Custom and Setup Menus

 

Olympus® E-M1 Fast Start

 

Lesson Info

Custom and Setup Menus

Okay, let's, dive into exposure metering an s o the exposure value steps, so when you're changing center speeds and apertures, you can do this in third stops, have stops or full stops, most people prefer to work in the very fine increments off. One third stop noise reduction can be done in camera. I don't recommend it for people who are a little bit more serious about their photography, because they'll be able to do better noise reduction on a computer software program of their choosing later on something like light room. If you're not familiar with that, and you want the camera to deal with noise reduction, which will happen when you use long exposures, for instance, one second or longer the camera will automatically apply as much as necessary makes it nice and simple, but you'll be able to do a much better job if you turn it off and worked with it later. There is a noise filter on this that works at higher ice oil higher esos the differences is noise reduction deals with long exposur...

es, noise filter deals with high I esos, for instance, I s o sixty four hundred. You can turn on auto noise reduction and it's going to try to reduce the noise in that which seems like a good thing, and it is but I don't know that I want the camera to take care of that and so I leave it turned off my camera that's something I'll work with in light room and I'll be able to do a better job than the camera can because I can adjust it for each picture individually and I'll have a nice large monitor to judge those settings on the so you can choose just as we saw as many other places on the camera they've just thrown it in here because they got everything else to deal with isil exposure in here most people prefer to be able to change isos in one third steps but there's a number of kind of a growing trend of people who just take full steps in esos they'll make the third of the steppe jumps in shutter speed apertures and they'll just make full steps in the ice. So so whatever you're choosing, I usually have mindset on one third in case I want to get to a very specific shutter speed or aperture automatic eso auto set here's where you get to choose two different important factors if you choose auto issa what is the maximum eyes so that you want your camera to go to thirty two hundred sixty four hundred? Those might be some good numbers to put in remember when I showed you the examples of the ice so the camera is very clean up through is so eight hundred after that there's kind of degrading qualities that it goes down to and I don't like to go beyond eight hundred in this camera, but if I have tio I'm more than willing to go up to thirty two or sixty four hundred and this is where you get to draw your limit on that the default I also can also be set, which is kind of what is the standard so that it's going to try to choose normally I would leave this at two hundred but there are situations where you're shooting action and you need a faster shutter speeds he would set this to four hundred or eight hundred perhaps I also auto will deal with which modes are you allowed to shoot auto eso in and so normally I would prefer to shoot in his many modes as possible and I want to check a little something on the camera right now I'm going to dive into this mode because there's something I may have failed to tell you and that important little piece of information is that you cannot use auto eso in manual, which is why one of the options in there is not him with that other p es and s and so you can only use the auto is so in program aperture priority or shutter party so if you are in manual, you are in manual full with s o manulis well okay, moving on. You can also choose our media ring system. Third time we've seen this in here we don't need to talk about it you know it's to choose digital espn auto exposure a l'm eatery auto exposure lakme eatery remember this a l button on the back of the camera well if you want you khun program that button to activate a different media ring system than you normally have chosen so if you really like using, say, spot monitoring from time to time, you can re program this button to use the spot metering system if you leave this in auto, which is where I recommend setting when you press this it's going to meet her using the meeting mode that you have chosen elsewhere in your camera which was actually just one line above where we're at whatever system you've chosen there is what you will use in there so that's the most common setting but you could set this up to choose that second different media ring system if you wanted to access that on a quick basis bulb time timer here is where you get to set the maximum exposure time for the longest shot that he would like to take you khun set in anywhere from one to thirty minutes thirty minute picture would probably wear down the entire battery and end up being very, very noisy I've set eight minutes is my upper limit for doing nighttime shots because I don't know that I've ever shot a nighttime photo longer than eight minutes and so that's a long as most people I think are going to need with this camera volvb time monitor on this one let's see what do we want to set this at? Uh oh, this is the brightness of its let me double check I'm having second thoughts if I put the right information and I mean, you know, so I'm going to dive in teo e I just want to see something real quick ball time monitor uh, I would just normally leave this at zero how bright the monitor is when you're in the a bulb setting on the camera live bulb is one of the coolest functions I've ever seen on a camera if anyone has worked in the dark room and they've taken that image that they've just cast the negative on and they got the print in the hands and they dump it in the developer and they're shaking that develop trade back and forth and you see that image just start to appear from nowhere that's kind of what this lightbulb is and so what happens as you shoot a nighttime exposure, you put the camera involved and you leave it on for longer you're going to see the image get brighter and brighter and brighter and it's a great way of saying ok it's bright enough and you can let off of the shuttle early so you can see your image forming on the sensor now unfortunately it is somewhat limited as to how many times it can update the photograph and how frequently he can update the photographs so you're going to need to try your own experiments to see what works with you I have found that an update every two seconds works for works for me pretty well under very very dark conditions if you're working morris under twilight conditions where it's not that dark you may need more frequent updates if it's darker you may need to have less frequent because there's a limitation on how many times they could do this update but it's kind of giving you a live feed of what is the image looks like now in the development process and so that is if your camera is in the bulb mode we also have the same option in the live time mode which are very much related modes the time mode simply is where you press it wants to start on the shutter release and then once again to turn it off and it's showing you that same live updating ok this is something that has changed with recent firmware changes in this camera we're going to talk about from where at the end of the menu section but something that has surfaced about a defect or a little issue with this particular camera, if you remember back to the beginning of the class where I talked about how the shutter units opened and closed and we had the shutter units are open when you're looking through the camera and the first one closes, it opens that's the picture, and then the second one closes and part of the problem with that system is that that first one closes and then opens and as it opens, it causes a slight vibration in the camera, and people were getting slightly blurry pictures at shutter speeds around one hundred twenty fifth, one hundred sixtieth to two hundred fiftieth of a second. There was just this. Quite a sharp is it could be because there was basically a shutter shock going on in there, and so this camera had an anti shock mode in it. That was mohr, designed for putting this camera on a telescope or microscope, and it was designed to have, like a two second self timer delay. So you to put the anti shock. Two seconds you fire the shot, it opens the shutter where it closes the shutter in weights, or what does it do? Excuse me? It closes the shutter, it opens the shutter, and then it waits two seconds before it starts the exposure and it would use a digital global shudder to turn the exposure on and so that there would be no movement immediately before the picture is taken, as I say, normally done for astra photography or for scientific purposes. But if you set this to zero seconds which I highly recommend, what happens is that when you choose those specific shutter speeds it's kind of strange what happens is that it still sends the normal first curtain across the shutter and a fraction of a second later it digitally turns on its global shutter and starts recording the image. And so it waits just a faction of a second in order to start the exposure so that there is no blur because of that slight movement of that first curtain and I tried it out and it definitely work. I was a little skeptical because I thought that there was going to be a little bit more shutter leg in waiting for the shutter to go, and it was imperceptible from what I could tell and so get set this to zero and you will get sharper pictures around that one twenty fifth two to fiftieth of a second. Was that geeky enough for you guys? Okay? We're all the way to letter f deals with flash and other custom settings so you can choose the top shutter speed. I would like this to be a ce fastest possible, so I'm going to leave it at one three twentieth of a second you can choose the slower limit, and here is where you get to decide. How steady are you at holding the camera under low light conditions? I feel pretty comfortable down around a fifteenth of a second, especially with the stabilization in the camera. Somebody who had a little bit shakier hands might set it to a sixtieth of a second, but you, uh, considered wherever it is you want in there down to thirty seconds. We talked about exposure compensation, and we also talked about flash exposure compensation for the more sophisticated understanding manual photographer. They're going to want to keep these things separate, they're going to want to do their own exposure compensation in their own flash exposure compensation so you would leave this turned off if the whole world of flash and dealing with natural exposures daylight exposures at the same time is a little complicated, leave this turned on, and you would just make one simple adjustment for making your pictures lighter or darker. But if you do want to get in and manually start controlling very specifics, the control of the exposure from the camera versus the flash that's when you would turn it off and that was a really small menu here we're onto gi already okay, so g is where we're going to set. Customize j peg settings and so you can go in and not only choose j pegs because I think we've already done that in the menu city you can choose the exact size of j pigs, and so if you needed to meet a very specific size, you can do that in this image quality setting option. You can also choose to shoot middle or small size jay pegs. This is only dealing with jay pegs, so not only dealing with the exact resolution, but generally the whole medium or small size shading composition. This is going to be dealing with jpeg images and let me show you an image, and this image suffers from vignette ing or darkening of the corners. If you turn the shading composition on it's, going to try to lighten up the corners to make it seem as natural as possible because some lenses, especially very fast lenses, have a natural vignette ing to them. And so, while this might seem like a great idea to turn on, I don't really like to have it turned on because there are some photographs that I think look better with. It turned off especially photographs of people it's, part of the characteristics of the lens, and I kind of like that, as a lot of photographers do, so a lot of more serious photographers are gonna want to leave that turn off. I think next up is our white balance control and this is the same as we saw on the top of the camera same as we saw in the super control panel of the camera so don't really need to discuss that one if you want you can go in and adjust all of the white balance is too tweak um a little bit warmer or cooler in their settings if for some reason you found that they were all off you could do it I don't recommend changing this but you could do it if necessary one of the options is keeping the warm color in so for instance on the tungsten setting it's a very warm tone and when you set it to tungsten it really cleans it up and makes it very very white and some people like keeping just a little bit of that warmth in there as I do, I think it looks a little bit more like it does to our eyes they're trying to overly correct it when you were dealing with white balance I would normally and flash it can get a little complicated because if you change the white balance in your camera to incandescent for instance but then you fire the flash you're going to be working with two different lights that are working under two different color systems and so if you leave this at white balance auto the camera's going to try to set in in between to get these kind of matched up, you might say, and so it's going to try to figure it out if you are filtering the flash and there's some people who will add on a flash, and then they'll add a gel onto the front of this that's when you would want to turn this off. So if you're into that sort of manual flash control, you could turn this off so that it's not correcting the white balance for what you're correcting in the flash. Okay, continuing on through g here is our color space. I briefly mentioned this before. If you are shooting j pegs, you're just uploading your pictures to facebook and nothing else. You can leave it in srg b, which is a smaller color space, but if you have higher aspirations of your photographs, he would like to print them off at some point in the future. Then you want to set this to adobe rgb, if you shoot raw, you inherently get adobe rgb that's the only option. If you have jay pegs, then you have the option of this. Okay, we've scroll down, we're onto h the end is in sight, folks, at least on this custom menu, we still have more menus to go through quick, a race this allows for a single delete deleting of your photographs and this is just a little too quick in my book, so when you see an image impress the garbage can button it's automatically gone there's no confirmation that you're looking at quick way to get rid of your images though but it's a little too quick in my opinion, raw plus j peg allows you to kind of separate the's so that you can delete on lee the raw or the j p and that's not something that most people are going to be doing so I would just leave this on raw plus j peck and we did have someone who had a question about file names earlier and this is where you want to look in your camera. Normally the camera automatically continues counting from where it left off. The camera does suffer from what I like to call a y two k problem, which means it hits a top number and then it goes back down to the bottom number in that top number is nine thousand nine hundred ninety nine and so if you take ten thousand in one pictures, you're going to have to pictures that have the same file number. So this is one of the reasons why is a long term strategy you should be renaming your files when you import him into your computer because if you were to take a hundred thousand photos, you would have basically ah whole bunch of photos that have identical photo numbers all your pictures would have ten pictures that had the exact same number on it and so you should be renaming these when they get into your computer you can also go in and do a little bit of adjustment on the file name you can edit the three or four letters prefix in the final name so if you want to add in your initials for instance you can kind of identify the pictures coming straight out of the camera as your images at least with your initials priority set you want to set this to yes and what happens when you present it to yes is that when you press the garbage can button in your camera is going to go oh, you would like to delete a picture the normal way that what the camera does and I've always found this a little irritating that's when I hit the garbage can what is it that I want to do? I wanted to lead a picture and so if I set this to yes, the first option that it picks is yes and all I have to do is hit ok and the picture is gone normally when this has set no it assumes every time I pressed the garbage can button I had made a mistake and I don't really want to delete the photograph and so this just going to save you one button press every time you need to delete a photo but it still gives you a little safety protocol of are you really sure you want to get rid of this? Yes, I am d p I setting does not matter unless you are going to be printing directly from your camera to a printer and if you ever have plans to do that I would set it at three hundred d p I it's kind of a standard that most people set for getting good sharp images on a printer copyright settings. This allows you to go in and put your name into the camera as the owner of the camera the copyright holder the creator of that particular image and that will when you download it into a program like adobe light room and many other programs well, automatically be put in there right in the metadata of the photograph and if your camera was to get stolen and the police were very inquisitive, they could potentially find who the original owner of this camera wass and so might be good for that reason as well. Next little grouping deals with movie functions, so when you put your camera in the movie mode, it normally gets thrown into a program mode where the camera figures out shutter speed an aperture but if you want to shoot a little bit more serious movies you're going to want to have specific control over the shutter speeds and apertures, in which case I would recommend setting this to him. You could also set it to shut her priority or aperture priority, but I think the two main options are going to be program and him movie sound if you don't want to record sound, you can turn it off. Most people like to have it in there so you'd leave it turned on the movie effects that we were playing with earlier can also be turned off if you have no need for them and I don't think there's a big need for him, so I'd turn him off wind noise reduction allows you to go in and make some customization to how the micro the phone works with windy conditions with the built in mike, there is a low a standard and high setting, so if you are in a very windy situation, you would set it to the high setting and it will kind of help filter out a little bit of that wind noise. It is very limited with the built in microphone, though recording volume can be adjusted, I would leave it at standard there is also a low and high setting for that and on the jet j for the built in dvf okay, this is where you get to choose your style number one style number two or style number three style number three gives you the biggest image style number two gives you a smaller image without the overlap of information on top of your image style to is my preference. I don't want to see any colors in there from style number one information settings. We talked a little bit about this before, when we were looking at the displays I go in and I just basically checked all these off it's just a screen that will come up when I pressed the info button and if I don't like it, I can cycle past it, but they all have their own unique information that could be helpful in different types of exposure situations, the displayed grids. This is in the elektronik viewfinder, so we did see this before, but that was for the back lcd this is for the e v f that you hold up to your eye and so you can actually program the back screen as well as the eye level screen differently. Normally I'm going to be in my uncluttered mode here once again, fbf auto switch and so the auto switch is that automatic switch that switches back and forth. Between the back lcd and the top normally I'm gonna want to leave it turned on, but if it doesn't work for you, you can turn it off. You do have to dive in here to turn it off, though it is kind of buried a little bit far in my opinion, the e v f adjust will adjust the luminant ce and the color on the electronic viewfinder. Normally you shouldn't need to be able to you shouldn't need to make any changes here halfway level ok, so there is a level that tells you whether you're tilting left or right and what happens once you've set your exposure and you press halfway down on the shutter released that's where the halfway comes from the level will replace the media ring system in the camera, and so if you take unlevel photographs like I am known to dio my horizons are a little bit crooked from time to time you believe this turn on and it's going to give you a nice built in elektronik level and I don't like the fact that it covers up the meeting system, but you should have already taking care of me during by the time your finger is back on the shuttle released, so I think it works out is a pretty good tradeoff, so I kind of like it in there, okay? Last one there is the utility section one of the problems with digital cameras is dust on the sensor if you have an image that looks like this, you have a very, very dusty sensor and you need to clean it off. One of the things that this camera could do is something called pixel mapping what need to do is you need to photograph a white sheet of paper and the camera will map out where all the dust is and then it will remove it by cloning around it. Now I don't like to do have this done automatically on my camera, so I prefer not to do this I would rather manually physically clean it if I have the opportunity I don't always have the opportunity, so this is a nice emergency backup option for getting that dust off the sensor even though it's not really getting rid of it it's just working around it exposure sip shift uh let's see, oh, if you need to adjust the exposure for the meat oring modes you can do that, I don't recommend it. This is only if your camera or is having problems reading light and it's doing it incorrectly. You can also go in and adjust the focus on this and this is where all lenses are going to have their focus adjusted forwards or backwards and I don't recommend doing this unless there's a very specific problem with your camera how quickly do you want the warning level to come up on the camera? This is an unusual one, but you can change how quickly you your camera warns you that you're getting into a low camera because some people want to really warn very early on if their battery is getting a little low because it's not the most accurate reading I would normally leave it at zero and see if it needs to be changed but it's probably going to be fine there if you do have the vertical grip for the camera, there is a second battery that you put in the grip and you can choose which battery you access first if you get the grip, you're probably going to be using the pete the h battery first because it's a little bit more easily accessible so that's the one that you would probably have selected but you can choose if you wanted to for some reason, if the level in your camera is off that horizon level, you could go in and recalibrate it it is pretty accurate it may not be as accurate as a true a bubble level s o be careful with it knowing that it's not perfect but it is pretty good but you would go in and fix it if it was found to be off in this case, if you don't like those touch screen options, you can turn him off I don't use them a lot. But they are kind of nice to have for certain types of photography. So I would leave that turned on. And that is a lot of custom modes in this. Cameron. So when I say this is one of the most customizable cameras, I think that is proof of it right there.

Class Description


Master the functions of the Olympus® E-M1 in this comprehensive course on this powerful SLR-mirrorless camera.

The Olympus® E-M1 is one of the most customizable, portable cameras available – ready to learn how to tailor it to your needs as a photographer? Join John Greengo for a one-day course that will guide you through the features, buttons, and menus of your camera. You’ll learn why the Olympus® E-M1’s rugged, weather-resistant design makes it a perfect choice for photographers who shoot outdoors. John will guide you through hands-on exercises that will equip you to capture stunning images in any shooting circumstances.

This advanced-intermediate course will help you capture professional-quality images.

Reviews

Hal
 

John does an excellent job of making the OMD E M1 understandable. His knowledge of the camera and relaxed style clearly and painlessly walk you through the maze of buttons, menus, and functions. He objectively points out the strengths of the camera as well as those things Olympus could of done better. His opinions of the camera are consistent with other knowledgable reviewers, and are consistent with my own (limited) experience. The manual tells you every little thing the camera CAN do. John helps you understand what is important to get the best use of the camera in most situations.