Original subtitles

My name is Michael Andrew. I'm going to

be your host and instructor for about

the next two hours depending on your

playback speed. And I just want to give

you some words of encouragement. I

remember when I got started in 2003. It

was a Canon 10D. It took me 2 years to

learn my camera. I have primarily been

shooting Canon ever since. [music]

So, I'm about to cram almost 23 years of

Canon knowledge into this video. So,

you're going to save yourself a ton of

time and frustration. Be patient with

yourself. I got you. This is going to be

very straightforward if you watch what I

show you carefully. For those of you who

want to jump around to different

chapters, if you hit command F or

control F, depending on the computer you

have, type in the topic that you're

interested in. If we have a chapter

marker for it, it will highlight and

then you can jump straight to that

chapter. Another tip is that when you

finish a section, type in the time code

of where you finish. So when you return,

you'll be able to see exactly where to

pick up. Another thing you can do is the

playback speed. If I'm speaking too slow

or too fast, you can adjust that speed

by clicking on the gear icon. And we

also have a great resource on Facebook

in the Facebook R six Mark III Facebook

group. We'd love to see you there. If

you enjoy my teaching style and are

looking for more training, including the

basics as well as advanced real world

shooting, we have a full crash course on

the R six Mark II and the R six Mark

III. These cameras are 98% identical in

their operation, and this course is

already available. Check the link in the

description to learn more. Check out

Maven Filters. This is a company that I

created. These are patented,

color-coded, awesome filters. I will put

that link in the description. Without

further ado, let's get started. There's

a famous saying that the poor man pays

twice.

That saying basically means is that if

you buy really inexpensive gear, oftent

times you have to reby it. So, the

advice I give to all of my students is

buy the best gear that you can afford at

the time. There are tons of great

companies out there. Just do your

research and find something that's

quality and is going to last. These have

lasted me over 10 years. I have multiple

sets of them. But another thing that

people don't know about the Bogen Monfro

tripods is that they sell the parts. So

when it does finally break, you can

order the part, replace the part, and

continue to use it. I use the 496 RC2

ball head. I like it because it has a

locking mechanism. There's a newer

version of this called the XPro. And the

plate that I use is the 200, I think

it's called 200L 14 plate. I prefer

those over the Arca Swiss. just my

preference because it has a number of

mechanisms that lock it into the tripod.

Arca-Swiss is more of a sliding

mechanism. It's really comes down to

preference, but again, if you buy

quality, it's going to last a lot

longer. There's tons of garbage. So, our

camera mount on the bottom is a/4 in 20.

There are slightly larger threads that

you're going to see on some tripods, and

there's adapter rings for a 3/8 mount.

But again, this is the 200 PL14. This is

the one that I like. You'll notice it

tells us to mount it towards the front

of the lens. So, we're just going to put

that on real quick.

This is what it should look like.

Something like that. And when I'm ready,

I'm going to drop the front of this in

here and push it down. And there's this

locking lever in the back that really

locks the camera. I mean, it is not

going to go anywhere. You'll notice this

little notch here on the camera cover.

that will correspond to this red mark

underneath which is the lens alignment.

And something I'll do is I'll take a

silver Sharpie. And I'll just go over

that a little bit. Makes it a lot easier

to see when you're fumbling with things

in dark places and want to just know

where things line up. So these red tick

marks are going to line up.

Rotate till it clicks. To take it off,

we're going to push, hold down, rotate

till it comes off, and then it pops off

again. Something else I want to point

out is that we live in a micro world,

meaning there there is particles and

dust and things that we just cannot see

constantly around us. So, my advice to

beginning photographers is to always try

to keep your camera covered. If you need

to change your lens outside, what I

would recommend is changing this facing

down. So, holding the camera down, you

would you would undo this cover and then

you put the lens on as fast as possible.

And there are some environments I would

say you may want to even wait because if

it's windy and you're on a beach, for

example, there's lots of sand blowing

around. I personally would be very

nervous about changing my camera in a

sandy condition. So, just keep this in

mind. We always want to keep the camera

covered. We always want to keep the back

of the lens covered if we can help it.

Real quick, talking about the new LPE6P

battery is the same size and shape as

previous LPE6 batteries. Just know that

this is optimized for maximum power. If

you read the very very fine print,

you'll see this has higher voltage,

which allows the camera to do higher

performance types of things. You can use

older batteries in it, but it's it's not

going to maximize the camera's

capabilities. So, something else I want

to point out is you'll notice this

little lever here. We can pop this off.

This is useful if you're putting on

different types of grips.

When we are talking about memory cards,

there's two different slots. There's a

CF ExpressB and then we have our

standard SD memory card slot. When we

are recording video or when we're

shooting it, think of it as a cup being

filled up with water. As you're filling

up the camera's buffer with different

types of data, depending on the shooting

that we're doing, that cup is going to

fill up faster or slower depending on

what we are doing. But in order to stay

into the action, the camera has to empty

that cup of water. If the cup fills up,

the camera will turn off. Let's say

you're shooting JPEGs and you're

shooting high-speed bursts. You may not

fill that fill it up. If you're shooting

uncompressed RAW files at 40 frames per

second, it's going to fill up faster.

So, in order to stay back into the

action, we want to have fast memory

cards that can unload that data. The

right speed of the memory cards will

limit the camera depending on these

right speeds. There is some nomenclature

we're going to go into in just a second.

Needs its own video really. Suffice it

to say, the CF ExpressB cards are going

to be way faster than your SD memory

cards, but your SD memory cards are

quite capable in in terms of what you're

doing if you have the right ones. It's

not like going to Walmart and buying one

of these. These the SD memory cards is,

you know, there's thousands of them in

the same size and shape, but they have

different performances.

What I always recommend is get the

biggest, fastest memory card that you

can afford. Starting off with your CF

ExpressB, the R six Mark II had two SD

card memory slots, and this is

significant. We saw this on the R5

models, and it's because the camera has

abilities that require faster memory.

Let's talk about our SD memory cards.

There's some things in in here that I

really want to point out. Obviously, the

larger number in red, this is how much

space or storage you have on the card.

But even though they're the size, same

size and same basic shape, there are

some differences here. So, when I turn

these around, you can see this is a UHS1

card and this is a UHS2 card. The two

card will have two rows of pins. These

are generally much faster and they can

write much faster and they're usually

more expensive.

On the front, the red number is the

amount of storage that we have. 128

gigabytes versus 512 gigabytes. And then

you're going to start noticing these

little symbols here, V90 and V30.

There's also these little circles with

numbers and little U's. So, these are

all different minimum write speeds,

classifications of these memory cards.

How fast can they write? How fast can

they clear the buffer?

Started off with these guys, the circles

with the 10. U3 is the minimum right

speed for 4K video. And then we have a

V30 and a V90. This stands for video

sustained minimum sustained right speed.

So V30 is 30 megabytes per second. V90

is 90 megabytes per second. So the

minimum 4K video standard is class U3.

But if you are shooting in higher bit

rates or higher frame rates, if there's

more data, then you're going to want to

maximize your Vclass. In this case, V90.

So, this is the one I'm going to throw

it throw into the camera. Even though it

has a smaller amount of space, the speed

is going to be better for the R six Mark

III. When we get into the menu systems,

probably in a separate video, we'll talk

about managing or designating which

memory card we're using for what

purpose. Just remember, if you ever do

any 7K, you're going to want the CF

ExpressB. If you do very high frame rate

sport shooting, probably the same. It'll

allow you to clear your buffer faster,

but the SD memory card for general

shooting and even 4K video is quite

capable. So, the very first time we turn

the camera on, and we'll do a button

overview here in a minute. Obviously,

we're going to want to select the

language. Hope you're an English

speaker. Now, we have a password lock.

You'll also notice that we have this

touch screen. In this case, I'm going to

go 65s for now. Going to hit okay.

Before using the camera, set a password.

It's all fives.

Wants me to put these all in. Again,

something you'll notice is that as you

move your finger in front of this

sensor, it'll turn off the screen. It's

a power saving feature. So just keep

that in mind. But we have this beautiful

touchcreen. We can also navigate using

big scroll wheel or the joystick. Once

we highlight something, it's going to be

in orange. Press the set button. We get

these up and down order arrows. We can

push on these guys if we want. Pretty

straightforward. We want to get this all

set up. Hit okay. We're going to connect

the smartphone a little bit later. And

then we are finally in the shooting

menu. And let's do a quick button

overview. So, there are a couple

controls I want you to be aware of as

we're getting started. Obviously, we

have the power switch. All the way to

the right is on. If we don't want our

settings to change, we can flip it over

to the lock position. Over here, we have

our stills versus video mode selector.

So, if we're shooting video, we'd flip

this over. Stills is here. But what I

want you to do right now is with your

camera turned on, make sure you have it

to to a stills mode. And just put it on

something like P for now on the mode

dial. I'll come back to explain these in

a second. I want you to play with your

shutter button. There are actually two

positions on the shutter button. There

is a halfway depression and you can kind

of feel this spongy resistance as you

push it halfway down. And then to take a

push picture, you're going to push it

all the way down. So, what this is is

the halfway shutter button depression

allows you to focus with the camera.

There's different ways to set this up,

and we'll talk about it in the focusing

lesson, but it's important to train your

finger to feel the difference between a

slight depression and then pushing it

all the way into the camera body. I like

to call this guy right here your primary

selector because your finger number one

is going to change the primary setting.

You're going to be using this one quite

a bit. We have our dedicated video

record button to start and stop video

recording. Up here we have something

called the MFN button or the

multi-function button. It will pull up a

menu of secondary camera settings.

Things like our white balance. Have a

separate lesson on this shortly. Couple

other things I wanted to point out right

here. You see these little holes in the

camera. These are your microphones. The

set of four holes is a speaker. This is

our mode dial. Very important. We'll be

talking about it in depth. All these

letters mean something. And there's

different modes you're going to want to

shoot in depending on what you're doing.

I will have this as its own lesson a

little bit later. Underneath the front

of the camera, so as we grip the camera

near where our pinky would rest, this is

the depth of field preview button. It

allows us to get a preview of the depth

of field by stopping down the lens

blades. It can be customized to do

different things. I typically use it to

change the focusing clusters. I'll talk

about that a little bit later. When

we're talking about the back of the

camera, many of these controls can be

tweaked or customized, which I will also

show you in a later lesson. As we grip

the camera, this is our joystick, eight

different directions, up, down, left,

right into the diagonals, but also you

can push it into the camera body as a

selector or an enter type of feature. We

have a magnifying glass, which will

allow us to zoom in on what we're

looking at, whether it is during a

shooting mode or a playback. We have our

info button. We'll toggle through this

in just a moment. We have our Q button,

which is our quick menu. It allows us to

access different secondary menu items.

And then this guy here, I like to call

the secondary control wheel because one,

index finger is our primary and our

thumb is our secondary. Be using this

quite a bit. The set button is like an

enter or select button. We have our

playback button if we're going to review

images. And then we have our garbage

icon when we're going to delete things.

We also have our rate button. Color.

Color allows us to determine whether

using picture styles or a color filter.

We also have our deep menu button.

Something else I just want to point out

is that when you see blue colors, this

is typically in playback mode of still

images, not when you're shooting. So

when you're playing an image, the blue

items take effect. When we are shooting,

it's mostly these white items. Over here

on the right, where our thumb would

rest, we have an autofocus on button,

which engages the camera's focusing

systems. So, sometimes shooters want to

use their thumb versus the halfway

shutter button depression. We have our

exposure lock, which also acts as a

flash exposure lock when we are using a

flash. And then we have our cluster

selector, which we'll cover in the

focusing lesson. Couple other things to

point out real quick is we have our

diopter adjustment here. It's this

little wheel on the side of the

viewfinder. The diopter adjustment will

focus the lens that looks at this little

monitor in here. In DSLRs, we used to

look through a mirror that would

actually look out the lens. Now we have

a little TV monitor to look at. This

changes the focus of it. Now, depending

on the lens that you have, you're often

going to see these kinds of switches

here. If it's an image stabilized lens,

you we can turn that off. And then we

also have an autofocus to manual focus.

So if you wanted to jump into manual

focus real quick, you just flip that

over. If your camera is not focusing,

check this switch. This often gets

bumped. And then we have a number of

ports under these gaskets. Let's open

these real quick. Obviously, we get a

little hint on the outside. This is our

microphone input. So, if we were

recording highquality video and we're

using a microphone, we would want to

plug the mic into here. We also have the

ability to listen to what is being

recorded with our headset. If you mix

those up, they will not work the way

they're supposed to. We have our

HDMI out. So, if we want to put a video

feed out, this is where we'd put it in.

And then we also have our USBC

connector. And then we have a remote

terminal. So, this is mostly for video

out. Something you'll notice is that as

you turn the camera on, if you haven't

set it up, it's going to keep asking you

if you want to connect to the Canon

Camera Connect app. For now, we're going

to hide this. We're going to hit cancel.

So, I want to show you how playback

works on the camera and using the

touchscreen. I'm going to take a couple

pictures just of anything. Just take

some pictures. Press play. It doesn't

matter what these look like. And you'll

notice that we have

the ability to zoom in by moving our

fingers out. It's a little focusing

target. And as I move my fingers

together, I get this grid where I can

scroll through different images I've

taken recently.

See here?

Take a look at that. This is one of the

Maven filters that we've recently

released. It's an H alpha. I take a lot

of pictures of the filters. So the idea

is that by touching on the screen and

swiping to the left or right, pinching

together, we can zoom out and we can

look at the these grid views of

our playback. Here I am again doing

another shoot. There's another filter.

It's one of our infrareds.

Very intuitive to navigate through these

and zoom in. So we can choose this is

the kaleidoscope filter. the other ones.

I do a lot of filter shooting one of our

models. Testing out the filter.

So, this is how we navigate

through the pictures. When I'm ready to

start shooting again, I'm going to tap

the shutter button. In between the

shutter button and the primary selector,

there's a little button there called the

multi-function button. This will open up

a subset of items. And what I'm doing is

I'm toggling this. I'm pushing it

repeatedly over and over again and it's

scrolling through those options. On the

top we get the half moon primary

selector icon. So I can change those

there. On the bottom we get the

secondary control wheel. So what this is

is telling us is that we can jump

through our menus of these items very

quickly. This top row here, let me get

my little pointer. We have our white

balance. It's currently on custom one,

but you can see as I scroll through

there, there's our auto white balance.

Auto white balance, metering modes,

press it again. Drive modes, focusing

mode, push it again. Flash exposure

compensation, ISO control, push it

again. Picture styles, and then we have

our focusing clusters. Obviously,

there's other shortcuts we have to get

to these, but sometimes it's really

super easy. For example, let's say you

do want you want to do white balance or

you want to do your drive modes. Then we

can come in and change them by rotating

the corresponding wheel. Again, primary

selector. This is our secondary selector

down here to just jump through those

menu items. And that is the MFN button.

It's located between the shutter button

and the primary control wheel. Searching

for filters and then threading them onto

your lens wastes time. Maven filters use

a patented magnetic system. Snap, stack,

[music]

shoot. Smarter filters. That's Maven.

You can get yours at mavenfilters.com.

Let's talk about all the numbers and

symbols that we see. Can be very

overwhelming the first time. But what I

would like for you to do is to get your

camera in hand and turn it on. Make sure

you're in the stills mode and press the

info button. Just keep pressing it over

and over again. And what you'll see is

the screens will start to cycle over and

over again. So we get a lot of

questions. Hey, I'm not on the screen

that you're on. If there's something

confusing about this, this is what's

going on. Is that the info screen

changes the information sets that we

have.

Another thing I want to point out is

there is a little sensor right here,

right above the screen here. And this is

a battery saver. It's designed so that

when you look in to the viewfinder here

that it automatically turns off the

monitor on the back. And there is a way

to deal with this. So we can come into

our yellow tab. It's page five out of

eight. It's the screen in viewfinder

display. It's set to auto one. So the

difference between these two, auto one

and auto2 has to deal with what you see

in this icon here. when the monitor is

open and facing you. When it's into the

camera and facing you, these behave the

same. Basically, what it's saying in

auto one, when this is open and facing

you, this little switch will not work.

It will stay on. Uh, I like it this way,

but sometimes I do gimbal work, so I'll

I'll flip it over to screen.

Coming back out, we're going to tap the

shutter button. The easiest way for me

to cover all of this is to do it in the

black information screen. So, I'm going

to push the info button until I come

back to it. There's three sets of

numbers you're always going to see. And

by the way, let's set it to the M mode

up here on the mode dial. If you rotate

that to M, you'll see the same

information as me. These three numbers

here are critical. You're constantly

going to be looking at them. The first

one is our shutter speed which deals

with how long the shutter is open and it

is given in fractions. In this instance

160th of a second.

The second number deals with our

aperture. The aperture is the opening of

the lens. It can become bigger or

smaller. This is stated in an F value

which is the focal length of the lens

divided by the opening in millimeters.

It's a ratio. This last number here is

our ISO. ISO doesn't really deal with

real light entering the lens. It's an

artificial boost applied to the sensor.

The higher the number, the higher the

boost. The lower the number, the lower

the boost. This is going to be very

important when we talk about exposure a

little bit later.

These three orange symbols, there's an

orange top crescent, a circle, and a

bottom crescent deal with the three

different controls. The first one is our

primary selector located just behind the

shutter button up here. The second one

is what I refer to as the secondary

control wheel, which we use our thumb

for. And the third one right here, I

like to refer to this as the ISO control

wheel on the back of the camera.

The interesting thing is you're going to

see these numbers appear just about

everywhere. You're going to see it in

the viewfinder on the bottom of the

screen often. And if we press the info

button as we cycle through the different

sets of information, you will see them

appear on the bottom of your screen.

Shutter speed, aperture, ISO,

shutter speed, aperture, ISO,

shutter speed, aperture, ISO. Right? And

in this nothing screen, if you tap the

shutter button, we can still see them

here on the bottom.

So, they're obviously very important and

you will be referring to them often.

This guy here is in a different mode

like aperture priority or shutter

priority or P mode. This is referred to

as the exposure compensation bracket. In

the manual mode, it looks very similar,

but it's more of a metering bracket,

which tells you how much light is coming

into the camera. Now something else

you'll notice is that sometimes we have

boxes that are empty because it's not in

that mode or whatever. You'll notice

here we have this little Q in the bottom

lefthand corner and we also have

corresponding Q button here. This is the

quick menu button and when we push this

we get this orange highlight. That

orange highlight can be moved around by

touching on the screen. So there's a

number of different ways to change the

settings. If we double tap, we can

change the shutter speed using this

graph in the back. Or if we wanted to

change our focusing clusters, we could

do it here. Something else you'll notice

is that we get this prompt every time we

touch on something. And I I find this

kind of annoying. So, what I would

recommend is come into your menu, come

to your yellow tab, and we're going to

find this feature guide and turn it off.

I'm going tap the shutter button again.

We're back out. Now, when we press the Q

button, we don't get these prompts

popping up every time we change it. And

that orange box is going to go to the

selected item. When we go to the

selected item, we can also change it by

rotating, let's say, our primary

selector wheel. We can rotate our ISO

control wheel.

We can rotate the secondary control

wheel. So you there's tons of different

ways to change these, but let's jump

through the rest of these real quick.

This is our flash exposure compensation,

which deals with changing the flash

brightness from the back of the camera.

We have our customized controls, which

allow us to change how buttons operate.

This is our file types. In the case of

JPEG, we have this smooth JPEG. This

deals with compression and the file size

is large.

It will also tell us on the bottom the

dimensions of the image and the number

of shots remaining. If I come to the

left, we have our memory card control.

This top one is our CF ExpressB slot and

this bottom one is our SD memory card.

And there are ways to configure these to

either back each other up or to shoot

individually depending on the type of

file. This squiggly line are

communication functions like connecting

to our smartphone, Wi-Fi, Bluetooth,

things of that nature. We have image

optimization which is turned off in the

manual mode in aperture priority and

shutter priority. It will help adjust

the contrast. It does it automatically

and you can turn it off. It's a little

bit of processing.

and come all the way over here. The

color mode we're using, picture styles

are like recipes that allow us to tell

the camera to have more saturation or

less saturation.

There are also some of these color

filters. Kind of fun to play with. I

don't consider them serious tools.

Coming back out

here, we have our color temperature,

which deals with our white balance.

You'll notice that when I shoot video, I

have it dialed in uh something other

than white balance. I'm very specific

about it. I'll even tweak the color

bracketing depending on how I'm

shooting. Video, I don't like tweaking

or adjusting. I try to get it right in

camera. Probably good advice all the

time. Try to get it as right as possible

in camera. And then we have our white

balance, shift, and bracketing. Come

over here and change the color hue.

We'll talk about white balance a little

bit later. We have our focusing

clusters.

We have our focusing modes, which we'll

talk about shortly. We have our metering

modes, which deals with how the camera

measures light. Talk about this a little

bit later. We have our drive modes,

which is what the camera does after we

push a shutter button down all the way,

whether it's a single shot, a burst if

we hold the shutter button down, or

different sets of timers. We'll talk

about those later. And I'm going to tap

the shutter button to get these last

ones. We have our battery life, Wi-Fi

connection. We have our electronic

shutter. It's currently active. And we

have a Bluetooth symbol that is turned

off. We have our image stabilization

turned off. You can see the hand and it

says off. It's because I have the

stabilizer switch on the front of the

lens here turned off. I'm going to flip

this forward. It's going to turn on.

This number to the left or right of the

bracket deals with the number of shots

we have in a buffer. A buffer is sort of

like an empty storage space that as we

shoot it fills up as the camera is

writing to the memory cards. It's trying

to empty them quickly so we can get at

least 99 shots on the current settings

of smooth large JPEG. The beauty of this

information is that it is found in

pretty much all the other screens in

different places. I'm going to press the

info button.

So, this is a general shooting screen.

Not as much information. We still get

our very important settings. We can see

here the mode that we're in, number of

shots remaining, number of shots in the

buffer, the amount of video record time.

We have our battery life, image

stabilization. This guy here that you'll

see sometimes is a recentering to jump

back to center focus. You can also do it

by pushing the joystick into the camera

body, just like that. Again, we have our

Q button on the monitor. Same thing as

this guy.

We have touch shutter enable. I'm not a

huge fan of it because when you bump it,

the camera is going to take a picture.

So, I usually have this turned off. The

magnifying glass will allow us to zoom

in on the screen. Very useful if you're

doing precise focusing, product

shooting. I use it a lot in video

shooting to know exactly where I'm

focusing. typically with manual focusing

so it doesn't change on me. And again on

the bottom we have our shutter speed,

our aperture, and our ISO. I've been

doing some fun shooting with the

electronic shutter. The electronic

shutter is pretty important. We'll come

back to it later, but it's on the red

tab. 6 out of 10. I'm going to turn it

to first.

When we have a mechanical second

shutter, you'll notice that we get this

green icon. And this is what you should

have on default when you first get the

camera. And then when it's on electronic

shutter, we do not see it. 29 deals with

the focal length of our lens. So, as we

change a zoom, it'll tell us what focal

length we're using. We have a little

Bluetooth icon that's turned off. If we

press the info button again, we get a

histogram,

an electronic level that appears to be

off right now. So, if I tilt the camera

forward, let's say,

or I readjust

a little bit. Here we go. So, these ones

on the outside deal with whether it's

whether it's this way, and the ones on

the inside deal with up and down. So, as

I tilt the camera up,

now it's dialed in. Very handy when

you're shooting landscape if you want to

make sure your camera is even with the

horizon. As we continue to press the

info button, we get tons of more

information, but most of this should be

familiar. So, when we press the Q

button, we're able to access these

different items on either side of the

camera. We have an orange highlight to

let us know which one we've selected,

and we have the individual selection

items on the bottom. It'll kick you out

after a few seconds. Starting on the top

left, we have our focusing clusters, we

have our focusing modes, we have our

file types, we have our drive modes, we

have our cropping aspect ratio. For

beginners, I typically tell them to keep

it on full using the full sensor. Coming

over to

this other side, we have our anti-

flicker shooting. So, there's certain

kinds of lights that actually flicker.

And if this is turned on, the camera

will time the exposures between the

flickering so they are consistent. Deals

with certain types of uh like sodium

based street lamps, some types of

fluorescent lights.

Coming down, we have our white balance

should be set there.

Picture styles, which are little recipes

that control how the final JPEG images

are going to look. We have our metering

modes. And our subject for auto

detection. In this case, it's just set

to humans. We can turn this off. We'll

talk about it when we get into the menu

section.

Coming back out, some other little items

that we see

are exposure simulation is turned on. We

want to see this little guy. It'll give

us a preview of what we're shooting in.

Sometimes you'll want to turn it off

when you're dealing with flash or studio

types of shooting. Now, having gone

through these screens, there's something

you should be aware of is that when we

flip it over to video mode,

some of this information is going to

change. Now, we have a video camera. I

have it on manual. And we get this servo

autofocus, which is an autofocus for the

camera in video mode, which means it's

going to focus continually. Talk about

this in the focusing lesson. We also

have a video record button. And if I

continue to press the info screen,

this is super important. These audio

levels, CH1 and CH2, channel one,

channel 2, left and right. And as I'm

speaking, you can see the audio levels

coming into the camera. If I were to

snap my fingers a couple times, you can

see that it will increase. And what we

want to avoid is this getting into the

red zone. This is a bad thing. Some of

you are looking at the back of your

camera and you're saying, "Hang on a

second. I'm not seeing everything that

he has." There are two different sets of

audio levels. One has a set of headsets,

one has a microphone. Now, to further

complicate things, when you come into

the deep menu by pressing the menu

button, the items that you see in here

will be different than if we were on a

stills mode and press the menu button.

So, keep this in mind. Watch. I'll flip

it to video. It kicks us out. I press it

again. Different sets of information. A

lot of times I get emails, "Hey, I don't

see what you see." It's because it

depends on what mode you're in. To

further complicate this, the mode dial

also comes into play. So, I'm gonna come

back to stills. I'm on manual mode. Look

at all these tabs we have here at the

top. Now, I'm going to rotate this to

dummy mode, the green mode.

See here? Press the menu. Some of the

tabs and pages have disappeared. Canon's

trying to make it simple, right? Just

keep that in mind. So, it depends on the

mode and whether we're in video or

stills. I'm going to flip this back to

M.

Flip it back to video.

Going to press the menu button. And the

way this works is that when you get your

camera, the video audio levels are going

to be automated.

Come into your second page out of 10.

Red tab video setting. Come down to

audio settings.

Currently, this is turned on to the

built-in microphone. And you'll notice

that the external microphone is turned

off, which is a real pain. We also have

our audio status. We come in here. You

can see the channels and the levels,

right?

So, what it wants us to do is to put it

in a non automatic mode,

manual. When you get your camera, it'll

be here.

tap the shutter button

and we lose that bracket, the ability to

change it to manual.

So, when we're in the auto mode, we lose

the ability to change our audio levels.

And this is critically important because

if it's on the auto audio levels, there

are going to be fluctuations in gains

depending on how loud things are. And if

we're recording video, we never want

that. We want this to be manual. Come in

here. Second page, audio settings. The

first thing we're going to do is turn

this to manual. Tap the shutter button,

and we should be able to change our

levels from here from the Q button. It's

a lot of work to get this set up, but

once you change it, you'll never go

back. So, I can turn down the audio

gain, and you can see that even even if

I snap my fingers, I can't barely get to

the red. And if I turn it up,

it's easier to get to those red marks.

So, we want the audio to be landing

between the yellow and the orange when

we're recording video. That's going to

give you a nice, clean signal that will

be easy to clean up, make it sound

amazing, and put it on your video. Many

of you are going to have the question,

"What if I don't want the built-in mic?

How do I get an external microphone?"

Okay. So, the way this works is Canon

wants you to plug something into the

microphone jack. And once you do, this

will turn on. I'll just show you real

quick. I'm going to open this flap on

the side. Plug a jack in.

There it goes. External microphone.

Now, we are telling the camera to record

from this microphone instead of the

built-in microphones. Just a nuance you

have to be aware about. If you can't

seem to access it, that is probably why.

take it out. There are some other menu

items in here we haven't really talked

about. You'll notice this guy right

here. This is our overheating warning

indicator. It will turn red when the

camera is getting too hot and it's about

to shut down. We have select a card.

Which card are we recording to? We have

our setup for our formats for video

files. Whether we're shooting in HD, 4K,

we come in here and select all these.

This guy here deals with how wide. This

one deals with how tall and this is the

frame rate. But this is where we

determine the format size compression

type of our video files. Hit okay. So

I'm set up for 4K 30 frames per second.

We have some other options here on the

side. We have our image stabilization.

This is a digital image stabilization. I

typically do not use this, but if you

had something really shaky and you

wanted to correct it in camera, you

could play with that.

White balance, picture styles, digital

zoom. I also do not use this. This

allows the camera to zoom in a little

bit, but it just basically crops it.

You're not getting an optical zoom. And

then we have our subject detection.

If we continue to cycle with our

information button,

we have our black info screen. It's for

video.

We're going to start diving into the

mode dial and our exposure controls.

This is probably the most important

lesson that I can teach you in this

video is how do we change our shutter

speed and our aperture and how does it

relate to the mode dial on top of our

camera. The easiest way for me to teach

you this is to start off in aperture

priority mode. So I want you to rotate

your mode dial until it says AV.

Now if you remember I was talking about

our primary selector index finger is

going to change your primary setting. So

what I want you to do is to put it up

here and rotate it and watch what

happens.

to this aperture setting here on the

bottom.

Your f number is going to change in

aperture priority mode when you change

your primary selector with your index

finger. This is why I like to call this

the primary selector. It will change the

primary setting.

Now, your aperture is actually a ratio

between the focal length of a lens and

the opening of it. How wide that opening

opens up. Different lenses have

different size openings and typically

the more expensive the lens they are,

the wider the opening. It's not always

the case, but generally speaking, wider

lenses cost a lot more money because

there's larger elements. It's a little

bit more complex.

But this is a ratio between the focal

length in the opening in millimeters.

That's what this F number means. Smaller

F numbers

means that that opening is getting

smaller and smaller and smaller. And so

if you have something like F20 or F22,

you got a teeny teeny little opening.

And if we were to go in the opposite

direction,

this case F4, it's a much wider opening.

So, smaller f-stops,

wider opening.

Higher number f-stops like f-22,

smaller opening.

Now, as we rotate this up and down,

you're probably have a question. If I'm

changing the size of this aperture, if

I'm making it bigger and smaller as I'm

rotating

this aperture setting,

how come the brightness isn't changing,

right? How is that possible? If I'm

making this opening tiny, then I can

still see what's coming in to the

viewfinder.

It's a very sharp question. And what is

happening is the camera is automatically

adjusting the shutter speed. So when we

have a very very small opening, we're

using a much longer shutter speed. If I

go in the opposite direction and I'm

opening up the aperture, opening,

opening, opening,

the shutter speed gets faster and

faster. So this is the heart of the

matter when using aperture priority

mode. We change the aperture and the

camera changes the shutter speed to

adjust

for that difference in light coming in.

So as we change it, the camera would add

more shutter speed on a small opening

and as we get wider and wider, it would

use a faster shutter speed and I can

improve. Sometimes I get these

questions, you know, like Michael, what

camera setting should I use to shoot

XYZ? I can't give a blanket statement

because I don't know what lighting

conditions you're shooting in. Are you

shooting at night? Are you shooting in a

closet? Are you shooting on the beach at

12:00 noon? I have no idea. So, your

camera settings are going to be

different depending on how much light

you're dealing with. And I can prove to

you how good the camera is at adjusting

aperture priority mode. So, find an area

in your home where there's decent light.

You don't have to go outside to do this,

but it should be a fairly well lit

place. And I want you to take your hand

and watch what happens in aperture

priority mode as you take your hand and

you move it in front of the lens and

you're going to start blocking this

light, even covering it up completely.

Got my hand over it. So keep your eye on

the shutter speed down here. What's

happening is the camera is constantly

measuring light and as we block that

light, it increases the shutter speed to

let more light in. So this is what's

happening in most of the modes that we

use, the automatic modes that we're

using, the priority modes. The camera is

measuring light and adjusting based on

the amount of light coming in. And this

also includes when we make aperture

adjustments. The camera is making these

changes. This is the heart of the matter

with aperture priority. I always

remember the example when everything

clicked to me. It was on a wedding shoot

and we were shooting inside a dark

chapel. the bride and groom were coming

out and then they were in the lobby and

then we were outside and it was really

bright sunlight. So there was three

different shooting conditions in terms

of lighting that changed within, you

know, 20 seconds and I didn't have to

worry about changing my camera settings

cuz the camera just started using faster

and faster shutter speeds as it got

brighter and brighter. When I was

shooting weddings, I shot almost

exclusively on aperture priority. I do a

lot more video now, so I I do more

manual shooting, but typically it was

either aperture priority or manual with

probably more in aperture priority. I

know many very high-end shooters who

shoot primarily in program mode. Uh it

just really depends on your shooting

style and how much lifting you want to

do between changing lighting conditions.

Aperture priority is going to give you

tremendous mileage. Now, there is an

important caveat I must tell you about.

You want to keep an eye on your shutter

speed because if your shutter speed

starts to slow down too much,

the pictures are going to be blurry. So

there is a barrier that I tell all

beginners and it's 160th of a second. If

you are handheld shooting a portrait,

this to me is the bare minimum shutter

speed to be at 1/60th of a second or

faster. It can be 180th, 1/100th, maybe

1/200th. If it's longer than 160th,

you're running the risk of getting

motion blur or movement blur. Even if

you feel like you're holding the camera

perfectly still, try it out. Try

shooting at 120th or one/10enth of a

second and look to see what happens with

the images. So, when I'm shooting

handheld, I'm always sneaking a peak. So

if I am shooting on aperture priority, I

make it a habit to always just keep an

eye on my shutter speed to make sure I

am shooting fast enough. Okay, it's a

very important caveat to keep in mind.

And there are actually other ways to

lock this down. So to ensure that you

will by using auto ISO and some other

features. Let's not worry about that

right now. So the next question you

probably have is Michael. Well, if the

camera is changing the shutter speed,

how do I make it brighter? That is a

great question. In an aperture priority

mode, we are going to use a tool called

exposure compensation. That's this

bracket right here. And in this mode, it

becomes the secondary selector. That's

why I like to call this the primary and

this is the secondary. So, the short

answer is we're going to rotate this

wheel to the right. And you can see that

the image is getting brighter. Here it

is at a neutral. It's like a diamond

home plate setting. And then at plus

one, it's brighter. At plus two, it's

even brighter. At plus three, it's

really bright. If we go in the opposite

direction, it gets darker. So, the next

question you probably have is what do

these numbers mean? 1, two, and three.

These deal with what we call stops of

light. And you'll notice that there's

even two little tick marks between each

of them. Each tick is worth onethird of

a stop. And every stop is worth twice

the amount of light as the previous

setting. So when we go from diamond home

plate to plus one, we are doubling the

amount of light coming into the camera.

If we go to two, now we're multiplying

it by two, a factor of two, and then a

factor of three times the amount of

light.

Now there's even a way I can prove this

to you that it is double the amount of

light. I can prove this mathematically

looking at the shutter speed that's

coming in. So if I was to take twice the

shutter speed of 160th, if I go 160th

plus 160th, I get 260th of a second,

which when we simplify it's 130th. So

130th is twice as long as 160th. So if I

go to + one, now we are at

130th. If I go to another stop, what do

you think it would be? He said 115th.

You're absolutely right. And if we add

one more stop

for about 1/8 of a second. So what is

happening in aperture priority mode? We

adjust the aperture with our primary

finger. We can adjust the secondary

setting, which is the shutter speed

using the exposure compensation feature.

So if we wanted to keep it a little

brighter, we make just keep it here.

Come up a little higher. Want a little

darker, we come down here. That is how

aperture priority works. And if you

understand it with aperture priority,

these other modes are going to make

sense. So we are going to change this to

the TV which is time value priority.

Watch what happens with the selections

down here on the bottom.

Interesting.

Now our primary selector

is changing the shutter speed.

Shutter priority is different than

aperture priority because it prioritizes

the shutter speed. We dial in the

shutter speed and the camera will dial

in the aperture. We can't see it right

now, but if I tap the shutter button

now, we can see it.

We can see the camera is making

adjustments to the aperture based on the

shutter speed we're telling it to use.

Now, there's an interesting problem here

in that there are limits to the lens

physicals opening. So, it can either

open up to a certain amount or it can

close to a certain amount. And then

after that point, if we keep using a

faster and faster or longer shutter

speed, we start to get this blinking.

When we see the blinking, the camera is

telling us we have exceeded its capacity

to change the lens. Time value priority

or shutter speed priority is very

popular among sports photographers. I

have a lot of friends that swear by it.

If you are shooting sports, for me, the

bare minimum is 1/500th of a second.

Now, there's a problem here. The camera

is saying, "Hey, I can't open the lens

wider. It's going to be flashing. You

know, if we take a picture, this is

going to be underexposed. It's going to

be all dark.

We've kind of maxed out what we can do

in terms of the aperture. So the

question that I have to you is how would

we resolve this in this situation?

You're shooting an indoor track. You got

to be at 1500th of a second or those

pictures are going to be blurry because

they're moving so fast. The aperture is

flashing. What would you do

now? If you said make your sensor more

sensitive and bump up your ISO, you are

absolutely correct. This is how I would

resolve it. See if 1600 does. 1600.

It's right there on the edge. Let's bump

it up a little bit more

there. So, by increasing the sensitivity

of the sensor with an ISO boost, the

flashing stops and the camera is able to

perform at 1/500th of a second. So, the

question then becomes is what's the

drawback of just adding more and more

ISO? So, quick lesson on ISO is this is

not adjusting the light. It's adjusting

it's really giving an artificial boost

to the sensor. It's not light. And the

problem with this is that as you get

into these higher ISOs, it becomes more

and more noisy. Now, just because I'm

old school, you know, I I was always

shooting at ISO 400, but camera sensors

and their performance have dramatically

improved over the last 15 to, you know,

20 years. Uh, huge improvements. Really

impressive. I can shoot at 16 or 3200

all day long. If there's enough light,

you're not even going to notice it. So,

a lot of it depends on what you're

doing, where you're shooting, what your

minimum requirements are, how much how

many artifacts you want. In some

situations, you'll shoot even more than

that. Just really depends on on what

you're doing. But, yeah, generally

speaking, 3200 and less. Most of the

time, if I'm shooting in good lit

situations, I'm at 400.

Just something to keep in mind that you

will run into these limits when you have

much faster shutter speeds. For birds in

flight, you might be at 1/ 1,000th of a

second or even faster. Just depends on

how fast your subject matter is moving.

And in those cases, you're going to need

a lot more light. So, the difference

between aperture priority and shutter

priority is the primary input. Here, we

are changing the shutter speed. the

camera is changing the aperture on our

behalf. Let's take a quick look at P or

the program mode. You'll notice that we

lose both options. We can tap the

shutter button. It gives us the ability

to still select our shutter speed, but

it's making changes to the aperture.

Now, this is a little bit different

because dialing in the shutter speed

does not lock it in. It's kind of like a

starting point. So, program mode

originally was kind of like an advanced

auto mode where the camera had the

freedom to change the shutter speed and

the aperture. I know a lot of

photographers who still use this

professionally, very high-end wedding

photographers, one guy in particular

uses program mode. You still have the

ability to change your ISO, but we're

turning over a lot of this over to the

camera.

I I talked a little bit about the dummy

mode. Camera's going to do almost

everything. We have a few options. We

can change our drive mode. Uh, you know,

we have these different filters, kind of

gimmicky filters. I I think I don't

really play with them. See, these

different color tones, things of that

nature. Not a fan of the dummy mode. And

I tell my students, if you're going to

start on any mode, try to learn aperture

priority mode first. In in the most

recent years, there's been a new setting

on the mode dial called FV or the

flexible value. When we start off on

this, you'll notice that every setting

here is in an automatic mode, similar to

a P mode. The interesting thing about

this is we can dial in what we want

depending on the settings we want to

maintain. So, let's say I wanted to

maintain a very specific shutter speed.

So, I'll come in here. I'm just going to

scroll using touchcreen. Let's say we

want 1/500th of a second. We want the

camera to make sure we get that one

500th of a second. And if we shoot this

way, we're turning permission to the

camera to not only change the aperture,

but to also change the ISO. And there's

ways we can limit this in the deep menu.

But suffice to say, the camera has more

flexibility. Let's say we're shooting,

let's say we're let's say we want to

dial in exact portraits. We're shooting

at f4 and we want

our 160th.

Well, now we can leave it on auto ISO.

The camera would basically keep these

locked in and it would change the ISO

depending on how much light we have. So,

this is how this works is it allows us

to determine

what setting is locked in and what the

camera has permission to change. You can

also do this in other modes. This just

makes it a little bit easier to figure

out. So, let's say we were in aperture

priority mode and we wanted to go to

auto ISO. It's the same basic idea.

camera has control over the shutter

speed and the ISO. So, that's what the

flexible mode will do. And some people

love this mode. For me, I'm kind of old

school. I just dial it in on my aperture

priority if I really wanted to. That's

how I roll. Something else you should

note is that when you are in auto ISO

and you tap the shutter button, it will

show you the current selection. So,

let's change the aperture. And you can

see that being updated here. Let's real

quick talk about the manual mode. In the

manual mode, we determine our shutter

speed and our aperture. There's no help

from the camera. Camera is just going to

let us dial in whatever we want. We

still have auto ISO on. Let's turn this

to maybe 400.

So, we adjust the shutter speed. We

adjust the aperture. The camera is not

helping. We can adjust the ISO this way.

And what happens with the exposure

compensation bar is now it becomes a

light meter. This is telling you based

on the metering modes whether this is an

overexposed or an underexposed shot.

Here's overexposed. Here's underexposed.

And by how many stops. So it becomes

more of a metering bar. When I'm

shooting video, almost exclusively on

manual. There's different settings for

that I'll cover in just a minute. But

manual mode gives you full control over

the camera. There's I mean, if you look

at your smartphones, most smartphones do

not have true manual controls. You they

they're fighting you and wrestling you

in different ways. And this is why these

cameras are still awesome. You get full

manual control over the camera, the

light, the the ISO, all that stuff.

Again, we can also come in here and go

to auto if we really wanted to. And then

so we would have locked in camera

settings. Camera could update with ISO.

Let's talk about the bulb mode.

Basically, the way bulb mode works is as

long as you're holding the shutter

button down, the exposure is lasting.

I'm holding it down and we get a counter

there in the bottom right hand corner.

It's showing us how many seconds. Then I

let go. Clearly overexposed.

We can turn our ISO down. This is really

good for really long exposures. I don't

recommend actually holding the button

down. There are some timers we can use

so we don't have to touch the monitor or

the camera and put it on a tripod. There

won't be any shake. There's also remote

controls we can use. But that's the idea

of the bulb mode is the longer you hold

the shutter button down, the longer the

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Let's get back to the lessons.

Let's talk about the S and F mode. When

we flip it to this setting, you'll

notice that in the stills mode, it says

P. So this is really designed to be a

video feature. So we want to make sure

our video icon is selected and we get S

and F up here in the top lefthand

corner. SNF stands for slow and fast and

it's made to be programmable. The way we

set it up is we're going to press the Q

button and then down here on the bottom

it says setup. This can be very

confusing if you've never seen it before

or know the terminology. So this first

tab over here deals with the resolution

which is the dimensions of pixels wide

by the dimensions of pixels tall. 1920

wide 1080 tall. This is FHD which is

full high definitionin. And as we scroll

to the left you can see that the

resolution increased. It's a little bit

wider. And as we continue to go into the

4K, which starts at 3840 by 2160,

and then we can get into different

compressions, and then we get this wider

4K, and then a finer compression. The

way slow motion works is that we shoot

at a much higher frame rate than what we

play back. So the recording frame rate

is given here and the playback frame

rate is given here. the play button. So,

if we're recording at 60 frames per

second and we're playing back at about

30 frames per second, it's going to be

twice as slow. Now, I need to point

something out is that when I come into

the frame rates, we don't get some of

these higher rates because it can't do

it in these fine compressions. So, we

have to choose one of these guys

instead. So, we're limited to 180 4KD.

Without the fine compression, we're

limited to 120.

And when we try to select the fines, we

can't select it. So there are some

limits in terms of the compression, but

this is 4K, four times as slow in the

playback mode.

So again, this is the resolution and

this is the number of frames per second.

And we can also select the playback. You

you'll see that the playback changes.

Usually mine's at 30 frames per second.

Another thing to point out is that if we

shoot at 60 and we play it back at 60,

it's actual speed. So, that's something

to keep in mind. But this is designed to

be easy access really, I believe, for

slow motion where you would have it set

to 120. We're shooting at 150 megabits

per second. That's the data rate. And if

you wanted to do like a fast motion

playback, like if you were building a

house over, like if you were building,

let's say, a shack over the period of a

day and you wanted to have this very

slow capture, which would play back 60

times faster, this is where you would do

it.

What I would recommend

is set this up to 4KD,

120 frames per second. Playback can be

30 frames per second. And now we're at

four times slow. So, we hit okay. And

what you'll notice is again, we got our

playback here. It's telling us 120

frames per second. This is set up now.

So, this warning is telling us that the

camera might overheat. But when we're

set up for slow motion, we now get our

time code in yellow. And this is telling

us we have about 32 minutes of shooting

at this very high frame rate. Tap the

shutter button. Let's see if we can get

it to tell us what it's

on. It should be in there. There it is.

120 frames per second. So now slow

motion is set up and if we were to

record video and play it back, it would

play back in slow-mo.

The last thing I want to talk about real

quick is the scene mode. The scene mode,

and we're in video mode right now. Flip

this back over. The scene mode really

allows us to ask the camera to shoot or

to help us do some of the lifting. Most

of these are gimmicks. Some of them are

fun to play with, like the panoramic

shot where you would want to be on a,

you know, a pivoting tripod of some kind

where you can move the camera as you're

shooting. Looks something like this.

And then it stitches it together in

camera. Pretty cool.

Let's see some of the other fun ones.

The portrait and smooth skin. These are

for shooting people. It will add some

processing and clean it up. If you're

worried about your settings for group

photos, you would come in here and

select this. It's going to select a

smaller sized aperture to get a deeper

depth of field. Might apply some skin

tones to it. Landscape. Again, this is

going to be optimized for taking

pictures of things like mountains and

streams and rivers. Most of these things

can be done if you know how to operate

the camera directly. There are some

filters that are applied here. I think

it's kind of gimmicky. Now, the only one

I would really truly try to use in this

is probably panning shot, which is

really fun for cool effects of moving

subjects, HDR backlight control, and

that's probably about it. Even the

handheld night scene or night portrait,

I probably would just shoot on the

regular modes. Check them out if you get

a chance, but I think you're going going

to get much more mileage out of learning

the P, TV, and AV and manual modes.

Furthermore, as we come to our

customizable modes, C1, C2, and C3,

these allow us to set up our camera very

specifically. It can be down to our

white balance. It can be to our picture

styles, it can be to our burst mode, our

shooting mode, all kinds of things. And

then when we get these all dialed in the

way we want, we're going to come in to

the yellow tab. It's going to be in

here. Custom shooting mode. register

your settings and it will remember those

settings on that dial.

Real quick, let's talk about our

exposure settings in video mode. So, I'm

going to flip this over to video mode.

And you can actually record video in the

stills mode just by pushing shutter

button down. And it kind of gives you

this basic mode. What I prefer to do is

to do it from the video mode because we

get much greater control. And I'm in

manual mode. Okay. So, this is how it

works. is your frame rates. The number

of stills you are shooting per second

will relate to your shutter speed. For

YouTube videos, I'm typically shooting

30 frames a second and we want to double

that to get an appropriate shutter speed

if we want to follow the 180°ree shutter

rule. Suffice it to say, double your

frame rate. So, if you're shooting at 30

frames per second, you want to be at

160th of a second. And then you can dial

in your aperture and adjust your ISO

last depending on what it is that you're

doing. If you're going for a more

shallow depth of field, you might be at

f4. If you want a deeper depth of field,

maybe you're doing, you know, some

landscape or maybe it's a group, then we

would adjust the ISO at the last

setting. If we're shooting at 24 frames

per second, this would be 150th. If

we're shooting at a higher frame rate,

let's say 60 frames per second, we again

would double it. So it would be 120. If

we were shooting at, let's say, 120

frames per second, we would double it

again and we'd go up to 250. So you want

your shutter speed to be double your

frame rate. Then you dial in your

aperture, and then you finally tweak it

with your ISO. We're about to talk about

the camera's focusing systems. are

highly complex and for pure beginners

overwhelming. I want you to put your

camera in onto the P mode just for the

sake of covering the focusing lesson.

The way I like to break this down is the

how, the when, and the where. If you

think of your focusing systems in terms

of how you focus, when the camera is

focusing, and where the camera is

focusing, this is going to be a lot

easier. So, the first question, how does

the camera focus? Take your index

finger, get your camera if you don't

have it already, get into a semi

well-lit situation, point your camera at

something, and push the shutter button

halfway down. You can see that the

camera is choosing this area of high

contrast, this little focusing target

that I have. We get an audio beep that

we can hear. We also get this green box.

When we push and hold the shutter button

halfway down, you can see that this

focusing lock is maintained. And when we

push it down all the way, it takes the

picture. So, I want you to train your

finger to feel the difference between

focusing and taking pictures. So, it's a

halfway spongy resistance to focus.

Pushing it down all the way will

actually take the image. In the

beginning, this is a great way to start.

As you advance, especially if you become

a sports shooter, you may not want to

focus with a halfway shutter button

depression. For now, we're going to

leave it. You may want to use your thumb

button. So, AF on means autofocus

engaged.

So, we're turning the focusing systems

on, holding it down, taking a picture. A

third way we can engage our camera's

focusing systems is by touching directly

onto the back monitor.

If you don't like this, there is a way

to turn the screen off. But for now,

this is pretty fun, easy, fast way to

focus. And when we get that green lock,

we can take a picture. So, there's three

different ways of how we can focus.

Next, let's talk about the when the

camera is focusing, and this deals with

the camera's focusing modes. There's a

couple different ways to access them.

You can press your Q button and we're

looking for this guy right here. One

shot. One shot is what I have already

demonstrated is the camera focuses just

one time. Once it gets a focus lock, as

long as we hold that shutter button down

or the autofocus button down, the focus

will not change. I can even pan the

camera to the left and right and that

focal plane will remain the same. This

is very useful when we are recomposing.

So, sometimes we'll get focus, but our

subject matter isn't in the frame the

way we want. Let's say we focus on

something that's in the middle of the

screen, but we want to move them to the

side of the screen before we take the

picture. We would get a focusing lock.

We can do it with our shutter button. We

can do it with the thumb button. We get

a focus lock. And then we rotate or

move, recompose the camera, push it down

all the way to take the picture. Now, at

wider apertures, you don't want to do

this because it will pull them out of

focus, whatever your subject matter is.

So, if you're shooting at like f 1.8 or,

you know, 2.0 or 2.8, recomposing

doesn't really work that well. If you're

at f5.6 or f8, it works amazingly well

depending on what you're doing. Suffice

it to say, one shot gets a one-time

focus and we see it with a green box.

Coming back into our Q menu, let's take

a look at this guy. Servo.

Now, when we engage our focusing

systems, something different happens.

There's no beep and the box is now blue.

So the servo focusing mode as long as we

keep it engaged. When I move the camera,

you can see that it's staying. So the

servo focusing mode is not a one-time

focus. It is a continual over and over

and over again focus as long as the

focusing systems are engaged. That's the

key difference between one shot and

servo. A one-time focus, a continual

focus. This last guy right here, AI

focus, is a hybrid of the two. I don't

really use it. I don't really recommend

it. I know some people love it. So, this

gives the camera permission to switch

between OneShot and servo. I don't

really like it because it's hard to

predict. If you're shooting cooperating

subjects, like doing a portrait shoot,

maybe shooting products or landscape, I

I'm usually on one shot. If I'm shooting

sports, I'm usually on servo. So, that

is when the camera is going to focus.

Now, let's talk about the wear. The wear

deals with the camera's focusing

clusters. And when I say cluster, what I

mean is it's an area of the monitor that

we're telling the camera to look in. To

access the clusters, there's a dedicated

cluster button here. We can push and

jump straight into the menu. I'm a fan

of it. I like this cuz it's fast and

it's easy. And the first one here, you

can see the name of it. Whole area

autofocus.

The way this works is turn these guys

off. Essentially, it tells the camera to

look in the entire frame. And what is

looking for is an area of contrast. This

is why I'm using blinds with a black

focusing target. It's saying, "This is

the greatest area of contrast I think

you should focus on here." It's pretty

straightforward for beginners. However,

there are going to be times you will

have far more subjects in your frame and

the camera may not know. It typically

likes to pick something closer to the

camera as well. But let's say we want to

limit where the camera is looking. We

can press the cluster button and we can

come into our spot autofocus.

Tap the shutter button to jump out. And

you'll notice that this is a tiny little

square and it's not on the target.

Here's another trick is you can push the

joystick into the camera body and it

will jump to center. You see that little

dot is telling you this is centered. Now

I can get my focus lock and I can take

the picture. In this instance, the

focusing square is teenytiny and we're

telling the camera to only look in that

area when I'm on a an area of no

contrast. Do you see how it's

struggling? No line. Get on the line

focuses. But what if that little

focusing box isn't big enough? We want

something else. Press the cluster

button. Let's go to the next biggest

size.

Larger box, a little bit easier, right?

I think the spot mode is great for

precise focus product shooting. But as

we go through these clusters, what

you'll notice is these boxes get a

little bit bigger each time and they add

these extra squares around them. We

we're basically increasing the size. And

they all have their own special names.

Look at that. How interesting. When the

box is on the bottom and we press our

cluster button, the clusters jump up to

the top. Pretty cool. So you don't have

to fumble focusing through it. So this

is called the expand autofocus area

around. Get even more boxes.

Then you can see that we have these

little guys. When we push these arrows,

we get a new set here. These three here.

These are great because they allow us to

change the shape and the size of our

focusing cluster. So, it says to press

the color button and we have our primary

selector and our secondary selector. So,

as I rotate these different selector

wheels, you can see the frame of the box

is changing. Maybe you're, let's say

you're a bird and flight shooter and you

want to keep your birds, you only want

the camera to focus on items in the

center third. That's how you could do

it.

We're going to push our color button.

So, we can adjust the shape and size of

these in the horizontal and vertical

planes. Very useful. It's one of my

favorite types of shooting clusters. I'm

going to hit okay. Something else you'll

notice is that we have this tracking.

I'll talk about it a little bit later.

It allows us to when we push the set

button to jump on the subject area of

highest contrast and it'll automatically

track it. Push the set button again to

jump out of it. It's sort of like a

tracking focus that keeps an eye on the

subject. Doesn't engage the focus until

we push our camera shutter button

halfway down or the AFON button. So,

those are the focusing clusters. We

talked about the how by pushing a

shutter button. AF on touching on the

screen. We've talked about the when

whether it's a oneshot or servo and

we've talked about the clusters which is

the different areas or the size of the

areas we can choose for the camera to

focus. So you will get a ton of mileage

out of the how, the when, and the where

of the camera's focusing systems. This

is as good a time as any to talk about

button customization because we have

experienced shooters that are going to

want to remove focusing from our halfway

shutter button depression. There is

another customization I would highly

recommend. So, we're going to toggle to

the black screen, black information

screen. We're going to press our Q

button. We have our customized controls.

So the first thing we're going to do is

to remove autofocus from the shutter

button. So in this view we get an

overview of the camera with a white

highlight of the button that we want to

customize. So here is the shutter

button. I'm going to select it and you

can see that autofocus is engaged here.

If we go to just metering, it will no

longer focus. I recommend this for more

advanced shooters who know what they're

doing. They're experienced. They've been

shooting sports for a long time. That's

how you remove autofocus from the

shutter button.

If you just want to see how it works

now, when I push shutter button halfway

down, there's no focusing.

Coming back in to our button

customizations set.

Now, something I'm going to recommend is

to customize our auto exposure lock

flash exposure lock button to be our

focusing modes. So, we don't have to

jump into any menu. We can just push

that button and we're good to go. So, we

have it selected. We have it customized.

I'm going to tap the shutter button.

We're going to go to info screen.

Something else I have to know is that if

you have this on AI focus, it will not

allow you to do it. So, if it's set

here, you will not be able to use this

button for this. We're going to select

one shot coming out. Now, when I push

the star button, it allows me to jump

between one shot and servo. I don't need

to open a menu. It's much faster. So, I

can press that, jump into something. I

can then select different clusters if I

want. There's actually another

customization I'm going to show you that

I really like. Come back into

customize.

There's a button on the front of the

camera called your depth of field

preview button.

This guy. So, by default, it's it's set

up to stop down your lens blades to give

you a depth of field preview. But I like

this one, direct area autofocus

selection. Hit set. Tap the shutter

button. Let me show you what this does.

This is awesome.

So now when I push this button down, it

allows me to toggle quickly

through the different focusing clusters.

And there is a way in the menu to limit

the number of available options. So if

you really only use two or three of

them, with these three buttons, you can

control the focusing when when it's

focusing. You can change the where if

you want to jump into the clusters or

you can toggle through the clusters with

the depth of field preview button. Those

are the first three customizations that

I recommend and that's what I use. So I

have a picture of myself here. And when

you take pictures of people, it's very

important that one of the eyes is in

focus. It's harder to do without this

feature if you're shooting at a very

wide aperture. Let's say 1.8 1.2. We

have a very shallow depth of field.

This tells the camera to find an eye and

to lock onto it and we don't need to to,

you know, dial it in precisely. The

camera does all of the heavy lifting for

us. It has revolutionized portrait and

wedding photography. In the past, like

when I was shooting weddings, we had to

get a focus lock on the eye. We had to

do it, you know, using the focusing

squares in the viewfinder. It was a lot

harder to do. So, we have eye detection.

And there are a number of tools in the

menu when we come into this purple tab

that deal with controlling our types of

people detection. So we have our eye

detection. If we come in here, we can

turn it off if we don't like it. We can

even tell it to prioritize the right or

the left eye. When it's on auto, it is

going to make that decision for us.

Leave it there for now. Currently, I

have it set to people. So there are

algorithms within the camera designed to

find human faces.

Canon's algorithm on animals works on

pets like cats, dogs, birds. It uses a

different set of algorithms to find

those creatures and get a focus lock on

the eye because again it's like taking a

portrait of a person. There is also

vehicles. We can turn this algorithm off

completely and we can also set it to

decide for us. I leave it on people for

now. Now, there is another feature in

here that allows us to register people

who are priorities in our life like our

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We can turn this on and then we can

photograph and register that face

specifically. So, I have this picture of

myself. I'm going to zoom out a little

bit. Let's

change this just a little bit. And I'm

going to zoom out.

Something like this.

and we're going to take a picture.

Do you want to register this? We're

going to set okay

and I'm done. Right. We can also select

people from images that we have on our

cards. We can change or delete the

prioritization. So, if you have more or

special loved ones, you can change their

pri prioritization.

We can delete. We can also save and load

registered faces onto a card and

transfer them to another camera. So

really awesome. You know, if you're if

you're shooting a lot of like team

sports or your children especially and

you want the camera to find and

prioritize them, this is how we do it.

So now you can see if I zoom in say on

myself here you can see that it's

recognizing me and it does so you can

see this little icon here down on the

bottom. It's like a little portrait with

a circle. What the camera is saying is

hey we recognize one of your registered

faces. And you'll notice that we get

these arrow keys to the left and right

so I can change which eyeball I want. we

get the doubled four corners, which is

our tracking. The camera is

automatically going to start tracking

this subject. Now, here's the

interesting part. I'm going to zoom out.

And there's a picture of my dad and I

from a long time ago. It's kind of

underexposed. Maybe me bump this up just

a little bit. Make it easier to see.

We get these arrows and I push to the

left and it jumps onto my face. But when

I push to the right, it won't allow me

to focus on my dad. The precision in

this is pretty amazing. Look how small

our faces are. I remember when face

detection first came out, it was not

this precise. You had to have like a

certain amount of real estate in order

for it

to see it.

There it goes. So, it's just the two of

us. I can I can manage it. It's kind of

fighting me a little bit. But I I share

this to to show how tight and how small

even

Yeah, that's crazy. Even the different

eyes. So when you do it right, what will

happen is the camera will be able to

find your registered faces even in a

crowd of people, even with many years of

difference between them. So it's

becoming more and more accurate. It's a

really powerful tool if you have kids or

loved ones. And that is the face

recognition. Obviously, if this becomes

annoying and you're tripping over it and

you don't want to deal with it, you can

come into register priority and just

turn it off. And we notice that icon

disappears.

Having gone through tons of different

focusing techniques, we'll talk a little

bit more about video in just a moment. I

want to talk about manual focusing. So,

there will be times you will not want

the camera helping you. You want to lock

your focus down. And the way to jump

into that is with the lens switch.

Usually it's the fastest is just move

the lens switch from autofocus to

manual. You'll notice that the moment we

do this, we get this little bar. So in

manual focus, when we see this graph and

this bar here on the bottom, we can

rotate the camera's manual focus ring

and we can change it to the distance to

focus in in meters.

This is focusing at affinity. It's very

useful for landscape shooting,

astrophotography. It essentially means

anything past that point should be in

focus.

But there are even better manual

focusing tools in our camera. And I call

this manual zoom focusing. See this

little magnifying glass? We're going to

push that. That is going to magnify

times five. And then I can rotate my

focusing wheel. Tilt this up just a

little bit so I can see the eye. I use

manual focusing a lot on video. Probably

more than anything on video is manual.

So I can dial this in precise, but if

I'm not sure, I want to be closer. Push

it again. Now I am at 10x.

Just tweak this focusing ring until I

get it in focus there.

And then I can jump out. That is manual

zoom focusing. It doesn't need to be on

people. You can do it for products. You

can do it for video. It locks your focus

point down to a specific location and it

will not change until you change the

ring or you go back to a focusing mode.

Extremely useful for video shooting.

While we're on the topic of manual

focusing, there are some additional

tools built into the system that I want

to point out real quick. Come into your

purple tab in the deep menu. It's going

to be page six out of seven. And we're

going to turn on something called manual

peaking settings. We're going to select

high. We're going to select uh in this

case, let's just do blue. And we're

going to turn this on. When this is

turned on, if I turn it back to

autofocus, you can see it disappears.

But you will notice there is a faint

blue highlight appearing in certain

places of high contrast. Look at my

hair. Look at my eyes. See if we can

hide some of this info. See if we can

turn our settings down a little bit.

There we go. Now we're starting to see

it better. You can see this very faint

blue line on the blind edges in my hair,

on my chin here a little bit. So, what

peaking focus does is it puts a color

overlay on areas of high contrast in the

frame. Videographers use this a lot. You

can change the color. If the blue isn't

working for you, we want to do red. This

is how the tool works. It's a very

useful because you can see exactly more

or less where the depth of field is as

you're shooting. There are additional

focusing tools. Turn this one off.

This other one is called the focus

guide. We saw it earlier on Canon video

cameras. I'm going to just pan over

here. Get away from that. We're looking

at these three tick marks. There's one

in the center and on the sides. Oh, it

wants an area of contrast, too. So,

let's let's just get this. So, now as we

rotate

the manual focusing ring and to the

point that they all align it, they'll

turn green.

Boom. So, what it's telling us is here's

a way that you can manually focus using

those tick marks. For whatever reason,

when they're aligned, it's saying yes,

this is the area of highest contrast.

When we pan over to an area of low

contrast, you can see it doesn't really

work. Come back into the menu. This last

one here is to clear magnify zoom. I'm

going to turn this one to on focusing

guide.

What this does is that as we punch in,

if we want to jump out of that, tap the

shutter button and you're out of it.

Very useful if you use it a lot. Lots of

great focusing tools, both in auto as

well as manual. Let's take a look at

some of the video focusing tools. We

have a focusing target here and we have

my face target. So, obviously I can use

the back monitor to touch focus and it

you can notice how fast it's jumping.

It's kind of a a jumpy fast focus. When

I flip over to the video mode and I do

the same thing, you'll notice it's a

smooth gradual transition. And the

reason why we're doing this is because

in Hollywood there's somebody called the

first AC. His job is to focus and he

does it manually with control wheels to

keep it smooth and steady. When the

Canon 7D 70D came out, this was the

first time I saw the feature. My mind

was just blown because you can replace

somebody's job just by touching on the

back monitor. You know, we're often

shooting alone. So, this is racking

focus using the touch monitor. It's

usually much smoother. You'll also

notice we have this servo AF that when

we turn it off, the camera will not

focus.

When I shoot video, I'm typically in a

manual focus. But if I am using this

tool to shift attention from one subject

matter to another during a video shoot,

this is exactly how I would do it. I

would use this

touch to rack focus tool.

Another funny nuance I need to address

is that if I flip back to stills mode,

you remember manual peaking. So, I'm

going to flip the video or the switch.

Now, I'm going to flip from autofocus to

manual. You can see that we still have

our peaking.

Now, I'm going to flip over to video

mode. We lose our peaking feature even

though we're in manual focus. So, this

nuance is that the menu systems between

stills and video, even though they're

the same feature. If you turn something

on in a stills deep menu, it doesn't

necessarily mean it is turned on for the

video deep menu. You can see it's turned

off here. I can flip the switch over to

stills, go into the deep menu, and it's

on there. So, keep that in mind. The

camera sees the video deep menu and the

stills deep menu as two different

things, even though it's the same exact

feature. We can turn it on here if we

want. Make sure you press the set button

to select it. Make sure it's on. Tap the

shutter button. And then we get our

peaking in video. Something to keep in

mind. Let's talk about picture styles

real quick. In the beginning, I don't

really recommend you mess with these too

much. There's an auto picture style and

there's a standard. you're going to be

fine if you just leave it on auto for

now. But as you get into certain kinds

of shooting, you are going to probably

tweak these if you use JPEGs a lot. And

when I shot weddings, I shot the, you

know, the reception, the candids. Those

were JPEGs. If we're doing portraits of

the bride, you know, with the groom on

the altar, obviously these are going to

be RAWs. We were going to tweak them and

post-process them. If you have a JPEG

heavy shoot, we are going to want our

images recorded in such a way that we

will do as little processing as

possible. I would consider this more of

an advanced setting. So, if you're pure

beginner, I wouldn't worry about it.

Let's talk about picture styles. To

access them, you press the Q button.

Here they are on the on the right here.

And you'll notice that we have these

different letters

to designate which one it is and some

numbers. And there's even a little name.

In the beginning, auto is fine. If

you're a pure beginner, just leave it on

auto. You are going to be fine. We also

have a standard one that has slightly

different settings even though the

numbers are the same. And then we have

this thing called portrait. It's kind of

hard to see, but you can see uh the

color tone on my picture changing

between these. So, look at my forehead

from standard to portrait to landscape.

You can see the color is changing. So,

what these are and how to access them is

we press the info button. These are

little recipes that tell the camera how

to tweak JPEGs before they are recorded.

Things like contrast. If I wanted to

have more contrast, I could turn this up

or I could turn it down. You can see the

the contrast on my face is changing. If

I wanted less saturation or more

saturation, I can do that as well. And

it's a way for you to tweak your JPEG

files. if you wanted uh monochrome, they

have it. The color tone is also here.

You can come back up, but there's tons

of them. There's portraits, there's

landscapes, fine detail, neutral,

faithful, monochrome. You could even

define

three of them on your own. They do have

additional settings in there that we

don't have control of for so for example

if you're shooting a portrait there are

flesh tone algorithms in there helping

you that you're not going to be able to

tweak. If you're shooting a landscape

your greens and your blues are going to

be more vibrant. So the idea on this is

you know shooting landscape you would

have it on the landscape picture style.

If you're shooting portraits you would

have it on obviously the portrait

picture style. If you're a pure

beginner, intermediate shooter, put it

on A or standard. Either one of those

are fine for now. And then you can tweak

them as you get more and more advanced.

And those are picture styles. Let's talk

about white balance real quick. White

balance essentially tells the camera

what kind of light we're shooting in.

I'm shooting inside my studio and I

actually have some mixed lighting

conditions. So, I have it dialed into a

custom Kelvin setting that I've actually

tweaked. I'm going to change that.

for the most part shoot in auto white

balance if you're just getting started.

Canon's cameras actually do pretty well

figuring out what kind of light they're

shooting in and it makes the adjustment

automatically. The truth of the matter

on this is that our eyes see and adjust

to light very differently than camera

sensors. Camera sensors have to be told

what kind of light they're shooting in.

And the these have different

temperatures,

whether they're more of a blue look or

more of a more yellowish kind of look.

Sometimes this is referred to as hot and

cold. And the terminology can be very

confusing in terms of what's happening.

To access our white balance settings,

we're going to push the Q button. We can

also access it with the MFN button. And

you'll see them here on the bottom. And

the idea is in a perfect world, you

would adjust your camera's white balance

depending on the light that you're

shooting in. And I want you to watch

what happens to the color of the blinds

as we scroll through this. They they

begin to shift colors. So, we got auto

white balance, daylight,

shade. See how it's changing colors

here?

Cloud cover,

incandescent light, which is a tungsten

light. You can see it's turned really

blue. Fluorescent light, which is almost

a purple. If we're using strobe, we can

also do a custom white balance. And then

we have our Kelvin white balances. You

can see it starts at 5200.

So the idea is that we want to set our

camera to be shooting in the type of

light because the camera will see it as

different colors. So, if you're out

shooting with auto white balance and you

you're reviewing your images and you get

this magenta tone or this maybe like a

really strong blue tone, probably it's

your white balance that's not set

correctly. The way this works, just for

the science of it, is the camera will

add the opposite of the color light

you're shooting in. Probably the easiest

way to think of it is candle lights.

Tungsten lights are are also a lower

Kelvin setting. So candle lights is a

very yellow kind of light and you can

see that this is kind of like a blue

tint, right? So what's happening is is

that when the camera knows we're

shooting in a yellow type of light

situation, it is going to add blue back

in. Does the opposite of of what we're

shooting in to try to balance it out. If

we were shooting in something that was a

much higher Kelvin, it would be

something. In fact, let's just dial it

in and I'll show you real quick. Let's

go set. So, this allows us to tell the

Kelvin temperature that we're shooting

in is that as we get into these higher

color temperatures, it becomes more and

more almost like a yellowish orang-ish

kind of look. I like to think of this

as, you know, like a blowtorrch is

really really hot. It's a really blue

light. and the camera on these higher

Kelvin will add yellow and orange back

into it to balance it out. That's kind

of like the short overview of how white

balance works. Daylight balance is

typically at 5200.

So, if you do a lot of studio shooting,

you're going going to want to have

lights that are daylight balanced at

5200 Kelvin. Kelvin. Without getting

into too much of the science, there is

this essentially a device, a theoretical

device called a black box that radiates

a certain color at different

temperatures. And so when you hear this

referral to Kelvin light, that's what

they're talking about where tungsten

light might be 3,200 Kelvin. Daylight

and flash balance might be 5200 Kelvin.

That is what they're referring to. It's

the color standard temperature based on

this blackbox experiment. When you get

into a mixed lighting condition like I'm

shooting in now, we may have to do a

custom white balance. And I'll show you

how to do this right now. We're going to

come in. In fact, let's jump out of

this. We're going to go to this guy

here, custom. And it has a garbage icon.

Shoot to set white balance. We're going

to push that. and we're going to take a

picture of something white, the blinds.

We're telling it this is this is what's

white. And then once we go into our

custom white balance, it's basically

saying we have measured the light for

the scene, even including the mixed

lighting conditions. And this is as

close as we can get to perfectly white

balance. We can also come into the menu.

Let's come in here. See if we can find

this thing.

Okay, page four out of 10. We have our

custom white balance setting. We select

this

and it will allow us to choose an image

if we have already taken one. Sometimes

I'll just throw in, you know, a sheet of

paper. Just depends on depends on what

I'm doing. Let's talk about real quick

another feature in this, which is the

shift and bracket, which I've changed

because of something I noticed on my

camera. I am shooting in my studio, but

I have light leaking in from outside.

Daylight and different other kinds of

light are mixing. So, what I did is I

shifted the white balance. This is

something that most beginners are not

going to do. But when you come into this

setting

info, it is going to allow us to shift

the color one way or the other. And I

noticed it was leaning a little heavy

onto the blue side, and I didn't like

that. So, I came over here and I shifted

it to red.

There's some funky things going on with

the monitor and I'm noticing there's a

little bit of blue on this side no

matter where I aim the camera. It's kind

of been bugging me, but the auto white

balance shift and bracket allows you to

tweak even after you have the right

white balance. So we have blue, green,

amber, and magenta. And we can shift

that. This is not something that a

beginning or intermediate photographer

would be messing with. But if you

noticed something and you weren't happy

with it and you wanted to get a little

bit more neutral, you might come in here

and play with that.

Again, for the most part, if you're a

beginning photographer, auto white

balance is going to be your answer. And

when you start to notice these color

shifts, you're going to want to come in

and get more specific. This also applies

to video.

And it's more important that you lock it

down in video because if you have color

light shifting, the camera will try to

correct it and then you'll get these

color shifts on your video and it

doesn't look really good. Real quick,

let's talk about our camera's drive

modes, which is what the camera does

after we push the shutter button down

all the way. So, you'll notice that we

have this H in green. This is

designating our current drive mode. We

can access it by pressing the Q button,

and we get the drive modes on the

bottom. As quick review here, single

shooting means we get a single frame. We

push a shutter button down all the way.

It takes one picture even if we hold it

down. So these drive modes, these three

here on the bottom, high-speed

continuous with a little plus,

high-speed continuous, and low speed, it

really depends on how we have the camera

set up. If you're using a mechanical

shutter, this is 12 frames per second. I

believe this is like 6.2 and this last

one is three. Obviously, when we're

moving a physical shutter, it's, you

know, requires a lot of energy for the

camera to do this. If we are using an

electronic shutter, the shutter, the

mechanical shutter stays open and it's

capturing the image electronically. And

this would be 40, 20, and five. I will

show you electronic shutter at the end

of this lesson, just so you know where

to find it. as we come across these

other ones. Now, we have a 10-second

timer, a 2-cond timer, and a 10-second

timer that allows us to tell it how many

images we want to take, whether it's two

or 10. If you're shooting group photos

and you have to be in it, this is very

handy because people close their eyes

and they're blinking. And you can just

set it up for like 10, you know, family

pictures over Thanksgiving or Christmas,

and you'd be good to go. So, this is

what the drive modes do. It tells the

camera what to do after we push the

shutter button down. And also, as a side

note, on these continuous burst ones,

you have to hold the shutter button

down. So, by default, we're going to

come into the menu. It's the red tab,

page six out of 10, and you're going to

scroll down here to shutter mode. If by

default, it should be set to something

like this. Electronic first shutter

curtain. Listen to the mechanics of the

shutter um closing.

So we can actually hear it.

If you want to hear a full mechanical,

basically the same.

Listen to what we get when we get

electronic shutter. So there's no

physical shutter opening and closing.

So it just really blitzes through them.

40 frames per second. I mean, we're

talking about that is awesome for a

camera in this price range. I think it

is. There are some limitations with it

in terms of if you're shooting in

certain lighting situations where we got

flickering lights, it could be a

problem, but suffice it to say, this is

really awesome feature to have in our

camera. Let's talk about the camera's

metering modes. This applies mostly to

still shooting, although the evaluative

metering does work in a movie mode.

There are four metering modes, and the

easiest way for me to explain this is to

talk about the spot metering mode first.

So, I'm going to change it to spot

metering mode. It's this little dot in

the middle. I usually don't leave it on

spot, but it has a time and place. And

I'm going to move the camera over here

to the right. You'll notice that we have

this little circle in the middle of the

screen now. And what this is telling us

is the camera is now measuring light

only in that little circle. So, I have a

headlamp turned on. And as I move that

circle over the headlamp, what you'll

notice is the camera will get very, very

dark. The camera is turning the

exposure, the automatic exposure of the

camera down because I'm in aperture

priority mode. I'm at f7.1,

but it's recognizing that this is, hey,

this is a really bright amount of light

coming in. So, what it does is it turns

down the shutter speed dramatically.

And at the moment I move it away from

that bright light, the shutter speed

changes because it says, "Hey, there's

not as much light here." and it slows

the shutter speed down to let a ton of

more light in. So this is what's

happening with the metering modes is

that we're telling the cam camera to

sample light in different parts of the

image. Now the next metering mode I want

to talk about if we come back here is

the partial metering mode. And what this

does is it just expands that circle to

be a little bit bigger. That's the only

difference really between the two. And

then there's the center weighted

metering mode. If I come over here,

this is kind of like a hybrid. It's a

little bit bigger area, but as I'm

scrolling,

see, it doesn't really get as dark as

quick. So, it's kind of a more of kind

of like a a hybrid between spot and what

the normal mode is, which is the

evaluated metering mode. By default, and

in most settings, you're going to be

using this. And what's happening here is

the camera is looking at the entire

exposure and it's disregarding this very

bright light as you know something it

should be setting the camera settings

on. It's kind of evaluating everything.

So for beginners, intermediate

photographers, I would say start here.

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Let's talk about the deep menu section.

What I want to do is to focus on the

most important items as a beginning and

intermediate photographer that you need

to know. Some of the items in the deep

menu are not useful. I will try to point

those out. Some of them require their

own lessons like the focusing bracketing

lesson I hope to make a separate video

for as we get into the deep menu system.

There's something critical I have to

note is that the mode that you are

shooting in determines what you will see

in here. I get a lot of questions. Hey,

I don't see what you see. If you are on

the dummy mode, for example, in a

stills, you notice some of these tabs

and some of the pages have disappeared.

I only get five pages here. Whereas, if

I'm on manual and I'm in the deep menu,

it's really P, TV, AV, M, B, F, V. All

of those modes are going going to show

you the same things, but dummy mode will

not. Also, keep in mind that there is a

different menu section for video. When I

flip over to the video mode, some of

these pages are also going to change.

There's a couple ways to navigate

through these pages. We have colored

tabs at the top. And we can navigate

through the colored tabs with our ISO

control wheel.

We also have different pages within each

tab. Here's two out of 10. We can

navigate those by rotating the primary

control wheel. And we can also go up and

down by rotating the secondary control

wheel. So each of the control wheels

changes different menu items. And of

course, you're probably going to love to

tap on the monitor. We get a little

definition of what that page is all

about. The page we're on out of total

pages.

You can use the corner of your finger to

touch on the pages, the tabs, or even

the item directly.

So, very easy to navigate. I really

think it's the red, the purple, the

yellow tabs. Those are the ones that I

use the most. There's tons of things in

here that deserve their own lesson, and

some of these things you'll never use.

Let's start off with the red tab. Image

quality deals with how the images are

being recorded to your memory card, how

the stills are being recorded. We have

the ability to record in RAW or JPEG.

RAW is the complete information as it is

captured by the sensor. These files are

much larger. They have a much greater

amount of processing ability. They have

greater dynamic range. They have better

color control. And we select this by

pressing RAW here. I'll just turn that

one on. I'm going to turn this one off.

Next, we see the number of megapixels,

which is simply multiplying the width

dimensions by the height dimensions. So,

6,960 wide by 4,640

tall. That gives us 32 million.5. And

then we have the number of shots

remaining in this bracket based on the

memory card in the file format that

we're shooting in.

You'll notice this little red box that

highlights what we want. So this raw is

completely uncompressed raw, very large

file sizes and then we have a compact

raw. You'll notice the number of shots

remaining increases dramatically. C raw

compresses in areas of high contrast. So

if you were an astrophotographer, I

would not recommend this. You'd see

these little blotches around your stars.

It's very difficult to see, but if you

zoom in and you've been doing this long

enough, you can see it. Sometimes

there's reasons to go with fully

uncompressed. If you have a very

high-end professional shoot, you're

being paid a lot of money, probably

going to be shooting on RAW. If you are

shooting more images, but you still want

most of the RAW processing control, you

would go for C RAW. Now, let's talk

about the JPEG and HY, high efficiency

image format. I typically still shoot in

JPEG, but HY is becoming more and more

popular, a little bit more efficient.

People are starting to love it. It's

being recognized by more and more

systems, but again, I like to stick to

JPEG. So you'll notice these letters

here L, M, and S. These deal with the

file sizes, the resolutions. So if we

select on these, you can see that we go

from our full L to a smaller file, which

is 15 megapixels. And then we have S,

which is a smaller 8.1,

and then we have a 3.8. The short answer

on this, this might surprise some

people. I usually recommend jagged L. It

is almost impossible to see the

difference with a naked eye between

smooth L and jagged L. And what is the

difference? The difference is the amount

of compression. Smooth L files are a

little bit more fine in the details. But

again, this is something that I have

tried over the years to see the

difference and it's almost impossible.

So when I was shooting weddings,

thousands and thousands of images for

the sake of post-processing and editing

speed, I would shoot on Jagged. I'm not

a huge fan of shooting in these smaller

sizes simply because it's harder to

upres. You can do it now with AI. It's

getting getting a lot easier. So, if you

got into a jam, you probably work

something out. But the short answer

here, Jagged L, JPEG. If you have an

important shoot, then you're going to

want to shoot RAW. Just remember, you're

going to need lots of memory, big hard

drives, lots of processing power. Jagged

L for beginners is where I think you

should start. Dual pixel raw is

something I just recommend not even

messing with. When it first came out,

the idea is that every pixel has two

parts. It can use this to kind of shift

the focus a little bit, but it was so

minimal for the amount of the size of

the file and the trouble, it just wasn't

worth it. Cropping aspect ratio. For the

most part, I recommend shooting in full

crop mode. If you want to shoot in a 1x

six, which is an APS-C size crop, you

can do this. Just know that you are

losing resolution. You can shoot square

and we do this. We get these frames here

on the sides. You can see. So if you

wanted to shoot for perfectly square

images, you can

we can shoot in a 4 to3 aspect ratio.

And we can also shoot in cinematic

aspect ratio. My dad actually loves to

shoot this way for stills.

Come in here and turn it back to full.

Digital teleconverter is not something

that I would recommend using. What this

does is it allows you to crop in to the

frame. It's doing an artificial zoom and

then it upreses it to the full

resolution. So, you're taking the same

size image at a larger resolution. So,

it's kind of a gimmick and I never use

it. Turn that off. I guess if you really

wanted to magnify something, you could

do it, but you could also use that using

magnifying glass. And then we're going

to go to page two. Auto exposure

compensation AE. This feature is useful

and it tells the camera to take

different exposures at intervals that

you want it to. So, we get the exposure

compensation bracket. We get these tick

marks. I'm rotating the primary control

wheel up here. And what we do when we

set this up is it's telling the camera

to underexpose by three stops, take an

even exposure, and then an overexposure.

So, when I hit okay,

got my blinds,

and I play those back,

you can see the different exposures.

There's an even exposure, here's an

underexposure, and here's an

overexposure. This is useful when you

are in high dynamic range conditions.

And when I say that, I mean lots of very

bright highlights and very dark shadows,

a cathedral of a church, for example, or

maybe even uh certain kinds of sunset

situations when you're dealing with the

sun and shadows and rocks. And

photographers will use this feature to

make sure they have exposures for the

subject matter that they can take back

into Photoshop and blend to make a high

dynamic range image. Now, this also

behaves a little differently between

manual mode, which I'm in right now,

this thing, AEB, autoexposure

bracketing. I can flip this over to AV

mode. Come back into the menu. And now

we get this bracketing shift with our

secondary control wheel. So, we can just

kind of jump it around. We don't see it

in manual because we can set our own

settings in manual, but in TV and AV, P

mode should all be there.

So, autoexposure bracketing is a way to

tell the camera to change the settings

between three shots. And then when we're

done, come in here, rot, rotate these

together until you see one tick mark.

The most useful thing about ISO speed

settings, if we come into this menu, we

get the basic setting that we're on

right now, we can also set the range if

we wanted a minimum or a maximum.

Low ISO 50.

Then we have our higher ISO 102400.

If you wanted to max this out, then we

have the ability to set the range when

we are in auto ISO. So if we did not

want to go over a certain amount, we

could limit it here. Same with the

minimum. Just basically setting limits

on what the camera can use for its ISO.

When we're talking about the minimum

shutter speed, this deals with when the

camera is changing our shutter speed for

us. In the demonstrations that I gave,

it was on auto, but if we wanted to

limit the minimum shutter speed, we

could come in here and say 1/60th of a

second. This way, we don't have to keep

sneaking that peak when we are handheld

shooting in aperture priority mode. So,

we're just basically telling the camera

you can't go slower than 1/60th of a

second.

We'll leave it on auto for now. And

you'll also notice on auto, we have the

ability to tweak things just a little

bit if you want a faster or slower

shutter speed.

I think that's kind of confusing. We're

going to hit okay for now and just leave

it on auto. Anti- flicker shooting. I'm

going to turn this off. These features

basically give the camera permission to

recognize when there's a flickering

light source and then if you're in a

burst mode, it will slow it down a

little bit. I have used this maybe once

or twice at a it was like at a car derby

kind of thing where we had all these

certain kinds of sodium lights that were

flashing and the color was changing

between each shots. I came into my anti-

flicker shooting, turned it on, and then

they became consistent. For most general

shooting situations, you're probably not

going to see it, but if you see a color

shift from image to image, this is where

you're going to want to come in and turn

this to enable. Detect priority AE wall

AF is a fancy way of saying that when

you have a focusing square, do you want

the camera to meter within that square?

Do you want it to measure light only

within the square? I actually really

like this. I find it quite useful, so I

leave it turned on. Page three. Most of

the items in here I don't really change.

We talked about the color mode. We

talked about picture styles. These are

the little recipes that we can change to

tweak our JPEG images.

you come back out. Color space, we're

going to want to leave on sRGB unless

there's a reason that you know about.

Typically magazine or print shooters are

in Adobe RGB. Clarity, I would leave it

for here. This is an internal setting to

shift the clarity one way or another.

These two guys, HDR shooting PQ and the

HDR mode internal.

I, you know, I played with this. I

didn't get amazing results from it. But

the idea is if you turn this on now,

your JPEGs are going to be hy files,

which can cram in what appears to be

more dynamic range into the file. Some

people swear by it. I have a hard time

seeing it. If I'm going with great

dynamic range, there's other techniques

that I use like using filters. Um, even

the built-in HDR, I think, is a little

bit better than this feature, but it's

there if you want it. I would consider

this more of an advanced feature.

HDR mode. If you're shooting in a very

high dynamic range situation, like

sometimes when I go to the beach and I'm

shooting into the rocks in the sunset,

this is a good feature to know about. I

typically select this bottom one and it

will essentially take an image. We can

change the number of stops between the

dynamic range.

It can take all of the images and it can

also merge them together in a single HDR

image. It's pretty cool if you just want

to stack it in camera and see what it

looks like while you're still out there

shooting.

There's also a newer version of this for

moving subject matter. You're just

telling the camera, hey, we might have

some waves or some trees moving in this

image. This would be a good follow-up

lesson to demonstrate how it works.

Auto lighting optimizer. Again, this

applies mostly to RP TV or AV modes.

This gives us a little bit of shift of

contrast and I leave it on auto most of

the time. If you want to turn it off,

let's see here.

AV mode, is it on? Yeah, just a low

amount of auto light optimizer.

Highlight tone priority I usually leave

turned off. This deals with overexposed

parts of the image. I am typically

looking for this anyway in adjusting my

shutter speed or my aperture to expose

properly. I might look at my histogram.

This gives the camera permission to help

us out with overexposure in those

highlights.

Page four at the very top. This is our

white balance setting. Uh we talked

about white balance already. Again, when

I shoot video, it's almost always

customized. A custom white balance or a

Kelvin white balance and then I tweak

it.

Custom white balance is if you're in a

mixed lighting situation and you want to

tell the camera, hey, this is white. You

can come in and select that image. It's

a little underexposed.

And then I would come in and say I'm

doing custom white balance.

Come out. Just want to make sure we got

that. There it is. So yeah, if you're

shooting in, let's say, fluorescent

light and tungsten light, you would do

that is where you would you can take an

image straight away and then you would

select that in this menu here

to tell it what is white. Did it a lot

with brides dresses, you know, when

we're shooting in mixed lighting

conditions at wedding uh receptions and

things of that nature. White balance,

shift, and bracket. We talked about this

a little bit. It allows you to shift the

white balance

into different colors.

Turn that back. Okay.

Lens aberration correction. Suffice it

to say that there are flaws with our

camera lenses that we don't see. We

never see them. And there's ways that we

can never see them unless we get this

off of the camera onto a different

sensor because there is communication

going on between the lens and the camera

body. And Canon has put software in

there to hide those flaws. Some of the

flaws we can tweak. And this is what

peripheral illumination correction is,

is that that deals with vignetting in

the corners. It's a darkening in the

corners that if you turn this off on

very wide angle lenses, you will see

this darkening. So, for the most part, I

definitely recommend leaving that turned

on. Yeah, I mean, there's some stuff

going on in the background we'll never

see. Suffice it to say, this mostly

applies to JPEGs. Distortion correction.

This is actually pretty good when you

get into wider angle lenses, especially

when you're shooting video. It's better

to have this turned on than to try to

fix it in post. So, I'm going to leave

that turned on. So, there's some other

defects in here that Canon can clean up.

Sort of like a loss of higher

resolution.

Just know that when you turn it on to

high, it takes more processing power and

it might slow things down. So, as we

have all these applications to JPEGs, it

may slow the camera down at some point.

So, if you're not getting the full 12 or

40 burst per images, this may have

something to do with it. So, just keep

that in mind. But for most of the

shooting that I do, yeah, I want the

correction for the lenses done in

camera. I usually leave them turned on.

This one, probably leave that one turned

off because I'm happy with the

resolution that I've seen so far.

Chromatic aberration correction deals

with a color fringing in areas of high

contrast. It's like a purple or a blue

or a yellow kind of line when you see

black line next to something very

bright. Many lenses have this especially

at wider apertures and this corrects it

in camera again for JPEGs. And then we

have defraction correction which deals

with a softening of the image as we get

into these higher apertures. May have

something to do with a lowass filter as

well. This is also on. So all of these

lens corrections are turned on in the

beginning. As you get more advanced, you

may want to come and turn some of them

off to understand what those things do.

Long exposure noise reduction tells the

camera to clean up any noise related to

taking images over 1 second. So if you

turn it on to auto, the camera will

automatically do this for any image over

one second. If it just enable it for

every picture, anything over another

certain point, camera's going to clean

it up.

High ISO speed noise reduction.

Definitely recommend this. It has

improved dramatically over the years and

this cleans up a lot of the noise that

we see in higher ISOs. Dust elite data.

Don't recommend messing with this. This

is a software way to clean up images. If

you have sensor dust on your images,

sensor dust can be easily seen by taking

a picture of the sky at f 111 or f20.

You're going to see it immediately. And

the way to handle this is to clean it up

with a sensor brush. That's what I

recommend. I don't recommend the gel

sticks because sometimes they

deteriorate, leave a residue, and now

you got to clean your sensor. So, I

always recommend just if you have an

important shoot, take a picture of the

sky at f20 and you will see it

immediately. It's like these little gray

specks. And then if you have that, go

into your sensor and using a clean

sensor brush, remove those dust specks.

That's page four.

Multiple exposure mode is kind of a

gimmick. I used to teach this on the

crash course that I would make for these

videos. It It's essentially multiple

exposures on top of each other. It's

kind of gimmicky. The way you make it

work is you take a portrait of a person

with a bright background and then you

take another picture of something like

vegetation and it kind of creates this

blend of a person with plants. Kind of

cool a few times, but it's kind of like

a one-trick pony and it doesn't always

work. But this other thing here, focus

bracketing, this is a home run winner.

I'm going to make a separate video about

this because I use it so much in my

shooting uh for products and filters and

stuff like that. Extremely useful. Focus

bracketing basically shifts the focus

across multiple images and lets you

stack it in camera so you don't have to

do it in Photoshop to give you a very

deep depth of field. If you're

subscribed to the channel, you'll see

that video when it posts and I'll talk

about it and hopefully I'll have other

videos specifically for the R six Mark

III. That is one of them.

Top of the page deals with our drive

modes. We talked about this. This is

what happens after we push the shutter

button down all the way. Burst modes,

slower burst modes, timers.

Then we have a really great feature

called preontinuous shooting. Let's turn

this on real quick and I can talk you

through what's basically happening.

So you see when I push the shutter

button halfway down, we get this

pre-timer

little clock thing. And you'll notice

the number of shots remaining in the

buffer is decreasing even though I'm not

taking a picture. So what this is, it's

a pre-buffer. Imagine your son's playing

softball. It's his first time. He's

about to get a hit. Here comes the

pitch. I turn my pre-buffer on as the

pitcher pitches the ball because I want

to capture the exact moment that ball

hits the bat, right? So instead of

trying to time it up or using a burst

mode, this will pre-buffer those shots

and then when we push a shutter button

down all the way, it will record the

pre-buffered shots. So it gives you

maybe a second or two right before the

bat hits the ball. That's what's

happening. Very useful for certain kinds

of sports shooting. It really deserves

its own little lesson. Come back in

here. Turn this to off. Interval timer.

This is another lesson that I would

cover in like a sunset shoot. If I

wanted to tell the camera to take

pictures at different intervals, we can

come in here, program it every 10

seconds, we want an image to be taken.

If we have it on unlimited, it'll just

take as many as it can or we'll have 10.

So, this is a built-in intervvelometer.

Once it's set up and we hit okay,

you can see the timer. It's already

starting to count. So every 10 seconds

this will take an image. So if you

wanted to do a time lapse of a sunset,

for example, we could program the camera

to take a picture every 10 seconds and

then we'd have all the images that we

could put together to make a video. And

if I remember correctly, if if we look

at this in the video shooting mode,

pre-timelapse

movie. Let's turn this on. And so the

difference here is it would actually

take those images and make it into a

video.

Go back out to our stills menu

and come in here and turn this to off

for now. Bulb timer requires that we're

on the bulb mode. What this does is in

regular bulb mode, we have to push and

hold the shutter button down for the

exposure. This just allows us to tell a

time to take. Come into the info.

Select this. Very important that once

it's selected, you hit okay, or else it

won't remember it. Tapping the shutter

button, coming out to bold mode. And now

the camera will automatically have a

built-in timer. So, if you wanted to do

a long exposure and not touch the

camera, you know, because you get some

shake, you could even come into your

drive mode. Let's just demonstrate this

real quick. Two second timer with bulb

mode. Now, the camera is not going to

shake.

Boom.

It's very nice.

Modern cameras have all the bells and

whistles these days. Pull timer.

disable this silent shutter function.

Anytime our shutter makes a noise, a

beep, anything like that. If you want to

turn it off, this is where you do it.

Very handy when you're shooting in

certain places. Certain museums don't

like you making a lot of noise. Shutter

mode. By default, the camera is going to

come on electronic first shutter

curtain. There is a mechanical.

Basically, there are two curtains on the

shutter. There's one that raises and

then the one that closes and they reset.

This deals with an electronic first

curtain, which means the camera

basically stays open. And so when the

exposure happens, we just get this

second shutter closing. And then we have

a full electronic curtain, which means

that there's no mechanical. And because

these are not physically moving, we can

get a much higher frames per second just

because the sensor is just capturing

images of of the as the lights hitting

it. That's how we can get the the 40

frames per second. By default, your

camera is going to be on electronic

first curtain. For the most cases, it's

going to be great.

Sometimes you get the question, why

would we want to use mechanical? It's

because when you're dealing with

physical shutters that close the sensor

from being exposed, the images don't

have this jello effect that we sometimes

see with fastmoving subjects as we're

panning. So, the image may look a little

bit more natural and you'll see it in

certain kinds of sporting or panning

situations, the defects with electronic

shutter. I think first curtain is fine

if you're just getting started.

Lastly, we have this release shutter

without card. It's turned on. Might be a

good idea to turn it off. There was a

couple who emailed me years ago and

said, "Hey, you know, we shot with this

feature. It was turned on and we can't

find our images." So, they they believed

that there was an internal memory

writing when they were capturing the

images and their whole vacation was

gone. So, if you have this, you won't be

able to take a picture without putting a

card in there. It's a nice little

reminder of, hey, put a memory card in

here because there's no internal memory.

Page seven out of 10. Image stabilizer

mode. I would recommend staying away

from this. This is really designed for a

video mode. And what it does is the

camera will crop in on the image to

stabilize the image. If you needed to do

it in camera, you would do it here by

turning this on. And the idea is that if

you have a moving video where you're

walking around with the camera and you

want it to be a little bit more

stabilized, you can turn this on, but it

will do so at the cost of resolution.

It'll punch in. And sometimes it's not

the best. The way to do this is with a

gimbal, which is a handheld device that

we use to help keep things steady. That

way you keep your resolution and

everything is super smooth. The metering

timer. All this does is ask you how long

do you want to display your shutter

speed and your aperture

when you are in a situation where it's

disappearing after a while. I usually

have mine for 10 seconds. Image review.

How long do you want the image to

review? You can have it in the

viewfinder enable. You can turn it off

completely. And this is the automatic

review. So you'll see that I take the

picture here now. Nothing happens when

we turn it on. 2 seconds. I'll take a

picture.

Camera will show us the image that we

just took. So, it's automatic playback.

Think of it that way.

High-speed display. If this is grayed

out, it is because high burst plus will

make this disappear in the menu.

So if you want this option, we have to

go to H without the plus

and then we can come back in and it's

available. This gives you a high-speed

display as you are shooting through the

viewfinder. If you're doing a lot of

sports, it may be worth trying. Just

keep in mind it doesn't work on the

highest setting.

Display simulation definitely recommend

the exposure is turned on. This gives

you an exposure preview of what it is

we're about to take a picture of. This

will give you feedback about how bright

things are and what we should change.

There are some other options to only

have it active when we press the depth

of field button. And it can also stop

down our lens blades to give us a sense

of the depth of field. I think this is

the easiest way to go. This next guy,

OVF optical viewfinder simulation view

assist. It's kind of a funny name. Think

of this as studio strobe shooting

exposure turn off. Basically, this is

designed to mimic an optical viewfinder

looking through the lens. Why would you

want to do this? Well, when you're in

studio shooting and you're using

strobes, sometimes it's a little bit

darker, right? So, the camera will try

to help by, you know, changing your

exposure settings and all kinds of

stuff. It's hard to focus in these

darker environments. So, this basically

lets us see what we're focusing on, the

subject matter, the composition, and

then when we fire the strobes, then we

get the actual image. And there were

some problems with this in earlier Canon

cameras is that when you put a speed

light on here, we couldn't easily turn

it off. you couldn't turn off this

exposure prediction because as you're

adding strobes and flash, it's

completely different ball game than the

ambient light that you're shooting in.

Suffice it to say, if you're in a

studio, you need the ability to focus

and compose. You know, while you're

setting up these, you're going going to

want to come in and turn this to on. It

will turn the viewfinder to behave as if

there is no exposure simulation when

it's on. Just to show you, I'm on

manual. Look, I'm changing my settings.

all over the place and the viewfinder or

the display is not changing its exposure

when we turn it off. Come in and then we

have it very handy for strobe shooting.

This down here deals with HDR in our log

view assist. If we want to get that kind

of look in our viewfinder on our back

monitor, we turn it on here. or if we

wanted it to be through our HDMI out for

output. So, when we're shooting in those

HDR or log modes, this will give us a

better preview of what's going on. For

now, you're going to want to turn these

off.

Page 8 deals with the types of

information that we see in our

viewfinder as we're shooting. There's

some customization options. In the

beginning of the video, I had you toggle

the info screen by pushing it over and

over and over again. Shooting info

display allows us to determine which of

those screens will be available for

toggling. If you didn't want to see them

all, we could turn them off. I don't

recommend that, at least yet. At some

point, you may want to turn them off.

And if we go into those screens as it's

highlighted and hit edit, we can also

determine what kinds of information we

will see on those specific screens.

So, it's a way to customize what we are

seeing. Pretty cool because we couldn't

do this in the beginning. It wouldn't

let us.

The VF also stands for the viewfinder to

toggle their information settings as

we're looking in here. Think of this as

a way to tweak a lot of the information

that you're seeing. Earlier when we were

talking about focusing and manual focus,

if you wanted to see it in feet, here it

is.

When do you want to see the focus

distance? In manual mode only. When

focusing, always. You can disable it. I

think manual mode makes sense. Lots of

great ways to customize your shooting

information. Quick control

customization. Remember this Q guy here?

When we push this, this allows us to

customize which options we have up here.

We have our autofocus

right here areas or clusters. So, we

come in here and want to edit the

layout.

It would allow us to choose what we want

to have lined up.

I wouldn't recommend changing this until

you're very familiar with your camera

and you know exactly what options you

want to see in your Q menu. You hit to

rearrange.

You can touch and drag. If I wanted this

guy over here, I don't want to mess it

up because otherwise it may be confusing

as I'm teaching.

Suffice it to say, this is completely

customizable in terms of the layout and

where buttons are where. So once you get

a hang of the camera and how it

operates, you may want to come in here

and tweak that a little bit. Very cool.

Exit without saving.

Display frame rate set. Suffice it to

say, power saving the default. it's

going to be kinder to your battery.

If you are in a low light situation and

you want to suppress this smooth uh

setting, you would hit the info.

Sometimes when you get into very low

light situations, you'll see kind of a

laggy view on your monitor and this

would suppress that. In most instances,

we're going to keep it here.

Viewfinder display. This is looking

through the viewfinder. I I recommend

display one,

but if you want to see everything within

the frame, you would go to display two.

Reverse display, I recommend leaving on.

This means that when you flip the

monitor around and you're, you know,

shooting recording video, it will invert

the screen so it looks more like a

mirror versus what the camera shooting

from the camera side would see. It's

very useful.

Auto power temperature off. There's a

standard and a high setting. This

basically means that when we put it to

high, we're going to let the camera get

even a little hotter. Gives you some

warnings. Leave it here for now.

Especially when you're recording like 7K

raw, higher frame rate, things of that

nature. Camera's going to get hot.

Page nine, video record size. We are in

a still shooting mode, but it wants to

know what setup do you want. If you just

hit the video record button, if you

forgot to hit this, what do you want to

record at? Again, we are dealing with

resolution. Full HD 1920 x 1080 at 30

frames per second. So, it wants the

resolution. It wants the frame rate.

Can't choose anything other than long

group of pictures. That's a great

discussion on terms of what that is and

how that compression works. The long

story short here is that the camera is

looking at the previous and the next

frames to decide what hasn't changed in

order to save file space. This allows us

to record in smaller video files, but

suffice it to say, do you want 4K, HD,

and what frame rate do you want? Let's

go 4K here. And then we have a bunch of

other options. Oops. So, what format?

Unless you know what bit depth is, for

the most part, you're going to leave it

here until you get more familiar with

video shooting. These other guys here

where you see 42:2 10 bit or 42010 bit.

Like me personally, I wouldn't shoot 10

bit without the 422. This has to deal

with how much color information we have

in the file. Again, this is kind of a

more high-end kind of thing. If you're

doing color grading, you want more

information in your video file.

Completely different animal than, you

know, just learning how to use the

camera. But the fact that it's in here

and you have that as an option is very

powerful. We shot a movie at 42:210 bit

and color graded. We didn't shoot in

RAW. 42:210 bit. Great learning

experience.

Sound recording. Obviously, we want to

record sound anytime we're doing video

whenever we can. The fast and slow

rates, we do lose audio recording. It's

just because the camera can't record the

audio and the video at the same time.

There are some other tricks you can do

to get that audio recorded.

For the most part, in the beginning,

you're going to want to leave your audio

format to 16bit, two channel. Most

cameras like the Canon R six Mark III

and others only can record into two

channels. So what is this 4 channel

24bit LPCM? When I saw this initially I

was very excited and we'll come in here

and look at this because

come out here talked about that. Let's

go to audio status. I see four channels

in here which you know makes me really

excited because every channel is a

different track of audio. This is

extremely useful when you're

interviewing people who have different

microphones. In a perfect world, each of

these would edit separately, meaning

that you could edit your channel one

separate from channel 2, separate from

channel 3, have greater control over the

audio coming into your camera. That's

not quite how it works on the R six Mark

III. We have to have an adapter and to

feed four microphones into the camera.

We can definitely do that, but what's

going to happen is it will combine the

left and the right into channel one and

and so on and so forth. So, you're only

getting two recorded audio tracks. But

if you were in a situation where you

wanted multiple audio inputs, including

the ambient microphones or microphones

being fed in through a specific adapter,

same thing with the 32-bit float, which

is think of it as a raw format of audio.

It's more forgiving, captures a greater

dynamic range of of sound. So, we get

some really incredible audio support.

Definitely a big step in the right

direction, but it's still saving to two

channels. So, if you wanted to record

four different microphones, you would

have to have an external recorder.

Very long-winded to say for the most

part, if you're just getting started,

just leave it here for now. But amazing

to see that there's room to grow into

this camera as you become more and more

familiar with video recording. The audio

settings we talked about a little bit.

We have it set up so we have our manual

audio controls on. Again, we want to

stay in this yellow to orange. Red is

bad.

And we have it set up so we can tweak

the gain to determine how loud or how

soft it is. If we leave it on auto, the

camera will make these corrections and

fluctuations on its own, and it's a lot

harder to fix. Your wind filter and your

noise reduction. I think those are fine

to leave turned on. Good sounding audio

is very important to your video. I know

a lot of people will turn these off

because they don't want the camera

messing with the sound before they get

to it. But in the beginning, I'd say

sure, leave them on and enable.

And then our audio status. We already

took a look at this. This is how we can

see the audio coming in, what would be

potentially recorded.

On this last tab, I usually leave these

turned off because ISO and my shutter

speed, those are all typically dialed in

manually and it's something that I would

recommend to learn as quick as possible

when you're shooting video. There's also

an auto level. Mine is turned off. I

just set the camera up a little bit more

level. And that, ladies and gentlemen,

is the red tab in the stills mode.

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Purple tab, page one of seven. A lot of

these you're already familiar with. This

is a deep menu way to access them. This

is the when of focusing that we talked

about in our focusing lesson. This is

the where or the focusing clusters. We

have a dedicated button for that right

here. Whole area tracking. By the way,

if you if you don't have your whole area

focusing cluster, some of these items

may not appear in the menu. This allows

us to use the tracking mode. It's those

four corner uh double cornered boxes

that will try to follow a subject

around. This is where we can turn it on

or off.

focusing mode that's grayed out. This

deals with lenses that don't have an

autofocus to manual focus switch. And

this is where we could come in and

change it. That's why when you select

this, it's saying, "Hey, just use the

switch on the on the lens."

And then we can turn our movie servo

autofocus on or off here.

Page two, we talked about subject

detection. This is where we can choose

whether we want the camera's algorithm

to help us focus on people or animals or

vehicles or not at all. Eye detection we

talked about in the focusing lesson.

This is where we can determine whether

it's turned on. But we can also choose

the left eye or the right eye. And then

we can register people if we we've

already done this is where we could turn

that on or off.

Talked about this in the focusing lesson

as well. Page three. This is when we

start getting into tweaking how our

autofocus servo is working. I think for

beginning and intermediate

photographers, just leave this on auto

for now. But if you're curious as to

what this looks like, this is where we

can come in and actually start tweaking

how. See, it says the color button.

Press the color button here. We can

change the sensitivity of how responsive

or how locked on our focusing systems

will be and whether it should be more

accelerating or decelerating tracking.

Probably a little bit more information

than you want, but as you become more

advanced in your shooting different

kinds of sports, this is where you're

going to come in and start tweaking some

of these things.

Come back out. For now, I would say

leave it on auto. Page four in the

purple tab. This first item is basically

saying when you are in a servo mode and

you take your first image, do you want

it to be more about releasing the frame

or do you want it to be more about

focusing? Default I think is fine for

now. Some sport shooters will be more

about the release. Some will be more

about the focus.

Again, we have the same option for a

single oneshot.

Preview autofocus is something I

recommend turning off. If this is turned

on, what your camera will be doing is

constantly prefocusing. It'll be

constantly trying to get locked onto

things. I think it's a battery drain.

So, I just leave it turned off.

Lens drive when autofocus impossible

basically means when our camera can't

find an area of contrast and it's

searching, what do you want it to do? Do

you want it to continue the focus

search, which I have turned on, or do

you want it to stop?

Autofocused beam firing is when we're

using a speed light. Do we want this to

be active? Typically, it's very useful,

especially in low light situations. And

I leave this turned on as well. Page

five in the purple tab, limit audio

focus areas or the clusters. This is

something that I actually do configure.

So, just to demonstrate this real quick,

let me turn a couple of these off

just so you can see. I like whole area

F. I like my customizable one. I do like

the spot one, too. I'm just going to

turn off these other ones here.

So, I now only have three clusters and

I'm going make sure you hit okay or

won't won't save it. You can see that

the star button means something in here

has changed as a reminder. So when I

press my cluster button, I'm only given

three options. The spot,

we have the flexible zone, and the whole

area. The reason I do this is because

when I'm shooting birds, for example,

and they land, you know, it's different

between when they're flying and when

they land. And I've set up my depth of

field preview button to cycle through

the clusters. It's kind of hard to see.

Let me turn this exposure down so you

can see the button. and I'm pressing my

depth of field preview button in the

front. I can cycle through those three

clusters for that kind of shooting very

fast. Now, if I only wanted to limit

that in bird shooting, I would also come

in and save it to a C1 or a C2 or a C3.

But this is how we can get very

efficient with our focusing clusters if

we wanted to. I'm going to come back and

turn a couple of these back on. I would

never use spot with tracking. Maybe

these guys. Sure. Hit. Okay. Something

to keep in mind. Orientation linked

autofocus point. Basically, what this is

telling us is, do we want to have the

same focusing point when we're jumping

back and forth between a landscape

orientation or when we're rotating the

camera into a portrait orientation. Same

for both. Leaves that focusing square

the same. But I will say that when

you're shooting certain types of

subjects, let's say if you really wanted

to dial in, you know, focus on an eye of

a person, you're changing the focusing

point as you move the camera up and

down. So, this will allow you to tell

the camera to change the cluster in the

point or just the point when you're

jumping back and forth between these

two. the camera will remember and detect

when you're moving between those two

orientations. For now, I just leave it

here. We also have the ability to limit

our subject detection from those

algorithm options that we had discussed.

And then we talked about the different

kinds of eye detection.

Coming into our focus peaking settings.

This is the color overlay that we

demonstrated when we're in manual focus

to see where the camera is focusing.

It's turned off for now. We can select

the intensity as well as the color. The

focusing guide we gave a demonstration

earlier in the video.

Lens electronic manual focus deals with

essentially any lens that focuses by

electronic means, which is most of the

RF lenses. When do you want that

focusing ring to be available? There are

some very handy things in here. The

first one, disabled, just turns it off

completely. And then we can disable it

after one shot, but the ones that are

interesting are one shot enabled. Let me

demonstrate this. So, we'll tap shutter

button. Change my exposure settings so

we can see what's going on. I'm going to

jump into one shot. I'm going to push

the shutter button halfway down and hold

it down. And then I am going to rotate

the manual focus ring on my lens.

So what this means is that if I engage

one shot, I can focus as long as I'm

holding that down. If we want to take

this a step further, we can go to one

shot magnify enabled. Again, halfway

shutter button depression. I'm rotating

it and it's jumping in so I can get a

preview. If you do product photography,

that's definitely the way to go,

you know, because you're shooting in a

studio setting or on a table and you're

constantly refocusing on these products.

A lot of fun.

There are also ways to make this

available all the time without doing a

halfway shutter button depression on one

shot if you have it on enable the actual

size and the oneshot magnify. This

depends on the lens that you're using as

well as the setup. But for now, disable

after one shot's great. I also like this

when I'm doing product photography.

Demonstrated this feature in the manual

zoom option is basically when we are

using the magnifying glass. If we tap

the shutter button,

oh, in manual mode. See here, tap the

shutter button, it jumps us out.

Back in.

And that is page six. Coming into page

seven, we can register all of those

focusing settings

by coming in here and naming them

different sets depending on if we do

different types of sports shooting, for

example, and we want to tweak them to

taste. Beginning and intermediate

photographers, don't worry about this

for now. But if you get more advanced,

just know that your camera has this

ability. That is the purple tab. talking

about the blue tab which deals with a

lot of playback editing, how we see

images or different marks on our images.

I use some of these in the end that I'll

demonstrate, but for the most part, if

you're going to be editing your images

or cropping your images, it's best to do

it on a computer after you have backed

them up. I don't recommend tweaking

images in camera or deleting a lot of

images in camera because sometimes it

can get a little messy.

Protecting images means that we can

select an image and tag it with a mark

that will not be erased. This is not

dealing with formatting the card. If you

format your card, they're gone. But you

put a little icon on an image. You

select it, put the little key icon on

it. There it is. And that key icon will

stay on there for the life of that

image. So when you move it into your

computer, you'll have this protected

image. Those files are very tricky to

delete. People do this when they run out

of memory space and they're trying to

delete images off their card. They're

trying to free up some space and so they

may tag a couple of these and erase all

the other images. I don't recommend

doing that. You can select a range. You

can do it by folder. You can protect all

of them or unprotect all of them. And

this erase images almost never use this

feature. If I delete an image, it's

typically right after I took it and I

know it's bad. But this is like group

erasing images. So let's say you're on

vacation and you've maxed out your

memory card and you're far away from

your computer and you have some images

you want to keep and some you want to

erase. You would put the key icon on the

ones you wanted to keep. And then you

would erase everything else to try to

free up that space. Anything you didn't

want, you can select and erase specific

images. You can do it by range, folder,

or card. And the way it's supposed to

work is that protected images would be

intact.

I have been in these situations. I don't

like them and I have learned since just

to make sure that I always bring far

more memory than I possibly need. But

this is how you erase images. We can

rotate stills. If we come in here and we

want to manually rotate by pushing on

the set button.

We go.

We can also change the movie orientation

mark depending on how we want horizontal

movies to be rotated vertically for

smartphones. This is where you'd come in

and you again press a set button to

rotate through these.

See this little arrow?

We have a rating system where we can

select images and rate them from one

stars all the way up to five. We also

have a dedicated button that can do

this. Occasionally I will use this and

I'll just mark

and we have that option. The other way

to do it is to take a picture. Anything

in blue only works during playback. I

press the rate button and you can see I

get these little stars. So when we

import this to Lightroom or Photoshop

Bridge, those star ratings should still

be applied. I definitely do ratings, but

I usually do them on the computer. If I

know I have a banger and it's a long

shoot, I'll come in here and mark it

with five stars. Otherwise, I don't

really use this feature a whole lot.

Obviously, this last one is that when

you rate something, it automatically

protects it. Coming into page two, image

copy from one card to another. This can

happen sometimes if you accidentally set

up your memory cards the wrong way or

you fill up one card and you want to

erase it. This allows you to select an

image, arrange a folder or all the

images from your source, in this case my

SD memory card, and transfer it to the

free space memory card, copying it in

camera without taking the cards out of

the camera. So, if I just wanted to do

this, I could come in here, I would

select this image, hit okay, copy to

card one.

We can even create another folder.

Okay,

copy images. And there it goes. Pretty

straightforward. Very handy if you run

into a situation like you don't have a

card reader for a specific card type.

But again, most of my copying and

backing up and all this stuff happens on

my laptop computer. Print order allows

you to come in and designate which order

of images you want to print first. I

have, in my 20 years of shooting, I have

never printed from the back of the

camera. typically importing them into my

computer and then dealing with it from

there.

Page three, I don't recommend processing

raw images in camera because it's very

limited in terms of the types of editing

that you can make. But if we select it,

hit the Q button to get into the

processing,

we can use the shot settings. We can set

up processing to go from RAW to JPEGs or

let's just select one to show you. And

it gives us these little options here to

the right. So, we can tweak our RAW

files a little bit in camera and then

save them or export them as JPEGs or

hives or we can just use the shot

settings. And this basically takes the

raw image and turns it into those

smaller file sizes. We can also apply it

to a range of images.

Creative assist.

Press the set button. These are these

little kind of gimmicky

little filters that we can apply.

Coming back out. And then the quick

control raw processing. If I remember

correctly, this is asking if you have it

available in the quick screen, the Q

screen, do you want it to be either

creative assist, those filters, or the

raw processing that we just took a look

at. We can resize our image by selecting

it and exporting it in different sizes.

You want medium, small. Again, this is

something I typically do on a large

computer. If I'm exporting a JPEG for

the internet, I'll crop it or resize it.

The cropping feature, again, not

something I typically do. You would come

in here, and it's not super intuitive,

but we have the different options on the

top. If you want to level it, if you

want different, let's say, aspect

ratios, gives us a prompt here using the

ISO control wheel that I call. You can

change the size of it. You could come

in, select an area,

you can save it as a new file. So

there's different ways to crop. I don't

again really use this in camera. And

then we have our hy to JPEG conversion.

If you shot a h file and you want to

turn it into a JPEG because it's not

compatible, this is where you could do

that. Slideshow. Used to do this at

weddings is that we would shoot the

ceremony, rush to the reception hall,

plug our camera in, and as the couple

and their guests would arrive, we'd have

a slideshow playing on a big TV. This is

this was way back in like 200

like six, 2007

and they would see their images from the

reception. They loved it. So, don't

typically do it. You have an HDMI cable

out to a TV monitor. This is where you

set it up. We would display the images

for 3 to 5 seconds. And then we would

come down to start.

Set image search conditions essentially

turns our playback into a search bar. So

we can come in and you can kind of see

the images in the background kind of

queuing up. But the idea on this is that

we can select different categories or

different types of criteria that we want

to search for. Let's say we wanted to do

it by a star rating. Going to come in.

I'm going to hit info button to check

that.

I'm going to hit okay to set it and tap

the shutter button. So now when I play

back, it's only going to show me those

five star images and nothing else. If I

scroll through, if I swipe, there's

nothing else available. It's giving me

this yellow border that's telling me,

hey, you have search conditions enabled.

That's why you're not seeing the rest.

So if you're on vacation and you take

10,000 images and you've five starred

two of them, this would be a very fast

way to find them instead of searching

through everything. And we can select

other criteria including the date, when

those pictures were taken, a folder,

whether they were protected, the type of

file.

Pretty handy if you need to search for

something. I need to come in and turn

that off.

Hit okay to save it.

View from last scene. I kind of like

this. It basically when you play your

images back, it will show you the last

one that you looked at. If you disable

this, it will show you the one that you

took last, not the one that you viewed.

And then we have magnification settings

when we're viewing. When we zoom in, do

you want it to magnify at 2, 4, 8, 10?

The actual size or the same as last

time. So if it's 2x, press play

and I come in and press zoom. You can

see kind of jumping in. Let's do it with

a 10x.

Tap shutter button. Play and I zoom. Far

greater magnification.

Turn this back to two.

Coming into page five. There's actually

some good stuff in here. Playback

information display allows us to select

what types of information we're going to

see on the different info screens during

playback. So, when I press play and then

info,

you can see that I'm toggling through

different sets of information. I can

scroll up and down, see all kinds of

stuff. So, this feature allows us to

determine whether or not we want to see

certain screens as we're playing back.

Highlight alert can be very useful if

you're shooting in conditions that are

blown out. See if I can make it happen

real quick.

Basically, anything white on playback,

it's going going to flash black and

white.

This is what you would see. See how it's

blinking and flashing? Very useful when

you're looking for things that are

overexposed.

I leave it turned off most of the time.

Autofocus point display. If I enable

this and come back and see if we can

kind of hard to see this red box that

will show up where you were focusing.

Sometimes when you're troubleshooting

images and you're out of focus, this can

be really handy to find out. Maybe my

lens switch was turned off. Let's see

what happens when we do that.

What will it do? Doesn't show anything

when we have that turned on. So very

useful when troubleshooting focusing

problems. We can have a playback grid,

whether it's the rule of thirds 6x4.

If you want to see what that looks like,

playback and we get this grid overlay.

This final setting is movie play count.

Do you want it to display as record

time, which is what I have by default,

but if you would like for it to display

time code, you can select it here as

well. And that is the blue tab. Deep

purple tab deals with wireless

connections. There's tons of different

ways to connect our camera to things

like a smartphone or a tablet to use

wireless remote shooting. Very handy.

each deserving of their own individual

lessons. And for the sake of time, I'm

going to skip over these for now. If I

get enough requests wanting this kind of

a video, I'm definitely open to showing

you how to connect to your smartphone.

So, just keep this in mind that the deep

purple tab is to connect to different

types of devices. Talking about the

yellow tab, I like to call this camera

setup tab. Very important stuff in this

first item because this is how we can

configure how videos and stills are

recorded onto our different memory

cards. Remember we have a CFB card and

we also have an SD memory card. So if we

wanted to separate stills, this camera

icon is stills. This video camera is

video. We come in here and we hit

enable. What we're doing is we're

telling the camera to record those

different file types to different cards.

Any stills you take will end up on your

SD card. any video you take will end up

on your CFB card. You can see most of

these menu items turn off once we select

this.

Now they do it this way because the

video files typically that sustained

right speed especially in 7K raw

obviously takes uh higher greater

performance card. So by default stills

are going going to go to the SD memory

card. So when we are shooting stills

only what is happening standard means

it's written to the memory card that

we're selected.

Auto switch means that once that memory

card fills up it is going to start

writing on the next memory card.

Record separately means that different

file formats are going to go to

different cards. So if you're shooting

raw images that's going to go onto your

CFB card. And if you're shooting JPEGs,

that's going to go onto our SD memory

card. And then record to multiple means

that the same image type will go to both

cards. If you're wedding photographer

and you need backups, you want both

memory cards written at the same time,

this is what you're going to select. So

multiple options. If I'm casually

shooting and it's not an important

shoot, I go with auto switch card. You

can do the same if you're a pure

beginner and just learning. There are

reasons to sometimes shoot RAWs and

JPEGs separately. So, if you're shooting

RAWs and those are much larger file

sizes, then this is probably your best

option because those take longer to

write and there's a little more memory

involved. And then if you're shooting

dual JPEGs, this is typically where I'm

at for now. Auto switch card should be

fine. So, when we're talking about

recording options for video, again,

standard means it's just recording to

one of the cards. Relay recording means

that once one card fills up, you're

going to start writing onto the next

card. And then recording to multiple

cards means you're recording the same

video file at the same time to two

different cards. And there's some

options in here that we'll select in

just a moment. Select that. Okay. Still

image. The record and play. Mine's set

up right now to our SD memory card for

video shooting. I am on my CFB card. A

lot of people are worried about memory

card failures. It's extremely rare, but

it does happen. So, this is why on

professional shoots, they're typically

making backups onto separate cards. To

make this a little bit more confusing,

we are in the stills menu. And remember

that the menus change depending on

whether we're in stills and video. And I

want to point something pretty important

right now. I'm going to flip this over

to video mode. Press the deep menu

button again. So, you won't see this in

the stills menu. We're going to come

down to video record options. And you

can see that we have some additional

items in here. There's actually a fifth

one. Record to multiple. Probably a

little bit too much information, but

just a quick overview is standard means

that we're just recording video to a

memory card. Relay recording. Again,

once the first card fills up, then it

goes to the second card. CFB card is our

main video and SD card is our proxy.

Anytime you see the word proxy, it it is

a smaller video file. So we would record

in a larger resolution with a smaller

size resolution images. This is done for

video workflow. Both files are imported.

Video editors edit the proxy files and

then when they export, they give

instructions to their video editor to

take the larger resolution images on the

export. They do this for speed and

dealing with those video files as

they're editing them.

These last two, main and record to

multiple, they're sort of similar, but

they're kind of confusing. Obviously,

CFB is the main video record and then

the sub is supposed to be the same

resolution. In the case of RAW,

obviously RAW video is very large,

requires a lot of space. Uh we can't

really write that onto an SD memory

card. So, in those cases, those files

would be a little bit different.

You can record in only one card when

this is set up this way. So if you

didn't have your CFB card and you just

had your SD card and it would still

record and vice versa.

Record to multiple locks this setting in

such a way that when one of the memory

cards fills up, the camera will stop

recording. So that's the main difference

between record to multiple and sub. Lots

of information there. I typically, if

you're just getting started, relay

recording is probably plenty for now.

when you're in the video mode. I'm going

to flip this back to the stills mode.

Jump into the yellow menu

because we've turned off multiple

recordings. The way I have this set up

now is that my stills are going to my SD

memory card and my video is going to my

CFB card. We can also come in and create

new folders for stills automatically.

I'm going to come back out. Meet the new

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soft focus shots with sharp centers and

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You can get yours at vavenfilters.com.

On the file numbering, I typically have

this set to continuous. This simply

means is that when we take out a memory

card and we put a new one in, the file

numbers will continue. So, if you pull

your card out on 50 and you put the card

back in, the next file will be 51. This

is the same for both stills and video.

We can come in, change the recorded file

name if we want to. When you turn this

on the first time, it's just going to

give you some something kind of generic

little code, or you can just have it say

image or image size. I kind of like the

codes because it differentiates from all

the other image files that you may

already have on your computer. We may

even go with something a little bit more

unique. If I did

mm

and then we have this space bar here.

Hit okay.

Then I can come up and select my custom

mm file. So that is how you can custom

change how your stills are named. Same

basic idea applies to movies. So the

movie files, the names of them are much

longer than what we see when we do a

playback for example. But you can see we

have real number, clip number. We can

change those numbers.

Let me just demonstrate. I'll play back

a video. Here's a video file. So we can

see a lot of this up here. Clip numbers.

See how we have 001 0. This is actually

Yeah. First letter C 0. So, we get a

little abbreviated here, but essentially

it gives you the ability to customize

what number you're on or the letters

you're shooting in if you wanted to

change that.

Format memory card. You're going to be

using this one a lot. Be very careful

when you use this because it will wipe

your memory card clean and you will not

see them on your camera or your

computer. There are ways to recover them

if you accidentally do this. Now, the

workflow that I recommend is to always

have at least two copies of everything

important that you're shooting. If

you're if you're just having fun and

you're shooting only one set of video or

still photos, for example, on a memory

card, back them up on your computer and

then once they're on your computer, make

sure that they're in two places. Maybe

you'll put them on the cloud in a hard

drive. Maybe you'll have two hard

drives. In a perfect world, they would

be in separate places. You would be

surprised how often HD drives go bad

over time. There is such thing as

digital rot. So it does make sense to

have some kind of a cloud service

depending on how serious you are. If not

always back them up into two separate

places. I even do this with hard drives

after around six, seven years. I start

taking all those hard drives and backing

them up to new hard drives. So hard

drives can fail over time. Always make

sure that when you format your memory

card that you have backups in two other

places. I stress this a lot because

sometimes people don't listen to me.

[laughter] They they format their memory

cards and they erase everything they

have on them. You know, their vacation

or their trip or whatever. So, just keep

that in mind. At the time that you wipe

this clean, you're going to have three

copies. One on the card and then two on

the computer or hard drive cloud. Hard

drive. Hard drive. Always follow that

rule and you'll be in good shape. Once

you know you have the two backups, then

you can come in, select this. It's going

to tell you, are you sure? You're going

to say select yes. I had somebody watch

a video and they accused me of not

warning them about the wipe. So yeah,

this is this is serious. Cards will be

wiped clean. There are some recovery

softwares you can also use to try to go

in and save them, but they're not

optimal and sometimes you'll still lose

them. So don't count on it. This is why

we have to be very careful. Make sure

two backups before you wipe your memory

card. Auto rotate. Leave this to on.

This just means that when we tilt the

camera into a portrait orientation,

portrait is up and down. This is this is

horizontal or landscape orientation. So

when we take the camera and we rotate it

and we're shooting sideways, do you want

the images to be auto rotated when we

play back? Yes, we do.

Basically, this puts a little tag of

information into the video file if it's

recorded up and down. So when you play

it back on a smartphone, it's

automatically recorded. Seems to make

sense.

Okay. So that's the first out of eight

pages. Page two. Many of these are

pretty straightforward. This is setting

up your date and time.

Pretty straightforward.

Cancel. Depending on what your primary

language is, you can you can select that

and have it in your language and you can

see it.

System frequency. This deals with the

playback of the video. In the United

States, it's 60 frames per second. In

Europe and other places, if you know

what PAL is and and if that is your

country's video standard, you would

select PAL.

The help text, we can make it larger

when there is a problem. Sometimes

you'll see these little question marks

where we can press the info button for

larger language. And the feature guide

gives us a little prompt when we're

walking through different menu items

like the quick screen. We turned this

off when we were talking about that.

Page three, camera beep settings.

We wanted to turn that off. We'd come in

here, disable it, and we lose that

little beep when we're focusing.

We can change the volume of how

artificial noise is. Sometimes, like if

we're shooting in electronic mode, for

example, the camera is producing an

artificial noise to let you know it's

taking pictures. So, we can change a lot

of the volumes of the different noises

that we use on the camera. This is where

you do it.

Where do you want to listen to audio? Do

you want it from the headphone jack or

do you want it to go through the HDMI?

HDMI is a video cable that connects to a

monitor. And if we're using this for

high-end, let's say, video shooting, we

may want the audio going through that

monitor cable instead.

When we select our headphones, we can

change we can change our headphone

volume.

We can do it in real time, which is what

I recommend.

And then we have the different channels.

Again, we talked about this earlier.

Typically, cameras are recording two

channels to a video file. We have the

ability to record four microphones onto

those two channels through an XLR

adapter that we'd have to buy and use

separately.

But when you're shooting, do you want it

to go from channel one to channel one,

channel one to channel two? This is how

we divide up which channel is being

recorded to which channel on the file.

So right now it's channel one and

channel two, which is left and right. Do

you just want your channel one written

on both? Do you want your channel two

written on both? or do you want to have

copies of each channel on each separate

channel? And we get additional channel

options when we use that accessory. For

now, we're just going to leave it on

channel one and channel two.

And then the same rules apply apply for

playback. Probably a bit more advanced

feature if you are a video shooter. Come

back out.

And that's page three of the yellow tab.

A lot of these are pretty

straightforward. So you can change your

screen brightness. If it's too dark, if

you're shooting outside, you want to

bump it up. This is where this this

would happen.

Viewfinder brightness. So in here, do

you want it to auto adjust? If you

don't, you can come in and you can

adjust it manually depending on how

bright you want it.

Screen and viewfinder tone. So we can

shift the color tone a little bit. I

don't really recommend doing this for

now. I have it on three. Then we can

fine-tune the viewfinder color.

Page five,

screen and viewfinder display. We talked

about this earlier. So this is the

screen. This is the viewfinder. And this

deals with the management of this little

eye sensor here. So, if we're shooting

on a gimbal, for example, a little

handheld motorized device to help

stabilize things. Sometimes the gimbal

will trigger this. We can just turn it

on to screen and you can see that it's

not triggering it anymore. Or we can

just tell the camera to use a viewfinder

only. And then this deals, these two

deal with how this little guy is

working. Basically, what it's saying is

that when the monitor is flipped out and

facing you, do you want to lock it so

it's only the screen or do you want it

to continue auto switching? If you leave

it on auto one or two, when it's closed,

you will always get this.

We have a UI magnification. When it's

enabled, a two-finger double tap will

magnify. Punch in. Very useful if you

have vision problems. You can see mine's

turned on, left on. And then we have our

HDMI resolution. You want it to auto

resolute, if that's a term, or do you

want to have it locked into 1080p or

1080i?

Page six is that when we turn the camera

off, do you want the shutter to close? I

typically have this closed because I

want to keep any sensor dust off of my

camera [snorts] as I'm changing lenses

or off of the sensor. Sensor cleaning.

There's a little vibrating membrane over

our sensor that we can tell it to clean

at any time. If we select this, we can

have it clean when we power off, power

on and off, or we can turn it off

completely.

And then when we clean our sensor

manually, if I have time, I'll create a

lesson to show you how this is done. We

would come in here and select this, and

it would open up the shutter, and then

you can get access to the sensor and

clean it. For now, we're just going to

jump back out. In the beginning, when we

got our camera, we set up the camera

with a password. If we wanted to require

the password to get into the camera,

what it's asking us is to enter that

password.

We can change that password or we can

clear that information if we forget.

Just make sure that you know what your

password is if you turn this on.

And then we have our different power

saving features. I've turned most of

these off as I'm teaching. In the real

world, I'll turn these on just to save

battery to have the camera auto disable

or auto turn off just in case I don't

remember to do so myself. And then when

you tap the shutter button, it can wake

back up. There's a screen dimmer. You

can turn the screen off. These different

timers depending on how long you want to

do it. Auto power off, maybe after 3

minutes, typically pretty normal. Same

with the viewfinder. We can turn that

off separately.

Page seven, if you want to reset the

camera as a factory set, everything is

off or your individual settings, this is

where you would do it. Sometimes I

remember once I lent my camera to

somebody and they changed so many

things, I just came in and just reset

the whole camera and then reset it back

up. We talked about the custom shooting

dial. It's on the top of the camera on

the mode dial. You'll see this C1, C2,

and C3. The way this works is we set the

camera up exactly the way we want it for

that shooting mode. Come in here,

register the setting, and the camera

will save that setting to any of those

slots. We can clear those settings. We

can also auto update if this is enabled,

meaning that if we're on C1, C2, C3, and

we're changing those settings as we're

shooting, the camera will update them. I

usually leave that turned off.

We can also save and load our custom

camera settings onto a memory card and

transfer them between cameras that

support this feature. This is where we

would do it. Save to a card. Load from a

card.

Finally, page eight of eight. Pretty

straightforward. Battery health. Your

battery will with time will become less

and less efficient. Eventually, it will

get to a point where you will fully

recharge the battery and within less

than an hour, 40 minutes, it's already

dead. When you see these losing squares

and only one of them is filled, you know

it's probably time to get a new battery.

So, we get some battery life

information.

Copyright information deals with XF

data, which is the data that's written

into the file of every image. So, if you

wanted to add your name or your

copyright information, you could come in

and type this in and then for every

image that you would took, it would be

written into that file kind of behind

the scenes. Okay.

Okay,

come back out.

Show log gives us information when the

password, for example, was updated. You

can come in and see when changes were

made to the camera.

Manual software. Here's a QR code if you

want to open it. The manual is 1150

pages long. So, you know what what I'm

trying to do with the video is to make a

video version of this to get you through

the you know, the most of it. There are

some people out there who would actually

like to sit down and just read that

manual. I am not one of them. I'm a

video visual learner. We have a

certification logo display. There's

nothing in here to change.

And then we have our firmware update.

With time, Canon will come out with

updates. This is software for the

camera. This is where we'd come in and

change it. The way this works is you

save it onto a memory card. You put the

memory card into the camera and then you

would hit okay, and it would recognize

that there's a new firmware, and it

would update it. We can change the

firmware of the camera or the lens

depending on what the current updates

are. I personally kind of wait a week or

two after firmware updates are issued

because sometimes there are problems

with the newer firmware. So I kind of

wait to make sure that everything's good

with it before doing so. And that is the

yellow tab. Coming into the olive green

tab. Some of these things we've seen

earlier in the video like customizing

our buttons for shooting. We talked

about this in the focusing lesson, but

this graphic here with the white little

overlays is telling us which buttons we

can customize.

I don't really recommend doing a lot of

this if you're a pure beginner because

when you come back and watch the

lessons, if the button controls are

different, it'll be really confusing.

But as you become more and more

advanced, you will likely want to

customize how you shoot the buttons,

which buttons do what. It's important to

learn the functions first and to feel

comfortable with them before we get into

the efficiencies of shooting. But we've

seen it before. This is the same menu

just in the deep menu. Shutter button

function for movies. So when you're in a

movie mode, what is this halfway shutter

button depression do? Currently I have

it so it meters only, but we can also

set it up to meter and trigger video

servo or oneshot autofocus. These are

both different focusing modes while

you're in video. Going to leave it on

metering only for now. Talking about the

dials and the control rings. Primary

selector, secondary selector, ISO

selector,

control ring. We can customize these as

well. If you're coming from a different

system in particular, some of these

primary and secondary settings are in

different places. Or maybe for whatever

reason you just want to change your

shutter speed with the secondary control

wheel. You can come in and customize

these as well. TV is time value. It's

your shutter speed. AV is your aperture.

This last one right here, we haven't

really talked about it, but most of the

Canon RF lenses have an additional ring

on them. It's not your zoom ring. It's

not your focus ring. It's called the

control ring. It is a specialized ring.

Usually, it's knurled and you can

program it to do different things. I

have a friend who uses it for tweaking

his white balance. It is set up to be

your exposure compensation

while you push and hold down the halfway

shutter button depression. So, there's

tons of different things we can come in

and select it to do different things.

Your ISO, know some people use it for

that. For now, I just leave it on

exposure compensation. Once you get a

hang of shooting and you know what you

want to customize it to, this is where

you'd come in and customize it. Yeah.

So, that symbol right there is the

control ring on our lenses.

We can also customize the direction

whether they increase or decrease the

setting. By default, it's decrease to

the left, increase to the right. If you

wanted it to go the opposite way, you

would select reverse direction.

controlling direction to set shutter

speed or aperture. It's the same basic

idea when you rotate it one direction or

do you want to invert that?

Switch your primary control wheel and

your thumb control wheel when shooting.

All this does is it inverts those two

controls. It switches them. Second page

here, touch shutter. I demonstrated this

in the focusing lesson. It allows us to

touch on the monitor to focus and take

the picture. I tend to bump it a lot, so

I leave it to disabled.

Up here, right next to our ISO control

ring, we have a mid position called the

lock position. That when that switch is

pointing to the lock, it will prevent

the controls from registering any

changes. So, you can bump them and move

them and nothing's going to happen. In

this menu item, we can select which

items will be locked when that switch is

pointed to lock. We can leave our

primary control wheel on or off. Anyway,

we just come in here and select these

different check marks depending on how

you want to shoot it. Primary selector,

ISO selector, secondary control, which

is your thumb button, what I call it.

Joystick, touchcreen, and then our

control ring. Hit cancel for now.

Third page. This one, touch and drag,

autofocus settings. It's actually pretty

awesome if you know what it is.

Essentially, it turns the back monitor

into a touchpad for focusing

as we look through the viewfinder. So,

first of all, we'd have to come in here

and turn this on.

And then this is ask asking do you want

to touch and drag on the entire screen

or do you want to touch and drag

relative to the entire screen on a

different part depending on where you

touch and move in a certain direction.

Just preference here.

And then this one depends on whether

you're right eye dominant or left eye

dominant because when you're looking

through the viewfinder, your nose is

also going to be somewhere around the

screen. I am left eye dominant, which

means my nose is right here. Right eye

dominant shooters, 66% of you are right

eye dominant. Your nose is going going

to be over here, which means you want to

be able to control where this touch

sensitivity happens. In this case, come

in here. You can see anything in white

is where the touch monitor will be

sensitive as you're looking through the

viewfinder.

So bottom right, if you are a right eye

shooter, your nose is here. This area

right here as you're shooting,

you would come in. It's I can't really

show it because you have to be looking

through the viewfinder, but you would

touch here and be able to focus or

change where your focusing square is,

especially if you're on relative

position. I would definitely recommend

testing this out. Some people don't like

the joystick as they're shooting or they

want a faster option to be able to just

touch on the screen as they're looking

through the viewfinder. Left eye

dominant is a little bit trickier

because your nose's here. I typically

activate this top right area, this

little gap right in here. I don't feel

like it's super feasible to do it with

our left thumb because typically my left

hand is under the lens. It's usually my

thumb. So, it's usually in this position

up here.

Hit okay. And then we can change how

sensitive that touching is. Make it more

or less sensitive. It's a pretty cool

feature.

This guy is asking, "How do we select

the clusters after pressing the cluster

button?" The way it's set up by default

is to be the multi-function button by

toggling it. We can also do it by the

main dial. I'll just demonstrate what

this looks like real quick. Got all our

info here. Here's the clusters and I'm

toggling with the multi-function button.

I prefer the depth of field preview

selection method. Kind of hard to see

there. Dial this in. So, I'm hitting my

depth of field preview button. We

customized that already.

We can change the sensitivity of the

joystick. That's what that symbol means.

Make it more or less.

Our focusing ring. We can change the

direction in which it focuses.

We can change the sensitivity of when we

are in manual focusing. How sensitive is

the focusing ring? We can make it vary

with rotational speed or we can have it

change by how much we're rotating it.

Page four, customize buttons for

playback.

Now, to make this a little bit more

confusing, we also have our regular

button customization in this menu. It's

the same as we've already seen. It's the

same on the other tab. So, this is

mainly for playback.

When we're playing back images, we can

jump through them by rotating the

primary selector wheel. And this is

asking, do you want to jump by 1, 10, a

designated number that you can make up

down here on the bottom by 30? We can

jump by date, by folder. So, it gives us

a way to scroll through images faster.

Playback and rotating the primary

control wheel. This next option gives us

a secondary way to do that by assigning

a customizable button to it's a series

of items in the customizable menu. It's

like jump with folder in time. You

assign that to a button, press and hold

it down and then rotate the secondary

control wheel and it gives you a second

way to jump through those images. Same

basic idea as this other one right here.

We can invert the primary selector wheel

and the ISO selector wheel that I call.

We can make those invert if we wanted to

during playback.

Page five, touch control. Yes, we want

touch control, but if you are, for

example, a very high-end sports shooter

and you're doing everything with manual

controls, you can come in and turn this

off. So, it would turn the back monitor

off

and then we can clear all of the

customized controls that we just went

through. and that is the olive tab. The

orange tab customizations deal with

fine-tuning how our camera responds to

changes. For example, when we're talking

about changing our exposure increments,

it does it in one/ird stops. There are

people who prefer one half stops. Same

thing with ISO. Different tweaks in

terms of how to retain our speed after

using auto ISO. How we cancel auto

bracketing. A lot of these are just

really niche types of customizations for

beginning and intermediate

photographers. Most of them, I would

say, don't really worry about them. If

you use your bracketing a lot, you can

change how the camera changes the

exposure from shot to shot with an even,

under, or over exposure. We can change

that order.

We can change the number of bracketed

shots

anywhere from three to seven.

page two

called safety shift that we didn't turn

on. I don't really use it. It's asking

if the camera is shifting your

highlights to be exposed properly. Do

you want it to shift by shutter speed,

aperture, or ISO speed? I typically

leave it turned off when you change

lenses. So, if you have two different

lenses and you're changing them, we can

turn this feature on to allow the

exposure to be the same between changes.

And it's asking, do you want to do it by

ISO, combination of ISO and shutter

speed, or just shutter speed? I don't

recommend doing this. You know, you put

a new lens on there, change the settings

accordingly.

Autoexposure lock metering mode after

focus. What this means is that when we

push and hold the shutter button halfway

down, especially when we're one shot,

when we're pushing that halfway down and

we get a focusing lock, we're also

getting an exposure lock. And it's

asking when you push the shutter button

halfway down, when you have a certain

metering mode selected, will this lock

that exposure setting? I'll leave it on

evaluated for now. Going to hit okay. We

can also set our shutter speed range in

mechanical or electronic. So, this is

the full range that we can dial in

without going into bulb mode. And we

also have it for electronic

up to 116,000th of a second. We can also

select our aperture range. I just leave

this here because your aperture is going

to be limited by your lens.

But if you wanted to limit it within a

certain range, you could do it here.

Third tab in the orange customization

menu. The cropping information is kind

of an overlay. As you're shooting,

you'll get these little guidelines. Just

select 6x6. I'm going to tap the shutter

button. Kind of hard to see. I'll turn

this down. So, we get these guidelines.

6x6 is a square. It doesn't crop the

image. It just kind of gives you kind of

a range when you're shooting to help you

know what's going to be in frame

depending on your aspect ratio. When you

go to post, we can customize the garbage

can icon. So, when we're deleting

images, which option do you want it to

give you?

Let's just do it real quick. Press this.

We hit the garbage can icon. You can see

this highlight is on cancel.

Come back out. So, it's basically asking

what is the default selection when you

press the garbage can icon depending on

your preference.

Release shutter without lens. So, if you

don't have a lens on, do you want it to

be able to release the shutter?

If you you're using a very specific type

of Canon lens that can zoom in and out,

you want to retract the lens when you

turn the power off. That's on. IPCC

information is more metadata. We have to

set this up using the EOS utility

connection app. It allows us to put

additional information into the camera

so we can identify our images when we're

shooting it. If you know what it is,

this is where you set it up. If you

don't, don't worry about it. Clear all

custom functions. So, anything we

changed or set up in the custom function

orange menu, this is where we could

clear it. And that is the orange tab.

Finally, we have the green menu. This is

my favorite menu because we've covered a

ton of menu items. This allows you to

customize it to just have the ones that

you're interested in. So, you're going

to come into add to my menu tab.

And you're going to see that we can even

configure additional pages in here. So

I'm going to go into my menu, select

items to register. Image quality is one

of the ones that I do change

occasionally. So I'm going to select

that. Hit okay.

Come out of the menu. And now you can

see that I have image quality here. So

instead of needing to search through the

entire menu, you can drop items in here

all the time. Another one is formatting

my memory cards.

Going to hit okay. Focus bracketing is

definitely one I use a lot. I'm going to

select that.

Once I have those set up,

there they are and I'm good to go. If I

wanted to put them on a second page, it

would do the same thing.

So now I have three pages in here and it

would come in and repeat the process. So

that is how we add items to the my menu

tab. Quick, easy, fast access for the

just the items that you need. Finally,

there's something I want to point out

real quick. Tap the shutter button.

So you can see that I'm in a stills mode

because we're showing the entire frame.

When I flip over to video mode, we get

this cropping. This is a 16x9 aspect

ratio. It's typically considered the

general cinema.

When we come into the deep menu, once we

are in the video mode, we get a few

other options on this first tab. And

this can be kind of confusing. I'm

pointing this out because there's a

couple features in here that you're

going to want to know about at some

point. Open gate is a term, and you can

see it's not highlighted here. This is a

term to record video using the entire

sensor. So currently if I flip to stills

mode, you can see that we get more of

the sensor showing. When we flip to

video, we get this crop. So in order to

record using the entire sensor, we have

to be in something that's called open

gate. So for whatever reason in XFAVSC,

which is is this container that records

the video, open gate doesn't like this.

It wants us to be on one of these or in

raw video. So let's say 420 at 10 bit.

Now we have open gate and we can turn

this on. Tap the shutter button and now

you can see we get the full frame in the

sensor. We're getting a heat warning.

It's telling us that our setting has

changed. So just understand that that is

a requirement for open gate recording.

Also, this is where we can activate RAW

video. This is 7K RAW video even at open

gate or we can turn that off. Just know

that your RAW video shooting is going to

literally just eat up your memory cards

in terms of space. Lots of data in

there. 2,600 megabits per second. That's

a huge amount of data, but incredible

color grading options. You know, if

you're shooting a commercial or

something of that nature, you could

probably handle it with, you know, a few

cards. If you're shooting a film or a

movie, you're going to need a lot of

cards. Then you also run the risk of the

camera overheating.

Just keep that in mind. We can come in

once RAW is set up and we can select our

frame rate. And I believe this is a

compressed raw here. Yeah, light raw.

So, here's standard raw and light raw.

Coming back out.

I just wanted to demonstrate this is

where raw and open gate recording

happens. If you're just learning,

starting to understand video recording,

keep it here for now. It's a much

smaller file size, much more

straightforward, and doesn't take up as

much memory space.

As we move through these other tabs, a

lot of these we've already covered.

There are a couple new items like

changing our aperture value in 1/8

increments, things of that nature.

There's a couple in here that would

actually be good secondary le lessons

like time-lapse movie selftimer.

We have a pre-recording set so you can

pre-record.

You can see it right here. Probably

running or cycling through that little

buffer and then when we press the record

button it will have a few seconds from

before we pressed that button on. Very

nice.

For the most part, a lot of these menu

items are going to be doing exactly the

same thing that we've already talked

about. We have a tally lamp. So, just

wanted to point those out. When we're

talking about gear recommendations, one

of the first things you want to look at

is a tripod. I like the Bogen Monro

carbon fibers. I have the 055. They have

different variants of it now, and I like

the XPro ball head. There are tons of

great companies out there. Just make

sure that you invest into your tripod

into a company that is going to last you

for many years. Let me give you some

lens recommendations. Now, there's two

different kinds of Canon lenses you're

going to see. There are the EF lenses,

which deal with the older DSLR mount.

There's also the RF lenses, which are

the newer mounts made for the mirrorless

cameras. You can get an adapter that

will allow you to use older EF glass on

your Canon R six Mark III. I have one. I

use it all the time. Some of that glass

is more affordable if these other ones

are out of reach. So, talking about the

lenses that I really like and recommend,

it's a 24 to 105 F4 as a walkaround

general purpose shooter. On the wide

side, I like the 14 to35 F4. If you can

afford it, the 15 to35 2.8. Both of

those lenses have far more wide focal

lengths to allow you to shoot

landscapes. If you're a sports shooter

on a budget, take a look at the 100 to

400 RF. It's a great way to get into

sports or wildlife shooting if you're on

a tight budget. I like the 100 to 500

RF. This is my main safari lens when I

am shooting in Africa. Canon also makes

these very intriguing, what I call

daylight lenses. They're a little bit

more affordable. There's the 600 F11 and

the 800 F11. Small aperture, but if you

have enough daylight, they're pretty

impressive. Out of those two, I actually

prefer the 600 F11. If you have enough

money, the holy grail, in my opinion, is

the 28 to 70 F2. Holy cow, what an

amazing lens. Canon also makes a ton of

amazing primes. For example, if you get

into macro photography, the 100 RF macro

is amazing. At some point, you are going

to be ready for your first camera

filters. And as you know through this

video, I am the creator of Maven

filters. These are colorcoded,

awardwinning, and patented. You are

absolutely going to love them. They're

magnetic. They allow you to identify and

use your filters instantly. Again, I am

Michael the Maven, and I want to say

thank you so much for trusting [music]

me with your instruction. I hope you

found it useful. Come back anytime. Be

sure to check us out in the Facebook

group. Thank you guys so much for

watching and I'll see you next time.

Heat. Heat.