1:15 pm - Shooting Menu Tabs 3 and 4
1:15 pm - Shooting Menu Tabs 3 and 4
8. 1:15 pm - Shooting Menu Tabs 3 and 4
9:00 am - Class Overview20:45 2
9:30 am - Top Buttons, Left Side24:09 3
10:00 am - Top Buttons, Right Side31:24 4
10:30 am - Back and Accessories31:29 5
11:15 am - Front Side23:15 6
11:45 am - Displays22:26 7
1:00 pm - Shooting Menu Tabs 1 and 224:17 8
1:15 pm - Shooting Menu Tabs 3 and 423:25
1:30 pm - Live View and Movie Menu16:05 10
2:15 pm - Playback and Set Up Menus14:57 11
2:30 pm - Wi-Fi Options18:45 12
3:00 pm - Set Up and Custom Menus30:51 13
3:30 pm - Camera Checklist14:56 14
1:15 pm - Shooting Menu Tabs 3 and 4
Next up is our third tab in the shooting menu exposure compensation is something that we've already talked about actually, twice this would be a lot easier to control just with the back dial on the camera, but in this mode, we also have the option of a e b, which stands for auto exposure bracketing what this is is the ability to shoot a syriza pictures very quickly, under and or over exposed something often used by landscape photographers in the days off film when they weren't one hundred percent certain of the exposure, they would shoot a siri's of pictures and bracket around the correct exposure to make sure they got the right one. Now this camera could do a three stop bracket, and if you go into the custom functions, which we're going to get two pretty soon, you can change it to a five stop bracket and you can change it even to a seven stop bracket. So this is something that is currently being used, probably most commonly by hdr photographers, photographers who use high dynamic rang...
e by shooting a siri's of pictures combining all those pictures into one exposure that carries kind of the best of the dark areas in the light areas, and one of the things that they're looking for in bracketing is they want to cover a wide range. And they want to take their pictures as quickly as possible because if a leaf is moving or a person is moving or something is moving in the frame that causes a problem and so they want to get those pictures under the same lighting under the same conditions and this allows you to shoot a wider bracket much faster than you could turn the dials yourself on the camera so you can change three, five seven frames you can also do two frames if you want you can do it all over exposed, you could do it all under exposed so there's a lot of options in here and this is something that you're typically going to use in aperture priority time value or the programme mode depending on what your preferences are in there. And so this is something that most people don't leave turned on all the time but it's something that they would go in and change from time to time. So that is exposure compensation where you could do it manually or the automatic version of it next up s o speed settings and this is something we have a button right on the top of the camera for but here is where we get to detail the specifics of it. We can choose an actual s o setting one hundred, two hundred four hundred so forth we can choose the range that is available to us in the camera and we can get up to twenty five thousand in this camera on I'd say you allow yourself to go to wherever you want in the camera and then you can choose the esso range so if you found that s o thirty two hundred is the top in range that you want to go to go into the eyes auto is a rage and said it one hundred two, thirty, two hundred and so that's kind of nice that you can limit yourself silly you're not using isos that you don't want to use and then as faras the minimum shutter speed you can set the slowest shutter speed that you feel comfortable hand holding in most situations and that's what the camera's going to look at when it's in the auto eso mode and so as the shutter speed comes down saying the programme mode it's choosing aperture it's choosing shutter speeds it's probably going to go down and choose the fastest aperture possible as it gets darker and darker it's going to be choosing slower and slower shutter speeds and then once it hits in the case on screen one eighth of a second then it's going to start bumping up the esso automatically and so I would say just input whatever shutter speed you think it's the slowest shutter speed you could hand hold it was my camera I might put in maybe one fifteenth of a second okay moving on auto lightning optimizer I alluded to this earlier this shows up in the viewfinder of your camera as the d plus and it stands for dynamic range plus and they call it auto lightning optimizer here and what it is is if you'll notice in this particular photo that it might be nice to seymour information in the shadows and we could enable the auto lightning optimizer and what it would do is it would look at the photograph and it would just automatically lighten up the shadows and the question is do you want your camera to automatically lighten up the shadows? Well, if you don't plan on working with your images in a computer, you don't want to adjust him later. It might be a nice thing to have for many types of photography, but in other types of photography you like that contrast you don't want to lighten up those shadows now this is something that is on ly being done in j peg it is not being affected by ross so if you are only going to shoot raw, it doesn't matter what you said in here but I think this type of setting adjustment can better be controlled and done later in the computer in a program like adobe light room and so on my feeling is to disable this if you did a lot of people photography, you didn't have time for processing I would probably enable it in that particular situation. White balance is the exact same as the white balance that we saw in the quick menu of the camera, same options, it's just that you can set it here, and they put it here because as we dive down below this, we're going to see a bunch of other white balance options. So next up in this list is custom white balance, and this is the option I talked about earlier, where you photograph a white sheet of paper, so just find a white piece of paper, put it down on the table, you want pretty much fill the frame with that particular subject, you come in here to custom white balance, and you will select the photo that you just took of that piece of paper, and then you will go into the white mount setting, which is one above this, and you would select custom from the options, and the camera would read what color light you are working under and would figure out how to fix it, and it would set that color balance in the camera. So it be a good setting if you were going to be going into a room that has very unusual lighting, and you're really wanted to get the lighting as best as possible at the time you shot it all right? Next up, we have the option of going in and tweaking your white balance in the white balance shift and white balance bracketing now be honest with you, I've never done this in my camera what it does is it you can go in and you can tweak your camera a little bit more to the blue green area or the amber magenta side of things. My hope is that you don't need to do this, that you're not working under that unusual of lighting conditions, but you can adjust the color of the camera by using this. And once again, this controls on ly j peg, not raw images. The other part of this is bracketing you'll see some controls in there returning the dials to do a serious of bracketed shots where you could shoot a siri's of pictures shooting different colors. I don't know that I've ever talked to anybody who has used this, but it's there if you need it. Next up is the color space and there are two major color spaces that are being used on most of the internet right now and most online things that you see the whole internet is s r g b, which is a basic color space adobe rgb is a larger color space, and it is what you get when you select raw so one of the options if you select adobe rgb and you shoot j peg, you're going to get a slightly larger color government gamut which will allow you a little bit more freedom and things that you could do in photo shop and other programs as well afterwards so I kind of like to have the set at adobe rgb that way I get as much information as possible if you were just simply going to take your pictures down to the local lab and have them print simple little three by five pictures you don't want to do any computer work on your camera at all in that case, I would recommend s rgb all right last tab in the camera section so number four and we're going to start off here with picture styles now this is something we saw before in the quick menu this kind of controls the overall look of your image, the color, the sharpness and so forth if you shoot raw once again, this has no impact on your shooting if you shoot in j peg, my preference is standard if you really don't like to adjust images at all, auto is something that you might like and you'll notice that as you dig in here, one of the things you could do is press the info button and it will allow you to go in and customized these different modes you can go in and control and specific the sharpness contrast saturation, color, tone and if you choose monochrome the tony, the fact that you use and so there's a lot of pre work that you can do in your camera. And while we did mention before it's nice to get things right in the camera if you can do it better in the computer. Well, that's, where you're going to get the better picture and so I tend not to want to play around with these, but if you want to try to get it right in the camera, you can. But it kind of limits your options later on is the problem so something you can play around with the one area as I'll mention again, I kind of like is the monochrome setting helps me envision what a subject's gonna look like in black and white. Okay, next up, our two items I want to talk about both at the same time. Long exposure noise reduction in high s o speed noise reduction. So when you shoot at long exposures typically longer than one second when you shoot it hi, I esos generally let's, say sixteen hundred and above you're going to get noise. In your images it's a grain thing that we're not going to get into right now many of you know what it looks like, it looks like rough sandpaper and the camera has its own built in processing software for fixing this problem. So as you can see in this example, low noise is nice, we don't like high noise and the camera has it own built in noise reduction system that works pretty well, ok? And even though it works pretty really pretty well, my general recommendation for a lot of people is to leave this turned off, and the reason is is because it has kind of a fixed amount that it does and it's something that if you have the right software, you could do a better job of on a good monitor with a good software program like photoshopped or light room. If you don't want to work on the computer, you could lead this in auto and standard and that's not too bad. One of the things that I will warn you about is that if you are doing nighttime photography and you do a thirty second exposure and you have this in a long exposure noise reduction what's going to happen is you shoot, you're going to shoot your thirty second exposure, then the camera is going to process information for the next thirty seconds and you're gonna be waiting there come on, come on, I'd like to take another picture and your cameras processing this information and a lot of times when I'm shooting these long exposures it's cold, I want to get inside, I want to be someplace else and I don't want to wait around for my camera to shoot these pictures and sometimes it's during critical light phases where the light is setting and I have three seconds and it changes very, very quickly. And so it becomes a bit of a house, a lot on the field, and so I've turned this often my cameras, because I'm more than happy to look at it in the computer and fix it later. Next up highlight tone priority another image manipulation little device here, so take a look at these images on the left we have highlight tone disabled and on the right we have it enabled and what's going on in this case is that when we enable it, we're basically holding back some of the light that's coming in the camera so that if we have a really hot spot like you can see in that doorway, we can save that data look right above that person's head and you'll notice a detailed difference between losing those highlights and keeping the highlights. Now I'm all for keeping the highlights, which means getting the right exposure setting right shutter speed aperture knowing how to work the meter and so forth, the problem with leading this turned on is that you can no longer use s a one hundred, which is quite handy in a lot of types of photography, including that's, where your sensor is at its native sensitivity and its best quality. And so my tendency is to want to leave this turnoff there's some exceptions where it might be nice to have it turned on once again, this on ly effects, jpeg shooters does not affect raw shooters. Next up is dust delete data. If you take a photograph and it looks like this, you have a problem. This is probably what is going to be dust on the sensor. This would be all horrible scenario if your image look like this, but dust on the sensors should be cleaned off, and I'm gonna talk a little bit about how to physically clean it off later. But if you were in a situation where you didn't have the right tools or access to the right shops in order to get a sensor clean, what you would do is you would photograph a white sheet of paper, and the camera would set the camera up in such a way that it can see the dust on the sensor very, very clearly, and then it would clone out. All of the dust inspects on your sensor so that you have a nice clean image now I typically don't like having my camera cloning pixels over other pixels, but in an emergency situation this is what I would do if I was off in cuba of all countries on my sensor got really dirty and I didn't have anything to clean it with. This would be a way to kind of save the day out in the field and so be aware of that if you are traveling away from home and get there, get a dirty sensor quick question for you, john, you generally clean your own sensor and your cameras or do you send it out for you? I clean the sensors myself. I worked for a rental company and I got very used to cleaning sensor, so I'm quite comfortable doing it. It's not something everyone feels comfortable with, and as we like to say in my class, there is a slide for that, and so I will talk about some of the equipment that you need and a little bit a little bit more on how to do it great, thank you, but that's always preferable to doing this, this is kind of a last exactly I wish they would put all the cleaning stuff in one area it would make sense, but they separated it out and I will mention just to be very advanced here that if you do go through the dust elite data that applies to raw and j peg images, not just j peg only cool next item is the multiple exposures, and when I first heard about digital cameras with multiple exposures, I went that makes no sense at all they know about layers and photoshopped right? We could shoot as many pictures as we want and combine them in photo shop and do a much better job than we can in camera and I stand by that statement we can, but the advantage is this, so let me show you a little visual on this one is that you get to see where these images are overlapping in the camera and so it's kind of nice to see did I get this lined up with that? And so now it's a preview of what the final image is going to look like and so your final image in this case and if you didn't know about this yes, we've built three more space needles here in seattle just because we like the first one so much now one of the other subtle options you'll get to make in there is whether to do averaging or additive light and if you were to take five exposures under additive light obviously that light adds up and becomes brighter and brighter and brighter with each exposure for those who really know what they're doing and they custom set their exposures additive is pretty good. If you're just kind of new to multiple exposures, you might choose average e it'll make things a little bit simpler and make things come out a little bit more normal from the way that you're expecting. And so as we get back here into the multiple explosions, there's a lot of different options that you can go in and said you can sit anywhere from two to nine exposures, you can have it set up to shoot in a multiple exposure or to be in tenuously in the multiple exposure. Maybe you're doing a whole series of multiple exposures that way you don't have to dive back in and turn it on, shoot the pictures, turn it on, it does not automatically kicking you out of it, and so some fun in here it all some people love multiple exposures. Some people will never, ever use this mountain, okay. Last item in the camera shooting section is h d r h d r stands for high dynamic range it's, where the camera will automatically shoot a siri's of pictures for you, and then combined the best of the bright image and the dark image altogether and what's going to do is it's going to shoot three images? And they're going to it's going to shoot three j peg images and it's going to give you a j pick. So you're not working in raw when you are in the hdr mode and it will vary according to what you have said you could have it automatically choose range differences. You can choose one stop to stop or three stop each one getting more dramatic than the previous and so let's, take a look at some examples of what it looks like. So the first image just as a kind of standards first image is what does it look like with a raw image? And one of the reasons why I don't like in camera raw is watch what happens watching on screen everybody. Here we go, the camera zooms in a little bit, it is doing this because it thinks you are hand held. It assumes that you are not thinking enough about using a tripod that your hand holding the picture it zooms in a little bit so I can match it up with the subsequent photos. And so this is what that same image looks like using the one e v range in high dynamic range will try to stops, which really doesn't look that much different will try three stops, which we can see a little bit more into the shadowed areas. And I thought to myself after seeing this rather unimpressive display of what in camera raw was doing what would happen if I went back to my ryan midge and I just simply adjusted the rye image knowing what I know about lightening up the shadows and holding the highlights and so forth and I'm able to pick up a lot of them for that same information by just taking a single raw image and so to say the very least I'm not a fan of in camera hdr I'm not a huge fan of regular hdr but I think if you want to do hdr right you shoot a bracket syriza photos you use a program like photo matics check it up online google at photo matics they have a great program for combining images that will give you muchmore options this is a built in option try it if you want I have not been too impressed with it but it is there for somebody who doesn't want to buy the photo matics and they just want to see what they can do in camera with that hdr now once again that is going to be a jpeg image it's not going to be in a raw image so jim this completes our camera section we're gonna be going on to live you but it's a good time for me to get a drink of water take a little break and have you find a question that sounds great you know they're you know there's so many good questions from you guys so I don't know if you are seventy de users out there but we definitely appreciate you guys engaging with us so one question that we have from earlier because it wasn't specific to the menu system but someone best little studio wanted to know about talking about your advice for the high speed shutter sink is there a number that you've just choose not to go above I have to be honest with you I did not test this camera in the studio okay and while the camera can sink to fiftieth of a second if you are using it in the studio studio strobes generally have a longer on time then do the speed lights which is partly why they get their name speed light the light fires very very quickly and so you probably don't want to be at one to fiftieth of a second which is the top flashing speed I would say you're definitely safe at one hundred twenty fifth of a second you're probably quite good at around one hundred sixtieth and maybe two hundredth of a second if you really want to get geeky and test yourself just photograph a white wall at one to fiftieth one one eightieth and one twenty fifth or whatever those incremental shutter speeds are and you'll probably find that the wall looks a little dark on one into the frame at two fiftieth of a second so want twenty five would be the safe choice that I know would work very well. Okay, great. Thank yu and some candid cameras are able to go below is a one hundred with a special function? Does this camera have that ability? I do not believe so, but let me just do it in camera. No, it does not. Some some cameras that I believe I know the five d mark three can and I believe the sixty six d as well as the windy x can and the native sensitivity on those cameras. If we might diverge away from this camera for a moment the native sensitivity on those cameras and still I s o one hundred and what's happening is that when you shoot it fifty it's gonna lower your exposure range but sometimes you absolutely need fifty to get the shot and it's probably worth going there if you need it but you general, you want to leave your camera one hundred fantastic and I've heard a little bit around here creative live of some cameras have a magic s o that they liked me yet write can you talk a little bit about that and whether this camera might have that one sixty or that that man driver and so the reason jim was doing the magic number is because this is unconfirmed from the manufacturer and the native sensitivity on this is the lowest setting is a one hundred, and there are some people who feel and this has the conspiracy theory type of talk to it. Some people feel that the native sensitivity is really once sixty. Uh, excuse me one hundred and sixty I sl and that the camera manufacturers pointed down to one hundred for convenience sake, uh, just to make it because one hundred such a nice, convenient number and I have not been able to confirm that the difference is so incredibly subtle, you would need the world's largest magnifying glass to see the difference and it's something that maybe maura parent to some people who are shooting video and I'm not going to go so far as to say they're wrong because they made very well be right, but it's by such a small margin it's not something the average user needs to worry about, and even the advanced user it's extraordinarily small. Any difference that might be there, but some people are going after every little nuance difference. Do your own test, shoot a subject at s o one hundred one twenty five one sixty and then on up maybe two hundred three, twenty and four hundred and see which one actually looks the best to you. Great, thank you very much, thank you
Ratings and Reviews
a Creativelive Student
The good news is that this Canon 70D class is outstanding. John Greengo does an amazing job. I have bought several DVD's on the 70D but this class is superior. The bad news is that Creative Live Keeps putting out misleading information on their courses. In this E Mail it says: "If you're still watching, you can always go back to your My Classes Page to pick up where you left off." After several communications with their support I found out that they mean that you can go back to the course but not the place in the 30 minute course or whatever, a "bookmark" as their tech support called it. As an example, lets' consider an airport that has several giant parking lots. They could say that they have a system where if you lose your ticket they will get you back to your car. Sounds wonderful but all they will do is let you know which lot you parked in, not your actual spot. For the sake of clear communication they should drop that claim.
This was a wonderful class. John is a wonderful teacher. I originally bought the camera to do video work and it wasn't as helpful in that arena as I would have liked (but he fully admits to this being geared to photographers). I came back to it as a photographer and I feel much more comfortable and excited about using my camera.
a Creativelive Student
I agree with the other reviews. I was fortunate enough to receive this class free through the Adorama VIP program. After watching this series of videos, I would have been very happy to have paid the course fee. I had purchased a Canon 70D for a documentary project I am creating. This is my first DLSR and with all of the buttons and all the menus, it can be a pretty intimidating camera. I have shot film for many years and have had several Canon point-n-shoots so I am pretty familiar with photography basics. I will have to commend the demo on how aperture and depth of field. Very simple and concise way John explained this part of photography demonstrates what an effective teacher he really is. Just this part alone has made me want to watch his class on photography. The PDF that comes with this kit is great! There is one page that beaks down the menu system. This one is laminated and is in my camera bag. There are also a couple of pages on how to set the camera for shooting different types of events. I laminated these sheets back to back and these are also in my camera bag. Highly recommend this for anyone that owns a Canon 70D.