Shoot 1 Menu
And so on the back of our camera what we're going to be doing is we're going to be hitting the menu button and then we're going to be either going up and down so we can use the scroll wheel or we could just use the tabs to go up and down left and right we can use the top dial to change back and forth between the different tabs yeah well we're going tio start off on tab number one up on the top on image quality and then we're just going to work our way one item by one item through that so let's get back to the keynote image quality is something that we had talked about in the quick menu because it is in there and so one of the options in here if you are shooting large for instance is that you have two different compression modes you have a higher quality and a lower quality and they each have their own little symbol that goes along with it and so if you are just getting started and you don't have all those write software on your computer then large j peg the higher quality version of it...
would probably be the best way to start off I tell most people either plan either start shooting or make plans on shooting raw in the future now it depends on what you're doing with your images and what you need is to whether you really need to go to raw but most serious photographers like shooting raw because that gets them access to the original unadulterated information from the censor and so all the other images all the j pegs are being compressed and processed by the cannon engine and software in the camera itself and some people I don't want them doesn't want the camera to do this they want to do that on their own and that's the one in one of the many advantages by shooting raw but you do need to have the right software on your computer so as we go through this class I'm going to be giving you my recommendations on how I think the camera should be set up in general my general recommendations are going to be in gray for those who are a little bit more advanced users those recommendations 00:01:58.468 --> 00:02:01. will be coming in red and ken if you could hold up 00:02:01.39 --> 00:02:05. the outline with that sheet that is part of the pdf 00:02:05.06 --> 00:02:07. these air printed in the pdf and so if you missed 00:02:07.46 --> 00:02:10. him as we go by the class they're actually going to 00:02:10.14 --> 00:02:12. be printed in there so you can take a look at them 00:02:12.35 --> 00:02:16. as we go through the whole menu system here all right 00:02:16.31 --> 00:02:18. next up the beep is an audible little beep beep when 00:02:18.83 --> 00:02:21. it's in focus it's generally the first thing that 00:02:21.44 --> 00:02:24. I disable and turn off when I get a camera, it drives 00:02:24.66 --> 00:02:27. me nuts because it's alerting everyone else and it's 00:02:27.52 --> 00:02:30. drawing attention to me taking photos and I generally 00:02:30.68 --> 00:02:34. don't want the attention on me it is a confirmation 00:02:34.38 --> 00:02:37. that you are in focus and so there are some photographers 00:02:37.83 --> 00:02:40. who feel more comfortable getting that yes, you did 00:02:40.5 --> 00:02:43. it right and in the camera's working I just want to 00:02:43.0 --> 00:02:45. say I want to remind you that in the viewfinder is 00:02:45.94 --> 00:02:48. the green circle in the bottom right, which is an 00:02:48.77 --> 00:02:52. additional confirmation that you have properly achieved 00:02:52.1 --> 00:02:52. focus 00:02:54.66 --> 00:02:57. releasing the shutter without the card I would recommend 00:02:57.12 --> 00:02:59. disabling this for everyone with this basically means 00:02:59.76 --> 00:03:02. is that if you don't have a memory card in the camera 00:03:02.62 --> 00:03:05. you will not be able to shoot photos you won't be 00:03:05.38 --> 00:03:08. able to fire the shutter and so this is kind of a 00:03:08.35 --> 00:03:12. preventive way tio prevent the camera from trying 00:03:12.36 --> 00:03:14. to take pictures without a memory card. It's a good 00:03:14.6 --> 00:03:17. note to you that hey you forgot to put a memory card 00:03:17.0 --> 00:03:18. in here that's why the camera will not shoot a picture 00:03:20.62 --> 00:03:23. next up image review this is a personal choice on 00:03:23.73 --> 00:03:27. how long you want an image to come up after you have 00:03:27.0 --> 00:03:30. shot it two seconds is a prison a pretty reasonable 00:03:30.1 --> 00:03:32. amount of time for many people to get a quick check 00:03:33.02 --> 00:03:35. on their images some people like to set this up for 00:03:35.39 --> 00:03:38. some people turn this off it's a bit more of a personal 00:03:38.09 --> 00:03:38. choice 00:03:42.12 --> 00:03:46. cousin len's aberration correction we did talk a little 00:03:46.61 --> 00:03:50. bit about one of these films no I guess this is new 00:03:50.32 --> 00:03:52. I was thinking we talked about this in the quick menu 00:03:52.72 --> 00:03:56. so there are a number of issues that lenses have where 00:03:56.46 --> 00:03:59. they are in perfect yes you heard it here first some 00:03:59.79 --> 00:04:03. lenses are imperfect right and there is ways in which the camera can use software to correct for those problems and you may or may not want this done and there are three different problems that are encountered that the camera has the opportunity for you to fix so let's take a look at these three different types of scenarios first up is known as peripheral illumination correction which can also be known as darkening of the corners so this image here has a darkening of the corners and this could be caused by many different reasons it's often caused by lenses that have very fast apertures like a one point four or one point eight lands and shooting at those were you wide apertures like a one point four two two point eight settee the camera has the ability to look at that image no what lens shot it and automatically correct for the brightness level teo even an out throughout the entire picture and in many cases where you have a sky as in the situation of this image you would want the enabled look on this most likely unless it's a personal artistic choice in the way that you shoot photos however I don't leave it enabled because in some cases I like a little bit a little bit of vignette ing on my subject so I prefer the image on the left that has the corners darkened up a little bit just naturally from the way the lens actually works this is what you see in the viewfinder and so photographers are a little bit split on this do you want it to fix everything for you or do you just want to let it be the way that that lends naturally is and this is very much a personal artistic choice that you could easily go either direction on the next item is chromatic aberration now this is something that all photographers that I know of do not like and what happens is there is a color fringing when you shoot a dark subject that has a light subject behind it so anything is kind of back lit the way that light travels around that subject is a little bit incorrect when it gets to the sensor and you end up with this halo of bluish or red light and the camera understands how bag the chromatic aberration is on particular lenses and can automatically fix it. And so this is something that most photographers are very happy about because nobody likes chromatic aberration in their photographs and so this is something that you probably want to turn on the next is distortion let me flip back and forth between two images so this is our first image and this image has distortion and the next one has is corrected and so you can see the distortion in the horizon on this image and generally most photographers don't like distortion there's a few of us who do like distortion and we will use a fisheye lens to get it if we want it but we don't like it in our normal lenses and so when it comes to the three different options that we have for correcting things the peripheral illumination my preference is to leave it on natural just the way the lens normally isn't leave it disabled on the chromatic aberration we don't like that so we're going to enable the fixing of it and we want to fix the distortion as well and so it's disable enable and enable on my recommendations on that but that first one I could very much go either way on now as we go in two more features in the menu this is the first of several items that were goingto encounter that are what I would call image manipulation type settings this is where it's going to go in and it's going to change the pixels thatyou shot this will not have an effect if you shoot raw images if you shoot j pegs you will see it in camera you will see it in your final images and so it depends a little bit on if you're shooting raw this doesn't even matter you could set it however you want you're just going to get the straight raw image out of the camera all right moving on to the next item red eye reduction this item seems like it should be in the next listing which is in all the flash settings but they've set it out separate and I dislike red I hate red eye and photo would not accept it in any photo that I was going to publish or give to somebody or try to sell the somebody but as much as I hate red eye I hate red eye reduction even more the problem is is that it delays the firing of the camera and so what it does is it turns a light on in the front and as you hold down it shines that light hoping to cause the pupil to constrict of the subject you're shooting after about two or three seconds and then it allows you to shoot the photo the problem is is that it's not effective over a very large range in it delays you getting the shot in the right moment the other thing that I'm also thinking about it's why I want to turn it off is that it's very easy to fix red eye reduction in all types of software whether it's photoshopped light room or your basic photos program that came with your computer it's very easy to fix that later on and so this is one of those few cases where you better get it quickly and when you can out in the field and you can make that minor fix later on but it is something that you can turn on but it's not something I recommend and there's our little light that turns on shines and does a wimpy job but tries to do a job okay, next up we're going along pretty quickly here and we get to flash control and when we get to flash control we get to what I call a rabbit hole this is this one little door and it leads to another place and another place in another place and there's all these menus within menus within here so first off, if you don't use flash photography, you don't need to go in here if you do flash photography, you may pop in here make a quick setting and then you're you're out it's for the people who want to do remote flash work with their cameras that are really going to be interested about all that's in here because there's a ton of stuff in here so let's kind of poke our heads in and look around a little bit first off we can turn on or off the flash that's on our camera now we can actually just press the button and turn it on and pop it up and push it down ourselves but if, for some reason you wanted to have this up, but not have it fire, you could disable it here. But chances are you're going to want the option of using the flash. So you lead this on enable. Next item is e t t l'm eatery, and this is the type of meat, a ring system that the camera uses to figure out how much light to fire out. And in most every imaginable case, you're going to want to leave this on evaluative, which is the normal metering system. It's using a large, diverse area in order to figure out and compute the correct around of life. If you wanted it to do it. In a center weighted average ings, it worked better. In a particular scenario, it could be changed, but this is controlling how the camera automatically figures out how much flash you need for your next image. Flash sink speed in a v mode we're going to have a few different options here. The first one is auto, which is a perfectly good one, which the camera will choose what shutter speed is appropriate for that particular situation. The next setting one hundred one, two hundred to tow one sixteenth of a second allows you to kind of narrow that option into what I would call handholding shutter speeds shutter speeds that you can comfortably handhold under virtually any conditions, the auto one will actually go to much longer shutter speeds, which may or may not be good in certain types of environments. The final option is to just put it at one two hundredth of a second, which is the maximum flash speed that you can use the maximum shutter speed that will synchronize with the built in oran or an ad on flash in its full automatic tl note. And so I think the auto mode here is probably fine for most people, the only thing to be aware of because that in dark situations the camera will use a longer shutter speed and a you need to be aware of this by seen it in the viewfinder and secondly, holding the camera. Still, during that closure it might be a half second. It could be a long us a second and maybe more, depending on how dark the situation is built in flash settings all right here's what kind of where we get to our next pathway which opens up into another little a collection of settings here and so this is controlling the features of the built in flash and yes all the features before have been the built in flash as well but now the three main options we have is normal firing which is where we're going to leave our cameras most of the time and then we have to wireless options if we wanted to hook our camera up to an external cannon tt l wireless flash we could get our camera to trigger and control a flash that is not physically connected to the camera and there are two setups there's an easy and then there's a custom where you get to go in and die elin all the different settings yourself and so on the built in flash settings here we could control the exposure compensation and the shutter synchronization of win the camera's firing and we're going to do normal firing we're going to leave it in e t t l there is an option of first curtain and second curtain there's some special effects which are great to do a second curtain but for general photography just leave it at shutters think of first curtain and our exposure compensation is buried in here but we know in easier way to get to it because it's in the quick menu we talked about that one earlier now the reason why you might be interested in looking at getting that some of these other flashes is that in the left example you can see on camera fash has a very flat look to it because the light is right above the lens in the second example we have one flash position about six feet to the right of the camera and in the multiple off camera flash photo we have two photos in front and two flashes in front and one flash behind are subject to add a bit of a hair light to the subject and we're getting much better quality lighting and so if you're willing to put out the time and the money and the effort to work with multiple flashes you will get much better lighting on your portrait subjects and there are two ways to get into this one is thie easy wireless you can see the menu over on the right hand side and it has very simplistic controls for controlling an external flash if you really want to get into this manually you can go into the custom wireless city and you can have more control over the power ratio between the on camera and the off camera flashes or multiple off camera flashes I apologize we're not going to go much further into this it's kind of a whole nother class on its own in the world of flash photography but this is a very professional level of features that are incorporated into this camera which is one of the things that's really nice about this camera is that it's got aa lot of room for growth for anyone who can't afford a lot of camera but needs professional quality results you have a lot of tools in here to work with so normally we're just going to leave it in normal firing as I said before, exposure compensation at minus one is not a bad idea that way it just tapers off the power of the flash I kind of think of the flash if you can think of the world of food it's kind of like spice you want a little bit of spice but not too much spice on there and so this is that's waited just kind of take taper back a little bit on how much spices in there and so all of that is in built in flash settees now if you do add on one of the additional flashes you can control that flash with buttons on that flash or within the menu system of the camera itself and sometimes it's just easier to work in the menu system of the camera so it gives you the option to go in and change those flash functions which we're not going to go into because it varies from class to flash. Some of the flashes also have custom function settings and you can go in and you could manipulate those from the camera side as well, because it's, fully communicating with the flash. So there is a lot of things built into that flash control section.
Join John Greengo for a complete introduction to the Canon® Rebel T6s/T6i in this Fast Start.
You’ll learn why the Canon® Rebel T6s/T6i is the go-to camera for all levels of photographers and how you can get the most out all of its features and functions. John will teach you how to:
- Ensure you come away with a high resolution image every time you shoot
- Take advantage of the 19-point autofocus system
- Harness the power of the camera’s impressive frame rates
The Canon® Rebel T6s/T6i Fast Start will prepare you to take advantage of each and every one of your camera’s buttons, menus, and features.