Lessons
Class Introduction
06:38 2Camera Overview
07:20 3Photo Basics
06:33 4Top Deck: Overview & ISO
07:37 5Top Deck: Exposure Control
18:50 6Top Deck: Overview
02:47 7Viewfinder Display
14:49 8Back Side: Buttons
12:32Back Side: Quick Menu
29:26 10Back Side: Play Back
06:30 11Back Side: Format Memory Card
03:29 12Back Side: Drive Mode
10:00 13Left & Right Side: Overview
06:22 14Bottom Side of Camera
05:01 15Front of Camera
05:35 16Fuji Lenses Overview
07:47 17Camera Menu Overview
03:01 18Image Quality Menu
14:14 19Autofocus & Manual Focus Menu
13:58 20Shooting Settings Menu
15:39 21Wi-Fi Settings Menu
06:07 22Flash & Movie Menus
04:23 23Set Up Menu
16:38 24Custom Display Settings Menu
18:50 25Play Back Menu
04:58 26Camera Operation Overview
16:24Lesson Info
Photo Basics
All right, Next up, I want to do a little photo basics, and I have no doubt that the majority of people who own the X Pro two are already pretty well versed in sensor size and shutter speeds and apertures and so forth. But every once in a while, uh, some people like a little review of the basic, so we're going to spend just a few minutes covering some of the basics. If you're not interested in this, feel free to jump ahead to the next section on camera controls. So this camera is a muralist camera, which means it doesn't have a mere like DSLR cameras have on it. We have lots of great interchangeable lenses, and in each of those lenses is an aperture unit that can open and close, thus controlling the amount of light getting into the sensor. And so on are F stops or apertures. We can close our apertures down with each of these settings. It restricts the light by half, and so smallest settings on a lot of lenses will be at F 22. And then as we open up, we're letting in twice as much light...
with each of these openings, so this is the first way of controlling how much light gets into the camera. But that controls not just how much light gets into the sensor, but it also controls the depth of field. You can see here 1.4. We have very shallow depth of field. The top and bottom of the yardstick are very out of focus. The red lines over on the right indicate the forward edge and the back edge of focusing, and it grows as we stop. Our aperture down doesn't grow by ah lot with each setting adjustment, but it does add up, and by the time you get down F 22 you do get quite a bit in focus. So once light gets through the lands and into the camera with a muralist camera, it goes directly to the sensor so that you can see what's going on so you can frame your subject. Light will be sent to the sensor, and then it is electronica. He transmitted to the LCD in the back of the camera as well as the E V F on the top of the camera, which allows you to look through the viewfinder now, what's happening at the sensor is kind of interesting here because it works differently than traditional cameras. So lights coming into the sensor so that you can see and compose your subject. And the camera has a first and second curtain shutter, and when you take a picture, it closes. The first curtain charges the sensor so that it's ready to accept light, and then that first curtain opens up and this is your actual exposure right now. And then the second curtain closes, And this way each pixel is exposed for exactly the same amount of time. And then that second curtain needs to reopen again so that you can see to compose the next shot. So there's a lot of shutter curtain movement every time you take a picture. Now this could be used to control the amount of light, and it's also used to control how fast action is stopped and so very fast. Shutter speeds like 2/1000 of a second will stop very fast action. I'd recommend a shutter speed like 5/100 of a second for fast human action. You may need something faster, depending on the movement. 125th is more your middle of the road casual action. And then as you get down below 1/30 of a second, if things are moving pretty quickly, you're going to be getting blurry action. And this is an example of what people walking look look like at an eighth of a second. If you want those blurry waterfalls, that's gonna happen around one full second. And if you want to do nighttime light painting photography, that's gonna happen down it around 30 seconds. So that's kind of the basics of how a muralist camera and this muralist camera in particular work. Now. One of the most important things in any camera is the sensor size, and there are a variety of cameras that have a variety of sensor sizes in them. Now the largest of these is based off of 35 millimeter film and is one of the most common among traditional film cameras. But in the digital cameras, there's a lot of different sensors in this camera uses a sensor that's a little bit smaller than the old traditional 35 millimeter film, which is now known as a full frame sensor. And so Fuji used using the smaller size sensors so they can have smaller size lenses and eventually have a smaller size package. And so it's using an A PSC sensor, and there are a couple of different versions out there on the market. This one is using one with a crop factor off 1.5, and so the focal links are a little different than the days of 35 millimeter film. One thing to be aware of when you are using a neck strap on this camera as faras, the threading of the strap is make sure that the tail end goes underneath on that strap adjuster just so that the top side is keeping pressure down on it. That will keep the strap firmly attached and so that your camera will not fall out of it. As far as holding the camera, you'll put the camera course in your right hand for the most part, but your left hand as it cradles the lens. It's a little bit better to do this with the thumb in the upward position. It keeps your left elbow a little bit closer into your body, and you'll have a little bit firmer grip because you'll be having unless you. You have everything a little bit more secure in that regard, and so that's typically the best way of holding the camera. Now this camera is gonna have a lot of options when it comes to automatic or manual options on focusing exposure, white balance and a variety of other features. And I like trying to use my camera as manually as possible so that I can make very specific adjustments to the camera and from time to time. I just don't have time to do it on. And so it's nice to quick and throw it over into the automotive. But if you have the time you're willing to put out a little effort. You have the knowledge on how to work it. It's great if you can work it manually. That way you can throw it into automatic when you know that it's working in the way that you wanted to. And so it's not that one is right in one is wrong. It just all depends on the types of purpose. But if you can understand how to use it manually, you'll have a better time using it automatically. If you want to learn more about photography in general, you might want to take a look in my fundamental fundamentals of photography class. Here it creativelive. It's a lengthy class and very, very in depth. It's gonna cover all the basic fundamentals that you're gonna want to know about photography, for going forward and doing whatever type of photography you are most interested in and
Class Materials
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Ratings and Reviews
mi no
it's a great course would have loved to get the same quality course for my Fujifilm X-Pro3
a Creativelive Student
I have the X Pro 2 for over a year and I thought that I might get more information on how to use it more efficiently. Boy this is a great course! I learned a lot and I loved the hidden feature :) Highly appreciated John and CL!
MInna
WOW how I wish I had this to begin with!!!! Between manual and smart tip overload via books and U Tube, as well as, class instructor snafus I pretty much felt like an idiot. After this class not so much. Great job .
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