Shoot 2 Menu
We are going to move on to page two shooting, too. In our camera. Here we have our exposure, compensation and auto exposure. Bracketing. This may seem familiar to you, because we found this in the quick control menu, which is a faster way to get to here. But we can do it here as well. And so this is for shooting either a syriza pictures brighter or darker. Or we could just simply shoot one picture brighter or darker, using our exposure compensation. And remember, we can shoot three exposures and our exposure bracketing. We can shoot lighter, normal, darker. We could do the whole thing, either to the light side. And we can also make him more spread out, so that the images are further apart in their bracketing siri's. And this is going to be useful in program time, value and aperture value. It's. Not something you use in manual. And I believe it's not even available when you get into the other s'more simplistic modes on the camera. A lot of landscape photographers will will do those brac...
kets to make sure that they're covering the brains of brightness from the bright sunlight to the shadowed areas. All right, next up is our auto lightning optimizer, and we have actually talked about this before. This was the d plus that would either be on the quick screen, on the back here camera or in the viewfinder itself. And what this is doing is it's trying to lighten up the shadows and it's. Not something that I like to do is something that you could do very easily if you shoot raw images. And the reason I don't like to do it is because it doesn't look good on all images. And so this is something that you could turn on, particularly in some situations that are a high contrast range. So bright suns, bright sun, dark shadows. You could give this a try and see if it works for your photography, but I think you're perfectly fine leaving this turned off all the time. 00:01:57.278 --> 00:02:01. Custom white balance. And so if you were in an unusual 00:02:01.92 --> 00:02:05. lighting situation that you had mixed lighting, say, 00:02:05.01 --> 00:02:07. you had fluorescent and tungsten and a little bit 00:02:07.26 --> 00:02:09. of daylight coming in through the window, and you 00:02:09.38 --> 00:02:11. really weren't sure what the correct light source 00:02:11.7 --> 00:02:14. wass. What you could do is you can photograph a white 00:02:14.79 --> 00:02:17. sheet of paper like I did in this photograph here, 00:02:17.39 --> 00:02:19. but clearly doesn't look white. 00:02:20.62 --> 00:02:22. And then you would first. So the first thing you do 00:02:22.68 --> 00:02:24. is you photograph the white object, and then you go 00:02:24.73 --> 00:02:26. to this spot right here in the menu, custom white 00:02:26.97 --> 00:02:30. balance, and you select this photo as thie sample 00:02:30.82 --> 00:02:33. photo. And then you're going to need to goto white 00:02:33.36 --> 00:02:36. mounts and set it to custom, and the camera will figure 00:02:36.37 --> 00:02:39. out what color light source you are working under. 00:02:41.95 --> 00:02:44. Next up is white balance shift. We saw this before, 00:02:44.62 --> 00:02:46. and the quick menu. This is something I hope you don't 00:02:46.69 --> 00:02:49. need to use. I have never needed to use it. If you 00:02:49.44 --> 00:02:52. need it to tweak the colors of the camera that they're 00:02:52.43 --> 00:02:55. out putting in some way, you could go in here and 00:02:55.26 --> 00:02:57. you could move this center dot a little bit more to 00:02:57.92 --> 00:03:00. the green, the red, the magenta. We're the purple 00:03:00.89 --> 00:03:05. side to figure out to adjust exactly the color tones 00:03:05.16 --> 00:03:08. that you're getting it's highly unlikely that you'll 00:03:08.16 --> 00:03:08. need to do this. 00:03:12.08 --> 00:03:15. The color space is the range of colors that you are 00:03:15.49 --> 00:03:18. recording when you are shooting. J pick. When you 00:03:18.33 --> 00:03:21. were shooting raw images, you are getting the largest 00:03:21.08 --> 00:03:25. adobe rgb color space. But in j pegs, you can choose 00:03:25.38 --> 00:03:29. between srg, b, which is a more simplistic, basic 00:03:29.37 --> 00:03:31. level of colors. It's, for the most part, what we're 00:03:31.68 --> 00:03:35. seeing on the web today, for instance, and the colors 00:03:35.11 --> 00:03:37. that you're actually going to use safer printing, 00:03:37.72 --> 00:03:39. are going to be much greater than that. And so, if 00:03:39.84 --> 00:03:42. you have any hopes of printing your photographs, I 00:03:42.46 --> 00:03:44. would recommend adobe rgb. 00:03:46.77 --> 00:03:49. Next up is picture styles we've seen this twice before. 00:03:50.09 --> 00:03:52. Once in the quick menu. Once on the back of the camera, 00:03:52.88 --> 00:03:55. it's the down button on the back of the camera. This 00:03:55.48 --> 00:03:57. allows us to go in and choose a slightly different 00:03:57.99 --> 00:04:01. color formulas for the way our images look. Normally, 00:04:01.13 --> 00:04:03. I'm just going to leave this in standard. Any sort 00:04:03.35 --> 00:04:05. of tweaking I'm going to do later on in my computer, 00:04:06.07 --> 00:04:08. where I have much better controls and a better view 00:04:08.69 --> 00:04:11. of the types of change is that I'm making on a particular 00:04:11.05 --> 00:04:11. image. 00:04:14.74 --> 00:04:17. Meter in mouth. So this is something that we've also 00:04:17.52 --> 00:04:19. talked about before. This is the way that it's me 00:04:19.47 --> 00:04:22. during the light. The evaluative mitri is using that 00:04:22.77 --> 00:04:27. very large segmented area for deciding how bright 00:04:27.24 --> 00:04:29. certain areas are and how dark certain areas are and 00:04:29.68 --> 00:04:32. what the average is for the entire scene. So evaluative 00:04:32.66 --> 00:04:35. works very good for most all photography, most all 00:04:35.81 --> 00:04:36. the time.