To get into the menu system, you simply press the menu button obviously and in here everything is organized according to different groups of situation there are tabs that you can go to we have ones for shooting one specifically for a live view and movie shooting playback set up and then one called my menu and you want to kind of pay attention as we go through through this menu because if there is something very particular that you like, ooh, I like that and then I'm going to want to turn that on and off you can put it into my menu so that you can find it more easy it's kind of your your list of favorites you might say and so we're going to going through each one of these now something important to know about the menu system is that if you are using the camera in the basic modes like the scene intelligent mode then you're only going to have access to certain tabs in the menu in certain items in there and so for this class, if you do not want to do that you want to have your camera in on...
e of these more manual modes full manual would be a good place to be but program or any of those other few and there would be finest well in this as you can see give you many more tabs of information that you can float between now it is a little unusual because there's some items that are kind of hidden that deal with video and you have to go into the video mode and then press menu to get back into the menu mode to get into these special video moz and we're going to take care of those in due time so let's dive into the normal menu moz and just leave your camera on hit the menu button and navigate using the multi controller in the back of the camera to the first left tab and the first item in there which is image quality we did talk about this a little bit earlier so we won't dwell on it too long but if you want the full information that you can get from the sensor you want to shoot in raw you will need the appropriate software to read and work with the image if you don't have that it would be wise to put it in the largest quality j peg setting there are other medium and small size settings I don't recommend them uh except for maybe special situations where you're just trying to get a image straight out of the camera that's a very particular size but in general photographers want to get the best that their camera can offer and so shooting raw would be the best choice and j peg large would be very good choice as well as we go through this menu system you will see a general recommendation in gray and an advanced user recommendation in red and on the outline that you get with the class on the menu setting or menu cage it's going to have these exact same settings in here, so if you don't have it, you're not taking notes. If you don't have your camera with you and you don't want to write everything down, this will be on the menu setting, as is all my recommendations and so forth as we go through the menu settings here. So that's just something to take note of as we go through all right, next up on the camera is the beat, and I tend to think that this is not a very nice thing. I prefer to operate in stealth mode more frequently for the beginner user. It might be helpful to leave this enable just so that you understand when your camera is focusing and it's achieved proper focus. But once you get used to it, you'll probably want to disable this on the camera, the drive and self timer. Mo this is the exact same one we talked about before that we saw in the quick menu, so the quick men you had a short cut into a small group of features, and this was one of those features. And you can go in we've already talked about all these modes here it's in here you normally would not dive into the menu setting to go change this there's other faster ways to do it with the quick menu button on this but it is in here along with everything else and in case you make a change here the cameras keeps with whatever is the last setting you have set so if you said it in the quick menu as one thing and then you come back into the full menu and you said it again it's wherever it was last next up is release shutter without card and I would turn this off. What this means is that if you don't have a memory card in the camera you will not be able to fire the shutter which is a good thing because the camera won't record that as an image and so just turn that off and you won't take pictures without film next up is called image review and this is when you take a picture does it show you on the back of the camera what you just took and I tend to like it to leave it on for about four seconds you can change it between two or eight seconds or just have it hold there until you want to turn it off but four seconds seems to be a reasonable amount of time for a typical shooting next to something called lenz aberration correction and it's probably easier to show you what this is then explain it so here is an image that has what's called vignette ing darkening of the corners and so with peripheral which means the edges illumination brightness correction the camera would go in and fix those dark corners because kanan nose with a cannon lands how much of this vignette ng it's likely to have it can automatically correct for it in camera if you purchase a sigma tau kina or tamar on lands it's not going to know this and not be able to do it so this is one of the few things that on lee the canon lenses will do on the candid camera body and while this is a nice thing to clear up on an image like this before you turn this on realized that in some images people like to add a lot of in getting in fact I found that a lot of people who do people photography prefer to have a little bit of in getting in fact they will add extra in later on and photoshopped light room and other things and so as much as I like to fix it in some cases I prefer to fix it on a case by case basis on the computer because it's really not that often that I want to change it now another lens problem that happens is something called chromatic aberration chromatic meaning color aberration like a ghost. And so in this case, what happens is with a bright backlight coming around a solid subject, you get this kind of color fringing that has sometimes a purplish color to it, or in this case, kind of a teal and maroon color to it. Well, the camera knows how bad it is and can automatically fix it in camera by turning it on. And so you can do chromatic aberration. No, nobody likes chromatic aberration. And so this would be one that you may want to enable the downside to turning these on, and why I have recommend an advanced user to disable both of these is that it requires additional processing power on the camera and it's going to slow the drive right down from four to three frames per second, and so it may not be best to have for everybody. If you just want to set the camera up and you're not going to worry about super speed performance, you could have it fixed both of these. If you shoot in raw raw is not affected by this, this is only going to be affected if you are shooting jpeg images as we go through the camera, especially the shooting section, we're going toe encounter several different menu items that tweak play. Photoshopped the image they adjusted in some ways, and in all of those cases it will affect j pegs, but it will not affect raw, so if you shoot raw, it doesn't matter where your camera is set at on all of these image parameters, you're just going to get the straight raw data. All right, let's, go to red eye reduction. All right, watch the screen. Watch what happens when you turn the red when you do red eye reduction that a number of fires a serious of bright flashes straight from the flash in order to help reduce red eye. Now it does help fix red eye, but the problem is, is that well, like if you're shooting kids, which have a lot of red eye, they see the bright flashes to start with, and they think you've taken the picture and they turn their head or they start walking away and the picture is yet to be taken its takes about a second and a half to go through these bright flashes to take the picture so you don't have red eye, but you may not know not may not even have them in the picture, and so I tend to want to disable this red eye is pretty easily fixed in post in the various other programs there's a lot of programs that will automatically fix it and so I would on ly enable this is if you are really shooting a lot of people with pictures and you clearly tell them wait for the final flash because there are multiple flashes that they will see all right so now you need to go to the right to go to the next tab in the menu system so this is kind of shooting mode or shooting tab number two and the first item excuse me deals with exposure compensation and a b with stands for auto exposure bracketing bracketing is where you shoot a siri's of pictures with a variety of settings in this case it's a variety of exposure settings you're under exposing and you're over exposing by perhaps one stop so one image is twice as dark the other images twice is bright and not going to go into the specifics on which dials you turn it's fairly obvious there's a lot of on screen advices to which dial's u turn and what you could do is you can overexposed and you can under expose by up to five stops taking these three different exposures and so that's something that a landscape photographer might do if somebody's into hdr photography high dynamic range photography they shoot a syriza pictures and combine them later into one picture that hasn't a wider dynamic range than you could normally grab in one shot next up is flash control and you know every once in a while you walk along, you step in a rabbit hole and it goes way in, weigh in and weigh in and that's what happens here, it's just one little thing here, but when you dive into it there's a whole little sub menu system that comes up and we're not going to have time to go into everything in flash but you can turn the flash off if you want in the camera. Normally you would just push it down and it's not going to fire, but you could disable it if you really wanted to. You can control the type of meat a ring system that is in the flash evaluative is the normal basic one. I would just leave it there does a great job you could control the sink speed. What sort of shutter speed is used when the flash fires and there will be a little sub menu in here and you can choose a variety of settings in here. If you are very steady about holding the camera, you could choose auto, in which case the camera might choose a slow shutter speed like a fifteenth of a second. If you're not so sure about how steady the camera will be held, you might want to set it something in the one, two hundred to tow one sixtieth rage and so a little bit of a difference depending on how comfortable you are holding the camera had slower shutter speeds we have additional settings that we can control with the shutter synchronization normally it's synchronized to match up with the first curtain for special effects you could match it up with a second curtain and if you wanted to you could dive in and change the power of the flash by powering it down and powering it up now if this exposure compensation seems familiar it's because it's exactly the same one that's in the quick menu which is a whole lot easier to get to so if you want to power down the flash you could do it in two positions but it's much easier to do it from the quick menu than it is here just because there's fewer button presses to get to it if you do get one of the external cannon speed lights, you can control the speed like functions straight from the camera and we're not going to go into those because that obviously gets into the hole additional flash and which flash you have up there. You're also able to go in and control the custom function settings on that external flash unit but be able to do it straight on camera with screen on the back of your camera so if you get into flash there's a lot more options in there we did have a question from one of our viewers earlier about setting the so and so if you are going to do be setting your auto so you can set the maximum limit anywhere from topping out at four hundred s o four hundred two s o sixty four hundred if I had to recommend a number sixteen hundred still looks pretty good on this camera so you should get pretty clean results up to sixteen hundred so that would be a pretty good number now if you shoot under really low light you might need to bump that up to thirty two or sixty four hundred depends on exactly how you shoot and what you should next up. We did talk about this earlier it's the auto lightning optimizer if remember the photographs at the wedding where we brightened up the shadows? This is where the camera kind of goes in your photograph tries to determine what you might like out of a photograph and tries to fix it a little bit and I'm always little a little wary of a camera trying to fix a problem that it doesn't really know that much about. And so for anyone who wants to really control their photographs, this is something that you can do with much finer control on a computer with a good screen in a decent program now if you don't ever plan to download your pictures to a computer, you just want to upload them to facebook you could leave this on, but having anyone who wants to really get in there and control it probably should leave this one turned off. Next up is white balance. This is something we saw before in the quick menu it's just here as well, because the menu is kind of the full list of all the settings on the camp. Next up is something called custom white balance and this I mentioned briefly before I'll explain it a little bit more now this is where you photograph a white sheet of paper and you tell the camera basically this is a white sheet of paper and it is supposed to be white so you go right here to custom white balance and you will ask he asked to select the photographs you select the photograph of said piece of paper and you will set that as your custom white balance and your camera will then understand what color light source you are working under so that you can record pictures under the correct lighting. If you if it's very important that you get perfect lighting as faras color goes in a situation, this is a good technique to use. You may want to dive into your instruction manual for a little bit more information with it it's not something I personally use very much I find that by shooting in rye can adjust things later on pretty easily but if you are in an unusual situation, this is one way to dial it in and get it perfect in the field. Next up is something called white balance shift and bracketing and what this is is if the fluorescent or the tungsten lighting settings that cannon has set for you are not quite to your liking you khun go adjust them between magenta, green, blue and amber as to what color you think it should be shifted towards. Most people are never even going to touch this, not really that important, but it is adjusting the white balance and just fine tuning it to the exact standards. So next up we're going to be moving to the third tabas you can see we're moving through this menu system quickly here. Color space is the range of colors that you record with the camera. You know, if you shoot in raw, you were going to get a color space called adobe rgb, which is a larger color gamut than srg, which is where your camera comes set when you get it straight out of the box. If you plan to do nothing in a computer with it, you just want to take pictures and upload them to the internet. You're probably just fine at s rgb, but if you want to do commercial printing purposes so you want to print your photographs if you wanna work with him and photo shop or adobe or in any of the computer programs you're going to want adobe rg because it gives you the largest color gamut to work with picture styles his next and it's something we've talked about before and this is kind of the look and feel of your photographs you might say and what it's controlling here is it's controlling your color your saturation the sharpness of that the image because you can sharpen it up more or less and that has some I mean it sounds like a lot of people would think that you want everything is sharpest khun b but actually you don't and so there's a lot of settings in here that are pre programmed for you for doing portrait photography or landscape photography and if you notice when you dive into the screen it says info details set if you press the inflow button on your camera you can go in and set detailed information and in fact you can save as you can see here you can save your own little settings on different types of pictures so you can create your own look to your images as faras color contrasts saturation and this once again on ly applies to j peg images you can do as much as you want in here if you shoot raw and it's going to have zero effect on it so this is only for j peg and I tend not to like to futz with my pictures too much in camera. I just want to shoot clean, simple, basic stuff. And so that's why I recommend just leaving it at standard. If you leave it at auto, it will adjust for different types of situations, and it will add mohr or less of those various features. Standard keeps it the same between all of your pictures, no matter where they are. So it's a little bit more consistent and less likely to vary on you. And so either auto, our standard would be a good setting recommendation for this mode. Next up is something called auto focus operation, and this is the auto focus mode on your camera. There's a shortcut to this on the quick menus. So we've kind of already seen this before for basic photography. I would leave it in one shot, and then when you go to sports, then is when you want to move it to a I serve o f the meter in mode. Once again, we saw this in the quick menu, but we see it here is, well, evaluative metering is a good general purpose one, and then we'll leave it right there mentioned at the very beginning of the class, dust on the sensor is an issue that needs to be dealt with and several different ways one of the options if you have dust on the sensor and the automatic sensor when you turn the camera on and off is not cleaning it up and you can't get it clean and you're in a position you're just not in a position where you can clean the sensor at this time. What you can do is you can go photograph a white sheet of paper the camera will then see all the dust that is on it. You go to dust, delete data right here in the menu system and you register a dusty image the camera looks at that image it maps out where all the dust is, it clones over it so then when you take pictures you'll have nice clean shots without dust on when you have a chance, you can go back clean the sensor off reregister anew dusty image so that you're not cloning pixels over pixels and so it's a good way of cleaning up, eh sensor when you're out in the field and don't have any means to the right tools. And so the idea is just to fill the flooring frame with pure white you're going to want to probably shoot in aperture priority at f twenty two and finally just manually focus and take that picture and that will get you your dusty image picture for the camera too calibrate with all right next up are a couple of items that we're going to talk about together dealing with noise reduction, one dealing with long exposure which means anything over about three seconds and another noise reduction dealing with high eyes so noisy saw those examples we're reshooting images at sixty, four hundred and twenty five thousand they were very noisy well, in this visual you can see that the camera with low isos has very clean images and when you shoot it high ias owes you get this very grainy, noisy look to your image well, the camera has a built in noise reduction system and what it will do is it will try to reduce the noise with its own built in program and it does I reasonably good job and so if you wanted it to be done really quick and simple, you could leave this on in the camera, but once again, if you shoot in raw this has no impact on your image is if you want to do it even better than this basic programs like adobe light room will allow you to do it even better than this. And so I think for the more advanced users you're going to want to leave these turned off and if you're real simple and you're not going to be messing around later on in the computer and you do shoot with high I isos or long shutter speeds this will this should be something that you could set it either auto for the long exposure or standard for the high I so now if you do leave the long exposure noise reduction on it's going to limit how fast you can shoot through the camera it's going to limit your frames per second and how fast you can shoot because it's going to be processing information so it does slow down the shooting process a little bit now under high I so speed noise reduction is another special setting that's called multi shot noise reduction and what the camera does is it takes four photograph it's all in a row and it compares them and it tries to take the best of each to eliminate as much noise as possible. It's another option you can try for you're probably better off to shooting rob, but give it a try see if it works for your situation this might be a good time take a quick break because we're going to start moving into a slightly different sections so let's say three questions regarding those issues there is there's quite a few different menu options you know that you can have shown at any given time and save ferris very clever chat name as asked can you limit which menu items air shown or is there a custom menu where you can show on ly things that you want to see so the menus can only be customized in the following way if you have your camera in the really basic modes it's only going to show you a few taps next up or at the very end of this talk there is something called my menu and you can program in it's about seven of your favorite settings and when you go to the menu button on your camera it automatically goes to your favorite seven and so if you can narrow it down to seven it'll be really good because you can really just go to that one screen and so we'll do that right at the end of the menu section okay great on this just came in earlier you were comparing the sl one two different dslr is out there on the market and for those just joining in would you mind kind of re explaining about like, you know, the differences between the sl one for example and the cannon sixty d you know the effective differences why someone would want this over a regular dslr know ok, well the comparing this to most other dslr is it's just so much smaller and it's going to be fit in a smaller size bank it's much lighter weight I mean the cameras around one pound half a kilo or so it's so it's extremely lightweight comparing it to the mirror lis cameras you actually get to view through the lands optically you get to see with your own eyes what that lens is pointing that as opposed to an electronic view or not having a view finder at all and being forced to look at the camera on lee on the screen on back which is nice but it's not best way to shoot with the camera generally it's going to be holding it up to your eye so this is going to offer you the best viewing system and it's just going to do so with an image quality that is quite near anything else out on the market but at in some cases half the weight and so it's an interesting mix of features and benefits on this particular model so the next tab in the menu deals with live you shooting kind of shows you the screen on the back of the camera the first item is whether you want to use live you shooting at all and live you shooting can be quite helpful in many situations so I like to leave it enabled but if you've never want to use it, you could disable it so that if you hit that button it won't go into the live view mode next up is thief focusing method when you are in a live view now we did go through these earlier when we talked about both live you and movie mode and this is where you get to make the year settings the one that I like is the flexi zone, a f with the small bracket, which allows me to move that bracket around with the up down arrow on the back of the camera if I want to focus to the left or to the right anywhere you want, the larger bracket kind of looks at the entire area and usually tries to focus either on the main thing, whatever that thing happens to be, or whatever is closest to you now, unlike the standard focusing points in here, the middle isn't nissa necessarily better than anything else. One of the advantages with using a live view system and although it's a very small advantage and really not too much of an advantage, but they're all equal, so if you want to focus on the top left corner that's exactly the same as the center, it actually is going to depend on what that little bracket is on is over something that has contrast lines of vertical lines and horizontal lines. And so not a big fan of face tracking, and I'm not a real big fan of the quick mode. So either one of those other two, I think it's a pretty good mode to have the camera next up is continuous auto focus, and I just I don't think it sounds good, it doesn't look good on, so I would just disable this touch shutter this enables you to use the screen on the back of the camera to touch this lcd screen to take a picture. I don't usually like doing that as far as taking a picture, but there's nothing wrong with it and sometimes it's nice because you can actually tap on an area to focus and then tap again to take a picture and so it's a nice little feature of having there, so I'm not going to turn it off. Next up is something called grid display, and if you'll see here on the camera, you can add different types of grid lines, either with I think nine or twenty four boxes and as much as I kind of like these for architectural photography, it clutters up the screen and I tend to want to leave it turned off, but if you are into architectural work or landscape and you want a level the horizon that would be an in camera tool for doing that next up is something called the aspect ratio. Here we are, and the camera's sensor is a three by two aspect ratio. The height to with ratio is three to two, and so if you want to get the entire sensor, you want to leave this at three to two if for a variety of reasons, you may want to shoot at a different frame and crop it in camera you can shoot squares, you can shoot sixteen by nine, which is the aspect ratio of high definition television, or you can shoot for by three, which fits very closely with, like a standard eight by ten inch frame. So if you're trying to meet one of those frames, you could do that in camera, but I don't recommend it. I would rather just shoot all the information on the sensor and make that sort of change later on next up, meet oring timer when you press down on the shutter release, how long is the meter active? You can shorten this link the time down to four seconds or take it up to thirty sixteen is kind of a nice middle ground, not too many people change it from there, okay, time again to change modes here, so we're going to go into the movie mode, and in order to do this, you need to put your camera in the movie mode and then hit the menu button. So that's two things need to do. You need to move it over to the movie mode, which kicks you out of the menu, and then you need to have the menu button to go back into the menu, and we're going to see some of the same things we were just talking about, but they're exclusively tied dealing with when the camera is in the movie moment so the focusing mode once again we talked about this just a moment ago I still like the flexi zone a f with the smaller bracket for its servo auto focus this is where the camera's moving back and forth consistently focusing I would want to disable this it doesn't look good, it doesn't sound good and it doesn't work real well, so disable it focusing with the shutter button is normally done on one shot so it's going to focus on something and stop if you just wanted to turn off the shutter release for focusing you would need to manually focus and that's certainly an option, but you can leave this turned on in my opinion, the grid display we talked about that before I like to leave it nice and clean, so I'm going to turn it off metering time or how long is the meeting stay on? Once again we're going to keep this at sixteen seconds, moving over to the second tab of the movie mode and this is where some of the more important settings are. First one is the movie recording size this one's probably the most important, so this is the resolution in frame rate when you want to record videos the standard frame rate for tv around the world right now is thie hd nineteen twenty by ten eighty at twenty five or thirty frames per second it depends on which region of the world you are in and so that's going to be kind of the go to setting for most people you can change it if you want to down to twenty four frames a second which is where hollywood films a lot of their movies so if you want your video to have a slightly hollywood look you could choose twenty four frames per second there is also a sixty frame option but it is at a lower resolution it's just a lot of data to compress so they're not able to do that at hd yet and then there's a smaller youtube style video resolution at six hundred forty pixels across and so that's what that nineteen, twenty years it's it's one thousand nine hundred twenty pixels across the top row so nineteen twenty by thirty is theis standard here in the united states if you were over in europe I think in most countries would be nineteen, twenty eight, twenty five frames per second with a question earlier about the sound recording. Well, this is where you would go to make adjustments on the sound recording. If you are a film buff and you're recording you're making your own movies you probably want to manually control your sound for the average user I would probably just leave it in auto but if you do want to go into manually setting it, you can go in and said it there's also ah wind filter in there that you can control a couple of other minor controls for controlling the exact way that it picks up the sound. Ok, something just doesn't translate here and there's something that I think is popular in japan, where you go out and you shoot a bunch of two second videos or for second videos and you combine it to make a movie and it's called video snapshot and I just don't get it it's there on your camera, I highly recommend disabling it it's just kind of weird, I don't I don't understand question from your underscore name forces. How does this menu comparison menus on other cameras? I'm just getting into photography and already feel a little confused by all the options. That's a really great question when you get your first camera with lots of also I am sorry to say that this is probably one of the simplest and best organized menus you will find on a camera if you compare it with other canon cameras it's a very similar layout, which is kind of nice it's just that when you get into the higher and cameras there's, even more tabs and there's more fine tune adjustments in there, there are other cameras that kind of have things kind of all over the place and it's, pretty common on these cameras, there's a lot of these options. As I said, I think there's like three types of options, you have things that just don't ever concern you video snapshot has never concerned me. I will never go to it. I will never, ever use it. All right, so I don't even need to worry about that one there's a few things, like we just talked about the movie recording moment. I'm going to shoot it, the nineteen twenty at thirty frames per second, and I'm just gonna leave it there. I said it once, and I'm done next up are things that I want to go back forth and turn on and off and maybe in this camera that j peg and raw option is something that I might choose to turn switch from one to the other, depending on the suit shooting mode and so there's, relatively few things that you really need to go in there and adjust on a regular basis, and if you can narrow it down to seven, you can put those in a tiendas your favorites. Right on so that's good to know so you don't have to know all the menu functions every single time get it down just do it once I set it up and then just knows the others all right? A question for the video from mango tango right here in seattle asked how do you feel like the video quality that comes out of this camera? Well, I haven't done a lot of video tests with this camera from what I've seen it's reasonably good and so it's not fantastic it's not terrible it's it's going to be better than a lot of video cameras because because it has a much larger sensor it'll have a cleaner, better image it will have better performance under low light conditions thie autofocus system just doesn't work well the controls of the camera not really designed is a video camera so there's a lot of limitations there for somebody who wants to primarily take still photographs and they just don't want to hold the video camera long because they just just want to shoot a few little things on video it's perfect for that. And so if you're trying to make the next hollywood blockbuster movie maybe not the right camera but they could potentially use it as well right on the nose of a plane that's crashing into the ground because it's kind of a disposable camera in the prices faras hollywood goes for movies movie cameras and so it's pretty good it's just not if you're planning to shoot a lot of video dslr is khun shoot excellent quality video but they're not great camcorder it's kind of a little bit of a conduct probably great for just the everyday moments in life right? You say you know I just want to shoot a little ten second video of this because this is interesting it picks up the sound it's got color it's got great resolution just try to get your focus said ahead of time with my nieces eleventh birthday party yesterday and that would have come in just perfect and handy because you don't want something like this shoot a couple minutes of it exactly one of like kidder capturing like blowing out the candles and like all good and I think these cameras in some ways had just killed cam court our sales now publicly it's like who wants to carry around two items yeah exactly all right another question in from sam cox over in colorado says moving moving movie mode and live you drain camera battery's really quickly right so if using these modes frequently do you recommend having several charged batteries along in your bag and a follow up? Is there an a c slash wall power option so yes using the movie mode with sensor live and active and the image on the back of the screen uses up a lot more power I think we're talking about normal battery life of around five hundred images, cutting back down to less than two hundred when using a live you moz, so it does kind of suck batteries when it does that. And so just be aware that leaving that screen on is draining the batteries unnecessarily if you're not using the camera. And so if you do plan to shoot a lot of video, if you're going to go to a sporting event where you're going to be shooting it for several hours, yes, you're going to need more than your one battery. How many batteries? I don't know? It depends on how long you're event is and exactly how you shoot it on other factors that you have turned on and off in your camera, but spare battery is going to very advisable for anyone who shoots video in this camera law. Yeah, I'm probably somebody who has a really busy active lifestyle that doesn't always take the time to recharge their batteries. It's really nice if you have two batteries because what you do is you have one that's charged it's waiting, ready to go and you just use the care until it dies don't worry about it just using until it dies and then it switches. And then you switched batteries. And you have one to go through on the charger. Charge it up and it's, just always sitting there. And so it's a nice cycle. That really, you're always ready for something.