Lessons
Introduction
04:14 2Canon System Introduction
05:18 3Preparing the Camera
03:46 4Basics of Photography
09:03 5Control Difference T6i vs T6s
05:28 6Mode Dial
21:01 7How to Adjust ISO
06:20 8Auto Focus System
10:40Using Flash
06:30 10Viewfinder Display
14:04 11White Balance and Picture Styles
15:48 12Drive Mode
12:02 13Movie Mode
06:40 14Quick Menu
15:45 15Playback Options
08:25 16Left Side of the Camera
05:04 17Right and Bottom Sides of the Camera
07:53 18Canon Rebel T6 Lens Options
14:48 19Basic Menu Navigation
01:53 20Shoot 1 Menu
16:14 21Shoot 2 Menu
04:45 22Shoot 3 Menu
07:38 23Live Shoot 1 Menu
04:49 24Movie 1 Menu
02:16 25Movie 2 Menu
06:41 26Play 1 Menu
05:24 27Play 2 Menu
11:46 28Set-up 1 Menu
18:27 29Set-up 2 Menu
03:43 30Set-up 3 Menu
05:15 31Set-up 4 Menu
17:35 32My Menu
05:39 33Operation Setup for Different Subjects of Photography
14:33Lesson Info
Shoot 2 Menu
We are going to move on to page two shooting, too. In our camera. Here we have our exposure, compensation and auto exposure. Bracketing. This may seem familiar to you, because we found this in the quick control menu, which is a faster way to get to here. But we can do it here as well. And so this is for shooting either a syriza pictures brighter or darker. Or we could just simply shoot one picture brighter or darker, using our exposure compensation. And remember, we can shoot three exposures and our exposure bracketing. We can shoot lighter, normal, darker. We could do the whole thing, either to the light side. And we can also make him more spread out, so that the images are further apart in their bracketing siri's. And this is going to be useful in program time, value and aperture value. It's. Not something you use in manual. And I believe it's not even available when you get into the other s'more simplistic modes on the camera. A lot of landscape photographers will will do those brac...
kets to make sure that they're covering the brains of brightness from the bright sunlight to the shadowed areas. All right, next up is our auto lightning optimizer, and we have actually talked about this before. This was the d plus that would either be on the quick screen, on the back here camera or in the viewfinder itself. And what this is doing is it's trying to lighten up the shadows and it's. Not something that I like to do is something that you could do very easily if you shoot raw images. And the reason I don't like to do it is because it doesn't look good on all images. And so this is something that you could turn on, particularly in some situations that are a high contrast range. So bright suns, bright sun, dark shadows. You could give this a try and see if it works for your photography, but I think you're perfectly fine leaving this turned off all the time. 00:01:57.278 --> 00:02:01. Custom white balance. And so if you were in an unusual 00:02:01.92 --> 00:02:05. lighting situation that you had mixed lighting, say, 00:02:05.01 --> 00:02:07. you had fluorescent and tungsten and a little bit 00:02:07.26 --> 00:02:09. of daylight coming in through the window, and you 00:02:09.38 --> 00:02:11. really weren't sure what the correct light source 00:02:11.7 --> 00:02:14. wass. What you could do is you can photograph a white 00:02:14.79 --> 00:02:17. sheet of paper like I did in this photograph here, 00:02:17.39 --> 00:02:19. but clearly doesn't look white. 00:02:20.62 --> 00:02:22. And then you would first. So the first thing you do 00:02:22.68 --> 00:02:24. is you photograph the white object, and then you go 00:02:24.73 --> 00:02:26. to this spot right here in the menu, custom white 00:02:26.97 --> 00:02:30. balance, and you select this photo as thie sample 00:02:30.82 --> 00:02:33. photo. And then you're going to need to goto white 00:02:33.36 --> 00:02:36. mounts and set it to custom, and the camera will figure 00:02:36.37 --> 00:02:39. out what color light source you are working under. 00:02:41.95 --> 00:02:44. Next up is white balance shift. We saw this before, 00:02:44.62 --> 00:02:46. and the quick menu. This is something I hope you don't 00:02:46.69 --> 00:02:49. need to use. I have never needed to use it. If you 00:02:49.44 --> 00:02:52. need it to tweak the colors of the camera that they're 00:02:52.43 --> 00:02:55. out putting in some way, you could go in here and 00:02:55.26 --> 00:02:57. you could move this center dot a little bit more to 00:02:57.92 --> 00:03:00. the green, the red, the magenta. We're the purple 00:03:00.89 --> 00:03:05. side to figure out to adjust exactly the color tones 00:03:05.16 --> 00:03:08. that you're getting it's highly unlikely that you'll 00:03:08.16 --> 00:03:08. need to do this. 00:03:12.08 --> 00:03:15. The color space is the range of colors that you are 00:03:15.49 --> 00:03:18. recording when you are shooting. J pick. When you 00:03:18.33 --> 00:03:21. were shooting raw images, you are getting the largest 00:03:21.08 --> 00:03:25. adobe rgb color space. But in j pegs, you can choose 00:03:25.38 --> 00:03:29. between srg, b, which is a more simplistic, basic 00:03:29.37 --> 00:03:31. level of colors. It's, for the most part, what we're 00:03:31.68 --> 00:03:35. seeing on the web today, for instance, and the colors 00:03:35.11 --> 00:03:37. that you're actually going to use safer printing, 00:03:37.72 --> 00:03:39. are going to be much greater than that. And so, if 00:03:39.84 --> 00:03:42. you have any hopes of printing your photographs, I 00:03:42.46 --> 00:03:44. would recommend adobe rgb. 00:03:46.77 --> 00:03:49. Next up is picture styles we've seen this twice before. 00:03:50.09 --> 00:03:52. Once in the quick menu. Once on the back of the camera, 00:03:52.88 --> 00:03:55. it's the down button on the back of the camera. This 00:03:55.48 --> 00:03:57. allows us to go in and choose a slightly different 00:03:57.99 --> 00:04:01. color formulas for the way our images look. Normally, 00:04:01.13 --> 00:04:03. I'm just going to leave this in standard. Any sort 00:04:03.35 --> 00:04:05. of tweaking I'm going to do later on in my computer, 00:04:06.07 --> 00:04:08. where I have much better controls and a better view 00:04:08.69 --> 00:04:11. of the types of change is that I'm making on a particular 00:04:11.05 --> 00:04:11. image. 00:04:14.74 --> 00:04:17. Meter in mouth. So this is something that we've also 00:04:17.52 --> 00:04:19. talked about before. This is the way that it's me 00:04:19.47 --> 00:04:22. during the light. The evaluative mitri is using that 00:04:22.77 --> 00:04:27. very large segmented area for deciding how bright 00:04:27.24 --> 00:04:29. certain areas are and how dark certain areas are and 00:04:29.68 --> 00:04:32. what the average is for the entire scene. So evaluative 00:04:32.66 --> 00:04:35. works very good for most all photography, most all 00:04:35.81 --> 00:04:36. the time.
Class Materials
Bonus Materials with Purchase
Ratings and Reviews
Jen Hubbenator
Feeling pretty good about my T6s purchase! John's teaching style was fabulous, and I am left feeling pretty confident and a lot less overwhelmed!
rodrigo andrade
Great Class! John Greengo is an amazing teacher. I have a t6i for like 6 months and this class helped me a lot. Totally worth the money!
a Creativelive Student
As a student of John's for the past 2 years with the Fundamentals of Photography, the Nikon D3300 and D5500, I recently traded my Nikon D3300 for the Canon EOS Rebel T6i. As always, the training was superb, easy to understand, and I feel better in being able to use a digital camera. The reason for the switch in manufacturers was because of the ease of use of the Canon. I look forward to referring back to the lessons if I need a refresher course. Thank you, John. Your teaching is starting to click, finally.
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