All language subtitles for Canon R7 Tutorial Training Overview Set Up - Part 1 - Made for Beginners.eng(transcribed).eng(transcribed)

hi my name is michael andrew and i'm

about to give you your free tutorial on

the canon r7 a few resources i want to

point out these links will be in the

description below is our canon r7

facebook group it's going to be a

fantastic resource because we have

members posting pictures using certain

lenses you can use the search bar there

to

search a lens and see the results that

other users are getting why is this

important well the canon r7 has a very

tight megapixel density 32.5

megapixels within an aps-c sized sensor

what this means is it's a very very

tight density and we saw some issues

with the canon 90d when using older zoom

lenses so i want to give you some

warning about the resolving power of

those lenses because if you're coming

from an older ef-s or an ef system and

you're trying to use those lenses some

of them may not work as well we've spent

a lot of time building the table of

contents so if you go command f or

control f depending on the computer

you're using type in the keyword that

you're interested it should highlight

the time code if you click on the time

code that will take you straight in to

the chapter lesson if you are a pure

beginner i have to give you a word of

warning this tutorial is covering the

operation of the camera only it will not

be enough for you to take consistently

great images the quick story is that

when i got started back in 2003 i had a

canon 10d and we didn't even have

youtube back then so i had to learn

through trial and error and it took me

two years

and i remember a point that i was so

frustrated i wanted to throw my camera

against the wall because it was just

really confusing there's all this new

terminology and icons and symbols

and the reason i'm sharing this with you

now is just to empathize with you and

say hey i've been there i know exactly

what you're going through

and

now that i've i've done this for a while

i've created a crash course on the canon

r7 so you don't have to go through all

this time and trial and error the canon

r7 crash course includes a digital

photography school which will teach you

the basics about shutter speed aperture

depth of field stops

and then it goes on to cover things like

composition

lighting and then we get into the

advanced shooting techniques where

there's different fundamentals for the

shooting type whether it's landscape

sports

portraits maybe you're using a little

bit of flash maybe you're doing video

work there's several different kinds of

video and i put it all together in one

course i can tell you i have had tens of

thousands of students who over the

weekend have learned their cameras so i

strongly recommend you invest into your

education

spend the money

do it over a weekend and you will be

well on your way to taking great images

instead of you know trying to learn it

on your own and this is kind of like an

interview is i am going to demonstrate

my teaching style to you and if you like

it check the link in the description for

the crash course if it's not yet

available it'll take you to the blog

where you can leave your name and your

email address and we'll reach out to you

as soon as it's available the cost is

49.95 and it takes about four to six

weeks from the time that i launch this

video in any event we have a tremendous

amount of information to cover so let's

get started before we get started i'm

going to show you how to mount this onto

a tripod i also just wanted to give you

a word of encouragement first of all

congratulations on your camera second of

all thank you for coming

you are in good hands i'm going to take

care of you and i also want you to know

i have been there i understand how

frustrating this can be

be patient with yourself

take a growth mindset approach that

basically means that you can learn

anything

if you're patient allow yourself to make

mistakes you're going to become a great

photographer i promise you

in the beauty of youtube videos is you

can always rewind if something's not

clear or you want to go through it again

so let's get this onto a tripod

you'll notice on the bottom we have this

mounting screw and it is standard on

almost all cameras

this is going to screw into something

called a shoe and this shoe is going to

fit into this ball head which will allow

me to point the camera in different

directions so i'm just going to take

this

screw it in and there's different kinds

of shoes and mounts there's there's arca

swiss mounts i really like this

particular one from from bogan manfrotto

it even has an orientation marker on the

bottom that shows me which way to point

the camera this is going to point

forward

and it drops in to the ball head like

this there's a lock mechanism back here

and this is going to allow me to show

you the camera as i'm teaching next

let's take a look under the battery grip

you're going to notice we have this

little switch here that we can open this

is where the battery is going to go and

you'll notice that it's oval on the

outside

and this is the battery you should have

gotten with your camera

and those pins

are going to be facing in towards the

camera body so you're going to slide

that in until it clicks to release the

battery you just slide this over

and to close the door we just push and

it should click shut let's talk about

memory cards real quick memory cards are

put into the grip by pushing this latch

backwards towards you as you're holding

it and it'll flip open and you'll notice

that we have two cf card slots here and

we're even given some orientation

indicators here on this

little metal thing

so if you look at a memory card you'll

notice that it has a notch on the side

and those notches are lining up with

those icons which mean they're going to

go into the camera like that

push them all the way until you hear a

click

to remove them push again and pull

straight out

a word of warning on memory cards memory

cards are not all created equally and

the best advice i give new beginning

photographers is buy the best cards you

can which you can afford

which are going to allow you to do what

you want to do you'll notice there's

many symbols on here if you're doing

video work and you want to do 4k video

the most important symbol here is this

u3 symbol the class u3 symbol

is the minimum requirement if you want

to record 4k video at 30 frames per

second if you're shooting at 60 frames

per second or you're doing other high

data rate you're going to need an even

faster card the reason i'm saying this

is because sometimes students will find

a memory card laying around they'll

throw it into their camera and they'll

just expect that their video is going to

record fine or they're going to get

lots of shots when they're shooting

sports before the camera freezes up and

the truth of the matter is is the memory

cards will definitely affect your

performance and there's different kinds

of cards

this

is a uhs class one card and you can tell

that by the number of pins the rows of

pins it has on the top of the card

there is another card that looks almost

identical on the front

but when you turn it over

it has two rows of pins

this is a high performance uh s2

sd memory card these sd memory cards are

far faster in performance they're gonna

you know offload your images when you're

downloading them to your computer

they are also more expensive something

like this might run over a hundred

dollars something like this

might run

30 bucks okay and you'll notice that

there's definitely

a lot more memory here if you're doing

any kind of paid professional work

go with the

uhs2 cards and you can barely see the

icon there there's a little two symbol

and there's also a little lock here i

never use this lock but if you push this

lock down

this will prevent the card from being

erased

and sometimes it's sometimes you can

bump it

and so if you have memory card problems

and that switches down just something to

be aware of but i'm going to put both of

these cards into the camera and i'm

going to reformat them after i show you

some other things but

that's just some advice i really like

the sandisk extreme pro memory cards and

if you're on a budget just get the class

one

and should be good to go if you want

high performance for sport shooting

downloading images get the class 2. so

following the diagram with a little

notch we're going to go ahead and put

these in i'll put

that one in the back i will put

this one on the front

close it when we're talking about lenses

this is the lens mount it's the

mirrorless mount from canon that is

referred to as the rf mount so when

you're purchasing lenses that will

natively connect to this mount you're

looking for that rf designation

canon for its history for many years

decades has had another type of mount

referred to as ef so if you see a lens

that has an ef designation that is for

dslr cameras and you would need an

adapter to make them work i'm going to

open this up

and you'll notice we have this little

mark here this this is a lens mount mark

that corresponds

with this red indicator here and this

tells us how to line up lenses and caps

and things of that nature

on to

the lens mount in such a way that it

will lock when we rotate it

something to keep in mind and i have the

shutter here closed is that this is an

aps-c sized sensor what that means is

that there is going to be a

multiplication factor on the lens that

you use i'm about to put a 50 millimeter

lens it's a little nifty 50 for the rf

mount

anytime we put a lens on there we're

going to multiply it by the crop factor

of 1.6 so in this case this would be an

80 millimeter lens because 50

times 1.6

is 80. so this lens is going to behave

as an 80 millimeter lens which is

actually perfect for portraits

now another word of warning i have to

give is we live in a microbe world there

is dust everywhere you can't see it but

it is all around you

indoors outdoors everywhere and every

time we take this cover off we are

exposing

the lens mount inside of the camera to

dust now luckily canon has this feature

that we can close the shutter you know

when the camera is turned off to help

minimize dust

if you shoot long enough you will see

dust specs on your images

when you are using smaller sized

apertures f11 f13 you'll start to see

these things pop up as these little gray

spots

and there is a specific way to clean it

i talk about it on the crash course i

show you the tools the techniques that i

use to make this

really easy

the recommendation i give is that when

you're changing lenses is to make sure

that this is pointing down towards the

ground why because

even in a windless environment there's

things floating around right and we want

to make sure that there are no particles

floating inside to the camera even now

as i'm doing this i'm running the risk

of this happening right

so when you're changing lenses point the

mount down

minimize the amount of time that you're

changing your lenses for and try to do

it in an environment that is not windy

sometimes you can't help it but you know

like if i'm on a beach and it's windy

i probably am not going to change my

lenses until when stops or i can find a

place like inside my car some other

place where it's safe to change the lens

because i don't want dirt getting inside

if you leave your camera like this you

are going to get dirt inside it is going

to affect the camera so always try to be

really quick about it so let's get this

lens on there for this demonstration i'm

going to use this lens when i take this

cap off you'll notice that i have a red

marker here and what that means is i

want to line up the red marker to red

marker

put it onto the lens mount and rotate it

until it clicks

so now the lens is on it's secure when

i'm ready to remove the lens i am

pushing the lens release on the side

here and i'm rotating counterclockwise

until it comes off and this is how you

would put any lens onto your camera

something else i want to point out real

quick

maven is coming out with a line of

filters different filter sizes

and to know the size of your filter

threads of your lens all you need to do

is to look under your filter cap

in this case this is 43 millimeters so

if you ever purchase a filter that is

how you figure out the size of your

filter size and it's also written here

with this filter symbol 43 millimeter

before we get into the control lessons i

want to take you on a tour of the

physical buttons on the camera where

they're located in a brief description

of what they do

lens release we just talked about it

here is the shutter probably one of the

most important buttons on the camera

this is how you focus and take pictures

we have our auto focus assist light

it illuminates in dark situations and we

can turn that off in the menu down here

we have a new switch it is the auto

focus to manual focus switch

usually this is found on the lenses but

canon has moved it to the camera body

we've seen this on other cameras like

fuji's for example so what this means is

you'll be able to quickly jump to manual

focus or to auto focus back and forth

by flipping the switch and the button in

the middle of that is our depth of field

preview which can be customized and i'll

show you how to set this up a little bit

later the depth of field preview will

stop your aperture blades down to give

you a preview of your depth of field in

real time taking a look at the ports on

the left side of the camera as we would

hold it we have these rubber gaskets

under the top one we have our microphone

port so if you're going to do any kind

of video recording you need to plug an

external microphone this is where it

goes in

your headphone jack is on the bottom

right here

we have a remote terminal we can plug in

a remote control

we also have

hdmi mini hdmi you'll notice it's not

the bigger plug it's the smallest one

and we also have our usbc terminal here

on the bottom one of the questions i'm

sure some of you will have is can you

charge the camera with the usb port

not in the way that you're thinking you

have to purchase a special power adapter

and you have to be using lpe6n or lp

e6 nh batteries you cannot use an lp

e6 regular battery the camera has to be

turned off and it has to be that special

adapter otherwise it's not going to work

unfortunately something else i want to

point out kind of hard to see right here

next to the viewfinder is called the

diopter adjustment

this is for those of us including myself

who wear corrective eyewear and we need

to adjust the focus of the monitor

inside the camera and so you rotate this

up or down and you can adjust the focus

as you're looking through here very

useful for those of us who are getting

older and slowly losing our vision on

the top of the camera you'll notice

these two dots these are the microphones

and

despite their best effort they're not

going to be great because they also

capture vibrations in how you're

handling the camera so for video

recording always use an external

microphone we have this new hot shoe

protector this little plastic cover

the hot shoe mount is for your strobes

your speed lights triggers

you can attach accessories here you'll

notice we have these beautiful pins

which tell communicate the speed light

when to fire how much power

obviously we'll get into this on the

crash course where i do demonstrations

with a speed light with a strobe

there's a little symbol over here that

it looks like a circle with a line

through it this tells us where the depth

of the sensor is it's often very

overlooked but that's what it is at this

point is where the sensor

is mounted

over here we have the mode dial this

tells the camera how to behave when we

push the shutter button halfway down in

terms of exposure control and things of

that nature i'll talk about this in

depth later in the video

we have our lock button we have our

power switch

on here to this middle part is for

stills

if we turn it to the video camera icon

now we are in the dedicated video mode

so video stills off

this guy here iso is our sensor

sensitivity i'll demonstrate this a

little later

the red button is start and stop video

recording

we have our mfn button which is our

multi-function button it's going to help

us select different options that i will

also demonstrate

and this guy here is very important

controller i like to call it the primary

selector because

numero uno our finger one on the

selector and i will demonstrate this

later in the exposure lesson as well

again we have the shutter button and we

have the lens strap mounts

when we're looking at the back of the

camera we have this new control wheel

that has a rotating dial and it also has

a joystick

this dial i like to refer to as the

secondary selector

primary secondary for a reason i will

demonstrate a little later next to it we

have the af on button or the back

focus button i'll show you how to set

this up in the focusing lesson

hard to see we have a small little

speaker right here

we have our information button

we have our directional pad which pushes

really in eight directions up down left

right and on each of the diagonals

we have a set button which acts as an

enter button would on a keyboard right

and you'll also notice we have this cue

icon in the middle of it demonstrate

this

we have our playback you'll notice these

are in blue so playback as well as

delete the garbage can icon and on the

top right hand we have this little star

symbol which is the exposure lock if

you're shooting without a flash it can

also work as the flash exposure lock

when we're shooting with a speed light

this button i like to call the cluster

button which will determine our focusing

squares and which ones we're using

kind of hard to see here but you'll

there'll also be this little blue

magnifying glass on the outside of it

anything you see in blue is for playback

so when you're playing back images and

you push this this will zoom in and out

and allow you to inspect the images and

on the top left hand corner over here we

have the menu button that's for the deep

menu and there's a lot of information

i'll be giving about this later on

something else i want to point out is

that you can push the joystick directly

in to the camera body and if you do so

center it will re-center your focusing

square i hope to demonstrate this later

as well i'm going to open the monitor to

demonstrate some other things need to

set the date and time i will in a moment

i'm going to tap the shutter button to

get me into a shooting mode

and i want you to notice this little

black

rectangle here is that when i move

something in front of it we lose the

monitor in the back

this is a power saving feature which the

camera basically when we lift it to our

face

shuts off the monitor and turns on the

smaller monitor in the eyepiece when we

lower the camera this shuts off and we

get back to our regular view and there's

different ways we can control this for

example if we're shooting on a gimbal

you know for video in the gimbals too

close to this monitor we would need to

turn this off to see what's being played

on the back this feature is usually in

the yellow menu and i'll demonstrate

this a little bit later this might be a

little bit early to be jumping in to the

menu section but i want to access my

power saving because i don't want this

camera to keep getting dim as i'm

talking so i'm just going to turn off

the screen dimmer

and

viewfinder it's fine auto power off i'm

going to change this to 10. i'm just

going to turn this off altogether so

after i've turned these off it's going

to be easier for me to demonstrate these

things

coming back out to the menu

here is the screen finder display

feature if we wanted to shut this stuff

off just have the screen for shooting on

a gimbal this is where it would be

we'll be talking more about the deep

menu later on something i have not done

yet on this camera is set up the date

and time i've kind of skipped it

so you can always adjust your date and

time here on the yellow tab

on the bottom

it thinks it's

january 1st it's not

change this

i'm currently in hawaii so i'm going to

choose the

honolulu time zone should be in here

we don't have daylight savings here it's

kind of interesting arizona doesn't

either

so hit okay so now the date and time is

set up correctly i'm gonna hit okay

in terms of housekeeping i want to point

out that anytime you change the mode

dial by default the camera will make

these prompts and you can open them and

read a little bit

it drives me nuts so in order to turn

those off you're going to come into the

yellow tab

and that's called the mode guide and i

would strongly recommend turning these

to disable and the reason is is when

you're shooting between modes you don't

want to have to wait you want to get

into the shooting pretty much as fast as

possible right so that will turn off

your mode guide something else i want to

do is to

format the two memory cards that i've

put in here

they've been backed up i have two copies

of all of those images and videos on two

different hard drives in two different

places

there's different strategies to this

maybe you'd have an online copy

somewhere on the cloud and another hard

drive but always keep at least two

copies in safe secure places

i have many horror stories of people who

put it all on one hard drive for years

and the hard drive died and they can't

get those images back so now that i've

backed those cards up onto two sources

i'm going to come into the yellow tab

page one format card

not a lot of information on it

and i'm going to repeat the same for the

second one and not a lot of information

on here now these cards are empty and

they're ready to go anytime you're in a

menu like this and you want to return to

shooting you can just tap the shutter

button and it'll jump you out one of the

most intimidating things for new

photographers is the overwhelming amount

of unfamiliar icons

so i want to walk you through what each

of these icons mean

and i also want to demonstrate the

importance of being comfortable with the

info button if you don't have your

camera pause the video grab your camera

in hand and follow along as i'm doing

this

all i want you to do

is to press the information button

you can see that we're toggling through

several different kinds of screens

one of those screens doesn't have any

icons at all it's kind of stress

reducing right nothing to worry about

we have this black screen that has tons

of icons we can't see what we're

shooting

very useful for changing your camera

settings in certain situations

then we kind of have this medium hybrid

that has icons not a lot of them

we can still see what we're shooting but

we can also change things

when you see this little gray box around

it that means we can touch

that item

and we can adjust it

directly we'll come back to that in a

minute

then we get these two columns on the

left and right side with tons of

different icons

this screen includes a histogram this

histogram is telling us how bright the

image is it is a statistical tool

and you'll notice that we have a peak in

the middle that means we're exposed

properly it's a lot to go into

i have a free lesson on this on the

crash course that will go into far

greater depth

and then you'll notice this line here

there's two sets of lines kind of hard

to see

one set deals with up and down i'm

pointing the camera down and you can see

these little tick marks are red

and as i bring it back up now they're

green

and i'm right on the point of when i'm

just pushing the camera just a little

bit

this is telling me that the camera is

level it's a very useful tool for

landscape shooters to have it built in

it was not always this way

and then you can see that we're starting

over again

so with this in mind i want to introduce

you

to these icons and i think i'm going to

do it here because this is easier to see

i like to shoot from the back of the

camera in a way that you understand and

you can see these icons very easily

i'm going to turn the camera the mode

dial up here

to m

to the manual mode so we can see some of

these other indicators

these numbers here this one given as a

fraction is your shutter speed in this

case it is 1

125th of a second

and anything with an f

refers to the aperture

the aperture is the size of your lens

opening and this is what controls the

amount of light coming into the camera

the time how long

the shutter is open

and how wide

the lens is open those two things

control

exposure exposure is another way of

saying

the amount of light

so by manipulating those two variables

we can change how much light is coming

into the camera and i will be pointing

this out later on in these lessons

but you will see these indicators

in many different places

fractions or shutter speeds anything

with an f deals with the aperture the

size of the lens opening

commit those two things to memory and in

this case it's also telling us which

controls

will change those settings in this case

the primary selector

in the case of the aperture

secondary selector for manual mode right

now we also have this other setting here

called iso

iso currently it's set to auto

iso deals with

the amount of boost that the sensor gets

so it's a kind of a way of cheating

when we had film cameras

there were different types of film

sensitivities you could buy very

sensitive film or less sensitive film

depending if you were shooting

you know in dark conditions or during

the day and digital cameras have

simplified this by by putting it into

the camera building into the camera in

such a way that it's really easy to

change and adjust and that is iso iso

controls the sensor boost

and let me demonstrate it right now

since we're talking about it i wasn't

planning on this

the button i pushed there is the q

button

pushing the q button

because it'll allow me to change these

things if i don't push it i can't change

them

there's also a cue button here in the

bottom left hand corner and when i push

that cue button i can also change these

settings something you'll notice is that

we have the words auto right there

the auto means is the camera will

determine the iso

and it'll increase it or decrease it

depending on what it wants to do

i am not a huge fan of that i like

having control but there are some times

i use it so i'm going to change this to

the number it had on there it was 1250

and i'm going to take a picture

i'm going to come out to the regular

screen

and focus on those blinds

and i'm going to take a picture

now an iso of 1250

is not that high

and when we zoom in on the blinds you

can see it's pretty clean

nice straight line

you can see even some scratch marks

some dust on the blinds right

look how clean that is

now what i want to demonstrate is when

we use a very high iso i'm going to turn

this way up

i'm going to turn up as high as it'll go

you can see that it's obviously

overexposed

overexposed means it's too bright

so what i'm going to do

is use a faster shutter speed a faster

shutter speed is going to let in less

light so i have less light

high iso i'm going to take a picture

just to demonstrate

the trade-off of iso

and i'm going to zoom in on this picture

just touching here and this is how you

can inspect images is like you would on

a phone

you could pinch your fingers out

and if you look at the line here you'll

notice that this is a very grainy image

there's a lot of salt and pepper here

it's everywhere

and that's the trade-off with iso is

that

high isos will give you a much greater

sensor boost

however

they're also going to introduce a lot of

grain that is not pleasing to the eye

lower isos will have less grain but you

also need a lot more light we'll be

talking about this more in the exposure

lesson i do this just for demonstration

if you're a pure beginner and you want

to know what iso is and what it is doing

all that said i'm going to turn this

back to this about the setting we had it

on

the iso performance that i've seen out

of the r7 so far

it's pretty amazing i'm pretty impressed

with it with everything i've seen kind

of gotten off track here i'm gonna come

back to this black screen

in any event these three settings your

shutter speed your aperture and your iso

these are the most three important

settings on your camera you will see

something similar when you look through

the viewfinder it'll be on the bottom of

the viewfinder the bottom of the screen

there and you should always be aware

of what those

settings are and where they're at when

you are shooting just take a quick sneak

the peak kind of thing

don't worry about manual for now i'm

going to give you some other

instructions until you get there let's

go through the rest of these icons so

you know what they are and what they do

in the top left hand corner we have our

shooting mode indicator and as i rotate

the mode dial

you will see

different letters appearing

in some of our options are disappearing

as we do this

i'll be discussing each of these modes

in depth a little later

but this is where the mode that you're

shooting it is found let's come back to

manual

this guy right here

is our exposure

compensation bracket and this is how we

can make the images brighter or darker

in certain modes and i'll show you how

to do that

this guy right here

is our picture styles

picture styles is sort of like a recipe

the camera uses to create different

looks

for example let's just turn this on take

a look real quick

you have all these different settings in

there there's different names auto

standard portrait

landscape let's say i'm shooting a

landscape shot

the picture style here will tend to over

saturate the blues to make your skies

more blue than they probably really are

in in the portrait picture style the

flesh tones might be more accurate this

is the idea of picture styles they have

all these different user sets

we can come in and customize this

depending on our wants

adjusting the sharpness the contrast

it's a lot of information if you're a

pure beginner i would say don't worry

about it so much

and leave it on auto for now

next to that we have our white balance

i'll be talking about these in depth

this is where we can change our white

balance control

then we have our white balance shift in

bracket next we have our auto light

optimizer

we have our wi-fi settings

we have our card settings you can see

that we have both memory cards in there

and you'll notice that to the right of

that we even have the quality of our

images whether it's jpeg raw compressed

raw that should be indicated to the

right of it there's different ways to

set up the cards so you can record raw

to one memory card or jpeg to the other

or duplicates in both or maybe video to

one this is in the deep menu section

on the bottom we have our focusing

clusters this tells the camera in what

area of the frame to look

our focusing modes tell the camera when

to focus

if it's a one shot or a continuous focus

then we have our metering modes this is

how the camera measures light coming

into the camera

we have our drive modes which tell the

camera how to behave after we push a

shutter button down maybe we want a

timer maybe we want multiple bursts

and by the way on any of these you can

push the set button again and it will

open the menu

select it or we can double tap

so there's different ways to get to

these controls

we have our q button we talked about we

have our battery life indicator we have

our wi-fi indicator

we have our image stabilization icon

these two numbers here on the bottom

deal with the number of shots remaining

the one in the brackets deal with how

many images can we get onto this memory

card

the number next to it is the buffer

depth which means that if we're shooting

continuous buffer fast rapid shooting

15 frames per second the camera is going

to let us take it says here 65 images

before it starts to slow down take this

number here with a grain of salt because

it can be a little variable depending on

the size of the files

the burst mode that we're using as well

as the memory card speed that we have

even if you put a different you know a

faster or slower memory card usually

it's going to stay about the same

depending on

you know what settings you have

but when you're actually shooting you

might see something different

this guy right here deals with the

custom setup of the camera buttons so if

we come in here and we tap that we can

customize our buttons and we will

customize some things a little later

you can see here that it gives you a

white highlight on any button that you

want to change

and there's tons of options when we say

let's say we want to change

the the step to field preview button

the auto light optimizer allows us to

adjust how the camera is tweaking

certain things like contrast to a degree

for jpeg images i usually leave mine

turned off

this guy right here

is your flash exposure compensation this

essentially allows us to tell a flash to

be a little bit brighter or darker i

cover this on the r7 crash course and

i'll demonstrate it in those lessons

for those of you coming from previous

canon systems and you're not familiar

with this little ball with these lines

coming off that is your tracking frame

so when we come in here

we select this

by toggling the info button we can make

the tracking frame displayed or not

displayed

i'll be giving you some demonstrations

on that later now there's a reason why i

like starting here is because as we

start toggling through these other

screens you're going to recognize most

of the symbols that we've already

covered so if i push the info button

look on the bottom here

fraction shutter speed

f

aperture

and we have our iso over here

so you know what those three things are

already this is our exposure

compensation bracket i haven't

demonstrated what it does yet but i will

up here at the top we have our mode

number of shots remaining number of

shots in the bursts this new information

here hours minutes seconds this is the

amount of video that we can record onto

our memory card for the current video

settings

then we have the battery icon

image stabilization and our q button

anything with gray we can push and

adjust the setting directly we also have

the focal length of the lens that i have

this is a 24 to 105 and as i rotate it

you can see the focal length number

changing this is very nice

this magnifying glass will allow us to

zoom in there's some techniques i'll be

demonstrating one touch is

times five another is times ten

you can focus using that and we also

have a touch shutter over here i never

use it because it drives me crazy but

the idea is you would touch

it would focus on

the area that you touch and it would

automatically take a picture if it gets

focused lock

so this is this hybrid screen now when

the auto shutter is turned off

and we touch on the screen

this will allow us to focus touching on

the screens very nice it's very fast and

easy for many kind types of shooting

let's push the info button again

now we get to this intimidating screen

that has all of these different icons on

either side right

keep going through

most of these we know already but let's

take a look we're going to press the q

button

to access them this screen can be really

confusing because there's just icons

everywhere

the idea is that you have two columns

one on the far left one on the far right

when you activate this screen we can

touch any of these options or we can

navigate with our directional pad or

joystick

we can also just tap and it will take us

there

and then we get the options on the

bottom of the screen so depending on

what feature we're changing whether it's

white balance here the white balance

items

if it's our focusing modes they're on

the bottom it's our drive modes they're

on the bottom so that's how this

interface works

we get our categories on either side and

our options on the bottom

and you know most of these already up at

the top we have

our focusing clusters it's our focusing

modes between one shot and servo i'll

demonstrate these later

we have the cards that we're using

including image quality so we we can

change whether we're shooting raw

or so if we push and it's showing us

the cluster button there

so if we push the cluster button we can

select whether we want to shoot raw or

compressed raw i'll explain those

differences later if we wanted a quick

change

and we could also change

which memory card we're recording to by

pressing info so it's giving us these

little extra instructions here

if we continue to go down we have our

drive modes and we get all the drive

mode options here on the bottom

i'll take you through those

a little bit later

we have our metering modes

over here we have our subject detection

whether it's human

animals

cars

we can change it to spot detection turn

it on or off

i usually have mine on people

the creative filters are basically

gimmicky sets of colorization and

posterization and things that are just

here's a soft focus here's a fish eye

effect these are not

professional tools and i never use them

here we have our picture styles we went

through this already

here's our white balance we already

showed you this icon before and then we

have our flicker anti-flicker shooting

which deals with certain sodium-based

lamps outside when you're shooting in a

situation where lights are flickering so

fast that we can't see it the camera can

detect it and shoot between those

flickers so they're more consistent

looking

i just leave it turned off for now if

you notice the difference like if you're

shooting out on a race track at night

you'll see color changes that's when

you'd want to turn it on

mine's off and this return arrow will

return us to the main menu

all of the other icons in here we have

already seen

i've seen them in other places i notice

a lot of information

pushing the info button again we're

brought back to the level screen

in the histogram screen

there is another mode that has even more

icons and we're going to get to that by

rotating the switch here

from stills

to video so in the video mode you'll

notice that we have several new icons we

still have our shutter speed aperture

iso you'll always see that pretty much

any camera mode shooting you're shooting

with

the top

left-hand corner we have the video

camera icon with the m for manual mode

the amount of time remaining in our

battery life

this guy here with the left and right

the l and the r you can notice these

levels this is our audio game it's

coming into the microphone here

and by default this should be on auto

gain which is going to fluctuate the

intensity of your audio depending on if

you're speaking or not speaking

it'll really mess things up and there's

a way to turn this off that i will

demonstrate to

put it under control and put it at a

stable level

as we navigate through these i'm going

to push the cue button so you can see

these the title for these at least

are our focusing clusters for video

we have the memory card that we are

shooting to recording to

we have our video resolution settings

currently it is at full hd to set it up

we would press here it's actually taking

us into the menu and you can see that we

have several different options from full

hd

to crop

4k

in find 4k

and we also have the ability to choose

different frame rates from 60 frames per

second 30 frames per second or 24 frames

per second

we also have ipb and compressed

ipb

so sometimes it will not let us

shoot

certain settings together

in the case of ipb lite you'll notice

that we get more recording time versus

ipb

the way ipb works i like to remember it

is i like peanut butter it's a little

bit more simple

what the camera does is it analyzes

every frame determines what's changed

and if something hasn't changed it can

reduce the file size

through this type of compression and

make a very compact video format

the problem with it is sometimes when

you get lots of vegetation and fine

details as you start to get artifacts

that are splotchy and blocking probably

more information than you want but we

will cover a lot of this

in the crash course the settings you

choose and why and things of that nature

but this is how you change your video

settings i almost always shoot 4k 30

frames ipb

in the case of teaching for example

i would say okay

and when we come back out you'll notice

that

the amount of time that i can record to

that 64 gigabyte memory card is much

shorter now

because i'm recording a much higher

resolution

some other things that we have our

digital zoom i never use it this is how

we can use the camera to zoom in

in camera it's all it's doing is

magnifying pixels

it's not really increasing our

resolution

we have

our headset control if we want to

control how loud the volume is is where

we would do it digital movie i s is

digital movie image stabilization it's

using software to remove jitter as we're

moving with the camera again it can help

if you have nothing else and you're just

trying to get the suck shot but you can

also do it in post so i don't ever use

it

then we have our white balance

picture styles

creative filters

in the subject detection so some of

these things are the same there's a

couple other things in here

is you'll notice that we have this

little temperature

gauge monitor that's going to tell us

when the camera is overheating and it's

time to turn it off i have not

overheated this yet but my understanding

is is that if you do lots of video

recording especially outdoors camera is

going to heat up and you're going to

need to shut it down we also have our

start and stop video record

button

we have our q button to jump back into

those menus

so i know we have covered a tremendous

amount already just identifying the

different icons in

short definition of what they do

the good news is

as a photographer once you get set up

you're really going to be looking at

your exposure settings and how your

camera is focusing

the rest of these are more secondary

tweaks in this lesson i want to talk

about the cameras focusing systems and

i'm going to break this down in a very

easy to understand way

i need to point out however we have a

sensor a camera sensor that is many

times larger than a cell phone camera

cell phone cameras are tiny these very

small sensors and very small recording

media

has a very deep depth of field a depth

of field is sort of like a wall of focus

it's how

much of this invisible wall you're

putting out there

the subject matter between it is going

to be in focus and in the case of cell

phone cameras very small sensors have

very deep depths of field so

everything's in focus that's why cell

phone cameras are so convenient you just

basically

take a picture of something and

everything around it's going to be in

focus more or less right

not so with

larger sensor cameras even an aps-c size

sensor is 20 to 30 times the size of a

cell phone camera and we have to be very

specific about

telling the camera where to look

when it takes the picture because if

we're looking in the wrong place

the picture is going to be blurry

so

pure beginners

start off on your program mode there is

this other mode

the green box mode which i lovingly

refer to as the dummy mode i'm not a fan

of it

i'm gonna hide this

it wants me to set up the creative modes

the dummy mode pretty much does

everything for you you didn't buy this

camera for the dummy mode so anytime you

see that green box we're going to stay

away from that we're going to be in the

p mode the easiest way for me to break

down

the focusing systems is if you think of

this in terms of the how

the when

and the where

how when

and where

if you remember those three things

this is going to be easy

so the first part

how does the camera focus

the cameras most cameras

focus

with a halfway

shutter button depression you push the

shutter button halfway down

that engages the camera's focusing

systems you push the button down all the

way

and it takes the picture

very straightforward very easy

halfway shutter button depression

full depression will take picture

now in the case of the r7 we also have

this button on the back af on which

means that we can push this button

and this will also engage the camera's

focusing system and when we're ready to

take the picture we would just push it

down all the way

because we're dealing with a touch

screen monitor we can also

touch on the screen

if it is set up where we don't have this

touch shutter enable and we can just

touch on the screen in different places

and the camera will focus

three different ways that we can engage

the how shutter button halfway

depression af on

and touch monitor and that is how we

engage the camera's focusing system

the second part of this question

deals with the camera's focusing modes

the when

the camera is focusing

if we come into our q mode

up here

you can see that we have it on one shot

it's currently on one shot right here

one shot auto focus

means

the camera will focus

one time

and it will remain in a focused lock as

long as the button we're using is held

down

so in the case of the shutter button

i can push the shutter button halfway

down

it's getting a focus lock and if i move

the camera around

the position of the focal plane will not

change

and i can push down all the way take the

picture

now for subjects that are still this is

great if you have a cooperating human

like an adult or even a teenager for

really small kids it's not a great

focusing mode because small kids like to

run around out of control and they don't

like to listen to what you're telling

them

so

one shot is good for still subjects

when we need a one-time focus and we

take the picture i want to demonstrate

something we have a small focusing box

here

is that this is very handy

if we want to do something called

recompose

this is where we can get a focus lock on

something

and move the camera

as i'm holding the shutter button

halfway down this is something that you

should practice i'm focusing on this

blind here

and i'm holding the shutter button down

as i'm recomposing now why would you

want to do that well

you know you may be in the middle of

action and you don't want your subject

in the middle of the screen you want

to change the composition a little bit

and i i pushed the so the joystick was

over here i just pushed it into the

center and it jumped back to the middle

there

so this technique that i'm doing here

and you see we had a tracking box it's

really not even the right box for this

let's go to a

focusing square

not that either let's come up here to an

actual focusing point

where we have a focusing box that won't

move same thing i can still touch with

it

but

push it in the center i can get a focus

lock

and recompose

doesn't work really well on wide

aperture settings like 1.8 2.8

you really need to be like an f4 f5 if

you're if you're shooting a person and

recomposing

shallow depths of field it doesn't

really work but that's something that

every professional photographer knows

how to do is they get the focus lock and

they recompose it only works in one shot

so the question that i'm sure you have

is

what about sports

great question you can come into the cue

mode go to one shot servo

servo

is focusing over and over and over again

one shot is once servo is continuous and

it's called continuous in certain camera

systems now something i'm sure you

noticed is that in one shot when we

focus we get this green frame

see it's green we get a beep the beeps

telling us hey you got it in focus right

now if we come in and we go to servo

watch what happens

now we have a blue box

not green blue

in the servo mode is focusing over and

over and over again continuously as long

as we hold that shutter button halfway

down as long as we hold the auto focus

on button halfway down

it's not really doing it when we use the

touch monitor in the back you can see

it's jumping back to the green box but

these two guys here

means that the camera is continually

focusing

wherever that blue box boxes

this is what you're going to want to use

for sport shooting fast moving subjects

birds in flight this is the mode that

you want because

moving subjects the camera has to adjust

its focal plane very quickly so that is

the

when the camera is focusing whether it's

one time

or whether it's many times over and over

and over again

now let's talk about

the where the camera is focusing

this deals

with the camera's

focusing

clusters

now this can be a little confusing about

how to get to these boxes you can always

come into the q menu

and you can select the focus af area

here they all are on the bottom and as

they go across the bottom

you'll see you get a little

indicator af spot or spot af

is saying that tracking frame is not

displayed that's fine so i'm going to

select the spot

focusing square

and that is a very small defined

focusing square so if i'm doing a macro

photographer maybe i want to go with

spot focusing cluster and i can come

back to the cluster

now we have

one point auto focus hit that and you

can see that the square is a little bit

bigger

so a lot of these deal with different

sizes right

i'm going to come back out

here we have the expand af area

and you can see it's even a little bit

bigger

so it gives a priority to the center box

i'm going to put my finger in here

i'm probably too close

but you can see that even as i get to

these points on the outside

it's engaging

the servo focusing

let's keep taking a look here

so you can see expand af area around

it's an even bigger cluster right

let's use this guy right here

like that there we go

with a priority in the center and a

secondary priority on this outer rim

so a lot of these deal with the size of

the box that we're using

now these next three here

they are the flexible zone one two and

three

and you'll notice

here when it says push the cluster

button to change these different options

if we come in here

you can see that we get this vertical

zone

this shape is telling the camera to look

in here right

so as long as anything is in that area

the camera can find the contrast and

jump to it that's how the camera is

looking this is why i use white blinds

the camera is looking for an area of

contrast within the box that we have

selected

it also

prioritizes high contrasty things in

that box that are closest to you so

obviously if something's closer it's

going to prioritize it

now something that's interesting about

these

is that

when we push the cluster button and we

rotate the primary selector

you can see that we can adjust the width

of this this is something that i have

not seen on a canon camera before

and if we rotate

as well as the height of it so we can

adjust

the size of this box to be any size

that we want beyond this

basically a single square

which is very cool this is very cool

canon is giving us permission to change

the size of our larger auto focus areas

right so if you're

if you're doing birds in flight and you

want a very

wide box look how wide we can get and we

can just have that on our af zone one or

maybe

you know maybe we're shooting in a sport

or something in such a way that we want

to

stick to this horizontal plane great

because when we engage the focusing

systems there it is it's staying within

that plane

so those flexible spot modes

one two and three

are

customizable which is

it's awesome

so this last guy over here

in terms of the clusters it this is the

whole area auto focus

and the info button will determine

whether the tracking box is enabled or

disabled now if it's disabled you're not

going to be able to see it

so we want this on enable and the idea

of this is that if you have a subject in

here

and you tap on it

is that it will track that subject

right

so we can engage the focusing and the

idea is that the camera will follow this

wherever you go

maybe we'll just do something different

there it goes so it basically is saying

that when we touch the screen

see if we can confuse it yeah we can

it takes a second because and now it

goes we're basically telling the camera

hey look for this shape and follow the

shape around now in the history of all

the cameras that i've ever tested which

is a lot over 14 years this this

tracking feature has never really worked

perfectly for rapid sport shooting but

in cases of slower moving subject matter

it can really work a lot of it depends

on the amount of contrast the movement

and subjects

just keep that in mind i think it's

easier to pick a focusing square and

ride with that especially one of those

new

customizable size

focusing clusters one of these three

guys i really like those

so that is the basic

of the wear

so in summary in terms of basic focusing

for still shooting

the how the when and the wear how deals

with how we engage the focusing systems

halfway shutter button depression or the

af on button touching the monitor

the wind deals with one shot or servo

and the where deals with how we're

choosing our focusing squares now

there's other ways to get to our

focusing squares we can push

the focusing cluster button directly

then we push the mfn button and here we

are so the two button presses away or

you can go directly with the cue button

if you want

q sometimes it's easier to do it that

way but this other way it looks like

this

cluster button

mfn button and there we are these are

all the same clusters

push mfn

toggle through them this second method

of pushing the cluster button and the

mfn button is the preferred way to go as

you are looking through the viewfinder i

want to talk about some of the secondary

focusing options that we have we have a

beautiful model here

thank you for stopping in

and this can be found

in the hue menu under subject to detect

we're going to

select people we're going to set we're

also going to make sure that when we

come in

to the purple tab

you want to make absolutely sure

that eye detection

is turned on if it's not turned on this

is not going to work

eye detection

essentially tells the camera to

prioritize

a human subject's face

and to focus on

one of the eyes

and that's what this is doing here and

you'll notice that even as i move the

camera regardless of where the focusing

square is

that priority

is going to revert back to

a human's face

now this is a little confusing for it

because it doesn't know whether you want

to focus here or here

but in most cases if you have a human

face that it recognizes it's going to

prioritize there now i can also say that

this is size dependent is that as you

move further and further away from your

subject

the camera has a harder time recognizing

the facial pattern and it may not lock

in so you have to have a

face of a certain size

but even as i move this focusing square

you can see that it's still tracking

the eye over there so in a case like

this if you're shooting a portrait with

a single person what i would recommend

is just come in

to your focusing clusters

and choose a wider area

so now

it's going to track that eye if you if

you know you're shooting a person

with a camera

another thing about this that is amazing

is that when we're using a very wide

aperture lens like 1.8 or 2.0 or even

you know wider than that is the camera

does a fantastic job of nailing the

focus so we don't have to recompose and

this has really been a game changer for

mirrorless cameras so

if you are shooting people

and you're having a hard time getting

that focusing box to lock on pick a

larger area you can even use maybe one

of your custom flexible zones

see how it's staying within that zone

there it's looking for a face

and then when we get out of that zone it

may struggle a little bit more here and

there one of the questions that i often

get is how come i'm not nailing 100

focus on my eye detection the truth of

the matter is if you're getting 85 or

higher percent you're doing pretty good

for your keepers even with still

subjects

is because shallow depths of field are a

lot harder to focus it's hard to get

that focus lock

now having said that

coming back in

there are some other ways we can tweak

this i'm going to go to a large zone

just for the sake of simplicity

now you're going to see these arrows on

the left and right

what that's asking is do you want it to

focus

on

the left or the right eye you can see

that i'm changing that with the joystick

and i'm not really getting that

with a directional pad

so you can determine which eye you want

it to focus on and

if there was another person in there you

could even tell which face that you want

it to focus on this is going to be more

important obviously when you're shooting

video there's some tricks to making this

work

uh group photos you're going to want to

use a smaller

aperture to get a deeper depth of field

we talk about a lot of this on the crash

course

but eye detection is amazing when you

are shooting portraits

having said that there are some other

subject matters in here that we can

select

animals

so this is where it starts getting

tricky is because there are

tens of thousands of different species

of animals on planet earth and they all

have different shapes to their faces

i think the algorithm is still learning

and it's getting better but this is

going to have a much lower percentage

of accuracy than something like a

human's face when you're shooting an owl

or a lizard or a snake those are three

different faces but if you're at the zoo

my understanding is this canon is

teaching the algorithm to detect facial

patterns of certain animals again it is

size dependent something i want to warn

you about is do not have high

expectations for animal eye detection it

depends on the animal and you may not

get even 80 the algorithm will get

better with time just keep that in mind

and now we even have

vehicles where we can do spot detection

or not so this should be able to track

cars you know looking for windshields

and things of that nature vehicles or we

can turn it off altogether when i turn

it off no more eye detection and it's

going back to

the full

zone it's looking for an area of

contrast and it's finding the face

so that is eye detection for humans in

animals make sure it's turned on in the

menu

on your purple tab page one enable this

and then

when we're dealing with the subject to

detect

we want it to be on people and then we

get the eye detection it makes our job

as photographers so much easier so the

next thing i want to demonstrate is

manual focus i am going to select the

manual focus switch on this lens

and as soon as i go into manual focus

it's giving me this

distance marker from infinity to 0.45

meters you can see the meter mark there

so the idea on this

is that it is indicating

where the focal plane is in meters

now i know it's kind of hard to see

whether this is in focus or not so i

want to teach you a great technique that

i use mostly when i'm doing video

and that is the zoom

manual focus

what we do is we use the magnifying

glass

that's at 5x you can see

so i can visually see whether it's sharp

or not if i wanted to zoom into 10x i

would push it the magnifying glass again

and this is what i call manual zoom

focusing it allows us to get

an up-close look on what we are focusing

on i do it again a lot on video

and then we could shoot we know it's in

focus we know that that's not going to

change the camera's not going to do

anything funky most focusing on very

high-end filmmaking is all done manually

and they have somebody there who's

adjusting the focus as they go these

cameras make it very easy for us to use

some of these tools to get around that

so that is manual focus as well as

manual zoom focus i'm going to

hit the switch back to auto focus

and i want to show you a couple other

tools

they're in the auto focus purple tab

page five

focus guide

this comes from some of canon's video

cameras

here's how it works

to see it you have to be in manual focus

so i'm flipping that switch back over

and you can see

that we get these little triangles

that as i

rotate out of focus you can see these

triangles

are not aligned

and as they come closer and closer

together when they line up and

everything's good on the spot i'm

focusing on everything will turn green

so that is a different focusing tool

that you can use

i'm going to come in and turn that off

that's called the focus guide

there's i think the manual zoom focus is

more accurate

here's another one

manual

peaking settings i'm going to come in

here and i'm going to turn this to on

the level's high and the color is red

when this is on and you are in manual

focus i'm going to go back to auto focus

and back to manual focus you can see

that we get this red

overlay on areas of high contrast that

are in focus so if i defocus

that overlay disappears

and as i refocus

that red overlay will appear again and

what it's doing is it's telling us when

we have areas of high contrast

it puts this red pixel pixelated color

on it right now we can come in here and

change the colors if we wanted to go

with let's say blue

there it is it changes

and

it doesn't work when we're zoomed in

something to keep in mind

but when we're zoomed out

it gives us a very nice contrasty layer

of seeing

where the camera is focusing defocus it

focus back in and that is referred to as

peaking focus

so i'm going to turn this back to

autofocus

something else i want to demonstrate is

how the camera is focusing in

video mode so let's change

the switch here from on

to video focusing

and you can see that we have this new

thing in here called servo af and i

still have face detection on

and what's going to happen is if i zoom

in

the camera is also going to focus it's

going to continue to focus it's going to

going to track this

and this is something that we want

if we're shooting people talking at the

camera let's say you're doing vlogging

for example you want the camera to be

focused on your face right so i want to

demonstrate a couple things real quick

is that you'll notice that we don't have

one shot or servo we just have this ai

servo for the video right

but let's pick a small square and i

still have a human eye detection turned

on so we have a square here

say right here and i put my hand in

front of the camera

the camera is looking

into that box

and if i

put that square back on the model

it jumps to the model

so what this means is the camera

is continually adjusting with this servo

af if this is on

now if you're doing a static shot and

you're not moving around something else

you could do is touch

where you want the camera to focus

and you've seen this a hundred times

in movie theaters this is called a rack

focus

where the director wants to change the

attention of the subject matter

by changing what is in focus

and we do a lot of demonstrations about

this on the crash course some other

techniques

you know in

in the past you would have to have a rig

and a person to do this and it's amazing

to me that this is so easy and smooth

the transition is beautiful

we can come in and turn off

human

detection here so it's not jumping on

the eye

now there are other times we may just

want to turn this off so

movie servo turned off now we're in a

manual mode

for video shooting and we can come in

back to that page where we had

the peaking

turn it on it's going to work the same

basically the same idea

when we're in manual mode so these tools

are always in here we also have the

focus guide

so just keep that in mind

slightly different options

when we're shooting for video we have

servo af which is a continuous focus and

then we also have

the ability to turn it off

use our manual tools

we can use

a rack focus technique

we can use eye detection

right

there it is

tons of focusing tools and i will be

demonstrating how to use these tools in

different settings on the crash course

whether it's for sports or landscapes or

portraits or videos there's different

strategies to using them

another question i'm often asked about

what is back button focus and how do we

set it up

back button focus means that we're

exclusively focusing with this back

button

instead of the halfway shutter button

depression now this is also how we set

up custom button controls and i'll have

some future videos coming on youtube in

terms of how i set my camera up in

different ways

so the way we're going to do this is

we're going to toggle to this black

screen we're gonna hit our q button here

and we're gonna come into customize

buttons

we have all these different buttons as

we scroll through we get a white

highlight it's telling us which button

it is

and when we find a button that we want

to change

we would select it and change it right

so we have a lot of custom controls in

here

including sets for stills instead sets

for video so in this one example what

i'm going to do is i'm going to

customize the shutter button

come in here this is how it'll be set up

by default

metering and auto focus

so if i change this to metering only

what that has done is it has removed the

auto focus mechanism from the halfway

shutter button depression

which means we can no longer focus with

it we have to exclusively use

back button focusing

and i will demonstrate this on the crash

course as to why you want to do this or

why

pro shooters typically do it is because

it gives them more specific control over

the camera they tell the camera when to

focus

and when they lift it up

and shoot

the camera will not refocus on something

else it gives them

greater control when the autofocus is on

the shutter button you always engage it

every time you're focusing on something

and in sport shooting sometimes it'll

make the square jump on something you

don't want to focus on that's the short

answer

if you forget

to change this back you will think your

focusing is not working so i'm going to

come in and change this back otherwise

it's not going to work and what i

recommend for beginners is to

leave it

on

this setting it's easier to learn in the

beginning how to focus

once you have a good grasp and you want

to experiment with back button focus

it's really great i know i have a lot of

friends that shoot almost exclusively

with back button and i do it too

occasionally depending on what i'm doing

now we're going to start talking about a

very important lesson this is probably

the most important lesson on this video

and this is changing your exposure

controls so we're going to talk about

the mode dial

and then we're going to talk about how

to change

our brightness settings in each of the

modes so you'll notice that as we change

the mode dial we get these different

letters and symbols in the upper left

hand corner there's there's

the dummy mode the a mode

we have this fv mode that i'll talk

about after manual mode

there's the p mode which i've told you

to shoot on if you're a brand new

photographer but the easiest way for me

to teach you about exposure control

is an av mode which stands for aperture

value or aperture priority

aperture priority mode

is the mode that i want you to learn

your camera on

as soon as possible as soon as you're

willing to take the jump the risk

shoot on aperture priority mode because

you will use it for the rest of your

career

i consider it a professional mode that

i've used countless times on wedding

shoots sports shoots i use it all the

time

aperture priority mode is also the

easiest way for me to explain

how

the camera

measures light

and as well as how we change the

settings and when we change the settings

now you remember when we were talking

about the buttons i i like to call this

guy here

the primary selector wheel primary one

with the index finger

your index finger is resting

on the primary selector

why do i call it the primary selector

each of these modes

will behave differently

depending on which setting they're on in

an aperture priority mode

it means that we change the aperture

right primary setting so my index finger

is changing

the aperture

as i rotate this back and forth this is

something you should do now something

else you'll notice

is we're not seeing the shutter speed

where did the shutter speed go

aperture priority mode works

by allowing us to tell the camera the

aperture we want

in the camera we'll adjust the shutter

speed so we adjust the aperture in the

camera does the rest of the work for us

great

so what do these f numbers mean

these are inverse

in terms of how they're proportionate

smaller numbers

mean

wider lens openings

larger numbers

mean

smaller openings

so f22 means our lens has a very small

opening

and f4

means our lens has a much wider opening

which one do you think lets in more

light

a wide opening

or a teeny tiny small opening

that's right wide openings

let in more light

so depending on the lens you have this

lens is maxed out at f4

this is a ratio between

the maximum opening of the lens

and how far away it is from the lens

that's really where we get f numbers

from

so

if you get a lens that is a 2.8 or 1.8

that means it has a really wide opening

and it's letting in a huge amount of

light

as we change the setting to a larger

number

that opening will get smaller and

smaller teeny and tiny it's going to let

in less and less amount of light

so

you should be asking yourself

a question

if michael is changing

the

f setting

how come this isn't changing how come

the brightness isn't changing i mean if

he's letting in more light this should

be brighter than this

right

and that is what aperture priority does

is the camera

is making adjustments to the shutter

speed as we are adjusting the aperture

that's how this is working

and i can prove it to you

is that if you tap the shutter button

now we can see the shutter speed it

tries to hide it from us to make our

lives easier

but as i adjust the aperture you can see

the shutter speed also adjusting and

compensating

when i have a wider opening

it's using a faster shutter speed

when i have a smaller opening

it has a much longer shutter speed it's

letting in a lot more light than it did

at f4

and that is how aperture priority works

we select the aperture the camera

selects the shutter speed

this is the heart of the matter when

you're shooting an aperture priority we

have some control the camera is going to

do the rest and if you can walk away

from this discussion today just with

this

you are way ahead of where i was

probably about a year into my

photography career

is is understanding aperture priority

mode

so that's how it works

now i want to demonstrate something to

take this even a step further i want you

to take your hand

wherever you are

and slowly bring it in front of the

camera we're going to tap the shutter

button as we're doing this watch what

happens see it's at 250 we're at 1 250th

of a second right now it's a fraction of

a second right

now watch what happens here comes the

hand

look what's happening to the shutter

speed

i'm not changing the aperture now i'm

gonna i'm gonna cover this up

and now it's giving us shutter speeds in

the seconds

if i move my hand away

well now it jumps back to 1 250th of a

second and you could play this game all

day long and you should you should

experiment with this

and this is something that most

beginning and intermediate photographers

don't understand

is that the camera is constantly

measuring how much light is coming into

the lens whether you're changing the

aperture or if you're changing the

environment

and if i walk out on a bright sunny day

and there's all this light coming in the

camera is going to use an even faster

shutter speed

and that's the heart of the matter with

aperture priority mode is that we select

the aperture

and the camera will select a shutter

speed

depending on the brightness of the

conditions that we're shooting in i get

questions all the time

from photographers hey i'm at a wide

aperture

i can't get a fast shutter speed

and what's going on i say go outside

you'll get a faster shot you're shooting

in their living room and it's dark

now

the key on this and there's something to

keep an eye on

is that when you are shooting

with aperture priority mode you do have

to sneak a peek over here at your

shutter speed to make sure it's fast

enough

if you're handheld shooting

let's say portraits

for example you want to make sure that

you have at least 1 60th of a second

because when we get into these longer

shutter speeds that are longer than

160th like 130th or 20th now we're

getting very long shutter speeds

is that as you hold the camera there's a

little bit of shake it doesn't seem like

it but if you move a little teeny bit

with a long shutter speed your picture

is going to be

blurry

and it can be very frustrating when you

don't understand you know hey it had it

on aperture priority so you always want

to keep an eye out

on your shutter speed and make sure it's

1 60 of a second or even faster than

that

if you don't do that you have a lot of

blurry pictures

now there's actually a rule the

reciprocal rule about your lens so as

you get a more telephoto lens you want

this to be even faster

and that reciprocal rule

is you want to inverse

your focal length length so if i'm

shooting with a 100 millimeter lens

the idea is i want to shoot at one 100th

of a second minimum

if i'm shooting with a 500 millimeter

lens then i would want this to say at

least one 500th of a second there's

different ways to tweak this

why because as you get more and more

telephoto any movement will be magnified

so another question that i'm sure many

of you will probably have

michael that's great

how do we change the brightness okay

there's a long answer to this and

there's a short answer to this

i'm going to give you both

the short answer is that when you are

ready to change the brightness you are

going to rotate the secondary control

wheel here

and you'll notice on the bottom we have

these numbers negative three negative

two negative one we have a zero diamond

home plate

plus one two and three

when you move this to the right

oh you see it's not working right now

this is also confusing tap your shutter

button

right how would you know that

and then rotate the dial you'll notice

the screen will start to get brighter

i'm going to move it to that one

so let's take a picture here this is an

even exposure

now i'm going to rotate it to 1.

now i'm going to rotate it to 2

and now i'm going to rotate it to 3.

if we play those back we could see

there's a couple other cool things is

that you if you can pinch out you can

see that we have different exposures

even

plus one plus two plus three so the

short answer is in the p mode the tv

mode and the av mode that's how we

change the brightness if you're not

happy with the brightness you can change

this right here

what if you wanted to make it darker

and i'm tapping on the shutter button to

jump back in

we just go in the opposite direction i'm

going to change it from here now

where i can touch

directly

on the exposure compensation bar let's

go to negative one

let's go to negative 3.

it's much darker we can play those back

that is the short answer of how we can

change

the exposure exposure means brightness

so i'm going to send this back to zero

now let me explain to you what's going

on when we use exposure compensation and

what these numbers mean on the bottom

each of these numbers refers to as one

stop of light

one stop of light basically means it's

twice the amount of light that we had

before

so one stop would be twice

two stops would be four times three

stops would be eight times the amount of

light

and i can even prove this to you and i

want to show this how this works i'm

going to tap the shutter button so we

can see our shutter speed

here we are

1 250th of a second i'm going to rotate

to come up to plus one

we have a shutter speed

that is twice as long

people will be like what i'm confused so

this is a fraction

one

250th of a second

plus

1

250th of a second is 2

250ths of a second right

so if we simplify that

that's really

one

125th of a second so this is proving

how exposure compensation works

the camera is making adjustments

to the brightness

by tweaking the shutter speed it's

letting more light in

we're giving a special instruction to

the camera hey i want it twice as bright

at one stop

so this

is neutral

this is twice as bright there's twice as

much light coming in

and we can do it again

1 60th is about

twice as long

as one 125th

now if you're paying attention i want

you to take a guess what you think

this number three will be plus three

what is twice as long as one sixtieth

one sixtieth plus one sixtieth is

two sixtieths if we simplify that

it's one thirtieth let's see if it's

right

and it is

that's what's happening

with exposure compensation i remember it

took me about a year and a half on my

own to figure this out you know because

we didn't have youtube back then you

know remember our shooting oh my gosh

this is amazing right

now if we wanted to go one stop in the

other direction we can so let's rotate

that and see what happens

1 500 of a second

is

half the amount of shutter speed it's

twice as fast as 1 250th

right and we can continue to go it'd be

one one about one one thousand sometimes

it's not perfectly accurate and then

about one two thousandth right

now the thing about this little bracket

here is that these are actually in third

stop increments

is that you can adjust it by third stops

and it's going to make the adjustment

to the shutter speed so that is how

aperture priority works we covered a lot

of information about it it is a great

mode to use i always tell the story of

when i was a wedding photographer i

would shoot on aperture priority why

because you'll be inside of a dark

church and here come the bride and groom

and now they're walking out into the

lobby and now they're outdoors those are

three different conditions of light and

you know you're walking you don't want

to trip you also need to capture the

moment so it's just one less thing for

you to worry about as a photographer as

a sports shooter i also almost always

use aperture priority some people don't

you know it's just a matter of

preference and taste

the aperture priority should be your

home base

so now what i want to do is talk about

i'm going to change my i'm going to

change a setting here before we go over

let's talk about

time value which is really shutter speed

priority

so in shutter priority a lot of

beginners like it because we can dial in

our shutter speed directly if you

remember we changed the aperture with

our primary selector numero uno

in time value mode or shutter priority

mode the primary selector changes the

shutter speed and this is why i like to

call the primary selector is the primary

selector changes the most important

setting depending on the mode that we're

in

so it's different depending on the modes

right

and it's the opposite of aperture

priority is that as i change the shutter

speed i'm going to tap the shutter

button so we can see this

the camera is changing the aperture

if we use a longer shutter speed

we're letting in more light shutter

speed the camera is

making the aperture smaller and smaller

as we let in more and more light to

compensate for it

right

so if you are shooting a sporting event

i really believe it's around you really

need about 1 500th of a second you can

see the camera's not happy this is how

the camera is complaining it's flashing

its aperture number at us it's like

we have a problem and the problem is is

that with this shutter speed we can't

really see anything this is too dark

the camera is telling you i'm not happy

but i'm going to do what you you're

telling me

and it's trying to give you a warning

so if you're shooting

you know

grown adults sprinting at a track or

maybe football it's gonna be even a

faster shutter speed maybe one one

thousand maybe

one two thousand and we have a really

tight pixel density in our sensor we may

need to use even a faster shutter speed

but let's come back to this one 500th of

a second example and let me ask you

if you were in this situation what would

you do

you have our minimum shutter speed

requirement if we don't have it they are

going to be blurry the camera cannot

open up its aperture any further what is

the correct step

now if you said

adjust your iso

you are absolutely correct in this case

this is the perfect time to start

bumping your iso up we just don't have

enough light for what we're trying to do

so we might have to shoot at 3200 maybe

even more say 3200

camera

has stopped flashing at us it's little

4.0 right

camera satisfied to a degree and we

could shoot this event whether it's

basketball or whatever at 1 500th of a

second everything's cool

so that is a really good tip to know in

in some cases we may even need to go

even faster right and then again we

would have to bump this up even more to

satisfy it

understanding that there's this risk

that we would get the grain as we

increase our iso

now you can also do this same bumping up

of the iso in aperture priority so i'm

switching back to aperture priority in

in the case that you would do it here

and turn it down a little bit is if i

was shooting a sport let's say at f4

and i don't have the shutter speed that

i want

let's say i want it one 500 i could turn

it up and just sneak a peek over here

and i would know okay hey now it's fast

enough so that's a different way to do

it in aperture priority

so

that is the difference between the two

modes is that we can change either the

aperture or the shutter speed depending

on the mode

and we could sneak a peek

when we tap the shutter button take a

look tweak it with our iso the truth of

the matter is i don't really use shutter

priority mode and i don't really

recommend it although it is good for

learning in cases like this when you're

first getting started

let's talk about the program mode you'll

notice as soon as i turn to the p mode

program mode is that we don't see either

the shutter speed or the aperture

and when i rotate the primary selector

wheel nothing nothing happens

so in this case i tap the shutter button

and you can see that i can now

change the shutter speed

there's no indicator control for the

aperture

so in this case we're basically

selecting the shutter speed in the

camera is selecting

the aperture just like it did in shutter

priority mode

and now we also still have

our

exposure compensation control

but what program mode really does is it

creates combinations that work in cert

certain situations

the best case scenario i believe for

program mode is what we talked about

earlier if you're just getting started

but

for canon cameras the program mode is

also the handheld flash mode so if

you're getting into strobes speed lights

and you put a speed light on top of here

program mode is a good way to start and

i know professional photographers who

shoot in program mode for speed lights

but

i don't like it as much because we don't

get as much control and i prefer

aperture priority mode and manual

speaking of manual let's take a look at

manual mode in manual mode you will

notice as soon as i turn here it's

overexposed because my iso is so high

and

we can also change iso by pressing the

iso button on top of the camera

touching and dragging there's multiple

ways to change your isos it's really

nice

you'll notice in manual mode m

that we have controls for both the

shutter speed and the aperture the

camera doesn't make any adjustments for

us

in manual mode we have to dial

everything in i can change the shutter

speed with my primary selector

i can change the aperture with the

secondary selector

and i can also change my iso in any of

the ways that i demonstrated

i use manual mode

mostly when i have

more

time

so if i'm shooting in a studio setting

for example if i'm shooting with strobes

if there's no pressure or rush and i

have time to correct things it's not an

action shot i shoot almost exclusively

in manual

if i if it's a timing thing or a sports

or motion thing i'm almost always an

aperture priority and you will notice

here also

that we don't really have a way to

change

exposure compensation with with our

wheels it's

not available so exposure compensation

doesn't really work

in manual mode right but there is

something interesting about this little

bar down here is that it becomes sort of

like an exposure indicator how bright or

how dark something is so we get this

tick mark here right so if i go with

something brighter you can see that it's

moving over so it really becomes sort of

like a light meter

and again for some people manuals even

easier because they just dial the

settings in they see the exposure that

they get and they just shoot

now having said all this i want to take

the opportunity to talk about auto iso

for most of these lessons i have dialed

in a specific iso number but there is

a setting in here called auto where this

is where our iso is

auto iso

gives the camera permission to control

the iso settings meaning the camera is

going to change the iso depending on

your lighting conditions and it can

change it rapidly even from shot to shot

within a you know fraction of a second

now i usually do not use this but there

are certain times and places that it

will be a valuable thing to know let's

say you're shooting mma fighting it's

indoors there's strobe lights

sometimes they're bright sometimes

they're dark and it's constantly

changing and we know that we want a

shutter speed of 1 500th of a second

right

we also know that we want to use an

aperture of f4 but sometimes the lights

are bright and dark and we just don't

have time to change the settings of our

camera this would be a good time to use

auto iso because now the camera will

have the permission to increase or

decrease the iso depending on the real

time in the moment

exposure settings of the event how many

lights are on how many lights are off if

it's rapidly changing

that would probably be the way to do it

otherwise i'm dialing it this in

precisely i'm sure there's other a few

other reasons

so we've talked about

aperture priority shutter priority

program mode we've talked about manual

mode i've covered a little bit about the

dummy mode it turns it in your camera

into a point and shoot basically

but we also have this other mode here

called fv mode

fv mode or flexible priority is

something that canon has invented i've

only seen it on canon cameras and it

basically allows users

to determine which of the three settings

shutter speed aperture and iso

will be

the automatic mode so it starts off in

auto on all three

and let's say you just knew that you

wanted

you know to use a fast shutter speed

let's say 1 500th of a second for sports

and that's all you knew

well now

it has your aperture at auto and your

iso at auto

we could even tweak it further and say

okay we wanted this

iso

so the flexible priority allows us to

determine specifically tell the camera

which options we want it to control and

which ones we do not it's very similar

to each of those four modes we just

demonstrated but this can be a little

bit more intuitive if you're first

getting started and that's

basically the idea of it something

you'll notice on this is that as i

rotate my secondary control wheel

i can determine what is being changed

with the primary selector

so depending on how you want to operate

this

back onto

auto that's the idea of it is it gives

us some flexibility to determine what

the camera is going to manage but we

will manage as well as what our primary

selector will will manage

the bulb mode

is the letter b and when you have the

bulb mode essentially what it means is

that you can do much longer exposures by

pushing the shutter button down here's

the first release

and you can see that we get this timer

in the bottom right hand corner and then

when i release my finger

the exposure ends so that's what the

bulb mode does and in certain situations

you can take very long exposures certain

types of astrophotography you'd want to

use bulb mode

and then we start getting into problems

with how the camera is shaking right

because there's you know if you're

pushing the camera or whatever it's a

problem a couple other

modes that we have on the mode dial is

we have this scene

feature and the idea of this is to try

to make it easier for for beginning

photographers to you know basically

select

a situation that they're in

and turn it over to the camera let the

camera do it

for the most part i don't really mess

with these because all of these can be

managed more or less using the other

modes that i've shown you

and it really is kind of turning your

camera into a point and shoot now there

are a couple exceptions like the hdr

mode

handheld night scene some of these

you know silent shutter it just makes it

easier to get to those settings if you

were in a let's say a museum and there's

no shutter noises we could select this

completely silent right you'll notice

this banning i'll talk about in just a

second

so that is really what the scene modes

are for and we can come in

change them here on the bottom

kids panning close-up some of them are

kind of fun you know just depending on

what you're doing but for the most part

this isn't really a serious tool because

you can you can access these in these

techniques in other means

so i don't really use them

when we come in to

these different

effects

some of them again are kind of

interesting like the hdr modes are kind

of fun there's a miniature effect that

creates

almost like uh you know a tilt shift

lens to make you know certain things

look teeny tiny

toy camera

again

i don't see these as professional tools

so i never use them but they are fun to

play around with if you ever you know if

you get bored you just want to see what

they do

but that's what they are

you'll also notice that we have these

different settings c1 c2 and c3

and real quick the way those work is

those are our custom mode settings

we can set up our camera

to be in a specific mode

whatever we like let's say we're doing

portrait shooting and we like to shoot

at f4 and we like to have certain

picture styles or maybe we like ai servo

and we want to have a specific white

balance we just come in

we would set all this up exactly the way

we like it

and

would then at that point we would come

into the menu

and we would go to our

custom shooting mode one through three

register the settings and we would tell

the camera to remember the settings at

the c1 position so if you do different

kinds of shooting whether a portrait

photographer and a sports shooter you

don't want to have to readjust your

settings every time you would set up

custom settings you know scuba diving is

another one if you have a housing

you would have very specific settings

and then you don't have to tweak the

settings you just rotate

this

to the c1 dial when you are ready to

shoot notice the white balance is off

that is how those custom mode settings

work

now something else that you saw just

recently i'm gonna demonstrate this let

me turn this back to

auto white balance

is that you saw some banding when i took

this picture

this one

when it was on the electronic shutter

mode

so i am shooting with led lights and led

lights actually flicker and i have a

video as to why they flicker on my

youtube channel

and

the way what's happening is there's a

mis-synchronization between the scan of

the image and how often the lights are

flickering

you will also see this in a video mode

so let me make this happen i'm going to

use a fast shutter speed

maybe something like that

there it is there is the artifact

i can't tell you how many times i get

emails and questions from oh my gosh my

camera is broken it's doing this weird

line thing

and this again has to do with led lights

the way this is being scanned in

flickering lighting condition is

creating these banding effects

so for video the way you resolve this is

you use a shutter speed

of about 125th of a second or

longer you're not going to see it here

the moment you go over that

is when you start to see it

also

if you are using an electronic shutter

in an led environment you're also going

to see that flickering sometimes there's

no way you can get around it because

the establishment's using it so if you

see that

if you can use mechanical shutter

mechanical shutter doesn't have the

problem i'll demonstrate it

let's go back to stills

mechanical shutter

no problem

right

silent shutter turn this on repeat

everything's the same just electronic

shutter there you go

so that is what's happening is

electronic shutter will show those

artifacts for led lighting let's talk

about the multi-function button it's on

the top of the camera just in front of

the primary selector

so when we push the multi-function

button it pulls up a small menu giving

us access to a number of different items

including iso

then we and also

we have our different control wheels

here we have our primary

indicator in our secondary indicator and

what that's telling us

is that we can shift through the

different categories

by continuing to push

on

the multi-function button which is what

i'm doing

and then if we want to change something

within that we can just rotate it

so i'm toggling and i'm changing

toggling and changing and this is going

to be really useful when you're looking

through the viewfinder you know as

you're shooting

so exposure compensation

we can also use the secondary control

wheel to change the categories as well

so we can change it with this we can do

it by pushing the mfn button and then we

change what we want by rotating the

primary selector that's what the mfn

button is all about so we also have this

lock button on the top of the camera the

lock switch will lock your exposure

settings

joystick and some other controls and you

can see here we have our

control wheel when i rotate it nothing's

happening we can still change our

primary selector right

but the exposure compensation is not

changing rotate it is telling us hey

this is locked

right

and if i push it again now we can change

it so the what the lock does is it

restricts

certain controls from being bumped and

changing here's the joystick can't

change it

and in the deep menu there's ways to

turn off which locks are working and

which ones are not let's talk about our

drive modes which is what the camera

does after we push the shutter button

down all the way

definitely different places we can

access it we can enter a cue button

we find it right here

use this guy

right here is where our drive modes are

if i hit it you'll see them here on the

bottom we can also access it again with

the mfn button

toggle through right there probably

easier

and let's just go through them real

quick

this single square means that when you

push the shutter button down it's going

to take one picture it's a single shot

so these three burst modes means is that

when we hold the shutter button down the

camera is going to continue to take

pictures where we only get one shot here

these are continuous bursts the h plus

is 30 frames per second in the

electronic mode 15 15 frames per second

mechanical

then on the h we get 6.5 mechanical

about 15 frames electronic and on this

last last one we get about three frames

per second so we can choose different

rates of firing

this is our timer uh you'll also notice

it has this little infrared remote this

is a 10 second timer if you push the

button down this lamp in the front of

the camera will start to blink

and you get 10 seconds to get in the

shot if you're part of it there's also

the two second timer

in a continuous shooting timer we can

choose the number of frames that it will

take

and those are your drive modes so you

have timers you have bursts and single

frames

let's talk about

white balance there's a short answer and

a long answer to this short answer is if

you're a beginning photographer your

white balance you're going to want to

leave it right here on auto white

balance

basically what this means is that

different light sources have different

temperatures and those temperatures have

different

colors

for the most part auto white balance

does a pretty good job but what will

happen is you'll be shooting and you'll

notice this like blue or a yellow or

sometimes even a magenta

hue to your images that's really

unpleasing

the human eye is amazing makes these

adjustments naturally

camera sensors need a little help they

need to know the source of the light

that we're shooting in so if you start

to see this i would say after you get a

hang of exposure and focusing

then you're going to want to start

dialing this in a little bit more

specifically we can go through them on

the bottom here

again we can also ask access with the

mfn button

if we come right here same thing

so we have auto white balance and

there's two flavors of it there's an

ambient priority and there's a white

priority very difficult to see the

difference between these to the

untrained eye

the idea on this is that you would set

the icon

to the condition you're shooting it so

this is a sun icon which would be for

daylight

we have a shade icon if you were

shooting in the shade we have a cloud

icon if it was cloudy

we have a tungsten light icon

if we're shooting in tungsten light

which is a light bulb

we have a fluorescent light icon

we have a

flash icon if we're using flash we have

a custom white balance and we have our

kelvin temperature

that's the short answer

select the icon for what you're shooting

in

now the long answer is that each of

these

presets

assumes a certain temperature and that

temperature can be demonstrated easily

in this kelvin temperature

setting

where we can adjust up or down

the kelvin temperature setting

far too much to go into for a beginning

photographer

but suffice it to say this kelvin

temperature will do the opposite of

whatever light we're shooting in

i like to use the example of candlelight

candlelight has a very low kelvin

temperature

low kelvin temperatures are very yellow

so let's say we're shooting

in 2600 kelvin candlelight

so we put this kelvin setting on and it

adds a bunch of blue to balance that out

if we're shooting in a very hot

temperature

like physical temperature

that's a high a very high kelvin

temperature it's going to be more blue

in in putting this setting into a kelvin

of 7000 you can see that it's adding

orange white balance is going to add a

little bit more yellow or a little bit

more blue depending on the light that

we're shooting in and there's also green

and red that can get involved you can

see that we can tweak

our white balance i definitely recommend

do not doing this where you can come in

and tweak your white balance shift this

is far beyond the scope

of what a beginner would need to know

i've used this maybe on one camera in my

life

and it was not a canon camera canon

colors are usually pretty accurate

pretty great

and that's what this

white balance shift and bracketing is

all about for the most part we don't

mess with it so there is one other

feature in here i'm going to adjust this

back down i'm shooting in light bulbs

that i know

emit at about 5100 kelvin so just dial

it in there may be a setting for example

at a wedding where you're dealing with

mixed lighting conditions where you have

tungsten and fluorescent light in the

same shot

so the way you handle this is you take a

picture of something white so let's take

a picture of something white

there it is

and what we can do is come in

to our auto white balance setting

custom white balance

and we're going to tell the camera this

picture that we just took is something

that's white when it hits set

and we're telling the camera to accept

this as white

in this environment we hit ok

and it's telling us set your white

balance to custom white balance icon

so the custom white up balance icon that

i'm using through the mfn button

is going to be right here it's that

little icon and i set it there

that is how you custom

white balance

shoot something white in your

environment it can be you know

tablecloth a sheet of paper a bride's

dress ceiling a wall it just has to be

white

then you come in tell the camera this is

what i sampled

change it to custom white balance and it

can really save you

white balance is more important when

you're shooting video versus something

like a still image

because still images

they're easy to adjust in post video can

be a little tricky can be a lot harder

especially if we're shooting in raw for

stills we have all this flexibility of

editing processing power

so yeah keep that in mind video settings

make sure you have your white balance

dialed in correctly we'll talk about

video stuff more on the crash course

okay real quick

let's talk about our metering modes

if you remember in the in the example of

aperture priority when i was covering

you know the camera

and we had a change in exposure settings

this is what we're dealing with is how

the camera is measuring light in the

metering mode so i have a flashlight

here

on top of a tripod the easiest way for

me to teach this particular

lesson

is to talk about

spot metering mode

so when i put the camera into spot

metering mode you'll notice as i pan

away from that flashlight maybe this

circle in the middle of our screen

and sometimes i see people on the forum

in the facebook group they're like what

is the circle and how did i get it

that is your spot metering mode

and you can select it right here it's on

the bottom

what that circle is saying is we're

telling the camera to sample light only

from that circle and nowhere else

and i can prove this because right now

when i tap the shutter button

it's recommending an exposure of

f 4.5 with a shutter speed of 1 320th of

a second right

and as long as i stay away from that

light it pretty much is in that ballpark

but the moment we cross over into that

headlight

it recommends a much faster shutter

speed one eight thousandth of a second

in fact it's so bright

it's telling us it cannot properly

expose for that light and if we continue

going past it the moment we get outside

of that circle

it goes to

a much longer shutter speed

and this is the heart of the matter when

we're talking about metering modes

metering modes allow us to select

certain patterns and shape

to tell the camera where to sample light

from

and spot is the most obvious of these

when we come back in there's also

a partial metering mode

it's sort of like spot you'll notice

there's a bigger circle here it's not

this tight circle so now we have a

bigger circle

and again it changes

when we get it within that circle maybe

not all the way at first and then when

we get to the middle now it's at that 1

8 000

and

the moment even when we get to the edge

so it's a little bit different than spot

but it's a bigger area suffice it to say

that right

then we have the center weighted average

which doesn't give us any shapes or

geometries but as i move it over the

center you can see the shutter speed

changing again

this might be good for like shooting

backlight

situations you know we're shooting a

portrait with heavy backlight subjects

right here we have lots of bright lights

coming in the corner

and then we also have finally the

evaluative metering mode which measures

from different parts of the image

through some center weighted

it's like the general purpose metering

mode for the most part i tell students

to stick with the evaluative metering

mode when they first get started it's

pretty good

in fact i really only use these two the

spot and the evaluative so we have

covered a ton of information including

different types of focusing we've talked

about our exposure values and modes

we've talked about white balance

metering modes drive modes the different

menu options different icons and now

we're going to start getting into the

deep menu section

let me give you some lens and accessory

recommendations one of the first

accessories you're going to want to

invest in is a tripod

i tell all of my students try to stay

away from the cheapy 50 walmart tripods

it will work the problem is is that over

time of opening and closing it will

break down and i've ruined those within

five months of getting them spend a

little extra money anywhere from 130 to

300 and invest in a good

carbon fiber tripod something that's

sturdy something that's tough something

that will last you for the life of

shooting i invest four or five hundred

dollars per set of just the legs just

the carbon fiber legs

i like bogan manfrotto they do have a

lower

more affordable version that's pretty

good called the be free and there are

some other companies that have some

decent tripods but almost all of them

are over a hundred dollars

so keep that in mind when i find a

really good deal or a good tripod i will

try to put the link in the description

but again stay away from this flimsy

cheap models that you would pick up at

like a walmart store if you're getting

into video work you're going to want to

take a look at a couple microphones

the first microphone that i recommend to

every beginning videographer is the

maven mic made by yours truly that was

designed through extensive research we

did a poll where we had 400 people

listen to several different microphones

and this was the number one microphone

it's tough it doesn't need a battery

it's small you can throw it in your

camera bag you don't have to worry about

it and if you start doing more video

work you want to get something like a

lav microphone

rode makes a great little rechargeable

road mic that you clip onto your lapel

or you can use a microphone with it the

microphone that i'm using right now is a

sennheiser e100 i think it's the fourth

generation

it's amazing it's about 500

and then i have a journeyman mic about

another 300. good lav mics are expensive

but this is the way to go you want to

get the microphone pretty close to where

you're speaking

and that's the secret with microphones

is the closer it is to your subject the

better it's going to sound and we clean

up every bit of audio even in this video

there's always some cleanup that goes on

if you do any kind of landscape shooting

whether it's stills or video if you are

going to do a lot of videography

if you are a portrait photographer who

is going to be using strobe outside to

balance lights if you're going to be

doing long exposures you're going to

want to invest in a set of good filters

and i'm so proud to announce my maven

magnetic filter line

if it's not out by the time i launch

this video it will be shortly and i'll

put the link in the description for

the pre-orders we're gonna try to do it

through kickstarter this is a magnetic

color-coded system that will allow you

to identify your filters quickly and put

them on and off of your lenses in almost

no time at all that is the only filter

system that i am recommending from this

time ford 100 color neutrality we've

spent a lot of work on that there are a

ton

of canon ef lenses out there

ef is for the old dslr mount it's not

for the new rf mount and we can adapt

those over

but i think most of you are probably

going to be looking at rf lenses it

seems the trend is canon is going more

and more towards the rf mount which is

the mirrorless mount

and we're hearing discontinuations about

so many ef lenses so if you're going to

be buying a brand new lens

probably recommend that you stick with

the rf

the native focusing is going to be a

little bit better in almost every case

and those lenses are also going to be

designed to be very sharp

because they were designed to be used

with the r7 which has a very tight

megapixel density that's a whole

different story so i'm pointing most

users towards the rf

the first accessory you are going to

want to buy if you are coming from an ef

system meaning you were shooting with

the canon 7d or the 7d mark ii and you

have ef lenses already the first

accessory you're going to want to buy is

an ef to an rf adapter last time i

checked they're in pretty good supply

they're 100 for the most basic one and

there's one with control ring and also a

drop in filter adapter

i like the basic one and the one with

the control ring

now the reason why you want this is

because it's going to allow you to use

ef lenses on your rf mount

this can save you a lot of money if you

have lenses already in your arsenal and

you want to use them now the advice that

i get from lenses is different depending

on who you are and what your plans are

if this is your first camera and you

don't see yourself investing in like an

r5 or an r6 or another full-frame canon

rf mount you might want to take a look

at the two kit lenses they have that

just came out for aps-c cameras there's

an 18 to 45 and there's an 18 to 150 i

think the 18 to 150 covers a much

greater focal length range i think

that's a better walk around if you're

just going to get one lens for your

camera and you don't have any full frame

camera bodies these are designed for

aps-c sized sensors and the results that

i've seen from them so far they look

pretty good pretty sharp

now with that said you will not be able

to use those lenses on full frame

rf cameras because the image circle

projected onto the sensor is going to be

smaller and for that reason i am tending

to give advice more towards full-frame

rf lenses in the event that some of you

do get an r5 or an r6 or even an rp or

an r those are all full-frame canon

bodies uh

the best of both worlds is to have a

full frame in an aps-c i think that's

perfect for

most advanced amateur photographers and

even pros some cases they're going to

want to go with an aps-c for wildlife

and sports shooting if you are new to

aps-c sized sensors the take-home

message is that they're a little smaller

than a 35 millimeter frame of film or 35

millimeter sensor what that means is we

have to apply a crop factor which is a

multiplication factor

on the lens that we're using and that

factor is 1.6

so what that means is is if i'm using a

50 millimeter lens i multiply it by 1.6

and it behaves as an 80 millimeter lens

which is actually perfect for portraits

so i had a student recently ask me why

would i need to know this

and the reason is it's going to allow

you to plan

which lenses will give you which results

on your camera

so if you're shooting sports and let's

say you have a

a 100 millimeter lens it's going to

behave as a 160 or if you're trying to

shoot wide angle and you're trying to

use let's say a 24 millimeter lens well

you got to multiply that by 1.6 it may

not be wide enough so having said all

that let me give you a couple lens

recommendations starting with those who

are on a budget i really like the 50

millimeter 1.8 from canon it's fairly

new it's a wide aperture lens when you

put it on it is going to behave as an 80

millimeter lens which is going to be

perfect for shooting portraits

if you're looking for something a little

bit more wide canon has a fairly new 16

millimeter 2.8 it's going to behave more

like a 26 millimeter but it's still

fairly wide 300 it'll work on both full

frame as well as aps-c

if you're looking for a general

walk-around lens that works on both full

frame and aps-c there is a 24-105 kit

lens but if you have a little bit of

money to invest say just over a thousand

dollars i love the 24-105

f-4 that is an amazing lens i have used

multiple copies of it and it has always

been super sharp and amazing if you're

going to be doing sport shooting

wildlife shooting rapid you know

whatever kind of fast motion shooting

you're doing and you're looking for a

budget zoom lens highly recommend the

100 to 400 rf it's a fairly new lens i

own it i use it

it's not the sharpest lens out there but

bang for your buck it is more than

enough so i think that's a really good

place to start because

the 100 to 500 rf is a very expensive

lens that's very high end it is awesome

if you're if you're going to be doing

heavy shooting again

designed for full-frame cameras but the

quality of the glass and the resolution

the sharpness is going to be better than

on some of these lower end lenses that's

just i'm not ripping on anybody's lenses

i'm just giving you the truth some other

lenses that i would recommend if you

have an unlimited budget is the 70 to

200 2.8 rf i own it i use it i love it

it's amazing there's also a 24 to 70 2.8

rf and there is also an amazing 28 to 70

f2

it's a huge piece of glass it's three

thousand dollars they're very hard to

find it's one of the most amazing zoom

lenses i've ever seen

having said all that just check out the

facebook group before you purchase a

lens get some feedback from some other

users how do they like it we're dealing

with a very fast focusing camera and

until i do the tests i won't know if

there's any problems but i will be

making some more videos if you have

enjoyed this free tutorial and you're

ready to invest in yourself to take it

to the next level

check out my canon r7 crash course the

link is in the description if it's not

ready it'll take you to my blog you can

leave your name and your email address

we will notify you as soon as it's ready

i want to say thank you so much for

watching this for your support it means

so much to me and i look forward to

bringing you more great videos about the

r7 can't wait to see you in the facebook

group have a great day

you