Shooting Menu Page 3
On to page three in the shooting menu. We have the metering mode, we talked about this earlier because its control is in the quick menu, but we have another option here, an evaluative is that good, generic one that is good for a wide variety of shooting scenarios. The color space controls the range of colors that we are recording with our JPEG images. When we shoot raw images we are getting Adobe RGB, which is a larger color gamut than the sRGB. With JPEGs we can choose between the two. If you were only photographing images that were gonna be presented online, then you could probably be fine at sRGB, cause there's a compressed color space online, but if you were hoping to edit your images, work on them in Photoshop, or print them, you're probably gonna want the largest color gamut that you can work with, which is the Adobe RGB color space. If you are shooting JPEGs and you want to be able to have a lot of room to work with, go with Adobe RGB. Picture styles is something we also talked ...
about before. There's a button on the back of the camera, it's also in the quick menu. This is where you get to go in and adjust your images for specific settings according to sharpness, contrast, tone, and so forth. You can go into info detail set and what you can do here is you can go in and control the specifics, you can even make up your own setting if you want. In fact, let's do a little demo right now with this. What I'm gonna do is I'm just going to leave my camera, doesn't really matter what shooting mode, but I'll leave it in program. I'm going to go into the menu mode here, and we're on page three it looks like, and I'm going to go down to picture styles here, and I'm going to dive in and I'm gonna see, we'll do a little test here, I'm gonna see if I can show you the difference. I'm gonna shot the first one a picture here at standard, let's go into live view so you can see, this is where we're going to use those colored fruit. We want to really see what the colors look like here, so this is a standard shot. (camera click) We're going to go into the menu system, and turn it into a landscape shot where it's typically going to have a pumped up saturation. We're going to set his at landscape. (camera click) Take a photo there. Let's see if we can see any difference between these two. Not much but a very subtle little difference. It looks like the camera moved a little bit there. If you want to get in here and control these, you can go into the landscape mode and say, you know what, I want to I'm not happy with the landscape mode. We hit info detail set, which means we either hit the info button, or we can actually hit this right there on the back of the camera. The first part is dealing with the sharpness. We can control the sharpness, we can have it less sharp or sharper. If you've never dealt with sharpening in photography before you might think well, wouldn't you always want it on highest setting possible? No, there is a problem with over sharpening where you'll get halos around edges, so maybe we want to make it a little bit sharper but not too sharp. Fineness and threshold are further ways of controlling the parameters of the sharpness, we're not going to get into that right now. We could have an image that has a little bit more contrast. We could change the saturation and pump let's just pump this up a lot just to see what it looks like, and we could change the color tone if necessary. I think this is probably good enough so I'm gonna hit the menu to back out of it, and let's shoot a new photo. (camera click) I don't know if I moved the camera around too much. Here's our new highly-saturated photo, and we are getting definitely some more colors in those apples on the right-hand side, and so we are getting some more saturation. If you want to get in here and this is for people who are shooting JPEGs, you can come in and you can create your own user-defined setting here. We go into here, and you can set the exact sharpness, contrast, saturation, color tone that you want for any particular scenario. Highly-detailed way of going in and adjusting that so that you're getting the JPEGs exactly as you want them out of the camera. If you shoot raw like I do for most of my work, I don't even worry about it. When I do shoot JPEGs, I just leave it at standard, they're nice, simple, basic, and then I'm going to throw them into some other post production software and do a little bit of work on them, but if they're not right out of camera, this is how you tweak them. For white balance, we talked about white balance before. You can choose whatever white balance matches the lighting scenario that you are working under. Auto white balance works a good majority of the time. We do have two versions of the auto white balance, depending on how much you want to retain that white or that warm color, or how white you want the whites in your image. Depends on if you just like that nice, warm look, or you need absolutely color correct images. Custom white balance allows us to fix a light or fix the color when we don't know what the correct color is supposed to be. In this case what we'll do is, we'll photograph a white object, and then we'll go to custom white balance, we'll select that photograph, and then we'll set our white balance to custom. I want to show you how to do this because in case you are in an unusual lighting situation. Let me get my camera set up and I'm going to make a slight, little adjustment, and I wanna show you what it looks like to shoot under tungsten light when it is not tungsten. I am going to leave this in, I want to get the auto focusing a little bit more normal, and you can see it looks very blue here because our lights here in the studio are not tungsten lights. I'm gonna shoot a photograph of this. (camera click) We're gonna get this very blue photograph, but what I'm gonna do is, I'm gonna go into custom white balance, and I am gonna hit set. This is supposed to be a white piece of paper, and we're gonna use that information for the custom white balance. Let's see if I did this right. If I go up to white balance and I now set white balance to the custom setting, which is over here on the end, and hit set, let's see if we're getting natural color in here. It looks like the colors are looking pretty good. Let's look at the white sheet of paper, and that white sheet of paper is definitely looking very white in here. It was able to figure out what white balance the camera was set at, what color was being reflected off the paper, and totally correct for it. Just photograph a white piece of paper, it should be either white or neutral gray, something neutral in color is the most important thing. The important this is you have to choose that photograph, and then you have to go in and you have to make sure that you select it when you get to the white balance, and that's going to be that custom setting over there. Normally I leave it in auto white balance, and then I might use that custom white balance if I'm dealing with really funky lighting and the other options are not working for you. Just wanted to show you how that worked. Alright, good. If you wanted to tweak the white balance you could do that a little bit if you found the tungsten or the fluorescent or any of the other settings to be a little bit off from what you liked, or perhaps your sensor drifted after a period of time, you can adjust that in here. Hopefully you won't need to do this. If all goes right you won't.
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