharp look when you're looking through the viewfinder. Moving over to the bottom of the camera. We got the tripod socket pretty important piece of equipment. First off, it's a good, sturdy location on the camera. Second off, I recommend if you are going to be using long shutter speeds, try meeting this on a tripod mono pod, etcetera. You also noticed that it's lined up right with the center of the lens so that as you rotate around on the tripod or the mono pod, you're rotating on access with the lens. Next to that is the battery compartment. Again. This is going to open this up, replace your batteries, or you can actually open that up. Take that door off if you're mounting an external battery grip and then last but not least , time When we started off, I showed you the depth of field preview button. Now we can actually get a pretty good look at that. What this is essentially going to do is when you've got your lens bounded onto the camera and you're stopping the lens down or closing it down MAWR. It's always gonna be open when you're looking through it, but by pushing this button, it will actually tell the camera and the lens to actually shut down. So if you're using an F 16 F 22 something like that, all of a sudden you'll notice that the field of view through the View Finder is going to become much dimmer. But it's also going to give you a little bit of an idea of exactly what that depth of field is going to start to look like. So again, some to try out good idea of how additional detail is gonna be coming into focus with that larger depth of field. 4. 6D Camera Menus Camera Settings: all right. Can Indio 60 menus? The first menu subsection that we're gonna look at is camera setting. So it's those 1st 4 icons. Aziz, you bring up your menu screen 1st 1 pretty important. This is where you're going to go through and set your image quality. You're going to be able to use the main control dial to select whether you want raw, medium raw or small, raw. And if you'll notice there in that top bar is going to give you the sizes of each one of those being raw or the jape eggs. Next is the beep. Enable disabled for me. I always disabled. I don't need the camera constantly chirping and beeping at me every time I achieve focus, etcetera. Next. Pretty important, I would say. Turn this off, Release shutter without card. If you do that, then you're not gonna accidentally be out in the field shooting away and then just realized that you didn't have a card in the camera while you were shooting than the next. Also, something that I turned off is the image review. This is the amount of time that the LCV is gonna light up every time you take a photo. It's gonna give you from 248 seconds or just leave it on or entirely turn off the image review again for May I leave it off? I don't need the LCD coming on every single time I take a photo, especially if the camera is up to my eye when I'm shooting. So again, for convenience sake, I just leave that off, moving on to the second menu. First thing you've got to choose from there is lens aberration. Correction. So if the camera is shooting with the canon lens, and if it knows the geometry of that lens and the characteristics of it, it will allow you to enable or disable peripheral elimination. In other words, the vignette ing in the corners. If the lens is susceptible to that and then also chromatic aberration or basically that color fringing. So if the canon camera has a canon lens on it, then it will allow you to automatically correct for that, for May I just go ahead and enable both of them if you're shooting and raw. This is something that if he needed to down the road, you could disable and not take advantage of, if that's what you wanted to dio, that's after that. Is the external speed light control again? The cannon 60 doesn't have a speed light built into it. So if you were to put a speed light on here, it's gonna allow you to go through sets. Um, different functions, probably ones that's pretty important is the variability of the speed that it's going to shoot at when your putting the flash on there as far as where is the flashing speed? If you're getting blurring with your images when you're shooting flash, you may want to bump this up to the 180th 2nd and then also, it allows you to control some of the custom functions built into the flash. The last second here is the mirror lock up. You can turn that offer on. The reason for this is if you're setting up the camera on a tripod and you want to reduce the vibration of when the mirror comes up, you can actually push the shutter button when this function is enabled and locked the mirror up, and then the next press of the shutter button will actually release the shutter, moving on to the next sub menu. Auto exposure. Bracketing. This allows you to turn on the X auto exposure bracketing and then tell the camera how much you want to bracket the images by 1/3 of a stop all the way up to five stops. Next. Also pretty important is your eye. So speed, you can set the isil speed that the camera is operating at specifically here, all the way from 50 which you have to turn on. The ability of that soul 100 is going to be your standard auto I would avoid auto. You don't want the camera making that decision for you all the way up to high to which is the equivalent off during two 1004 100 eyes so extremely sensitive. But as we'll see in the I S O section, there's a little bit of a price to be paid for shooting at that high of an I sl eso. Anyway, you have all of these different ISOS available to you. I suggest that you take a look at the I s so lecture to help decide which ones you want to use. You could also go through and tell the minimum and maximum I as those that are available to you. As you saw there, you can enable the low 50 which it goes through and through some circuitry within the camera, allows you to shoot at half the speed of 100 for me. Personally, I haven't seen the need to use it, but you can also limit at the top end where you're going to give you like I don't care what the lighting is like. I don't want it shooting at high one high to etcetera. You can disable this for me. I leave them all enable so I have all of the possibilities available to me when I'm shooting. And again, we'll talk a little bit about this in one of the other menu sections. But if you've turned the info guides on, then you can hit the info, but and it will bring up this very short, very abbreviated help or inflows. If when you're in the menu there's the option to hit the M foe, it will bring up this button or bring up this information and give you a little bit of information in the field so can be helpful. Sometimes the next menu setting again. You got to select once you change in here whether you want OK or cancel. And if you do use your auto, I s o you can go into this section and then say OK, well, these are the only I s o speeds that are going to be available when you're shooting in auto I A So So if you are going to use that, I highly recommend that you dial in the parameters that you wanted to work within. You know, whether you want the top end to be at 408 116 100 etcetera, and that's going to give you a little bit more control. And you're not gonna end up with some surprises when you get back into doing your post processing and realize that the camera picked on un realistically high I s O with a lot of digital noise on then your minimum shutter speed. You can leave this sector auto or you could go serves. They listen as the camera is selecting settings for me. Don't let it go below X shutter speed if you using Ah, short focal length lens. You know, maybe you can have good results with shooting at a 35th a second. If so, it gives you that ability to set it for me. I just leave it set on auto. I don't need the camera again, making that decision for me and missing and become an overall theme of what we're doing here. Making the decisions yourself, not having the camera do it. We talked a little bit about vignette ing. This is similar to that The auto lighting optimizer for me. I leave it off. This is something again. If you're shooting and raw, you can do it yourself. And also you can disable whether this is used in manual or ball bowed. Next, we've got your white down selection. We're gonna cover which one of these to select a win to select them and why to select them . In another lecture dedicated Lee. Just two white bounce. But for the time being, this is the menu section that allows you to go through and tell your camera the white balance that you wanted to use when you're shooting again, This really only has effect. If you're shooting J pay. If you're shooting raw, you can change the white balance for the Calvin in post processing. And if you were going to custom white balance, you're essentially taking a photo of something that's neutral or white and then going into your camera and saying Hey, use this frame here as neutral white balance change my color temperature so that this image now looks neutral white. And then again, you would go through and change your white balance to custom white balance in that setting . This is the ability to manually shift or bracket your white balance. Be personally. I've never used it again. I can usually make thes tweaks myself when I'm doing my post processing. If you were absolutely needing to shoot in J. Peg, but you also knew that you needed to have a custom white balance or white Bowne shift, this would be the place to do it. The next item is your color space. You have a choice between S RGB and Adobe RGB. I use Adobe RG because it gives me mawr and then our last section here is picture style. So this is actually going to go through and adjust your image in camera after you take it, and it's going to adjust things like your brightness your contrast, sharpness, etcetera. And it's, you know, something that's fun to play with a little bit in the field, especially the monochrome. It's nice, because now you can get ah, monochrome image on the back of the LCD again, you're changing your sharpness. You contrast or saturation your color town. If you're shooting J Peg, of course, whatever changes you make is are going to be made to the image and can't be undone. If you're shooting raw, it's really just going to change it on the back of the LCD. And so if you did end up with something that you didn't really care for, you can basically revert back and again. You can individually select each one of these items and then using the control wheel on the back of the camera, adjust them up or down. I personally leave it always in standard, and then that way, when I go into my post processing, I just tell the post processing software like Light Room that my picture style was standard and I get great results with that long exposure noise reduction. If you're shooting really long exposures, say in excess of five seconds, 10 seconds 30 seconds, etcetera. What this is going to Dio is it'll take the exposure and then it will take a dark file exposure. So it'll open it up. But the lens won't actually open. And what it's doing is it's comparing the know he's being generated from the sensor to that what's on the image, and it'll neutralize some of that for you and then also high I s o speak noise reduction. This allows you to be shooting with the high I eso and then have the camera doing in camera noise reduction for you. I personally prefer to do it in my post processing, but if you didn't want to do it in your post processing, then you could go ahead and again. If you shooting J. Peg, have it done in camera. I would suggest that you probably experiment around with this, but a good starting place would be at standard next. When you're setting is highlight tone priority. What this is essentially going to do is it's going to slightly alter your exposure to make sure that the highlight areas air the bright areas off the image are representative. You gonna have that clipping, but it's also going to potentially have a little bit mawr noise in the shadow portions of the image. Next is your dust. Delete data. If you did have dust on your sensor, you can go through. Take a dark image of it, and it will essentially map that out. I personally just think is better to try and keep the sensor clean. You can do this by either manually initiating it from the menu or turning the camera often on, and it will do a sensor clean on. And then, if you have stuff beyond that, then go through and look at maybe having somebody clean it for you. Multiple exposures. It's kind of a fun, more of a novelty type of a thing, in my opinion. But you've got some different ways that you can go through and do it. First. You have to turn it on. Then you have to decide. Okay with the Moulter pull exposure control. Am I going to add the images together? Probably the most common is doing that, and then you select the number of exposures that you want to use for this effect. Again, it's in something that's just kind of fun to play around with a little bit, and it's nice that it's built into the camera. You could also be doing this in post processing, and then you can select whether you want to do this multiple exposure for just this one shot that you're setting up. Or if continuously, as you're taking images, it's going to be doing multiple exposures for you, and then you can also go through and select the image for your multiple exposures. And again, you want to make sure disable that if you're not gonna be using that menu item or that option built into the camera for creating these types of images. 5. 6D How to handle difficult shooting situations: alright. In this lecture, we're going to be discussing how to handle difficulty lighting situations or shooting situations that you may come into. First off, if you're shooting something and you know it's gonna be real tricky exposure, really odd light where you've got really high high lights and really low shadows or low lights. First off used the hissed a gram for more information on how to use this. Graham, I recommend that you go through and re review that lecture. But again, don't forget that you've got that history graham available to you also use your exposure bracketing set up in and take 35 or even seven shots in a bracket. And then that way you've got some exposures that are on both sides of where the camera meter thinks is going to be the appropriate or correct exposure. And then that way, you've got more to work with when you're doing your post processing in low light situations . Always remember, you can bump up that I s o take a look again at the I s o chapter and you're going to see that even at some of the really higher IAS owes, you can still get great results. And remember, a lot of times you're gonna be a lot better off with a photo that's a little bit noisy or grainy versus a photo that has blur images. It's gonna be a lot more pleasing to have something that's in focus and sharp looking, even if it's a bit grainy. Also, if you're shooting in low light and it's forcing you into a really low or slow shutter speed shoot in short bursts. So shooting bursts of 3 to 5 images and what you're going to find is that in between some of those shots out of that burst, you're going to get one, maybe two, that even at a very low exposure shutter speed setting, it's gonna be in focus, and you're going to get a good, crisp image out of it. Also, if you're shooting in mixed lighting situations where you've got electrical illumination, be a fluorescent incandescent tungsten, etcetera. But then even some natural lighting or a mix between different types of lighting shoot your images and raw. That's going to give you the maximum amount of flexibility when you get back to your computer and you're doing your post processing because then you can adjust with your sliders. What the color light temperature is that you want to use me and kind of find some middle ground between a couple of those different types of lighting that looks the most pleasing. Also, to kind of give yourself a little bit of ah ah, head start on trying to pick what is the right color to get neutral tones out of the lighting that you're in. Shoot something that you know is going to be neutral colored in the scene, something that's white, something that's great, something that doesn't have a color shift to it. Or if you have a great balance card, this is a great place to use it as well. Okay, so if you notice that your shooting and a specific type of an environment or situation that your pictures are blurry, whether you notice that while you're in the field or if you're doing your post processing and you notice hung, a lot of my pictures are kind of turning out blurry. One of the things you could do is shoot in the TV or the time value mode, and in that way you can set specifically what your shutter speed is going to be in the camera will adjust the aperture to meet that for a correct exposure. What I typically recommend is a rule of thumb. If you're not using an image stabilizes lens is that you shoot at an equivalent to one over the focal ing. So let's say that you're using a 200 millimeter lens. You should be trying to shoot at 1 2/100 of a second or faster and again. Remember, there's a difference between the entire image being blurry and just the subject itself being blurry. Those were both different problems. If the entire image is blurry than the shutter, speed overall is too slow or you're getting camera shake. If just the subject is blurry than that means that the subject is moving too fast. You need to bump up your shutter speed, and there you may need to look at something closer to 200 2 55/100 of a second. So experiment around without a little bit. If you're not able to open up the aperture wide enough to get that fast of a shutter, speed, start bumping up your eyes. So go to 204 108 100 until you can get that shutter speed again, you don't want a blurry image that doesn't have any noise in it. You know, sacrifice and get a little bit of noise in your image so you can carp crisp image again. Shooting and short bursts will help as well, because that's going to help you keep the camera little bit. Study. If you're just shooting one shot, it's much more difficult to hold the camera still, whereas if you're shooting a burst of two or three shots at a time, also, if you're having problems with your depth of field, if things seem to be out of focus or something like that and but other portions of the frame are and focus, try shooting in the A V mode and closing the lens down a bit more. You know F four F 56 F eight. Set your F stop according to what it is that you're trying to do. You know, if you've got multiple subjects that are on different focal planes, you know, close down your aperture accordingly or the other thing, too, and it sounds a little counterintuitive, but if you're having problems with your depth of field, you can also back up a little bit, get a little bit further away from the subject itself and then closed down your lens a little bit. And just by moving away from the subject. And if you've got several subjects in front of you that are on different focal planes, the further you get away than the less the impact is going to be of that different focal planes that they're on is a good example. Be a group of people. And you Maybe we got two or three people that are standing side by side, and then there's somebody just in front of them by a foot or just behind them by a foot. If you're just a couple of feet away and you take that shot, you're gonna have to be really be closed down to get both of those focal planes, both of those groups and focus. Whereas if you back up and say you're 10 maybe 12 feet away and all of a sudden trains shoot those subjects that just have a one foot differential on their focus planes, it's going to be a lot easier for you to get both of those sets of subjects. Both of those groups in focus. All right, another difficulty shooting situation that you might find yourself in. And again. Remember how sophisticated off a product or an item that this camera is? It's basically a very super sophisticated computer and much like you know, your laptop or your desktop. Occasionally it needs a reboot. So if you're using the camera and everything just locks up, but all of a sudden you're not getting response from the camera. If you're seeing in the aperture a double zero for your F stop, or if you just see a nera code across the LCD or in the viewfinder, what you're gonna want to do is first off. Try turning the camera off back on, see if that clears it. If that doesn't then turn the camera off amount. The lens mounted back on, turning back on. See if that clears that. If that doesn't remove the battery, wait a couple of seconds. Turn it back on, see if that clears it, and hopefully somewhere along the line there, one of those has fixed that. If you've done all three of these steps and it's just not working. The only thing other thing I recommend is try a different lens. And if that point to Gamba is just not working, then it's time to take it into your camera repair center or send it in for repair again. I've been shooting with a number of different canon cameras. I have occasionally gotten where things just kind of get a little bit weird, turning it off or on sometimes amounting the lens and re mounting. It has typically always fixed it and gotten it right back to where it needs to be. You know, my experience with the canon cameras is that they are very rock solid in that respect. When you're out shooting the field, if something just doesn't seem like it's working right, um, and you want to get that shot. If all else fails, you know, switched to that green mode, put it into the auto mode and start shooting on that. So at least you're getting the images that you're out there trying to get, and then you can figure out later why it is that something is not working. Another one of the things that I'll find. I kind of mentioned it a little bit in the lens lecture, were out shooting and just doesn't seem like an auto focus. Make sure you check that wins and that somehow you haven't accidentally switched the switch on the side of the lens from auto focus to manual focus. So I hope you found this lecture to be helpful. I tried to cover some of the typical situations that students and myself have had when they're out shooting, so I hope this helps you. 6. 6D Camera Menus Overview: all right. In this lecture, we're gonna be going over the cannon. 60 menus. The menu system for the camera is split up into several different sections. In order to make this lecture a little bit mawr efficient and usable for you, I'm gonna go through and break this up into some sub lectures. Sound First is gonna be camera settings than live view than the playback, the set up custom functions and then my menu settings. And again, in order to get into the menus, you're gonna go onto the back of the camera, press the menu button and you'll see when that comes up that each one of the different sections of menus is broken up into small icons. So that group of four initially is the camera settings than the next to is for live you. The next three is for playback. The next four are for the set up. And then you've got custom functions and then last but not least, my menu settings. So go ahead, take a look at each one of these individual lectures, and as we're going through it, if you need to come back to a specific menu, look for a setting by breaking it up into these smaller chunks. It should be a little bit easier for your mind, but it is that you're looking for. 7. 6D Camera Menus Live View: All right, Zach, with the menus for the cannon 60. This time we're going into the second set of menus, the live view so straight away. One of the first things in the menu selection is whether you want live you enabled or disabled. Pretty straightforward. Do you want toe? Be able to use that or not? The next is choosing your autofocus method. You want to split zone where you can move the cursor around and decide exactly where you want to be. Offer focusing with same thing but using faces. Or then there's 1/3 mode that you can go ahead and select, and that's going to actually flip the mirror down, use all 11 sensors and give you a lot more accurate fashion focus. But when it does that, the screen itself is actually going to go dark. All right, so next up in grid display was just being overly on the screen. Whether you want it turned on to 336 by four or three by three with two diagonal lines, personal preference might help you A little bit was framing. If you've got horizontal are vertical lines you're trying to keep straight that will help us. Well, next up is the aspect ratio. Realized that your cameras native aspect ratios three by two. But if you needed to shoot for a different specific four matter reason, say 16 by nine video where those for video you could use that alright exposure simulation three times here, enabled during depth of field preview button press or disabled, the enabled is going to simulate the exposure when you're doing the live, you to show you how the image would appear on film or on the screen during. I will only give you that simulation when you hit the depth of field preview button and then disable is actually going to allow you to see a little bit more clearly. And it's going to give you a better view of what it is that you're really shooting, but not give you a hint if the scene or the image being shot is too bright or too dark. Okay, so for the second tab of the live view shooting menus, we've got a silent live you shooting selection between mode, one mode to and disabled. Moved. One is gonna lay Teoh take a picture a little bit quieter. It's gonna let you continue to shoot and continuous mood. Motew is gonna be much quieter. But not until you release the button. Can you take another shot and then disable disables that all together? So it's just going to be continuous shooting, single shooting, But it's not going to really cut down on that noise. So again, if he was using the live you and you want to reduce the noise, go ahead and set one of these settings. The next thing is the metering timer. The default is 16 seconds. So when you're shooting in the live view mode, your meeting timers gonna come on every time you hit the shutter button. If the lighting in the scene itself is not changing much or going to change much, you can use a fairly low setting on this for 2nd 16 seconds. If the lighting is constantly be changing in the scene and you want the meter to be able to adjust the exposure to compensate for that, then you're gonna want to extend out this meat oring timer. Now it is going to use obviously Mawr battery power to do that. But again, that's get accurate exposures. As the lighting in the scene that you're taking a photo off changes. So again, it's only every time that you actually hit the shutter button. Does it turn on the meter for the exposures game? Probably mawr useful. Win your shooting movies and things like that. 8. 6D Camera Menus Playback: All right. So continuing. I'm with the menus for the 60 moving under the playback menu. First thing up we have on the playback menu is gonna be protect images. So this will allow you to take images that are on the card. Select them individually by using the set button. And as you hit the set button, then you'll notice that the little ah ki icon is gonna come on on the screen and then you can scroll through the images, much as you would if you were doing playback by using the rare controlled ill or the main controlled ill again. Just turning that key on an office to whether the images protected or unprotected. And if we go back to the next menu here now, we're gonna be able to do the same thing. But we can select all the images in an individual folder. So in this case, we've just got one folder and then we can choose whether to protect all of those images in that folder or not. And again, if we have multiple folders, we could do the same thing. Now we've got basically the inverse weaken go through taken entire folder and un protect all of the images in that folder and then last but not least, we could do the same thing by protecting all of the images on the card and again doing the inverse of that. We can also un protect all of the images on a card, if that's what we desire to dio. All right now we can go through and on the back of the LCD weaken, taken individual image and rotate it again by using the set button will hit on image rotation a little bit later in one of the other menus where you can do it on the screen versus on the computer. Now, as a complement to the protect images, we can also go through an individually select images to be deleted again by using the set key. And as we do that, you'll see the check mark coming up on Weaken. Toggle that on and off. And then once we've got the images selected that we wanted to lead, we would hit the trash can a game. We can do the same thing by selecting an entire folder deleting all the images, or we can also delete all of the images on the card again. This is gonna delete all the images except for the ones that we've protected. As we saw in that first menu item, if you were gonna print out files from the camera itself again, this isn't something that I really do. But again, you have the functionality, whether you're going to do that wirelessly or using the USB, Here's where you would actually go through. Select the type of print that you wanted to output standard index or both, whether or not you wanted the date to a prayer on that print and whether or not you wanted the file number to appear on the print. And so once you select those those options you can go through and select all of the files or by folder or all of the images and go ahead and print does pretty much could do the same thing. If you wanted to make your own photo book again, I'm not sure how many people would really want to use this option, you know, versus doing it on the computer, using a program like Light Room or something like that. But if you dio than this is in here, if you needed to do some sort of raw image processing. Ah, you can go into this menu selection and then also, you can resize your images on the okay and then you can also do a slide show. So if you wanted to show slides on the back of the LCD to camera up to an H. D M. I out, you can do that, you can go in select whether or not all of the files are going to repeat at the end of the show. We can also select the display time of each individual image from one second 2 20 seconds, 10 seconds, five seconds, three and two seconds. So give you a little bit of ah, variability there so you can kind of set up a nice professional looking show. You can even again turn on our off the repeats. It will just loop through them. And then there's five different transition effects that you can use. You know whether the next time angel slide in and there's ah, number one and number two effect for that or three different fate effects. And of course, you can just leave those off. Or you can also add in background music. So if you've got a music file on the card itself, you could tell it to play that file. Well, the slide show is going, and then once you've got that set up, you can go ahead and select the images and then start to slide show. Here's something that I actually use, and this is image jump with the main wheel by default. I have it set at 10. So as you rotate that well, you can have a jump ahead. 10 images on 100 images by different dates by different folders show just the movies, just images. Or you can also have it advanced through based on this star rating so you can select. I want just all the one star images, just the two star images all the way up to the five star images. And then, if you wanted it to work mawr like the rear controlled ill, you could also selected so that it would step through one image out of time. But again, by default, I haven't set on 10 alrighty under menu number three for playback, Highlight alert enable disabled. So if we actually enable that what that's going to Dio is. If there's a spot in our image where we've gone to 255 white, it's just gonna blink on and off. Next thing Autofocus point display that will display the auto focus point in the LCD viewfinder. So wherever your focus point is, you'll be able to see that as you look through it. Once it establishes focus and again you can enable or disable it. I personally like to leave it turned on during playback. Got a couple of different grids that you can display over the screen itself might help you a little bit with composition some things like that. And then you can choose also with your history Graham. Whether it's going to display brightness values or if it's going to display the RGB values , I'm going for brightness again. I want to know if I've clipping in the highlights or a shadows and then also with your movie play, you can choose what is displayed in the viewfinder and are on the Lct rather and then also with your magnification. You've got some choices in there where you can select that when you do magnify, is it from the center of the image is it going to be from the selected auto focus point? Eso some selection there again for May. I've always defaulted to two x magnify from the center of the image and that really covers the last of the three playback menus. 9. 6D Camera Menus Setup: already continuing on with the menus were under the set up menu for the 60. So the first thing you're gonna notes when you break menu is you can select the folder that you want to use or create a folder is gonna be your file numbering, led by none continuous. So does I go from one card to the next. It's allowing me carry those numbers over from one card to the next third option. Up there's auto rotate. I find this to really be convenient. You can select whether you want your image to rotate when it's on the camera or just the computer, or just when it's on the computer or turn it off altogether. I prefer to have minds rotate on the camera on the computer rather and then that way, and Unipol of the real estate on the screen. Even when I rotate my camera and taken image in the portrait orientation. Yeah, you do have to rotate the camera every time you want to take a look at the image on the screen. But again, for me having that extra camera, real estate really makes a lot of sense, so I again leave it on that second option where it rotates just on the computer. And in that way, when I'm doing my post processing those image look, come in already be rotated and radio and that our next selection in the menu is gonna be format to card. This is where you would form at your card. Recommend to do this. If you using a new card or want to restart the numbering under the next menu, first thing up is going to be auto power off. So if you're not using the camera, not actively taking pictures or focusing, you can set how long it's gonna be in between power and off. I use two minutes. It seems to work pretty well for me the next one LCD brightness. This is pretty important. I mean, usually I'll leave it set at four. You know that middle position, But sometimes if you're shooting in a very dimly lit environment, you may want to turn it down and vice versa. If you're shooting outside, you may 1 turn it all the way up, but remember the kid in back to that middle position for normal use. Otherwise it might throw you off, find what your exposure setting is, and then here you can have your LCD on off, whether you want to just always remain on, or if every time you hit the shutter button, if it's gonna go ahead and turn it off next day time, local zone. Pretty self explanatory. Also, a good thing to make sure that you have up to date and set next except the language recommend that you don't play around with this because you might set it and then forget how to get it back. And then last but not least in this menu, select GPS device. So if you want to turn the GPS on or use GPS coordinates, go ahead and select this menu. Select the internal GPS that the 60 has, which are highly recommend. If you're outdoors and you want to be keeping track of exactly where you are so wants, you enable your GPS and you could also enable it for an external GPS device. But when we enable that and then we go into set up, one of the first things we're gonna have in there is whether we want auto time setting. This will automatically set your time in your camera. I personally wouldn't do this because then you're kind of dependent on that. It may or may not set it to the same time. Is all the rest of your cameras No? Next importantly is how fast he wanted to update. If you're walking around, probably every two minutes or so is fine. If you're moving in a car or something like that, you may want to set that a little bit quicker and then the next you'll actually show you the location that you're at. And then also with your GPS logger. You can enable logging, and then you can also transfer those GPS logs off under the car so that you can get them off of the camera. And then again, Mexico, the auto time setting. I leave that disabled so that it's not setting up or resetting the time of my camera that will go ahead. We'll disable the GPS again and move on. Recommend you leave it disabled if you don't need it, because it will drain the battery of fair amount. So in this next screen here, we're going to be able to select our video system. So if you're in North America and TSC. And if you're in Europe, go ahead and set this up. For Powell, this is good descent because it's going to change the video recording settings. But it's also going to, more importantly, change how videos output from the camera using the HD My Port feature guide enable disabled . I recommend that you enable it if you're kind of new to the camera and you want to be able to have a look around in the camera and see a little bit of a description of some of the different features and functions that are available to you. So here's an example of the feature guide that you're going to see if you were to use the cumin, you and then turn your mode dial and step through the different modes available to the camera again. Kind of a good little refresher reminder. If you're in the field as to what each move does and you know might help you if you're starting off and not familiar with some of the modes, this is a good thing to have turned on. I personally don't see it is to be a bother to have it turned on, even if I don't need it. But again, your choice. Turn it on. Turn it off. Next is the info button display. This is pretty key here. You've actually got three different menus that can come up or three different items that you can look at by using and toddling through the info button. The 1st 1 is gonna display all the camera settings. Elektronik level very handy. If you're using a tripod, you want to make sure that the cameras level, and then the last one display shooting functions. I personally like to leave all three of these turned on. I find them to be very useful in the field when I want to see how the camera is set up and the next is the WiFi function again, you're going to turn this on if you want to use that built in WiFi. Once you do, you can go through and select exactly which function you want to use. Whether you're gonna be going from camera to camera to your smartphone computer, direct printing, etcetera. I typically used the smartphone function if I'm shooting to my my ipad and then used the camera function if I'm gonna be shooting tethered to my computer in studio and again Just go through step through the menus. It's going to help you to set that up. You know how to set up the other device etcetera. Again. Using the WiFi app on the iPad makes it really actually quite easy to go through and tether the camera to the iPad. Next up is the sensor cleaning. So in here you can enable auto cleaning, which is what I recommend so that every time the cameras turned on or off, it will clean the sensor. You can also just manually ticket clean it. Now, the next thing is your battery information kind of ah, handy thing to have. So you can figure out how much capacity is left in the battery, how maney shots have been taken. And you can also register your batteries so that as you put in an individual battery, it's gonna recognize it. Know how many shots have been taken on it, and I will tell you when to go ahead and recharge it. Are doing deep charge on it. Next certification level display. Don't know why he would need it, but there it is. If you're gonna be setting up your custom functions, you would set the camera to the exact settings that you want, and then you would go through and register those two C one or C two. And then this way, when you turn your mode dial two C one or C two, you can have all the functions on the camera set just exactly the way you want. This allows you to also go through and clear them. And then you can also decide whether you want to update those settings so that if you're in C one or C two and you change a setting, it would either update it to that setting or not. The next is you can actually go through and clear all the settings. I recommend being careful with this because you spend all this time setting up your camera , and now you're going to go through and clear all the functions. Next is your copyright information. I a person like this cause it saves you a little bit of time as's faras putting this in when post processing so it allows you to go through. Put in your name, put in your copyright information so I usually just put in my first and last name and then put in copyright and then the year eso. Then these menus will allow you to go through and change those. And then I use just hey, photo and then the year and copyright and again, you so delete that copyright information if you want for May. I think it's a nice thing. It takes a little time to set it up. Next is your firmware. If you are updating your firm where you put it on the card, put it in, and this will allow you to update it from the screen. 10. 6D Camera Menus My Menus Settings: alright, Continuing on with menus. Last one up here is my menu settings, so you're going to find that as the last one, the green tab with the star on it. So what this really is is it gives you the ability to take six of the menu items out of the camera and consolidate them all into one screen at the end There under my menu. So 4 may I've got it set up so that I can quickly go to this menu format. Check on the battery information. Use the HDR mode options if that's enabled on the camera, the GPS, the wife lie and then the image quality. Now one of the limitations of is you're only going to be ableto have six menu items in here . So if we want to add anything, we're going to go into my menu settings and we'll delete an item real quickly. So let's go ahead and select image quality. Go ahead, delete that and being seen, I've got a slot open gonna hit my menu, a button to go back to this, come up to register to my menu, and now I can come in here and select it really a myriad of all the different options there are. So let's go ahead and register white balance on your go ahead and select it and say, I want to register that to my menu. And if I hit menu again and menu again now you can see there's my new custom menu that I've created. It can go into white balance, select them here again, delete multiple items to lead all the items. And so this is this is really a very handy menu selection. It makes a lot quicker in order to be able to drill down. You know, pick those top six that you're using in the camera quite a bit and then consolidate them there in that my menu selection and infielder using the camera, and you've quickly got to move from one thing to the next. Then you're gonna have one menu to go through, and you're not gonna have to constantly be paging through menus trying to find the item that you're looking for to change on the camera. So I hope this is helpful 11. 6D Camera Menus Custom Functions: all right, continuing on with the menus were onto the custom functions. So this is really, really get into customizing the camera. So first thing is is you go into number one exposure and as you select that menu item you're gonna notice in the bottom left hand corner of the screen, the listing off one through six for the custom function, and then either white zero or a blue one for whether about those functions are on or off. And so, as we stepped forward to subsection one under exposure, we can't look at our option for that. And in this section, we've got the selection as to whether we want to do our exposure increments in 1/3 stops or half stops. So as we go up or down on the exposure, is it in 1/3 or half? I I prefer 1/3 and then we've got the same option in subsection two for eso speed setting increments for me. Personally, I leave this at one stop 1/3. I think he's just something I don't really care to use or need. The next one is bracketing auto cancel. So if you do set up your bracketing you can have it so that it cancels that if you turn the camera on and then off again, this way you won't be in the middle of a bracket. Turn the camera on, haven't come back on and still be bracketing. And then the next under four, you can select the order that the brackets are taken in. In the number five, you've got four different selections as to the number of bracket and shots. Typically, I'm shooting three, so I have 1/1 under and one dead on. But if you wanted a much larger bracket, you could go with, say, five or seven. And then the last one is your safety shift. So if you're approaching the minimum aperture or the maximum shutter speed, will it alter that, or will it alter the I S O speed? If it can't finish the bracket for me, I want to want to be changing the shutter speed and the aperture, not the eso. Okay. Under custom function to menu our focus again. A lot of these I just leave in the default. But you can change here the tracking sensitivity of your lens, whether it's being responsive or locked on. I leave that zero the middle between the two. How your autofocus accelerates. G accelerates with tracking again. This I leave it to the default of zero and then for the next one. Number three ai servo first image priority. So when you're initially focusing, is the camera going to put the priority on the shutter release or on focusing and then ai servo second image priority? Is it going to be on the speed of taking the frames per second? Or on focus the next auto focus assist beam firing. If you have a flash on the camera and it has a auto focus beam, assist on it. This will decide whether it's enabled or disabled, so fair in a dark environment, and you can't get focus than the autofocus being will Come on, or you've also got an infrared version of that. You can use lens drive when auto focus is impossible. This selects whether the lens will just continue to try and search for focus or if at a certain point, it'll just give up, and then also whether you want orientation linked auto focus points, do you want it to be the same for both vertical and horizontal. Or do you wanna have a different auto focus point as you rotate the camera? And then also whether that auto auto focus point is going to be super imposed on the display or not again, I'm typically leaving these on the default. Next is micro adjustments on the auto focus. You can disable this all by the same amount or adjust by lens. I recommend that if you're gonna use it, you do the adjust by lens, so you get the correct setting for each one off the lenses that you mount onto the camera again. That's gonna work with canon lenses, and it's going to allow you to tweak or adjust the auto focus all right onto operating and others the third of custom functions again. This has five different settings, and it the 1st 1 is you can select the direction that the dial the main controlled I'll uses. When you're selecting your TV or you're A V modes, you can have basically scroll up or scroll down, and you can reverse that. So if when you're using the main dial, you feel like No, no, no. I'm pushing it to the left and I wanted it to go up, you know, vs down, accelerate. You can go in and switch that here to whatever feels the most natural to you. So it's nice sometimes to be able to have that ability to change that. Okay, Option number two is going to be where you can select if you have a different focusing screen installed. Number three, you can decide which dial of these three is going to be locked. When you use the multi function lock on the camera, you can select between having it locked the main dial, the quick controlled ill or the multi controller. I usually have it disable or lock the quick control dial so that I'm not accidentally changing that. So if you do go into this and select it, it's actually going to bring up a graphic and show you exactly which button it's looking to lock or disable. When that luck is engaged again for May, I don't need to disable the main dial. I make sense for the way I have the cameras set up, and we're going to see that in one of the next sections how you can put a number of different functions on any one of these controllers and then, of course, wants you make changes to this. You can go ahead and select okay to engage those or cancel to leave it where it was set. Next, Issa's You can have warnings come up in the viewfinder when certain things air set. When you have the camera set to the monochrome setting, you may or may not want to accidentally start shooting and find out that you've been in that or if you've done your eyes so expansion and some other things just kind of a handy way of reminding yourself that maybe you've said a function the last time you used the camera in your may or may not want to pick up the camera and have those functions set without your knowledge. Okay, they out getting into number five custom controls. But this is where you can really kind of go a little bit crazy with setting different functions. You can actually go through now and select the shutter button and set a number of different functions or customized how that particular button comes up and operates. You can have it so that when you use the shutter button half press as to whether it's auto exposure lock, whether it's going to do an auto focus or whether it's just going to start the meter ring again, Depending on your shooting style, most people have it. Start the A meeting and the autofocus it using one of the back buttons, and we'll see that in a minute. For the out of focus, you can use that middle selection again. Here's that auto focus on button on the back of the camera. You can decide again by use that that it actually starts to meet a ring and the auto focus . You can also select the auto exposure flash exposure lock by using that button again. If you're using this back, focus, then you might use this third option. So if you set your shutter button toe only start to meet a ring and now you want the autofocus to start or stop. You can use this option in the middle. You can also have it said it so that your auto exposure is locked. You can also have it set so that it does your flash exposure lock, or you can have it turned off all together again. A lot of variation going on to the next one. Now, looking at the auto exposure lock button. This is where a lot of people will enable this for what was referred to his back focus. So you can now tell it when I you button you've got some selections between autumn a clue, Sherlock Flash exposure lock again. Also, to start to meet a ring and auto focus with it on. And then you can also have it turned the autofocus off again. Auto exposure lock and hold. So you hit this. It will hold the auto exposure auto exposure lock, flash exposure lock or just have it awful together. Moving on to the depth of field preview button, which is on the front of the camera just below the lens again. The default would be your depth of field. But again, now you could move your autofocus stuff up to this. You could move the auto exposure. Flash exposure lock Haven't switched between one shot. An ai servo Focus. You can have it. Start the I s You can have it. Bring up the viewfinder if you want again. The auto explosion lock Hold auto exposure. Lock flash explosion lock have it off altogether again. The default is the depth of field preview. Next button is if you're leads, has an auto focus stop button. You can select what that option will do for you and again, a number of different settings. Much like the depth of field preview button, you can set a number of things. Not very many of the canon lenses have an auto focus. Stop button on them until you start getting into the quite large L Series lenses. So again, for most people, the ability to set this isn't even going to be applicable. And then the next one is the sudden button. So when you've got the said button, which is again showing on the diagram right in the middle of that multi control dial, you can now buy using it. While you're shooting have no function whatsoever. You can have it change your image quality. The picture style haven't bring up the menu, or you can have it allow you to set your eyes so speed by pressing and holding it and using the main dial. Or you can also have it set to changing your flash exposure compensation. I personally leave it to the image quality. So that way, if I need to change it on the fly, I can bring up that menu very quickly. Most of the other things on here you can bring up Justus quickly with your main dial again . If you wanted it to. Instead of changing the time value, have it changed the aperture value? You could do that here. The defaults, the time value, that's what I've always used it using all my cameras. And then you can do the same thing with the quick controlled ill and so you can slop those . If it makes more sense, toe have those in the opposite direction. You can do that quite easily by using this menu set up, and now, with the multi controlled I'll either have its function disabled or when you are doing your auto focus, Point direct select. You can use this, and it will be a little bit quicker than using the main controlled I'll to go through the different settings that are built in a Sfar. Is your auto focus select? So get a lot of customization, you know, for this particular menu here, you can really make the camera your own. So most of these I do use in the in the default positions. But it's nice, I think, have the level of customization off your your camera, the buttons and the menu settings. And so then last, but not least, if you just totally, really goofed a bunch of things up, you can go in and clear all of your custom functions and kind of get it back to the factory default. 12. Optional Equipment: already moving on to optional equipment. In this lecture here, I'm really gonna talk about some of the optional equipment that I recommend to really get the most out of your DSLR stuff That's not going to come standard in the box itself. First up, I think a shutter release is really an important item to have. There's a number of different ones that you can get of the one I'm showing here is actually the cannon remote that allows you to set up interval timing. So if you want Teoh, have it take a longer exposure than the 32nd rating that is built into the camera minute to minute exposure. If you wanted to take a Siris of photos one every 10 15 seconds for an hour, the 100 shots, what have you then? This is really the hyper remote that you're gonna wanna look at picking up to do that. Uh, there's other ones that you can get, really, that it's going to do nothing more than just like you do. Push the button, take the photo, or have that button be locked in place. But the beauty of this is that if you're taking those longer exposures that you're not actually having to touch the camera in order to do it cuts down in any vibration things like that along that same line for those longer exposures, I really recommend getting a tripod whether you get 30 $40 tripod because you want to go out and take some photos of, ah, moving water, fireworks, etcetera. A tripod is just a great thing to have. And then you can go from there up to several hundreds of dollars for additional features and functions. Reduction in wage, etcetera. One of the other really handy things that I find that I like to have in my camera bag is a micro fiber cloth. Last be to just take that camera out of the bag. If it's got a little bit of dust, I can knock that off. If there's a smudge on the LCD, I can wipe that off. The micro fiber cloth is really going to do a great job of picking up that grit and grind, but also is very not abrasive. So you're not going to be scratching whatever it is that you're wiping off goes in again. Hand with that is a lens filter for me. Personally, I like to have a filter on all of the lenses that I carry on my cameras. I fall on the side of the argument of having the lens filters, extra batteries, grateful. When you're out in the field, you want to make sure that you don't run out of battery power and all of a sudden have to stop shooting so fairly inexpensive. You know, whether you pick up a cannon battery and often in battery. You know, I've had great luck with both. In addition to that, make sure that you have extra memory cards, memory cards. They're so inexpensive now. What I would recommend that you do, too, is if you have a small eight or 16 gig card or something, and you never know when you might be out in the field. You forgot your card. You kind of have. That's emergency card with you, if you will, so that you don't have to stop shooting and then last but not least, going to speed things up when you get back home is a good, fast USB three reader. Hopefully have a USB three USB port on your computer, if not even using a USB three reader with the U. S. B 2.0, standard port will give you a speed up or an improvement in downloading those larger files . And trust me, pile images get pretty large. So that's gonna be it, really? For optional equipment and my recommendations, Thanks. 13. Exposure Triangle: in this lecture, we're gonna be talking about the exposure triangle. This is really introductory session to get us ready for the next three lectures. So the three things that make up the exposure triangle are shutter speed. So that's the length of time that the lens opening is actually open. Next is the I S O or the sensitivity off the sensor. How sensitive isn't going to be to light again as we increase the I. So we're going to increase the A digital noise that also the aperture How large is the opening of the lens when it opens up? So as we increase one, we're having to decrease another as we're striving always for that quote, perfect exposure. So with the exposure triangle, we're going to lock in a set exposure. So in this case at I s 0 100 at F four, 125th of a second is gonna be our ideal exposure. If we wanted additional depth of field and we decided to go ahead and close down to F 5.6, we're reducing our light in half. So we've got a double the length of time that the shutter is going to be open. So as we go into the other lessons kind of keep that in mind that the exposure triangle are really three different levers that you can pull on and that in order to maintain that perfect exposure, they have to be in equilibrium again. As you adjust each one, there's trade offs, and we'll go through that in the next three lectures. 14. Aperture: all right, Moving on to aperture in this lecture, we're going be talking about aperture or F stops F stops a scale within which the aperture size or the opening of the iris of the lens is measured in the camera. You can select whether you want to go with full stops or one stop increments or 1/3 stop increments. Personally, I prefer the 1/3 stop increments, as I feel it allows me to have a much better accuracy for my exposure. If I can adjust my F stops in my shutter speeds in 1/3 stop increments that I feel like I can really get is close is possible to that perfect exposure. The F stop itself is going to control the depth of field. The larger the opening, which is also the smaller the F stop number, the less depth of field that you're gonna have with that particular image that you're taking. The smaller the opening is, which has the largest number I know a great way to do it. It really makes it so obvious to everybody, but they are inversely proportional, and as you go to a larger F stops a F 16 F 22 etcetera. You're gonna end up with ah lot MAWR depth of field depth of field being how much of the image from the foreground to the background talking physical distance is going to be in focus in your image. Another key factor to depth of field is how close you are to the subject. If you're very close to the subject than that range that length from front to back, that depth of field is going to be much, much shallower. So here's a couple of examples. Here's a photo that I took and this is that F 7.1 and good depth of field. All said. Now I'm moving my depth of field or my aperture two F 2.8, and you'll notice how suddenly now your view or your attention is brought to that one. Bloom really in the middle off the photo, and I'm doing that by changing the depth of field by drawing the users I right into what is the most in focus portion of the photograph. So this is another example kind of. I'd buy side of two shots that I took of ah fern leaf in at F eight, You can see that there's some elements in the background that are in focus, and you can kind of see them. But then, as I moved to F 2.8, the background really becomes very blurry. Or, as often is referred to is the Boca effects. When you hear people saying the Boca, this is what they're talking about? What are the elements in the back ground going toe look like? As the depth of field is increased or decreased? Good example of a subject that was pretty close to the lens shot an FAA. You can really see some of the elements in the background a little bit distracting in my view. So I also shot it F 2.8. And now suddenly that frond or that leaf is really popping out quite nicely. Okay for this next scene of kind of set up crayon, So I'm shooting it F 2.8, and my 1st 2 crayons there are both parallel to each other, so they're both in focus. They're the same distance from the camera, and then you'll notice my furthest away crayon is very blurry again. These crayons from front to back there's probably only about two or three inches from the front edge to the back edge of the crayons themselves. And so for this demonstration, I'm going to gradually step through and increase the depth of field and notice how that crayon in the back in the center as we increase our depth of field, where seeing Mawr and Mawr detail in that crayon, it suddenly becomes pretty and focus around F 16 and you're also noticing there that now my horizon line, which is where the plate that this is sitting on in the background come into focus. And then as we step back to a larger opening, you're gradually see the detail falling off on the different crayons and again realize that these Kranz themselves air only about eight inches away from the camera and that the green crayon to that central crayon. There's Onley about two, maybe 2.5 inches and so, being very close to the subject. And as we go from F Ford F 28 you can really see ah large difference in the amount of depth of field with that image. So a good example of depth of field and how increasing or decreasing your aperture can give you different effects what is in focus and what is not in focus? All right, so just kind of, Ah, recap on the F stop numbers, as I had mentioned previously. F stop numbers are numbered inversely so. The smaller the number, the larger the opening So F 2.8 very jump inning F 16 F 22 very small opening typical aperture or F stop for lenses. You'll see typically F 1.4 F 1.8 for Prime's. There are some of the cannon ones that are F 1.2 tremendous amount of shell of depth of field for most of the Elsa resumes F 2.8 F four and then some of the more consumer pro Sumer zooms gonna be F 35 f 56 So when you're shooting, one of things you want to do really is avoid using too small of an aperture, so I would avoid shooting beyond, like F 22. Maybe even limit yourself to F 16. There's some properties with the lens in combination with the sensor that's going to give you some challenges, but that don't shy away from it. If you really need a tremendous amount of depth of field experiment with that little bit. Ah, if you're outside and you want that really shallow depth of field, there's so much light coming in your at I s a 100 try using a neutral density filter which is going to block light coming into the lens and facilitate using those smaller F stops. 15. ISO: in this lecture we're going to be talking about I s O I s O really is the speed or the sensitivity setting of the sensor. The cannon 60 is going to support a normal operation from eso 100 to I s O 25,000. You can also extend that and go down to what's called El or the equivalent of I s 0 50 or up to H two, which is the equivalent of I s 0 102,000 So with your eyes so numbers a small eyes of number 102 100 indicates lower sensitivity with lower noise or grain. And then as you go into the higher numbers, I s 0 816 132 100 Then you're going to get higher sensitivity toe light. But along with that, you're also going to get more noise or grain and we'll see that in some examples a little later in this lecture on the canon 60 I've found that great results can be obtained from I s 0 100 through 804 day to day activities and things that you're doing. So if you need Teoh, get extra shutter speed if you I need to be able to get mawr light into the camera, more depth of field. So you're having to close down. Don't be afraid to go ahead and bump up to his I s 0 108 100 is a great range to work within again. If you need to use this higher Selves, I always say a grainy and focus images better than an out of focus non Grady image. Use a lower I eso whenever possible. So if you're out and it's bright and sunny, you know, use I s 0 102 100 again unless you're trying to get a tremendous amount mawr depth of field to close down in order to maintain a good shutter speed, you've got a bump up the i s l So here's an example of the cannon 60 at 100 zooming and 200 zooming and again in that gray area there you're just not seeing any noise at 400. Even at 800 zoomed in. Still looks pretty good to break up a little bit. 1600. Now we're kind of seeing some noise coming in there. 3200. There definitely seeing the noise. 6400. Yeah, the noise is really standing out. 12. 80. Now he can really see that noise in that gray area. 25 60. Very obvious noise. Here's H one or 51 200 very noisy. And then at the high, 102 4 h two Extremely noisy. And then here's just kind of ah Grady ated pattern all the way from 100 to 102,400. So it gives you a great amount of flexibility with the I S O. And again, I think he can see from this for day to day use 102 104 108 100. All of those air perfectly flying IAS owes to be working yet again. You'll notice that I'm representing them in full. I have some numbers for me. Personally. I've never seen the need to use some of the intermediate stops in between them. Some people have had great luck, though, with using some of the intermediate stops in between. So I recommend the kind of experiment around with a little bit and see work works best for you. 16. Shutter: Alright. In this lecture, we're gonna be talking about shutter speed. So for the cannon 60 it supports from one for thousands of a second Tuas, long as a 32nd exposure. If you needed to go longer than that with your explosion, of course, she could use a remote release with the bulb setting function on it and have it hold the shutter open longer than the 30 seconds. Also important is the flash sync speed of the cannon. 60 is one to enter with second again, this is something that you're really Onley gonna concerned about are worried about if you're shooting in studio and a good rule of thumb with your shutter speed is used one over the focal length numbers. If you're sitting with the 200 millimeter lens, then you want to look at 1 2/100 of a second. What will be typical is that you can freeze action at, say, 250th or 500 of a second. So if you're shooting something and you really want to freeze that action, set your shutter speed in there and then let the camera change. Either the aperture or the you can change the I s o for slow shutter speeds, use your auto drive and take small bursts of shots. So if you're trying to shoot at a 62nd 30 the second you want to get some that will turn out. Try shooting in small, short bursts and you'll usually get one of those will come out and give you, ah, good, consistent, reliable exposure. Also, if you're shooting and you want to maintain a consistent depth of field but from shot to shot, if you're shooting a group or Siris of shots or an HDR, then you're gonna want it. Adjust your shutter speed so that in that way you're depth of field will remain constant because you'll leave it at the F eight F 11 F, 2.8 etcetera. So here's some examples of some ways that I used shutter speed in the field. So this river here I was shooting at 1/5 of a second that I increase my shutter speed or lengthened it 2.8 seconds, so basically doubled the shutter speed. You can see a difference in the texture in the water and then doubled it again at 1.6 seconds. So really gives you a good variability Look and feel of in this example here actually have a 13 2nd exposure. So the longer the water ran, the clear it was looking through it versus this exposure that I got eight seconds. A lot of times in the field, you won't really necessarily know exactly what kind of results you're going to get from a given shutter speed when you've got something moving in the frame, so just feel free to experiment around and try a couple of different things. 17. Lenses: all right, This is a lecture on lenses. Canon has an absolutely incredibly wide array of lenses, everything for the consumer, the pro Sumer, the mid level and then definitely some very, very nice stuff for the high end photographer. So definitely one of the great things about the canon cameras is the extraordinarily wide array of lenses that are available from Canon. In addition to that, there's a lot of lenses available from a number of other different lens manufacturers. So lenses really come in all different kinds off focal links, summer fixed, focal length. Some are going to be zooms. And this light here really just kind of kind of give you a good example off what you can expect from a full frame camera again. If he was in a crop sensor camera, you would get even Mawr quote unquote zoom effect. But here we're showing kind of what you would see with that full 180 degree view with the fish I all the way down to just zoom in in in seeing incredible detail at 1200 millimeter, most people are going to be shooting probably in the 28 to 300 millimeter range again, I kind of mentioned with the canon camera line of lenses as well as others. You're gonna have the choice between primes or zooms. Great debate. Some people say, Oh, you can't get great pictures without a prime. I really don't find that. That's the case. There's some nice things about the prime lenses. It does give you that ability to have amore compact form Factor allows. You have a little bit of a faster lens, you know that wider aperture. Also one of the things that's going to really affect the cost is also whether you're using a fixed aperture range so that no matter into the zoom you're on, it's always going to be at, say, F 2.8 or F four, where some of the other Mawr, pro Sumer and Consumer lines are gonna have that variable aperture rate. Maybe starting out at 35 going up to F 5.6 F 63 again, you kind of get what you pay for. There's definitely some advantages for having that constant aperture rate buying that nice F 2.8 lens or that nice have 4.0 constant aperture lens, but it is more expensive. They do weigh mawr on. And it's something that's kind of nice to move up into. Maybe you don't need that day one, uh so again, you pretty much get what you pay for. But there is a lot of great lenses the camera has Can it has out rather in the consumer grade line and then certainly some of the pro the L series. The white lenses are also just absolutely incredible. So a nice array and selection to choose. All right, So in this next section, I'm gonna give you some of my recommendations of what I think are great lenses, and I'm going to kind of break it up into three different recommendations for each of the zoom lenses highlighted in yellow have really put what I would consider to be. That's my number one choice. You know, if you're going to go out and you can afford a little bit mawr, this is that step that I think you know, eventually gonna want to be at this lens anyway. So if you could afford it, day one, go for that. If you're trying to keep things a little bit Mawr budget minded, then this is my next recommendation, and then in white, I'm just kind of kind of list, you know, Here's a lens to take a look at, you know, it's it's great. There's some pluses and minuses to this, you know, versus my number one choice. So first off, and I recommend this for everybody. No matter what can India star that you have is that you go out and get what is called the normal prime or the 50 millimeter. There's a couple of different versions of this. There's the F 1.4 and the F 1.8. I used the F 1.8. I love it. You know, maybe if I were buying the lens again, you know, maybe I would go ahead, spend that additional money and get the F 1.4. But just I love the F 1.8. It's civil, inexpensive that it's practically throw away lens. And if you've never used a really wide aperture lens, a really fast lens, definitely do yourself the favor of picking one of these other so much fun to play with. They will later take pictures in incredibly low light and get some of that really looking Boca Effect with the really shallow depth of field recommend really that you look at getting a wide SSM the cannon 24 to 105 l f four. It's gonna be f four all the way from 24 to 105 millimeters. I like this a little bit more so than the 24 to 70 because it does give you that additional focal length. The image stabilization in this lens is just absolutely fantastic. For the more budget minded. Just 28 to 1 35 it's the E F Mount. It is going to be a variable aperture lens starting out at F 35 going up to F 5.6, but also has the image stabilization in it and also has the ultrasonic motors in it. So it's going to be very fast and very quiet with the focusing maybe not quite as quiet as some of the STM lenses of your doing video. You know, maybe you ah, look at one of the STM lenses 24 to 70 l f 2.8, Whether it's the version wanted. The Version two fantastic lens. If you really want that extra stop of light vs the F four. Great way to go. Next. Step up from that is the telephoto zoom 72 200 to 8. I s whether you get the mark one. If you confined at the mark two again, the mark two is gonna have just absolutely fantastic quality. It is an expensive lens. If you're trying to dial it back just a little bit if you can fit it into your budget than I recommend you go with the 72 200 l f four point. Oh, Both of these are fantastic l series lenses incredibly fast out of focus. If the budget just doesn't quite allow for it than take a look at the 72 300 or if, for some reason you like to hundreds really not given me the focal reach that I want, I want that 300. I'm willing to live with the variable aperture than go ahead and check out the 72 300 Have four point. Oh, with the i s. It is one of the L series lenses. Another nice. This is the lens really compacts down so that when it's zoomed all the way into the 70 millimeter setting. The lens is much shorter than what you're going to see with the 72 200 cause both of those are internal focus lenses. Where is the 72? 300 what they refer to as an external focus lens where the body itself is actually going to change size and their words. One of the elements is actually gonna push out and make the lens longer as you zoom out. So those were really my recommendations again. You're seeing here that I kind of recommend yet go ahead, pick up the primes. But I think from day to day shooting, getting great image quality and having the variability of having that zoom. I'm a big fan of zooms. And then this way you can really get by in the field with just having two lenses in your bag. So I hope this helps again. These are the recommendations, these with lenses I use. All right, so let's take a little bit of a closer look at some of the lenses again. Here's that 50 millimeter F 1.8 when the first things you want to look for is there's gonna be a little colored dot on the side of your lens. Line this up with the color dot on the lens mount, and then that way it's gonna lock right in the way that it should Check your auto focus Manual focus button. Can't tell you how many times have been looking toe take a photo camera, won't focus, turns out of accidentally pushed the auto focus and Emmanuel focus. And again the lenses are all going to be labeled with the focal length on again. In this case, this is the 50 millimeter lens moving on to one of the E. F S lenses. So again for the crop bodies, this is a lens that you're going to put on this. Do not put this on your full frame bodies again. It shows right on the side. It says GFS. It didn't tell you also again that this is an Amy stabilization lens, so it's got Theus stabilizers built into it on the next. It's also going to list the focal zoom range so we can tell whether you're at 18 all the way to 135 millimeters. Rotate the lens around again. Here's that white dot Again, you're going to see a white dot on Annie Fs Smile body If you've got a white dot lens, you don't have an e f s Mount Gamma. Don't put it on. Here's how you gonna turn your stabilizer on and off. And then you can also switch your auto focus manual Focus on and off on this camera or on this lens here as well, Moving on to the front of the lens Bunch of information here If you're looking to get a filter for your cameras going, tell you that this lens of 67 millimeters for the filter size it's also going again that this is an E. F s lands. And then next it's going to tell you that this lens is an 18 to 135 millimeter focal length and then next to it, it's actually going to tell you that this is a very more aperture lens, starting out at a 3.5 and at the far end, going to F 5.6 and again, this has the Amy Stabilization and the STM motors in it. So if you were using it to shoot video, this is the type of motor, the one on the camera. It's gonna be much, much quieter, all right, moving on to one of my favorite lenses in my bag. This is the cannon 70 to 200 F 2.8 l series lead with the image stabilization built in again 72 200 millimeter range There on the barrel. As we move up, you can see the window where it will show you your focal length or were actually what distance you're focused in it. And again, it is the 2.8 else. Aires Amy Stabilization with the ultrasonic motors, this is the type one lands or the original to eight l. Siri's with image stabilization, that cannon belt again rotating around to the side. We've got two different stabilizer modes, so one that will stabilize in all directions being move up, down, left, right and then the other mode mode to would be if you're panning to the left or to the right, it will dio image correction or stabilization for the panning, the next button turning the image stable off. Next to that the auto Focus manual Focus button, and then next to that, you can select if the camera is going to focus, starting at 1.4 meters to infinity, which is the closest focused or 2.5 meters to infinity, which we'll allow the camera to not look, you know, in that short distance closest to the camera, it'll actually speed up focusing as long as the subject you're focusing on is more than about five feet away. So again, one of my favorite lenses. It's a workhorse, its lens that I've had for a while. As you can see from some of the photos. It's definitely been in and out of the bag a couple of times, but I really love it. I take good care of it and by foreign, away my favorite lens. 18. Focus Points: Okay, this lecture is going to be about the focus points for the Canon Eos 60. The focus points for the Canon six D are not only where the camera focuses, that these were the points that the exposure readings are going to be taken from the camera itself. In the viewfinder, you'll see something that looks like this. Each one of these squares really designates where the focus points are, and there's a couple of different ways that you can set thes. You can go into the Q menu and select the Auto Focus point selection. You can also hit the Auto Focus Point selection button and look at a display very similar to this inside the viewfinder and then using the main control dial, you can select around and select what point you want, or if you select all of them. That it's set to appoint selections of the camera will make its best determination, or guess as to which points you should be using for auto focus again. 60 has 11 focus points, and you can again select individual point or you can have the camera auto, select them and again remember that this is also the focus point is going to determine where the exposure reading is taken from. For me personally, typically, I prefer to use the center point for focus for most of my shooting cause most of the time the subject or what I want to focus on or take the reading from for the exposure is going to be that center point in the viewfinder. But sometimes I will use one of the ones off to the side or the top in the bottom again, depending on the orientation of the camera. 19. 6D Sensor: all right. In this lesson, we're gonna be talking about the image sensor for the cannon. 60 again. The cannon 60 is a full frame sensor camera versus crop said another way. The size off the sensor in the camera itself is the same size as a 35 millimeter film or slide. And what that really does for you is that when we put on a wide angle lens, then we're going to be using the entire image circle that is projected by that wins as it comes into the camera versus a crop body like the 60 d, the 70 d, the 70 the rubble Siri's etcetera, where it is essentially using the inner 60% of that light circle or giving you Ah, zoom in, if you will. One of the other great advantages off the full frame sensor is that the pixels themselves or the image sensors are actually going to be larger than what you would get with a crop sensor that gives you the same number of megapixels. And because of that, the camera is going to produce lower noise or grain. So as you bump up that I s so you're going to see less artifacts, less distortion in the image itself. And again, take a look at the I s So lecture and take a look at some of the examples as we go up to 816 132 100 on up from there. And compare that to what you'll see from a crop sensor camera. And I think you'll really start to understand another one of the fantastic advantages of having that full frame sensor. The camera itself great addition, is that as you turn the camera on and turn it off, it actually is going to go through and clean that sensor. You can also do that through and use themselves, so if you turn off the camera or turn it on, you're going to see the screen come up, tell you that it's cleaning the sensor, and more often than not, this is going to take care of the majority of this stuff that you would bond the sensor itself. One of the ways to check and see if you've got excess dust. Richard on the sensor is go indoors, point your camera towards ah, plain white wall and set a proper exposure internally at F 22 so that you do get, ah, proper exposure and then just pointed out the wall or the plane object, and then just take the photo. Don't worry about the shutter speed and things like that Take it at the lowest I. So you can like 100 and then take that image into photo shop or light room or what have you . And if you're seeing large globs of stuff on there, then that means that you've got dust on your sensor again. It may not show up day to day in your images, where you're shooting at F four F 56 F 11. But when you start shooting and having those really high depth of field and you're getting into F 16 F 20 do, then that's where those blobs they're going to start showing up. Try cleaning the sensor a couple of times, and then, if that doesn't do it, either take it into the shop and have them clean the sensor for you. Or, if you feel brave enough, go ahead and try cleaning the sense of yourself. But again, be very careful about doing that. Make sure you know what you're doing 20. Quick Control Button: alright in this lecture, we're going to discuss the quick control button again. This is gonna be located on the back of your camera. So just go ahead, press the queue or quit control button and it will bring up a menu. There's gonna lie you to have a very quick and easy access to all the controls that you would want to change all the settings based on that particular mode that you're in. So in this case here were in the manual mode. We've brought up the menu and then, using the quick controlled I'll on the back of the camera, were able to step through the different sections and highlight them with the orange ring around them and then wants were in that section. We can use a combination of the main dial and the quick controlled I'll to alternately increase or decrease or select different options that are available to us again in the mode . The menu that's gonna be presented, of course, is going to be different. Whether you're in the TV mode, the A V mode, the program mode, the auto mod, some of the different creative menus and things like that. But this is a lot quicker to go through. Get to some of these different sections where we can change things like our White bells. We can even go in here and change our white balance bracketing or shift if you want again. For me personally, this is something that I don't necessarily mess around with but again not haven't actually navigate through all the menus drill down into that one particular one. This menu again will allow us to associate different functions to different buttons on the camera. So definitely good men you play around with customized the camera to the way you want it to behave or perform for you. You can even go through here and very quickly, very easily. Select the auto focus point that you want set as well as quickly change from different speeds of shooting. Whether you're doing the single single shooting, change your meat oring modes as well. And then last but not least, you're gonna be able to go in and select the types of images that you're gonna be saving, using the main dial to select the raw, whether it's honor off, whether it's a full size medium or small as well as your J peg image sites again. A real quick, easy way to get into the menus and set up you came and just the way you want on the fly. 21. Flash: All right, This lecture is going to be about flash for the Canon Eos 60. Well, of course I'm sure is. You know, the Candid 60 doesn't have a built in flash. In order to use it, you're gonna need a shoe mounted flash. Here's a picture of the Canon 5 80 Flash again. This is a good, high powered flash. They have a number of, AH 500 Siri's flashes, most of discontinued at this point. There's also the 600 series flash. There's also going to be some off name brand flashes that you can put on it as well. I really recommend having ah, flash. It's a great accessory to have shooting indoors. You can use it again toe brighten things up a little bit. Using the flash itself is a bit of ah, art. In its own sense. It's also very useful for shooting outdoors, as it will allow you to equalized the exposure between the backlit of your subject and then your subject in the shade. Because again, who wants to have their photo taken out in bright sunlight? So typically, good technique is to have your subject with their back to the sun and Now you get some nice even lighting. But a lot of times the contrast between the back let's subject and the subject itself. You're having to choose, which is going to be properly exposed, the side of your subject facing the camera or the background of the subject. So by using the flash, you can bring the exposure of your subject up a bit. Equalized those to get a very nice, pleasant looking effect. So again I recommend a flash for your camera. It's a nice add on accessory to have in your bag. 22. Info Button: alright in this lecture, we're going to talk about the info button again. The info button is gonna be located on the back of your camera. So right up there next to the menu button, go ahead and press that the menu buttons gonna are few. A couple of different things is gonna after you. The camera set up information. So how is the camera currently set up? A second push of it is going to bring up the electronic level if you have enabled, that will show you that little later on in the lecture as well as it's going to bring up some of the camera functions. So if you're in the playback mode, you are going to get some information about the image, the eyes, so that it was said a copy of the history Graham as well as a second push is gonna bring up the RGB hissed a gram as well is going to tell you what image is on that and then another press is gonna bring you back to the full image. Now, when you're not in the playback mode and you press the info button, it's gonna come up and give you quite a bit of information about how the camera is set up. It's gonna tell you whether or not custom one custom to our program what color space you have. White balance shift if any current color temperature setting, long exposure, noise reduction, whether that's on her off the high I s O speed, noise reduction. And then also how much free space or images of remain A second press is again going to bring up the level. This is a really handy item. If you've got the camera on a tripod and you wanted to make sure that your camera is level another press now is gonna bring up and show you all of the settings of the camera itself. What motor in your f? Stop your shutter speed. Your I s o a lot of the same information that you would see in the quick menu screen. But in this case, this is informational on Lee. This is just showing you how it sets. So if you just pick up the camera, you get ready to shoot. You may want to give this a couple of quick presses. Look at thes screens, get a good overview of how things were set up. Now you can enable or disable these three screens so we're going into the menu selecting inflow button display options. You can turn on or off whether display camera settings is on or off Elektronik level and then also display shooting functions. Just remember to if you make any changes, select okay, or you can cancel any changes that you want and so that, again is where that menu is located. 23. White Balance: alright in this lecture, we're going to be discussing white balance. Why balance is the process of removing unrealistic color cast from your photos set? Another way, White balance is telling the camera what color? The light that is falling on the subject is. And if the camera knows that than white would be represented as white, it won't have a color shift. It will be paint green blue, etcetera. The color of the light is measured in Calvin. It's measured in a scale of Calvin, and just know that sun at noon is around 5400. Calvin. The lower the numbers, the warmer the color casts of the more it goes towards red higher numbers. The cooler it is, the more it goes towards blue by setting the proper white balance in camera than colors will be accurate, recorded as they actually appear. When you're shooting in raw, you can adjust the white balance in post. This is really important white balance congee adjusted in post when you're using raw. If you're using J. Paige than the white balance is even more critical because the J peg is actually a processed image. Typically, I've found that using the a W B or the auto white balance setting will be pretty accurate most of the time when you're shooting. Having the proper white balance will make your images appear more realistic on the cameras LCD when previewing them in the field. So even if you are shooting raw, it's a good idea. Have an accurate white balance. So you're getting an accurate representation of what the image is gonna look like If you find yourself in difficulty lighting situations, try using a neutral, great card in the screen for the first few shots so you can adjust your white balance quickly imposed so again going into the menus, you can go ahead and select you white balance. You've got a number to choose from auto white balance, sunny, shady, cloudy, incandescent flash. And then there's also custom white balance and then where you can actually set the Calvin itself. So again, 80% of the time, you probably find that auto white balance will work for you. But if you're indoors, you're looking at your images, and you're getting a really funky looking cast. You can go through and set the white balance again. If you're shooting and raw setting the white balance is only going to change how the image will look on the LCD because again, in raw, you can go through and set that white balance during the post production of the images. So again, I always highly recommend that, if at all possible, you shoot and raw, and this is just one of the many reasons why I make that recommendation. 24. 6D Memory Cards: in this lecture and going to be discussing memory cards for your can in 60. The 60 supports SD HD and SD XY cards. I highly recommend that you use a Class 10 or better, and this is ah rating or a speed rating of the card itself. And that's also going to be very helpful if you're shooting video videos of very data intensive format to shoot in. And if you're not using a Class 10 or better card, camera won't be able to write to the card fast enough to keep up with the rate that the data is being written from the sensor. The price of memory cards has really come down quite a bit to the point where it's always a good idea, I think, to have a few cards in the bag. One of my recommendations for people is to have a small car just tucked away in your camera bag somewhere on aid or a 16 gig card, and really just leave it there for emergency or spare purposes so that if you do get out and realize that you've forgotten to bring a fresh card with you, if you have a problem with the card that you're shooting with or something. Then you've got a card that you can go ahead and put in and you're not going to be hung up from shooting. It's also one of the reasons why I recommend that in your menus. You set it up so that you can't shoot without a card, because the last thing you want to do is be out shooting away, thinking that you have a card in your camera and then later thing out that you don't. The Canon 60 also supports the if I cards, So this is an SD format card that allows you to use it as a regular memory card, but it also has wireless capabilities built into it. If for some reason you've already got the I fight card or you just felt more comfortable with setting up the I fight card rather than using the built in WiFi, then you do have that option available to you. I would recommend, you know, having a couple of SD cards in your bag so that again you don't run out 25. Recommended Settings: all right in this lecture, I'm going to go over my recommended settings for your camera. First off, one of the ones cause it's caught me before is released. Shutter without card. You don't want to turn that off. Otherwise, you can pick up the camera, not have a memory card in it, start firing away and never even know that you're not according any actual images for May. I also like to go through and disabled the beep. What I'm shooting. I just I don't need the camera to constantly be been making noise, telling me that it's auto focused things like that. Also again, when I'm shooting, I'm having the camera up to my face quite a bit, and I'm turning the image review off so that even if I am pausing in between shots, I'm not having that LCD lighting up and kind of going into my eye. When I'm trying to shoot, I shoot typically with my white balance on auto white balance course. I'm also shooting, typically on raw, so it has very little effect other than how the image will look on the LCD for me. I use the color space being adobe RGB It gives me the maximum size color space and gives me more options in postproduction again because I shoot typically and raw. I just have the picture style set to standard. I don't need it to be adjusting or tweaking the images. Here's one that has worked well for May auto. Rotate on CPU. What this is doing is that when I taken image that is in the portrait orientation, it does not rotate the image on the camera. So when it comes up on the LCD, the image is still gonna use up the entire LCD. Of course, to play it back, I've got to rotate the camera, but it allows me to maximize the real estate that I have on the LCD. But on the other hand, when I imported and do my post processing, then it will show up is being a rotated portrait image. When I pull it into, say, light room photo shop something like that with the info button. I've got all three options selected. I want to be able to display the camera settings, the Elektronik level, and then also display the shooting functions for my exposure level increments. I choose a 1/3 stop increments, so I can set my aperture and shutter speeds in 1/3 stops. But for me personally, I've always left the I s o setting increments at one stop and then the exposure safety shift. I have to shutter speed aperture. And that just basically says that if I'm trying to take an image at too wide oven aperture and it needs to adjust the aperture in order to get the image a good, for instance, is if I'm outside, it's, ah, extremely bright day. And let's just say I happen to have the cameras set on I s 0 400 I'm shooting at F 2.8 and can't take it proper image even out of 4/1000 of a second, which is the maximum speed of the 60 than it will adjust my aperture up intel it can get the proper exposure, is also going to have a flashing off the shutter speed in the camera and on top of the LCD kind of is a warning. What happens is as I end up with an image, maybe not said exactly the way that I want. But I am ending up with a properly exposed image. And if I'm paying attention in the viewfinder or to the top of the camera, I'll see that blinking and realize help. Wait a minute. I've set my camera to a higher I so than what I really had intended. It's also a good reason why when you pick up the camera to go ahead and click through the screens on the info and it's gonna tell you quite a bit of information there the I s so that the cameras currently sat at and a number of things you can make sure that the camera is indeed set the way you want it to be for the situation that you're shooting in. 26. Metering and Drive Modes: in this lecture, I'm going to be discussing exposure, metering and setting the different modes as well as the different drive modes of the cannon 60. With the exposure metering, there's four modes that you can select to do you meet a ring with you can use an evaluative partial spot metering or center weighted average metering. You can set thes from the top of the viewfinder or going into the Q menu and selecting one of the metering mode sections, and you can again choose from any of the different metering modes in evaluative metering. The exposure is based on the selected auto Focus point and all of the areas surrounding that focus point so you can select any of the focus points, and then the camera's going to base the majority of the exposure on that particular focus point and then less so on the areas around it. So evaluative a good overall exposure method to use both of one that's used the most commonly spot. If you're going to be in a situation where the exposure needs to be on a very small portion of the frame itself than use the spot and it's really going to just take about 3% of the frame itself and based the exposure on that. So very good if you have a very contrast E seeing and you only want to do the exposure off of a very small or very narrow area, Partial is very similar to spot. But instead of having a very small 3% of the frame being used to evaluate the exposure, it's actually going out a little bit further out from that spot and using about 10% of the frame to gather the data for setting the exposure for the photo or the image that's getting ready to be taken again allows you to be very selective. Just not quite. A selective is the spot and then center weighted average of uses again the entire frame with an emphasis on the center of the frame. So it differs from a value of where you can move the exposure spot around with center weighted. It's always going to use that center focus point and then in varying degrees out from that adjust or average the exposure based on what seen in the middle of the frame. Next is a real quick overview of the drive modes. You can set this on the top of the LCD or using the Q. We could go a single frame, continuous single, silent, continuous silent or using the remote or having an automatic in camera 12th countdown or in camera to second countdown or using the remote again, depending on what you're doing. A lot of times I end up using primarily single or sometimes we'll use the continuous. If I'm doing something that has some action, one of the ones that I do use quite a bit if I've got the camera on a tripod and I don't have my cable released with me is I will use the two seconds in that way I can trip the shutter, go ahead and have the camera kind of settle down a little bit. So it's not gonna be affected by the vibration of setting off the shutter, and then it will go ahead and take the picture. The 12th 1 is also good. If you want to get yourself into the frame as well again, camera on a tripod, flip the shutter and then it gives you that 10 seconds to go ahead and get in front of the camera. 27. Shooting video overview: in this lecture, I'm going to go over shooting video with your DSLR gonna be brief overview of doing that. But again, it's just a simple is a quick flip of the switch on the back of the DSLR. You'll see the switch here to switch between shooting. Still images and video. Just flipped that and you're ready to go hit the start Stop button. So with video versus still for best results, you won't want to shoot at about two times the frame rate that you're shooting the video at . So if you shooting at 24 frames per second for more of a cinematic feel, you want to try and shoot with a proper exposure. Had 1/50 of a second. If you're shooting 30 frames per second that its 60th of a second, I recommend to use the mic for reference audio only. Otherwise, if you're only going to be using that for your audio and audio is important, look at using one of the STM lenses. Also, either in the lens is really gonna help you, especially if you're hand holding the camera well, doing the video. So a quick walk through of kind of the screen itself is gonna look like when you're shooting your video straight away along the edge there, we're going to see that it's going to tell us the resolution that we're shooting in. And then also, you can click on any of these using your cuchi, and then you can select type of auto focus. Whether using the flexible lot of focus, the face again will hit these a little bit more than menu section. And then also, if you're going to be shooting still frames you can select between. Are you going to capture a raw or wrong a large J peg? And then also, here's all of your selection or the video format, so the size and then the frame rate, as well as the type of video that's being captured. We're also going to be able to go through and again set your image quality so that if you do shoot, it's still well you're shooting. You have different selections for that again, as well as the auto focus and the frame rate for the distill shooting White balance could be very important. It's gonna be difficult to adjust your white balance after the fact in video So you want to try and get it as close as possible to the lighting that you're actually using while you're shooting the video. And again, you're also gonna have some variability with the picture style, and then also, you're gonna have some selections in there for automatically adjusting the focus point. So again here is kind of moving the focus point around on the screen, and you're gonna want to pick that subject than what you're going to be focusing on so that when you are shooting and then you do need to go in and use the quick focus or the flexi focus is going to know where your focus point is, it's going to gather focus off of that particular location. And again, you can also zoom in and really get some good fine degree of focusing by zooming in and using it almost as if he were doing live view, which in essence, is what you really are doing with the video mode. So again, this is just a real high level overview. I suggest you experiment around with a little bit 28. Histogram: all right in this lecture, we're going to be going over the history. Graham The History Graham is a graphical representation of the distribution of pixels from shadows toe highlights. So it's basically just a graph and every line in their represents. How many pixels in the image are in that color space? So at the far left is the black representations in the far right is the white. And so I always think of the history Graham is being from black toe white from shadows toe highlights. First off, what you have to realize is that there is no perfect history grain. You're not looking for some specific shape. And then also in the menus, there's two things that you can select. What the default history Graham is going to represent is at all tones, or is it based on the RGB values? I find that using the all tones is the best way to go ahead and look at your history, Graham. And as we move on the latter portion of this lecture, I'm going to show you some different images in the history grams that would be associated with them again. If you're looking at your history Graham, and it's severely shifted all the way to one side or the other. And the image doesn't have a predominance of highlights or predominance of shadows. Then that's going to be a good indication that you're either over or under exposed. So one of the 1st 6 that you don't want to do is go ahead and bring up your image on the back of your strain hitting inflow and then inflow again, and it will bring up a couple of the distant history. Graham. One of the things you can do to is you can turn on your highlight alert, so going into your menus enable that. And now when you go back to your image and look at it, every place that the whites are at 255 rather words air blown out is going to blink. While in this case we were taking a shot and the sun behind some clouds was in it. So, of course I would expect that to be entirely blown out and to be blinking here's kind of the opposite. It's a a nighttime shot. You can see some streaks of some comments and stuff in there and Of course, with this image, I would expect my history Graham to be all the way over to the left hand side, because again, there's so much black and then there's very little white again. Here's another image where I've got a good mix of tones in here, But again, I'm shooting toward the sun, and so I'm gonna have quite a bit of information that is blowing out and go ahead and turned the highlight alert off again and again. We can see the image looks lying. So let's go ahead and take a look at the history Graham on that and again. Now here you can see as you would expect, that the tones air off to the one side with the highlights. But you also notice there's a little bit off room there on the other side, so I could have actually buys a little bit more in that direction with this next shot and you'll notice here and some lilies, it all looks pretty good, But now, when you look at it with the RGB history Graham, you'll notice. Between these two shots, I adjusted the exposure just a little bit, and all of a sudden I'm not clipping that blue. So now start looking. Not just that, the black and white history, Graham, but looking at the are G and B values. And make sure that you don't have your read your green or you're blue clipping Aziz. That can also cause a little bit of a distortion in the image and still give you an acceptable looking history, Graham. 29. Image Playback: alright in this lecture working, Be discussing image playback in order to view your images, used the playback button located on the back of the camera. So give the playback button a quick press. It will go ahead and bring a pure play back, and then you use the quick control dial to move through the images. Also, you can use your main dial to jump through the images again. Go to settings menu and you can see where you can select if it's gonna jump through. Image is one of the time tenet of time or 100 time and again by default. I will typically leave that set at jumping through at 10 to time. So in this case, we've hit the playback at the info button. It's gone ahead and it's bringing up our different history. Grams hit the info button again. This is our normal playback mode. You can hit the trash button and decide if you want to individually delete or erase the image. You can also hit the magnifier glass button on the back of the camera and zoom in using the quick controlled island. You'll notice with the icon that comes up with the playback, and you can also use your Maine dial rather to zoom in and then the quick control dial to move that box of that zoomed in portion of the image around inside the playback, and you can continue to zoom out and it's gonna zoom out to the full image. Or we'll zoom into a four by four or a three by three grid of the images. And then again using the quick controlled I'll you can navigate between those and then using the set, you can actually select the image. 30. Course Wrap Up: All right. So we've reached the end of the course here. The course wrap up section. A couple of things that's led to hit real quickly. Don't be afraid to experiment. You know, Go out and have fun. Try some different things with the camera. Try some of these different menu settings. You know, check out some of the fun stuff that you can do with your camera and again realize that all your really doing is you're burning up a little bit of battery power when you're doing this and writing your files to a memory card. So if those sideways doesn't work out, all you got to do is recharge the battery, erase the card and you're right back to where you started. I also recommend that when you're jumping into this and if you're having some challenges in some different areas, really, just try working on one thing. You know, whether it's OK, I want to get better composition. I want, you know, better focus lighting. What have you so really work on one thing consistently until that starts jelling and coming together for you and then add something to it, So don't try and take it on all at once. You know, when you're out there shooting Definitely have fun. I mean, you know, this should be enjoyable. Really, you know, enjoy going out, taking pictures, creating our whatever it is that you're working on. And also, I just want to say a really big thank you. Thank you so much for taking this course. I hope it's been helpful for you. I would love to hear some of your feedback directly in the forms, etcetera. And if there's something that I can help you with, you know, please feel free to contact me. If you've got a question about the cam or something, it's not covered in one of the lectures, because if it's something that I missed in one of the lectures than probably somebody else is looking for that piece of information, and I can go through in update the lectures accordingly. So again, thank you so much. And I look forward to hearing from you 31. Exposure Modes: in this lecture, we're going to be discussing the exposure modes of the cannon 60. So on the top left of the camera, you're going to see the mode. I'll push that button, rotated around to the mode that you want to select. First off, we've got B for bulb bulb is really a way of having the camera shutter stay open longer than the 30 seconds that you condone violin through the camera itself. See using like a shutter release that is ableto allegedly locked down the shutter itself. Locket Open manual is where you'll be setting the aperture and the shutter. Speed yourself, regardless of what the camera exposure meter is seeing. Aperture value is where you'll set the aperture value that you want to take the image with . And then the camera will set the corresponding shutter speed to go along with that. The TV or the time value mode is really the opposite of the A V modal. You're setting the shutter speed that you want the camera to shoot at, and then the camera will set the aperture value accordingly to get the proper exposure. This is great, like when you're doing sports photography or there's gonna be motion in the image, and you want to make sure that you don't end up with a blurry image. The next mode is the P or the program mode. The camera's going to set both the aperture and the shutter speed for you, but it's gonna use some intelligence that's gonna look at the scene and try and decide exactly what's going on and what would be the best to bias the exposure accordingly. This is a good mode to put it into, if you're going to and the camera off to somebody else or the A for auto mode that we'll see here in the next section. Either of those are pretty good with the P mode. Also, you're going to be able to use the control dial to bias the exposure or to adjust the exposure so fear seeing in the window as you're looking through the viewfinder that you want a little bit more depth of field or a little bit more shutter speed, you can adjust that accordingly. I personally don't use the program mode a lot myself is that is the program mode, but I'll find a lot of times if I'm handing the camera to somebody else is I will set it in the A or the automotive because this really at that point takes over for you makes a lot of the different decisions. It will change the I s o as needed. Ah, lot of things that I normally wouldn't do. But again, if we want to hand the camera to somebody, make sure they're going to get a good exposure the A or the auto mode is great for that. The next one is the creative auto mode gives you a little bit more control over that. You're telling the camera a little bit. More information will go into that a little bit later. In this lecture, the next is the scene mode. It's some programmed or pre programmed modes that are built into the camera that allow you to again select a little bit more information, have the camera, adjust the settings accordingly, and then the next two moves really are custom modes where you go through and say, OK, all of these settings for the camera I want to send save them into one kind, like a preset if you will, and so now you can just change the mode, dial to number one or number two And then all of those presets, be it I s o shutter speed aperture priority. Accept all that different information can be turned on or turned off just by selecting from one mode to the next. So really makes the camera extremely customizable to exactly what it is that you want to do with the camera. Oh, how are you? Want it set up and save you the time each time you want to do that of having to go into the menus and make all of those adjustments or settings. So if you're in the field and you need a good refresher on exactly what each one of these modes are, you can actually hit the cuchi. And assuming that you have the descriptive detail turned on in the menus, then you're going to get a short, brief introduction or overview of each one off the different modes and why you would use them on the camera. So again, just ah, brief description, biting the cuchi and bringing that up and you can step through each one of the modes. So next, moving on a little bit more detail on the creative auto menu setting. So as soon as you bring that up and if you hit the cuchi again, it's gonna bring up the menu setting, and you can step through and create a little bit or select the ambience that you're looking for. Do you want vivid, soft, warm, intense cool biter, darker monochrome, etcetera or just the standard setting hit? Select to take that selection and then you can go down, and now you can decide. Do you want the subject background to be a little bit more blurry? So you can do that by biasing it to the left or to the right if you want it to be sharper and then in the middle really won't bite that one Where the other next you can also select In this mode, do you want to do single shots? Do you want to continue a shooting? Do you want to do the silent single shooting where it's going to as you take a photo, do it in such a way that there's not quite as much noise when you take it. You can also hit the set button on this step through each one of the drive modes again. The continuous shooting, the single silent, continuous silent. You've also got the option of using the remote control or the built in self timer so you can have a 12th self time from the time you hit the shutter release. Or you can also select the two seconds self time, which is nice. If you're using it on the tripod or something, you can just hit the shutter button and then two seconds later, the camera will take the image. So again, row high level overview of the creative auto setting just gives you a little mawr control over what's happening, but still does a lot of the guesswork and work for you. All right, so now in the scene note on the mode, I'll you're gonna have some of the same selections for each one of the modes. You can be able to go through and select the picture style. You're gonna be able to select what speed you want. The shots to be taken at some of the selections will be auto defaulted for you. So in the portrait number of settings again, that's going to select by default something that's gonna give you a little bit more of a background blur landscape kind of going to go in the other direction is going to use a shorter shutter speed, but a much smaller aperture form or depth of field for the close up of the macro mode. It is also going to select a by default shorter shutter speed but more depth of field that the sports mode is automatically going to select the continuous shooting mode and is going to buy us it more towards higher shutter speeds. Night portrait is going to again bias ITM or towards a shorter shutter speed. But it's also going to turn on the flash as opposed to the handheld night scene, again to try and select a shorter, faster shutter speed. But one that's gonna lie to bring in the ambient but still hand hold it. Additionally, you also got like the HDR back control, and then again, you can hit the Cuba and is gonna allow you to step through these different scenes and select them. And then, as you select him, it's going to take you back to that menu where you can adjust the settings for each one of those different scene modes. So again, take some of the guesswork out of it, as opposed to being in the Emanuel or the TV or a V mode on. And then this is how you would select those different settings. And then as you go into each one, you're going to be able to choose or set some of the different settings within that mode already moving on to the exposure modes that I recommend as you become a lot more familiar with your camera, I really recommend that you try and move towards using these four modes exclusively. The other modes air Great. They have their their place, their feature, their function. Early on, they're gonna help you get better results. But I think once you become a lot more comfortable with the different modes, with the different settings of the camera being able to kind of develop that photographers , I you will real. I'm or, I think, on your modes for your camera, for day to day use manual whatever you need to take full control off the shutter speed and the aperture. If you're in a situation where the camera is constantly kind of jumping around because the type of scene is changing, but yet your light isn't changing. I find that the manual exposure is really good for that. A lot of times, what I'll do is dial in my exposure, said it in both with the aperture in the shutter speed in manual, and then know that while I'm shooting as long as the light doesn't change, I don't need to change my exposure. And I'm going to get a good, consistent exposure. The A V mode. I use that quite a bit when I want to have control over the depth of field. Either I want a lower depth of field or I want more depth of field and then just have the camera automatically set the appropriate shutter speed to give me a correct exposure at that aperture, the TV or the time value mode Really something on the other end of the spectrum. I'm shooting something that has motion, and I either want to capture it with clay but a blur. Or maybe I want it to be captured without blur, say sports indoors or outdoors. I'm picking a higher shutter speed, and then the camera will set an aperture accordingly in order to give me a correct exposure based on that shutter speed and then last the full auto mode or the green mode. A lot of times I like to refer to it. This is a great mood, really, for two different situations. Well, or maybe three. If you're just picking up the camera, you want toe quickly, grab a shot. You don't want to worry about where the settings are, making sure that you're getting a proper exposure put into the A mode and right away you're gonna 80 90% of the time beginning good shots if you're taking your camera and handing it to somebody else who maybe it's not used to shooting with a DSLR or shooting with your camera, they're going to be able to get good results with your camera. Another place that I really like to use the A mode is if I'm working with really young photographers that don't necessarily understand all of the settings of the camera, and I just want them to again be able to pick up the camera and be ableto have success and get good images and encourage them along their way on using the camera, putting it in the green mode of the A mode. For all three of these situations, you're gonna typically consistently get pretty good results. 32. Focus Modes: all right in this lecture focus mode, so row quickly with the canon camera. There are three different focus modes. There's one shot, single shot, camera locks, focus and sets. The exposure pretty straightforward, assumes you hit the focus button or the shutter button. The camera is going to go ahead and lock in the focus and then set the exposure. And once you depress the button the rest of the way, it will actually go ahead and take the shot. So if when you're in the one shot mood and then if suddenly something happens, the lighting changes something of that nature than it is not going to change the exposure. And if somebody moves closer, you move clear. They moved farther away. It's also not going to refocus the camera ai focus ISS where the camera is gonna lock the focus. But if the subject moves, it will focus again. So again, this is all going to be based on where your focus point is. And again, if you've got focus points turned on, you're going to see that red square in the viewfinder designating exactly what focus point the camera is using or focus points. Ai serval very similar to A I focus, except in this case, based on the selected focus point, the camera will set, focus and track the subject. So this is useful if somebody's running, walking, moving further away from the camera, closer to the camera or from left to right or right to left again. Using that focus point say, for instance, that you're tracking a runner running from first base to second base or something like that . If you hold your focus on the camera, are on the subject rather with the focus point and then have your shutter button down. Then, as the camera takes a photo, it will focus based on where it thinks the subject is going to be next. I know it sounds a lot mawr high tech and Saifi that it really is. But where you gonna find this? Is that about 80 to 90% of the time with the ai servo, you're going to get great results for subjects that are moving quite quickly in the viewfinder couple of different ways that you can set up the auto focus on the camera? Probably the quickest and easiest is right on the top right hand side of the camera hit the auto focus button. And in the window there you're going to see which of the three modes that you have selected the one shot again. This is pretty good. Easy to use. Quick, Teoh, gain focus. If your subjects are gonna be moving around a lot, then go ahead and use that. If you feel like that, your subjects are going to be moving around. Ah, fair amount. Then you may want to go through. And is the AI focus If you were shooting sports or sporting event, baseball track and field football, You know, some event like that where you're gonna have a lot of subject movement, that I really recommend the ai servo and you basically just put your focus point on the subject, Hold down the shutter button Ah, halfway. And then it will continue to focus using that selected focus point. And then when you go to dead a shot, it will predict where the subjects going to give B and go ahead and set the focus for their . It will also do the same thing if you've got your drive speed set to continuous so that every time the camera goes off, it will predict the next place where that subject is going to be again by tracking it. Using that auto focus point takes a little bit of practice. This is something that you know if you think you're going to be using for sports or something like that, go out and shoot maybe like a practice session or something like that. Or another team you know before the big day, when you want to make sure that your shots were turning out. Great practice. This is a bit. Get back into the studio or when you get back home, go ahead and upload them to your computer and look at the results you're getting. You also get along with this. Need a little bit of practice with setting your auto focus points in the field. They may want toe develop a little bit of a technique for being able to do that without having to take the camera away from your eye again. Like a lot of things with photography, practice makes perfect, but these focus modes are very powerful and really do give you the flexibility and have you use your camera and start getting the results that you're looking for