A Beginner’s Fast Track to Great Photos

1. Introduction: Hi, I'm Frank Min Geer, and here at the perfect Photocopany, I have taught thousands of people how to use the camera. Now in this class, you'll quickly learn how to master your camera's many setons. So consider this your fast track to great photography, and you'll quickly learn how to select the best settings to capture great photographs every time. Now, I make learn how to get the best M camera really simple with easy to follow explanations and fabulous examples. And you can watch me capture photographs in real time, where I'll explain all about each setting used in each photograph. Once you know how to control exposure, you really will be flying. And a quick heads up exposure is controlled by just three elements, aperture size, shutter speed, and ISO. So just three things to adjust. And, of course, our cameras have semiautomatic modes which allow us to be super creative by adjusting just one of those elements while the camera adjusts the other two. How cool is that? So join me as I help you to release your inner creativity and become a confident photographer. And I look forward to you joining me in module number one. 2. Module 1 The 3 Exposure Elements: Photography is all about exposure, but what is exposure? Well, a camera is basically a black box that has a sensor inside that we expose to light when we take a photograph. Now, before digital, of course, this would have been a light sensitive roll of film. Now, to capture the perfect photograph, we simply need to control the light entering the camera. So in this module, we'll take a look at the three elements that we use to determine the exposure, and they would be aperture size, shutter speed, and ISO. Understand these three elements and you're on your way to mastering photography. So essentially, you are just three steps away from perfect photographs. Now, is it that simple? Well, I think it is. So let's take a look at where those three elements are inside your camera. So I'm going to use this animation of a typical mirrorless camera to show you whereabouts the three exposure elements are inside the camera. First of all, then the light will pass into the camera through the lens on the front. Now, essentially, a lens is just a hollow tube, but we have the ability to make the internal diameter of this lens or this hollow tube bigger or smaller. And of course, that is going to affect the exposure. It's going to affect the amount of light that enters into the camera. So let's have a look at how that works, then. As you can see, we can affect the internal diameter by closing down the aperture blades clearly, if you make the aperture size inside this lens smaller, less light will enter the camera, and the bigger that size, more light will enter the camera. Now, aperture is just a fancy word for hole. So you can make the hole inside this lens bigger or smaller. Now, of course, that affects the exposure, like you say. But also, its creative use is to determine how much of your photograph is in focus. And this is really great when we start to get creative with the camera, but more on aperture size later. All you need to know at the moment is that aperture size is one of the elements that we use to determine exposure. Let's take a look then at the other two. So the light continues through the aperture and it reaches the sensor. And we can make the sensor more or less sensitive to light. So how that works is if we're in a dark environment, we can make that sensor more sensitive to light because there's less light around, or if we're in a bright environment, we don't need the sensor to be so sensitive because there's a lot of light around. Now, it's not very creative ISO, but it is one of the three elements that we use to determine exposure. We tend to think of ISO as the method of last resort. But more on that later, but just a little heads up, we try and keep the ISO number as low as possible. Now, it is there to be used, and if we have to lift the number up higher, then that's what we have to do. Why do we try and keep the number low? Well, as that number increases and the sensor becomes more sensitive, there is a chance that we'll introduce digital noise, and it's just what happens, basically. Now, cameras have got better over the years, and that digital noise, you know, is not as bad as what it used to be. So don't be frightened of it. If we do need to lift that number higher, then that's okay. So let's take a look then at the third element inside the camera that helps us determine exposure. And that would be the shutter speed. So we have a set of shutters that live over the sensor, and when we take a photograph, they open and close. So we can set the shutter speed to stay open for a long time, or it can be incredibly quick, and it just depends what we're trying to achieve. Now, clearly, if the shutter stays open for a long time, then more light is reaching the sensor. And obviously, the other way around, if it's really quick, then less light will reach the sensor. But it's a lot more clever than that because shutter speed allows us to control time. We can freeze motion or we capture motion. We can freeze time. It's really clever, depending on what shutter speed we use. But essentially, what you need to know at the moment is, it helps us to determine exposure. It's one of those three elements. Now in the future module, we'll look at shutter speed and all the amazing things we can do with it. So they are the three elements inside your camera and where they live. Let's just take a look though at a DSLR camera. Just in case you haven't got a mirrors and you've got DSR, it's pretty much exactly the same. Let's take a look. So a typical DSLR camera is exactly the same with the same three elements. The only difference is, it has a mirror which flips out the way when you take a photograph and a modern mirrorless camera, of course, doesn't have a mirror. Now, other than that, they are exactly the same. Now let's take a look at the relationship then between the three elements and how they work together. And to do that, we'll take a look at the exposure triangle. So let's pop on the three elements onto the triangle. We have aperture size, ISO and shutter speed. And all the triangle proves is that if we make a change to any of those elements, then one or the other, or both of the other two elements need to change. So if I was to change the size of the aperture, then the shutter speed would need to change or the ISO or both. And the same thing with the shutter speed, if I change the shutter speed, then the aperture size or the ISO or both would need to change just to maintain that balance. So it's a little balancing game that you play, and you'll see, as we go through all the various modules, you'll see how I balance those three elements to get the perfect exposure. Now let's take a look at this animation then. So I'm going to pop on the aperture size and then the shutter speed, and then the Io. And then down the bottom, I'll pop on an exposure meter. Now, your camera has an exposure meter, but more on that later. Now, the exposure meter will show us if you are underexposed or overexposed, too dark or too light. And as I say, your camera has an exposure meter in the manual mode, and we're going to take a look at that a little bit later. Let's choose a nice, low ISO value of 100. I now know that that exposure is perfect. How do I know that? Because I will look at the exposure meter, and the little pointer is on zero. And that's what you're kind of aiming for. When you're shooting manual, you're looking at that exposure meter, and you want to see the little pointer, however it's indicated on your camera because they are a bit different. But basically, you're looking for a zero, which will sort of confirm that you've got the perfect exposure. Let's make some changes then to the aperture size, and let's make the aperture size smaller. Now, if I do that and then look at the exposure meter, it will indicate that I am now underexposed, and that makes sense, doesn't it, because I am letting less light in through the aperture size. I've selected a really small hole, if you like, in the lens, so less light is now entering the camera. So I'd need to make some changes. So if I slowed the shutter speed down, it would actually balance the exposure because I'm now letting more light in by keeping the shutter open longer. Now, looking at the shutter speed that has been selected, I might decide that that's a little bit too slow. I haven't got a tripod, for instance, and the shutter is telling me it will be open for a full second, which is too long really without a tripod. So, let's make some adjustments, then. Let's put it somewhere reasonable, 125th of a second. And of course, I will be underexposed again because I've made that change. So all I would need to do is lift up the ISO and it would return that balance to zero. So you can see, it's a little balancing game of the three elements when you're in manual. Let's make a change then to the aperture size and just watch that little animation again. So let's make the aperture size bigger. Now, clearly now I'm letting more light in, and if I didn't change the other two settings, then obviously I'm now going to be overexposed. So the first thing I could do then to get the exposure back to zero is drop the eyes out. And let's see where that takes me. It's still a little bit overexposed, so I'd simply increase the shutter speed. And lo and behold, we would get the perfect exposure again. So as you can see, in the manual mode, it is a little dance that we do with balancing those three elements, and we use the exposure meter to ensure that we've got the perfect exposure. Now, let me show you on some typical cameras, a little selection of cameras what an exposure meter looks like when you are in the manual mode. So in this particular Fuji camera, it's on the left hand side. This is a typical cannon camera, and it's along the bottom, and this is a umax camera, and it's along the bottom, as well. It might look slightly different this one, because it isn't a gauge. It's just a set of numbers, but trust me, it's exactly the same. So let me show you how the exposure meter works then on three different cameras, just so you get an idea of how it works. And you'll see how simple it is. In this first one, then we have got a Fuji camera, and the exposure meter is on the left hand side, and you can see that I'm adjusting the shutter speed and the aperture size and the eo. All I'm watching all the time is to ensure that the exposure meter finishes on zero. And the same thing on this cannon camera, simply adjusting the shutter speed and the aperture size and the ISO and jumping between those three until I've got the exposure meter on zero. And as importantly, I've got the settings that I want dialed in. Then lastly, on this Lumax camera and the same thing. In this case, we don't have a gauge, but we have the numbers, so it's exactly the same. It just looks a little bit different. So that is how we balance the three elements in manual mode using the exposure meter. Now, when you are not in manual and you're in the semi automatic modes, you will not have access to an exposure meter because you don't need one because the camera is going to be helping you out, which brings me to the end of this module, and in the next one, we're going to look at those various camera modes that we can select. I'll see you in the next module. 3. Module 2 Camera Mode Choice: In this module, we'll take a look at the mode wheel which sit on top of your camera just here. Now, of course, we use the mode wheel to jump between different modes and hopefully out of the automatic mode. Although the automatic mode is very clever, but in the automde, it's simply the camera that's doing all the work and making all those decisions. And that isn't very exciting, is it. So it's so much more fun when we have an input into making those decisions. So let's take a look at those import and camera modes, the modes where we can adjust the three exposure elements. Let's take a look at some typical mode wheels. So here we have a Sony wheel, a cannon wheel, and a Nikon wheel. The mode where you can make a creative input are the PAS and M modes, and that's what we're going to take a look at. So they are the modes where you can jump in and make changes to any of those three exposure elements. So what do those acronyms stand for? Well, obviously, the letter M stands for manual. Now, in the manual mode, you control all three elements, but you will have the option on some cameras or most cameras to switch the ICE out to automatic if you feel you need the need to. But I think if you're in full manual, it's nice to be in total control of all three elements, but it's entirely up to you. The next mode then is A or AV, which is aperture priority. Now, in aperture priority, you only control the size of the aperture. So you just simply control the size of the hole in the lens, and the camera will read the light coming in, use a light meter, and it will select the shutter speed and the eo to give you the perfect exposure. And it's fantastic, isn't it, because that will release your creativity because all you have to really think about is what aperture size to use. Now, the acronyms are slightly different if you have a cannon camera. In that, instead of the letter A for aperture, cannon has AV. Now, it's exactly the same. AV stands for aperture value, so don't worry if you've got a cannon camera like this one, and it actually says AV instead of A. It's exactly the same. The next mode we're going to look at then is S for shutter priority or TV if you have a cannon. Now in shutter priority, you have full control of the shutter speed, and the camera will adjust the aperture size and the IO to south to make sure you get the perfect exposure. Now, remember if you've got a cannon camera, the acronym is TV for time value, but it's exactly the same as S for shutter speed. So they are the three modes that we're going to look at. Now, in an earlier module, we looked at the exposure triangle for manual photography, and I showed you that when you are in manual mode, you are in control of those three elements. It's a lot of fun manual photography, but it does take slightly longer to sort of get your camera set to capture photograph. So let's take a look at an exposure triangle for aperture priority. So in aperture priority, you would simply select the acronym for aperture priority, that would be A or A V, depending if you've got a cannon camera, and you will be in full control of the aperture size. Now, the camera will read how much light is coming into the camera and it will adjust the shutter speed and the eyes out for you. So essentially you just have a creative decision on what size aperture to use. Now, we're going to do a whole section on aperture sizes. So by the end of that module, you will know what size aperture to use. But all you need to know at the moment, that is in aperture priority, you are in control of the aperture size, and the camera will select the other two exposure elements for you. So let's take a look at the exposure triangle for shutter priority. Simply select S for shutter or TV if you have a cannon, and you will be in full control of the shutter speed. And the camera will read how much lights coming into the camera and adjust the aperture size and ISO to give you the perfect exposure. And again, what this does is releases you to be super creative with your shutter speed and sort of confident that the camera will select the correct aperture size and ISO to give you the perfect exposure. So they are the three modes that we're going to look at. So you can see how easy it is when you are in the priority modes, aperture priority or shutter priority in that you only have to make one creative decision. And I think this is fantastic. For instance, you may decide to isolate a subject. Now, we would use aperture size to create that blurry background, and this would separate our subject from the background. It's a lovely effect, and you will see me take photographs by using aperture size later on in this course. But it's a great thing to do. Now, very quickly, you can switch the camera to shut up priority perhaps you've seen some movement. It could be someone on a skateboard, somebody jumping on a trampoline, for instance, anywhere you want to freeze the action. And in both cases, you know that the camera is going to help you get the perfect exposure. All you are going to do is select the correct aperture if you're in aperture priority to achieve that sort of shallow depth of field where the background is blurred. Or shut a priority where you're going to freeze the action, somebody on a trampoline, for instance, and you'll freeze them in the air. And it's simply just a matter of jumping between those two modes, knowing that the camera is going to help you out. It's really, really clever. But don't knock, and I'm not knocking Manual manual's fantastic, as well. But I think with manual photography, you need a little bit longer to set your camera up. Either way you do it is really fantastic. Don't worry about it. Anyway, I see you in the next module. 4. Module 3 Camera Setup: All cameras typically have the same options and settings, though they may look a little different. Now, before I teach a class, I usually adjust the settings on each student's camera ready for them to take photographs. Now, I generally make these changes in the main camera menu or in the camera's quick menu. So let me show you the changes that I make in the main menu, and then I'll show you how most of those important settings can be changed using the camera's quick menu. The first thing I would set is the image quality and the file format for the photographs. You can see that we have two options. We have JPEG and Raw. Now, raw is the format that most professionals will shoot in JPEG, I guess we're all familiar with the JPEG format. Now, if you have absolutely no interest in editing a photograph and you just want it straight from the camera and to be able to use it, then don't choose the raw option because raw photographs need to be edited. They are much bigger file size as well, which we'll see shortly, but they need to be edited. We're a JPEG. We can use it straightaway for social media or whatever we want to do. But as I say, the raw file needs to be edited, and of course, you need the software to edit it, as well. We can see that if we select that large JPEG option, we can take 9,000 or over 9,999 photographs. Now, to me, it makes the most sense to pick the largest JPEG. I can't really see much point in choosing the smaller JPEG sizes. So the JPEG option, it's a compressed photograph. Now, if we look at the raw option, a raw photograph is uncompressed, and it's a much larger file size. So now with the raw option selected, you can see that it has dropped to 3,479. Now the raw files are so much bigger, but that gives you the scope to edit them. They have more dynamic range and more latitude to be pushed and pulled in the editing process. But as I say, if editing isn't your thing, then stay in the JPEG format. And as I say, you can those photographs are usable straightaway. And the other option you have is to shoot in JPEG and raw at the same time. Now, what this does is creates one photograph but two files, so you'll have a JPEG and a raw file. So why would you do that? Well, imagine you went on an exotic holiday and you managed to capture the best photograph you've ever captured in your life, but you only had it as a JPEG. Well, that might be okay because you may never, ever want to edit photographs, like I said. But imagine if you got the editing bug and you want to edit that fantastic photograph that you captured, but you only had it in the JPEG format. So I often say to people, if you're going anywhere exotic, then just switch your sentence to JPEG and raw. You may never, ever, ever venture anywhere near the raw file. But who knows six months, 12 months down the line, you might want to edit the shot. And the thing is a raw file has got so much more latitude and scope to be edited. It's a much bigger file size. Just a little idea for you. You don't have to. I know many, many photographers that just stay in the JPEG format. But raw, honestly, it gives you all that opportunity and scope and fun to edit a photograph. The next option, then I would set is the aspect ratio of the photograph. And you can see that we have a number of different options, three by two, four by three, 16 by nine, and one by one, which is square. Now, I would suggest you leave the aspect ratio is three by two, but by all means, play around with different aspect ratios. You might fancy shooting in square format, for instance, it's entirely up to you, but three by two is the most popular format for photographs. The next option to look at then is how the camera reads the light, and this is the metering mode, and we have a number of different options, valuative partial, spot, center weighted, and all cameras have something pretty similar. The option I would suggest is a valuative and that's what I set my camera to. So my camera will read the light from everywhere. Now, obviously, the other ones are more specific, centuated or spot. So you can read the light from a specific area of the image that you're photographing. But for me, a valuative works. And especially when you're learning photography and you're a beginner, it's ideal. The next option to set then would be the white balance. And as you can see, we've got a number of little icons that indicate different situations that you might find yourself in. And the first one or a white balance. And then you can see sunny, shaded, cloudy, incandescent fluorescent flash. You can set your own or you can dial in your own temperature. Now, I would say, straightaway, the one to choose without a doubt, is As or white balance. Believe it or not, just put it into Auto white balance, and the camera will do a fantastic job. Would I use any of the others, I often set my own custom white balance, but that is when you get to sort of like a professional level, where the colors have to be absolutely perfect. And generally auto white balance gets very close. So auto white balance is the way to go. Now, oddly enough, when you shoot using the raw format, it doesn't actually write or bake in that white balance setting into the photograph. So you can retrospectively change the white balance of a raw photograph when you edit it. The next option then would be picture style. And you can choose from many different options landscape, fine detail, neutral, faithful. Cameras will have their own sort of names for different picture styles. And these picture styles relate to the JPEG format because when you shoot and raw, it doesn't really matter. It doesn't record what picture style you've shot in because it just assumes that you are going to edit that photograph later. So it only relates to JPEG photographs. Generally, I would put it into standard or automatic or neutral or natural or faithful. As I say, all cameras have different names for them. But you can't just stick in the auto setting for the picture style. You can actually go in, as well and edit those picture profiles and change the sharpness, the saturation, the contrast. Sort of if you like, make your own sort of picture style. Would I suggest you do that? Not really. But then again, if you don't want to edit your photographs, maybe it's a good idea to set a picture style that you prefer. It's entirely up to you. So the next option to set then would be the drive mode, and I pop it into single shooting so that just means you're going to take one shot. So set it to single shooting, you're going to point the camera at an object, a person, a landscape, wherever it's going to be, and you're just going to take one shot. That's what single shooting means. Different cameras would probably call a different thing, but that's generally where it is. So I would set that first, but let's just take a look at the other options in the drive mode. So in this particular, we have a high speed, continuous mode, low speed, continuous mode, and then we have our self timers, as well. So the drive mode stays in single shooting unless you want to photograph a moving subject. So any sport and event, anything where there's a lot of fast movement, and you would use continuous burst mode where it takes multiple, multiple shots. The next thing then to look at would be the auto focus. Generally, what you have is the option to continually focus or focus just once. So if you look at this cannon camera, we can see that we have something called one shot. In most cameras, it will just say AFS, auto focus single. For some reason, can and call it one shot. It doesn't mean that you're just taking one shot. It just means that you're going to focus once. The other options then for this cannon camera are Servo. As I say, can and call it Servo. Most other manufacturers will call it continuous focus or AFC. And then this cannon camera has AI focus where the camera will decide between either just that single focus or continuous focus. But if we look at the focus modes in this umax camera, we have auto focus single and auto focus continuous and manual focus. And generally, that's what you would get in a camera. So AFS will just focus once on the subject, or to focus C or auto focus continuous will continually focus, and you will never use manual focus because you will never focus as good or as well as autofocus. Now, as well as selecting autofocus, single or autofocus continuous, we need to tell the camera whereabouts we want the focus point to be so we can move the autofocus area point around. Now, this is really important because you need to put the focus point on the subject that you're about to photograph, and you've got several options. So let's take a look on this particular cannon camera. What options. Now, the typical options because most cameras or all cameras have the option to change the shape of the focus point and more importantly, where it's going to be in your frame that you're photographing. This can and you can see, we've got a spot autofocus, and then moving along, we'll have different options, one point autofocus, which is the one I generally tend to use, and then you can expand that. So it's that one spot, but just several, little bit of an area around that one spot. And then then you can have zones, flexible zones in this particular case, or indeed, the whole of the screen can be in focus, which is pretty cool for a landscape. As I say, all cameras have this option to be able to move the focus point around the screen, and we can pop the focus point on our subject. And we can have a single point. We can have a zone. We can have a flexi zone. We can have the whole of the screen as the focus for a landscape, for instance, and all cameras are going to have this. And it's important because it's part of the fun, isn't it? Because you tell them the camera exactly where you want the focus to be, and you can direct the viewer when they look at your photograph to exactly what you want them to look at. So it's really cool, isn't it? Let's take a look at a few other options then. Another option that your camera might have is the ability to detect a subject. Now, as I say, all cameras are different. But in this particular camera, you can see that we can select people, animals, vehicles, and it comes in really handy. Now, indeed, I am filming myself using my Lumix camera and I have face detection switched on, and I ought to focus, and that is going to lock onto my face no matter where I move. So I think the detect focus is fantastic. If you are shooting nature and your camera may have animal or bid detection, that's great. It's going to lock onto a bed. If automotive stuff is your thing, then you can switch on, you know, the automotive or car detection. It's really cool, and it works really well, as well. So that's going to help you with the autofocus. So one of the other options that I like to set is the minimum shutter speed. So what do I mean by the minimum shutter speed? Well, when you select aperture priority, now remember you're choosing the aperture size and the camera will choose the shutter speed. Now, I can set the camera to a minimum shutter speed. In other words, when the camera selects the shutter speed for me, it doesn't drop below a certain shutter speed, and I like to choose about 1/1, two, five of a second. If you have that on your camera a minimum shutter speed, then my advice would be to set it to 1/125. Now the quick menu gives you access to the settings that you use more than others. So instead of jumping into the main menu and scrolling through pages of different options, they're right under your finger in the quick menu. Now, all cameras have a quick menu. So let me just show you on this camera where it is. And it's just here in the center. Now, if you take a look at another camera, then, so I have a Fuji camera over here, and I'll show you on the back of this camera where the quick menu is, and it's just here. Like I said, all cameras have a quick menu, and in a lot of cases, you can sort of put into that quick menu the settings that you use most so you can actually customize. So let's just take a little look around a couple of screens, and you can see where the sort of settings live and just get a feel for how it looks. So as you can see, we have access to a lot of things we found in the main menu. So we can change our focus points. We can change our single point focus or continuous focus or AI focus. We have our file format. So as you can see, in the quick menu, we have access to most of those important changes we made in the main menu. And this is great because you don't have to go into the main menu and scroll through loads of different pages to make all those changes. They're right under your finger in the quick menu. And of course, you can customize the quick menu in most cases and just have on exactly what you want to be on there so you can kind of customize it to your liking. It's really good. Now let's take a look at a different camera, and I'll just show you the quick menu. This is the Lumix camera, and I'll show you how that looks. So by pressing the quick menu on the Lumix camera, it will pop up at the side. And you can see the same things. We've got the ability to change the focus mode between single and continuous and manual. I can switch on and off the image stabilization. I can select the picture profile. I can select face detection or subject detection. I can see the metering mode. There's so much you can put into the quick menu, and these are specifically ones I've decided to put in there including Wi Fi. So I highly suggest that you jump into your main menu or the quick menu and make some, if not all of the changes that I've shown you in this module. Now, we're getting very close to the point where we'll be starting to take photographs, and it'd be great if you were on the same page and getting the same results, obviously. Okay, I look forward to seeing you in the next module. 5. Module 4 Focusing: Now, nobody wants an out of focus photograph or the point of focus perhaps in the wrong place. Now, being able to tell the camera where we'd like the focus point to be is really important and very easy to do. Now, there are plenty of options to do this. And in this module, we'll have a look at the choices you have, as well as looking at subject detection autofocus, including animals and cars, plus human eye autofocus. So let's take a look. And in this module, I have my friends to help me out. One area focus mode is my default setting, and it is the autofocus mode I use most, and I highly recommend now remember you can easily change the autofocus mode in the quick menu, and most cameras have a dedicated button giving you direct access to all the autofocus mode options. Now, using the touchscreen, I can simply drag the focus point exactly to where I needed to be. If you have a camera without a touchscreen, or you would prefer not to use it, or perhaps you're using the viewfinder instead of the touchscreen, you can always use the keypad on the rear of your camera or the joystick if your camera has one. To capture a photograph of the mannequin or indeed a real human being, I could switch on the eye autofocus. So let's take a little look how that works. So if I was capturing a portrait, I would keep the same one area asofocus mode and simply switch on the human eye face detection. Then I would place the focus point on or near the subject, and the face eye detection would kick in and lock onto the subject's eye. It sticks really well even when the subject moves. So let's take a look at subject ausofocus and it will detect this car and this bed. So let's take a look at how that works. Now, of course, I could simply use the one area ausofocus point again to shift focus between the car and the bed. That's fine. But what about using that automobile and animal detection? Let's take a little look how that works. Still using one point autofocus, I can switch on detect subject and select animal and choose body rather than head. On some cameras, you can actually switch on animal eye autofocus, too. Then I would simply place the focus point on or near the bid, and the animal detection would kick in and lock onto the subject. It sticks really well even when the subject moves. So that works great, doesn't it? Let's try the subject detection on this car. I'll just simply change the subject detection to car and then place the focus point on or near the car. And just like with the animal detection, the focus locks onto the subject and sticks really well even when the car rolls forward. So let's try a bit of zone focusing with Asofocus continuous. So here, I'll choose zone focusing and put the focus mode into AFC or ausofocus continuous. Now when I half press the shutter release button, I move the car forward, the focus will stick to the car, maintain and focus. And here, I'll do the same on a cannon camera. In this case, selecting Servo, which as you know, is the same as autofocus continuous. And as you can see, it tracks the car and continually focuses really well. So let's have a look at focus tracking, and focus tracking is great because we can put the focus point on a subject matter, and it can be anything, it could be a car, it could be a sports person, it could be an animal, and the focus will actually track the subject as it moves. So let's take a little look how that works, then. So first, I need to switch it on and make sure I also have continuous autofocus selected. Then gently pressing and holding down the shutter release button, the focus point will track and focus on the subject. So my default focus is generally set to the one area auto focus. And I would suggest that you do the same, and then you can just simply jump between the other options as and when you feel the need to. But generally, that one area auto focus works really well. And you can see how quickly I can move the focus point around the scene to focus on the various items on the tabletop. And as I say, most cameras will have a dedicated button that you can press that will take you directly to your various options for Auto focus, or indeed, you can use the quick menu. Either way, it's very simple to change your focus point. Okay, I'll catch up you in the next module. 6. Module 5 Aperture Size: Now, as you now know, aperture size is one of the three elements we use to determine exposure. But as I mentioned in a previous module, we also use the size of the aperture to control how much of our photograph is actually in focus, and we call this ratio depth of field. Now, as humans, we see the world in three D, and when we focus on something relatively close to us, the background becomes house of focus or slightly blurred. Now, we call this a shallow depth of field. This isolates the subject and makes it the point of interest. Now we can achieve the same effect with our camera by opening up the size of the aperture to make it bigger. Of course, we also like the images where everything is in focus. Is to achieve this, we would close the aperture down to a smaller size. So in this module, we'll take a look at aperture sizes and a guide to how to select the right size. I'm also going to capture some photographs and then vary the aperture size. Then we'll take a look at the results. Then at the very end, we'll take a look at selection of photographs I have captured out and about with my camera by varying the aperture size. So let's jump in and take a look. So here is a selection of aperture sizes ranging from fully open to closed down really small. Each size is given a corresponding F number with the largest aperture having the smallest number and the smallest aperture having the biggest number. Here we can see the largest aperture has an aperture size of F 1.4 and the smallest aperture size has an F number of F 32. Now, it is really important to remember this that big hole, a big aperture, has a small number, and a small hole has a big number. It's counterintuitive for now, but once you get your head round, it's quite easy to remember. Now it is the larger aperture sizes that give us the shallow depth of field, the amount of blurry background, if you like. Now used creatively, we can isolate a subject from the background, and this is ideal for portraits, product shots, et cetera. Now, middle aperture sizes are considered to be ideal for general photography. They have the least amount of lens distortion. Lastly, the small apertures give us the greatest depth of field. This means that more of the image will be in focus, and they are ideal for landscape, cityscapes, group shots and interiors. So on this Lumix camera, we can see we've got an aperture range from F 2.8 down to F 22. And on this cannon camera from 1.8 down to F 22 again. Now before I capture any photographs using this Lumix camera, here is a quick guide to what you should be looking at. You can see the current settings along the bottom of the frame. We have, starting from the left, the mode, which is shown at the camera is in manual mode, highlighted in pink. Next, we have the shutter speed highlighted in red. Then the aperture size highlighted in blue. Then the exposure meats are highlighted in yellow, and lastly, the IO highlighted in green. So in this first example, I'm going to use a large aperture to blur the background, and I'm going to focus on this red car. So let's take a look at how I do that. So we can see I have a shutter speed of 250, an aperture size of F 11. IOs a 5,000, and we can see in the exposure meter that we are underexposed by one and two thirds of a stop. So first of all, let me change the size of the aperture to F 2.8. So I've opened the aperture up nice and big, and we can now see we're overexposed by plus two and a third. So the first thing I'd do then is drop the ISO. And we can drop it all the way down to, in this case, down to 1,000. Looking in the exposure meter, we have now got the perfect exposure because we can see it is now reached zero. However, the IO could be dropped a little bit more, and to do that, I'm going to slow down the shutter speed to 120 50/second. Again, it was slightly over exposed, but that's exactly what I wanted because now I can drop the IO down to 640. I've now got the perfect exposure. I can see it's on zero in the exposure meter, and I can capture that photograph. And of course, I can move the focus point around, focus on the skull. And then focus on the camera at the back of the brownie camera, knowing that my exposure is going to be perfect in all of those three shots. So let's close the aperture size down smaller to Fight and see what results that we get this time. So first of all, I would close the aperture size down to Fight. And as you can see, looking at the exposure meter, I'm minus two and two thirds underexposed. So the first thing I would do then is drop the shutter speed downs for 60th of a second. Now, we're still underexposed. And so I would lift the IO up. All the time watching the exposure meter, looking for that magic zero. So at those settings, 60/second F eight, and with the ISO on ISO 2000, we get the perfect exposure. So let's carry on our journey then of closing the aperture size down and take a look what happens when we close it down to F 16. So the first thing to do then is close the aperture size down to F 16. And when we do this, we can see in the exposure meter that we're now two stops underexposed. Now I want to leave the shutter speed on 60th of a second and lift the IO up to 8,000. And when I do that, I can see, again, our exposure meter is indicating zero, and I can indeed take that shot, and I've got the perfect exposure. So lastly, let's close the aperture size down to F 22 and see what results we get. So closing the aperture size down to F 22, we can see we've got an exposure meter reading of minus one. So the first thing I would do then is to lift the IO higher and indeed, we get the perfect exposure. So now, if we overlay the four photographs that I have captured at the different aperture sizes, we overlay them on top of each other and we can see the difference as we close the aperture size down, and we'll see more things become in focus. Let's take a look. First, at F 2.8, where the background is a complete blur, then closing down to F eight, where the skull is beginning to be revealed. At F 16, we get more detail in the skull and the camera is now beginning to be revealed in the background. Then F 22, all the items are more or less in focus, and then back to F 2.8. And you can see the difference between F 22 and F 2.8 is amazing, isn't it? So as you can see, you can be super creative with aperture size, and you really can determine where the viewer is going to look just by putting the point of focus on the item or the person or the subject and selecting a bigger aperture size, then the person looking at your photograph is going to look at what is in focus. It's a great way of sort of if you like telling a story with a photograph. Now, obviously, I took those photographs using the manual setting, but let's take a look at how easy and how quick it is when you jump into the aperture priority mode, because, as you know, in the aperture priority mode, the only thing you have to worry about is the aperture size. So let's take a look then at how quick and simple it is. As you can see, we are currently underexposed. Now, in the manual mode, I would need to adjust all three elements to achieve the correct exposure. Now, remember, in aperture priority, you only have to choose the aperture size. So to show you the magic of aperture priority and how the camera helps you achieve the perfect exposure, I will need to pop the lens cap on so you can see how quickly we can move from an underexposed photograph to a perfectly exposed photograph. So the first thing I'm going to do is change the ISO to automatic. Then I'll change the camera mode from manual to aperture priority. So A or A V on the mode wheel. Then I'm going to take off the lens cap and let's see what happens. Perfect exposure. Now, ignore the plus or minus zero. That is not the exposure meter. That is the exposure compensation, but more on that later. We now have the perfect exposure. Let's take a look at the shutter speed, and if a hard press to shutter release button, it's indicating that it's 1/125. Now, I have actually set my camera in the menu to ensure it doesn't drop below 1/125 because of course, obviously, the camera is now selecting the shutter speed for me, and I don't want the camera to select a shutter speed that is much too slow. So in the menu, I have set it. So when it does select the shutter speed for me, it doesn't drop below 1/125. Now, if you can do that in your camera, then please do. Just look for minimum shuttle speed in your camera's menu. So if I half press the shutter release button, I can see the IO that the camera has selected. And in this case, it's ISO 2,500. Now, I would like to make the aperture size bigger to give me a nice blurry background, and I'm going to select F 2.8. I when I half press the shutter release button, you can see because I'm more light in through the aperture size, the ISO has dropped now to 640, so the camera has selected 640 for me, and I've got the perfect exposure and the exact photograph that I wanted. Now I can go on to make further changes. F eight. The IO has now gone up to 5,000, and I can capture that shot. And then I can simply, again, adjust the aperture size and make it smaller all the way to F 16. ISO has now gone up to 12,800, but we can see the shutter speed has now dropped to a 60th. So as I said earlier, I've set a minimum shutter speed of 1/125. But I also set a maximum ISO of 12,800. So when the camera is working out what setons to use, it's made a note of the aperture size that I've selected, which is quite small. It is made a note also that it could not go above 12,800 because I set that as a maximum. So the only option left for the camera was to make the shutter speed drop below that 1/125. So you do have to keep an eye on the sentence that the camera is selecting, and in most cases, it gets it perfect. And dropping to a 60th a second or below that in this case is fine. So, finally, let's close the aperture size down to F 22. Now, remember I have the IO capped at a maximum of 12,800. So the camera has selected a shutter speed of a 30th of a second. Now, remember my minimum shutter speed was 1/1, two 525th of a second. But to achieve the perfect exposure, the camera has had to override my setting and select a shutter speed of a 30th of a second. So let's take a look at those four images together, then all shot with aperture priority. The first one F 2.8, and we can see that lovely shallow depth of field. Then the second one at F eight, and we can see the skull is starting to become in focus. By the time we open up to F 16, we can see a lot more detail in the skull and the camera is coming into focus. And then at F 22, pretty much everything is in focus. So Aperture priority is fantastic, isn't it? And it's so easy, and all you have to think about is creatively, what do you want to achieve? So now let's take a look at some photographs that I've taken over the years using Aperture priority. So this first one, F 5.6 and the focus is on the rope, it's great, isn't it? It just separates the subject from the background. Now, this next one, I've used F 3.5, and I've focused on the gentleman doing a limbo dance underneath the flame. Now, I've used F 3.5 to make the background blurred. But creatively, was that the right thing to do? Because we look in the next shot, taking at roughly the same time using a smaller aperture, we can see the people in the background are more in focus, and I think that looks more interesting. We can look at the people's reactions. Now, there's no right or wrong. Both photographs are fine. It's just a creative decision, and that's what we can do with aperture size. So this one, a street photograph I captured at F 11, and as you can see, most things are in focus, which is exactly what you want for a street photograph. Now, this shot was shot really close with a very large 1.8 aperture, and you can see that there's very little of that photograph that is in focus, but it's a really nice effect. This one at 2.8 kind of transport you into the photograph. And that's what I love about a shallow depa field. F 3.5, and this is a great character study. Another street photograph shot at F eight, and the same again at F eight. This one taken in Madrid at F 11 to get most things in focus. And this one at F 16 in Liverpool of the Palm house. And again, everything can focus 1.8 and getting close in. It's a really nice effect, isn't it? F 3.5 in the Mersey Tunnel. And this one F 16 on Crosby Beach. So as you can see, you can be super creative just by adjusting the size of your aperture. So give it a go. Jump into aperture priority, or if you're feeling super adventurous, jump into fully manual, and I'll catch up with you in the next module. 7. Module 6 Shutter Speed: Of course, shutter speed is one of the three elements we use to determine exposure. But used creatively, we can freeze action with a fast shutter or capture motion with a slow speed. Now, it's measured in seconds or fractions of a second, and Shuster speed really does help to create some amazing effects. So in this module, we'll look at shutter speed and a guide to how to select the right speed. I'm also going to capture some shots and vary the shutter speed, and we can take a look at the results. Then we're going to take a look at some photographs that I have captured out and about with my camera using various shu of speeds. So let's jump in and take a look. Shutter speed is measured in seconds or fractions of a second. We could actually keep the shutter open for minutes in the bold mode or set it to open and close as fast as 8,000 of a second on some cameras. Here we can see a selection of shutter speeds from 2 seconds to 2000th of a second with the slower speeds capturing motion and the faster speeds freezing the action. So let's take a look at a simple guide to shutter speeds and when to use them. Now, you're going to need a tripod to shoot at slower speeds plus a remote control to avoid camera shake. Now, if you don't have a remote control, you can use the self timer on your camera or you can use Bluetooth if you have the app installed on your phone. So let's take a look. The faster the shutter speed, the more we can freeze the action. We also change the drive mode to continuous burst mode to make sure we capture the perfect moment frozen in time. We can use slower shuster speeds to capture motion and record movement. With slow shuster speeds, we ideally need to have the camera mounted on a tripod and perhaps using a remote control to fire the shutter. Longer shussle speeds are ideal when shooting at night. Also in the daytime with a suitable neutral density filter attached to the lens, you can capture movement, a waterfall, for instance, a tripod and a remote control are essential. Scrolling through the shutter speeds on this cannon camera, we can see there is a large range of shuser speeds from 4000th of a second down to parts and full seconds indicated with speech marks right through to the bulb mode setting where we can keep the shutter open for minutes and longer. So time to take some photographs, and I'm going to use various shutter speeds to freeze the action and to capture motion using this Newton's cradle. Firstly, let's freeze the action. So I have the camera in the manual mode and looking at the exposure meter, I can see we are underexposed by three stops, and the shutter speed is set to 1600th of a second, which I'm going to change to 500th of a second. So now the exposure meter is indicating we are now two stops underexposed. So I'm going to open the aperture size to 5.6, and I can see the exposure meter is now indicating that we are one stop underexposed. So to balance the exposure, I'm going to simply lift the ISO value all the way up to 6,400. And now I have the exposure set. I have the focus point set at one area mode, and I've positioned it on the middle ball, and I'm going to switch the drive mode to burst mode. Then I will release the balls and hold down the shutter release button to capture a selection of shots and hopefully manage to freeze one of the balls in mid flight. I chose the best shot from the image is captured, and as you can see, the ball is perfectly frozen in time. So that worked a treat. Now, I would have liked to use the faster shutter speed, but as I'm indoors, I had to make do with 500 of a second. So let's switch to capture and motion with a slower shutter speed. To capture the motion of the balls, I'm going to drop the shutter speed to half a second. On this particular camera, half a second is indicated by the number two. You may have it shown as a fraction on your camera 1/2 or perhaps 0.5. Now, obviously, we are now overexposed, and the exposure meter is showing plus three stops. So I need to make some changes. And first, I'll drop the ice out all the way down to the lowest it can go. But we're still two stops overexposed, so I'll need to make a change to the aperture size, and I'm going to close it down all the way to F 11. Then I'll release the balls and hold down the shut release button to capture a selection of shots and hopefully manage to capture the motion of the balls in midflight. And that looks fabulous, doesn't it? And you can see the travel from one side to the other as the balls are being swinging. So I've now frozen time and also captured motion. So let's take a look at the best two photographs side by side and compare them. Okay. So, such a dramatic difference just by adjusting the shutter speed. I think they both look striking in their own way. So can we achieve the same results using shutter priority? Well, of course, we can. And as you know, we only need to consider the shutter speed when using the S or TV mode, as the camera will select the aperture size and the ISO for us. So let's see how that works, then. I'm going to freeze the action, and like before, I will use a shutter speed of 500/second. Now, as you can see, the shutter speed is currently set to half a second with the aperture size at F 11 and the IO at 100. So I'll pop the lens cap on so I can show you how quickly the camera reads the light and adjust the aperture size and the ISO. With the lens cap on, you can see we have an exposure meter reading of less than minus three. So first, I'll put the camera into shutter priority mode and also automatic ISO. And then change the shutter speed to 500th of a second. When I remove the lens cap, the camera will adjust the aperture size and eo to give me the perfect exposure. And when I half press the shutter release button, the camera will reveal what aperture size and eo it has chosen. Then like earlier with the camera set to burst mode, I will release the balls and capture the perfect photo. So as you can see, I only need to choose a shutter speed, and the camera will do the rest. So let's take another set of photographs using as slow as speed to capture the motion. Let's make a note of the current settings we used to freeze the action. The aperture size is at F 2.8, and the IO is at 1,600. As I adjust the shutter speed to half a second, the camera will adjust both the aperture size and ISO to give me the perfect exposure. Now, when I half press the shutter release button, I can see the camera has chosen an aperture size of F 11 and an IO of 100. Previously, we had an aperture size of F 2.8 and an ISO of 1,600. Then I will release the balls and hold down the shutter release button to capture a selection of shots, and the camera has done a fabulous job with the settings. So as you can see, shutter priority really does help to release your creativity as you can focus on composition and let the camera help you with the exposure settings. Let's take a look at a selection of photographs I have captured out and about with my camera using shutter priority. I love the shot of some of my students practicing shutter priority with a shutter speed of 4000th of a second. I captured the shot at half a second using a variable density filter on the lens. Runners in the park captured at 2000th of a second. A lovely evening shot with an exposure of 1.5 seconds. And then a fabulous long exposure of 1 minute 30 capturing the movement of the clouds in the sky. Freezing the water in this warsaw feature with a shutter speed of 4000th of a second. A 30th of a second perfectly captures the movement and creates a striking image. 10 seconds with a neutral density filter again to capture the flow of the water. 2000th of a second to freeze the wave in the River Mercy. 60th of a second with a panning technique to capture this moving car. A nice street photograph at 500th of a second. And finally, an evening shot at 8 seconds. So have some fun with varying the shutter speed in shutter priority mode or in the manual mode if you feel adventurous, and I'll see you in the next module. 8. Module 7 ISO: In this module, we'll take a look at ISO. It's one of the three elements we use to determine exposure, but unlike aperture size and shutter speed, it doesn't have a creative trick up its sleeve. That says it does help us to be creative. In that, we can adjust the eo to balance the exposure when we've dialed in our chosen aperture and shutter choice. So let's take a look. Every camera has a light sensitive sensor that we expose to light when we capture a photograph. There are generally three sizes of sensor, full frame, APSC and micro four thirds. The most common size is APSC. We can vary the sensitivity of the sensor and make it more or less sensitive to light. We do this by changing the IO value. IO values generally begin at 100 where the sense is less sensitive to light and the number increases to increase the sensitivity. So low numbers are less sensitive to light and will also introduce less or no digital image noise. Higher numbers are more sensitive to light, but can introduce digital image noise. Here on this cannon camera, we can see the ISO values beginning at 100 and increasing all the way up to 25,600. In an ideal world, we would aim to keep the EO value really low to keep our photographs clear of digital noise. However, we often have to increase the ISO value to achieve that correct exposure. But that's what it's there for. It really does help us to balance the exposure settings for a particular scene or creative effect. It may be our method of last resort, but it's super helpful. So let's take a look at some photographs that have digital noise. I shot this photograph in Madrid as the light was fading. I used a high ISO value, which introduced a fair amount of noise in the image. Noise loves an area of one flat color, and the noise in this photograph is clearly visible in the blue sky. Now, if you watch closely, you will see the noise disappear as I later removed it with noise reduction software. Zooming into the sky for a closer look, you can see the noise in greater detail and how the software cleverly removes it. Now, noise was more of a problem in the early days of digital photography when the sensors were not so advanced. My first DSLR camera had a maximum ISO value of just 1,600. Now, my current camera maxes out at 51,200, and that's quite an upgrade, and some cameras go much higher. Now, with modern sensors and clever AI noise reduction, I worry less about IO values. But let's take a look at one more noisy photograph. Again, this photograph was captured in Madrid in the early evening. The y is at 12,800 and noise can clearly be seen in the gentleman's face and in his clothing. Now, using noise reduction in adobe light room, the noise simply disappears. And zooming in, we can see that happen more clearly. So don't be afraid to lift the ISO value. That said, keep an eye on the values, especially if you use nose or ISO, as it would be the camera that is choosing the value. And remember, editing software can help to remove the noise. Okay, only a short module this time, but full of useful information. I will see you again in the next module. 9. Module 8 RAW v JPG and White Balance: In this module, we'll take a look at raw versus Jeg and also white balance. Now, I have mentioned both of these settings in an earlier module, but I thought I should expand a little as both are quite important. So let's begin with file format and which is best for you raw or JPEG. And a quick spoiler layer, if you don't fancy laying on how to edit a photograph, then stick with JPEgs. But there's a lot of benefits though to shooting in the raw format. And think of it this way. A raw file has all the ingredients ready to cook a delicious meal, and a Jeg is simply a microwave meal ready to eat. So let's take a look at Quick Guide. A raw file is like a digital negative waiting for you to take it into the virtual dark room. It's unprocessed by the camera, and because the data is preserved, you can recover information during the editing process, such as blown highlights, shadow detail, color balance, and exposure mistakes. So a raw file gives you more room to fix exposure and colors later when using editing software. Was a JPEG is a file that gets instantly processed by the camera for you to use. The camera will sharpen the image adjust colors, apply contrast, compress the file, and tragically permanently discards a lot of data, but it is instantly usable and a much smaller file size. JPEG files may be the way to go for you, or maybe you enjoy using the raw files. Either way, here is a quick table highlighting the differences. Raw files are much bigger than JPEG files, but as SD cards hold thousands of photographs, this shouldn't be a problem. With the greater size comes better image quality as JPEGs are compressed by discarding useful information. Raw files are meant to be edited, whereas although JPEGs can be edited, they are limited in how far they can be pushed. Raw files have a much larger dynamic range which allows you to push them a lot further during editing without degrading the image. The white balance of a raw file can be retrospectively adjusted during ding, not so with the JPEG, and only minor adjustments can be made. Here is a win for JPEgs as they are ready to share immediately after shooting, not so with a raw file, of course. Yes, processing or editing is needed before converting a raw file ready for use, whereas the JPEg is born ready. So raw files are waiting to be processed and edited, but offer superior scope to be corrected and are much better quality. Their dynamic range really does help to reclaim highlights and shadows in overexposed or underexposed photographs. For me, JPEgs have the place when in a hurry to quickly share a photograph. Please don't let me put you off shooting JPEGs. If editing isn't your thing, don't worry, as JPEgs are fine, honestly. It's just that the joy of editing a raw file and bringing your photograph to life is a wonderful experience, but enough for everyone, I suppose. White Balance controls how your camera interprets color temperature so that whites look neutral instead of too blue or too orange. Now, color temperature is measured in degrees Kelvin, with daylight being anywhere 5500-6500 degrees Kelvin, depending on the time of day. Now every location indoors or outdoors will have a specific color temperature, and our eyes automatically adapt to changes in this color temperature, but cameras need instructions. This is where we can go in and change the white balance setting to suit our environment. So let's take a look at those white balance settings. So we have auto white balance, daylight, cloudy, shaded, tungsten, fluorescent, a custom setting, and a degrees Kelvin option. You can access the white balance settings in your quick menu or even better if you have a dedicated white balance button. You can indeed change the white balance setting to suit your environment, but you must be mindful to check each time you take your camera out as you may have left it set to an incorrect option, giving you a photograph with an unpleasant blue or orange cast. For reliable results, I would suggest using auto white balance. And remember, if you shoot in the raw format, you can retrospectively change the white balance, not so with a JPEG, but more on that later. The other option would be to set a custom white balance setting using a gray card if the rendition of the colors is critical. For example, you are photographing a products for retail that has a definite color. Or you can dial in the color temperature in degrees Kelvin if you know it. As I change the white balance, you can see the effect it has on how the camera reads colors. As I scroll through the options, the color cast jumps from an overly warm color to a cold blue color when incorrectly set. Popping back to auto white balance, I get the perfect colors. Let me show you how easy it is to correct a raw file with an incorrect white balance and how pretty impossible it is to do with the JPEG. So just for color reference, this is how the corrected photograph should look. Let's take a look at a similar photograph with an incorrect white balance. This is a raw file, and you can see it has a terrible blue cast due to the incorrect white balance setting. In the basic panel in the light room developed module, we have a white balance panel with a drop down menu where you'll find all the same white balance settings found on your camera. I remember shooting this photograph in natural daylight, purposely choosing the tungsten setting. Now, as this is a raw photograph, I can simply click on the auto white balance setting to fix the colors. As it did shooting daylight, I'll change the white balance to daylight just to compare. Then back to auto, and you can see the results are very similar, with perhaps just the auto option being a little cooler. But a dramatic difference from the original incorrect white balance. Another option is to use a gray card. I have one placed in this photograph, and I can use the eyedropper to sample the gray strip, which is at 50% gray. The values of RGB, red, green, and blue should be reading 50%. But as you can see, the blue is over 77%, which makes sense as the image has a blue cast. Using the eyedropper, all I need to do is click onto the gray strip to let Light room know that this area should be 50% gray. Light room will then adjust the other colors to suit. If I put the eyedropper over the gray area now that the colors are being corrected, I can see that all three RGB colors are very close to 50% on almost the same readings. Now, let's take a look at a JPEG image that was taken under the same natural daylight and again with a tungsten white balance setting. In the white balance panel, we have the same drop down menu, but this time we don't have the option to choose another white balance setting. I can select auto as I did with the raw photo, but unfortunately, this time it won't correct the white balance as the incorrect white balance has been baked into the photograph. Even using the eyedropper to sample the gray card will not adjust the colors to where they should be. So the raw option easily wins this battle. But remember, if I had selected auto white balance when capturing the image, it would have pretty much given me the perfect colors. My recommendation is to use auto white balance, as in most cases, it does a pretty good job, and as you've just seen, raw files can easily be corrected. Okay. I'll see you again in the next module.