Olympus® OM-D® E-M5 Mark II Fast Start

Lesson 19 of 33

Shooting Menu 2

 

Olympus® OM-D® E-M5 Mark II Fast Start

Lesson 19 of 33

Shooting Menu 2

 

Lesson Info

Shooting Menu 2

So the second shooting mode is your bracketing option and so this is very similar to the hdr function we talked about earlier but you can go in here and you have a little bit more control over the bracketing we hav e which stands for auto exposure bracketing w b for white balance f l for flash eso bracketing and then we also have the art bracketing mode as well and so this is if you have a subject that you would like to get a serious of shots at different exposures from and so this is really nice when you have a wide exposure range and you're not sure what the final exposure is going to be you can shoot a siri's anywhere from two, three, five or seven images ranging from a third to two thirds to a full stop increments now there are limits for instance if you wanted to a full stop bracket you can only go five frames but if you want to do two thirds of a stop you can go seven frames and so a lot of different options and they're very good for people who want to shoot hd video are just a l...

ittle unsure about which image they want to get from the fund from the grouping and normally this is going to be something that you're going to leave off but you could occasionally go in and turn on on an as needed basis so that was auto exposure bracket. And I'm not going to go in and show you examples from white balance and flash. But you could do the same type of concept, bracketing other features of the camera. Next up is hdr there's, a button on the top of the camera. But you remember that is function, but number four that you can re program to do something else. So if you don't shoot hd our work, you can re program that button to do something more valuable for you. But you can still have access to hd are here in the menu and it's the same controls we saw before. There are two hdr images, one and two, and then there is additional bracketing modes in here that are a little bit more wide ranging than the bracketing modes above. And if you want to do a three stop brackett, they don't have that option in the bracket. It is in the hdr. It is just a bracketing mode. And so it's, a little deceptive it's, kind of a bonus set of bracketing parameters that you can go, too, if needed. Next option is multiple exposures and I know when I first saw this on some cameras a few years ago I thought it was kind of done because photoshopped has layers and you could just take any image and put it on another image but I realized that there is some advantages to doing this in camera because you can frame things up a little bit more carefully out in the field than you can afterwards because you can work with the whole image area one of the options when you get in here to do this is something called auto game and what auto gain is is it's essentially the so of the camera and so you can have the camera have the gain on where it basically kind of turns down the esso so that as you shoot multiple exposures it doesn't over expose on itself or if you really know what you're doing you can leave auto gain off and you can handle all the exposure adjustments yourself for instance, you might want to take multiple photos where one photo is more prominent in it in the grouping than the others and you would adjust your exposures accordingly and so one of the things is that you can only shoot two images into a multiple exposure, but you could take a image that has a double image and choosing one and you just keep adding the images up during the process and overlay and one onto something that you already have and so you could add it up and do some all sorts of creative things in the camera and so inside multiple exposures you'll have the choice of how many frames you want to dio whether you want to turn the auto gain on and off on whether you want to overlay onto an image that you've already taken so experiment with that just provided next is keystone composition and this is the first camera that I have ever seen the sand and those of you who have seen my fundamentals class know that I have a special fondness for tilt shift lenses and they're very interesting and this is a way for youto have tilt shift capabilities without buying a tilt shift lens and so here's an example I was shooting the building downtown seattle and this is actually video on the back of the camera that I'm recording and I can adjust the side decide parameters which looks a little strange in this perspective but one of the things you'll notice aboutthe straight image of this is that the building kind of is leaning back the top is smaller than the base and here's where we're going to do our actual fix on the camera and we tilt it up right about here and that's why a lot of people use that tilt chef lenses to straighten up their buildings so that we have nice vertical lines and you could do that in camera with any lens you put on it which is pretty cool now the downside is is that you are essentially throwing away pixels when you do this it is kind of stretching pixels in order to make this happen so it's not as high of image quality as a tilt shift lands where perspective control lands but it does allow you to do it in camera next up are some specific controls for our anti shock and are silent mode and so you khun turn one or the other's of these off I'm and in this case excuse me the anti shock mode here let me refresh myself without notes here is actually giving us a slight delay in the taking of the picture in this particular case from one eighth of a second to thirty seconds and so what it does is it delays when the picture is being taken toa let the vibrations settle out in the camera and the silent mode is using the elektronik shutter curtain in this case and let's see what else we need to worry about in this one turn off we can choose how many seconds the silent one is you know what I I'm going into a brain freeze right now and I want to dive into the camera and actually see this myself into a quick little experimentation and so let's go 00:05:59.322 --> 00:06:03. into the anti shock my hood and we have anti shock 00:06:04.16 --> 00:06:07. we can have it turned off. We can turn it on, and 00:06:07.13 --> 00:06:10. we can set it for different amounts of time. And that 00:06:10.4 --> 00:06:12. really wasn't the one that I wanted to go into. But 00:06:12.25 --> 00:06:14. I just wanted to explore in there, and then I wanted 00:06:14.89 --> 00:06:18. to go into silent nice reduction, and we can go in 00:06:18.34 --> 00:06:22. here and turn this on and let's, turn this on one 00:06:22.26 --> 00:06:24. second, enable silent shooting 00:06:25.16 --> 00:06:30. flash or beep will not work. Select the post shutter, 00:06:30.25 --> 00:06:33. released delay time and so it's going to delay the 00:06:33.27 --> 00:06:35. shutter release. So I just want to get out of this. 00:06:35.03 --> 00:06:38. So I'm going to hit menu to back out of this. And 00:06:38.27 --> 00:06:40. so now I'm going to go back and threw it in the live 00:06:40.24 --> 00:06:42. you and take a picture. 00:06:44.06 --> 00:06:47. And did I not get set? Because that surely didn't 00:06:47.26 --> 00:06:47. sound. 00:06:50.06 --> 00:06:50. Set. 00:07:02.23 --> 00:07:05. Okay, there we go. So now, it's set. So if you listen. 00:07:09.0 --> 00:07:11. If you listen you'll hear nothing 00:07:13.25 --> 00:07:16. and so it's perfectly silent it waits one second and 00:07:16.76 --> 00:07:18. as a completely silent shuttered so now I'm going 00:07:18.87 --> 00:07:20. to go back in and I'm going to turn that off 00:07:22.44 --> 00:07:23. and so normally 00:07:24.86 --> 00:07:27. it's still a pretty quite camera but that will really 00:07:27.49 --> 00:07:29. reduce it down to nothing in sound 00:07:31.86 --> 00:07:34. okay who yes question 00:07:35.76 --> 00:07:38. somebody had asked in the chat room can you those 00:07:38.7 --> 00:07:42. symbols that diamond and the heart yes are those just 00:07:42.93 --> 00:07:46. for those two phrases that and I knocked on the silence 00:07:46.63 --> 00:07:50. it threw out the menu system okay thank you. Okay 00:07:50.76 --> 00:07:54. so we are now to the high restaurant and 00:07:56.22 --> 00:07:58. if the camera was something you would bring to a party 00:07:58.29 --> 00:08:00. this is the party trick of the camera this is the 00:08:00.52 --> 00:08:03. thing that is unique about the camera because it's 00:08:03.72 --> 00:08:06. a sixteen megapixel camera which by today's standards 00:08:06.85 --> 00:08:10. is on the lower end of the ladder of number of pixels 00:08:10.92 --> 00:08:14. that you can have and they have devised a very clever 00:08:14.3 --> 00:08:18. way of making the camera achieve higher resolution 00:08:18.03 --> 00:08:20. in some of the images. So let me explain technically 00:08:20.88 --> 00:08:24. visually of course how this is working now this camera 00:08:24.0 --> 00:08:27. uses a bear sensor system which means it's a red green 00:08:28.33 --> 00:08:30. blue green alternating pixels and so these are the 00:08:30.67 --> 00:08:34. pixels on the censor. The camera has roughly forty 00:08:34.28 --> 00:08:36. six hundred by thirty four hundred in resolution which 00:08:36.68 --> 00:08:40. means it's the sixteen mega pixel image in the high 00:08:40.2 --> 00:08:43. rez shot mode it takes the sixteen million pixels 00:08:43.5 --> 00:08:46. and it shoots eight shots very quickly and this is 00:08:46.81 --> 00:08:49. what it does is it moves the sensor remember how this 00:08:49.96 --> 00:08:52. has the image stabilization built into the sensor 00:08:52.81 --> 00:08:56. and they have figured out how to move the sensor extremely 00:08:56.01 --> 00:08:58. precisely and here's what happens watch this sensor 00:08:59.03 --> 00:09:01. is we're gonna take our first image here and then 00:09:01.16 --> 00:09:03. it moves a little bit to the next pixel and records 00:09:03.4 --> 00:09:05. read there and read down here and read over here to 00:09:05.77 --> 00:09:08. get better color information and then it moves to 00:09:08.29 --> 00:09:12. the gaps between the pixels to pick up additional 00:09:12.54 --> 00:09:16. information for detail and so it shoots thes eight 00:09:16.5 --> 00:09:20. shots very rapidly now as you might imagine well how 00:09:20.69 --> 00:09:22. rapidly is rapidly and what happens if I move the 00:09:22.89 --> 00:09:26. camera if you move the camera you've ruined the shot 00:09:26.35 --> 00:09:29. it has to be on a tripod and so if you shoot sixteen 00:09:29.98 --> 00:09:32. million pixels times eight times that's one hundred 00:09:32.78 --> 00:09:35. and twenty seven million pixels of information that's 00:09:35.81 --> 00:09:39. a lot of information folks yes it kind of it down 00:09:39.88 --> 00:09:44. size is it into either a forty mega pixel j peg or 00:09:44.62 --> 00:09:48. a sixty three megapixel raw image olympus calls their 00:09:48.82 --> 00:09:53. raw images olympus raw format o r f and this will 00:09:54.1 --> 00:09:58. allow you to achieve extremely fine detailed information 00:09:58.53 --> 00:10:01. in certain conditions and so I of course want to go 00:10:01.7 --> 00:10:04. through and I tested this out in many different cases, 00:10:04.36 --> 00:10:06. so I just took it in the studio just ran it through my standard test shot to see how sharp it would be and I ran it through a normal j peg the normal raw ah hi rez j peg and a high rez raw and it was pretty hard to see the difference that's just like I can't really see much difference at all and so I took it out in the field and this is a great way of shooting this because I have a landscape scene it's not moving my camera on a tripod and a lot of nature scenes often have things like trees and flowers blowing in them and in this case I just have a rock so rocks aren't moving and this is going to work out much better here so what I'm going to do is I'm going toe enhance these areas at the bottom between a standard raw image and the high rez j peg and in this case you should be able to see a pretty significant difference of greater sharpness on the right hand side of the screen and so that high rez mo does work very well but not in every situation that you're going to find yourself and so it is kind of a specialty mode that you can go too if you really want that extra resolution uh you do need to be on a tripod because the camera cannot be moving and this is not available for handheld shooting or you're just going to end up with some very funky artistic photos. So that is the high rez, shot mode kind of fund for landscape or product photographers or architectural photographers. Things like that. Next up is the flash remote control mode. And this is one of those areas that we're not going to dive too far into. But you can hook up multiple flashes and have one flash, triggering the other flash and changing the ratio of the flashes and so forth. And I just don't see a lot of people using flash these days with these type of cameras. But it is in there that is an area to explore if you are interested in that particular aspect of photography.

Class Description


Ready to make the most of your Olympus® OM-D® E-M5 Mark II? Join expert photographer, John Greengo for a fast-track introduction to taking full advantage of your camera’s features in Olympus® OM-D® E-M5 Mark II Fast Start.

John will teach you how to navigate and set up your camera’s menus and guide you through its buttons, dials, and features. You’ll learn how to take full advantage of your camera’s super-fast live view focusing. You’ll also learn how to optimize your camera for sports and other high-motion photography. John will teach you about your camera’s high-resolution sensors and settings and help you get them attuned to your shooting style so you get the picture you want, every time.

This course will have you using your Olympus® OM-D® E-M5 Mark II like a pro in no time – no complicated manuals required.

Reviews

a Creativelive Student
 

I had previously purchased the Fast Start for the earlier OM-D E-M5 model and found it invaluable. I was lucky to catch this E-M5 Mark II Fast Start when it was live and had my camera set up beautifully - until I updated the firmware recently and discovered how uncooperative the camera can be in the absence of the combination of settings recommended by John. So I bought the course, which enabled me to restore the camera to the optimal settings and gave me may "Aha" and light-bulb moments about things I'd forgotten or not understood the first time around. I am glad I now have this course so I can revisit it as needed. NOTE: There IS an option to save settings to the PC before updating firmware. I will be doing that in future!