Canon 24-70mm f/2.8L II vs. 24-70mm f/2.8L

Canon has just announced an updated, improved version of it’s high-quality EF 24-70mm f/2.8L standard zoom, called the EF 24-70mm f/2.8L II USM.  (To understand what all the notions mean, please see my Canon Lens Notations post.)

Some would call this the full frame standard zoom, though as an EF lens it can also be used on non-full-frame cameras such as the 7D, 60D, and T3i/600D.  The difference is that on non-full-frame bodies, it will act more like a 38-112mm focal length lens due to the crop factor of the smaller sensors.

Canon 24-700mm f/2.8L II lens new updated improved
New Canon 24-70mm f/2.8L II USM – (image from Canon USA)

Many, including myself, had hoped for – or even expected – this update to incorporate image stabilization, but this was not included.  The image stabilization would have made it an even tougher decision between the new 24-70 f/2.8L II and the 24-105mm f/4L IS, which offers a similar focal length plus image stabilization, but has a minimum aperture of “only” f/4.0.

Canon states that the lens has been completely redesigned, and in addition to still offering great weather sealing like the original, the same .38m / 1.25 ft. minimum focus distance, and improved durability, it also now “features completely redesigned optics to provide outstanding clarity, image quality and durability. A compact design makes it ideal for carrying on every shoot, and a range of optical enhancements provide improved performance – capturing greater detail across the frame while reducing distortion throughout the entire zoom range, particularly at the maximum 70mm focal length.

With a redesigned optical system that includes two Ultra-low Dispersion (UD) and one Super UD aspheric elements to minimise chromatic aberration and colour blurring, the lens delivers consistently sharp, high-contrast images. Each lens element also features Canon’s optimised Super Spectra coatings to reduce ghosting and flare and ensure excellent colour balance. Additionally, a fluorine coating minimises the amount of dust, dirt and fingerprints that adhere to the front and rear of the lens, helping to maintain superior image quality.”

The original 24-70mm f/2.8L lens included “the use of two different types of aspherical lens elements and a UD (Ultra-low Dispersion) glass element for obtaining sharper image quality.”  (quotes from Canon press releases)

Canon 24-70mm f/2.8L original lens
Original Canon 24-70mm f/2.8L USM – (image from Cburnett, Wikipedia, GFDL license)
PLEASE do not put a cheap Tiffen filter on an L lens – use a high quality multi-coated B+W MRC filter

There are some significant differences in the design of the new lens vs. the older version.  They both have ultrasonic motors for autofocus and full time autofocus (you can override the AF by turning the focus ring without switching to manual focus).  And they both use an external zoom mechanism, meaning the lens extends as you zoom in and out.  However, the original lens extended as you zoomed toward the 24mm wide end, which is “backwards” from a typical zoom lens.  The new version acts as a more typical zoom, extending as you zoom towards the 70mm telephoto end.  They both include a lens hood, though the older hood attached to the main section of the lens and the lens extends inside of the hood, thus working more effectively as a hood throughout the entire focal range from wide to tele.  The hood of the new version attaches to the extending section, and thus is a smaller tulip style lens hood typical of most lenses.  Perhaps the new coatings and lens elements make up for any internal reflections that might have resulted from this less effective hood.  The new lens offers a lock switch for when it is retracted, though L lenses typically zoom so smoothly and tightly that they don’t tend to creep.

The sizes of the lenses are similar, though the new version is slightly shorter and lighter but wider.  Due to the changed design, the new lens boasts a larger 82mm filter size.  And the prices at this point are dramatically different.  As far as the image quality, it is certain that the new 24-70mm is going to demonstrate dramatically improved image quality, especially when paired with the new Canon 5D MkIII (Canon 5D X?) when it comes out, as it is rumored to boast 30+ MP, which is going to require excellent glass to fully take advantage of.

24-70mm f/2.8L
3.3″ x 4.9″
2.1 lbs (950 g)
77mm filter size
$1,269 at B&H
$1,299 on Amazon

24-70mm f/2.8L II
3.5″ x 4.4″
1.77 lbs (805 g)
82mm filter size
$2,299 at B&H available for pre-order, expected in mid-April

Taking Control of, and Possibly Understanding Exposure

Whenever a new photographer wishes to learn about exposure, shooting modes, and working in Manual or Aperture Priority Mode, most photographers recommend the Bryan Peterson book Understanding Exposure.  It has become the go to guide because it offers explanations that no other book seems to cover as well or as thoroughly.  However, many people aren’t the biggest fans of it and wish there was another guide with a slightly different approach – perhaps an easier, less confusing way to present some of the material.

Understanding Exposure has been updated for the current digital era, but it may be better to toss many of the old notions and methods that have been carried over from film, start from scratch, and approach the subject in a practical manner that applies fully to digital SLR cameras – cameras with histograms and instant feedback of the image and the exposure settings via the rear LCD screen, not to mention the ability to head straight to your computer and study and analyze your results and EXIF data.

While I contemplate writing an exposure book for the digital era, I will begin with a quick-start tutorial to exposure and metering with a dSLR:

First, don’t start with M mode yet. Start working in Av or A – aperture priority mode.

Set the camera on Av / A (aperture priority). Go into the menus and turn off Auto Lighting Optimizer and Highlight Tone Priority on a Canon and Active D-Lighting on a Nikon.

Set the ISO to an appropriate setting based on the lighting of the scene.
outdoors in sun: 100
less sun or shade: 200-400
more shade or darker: 800
indoors: 1600-3200

Set your aperture setting to whatever aperture setting you desire based on how much depth of field you want. Want a lot of depth of field with everything in focus from near to far? Set for f/16 or f/22. Want very shallow depth of field with just the subject in focus and cool background blurring? Set for f/2.8, f/4, or f/5.6.

Aim your camera at your subject, press the shutter button halfway, and see what Shutter Speed the camera selected. Is it slower than 1/125? (such as 1/80, 1/30) Then increase your ISO setting to a higher number. If you can’t or don’t want to increase ISO, use a wider aperture setting (a “lower” F number like f/4, f/5.6).

Is your shutter speed now about 1/125 or faster? (for still subjects – use perhaps 1/500 or 1/1000 for moving subjects). Take the photo.

Now, if the exposure is not coming out how you want, use exposure compensation to adjust it and then re-take the photo.  Adjust it to the positive side to make the exposure lighter, and to the negative side to make the exposure darker.

Sound easy? It is! But of course, it all gets more complicated from here. For example, how did the camera determine what the proper exposure was? You can learn more about that, and how to better control the camera’s determination of exposure with Exploring Metering Modes.

And then now that you have the basics, and can move on to learning more about controling your autofocus system, locking focus and exposure – independently, how focal length and distance affect depth of field, composition, white balance, etc, etc!

You can learn all about these settings and functions in my e-book camera guides for Nikon and Canon dSLRs, such as Nikon D5100 Experience and Canon T3i Experience.  Click the image below to see all the available guides and to learn more:

full stop dslr photo photography camera manual guide for dummies canon nikon

 

Canon at CES 2012

You can have a look at the Canon brochure from CES 2012, the 2012 Consumer Electronics Show in Las Vegas. The brochure highlights their new cameras, including the Powershot G1 X, where you can learn about some of its exciting new features such as Intelligent Image Stabilization, which will determine if the camera is taking a hand-held still shot, a macro shot, panning, a movie, on a tripod, etc. Also, the Face ID feature can be used to identify specific faces, which are then given priority when taking the shot.

Have a look at the Canon 2012 CES brochure here (cut and paste the link below to view it):

Canon Powershot G1 X vs. G12

The latest in the Canon Powershot G series, the Powershot G1 X was recently announced, and should be available in February 2012. I wrote a bit about what new features it offers compared to the G12, namely a much larger CMOS sensor and a different lens to go with it. The G1 X is not a replacement to the G12, but rather is a new, even higher-end compact with manual controls, designed for dSLR users who want a very high quality point and shoot for various situations, as well as for dedicated enthusiasts who want the quality and manual control of a dSLR but don’t want the size, weight, and bulk of a dSLR body and lenses. The G1 X should prove to be a very popular camera for many demanding photographers for both everyday and travel use.

Canon g1 x g1x gx1 gx 1 compact asp-c large sensor high end g12
image courtesy of Canon USA

If you are trying to decide between the new G1 X and the older G12, the most important consideration (besides the price difference) is the sensor/ lens/ Digic V processor combo. While not quite as large as the ASP-C sensor of a dSLR like the T3i or 60D, the 18.7mm x 14mm, 14 megapixel sensor of the G1X is six times larger than that of the G12, and thus promises to offer not only higher image quality, but also much improved low light performance. Its f/2.8 maximum aperture at the wide end coupled with the larger sensor will also allow a larger degree of background blurring for portraits, etc. While you shouldn’t expect the degree of out of focus areas (bokeh) as a dSLR due to the minimum aperture becoming f/5.8 at the telephoto end, it will be somewhat improved over what the G12 or other compacts can offer. The 4X zoom lens of the G1 X also does not have quite the reach of the 5X zoom lens of the G12.

Other possibly important differences between the two are the camera size and weight and the battery life. While the G1 X is larger and heavier than the G12, it uses a smaller batter with a shorter shot life (see below for details). The G1 X also offers a high speed burst of continuous shooting, 4.5 fps for up to 6 shots at full quality, or 1.9fps for unlimited continuous shots.

The controls of both cameras are very similar, with some minor tweaks made to the G1 X. The G series is prized by demanding photographers because it offers quick and easy access to many manual controls, similar to a dSLR, as well as a viewfinder. Both cameras have a mode dial to quickly change shooting modes, an exposure compensation dial for quick EC adjustments, and button access to autofocus modes, metering modes, flash, as well as exposure lock. The G1 X looses the ISO dial of the G12, but places it on the rear control dial for relatively easy access. The G1 X however adds a movie record button for rapid start of movie recording in any shooting mode. As a result of these changes, the AE-L button is moved lower, and the self-timer and manual focus functions no longer have dedicated buttons, but can be accessed in the menus.

Below is a further comparison of some of the key specs of each camera:

Canon G1 X

sensor: 14 MP, 18.7mm x 14mm sensor
lens: 28-112mm equivalent, 4X zoom lens
aperture: f/2.8-5.8 maximum aperture
rear LCD: 3″ articulating rear LCD with 920,000 dots
size: 116.7 x 80.5 x 64.7mm
weight: 534 g
processor: Digic V
RAW image file format: yes, 14 bit RAW
ISO: 100-12,800
exposure compensation: +/- 3 EV at 1/3 stops
continuous shooting: 4.5 fps for 6 shots
metering: Evaluative, Center-weighted, Spot
flash: internal pop-up plus hot-shoe for EX Speedlites
battery: NB 10L – 250 shots
video: up to 1920 x 1080 @ 24fps full HD
price: $799

Canon G12

sensor: 10 MP, 7.44 x 5.58mm sensor
lens: 28-140mm equivalent, 5X zoom lens
aperture: f/2.8-4.5 maximum aperture
rear LCD: 2.8″ articulating rear LCD with 460,000 dots
size: 112 x 76 x 48mm
weight: 351 g
processor: Digic IV
RAW image file format: yes
ISO: 80-3,200
exposure compensation: +/- 2 EV at 1/3 stops
continuous shooting: 2 fps
metering: Evaluative, Center-weighted, Spot
flash: internal plus hot-shoe for EX Speedlites
battery: NB 7L – 370 shots
video: up to 1280 x 720 @ 24fps HD
price: $395

So as you can see, the cameras are quite similar in many ways, with the exception of the sensor, lens, and processor, which is going to make a very large difference in terms of improved image quality, higher dynamic range, better low light performance, reduced noise at high ISO settings, longer flash reach, larger image size allowing for more aggressive cropping, and will allow the ability to achieve more dramatic depth of field. According to Canon:

The powerful DIGIC 5 processor in the PowerShot G1 X is able to process six times the amount of information compared to the DIGIC 4 processor used in the PowerShot G12 compact. With this vastly increased processing power advanced noise reduction is possible to provide even better image quality than the DIGIC 4-powered HS System.

The DIGIC 5 processor uses approximately four times as much information as before to resolve one pixel, with the aforementioned six times faster processing speed. For the total performance of noise and image clarity this has an effect of two stops at high ISOs compared to the PowerShot G12 compact at ISO 3200, and three stops at lower ISO.

The 14 bit RAW allows for those who shoot in RAW file format for later post-processing to capture images with more dynamic range, better noise reduction, and more shadow detail.

Most of the other features such as the viewfinder, scene modes, autofocusing systems, creative filters, movie modes, and white balance options are nearly identical on both models. The G1 X also adds improved, 4-stop image stabilization, a built in 3-stop neutral density (ND) filter, and an intelligent face detection system which will give focus and exposure priority to faces it recognizes. It also offers multi-area white balance correction so that different light sources are equally neutralized or balanced – such as the flash lit subject with the fluorescent lit background.

So, how do you decide between the two? Who is the G1 X for vs. the G12? Well, if the price difference doesn’t make up your mind for you, the G12 is for those who want a very high quality point, rugged point and shoot with manual controls and great image quality. If you are going to be viewing and sharing your photos online or on a computer screen primarily, the images from the G12 should suffice. You can still do post-processing and make small or medium size prints for the special images. It is great for everyday use and for travel.

But if you need to take it to the next level – if you need or want near dSLR quality images for more invasive post-processing, larger prints, cropping, or even publication, you will want the G1 X. If you want the ability to more easily create background blurring, and the occasional high speed burst for action shots, you will want the new model. If you want to get as close to a dSLR without the size, weight, and lenses, the G1 X (or Sony NEX-7) is the answer.

Pre-order your G1 X from B and H Photo here! – $799 – expected Feb. 2012?

Pre-order your G1 X from Amazon – $799 – expected March 31, 2010

See the Powershot G12 on Amazon – $395

The official Canon press release for the G1 X can be read on their site here.

Canon G1 X – the Compact Approaching Near-dSLR Capabilities

Canon has announced their latest model in the G series of high-end compacts, the PowerShot G1 X, and its specifications indicate that it may finally have brought the G series to the place where most have always wished it would be.  While the G12 and previous models worked well as the compact camera with manual control, for dSLR users who didn’t want to carry their dSLR with them, they never quite fully lived up to the task because the sensor and lens sizes simply did not allow for dramatic shallow depth of field and good background blurring in many situations.

Canon g1 x g1x gx1 gx 1 compact asp-c large sensor high end g12
image courtesy of Canon USA

The G1 X takes the model-line a giant step forward in fulfilling this promise, as it includes a larger 18.7mm x 14mm sensor – not quite as big as an ASP-C sensor in a dSLR, but six times larger than the G12 sensor and larger than the sensors of any of its competitors including the Four-Thirds cameras and the Nikon 1.  Combined with its 4x zoom (28-112mm) lens, f/2.8 to f/16 aperture range, low light capabilities, Digic 5 processor allowing for 1.9fps or up to 4.5fps for 6 shots in high speed mode at full image quality, 14-bit RAW file support, and full HD video, this should prove to be a very popular compact for pros and dedicated enthusiasts, as well as to ideal primary camera for enthusiasts and travelers who simply don’t want or need the size, weight, and bulk of a dSLR system.  High end digital cameras are rapidly making the move back to smaller and lighter bodies, and the G1 X is going to serve to push this trend along.

The body of the the G1 X is slightly larger than the G12, sitting taller and wider with a larger lens protrusion, but is none-the-less still incredibly compact for the size of the sensor and all else it offers inside its metal body.  The camera boasts 14 megapixels, the HS system for excellent low light performance, fast response due to the Digic 5, a 9 point autofocus system plus child-priority face detection, +/-3 EV exposure compensation, built-in neutral density filters, an articulating screen, and even an HDR mode.

However, despite all that it offers, the G1 X is not capable of completely replacing a dSLR.  Its shutter response time is likely not instantaneous, its maximum aperture at the telephoto end is only f/5.8 thus limiting the amount of background blurring, its high speed shooting 4.5fps at full image quality is only for 6 shots before the camera needs to stop and process, and its built-in lens does not give the range, focusing speed, and zoom speed and control of an interchangeable lens.  But for those willing to work with these compromises, the image quality will likely meet or exceed your needs.

I would like to go into more detail about this promising model, and compare it to the G12, as soon as I learn more about it and have a chance to study the differences.  But as it looks now, this just might be the G model that starts to approach the depth of field flexibility and the increased performance that many have longed for with the already-well-regarded high-end compact G series.

Pre-order yours from B and H Photo here! – $799 – expected Feb. 2012

The official Canon press release for the G1 X can be read on their site here.

 

 

 

 

 

 

How to Use Your New dSLR

I know many people happily unwrapped a new dSLR this holiday.  And now after playing with it for a bit, you may be discovering that there is a bit of a learning curve to learning all the features and functions of your camera.  So if your are eager to learn how to use your new T3i, D5100, 60D, D7000, or whichever Canon or Nikon dSLR you received, be sure to have a look around my blog at the various articles discussing how to use your autofocus system, metering system, and other functions, plus photography techniques once you have started to get a hang of the controls.

Have a look at the front page of this blog to see these different categories and find the articles about Canons, Nikons, Photography Techniques, Lenses, Accessories, Books, and more.

And to quickly learn the ins and outs of your camera, also be sure to have a look at my e-book camera guides, which will not only teach you the functions and controls of your dSLR, but when and why to use them.

full stop dslr photo photography camera manual guide for dummies canon nikon

Happy shooting, and let me know if you have any questions.

Canon 5D MkII at Lowest Price Ever

B and Photo Photo is selling the Canon 5D MkII body at the lowest price it has ever been: $1999.95.  Plus they include a great memory card and a shoulder bag for free!  Click on the image to head to B&H and learn more:

Canon 5D mark mk II low lowest price sale

Many are speculating, and I concur, that the replacement of the 5D Mk II (probably to be called the 5D Mark III) may be arriving in February 2012.  This doesn’t mean the 5D Mk II is outdated.  It is still an incredible camera with 21 megapixels, great low light/ high ISO performance, and of course the full frame sensor so that your wide angle lenses really go wide.  And 1080p video with all the frame rates, for the videographers.  Any aspiring pro or wedding photographer that won’t be able to afford the newest 5D Mk III when that arrives should consider taking advantage of this deal.

Cyber Monday Camera Deals at Amazon and B&H

Like every other retailer, Amazon and B&H Photo are having some great Cyber Monday deals.

Amazon is offering the Canon T3i with a couple different lens kit options for a really great price.  They also have some great quality point and shoots like the Canon Powershot SX230 (which boasts 14X zoom) on sale.

cyber monday camera photo sale deal bargain

B and H Photo also has deals on the Canon T3i, as well as some third party lenses, plus the Zoom H2 digital audio recorder that is great for recording interviews or sound to go with your videos or photo slideshows.  Plus countless other deals on external hard drives and other equipment and accessories.  Plus great deals on Lexar and Sandisk memory cards.

camera photo cyber monday deal sale bargain

Please consider clicking on these links or logos to take you to these sites if you plan to make any purchases, as it will help support my blog – thanks!

Plus, there are lots of new Canon instant rebates available on the top quality lenses and Speedlites.  Click the image below to go to B&H and start saving!

Cyber Monday Camera Guide Sale!

SALE OVER :(

On Cyber Monday, November 28, 2011 only, I will be offering a coupon code for $5 off the price of most of my PDF camera guides.  Any guide on the Full Stop website with the current price of $10.99 will be available for $5.99 (with the coupon code).  That’s almost 50% off!

Plus $5 off The E-Book Handbook too!  (only $4.99 with coupon code!)

This sale includes the following PDF e-book camera guides:

Nikon D5100 Experience

Nikon D7000 Experience

Canon 7D Experience

Your World 60D

Canon T3i Experience

In order to get the savings, use coupon code fsmonday5 when making your purchase.  Click on the “Check out with PayPal” button in order to enter the coupon code.  Don’t worry, you can check out with either a credit card or PayPal when using that button.

The coupon code will be valid all day Monday Nov. 28, 2011, until 11:59pm Eastern Time.

 

Black Friday Deals on Canon dSLR Cameras

B&H is having some great Black Friday deals on dSLR cameras and accessories, including some Double Instant Rebates on Canon bodies and lenses including the EOS 60D, 7D, and 5D MkII.  If you are looking to pair a new body with a great lens or Speedlite, such as one of the 70-200mm telephoto zooms, one of the high-quality wide angle lenses like the 17-55mm f/2.8, the 580 EXII flash, or a number of macro and specialty lenses like a tilt-shift, this is the time to do it!

Note that B&H will be closed and not be taking orders between Friday evening and Saturday evening.  Below is a sample of the savings you can get with the 60D. Click here for the B&H Canon Savings or on the image to go to B&H and see the entire offer.  They also have a number of other Black Friday and holiday specials.

Amazon also of course has many Black Friday deals in everything including cameras and accessories, including several Canon point and shoot cameras such as the very high quality Canon Powershot SX230HSClick here to view Amazon Black Friday camera specials.

B&H Black Friday and Holiday Specials

Black Friday Canon dslr camera 60D 7D 5D speedlite flash lens rebate sale

black friday camera dslr canon deal sale bargain

Choosing Your First dSLR for the Future Pro on a Budget

I spend a lot of time on photography forums, trying to stay on top of the latest news and equipment as well as to better learn about the concerns and difficulties of those trying to choose or to learn to use their new dSLR.  This always helps me in writing my dSLR camera guides, such as learning which functions and concepts users have trouble with, and figuring out how to best explain them.

tips tricks photography dslr learn use manual instruction tutorial for dummies guide

Unfortunately one begins to see the same posts again and again:

“I want to get my first dSLR.  Which one should I get?”

often supplemented with

“I hear/ read/ am told that Canon is better at XX but Nikon is better at XX.  Which one should I choose?”

and then

“I want to start taking wedding and portrait photos.”

typically qualified with

“I only want to spend $500.”

So to be honest, it is pretty simple:

If you are truly on a budget and don’t want to spend a lot on a dSLR, then get the entry level Canon T3 or Nikon D3100.

But, if you really intend to grow and learn and develop as a photographer, and don’t want to quickly reach the limits of your camera and have to spend more money and buy another one, start out with the advanced-entry-level Canon T3i (also called the 600D) or the Nikon D5100.  These cameras will give you a bit more room to grow with their additional features, capabilities, and image quality.

If you plan to be really dedicated to photography, to pursue it as a serious hobby or even as a semi-pro, and intend to read every book you can find about your equipment, photography, exposure, composition, and Photoshop, and be out there using your camera all the time, then it may be worth your while to start off with a mid-level or pro-sumer camera such as the Canon 60D, Canon 7D, or Nikon D7000.  That way you won’t find yourself reaching the limits of your first camera within a year and having to upgrade so soon.

But know that starting out with a 7D or D7000 is jumping in near the deep end of the pool.  You will have a steep learning curve in order to get to the point where you can take control of your camera and take full advantage of all those features and capabilities you paid for.  As can be witnessed on the forum posts where the new user says

“I just got my ($1500 camera), set it on Auto and took some photos, and they don’t look anything like (pro photographer’s) photos.  What is wrong with my camera?  I guess I should start reading the manual, but what settings should I use to take better photos?”

…spending a lot of money on a “better” camera does not automatically, instantly lead to great images.

If you wish to become serious about photography, you need to understand that “photography” and “budget” do not belong in the same sentence!  If you want to do wedding and portrait/ child/ pet photography eventually, and want to be paid for it, then you need to change your mindset about the cost of the equipment required by a professional photographer.  The camera is a tool required to do the job right, and a professional needs professional equipment.  Not just because it is expected or is the price of admission, but because professional tools are needed to do professional work.  While one can get away with using a mid-level or pro-sumer camera for weddings or when starting out as a portrait or pet photographer, you will find that you really need the quality and capabilities of a pro camera to properly do the job. You need equipment that can perform in all situations (in conjunction with your skills).

I’ve written some much more detailed posts about comparing a choosing a dSLR camera, including:

Choosing Between the Canon 7D vs 60D vs T3i (600D)

Choosing Between the Nikon D7000 vs D5100 vs D3100

These posts go into detail about their features and differences, and why you may or may not need to additional features of the advanced cameras for your photography.

New Canon Autofocus System

I wrote about the introduction of the new Canon flagship EOS 1D X digital SLR a couple weeks ago.  As I mentioned, I don’t typically discuss $6,000 professional cameras on this site – if someone is trying to decide if they need a 1D, well, they probably don’t need a 1D!  If you need one, you already know that you need one…

Anyway, I think it is well worth looking at the new autofocus system that the 1D X introduces as it will eventually find its way, in some form, into the pr0-sumer cameras such as the Canon 7D Mark II and hopefully the 5D Mk III.  While those cameras won’t offer the 61 AF points and huge variety of customization options, they may incorporated the increased precision, low light sensitivity, better tracking speed, and the new algorithms that coordinate with the exposure system to detect and better track a subject by brightness, color, and even facial recognition (yes, even pros can use face-detection now!).

canon autofocus af system
Screenshot from Canon 1D X video (link below) explaining new autofocus system – image by Canon Europe

What will will certainly see in the newer cameras is the redesign of the menus, incorporating an Autofocus tab and AF tracking presets!  These are highly desirable features, as anyone who has attempted to fully take advantage of the 7D AF system knows how challenging it is to go between the AF menus and the Custom Functions to change to the desired settings while trying to decipher the cryptic C.Fn option names.

The EOS 1D X has a single AF tab in the menu, containing 5 AF sub-menus.  One of the most helpful sub-menus is going to be the AF Config Tool menu that contains the “Case Study” AF presets.  Instead of trying to recall how to set each Custom Function such as AI Servo Tracking Sensitivity and AI Servo AF Tracking Method to best track a subject and respond to loss of the subject or interference of an object between the camera and subject, one can now choose from preset options with helpful descriptions such as “Continuous shooting, ignore obstructions,” “Subjects that accelerate or decelerate quickly,” and “Instantly refocus suddenly with obstructions.”

The 1D X offers six AF “Case studies” presets, and there is no reason not to include all of these with the 7D replacement, since it too is a camera designed for sports and motion.

If you intend to purchase the 7D Mk II or whatever it will be called, it is worth your time to have a look at this page and video from Canon and begin to become familiar with what you will want to learn and take advantage of in the near future with the likely-to-be-improved 7D AF system and menus:

Nov. Canon Rebate on Lenses, 60D, Flashes

Canon is running more Instant Savings Rebates on the EOS 60D, body only or with a variety of different lenses or lens combinations.  There are also rebates on several desirable lenses – including great wide angle, telephoto, and macro lenses, the nifty 50, and even tilt-shift lenses.  Plus Speedlite flashes.

It’s a great time to get a pre-holiday gift for yourself or those on your list!

Have a look at the options below, and head over to Amazon, B&H, or Adorama to start shopping – click these store links, or the logos at the left of the page, to shop at these stores and help support this blog!. Thanks!

Have a look at the Canon rebate site to see the details of the offer.

New Canon EOS 1D X Announced

Canon has just announced their latest, high-end professional model, the EOS 1D X.  I don’t normally discuss the top of the line pro models (as this one is listed at $6,800) but instead concentrate on the consumer and pro-sumer level dSLR cameras.  However I would like to look at some of the new feature of the flagship Canon 1D X that will – sooner or later – make their way down to the more affordable models.

Canon EOS 1D X
Canon EOS 1D X – image courtesy of Canon USA
(If you do plan to purchase a 1D X, please use one of my referral links to Amazon, B and H, Canon,or Adorama!!)

In the past we have seen some of the advanced features of the high end cameras later introduced into the consumer models in one form or another, including faster processors and shooting speeds, more sophisticated autofocus system features, and advanced custom functions that allow the user to modify the functions and controls to operate in a specific desired manner.  And since the replacement for the 5D Mk II is imminent (Mk III? 6D?), and the 7D Mk II probably around the same time (Feb 2012?) we are likely to see variations of some of these refinements soon in the consumer and pro-sumer models.

Some of the new advanced features of the Canon 1D X that we will eventually see in the replacements to the 5D Mk II, 7D, 60D, and perhaps even the Rebel line:

  • 18 Megapixel full frame CMOS sensor.  The high-end cameras have less megapixel than the consumer cameras because they are extremely high quality sensors and can deliver high image quality with a lower number of larger pixels.  The 7D and 5D replacements, however, are bound to boast 21 to 26 MP or so.
  • Refinements to the controls and their layout.  This includes user-configurable buttons on the front of the camera, which has already been seen with the 7D to an extent, but will definitely be incorporated into the 5D Mk III (or 6D or whatever it may be called).
  • A 61 point AF system with 41 cross-type AF points and five dual cross-type points for extra precision.  The 7D and 5D replacements won’t have this many AF points, but perhaps will increase upon the 19 AF points of the current 7D.
  • Zone, Spot, and AF Expansion autofocus Area Modes including 4 point and 8 point expansion.  The 7D currently offers these as well (4 point expansion only, not 8), and the new 5D is certain to have these capabilities.  Perhaps the 8 point expansion will be added to the 7D replacement.
  • Refinements to the autofocus system, including a simplification of the complex AF related Custom Functions that are so difficult to explain and differentiate even with the 7D.  With the new 1D X the changes include a new AF menu tab to easily access and change the AF options, and presets such as “Continuous shooting, ignore obstructions,” “Subjects that accelerate or decelerate quickly,” and “Instantly refocus suddenly with obstructions.”  While specific combinations of the AF Mode, AF Area Mode and AF related Custom Function settings of the 7D already allows for these types of settings, these new, easy to access presents are a welcome change from the previous difficult-to-decipher (much less remember) Custom Functions such as AI Servo Tracking Sensitivity and AI Servo AF Tracking Method.
  • Additional changes to the AF system include “Intelligent Tracking and Recognition” which incorporates color and face detection in order to more easily assist the photographer on focusing on a subject’s face when tracking a moving subject, such as a dancer or sports player, rather than perhaps focusing on a closer hand, racquet, or jersey.  Now even the pros will be using face detection!  And focusing is improved in even very low light.
  • 12 frames per second continuous shooting speed with full autofocus and metering, plus up to 14fps possible with the mirror locked up when shooting JPEGs.  While the 1D X offers 12 and 14 frames per second shooting, it is unlikely that the 7D and 5D replacements will be capable of more than 8 or 10fps, though any increase is sorely needed for the 5D.
  • Higher ISO capability.  The ISO performance increases with just about every new sensor, so any of the new cameras are bound to have improved high ISO performance – probably not as incredible as the 1D X, but improved from the current models.
  • Faster start-up time and shutter lag.  This is always a welcome improvement.
  • Easy one-touch 100% zoom during image playback to the area of the image where the active autofocus point is located, in order to quickly check for sharp focus in the area of the image that should display the sharpest focus.
  • Dual DIGIC 5+ image / data processors.  The 7D has dual Digic 4 processors, and the new 7D and 5D are certain to have improved processors, which assist with overall camera speed including continuous shooting speeds, multiple exposures, and writing files to the CF memory card.  A processor also assists with metering and autofocus.
  • Multiple exposures between two and nine shots with various options for combining the frames, plus chromatic aberration correction and peripheral illumination correction.  HDR shooters and those wanting to shoot multiple exposures will appreciate a new 7D or 5D with these in-camera capabilities, and the chromatic aberration correction may also find its way to the lower level cameras.
  • The 1D X “deploys a 100,000-pixel RGB metering sensor and a new metering algorithm. The sensor is used to detect a subject’s brightness, color and face and based on this evaluative metering or evaluative flash metering is executed. This data is also communicated to the AF system to assist with subject tracking.”  New models typically bring an improvement in the metering system, and while the new 5D and 7D won’t have this level system with 253 zones over the previous 63, they will certainly have these same types of improvements made to their current systems.
  • Plus / minus 5 stops of exposure compensation.  This is already a feature of the 7D and will be a welcome addition to the 5D replacement, especially for those shooting HDR.
  • Various video improvements, including longer shooting times, manual audio level control and adjustable live level meters, some compression and timecode features.  There are several features that videographers will appreciate and many will definitely find their way into the new 7D and 5D, which are already extremely popular cameras for dedicated videographers.
  • 3.2-inch (diagonal), 1,040,000-dot rear LCD screen with “ClearView II” technology and extremely durable glass screen.  This is slightly lager than the 3″ screen of most of Canon’s dSLRs, but I’m not sure if a new 7D or 5D will see much of a size increase here.
  • Built in LAN Ethernet port.  This is a new feature for a Canon.  While most of them allow for an optional wireless transmitter, this wired version is built right in.  I don’t see this being added to other cameras quite yet.
  • Twin CF memory card slots, which can be used in various configurations.  Some heavy shooters and videographers might like to see this on a new 7D or 5D, to (I’m speculating here) separately save stills and video, or JPEG and RAW, or use the second card for overflow, or save dual copies of all files.
  • Canon’s second generation self-cleaning sensor unit, which uses “carrier wave technology” to better coax the small dust particles gently down the surface of the (filter in front of the) sensor to the collecting adhesive strip at the base.
  • New EOS System Monitor screen showing total shutter actuations, serial number, and firmware version.  This would be a welcomed addition to the 7D and 5D, though it always seems Canon is hesitant to make it easy to see shutter actuations on a consumer camera.

There are a variety of other additions and improvements to the EOS 1D X, but these are the features that are likely to be incorporated into the more affordable consumer and pro-sumer models.  Some I am certain we will see in the following months when the new versions of the 7D and 5D are released, and some will eventually make their way into the 60D replacement and perhaps, in time, even into the Rebel models.

Which Canon dSLR is Right for You?

In a previous post I wrote an in-depth comparison of the dSLR cameras in the current Canon line-up, the Canon 7D vs 60D vs T3i / 600D.  To sum up that practical, subjective comparison, here is a brief and somewhat serious synopsis to help you make your camera decision based on your photography experience and needs:

Canon Rebel T3i EOS 600D vs 60D vs 7D vs T2i
Canon Rebel T2i, T3i, 60D, and 7D – photo by author at Newtonville Camera

Get a Canon 600D / Rebel T3i (or older Canon 550D / Rebel T2i) if you are new to photography or to digital SLR photography, or want to upgrade from an older Rebel because you want higher image quality and more mega-pixels (or HD video). If you have been happy with the features and controls of your previous dSLR camera and have not discovered the need, in your extensive use of it, for any specific additional features, there is no need to look beyond the T3i / 600D. See the T3i on Amazon.

Get a Canon 60D if you have outgrown the capabilities of an older Rebel like an XTi or T1i due to your greater experience and more demanding shooting needs which require more direct or sophisticated controls, faster shooting speed, more precise autofocus system, and more complex customization options. Or you have been pretty pleased with your 20D or 40D and its features but wish to upgrade for the increased image quality and megapixels (or HD video). And/ or you need a more rugged camera for your frequent and demanding shooting and off-the-beaten-path traveling needs. Or if you need the increased 5.3 frames per second continuous rate to shoot sports or action. Or you really like swiveling LCD screens (the T3i has this too). If you typically shoot on Auto or Program mode, you probably do not need a 60D. If you do not manually select your own focus point and have never used exposure compensation you probably do not need a 60D. If you have never used the AE-Lock [*] button to lock exposure you most likely do not need a 60D. If you don’t understand the relationship between aperture, shutter speed and ISO you may not really need a 60D. Or unless you plan to dedicate yourself to learning this camera and the principles of SLR photography and grow into this more advanced camera, consider saving the money or using it towards a better lens. See the 60D on Amazon.

Get a Canon 7D if you have extensive experience with a Rebel like an XTi or T1i (also called the xxxD series like the 350D or 500D) or with an older xxD series (20D, 40D) camera, and you know and understand most of the 7D’s controls and advanced custom features, and you specifically need some of them for your demanding shooting needs. If you haven’t passed the above “criteria” for a 60D, you most likely really don’t need a 7D. If you have never used Av aperture priority mode or M manual mode, you should probably gain more dSLR experience before investing in a 7D. If you have never used autofocus tracking settings to track a moving subject across your frame and worried how an interfering object would affect your focus you don’t need the sophisticated AF system of the 7D. If you have never used spot metering to determine a critical exposure level or experimented with back-button focusing you probably will do just fine with a camera less advanced and less expensive than the 7D. Or unless you plan to dedicate yourself to learning this camera and the principles of SLR photography and grow into this very advanced camera, consider saving the money or using it towards a better lens. However, if you often need to take 126 consecutive photos at the rate of 8 frames per second, you do need the 7D. Immediately. Even if you just sometimes need that. Totally worth it. That’s 15.75 seconds of continuous shooting. Who doesn’t need that? You’d make Eadweard Muybridge proud. See the 7D on Amazon.

(Please note, the T3i/600D, T2i/550D, 60D and 7D all have most of these advanced features I just listed: manually selected focus points, exposure compensation, AE-Lock, auto-focus tracking, spot metering, and back-button focusing. All of these cameras are fully capable of advanced dSLR shooting techniques and are capable of shooting professional quality images. I’m just using the above features as a determination of your experience level and equipment needs.)

The Canon 5D Mark II is in a separate league than the other cameras, being a full frame professional camera, and thus I’m not going to compare it to the others in this context. As I said in a previous post:

If the 5D Mk II fits your expanding and demanding needs as a photographer, you would already pretty much know that you needed a 5D after your extensive time using a Rebel or a 20D, 40D, etc. Otherwise, getting a 5D means most likely you’d be investing in far more camera than you will actually need or use.

If you truly need a 5D MkII, you are most likely already in that phase where you are fully aware that you need it and you are merely saving up and/ or agonizing over when to go ahead and spend (or inform the spouse that you need to spend) that $2500.

If you don’t already know that you need a 5D Mk II and specifically why you need it, you probably don’t need a 5D. Plus, as is often the case, many of those who could really take full advantage of a 5D Mk II are those who can’t afford one. (I’m thinking about the talented photographers I come across on Flickr, etc. who are making amazing images with entry-level Rebels.) Feel free to spend $2,500 on a 5D Mk II if you want, but unless you have extensive experience with photography and with a digital SLR, using a 5D is completely unnecessary and is unlikely to help you take “better” pictures than you will be able to with a T3i/600D. If you don’t already know how to use an advanced dSLR camera and why a photographer needs one, buying a 5D Mk II is sort of like buying a washing machine with the buttons, dials, and writing all in Swahili. You know what a washing machine can do and is supposed to do, and you can sort of figure out the Swahili one. But until you properly learn how to use it, if you start turning the dials and pressing some buttons you could really screw things up. And even though the Swahili buttons all look really cool and impress your friends and the other clothes-washers who see it, and the salesman told you it is a “better” washing machine and has a bigger drum, it probably won’t help you clean your clothes better, especially if you don’t know how to use it. Until you learn how, when, and why to use the controls, features, menus, and custom functions of a 5D Mk II or even a 7D, you may be taking worse pictures! At best you won’t be taking advantage of most of the features and capabilities you paid a lot more for. And besides, the 5D Mk II is becoming old technology. You should wait for the 5D Mark III :) Plus, the large, high resolution sensor of the 5D Mk II pretty much requires that you use Canon’s best L-series lenses, so be sure to take that into account. See the Canon 5D Mk II on Amazon.

Whichever Canon you choose, learn to take control of your camera and the images you create with one of my Full Stop e-book guides!

full stop dslr photo photography camera manual guide for dummies canon nikon

 

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A Brief Introduction to Exposure Bracketing

If you have begun to take control of your camera’s functions and settings and are understanding the basics of exposure, and perhaps are working in Aperture Priority or Shutter Priority Mode, you may still find that sometimes your images are coming out lighter or darker than you desire.  This could be due to an unusual lighting situation, a scene that contains a wide range of bright and dark areas, a subject that is back-lit, the camera metering from the “wrong” area of the scene, or a number of other reasons.

In this situation hopefully you have begun experimenting with exposure compensation.  If not, exposure compensation can be the solution to these types of problems by enabling you to “over-ride” the camera’s exposure decision and making the next image lighter or darker as desired.  And since most all the functions and settings of a dSLR are inter-related, the use of other metering modes such as Center-Weighted or Spot metering can also be part of the solution (or part of the problem) – but those are topics for other posts!  I’ve written one about Exploring Metering Modes, and should probably tackle some exposure issues soon.

exposure compensation auto exposure bracketing aeb canon nikon dslr
Figure 1 – French Medieval Storefront Carving, Gloucester, Mass. – Three bracketed exposures of the same scene:  the “proper” exposure as determined by the camera (Center-Weighted Average Metering Mode) in the center; over-exposed +1 stop on the left; under-exposed -1 stop on the right.  The desired exposure, for my eye, lies somewhere between the “proper” exposure and the darker under-exposure, where some highlights on the figure remain but the color and detail of the wood can be seen in those areas.  Center exposure:  Shutter speed 1/60 aperture f/2.8, ISO 200

If you have begun to make use of Exposure Compensation, or wish to start, a technique called exposure bracketing can expand upon that or perhaps help you to learn and understand over- and under-exposures.  Exposure bracketing is when you take at least three photos of the same scene, one at the “proper” or desired exposure, one under-exposed, and one over-exposed (see Figure 1).  For example you may take the second and third shot with the exposure compensation set at +1 and then -1.  This is done to ensure that you capture exactly the right exposure you desire or to experiment and see the results of varying your exposure settings.  A common feature of dSLR cameras called Auto Exposure Bracketing (AEB) can even automate this process for you.

In the days of film, exposure bracketing was a helpful technique – especially for critical situations – since one didn’t have the immediate feedback of the image on an LCD screen and a histogram.  It can still be used today for critical situations or for test shots when determining the right exposure settings.  The Auto Exposure Bracketing feature of digital SLRs automates this process by automatically changing the exposure settings between shots.  You set the amount of under- and over-exposure desired (such as +1, -1 or +2/3, -2/3) and then take three images in a row.  The camera automatically adjusts the exposure for each shot so that one is taken at the “proper” or baseline exposure, another shot is under-exposed, and the other is over-exposed.  If your camera is set on continuous drive mode, you can just hold down the shutter button and the camera will take the three shots in a row.  Or if you have it set on single shooting, you click the shutter three times in a row, ideally of the same scene.  Many cameras even allow you to dictate the order that the images are taken, and whether or not AEB cancels itself after one use or when the camera is turned off.

Or you can perform this process yourself, by either using exposure compensation between shots or by working in Manual Mode and adjusting the aperture or shutter speed setting between shots.

auto exposure bracketing canon nikon dslr aeb
Figure 2 – Weaver Constructing the Keshwa Chaca, Huinchiri, Peru – Three bracketed exposures of the same scene:  the “proper” exposure as determined by the camera (Evaluative metering mode) in the center, under-exposed -2/3 stop on the left, over-exposed +2/3 stop on the right.  The desired exposure in this case, for my eye, lies somewhere between the “proper” exposure and the over-exposure.  With auto exposure bracketing you can often customize the order that the bracketed images are taken, for example proper/under/over or under/proper/over.  In this example they were taken proper/under/over, so they are displayed here in a different order than actually captured.  Center exposure:  Shutter speed 1/1000, aperture f/5.0, ISO 100

Exposure compensation and bracketing are also used in HDR (high dynamic range) photography to take three or five or more photos of the same scene at various exposures.  All the images are then combined by the photographer, using HDR software, into a single image which will contain a much broader dynamic range of light and dark than is possible with a single image.

The basic principles of exposure as well as all of the other important functions and controls of a dSLR, such as Metering Modes and the Autofocus System, are explained in my e-book Ten Steps to Better dSLR Photography, as well as in all my other dSLR camera guides to specific cameras such as Nikon D5100 Experience and Canon T3i Experience.  Click on the titles or the cover below to learn more!

dslr learn improve autofocus exposure aperture shutter priority for dummies

 

Don’t Let the Locations of the AF Points Dictate Your Composition

I began to discuss the autofocus modes of various dSLR cameras in previous posts including Taking Control of Your Canon Autofocus System and Taking Advantage of the Autofocus Systems of the Nikon D5100 and the Nikon D7000

In this post I wish to go into more detail about one of the reasons it is important to take control of your autofocus system, namely not allowing the locations of the AF Points in your viewfinder to dictate your final composition.

As I mentioned in previous autofocus posts, one of the essential steps in taking a successful photo is controlling where the camera focuses.  If you allow the camera to auto focus by choosing its own focus point(s), it typically focuses on the closest object.  This may or may not be what you want to focus on, so you should select where the camera focuses using the Auto Focus Points.  For example, you often want to focus on a subject’s eyes, but if you allow the camera to choose the autofocus point itself, it may select another part of the face, or somewhere else on the body, or even a raised hand that is nearer to the camera than the face to focus most sharply on.

In addition, there are reasons to use the outer focus points and not just focusing with the center AF point and then recomposing.  First, if you are taking several shots of the same subject and framing, you will not have to re-focus with the center point and recompose between each shot.  And by controlling exactly where you focus, you then have greater, more precise control over the use of dramatic depth of field.  Also, if you use the center point and recompose, you have swept the camera in an arc to recompose, and are thus always focusing at a distance behind the subject.  This may not be as noticeable when the subject is further away, but for a close subject – especially when using shallow depth of field – the difference is critical.

One of the additional critical reasons to take control of your autofocus system is so that you don’t let the location of the AF Points dictate your composition. What happens when the subject you want to focus on is not located exactly under one of the AF Points? Even with 9 or 19 or more AF Points to choose from, they will not always be located exactly at or near where you need them to be.  Recomposing or re-framing your shot is often necessary so that you can capture exactly the image you wish to and not one dictated by the locations of the AF Points as you see them in the viewfinder.

Canon 7D 5D mark II 60D T3i 600D autofocus system AF point choose select set setting
Figure 1 – The desired framing and composition of the shot I wish to take, yet no AF Point, including the selected lower right point (the larger point shown in red here) is located exactly at the woman’s head where I wish to focus. (Canon 7D viewfinder shown)

Canon 7D 5D mark II 60D T3i 600D autofocus system AF point choose select set setting
Figure 2 – Image is temporarily framed to place the selected AF Point over the woman’s head, Shutter Button is pressed half-way and held to lock focus at that distance, image is recomposed to the desired framing of previous Figure 1, and Shutter Button is fully pressed to capture the image.

Figure 1 shows the desired framing and composition of the shot I want to take, but the woman is not located under an AF Point. This composition is desired for me because it captures the entire window along with some space around it, as well as some space in front of the woman for her to “walk into” – but not an excessive amount of space. So I manually select the lower right AF Point (using Single-Point AF Mode), temporarily frame the image to place the selected AF Point over her face or head, press and hold the Shutter Button half-way to lock focus at that distance (Figure 2), and see the Focus Confirmation Light illuminate in the viewfinder. I then recompose back to the final framing I want (Figure 1) and press the Shutter Button fully to take the image. Even though the subject is moving, I do not need the sophisticated tracking of AI Servo (Canon) or Continuous Servo (Nikon) Focus Mode to keep her in focus. I can quickly lock focus using One Shot (Canon) or Single Servo (Nikon) Focus Mode, recompose, and take the image without the camera-to-subject focus distance changing significantly.

With the example images above (Figures 1, 2), focusing on the wall would not have been tragic because the distance between the subject and the background is small, and if a medium or narrow aperture such as f/8 or f/16 is used both the wall and the subject may be in acceptable focus. If the background was further away, and/ or a wide aperture such as f/2.8 was used – especially with a telephoto lens, and if the image was enlarged, you would clearly see that the camera focused on the wall and not the woman. Not to mention the fact that the wall is a somewhat consistent area of color and the AF system may have difficulty properly focusing on it. So it is best not to take shortcuts such as focusing on the wall and hoping the subject will also be in focus, because in many other situations you will not have this option. It is best to take the photo properly and to learn and practice the habit of working in the more rigorous manner if you want all your photos to be sharp.

If you would like to learn more about the autofocus systems of your Canon or Nikon dSLR camera, as well as learn to use the other features of your camera including metering modes, Aperture and Shutter priority modes, all the menus and Custom Function settings, and more, have a look at my Full Stop e-book camera guides. In addition to explaining the features and settings, the guides clearly explain when and why to use them in order to capture the images you desire.

Take control of your camera and the images you create!

Learn more about the e-books by clicking on their titles or on the banner below:
Canon 7D Experience
Canon T3i Experience
Your World 60D
T2i Experience.

Nikon D7000 Experience
Nikon D5100 Experience.

full stop dslr photo photography camera manual guide for dummies canon nikon

For those with other cameras, check out my Ten Steps to Better dSLR Photography which also discusses taking advantage of any dSLR camera’s autofocus system.

Was this post helpful?  Please let others know about it by clicking the Facebook or Twitter sharing buttons below, linking to it from your blog or website, or mentioning it on a forum.  Thanks!  Want to help support this blog with no cost or effort?  Simply click on the Amazon, B&H Photo, or Adorama logos on the left side of this page to go to those sites and make your purchases.  They will then give me a little referral bonus!

Taking Control of Your Canon Autofocus System

This article mostly applies to the 9 point autofocus system of the Canon 60D and the Rebels including the T5i / 700D and T4i / EOS 650D (and their predecessors), as well as to the new Canon 6D and its 11 AF points.  The Canon EOS 7D also shares the same Autofocus Modes discussed below, but it adds Autofocus Area Modes to the mix as well as additional Custom Functions affecting the AF system, so I will have to address those additional capabilities in the future (or you can learn all about them now in my Canon 7D Experience e-book).  I have written a separate post that addresses the AF system of the Canon 5D Mark III.

You can learn much more about using these cameras with my Full Stop e-book camera guides for Canon dSLR cameras.

Using Auto Focus
One of the essential steps in taking a successful photo is controlling where the camera focuses.  If you allow the camera to auto focus by choosing its own focus point(s), it typically focuses on the closest object.  This may or may not be what you want to focus on, so you should select where the camera focuses using the Auto Focus Points.  This does not mean you have to manually focus the camera, it means you tell the camera exactly where to autofocus.  For example, you often want to focus on a subject’s eyes, but if you allow the camera to choose the autofocus point itself, it may select another part of the face, or somewhere else on the body, or even a raised hand that is nearer to the camera than the face to focus most sharply on.  If you are capturing an image of a bird in a tree, the camera has no idea you want the autofocus system to zero-in on the bird so that it is in sharp focus and not the branches or leaves near it, or the leaves closest to you.

Autofocus works by looking for contrast, so try to focus (place your AF Point) on a detail with a strong line or strong contrast between light and dark.  It may not be able to focus on a large area of consistent color – such as a white wall or blue sky or even an evenly colored and lit shirt – or on a subject that is too dark.  It can be disrupted by regular patterns or confused when looking through close objects to objects farther away, such as looking through a fence.  And it sometimes fails to work as well in dim light, though the AF-Assist Beam can assist in this situation.  When photographing people, always try to focus somewhere on the face, ideally on the eyes or eyebrows, then recompose the framing of your image if necessary.

Select an Auto Focus Point, or AF Point, using the Multi-Controller or using the AF Point Selection Button and the Cross Keys (depending on your camera).  If you have a model with the Multi-Controller (such as the 60D with the thumb-pad or the 7D or 5DII with the thumb-joystick), be sure to set the Custom Function setting for AF Point Selection Method so that you can directly change the AF Point without pressing the AF Button first.

Canon 60D T3i 600D autofocus system AF point select choose set setting
Figure 1 – The selected AF Point is located over the subject’s eye in order to ensure the camera autofocuses where desired.  (Canon 60D viewfinder shown, T3i/600D viewfinder similar)

To see how autofocus point selection works, make sure the switch on your lens it set to AF and your Autofocus Mode, as seen on the top LCD Panel or rear LCD screen, is set to One Shot, then:

•    Tap the Shutter Button with a half-press to wake up the camera.
•    Looking through the viewfinder, use the Multi-Controller or Cross Keys to select the focus point that is nearest to where you want to focus.
•    Place that point over your intended subject.
•    Press and hold the Shutter Button halfway down and see that point blink red.  The Focus Confirmation Light should light up in your viewfinder.  You have locked the focus.
•    Keeping the Shutter Button pressed halfway, recompose if necessary, and take the shot by fully pressing the Shutter Button.

There are reasons to use the outer focus points and not just the center one all the time.  First, if you are taking several shots of the same subject and framing, you will not have to re-focus with the center point and recompose between each shot.  And by controlling exactly where you focus, you then have greater, more precise control over the use of dramatic depth of field.  Also, if you use the center point and recompose, you have swept the camera in an arc to recompose, and are thus always focusing at a distance behind the subject (think of an arc that is your focus distance, and the tangent line off that arc that is the focus plane which now runs behind the subject after re-composing).  This may not be as noticeable when the subject is further away, but for a close subject – especially when using shallow depth of field – the difference is critical.

It may sound difficult to select the focus point each time, but it is actually very quickly done and should become instinctive.  You may even start to set your focus point as you approach a scene before even bringing your camera to your eye.

Focus Modes
The 60D and T3i (and 5D/ 5DII and 7D) have different focus modes to choose from, typically depending if your subject is still or moving, or if you wish to track its movement.

One-Shot AF
Use this mode when your subject is still and not going to move, or if your subject is not going to move very much, or if the distance between you and the subject is not going to change between the time you lock focus, recompose, and take the shot.  Lock focus on the subject and recompose if necessary.  This mode can even be used for moving people or objects if you quickly take the shot after establishing or locking focus.

Focus on your subject by pressing the Shutter Button halfway.  The active or selected AF Point will be displayed or will illuminate, and the Focus Confirmation Light at the lower right in the Viewfinder will illuminate as well.  Continue to press the Shutter Button all the way to take the shot.  If you half-press the Shutter Button to lock focus on your subject, the camera will remain focused at that distance as long as you keep half-pressing the Shutter Button.  You can recompose the shot as you wish and then full press the Shutter Button to take the photo.

As just noted, if the Focus Confirmation Light does not light up and the camera does not take the photo, the camera may not be finding enough contrast to focus on, you may be too close to your subject for the lens to focus, or the lighting may be too dim for the AF system to work properly.

However, if you are photographing a subject that is approaching or receding from view at a relatively constant rate, or photographing fast or erratic or unpredictably moving subjects, or photographing sports, action, or wildlife you will usually want to use AI Servo Focus Mode.

Canon 7D 5D mark II 60D T3i 600D autofocus system AF point choose select set setting
Figure 2 – Use One-Shot AF mode and select your desired AF Point to capture still or moderately moving subjects.  (Canon T3i viewfinder shown – 60D similar)

AI Servo
AI Servo mode is used for tracking and focusing on moving subjects, and is ideal for capturing sports and wildlife including birds.  If the subject is moving towards you or away from you the camera will keep evaluating the focus distance as long as the subject remains under the focus point that was originally active and the Shutter Button is kept half-pressed, and if the subject is moving from side to side or throughout the frame the camera will track it as it passes from one AF Point or Zone to the other ones (if you started tracking with the center AF point on the 60D and T3i or any selected AF point with the 7D).

If the subject is going to be moving across your field of view, set the camera to automatically select the focus point using all the AF points (this is one of the few times you will not be manually selecting the auto focus point), focus on the moving subject with the center focus point, and then as long as the Shutter Button remains half-pressed the camera will track the subject to the other focus points if it moves to them.  Thus when the image is taken, the subject is in focus.  This will even work in conjunction with continuous shooting.  If you keep the Shutter Button fully pressed and continue to take photos, the camera will keep focusing on the moving subject.  As you can imagine, this is ideal for tracking a player running across a field, a dog running toward you, or a bird moving across the fame.  Note that when shooting with Continuous Shooting Drive Mode not every shot may be in sharp focus as the camera sometimes can’t keep up and accurately predict the subject’s speed or location.  But you should be able to capture many sharp images with this technique.  The more sophisticated Canon 7D will allow you to start tracking moving subjects with any selected AF Point and not just the center AF Point.  These are the types of advanced capabilities you are paying for (and should take advantage of!) with a more expensive dSLR.

As you will see, when using AI Servo mode your compositions will be partially dictated by the positions of the autofocus points in your Viewfinder.  The subject needs to be at one of these AF Points in order for the camera to maintain focus on it.  This is why in some situations becoming skilled at quickly using One-Shot AF – even for action scenes – will give you much more ability to control your compositions.

AI Focus
This mode is a hybrid of the two other focus modes.  It starts in One-Shot AF mode then changes to AI Servo mode if your subject starts moving.  Why shouldn’t you use this all the time, then?  Well, it is typically not the best of both worlds.  If you are focusing and then recomposing, as you may often be doing, your movement of the camera may fool it into thinking that the subject is moving and then activate subject tracking AI Servo Mode, and your resulting focus may not be where you intend it to be or may not be as accurate as it could have been with One-Shot AF.  And in AI Focus Mode it may not be as quick to respond to a moving subject as it would in AI Servo Mode.  Typically you know if your subject is still or moving so it is better to select one of the other two AF Modes.  Plus that way you always know which AF Mode you are working in and can either lock focus where you want it or begin tracking a subject without wondering what mode the camera is in and if it will suddenly change.  But there may be situations that call for this combination mode such as a still bird or animal that may start moving unexpectedly, so keep it in mind.

How do you remember which mode is which since the terms “AI Servo” and “AI Focus” tell you nothing that makes sense?  Although I listed them in a different order above to explain them more easily, on your camera they are listed:

ONE SHOT
AI FOCUS
AI SERVO

Remember that One-Shot AF just focuses once and doesn’t change once you lock it in, and AI Servo AF is the other extreme – continuous focus used for moving objects. And AI Focus AF is listed in the middle, between the two, because it is the hybrid, combination of the two.

Checking Focus
You can review your images on the rear LCD Monitor of your camera to try to determine if they are in focus, especially by zooming in as close as possible.  But be aware that this screen has only about one million dots or pixels, while your actual image has about 18 million pixels.  That means that many images will appear to be in proper focus on your LCD screen, but you might discover that the actual images are not really so sharply in focus.

Before continuing, I want to mention that much of this text is excerpted from my dSLR guides for the Canon EOS 6D, Canon 70D, Rebel T5i / EOS 700D, Rebel T4i / EOS 650D, and the Canon EOS 7D. If you would like to learn more about the autofocus systems as well as all the other features of your camera including metering modes, Aperture and Shutter priority modes (Av and Tv), all the menus and Custom Function settings, and more, have a look at my Full Stop e-book camera guides. In addition to explaining the features and settings, the guides clearly explain when and why to use them in order to capture the images you desire.

Take control of your camera and the images you create!

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To learn about another important reason why you need to take control of your autofocus system, and why the two example photos above actually weren’t my final compositions, see the next post:

Don’t Let the Locations of the AF Points Dictate Your Composition

What do you do when, with your desired framing, your subject is not located exactly under or near an AF point?  Even with the 19 or 39 points of an advanced Canon 7D or Nikon D7000, this will often be an issue.  For example in Figure 2 above, I actually wish to capture the entire window and more space around it within the image frame, but moving the camera and framing for that composition leaves me with no AF Point at the woman where I wish to focus.  Have a look at the above post to learn why this is an issue and how to resolve it.

Focus and Depth of Field

Many functions of dSLR cameras are related to some degree or another, and Focus and Depth of Field are two of these.  The depth of field, based on your aperture setting (and thus related to exposure…) expands forward and back from your point of focus.  Thus, one important aspect of controlling your depth of field begins with focusing exactly where you want to.  To begin learning more about depth of field, have a look at my post Depth of Field Simplified.

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Understanding and Using Exposure Compensation and Bracketing

One of the key elements for obtaining the proper exposure of your images when working in Aperture Priority or Shutter Priority modes is making use of Exposure Compensation.  Although all the exposure related settings of a dSLR are intimately intertwined (such as aperture, shutter speed, ISO setting plus the exposure metering mode you are using, etc.) and it is challenging to speak of one without addressing the others, I will focus here on exposure compensation and when and how to use it.

The following text is excerpted from my e-book guide Ten Steps to Better dSLR Photography, where you can learn more about exposure compensation plus apertures, shutter speeds, exposure metering modes, composition and more.  Click on the cover at the end of the post to learn more about the guide, preview it, or purchase it.

Why Exposure Compensation is Needed

If you take an image that turns out to be darker or lighter than you desire, based on reviewing the image and/ or its histogram on your rear LCD screen, you can use exposure compensation in the non-Auto shooting modes to “override” the exposure that the camera is selecting, in order to brighten or darken the next image’s exposure.  You may want to do this if you have seen that your highlights have run off the right side of the histogram and been blown-out, resulting in complete loss of detail in those areas of the image.  Consult your manual to determine how to adjust exposure compensation on your specific camera.  With some Canon models, you press the Exposure Compensation [+/-] button and turn the Main Dial.  With other Canon models you use the Quick Control Dial to adjust this setting.  With Nikon, Sony, Pentax, and Olympus models you typically press the Exposure Compensation [+/-] button and turn a dial.  You will then see the exposure compensation amount change in your viewfinder and/ or on the top or rear LCD screen.  If the exposure level indicator in one of these places is not changing, press the shutter button half-way to first wake up the camera, or move/ press the Lock switch/ button near the rear dial on a Canon.

Putting Exposure Compensation to Use

If you have taken a photo that is too dark and you wish to retake the image and make the next exposure of the scene lighter, adjust exposure compensation in the positive (+) direction.  To make the next exposure darker, adjust exposure compensation in the negative (-) direction.  Try changing the Exposure Compensation by perhaps 1/3, 1/2, or 2/3 in the direction you desire, retake the shot, and see if your exposure problem is solved.  Increase or decrease the exposure compensation as needed.  Remember to set the exposure compensation back to zero when you are done with that situation and move on to take different images!  This is one reason why you should check your camera’s settings often – to make sure you haven’t left the camera on the settings from a previous situation.  This can often happen with the ISO setting and exposure compensation setting.  Check your current settings on the top or rear LCD display or in the viewfinder.

To remember how to compensate – which direction to turn the dial – think of the histogram peaks on the graph.  If you wish to shift the peaks to the left, to the darker side, to make the image darker, turn the dial so that the exposure compensation level moves to the negative side (-1, -2, etc.).  If you wish to shift the peaks to the right, to the lighter side, to make the image lighter, turn the dial so that the exposure compensation level moves to the positive side (+1, +2, etc).  Curiously, some cameras put the negative side of the exposure level indicator on the left, and others put it on the right, so look in the manual or viewfinder to see how yours operates.

Bracketing

Exposure compensation can also be used to “bracket” an exposure.  Bracketing is when you take at least three photos of the same scene, one at the “proper” exposure, one under-exposed, and one over-exposed (see the image below).  For example you may take the second and third shot with the exposure compensation set at +1 and then -1.  This is done to ensure that you capture exactly the right exposure you desire.  In the days of film this was a helpful technique, especially for critical situations, since one didn’t have the immediate feedback of the image on an LCD screen and a histogram.  It can still be used today for critical situations or for test shots when determining the right exposure settings.  Digital SLR cameras typically have an auto exposure compensation feature so that this process is more automated.  You set the amount of under- and over-exposure desired (such as +1, -1 or +1 2/3, -1 2/3) and then take three images in a row.  The camera automatically adjusts the exposures for each shot in order to bracket the second and third shots.  If your camera is set on continuous drive mode, you can just hold down the shutter button and the camera will take the three shots in a row.


Weaver Constructing the Keshwa Chaca, Huinchiri, Peru – Three bracketed exposures of the same scene:  the “proper” exposure as determined by the camera (Evaluative metering mode) in the center, under-exposed -2/3 stop on the left, over-exposed +2/3 stop on the right.  The desired exposure, for my eye, lies somewhere between the “proper” exposure and the over-exposure.  With auto exposure bracketing you can often customize the order that the bracketed images are taken, for example proper/under/over or under/proper/over.  In this example they were taken proper/under/over, so they are displayed here in a different order than actually captured.  Center exposure:  Shutter speed 1/1000, aperture f/5.0, ISO 100, focal length 105mm.

Exposure compensation and bracketing are also used in HDR (high dynamic range) photography to take three or five or more photos of the same scene at various exposures.  All the images are then combined by the photographer, using HDR software, into a single image which will contain a much broader dynamic range of light and dark than is possible with a single image.

Beyond Exposure Compensation

As I mentioned at the start, exposure is determined by a number of controls and settings on your dSLR.  If you are consistently taking images that are under- or over-exposed, you may wish to explore the other metering modes, to ensure that the camera is metering your exposures exactly where and how you want.  Have a look at my previous post on Exploring Metering Modes to learn more about this, or have a look at my e-book guide Ten Steps to Better dSLR Photography to learn about all the aspects of exposure and how they relate.

 

Awesome Apple Icon Photoshop Tutorial

apple icloud icon button dslr tutorial aluminum metal metallic iphoto icamera camera photo

I used this great video tutorial from PhotoGuides (dot) Net to create my shamelessly derivative, Apple-style, aluminum-appearing camera icon/ button, based on the profile of the Canon 7D.  I tweaked several of the numbers and settings shown in the tutorial, and I will include those details here soon…

There are several other Photoshop tutorials on the PhotoGuides site (and on its YouTube channel) that look really good, such as the “glass” app buttons, plus some non-video tutorials such as how to create the Apple-type reflection seen under my camera button.

Below my icon is the real, original Apple iCloud icon, so you can see how accurate this tutorial can be.  But you really have to fiddle with the bevel and embossing settings, and adjust your gradients settings to align the reflective light rays.  I tried to make my light rays relatively close to the original, but you can create any number of rays and align them as desired.

Now if I only had a photography iPhone/ iPad App to go along with my icon… perhaps one based on my Ten Step to Better dSLR Photography e-book!