_Canon EOS 350D (Rebel XT) a Short Course in Photography

7/31/2019 _Canon EOS 350D (Rebel XT) a Short Course in Photography

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FORINFORMATIONONDIGITALPHOTOGRAPHY,VISITHTTP://WWW.SHORTCOURSES.COM

A S H O R T C O U R S E I N

CA N O N

EOSD I G I T A L RE B E L XTPH O T O G R A P H Y

D E N N I S P . C U R T I N

S H O R T C O U R S E S . C O MH T T P : / / W W W . S H O R T C O U R S E S . C O M

COVER

AA30470C
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ISBN: 1-928873-59-6

SHORTCOURSES PUBLISHING PROGRAM

SHORT COURSES PUBLISHING PROGRAM

Short Courses, the parent site of PhotoCourse.com, is the leading pub-lisher of digital photography books, textbooks, and guides to specificcameras from Canon, Sony, Nikon, Olympus and others. All of these

books are available on-line from the Short Courses bookstore at:http://www.shortcourses.com/bookstore/book.htm

All recent books are available in both black & white print and full -coloreBook (PDF) versions. The list of books weve published is rapidly expand-ing so be sure to visit the store to see if there is a book on your camera.

If you find any errors in this book, would like to make suggestions forimprovements, or just want to let me know what you thinkI welcome yourfeedback.

ShortCourses.com16 Preston Beach RoadMarblehead, Massachusetts 01945

E-mail: [email protected] site: http://www.shortcourses.com

To learn more about digital photography visit our two Web sites:

http://www.shortcourses.com http://www.photocourse.com

Copyright 2005 by Dennis P. Curtin. All rights reserved. Printed in theUnited States of America. Except as permitted under the United StatesCopyright Act of 1976, no part of this publication may be reproduced ordistributed in any form or by any means, or stored in a database or retrievalsystem, without the prior written permission of the publisher.

If you like the way thisbook is presented, hereare some other books inwhich you may beinterested.

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II
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FORINFORMATIONONDIGITALPHOTOGRAPHY,VISITHTTP://WWW.SHORTCOURSES.COM III

PREFACE

A

great photograph begins when you recognize a great scene orsubject. But recognizing a great opportunity isnt enough to captureit; you also have to be prepared. A large part of being prepared

involves understanding your camera well enough to capture what you see.Getting you prepared to see and capture great photographs is what this bookis all about. It doesnt matter if you are taking pictures for business orpleasure, theres a lot here to help you get better results and more satisfactionfrom your photography.

To get better, and possibly even great photographs, you need to understandboth concepts and procedures; the whys and hows of photography.

Concepts of photography are the underlying principles that apply regard-less of the camera you are using. They include such things as how sharpnessand exposure affect your images and the way they are perceived by viewers.Understanding concepts answers the why kinds of questions you mighthave about photography.

Procedures are those things specific to one kind of camera, and explainstep-by-step how you set your cameras controls to capture an image just theway you want. Understanding procedures gives you the answers to thehow kinds of questions you might have.

This book is organized around the concepts of digital photography becausethats how photographers think. We think about scenes and subjects, high-lights and shadows, softness and sharpness, color and tone. The proceduresyou use with the Canon EOS Digital Rebel XT, called the EOS 350D in somecountries, are integrated throughout the concepts, appearing in those placeswhere they apply. This integrated approach lets you first understand theconcepts of photography and then see step by step how to use the XT/350Din all kinds of photographic situations.

To get more effective, interesting, and creative photographs, you only needto understand how and when to use a few simple features on your camerasuch as focus, exposure controls, and flash. If youve previously avoidedunderstanding these features and the profound impact they can have onyour images, youll be pleased to know that you can learn them on a week-end. You can then spend the rest of your life marveling at how the infinitevariety of combinations they provide make it possible to convey your ownpersonal view of the world. Youll be ready to keep everything in a scenesharp for maximum detail or to blur some or all of it for an impressionisticportrayal. Youll be able to get dramatic close-ups, freeze fast action, createwonderful panoramas, and capture the beauty and wonder of rainbows,sunsets, fireworks, and nighttime scenes.

As you explore your camera, be sure to have fun. There are no rules orbest way to make a picture. Great photographs come from using what youknow to experiment and try new approaches. Digital cameras make thisespecially easy because there are no film costs or delays. Every experiment isfree and you see the results immediately so you can learn step by step.

This book is about getting great pictures, not about installing batteries andconnecting your camera to your computer and using your software. Thatinformation is well presented in the user guide that came with your camera.Be sure to visit our Web site at www.shortcourses.com for even more digitalphotography information.

PREFACE

The Canon EOS DigitalRebel XT is a full-featuredSLR with interchangeablelenses. It comes in a silveror black finish.

The EOS Digital Rebelaccepts the full line ofCanon EF and EF-S lenses.

XT/350

For the sake ofsimplicity, in thisbook we refer tothe Digital RebelXT/350D as theXT. We hope 350Dusers understandthat its done justto keep the textshorter.
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CONTENTS

IV

CONTENTS

Cover...iShort Courses Publishing Program...iiPreface...iii

Contents...ivHow To Sections Quick Lookup...v

CHAPTER 1

CAMERA CONTROLSAND CREATIVITY...6

The Digital Rebel XT Camera...7Jump Start: Using Full Auto Mode...8Good Things to Know...9Operating the Camera...10Using Menus to Change Settings...12Managing Your Images...13Selecting Image Quality and Size...15

CHAPTER 2

CONTROLLING EXPOSURE...21

Understanding Exposure...22Choosing Exposure Modes...23Using Image Zone Modes...24Using Program AE and Program Shift...25Using Shutter-Priority (Tv) Mode...26Using Aperture-Priority (Av) Mode...28Using Manual Mode...30How Your Exposure System Works...31How Exposure Affects Your Images...34When Automatic Exposure Works Well...35When to Override Automatic Exposure...36How to Override Automatic Exposure...40Using Histograms...43

CHAPTER 3

CONTROLLING SHARPNESS...46

Getting Sharper Pictures...47Sharpness Isnt Everything...49How to Photograph Motion Sharply...50Focus and Depth of Field...52Focusing Techniques...54Controlling Depth of Field...58Capturing Maximum Depth of Field...59Using Selective Focus...61Conveying the Feeling of Motion...62

CHAPTER 4CAPTURING LIGHT & COLOR...63

Where Does Color Come From?...64White Balance and Color Temperature...65Using White Balance Correction & Bracketing...67Color Balance and Time of Day...68Sunsets and Sunrises...69Weather...71Photographing at Night...73The Direction of Light...75The Quality of Light...77

CHAPTER 5

UNDERSTANDING LENSES...78

Canon Lenses...79Zoom Lenses...83Normal Lenses...84Wide-Angle Lenses...85Telephoto Lenses...87Portraits with a Telephoto Lens...88Macro Lenses and Accessories...89Tilt-Shift Lenses...91Lens Accessories...92How a Photograph Shows Depth...93

CHAPTER 6

USING AUTOMATIC FLASH...94

How Flash Works...95

Using Autoflash...96Portraits with Flash...98Using Fill Flash...100Using Slow Sync Flash...101Using Available Light...102Controlling Flash Exposures...103Using an External Flash...105Using Flash in Close-ups...107Studio Lighting...108Studio Portrait Lighting...111

CHAPTER 7

OTHER FEATURESAND COMMANDS...112

Continuous Photography...113

Remote Control Photography...114Using the Set-up Menus...115Using Custom Functions...118Selecting a Color Space...120Entering a Print Order...121Selecting and Adjusting Parameters...122Caring for Your Camera...123Capturing Images in RAW Format...125
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Taking a Picture in Full Auto Mode 8

Using Menus 12

Reviewing Images 13

Managing Your Images 13

Giving a Slide Show on TV 14

Selecting Image Quality 20

Changing Exposure Modes 23

Using Image Zone Modes 24

Using Program AE (P) Mode 25

Using Program Shift 25

Using Shutter-Priority (Tv) Mode 27

Using Aperture-Priority (Av) Mode 29

Using Manual (M) Mode 30

Selecting a Metering Mode 33

Using Exposure Compensation 41

Using Autoexposure (AE) Lock 41

Using Autoexposure Bracketing (AEB) 42

Displaying Histograms 43

Using Histograms 45

Using the Self-timer/Remote Control 48

Changing the ISO 48

Increasing the Sharpnessof Moving Objects 51

Selecting an Autofocus Mode 55

Selecting an AF Point 56

Using Focus Lock 57

Using Manual Focus 57

Increasing Depth of Field 59

V

HOW TO SECTIONS QUICK LOOKUP

HOW TO SECTIONS QUICK LOOKUP

Using Auto Depth-of-Field AE (A-DEP) 59

Setting Your Lens to the

Hyperfocal Distance 60

Zone Focusing 60

Decreasing Depth of Field 61

Capturing Creative Blur 62

Selecting a White Balance Mode 66

Setting a Custom White Balance 66

Using White Balance Correction/Bracketing 67

Using Bulb Exposures 74

Mounting and Unmounting a Lens 79

Zooming a Lens 83

Increasing Depth of Field in Close-ups 90

Using Autoflash 97

Turning Red-eye Mode On and Off 99

Using Fill Flash 100

Using Slow Sync Flash 101

Preventing the Flash from Firing 102

Using Flash Exposure Compensation 104

Using Flash Exposure Lock 104

Turning Continuous Mode On and Off 113

Using the Set-up Menus 115

Changing Custom Functions 118

Clearing Custom Functions 119

Selecting a Color Space 120

Entering a Print Order 121

Selecting and Adjusting Parameters 122


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6

CHAPTER 1. CAMERA CONTROLSAND CREATIVITY


Chapter 1Camera Controls and Creativity

Serious digital cameras give you creative control over your images. Theydo so by allowing you to control the light and motion in photographsas well as whats sharp and what isnt. Although most consumer

digital cameras are fully automatic, some allow you to make minor adjust-ments that affect your images. The best ones such as the Rebel XT offerinterchangeable lenses, external flash connections, and a wide range ofcontrolsmore than youd find on a 35mm SLR. However, regardless ofwhat controls your camera has, the same basic principles are at work underthe hood. Your automatic exposure and focusing systems are having aprofound affect on your images. Even with your camera set to operateautomatically, you can indirectly control, or at least take advantage of theeffects these systems have on your images.

In this chapter, well first explore your camera and how you use it on FullAuto mode. Well also see how you use menus and buttons to operate thecamera, manage your images and control image quality. In the chapters thatfollow, well explore in greater depth how you take control of these settings,and others, to get the effects that you want.

CONTENTS

The Digital Rebel XTCamera Jump Start:Using Full Auto Mode Good Things to Know Operating the CameraUsing Menus toChange Settings Managing Your ImagesSelecting ImageQuality and Size


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THE DIGITAL REBEL XT CAMERA

The Digital Rebel XT, called the EOS 350D in some countries, is a smallsingle-lens reflex (SLR) camera with a durable and light weight polycarbon-ate body that accepts interchangeable lenses. The XT comes with or without

an EF-S 1855 mm f/3.55.6 zoom lens and is available in a brushed silver ormatte-black finish. The cameras image sensor captures images up to 3456 x2304 pixels in size (8 megapixels) using the same 3:2 width to height aspectratio found in 35mm film.

Single-lens reflex cameras have been around for a long time, and havealways been the favorite of serious photographers. One reason is that youcan see the scene youre photographing through the lens instead of through aseparate window. You can also see which part of a scene will be in sharpestfocus and preview depth of field. The light from a scene enters the cameraslens, bounces off a mirror, is reflected up through a prism and out theviewfinder. When you take a photo, the mirror swings up out of the way sothe light can pass through the shutter to expose the image sensor.

One of the best things about the XT is that it can use most, if not all, CanonEOS series accessories without modification. This opens up a wide range ofcreative possibilities. For example, you have over 50 Canon EF and EF-Slenses to choose from, and the E-TTL II autoflash-compatible hot shoeaccepts a wide assortment of Canon EX-series external flash units includingsome designed for close-up photography. Lenses used on the camera allhave a focal length 1.6x greater than indicated because the image sensor issmaller than a frame of 35mm film (page 81).

The camera has a buffer that stores images until they are fully processed andsaved on a removable CompactFlash card. Since storing images in the bufferis a lot faster than storing them on the card, the click-to-click time betweentaking images is shortened. The buffer allows the cameras continuous modeto capture up to 14 large images at 3 frames per second. Images are saved toeither a Type I or Type II Compact Flash (CF) card, including the Microdrive.

The XT has a very fast 0.2 second startup time, a shutter release lag of only100msec, and a viewfinder blackout time of 175msec.

The XT supports the industry standard PictBridge so you can connect it tophoto printers and other PictBridge devices and print images without acomputer. With Canon's CP600 4" x 6" photo printer and a battery pack youdont even need an AC power connection.

The XT is an SLR (single-lens reflex) camera. Whenyou look in the viewfinderyou see the scenethrough the lens. Thecamera comes in bothblack and silver versionsthat are identical in allother respects.

THE DIGITAL REBEL XT CAMERA

The XTs image sensor issmaller that a frame of35mm film, but has thesame familiar shape.

The CP600 and othersuch printers let you print4 x 6 inch snapshots onthe road using the ACcord or batteries.

The XT has an optionalbattery pack (BG-E3) thatwill give you greatlyincreased shooting times.


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8



JUMP START: USING FULL AUTO MODE

The XTs Full Auto mode sets everything for you. Just frame the image andpush the shutter button. This is the best mode in most situations because itlets you focus on the subject rather than the camera.

Selecting the mode. Turn the power switch on the top of the camera toONand set the Mode Dial to Full Auto (the green rectangle icon).

Framing the image. The viewfinder shows about 95% of the scene you aregoing to capture. If the image in the viewfinder is fuzzy, turn the diopteradjustment knob in the upperright corner of the viewfinder to adjust it.

Autofocus. When you look through the viewfinder, you see seven smallrectangles called theAF points (AF stands for autofocus). If the focus switchon the lens is set to AF (page 54), the camera focuses on the closest subjectcovered by one or more of these focus points (page 54). When you press theshutter button halfway down, a red dot flashes in the focusing point orpoints being used to set focus, the round focus confirmation light in thelower right corner of the viewfinder glows green, and the camera beeps.How close you can get to a subject depends on the lens you are using.

Autoexposure. Evaluative metering divides the scene in the viewfinderinto 35 zones and meters each of them to determine the best exposure for thescene (page 33). The shutter speed and aperture are displayed in the view-finder.

Autoflash. When the light is too dim in Full Auto mode, the built-in flashautomatically pops up when you press the shutter button halfway down andfires when you press the shutter button the rest of the way down (page 96).

Automatic white balance. The color cast in a photograph is affected by thecolor of the light illuminating the scene. The camera adjusts white balance sowhite objects in the scene look white in the photo (page 65).

TAKING A PICTURE IN FULL AUTO MODE

1. With the power switch on the top of the camera set to ON, set theMode Dial to Full Auto (the green rectangle icon). Set the focusmode switch on the lens to AF (page 54) and remove the lens cap.

2. Compose the image in the viewfinder, making sure the area that youwant sharpest is covered by one of the seven rectangular focuspoints.

3. Press the shutter button halfway down and pause so the camera canautomatically set focus and exposure. When the camera has done soit beeps, the round green focus confirmation light in the viewfinderglows, and a dot in the focusing point(s) being used to set focusflashes red.

4. Press the shutter button all the way down to take the picture.

The shutter sounds and the red access lamp on the back of thecamera flashes as the image is stored onto the CompactFlash card.

The image is displayed on the monitor for 2 seconds so you canreview it or press the Erase button to delete it.

5. When done shooting, turn the power switch to OFF.

SLEEP MODE

If you dont useany controls for 1minute, the cameraenters sleep mode.To wake it up,press the shutterbutton halfwaydown and releaseit. To change theauto power offtime, see page 115.

Power switch, Mode Dial,and shutter button.

TO FLASH OR NOT

When you pressthe shutter buttonhalfway down inFull Auto mode,the flash pops upand fires in dim

light, or when thesubject is backlit.This also happensin other Basic Zonemodes other thanSports, Landscape,and Flash Off(page 24). It doesnot happen inCreative Zonemodes (page 23).

Full Auto icon.


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GOOD THINGSTO KNOW

When you first start taking photos with a new camera, it sometimes seemsthat there is too much to learn all at once. To simplify your getting started,here are some of the things you may want to know right off.

The first time you use the camera you should enter the date and time(page 115). These can be used later to organize and locate pictures.

If your camera is right out of the box you have need to mount a lens (page79), insert a charged battery pack, and insert a CompactFlash (CF) card onwhich your images are saved. No CF card is included with the camera, andthere may be no lens as part of the package. Be careful because it is possibleto take photos without a CF card in the camera (page 115)!

To insert a CF card, turn off the camera, slide the CF card slot cover on theright side of the camera toward the back, and swing it open. Insert the CFcard with its front label facing the rear of the camera and press it in until theblack eject button pops out, then close the cover. To remove a card, open theCF card slot cover and press the eject button to pop up the card so you cangrasp it. Never open the battery or CF card slot cover when the red accesslamp toward the lower right corner of the LCD monitor is on. Doing so cancause you to lose images, or even damage your CF card.

Be aware of the number of shots remaining displayed on the LCD panel.

To take pictures hold the camera in your right hand while supporting thelens with your left. Brace the camera against your face as you look throughthe viewfinder and brace your elbows against your body. Press the shutterbutton slowly and smoothly as you hold your breath after breathing indeeply and exhaling.

If the camera cant focus, it doesnt beep when you press the shutter buttonhalfway down, the round green focus confirmation light in the viewfinder

blinks, and you cant take a picture. For help on focusing see page 54.

You can use the cameras monitor to review images youve taken but notto take photos. You can adjust the monitors brightness to match the light inwhich youre viewing it (page 115). When you take a picture, it is displayedon the monitor for two seconds but you can extend this review time (page115). While an image is displayed for review, you can press the Erase button(page 13) to delete it, or the INFO button to change the display mode.

When you press the shutter button halfway down you activate the view-finder and LCD panel so icons or other indicators are displayed for thecurrent settings. Some remain displayed, and their controls remain active, foronly 6 seconds unless you use a control. (You can illuminate the LCD panelby pressing the button marked with the light bulb icon on top of the camera.)

To adjust the viewfinder (-3 to +1 diopter), remove the lens cap and lookthrough the viewfinder at a fairly bright light source (not the sun). If therectangles in the viewfinder are not sharp, try to bring them into focus byturning the diopter adjustment knob in the upperright corner of the view-finder. The camera also accepts the accessory E-series Dioptric AdjustmentLenses that slip into the viewfinders eyepiece holder. (See your Canondealer for details.)

You can reset all camera settings to their factory defaults (page 115). Thisis useful if you make changes and cant remember how to undo them.

GOOD THINGSTO KNOW

The battery compartmentcover is on the bottom ofthe camera. Onerechargeable battery packNB-2LH will capture over600 images in warmweather when not usingflash.

The CF card slot cover ison the right side of thecamera as seen from the

shooting position.

Dioptric adjustment knob.

Icons show the status ofthe battery as full (top),almost run down(middle), and out(bottom).


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10



OPERATINGTHE CAMERA

The XT has a number of buttons and dials that quickly change importantsettings without the time-consuming need to work your way through menus.In many cases, buttons and dials are used together in sequence. Pressing a

button initiates a procedure, and then turning a dial selects the availableoptions. In these cases, when you press the button, you only have about 6seconds to turn the dial or the command is cancelled. If you react too slowly,just press the button again. In some cases you may have to first press theshutter button halfway down and release it to activate the displays.

TOP VIEW

Lens release button lets you turn the lens to remove it (page 79).

Flash button pops up the built-in flash when the Mode Dial is set to anymode in the Creative Zone (page 23).

Shutter button locks exposure and focus and turns on the viewfinder andLCD panel information display when pressed halfway down, and takes thephoto when pressed all the way.

Main Dial changes settings and moves the highlight through menucommands. In some cases, you have to first press and release, or even hold

down a button as you turn the dial. In other cases, you turn the dial by itself,as when changing shutter speeds and apertures (pages 2630). In playbackmode, turning the dial scrolls you through pictures youve taken (page 13).

Mode Dial selects one of the many exposure modes (page 23).

Power switch turns the camera on and off.

Depth of field preview button next to the Rebel XTor 350D logo on thefront of the camera lets you preview depth of field (page 58).

TIPS

Buttons wont

work when thecamera is in sleepmode. Press theshutter buttondown and release itto wake up thecamera andactivate the view-finder and LCDpanel display.

You can quicklyreset camerasettings to theiroriginal factorydefaults (page 115).

When you press someshooting mode buttons,their function remainsactive for only 6 seconds.At that point you mayhave to first press theshutter button halfwaydown and release it toactivate the viewfinderand LCD panel displays.

Depth of field previewbutton.


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OPERATINGTHE CAMERA

REAR VIEW

LCD panel displays information about camera settings.

LCD monitor displays menus (page 12) and images in playback mode(page 13).

MENU button displays and hides the menu on the monitor (page 12).

INFO button displays or hides information about camera settings inshooting mode, or about the currently displayed image in playback orreview mode.

JUMP buttonjumps you between menu tabs (page 12), and betweenpictures in playback mode (page 13).

Playback button lets you review the photos you have taken (page 13).

Erase button deletes the image displayed on the monitor or all imagesstored on the CompactFlash card (page 13).

AE/FE lock and Index/Reduce button (*) locks exposure (page 41) andflash exposure (page 104). In playback mode this button unzooms a zoomedimage and switches to and from index view (page 13).

AF point selector/Enlarge button is used with the Main Dial to selectwhich focusing point is used to set focus (page 56). In Playback mode itzooms the image up to 10x (page 13).

Aperture Value (Av)/Exposure compensation button is held down whileturning the Main Dial to set the aperture in manual (M) mode (page 30) andexposure compensation in other modes (page 41).

DRIVE mode button cycles the camera among single-shot, continuousshot (page 113), and self-timer/remote control (page 48) modes each timeyou press it.

Direct print/LCD Panel Illumination button is used to print images fromthe camera when a printer is attached and to light the LCD panel.

Cross Keys move the highlight while using menus and scroll images inplayback mode. In shooting mode, pressing a cross key is a shortcut todisplaying the menu command used to change ISO, focus, white balance andmetering modes.

SET button in the middle of the cross keys selects highlighted choices orconfirms settings.

Access lamp lights when images are being saved or loaded for preview.

The cross keys on theback of the camera andwhat they do.

Drive mode icons includecontinuous (top), single(middle), and self-timer/remote control (bottom).


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12



Below are the shooting and playback commands youll see on menus and thenumbers of the pages where they are discussed in this book. (Set-up 1 and 2commands on the orange menus are discussed on page 115.) Which com-mands you see depend on the exposure mode the camera is in and whichmenu tab is displayed. The commands marked with an asterisk (*) are notavailable when the Mode Dial is set to a mode in the Basic Zone (page 23).

USING MENUSTO CHANGE SETTINGS

To change settings, you often use a menu that is displayed on the monitorwhen you press the MENU button. Commands are listed on four menu tabsthat you navigate with the JUMP button, Main Dial, and cross keys.

USING MENUS

To display the menu when the camera is on, press the MENU buttonto the left of the monitor. The menus tab bar is highlighted, or if youhave previously used a command in this session, that command ishighlighted.

To move among the four tabbed pages press JUMP one or moretimes. You can also select a tab by turning the Main Dial or pressing theup (S) or down (T) cross key to highlight the tab bar, then pressingthe left (W) or right (X) cross key to highlight a tab.

To move the colored selection frame to highlight a command, turn

the Main Dial or press the up (S

) or down (T

) cross key. To display choices for the highlighted command, press the SETbutton in the center of the cross keys. To select a choice (not all com-mands list choices), turn the Main Dial or press the up (S) or down (T)cross key to select it, then press SET.

To back up without changing a setting, press MENU or the shutterbutton before pressing SET.

To return to the menu if pressing SET took you to a second screen,press MENU.

To hide the menu, press the MENU or shutter button.

TIPS

When a menu is

displayed on thescreen, press theshutter buttonhalfway down toinstantly return toshooting mode.

You can quicklyreset all camerasettings to theiroriginal factorydefaults (page 115).

SHOOTING 1 MENU (RED)

Quality (page 20)

Red-eye On/Off (page 99)

Beep (page 117)

AF mode (page 55)*

Metering mode (page 33)*ISO speed (page 48)*

SHOOTING 2 MENU (RED)

AEB (page 42)*

Flash exp comp (page 104)*

White balance (page 66)*

WB SHIFT/BKT (page 67)*

Custom WB (page 66)*Color space (page 120)Parameters (page 122)*

PLAYBACK MENU (BLUE)

Protect (page 13)

Rotate (page 13)Print order (page 121)Auto Play (page 13)

Review time (page 115)

Shooting 1 and 2 menutab icon.

Playback menu tab icon.

Set-up 1 menu tab icon.

Set-up 2 menu tab icon.


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MANAGING YOUR IMAGES

When taking photos, there are times when you want to review the imagesyouve taken, ideally before leaving the scene. While doing so, you can zoomin to examine details, or display small thumbnails so you can quickly locate a

specific image. Once youve located the image you want, you can erase,protect, rotate, or display information about it. Youll find that the images areeasier to see on the monitor when the light is dim so find a shady spot or dimroom for best results. In playback mode, you can press the shutter buttonhalfway down at any time to instantly return to shooting mode.

REVIEWING IMAGES

1. With the camera on, press the Playback button on the back of thecamera to display the most recent photo.

2. Turn the Main Dial or press the (W) or right (X) cross key on theback of the camera to scroll through your images or use any of theprocedures described in the QuickSteps box Managing Your

Images below.

3. To resume shooting, press the shutter button halfway down.


To display 9 small thumbnails in index view, press the Index/Reduce button. Turn the Main Dial or press the cross keys to scroll thegreen frame to select a specific image. To return to single-image view,press the Enlarge or Playback button.

To zoom an image up to 10x, press or hold down the Enlarge button.A small square within a square indicates which part of the zoomed

image you are viewing. Press the cross keys to scroll around the image,or turn the Main Dial to scroll to the next image displayed at the samezoom. To reduce the zoom press the Index/Reduce button, and tocancel it press the Playback button.

To jump 9 or 10 images at a time, press JUMP to display a jump barat the bottom of the monitor. Turn the Main Dial or press the left (W) orright (X) cross key to jump where you want. Press JUMP again toreturn to scrolling image by image.

To erase the image displayed in single-image view or the onehighlighted in index view, press the Erase button to the left of themonitor, turn the Main Dial to highlight Erase and press SET.

To erase all images

on the CF card, press the Erase button to the leftof the monitor, turn the Main Dial to highlightAll and press SET. Whenprompted to confirm the deletion, highlight OKand press SET again.(To interrupt image erase while its occurring, press SET again.) Be sureto think before using this command! If you delete image files bymistake see the box Image Recovery Software on page 14).

CONTINUED ON NEXT PAGE ...


TIPS

When you take aphoto, its dis-played on themonitor for 2seconds. When itsdisplayed, pressthe Erase button todelete it or INFO tochange the displaymode.

After zoomingan image, you canscroll throughother images usingthe same zoom.

To immediatelyreturn to shootingmode, press theshutter buttonhalfway down.

The Index/Reduce icons.

The Playback icon.

The Erase icon.

The Enlarge icon.


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14



MANAGING YOUR IMAGES, CONTINUED

To display or hide information about an image in single-imageview, press the INFO button to the left of the monitor once or twice.The blinking highlights on an image and the histogram are discussedon page 43. Once information is displayed you can scroll through other

images. To hide information and return to your previous view, pressINFO again.

To protect or unprotect selected images so they wont be inadvert-ently erased, press MENU, highlight Protect on the Playback menu taband press SET. Scroll through your saved images and press SET toprotect or unprotect any image. (Protected images are marked with akey-like icon in a box at the bottom of the screen.) When finished, pressMENU or the shutter button.

To rotate selected images, press MENU, highlight Rotate on thePlayback menu tab and press SET. Scroll through the images and pressSET one or more times to rotate an image. When finished, press MENUor the shutter button.

To give a slide show on the cameras monitor or TV (see Giving aSlide Show On TV box below), press MENU, highlightAuto play onthe Playback menu taband press SET. Each picture on the CF card isdisplayed for 3 seconds. To pause and restart, press SET. When paused,a pause icon is displayed in the upper left corner of the image. At anypoint in the show you can turn the Main Dial or press the left or rightcross key to manually scroll through images. To stop the show at anypoint, press the MENU or shutter button. You can press INFO during ashow to display or hide information about each image.

To create a print order, see page 121.

To change the review time or turn it off see page 115.

TIPS

When lookingfor pictures toerase, protect, orrotate, its oftenfaster if you pressthe Index/Enlargebutton to do so inindex display oruse the JUMP

button (page 12). Protecting theimages you want tokeep and thenusing the Erase,Allcommand to deletethe others is aquick way to cleanyour CF card ofunwanted images.

You can connectthe camera to a TV

set so you andothers can immedi-ately see photos asyou take them.This is a great wayto take portraitsand close-ups.

GIVING A SLIDE SHOW ON TV

To show your images on the TV, turn both the TV and the camera offwhile you connect the supplied video cable to the VIDEO OUT termi-nal on the camera and the VIDEO IN terminal on the TV. Turn on theTV and set it for video input. Turn on the camera and set it to Auto playas described above. Auto power off does not operate in auto play modeand the show loops over and over again. Be sure to end the show andturn off the camera when finished. If you need to switch betweenNTSC and PAL video systems see page 115.

The protect icon.

IMAGE RECOVERY SOFTWARE

If you delete images by mistake, dont despair. There is software that willlet you recover them if you dont first save other photos on the same card.One such program is PhotoRescue at (http://www.datarescue.com/photorescue/) but you can find others by Googling digital image recov-ery.
http://http//WWW.SHORTCOURSES.COMhttp://http//WWW.SHORTCOURSES.COMhttp://http//WWW.SHORTCOURSES.COMhttp://http//WWW.SHORTCOURSES.COMhttp://http//WWW.SHORTCOURSES.COMhttp://http//WWW.SHORTCOURSES.COMhttp://http//WWW.SHORTCOURSES.COMhttp://http//WWW.SHORTCOURSES.COMhttp://www.datarescue.com/photorescue/http://www.datarescue.com/photorescue/http://www.datarescue.com/photorescue/http://http//WWW.SHORTCOURSES.COM


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SELECTING IMAGE QUALITYAND SIZE

Digital photographs are made up of hundreds of thousands or millions oftiny squares calledpicture elementsor justpixels. Like the impressionistswho painted wonderful scenes with small dabs of paint, your computer and

printer can use these tiny pixels to display or print photographs. To do so,the computer divides the screen or printed page into a grid of pixels. It thenuses the values stored in the digital photograph to specify the brightness andcolor of each pixel in this grida form of painting by number.


Any image that lookssharp and has smoothtransitions in tones (top)is actually made up ofmillions of individualsquare pixels (bottom).Each pixel is a solid,uniform color.

NUMBER OF PIXELS

The quality of a digital image depends in part on the number of pixels usedto create the image (sometimes referred to as resolution). At a given size,

more pixels add detail and sharpen edges. However, there are always sizelimits. When you enlarge any digital image enough, the pixels will begin toshowan effect calledpixelization. This is not unlike traditional silver-basedprints where grain begins to show when prints are enlarged past a certainpoint.

TIP

The term reso-lution has twomeanings inphotography.Originally it

referred to theability of a camerasystem to resolvepairs of fine linessuch as thosefound on a testchart. In this usageits an indicator ofsharpness, notimage size. Withthe introduction ofdigital cameras itbegan being usedto indicate thenumber of pixels acamera couldcapture.


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When a digital image isdisplayed or printed atthe correct size for thenumber of pixels itcontains, it looks like anormal photograph.When enlarged too much

(as is the eye here), itssquare pixels begin toshow. Each pixel is asmall square made up ofa single color.

Image sizes are expressedas dimensions in pixels(3456 2304) or by thetotal number of pixels (8megapixels).

REBEL XT IMAGESIZES

The Rebel XT givesyou a choice ofthree image sizes:3456 2304 (large),2496 x 1664 (me-dium), and 1728 1152 (small).

The pixel size of a digital photograph is specified in one of two waysby itsdimensions in pixels or by the total number of pixels it contains. For ex-ample, the same image can be said to have 3456 2304 pixels (where is

pronounced by as in 3456 by 2304), or to contain 7.962 million pixels ormegapixels (3456 multiplied by 2304).


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HOW AN IMAGE IS CAPTURED

Digital cameras are very much like those rapidly fading 35mm film cameras.Both types contain a lens, an aperture, and a shutter. The lens brings lightfrom the scene into focus inside the camera so it can expose an image. Theaperture is a hole that can be made smaller or larger to control the amount oflight entering the camera. The shutter is a device that can be opened or

closed to control the length of time the light is allowed to enter.

The big difference between traditional film cameras and digital cameras ishow they capture the image. Instead of film, digital cameras use a solid-statedevice called an image sensor. In the XT, the image sensor is a CMOS chip. Onthe surface of this thumbnail-sized silicon chip is a grid containing almost 8million photosensitive diodes calledphotosites,photoelements, orpixels. Eachphotosite captures a single pixel in the photograph to be.

THE EXPOSURE

When you press the shutter button of a digital camera, a metering cell

measures the light coming through the lens and sets the aperture and shutterspeed for the correct exposure. When the shutter opens briefly, each pixel onthe image sensor records the brightness of the light that falls on it by accu-mulating an electrical charge. The more light that hits a pixel, the higher thecharge it records. Pixels capturing light from highlights in the scene willhave high charges. Those capturing light from shadows will have lowcharges.

When the shutter closes to end the exposure, the charge from each pixel ismeasured and converted into a digital number. This series of numbers isthen used to reconstruct the image by setting the color and brightness ofmatching pixels on the screen or printed page.

An image sensor sitsagainst a backgroundenlargement of its squarepixels, each capable ofcapturing one pixel in thefinal image. Courtesy ofIBM.


This cutaway view showsthe inside of the cameraincluding the mirror thatswings up out of the waywhen you take a picture.

The XT has a focal planeshutter that uses twocurtainsone opens tobegin the exposure andthe second closes to endit. At shutter speeds fasterthan 1/200 the twocurtains form a slittraveling across theimage sensor.


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18



ITS ALL BLACK AND WHITE AFTER ALL

It may be surprising, but pixels on an image sensor can only capture bright-ness, not color. They record only thegray scalea series of tones rangingfrom pure white to pure black. How the camera creates a color image fromthe brightness recorded by each pixel is an interesting story.

The gray scale contains arange of tones from purewhite to pure black.

RGB uses additive colors.When all three are mixedin equal amounts theyform white. When redand green overlap theyform yellow, and so on.

FROM BLACK & WHITE TO COLOR

When photography was first invented in the 1840s, it could only record blackand white images. The search for color was a long and arduous process, anda lot of hand coloring went on in the interim (causing one photographer tocomment so you have to know how to paint after all!). One major break-through was James Clerk Maxwells 1860 discovery that color photographscould be created using black and white film and red, blue, and green filters.

He had the photographer Thomas Sutton photograph a tartan ribbon threetimes, each time with a different color filter over the lens. The three blackand white images were then projected onto a screen with three differentprojectors, each equipped with the same color filter used to take the imagebeing projected. When brought into alignment, the three images formed afull-color photograph. Over a century later, image sensors work much thesame way.

Colors in a photographic image are usually based on the three primarycolors red, green, and blue (RGB). This is called the additive color systembecause when the three colors are combined in equal amounts, they formwhite. This RGB system is used whenever light is projected to form colors asit is on the display monitor (or in your eye).

Since daylight is made up of red, green, and blue light; placing red, green,and blue filters over individual pixels on the image sensor can create colorimages just as they did for Maxwell in 1860. Using a process called interpola-tion, the camera computes the full color of each pixel by combining the colorit captured directly through its own filter with the other two colors capturedby the pixels around it.

CHOOSING IMAGE SIZE, FORMAT AND COMPRESSION

The size of an image file and the quality of the picture it contains depends inpart on the number of pixels in the image and the amount of compressionused to store it. The XT lets you choose from three image sizes and twocompression ratios as a way of controlling the size of image files. Because

you can squeeze more 1728 x 1152 images onto a storage device than you cansqueeze 3456 x 2304 images, there may be times when youll want to switchto the smaller size and sacrifice quality for quantity.

Images are normally stored in a format called JPEG after its developer, theJoint Photographic Experts Group and pronounced jay-peg. This fileformat not only compresses images, it also allows you to specify how muchthey are compressed. This is a useful feature because there is a trade-offbetween compression and image quality. Images in the Fine mode arecompressed less than those in the Normal mode. Less compression gives youbetter images so you can make larger prints, but you cant store as manyimages.

PARAMETERS

In JPEG modethe camera uses 8bits to storebrightness levelsfor each of the

three colors red,green, and blue.This means it canstore 28 or 256levels. In RAWmode, it uses 16bits. This means itcan store 216 or65,536 levels foreach color.


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With the XT in Creative Zone modes (page 23) you can choose between thecommon JPEG file format and the higher-quality RAW file format (.CR2).The camera stores RAW images in an unprocessed format so they can laterbe processed on your more powerful desktop computer. These RAW filescontain every bit of the captured data. As a result, they are quite large so youcant store as many as you can when shooting JPEGs. However, since JPEGs

are processed in the camera, some data is discarded and can never berecovered. RAW files are 3456 x 2304 pixels in size and can be viewed,edited, and converted to other formats using most photo-editing software orCanons own Digital Photo Professional 1.6 and ZoomBrowser EX programsincluded on a CD that comes with the camera. RAW images can be capturedby themselves or with a companion Large/Fine JPEG image that gives youan identical high quality RAW file and a smaller, more easily distributableimage file. Both the RAW and JPEG files have the same names but differentextensions.CR2 and .JPG. For more on RAW images, see page 125.

Images are initially captured by the sensor in 48 bit full color RGB (16 bitsper channel) but are reduced to 24 bit RGB (8 bits per channel) when con-verted into JPEG files. The full 48 bits are retained in the RAW file formatuntil the images are processed on your computer. Even then, all 16 bits percolor can be retained when you save the image in some formats such as TIFFor Photoshops PSD format.

As you change quality settings, youre also affecting how many images canbe stored in your camera. The larger the size or the less the compression, thefewer you can store. Sometimes when there is no storage space left, you canswitch to a smaller size and poorer quality and squeeze a few more imagesonto the CF card. The list below gives the sizes/compression ratios fromwhich you can choose. The approximate size of each image file is given inparentheses, followed by the approximate number of images that you canstore on a 512MB CF card. The exact file size varies somewhat depending onthe subject matter, ISO setting, and parameters being used.

Large/Fine have 3456 x 2304 pixels (3.3MB, 145)

Large/Normal have 3456 x 2304 pixels (1.7MB, 279)

Medium/Fine have 2496 x 1664 pixels (2.0MB, 245)

Medium/Normal have 2496 x 1664 pixels (1.0MB, 466)

Small/Fine have 1728 x 1152 pixels (1.2MB, 419)

Small/Normal have 1728 x 1152 pixels (0.6MB, 790)

RAW with lossless compression have 3456 x 2304 pixels (8.3MB, 58)

RAW + Large Fine gives you two identical 3456 x 2304 imagesone inRAW format and one a Large/Fine JPEG.

The XT allows you to have two different resolution/compression settings inuse at the same time. This makes it easy to switch back and forth betweenthem just by changing exposure modes.

Basic Zone modes (page 23) are treated as a group. A change in any ofthese modes changes all of them. If you switch to any Creative Zone mode,the settings change to that zones settings.

Creative Zone modes (page 23) are treated as a group. A change in any ofthese modes affects all of them. If you switch to any Basic Zone mode, thesettings change to that zones settings.

Image sizes are indicatedby letters L, M, and S(large, medium, andsmall). Compressionmodes are indicated withpie-slice-like icons. Finemode has a smooth edgeand Normal mode has arough stair-step edge.

TIPS

You can storethree different setsof contrast, sharp-ness, saturation,

and color tonesettings and thenselect any one ofthe sets (called

parameters) forscenes you photo-graph (page 122).

The XT uses arevised RAWformat calledCanon RAW 2ndedition.


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Here are the relative sizesof the XTs images. Thesmallest size is best forthe Web and e-mail andthe largest for prints.

The RAW Image Task,accessible from theZoomBrowser EX lets youedit RAW images.

SELECTING IMAGE QUALITY

1. With the Mode Dial set to any mode (or to any mode in the CreativeZone if selecting RAW), press MENU and display the Shootingmenu tab. (The Creative Zone is discussed on page 23.)

2. Highlight Quality and press SET to display a list of quality choices.

3. Highlight one of the choices and press SET to select it. (RAW modesare only displayed when the camera is set to one of the CreativeZone modes.)

4. Press the MENU or shutter button to hide the menu.


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Automatic exposure control is one of your cameras most usefulfeatures. Its great to have the camera automatically deal with theexposure while you concentrate on the image. This is especially

helpful when photographing action scenes where there isnt time to evaluatethe situation and manually set the controls.

You shouldnt, however, always leave the exposure to the automatic system.At times the lighting can fool any automatic exposure system into producingan underexposed (too dark) or overexposed (too light) image. Although youcan make adjustments to a poorly exposed image in a photo-editing pro-gram, youve lost image information in the shadows or highlights that cant

be recovered. You will find it better in some situations to override theautomatic exposure system at the time you take the picture.

Typical situations in which you might want to override automatic exposureinclude scenes with interesting and unusual lighting. For example, you needto take control when you photograph into the sun, record a colorful sunset,show the brilliance of a snow-covered landscape, or convey the dark moodi-ness of a forest.

Chapter 2Controlling Exposure

CONTENTS

UnderstandingExposure ChoosingExposure Modes Using Image ZoneModes UsingProgram AE andProgram Shift UsingShutter-Priority (Tv)Mode Using AperturePriority (Av) Mode Using Manual Mode

How Your ExposureSystem Works HowExposure Affects yourImages WhenAutomatic ExposureWorks Well When toOverride AutomaticExposure How toOverride AutomaticExposure UsingHistograms

CHAPTER 2. CONTROLLING EXPOSURE


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UNDERSTANDING EXPOSURE

The most creative camera controls you have are the shutter speed andaperture settings. Both affect the exposure, the total amount of light reachingthe image sensor, and so control how light or dark a picture is. The shutter

speed controls the length of time the image sensor is exposed to light and theaperture controls the brightness of that light. You, or the cameras autoexpo-sure system, can pair a fast shutter speed (to let in light for a short time) witha large aperture (to let in bright light) or a slow shutter speed (long time)with a small aperture (dim light). When you let in just the right amount oflight, the exposure is perfect. But perfect for what part of the scene? Everyscene has parts that are dark, bright, and every tone in between. To capturean image the way you want to interpret it, you select the most important partof the scene and decide what tone you want this area to have in the finalimage. You then expose the image so that tone appears as light or dark asyou want. Since autoexposure will make the overall image average out tomiddle gray (page 31), you may have to change the exposure to make itlighter or darker. You do this by changing the shutter speed or aperture.

There are often a number of aperture and shutter speed combinations thatwill give the same exposure. Speaking of exposure only, it doesnt make anydifference which combination is used. But in other ways, it does make adifference, and it is just this difference that gives you some creative opportu-nities. Whether you know it or not, youre always balancing camera orsubject movement against depth of field (page 52) because a change in onecauses a change in the other. Lets see why.

Shutter speeds and apertures each have a standard series of settings calledstops. With shutter speeds, each stop is a second or more, or a fraction of asecond indicating how long the shutter is open. Apertures are given asf/stops that indicate the size of the lens opening through which light entersthe camera. The stops of both are arranged so that a change of 1 full stop lets

in half or twice the light of the next setting. Thus, a shutter speed of 1/60second lets in half the light that 1/30 second does, and twice the light of 1/125 second. An aperture of f/8 lets in half the light that f/5.6 does, and twicethe light of f/11. If you make the shutter speed 1 stop slower (letting in 1stop more light), and an aperture 1 full stop smaller (letting in 1 stop lesslight), the exposure doesnt change. (This is exactly how the program shiftmode discussed on page 25 works.) However, you increase the depth of fieldslightly and also the possibility of blur.

For fast-moving subjects you need a fast shutter speed (although the focallength of the lens you are using, the closeness of the subject, and the direc-tion in which its moving also affect how motion is portrayed).

For maximum depth of field, with the entire scene sharp from near to far,you need a small aperture (although the focal length of the lens and thedistance to the subject also affect depth of field).

AN ANALOGY

One way to

think of shutterspeeds and aper-tures is as faucets.You can fill (ex-pose) a bucket witha small faucetopening (aperture)over a long time(shutter speed), ora large faucetopening in ashorter period. Nomatter whichcombination youchoose, the bucketcan be filled thesame amount.

Here the middle imagewas shot at the suggestedexposure. The shots oneither side were exposedone or two stops underand over the suggestedreading to lighten ordarken the image.

When you press theshutter button halfwaydown and the exposure is

set, the shutter speed andaperture being used aredisplayed in theviewfinder and on theLCD panel.


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CHOOSING EXPOSURE MODES

Your XT offers a variety of exposure modes. All give equally good results inthe vast majority of photographic situations. However, when you photo-graph in specific situations, one of the modes may have certain advantages.

The many shooting modes are divided into two types, or zonesBasic Zoneand Creative Zone. Each zone has a number of modes you can choose byturning the Mode Dial on top of the camera. Basic Zone modes, includingFull Auto and six Image Zones, are indicated with picture-like icons andCreative Zone modes with text (P, Tv, Av, M, and A-DEP). Lets take a lookat these two zones and the modes they include.

Basic Zone modes include Full Auto, which weve already discussed (page8), and six Image Zone modes designed for specific situations. These modesinclude Portrait, Landscape, Close-up, Sports, Night Portrait and Flash Off.These modes are discussed in detail on page 24.

Creative Zone modes give you more control of shutter speed, aperture, andother important color, ISO, and exposure settings for creative control.

P (Program AE) is like Full Auto, but you can easily select different pairsof aperture/shutter speed settings to emphasis depth of field or motion(page 25).

Tv (shutter-priority) lets you choose the shutter speed, while the cameraautomatically sets the aperture to give you a good exposure. You select thismode when the portrayal of motion is most important. It lets you set yourshutter speed fast enough to freeze the action or slow enough to blur it (page26).

Av (aperture-priority) lets you select the aperture (lens opening) while thecamera automatically sets the shutter speed to give you a good exposure.You select this mode whenever depth of field is most important. To be sure

everything is sharp, as in a landscape, select a small aperture. To throw thebackground out of focus so a main subject such as a portrait stands out, selecta large aperture (page 28).

M (manual) lets you choose both the shutter speed and aperture so youcan get just the setting you want. Most photographers select this mode onlywhen other modes wont give them the results they want (page 30).

A-DEP (Auto Depth-of-field Priority) evaluates all of the focus points inthe viewfinder and selects an aperture that will give enough depth of field tokeep all of them in focus (page 59).

Knowing how to use these various modes gives you amazing creativecontrol over your images. Because these are the most important controls in

your creative arsenal, well look at them in depth in the pages that follow.

CHANGING EXPOSURE MODES

1. Set the power switch to ON.

2. Turn the Mode Dial to any setting so it aligns with the small markeron the camera body.

TIPS

In some situa-tions, your picturescan be too light ortoo dark in any

exposure mode. Todarken or lightenthem, use exposurecompensation(page 41).

Check theshutter speed andaperture in theviewfinder whenyou press theshutter buttonhalfway down. If

either is blinking,the camera doesnthave the rightexposure setting.To see how toadjust it, read thesections thatfollow.

The Mode Dial indicatesBasic Zone modes withicons and Creative Zonemodes with letters.

Full Auto icon.

CHOOSING EXPOSURE MODES


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USING IMAGE ZONE MODES

The Mode Dial has a number of Image Zone modes designed for use inspecific situations. All of these modes work just like Full Auto, but draw on alibrary of settings designed for specific situations. For example, in Portrait

mode the camera will select settings for a shallow depth of field so thebackground is softer and less distracting. In Landscape mode, it will do theopposite and select a small aperture to give you as much depth of field aspossible. (For more on the concepts of depth of field, see page 52.)

In all Image Zone modes, the metering mode is set to evaluative (page 33).ISO (page 48) is set to Auto so it varies between 100400 depending on thescene. Portrait and Sports modes have drive set to continuous (page 113) soyou can run off a series of shots and capture an expression or action youmight miss with a single shot.

Portrait sets the camera for minimum depth of field so a portrait will havea soft, and less distracting, background. To maximize the effect, zoom in onthe subject, use a long lens so the subject fills most of the viewfinder, and

make sure there is as much distance as possible between the main subjectand the background.

Landscape sets the camera for maximum depth of field so everything issharp from foreground to background. Since a slow shutter speed may beused in this mode, you may need to support the camera (page 47). This modeworks best with a short focal length (wide-angle) lens and the built-in flashdoesnt fire in this mode.

Close-up is used to capture flowers and other small objects but isnt asubstitute for a macro lens (page 89). This mode works best when focused onsubjects at the lens minimum focusing distance.

Sports mode is ideal for action sports and other fast-moving subjects. The

autofocus mode is automatically set to AI Servo AF (page 55) to keep amoving subject in focus. The drive mode is set to continuous (page 113) soyou can take pictures one after another as long as you hold down the shutterbutton. The built-in flash doesnt fire in this mode. For best results use a longfocal length lens (page 87).

Night Portrait is designed for photographing people or other nearbysubjects at twilight, night, or dawn. The flash illuminates foreground subjectsand the shutter speed is set slow enough to lighten the background. Since aslow shutter speed may be used, you may need to support the camera (page47). When taking a picture, be sure to hold the camera still until the shuttercloses; dont move it just because the flash fires. Also, if people are in theforeground, ask them to freeze until a few seconds after the flash has fired.In daylight, this mode operates just like Full Auto.

Flash Off disables the built-in flash or any external Speedlite flash whenyou don't want it to fire. The AF mode is set to AI Focus (page 55).

USING IMAGE ZONE MODES

Turn the power switch to ONand turn the Mode Dial to any ImageZone icon so it aligns with the marker on the camera body.

Image Zone icons.

TIPS

In Landscapeand Flash Offmodes, if theshutter speeddisplay blinks, youmay get blur due to

camera movement.In Image Zonemodes, all buttonsother than Drivemode and those onthe left side of themonitor aredisabled.


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One unique feature of Program AE mode is calledprogram shift. This featurelets you cycle through a series of aperture/shutter speed combinations thatproduce identical exposures. By choosing the right combination you canemphasize depth of field (page 28) or motion capture (page 26). If you areusing flash, you cannot shift the program.

USING PROGRAM AE AND PROGRAM SHIFT

In Full Auto mode (page 8), your camera is automatically set to produce thebest possible exposure. Program AE (P) mode is also fully automatic, but itlets you change more settings including all of those available in other Cre-

ative Zone modes (page 12).

USING PROGRAM AE (P) MODE

1. Set the power switch to ON.

2. Set the Mode Dial to P (for Program AE).

Program AE mode is soflexible it gives you thecontrol you need forcreative images.

USING PROGRAM SHIFT

1. With the camera on and the flash closed, set the Mode Dial to P (forProgram AE), press the shutter button halfway down, and thenrelease it to activate the viewfinder and LCD panel displays.

2. Turn the Main Dial to scroll through aperture/shutter speed combi-nations in the viewfinder and on the LCD panel until you find thecombination you want to use.

3. Press the shutter button all the way down to take the photo. Theshifted program setting is cancelled automatically if you pause a fewseconds after the picture is taken before taking another one. If youtake another picture immediately, the shifted settings are used. You

can also hold the shutter button halfway down to keep the shiftedsetting from changing.

USING PROGRAM AEAND PROGRAM SHIFT

TIPS

If the 30 shutter

speed is blinking inthe viewfinder, theimage will be toodark. Use flash or ahigher ISO.

If the 4000shutter speed isblinking in theviewfinder, theimage will be toolight. Decrease theISO or use a

neutral densityfilter (page 92).


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26



Katie turned a little justas the shutter opened,causing unwanted blur inthe image.

USING SHUTTER-PRIORITY (TV) MODE

The shutter keeps light out of the camera except during an exposure, when itopens to let light strike the image sensor. The length of time the shutter isopen affects both the exposure of the image and how motion is portrayed in it.

The XT has two shutter curtains that run vertically. When you take a photothe first curtain opens to begin the exposure, then the second curtain closesto end it. The time between the first and second curtains depends on theshutter speed or time value (Tv). At shutter speeds faster than 1/200, thesecond curtain will start to close the shutter before the first curtain is com-pletely open; there is effectively a slit opening which travels across theimage sensor. 1/200 is referred to as the flash sync speedbecause its thefastest shutter speed at which the entire image sensor is uncovered at somepoint so the flash can be fired to illuminate the entire scene.

Slower shutter speeds let more light strike the image sensor so an image islighter. Faster shutter speeds let less strike it so the image is darker. Thereason you dont see the change is because when you change the shutter

speed in this mode, the camera changes the aperture to keep the exposureconstant.

In these pictures, theshutter was left openlonger for the image onthe right than for the oneon the left. Its this longerexposure time that hasmade the image lighter.

Shooting down from anupper level at theGuggenheim Museum, avery slow shutter speedfroze the people standingstill, and blurred thosewho were walking.

THE WAY IT WAS: EARLY SHUTTER DESIGNS

The shutter, used to control the amount of time that light exposes theimage sensor, has changed considerably over the years. The earliestcameras, using film that might take minutes to be properly exposed, came

with a lens cap that the photographer removed to begin the exposure andthen replaced to end it. As film became more sensitive to light and expo-sure times became shorter, faster shutters were needed. One kind used aswinging plate while another design used a guillotine-like blade. As theblade moved past the lens opening, a hole in the blade allowed light tobriefly reach the film.

In addition to controlling exposure (the amount of light that reaches theimage sensor), the shutter speed is the most important control you have overhow motion is portrayed in a photograph. Understanding shutter speeds is


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vital if you want to anticipate if a moving subject will appear in your imagesharp or blurred. The longer the shutter is open, the more a moving subjectwill be blurred in the picture. Also, the longer its open the more likely youare to cause blur by moving the camera deliberately or not. The XTs shutter-

priority (Tv) mode is designed to give you control over shutter speeds so youcan have control over the way motion is captured in your images.

Although digital cameras can select any fraction of a second for an exposure,there are a series of settings that have traditionally been used (shown in theillustration to the left). These shutter speed settings are arranged in a se-quence so that each setting lets in half as much light as the next slowestsetting and twice as much as the next fastest. Each of these settings is called astop and with the XT you can select any shutter speed from a slow 30seconds to a fast 1/4000 in one-third stop increments. There is even a bulbsetting available in manual (M) mode that keeps the shutter open as long asyou hold down the shutter button (page 74).

Shutter speeds faster than 1 second are actually fractions of a second, butonly the denominator is displayed. For example, when the shutter speed is1/4 second, it is displayed as 4.

Shutter speeds of 1 second or slower are displayed with quotation marks.For example when the shutter speed is 2 seconds, its displayed as 2. Whenthe shutter speed is 2.5 seconds, its displayed as 25.

A fast shutter speed (left)opens and closes theshutter so quickly amoving subject doesntmove very far during theexposure, a slow speed(right) allows moving

objects to movesufficiently to blur theirimage on the imagesensor.

USING SHUTTER-PRIORITY (Tv) MODE

1. With the Mode Dial set to Tv (time value or shutter-priority) pressthe shutter button halfway down and then release it to activate theviewfinder and LCD panel displays.

2. Turn the Main Dial to select a shutter speed as you watch theviewfinder or LCD panel. If the aperture value isnt blinking, theexposure is OK. However;

If the smallest aperture value (largest aperture) blinks, the imagemay be too dark so turn the Main Dial to select a slower shutterspeed.

If the largest aperture value (smallest aperture) blinks, the imagemay be too light so turn the Main Dial to select a faster shutter speed.


USING SHUTTER-PRIORITY (TV) MODE

TIPS

You cant select ashutter speedunless theviewfindersinformationdisplay is on. Toturn it on, pressand release theshutter button.

If you cant get a

fast enough shutterspeed, try increas-ing the camerasISO (page 48).

Custom Function6 will changeexposure incre-ments from 1/3rdto 1/2 stops (page119).

Traditional shutterspeeds.


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USING APERTURE-PRIORITY (AV) MODE

The aperture diaphragm, a ring of overlapping leaves within the cameralens, adjusts the size of the opening through which light passes to the imagesensor. As the aperture changes size, it affects both the exposure of the image

and the depth of field that determines what is sharp from foreground tobackground.

The aperture can be opened up to let in more light or closed or stoppeddown to let in less. Like the shutter speed, the aperture is used to controlexposure. The larger the aperture opening, the more light reaches the imagesensor in a given period of time. The more light, the lighter the image. Thereason you dont see the change is because when you change the aperture inthis mode, the camera changes the shutter speed to keep the exposureconstant.

Shallow depth of field canmake part of an imagestand out sharply againsta softer background. Thisemphasizes the sharpest

part of the image.

Like shutter speed, aperture also affects the sharpness of your picture, but in

a different way. Changing the aperture changes the depth of field, the area in ascene from foreground to background that will be sharp in a photograph.The smaller the aperture you use, the deeper the area of a scene that will besharp. For some picturesfor example, a landscapeyou may want asmaller aperture for maximum depth of field so that everything from thenear foreground to distant background is sharp. But in a portrait you maywant a larger aperture to decrease the depth of field so your subjects face issharp but the background is soft and out of focus.

THE WAY IT WAS: EARLY APERTURES

A variety of designs over the history of photography have enabled

photographers to change the size of the lens opening to control theexposure and depth of field. A form of the iris diaphragm, used in todayscameras, was used as early as the 1820s by Joseph Nicephore Niepce, oneof the inventors of photography. Waterhouse stops, used in the 1850swere a series of blackened metal plates with holes of different sizes cut inthem. To change apertures the photographer chose the appropriate plateand slid it into a slot in the lens barrel. With wheel stops, different sizeapertures were cut into a revolving plate. The photographer changed thesize of the aperture by rotating the plate to align the desired opening withthe lens.


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The XTs Av (aperture-value) mode lets you select aperture settings so youhave control over the way depth of field is captured in your images. Aper-ture settings, calledf/stops, indicate the size of the aperture opening insidethe lens. Each full f/stop lets in half as much light as the next larger openingand twice as much light as the next smaller opening. The range of the XTsf/stops depends on the lens you are using.

Notice that as the f/stop number gets larger (f/4 to f/11, for example), theaperture size gets smaller. This may be easier to remember if you think of anf/number as a fraction (which it really is): 1/11 is less than 1/4, just as the

size of the f/11 lens opening is smaller that the size of the f/4 opening.

How wide you can open the aperture, sometimes referred to as its speed,depends on the chosen lens maximum aperture (its widest opening). The termfast lens usually applies to lenses that can be opened to a wide maximumaperture for their focal length (page 82). Faster lenses are more expensive butare better when photographing in dim light or when trying to freeze fastmoving subjects.

Great depth of field keepseverything sharp from theforeground to thebackground.

USING APERTURE-PRIORITY (Av) MODE

1. With the Mode Dial set to Av (aperture value), press the shutterbutton halfway down and then release it to activate the displays.

2. Turn the Main Dial to select an aperture as you watch the view-finder or LCD panel. If the shutter speed isnt blinking, the exposureis OK. However;

If the 30 shutter speed blinks, the image may be too dark so turnthe Main Dial to select a larger aperture.

If the 4000 shutter speed blinks, the image may be too light soturn the Main Dial to select a smaller aperture.


USING APERTURE-PRIORITY (AV) MODE

TIPS

To check depth-of-field in theviewfinder whenusing CreativeZone modes, pressthe depth-of-fieldpreview button(page 58).

If you cant get asmall enoughaperture, tryincreasing the

cameras ISO (page48).

You cant selectan aperture unlessthe viewfindersinformationdisplay is on. Toturn it on, pressand release theshutter button.

As the aperture numbergets smaller, the lensopening gets larger.


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USING MANUAL MODE

When you want total and absolute control over exposures, you can switch tomanual (M) exposure mode. In this mode, you manually select both theshutter speed and aperture setting. Since automatic exposure combined with

exposure compensation (page 41) is so easy to use, most photographers onlyresort to manual mode in those rare situations where other modes cant givethem the results they want. For example, you may use this mode whenphotographing a series of images for a panorama or animated GIF whereyou dont want the exposure to change at all from one shot to the next.

When you press the shutter button halfway down in manual (M) mode, anexposure scale shows you how much you are under (-) or over (+) exposed.If the indicator is under the -2 or +2 and flashing it means you are off by twostops or more.

The exposure scale.

USING MANUAL (M) MODE

1. With the Mode Dial set to M (manual), press the shutter buttonhalfway down and then release it to activate the exposure scale thatshows how much you are over or under the recommended exposure.

2. As you watch the viewfinder or LCD panel, turn the Main Dial byitself to select a shutter

Documents

_Canon EOS 350D (Rebel XT) a Short Course in Photography