Menu Functions: The Basics and Shooting Menu
it is time to dive into the menu functions of the camera. This is where you will probably want to have the accompanying recommended settings that comes with the purchase of the class. And I have the entire menu system along with recommendations in here and now. I'm gonna go through and explain these on just so that you know, I have a second set of pages in here without my recommendations, because I know you're gonna make all of your own changes in here. And so that's what we're gonna be getting to in here. So first thing is, is that Cannon has probably the best menu system on the market right now is for his organization of where things are and so in here we have different tabs. Things were pretty logically put into those tabs. Thankfully, to navigate through these, you can page left and right with the top dial, you can go up and down, selecting individual items with the back dial. The info button is a nice little button. If you just want to jump from one colored tab to the next, and th...
en you could navigate with the cross keys on the back of the camera. One thing about it is that it does matter whether you are in the stills mode or in the video mode, and so remember to switch back and forth between stills and video. You're gonna hit the mode button and the info button to switch between stills and video, and that will give you access to the slightly different menu systems that are available in those two systems. We're gonna be starting in the shooting menu. This is four still, so you won't have your camera set up for stills. Go to the first page. The shooting options and the number one option is, of course, image quality, which is very important. We can choose to shoot raw or we can shoot JPEG or we can shoot raw plus J pay. We do have the option of a compressed rods. Things like this are very interesting to me because it's supposedly half the size, which it is, and it's supposed to be just a good and that just doesn't make a lot of sense. And so, of course I have to throw it through a little bit of a test. So let's take a look at our test and so shoot our standard subject. We're gonna blow it up. We're looking at highlight information. Shadows. We're looking for noise. We're looking for colors that don't look right and the file size of 35 megabytes compared to 20 megabytes. And I'm not seeing a sharpness difference. I'm not seeing a resolution difference. I can pick out a few little things that are different, but it's not necessarily better or worse. So I decided to try this again. I would under a stop, I would under exposed by four stops overexposed by four stops in both cases, try to resurrect the material and see if there was more information and I could not see any notable difference between a standard raw and a compressed raw. And so it looks like with a compressed raw, you're getting a really good raw at a budget price. It's about 40% smaller in file size, with virtually no visible difference at all. And so if you are interested in saving a little bit of space without any real loss at all, this seems to be a good option if your ah little dubious about this and you're not sure, and maybe you don't know if I went through the right test. That's fine. Could be skeptical. Run your own test. See if it makes a big difference in the types of shots that you like to take because you don't wanna waste space unless they unless you actually need it and are going to use it. So if you are gonna be setting the J pegs once again, there is a small, medium and large, and there are different compression options. For most people, I would recommend the largest, lowest compress J peg. That's going to give you the most information later on. And so either a large J peg or the compressed draw is gonna be fine for most people on this. Now, as we go through this menu system, you're going to see my recommendations in gray on the right hand side of the menu, the red ones are form or advanced photographers, and anyone can be a more advanced photographer. But sometimes there's just two options that are good, depending on exactly what you're choosing, and that will also be reflected in the class handout recommended settings. The pdf next is dual pixel raw. This came out a few years ago, and the camera is using pixels that essentially have a left side in a right side, and it records the information individually and can use that to do some special things. And so one of the ideas was that you could adjust your focus point a little bit forward or a little bit backward, and the thought was, Well, if I shoot a portrait and I focused on the wrong I can I fix it in post production? So I purposely focused on the back. I and I wanted to see if I could move it to the front I and so this is standard and this is front and it just didn't move that much. And I'll go back and forth between these and the focus point, move just a little bit, but not enough to solve the problem. And so it doesn't seem to do a very good job at that. No, the next thing that it could dio is it could do a broke a shift. And so here, Standard and left, try this again standard left, left and right and I can move the background a little bit compared to where my subject ISS and I guess that's kind of interesting, but it doesn't really help me out in any way, so it's not very useful there. And then there's a ghosting reduction that it can use, and it depends on the exact scenario. In this case, it definitely did not help eso dual pixel raw is this interesting technology that Cannon came up with with the type of sensor that they're using in the pixels on them? And it's interesting, but it doesn't seem to be very helpful. I know that I have never used it, and I don't think I have seen a single photographer who's ever mentioned using that to help their photography in any way. But a lot of people have played around with it. It just doesn't have any great effect. Um, and so I would say it's something that you're probably gonna want to disable now. The other downside to shooting in this is the file sizes that I've already given You are doubled in size because you're recording information from both sides of the pixel, and so it causes a massively larger file to be created, which is a kind of a downside to, especially when there's not a major benefit to it. Next up is we have cropping and aspect ratios. The camera uses a three by two sensor, and that is the standard form on it. But if you want to do a crop, you could do a 1.6 crop. So if you wanted to add in one of the E. F s lenses with one of the adapters for this camera, you could get the crop set properly. We also have one by 14 by three and 16 by nine. And so you can choose to do this one of the advantages of doing this in camera. Normally, I would say this is better done in post production, but if you want to do it in camera, the advantages with a mere list camera you get to see in the viewfinder exactly that framing. So if you want to shoot square, you actually can see the square in there that you are framing. Now. If you hit the info button, you can go down and select the way that the shooting area is going to be represented to. You can have it be massed or outlined mast. Make sure it's completely blocked out an outline lets you see where the normal framing would be. So you can choose on what it looks like in the viewfinder for you when you take a photo. Do you want to see that photo on the back of the camera after you shoot traditionally with a SLR camera? I would always have this turned on for maybe two or three seconds because I want to see the photo that I just took. What is the digital version of it with muralist cameras? Personally, I've changed my style, and I have turned this off because when you look in the viewfinder, you get to see the exposure, the white balance. You get to see the focus accuracy really well of what the final picture is gonna look like. And to speed up the workflow I could I recommend turning off the image review unless you are really needing it for some special reasons. And that's going to speed up the shooting process and make it a little bit more streamlined should a release without a card. So if you forget to put a card in the camera, do you want to be able to click the shutter. And in most cases it's probably a nice safety precaution that you can't even shoot a picture without a card in the camera. So putting this on disabled and off would be a smart idea. Second page in the shooting menu is lens aberration, correction, and so this is going to dive us into a little bit of a sub menu with more controls. First up in here is peripheral illumination, and this deals with lens and attributes with pretty much all lenses in in that they are a little bit darker at the edges than they are in the middle of the frame. And so you get this darkening of the corners, which doesn't look good in certain types of photographs. But in other types of photographs, it can look really good. So it kind of depends on whether you like that look in your image or not. Now, if you do want to fix this, it is Onley in the J peg images, so realize that if you are shooting raw, it's not going to help you out. Next up is distortion correction, and this is dealing especially with wide angle lenses where straight lines are no longer straight. And so if we go from our slightly curved horizon caused by a little bit of distortion and fixing it generally that seems like a good thing. I'll go back and forth a couple times here, and so we generally like to have our horizons straight, and that is something that would be good to have on once again. It it's only gonna help you out with the JPEG images. Next up is the digital lens optimizer, and this is just gonna correct and optimize any slight defects that a lens may have on the camera. And so going to correct for chromatic aberration. A little bit of diffraction if you're stopping down to a small aperture or corrects for the low pass filter in front of the censored, which sometimes causes a little bit of blurriness. So it adds a little bit of sharpness back in there and once again on Lee doing this with Jay Peak images. If you are going to be using an external speed light with this, there are lots of little controls that you can control in the camera that will be transmitted through the T TL sensor on the top of the camera. The hot shoe right onto the flash. First up is flash firing. You could disable it from the menu if you needed to. The type of metering that you choose, either evaluative or average evaluative is tending to do a better job because it's measuring in different areas. And comparing the highlights and shadows intends to do the best job of getting the correct exposure with the flash. Slow synchro allows you to synchronize the flash at different shutter speeds. Sometimes when you're firing with flash, you just want a nice fast shutter speeds so that it captures really crisp action. And it's all very, very quick and it's capture. But in some cases you want to drag the shutter and you want a slower shutter so that you can collect more background lights. Or you want to blur the background while you're following your subject and using the flash to freeze the motion. And so we have three different options where you could use just a 2/100 of a second or normal handholds, shut E shutter speeds like 200 to 1/ of a second or, if you want to have it, expand all the way down to 30 seconds. You can do that. Safety F e is kind of an interesting one. And this is where the camera will use an auto I s O setting and change the auto to avoid autumn overexposure in the flash, which could be a problem. And so it depends on how much you use flashes toe how valuable this feature would be. Each of the flashes, especially the higher in flashes, are gonna have their own functions on the flash. Traditionally, you just would go up to the flash and you would make the changes there. But now those changes can also be made in the camera and transmitted up to the flash itself. First one's control. How the flashes fired E T. T L is a through the lens metering system that will automatically fire the correct amount of flash for the distance and brightness of your subject. We do also have options of full manual flash so you can control the power and then a multi strobe where the camera will fire many strobes in a very short period of time for photographing kind of special effects action shots. There is a wireless system that you can hook up for getting your cameras and flashes separated that way. With your flash off camera, you can get him in a better position for better quality lighting, and that could be a great way for taking nice portrait. The zoom option will match zoom lens with the flash head setting so that they're both covering the correct area. But if you want to manually adjust it, you can do that as well. We have shudder synchronization, which can synchronize the flash either with the first or the second curtain. And this can have a big impact on any subject that is moving and so you can use it for once again, a special effects mode. Flash exposure compensation allows you to power down the flash, which is what I recommended before. Ah, lot of times for people photography. They get a little over exposed and don't look so good. And so it's good to power down the flashes for a lot of people photography. You can also do flash exposure, bracketing where the camera takes multiple exposures, changing the power of the flash with each one, and that could be a way of determining what is the best exposure or just trying to get one picture very quickly that it's hard to figure out in the field. Lastly, is flash custom functions, and so there's a number of custom functions that each flash is gonna have. This will vary a little bit according to which flash you have, but you can get in here and control and set all of those features. So lots of things to do with the external speed light control. All right, next up is exposure, compensation and auto exposure. Bracketing we did talk about this before it was in the quick menu, but this is where it is in the full menu. And you can either make your pictures a little bit dieter lighter or darker. With this, you can also dio your bracketing where you're shooting a number of photos at different exposures. I s O speed settings gonna hit you into a little sub menu down in here. The first thing is what I s o speed. Do you want to have? This is done much more quickly and easily on the top of the camera with the multi function button. But we do need to have it in here so that it could be placed any place on the camera using the custom functions. Next up is the range for stills. And so this is the range of available I ISOS that you can select. And I think this should be the widest range available. And you could make that decision at the time that you are selecting eyes owes how I how high you can go. If you wanted to limit yourself so that you couldn't select those high settings, you could go in here and kind of put an artificial cap that you don't go above the auto range. And so if you have the camera in auto, I s So what is the range that it will move between? This one's a little bit more important, the last sitting here because when you do have it in auto eso, you may have a quality limit. Let's say of 6400 or 12, that you don't want the camera to go above win choosing, and I s o. And so, for that right hand maximum number, you want to choose the highest eyes so that you still feel comfortable shooting the minimum shutter speed is a very important factor in the auto isso setting because this is going to determine when you start using higher. ESOS is when you hit your minimum shutter speed. If you want, you can select a manual shutter speed like 125th of a second or 1/60. Or maybe what's the lowest shutter speed that you can hand hold with your camera? But you can also put it in auto and let the camera figure it out according to the lens that you have on the camera. And this is a really smart way of working. And so let's just take an example where you are in aperture priority and the camera's going to figure out the aperture for you or excuse me, you are figuring out the Apertura. The camera's going to figure out the shutter speed for you as well as the auto. I s so so let's have the camera in figuring out your shutter speeds and your eye. ISOS, Now what's gonna happen when the sun's out? Well, let's just say you choose 5.6, and the camera is choosing 1/60 of a second at I s 0 100 Now let's say it gets a bit brighter out in the day. Okay, Well, your camera's gonna adjust the shutter speeds to have a faster shutter speed. All right, that makes sense. Now, what happens if it gets darker? Well, the camera's going to reduce the shutter speeds, but at a certain shutter speed, it's going to switch over from changing cheddar speeds to changing esos, and that is your minimum shutter speed. And so that it could be a number that you manually input or one that is automatically designated by which lends you have. And as it gets brighter now it's gonna change the isso to a lower I s O. And then it will start changing your shutter speeds. And so what you're programming into the camera is at what point does it do the handover going from shutter speeds to I s O. And so using it with Otto will match up with lens with what the shutter speed is. So, for instance, if you have a 35 millimeter lands, it knows that most people can hand hold one of these lenses pretty easily at 1/30 of a second. But if you want a program it to go a little bit slower than that, you can have it go 12 or three stops slower. If it's an image stabilized lands, you can probably hold it slower. If you are photographing action that's a little bit faster, you could set it to one of the faster sides. And so if you are going to use auto ISO, setting an auto shutter speed as your minimum is a good option and going in and adjusting it as necessary here. Next up is our auto lightning optimizer, and we talked about this before, and this is where the camera will go in with JPEG images. It's generally going to brighten the shadows, and it's going to restrict the highlights from being too bright kind of compresses. The total range into a more compact package and can be very helpful with JPEG images has no effect on the raws, but you may want to test this and see if it works for your type of photography. If you're shooting J peg images, highlight tone priority is similar in some ways to the auto light lightning optimizer, but in this case it is focusing just on the highlights. If you want to restrict a J Pegs image from going to bright, you can use this highlight tone priority. Now there are two versions of it. There's kind of the standard and then the enhanced version of it, and this is going to restrict your lowest iess own, so you will not be able to shoot at ISO 100 with this. And what the camera is doing behind the scenes is it's under exposing the images and then Brighton in the shadows, making sure that the highlights don't get too bright. When you press lightly on the shutter, release the meat Oring timer turns on, and generally that's gonna be set for eight seconds. If you would like the camera to remain active and turned on for longer, with a little bit more battery use, you can do it here. Or you can go the reverse directions to save batteries a little bit exposure simulation. So when you are looking through the viewfinder, do you want the viewfinder or the LCD on the back of the camera to emulate the exposure that you are actually going to get out in the field? And generally this is a good thing. So let me show you a little bit about what this would look like on the LCD on the back of the camera. So notice that exposure indicator down at the bottom as I adjust and make it over exposed. The picture is overexposed, and as it goes to under exposure, the picture gets darker, and so it's really obvious if you are shooting the correct exposure or not. And for general shooting situations, this is kind of a great system for making sure that you're getting the correct exposure now over on the right hand side of the screen were disabling the exposure simulation, and you can see that I am changing the exposure. But the picture is not changing, and that is because the cameras trying to give us the best possible viewing picture no matter what's going on, and we're gonna rely on that exposure indicator whether we're getting the proper exposure, and that would work very well if you were doing flash photography, you're working in a studio, you don't want it to simulate your camera, cause it would be a very dark screen most of the time because it can't anticipate how bright that flash is going to be when it comes to the preview window. And so, for most people, you're gonna let that be on enable the main time to take it off. That is, when you are using flash. All right, folks, we're kind of in the midst of going through the menu system. I realize it's a little bit tedious. There's a lot of things in here. It's the type of thing that it's important to do at least once to go through and make sure that things were set properly. So that's what we're gonna continue doing, making our way through, getting all these checks and settings done right. All right. Continuing on on the shooting menu, we're on page four for still shooting. We have the white balance mode, which we've actually seen probably two other times in the multi function button on the top, as well as in the quick menu in the back of the camera. One of the options here is by pressing the info button. You can choose your style of white balance where, if you want it true white, white, you want your whites very, very white. Then you choose the W option. Otherwise, the auto white balance standard option will allow a little bit of that ambient color into the final photograph. Custom white balance allows you to photograph a white sheet of paper in your camera, can then learn what the correct white balance is by doing that. So the idea is to photograph a white sheet of paper, go to set custom white balance and select the image on the card of the white object doesn't have to be a piece paper, and then select white balance or change white balance to custom, and it will then correct for the light that you are under, especially if you are under mixed or unusual lighting. Next up is white balance shift. If you need to tweak the white balance and an additional way, you could do so here. This is highly unlikely, and you probably won't need to use. This color. Space determines the range of colors that were recording. When you are shooting in raw, you are getting adobe RGB when you're shooting J pegs. You're getting s RGB by standard, but you can select to shoot it in Adobe RGB, and if you plan to do editing and post processing with your images, you want as much color space as possible. Picture styles allow you to shoot with different looks to your images, and this is for J. Peg shooters. Of course, on Lee, it's not gonna affect your raw images other than what you see in the viewfinder and what you are working with right on the camera. And so we have a lot of different standard options here that tweak around a little bit with the colors and contrasts and so forth. And one of the options you can do is hit the info button and go in and set the details yourself so that you can change the look of your images. And I thought that might be a good little demo to do. So let's go ahead and try this out ourselves, and we'll go ahead and get a camera turned on and look at our subject. Focus in on it and we're gonna shoot to start with. We're just gonna shoot a test shot right now as a standard. Let's get this actually with the focusing point in a decent area and take a shot right there. So now what? I'm gonna do is go into menus and I'm on page four picture styles. I'm gonna hit the set button. We can choose to shoot in any of these different modes, or we can go in and define one of these moments. Let's go ahead and do that user defined one. Actually, we need to hit the info for details set to go in further. And now we can go in here and we can adjust, for instance, the sharpness. And let's make some changes a little bit. So we're gonna bump that up a couple of steps there and I'm gonna I'm gonna skip this one threshold else. Move that up Contrast levels. Let's move that up to not just just to see what happens. And then we have our saturation. Let's just both everything up, like, two notches just to see how much difference it makes. All right, So we're fully set up there and we're gonna go ahead and take this photo. It doesn't look that different just on the back of the camera. But when we play this back playback, there's my playback. There's a little bit of a difference between these images in their contrast levels and they're saturation levels. And so if you're not totally happy with the J pigs that you're getting out of the camera, you can go in here and customize those you can create your own looks. One of the reasons I like to dive in here, even though I mostly shoot rob with camera is I like to shoot black and white from time to time. And one of the great things about a Marylise camera is that when you put the camera in black and white, you will see black and white in the viewfinder, so you get to look at the world and compose with a black and white image. When you shoot it raw and you download it to your computer, it'll be color, and you can then turn it black and white and process it as you like it to be. But being able to see the world in black and white helps me compose black and white images a little bit better in my mind. All right, moving on to page five. We have long exposure noise reduction when you take a long exposure, for instance, 30 seconds, the camera will follow that exposure with processing of that image for another 30 seconds in order to try to reduce noise. And if anyone like me has been out there shooting at night time doing a 32nd exposure, it's kind of a pain waiting around for 30 seconds for it to process this information. So I wanted to see how much good is it doing? And I should mention here. Of course, this is only on JPEG. Images has no effect on raw images, so if you're shooting raw, you'd want to turn it off. But even for the J Peg shooters, let's take a look. So I did a 32nd exposure, blew up the results. I wanted to look at him really closely. Noise reduction, off noise reduction on and I'm not seeing it, folks, I'm not seeing a difference here. And so I do not think this is worthwhile leaving on. Or at the very least, I think you should do some testing to see if it works for you. And if whether it's worth that extra time in processing while you're out in the field, shooting next up was we have high I s O speed noise reduction. So mawr noise reduction again for J Peg shooting, only not raw, and this actually does have a pretty strong impact. In fact, it may have too strong of impact. So taking an image at 25,600 turning it off and then setting it too low, standard high in multi shot. You can see that in the high setting. We have reduced the noise by quite a bit, but we've also lost a bit of edge detail and sharpness to it, and so you can soften up the image and get rid of noise. But it also softens up the sharpness of the image. One of the options is multi shot, where the camera shoots multiple showed up photos to reduce the noise. And this one. This one's a bit of a head scratcher to me, because if you're shooting multiple shots, that means you can't shoot anything that's moving. You have to be on a tripod. And if you're shooting static stuff from a tripod, couldn't you just use a lower eyes? So rather than high, I s so, uh, and it would seem to avoid that having to do that. But the camera can do it. It does a good job. I just don't know where exactly you would use that rather than using a lower I s o so standard for that or off if you're not gonna be using it because you're in the raw mode Dust, delete data. All right, So if you have dust on your sensor and your photos look like this, you've got a problem, and you should clean the sensor. And one of the things that you can do is you can shoot a photo. Ah, blank photo basically a blank sheet of paper to let the camera know where all the dust ISS you can Then use canon software to correct for all that so that you get a nice, clean image later on. Now, the done downside to this whole thing is that you do need to use cannons own software for it, and so there'll be additional instructions in that information. So if you are on a trip to Africa, for instance, and you have a dirty sensor, photograph a white sheet of paper and you might be able to fix it when you get back home touch shutter. So this allows you to use the back of the camera to trigger the shutter release, and this could be handy if you're working from a tripod. If you have, the camera may be positioned in an unusual place, and it's hard to reach the actual shutter release button. Normally, you don't want to do this because you can bump the LCD on the back of the camera pretty easily. So I would say you probably want to leave. It turned off, unless you know that you're gonna use it for a particular reason. Next up is multiple exposures. This is gonna lead us into a sub menu where there are lots of controls for doing in camera multiple exposure. Now in general, when it comes to multiple exposure, that always seems to me like something that is probably better done in photo shop, where you can work with layers and you can get the blending right in the density right. But there is an advantage to doing it in camera in that you get to see it and you get to compose it, and tricky compositions might allow you to get the maximum resolution on that. So first option is leaving it disabled, which is where we're gonna leave it most of the time, but we can leave it on function control. And this is where you shoot and check. Or you can have it in continuous shooting where you just use the continuous drive to shoot through the whole series of photographs. It depends on what style of multiple exposures you're doing now. The general idea on this is that you're gonna shoot one photo, maybe of the moon and then a second shot of the city and the third shot. The combination of the 1st 2 will combine them together. And so if you want to combine elements, this is one of the ways that you can do it. So, as I say normally you would leave it disabled. But if you do want to get in and do it, there is some controls for additive average, bright or dark, and this is going to vary how it combines the information, and you may want to play around with us a little bit to see what works best for you. It will depend on whether you're shooting with a light background, a dark background light subjects, dark subjects and how you're controlling the exposure. And so for people who really know what they're doing, they'll just do it with additive. In most cases, that works out pretty good. If you're kind of new to this and you just want to experiment. Average is a good option. But the bright and dark options are kind of interesting because it's figuring out what type of what color object on what color background will work best there and so play around with ease. If you do want to do some in camera exposure, figure out which one works best for you. Next up is how Maney numbers of exposures it's gonna be two or greater, usually between two and nine, is what most people do. But I was a variety to choose from. Now, when you do your exposures, do you want to keep the original exposures? And if this is really important to, you, probably do want to keep those original ones, because if the blending mode in camera didn't work out quite right, you could go back after the fact, get those original images, put him into a photo processing program and do the multiple exposure in that way rather than in camera. And so, in this case, the question is, is, Are you gonna shoot just one of these multiple exposures or you're gonna be shooting multiple exposures a lot, And so one shot will cancel the whole multiple exposure option as soon as you are done with that Siri's. And if you want to leave it in continuous than it's just going to stay in the multiple exposure mode until you turn it off. HDR mode stands for high dynamic range. We're gonna go into a sub menu here, and this is gonna allow us to control shooting multiple photos at one time and then having the camera combine and blend them together. And I have found that the camera does not do as good a job as external software. In this regard, I haven't found any camera that really does a great job. In most cases, I have found that just shooting an image in raw and adjusting the levels gives you more latitude than what the in camera raw settings do. So if you do want to do it in camera, the first thing is adjusting the dynamic range. So your shots are how many stops of exposure apart. Generally, it works better to have these a little bit further apart, but it depends on the exposure latitude of the scene that you were in in. So in this particular case, I shot a series of photos with different HDR settings, and if we pull up the hissed a grams, we can see what's going on is it's holding those highlights back that Skye is not as bright. The water is not as bright and the shadows are becoming brighter. The shadows are not as intense and as dark as they were before, but this really is not far off what you would get with a raw image at all. So normally you're gonna leave the HDR mode disabled. But if you do want to get in here, the natural fact is kind of as natural as it can be your basic one. But then you will have a number of different art versions. And so let's just take a quick look at what some of these different art versions are. So they're going to play around with the saturation levels, the contrast levels and the exact look to it. And this could be seen as you know, just a creative outlet of trying something different with the camera to get a different look to your images can work well in very bright or contrast E situations. Continuous HDR once again, are you shooting a Siris of HDR or constantly shooting these one after another after another? Do you want to just shoot one HDR set and be done with it? And so this is auto canceling as soon as you're done with that first HDR, which is what most people do. Auto align image. Want to be careful about this one, because are you shooting these HDR images from a tripod or handheld? If you're doing it, handheld, you want to be on auto image a line area. That way, the camera is going to align handheld images now, in order to do so, it needs to crop in by a small amount on the edges, and so you're not going to get the full whip from side to side, so you'll need to make adjustments by moving back or using a wider lands. If you are shooting from a tripod, you would want to disable this so that you can actually get the full image area. If you shoot the HDR, do you want to save the original images. Once again, I recommend this. It's always good to have these. That way you can process them in better software if necessary. If it doesn't come out right in camera, unless you're happy with the way it comes out in camera and you know you're not going to need him, all right. Working on to our last page of the shooting menu, we have our bulb timer. And so, if you recall back in the mode dire mode button on the top of the camera bulb was one of our settings for our long timer setting. And we can go in here and set a particular time and so you can choose any number of seconds you want for how long you want to leave the shutter open. Generally speaking, I don't recommend leaving the shutter open for more than about 10 minutes. There tends to be a lot of noise and heat build up after that period of time, but if you do want to do some nighttime exposure, you could be very precise about the length of your exposures here. Anti flicker shooting is going to help out in situations where you are photographing under a light source that is flickering, which is usually coming from a fluorescent light. The problem with fluorescent lights is that they flicker up and down in brightness. They do so so quickly that we don't see it with our own eyes. But when we fire a camera at eight frames a second, the brightness of each image is going to be slightly different. And so the camera has this flicker reduction mode, which looks at the highs and lows of the flickering and times the next photo, with the next peak in the wave of the light. That way, you're shooting at maximum brightness, and all of your images haven't even exposure. The downside is, is that your camera may slow up a little bit just to get on the timing of the the correct light. So it might be a little bit slower than the than the frames per second you would get without this. And so the difference can be really striking. And so, in this first Siris of four images, you'll notice that the image brightness is slightly different in each of these images, and I had the same exposure set on my camera. So the difference is just simply the randomness of how bright that light was that very instant, when you turn on the anti flicker shooting, I'm not going to say that it's perfect because these lights are not perfect, but it's as good as you can possibly get in a camera. And so it's a very handy system. It could be very handy, for instance, if you're shooting gymnastics or basketball, which might be used or might be in these type of lighting situations. Silent shutter on this. And so that's something that you can turn on and off. And so let's talk a little bit about how the shutter works in the camera. So the mechanical shudder. As we've mentioned before, we have a first shutter curtain and a second shutter curtain. It's normally opens that light gets into the sensor so you can see what's going on. And so let's go ahead and close the first daughter, and here's our exposure, and sometimes there could be a little bit of vibration from that shutter opening so quickly, and then the second curtain comes in and closes. Each pixel is exposed for the same amount of time And so there is the the fact that you're gonna get a little bit of shutter sound, and there is the possibility that you might get a little bit of vibration, and that might be a little bit more noticeable with the big telephoto lands or with a macro set up. So one of the things that you can dio with a silent shutter is not used, the physical shudder at all and just let the pixels turn on and off on themselves. Now the downside is that it can't do the entire sensor at one time. It has to scan one row at a time, and it takes around 20th of a second for it to scan from one side to the other side of the sensor. So anything that was moving during that 20th of a second could get distorted. It'll be recorded, but it might not be in the right spot because you're not recording it all at the same time. And so it's not good for moving subjects. It's good for times where you want to have a really quiet shudder. But as long as your subjects aren't moving around, perhaps on a movie or TV set where you don't want to make any noise at all. You could use that as long as your action isn't moving around too quickly. Now, another mode I'm gonna talk about in just a moment is silent. Live view mode one. And this is an Elektronik first shudder with a mechanical second cheddar. So it turns the pixels on one road a time, and then it comes in and it turns the exposure off with a mechanical shudder at the end. And when we get into the live you options, that will be one of the options that you will see there in just a moment. Now the problem with the silent live view is that it will distort moving subjects. So if you were to shoot a test pattern and then pan left to right, moving the camera using the mechanical shudder things, they're still going to remain very well lined up. But when you pan left to right with an electronic or silent shutter, that's when you're going to get distortion. And having a faster shutter speed isn't going to help the problem, because it still takes about 1/20 of a second for it to record the image from one side of the sensor to the other. Out in the real world, you're panning down the street with a car driving the building's air. Gonna have an angled look to it. And if somebody writes past on a bicycle, those bicycle wheels air no longer gonna look perfectly round. And that is because of the scanning process of this. It's just not good for fast moving subjects, and so if you want to use the silent shutter, its OK in special situations. But there's a lot of parameters, as you can see on screen now that it just doesn't work with. And so there's a lot of cases where you probably don't want to be using the silent shutter. So it's not the default system that you want to use on your camera. You pick it out and you use it in special situations where it solves a particular problem. So that is your silent cheddar. Next up is silent live you shooting, and I had mentioned when we were talking about the silent and mechanical shutter. There was an option for something called Mode one silent shooting. And so, if you are doing shooting there is an option for the Elektronik first shutter toe work. And there's not a problem with that, because when it uses the mechanical second shutter, it's exposed for the right amount of time and doesn't get the distortion. And so having this set to Mode one will have a reduction in vibration when you are shooting, which could be very helpful in macro photography. Next up, high speed display. And so this is something that you're going to have an R F lens with, and it's gonna be active when you are in the servo mode and you have to be in high speed, continuous. And what's gonna happen here is that when you're looking through the viewfinder and you're firing the shutter and it's firing off very quickly, you're gonna get a little better feedback for what you see in the viewfinder. The difference between this turn on and off is pretty subtle, in my opinion, so it's not a big difference. It's not something that's really noticeable, and it's gonna have a big impact on what you're shooting. And so I don't think it's a super important city, But if you do a lot of action photography, you'd want to leave. It turned on