Canon® 6D - DSLR Fast Start


Lesson Info


So we've gone through the outside of the camera, all the buttons, and now it's time to start diving in on the inside, and the first thing that we're going to talk about are the displays on the camera, and there are two notable displays there's, the viewfinder, and then these thie lcd monitor in the back of the camera. So first off looking through the viewfinder thiss camera has a ninety seven percent coverage, not one hundred percent like five d mark three or the five d mark two it's a ninety seven percent coverage, which means that you're going to get a little bit more outside the frame lines, so if you line up the frame line with the door jamb, you're going probably get the entire door jam in the photographs and just realized that you're going to get a little bit more than you see in the viewfinder. Next up, we see the eleven focusing points that we talked about at length earlier on about the focusing system. The circle in the middle is thie spot metering area, so if you do want to p...

ut your camera in spot me eatery, that is the rains that it will be covering with the meter in area the lady information, this is the entire line of information at the bottom frame of the camera. And what we're gonna do is just kind of kind of run through what all these things are first up is an exclamation mark, which is a warning that something has been turned on that you should probably know about in your camera and the things that it would warn you about excuse me is if you have your camera in monochrome or black and white whether you've done a notable white balance correction, whether you have s o expansion turned on or if you have your spot metering turned on and you get to go in and customize thes if you want to go into custom function group number three number four you can customize which things come on or why that would exclamation mark would come on depending on what you have turned on for some people they want to shoot the monochrome mode and they don't want a warning that they're shooting it they know they know exactly what they're doing so you can turn it off if necessary. We have a very simplistic battery level there's a much better one in the menu system you'll see a little bit later on the auto exposure lock we talked a little bit about this this is the thumb button on the back of the camera with the ass trick that locks the exposure and as long as the camera is turned on, which usually only lasts for about six seconds before it goes into a sleep cycle and resets itself but that'll be your cue as to whether it's on or off the camera does not have a built in flash but if you do have an ad on flash this is going to let you know the flash is charged and ready to go if it's going to fire there is a special mode where will if you have a cannon flash and you want to you can shoot at a higher shutter speed then the one over one eighty that I talked about earlier you can actually sync it up to eight thousandth of a second but you do have to have the right flash and you have to put the flash and a very special mode and that would be be what's called high speed sync mode but that's going to maura flash feature than a camera feature you can also lock the exposure on the flash and other little thing that we're not going to get into because we're not talking that much about flash in this class flash exposure compensation once again something else to do with flash you can adjust the exposure of flash and this would let you know that you've permanently or at least temporarily changed it to over underexposed particular pictures we have our shutter speed information and our aperture information right there in the middle and then we have our exposure level also known as our light meter and so will be using that lot in manual photography, manual exposure and quite a bit in some of the other modes as well highlight tone priority this is something I'm going to address in the map in the menu of the camera and what it is indicating is that you are going in and having the computer adjust your image is a little bit for light values you'll see examples in a little bit next up we have the esso speed so if you get really good at your camera you'll be able to adjust the esso without even taking the camera away from your eye you can feel the iso button has a little kind of nubbin on it where you can kind of feel where that is and just change it by looking in the viewfinder and then finally the max burst mode on the camera this is how fast you can shoot and the camera has a temporary memory that it sends images to and it can hold on lee so much so many pictures before it starts downloading them to the memory card and that number is fourteen and actually we're gonna do a little live demo here so I'm going first I'm going to put in the camera into raw mode so that we can see what's this is going to be like in raw and I'm gonna make sure that we have the motor drive turned on high normal normal motor die and so here is what it sounds like as you shoot through and what we're gonna do is we're gonna shoot fourteen pictures and then it's going to slow down so right now the buckaroos fall and it's tempting pictures and it's shooting fixtures as fast as it can if I take my finger off the shutter release and I let the camera catch up I filled up the buffer again and so if you're shooting sports you want to be careful about shooting too many pictures at the wrong time because when you need him you may not have the buffer there and this is where a faster memory card will do better than a slower memory card because it's going to be flushing that information from the temporary memory into the memory card a little bit faster if you shoot j pegs you khun get upwards of seventy three images which is going to be pretty much continuous if you shoot raw plus j peg you'll only get about eight images in the buffer before you can before it starts slowing down on you. There is a little focus confirmation dot over on the side, so if you do want to manually focus you can point your focusing bracket at something to focus on manually turned the ring until you get the green confirmation so it's just a nice little visual for anyone who likes to manually focus so the lcd in the back of the camera will be using for a lot of information, you're going to be using it for the men. You will be using it for the information, but we've already talked about those the quick menu where you go for the quick information you want to change. Now, once you hit the cue button, you're going to be using all the different controls on the camera to potentially go in and change features and aspects of the quick control menu. The top row this is simply information the most obvious exposure information in your camera, shutter, speed, aperture and so forth. Now you can't really go in and change these here, but you can see what you have set on your camera, the bottom rows of the ones that you can get in and changed the first one is exposure compensation, whether you're making your picture lighter or darker, and you can also do this with flash, even though you don't have a flash built into this camera. If you have a flash attached to it, you can do work with it in camera. Now the reason why you might want to adjust the flasks flash exposure is pretty simple the camera uses what's called a t t l system it's a through the lands automated. Exposure system and it's not always right in fact most of the time with people's faces it tends to overexpose for from what we consider a pleasing photograph so I like power in my flash down usually about a t t l minus one and so here's another example where you can see it horribly over exposed her face and it's partly because she's wearing a fairly dark sweater and so the cameras trying to compensate and it doesn't understand skin tones and sweater colors and things like that and so in this case I prefer tt l minus two so somewhere between tl minus one and minus two would be a good option if you want to improve your flash photography with any of the cannon available flashes that you can attach right on the camera the wifi function there's a shortcut to get into this we have lots more on that later on next row we're gonna have a bunch of other little general settings picture styles will talk about when we get in the menu setting white balance to talk about that right now so white balance is here because you're cameron doesn't know what color the light source is that you're working with when you work outside on a sunny day it's a particular color when you go into the shade and there's a giant blue reflector over your head the sky the color on your subject is a little bit different and you should match the white balance to the color light source that you are working under many people in their living rooms have tungsten or incandescent lights in that case you want to set it down to the tungsten or incandescent setting that way you get proper color in your pictures and so if you are getting unusual colors as you work with the camera out in the field, adjust the white balance now there are a couple of more advanced modes as well there is a kelvin setting where you can go in and specifically set the kelvin temperature in degrees wherever you want and it manually just stays there if you don't know what the calvin temperature is, you can shoot a picture of a white piece of paper on tell the camera that this is supposed to be white and then it will figure out how much color it needs to compensate for and we'll fix that on future photographs and then finally there is auto white balance and this is where the camera figures out the white balance for you and it might seem counter to the way that I liketo work but actually like auto white balance, it works pretty well most of the time it's pretty close now the other reason I don't mind using auto white balances that I shoot raw for most of my images and we're going to talk about ron j picking a little bit but if you shoot raw, one of the nice things is that you can fix things later on in white balance without damaging your photograph if you shoot j peg and you screw up the white balance and you go back and you fix it later, you are technically damaging your photograph to some degree and that's not what photographers like to do, so I shoot raw in order to get best quality images, I generally will leave the auto white balance, but if I notice that it's just not quite right, I will go ahead and make that setting changing the camera it's pretty simple to do you just go in here and select little icon that's appropriate and away you go so that's what the white balance is now if the white balance that you chose isn't quite right, you chose the fluorescent lights and you have warm flesh, sins or daylight for essence or slightly different color temperature. You can go in and tweak the white balance settings that you have already chosen on the bigger categories so you can really find tune get any white balance color you can possibly imagine because they're they're all available in there and just in case you can't find the one you I really want, you could do something called white balance bracketing and this is where you would shoot a series of pictures usually three that would shoot the picture at different color balance is if you shoot in raw, this is completely unnecessary. If you shoot in j peg, you could do this. I have personally never used this on a camera, but it is there if you want it. Auto lightning optimizer is a mode where the camera will go in and adjust highlights and shadows according to what it thinks is good. I tend to want to leave this turnoff, I'll talk more about it when we get into the menu system. Custom controls is awesome. This is where you get to go in and customize several of the different controls on the camera. The shutter release, the focusing button. For instance, I talked about turning the focusing off on the shutter release in front. If you wanted to do that, you would go in here, you would select the shutter release in front and you could turn that off, and so there's a lot of customizing to get the camera to work exactly the way you want it to work with that next row. We have a lot of features that we've already talked about it a few that we're still going to talk about the focusing mode, the auto focus points they these modes had dedicated buttons on the camera that are faster to get to. But if you like using the screen on the back where maybe your cameras up in a position where you can't see the top of your camera, you can get to these modes here. But all of them have their own dedicated buttons image recording that's, the robber since j peg, you could select it right here. We're going to talk about it a little bit more when we get into the menu system and then down at the bottom. It just kind of reminds you that if you see the screen, but you can't make any changes, hit the cue button again so that you could make those changes. We have another very simplistic battery symbol, lets you know if you've got the gps system turned on or off. We see the number of images in the buffer, the burst mode, how many pictures we can shoot right away, and then the total image is left on. The menu card could be seen back here as well as on the top screen of the camera.

Class Description

Take this Canon® 6D tutorial with John Greengo, and you'll learn everything you need to know about the camera! In this photography tutorial, he provides hands-on introduction to your Canon® 6D camera's operations, detailed instructions on how all the menus work, and instruction on how to shoot great photos with this specific Canon® camera model.


Emmon Scott

There’s a saying in golf that it’s the swing, not the club, that counts. I’ve found that true in photography, where the most artistic photographer I know uses a Canon Rebel and an old film camera. His stuff wins awards and gets chosen for big exhibits. As recently as this past summer (2017) he told me he MIGHT upgrade to the camera this course covers, the 6D. Not the newer 6D Mark II — this one. If he gets it, I hope he takes this course. Is this course relevant in 2018, six years after the camera came out? To me, it is. I’ve read the hype about newer cameras — and they sound great — but I like the idea of seeing if I can do more with the 6D in my bag. And this course has already helped with that, really explaining the options and techniques for focusing, techniques I’ve started using and that have impacted how I composed some shots. The teacher, John Greengo, is the guy I’d want to meet behind the counter at a camera store. He knows the camera inside-out and upside-down. In this five-hour class, he takes you through every button, dial, and menu option — judiciously skimming past things less likely to be useful and focusing time on the key stuff. He’s a smart teacher and this is a smart class. Other examples of things he spent time on that caught my attention: How to adjust this camera and shoot remotely with an iPhone. How to use "mirror lockup" to keep the camera still at slow shutter speeds. How to update firmware. If you another camera and John Greengo offers a Fast Start course for it, my guess is you’ll find it worth your time.