Lesson Info
25. Custom Setting Menu: Shooting/Display
Lessons
Class Introduction
03:59 2Nikon D500 Overview
11:25 3Camera Basics
08:31 4Basic Camera Controls
03:22 5Top of Camera: Exposure Control
25:50 6Top of Camera: Buttons
16:33 7Back of Camera: Release Mode
05:55 8Back of Camera: Viewfinder Display
08:44Back of Camera: Play Back
10:18 10Back of Camera: Buttons
09:36 11Back of Camera: Live View
22:56 12Back of Camera: Movie Mode
09:48 13Left of Camera: Exposure Bracketing
03:19 14Left of Camera: Focus Mode
12:00 15Left & Right Sides of Camera
05:18 16Bottom of Camera
04:56 17Front of Camera
05:34 18Nikon Lenses Overview
09:26 19Playback Menu
08:24 20Photo Shooting Menu
14:26 21ISO: Photo Shooting Menu
26:14 22Movie Shooting Menu
14:01 23Custom Setting Menu: Autofocus
14:20 24Custom Setting Menu: Metering/Exposure
04:05 25Custom Setting Menu: Shooting/Display
07:33 26Custom Setting Menu: Bracketing/Flash
03:16 27Custom Setting Menu: Controls
11:38 28Setup Menu
16:00 29Setup Menu: Wi-Fi
06:47 30Retouch & My Menu
06:06 31Camera Operation Overview
08:13Lesson Info
Custom Setting Menu: Shooting/Display
Alright, moving over to d, shooting and display. So we talked about customizing the low speed setting on the motor drive. If you wanted to set this for something different, it's currently set at five frames. Remember, continuous high is set at 10 frames a second. And so if you need something a little different than that, here's where you can dial it in. Maximum continuous release is set at 200, which means that, if you were have this camera in one of those jpeg modes, you would just press down on the shutter release and the camera would fire 200 shots and it would stop. And the design for this is that, the reason for the design is that, if you were to put the camera in your camera bag, and somebody pushed up next to it in the airport, the luggage compartment above your head, the camera doesn't just continually fire for the entire time of the plane flight. It'll go through 200 shots and then it will stop. And so, when you see the terms, the fact that the camera has a 200 shot buffer, th...
at's really the limitation. You could shoot through 200 shots, lift your finger up for a fraction of a second, put it back down, and shoot another 200 shots in many cases. And so it's just a limiting factor, and if you want to have it set at a lower number, you can. But 200 is the maximum number. ISO display, and so I mentioned in the viewfinder, one of my little gripes was that you can't see the ISO and the number of pictures at the exact same time. If you leave this set off, where it says, show frame count, in the brackets on the right-hand side, it's gonna show you the number of pictures that you can shoot, totally left, but it'll also show you your buffer size, which is usually an R number like R22. That means you have 22 shots you can shoot right away. But if you put this in the mode where it says on, what's gonna happen is, it's gonna put the ISO in there. And it will actually switch back and forth between the number of shots left and the ISO. And so I think that's a good system to have, because being able to see where your ISO is at is a very important thing, and you'll be able to see that right in the viewfinder. So synchronized release mode options, and so what's happening here is, if you were gonna have this camera hooked up to multiple cameras and a remote system, there are two options, you can sync everything with the master camera, so all the cameras fire at the same time, or that they're synchronizing with the remote. And it's quite possible, if you do it with the remote, which would be the no sync option, when I trigger this and I've got cameras all over the place, this camera's gonna fire fractionally before that camera that's way over there, because the signal takes longer to get to it. And so, a lot of times, one of the things like Sports Illustrated would do is that they will put remote cameras in various locations. And they'll have somebody who fires it, and it takes pictures with multiple cameras at exactly the same time. And generally, what they're looking for is, they wanna get that exact same moment. Now if you did want a slight delay, you could put this in no sync. Some of them might actually react a little bit faster, but in the sync mode, there might be a little extra delay, but those multiple cameras will all fire at the same time then. Exposure delay mode, this is more of a, this is like a self-timer. It's something I would think of being used in a laboratory, where there might be vibrations and they need to trigger the camera and move away from it a little bit. And so this is something that can be added onto a self-timer but is very much the same type of operation. It just delays the firing of the camera by a second or two or three. Electronic front-curtain shutter, alright, this is where things get a little interesting, okay. So let's take a look at what's going on at the shutter unit in the camera. So our sensor has a shutter above it and below it, our first curtain and our second curtain. And so when you take a photo, the shutter curtain goes up, and it goes up so fast that there is a little bit of vibration that might cause a loss of sharpness in the image. And because of this, that's why we put our camera in mirror lock-up, to get rid of the mirror vibration, but there is still shutter vibration in some situations. And then the bottom unit will come up and turn off the exposure. So what an electronic front curtain does is, it no longer moves the front curtain. What it does is, the front curtain opens up, the vibrations go away, and then it electronically turns on the pixels one row at a time, very quickly, followed by the shutter curtain closing behind it. And so the first curtain starts the exposure electronically. And this means that you're not gonna get any vibration. Now it's pretty rare that you're going to get a vibration from the shutter movement. But it depends on the lens and how steady your camera is on the platform or tripod that it's on, and so it's just an additional way for having more vibration taken out of that particular unit at that time. It's also gonna be a way for you to quiet the shutter down when you're working in the live view mode. And so this does have some limitations as far as the highest ISO that you can use, as well as the maximum shutter speed that you can use with it. And so this is something that you would normally leave disabled, but from time to time, it may be beneficial. And this is something that you use in the live view mode. File numbering sequence, and so as you take photos, the camera automatically numbers the files. And if you wanted to go in and reset this, you could. Generally, it's not something most people worry about doing, because their cameras just keep a constant count. It counts up to 10,000 and then resets back down to zero. So if you wanted to reset right now, you could. You remember, in the viewfinder, we could turn on a grid. Well this is where we turn it on. So if you like that extra grid for compositional reasons or leveling the horizon, one of the ways in which you can do it. Typically, my recommendation is to leave all that stuff turned off, unless you specifically need it. Alright, LCD illumination, you remember how you flip that little switch to turn the light on? Well, you can turn that light on by pressing the buttons on the camera as well. And so if you want an easier access for turning that light on, and so pretty much all the buttons will activate that LCD on the camera. So it just depends on, how easily do you want that LCD illumination to be turned on. Normally, just rotating the switch should be fine. Optical VR, this will turn on the VR, only when the shutter button is pressed halfway down. Now this is an option on some of the big telephotos, they have a switch on the lens that controls it itself. But if, for some reason, it was hard to compose your photograph, because you've got this long lens and you're trying to follow this ski jumper, and you're trying to track their movement and you're trying to compensate for the camera's VR movement, sometimes that can be a little tricky, in certain types of tracking of some action. And so some photographers prefer to turn this off. It's something you'll need to test with your long lenses to see if it's something you need.
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Bonus Materials with Purchase
Ratings and Reviews
Carl Vanderweyden
John Greengo is the best! I purchased a Nikon D500 and this course around the same time. Because of this camera being so complex, I felt that a course would be beneficial. This course that John teaches is exactly what I needed. His knowledge of this camera as well as photography in general is exceptional. In fact, I own a couple of other courses presented by John and I also bought a couple of his books! I would highly recommend this course to anyone who wants to know the ins-and-outs of this D500! Thanks again John for a great course and your great way of explaining things with clear dialect and great visuals!
M Jo
Wow! What a great class! John is a natural teacher, moving at a good pace and explaining things carefully, never assuming you already know more than you might. I just got my D500 last week and am so pleased to have gone through this entire class. I learned a LOT and took some notes to refer back to. I've also just bought a Z6 and have purchased John's class for that. Can't wait to dive in!!!
Christina Brittain
By The class. John is the gold standard for teaching. He repairs lessons to perfection. He speaks in ways students comprehend all that he presents. Never waste words. Never bores. Always demonstrates his points. I will continue to purchase his classes as they provide the best learning I have found. He is making me a much better photographer, both technically and creatively. You can't make good images if you don't know your gear. Hope he teaches lessons in Portland Oregon one day. I know Pro Photo Supply would sponsor him.
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