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Red-eye On/Off Off

Figure 3.5 Same pose, same location (but different days) and red-eye is tamed (right), thanks to the EOS 40D's redeye reduction lamp.


The EOS 40D's internal beeper provides a helpful chirp to signify various functions, such as the countdown of your camera's self-timer. You can switch it off if you want to avoid the beep because it's annoying, impolite, or distracting (at a concert or museum), or undesired for any other reason. It's one of the few ways to make the 40D a bit quieter, other than Live View's "silent shoot" mode. (I've actually had new dSLR owners ask me how to turn off the "shutter sound" the camera makes; such an option was available in the point-and-shoot camera they'd used previously.) Select Beep from the menu, press Set, and use the Quick Control Dial to choose On or Off, as you prefer, as shown in Figure 3.6. Press Set again to activate your choice.

Silence Beep Camera

Figure 3.6

Silence your camera's beep when it might prove distracting.

Figure 3.6

Silence your camera's beep when it might prove distracting.

Shoot without a Compact Flash Card Installed

This entry in the Set-up 1 menu (see Figure 3.7) gives you the ability to snap off "pictures" without a Compact Flash card installed—or to lock the camera shutter release if that is the case. It is sometimes called Play mode, because you can experiment with your camera's features or even hand your 40D to a friend to let them fool around, without any danger of pictures actually being taken. Back in our film days, we'd sometimes finish a roll, rewind the film back into its cassette surreptitiously, and then hand the camera to a child to take a few pictures—with-out actually wasting any film. It's hard to waste digital film, but Shoot Without Card mode is still appreciated by some, especially camera vendors who want to be able to demo a camera at a store or trade show, but don't want to have to equip each and every demonstrator model with a Compact Flash card. Choose this menu item, press Set, select On or Off, and press Set again to enable or disable this capability.

Figure 3.7

You can enable triggering the shutter even when no Compact Flash card is present.

Figure 3.7

You can enable triggering the shutter even when no Compact Flash card is present.

Cara Menyetel Custom Functions Canon 20d

Review Time Out

You can adjust the amount of time an image is displayed for review on the LCD after each shot is taken. You can elect to disable this review entirely (Off), or choose display times of 2, 4, or 8 seconds. You can also select Hold, an indefinite display, which will keep your image on the screen until you use one of the other controls, such as the shutter button, Main Dial, or Quick Control Dial. Turning the review display off or choosing a brief duration can help preserve battery power. However, the 40D will always override the review display when the shutter button is partially or fully depressed, so you'll never miss a shot because a previous image was on the screen. Choose Review Time from the Shooting 1 menu, and select Off, 2 sec., 4 sec., 8 sec., or Hold, as shown in Figure 3.8. If you want to retain an image on the screen for a longer period, but don't want to use Hold as your default, press the Erase button under the LCD monitor. The image will display until you choose Cancel or Erase from the menu that pops up at the bottom of the screen.

Figure 3.8

Adjust the time an image is displayed on the LCD for review after a picture is taken.


2 sec.

Review time

4 sec.

8 sec.


Automatic Exposure Bracketing

The first entry on the Shooting 2 menu is AEB, or automatic exposure bracketing. As you'll learn in Chapter 4, bracketing using the 40D's AEB feature is a way to shoot several consecutive exposures using different settings, to improve the odds that one will be exactly right. Select this menu choice, then use the Quick Control Dial to spread or contract the three dots beneath the —2/+2 scale until you've defined the range you want the bracket to cover, shown as two-thirds-stop jumps in Figure 3.9. When AEB is activated, the three bracketed shots will be exposed in this sequence: metered exposure, decreased exposure, increased exposure (unless you've redefined the bracketing sequence to decreased exposure, metered exposure, increased exposure using C. Fn I -05). You'll find more information about exposure bracketing in Chapter 4.

Figure 3.9

Set the range of the three bracketed exposures.

Figure 3.9

Set the range of the three bracketed exposures.



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White balance

Custom WB


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Color Space


Picture Style


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This menu entry allows you to choose one of the white balance preset values from among Auto, Daylight, Shade, Cloudy/Twilight/Sunset, Tungsten, White Fluorescent Light, Flash, or Custom. You'll find more information on choosing the right white balance in Chapters 4 and 7. Once you've selected White balance from the Shooting 2 menu, use the Quick Control Dial to choose a setting from the two columns of entries, then press the Set button to lock it in. (See Figure 3.10.) If you choose the "K" entry, you can select an exact color temperature from 2,500K to 10,000K using the Main Dial. Choosing the right white balance can have a dramatic effect on the colors of your image, as you can see in Figure 3.11.

Figure 3.10

White balance presets can be chosen here.

White balance


1 *



13 5200


Figure 3.11 Adjusting color temperature can provide different results of the same subject at 3,400K (left), 5,000K (center), and 2,800K (right).

Custom White Balance

If automatic white balance or one of the six preset settings available (Auto, Daylight, Shade, Cloudy/Twilight/Sunset, Tungsten, White Fluorescent, or Flash) aren't suitable, you can set a custom white balance using this menu option. The custom setting you establish will then be applied whenever you select Custom using the White Balance menu entry described earlier.

To set the white balance to an appropriate color temperature under the current ambient lighting conditions, focus manually (with the lens set on MF) on a plain white or gray object, such as a card or wall, making sure the object fills the spot metering circle in the center of the viewfinder. Then, take a photo. Next press the Menu button and select Custom WB from the Shooting 2 menu. Use the Quick Control Dial until the reference image you just took appears and press the Set button to store the white balance of the image as your Custom setting.


Shoot a selection of blank-card images under a variety of lighting conditions on a spare Compact Flash card. If you want to "recycle" one of the color temperatures you've stored, insert the card and set the Custom white balance to that of one of the images in your white balance library, as described above.

White Balance Shift and Bracketing

White balance shift allows you to dial in a white balance color bias along the Blue/Yellow (Amber) dimensions, and/or Magenta/Green scale. In other words, you can set your color balance so that it is a little bluer or yellower (only), a little more magenta or green (only), or a combination of the two bias dimensions. You can also bracket exposures, taking several consecutive pictures each with a slightly different color balance biased in the directions you specify.

The process is a little easier to visualize if you look at Figure 3.12. The center intersection of lines BA and GM (remember high school geometry!) is the point of zero bias. Move the point at that intersection using the multi-controller joystick to locate it at any point on the graph using the Blue-Yellow (Amber) and Green-Magenta coordinates. The amount of shift will be displayed in the SHIFT box to the right of the graph.



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Use the Quick Control Dial to specify color balance bracketing using Green-Magenta bias or to specify Blue-Yellow/Amber bias.

White balance bracketing is like white balance shifting, only the bracketed changes occur along the bias axis you specify. The three squares in Figure 3.12 show that the white balance bracketing will occur in two stop steps along the blue-yellow (amber) axis. The amount of the bracketing is shown in the lower box to the right of the graph.

This form of bracketing is similar to exposure bracketing, but with the added dimension of hue. Bias bracketing can be performed in any JPEG-only mode. You can't use RAW, sRAW, RAW+JPEG, or sRAW+JPEG, because the RAW files already contain the information needed to fine-tune the white balance and white balance bias.

When you select WB SHIFT/BKT, the adjustment screen appears. First, you turn the Quick Control Dial to set the range of the shift in either the Green/Magenta dimension (turn the dial to the left to change the vertical separation of the three dots representing the separate exposures), or in the Blue-Yellow/Amber dimension by turning the Quick Control Dial to the right. Use the multi-controller joystick to move the bracket set around within the color space, and outside the Green-Magenta or Blue-Yellow/Amber axes.

Use the multi-controller only after you've accumulated some experience in shifting around the white balance manually. In most cases, it's fairly easy to determine if you want your image to be more green, more magenta, more blue, or more yellow, although judging your current shots on the LCD screen can be tricky unless you view the screen in a darkened location so it will be bright and easy to see. You'll find more about bracketing in Chapter 4.

Color Space

You can select one of two color gamuts (the range of colors available to represent an image) using this menu entry, shown previously among the other menu choices in Figure 3.9. Adobe RGB is an expanded color space useful for commercial and professional printing, and it can reproduce a wider range of colors. Canon recommends against using this color space if your images will be displayed primarily on your computer screen or output by your personal printer. The sRGB setting is recommended for images that will be output locally on the user's own printer, as this color space matches that of the typical inkjet printer fairly closely. Strictly speaking, both color spaces can reproduce the exact same absolute number of colors (16.8 million when reduced to a 24-bit file from the original capture), but Adobe RGB spreads those colors over a larger space. Think of a box of crayons (the jumbo 16.8 million crayon variety). Some of the basic crayons from the original sRGB set have been removed and replaced with new hues not contained in the original box. Your "new" box contains colors that can't be reproduced by your computer monitor, but which work just fine with a commercial printing press.


If you plan to use RAW+JPEG or sRAW+JPEG for most of your photos, go ahead and set sRGB as your color space. You'll end up with JPEGs suitable for output on your own printer, but you can still extract an Adobe RGB version from the RAW file at any time. It's like shooting two different color spaces at once—sRGB and Adobe RGB—and getting the best of both worlds.

Picture Styles

Picture Styles let you choose a combination of sharpness, contrast, color saturation, and color tone settings that you can apply to all the pictures you take using a particular style. The Canon EOS 40D has a "Standard" Picture Style, plus preset styles for Portrait, Landscape, Neutral, and Faithful pictures (which can all be customized with your preferences), plus three user-definable settings you can apply to any sort of shooting situation you want, such as sports, architecture, or baby pictures. There is also a Monochrome Picture Style that allows you to adjust filter effects or add color toning to your black-and-white images.

The Picture Styles feature, introduced to the EOSxO camera line with the Canon EOS 30D, is one of the most important tools for customizing the way your 40D renders its photos. Picture Styles are extremely flexible. If you don't like one of the predefined styles, you can adjust it to suit your needs. You can also use those three User Definition files to create styles that are all your own. If you want rich, bright colors to emulate Velvia film or the work of legendary photographer Pete Turner, you can build your own color-soaked style. If you want soft, muted colors and less sharpness to create a romantic look, you can do that, too. Perhaps you'd like a setting with extra contrast for shooting outdoors on hazy or cloudy days.

Once your styles are set up, Picture Styles are easy to access. Press the Picture Styles button under the color LCD, and use the Quick Control Dial or multi-controller to scroll through the list of available styles. Press Set or the multi-controller button to activate the style of your choice. You can also select a Picture Style from this menu entry (although it takes a few seconds longer). You'll primarily use this menu item to define or redefine your Picture Styles. (You can also set up Picture Styles using the 40D's Picture Styles Editor, as described in this book's Chapter 8.)

Choose Picture Styles from the Shooting 2 menu and press Set to produce the menu screen shown in Figure 3.13. Use the Quick Control Dial to rotate among the nine choices (the ones shown, plus User Def. 1, User Def. 2, and User Def. 3) and press Set to activate your choice. Then press the Menu button to exit the menu system. You can see that switching among Picture Styles is fast and easy enough to allow you to shift gears as often as you like during a shooting session.

The EOS 40D is smart enough to use Picture Styles on its own. When using one of the Basic Zone modes, the camera selects the Standard Picture Style automatically, except if you select the Portrait or Landscape modes. The Portrait and Landscape Picture Styles will be used (respectively) instead.

Nine different Picture Styles are available; these six plus three User Def styles not shown.

Picture Style

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3, 0,

0, 0


2, 0,

0, 0


4, 0,

0, 0


0, 0,

0, 0


0, 0,

0, 0


3, 0,

N, N

IES3 Detail set.


Defining Picture Styles

Canon makes interpreting current Picture Style settings and applying changes very easy. The current settings are shown as numeric values on the menu screen shown in Figure 3.13. Some camera vendors use word descriptions, like Sharp, Extra Sharp, or Vivid, More Vivid that are difficult to relate to. The 40D's settings, on the other hand, are values on uniform scales, with seven steps (from 1 to 7) for sharpness, and plus/minus four steps clustered around a zero (no change) value for contrast and saturation (so you can change from low contrast/low saturation, —4, to high contrast/high saturation, +4), as well as color tone (—4/reddish to +4/yellowish). (EOS 20D veterans will note that the earlier camera used coarser —2/+2 steps for all these, including sharpness.) The individual icons represent (left to right) Sharpness, Contrast, Saturation, and Color Tone. To change one of the existing Picture Styles, or to define your own, just follow these steps:

1. Access the Picture Style menu (pressing the Picture Style button under the LCD is the fastest way) and use the Quick Command Dial to scroll to the style you'd like to adjust.

2. Press the INFO. button to choose Detail set. and produce the screen shown in Figure 3.14. The Quick Command Dial can scroll among the four parameters, plus Default set. at the bottom of the screen, which restores the values to the preset numbers.

Detail set. [gEO Landscape

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