Photography Masterclass Online Course

Photography Masterclass

Photography masterclass program has gone through a trial, testing and the results, later on, have proven that this program works efficiently and give 100% positive results at all times. This program has an upper advantage as compared to other programs which claim to help you capture best pictures because the creator has taken a further step to give you 29 videos which are easy to follow and apply. The 29 videos are in four modules which help you to with ease in referencing the lessons you will learn. The creator of this program has ensured that the program is risk-free by providing a 60-day money refund guarantee to any member who feels not satisfied with the services provided in the program. Through the program, you will learn how to make stunning photographs on your own, and this will, in the long run, increase your self-esteem and enhance your photographs marketability. Read more...

Photography Masterclass Summary


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Photography Masterclass Program Review

Highly Recommended

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White balance WB Essential

Good white balance support is crucial for any useful RAW converter. There are a couple of white balance correction techniques White balance correction controls - Color temperature and tint 1 Figure 3-12 White balance in Adobe Camera Raw 1 Figure 3-12 White balance in Adobe Camera Raw White balance in Capture One White balance in Capture One White balance Colder Warmer interface in RawShooter. White balance as shot in camera Auto white balance Correct white balance support is also not a trivial task for any RAW converter. We expect that today's capable RAW converter can preview WB correction in real-time.

Canceling White Balance Auto Bracketing

You can also set the switch to to cancel white balance bracketing. White balance bracketing will not work if the image-recording quality is . White balance bracketing can be used together with auto exposure bracketing (AEB). ( p.90) In this case, the three AEB shots will have three white balance bracketed images recorded for each shot. Therefore, a total of nine images will be recorded on the CF card. With C.Fn-9-2 3, you can change the white balance bracketing sequence. ( p.148) C.Fn-9-1 3, prevents the white balance bracketing from being canceled after the switch is set to .OFF . ( p.148)

Selecting the White Balance

White balance (WB) is for making the white areas look white. Normally, the (Auto) setting will obtain the correct white balance. If natural- looking colors cannot be obtained with , you can set the white balance manually to suit the respective light source. Press the button once or twice to display the white balance on the rear LCD panel's upper right. 2 Select the white balance. Turn the dial to select the white balance. About White Balance You can also use the 1 White balance menu to set the white balance To set Personal white balance, go to the 1 White balance menu and select PC * . To save the Personal WB to the camera, use the provided software. If no Personal WB has been registered, the menu will not be displayed.

White Balance Auto Bracketing

With just one shot, three images having a different color tone can be recorded simultaneously. Based on the white balance mode's standard color temperature, the image will be bracketed with a blue amber bias or magenta green bias. This is called white balance bracketing. It can be set up to 3 levels in single-level increments.

Adjusting the Tone White Balance

When the white balance mode is set to match the light source, the camera can reproduce colors more accurately. The camera sets the white balance automatically according to shooting conditions. For setting a custom value with a white sheet of paper, etc., to obtain the optimal white balance for the conditions.

Correct white balance WB for optimal color quality

The key to correct color is getting the white balance correct, and that depends on the light source or sources illuminating the photographed scene. When using film, the choice of film type or the filters used to compensate for different lighting conditions (indoor, sun, cloudy, shade, flash, etc.) all influence the white balance. If you use only RAW file formats, WB can be corrected later. For fine art photography, true color isn't what really matters (would Digital SLRs allows you to measure the right WB (custom WB) at the time you photograph. This might be optimal, but is not always easy in the field (nature). Therefore, set the WB to auto for all cameras and adjust the WB later in the RAW converter. A preferred practice is to photograph a gray card (or even better, a Macbeth ColorChecker) in the same light as the following photos and use this shot later for the correct WB correction.

Low Light White Balance

Low-light situations can play havoc with color, both in your eyes and in your camera. Your eyes, of course, see very limited color in low light. As the light dims, the color receptors in your eyes cease working, and your vision shifts over to black and white only. While your vision won't actually look like a black-and-white photo, you will have markedly lower color sensitivity than you would in brighter light. Color reproduction is difficult for your camera in low light because low-light situations are usually lit by an odd assortment of lighting types (for instance, the intentionally colored lights in a stage performance), the combination of which confuses your camera's white balance. Depending on your situation, you won't necessarily have an in-camera fix for this problem. For example, if you're shooting a stage that's lit by lights that change color, then there's no way to get a manual white balance. Or, perhaps you're shooting far enough away from your subject that you can't get a...

White Balance Settings

The human eye automatically adapts to changes in light so that white subjects appear white even under different lighting conditions. Cameras that use film have to adjust for these differences by using color-correcting filters or switching to different film types. Digital cameras rely on software to correct the color temperature by determining white as the basis for the colors in the subject, then correcting the other colors to achieve a natural color range. (EH) mode automatically selects the white balance according to the light source where you are shooting. If this does not produce pictures with satisfactory coloring, you can select a mode other than (EUD).

Canon Lens System and Terminology

Canon currently manufactures and markets 56 full frame lenses, including two EF extenders. EF is short for Electronic Focus and signifies any lens with autofocus that fits in the EF mount introduced by Canon in 1987. Of those lenses, 26 are L (for luxury) lenses, the professional line. Depending on their particular discipline, I'd guess that photographers typically own three or more lenses. I currently own six L lenses and three EF lenses, and am also considering three more Ls. It never ends, unless you do only one type of shot or framing, which occasionally happens. Certainly the more types of jobs you do, the more lenses you'll find that you need.

Exploring Canon Lenses

The lens is the eye of the camera, and the importance of quality lenses can't be overstated. With a high-quality lens, pictures have stunning detail, high resolution, and snappy contrast. Conversely, low-quality optics produce marginal picture quality. And as most photographers know, over time your investment in lenses far exceeds the money invested in the camera body. For these reasons, making studied decisions on lens purchases pays off for years to come in getting great image sharpness and quality and in building a solid photography system.

Technologies And Features Common To Canon Dslrs

Regardless of which dSLR you have or are considering, Canon has a long track record of employing consistent technologies within their dSLR lineup. Since digital photography came into its own, a defining characteristic of the progression of the But more importantly, as Canon's ongoing research and development continues to refine camera features, Canon has progressively applied new and improved technologies throughout its camera lineup. As a result, photographers can rely on a consistently high level of quality as well as overall similarity of features and functionality from one Canon dSLR camera to another. And as a result, as photographers move from one camera to another, the learning curve is lower, allowing quick integration of the new camera into the system. In addition, functionality that is common to multiple camera models is a boon for photographers who use more than one camera body. For example, Canon's Picture Style feature, a set of preprogrammed and customizable settings...

Exploring Different Image Sensor Sizes

A full-frame sensor is designed to capture the full size of the film frame. In the case of Canon, this is 36 X 24 mm, or the full size of the 35mm film format. The chief reason that all dSLR sensors are not full frame has to do with the cost of manufacturing the larger sensors combined with the physical size of the camera body and its ability to accommodate a chip that large. As chip sizes get larger, the yield gets drastically lower and, subsequently, the price increases. The semiconductor industry's advances in affordability have been driven by the ability to make circuits smaller and smaller, but an imaging chip must remain large, and such large chips get cheaper much more slowly. Owning its own chip-making facility has made Canon a leader in full-frame sensor technology. APS stands for Advanced Photo System, which is a film format size standard developed primarily by Kodak but cooperatively with Nikon, Canon, Fuji, Minolta, and other camera manufacturers. It was introduced in...

Considerations For Buying A Canon Dslr

My photography students often ask me which camera they should buy. The truth is that no one can tell you what camera to buy, but if you understand the commonalities and differences among Canon's dSLRs, then you can make informed decisions when it's time to buy a new camera, upgrade your existing camera, buy a backup camera body, or add another camera to your existing system. Image quality. What size and quality of images do you need to produce Do you need a full-frame camera, or are other attributes more critical Will a slightly lower-priced dSLR suffice so that you can spend more money on professional lenses Lens quality and selection. What mix of lenses are necessary, versus ones that you can put on your wish list Do you need a fast, wide-aperture lens that will hold its aperture at any zoom level Do you need to shoot close-up images with a dedicated macro lens, or distant images Will you benefit from a very wide aperture, exceptionally narrow-depth-of-field portrait lens Exposure....

Depth of field is narrow at wide apertures greater when the lens is stopped down

The four pictures at left were taken with the same lens from the same distance, but at different apertures. As you can see, the more the lens is opened, the narrower the depth of field becomes the more the lens is closed, the greater the depth of field. By using a large aperture such as f 1.4, you can make the background and foreground appear blurred, and by stopping the lens down as much as possible (to f 16 or so), the entire picture will be sharp. Blurred backgrounds call attention to the main subject and de-emphasize unneccessary details sharp backgrounds tend to portray the subject in its overall surroundings. In other words, the aperture should be varied to suit the mood and nature of your subject.

Adobe Camera Raw x user interface overview

The user interface of Adobe Camera Raw is clean and easy to use. Its window can be resized up to full screen. The only downside of full screen is that some operations might slow to less than real-time which they display in a smaller window (This depends, of course, on the performance of the computer used). We use a window size that is quite large, and Camera Raw still performs well in virtually realtime. Figure 4-24 Basic Adobe Camera Raw Window Figure 4-24 Basic Adobe Camera Raw Window

Depth of field is greater with wide angles smaller with telephotos

The pictures to the right were taken from the same distance, but with 28mm, 50mm, and 135mm lenses. An aperture of f 4 was used in all cases. By comparing the enlargement of the 50mm shot with the 135mm shot, you can see that depth of field is greater with the 50mm than it is with the 135mm telephoto lens. Depth of field is greatest with the 28mm lens. Thus, given the same aperture, depth of field is deeper with wide-angle lenses than it is with telephotos. The brightness of a lens is expressed in terms of its aperture ratio (the ratio of the lens's focal length to the diameter of the lens opening). Thus, the 1.4 in the FD 50mm f 1.4 standard lens indicates the aperture ratio, an abbreviation of 1 1.4. The lenses with the smallest aperture ratios are the brightest. Since the lens opening of such lenses is large compared to their focal lengths, they are capable of transmitting relatively large quantities of light. For example, Canon produces two different 135mm telephoto lenses, one...

Aperture value readout

The aperture value is normally displayed in 1 2-stop increments. The larger the number, the smaller the aperture opening. The range of aperture values (f-numbers) displayed depends on the lens used. Aperture value Aperture value fSf TI The shutter speed and aperture value can be set in 1 3-stop increments. (C.Fn-4 124)

Chapter Exploring Canon Lenses

Telephoto 148 Zoom Versus Prime Lenses 149 About zoom lenses 149 Zoom lens advantages 149 Zoom lens disadvantages 150 About prime lenses 151 Prime lens advantages 151 Prime lens disadvantages 151 Canon Lens Terminology 151 Using Wide-Angle Lenses 154 Using Telephoto Lenses 156 Using Normal Lenses 157 Using Macro Lenses 158 Using Tilt-and-Shift Lenses Using Image-Stabilized Lenses Exploring Lens Accessories Lens extenders Extension tubes and close-up lenses

Avoiding Telephoto Lens Problems

Many of the problems that telephoto lenses pose are really just challenges, and not that difficult to overcome. Here is a list of the seven most common picture maladies, and suggested solutions. Symptom color fringes. Chromatic aberration is the most pernicious optical problem found in telephoto lenses. There are others, including spherical aberration, astigmatism, coma, curvature of field, and similarly scary-sounding phenomena. The best solution for any of these is to use a better lens that offers the proper degree of correction. But that's not always possible. Your second-best choice may be to correct the fringing in your favorite RAW conversion tool or image editor. Photoshop's Lens Correction filter (found in the Distort menu) offers sliders that minimize both red cyan and blue yellow fringing. Symptom lines that curve inward. Pincushion distortion is found in many telephoto lenses. You might find after a bit of testing that it is worse at certain focal lengths with your...

Using Telephoto Lenses

Choose a telephoto lens to take portraits and to capture distant subjects such as birds, buildings, wildlife, and landscapes. Telephoto lenses such as 85mm and 100mm are ideal for portraits, while longer lenses (300mm to 800mm) allow you to photograph distant birds, wildlife, and athletes. When photographing wildlife, these lenses also allow you to keep a safe distance. When you shoot with a telephoto lens, keep these lens characteristics in mind 6.8 Telephoto lenses are larger and heavier than other lenses, but a sharp and versatile telephoto zoom lens is indispensable. This 70-200mm lens also features Image Stabilization, that helps counteract camera shake when handholding the camera. Shallow depth of field. Telephoto lenses magnify subjects and provide a limited range of sharp focus. At wide apertures, such as f 4, you can reduce the background to a soft blur. Because of the extremely shallow depth of field, it's important to get tack-sharp focus. Canon lenses include full-time...

Combining telephoto lenses and high shutter speeds for breathtaking sports shots

There's no question about the inherent drama of sports - the dynamism of the players, their concentrated expressions, and the atmosphere of heated struggle. A telephoto zoom lens like the FD 100-300mm f 5.6, combined with a shutter speed of 1 500 or 1 1000 sec., allows you to photograph these turbulent movements and emotions. The telephoto zoom singles out the action, while the high shutter speeds, along with high sensitivity film, freeze the instant of drama. A motor drive or power winder ensures that you never miss the crucial shot, and are always ready for the unexpected. One final tip make sure your subjects fill the frame. Then you can be sure your sports shots always convey the action they represent.

Selecting and Using Canon Lenses

It's been said that the incredibly high resolution of the 5D Mark II sensor highlights any shortcoming of your lens's optical characteristics, and there's no question that the full-frame 5D Mark II produces the best-quality images when using high-quality lenses, such as the Canon L-series lenses. With a high-quality lens, pictures have stunning detail, high resolution, and sharp contrast. Alternatively, low-quality optics tend to produce softened edges particularly with wide-angle lenses more chromatic aberrations, and distortion. With the full-frame sensor of the 5D Mark II, the need for the best glass is especially important because at full-frame, 21.1 MB resolution, any defects in the lens performance show up immediately in terms of soft or darker corners. As most photographers know, over time, the investment in lenses far exceeds the money invested in Choosing the right lens can help you capture intricate details, such as this dew-covered web and its spider owner. ISO 1000, f 5.6,...

Getting Comfortable with Your Lens

One of the biggest differences between a point-and-shoot camera and an SLR (single-lens reflex) camera is the lens. With an SLR, you can swap out lenses to suit different photographic needs, going from an extreme close-up lens to a super-long telephoto, for example. In addition, an SLR lens has a movable focusing ring that gives you the option of focusing manually instead of relying on the camera's autofocus mechanism. Of course, those added capabilities mean that you need a little background information to take full advantage of your lens. To that end, the next three sections explain the process of attaching, removing, and using this critical part of your camera.

Understanding and Using Autofocus

The speed and accuracy of focusing and the ease of manually selecting an Autofocus (AF) point are as critical to shooting as having a good onboard metering system. The 40D's overall autofocus performance is excellent, and the AF-point selection method is customizable. Getting tack-sharp focus, of course, depends on three factors the resolving power of the lens (its ability to render fine details sharply), the resolution of the image sensor, and the resolution of the printer for printed images. Understanding and using autofocus While the resolution of printers is beyond the scope of this book, the other two factors can be addressed. The 40D certainly has excellent image sensor resolution with fine image details and good edge performance. While the details of lenses are covered in Chapter 6, the take-away concerning image sharpness is that you can expect excellent autofocus performance from the 40D particularly with high-quality lenses.

Eos Slr Technology

Canon Full-Frame CMOS Sensor The EOS-lDs Mark III and EOS 5D come with a newly developed, full-frame CMOS sensor, so It is possible to shoot with any EF lens without a conversion factor. Canon Full-Frame CMOS Sensor The EOS-lDs Mark III and EOS 5D come with a newly developed, full-frame CMOS sensor, so It is possible to shoot with any EF lens without a conversion factor. Canon CMOS Sensor Taking advantage of its own proprietary technologies, Canon develops and produces its own CMOS sensors. Unlike CCD sensors, CMOS sensors convert and amplify signals before they are transferred to the image processor, enabling them to produce exceptionally clean image data and reduce power consumption by as much as 90 . Data transfer speeds are increased by using multi-channel signal paths that dramatically improve the camera's responsiveness. Canon's CMOS sensors incorporate a unique on-chip noise reduction technology to deal with both fixed pattern and random noise. In addition, a multilayer...

Browse and evaluate your RAW files

A small thumbnail, as provided on older file browsers, is not usually good enough to determine whether the following image criteria are met. Advisable also is to preview RAW files on a digital light table which is best integrated with a complete RAW converter. The critical points to look for when inspecting your RAW files are 3-13 Quality of colors. This step usually requires a correction of white balance. 1 Ad hoc corrections, where the settings stick with the image This implies that in previewing an image you can correct white balance and exposure on the fly. These settings remain when you revisit RAW files later on. All RAW converters covered fulfill this criterion.

Fn III Autofocus Drive

All of the options for the Autofocus Drive Custom Functions are described in the following bullets. The specifics on option numbers and names along with a description can be found in Table 4.8, for your quick and easy reference. focus seemingly forever and goes far out of focus range while attempting to find focus, particularly with telephoto and super-tele-photo lenses. Setting this option stops the lens from seeking to find focus and going into an extensive defocus range. C.Fn III-2 Lens AF stop button function. For super-telephoto lenses that offer an AF stop button, the options of this function modify the operation of the focusing, Auto Exposure Lock, and Image Stabilization. As of this writing, lenses with the AF Stop button include the EF 300mm f 2.8L IS USM, EF 400mm f 2.8L IS USM, EF 400mm f 4 DO IS USM, EF 500mm f 4L IS USM, and EF 600mm f 4L IS USM lenses. On lenses that do not have an AF Stop button, changing the options of this function has no effect. Several of these...

ICT Cleaning the CMOS sensor

The image sensor is like the film in a film camera. If any dust or other foreign matter adheres to the image sensor, it may show up as a dark speck in the images. To avoid this, follow the procedure below to clean the image sensor. Note that the image sensor is a very delicate component. If possible, you should have it cleaned by a Canon Service Center. While you clean the image sensor, the camera must be turned on. Using the AC Adapter Kit ACK-E2 (optional, see page 154) is recommended. If you use a battery, make sure the battery level is sufficient. Before cleaning the sensor, detach the lens from the camera.

Lowlight autofocus problems

Sometimes your scene lacks contrast because it's too dark. When this happens, the camera may have trouble locking focus. If you hear the camera focus in and out for a while and it still doesn't lock focus, then probably the scene is too dark for the autofocus mechanism to work.

Prime lens advantages

Unlike zoom lenses, prime lenses tend to be fast with maximum apertures of f 2.8 or wider on non-telephoto lenses and on some telephoto lenses. Wide apertures allow fast shutter speeds, and that combination allows you to handhold the camera in lower light and still get a sharp image. Compared to zoom lenses, single focal-length lenses are lighter and smaller. In addition, many photographers believe that single focal-length lenses are sharper and provide better image quality overall than zoom lenses.

Choosing White Balance Options

White balance settings tell the camera what type of light is in the scene so that the camera can render colors accurately in images. Using white balance settings can help you spend more time shooting and less time color-correcting images. On the XSi 450D, you can choose one of the seven preset white balance options or set a custom white balance. Tip If you shoot RAW images, you can set or adjust the white balance in the RAW conversion program after the image is captured. Table 3.1 provides the white balance options and the approximate color temperature as measured in Kelvin. More about White Balance Unlike a mechanical camera, the human eye automatically adjusts to the changing colors (temperatures) of light. For example, we see a white shirt as being white in tungsten, fluorescent, or daylight in other words, regardless of the type of light in which we view a white object, it appears to be white. Digital image sensors are not as adaptable as the human eye, however, and they cannot...

When To Use Aperture Priority Av Mode

Long Aperture

A fairly large aperture combined with a long focal length created a very blurry background, so all the emphasis was left on the subject. A fairly large aperture combined with a long focal length created a very blurry background, so all the emphasis was left on the subject. The smaller aperture setting brings sharpness to near and far objects. A wide-angle lens combined with a fairly small aperture makes for a lot of depth of field. A wide-angle lens combined with a fairly small aperture makes for a lot of depth of field. As discussed earlier, when referring to the numeric value of your lens aperture, you will find it described as an f-stop. The f-stop is one of those old photography terms that, technically, relates to the focal length of the lens (e.g., 200mm) divided by the effective aperture diameter. These measurements are defined as stops and work incrementally with your shutter speed to determine proper exposure. Older camera lenses used one-stop increments to assist in exposure...

Disabling the flash but enabling the flashs autofocus assist beam

In some low-light scenes, you may want to shoot using ambient light without using the flash. However, the camera may have trouble establishing good focus due to the low light. The autofocus assist beam from the flash is invaluable in these situations to help the camera establish focus. In these kinds of scenes, you can disable the flash firing and still use the flash's autofocus assist beam to help the camera to establish focus. To enable or disable flash firing but still allow the camera to use the flash's autofocus assist beam for focusing, follow these steps. the camera will use the flash's autofocus assist beam to establish focus in low-light scenes. For the camera to use the flash's autofocus assist beam, either pop up the built-in flash by pressing the Flash button on the front of the camera, or mount an accessory EX-series Speedlite. When you halfway press the Shutter button, the flash's autofocus assist beam fires to help the camera establish focus. Also, with Custom Function...

Using the Custom White Balance

You can set a custom white balance to obtain the optimal setting for the shooting conditions by having the camera evaluate an object, such as a piece of white paper or cloth, or a photo-quality gray card that you wish to establish as the standard white color. In particular, take a custom white balance reading for the following situations that are difficult for the 0 (Auto) setting to detect correctly. You are recommended to set the shooting mode to P and the exposure compensation setting to 0 before setting a custom white balance. The correct white balance may not be obtained when the exposure setting is incorrect (image appears completely black or white). Shoot with the same settings as when reading the white balance data. If the settings differ, the optimal white balance may not be set. Setting the flash to on or off is recommended. If the flash fires when reading the white balance data with the flash set to (Auto) or H (Auto with redeye reduction), make sure that you also use the...

Incomparable Eos Autofocus Now Even Better

Eos Sensor

AFSystem Canon EOS-1 series cameras are legendary for their superior autofocus ability. Many professional photographers rate Canon's autofocus as one of the main reasons that they use Canon equipment. The new autofocus system of the EOS-1D Mark III represents a complete reconsideration of professional autofocus. In addition to a new sensor chip, sophisticated new manufacturing technologies have made it possible to reconfigure the concave submirror and the very clever secondary image formation lens. The result is greater sensitivity, easier and more logical navigation, higher precision and significantly better real-world performance. As with the EOS-1D Mark II n, the center AF point is a cross-type sensor. It is vertical-line sensitive with maximum apertures as small as f 4, and horizontal-line sensitive with maximum apertures as small as f 8. If the maximum aperture of the attached lens or lens extender combination is f 4 or faster, high-precision, cross-type focusing is possible. If...

Set the white balance bracketing amount

In step 2 for white balance correction, when you turn the dial, the mark on the screen will change to (3 points). Turning the dial to the right sets the B A bracketing, and turning it to the left sets the M G bracketing. The images will be bracketed in the following sequence 1. Standard white balance, 2. Blue (B) bias, and 3. Amber (A) bias, or 1. Standard white balance, 2. Magenta (M) bias, 3. Green (G) bias. 0 During WB bracketing, the maximum burst for continuous shooting will be lower and the number of possible shots will also decrease to one-third the normal number. Also, the white balance icon will blink on the LCD panel. You can also set white balance correction and AEB together with white balance bracketing. If you set AEB in combination with white balance bracketing, a total of nine images will be recorded for a single shot.

Finetuning White Balance settings

Picture Styles Shift Bkt

As yet another alternative for manipulating colors, your Rebel XS 1000D enables you to tweak white balancing in a way that shifts all colors toward a particular part of the color spectrum. The end result is similar to applying a traditional color filter to your lens. To access this option, called White Balance Correction, take these steps You can take advantage of White Balance Correction only in these modes. Figure 6-21 White Balance Correction offers one more way to control colors. The screen contains a grid that is oriented around two main color pairs green and magenta, represented by the G and M labels, and blue and amber, represented by B and A. The little white square indicates the current amount of white balance correction, or shift. When the square is dead center in the grid, as in the figure, no shift is applied. If you're familiar with traditional lens filters, you may know that the density of a filter, which determines the degree of color correction it provides, is measured...

Improving autofocus accuracy and performance

Autofocus speed depends on factors including the size and design of the lens, the speed of the lens-focusing motor, the speed of the AF sensor in the camera, the amount of light in the scene, and the level of subject contrast. Given these variables, it's helpful to know how to get the speediest and sharpest focusing. Some tips for improving overall AF performance include Light. In low-light scenes, AF performance depends on the lens speed and design. Provided that there is enough light for the lens to focus without an AF assist beam, lenses with a rear-focus optical design, such as the EF 85mm f 1.8 USM, focus faster than lenses that move their entire optical system, such as the EF 85mm f 1.2L II USM. Regardless of the lens, the lower the light, the longer it takes to focus. Low-contrast subjects and or subjects in lowlight slow down focusing speed and can cause autofocus failure. With a passive autofocus system, autofocusing depends on the sensitivity of the AF sensor. Thus,...

Autofocusing in Live View Mode

Chapter 4 covers the basics of shooting in Live View mode, which enables you to compose your shots by using the camera monitor instead of the viewfinder. As I mention in that discussion, using this photography mode on a digital SLR isn't as simple as it is on a compact point-and-shoot model because of the complexities of SLR design. On the Rebel XS 1000D, shooting in Live View mode requires some tradeoffs, such as not being able to use certain exposure features or any of the fully automatic exposure modes (Full Auto, Portrait, and so on). You can use autofocusing in Live View mode, however. In fact, you have your choice of two autofocusing methods Quick mode and Live mode. (Hint Quick mode is usually the best option.) The next three sections explain the art of autofocusing in Live View mode. Before you move on to those sections, though, note the following limitations Continuous autofocusing isn't possible. You can set the AF mode to AI Servo, but even if you do, the camera behaves as...

Setting a white balance shift

Similar to white balance autobracketing, you can manually set the color bias of images to a single setting by using white balance shift. The color can be biased toward blue (B), amber (A), magenta (M), or green (G) in up to nine levels measured as mireds, or densities. Each level of color-correction you set is equivalent to 5 mireds of a color-temperature conversion filter. When you set a color shift or bias, it's used for all images until you change the setting. The white balance shift technique is handy when you know that a particular lighting needs correction, such as cooling down an extremely warm tungsten light source, or in the same way that you'd use a color-correction filter with a film camera for warming up or cooling down outdoor and indoor light. To set white balance shift, follow these steps

Using Aperture Priority Av Mode To Isolate Your Subject

One of the benefits of working in Tv mode with fast shutter speeds is that, more often than not, you will be shooting with the largest aperture available on your lens. Shooting with a large aperture allows you to use faster shutter speeds, but it also narrows your depth of field. Let's look at how to use depth of field to bring focus to your subject. In the previous section, I told you that you should use Tv mode for getting those really fast shutter speeds to stop action. Generally speaking, Tv mode will be the mode you most often use for shooting sports and other action, but there will be times when you want to ensure that you are getting the narrowest depth of field possible in your image. The way to do this is by using Aperture Priority mode. So how do you know when you should use Av mode as opposed to Tv mode It's not a simple answer, but your LCD screen can help you make this determination. The best scenario for using Av mode is a brightly lit scene where maximum apertures will...

Using Aperture Priority Mode

Preteen Model

If you took a poll of portrait photographers to see which shooting mode was most often used for portraits, the answer would certainly be Aperture Priority (Av) mode. Selecting the right aperture is important for placing the most critically sharp area of the photo on your subject, while simultaneously blurring all of the distracting background clutter (Figure 6.1). Not only will a large aperture give the narrowest depth of field, it will also allow you to shoot in lower light levels at lower ISO settings. This isn't to say that you have to use the largest aperture on your lens. A good place to begin is f 5.6. This will give you enough depth of field to keep the entire face in focus, while providing enough blur to eliminate distractions in the background. This isn't a hard-and-fast setting it's just a good, all-around number to start with. Your aperture might change depending on the focal length of the lens you are using and on the amount of blur that you want for your foreground and...

Selecting A White Balance

This probably seems like a no-brainer. If it's sunny, select Daylight. If it's overcast, choose the Shade or Cloudy setting. Those choices wouldn't be wrong for those circumstances, but why limit yourself Sometimes you can change the mood of the photo by selecting a white balance that doesn't quite fit the light for the scene that you are shooting. Figure 7.8 is an example of a correct white balance. It was late afternoon and the sun was starting to move low in the sky, giving everything that warm afternoon glow. The white balance for this image was set to Daylight. But what if I want to make the scene look like it was shot in the early morning hours Simple I just change the white balance to Fluorescent, which is a much cooler setting (Figure 7.9). You can select the most appropriate white balance for your shooting conditions in a couple of ways. The first is to just take a shot, review it on the LCD, and keep the one you like. Of course, you would need to take one for each white...

Use White Balance Auto Bracketing

Given the range of indoor tungsten, fluorescent, and other types of lights that are available, the preset White Balance options may or may not be spot-on accurate. Alternately, you may prefer a bit more of a green or blue bias to the overall image colors. With the 40D, you can use White Balance Auto Bracketing to get a set of three images each with + - 3 levels in 1-step increments. White balance bracketing is handy when you don't know which bias will give the most pleasing color, or when you don't have time to set a manual white balance bias. The bracketed sequence gives you a set of three images from which to choose the most visually pleasing color. If you're shooting JPEG capture in Creative Zone modes and use the Standard, Portrait, or Landscape Picture Styles, bracketing can be a good choice to reduce color-correction time on the computer. White balance bracketing also reduces the maximum burst by one-third. To set white balance bracketing, follow these steps 3.9 This image was...

Setting a custom white balance

Setting a custom white balance is an option that produces very accurate color because the white balance is set precisely for the light in the scene. To use this option, you photograph a white or gray card, select the image in the camera, and then the camera imports the color data and uses it to set the color temperature for images. This approach is effective when you're shooting a series of shots in scenes where the light doesn't change. 3.8 This image was taken using the Flash White Balance setting. 3.9 This image was taken using the Automatic White Balance (AEB) setting. But if the light changes, you have to repeat the process to set a new custom white balance or switch to a preset white balance. Certainly for JPEG capture, this is an accurate technique that I highly recommend. For RAW capture, this and other techniques work well. Note Cray cards are specifically designed to render accurate color by providing a neutral white balance reference point that is later used during image...

Set a custom white balance

Imagenes Para Cuadros Flores

Mixed-light scenes, such as tungsten and daylight, can wreak havoc on getting accurate or visually pleasing image color. Two options work well to get neutral color quickly in mixed lighting scenes. If you're shooting RAW capture, one option is to shoot a gray or white card as described in the earlier sidebar. The second option is to set a custom white balance. Setting a custom white balance balances colors for the specific light or combination of light types in the scene. A custom white balance is relatively easy to set, and it's an excellent way to ensure accurate color. 3.10 This image was captured using the Automatic White Balance setting. The scene was lit by fluorescent lights and daylight coming in from windows to the left of the scene. Exposure ISO 400, f 2.8, 1 200 second. Tip Because I shoot RAW capture, I alternate between setting a custom white balance and shooting a white card so that I can color balance groups of images during RAW conversion. Both techniques work in the...

Solving autofocus problems

When you shoot in the fully automatic modes, the camera typically focuses on the closest object. If the camera insists on selecting an autofocus point that isn't appropriate for your subject, the easiest solution is to switch to manual focusing and be done with it. Chapter 1 shows you how. Or you can use the advanced exposure modes, which enable you to select a specific autofocus point. Chapter 6 explains that option plus a few other tips for getting good autofocus results. Shooting moving subjects If the focus indicator doesn't light but you hear a continuous series of beeps, the camera's telling you that it detected motion in the scene. To accommodate that motion, it shifts to an autofocusing mode called AI Servo. (The AI stands for artificial intelligence.) In this mode, the camera focuses continually after you press the shutter button halfway. As long as you keep the subject within one of the autofocus points, focus should be correct. See Chapter 6 for more tips about this and...

White Balance Shift and Bracketing

Amber Blue Magenta Green

White balance bracketing can be performed in any JPEG-only mode (you can't use RAW or RAW+JPEG). This form of bracketing is similar to exposure bracketing, but with the added dimension of hue. When you select WB SHIFT BKT, a screen like the one shown in Figure 3.10 appears. First, you turn the Main Dial to set the range of the shift in either the Green-Magenta dimension (turn the dial to the left to change the separation of the three dots representing the separate exposures), or in the Blue-Yellow Amber dimension by turning the Main Dial to the right. Use the cross keys to move the bracket set around within the color space, and outside the Green-Magenta or Blue-Yellow Amber axes. Use the cross keys only after you've accumulated some experience in shifting around the white balance manually. In most cases, it's fairly easy to determine whether you want your image to be more green, magenta, blue, or yellow.

Creating a custom white balance setting

If none of the preset white balance options produces the right amount of color correction, you can create your own custom setting. To use this technique, you need a piece of card stock that's either neutral gray or absolute white not eggshell white, sand white, or any other close-but-not perfect white. (You can buy reference cards made just for this purpose in many camera stores for under 20.) In other words, make sure that at least the center autofocus point and the six surrounding points fall over the reference card. The camera will use this picture to establish your custom white balance setting. Figure 6-19 You can create a custom white balance setting through Shooting Menu 2. Figure 6-19 You can create a custom white balance setting through Shooting Menu 2. You see the message shown on the left in Figure 6-20, asking you to confirm that you want the camera to use the image to create the custom White Balance setting. Figure 6-20 This message indicates that your White Balance...

Set a White Balance Shift

Similar to white balance bracketing, you can manually set the color bias of images to a single bias setting by using White Balance Shift. The color can be biased toward blue (B), amber (A), magenta (M), or green (G) in up to nine levels measured as mireds, or densities. Each level of color correction that you set is equivalent to five mireds of a color-temperature conversion filter. When you set a color shift or bias, it is used for all images until you change the setting. 3.12 This image was taken in tungsten light using Tungsten White Balance. Exposure ISO 100, f 7.1, 1 2 sec. 3.13 This is the same image shifting the white balance toward magenta and blue. This shift was B5, M6 and represents much more accurate color of the scene. The White Balance Shift technique is handy when you know that particular light needs correction such as cooling down a tungsten light source or in the same way that you would use a color-correction filter. Manipulating the White Balance Shift and bracketing...

Changing the AF autofocus mode

Your camera offers three different autofocusing schemes, which you select through a control called AF mode. The three choices work like so For AI Servo to work properly, you must reframe as needed to keep your subject under the active autofocus point if you're working in Manual AF Point Selection mode. If the camera is set to Automatic AF Point Selection, keep the subject within the diamond-shape area covered by the nine autofocus points. (The preceding section explains these two modes.) 1 AI Focus This mode automatically switches the camera from One-Shot to AI Servo as needed. When you first press the shutter button halfway, focus is locked on the active autofocus point (or points), as usual in One-Shot mode. But if the subject moves, the camera shifts into AI Servo mode and adjusts focus as it thinks is warranted. i Sports mode always uses AI Servo autofocus.

Press the WB button on the back of the camera The White balance screen appears

Press the left or right cross key to select a white balance setting. The white balance settings are shown with text and icons that represent different types of lights. The white balance option you set remains in effect until you change it. For example, if you're taking a portrait, ask the subject to hold the gray card under or beside his or her face for the first shot, then continue shooting without the card in the scene. When you begin converting the RAW images on the computer, open the picture that you took with the card. Click the card with the white balance tool to correct the color, and then click Done to save the corrected white balance settings. If you're using a RAW conversion program such as Adobe Camera Raw or Canon's Digital Photo Professional, you can copy the white balance settings from the image you just color balanced, select all the images shot under the same light, and then paste the white balance settings to them. In a few seconds, you can color balance 10, 20, 50,...

Rotate the dioptric adjustment knob until the autofocus points appear to be in focus

Don't worry about focusing the actual picture now just pay attention to the autofocus points. If your eyesight is such that you can't get the autofocus points to appear sharp by using the dioptric adjustment control, you can buy an additional eyepiece adapter. This accessory, which you pop onto the eyepiece, just enables further adjustment of the viewfinder display. Prices range from about 15-30 depending on the magnification you need. Look for an adapter called an E-series dioptric adjustment lens.

Selecting an autofocus point

Where The Button Rebel

When you shoot in any of the fully automatic exposure modes (Full Auto, Portrait, Landscape, and so on) as well as in A-DEP mode, all seven of your camera's autofocus points are active. That means that the camera's autofocus-ing system looks at all the points when trying to establish focus. Typically, the camera sets focus on the point that falls over the object closest to the lens. If that focusing decision doesn't suit your needs, you have two options Set the camera to P, Tv, Av, or M exposure mode. In those modes, you can tell the camera to base focus on a specific autofocus point. Chapter 1 explains how to adjust focus manually. If you want to use autofocus-ing and specify an autofocus point, the following steps spell out the process. vrtHBE These steps assume that you are not shooting in Live View mode. I explain the intricacies of Live View autofocusing a little later in this chapter, in the section cleverly named Autofocusing in Live View Mode. However, some of the autofocusing...

Prime lens disadvantages

Most prime lenses are lightweight, but you need more of them to have lenses that run the full focal-length range. Prime lenses also limit the options for some on-the-fly composition changes that are possible with zoom lenses. 8.6 Although zoom lenses are versatile, single focal-length lenses are often smaller and lighter. The Canon EF 50mm f 1.4 lens is one of the lightest and still most versatile lenses in Canon's lineup.

White Balance Symbols

How Use Shift Bkt Canon 550d

Figure 6-23 The + - symbol lets you know that white balance shift is being applied. until you change it. And the correction is applied no matter what White Balance setting you choose. So make it a point to check the monitor or viewfinder before your next shoot otherwise, you may forget to adjust the white balance for the current light. 6. To cancel White Balance Correction, repeat Steps 1-3, set the marker back to the center of the grid, and press Set. As an alternative, you can press the DISP button after you get to the grid display. However, doing so also cancels white balance bracketing, a feature explained in the next section. After you press DISP, be sure to press Set to lock in your decision. Many film-photography enthusiasts place colored filters on their lenses to either warm or cool their images. Portrait photographers, for example, often add a warming filter to give skin tones a healthy, golden glow. You can mimic the effects of such filters by simply fine-tuning your...

Automatic Sensor Cleaning mode

The Canon Automatic Sensor Cleaning mode does a good job each and every time you turn your 5D Mark II on or off. In Power-up, Power-down, or Manual settings, the Self-Cleaning Sensor Unit uses high-frequency vibrations to shake off lingering dust, and for the most part, this works well. There's some concern that this might also just move the dust around in the chamber, only to land somewhere else. It's a good start, and as photographers know, locations are difficult enough on gear, none more so than keeping your sensors clean. It's either that or consider spending way too much time in Photoshop with the Clone and Patch tools to delete the spots.

Correcting colors with white balance

White Balance Light White Statues

When photographers talk about warm light and cool light, though, they aren't referring to the position on the Kelvin scale or at least not in the way we usually think of temperatures, with a higher number meaning hotter. Instead, the terms describe the visual appearance of the light. Warm light, produced by candles and incandescent lights, falls in the red-yellow spectrum you see at the bottom of the Kelvin scale in Figure 6-16 cool light, in the blue-green spectrum, appears at the top of the scale. The good news is that, as with your eyes, your camera's Automatic White Balance setting, which carries the label AWB, tackles this process remarkably well in most situations, which means that you can usually ignore it and concentrate on other aspects of your picture. But in some lighting conditions, the AWB adjustment doesn't quite do the trick, resulting in an unwanted color cast like the one you see in the left image in Figure 6-17. Figure 6-17 Multiple light sources resulted in a yellow...

Using White Balance and Picture Styles

In terms of color, the white balance options on the XSi 450D are comprehensive and dependable, whether you prefer using the preset white balance settings, setting the color temperature yourself, or setting a custom white balance. In this chapter, you learn how each option is useful in different shooting scenarios as well as some widely used techniques for ensuring accurate color.

Biasing Your White Balance

Dci Abobergb

White balance bracketing is confusing enough, until you start adding some bias to the equation. Fortunately, the concept is easy to understand with a little explanation. As I noted above, white balance bracketing usually proceeds along a single axis, either the blue amber (horizontal) or green magenta (vertical axis). If you stick to those directions, the bracketing dot indicators will confine themselves to the thicker center lines that bisect the grid shown in Figure 3.19. You can move the bracket dots along either center line with the left right (for horizontal movement) or up down (for vertical movement) cross keys to give your bracketing an unambiguous bias towards the blue, amber, green, or magenta tones.

White Balance Correction

You can correct the white balance that has been set. This adjustment will have the same effect as using a commercially-available color temperature conversion filter or color compensating filter. Each color can be corrected to one of nine levels. White Balance Correction White balance Set the white balance correction. During the white balance correction, will be displayed in the viewfinder and on the LCD panel. Ii White Balance Correction * White Balance Auto Bracketing With just one shot, three images having a different color tone can be recorded simultaneously. Based on the color temperature of the current white balance setting, the image will be bracketed with a blue amber bias or magenta green bias. This is called white balance bracketing (WB-BKT). White balance bracketing is possible up to 3 levels in single-level increments. Set the white balance bracketing amount. In step 2 for white balance correction, when you turn the dial, the mark on the screen will change to (3 points)....

White Balance Library

Shoot a selection of blank-card images under a variety of lighting conditions on a spare memory 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 amber (yellow) 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. White balance bracketing is like white balance shifting, only the bracketed changes occur along the bias axis you specify. The three squares in Figure 3.20 show that the

Set White Balance Correction

Similar to White Balance Auto Bracketing, you can also manually set the color bias of images to a single bias setting by using White Balance Correction. The color can be biased toward blue (B), amber (A), magenta (M), or green (G) in + - nine levels measured as mireds, or densities. Each level of color correction that you set is equivalent to five mireds of a color-temperature conversion filter. When you set a color correction or bias, it is used for all images until you 3.12 This image was taken in tungsten light with a White Balance Correction of Blue 3 Magenta 1 to neutralize the yellow color but retain a bit of the warmth of the light. Exposure ISO 100, f 2.8, 1 50 second with +0.33 Exposure Compensation. The White Balance Correction technique is much like using a color-correction filter for specific light sources. To set White Balance Correction, follow these steps

Changing the white balance setting

Canon White Balance Symbols

You can tweak white balance only in these advanced exposure modes. You see the White Balance screen, shown on the left in Figure 6-18. White Balance symbol Figure 6-18 Press the WB button to access white balance options. Figure 6-18 Press the WB button to access white balance options. If the scene is lit by several sources, choose the setting that corresponds to the strongest one. The Tungsten Light setting is usually best for regular incandescent household bulbs, by the way. And with the Custom option, you can define your own white balance setting see the next section for details. You can confirm the current White Balance setting by displaying the Shooting Settings screen. The symbol representing the setting appears in the position labeled in the right image in Figure 6-18. (You also can display the symbol during Live View shooting see Chapter 4 to find out how.) Table 6-1 offers a reminder of what setting each symbol represents. Your selected white balance setting remains in force...

What does white balance do

This question is best answered with a comparison to human vision. The human eye automatically adjusts to the changing colors (temperatures) of light. We see a person's white shirt as white in tungsten, fluorescent, or daylight light in other words, regardless of the type of light in which you view a white object, it appears to be white. Digital image sensors, however, aren't as adaptable. To distinguish white in different types of light, you must set the white balance to an approximate or specific light temperature. Light temperature is measured on the Kelvin scale and is expressed in degrees Kelvin (K). Once you set the white balance to specify the light temperature, the camera then renders white as white. On the 5D Mark II, a preset white balance option covers a range of light temperatures, which is more an approximation than a specific setting. A custom white balance is a specific light temperature that renders neutral color in the image. The white balance options and their...

Miami White Balance Correction

You can correct the white balance that has been set. This adjustment will have the same effect as using a commercially-available color temperature conversion filter or color compensating filter. Each color can be corrected to one of nine levels. White Balance Correction 7 H i Set the white balance correction. To cancel the white balance correction, move the to the center so that the SHIFT is 0, 0 . During the white balance correction, will be displayed in the viewfinder and on the rear LCD panel. White Balance Auto Bracketing With just one shot, three images having a different color tone can be recorded simultaneously. Based on the color temperature of the current white balance setting, the image will be bracketed with a blue amber bias or magenta green bias. This is called white balance bracketing (WB-BKT). White balance bracketing is possible up to 3 levels in single-level increments. Set the white balance bracketing amount. In step 2 for white balance correction, when you turn the...

Prime versus Zoom Lenses

Canon Mark 50mm

In the film days, prime lenses were the way to go but may have lost some appeal with today's digital shooters. Prime lenses or lenses that have a fixed focal length, such as the venerable EF 50mm f 1.4 were once the staple in photojournalists' and other professionals' camera bags. Classic prime lenses in the Canon lineup include the EF 15mm f 2.8 Fisheye, a small lens weighing in at only 11.6 oz that provides a whopping 180 view. Other prime lenses include the EF 24mm f 1.4L USM, the EF 50mm f 1.4 USM, the EF 50mm f 1.2L USM, the EF 100mm f 2.8 Macro USM, and the EF 135mm f 2L USM. These lenses offer a wide range of choices for photographers who prefer prime lenses or choose to use them for special applications.

Batch Processing with Adobe Camera

Medications Used For Copd

To convert a number of RAW files efficiently with Photoshop CSi you must create your own Photoshop action. This action should open a file in ACR, apply all settings for the ACR workflow (selecting output Resolution, Depth, color Space, Size, ) start the conversion, make the setting for the target format, and finally save the file using the appropriate (preferred) image mode. Important in file saving is selecting an output file format and various settings for that specific file format. (The following is brief description how to create such an action. For more details, please refer to the Photoshop Help system). To create an action for batch processing RAW files, first create a new action SET by clicking . Enter a descriptive name for this action set Open a RAW file (File rOpen). It doesn't matter which file you open because its name will later on be replaced by the source selection). When Adobe Camera Raw appears, set all Work-flow Options you want to use for your batch conversion....

Knowing Your Aperture Sweet Spot

Many people assume if they want a shallow depth of field, they should just choose the widest aperture (smallest number) that they can, and if they want a deep depth of field, they should choose the smallest aperture (largest number). You can use Exposure Compensation with either shutter or aperture priority mode. The camera will never alter the parameter you've selected, but will instead change the other exposure parameter, as well as ISO, to achieve the compensation you want. If it can't get a proper exposure, it will flash the non-priority value to indicate that your shot will be misexposed.

Using Wide Angle Lenses

A wide-angle lens is a versatile lens for capturing subjects ranging from large groups of people to sweeping landscapes, as well as for taking pictures in places where space is cramped. The distinguishing characteristic of wide-angle lenses is the range of the angle of view. Within the Canon lens line-up, you can choose angles of view from the 15mm Fisheye lens, which offers a 180-degree angle of view, to the 35mm lens, which offers a 63-degree angle of view, not counting the 1.6x focal length multiplication factor. The quality of the out-of-focus area in a wide-aperture image is called bokeh, originally from the Japanese word boke, pronounced bo-keh, which means fuzzy. In photography, bokeh reflects the shape and number of diaphragm blades in the lens, and that determines, in part, the way that out-of-focus point of lights are rendered in the image. Bokeh is also a result of spherical aberration that affects how the light is collected. Although subject to controversy, photographers...

Your Autofocus Mode Options

Choosing the right autofocus mode and the way in which focus points are selected is your key to success. Using the wrong mode for a particular type of photography can lead to a series of pictures that are all sharply focused on the wrong subject. When I first started shooting sports with an autofocus SLR (back in the film camera days), I covered one game alternating between shots of base runners and outfielders with pictures of a promising young pitcher, all from a position next to the third base dugout. The base runner and outfielder photos were great, because their backgrounds didn't distract the autofocus mechanism. But all my photos of the pitcher had the focus tightly zeroed in on the fans in the stands behind him. Because I was shooting film instead of a digital camera, I didn't know about my gaffe until the film was developed. A simple change, such as locking in focus or focus zone manually, or even manually focusing, would have done the trick. To save battery power, your 40D...

Picture Styles White Balance and

Picture styles and white balance are functions that are performed by the camera during the image-processing steps that happen after you take a shot. Because raw files have no processing applied to them, picture styles and white balance choice are less significant. However, the white balance setting you choose is stored in the image's metadata. Later, your raw converter will read this setting and use it as the default white balance for that image. Because white balance in a raw file is completely editable after you shoot, you're free to change it any way you want. When shooting raw, the white balance you set on the camera is simply a way to have a more convenient postproduction workflow. If you get white balance right in-camera, it will save you a couple of editing steps later. (As opposed to JPEG, where if you get white balance wrong, there's probably no way to correct it later.) The picture style you choose is also embedded in the raw file. However, the only raw converter that reads...

B W with Capture One DSLR

We recall that Capture One DSLR (Capture One) allows displaying The solution is to create a new profile converting to B & W. This can be done with the profile editor of Capture One DSLR Pro by desaturating colors. Unfortunately, Capture One only allows desaturating by 30 in a single step. We needed to repeat this process a couple of times to come up with a first B & W profile which we share with our readers (see 6 ). 1 Figure 12-9 You may select a B&W profile as the default profile for your camera in Capture One DSLR.

Disabling the flash but enabling the flashs autofocusassist beam

In some low-light scenes, you may want to shoot using ambient light without using the flash. However, the camera may have trouble establishing good focus due to the low light. The autofocus-assist (AF-assist) beam from the flash is invaluable in these situations to help the camera establish focus. In these kinds of scenes, you can disable the flash firing and still use the flash's AF-assist beam to help the camera to establish focus.

Approaches to using various white balance options

Because the XSi 450D offers two basic approaches to setting white balance, you may find that you use different approaches in different shooting scenarios. Following are examples for using the different approaches Using preset white balance settings. For outdoor shooting, especially during clearly defined lighting situations such as bright daylight, an overcast sky, or shooting indoors in fluorescent or tungsten light, the preset white balance settings perform nicely. In general, the preset white balance settings have good color and hue accuracy and good saturation. However, watch the image histograms for oversaturation in any of the color channels particularly when using the Standard Picture Style. You may want to change the parameters of the Picture Style or use another Picture Style (Picture Styles are detailed later in this chapter.)

Understanding and Setting the White Balance

If you're out shooting images instead of behind a computer color-correcting images, then getting a handle on white balance is important. Different shooting assignments, the type and consistency of light, and the amount of time you have to set up the camera before and during a shoot are some of the factors that influence which white balance approach you may want to use. On the 5D Mark II, white balance options give you a variety of ways to ensure color that accurately reflects the light in the scene. You can set the white balance by choosing one of the seven preset options, setting a specific color temperature, or setting a custom white balance specific to the scene. If you shoot JPEG images, the white balance is determined by the setting you choose. If you shoot RAW images, the white balance setting is only noted, and you can set or adjust the white balance in a RAW conversion program after the image is captured.

Bracketing shots with white balance

Chapter 5 introduces you to your camera's automatic exposure bracketing, which enables you to easily record the same image at three different exposure settings. Similarly, you can take advantage of automatic white balance bracketing. With this feature, the camera records the same image three times, using a slightly different white balance setting for each. 1 You can't use white balance bracketing if you set the camera's Quality setting to either Raw or Raw+Large Fine. And frankly, there isn't any need to do so in Raw mode because you can precisely tune colors when you process the Raw files. Chapter 8 has details on Raw processing. 1 Because the camera records three images, white balance bracketing reduces the maximum capture speed that is possible when you use the Continuous shooting mode. See Chapter 2 for more about Continuous mode. Of course, recording three images instead of one also eats up more space on your memory card. 1 The white balance bracketing feature is designed around...

Using Tiltand Shift Lenses

Referred to as TS-E, tilt-and-shift lenses allow you to alter the angle of the plane of focus between the lens and sensor plane to provide a broad depth of field even at wide Tilt movements allow you to bring an entire scene into focus, even at maximum apertures. By tilting the lens barrel, you can adjust the lens so that the plane of focus is uniform on the focal plane, thus changing the normally perpendicular relationship between the lens's optical axis and the camera's focal plane. Alternately, reversing the tilt has the opposite effect of greatly reducing the range of focusing. Shift movements avoid the trapezoidal effect that results from using wide-angle lenses pointed up to take a picture of a building, for example. Keeping the camera so that the 8.12 IS provided a level of insurance for sharpness in this scene where I handheld an EF 100-400mm f 5.6L IS USM lens zoomed to 100mm. Exposure ISO 200, f 8, 1 60 second.

Understanding Canon Lenses

The 5D Mark II Is compatible with the Canon EF mount lenses but not with the EF-S lenses designed for the cropped sensor cameras from Canon. The 5D Mark II has a full-frame sensor that's equivalent to a 35mm film frame, 24 x 36mm, or simply a 2 3 ratio. There's no focal-length multiplication factor, so wide-angle lenses are truly wide angle, and telephoto lenses are true to their focal length just as they would be on a 35mm film camera. 6.1 Although zoom lenses are versatile, prime lenses are often smaller and lighter. The Canon EF 50mm f 1.4 lens, shown in the center, is one of the lightest and sharpest lenses in the Canon lineup. This image shows the size comparison of the 50mm with the EF 70-200mm f 2.8L IS USM lens (left) and the EF 16-35mm f 2.8L USM lens (right). 6.1 Although zoom lenses are versatile, prime lenses are often smaller and lighter. The Canon EF 50mm f 1.4 lens, shown in the center, is one of the lightest and sharpest lenses in the Canon lineup. This image shows the...

What are the RAW file advantages

To better understand what these magic RAW file formats are, you must understand how the majority of today's digital cameras work. All new digital cameras capture color photos, right Well, you ultimately get color prints, yet most modern digital cameras use sensors that only record grayscale values (the Foveon X3 sensor, digital scanning backs and multi-shot digital backs are exceptions). tj The in-camera RAW converter can only use limited computing The in-camera set or estimated white balance (WB) is applied to the photo within the camera. The same is true for color processing, tonal corrections, and in camera sharpening. This limits the post-processing capabilities, because a previously corrected image must be corrected again. The more processing done on a photo (especially 8 bit) the more it can degrade. Next we explain the different RAW files formats. The formats store only RAW data (plus additional metadata to describe properties of the RAW data in EXIF section of the file - the...

Using Tilt Shift Lenses

Referred to as TS-E lenses, tilt shift lenses enable you to alter the angle of the plane of focus between the lens and sensor plane to provide a broad depth of field even at wide apertures and to correct or alter perspective at almost any angle. TS-E lenses correct perspective distortion and control focusing range and are a staple in architectural photography. Tilt movements allow you to bring an entire scene into focus, even at maximum apertures. By tilting the lens barrel, you can adjust the lens so that the plane of focus is uniform, thus changing the normally perpendicular relationship between the lens's optical axis and the camera's focal plane. Alternately, reversing the tilt has the opposite effect, greatly reducing the range of focusing. Shift movements avoid the trapezoidal effect that results from using wide-angle lenses and pointing the camera up to take a picture of a building, for example. Keeping the camera's focal plane parallel to the surface of a wall and then...

Processing Your Raw Files

When you're done shooting, copy your raw files to your computer using whatever technique you normally use for JPEGs. If you're using a version of Photoshop or Photoshop Elements, Aperture, Lightroom, or iPhoto, then you'll be able to work with your images just as if they were JPEGs. The browser functions built into these applications will be able to read the files (assuming they've been updated with T1i support) and display thumbnails. iPhoto, Aperture, and Lightroom let you use the same editing tools that you use for JPEG files when you edit a raw file. However, some of these tools, such as white balance, will have far more latitude on a raw file than they do on a JPEG. These editors will also provide additional tools when working with raw files, such as highlight recovery tools. Consult the documentation that came with your image editor to learn more about editing raw files. The Digital Photo Professional application that's bundled with your T1i is a full-powered raw converter....

Zoom lens disadvantages

Although zoom lenses allow you to carry around fewer lenses, they tend to be heavier than their single focal-length counterparts. Mid-priced, fixed-aperture zoom lenses also tend to be slow, meaning that with maximum apertures of only f 4.5 or f 5.6, they call for slower shutter speeds that, in turn, limit your ability to get sharp images when handholding the camera, provided that the lens does not have image stabilization (IS), a technology that is detailed later in this chapter. Some zoom lenses have variable apertures. A variable-aperture lens of f 4.5 to f 5.6 means that at the widest focal length, the maximum aperture is f 4.5 and at the telephoto end of the focal range, the maximum aperture is f 5.6. In practical terms, this limits the versatility of the lens at the longest focal length for shooting in all but bright light unless you set More expensive zoom lenses offer a fixed and fast maximum aperture, meaning that with maximum apertures of f 2.8, they allow faster shutter...

Know How To Override Autofocus

As good as the Canon autofocus system is, there are times when it just isn't doing the job for you. Many times this has to do with how you would like to compose a scene and where the actual point of focus should be. This can be especially true when you are using the camera on a tripod, where you can't pre-focus and then recompose before shooting (as discussed earlier). To take care of this problem, you will need to manually focus the lens. I am only going to cover the kit lens that came with my Canon T2i (the EF-S 18-55mm IS), so if you have purchased a different lens be sure to check the accompanying instruction manual for the lens.

Choosing a white balance approach

The 5D Mark II offers three basic approaches to setting white balance. This gives you flexibility to use different approaches in different shooting scenarios. Some examples that provide a starting point for using each of the three methods include Using a preset white balance setting. For outdoor shooting, especially in clearly defined lighting conditions such as bright daylight, an overcast sky, or in fluorescent light using a preset white balance setting produces accurate color. The exception is shooting in tungsten light and using the Auto White Balance (AWB) option, which I feel produces less-than-ideal color reproduction. Otherwise, the preset white balance settings have very good color, hue accuracy, and acceptable color saturation. Setting a specific color temperature. With this option, you set the specific light temperature manually. This is the best approach to use for studio shooting when you know the temperature of your strobes. If you happen to own a color temperature...

Adjusting White Balance

I showed you how to adjust white balance in Chapter 3, using the T2i's built-in presets, white balance shift capabilities, and white balance bracketing (there's more on bracketing in Chapter 4, too). In most cases, however, the Rebel T2i will do a good job of calculating white balance for you, so Auto can be used as your choice most of the time. Use the preset values or set a custom white balance that matches the current shooting conditions when you need to. The only really problematic light sources are likely to be fluorescents. Vendors, such as GE and Sylvania, may actually provide a figure known as the color rendering index (or CRI), which is a measure of how accurately a particular light source represents standard colors, using a scale of 0 (some sodium-vapor lamps) to 100 (daylight and most incandescent lamps). Daylight fluorescents and deluxe cool white fluorescents might have a CRI of about 79 to 95, which is perfectly acceptable for most photographic applications. Warm white...

White Balance Shift Bracket

Similar to Auto Exposure Bracketing, White Balance Shift Bracket can produce from one to three color variations from a single exposure. It's an interesting feature because you don't need to shoot a bracket set, which means that if you routinely like your images a little warmer or cooler, or a little more yellow or green, you can set the screen where you wish. From the moment the feature is engaged, all of your images will exhibit the color change, regardless of which white balance mode you are in, including Custom White Balance.

Relationship between SLR Camera Structure and Lens

Slr Camera Strcture

What does the world look like through a lens Construction and characteristics of the SLR camera. The single-lens reflex (SLR) camera construction makes it possible to use a wide variety of interchangeable lenses to build the optimum system for photography. This is the attraction of the SLR camera. The major characteristic of this camera is the viewfinder system. Because the image that actually reaches the focal plane is displayed in the viewfinder, the image that will be captured digitally or on film can be checked in advance. image before it is seen through the eyepiece. When the shutter button is pressed, the mirror rises up and the shutter opens to expose the film or image sensor. When the shutter closes, the mirror returns to its original position (Figure-1). This makes it possible to accurately frame images without being affected by parallax, a problem with compact cameras, which have different light paths for the shooting lens and the viewfinder. The impression given by a...

Set The Correct White Balance

White balance correction is the process of rendering accurate colors in your final image. Most people don't even notice that light has different color characteristics because the human eye automatically adjusts to different color temperatures, so quickly, in fact, that everything looks correct in a matter of milliseconds. When color film ruled the world, photographers would select which film to use depending on what their light source was going to be. The most common film was balanced for daylight, but you could also buy film that was color balanced for tungsten light sources. Most other lighting situations had to be handled by using color filters over the lens. This process was necessary for the photographer's final image to show the correct color balance of a scene. Luckily, you don't need to have a deep understanding of color temperatures to control your camera's white balance. The choices are given to you in terms that are easy to relate to and that will make things pretty simple....

WB Setting the White Balance

White balance (WB) is for making the white areas look white. Normally, the (Auto) setting will obtain the correct white balance. If white balance manually to suit the respective light source. In the Basic Zone modes, will be set automatically. Select the white balance. About White Balance About White Balance You can also use the 2 White balance menu to set the white balance. Custom White Balance Custom white balance enables you to manually set the white balance for a specific light source for better accuracy. White balance You can set any white balance. Import the white balance data. Select the custom white balance. If the exposure obtained in step 1 is way off, a correct white balance might not be obtained. Instead of a white object, an 18 gray card (commercially available) can produce a more accurate white balance. The personal white balance registered with the provided software will be registered under If you do step 3, the data for the registered personal white balance will be...

Looking At The Canon Dslr Lineup

Lining up the Canon dSLR models on a camera store counter creates an impressive array of choices. If you put the lenses of your choice on each camera body, the lineup quickly becomes a photographer's ultimate toy store. Each camera presents a unique opportunity that satisfies the shooting needs, requirements, and credit limit of one or another photographer. This section gives you an overview of Canon's dSLRs, with insights that you're unlikely to learn while browsing at a camera store. In the last year, I've shot with each of these cameras, and I've talked to other photographers who have or are currently shooting with them.

Using Live View To Preview Different White Balance Settings

Use the up down Cross keys to highlight the White Balance icon at the top and then rotate the Main dial to change the white balance. 4. Select the white balance setting that looks most appropriate for your scene, then press the Q button to lock in your change and resume shooting.

Av Aperture Priority AE

If depth of field, or the lack of it, is more important than stopping motion you may wish to use the Av (Aperture value) mode. You may wish to shoot a number of close-up images, like portraits (which makes this similar to the Basic Portrait mode) or to the lens' hyperfocal distance. However you apply it, simply set the camera's aperture to the desired size and fire away. The camera will set the reciprocal shutter speed. Unless you see the shutter speed number blinking in either the viewfinder or on the LCD you will get a good exposure FIG 5.27).

Phase Ones Capture One DSLR Capture

We use Capture One DSLR Pro when working with our Canon 1Ds, 10D and Nikon D1x, D100 and use Capture One Rebel with the Canon 300D. Capture One DSLR is available for Windows and Mac OS. Figure 6-1 Capture One DSLR Figure 6-1 Capture One DSLR Capture One DSLR is what is called a Full Service RAW Converter. This means you can accomplish nearly all operations on your final image inside this tool (one exception is retouching, such as cloning oc and lens & perspective corrections). q Note Capture One DSLR RAW conversion is not based on the Canon or Nikon SDK. It uses its own algorithms utilized on their high-end digital backs for many years. In fact, Capture One DSLR implements a highly-productive workflow o for RAW files it supports. 8 Capture One DSLR deserves a book of its own.

Customizing White Balance

Back in the film days, color films were standardized, or balanced, for a particular color of light. Digital cameras like the EOS 40D use a particular white balance matched to the color of light used to expose your photograph. The right white balance is measured using a scale called color temperature. Color temperatures were assigned by heating a mythical black body radiator and recording the spectrum of light it emitted at a given temperature in degrees Kelvin. So, daylight at noon has a color temperature in the 5,500 to 6,000 degree range. Indoor illumination is around 3,400 degrees. Hotter temperatures produce bluer images (think blue-white hot) while cooler temperatures produce redder images (think of a dull-red glowing ember). Because of human nature, though, bluer images are actually called cool (think wintry day) and redder images are called warm, (think ruddy sunset) even though their color temperatures are reversed. If a photograph is exposed indoors under warm illumination...

RAW files embedded in Photoshop Smart Objects

Overall, we find Smart Objects more helpful for Designers than photographers. But there is one feature that is very powerful for photographers, indeed. You can embed a RAW file into a Smart Object layer. The process is not complicated, but is not particularly obvious. The method we describe was introduced to us by Ben Willmore.

About autofocus points and autofocus modes

The 40D sports a new autofocus (AF) sensor with nine AF points etched in the viewfinder. The selected AF point or points establish the point of sharpest focus in the image. Canon's high-precision AF points are suited for use with fast lenses. These AF points are sensitive to vertical line detection and to horizontal line detection, which is critical to achieving sharp, accurate, fast focus. On the 40D, all nine AF points are cross-type and AF sensitivity is Exposure Value (EV) -0.5 to EV 18 at f 5.6 or better with the center AF point sensitive at f 2.8. Thus horizontal and vertical line detection is enhanced as is the ability to focus on hard-to-focus subjects. Likewise, in all autofocus modes, focus failure is reduced. The 40D offers three autofocus (AF) modes that are designed for different types of subjects still subjects, moving subjects, and subjects that start and stop moving. The three autofocus (AF) modes that you can select in Creative Zone shooting modes are as follows Table...

Exporting RAW files from a Smart Object

Because the Smart Object layer contains the full original RAW file, we can even take the original file back. Select the Smart Object layer that contains your RAW file and use Layer SmartObjects Export Contents We think that Smart Objects allow a seamless integration of RAW files and the needed final tuning in Photoshop.

Using autofocus or manual focus

Before you begin, make sure that you've read the previous sections on setting up the camera Live View functions and Custom Functions so that you get the performance you want. To shoot in Live View using autofocus, follow these steps 1. With the camera set to a Creative Zone mode, set the ISO, aperture, and or shutter speed. Your settings depend on the shooting mode you chose. You can also use AEB, choose a Picture Style, set the white balance, and use 1. With the camera in a Creative Zone mode, set the ISO, aperture, and or shutter speed. Your settings will depend on the shooting mode you chose. You can also use AEB, choose a Picture Style, set the white balance, and use AE Lock in Live View shooting. AE Lock is applied to the full-view exposure.

Flash Sync Speed and Aperture Settings

P (Aperture-priority AE) Av (Aperture-priority AE) When a super telephoto lens or fast, large-aperture lens is attached, the built-in flash coverage might be obstructed. The built-in flash's coverage is effective with lens focal lengths as short as 18mm. Lens focal lengths shorter than 18mm will result in flash shot having a dark periphery. AF flash exposure is always based on the aperture value at the time the shot is taken, and controlled by E-TTL autoflash linked to the active AF point and weighted for the main subject.

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