Canon70DExperienceTheStillPhotographyGuideto

OperationandImageCreationwiththeCanonEOS70D

by:DouglasJ.Klostermann

FullStop.goodwritingforbetterphotography

Allrightsreserved.Thise-bookislicensedforyourpersonal,non-commercialenjoymentonlyandmaynotbere-sold,file-shared,distributed,sub-licensed,orgivenaway.Thisbookcanbeprintedforyourpersonaluseandreadonyourpersonaldevices.Otherwisenopartofthisbookmaybereproducedortransmittedinanyformorbyanymeans,electronicallyorinprint,withoutexpressedpermissionfromtheauthor.Everyefforthasbeenmadetomakethise-bookasaccurateaspossible,butnowarrantyoffitnessisimplied.Theinformationisprovidedonanas-isbasis.Theauthorshallhavenoliabilityorresponsibilitywithrespecttoanylossordamagesarisingfromtheinformationprovidedinthise-bookincludingbutnotlimitedtotheuse of any of the materials or methods described, the products, retailers, Internet web sites, or linksprovided.Pleasereadandfollowallinstructionsanduse,safetyandhandlingprecautionsexpressedinthemanualsprovidedwithyourequipmentandsoftware,andwhichtakeprecedenceoveranycontentinthiswork.

All contents of thiswork including cover design, text, and photographs,with the exception of products,brands,software,contentsofmenusandscreenshots,andlogos,arecopyrightbytheauthor.Allproducts,brands, software,contentsofmenusandscreenshots, and logosarepropertyof the respectivecompaniesandwebsites.Termswhicharetrademarksorservicemarksinthise-bookareusedinaneditorialand/oreducationalmanner,andshouldnotberegardedasaffectingthevalidityofanytrademarkorservicemark.“Canon”isa trademarkofCanonInc.“Adobe,”“Photoshop,”and“Lightroom”aretrademarksofAdobeSystemsInc.TheauthorandthecontentsofthisbookarenotaffiliatedwithorendorsedbyCanonInc.

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AndspecialthankstoNewtonvilleCameraofNewton,Mass.http://www.nvcamera.comDouglas Klostermann is a participant in the Amazon Services LLC Associates Program, an affiliateadvertising program designed to provide a means for sites to earn advertising fees by advertising andlinkingtoamazon.com.(Linksareprovidedtoproductsandaccessoriesmentionedinthisguide.)

Copyright2013DouglasJ.Klostermann-allrightsreservedCoverdesignandphotographbytheauthor.

Canon70DExperienceTheStillPhotographyGuidetoOperationandImageCreationwiththeCanonEOS70Dby:DouglasJ.KlostermannMOBIVersion1.1October2013

Author’swebsite:www.dojoklo.comAuthor’sblog:http://blog.dojoklo.com/PublishedbyFullStopMedia,LLCFullStop.goodwritingforbetterphotographyCambridge,Mass.USAhttp://www.dojoklo.com/Full_Stop/

CONTENTS1.INTRODUCTION

1.1TakeControlofYourCamera1.2UsingThisGuide1.3QuickStartforPreviousCanondSLRUsers1.4GettingStarted

2.CAMERACONTROLS2.1EOS70DCameraControls2.2QuickControlScreenandTouchScreen

3.MENUSETTINGS3.1IntroductiontoSettingupthe70D3.2ShootingMenus3.3LiveViewShootingMenus3.4PlaybackMenus3.5Set-upMenus3.6MyMenu3.7MovieShootingModeMenus

4.CUSTOMFUNCTIONSMENUS4.1C.FnI:Exposure4.2C.FnII:Autofocus4.3C.FnIII:Operation/Others4.4C.FnIII-4:CustomControls-Advanced

5.PLAYBACKandIMAGEFILEFORMATS5.1ImagePlayback5.2ImageFileFormats-JPEGvs.RAW5.3FileSizesandMaximumBurstRate

6.AUTOFOCUSING6.1UsingAutofocus6.2Autofocus-AFPointSelection6.3Autofocus-AFModes6.4Autofocus-AFAreaSelectionModes6.5AFPointsandComposition6.6AutofocusCustomFunctionSettings6.7BackButtonFocusing6.8LiveViewandMovieAutofocusing

7.DRIVEMODES

8.EXPOSUREPart18.1IntrotoAperture,ShutterSpeedandISO8.2Aperture-PriorityAEMode(Av)andShutter-PriorityAEMode(Tv)8.3ISO8.4FullStops8.5ManualExposureMode(M)8.6BasicZoneShootingModes

9.METERINGMODES9.1EvaluativeMetering9.2PartialMetering9.3SpotMetering9.4Center-WeightedAverageMetering9.5ManualMetering9.6MeteringModesandExposure

10.EXPOSUREPart210.1ExposureLock10.2Histograms10.3ExposureCompensation10.4AutoExposureBracketing10.5HDRShootingModeandMultipleExposureMode

11.ADDITIONALCAMERAFUNCTIONS11.1AutoLightingOptimizerandHighlightTonePriority11.2WhiteBalance11.3PictureStyles11.4AmbienceSelectionandLightingorSceneType11.5Flash11.6ExternalFlash11.7WirelessFlash11.8SensorCleaning11.9PuttingitallintoPractice

12.THEIMAGETAKINGPROCESS12.1StillSubjects12.2MovingSubjects

13.Wi-FiFUNCTIONS14.VIDEO-ANINTRODUCTION

14.1ImageSize,FrameRate,Compression14.2VideoSettings

14.3ManualExposureSettingsforVideo14.4Audio

15.COMPOSITION16.LENSES

16.1LensNotations16.2FixedMaximumAperturevs.VariableMaximumApertureLenses16.3WhichLenstoBuyNext

17.PHOTOGRAPHYACCESSORIES17.1Canon70DAccessories17.2DigitalSLRPhotographyAccessories17.3DigitalPhotographyBooks

18.CONCLUSIONFutureUpdatestotheTextAbouttheAuthor

1.INTRODUCTION

The introduction of theCanonEOS 70Dbrings about an important and long-anticipatedupdate to itspredecessor, theEOS60D.Nearlyallof thecamera’sessentialspecificationshavebeensignificantlyimproved,includingtheadditionof Canon’s 19 point Viewfinder autofocus system, a 20.2 megapixel sensor,faster7framespersecondcontinuousshootingspeed,built-inWi-Fi,andthein-cameraHDRandMultipleExposuremodes.PerhapsthemostdramaticupgradeisthenewDualPixelCMOSAFLiveViewandmovieautofocussystem,whichisapotentiallyrevolutionaryfeatureparticularlyforthoseshootingdSLRvideoofmovingsubjects.

Figure1-DetailoftheCanonEOS70D.

Thecustomizable19pointViewfinderautofocussystemwillallowyoutofocusexactlywhereyoudesire,withouthavingtolockfocusandrecomposeasoftenas one might with the older 9 point AF system. And when tracking movingsubjectswithAIServoAutofocusMode,the19AFPointsandautofocus-relatedCustomFunctionswillallowyoutomoresuccessfullyretainfocusonasubjectduring sports, action, or wildlife shooting. The new Dual Pixel CMOS AF

autofocusing systemwill enableyou tomorequickly andaccurately trackandthen focus on amoving subject using a large central area of the framewhenworkinginLiveVieworshootingvideo.WhencombinedwithoneofCanon’sSTM“steppingmotor”lenses,thiscanevenbeaccomplishedwithconsiderablyreduced lens operation noise. The increased 7 frames per second (fps)continuousshootingspeedwillenableyoutocaptureexactlytherightmoment,expression,orpeakofactionduringViewfindershooting.AndtheWi-Fifeaturewill enable you to remotely control the camera with a smartphone or tablet,remotely shoot and transfer images via your computer, and wirelessly uploadphotosdirectlyfromthecameratosocialmediasites.

The 70D also includeswireless flash control via the built-in flash, newSilentShootingDriveModesforquietershootinginsensitivesituations,thepowerfulDigic5+processorallowingin-cameraprocessingandlenscorrectionsfeaturessuchasMultipleExposureandChromaticAberrationCorrection.Andnowmostallofthemenus,settings,andimageplaybackandprocessingfunctionscanbeperformedwithahighlyresponsiveTouchScreen,includingtheabilitytotouch-focusduringLiveViewandmovieshooting.

Withitshigh-resolution,high-qualityimagesensor,19pointautofocussystem,7frames per second continuous shooting speed, 63-zone exposure meteringsystem,Digic 5+processor, and high ISOcapabilities in low light, theCanon70D enables photographers to consistently capture sharp, clean, and well-exposedimages.BorrowingfromamongthebestfeaturesoftheCanon6Dand7D,andevensomeoftheexceptionalcapabilitiesofthehigh-end5DMarkIII,the 70D also boasts a big and brightViewfinderwith 98% coverage, fullHDvideo, a ruggedly built andweather-sealed body, and numerous customizationoptions.The 70D is clearly a powerful, advanced tool for digital photographyand is fully capable of capturing professional quality images in most anysituationyouwishtouseit.

Figure2-Detailof1962Corvetteproductionmodel,ondisplayattheHeritageMuseum,Sandwich,Mass.-70D:Shutterspeed1/100,Aperturef/4.0,ISO1600.

But the 70D ismerely a tool. It is up to you tomake use of its features andcapabilities tocreate the imagesyouenvision.While thecamera’smanualwilltellyouaboutthesettingsandcontrols,howtochangethem,andtheirintendedfunctions, thisguidewill buildupon that andexplainwhenandwhyyoumaywant to use them. Every button, feature, menu item, and Custom Functionsettingofthe70Disthereforareason:tohelpyoucapturetheimagesyouwant.Someofthemaremoreusefultodifferenttypesofphotographersandshootingsituationsandyoudon’tnecessarilyneedtolearnandusethemallimmediately,but thisguidewillhelp togiveyou theknowledge toconfidentlyuse theonesthatturnyourCanon70Dintoanimagecapturingtoolthatworksbestforyouandthephotographysituationsyouworkin.

(Note that there are two versions of the Canon 70D: the EOS 70D (W)withbuilt-inWi-Fi,andtheEOS70D(N)thatisavailableincertainregionsanddoesnot includebuilt-inWi-Fi.Alsobeaware that theWi-Fi shouldbedisabled inlocationsandsituationswhereitsuseisnotallowed.)

1.1TakeControlofYourCamera

Since thecamera is a tool to take the imagesyouwant to take,youobviouslycan’t always allow the camera to make decisions for you. You have to takecontrolofthecameratoensurethatyoucaptureexactlytheimagesyouintend-byautofocusingpreciselywhereyouwant,settingtheapertureorshutterspeedthat you want, and obtaining the exposure you want. While the 70D is anintelligent camera, it cannot read yourmind and your intentions and does notknowthatyouwishtofocusonandproperlyexposethefaceofthemanontherightsideoftheframe,whilemakingtheothermanandthebackgroundappearout of focus, and the subject to be caught still and not be blurred from hismotion,onthisbrightandsunnyday(seeFigure3).Youhavetotellthecameratodoallofthisthroughthevariouscontrolsandsettings,suchastheautofocusAF Mode (focus on the face on the right), the Exposure Metering Mode(properly expose for the face and the scene), theAperture setting (the out-of-focussecondmanandbackground),theShutterSpeed(freezethemotionofthesubject),theISO(brightday)andtheWhiteBalance(sunnyday).

Figure3-Parade,Brooklyn,NY-Autofocus,exposuremeteringmode,aperture,shutter speed, ISO, andwhite balance all considered in capturing this image.

Shutterspeed1/320,Aperturef/4.5,ISO100.

One has to think about all this stuff for every photo?Well, yes, that is whatdigitalSLRphotographyisallabout!Atleastifyouwishtoconsistentlycreatethewellmade,interesting,andcompellingimagesyouenvision.Andthatiswhythe70Dhasall thebuttons,controls,customfunctions,andfeaturesforyoutomakeuseof.

LearningtouseandgetthemostoutofahighlyadvanceddigitalSLR(dSLR)camera like the 70D takes time, practice, patience, mistakes, andexperimentation.IfyouhaveupgradedfromapreviousdSLRsuchastheEOS60Doroneofitspredecessors,orfromaRebelsuchastheT4i/650Dtothe70D,youareinforatreat.Itsadditionalfeaturesandcapabilitieswillmoreeasilyhelpyou to capture images and photographs that you may have been limited inconsistentlyattainingbefore.Itsversatileandaccurateautofocussystemcoupledwithitsrapidcontinuousshootingspeed,plusitsexposuremeteringsystemandhigh ISO capabilities will help you capture sharp images of subjects andmomentsthatpreviouslyyoumayhavemissed,especiallyinactionandinlowerlightsituations.

If you are relatively new to dSLR photography and are still in the process oflearning all the controls of a dSLR and the exposure concepts of digitalphotography,youhaveperhapsventuredtowardstheproverbialdeependofthepoolbychoosingtheadvanced70D!Butdon’tworry,thisbookwillhelpguideyouthroughitsfeatures,controls,andcapabilities.BesuretotakeitslowlyandpatientlyasyoulearnthefeaturesandconceptsthatIwillexplain.Withpracticeandexperienceyouwillsoonbeshootingwithconfidenceandcanbegintotakeadvantage of the camera’s more advanced functions. Even if you are anintermediatephotographer,don’texpecttojustpickupall thenewinformationatonce,inoneortworeadingsofasinglebook.(Infact,youwouldn’twantto,astheneverendingjourneyoflearningandmasteringphotographyisabigpartofwhatit’sallabout!)Trynottobecomefrustratedifyoudon’tquiteunderstandsomething or aren’t always getting the results you desire. Instead learn thecontrols, functions, settings, and concepts bit by bit, try them out in real lifeshootingsituations,andreturntothisguide,themanual,andotherphotographybookstoaddressquestionsandproblemsyouencounter.Continuetolearnandtophotographoftenanditshouldallbegintocometogether,sometimesslowlyandsometimesinrapidspurtsofdiscoveryandunderstanding.

1.2UsingThisGuide

TherearemanydifferentwaystouseadSLRcameraanditscontrolstocaptureimages,andmanydiversesituationsinwhichphotographerswork.I’mgoingtoconcentrateon the techniques that I believe are themostpractical, useful, andeffective for the majority of photographers using the 70D. The settings andtechniquesIdiscusscanapplytovarioustypesofphotographyincludinggeneralphotography, action, portrait, and travel photography. Once you have a firmgraspofthecontrols,settings,andbasictechniquesyouwillhavethetoolsandknowledge to address different issues, specialized situations, and challengingscenes,andIencourageyoutoexperimentandcontinuetolearn.

Sincethisguideisintendedtohelpyougetthemostoutofyour70D,itwillnotgointoextensivedetailabouttheautomaticfeatures.TheCanon70Disahighlysophisticatedtoolthatdeservestobeusedtoitsfullpotential,andthatinvolvestakingcontrolofthecameraanditsfunctions,whichmeanstakingitoffAuto+,offProgram,offautomaticallyselectedautofocuspointswhennotrequired,offAutoISO.Whilethismaybemorechallengingforsomeusersatfirst,thesearethetechniquesthatarenecessarytotakefulladvantageofthecapabilitiesofanydSLR, including the 70D, and will lead you to having more control andconsistencyoveryourimagemaking.Hopefullythiswillinevitablyleadtobetterimages!

Figure4-TerracottaFigure,PublicLibrary,Cambridge,Mass.-70D:Shutterspeed1/800,Aperturef/4.0,ISO200.

Thisguideisintendedtobeusedwiththecamerainyourhands.Thatisthebestway to directly follow and understand the controls, functions, and settings astheyarebeingexplained.Itisalsointendedtobeusedinconjunctionwithandinadditiontothecamera’smanuals,nottocompletelyreplacethem,soeverybitofinformation in the Canon EOS 70D Instruction Manual and in the Wi-Fimanuals will not be repeated here. Among the often brief descriptions andsometimes frustratingly incomplete or disjointed explanations in the Canonmanuals, there is some very valuable information as well as the basics forbuttons,controls,andhowtoaccessandchangemostallthesettings.Followingwhatseemstobeanewtrend,thecameradoesnotcomewithprintedversionsofthefull InstructionManual, the fullWi-FiFunctionInstructionManual,or thesoftware instruction manuals - only the PDF versions of them which can befoundontheincludeddiscs.AllofthesemanualscanalsobeobtainedasaPDFfiles from the EOS 70D page on the Canon website, under Brochures andManuals:http://www.usa.canon.com/cusa/consumer/products/cameras/slr_cameras/eos_70d#BrochuresAndManuals

IfyouhaveaniPadortabletyouwillfindthatitishelpfultodownloadallthemanualsontoyourdeviceforreadingandreference(alongwiththise-book).As

youcansee,thereisalottomakesenseofregardingterminologyandcontrols,soI recommendthatyoufamiliarizeyourselfwith thecontrolsanddisplaysofthecamerabody,asshownonpages20-24of theCanonEOS70DInstructionManual and explained in the following chapter of this book, as well as readthroughtheCanonmanualatsomepointandattempttounderstandorabsorbasmuchaspossible.Yes,someofitmaybecomplicatedandconfusingatfirst,butthis guide will explain and clarify the numerous buttons, controls, menus,functions, and settings and explain how,when andwhy youwill want to usetheminyourphotography.Alsobesure to readandfollowall theofficialuse,safety, and handling instructions and precautions explained in the manualsprovidedwiththecameraandsoftware,includingthoseonpages18-19and445-447oftheCanonEOS70DInstructionManual.Thereisevenaseparatemanualfor Wi-Fi Cautions that should be read. Additional cautions throughout theCanonmanualareimportanttoreadbecausetheyexplainthingssuchasthehighinternal temperature that the camera can reach due to prolonged Live View /movie use, and how using a non-compatible external flash can cause yourcameratomalfunction(page194).LiveViewcautionsareonpages249-250oftheCanon 70Dmanual, andmovie shooting cautions are scattered throughoutpages259-288.Important lensprecautionsfor theSTMkit lensesare listedonpage 443, including how you may hear the lens focus as it resets when thecameraisturnedonorwhenthelensorcameracomesoutofsleepmode.

Varioussettingsofthe70Dcanbecontrolledinmultipleways:usingthebuttonsanddialsonthecamerabodywhilereadingthesettingsonthetopLCDPanelorin the Viewfinder, through the Quick Control Screen accessed with the [Q]Buttonor[Q] iconon theTouchScreenandreadon therearLCDMonitor, inthemenusaccessedwiththeMenuButton,orevenbycustomizingthebuttonsandcontrolsonthecamerabodyviatheCustomFunctions.Exploretheoptions,whichwillbeexplainedthroughoutthisguide,andfindthewaysthatworkmostquicklyandintuitivelyforyou.

Figure5-DetailoftheCanonEOS70D.

AnytimeIcapitalizesomethinginthetext,itisapropertermthatcanbelookedup in theCanon EOS 70D InstructionManual. I will capitalize the names ofactual buttons, controls, cameraparts, andmenu items, such asQuickControl[Q]Button,MainDial,LCDPanel,andAutoLightingOptimizer.Again,pleasereview theCameraControls chapter below and the camera diagrams in your70D manual (pages 20-24) to familiarize yourself with the names of variousparts,controls,anddisplays,asIwillusethesepropernamesinthistext.

Manyofthefunctions,controls,andmenuitemsofadSLRsuchasthe70Dareclosely interrelated, such as the shooting mode, exposure settings, and themeteringmode.AsaresultofthisImustsometimesrefertoupcomingsectionsof this text to let you know that a related function will be explained later.However,itisbesttoreadthroughtheentiretextintheorderitisorganized-atleast through Chapter 12 initially - before returning to specific sections forfurtherstudy(withtheexceptionofoneadvancedCustomControlssectionthatIwill suggest you skip and later I will remind you to return to). It may takemultiple readings interspersed with experimentation to fully understand theindividualfunctionsandtherelationshipsbetweenfunctions.Wordsandphrasesinthistextthatarecapitalizedandboldrefertochaptersandsectionswithinthisguide. Turn on the bookmarks or contents navigation panel in your document

vieweroraccesstheTableofContentsofyoure-bookreadertoquicklynavigatetothesedifferentsections.

ExampleImages:

In thecaptions to theexamplephotos throughout the text I include thecamerasettings thatwereused.Withdigitalphotography there isno“right” settingor“best”settingforanygivensituation.AnadvanceddSLRsuchasthe70Dgivesyouquickaccesstothebasicandessentialsettingsandtheabilitytocustomizethe controls for your specific needs because they often need to be changed toadapttothesubject,thescene,thelighting,andperhapsmostimportantlyyourcreativeintentions.Thereisno“correct”aperturesettingforanygivenimageorscene, no “proper” shutter speed setting, or no “ideal” histogram.The choicesyouor thecameramakedependonanumberofvariablesand relationshipsaswell as the photographer’s desires. Because the settings used for the sampleimagesarebasedonmanyvariablesincludingthelightingandtimeofday,themotion of the subject, the lens and focal length used, as well as the overallsituation being photographed with a combination of moving subjects, stillsubjects,andchanginglighting,thesesettingsshouldnotbeviewedas“proper”or “best” settings. In truth, they often more accurately reflect the reality ofphotographyandadjusting(orfailingtoadjust)tofluidsituations.

Pleasenote,someoftheexamplephotosinthisguideweretakenwithavarietyofdSLRcameras,notalwaysthe70D.DuetothefactthatIamusuallyworkingwith a variety of different camera bodies in my shooting and research forwriting, I wish to use images that best exemplify the topic or point I amdescribing,suchasshutterspeed,meteringmodes,orexposurebracketing.Anyimagesthatarecriticaltoillustratingaspecific70Dfeatureorfunction,suchasitshigh ISOperformance, in-cameraHDRMode,CreativeFilters, orMultipleExposureMode,aretakenwiththe70D-aswellasmanyotherexampleimagesthroughout the guide which are noted with “70D” in the captions. All of theexample photographs from this text can also be viewed online, in color, andoften larger (for closer inspection of image detail, ISO comparisons, digitalnoise,etc):http://www.flickr.com/photos/dojoklo/sets/72157634994886314/

UpdatestotheText:

AlthoughIhavecarefullyproof-readandeditedthistext,Imaylaterfindtyposor wish to make corrections. And sometimes as I use the camera more andansweruserquestions,ImaydiscoverchangesIwouldliketomaketothetexttoclarifyanexplanationorbetterdescribeaprocess,setting,orfunction.SoIwill

keepalogofupdates,corrections,andclarificationsforCanon70DExperienceon my blog at: http://blog.dojoklo.com/ebooks/canon-70d-experience-updates-page/

You can also sign up to receive notices of any important updates and to becontactedaboutreceivingfreee-bookcopiesofupdatedversionsofCanon70DExperience (if any major updates are made to the text). For example, Canonsometimesreleasesupdatedfirmwarewhichaddsfeaturesandmenuitems,andIwouldupdate theguideaccordingly (as Ihavedonewithmyguides to the7Dand the 5DMark III). Or I will update the guide if an important addition orcorrection ismade to the text. Please sign up to be notified of these updates,here:http://blog.dojoklo.com/ebooks/sign-up-for-full-stop-e-book-updates/

Figure 6 - ChurchWindows, Cambridge, Mass. - The Canon 70D in-cameraCreativeFilter“GrainyBlackandWhiteEffect”applied,withContrastlevelsettoStandard.70D:Shutterspeed1/1250,Aperturef/4.0,ISO200.

1.3QuickStartforPreviousCanondSLRUsers

ForthosecomingtotheEOS70DfromcamerassuchastheCanon50D,60D,RebelT4i/650D(oritsmanypredecessors)whoalreadyhaveasolidgraspofthe functions and controls and wish to immediately learn about the new and

upgradedfeaturesandbuttons,firsthaveacloselookatthefollowingchaptersand sections of this guide:Menu Settings and Custom Functions Menus(Chapters3and4)-LearnaboutallthenewMenuandCustomFunctionoptionsin the user-friendly 70D menu system, such as the various autofocus relatedCustomFunctions.Pluslearntoconfigurenewfeaturesforyourneeds,suchasLens Aberration Correction and AF Microadjustment for both the wide andtelephotoendofyourzoomlenses.

CameraControls(Chapter2)-Theremaybesomenew,changed,oradditionalbuttons and controls from what you are accustomed to, especially if comingfromanoldermodelorfromaRebelmodel(namedanxxxDmodeloutsideofthe US such as 650D). Plus there is the ability to customize the functions ofnumerousbuttons(asexplainedintheCustomFunctionsMenuschapter).Alsobe sure to see theQuick Control Screen and Touch Screen section of thechapter for learning about the Quick Control Screen during image playback,whichprovidesimmediateaccesstooptionssuchasRotating,RatingimagesandCreativeFilters.Andwhileyoumay feel that theTouchScreen is extraneous,youwillsoonfindthatitisveryresponsiveandcanbeaquickandusefulwaytoaccessnumeroussettingsandtoreviewyourimages.

Autofocusing (Chapter6) -Learn the insandoutsof the19pointViewfinderautofocussystemandusing it tocapturestillandmovingsubjects.Unlessyouhave used the Canon 7D or 5DMark III, the AF Area SelectionModes (forchoosinghowmanyAFPointsareactiveandtheirconfiguration)willbeanewfeatureforyouwhichwillneedtobeunderstood,especiallyfortrackingmovingsubjects. In addition, the LiveView andmovie autofocusing performance hasbeensignificantly improvedwith the introductionof thephase-detectionbasedDualPixelCMOSAFsystem,andthusyoumaywishtolearnmoreaboutitandhowitworksinordertobestmakeuseofitforLiveViewandmovieshooting(seeFigure7).

Figure 7 - Taking advantage of the new “Dual Pixel CMOS AF” Live Viewautofocussystem.

HDR Shooting andMultiple Exposures (Section 10.5) - An explanation ofthesein-camerafeaturesandtheirvariousshootingandprocessingoptions,madepossibleinpartduetotheCamera’sfastDigic5+processor.

Wi-FiFunctions(Chapter13)-Anintroductiontothesenewfeaturesplushowto set them up and make use of them. Connect wirelessly to your computer,smartphone, tablet, or other device in order to control the camera and shareimages.

Video - An Introduction (Chapter 14) - A description of the HD videocapabilitiesof thecameraincludingall thesettingsoptions,suchas imagesizeandframerates,compressionformats,timecodes,andaudiofeatures.

Thereareadditionalchangesnotedandexplainedthroughouttheguide,suchasthe Silent Shooting Drive Modes and expanded Auto Exposure Bracketingoptions,soIencourageyoutoreadthroughtheentiretext.

Figure8-PedestrianandMural,Cambridge,Mass.-Aslowshutterspeedwasused to express the movement of the pedestrian as she passed in front of the“Crosswinds”mural by Daniel Galvez. Shutter speed 1/40, Aperture f/4, ISO

100,ExposureCompensation-1/3.

1.4GettingStarted

Batteries:Thefirstthingtodo,ifyouhaven’tdonesoalready,istofullychargethebattery.Thefirstcoupletimesyouuseit,Irecommendthatyoufullydrainitthrough use before you fully recharge it again. While some claim currentbatteriesdon’trequirethis,othersallegethatitprolongstheirlifeorcapacity,soit isbest to justdo this foracouplecycles tobesafe.Whenexhausted, itwilltakeabout2.5hoursforafullcharge.Youwillprobablywantasecondbattery,theLP-E6,soyoushouldgetthatrightaway.IrecommendCanonbatteriesandnotacheaperthird-partybrand,astheymaynotcommunicateproperlywiththecamera and charger. There is an optional battery pack and grip, the BG-E14BatteryGrip,whichwillallowyoutousetwoLP-E6batteriesorsixAA/CR6batteries.Thegripreplicatessomeof thecontrolsof thecamerabodyandalsoincreasesthesizeofthecamera,whichmaymakeitmorecomfortableforsomeusers,especiallywhenusingthecameraintheverticalposition.

Thereisahandytricktoquicklyletyourselfknowwhichofyourbatteriesarefullandwhichareexhausted.Youcanattachtheincludedplasticbatterycoveronasparebatteryinoneoftwoorientations,andinoneoftheorientationsabluearea will show through the little window. Create a system where blue meansfully charged or indicates empty, and consistently make use of that, such as“blue=bad (exhausted)”. The included charger will work with 100v to 240velectricalsystems,thoughyoumayneedaplugadaptorifyouuseitinaforeigncountry.

Figure9-CanonLP-E6batteriesandSDmemorycards.

At the end of this book I provide a list of the accessories and items that Imention throughout the text, as well as other Photography Accessories,completewithlinkstoAmazonifyouwishtovieworpurchasetheitems.Thefull list is also available, with Amazon links, on my blog:http://blog.dojoklo.com/2011/02/10/gear-accessories-andbooks/

Memory Cards:You will also need an SD memory card or two or three. Irecommend theSanDiskExtreme cards, at least 16GB, or better yet 32GB ormore,(class10)ortheequivalentinanothermajorbrand.Checkretailers’adsorwebsites to see if there are any rebates,which there often are andwhichwillsaveyousomemoney,especiallyifyoubuytwoormorecardsatthesametime.The Extreme SD cards are currently available in the 45MB/s speed and thefaster80MB/sspeed.

TotakefulladvantageoftheContinuousShootingDriveModeofthe70Dandcaptureuptothemaximum65continuousJPEGimagesor16RAWimagesinasingle burst, you will need one of the fast SanDisk Extreme Pro UHS-1 SDMemoryCards(orsimilarcardfromanotherbrand),whichwritesat95MB/s.

Makesurethatthewrite-protectswitchonyourSDcardsisnotengaged,which

willpreventthecardfrombeingwrittento.

2.CAMERACONTROLS

As I spoke about earlier, the 70D is an imagemaking tool. It is up to you tomakeuseof its features andcapabilities to create the imagesyouenvision, soyoucan’ttypicallyallowthecameratomakedecisionsforyou.Youhavetotakecontrolofthecamerainordertoconsistentlycapturetheimagesyouintend-byautofocusingwhereandhowyouwant,settingtheapertureorshutterspeedthatyouwant, and obtaining the exposure youwant. Each of these functions, andmore,go into themakingofmostevery image,whetheryouchoose tocontrolthemornot,andeachshouldbeunderstoodinordertogetthemostoutofyour70D and your photography. To help you accomplish this, the 70D offersnumerousexternalcontrolsandtheabilitytocustomizethemforyourshootingneeds. Many of the controls are designed to be easily accessible while thecameraisheldtoyoureyeandinuse,sothatyoucanquicklyadjustsettingsasyouwork.

2.1EOS70DCameraControls

Have a look at your camera and/ or pages 20-21 of the Canon EOS 70DInstructionManualandI’llgooverthecontrolsonyourcamerathatyouwillbelearning about throughout this guide and using in your shooting.Customizingthe various buttons and controls will be discussed in theMenu Settings andCustomFunctionsMenus chapters, particularly in theC.FnIII-4 settings forCustom Controls. The controls will also be discussed in more detail inconjunctionwiththefunctionstheyperformandcontrol,throughoutthistext.

Figure10-ViewofthetopcontrolsoftheCanonEOS70D.

Onthetopofthecamera(seeFigures10and11),youwillfind:

ShutterButton-Obviously,thisiswhatyoupresstotakeaphotoorseriesofphotos.Tapping it halfwaywill do a few things likewake up the camera if ithasn’tbeenusedinafewminutesandstarttheexposuremetering.Pressingandholding it halfway will also perform functions like locking exposure and/ orfocus or starting focus tracking (depending on your Shooting Mode, FocusMode,andcustomsettings).

AFArea SelectionMode Button - This small button is located between theShutterButtonandtopMainDial.Ithasbeenincorporatedfromthe7Dand5DMarkIII,andisusedtoselectoneof the threeAutofocus(AF)AreaSelectionModes:Single-PointAF(Manualselection),ZoneAF(Manualselection),or19-Point Automatic Selection. First press either this button or the AF PointSelectionButton (at theupper-rightof thebackof thecamera), thenpress thisbuttonrepeatedlytoclickthroughthevariousAFAreaSelectionModesasyouview themin theViewfinder.Thedifferentmodeswillbe indicatedby theAFArea SelectionMode icons seen in the top of the Viewfinder. This button islabeledwithaniconshowingthreedotsandatrianglebelow(thesignificanceofthisgraphicwillbeexplainedinamoment).

MainDial -Located justbehind theShutterButton, this changes settings likeaperture size in Aperture Priority AEMode (Av) or shutter speed in ShutterPriorityAEMode(Tv).Itisalsousedinconjunctionwithotherbuttons,suchastheISOSpeedSettingButtontoadjusttheISOsetting,ortojumpahead/backauser-determinednumberofimagesduringimagereview.

Figure11-DetailofthecontrolsonthetopoftheCanonEOS70Dbody.

AF -AF (Autofocus)Mode SelectionButton - Press and release this buttonthen turneither theMainDialorQuickControlDial to change theAutofocus

(AF)Mode(suchasOne-ShotAForAIServoAF)whileviewingthesettingonthe top LCD Panel. Notice that for each of these top buttons, the setting itchangesisdisplayedimmediatelybelowitontheLCDpanel.

DRIVE-DriveModeSelectionButton-Pressandreleasethisbuttonthenturneither theMainDial orQuickControlDial to change theDriveMode setting(suchasSingleShooting,ContinuousShooting,Self-Timer)whileviewing thesettingonthetopLCDPanel.

ISO-ISOSpeedSettingButton-PressandreleasethisbuttonthenturneithertheMainDialorQuickControlDialtochangetheISOSpeedSetting(suchas100, 400, 12,800) while viewing the setting on the top LCD Panel or in theViewfinder.NotethatthisbuttonisconcaveandhasasmallbumponittoallowyoutoidentifyitwithyourfingertipandchangetheISOsettingwhileshooting,withoutyoureyeleavingtheViewfinder-thoughthebumpisnotaspronouncedasitperhapsshouldbe.

[MeteringModes]-MeteringModeSelectionButton-Pressandreleasethisbutton then turn either the Main Dial or Quick Control Dial to change theMeteringMode(suchasEvaluative,Spot,Partial)whileviewingthesettingonthetopLCDPanel.

Note that if you first press the INFO Button a couple times and access theShootingFunctionSettingsscreen,andthenpressanyoftheabovetopbuttons,you can view and change their settings on the rear LCDMonitor, also usingeither theMainDialor theQuickControlDial (or leftandrighton theMulti-Controller),justasyouwouldwhenchangingthefunctionwhileviewingthetopLCDPanel(seeFigure12).ThiscanbehelpfultouserswhoarenotyetfamiliarwithallthesmalliconsseenonthetopLCDPanel,orarenotfamiliarwithalloftheavailableoptionsforeachsetting.ThiswillalsoworkwiththetopAFAreaSelectionModeButtonorrearAFPointSelectionButton,afterfirstpressingtheINFOButtonandaccessingtheShootingFunctionSettingsscreen.ThatwayyoucanviewandselecttheViewfinderAFPointsontherearMonitor,orchangetheAFAreaSelectionmodebyrepeatedlypressingthetopAFAreaSelectionModeButtonasyouviewtheoptionsontherearLCDMonitor.

Figure12-AccesstheShootingFunctionSettingsscreenwiththeINFOButton(left),andthenpresstheMeteringModeButtontoviewandchangetheMeteringMode using the rear LCDMonitor (right). Thiswillworkwith any of the topbuttons.

LCDPanelIlluminationButton-Pressthisbutton,indicatedbythelightbulbicon,toturnonorofftheilluminationofthetopLCDPanel.

LCDPanel - This is the top LCD screen where you can view many of thecamera’scurrentsettings,andchooseyourdesiredsettingswhenadjustingthemusingthebuttonsanddials.

FocalPlaneMark-Thesymbolofthecirclewiththelinethroughit,locatedonthe topof your camera to the left of theLCDPanel, indicates the focal plane(locationofthesensor)fromwhichthefocusdistancebegins.Thiscanbeusedtomeasurefocusdistanceinveryprecisemacroorscientificphotography.

StereoMicrophone-Thesmallholesbehindtheflashandtotheleftandrightof the flash Hot Shoe are the built-in stereo microphone, used for recordingaudioduringmovieshooting.Forbetteraudiorecordingresults,youcanpluganoptional stereomic into the ExternalMicrophone Terminal on the side of thecamera, such as the Rode VideoMic. The built-in speaker location for audioplaybackislocatedonthesideofthecamera,neartheterminalcovers.

Dioptric Adjustment Knob - This dial located at the top corner of theViewfindereyecupisusedtoadjust theclarityof theViewfinderforyourownvision.TurnthisdialuntiltheAFPointsorbracketsintheViewfinderlookclear.Orusetheautofocussystemtofocuspreciselyonanearbyobject,thenturnthisdial until the object looks perfectly clear to your eye in the Viewfinder.Remember to check this dial if the cameradoesnot seem tobe focusingwellwhen you look through the Viewfinder, as it can sometimes be inadvertentlymoved.

HotShoe -This iswhereanoptionalSpeedlite flashunit isattached,orotheroptional accessories such as an external stereomic, external GPS receiver, orwirelessSpeedlitetransmitter.

ModeDial-LocatedontheleftsideofthetopofthecameraistheModeDial,used to change the Shooting Mode such as Aperture-Priority Mode (Av),Shutter-PriorityMode(Tv),ortoselectaSpecialScene(SCN)Mode.PressandholdtheModeDialLockReleaseButtoninthecenterofthedialthenturnthedial to the desired setting. Notice that it turns completely around in eitherdirection,anddoesnotstopaspreviousCanonModeDialshave,whichallowsyoutoquicklyaccessyourdesiredmode.Itispossibletounlockandturnwithonehandbypressingthelockbuttonwiththeindexfingerandturningthedialwiththethumbandmiddlefinger.

PowerSwitch-LocatedattheModeDial,thisisusedtoturnthecameraonandoff.

Figure13-ViewoftherearcontrolsoftheCanonEOS70D.

Ontherearofthecamera(seeFigures13and16)youwillfind,startingattheupperright:AFPointSelectionButton-Thisbuttonatthetop-rightontherearofthecamera,indicatedbytheiconoftherectanglewiththefivedotsinside,ispressedbeforemanuallyselectinganautofocuspoint(AFPoint)withtheMulti-Controller, as will be explained in theAutofocusing section. Although I willrecommendusingtheCustomControlsitemoftheCustomFunctionsC.FnIII-4menutosettheMulti-ControllerforAFPointDirectSelectionsothatthisextrastep is not necessary (this customization will be explained in the CustomFunctionsMenuschapter).

Thisbutton isalso theMagnify(zoom-in)Buttonwhen reviewing imagesonthe rear LCDMonitor during Playback, or whenmagnifying the view duringLiveViewormovieshooting,toassistyouwithfocusing.

ThisrearAFPointSelectionButtoncanalsobeusedinconjunctionwiththetopAFAreaSelectionModeButton toselectanAFAreaSelectionModesuchasSingle-PointAF,ZoneAF,or19-PointAutomaticSelectionAF.Firstpress thisbuttonandthenpresstheAFAreaSelectionModeButton(locatedontopneartheShutterButton)repeatedlytoselectyourdesiredmodeasyouviewtheminthe Viewfinder. You can also simply press the top AF Area Selection ModeButton to initiate thisprocess, thenpress that same topbuttonagain tochooseyourmode.ThiswillallbediscussedintheAutofocusingchapterofthistext.

If you access AF Point Selection through the Quick Control Screen (by firstpressing the [Q]Button), or by first accessing the Shooting Function Settingsscreen with the INFO Button and then pressing the rear AF Point SelectionButton,youcanviewand selectyourAFPointon the rearLCDMonitor (seeFigure14).Thisisusefulforpracticeanddemonstrationpurposes.

Figure14-Left:ShootingFunctionSettingsScreen.Right:AFPointSelectionas viewedon the rearLCDMonitor after choosingAFPoint Selectionon the

QuickControlScreen.

As youmay have noticed, the 70D has four autofocus-related buttons, whichtypically perform different functions. To help remember their differences: thisrearAFPointSelectionButtonisindicatedbyaniconwithfivedotsinacross-pattern,whichrepresentstheautofocusAFPointsasseenintheViewfinder.ItispressedbeforeselectingaspecificAFPointasyoulookthroughtheViewfinder.TheAFAreaSelectionModeButtononthetopofthecameraneartheShutterButton,describedearlier,isindicatedbythreedotswithatrianglebelow,whichrepresents the AF Area Selection Mode icons as viewed in the top of theViewfinderwhenmakingthisselectionofyourdesiredAFAreaSelectionMode,suchasSingle-PointAF orZoneAF (seeFigure15). TheAFModeSelectionButton, labeledsimplyAFandlocatedintherowofbuttonsnearthetopLCDPanel, issimplyusedtoselect theAFModesuchasOne-ShotorAIServo,aswillbeexplainedintheAutofocusingchapter.TheAF-ONButtonontherearofthe camera (to be explained just below) can be used to initiate or to lockautofocus, for stills, Live View, and Movie shooting. Don’t worry too muchaboutthemyet,asallofthesefunctionsandbuttonuseswillbefullyexplainedintheAutofocusingchapter.

Figure15-Left:TheautofocusAFPointsandtheAFAreaSelectionModeiconsas seen in the Viewfinder. Right: The symbols used to represent two of theautofocus-relatedbuttonsarerepresentationsofwhatisseenintheViewfinder:theAFPointsandtheAFAreaicons.

Figure16-DetailofsomeoftherearcontrolsoftheCanonEOS70D.

AELockButton [*] - This button can be used to lock the exposure settingsdetermined by the camera after half-pressing the Shutter Button, as will beexplainedintheExposurePart2chapterofthistext.Whenusingthebuilt-inoran external flash, it functions as the Flash Exposure FE Lock Button, andpressingitwillfireapre-flashtodeterminetheproperflashexposureandthenlockthatflashoutputsetting.

ThisisalsotheReduce(zoom-out)ButtonwhenreviewingimagesontherearLCDMonitor. If you continue to zoom out during image playback, you willview the Index screens showing either four or nine thumbnail images (asindicatedbythelittlegridiconbelowthebutton).

Aswithmostofthebuttonsandcontrols,youcancustomizethefunctionofthisbutton using the Custom Controls item of the Custom Functions C.Fn III-4menu,aswillbediscussedintheCustomFunctionsMenuschapter.

AF Start Button (AF-ON) - This button can be configured for a variety offunctions, typicallyautofocus related.With itsdefault setting it canbeused inthesamemannerastheShutterButtoninP,Tv,Av,M,orBShootingMode,tostartmeteringandfocusoperations.OritcanbechangedintheCustomControls

settingstoperform“backbuttonfocusing”whereitcanbeusedtostart,stop,orlockfocuswhileseparatingthemeteringfunctionstoadifferentbutton.ThisisexplainedintheBackButtonFocusingsectionoftheAutofocusingchapter.

Live View Shooting / Movie Shooting Switch - This switch is used inconjunctionwiththeStart/Stop(START/STOP)Button located inside it, tobeginLiveViewshootingormovieshooting.Turntheswitchtothemovieiconforvideo,andtothecameraiconforLiveView.WhensetforLiveView,presstheStart/StopButton to initiateLiveViewon the rearLCDMonitorwhile inany of the shootingmodes.When set toMovie Shooting, press the Start/Stopbuttontostartmovierecording.

QuickControlButton[Q]-The[Q]ButtonbringsuptheQuickControlScreenontheLCDMonitor,wherevariouscamerasettings(shootingfunctions)canbeadjusted and viewed. This is one of the easiest ways to change many of thecamera’ssettingsandviewtheoptionsavailableforeachselectedsetting.IwillgointomoredetailonusingtheQuickControlScreenabitlaterinthissection.During image or video playback, pressing the [Q] Button will allow you toquickly access several additional functions including Protect, Rotate, Rating,CreativeFilters,ResizeJPEG,HighlightAlert,AFPointDisplay,ImageJump,andWi-Fi (see Figure 17). Not all options are available on the video QuickControlScreen.

Figure17-QuickControlScreen-Left:TheQuickControlScreenforShootingFunctions, where many camera settings can be changed. Right: The ImagePlaybackQuickControlScreen,allowingimmediateaccesstovariousfunctionssuchasimageRating.

PlaybackButton - This is used to review images on the rear LCDMonitor.PressingtheINFOButtonwillthenallowyoutoselectvariousplaybackviewswithshooting informationandHistograms(seeFigure18).ThePlaybackGrid

settingofthePlayback3menuwillallowyou tochooseagridoverlayduringimage playback, if desired. Pressing theMagnify (zoom-in)Buttonwill allowyou to have a closer look at your image and then theMulti-Controller pad isusedtopanaroundthemagnifiedimage.PressingtheReduce(zoom-out)Buttonrepeatedlywillallowyoutozoombackouttothefullimageview,andthentoviewan index screenofmultiple image thumbnails - either 4 or 9 thumbnails(seeFigure 19). You can also use multi-touch gestures on the Touch Screenduringimageplaybacktozoomandpan.Whenviewingthefull-screenviewofanimageoraninformationview,usetherearQuickControlDialorswipethescreentoviewthenextorpreviousimage.

Figure18 - ImagePlayback showing twoof theavailable viewsaccessible bypressingtheINFOButton.Left:theBasicInformationview.Right:theShootingInformationView.

Figure19 - ImagePlayback -Left:Use theMagnifyButton to zoom-inonanimageduringimageplayback.Thewhiterectangleinthelargerdarkrectangleindicateswhichareaofthefullimageyouarecurrentlyviewing.Right:UsetheReduce Button to zoom out to the full view, then to index views of multiplethumbnails.

QuickControlDial -This is the largedial on thebackof the camera,which

servesavarietyof functions. It isused inconjunctionwith the rowofbuttonsalong the topLCDPanel.Pressoneof thosebuttons, suchas theDriveModeSelectionButton,thenturnthisdial(orthetopMainDial)tochangethesetting.This dial is also used directly, during shooting, to change ExposureCompensation, which will be discussed in theExposure Part 2 chapter. TheQuickControlDialisalsousedtoscrollthroughimagesduringimageplaybackandtoscrollthroughmenuitems.

TheQuickControlDialwill also be used to change either the aperture or theshutterspeedsettingwhile inManual(M)ShootingMode.(Aperturesetting isthedefaultbut thiscanbechanged in theCustomControlssettings,aswillbeexplainedintheCustomFunctionsMenuschapter.)Multi-Controller-Thisisthe thumb-pad located inside theQuickControlDial, and is used to select anautofocusAFPointasyoulookthroughtheViewfinder.ItcanbeconfiguredtoworkinconjunctionwithfirstpressingtheAFPointSelectionButton,orsimplybyitself.ItisalsousedtopanaroundamagnifiedimagewhileviewingitontherearLCDMonitor,andtonavigatemenusandsettings.

Youmayfindthatwhenworkingquickly,yourthumbmightaccidentallyjumpbetweentheMulti-ControllerthumbpadandtheQuickControlDial,sincetheyaresocloselypositioned.Thismightcauseyou,forexample,tosuddenlyjumpawayfromamenuoroptionthatyouweresetting.Thesolutiontothisissimplytoworkcarefullywhenusing thesecontrols.Try toget in thehabitofkeepingyourthumbontheouteredgeoftheMulti-ControlDialwhenusingthatcontrolsothatitdoesnotsimultaneouslypresstheinnerthumbpad.OrusetheTouchScreentoaccessandchangesettings.

Setting (SET) Button - This button is located in the center of the Multi-Controller,andisusedtosetvariousfunctionswhennavigatingthemenusandsettingsscreensontherearLCDMonitor.Anditcanbecustomizedtoquicklyaccess one of various functions when shooting including ISO setting, FlashExposureCompensation,ImageQuality,PictureStyle,orMenuDisplay.IfyouselecttheISOoption,duringshootingyouwillneedtopressandholdtheSETButtonasyouturnthetopMainDialtochangetheISO.

Multi FunctionLock Switch - This switch is located below the largeQuickControlDial,andcanbeusedto“lock”ordisabletheQuickControlDial,MainDial, and/ orMulti-Controller so that turning or using these controls does notchangeasetting(thedialsorcontrolleraredisabledbutwillstillmove).UsetheC.Fn III-2: Multi Function Lock item of the Custom Function menus to set

which control(s), if any, youwant it to affect.When set for Lock, the dial orcontrollerwillstillfunctioninconjunctionwithsettingsthatrequirethepressingof another button first, such as ISO Speed Setting or Drive Mode selection.Leaveit“unlocked”asyoureadthroughthisguidesothatitdoesnotpreventtheuseofanycontrols.Butlateryoumaywishtouseit,forexample,to“lock”theQuick Control Dial so that you do not accidentally change ExposureCompensationwithoutrealizingit.

EraseButton-ThisisusedtodeleteimagesastheyarebeingreviewedontherearLCDMonitor.Youcanalso access theEraseImagesmenu item to selectanderasemultipleimages.

Menu(MENU)Button-ThisbuttonispressedtoaccessthemenusontherearLCDMonitor.TheMenuSettingsandtheCustomFunctionsSettingschapterswillprovideexplanationsofallthemenuitems.

Info (INFO) Button - This is used to switch between the Camera Settingsscreen,ElectronicLevel,andShootingFunctionSettingsscreenontherearLCDMonitorduring imageshooting (seeFigure20).Youwill set the INFOButtonDisplayOptions intheSet-up3menutoactivate thesevariousoptions(aswillbe explained in the next chapter). It is also used to change the informationdisplayedwithan imageduringplayback, including theHistogram(seeFigure21).DuringLiveViewandmovieshooting,youcanpress theINFOButton tochangetheinformationdisplayvisibleontheLCDMonitor,includingactivatingthe Electronic Level (before movie recording has begun). If ExposureSimulation is set for Enable in the Live View Shooting 1 menu, the liveHistogramcanalsobedisplayedduringLiveViewandmovieshooting.

Figure 20 - The different screens accessible via the INFO Button duringshooting:Left:CameraSettingsscreen;center:ElectronicLevel;right:ShootingFunctionSettingsscreen.

Figure21-VariousimageinformationcanbeviewedduringimageplaybackbypressingtheINFOButton.Left:theBasicInformationViewwiththefullimageand some image information. Right: the Histogram View with an imagethumbnail,thetwohistograms,andvariouscameraandshootingsettings.

WhenviewingtheShootingFunctionSettingsscreen,the[Q]icononthescreenindicates thatyoucanpress the[Q]Buttonor touch the[Q] icon toaccess theQuickControlScreenandchangethesesettings.Whenviewingamenuscreenthat displays “INFO.Help” at the bottom, the INFOButton canbe pressed toaccessaHelpscreenwithbriefdescriptionsofthemenuoptions(seeFigure22).

Figure22 -Pressing the“INFO.Help”buttondisplayedat the lower-leftofamenuscreenwillaccessmoreinformationaboutthatsetting.

LCDMonitor /TouchScreen - This rear screen is used to view and changeyoursettingsandmenuoptions,toreviewyourimagesandvideos,andtoworkin Live View and movie shooting modes. The 70D includes Touch Screencapabilities with this screen for selecting and adjusting settings, navigatingmenus, and reviewing images with multi-touch gestures. It is an articulatingscreenthatcanbeadjustedwhenworkinginLiveViewandmovieshootingforusing low or high camera angles, or for self portraits. Notice that when youextendthescreenandturnitcompletelyaroundforaself-portrait,itwillswitch

to amirror imageview.TheMonitor can alsobe turned around and closed toprotect thescreenwhennotinuse.SeetheQuickControlScreenandTouchScreensectionjustbelowformoreinformationonusingtheTouchScreen.

Figure23-ViewofthefrontcontrolsoftheCanonEOS70D.

Onthefrontofthecamera(seeFigure23)thecontrolsinclude:

FlashButton-LocatedtotheleftoftheEOSbadge,thisisusedtopopupthebuilt-inflash innon-automaticmodessuchas theCreativeZonemodes(P,Tv,Av,M)where it doesn’t pop up automatically. Since the flash also acts as anautofocusassistbeam(AF-AssistBeam) in lowlightconditions,youmayalsoneedtopressthisbuttontoraiseitforthisuseinCreativeZonemodes.

LensReleaseButton-Thislargehalf-circleshapedbuttonislocatedtothesideofthelensmountundertheEOS70Dnamebadge,andisusedtoremovealens.When changing lenses, hold or place the camera in a position so that the rearLCDmonitorisfacingdownandthelensisfacingstraightup.Ifholding,cradlethecamerainthepalmofyourlefthandsothattherearLCDmonitorisinyour

palm, thegripend isoveryourwrist,andyour indexormiddle finger reachesaround theTerminalCovers sideof the camera and rests on this button.Pressandholditthengentlyturnthelenscounterclockwiseuntilitreleases,andthenraise thelensstraightup.Reverse theprocedureforattachinganother lens,butyoudonotneedtopresstheLensReleaseButtonwhenattachingalens.Justlineupthereddotonthelenstothereddotonthecamera(EFlenses),oralignwhitesquaretowhitesquare(EF-Slenses)andletthelenssitintoplace,makingsurethatthelensmountiscorrectlyalignedandflatagainstthecamera’slensmount.Then press the lens gently but firmly straight against the body and turnclockwise until it clicks and locks. Attempt to rotate the lens to ensure it isproperlylockedinplace.

DepthofFieldPreviewButton-Thissmallbuttononthehand-gripsideofthecameraatthebaseofthelensmountisusedto“stopdown”theapertureinthelenstothesizeitwillbewhenthephotoistaken.WhenyouarelookingthroughtheViewfinder,theapertureisalwayswideopensothatyouandthecameracanseethescenewiththemostlightavailable.Theaperturedoesn’tgointothesetposition(f/8orf/22forexample)untilthepictureisactuallytaken.Pressingthisbutton allows you to preview how the depth of field will appear with yourchosen aperture setting. However, you will see that the view of the scenebecomes much dimmer and it is sometimes difficult to actually preview theimage.Thisbuttonalsoworks inLiveViewmode (without thedimming-viewissue).ThisbuttoncanbecustomizedintheC.FnIII-4:CustomControlsmenuitemtoperformyourchoiceofoneofvariousotherfunctions.

Red-EyeReduction/Self-TimerLamp-Thissmalllampislocatedintheareato the right of the grip andShutterButton.When the flash is beingused, thislampwillilluminatewhentheShutterButtonishalf-pressed,inordertoreducered-eyewhentheflashisfiredandtheimageistaken.ItwillalsoflashpriortoaSelf-Timershotbeing taken.TheRed-EyeReductionLampcanbedisabled intheShooting2menu.

RemoteControlSensor-Thisisthesmall,darkovallocatedonthefrontofthehand-grip, where your fingers normally sit. When using an optional remotecontrol shutter releasesuchas theCanonRC-6WirelessRemote, aim it at thissensor.

2.2QuickControlScreenandTouchScreen

QuickControlScreen

TheQuickControlScreen, accessedon the rearLCDMonitorbypressing the[Q] Button, is often the quickest and easiest way to change various shootingsettings thatyouwill learnabout in thisguide (seeFigure24-right).Press the[Q]Button then use theMulti-Controller or the Touch Screen to navigate theoptionsandchooseyourdesiredsetting. If therearLCDMonitor isdisplayingtheShootingFunctionSettingsscreen(seeFigure24-left),press the[Q]Buttonorthe[Q]icononthelower-leftofthescreentoaccessthetouchsensitiveQuickControlScreen.Thereturnarrowiconwillexitthecurrentscreenandreturntothepreviousscreen.

Figure24-Left:ShootingFunctionSettingsScreen-Pressthe[Q]icononthescreen or the [Q] Button to “activate” this screen and change the varioussettings. Right: The “active” screenwhere the settings can be changed is theQuickControlScreen.

Onceyouhavehighlightedthesettingyouwishtochange(byeithernavigatingtoitwiththeMulti-Controllerorbytouchingtheicon),youhavethreewaysofadjustingthatsettingusingthecontrolsorTouchScreen(seeFigure25):1.PresstheSETButtontoviewall theoptionsavailableforthatsettingincludingbothsymbolandworddescriptionsofthesettings.ThenusetheMulti-Controller,topMainDial,orrearQuickControlDialtomakeyourdesiredselection,thenpressSET (or simply touch thedesired iconwithyour finger).Note thatwith somesettingsyouwillneedtouseseparatecontrolstoadjustdifferentsettingsandthedials and Multi-Controller will not be interchangeable. For example, whensettingtheImageQualityyouwillneedtousethetopMainDialtochoosethe

RAWoption,and theMulti-Controller tochoose theJPEGoption.Thecontrolyou need to use will be indicated by small icons on the screen, next to thefunctionyouaresetting.

2. Turn the topMain Dial or rear Quick Control Dial to directly change thesetting without leaving the initial Quick Control Screen. However, with thismethodyouwillnotseealltheoptions,butyoucanreadwhatyouhaveselectedatthebottomofthescreen.Ifyouarefamiliarwiththeiconsandyouknowwhatsettingyouwant,thisisthequickerwaytochangesettings.Seepage51oftheCanon70Dmanualforanimageofthisscreenlistingallofthefunctionsthatareaccessiblethroughit,thoughtheywilleachbeillustratedandexplained,inturn,throughoutthisguide.NotethatsomeoftheinformationdisplayedontheQuickControlScreencannotbedirectlychangedfromthisscreen.

3.Touchthehighlightediconasecondtimetoaccessitsoptions,includingbothsymbolandworddescriptionsof thesettings.Thenuseyour finger (orcameracontrolsandSETButton)tomakeyourdesiredselection.

Figure25-QuickControlScreen-Change theselectedsettingdirectlyon theQuickControlscreenbyturningoneof thedials(left),orselect that iconwiththeSETButtonorTouchScreentoviewalltheoptionsandmakeyourselection(right).

Any time throughout this textwhen I refer tousing the [Q]ButtonandQuickControlScreentoaccessandchangeasetting,knowthatyoucanalsopressthe[Q]iconontheShootingFunctionSettingsScreentoactivatetheTouchScreenandmaketheselectionbytouch.

Duringimageplayback,pressingthe[Q]Buttonwillallowyoutoquicklyaccessthe playback Quick Control Screen containing several functions includingProtect,Rotate,Rating,CreativeFilters,ResizeJPEG,HighlightAlert,AFPointDisplay,ImageJump,andWi-Fi(seeFigure26).DuringLiveViewshootingin

one of theCreativeZone shootingmodes (M,Av,Tv, or P), pressing the [Q]Buttonwill allowyou to quickly access several additional functions includingAutofocusMethod,DriveMode,MeteringMode,ImageQuality,WhiteBalance,PictureStyle,AutoLightingOptimizer,andCreativeFilters.TheseoptionswillvarywhenworkinginoneoftheBasicShootingZones.WhenworkinginMovieShootingmode,mostoptionsare similar toLiveViewbutalso includeMovieRecording size,Digital Zoom,Video Snapshot, andManual SoundRecordingforsettingtheaudiolevel(iftheSoundRecordingitemintheMovie2menuissetforManual).

Tomakeyour selectionon theplayback,LiveView,ormovie shootingQuickControlScreenafterpressing the [Q]Buttonor icon,pressupordownon theMulti-Controller to select the icon (such asWhiteBalance), then press left orright to chooseyourdesiredoptionasyouview themalong thebottomof thescreen(suchasDaylightorCloudy).YoucanalsouseeitherdialinplaceoftheleftandrightMulti-Controlleratthisstep.

Figure26-QuickControlScreenforimageplayback(left)andLiveViewQuickControlScreen(right).

TouchScreen

InadditiontotheTouchScreenfunctionsoftheQuickControlScreendescribedjustabove,youcanusethetouchcapabilitiesto:

SetfunctionsafterpressingcamerabuttonssuchasISOorMeteringMode(iftheShootingFunctionSettingsScreenisonfirst).

Navigate the menu tabs, the menu listings, and change menu optionsettings.

SetfunctionsduringLiveViewandmovieshootingafterpressing the[Q]

Buttonoricon.

Browse and zoom images during image playback using multi-touchgestures.

Selectwhere to focusduringLiveViewandmovieshootingby tappingaspecificareaonthescreen.

Tap the screen to access and selectmost items,or slideyour finger across thescreentomoreeasilyselectoneofthetinymenutabsortoadjustasettingscalesuch as aperture setting or exposure compensation (see Figure 27-left). Usesmartphone type multi-touch gestures during image playback such as single-finger swipe to view the next or previous image, two finger swipe to Jumpforwardorback(basedonyourImageJumpsettinginthePlayback2menu)orpinch together or apart to zoom in or out on the image or to change betweensingle image view and four image and nine image index views. Be sure toseparateyourtwofingerswhendoingthetwofingerswipegesture.Useasinglefingertopanaroundamagnifiedimage.TaptheReturniconattheupper-rightofthescreentoreturntofullimageview(seeFigure27-right).

Figure27-Left:Aperturesettingscreen,withsettings thatcanbeadjustedbyswipingafingeracrossthescale.Right:Duringimageplayback,whenviewingazoomed-inimage,tapthereturnarrowontheTouchScreentoreturntothefullimageview.

3.MENUSETTINGS

3.1IntroductiontoSettingupthe70D

TheMenusandCustomFunctionsoftheCanonEOSdSLRcamerasallowyoutohave increased,moreprecisecontroloverhowyourcamerafunctions.Theyarean importantpartofwhatmakes the70Dapowerful imagecapturing tool,andtheyallowyoutocustomizethecameratoworkforyou,toworkhowyouwork.Ihighlyrecommendthatyoudigintothesemenusandchangethesettingstotheoptionsthatallowyoutousethecamerainthemannerthatworksbestforyouandyourwayofphotographing.

SomeoftheMenuitemsareonlyusedwhenshooting,reviewing,orprocessingimages,butmanyofthemshouldbesetupinadvance.Belowareexplanationsand recommendations for theMenus and the Custom Functions of the Canon70D.Pleasenotethatthisguidewillgointofurtherdetailaboutmostallofthesesettings and functions later in the detailed chapters and sections aboutAutofocusing,Exposure,WhiteBalance, etc. Although I have attempted toexplainmanyoftheseitemsinamoreunderstandableandunifiedwaythantheyarepresentedintheCanonmanual,youstillmayneedtofirstreadthroughthisentire chapter to learn about interrelatedMenu andCustomFunction settings,plusreadtheapplicablesectionsofthisguide,andthenworkwiththecameraabitbeforeyouwillcompletelyunderstandspecificitemsandhowyoumaywishto set them. So don’t become overwhelmed if you don’t yet understand thesettings or terminology used to describe all the Menu and Custom Functionsettingsandtheiroptions.Irealizethatreadingthissectionat thebeginningofthis book presents a conflicting situation in that thesemenu items need to beexplainedfirstsothatyoucaninitiallysetupyourcamera,butyoumaynotyethave the knowledge to fully understand all these menu items until you readthroughtherestofthisguide!Plusitisnotascompellingtoreadthroughtheselistsofmenuitemsasitistoreadtheflowinginstructionaltextlaterinthebook.Pleasebearthroughitasyouwillstillbelearningmuchaboutyourcameraintheprocess!Soifyoudon’tyetunderstandsomeofthesettingsorwhyyoumightwishtochangethem,simplyleavethoseonthedefaultorrecommendedsettingsfornow.Remembertoreturntothemlaterafteryouhavecompletedtheguide,workedwithyourcamera,beguntobetterunderstanditscontrolsandfunctions,andstartedtodetermineexactlyhowyouwanttowork.

ImportantNoteAboutMenuConflicts:Aswithmost current dSLR cameras,the70Dhasafewmenusettings“quirks”orconflictsthatmaydriveyoucrazyif

youarenotawarewhytheyareoccurring.Mostnotably,somesettingswillbeinaccessible in the menus and you will not be able to select them if a“conflicting”setting isenabled.Theseareactuallynotarbitraryquirks,butaretypicallyduetologicalconflictsorcameralimitations.Examplesincludecertainfunctions like Multi-Shot Noise Reduction, Handheld Night Scene, HDRBacklightControl,orLiveViewCreativeFilters,whicharenotaccessiblewhenthecameraissettocapturefilesintheRAWorRAW+JPEGimageformat.Youmust then set the ImageQuality to one of the JPEG-only settings.The use ofAutoExposureBracketing,WhiteBalanceBracketing,orLongExposureNoiseReduction will also conflict with other settings including Multi-Shot NoiseReductionortheuseoftheCreativeFilters.Similarly,theuseofAutoExposureBracketing,WhiteBalanceBracketing,Multi-ShotNoiseReduction,orMultipleExposure will conflict with using the built-in HDR function. And MultipleExposure cannot be set if White Balance Bracketing, Multi-Shot NoiseReduction, or HDR is set, or ifWi-Fi is enabled. In addition,Wi-Fimust bedisabledinordertoshootavideo,ortoconnecttothecameraviatheA/VOUT-DIGITALterminal,asthecamerawillwarnyou(seeFigure28).

Figure28-Inrareinstances, thecamerawillwarnyouofapotentialconflict,suchastheconflictbetweenWi-FiandmovieshootingorDIGITALterminaluse.

Whileitisobviouslynotrealisticforyoutorememberalloftheseconflicts,youcan begin to see a pattern in the examples above. If you do encounter aninaccessiblemenu item, remember to checkyour ImageQuality setting (RAWvs. JPEG), that Wi-Fi is disabled, and then make sure any of the abovementionedfunctionsaredisabled,asmanyofthesameonessimplyconflictwitheach other. And I will mention these conflicts in the explanations of theapplicablesettingsthroughoutthisguide.

Important!:PlaceyourModeDialonAv(andtheLiveView/MovieShootingSwitchtoLiveView)beforeyougothroughthemenusettingsbelow,becauseall

theoptionsdon’tappearintheMenusifyourcameraisinoneoftheBasicZonemodessuchasA+,CA,oroneoftheScenemodes.YoumaywishtofirstreviewtheCameraControls sectionofChapter2 ifyouarenotyet familiarwith the70Dcontrols.

3.2ShootingMenus

Shooting1menu

Figure29-Shooting1menu.ImageQualityYouareputtingalotofeffortintotakingyourimages,andthe70Dprovidesanexceptionalsensoronwhichtorecordthem.Youshouldtakeadvantageofthisand make sure the files are of the best possible quality - unless you have aspecific reason to save smaller size files, such as creating them for immediateuseonsocialmediasites.ThougheventhenyoucancapturethefullsizeimageanduseResizetocreateasmallercopyin-camera.

Set either the highest quality RAW setting if you shoot RAW, or the highestquality and largest JPEG setting (Fine/Large) if you shoot JPEG, or bothcombined if you need both types of files (see Figure 30). The different fileformatswillbediscussedintheImageFileFormats-JPEGvs.RAWsectionofthetextinChapter5.

Figure30-ImageQualitymenutosetforimagestobesavedasRAWand/orJPEGfiles.

VFGridDisplayThisistoenableagridthatisvisibleintheViewfinder,tohelpkeeptheframingofyourimagesstraightandlevel(seeFigure31).Unfortunatelyitisnota“ruleof thirds” grid so itmay not be as helpful for compositions.Youmay find itdistractingandtheViewfinderbusywithinformationatfirst,butifyouleaveitonyoushouldfindthatyousoonlookrightthroughitwhennotneedingit.Ifindit indispensableforkeepingmyhorizonsandsubjects level.Enableunlessyoufinditunnecessaryordistracting.

Figure 31 - Detail of Facade, Provincetown, Mass - Simulated view of 70DViewfinder showing VF (Viewfinder) Grid Display set for Enable, in order tohelp keep compositions straight and level. Viewfinder Level icon also shown.Shutter speed 1/100, Aperture f/4.0, ISO 100, Exposure Compensation +1/3(withimageshownat50%opacitytobetterviewViewfindergrid).

ViewfinderLevelThis item can be used to display a basic one-axis electronic level icon at thebottomoftheViewfinderframe.SetforShowtoviewthelevel,whichisasmallcameraiconsurroundedbystraightordiagonallines.Thestraightlinesindicatethecameraislevelandnottiltedtotheleftorright.Thestraightlinesalongwithdiagonallinesindicatea1degreetilt,andthecameraiconwithjustthediagonallinesindicatesa2degreetiltorgreater(seeFigure31).Thiselectroniclevelisalsoavailablewhenshootinginvertical,portraitorientation.

BeepThecamerawillbeepwhenitachievesfocus,aswellaswhenusingtheTouchScreenandtheselftimer.Disableifyoufinditannoyingorunnecessary,orsetforTouch to (mute) if youwish to enable it except forwhen using theTouchScreen(seeFigure32).

Figure 32 - Left: Options for the Beep setting. Right: Be sure to Disable the“Releaseshutterwithoutcard”settingsothat thecamerawillnot takeimagesunlessamemorycardisinserted.

ReleaseShutterWithoutCardThissettingpreventsyoufromtakingphotosif thereisnomemorycardinthecamera,andistypicallyusedforcamerastorestodemothecameraevenwithoutamemorycardinserted.Disable.Please!Youdonotwant to take800 imagesofyourniece'sweddinganddiscovertherewasnomemorycardinthecamera(seeFigure32).Testittomakesureyousetitproperly.

ImageReviewThisis thelengthoftimethat theimageyoujust tookstaysvisibleontherearLCDMonitor.Userpreference.Select2sec.,4sec.,or8sec.,orHold for theimagetoremainonthescreenuntilyoutaptheShutterButtonorturnoneofthedials(seeFigure33).YoumaywishtoleaveitOff tosavethebattery,thenhitthePlaybackButtonquickly(andsoon instinctively)whenyouwant to reviewan image on the LCDMonitor. Also, you can interrupt the 2, 4, or 8 secondImage Review time by tapping the Shutter Button when you are finishedreviewingandreadytoreturntoshooting.

Figure33-ImageReviewmenuscreenandoptions,forsettingthedurationthatanimagestaysvisibleontheLCDMonitorimmediatelyaftercapture.

Shooting2menu

Figure34-Shooting2menu.

LensAberrationCorrectionThese menu options can be used to automatically correct images for imagequality issues introduced by the optical characteristics of some lenses. Thecorrectioninformationforabout25Canonlenses isavailable,andyoucanusethe includedEOSUtility software toenter thedataofother lenses.BydefaultthesearebothsettoEnable.

PeripheralIlluminationCorrectionwillcorrectfordarkenedcornersofanimagethatoccurwithcertain lensesoratcertain focal lengths, suchaswhenusingaverywide-anglefocallength.Ifyouwishtousethissetting,attachthelensthenaccessthismenutoseethatthecorrectiondataisavailable,thensetforEnable(seeFigure35).Usingthisoptionmayintroducedigitalnoisetotheareabeingcorrected. This correction can also be made with the included Digital PhotoProfessional(DPP)software,whichcontainsCanonlensprofiles,aswellasthelatestversionsofAdobeCameraRawandLightroomwhichalsoincludespecificlensprofiles.Thein-cameracorrectionamountwillbelowerthanwhatyoucanapplyinDPP.

Chromatic AberrationCorrection is color fringing caused by different colors,whichtravelatdifferentwavelengths,notfocusingatexactly thesamespoton

thesensor.Thiscancauseanimagetoappearlesssharpandtohavefringesofcoloralonglight/darkboundaries.Aswithabove,ifyouwishtousethisattachthe lensbefore accessing thismenu to see that the correctiondata is availablebefore setting forEnable. If you are shooting in RAW and have enabled thiscorrection,youwillnotseeitappliedwhenviewingtheimageonthecamera’sLCDMonitor-youwillneedtoviewtheimageinDPP.

IsuggestyousetbothforDisableunlessyouhaveanissuewithvignettingand/or chromatic aberrationwhenusingaparticular lens.Thendecide ifyouwantthe camera to deal with this or if you wish to address it in post-processing.Maybe put inMyMenu if you sometimes need it with specific lenses (moreaboutMyMenu later in this chapter). AlsoDisable when using non-Canonlenses. While you cannot apply these corrections to JPEG images that havealreadybeencaptured,youcanprocessRAWimages in-camera toapply thesesettings after the image has been taken (as will be explained with the RAWImageProcessingiteminthePlayback1menu).

Figure 35 - Left: Lens Aberration Correction menu for the camera toautomatically correct for lens issues when using Canon lenses. Right: FlashControlmenu,forbuilt-in,wireless,andexternalflashsettings.

FlashControlThesesettingsallowyoutosettheoptionsforthebuilt-inflash,aswellasforanexternalflashifyouhaveanoptionalCanonEXSpeedliteattachedandturnedon(seeFigure35).Someofthebasicsettingswillbeexplainedhere,andthenflashsettingsandflashusearefurtherdiscussedintheFlashsectionsofthetext,includingexternalflashandwirelessflashuse.

Flash Firing:Enable so that the internal or external flash willfunction.

E-TTLIIMetering:Evaluative

FlashSync.SpeedinAvMode:Thissettingdeterminestheflashsync shutter speed setting or range that will be selected by thecamerawhen using the built-in flash or an external flashwhileshootinginAperturePriority(Av)mode.Thesettingyouchoosereally depends on your use and experience with a flash, andwhetherornotyouareusingatripod:

Auto will choose a wide range between 1/250 to 30 seconds,whichmaygiveyouveryslowshutterspeedsincertainsituationswhichmightbetoolongforhand-heldimages.

1/250-1/60sec.autowillkeep it inamorereasonable rangeforhand holding, butwon't allow you to “drag the shutter” slowerthan1/60second.(Drag theshuttermeans touseaslowshutterspeedtoletinmoreambientlighttobetterexposethebackgroundastheflashilluminatesthesubject.)

1/250 sec. (fixed) keeps it fixed at the camera's sync speed of1/250 at all times, which is the most “efficient” setting forexternal flash operation - meaning you won’t be using settingsthatmaygivesimilarlightingresultsbutwhicharecausingyourflash toworkharder and inefficiently; thedownside is you losecontrolofthissettingandtheabilitytodragyourshutter.

recommend: Auto will obviously give you the widest shutterspeed range, but will require that you keep a close eye on theshutterspeedtomakesureitdoesn'tgettooslow.Ifyouhavelessexperience with flash or aren’t certain you will carefully keepyoureyeontheshutterspeed,itwouldbewisetokeepitseton1/250-1/60sec.auto.

Figure 36 - Built-in Flash Settings menu (left), and External Flash FunctionSettings(right).Bothofthesearesub-menusoftheFlashControlmenu.

Built-inFlashSettings-AllofthesesettingswillbediscussedindetailintheFlashsectionsof this text,buthere isaquick intro(seeFigure36):

FlashMode: This is set forE-TTL II, where thecamera determines the appropriate flash levelwhichyoucanfurthercontrolwithFlashExposureCompensation. You can also choose theManualflash mode option here, where you can directlyadjust the flashoutput level.Whenset forE-TTLII,theBuilt-inFlashSettingsmenuwillallowyouto select the Flash Exposure Compensationamount.When set forManualFlash, youwill beabletochoosetheFlashOutputamount.

[Built-in] FlashOutput: If the FlashMode justaboveissetforManualflash,thenyouwillbeableto set the [Built-in] flash output level, anywherefromfullpower(1/1)to1/128power.Shutter Sync.: Leave this on 1st Curtain unlessyouaregoing tobeshootingascenewithaslowshutterspeedandyouwant the light trailsorblurlines of a moving object to appear behind theobject, thus lookingmore “realistic” (or cartoon-like).Inthatsituation,use2ndCurtain.

[Built-inFlash]ExposureCompensation:WhentheaboveFlashModeissettoE-TTLII,youcanadjust theFlashExposureCompensation amount.If you find that the flash is lighting the subject abittoomuch,reducethisamountby-1/3,or-2/3,or -1, so that the illumination from the built-inflashisabitmoresubtle.

WirelessFunction:ThiswillallowyoutoEnablethewirelessflashfunction,whichusesthebuilt-inflash to trigger remote Speedlite flashes. Theseoptions will be explained in Chapter 11 in theWirelessFlashsection.

External Flash Func. Settings: These options for setting andcontrollinganoptionalexternalSpeedliteflashwillbediscussedindetailintheExternalFlashsectionofthetext(seeFigure36).

External Flash C.Fn. Settings: These options for customizingthesettingsandfunctionsofanoptionalexternalSpeedliteflashwillvarybyflash,andareexplainedintheSpeedlite’smanual.

ClearSettings:SelecttheClearSettingsoptionatthebottomofthe screen to allow you to separately clear the settings of thebuilt-in flash, external flash, or the external flash’s CustomFunction(C.Fn)settings.

Again,theFlashsectionsofthistextwillcontainmoredetailedinformationandexplanationsofalloftheabovesettings.

Red-EyeReductionThiswillenablethefiringoftheRed-EyeReductionLampwhenyouhalf-presstheShutterButtonbefore takinga flashpicture.However itmaybeannoying,distracting,orunwantedincertainshootingsituations.Ifso,Disableandseeifyouhaveared-eyeproblemwhenyouusethebuilt-inflash.Ifyouencounterthered-eyeissue,thenEnable(seeFigure37).Whenusingthisfeature,youwillseeacountdownscaleinthebottomoftheViewfinderafterhalf-pressingtheShutterButton-waitfortheselinestodisappearbeforetakingthephoto.

Figure37-Red-EyeReductionmenu(left),andMirrorLockupmenu(right).

MirrorLockupThis is the mirror lockup that you read about from landscape and macrophotographers.Byenablingityoureducethatextralittlebitofvibrationcausedbythemovementofthemirror,whichmaycauseslightblurringwithatelephotolensoramacrolens(seeFigure37).Itisonlyworthusinginconjunctionwitharemote shutter release or the self timer, and a tripod.When enabled, youwillpresstheShutterButtononetimetoraisethemirror,andasecondtimetoreleasetheshutter.Youdefinitelydon'twanttouseitallthetime,soDisableit,andputitinyourMyMenu ifyouneeditsometimes.Thisisnot thefeaturetousetoraise your mirror for manual sensor cleaning. That feature is under SensorCleaningintheSet-up4menu.

Shooting3menu

Figure38-Shooting3menu.

ExposureCompensation/AEB

You can use the Quick Control Dial for directly changing ExposureCompensationasyoushoot,andmonitorthesettingintheViewfinderoronthetopLCDPanel.But youneed to access thismenu item (or theQuickControlScreen)forAutoExposureBracketing(AEB).Andifyouwishtosetexposurecompensationgreaterthan+/-3stops(upto+/-5stops)youwillneedtousethismenuitemorthe[Q]ButtonandQuickControlScreenratherthanjustturningtheQuickControlDial,asthetopLCDPanelandViewfinderonlydisplayupto+/-3 stops (see Figure 39). More about Exposure Compensation and AutoExposureBracketinglaterinthistext.YoumightwishtoputthismenuiteminMyMenuifyoubracketforexposureoften,suchasforcreatingyourownHDRimages (not the same as the in-camera High Dynamic Range HDR ShootingMode).

Figure 39 - Left: Accessing the Exposure Compensation / Auto ExposureBracketingmenutosetthebracketingamount.Right:ISOSpeedSettingsmenu.

ISOSpeedSettingsUsingthismenuitemyoucansettheISOspeedsettingandtheISOspeedrangethatisavailableforyouandforthecameratoselect(seeFigure39).ISOwillbeexplained and discussed in theExposure,Part 1 chapter. For setting the firstoption,ISOspeed,youcanmoreeasilyusetheISOSpeedSettingButtononthetopofthecameraorusetheQuickControlScreen.ButyouwillneedtoaccessthismenutoinitiallysetuptheotherISOrelatedsettings.

ISO speed determines the sensitivity of the sensor to light, andwillbediscussedintheExposurePart1chapter.

ISO speed range will determine what minimum and maximumISOsettingsareavailableforyoutochoosewhennotusingAutoISO,rangingfromISO100toH(ISO25600).Thisallowsyouto

determine if you want the low and the extremely high ISOsettings available to select. If you have determined that imagesbeyondacertainISOrangeareunacceptabletoyouoryoudon’twishtomakeuseofthem,limitthecamerafromaccessingthesesettings (seeFigure 40). I suggest that you take test images todeterminethehighestISOsettingthatyoufindacceptableinthesituationsyoushoot,andlimittheMaximumISOtothatamount.Thatwillensurethat,whenphotographing,youdon’taccidentallyset the camera to an exceptionallyhigh ISO setting that youdonotwishtouse.

Figure40-ISOSpeedRangemenuitem,usedtosettheMinimumandMaximumISOsettingsthatyouwillbeabletoselectwhenshooting.AutoISORangesub-menusimilartoISOSpeedRangesub-menu,andapplieswhenusingAutoISOratherthanmanuallyselectinganISOsetting.

AutoISOrangeissimilar,exceptthatitisforwhenthecameraisselecting the ISOsetting itselfwhenyouareusingAuto ISOorwhenusingSafetyShift (withcertainexceptionsasdescribedintheSafety Shiftmenu item a little later). It is limited at 100 to12800ISO.

Note that there are certain situations where the camera willoverridethesesettings,suchasduringmovieshooting,incertainshootingmodes,andduring flashphotography.So, forexample,when using a flash youwill still need to keep your eye on theexposuresettings.

MinimumshutterspeedisusedinconjunctionwithAutoISO,andis toensure that theshutterspeeddoesnotbecometooslowfor

handholding. This will only apply when the camera is set forAuto ISO and you areworking inAv or PShootingMode. Setthisfortheslowestsettingyoubelieveyoucanhandholdandstillobtainasharpimage(seeFigure41).Sinceyoumaynotalwaysbe paying attention to the shutter speed that the camera selectsduring a shooting situation, youmaywant to limit this to 1/60.Thecameramaystilldroptoaslowershutterspeedifitreachesthe maximum ISO setting that you just set above and theexposure still cannot be obtained. Note that this set minimumshutterspeedwillnotbeapplicablewhenusingaflash.ThebestsolutioninmanyshootingsituationsisgenerallytosetyourownISOsettingnottouseAutoISO,andthenthismenusettingwillnolongerbeapplicable.

Figure 41 -Minimum Shutter Speedmenu item, to specify the slowest shutterspeedthatthecamerawillselectwhenalsomakinguseofAutoISO.

AutoLightingOptimizerThisfeatureautomaticallyadjustscontrastandbrightnessofanimageandhelpsto maintain detail in both the shadows and highlights of images with a widecontrastrange(onescontainingverybrightareasandverydarkareas,suchasabacklit subject). It affects JPEG images only, and not RAW images. AutoLightingOptimizer(ALO)worksbyapplyingatonecurvetotheimagesastheyarebeingprocessedin-camera,similartoanAdjustmentCurveyoumightapplyinPhotoshop.Ifyouareshootingsceneswithawiderangeofcontrast,youmaywant to experiment with this setting and its different levels (Low, Standard,High)toseeifitgivesyoudesirableresults.However,ifyoupreferfullcontrolof your camera and your exposures throughmetering, reading theHistogram,andmakinguseofExposureCompensation (all explained indetail throughoutthis text), youmaywant toDisable this setting so that the camera isn't doing

somethingwithyourexposureswithoutyouhavingcontroloverit.IfyouenableALO,IsuggestthatyouchecktheDisabledinMorBmodesbox(bypressingtheINFOButton)todisablethisfeaturewhenworkinginManual(M)orBulb(B)ShootingModesothatthecameradoesn’toverrideyourcarefulsettings(seeFigure 42). You will typically also want to disable it when using a flash,otherwiseitmaydriveyoucrazywonderingwhytheimageresultsdon’tseemtoberespondingtoyoursettingschanges-becausetheALOiscompensatingforyourchanges.

NotethatifHighlightTonePriorityisenabled(Shooting4menu),thenALOwillbe automatically disabled. Itwill also be temporarily disabledwhen using theHDRandMultipleExposuresmodes.AutoLightingOptimizerandHighlightTonePriorityarefurtherdiscussedlaterintheirownsectionofthistext.

Figure 42 - Left: Auto Lighting Optimizer menu, including the checkbox todisableALOinManual(M)orBulb(B)ShootingModes.Right:WhiteBalanceMenuandsettingaspecificKelvin(K)whitebalance temperaturebyselecting“K”andusingtheMainDialtochangethenumber.

WhiteBalanceSincethereisnodedicatedbuttonforWhiteBalance(WB)onthecamera,youwill need to access thismenu itemoruse theQuickControlScreen to set thewhitebalancetomatchthelightingsourceofthescene.Youcanalsoaccessthismenu(ortheQuickControlScreen)tosetaspecificcolortemperatureusingtheK(Kelvin)setting(seeFigure42). IfyouarenotyetveryfamiliarwithWhiteBalance,youcanleaveitonAutoWhiteBalancefornow,especiallyifyoushootin RAW since white balance can be set in post-processing software (such aswhenusingAdobeCameraRaw).WhiteBalancewillbediscussedintheWhiteBalancesectionofthistext,includingsettingwhitebalancewithJPEGimagesandthecreativeuseofwhitebalance.

CustomWhiteBalanceThisisformanuallysettingacustomwhitebalanceratherthanusingoneofthestandardWhiteBalance settings likeCloudy orWhite Fluorescent Light. Thiscan be used in unusual or challenging lighting situations, and is particularlyusefulforstudioworkwherethelightingwill remainconstantor inasituationwithmixedlighting(seeFigure43).ThisprocesswillbeexplainedintheWhiteBalancesection.

Figure43-Left:SettingaCustomWhiteBalance.Right:WhiteBalanceShift/Bracketingscreentoadjustthewhitebalancesettingand/ortobracketimageswith differentwhite balance settings. Notice that the icon indicates to use therearQuickControlDialtosetforbracketing(orusetheTouchScreen).

WhiteBalanceShift/BracketingWhiteBalanceShift canbeused for adjusting to averyprecisewhitebalancesetting by tweaking the white balance along the blue-amber axis and/ or thegreen-magenta axis (see Figure 43). White Balance Bracketing is forautomatically bracketing images using different white balance settings.(Bracketingistakingconsecutiveimagesatdifferentsettings.Withthe70Dyoucan set the camera to white balance bracket from 2 to 7 bracketed images.)ThesesettingswillbeexplainedintheWhiteBalancesection.

ColorSpaceYou can read the various blogs, forums, and books that endlessly discuss anddebate sRGB vs. AdobeRGB color spaces (the range of colors that will bereproducedinyourimages)anddecidewhichsettingisbestforyourneeds(seeFigure44).Basically,sRGBisaslightlysmallercolorspacethanAdobeRGBbutwill generally display properly on computer screens and printers without anyeffort.AdobeRGB encompasses awider color gamut, and is intended for uses

like high-end and commercial printing. If you are calibrating your monitor,printingyourphotosusingahigh-endink-jetprinterwithmultipleinkcartridges,shootingforacommerciallyprintedpublication,andwellversedinusingcolorspacesandprofilesinPhotoshopandprinting,youwillwanttouseAdobeRGB.Ifnot,youmaynevermissthedifferenceandAdobeRGB imageswillpossiblynotdisplayorprintproperlyunlessyouinvestsometimeandeffortintolearninghowtotakeadvantageofit.

Figure44 -ColorSpacemenu item, tochoose to save image files in sRGBorAdobeRGBcolorspace.

Shooting4menu

Figure45-Shooting4menu.

PictureStylePicture Styles are used to apply your desired settings of Sharpness, Contrast,Saturation,andColorTonetoJPEGimagefilesastheyareprocessedandsavedin the camera. You can choose one of the presets such as Standard, Portrait,

Landscape,andevenblackandwhiteMonochrome(seeFigure46).Ormodifyone of the presets to your desired settings or create your own customPictureStyle. This should be set to the user’s preference for those shooting JPEGs.Using, customizing, and creating Picture Styles will be fully explained in thePictureStylessectionofthistext.

Figure 46 - Picture Style menu (left), and sub-menu for adjusting a presetPictureStyle’sparameters(right).

These settings are not necessarily needed if you shoot in RAW because theselectedPictureStyleappliestoJPEGfilesonly.ThePictureStylesettingswillbeassociatedwiththeRAWfileasmetadataandmaybe“applied”asyouviewthe image in processing software such as Canon Digital Photo Professional(DPP),butthesettingswillnotpermanentlyaffecttheRAWfileandtheycanbechangedduringprocessingwithoutaffectingthequalityoftheimage.

Although please note that the Picture Style you set applies to the images andtheirHistogramsthatyouseeontherearLCDMonitorevenifyouareshootingin only RAW. So, for example, if you were to set a Picture Style with highcontrast, the images shown on the LCDMonitor will incorporate this setting(and theHistogramwill reflect thissetting)and thuswillnot look thesameasthe“unprocessed”exposurecaptured in theRAWfiles thatyouwill laterviewonyourcomputer.Thereforeit issomewhatimportant thatyouhavethissetatStandard,Neutral, orFaithful if you shootRAW so that the images and theirHistogramsyouviewonthecamera’sLCDMonitorcloselyresembletheactualunprocessedRAWimages.OryoucantakeadifferentapproachandcustomizethePictureStyletocloselyresemblehowyoutypicallyprocessyourRAWfilesinAdobeCameraRaw,Lightroom,orothersoftware.Thatwayyoucanpreviewon the camera’s rear LCD how your final, processed image will appear. Thisapproach should be taken only after you have gained experience with post

processingandhavedevelopedyourowntypicalprocessingsettings.

AlsochooseStandard,Neutral,orFaithfulifyoushootJPEGsbutplantoeditinPhotoshop (or Lightroom, Aperture, etc.) later so that your images are onlyminimally processed by the camera.Again, thePictureStyles sectionwill gointomoredetail.

LongExposureNoiseReductionThissettingisforthecameratoapplynoisereductiontolongexposures(shutterspeedsover1second).Itdoesthisbytakingablankimagerightafteryoutakeyourimage,foraboutthesamelengthoftimeasyourimage.Itthencompareswhere the noise is on your image and on the blank image, and cancels it out.This settingwillmost likely result inmore accurate noise reduction than anyattempt in Photoshop. If you typically take long exposures, especially at highISOsettings,youshoulddetermineifyouwanttoapplythissometimeswhenthecamerathinksitshould,settingAuto;orallthetimeforlongexposures,settingEnable:On (seeFigure 47). Note that if you take a 10 second exposure, thenoise reductionwill take another 10 second (approx.) blank exposure andyouwillnotbeabletotakeanotherpictureuntilitiscomplete.Ifyounevertakelongexposures, leave it set forOff:Disable. Ifyou sometimes take them, I suggestyouenable theAuto setting so that it functionswhen the camerabelieves it isappropriate.Also,youwillhavetoturnthissettingOffifyouwishtouseMultiShotNoiseReduction(explainedjustbelow).WhenworkingatISOsettingsof1600orhigher,enablingthisfeaturemayactuallyincreasethegraininessofanimage.

Figure47-Left:LongExposureNoiseReductionmenuoptions.Right:HighISOSpeed Noise Reduction menu options, which include the Multi Shot NoiseReductionoption-theiconatthefarright.

HighISOSpeedNoiseReductionThissettingisusedtoreducenoisethatappearsduetousinghighISOspeeds.ThistypeofnoiseappearsatallshutterspeedswhenusinghighISOsettings,soitisnotthesameastheabovesettingwhichappliestolongexposures.However,thiswill haveaminimal effectonRAWimages, and isprimarily intended forJPEGimages.IfyouenableityoucanchooseStandard,Low,orHighlevel(seeFigure47).IsuggestleavingthisonStandard,orexperimentingwiththissettingto see if it gives you desired results without affecting your images in anyundesiredways,andthendetermineifyouwishtouseitornot,orifyouprefertoperformnoisereductioninpost-processingifneeded.

MultiShotNoiseReduction-TheHighISOSpeedNoiseReductionmenuitemalso includes theMulti Shot Noise Reduction option. This feature will take aburstoffourimageswhicharethenautomaticallycombinedandprocessedintoasingle JPEG image. This allows for a high amount of noise reduction with abetter quality image result than the High setting provides (see Figure 48).Howeverwhen using this feature, youwill have to be sure to either hold thecameraextremelystilloruseatripod,anditshouldbeusedwithstillsubjects.Youwillnotwanttousethisfeatureallthetime,soperhapsaddthismenuitemtoMyMenuforquickaccesswhenyouwishtotakeadvantageofit.

NotethattheMultiShotNoiseReductionfeaturewillbegreyed-outinthemenuand thus inaccessible if certain other functions are enabled or in use such asLong Exposure Noise Reduction, Auto Exposure Bracketing, White BalanceBracketing,MultipleExposure,HDRMode,orflashuse.Youalsocannotaccessthis feature ifyouarecapturingyour imagesasRAWorRAW+JPEGfiles, soswitchtheImageQualitysettingtoJPEGonly.

Figure 48 - Multi Shot Noise Reduction, where four consecutive images aretaken,combined,andprocessedin-cameratocreateanimagewithlessnoiseinlow light/ high ISO situations. Final combined image exposure settings: 70D:Shutterspeed1/160,Aperturef/6.3,ISO25,600.Imagecanbeviewedlargerandcompared to an ISO 25,600 version without this noise reduction, here:http://www.flickr.com/photos/dojoklo/sets/72157635390783665/

HighlightTonePriorityThissettingimprovesthedetailsseeninhighlightsandhelpspreventthemfrombeingoverexposedor“blown-out”(seeFigure49).Itshiftsthedynamicrangeofthe image to the brighter end,meaning the camera capturesmore informationaboutthebrightertonesattheexpenseofinformationaboutthedarkertones.Soyou may sacrifice some detail in the shadows, and digital noise may beincreased.It isworthusingincertainsituations,suchaswhenphotographingaweddingdressorsomethingverybrightora“highkey”imagewhereyoudon'twishtolosethesubtledetails.(A“highkey”imageisonewithonlyverylighttonesandwithlowcontrast,typicallywithaverylight,brightlylitsubjectandawhitebackground.The interestoften lies in the subtlegradationsof lightgreytones, though theycanalsocontaincolor.Youcan findcountlessexamplesbysearchingfor“highkeyimage”online.)

However,youtypicallydon'twantthissettingonallthetime.IsuggestputtingitinMyMenu so you remember it is there to usewhen you need it.Note thatwhen you enable this (settingD+ in themenu), the camerawill disableAutoLightingOptimizer(ALO)andwilllimityourISOrangefrom200to12,800.Itcanalsobeusedduringmovieshooting,butwilllimittheISOrangefrom200to6400.AlsonotethatHighlightTonePriorityaffectsJPEGandRAWimagefileswhileALOaffectsonlyJPEGs.WhenHighlightTonePriorityisenabled,a[D+]icon will appear in the Viewfinder and LCD Panel. More onAuto LightingOptimizerandHighlightTonePriorityinalatersectionofthistext.

Figure49-HighlightTonePrioritymenuoptions(left),andinitiatingtheDustDeleteDataprocess(right).

DustDeleteDataThis is used to automatically “delete” dust spots from your images using theCanonDigitalPhotoProfessional (DPP) software that comeswith the camera.Usethismenuitemtoinitiatetheprocessthatwillinvolvetakinganimageofasolidwhiteobjectfromabout1footaway(30cm)usingafocallengthof50mmorlongerandmanuallyfocusedtoinfinity(seeFigure49).Thisinformationwillthenbe appended to all JPEGandRAW images and can be applied using theDPP software.Hopefully youwon't need this because your sensor stays cleanwiththecamera’sautomaticsensorcleaning.Plusitisbettertohaveaproperlycleanedsensorthantoresorttousingthis.MoreaboutmanualSensorCleaninglater. If you wish to use this in conjunction with DPP, follow the simpleinstructions in the Canon manual on pages 341-342, and remember tooccasionallyrepeattheprocesstoupdatethedata.

MultipleExposureWiththe70Dyoucantakemultipleexposures,uptonineframes,whicharethencombined into a single image (seeFigure50). This function is possiblewhen

shootinginJPEGorRAW.Youcanalsostart theprocesswithaninitial imagealreadycapturedandstoredonyourmemorycard, thoughyoumustusea fullsizeRAWimage.Themultipleexposurescanbesettobecombinedinacoupledifferentways,AdditiveorAverage,toachievethefinalsingle-imageresult.Andyou can set the camera to take a single series for just onemultiple exposureimage (1 shot only), or continue to take multiple exposure images until thisfunction is disabled (Continuously).Multiple Exposures are fully described intheHDRShootingandMultipleExposuressectionofthistext.

Figure50-Left:MultipleExposureShootingModemenuforsettingupthein-cameraMultipleExposurefeature.Right:HDRModemenuforsettingupthein-cameraHDRShootingModefeature.

HDRModeWhileofcourseitispossibletoshootnumerousindividualexposuresatvariousexposure levels and combine them into a high dynamic range (HDR) imageusingpost-processingsoftware,youcanalsodo this tosomedegreeusing thisin-cameraHDRShootingmode (seeFigure50).With thismode, three imageswillbetaken-oneatthe“correct”exposure,oneunderexposed,andoneoverexposedatautomatic(Auto)oruser-definedexposurevalue(EV)incrementsof+/-1EVto+/-3EV.WiththeContinuousHDRoption,youcanselecttotakeasingleHDRseries(1shotonly),orcontinuetotakeHDRshotsuntilyoudisablethe function (Every shot). You can then choose to use Auto Image Align toautomaticallylineuptheindividualshotsforthefinalimage,suchasifyouarenotusingatripod.Theimageswillthenbecombinedandprocessedin-cameratocreate an HDR image. Note that HDR Mode cannot be accessed if you areshooting in RAWorRAW+JPEG, or if certain other functions or settings areenabled such asMulti Shot Noise Reduction,Multiple Exposure shooting, orISO H. Enabling HDRwill disable Auto Lighting Optimizer, Highlight TonePriority,andLiveViewExposureSimulation.Thisbuilt-inHDRModewillbe

fullyexplainedintheHDRShootingandMultipleExposuressectionlaterinthetext.

3.3LiveViewShootingMenus

LiveViewShooting1menu

Figure51-LiveViewShooting1menu.

LiveViewShootingLiveView iswhereyouuse the rearLCDMonitor topreviewandframeyourimage and focusonyour subject, rather thanworking through theViewfinder.Enable,unlessyouneverplantouseLiveView.YoucanthenbeginLiveViewshootingby turning theLiveViewMovieShootingSwitch to thecamera icon,andpressingtheSTARTSTOPButtoninsidetheswitch.

AFMethod(LiveView)Thisistoselecttheautofocusmode(alsocalledmethod)thatwillbeusedwhenshootingwith Live View (seeFigure 52). You can set this according to yourpreference and needs, as they each operate a little differently.And due to thenewphase-detectionDualPixelCMOSAFtechnologyofthesensorofthe70D,these Live View focusing modes will be much more effective, quicker, andsmootherwhenfocusingonbothstillandmovingsubjects,comparedtotheLiveView autofocusing of previous dSLR cameras. Each of these Live View AFMethods will be fully explained in theLive View andMovie Autofocusingsection,buthereisaquickintroduction:

Figure52-Autofocus(AF)MethodmenuoptionsforLiveViewShooting.

FaceDetection+TrackingAF automatically detects faces,whichcanthenbefocusedonbyhalf-pressing theShutterButton.Thecamerawilltrackthesubject’sfaceaslongasitremainsvisibletothecamera. Ifmultiple facesaredetected,youcan selectwhichoneyouwishtofocuson.

FlexiZone -Multi AF allows you to choose between automaticselectionofupto31AFPoints(notshownontheLCDMonitor)ormanual zone selectionof up to9 zones to locate and track asubjectandachievefocus.

FlexiZone-SingleAFprovidesasinglesmallerAFPointthatisused for focusing, which you can first move to your desiredpositiononthescreen.

WitheachoftheseaboveAFmethodsyoucanalsomakeuseoftheTouchScreen to selectyourdesired face, zone,orAFPointposition.

QuickModeusesthe19focuspointsofthededicatedAFsensor,soittakesadvantageoftheaccurateandquickcontrast-detectionViewfinder autofocus system, but the camera momentarilyinterrupts the LiveView on the LCDMonitor to flip down themirror and access theAF sensor.AswithViewfinder shooting,youcanallowthecameratoautomaticallyselectanAFPoint,oryoucanchoosetomanuallyselectyourdesiredAFPointorZone.Because this mode only functions with One-Shot AF ModeduringLiveView,itcannotbeusedtotrackandretainfocusona

moving subject, and it does not take advantage of the phase-detectionDualPixelCMOSAFtechnology.

Generallyyoumaybeviewingandfocusingprimarily thoughyourViewfinderand not using Live View, so choose the AF Mode that works best in thesituationsthatyoumightbeusingLiveView,suchasmacrophotography,highorlowangles,orlandscapephotographyusingatripod.HoweverwiththenewDual Pixel CMOS AF technology, you will find that you can also nowsuccessfullywork inLiveView inmanyadditional shootingsituationssuchastracking and retaining focus on moving subjects such as with birds, wildlife,sports,ordancesituations.Again,thisguidewillgointomuchmoredetailintheLiveViewandMovieAutofocusingsection.

ContinuousAF(LiveView)The 70D offers continuous autofocusing during Live View (and Movie)shooting, where the camerawill keep adjusting the focus distance so that thesubject continuously remains in focus, and thus when you press the ShutterButtonhalfwaythecamerawillquicklyautofocus.Ifyouwishtotakeadvantageof this capability forLiveViewshooting,keep this set forEnable (seeFigure53).TheuseofoneofthenewerCanonSTMlenseswillassistwithcontinuousautofocusperformancebybeingquieterandsmoother(thisisespeciallyhelpfulifmakinguseofContinuousAFformovieshooting).Notethatifyoumakeuseof a continuous shootingDriveMode duringLiveMode to take several shotswhileholdingdown theShutterButton, the camerawill lock focus at the firstshotandContinuousAFwillnotcontinuetotrackamovingsubject.Alsonotethat usingContinuousAFwill drain the batterymore quickly, and that if youswitch the Autofocus (AF) Mode to Quick Mode, Continuous AF will betemporarilydisabled.Ifyouwishtoswitchthelens toManualFocus(MF),besuretofirstturnoffLiveViewshootingsothatthelensisn’tactivelyfocusing.

Figure53-ContinuousAFmenuoptionsforcontinuousautofocusduringLiveView(left).TouchShuttermenuoptionstoenablebothfocusandshutterreleaseviaatapontheTouchScreen(right).

TouchShutter(LiveView)UsethisoptiontoenableordisabletheTouchShutterfeaturethatcanbeusedtofocusandtakeanimageduringLiveViewshooting(seeFigure53).Ifthisitemis set forEnable, you can simply tap on the LCDMonitor screenwhere youwouldliketheimagetobefocused,andoncethecameraachievesfocus(andtheAFPointthusturnsgreen)theimagewillbecaptured.Dependingonwhereyoutouchandwhichautofocusmodeyouhaveset, thecameramaynotbeable toachievefocus- thiswillbeindicatedbytheAFPointturningorange.IfTouchShutterissetforDisable,youcanstillchoosewhereinthescenetoautofocusbytouchingthescreen,buttheimagewillnotbetakenuntilyoupresstheShutterButton.WhenusingTouchShutter,onlyasingleimagewillbetakenevenifacontinuous shootingDriveMode is set.Whileworking inLiveView,youcanalsoEnableandDisableTouchShutterbypressingtheTouchShuttericonatthebottom-leftoftheLCDMonitor(seeFigure54-right).

Touch Shutter will not function if the view on the rear LCD Monitor ismagnified, suchaswhenyoupress thezoom-inbutton foracloser look.Notethat if Custom Function C.Fn III-4: Custom Controls is used to change theShutter Button half-press function toMetering start orAE lock (while buttonpressed),TouchShutterautofocusingwillnotoccur(thesecustomsettingswillbeexplainedinthenextchapter).YouwillinsteadneedtofirstusetheAELockButtontofocus.

GridDisplay(LiveView)Thisoptionwill display agridon the rearLCDMonitor as youwork inLiveViewShootingMode.Youmaywish toset thison3x3 for the“ruleof thirds”gridtohelpkeepyourframingstraightandyourcompositionsinterestingwhenworking inLiveView(seeFigure54).Orelseuse thedenser6x4 grid,or the3x3+diagonal option that adds diagonal lines to the 3x3 grid. Turn the GridDisplayOffifyoufinditdistractingorunnecessary.

Figure 54 - Grid Display in Live View menu options (left), and 3x3 grid asdisplayedduringLiveViewshooting(right).AlsonotetheTouchShuttericonatthebottom-leftoftheLiveViewscreen.

AspectRatio(LiveView)YoucanusevariousimageaspectratioswhenshootinginLiveView,either3:2(standard, full-sensor, 35mm ratio), 4:3 (used in point-and-shoot and Four-Thirdscameras),16:9(wide-screenratio),or1:1(square).Theappropriateareawill bemasked on the image view on the rear LCDMonitor so that you canpreviewtheselectedratio(seeFigure55).Whenshooting inJPEGformat, theimage filewill be savedat thedesignated ratio.When shootingRAW, the fullimage(3:2)willbesavedandtheselectedaspectratiowillbepartoftheimagemetadata that will be applied when opening the image in the Canon DigitalPhotoProfessional (DPP) software.Note thatwhen capturing images at ratiosotherthan3:2,theimageswillmakeuseoffewerthan20megapixels,asonlyaportionofthesensorwillbeusedtorecordtheimage.Generallyyouwilllikelywishtokeepthison3:2inordertotakeadvantageoftheentiresensor,andyoucanalwaysthencropyourimagesinpost-processing,unlessyouareworkingonaprojectwhereyoudesireallyourimagestobeofaspecificalternateratio.

Figure55-AspectRatioinLiveViewmenuoptions(left),and1:1aspectratioasdisplayedduringLiveViewshooting(right).

ExposureSimulation(LiveView)Enable Exposure Simulation in order to preview the actual (approximate)exposurelevelofthefinalimage,basedonyourexposuresettings,onyourLCDMonitorduringLiveViewshooting (seeFigure56).This canhelp ensureyouarenotover-orunderexposingtheimage.YoucanalsosetExposureSimulationto be activated only when pressing and holding the Depth of Field PreviewButton,byselectingDuring(apertureicon).IfthisissetonDisable,theimagewill be viewed at the standard brightness for the LCD Monitor, not theapproximatebrightnessoftheresultingimage.IrecommendthatyouEnablethissetting so that you can preview your exposure and make sure your exposuresettingsarecorrect,unlessyouhaveaspecificreasonnotto.IftheExp.SIMiconat the lower-right of the Live View screen blinks, you are likely under-oroverexposingtheimage,andneedtoadjustthesettings.

Figure 56 - Exposure Simulation for Live View menu item (left), and options(right).The“During (aperture icon)”option indicates that youcan select thissetting toviewtheExposureSimulationonlywhenpressing theDepthofFieldPreviewButtononthefrontofthecamera.

WhenshootingwithLiveView,aFinalImageSimulationfeaturewillalwaysbeactive,meaning that the image you see on theMonitor reflects approximatelywhatwillbecapturedinthefinalimageincludingallofthecamerasettingssuchas White Balance, Picture Style, Auto Lighting Optimizer, Highlight TonePriority, lenscorrections,andCreativeFilters.Butyouwillneedtoenable thisExposure Simulation item in order for the screen to also reflect the exposuresettingsyouhaveset.

LiveViewShooting2menu

Figure57-LiveViewShooting2menu.

SilentLVShooting(LiveView)Setting this for Mode 1 will allow quieter shooting operation even duringContinuousShooting-andthemaximumcontinuousratewillstillbeabout7fps(seeFigure58).Ifyouwishtobesuper-stealthy,settoMode2whereyoupressandholdtheShutterButtontotakeasingleshotthenloweryourcameraorhideit under your coat and release the shutter, to muffle the sound of the shutterresetting.Disablethissettingwhenusingcertaintilt-shiftlenses(asspecifiedintheCanonmanualpage231)orwhenusinganyextensiontube.AlsoDisableifusing an external flash, as Silent Shooting will otherwise be automaticallydisabledwithaCanonflash,anditwillpreventanon-Canonflashfromfiring.

Figure58-SilentLiveViewShootingmodeoptions(left),andMeteringTimeroptionsforLiveViewshooting.

MeteringTimer(LiveView)ThisisthetimethatthecamerawillcontinuemeteringfortheexposuresettingaftermeteringhasbeguninLiveView,suchasafteryouhalfpresstheShutter

Buttonorpress theAELockButton.Set forperhaps16sec.or30sec. unlessyou take a longer time to compose and take your shot (such as maybe alandscapeorstudioshooter)thenincreaseitaccordingly(seeFigure58).

3.4PlaybackMenus

Playback1menu

Figure59-Playback1menu.

ProtectImagesThis is toprevent theaccidentalerasingofan imageormovieon thememorycardwhenusingtheErasefunction.However,thisisnottypicallyneeded,asyoushould usually be backing up your image files on your computer and externalharddriveandnotdealingwith themonanindividualbasis inyourcamera.Ifyou do need to use this, perhaps to protect a great image you don’t wish toaccidentally erase, access thismenu item then chooseSelect Images. Turn theQuickControlDialtoscrollthroughyourimages(and/ormovies),andpresstheSETButtontoprotectthedesiredimages.PresstheMenuButtonwhenfinished(see Figure 60). Note that you can also use the [Q] Button during imageplaybacktoaccessProtectImages(seeFigure61-left).Toprotectalltheimagesina folderoron thememorycard,access thismenuandchooseAll images infolder orAll imagesoncard.Be aware that formatting thememory cardwillstill delete protected images.You can also use thismenu toUnprotect all theimagesinafolderoronthecard.

Figure 60 - Protect Images menu options (left), and choosing an individualimage to Protect after selecting “Select Images” (right). Note that protectedimageswilldisplaythe“key”iconatthetopoftheimage,asshownatright.

AnotherwaytomakeuseofthisistoProtecttheimagesyouwishtokeeponthecard, and then use the Erase Images menu item (just below) and select Allimages on card. Your protected images will remain on the card, but all yourunwanted imageswill be deleted at once.But of course be very carefulwhenusingthisproceduresoasnottodeleteanyimagesyouwishtokeep.

Figure 61 - Press the [Q]Button during image playback to access the ImagePlaybackQuickControlScreen,whereyoucanselectoptionsincludingProtectImages(left),andRotateImage(right).

RotateImagesThisistorotateanimagein-camera.Thisisrarelyneeded,butcouldsometimesbe helpful if you took a shot looking up or down and the camera got theorientationwrong-butthisisnotadifficultfixinthecomputer.Ifneeded,selectthismenuitem,thenusetheQuickControlDialtoscrollthroughyourimages,thenpressSETtorotate90degreesatatime.Youcanalsousethe[Q]Buttonduring image playback to quickly access Rotate (seeFigure 61-right). If youwouldlikeyourimagestobeautomaticallyrotatedinthecamera(andcomputer)

forplayback,thiswillbeaddressedintheSet-up1menuitemforAutoRotate.

EraseImagesCareful,don'taccidentallyerasethewrongimagesoffthememorycard!Thistoois rarely needed if you manage your images once you upload them to yourcomputer, however it can be useful to choose a couple sequential or non-sequentialimagesthatyouselectforquickdeletionusingthismenuitem.Ifyouwishtomakeuseofit,accessthismenuitem,chooseSelectanderaseimages,thenscrollthroughyourimageswiththeQuickControlDialandpresstheSETButtontoselecttheimagestobeerased(seeFigure62).Whendonechoosing,press the Erase Button. Or you can use this in combination with the ProtectImagesmenuitemabovetofirstProtecttheimagesyouwishtokeepandtheneraseallunwantedimagesatoncebychoosingAllimagesoncard.

Figure62-EraseImagesmenuoptions(left),andselectingindividualimagestoeraseafterchoosingthe“SelectandEraseImages”option(right).

It is often easier to directly use the Erase Button on the camera for deletingsingleimagesduringimageplayback.AndyoushouldbeusingFormatcard intheSet-up1menutoerasealltheimagesonthecardwhenyouwanttoclearitoff.Moreonthatinabit.Usealargeenoughmemorycardormultiplecardssothat you don’t need to worry about deleting images in camera, and insteadmanagethemonyourcomputerafterdownloadingalltheimages.

PrintOrderIfyouprintimagesdirectlyfromyourcamera,setthisaccordingly.TheCanonmanualexplainsitthoroughlyonpages345-358.

PhotobookSet-UpYoucanusethisfeaturetoselectimagesthatyouwishtocopyintoaseparate,dedicated folder when you transfer the images to your computer using the

includedEOSUtility software (seeFigure63).You can then easily upload orprinttheseimagesusingonlineorprinter-includedsoftware.However,youmayfindthatyoucansimplyignorethisfeatureanddoyourimageorganizingmoreeasily on your computerwith software such asAdobeBridge. If youwish tomakeuseofit,selectyourdesiredimagesusingtheQuickControlDialandSETButton.Oraswithotherfunctionsyoucanselectallimagesinafolderoronthecard.NotethatRAWimagesandmoviescannotbeselected.

Figure 63 - Photobook Set-Up menu options, to select which images on thememory card you wish to download into a separate folder for use in aphotobook.

CreativeFiltersYoucanapplyvariousfilterstoyourimagesincludingGrainyBlackandWhite,SoftFocus,Fish-EyeEffect,ArtBoldEffect,WaterPaintingEffect,ToyCameraEffect,andMiniatureEffect(seeFigures66,67,and68).Theprocessandfiltersaremostly self-explanatory, and are described in the Canonmanual on pages335-337.Simplyaccessthismenuandthenchoosethedesiredimage(seeFigure64-left),pressSETtoviewtheavailablefilters,selectafilterusingtheleftandrightMulti-ControllerortheTouchScreen,thenpresstheSETButtontoadjustthe strengthof theeffect (seeFigure65).ThenpressSET followedbyOK tosave the imageasanew file (while retaining theoriginal image), followedbyanotherOKwhentheprocess iscomplete.Experimentwith themtoseeifyouwish tomake use of them.You can also easily access theCreative Filters bypressing the [Q] Button or Touch Screen [Q] icon during image playback toaccesstheImagePlaybackQuickControlScreen,whichwillthenallowyoutotouchorselecttheCreativeFiltersicon(seeFigure64-right).NotethatyouwillnotbeabletomakeuseoftheCreativeFiltersifWi-Fiisenabled.

Figure64-CreativeFilters-Left:AccesstheCreativeFiltersmenuitem,thenselectanimageandpresstheSETButtonorSETicononthescreentoviewtheCreative Filters, as then shown below in Figure 65-left. Right: You can alsopress the [Q]Buttonor [Q] iconduring imageplayback toquicklyaccess theCreativeFilters.

Figure65-Thenselecta filtersuchasGrainyBlackandWhiteandpress theSETButtonorSETicon,asshownatleft,tothenaccessitsparametersasshownatright.Adjusttheparameters,suchasContrastshownhere,thenpresstheSETButtonorSETicontosavetheimage(right).

Figure66 -Canon70DCreativeFilters -GrainyBlackandWhite effectwithincreased contrast (left), and theMiniature effectwith dramatic depth of field

andboldercolors(right).

Figure 67 - Canon 70DCreative Filters - Fish-Eye effect with dramatic pin-cushiondistortion (left),andArtBoldeffect setonhigh,with saturatedcolorsandhighercontrast(right).

Figure 68 - Canon 70DCreative Filters -Water Painting effect set on ColorDensityDeep,withsoftcolors(left),andtheToyCameraeffectsetonCoolTone,withmutedcolorsandvignettingatthecornersoftheframe(right).

TheMiniatureEffectfilterimitatesacapabilityoftilt-shiftlenseswhereasceneappearsasatinymodelduetothesharpfocusingofasmallareawhichfallsoffveryquicklyanddramaticallytolargeout-of-focusareas.Thiseffectworksbestonsceneswithpeople,vehicles,andbuildingstakenfromhighabove.PresstheInfoButton to change the orientation of the in-focus area, and use theMulti-Controllertochangethelocationofthatareaintheframe.

Whenworking inLiveView, you can nowuse and preview the effects of theCreativeFiltersbefore takingtheimage.Press the[Q]ButtonorTouchScreen[Q] icon tomake use of theLiveViewQuickControl Screen, then select theCreative Filters icon and choose the desired Creative Filter (see Figure 69).Again, use the INFO Button to set the effects level. This will only work if

shooting JPEG images and not RAW or RAW+JPEG images. However, yourJPEGimagewillincorporatetheeffectsoftheselectedfilter,andthiscannotbeundone-unlikeapplyingaCreativeFiltertoanexistingimagewhereyouretaintheoriginalandsavethemodifiedimage.Youmaywishtoinsteadcapturetheimage normally then apply a Creative Filter after the fact as described justabove.NotethattheeffectoftheCreativeFilterasviewedontheLCDMonitorduringLiveViewmaydifferslightlyfromthefinalresult,andthatyouwillnotbeabletomakeuseoftheCreativeFiltersduringLiveViewifAutoExposureBracketing, White Balance Bracketing, or Multi-Shot Noise Reduction areenabled.Youwillonlybeabletotakeasingleshot,evenifacontinuousDriveModeiscurrentlyset.

Figure69-UsetheLiveViewQuickControlScreentoaccessCreativeFiltersduringLiveViewshooting (left).Select yourdesired filterandpress the INFOButton or icon to set its parameters and preview its effects before taking theimage.

RAWImageProcessingThis is used to process RAW images in-camera and then save them as JPEGimages.Thisispossiblyusefulifyouneedtoquicklyoutputaprocessedfile,butthismaybeeasiertodo(andwithbetter,morecarefulresults)onyourcomputer,sincethecamerawillonlyprocessRAWfilesoneatatime,andtheLCDscreenis too small to do proper editing work. Using it, you can adjust Brightness,assign a White Balance, apply a Picture Style, and enable Auto LightingOptimizerandHighISOSpeedNoiseReduction.YoucanalsochoosetheJPEGImageQuality for output, choosewhichColorSpace (sRGB,AdobeRGB) tosave the JPEG file, and apply Peripheral Illumination, Distortion, andChromatic Aberration corrections (see Figure 70). All of these settings andoptions are discussed and explained throughout this text in the applicablesections.Notethatthelenscorrectionoptionscanonlybeusedif thelensdata

hasbeenregisteredtothecamera.

Figure70-RAWImageProcessing-Access theRAWImageProcessingmenuthenselectthedesiredimage(left).PresstheSETButtonorSETicontoaccessthevariousoptions(right)usedtoadjust,process,andsaveaRAWimageasaprocessedJPEGimage,allperformedin-camera.

Tomake use of this feature, access thismenu item, select the desired image,pressSET,andselecttheiconofthedesiredprocessingoptionusingtheMulti-Controller, such asBrightnessadjustment orDistortion correction (seeFigure70).TurntherearQuickControlDialtoquicklyadjustthesetting,orpresstheSETButton to viewall theoptions for that individual setting (seeFigure71).After youmake your desired adjustment, you can view the results live on thescreen,suchasthebrightnessincreasingordecreasing.IfyouselectthePictureStyleiconandpressSET,youcanselectyourdesiredPictureStylepluspresstheINFOButton to adjust its parameters (Sharpness, Contrast, Saturation, ColorTone).Whenfinished,selecttheSaveicon(the“squarewitharrow”iconthatisthenext-to-lasticonintherightcolumn).PressSET(orselectitwiththeTouchScreen), and selectOK to save it as anew file.PressOKagainon the Imagesavedscreen.Note thatRAWImageProcessingcannotbeaccessed ifWi-Fi isenabled, and smaller (M)RAW and (S)RAW images cannot be processed in-camera. You can also make similar processing adjustments to a RAW file,including(S)RAWand(M)RAWfiles,usingCanonDigitalPhotoProfessional.

Figure71-Usethein-cameraRAWImageProcessingfeaturetoselecttheWhiteBalance option (left), and then view and choose the desired option (right) toapplytotheRAWimagebeforesavingitasaJPEG.

Playback2menu

Figure72-Playback2menu.

ResizeUse this to resize (reduceonly)aJPEGimage in-camera.Todosoaccess thismenu,selectyourdesiredimage,presstheSETButtonoricon,andchooseyourdesired size. The numbers shown on the screen indicate theMegapixel imagesize(notmegabyteMB file size) and pixel dimensions (seeFigure73). PressSETandconfirmOKwhenfinished.ThiscouldbeusefulifyouneedtoquicklyoutputasmallerJPEGfile(withlowerpixelcount),butagainthisiseasiertodoonyourcomputer,sincethecamerawillonlyresizeoneimageatatimeandnotinbatches.RAWimagescannotberesized in-camerawith thismenu item,butcanbeprocessedandsavedasJPEGfilesofvarioussizesasdescribedinRAWImage Processing just above. You can also use the [Q] Button during image

playback to accessResize and select your desired size.After pressing the [Q]Button,selecttheResizeiconnearthelower-leftofthescreen.Page334oftheCanonmanual shows the pixel dimensions andmegapixel image sizes for thevariousJPEGImageQualityoptions(M,S1,S2,S3),includingthesizesforthedifferentAspectRatios(3:2,16:9,etc.).

Figure 73 - Resize - After selecting the Resizemenu item, choose the desiredimage (left), then choose the desired size option (right) in order to create asmallerversionoftheimage.

RatingYoucannowrateimagesormoviesin-camerawhilereviewingthem,fromoneto fivestars.As this ratingwillbevisible inmost imagefilemanagementandpost-processing applications, this feature can be useful for getting a jump oneditingbeforereturningtoyourcomputerforproperediting.Selectandratethebestimagesforimmediateediting,andperhapsmarktheonesthatwilllikelybeimmediatelydiscardedafteraquickreviewonyourcomputermonitor.YoucanalsothensetImageJump(justbelow)todisplayonlyratedimages,orsetuptheSlideShowtoplayonlyratedimages.Ratingcanbeaccessedthroughthismenuitem,orafterpressing the [Q]Buttonduring imageplaybackandselecting thestaricon(seeFigure74).

Figure 74 - Rating an image, from one to five stars - Shown on the left asaccessed through theRatingmenu item.Notice the stars across the top of thescreenwhichcanbe selectedwith theupanddown iconsat thebottomof thescreen, or with theMulti-Controller. Right: Rating shown as accessed via the[Q]ButtonandQuickControlScreenduringimageplayback.

SlideShowThiscanbealotofeffortforatinyslideshowonthecamera’sLCDMonitor,butmaybeworthitifyourunitthroughaTV.Youcanselectwhichimagesand/orvideos currently on the memory card to show (All images, Movies, Stills) orselectimagesbyDate,Folder,orRating.PresstheINFOButtonorINFOicontothen select which date, folder, or rating amount (see Figure 75). After theseoptionshavebeenselected,chooseSetupandchoosetheslideshowparameters(seeFigure76),includingtheDisplaytimeforeachimage,iftheslideshowwillRepeat after completion, and theTransitioneffect (such as various Slide in orFadeoptions).YoucanevenplayBackgroundMusic(whichyoumustloadontothememorycardviatheEOSUtilitysoftware).Seepages312-315oftheCanonmanual for detailed slideshow instructions. You will need an optional HDMIcableHTC-100inordertoconnecttoaTV.BysettingtheControloverHDMImenu item toEnable in thePlayback 3 menu, you will also be able to thencontrol the slideshow using the TV remote. Use a stereo AV cable AVC-DC400STtoconnecttoanon-HDTV.

Figure75 - Slide Show - Selectwhich images to display, suchas images in acertain folder (left), then press the INFOButton or icon to select the desiredfolder(right).

Figure 76 - Slide Show - Select the SetUpoption to choose the various slideshowparameters(left),suchasDisplaytimeandTransitionEffect(right).

ImageJumpw/[MainDial]Whenviewingimages,usetheQuickControlDialontherearofthecameratoscrollthroughimagesonebyone.Youcanthenusethismenusettingtocontrolhowmany,orwhich typeof images to jump forwardorbackwhen reviewingand turning theMainDial on the top of the camera (seeFigure77). Set it tojump10imagesaheadorbehind,or100images,bydatetaken,orbyfolder.Youcanalsochoosetojumptoimageswithacertainrating;setthedesiredratinginthismenubyhighlighting theratingoptionand turning the topMainDial (seeFigure77-right).OrchoosetoviewjuststillimagesormovieswhenturningtheMainDial.10imagesisausefulsetting,butmayvarybyuserandsituation.

Figure 77 - Image Jump with Main Dial menu options, to choose the ImageJump option used during playback by rotating the topMainDial, such as 10images(left),orbyRating,whereyouthenuse the topMainDial toselect thedesiredratingamount(right).

Playback3menu

Figure78-Playback3menu.

HighlightAlertI highly recommend that you Enable this setting! This is how you canimmediatelyseethatyou'veoverexposed(blown-out)yourhighlightswhenyoureviewyour imageson theLCDMonitor.Thehighlights that areoverexposedwill blink on the LCD Monitor when you view the image (see Figure 79),indicatingthatyouwillneedtoadjustyourexposuresettingsbeforeretakingtheimage. The blinking highlights are sometimes called “the blinkies” and yougenerallywanttoavoidthem(throughproperexposure).ThiswillbediscussedinmoredetailintheExposureandHistogramssections.

Figure79-WeeksBridgeatNight,Cambridge,Mass.-HighlightAlert,enabledfor image playback to see where the image has been overexposed. In thisscreenshot of the 70D rear LCD Monitor during image playback of a nightscene,youcanseethatlargeareasofthestairsandobeliskstructures,aswellasthe railing posts along the bridge, are all blinking (seen here mid-blink, inblack), indicating that these areas are overexposed and without any detail,causedbythebrightstreetlights.

AFPointDisplayThis showsyouwhich focus pointwas usedwhen capturing an image, and isvisiblewhenyoureviewyourimageonthecamera’sLCDMonitor(orwiththeCanonDPPsoftware).Itisthattinyredsquareorsquaressuperimposedonyourimagewhenyouviewitonthescreen(seeFigure80).Thisredsquarewillnotbeontheactualimage.Itismosthelpfulforwhenyouletthecameraselecttheautofocuspoint,andthenyoucanseeifitfocusedwhereyouwished.ButifyoumanuallyselectyourownAFPoints,asyoutypicallyshouldinmanysituations,youwillalreadyknowwherethecamerafocused.

Keep in mind that if you selected an AF Point, locked focus, and thenrecomposedtheimagebeforetakingtheshot,theimageonyourrearLCDwilldisplaywhichAFPointwasused,but thedisplayedAFPointwillnotactually

be located in the same place on the image that the camera initially focusedbeforerecomposing,soitmaynotalwaysbehelpful!YoumayneedtoreadtheAutofocusing section about focus lock and recomposing before fullyunderstandingthis.

Figure80-AFPointDisplayisenabled,sothatduringimageplaybackyoucanseewhichAFPointwasusedforautofocusing.InthisimagetheAFPointthatwasusedislocatedoverthesubject’snearesteye.

PlaybackGridThisoptionalgridwillbesuperimposedonyourstillimagesasyoureviewthemontherearLCDMonitor(seeFigure81).AswiththeLiveViewGridDisplayyoumaywishtosetthisfor3x3forthe“ruleofthirds”gridtohelpcheckifyourframingwasstraightandifyourcompositionslineupwiththeruleof thirdsifdesired.Orelseuse thedenser6x4grid,or the3x3+diagonal option that addsdiagonallinestothe3x3grid(seeFigure81-right).TurnthePlaybackGridOffifyoufinditdistractingorunnecessary.

Figure81-PlaybackGridmenuoptions(left).Right:The3x3+Diagonalgridis

showduringimageplaybackontherearLCDMonitor.

HistogramDisplayTheHistogramisagraphthatisaccessibleduringbothimageplaybackandLiveViewshooting,andisusedtoshowanimage’sexposureresultsanddetermineifitiscorrectoriftheexposuresettingsneedtobeadjustedforsubsequentimages.As with the Highlight Alert item above, it helps to show if you haveoverexposed an image’s highlights. Set this for Brightness, unless you areworkinginasituationthatrequirestheuseoftheindividualcolorchannelsoftheRGBHistogram(toavoidoverexposingaspecificcolorchannel).ThoughnotethatthismenusettingcanbeleftonBrightnessandtheRGBHistogramcanstillbe viewed alongwith theBrightnessHistogram by simply pressing the INFOButtonagainduring imageplayback(seeFigure82).A liveHistogram(whichactivelychangesasthescenechanges)canbeviewedduringLiveVieworpriorto movie shooting by pressing the INFO Button, and this menu setting willdetermine which Live View Histogram is shown (Brightness or RGB).Understanding and making use of Brightness and RGB Histograms will bediscussedindetailintheHistogramssectionofthistext.

Figure 82 - Image Playback showing the Shooting Information Display viewwith the Brightness Histogram (left), and the Histogram view with the RGBHistogramabovetheBrightnessHistogram(right).

MoviePlayCountThisitemistosethowthemovieplaybackcountisdisplayedontherearLCDMonitorasyoureviewavideo(seeFigure83).Youcanchoosetoeitherdisplaytheelapsed recording timewith thesettingRecTime, or display the timecode(Hours:Minutes:Seconds)withthesettingTimeCode.TheTimeCodeformatisusedtomoreeasilysyncthevideotoseparateaudioortoothervideorecordingstakenatthesametime.AdditionalTimeCodesettingswillbemadeintheMovie

Shooting2menu.Note that thisspecificsetting is linked to thesimilar iteminMovie Shooting 2menu >Movie Play Count, and changing either one willautomatically change the other. (So why is this menu item duplicated here?Likelybecause theMoviemenus aren’t accessible during still image shooting,yetyoumaywishtoplaybackmoviesandpossiblychangethismovieplaybacksetting,withouthavingtofirstmovetheLiveView/MovieShootingSwitchtothemovieposition.)

Figure83-MoviePlayCountmenuoptions(left),andControloverHDMImenuoptions(right).

ControloverHDMIIfyouconnectthe70DtoanHDMICECcompatibleTVwiththeCanonHTC-100HDMIcable,youcanEnablethissettingtocontrolimageorvideoplaybackusingtheTVremote(pointtheremoteattheTVasusual)(seeFigure83).Afterpressing thePlaybackButtonon the camera, then selecting an imageorvideowiththeforwardorbackarrowsoftheTVremote,pressEnteronyourremotetoaccessthestillphotoandmovieplaybackmenus,whichofferoptionssuchas9-imageIndex,SlideShow(withsub-options),andInfo.ThismayrequireyoutoenabletheTV’sHDMICECconnectionfollowingtheTV’sinstructionmanual.If you cannot get it to function, set this menu item forDisable and use thecontrols on the camera for playback. Or else use the Canon AVC-DC400STStereoAVcablefornon-HDTVsets.Seepages316-319oftheCanonmanualfordetailedinstructions.

3.5Set-upMenus

Set-up1menu

Figure84-Set-up1menu.

SelectFolderUsethistocreateandselectafolderonthememorycardtostoretheimagesyoucapture(seeFigure85).Thecamerawillautomaticallydo this foryou,soyoumayonlyneedtousethisifyouhaveareasonforstoringimagesinaspecificfolder, such as perhaps a couple different photo shoots that youwould like tokeepseparateandorganizedindifferentfoldersonthesamememorycard.

Whileyoucannotnamethefoldersinthecamera,youcanaccessyourmemorycardwithyourcomputerandcustomize foldernames.FirstFormat thecard inthecamera,plugthecardintoyourcomputer,accesstheDCIMfolder,thenopenthat folderandcreateadditional folders.Youmustname themwith the format“100ABCDE”wherethefirstthreedigitsareauniquenumberfrom100to999(thatisnotusedforanyotherfolder),andthefinalfivecharactersarenumerals,upper-case or lower-case letters, or the underscore character, such as200DK70D.

Figure85-SelectFoldermenu(left)toselectorcreateanewfolder.Right:FileNumberingmenuoptions(right).

FileNumberingYourimagefileswillbeautomaticallynumberedintheordertheyaretaken,andsavedinafolderthatisautomaticallycreatedonyourmemorycard.IfyouselectContinuoustheimagefilenumberswillcontinueinsequenceevenifyouuseadifferentcardorifyouorthecameracreatesanewfolder.AutoResetwillrestartthenumberingat0001whenyouuseanewordifferentmemorycardorcreateanew folder.Manual Reset will create a new folder and startwith file number0001againimmediately(seeFigure85).

I recommend that you select Continuous so that you don’t create differentimages that share the same file number. Even if you carefully organize yourimagesindifferentfoldersormemorycards,youareboundtobecomeconfusedandmayaccidentallyoverwriteimagessavedonyourcomputerorexternalharddrive. Plus having images with the same name may overwrite the previousinformation in theAdobeCameraRaw (ACR)database andcauseyou to loseyourACR adjustments to the earlier imageswith the same name. Just let thecamera automatically number the files and create folders. Then you will notencounter imageswith the same filenumbersuntil afteryouhave taken9,999photos.

Betteryet,especiallyifyouusemorethanoneCanoncameraorintendtotakelots of images, create an automatic file renaming system that you consistentlyapply as you import the photos from your camera or memory card into yourcomputer, such as one incorporating the image capture date and/ or cameradesignation formultiple cameras, plus a filenumber.Most imageorganizationsoftware,suchasAdobeBridge,willassistyouindoingthis.

AutoRotateYou can set the camera to automatically rotate your images to the properorientationonthecamera’srearLCDMonitorandonyourcomputer(seeFigure86).Thiswillsaveyoulotsoftimelaterwhenyoutransferyourimagestoyourcomputer. I recommend that you set it toOn (Camera andComputer) so thatvertical (portrait orientation) images are automatically rotated for viewing onboththecameraLCDMonitorandonyourcomputer(seeFigure87).Notethatthe images won’t be rotated for the immediate image review after taking thephoto,asitisassumedyouarestillholdingthecamerainthesameorientation,buttheywillberotatedduringimageplaybackinthecamera.Ifyoulikeseeingyourverticallycomposedimageslarger(fullscreen)but“sideways”onyourrearLCD,setthistoOn(Computer).Thentheywon’tautomaticallyrotateforimageplayback on the camera, butwill rotate for viewing on your computer. If youdon’twishforthemtoberotatedatall,setforOff.

Figure 86 - Auto Rotate menu to determine how images are viewed duringplaybackonthecamera’srearLCDMonitorandonacomputermonitor.

Figure 87 - With the Auto Rotate “On (Camera and Computer)” setting averticallyorientedimagewillberotatedforviewingduringimageplaybackonthe camera’s rear LCDMonitor (left). If set for “On (Computer)” or “Off,”vertically oriented images will appear “sideways” but larger during image

playbackonthecamera(right).

FormatCardUsethistoinitiateamemorycardforfirsttimeusewiththecameraortoerasealltheimagesonyourmemorycard(seeFigure88).YoushouldFormateverytimeyouneedtoclearyourcards,ratherthandeletingtheimagesonebyoneorusingEraseAll. Perhaps put this item inMyMenu for quick access.Alwaysmanage your memory cards in your camera, not on your computer. In otherwords,copyyourphotosfromthememorycardtoyourcomputerthenreturnthecard toyourcamera.Donotdelete,add,ormove imageson thememorycardwhile it is connected to the computer. These actionswillmake the cardmoreprone todatacorruption.Also,useLowLevelFormat sparingly, suchaswhengivingaway,selling,ordiscardingamemorycard.Itphysicallyresetsanderasesall thedata fromthecard,withnochanceof imagerecovery,but repeatedusemay degrade amemory card quicker than regular formatting. Press the EraseButtonwhileinthisFormatCardmenutoenableLowLevelFormat.

Figure 88 - Format Cardmenu option (left), used to clear all images from amemory card. Right: Press the Erase Button, as indicated on the screen, toenableLowLevelFormatifnecessary.

Eye-FiSettingsThis option is availablewhenusing anEye-Fiwirelessmemory card andwillenable you towirelessly transmit your photos from the card to a computer orotherstoragedevice. IfyouuseanEye-Ficard,set forEnableandconsult theCanonmanualpages401-403forcompletesetup.Youwillneed todisable theWi-Fi function of the camera in order to use the Eye-Fi card. See theWi-FiFunctionschapterforWi-FifunctionsyoucanperformwiththecamerawithouttheneedforaspecialEye-Fimemorycard.

Set-up2menu

Figure89-Set-up2menu.

AutoPowerOffThis is the lengthof timebeforeyourcamerawillgo to sleep ifyouhavenotuseditoraccessedanyfunctionsormenus,andcanbesetforbetween1min.to30min (seeFigure 90). Setting for 8min.or 15min.may be a good period,dependingonhowyouwork.JusttaptheShutterButtontowakeupthecamera.WhenyouaremakinguseofWi-Fi,youmaywishtoDisablethissettingtothatthecameradoesn’tturnoffandloseyourWi-Ficonnection.

Figure 90 - Auto Power Off menu options (left), and selecting the LCDBrightnesssetting(right),tosetthebrightnessleveloftherearLCDMonitorforviewingmenus,images,andmovies.

LCDbrightnessThisistoadjustthebrightnessleveloftheimagesandmenusviewedontherearLCDMonitor. You can choose one of seven levels (see Figure 90). Set this

accordingtoyourpreference.Ifindthatthedefaultlevel4,orlevel5worksverywell. If over time you feel the brightness of the images on your rear LCDMonitor is not matching that of your calibrated computer monitor, adjust thelevelaccordingly.Usethegrayscalechartonthescreentohelpseethesettingsdifferences, paying close attention to the black and the white ends of thespectrumtoensuretheyarevisiblydifferentfromthenextclosesttone.

LCDOff/OnButtonIf you wish to view the camera’s shooting settings, you can press the INFOButtontoaccesstheShootingFunctionSettingsscreenontherearLCDMonitor(aslongastheDisplaysshootingfunctionsoptionhasbeenenabledintheINFOButtonDisplayOptionssettingsintheSet-up3menubelow).Ifyouprefer,youcan leave this screen on at all times. You can then use thismenu item to setwhethertheShootingFunctionSettingsscreenremainsvisibleornotontherearLCD Monitor when the Shutter Button is pressed half way (see Figure 91).SettingforRemainsonmeanstheShootingFunctionSettingsscreenwillremainon evenwhen the Shutter Button is half-pressed. Setting forShutter btn. willturnofftheShootingFunctionSettingsscreenwhentheShutterButtonishalf-pressed,andthescreenwillreappearwhenyoustoppressingtheShutterButton.

GenerallyyouwillwanttheShootingFunctionSettingsscreentoturnoffwhentheShutterButtonispressed,bothtosavebatterypowerandpreventdistractionwhen shooting through theViewfinder.Orbetteryetyoucan simplypress theINFOButtontoturnofftheShootingFunctionSettingsscreenwhenyouarenotusingit.

Figure 91 - LCDOff/On Button menu, to determine if the Shooting FunctionSettingsscreenremainsonorturnsoffwhentheShutterButtonispressed(left).Use the Date/Time/Zone menu item to set that information (right), includingdaylightsavingstime(thesunicon).

Date/Time/ZoneSet accordingly, including the date format you prefer, the time zone, and thedaylightsavingstimeoptionasindicatedbytheSunicon(seeFigure91).Youprobablydidthiswhenyoufirstturnedonthecamera.Whenyouenabledaylightsavingstime,thetimeyousetwillchangesoyoumayneedtochangeitagaintothecurrenttime.Whenyoutravel,youcansimplychangetheTimeZonesettingto the local time zone and the timewill adjust accordingly. Change the TimeZonebackwhenyoureturnhome.

LanguageSetthelanguage(whichwillbeusedforthemenus)asneeded.Youprobablydidthiswhenyoufirstturnedonthecamera.

GPSDeviceSettingsThismenuitemonlyappearsifyouareusingtheoptionalCanonGPSReceiverGP-E2.Seethatdevice’smanualforthesesettings.

Set-up3menu

Figure92-Set-up3menu.

VideosystemSet this based on the video standard used by the video equipment in yourcountry:NTSCinNorthAmerica,mostofCentralAmericaandSouthAmerica,Japan,andTaiwan.PALinAustralia,Europe,therestofAsia,andelsewhere(seeFigure 93). This setting will thus determine which video Frame Rates are

available for you to choose from, as will be explained in the Video - AnIntroductionchapter.

Figure93-Left:VideoSystemmenuoptionstoselectbetweenNTSCandPAL.Right:TheFeatureGuideautomaticallydisplayshelpfulbasicinformationwhenasetting ishighlighted, suchasExposureCompensationon theQuickControlScreen shown here. Simply tap the “x” to close, or else touch or select thefunctiontoclosetheFeatureGuideandcontinuewiththesetting.

FeatureGuideThisistoenableordisabletheFeatureGuide,whichdisplaysbasicdescriptionsofvariousfunctionsandoptionsasyouaccessthemontheLCDMonitor.Itmaybehelpful toEnable this as you are learning the features and settings of yourcamera. It will appear on a variety of screens including the Quick ControlScreens for shooting,LiveView, andPlayback (seeFigure93).But since thisinfowillpopupautomaticallyasyouaresettingvariousfeaturesyoumayfinditannoyinganddistractingandwishtoDisableit.IfsetforEnableandtheFeatureGuide information appears, proceedwith the camera operation to turn off thatdescription,ortapanywhereontheFeatureGuidepop-uptocloseit.Rememberthatmanymenuscreensalsohaveadditionalinformationthatcanbedisplayedby pressing the INFO Button when the “INFO. Help” icon is shown at thebottom-leftofthemenuscreen(seeFigure94).

Figure 94 - Pressing the INFO Button to view additional helpful informationaboutamenuitemorsetting.

Throughouttheinstructionsinthisguide,IwillassumethatthisFeatureGuideissetforDisable,asitmayrequireextratapsinmanymenuprocesses.However,feelfreetoEnableitforwhenyouareshooting.

TouchControlThisisusedtoenableorDisabletheveryeffectiveTouchControlcapabilitiesofthe LCDMonitor, and to choose the screen’s sensitivity level. Leave on theStandard settinganddetermine if itworkswell foryou. Ifyou requireamoresensitive screen response, set for Sensitive (see Figure 95). Note that it is atouch-sensitive screen, much like a smart phone screen, and not pressure-sensitive - so do not use your fingernail or a pen or pencil to make yourselections.DonotcovertheLCDscreenwithascreenprotectorasitwillaffecttheresponsivenessofthescreen.TheTouchScreenwasdiscussedinmoredetailin the earlierQuick Control Screen and Touch Screen section. The TouchScreenofthe70Disahandywaytoaccessnumerouscamerasettings,functionsand features.While some may be skeptical of using it as it is not how theytraditionallychangedtheircamerasettings,youmaysoonfindthatitisaquickand efficient way to access and adjust numerous settings and to navigate themenus.

Figure95 -Left:TouchControlmenuoptionsused to set the sensitivityof therear LCD Touch Screen. Right: INFO Button Display Options to determinewhichdisplayscreenswillbeshownontherearLCDMonitorwhenpressingtheINFOButton, including the ShootingFunction Settings screen (shownhere asthe“Displaysshootingfunctions”option).

INFOButtonDisplayOptionsSetwhichinformationscreenscanbedisplayedontherearLCDMonitorwhenpressingtheINFOButton.Setthisaccordingtoyourpreferences,dependingonwhich screen(s)you finduseful:Displayscamerasettings,Electronic level, orDisplays shooting functions. Highlight the desired setting and press the SETButtontoenableanoption.Chooseonetothreeoftheseoptions(seeFigure95),thenyouwillbeable tocycle through thosescreenson the rearLCDMonitorwhenyoupresstheINFOButton(seeFigure96).

Figure 96 - The different screens accessible via the INFO Button duringshooting:Left:CameraSettingsscreen;center:ElectronicLevel;right:ShootingFunctionSettingsscreen.

TheDisplays camera settings option will show a screen with more specificinformationaboutcertainsettingsthancanbeshownonthetopLCDPanelorontheShootingFunctions screen.TheElectronic level canbeused,obviously, toensurethatyourcameraislevelsuchaswhenworkingonatripod.TheDisplaysshooting functions option will display the Shooting Function Settings screenwith icons indicating a wide variety of your current shooting and camera

settings, such as the Aperture setting, White Balance setting, the ImageRecordingQuality,andtheDriveMode.WhenviewingthisShootingFunctionSettingsscreen,pressthe[Q]ButtonorTouchScreen[Q]icontothenbeabletoaccessandchange thesesettings. I suggestyouenableallof themat first, andthenlaterdisableanyofthemyoufindyoudon’tneed.

Wi-FiThe70D(modelW)isoneofthefirstCanondSLRmodelswithbuilt-inWi-Ficapabilities, (following its introduction on the EOS 6D). Thismenu itemwillallowyoutoEnableorDisabletheWi-Fifunctions,whichareaccessedwiththefollowingWi-FiFunctionmenuitem(seeFigure97).YouwillhavetoDisableWi-Fiinordertorecordmovies.YouwillalsoneedtoDisableWi-Fiinordertousethecamera’sA/VOut/DigitalTerminaltoconnecttoanotherdeviceviaaUSB cable. This is important to remember because part of the Wi-Fi set-upprocessinvolvesconnectingthecameratoacomputer(Iwillremindyouintheappropriate section).TheWi-Fi functionsand settingswillbeexplained in theWi-FiFunctionschapterofthistext.

Figure97-Wi-Fimenutoenablethein-cameraWi-Ficapability(left),andWi-Fi Functionmenu to configure settings and to connect the camera to variousdevices(right).

Wi-FiFunctionThismenu is used to access the camera’s variousWi-Fi capabilities includingconnecting the 70D to a smartphone or tablet for remote camera operation orimage viewing, controlling the camera remotely with a computer using theincludedEOSUtility software, printing images on aWi-Fi printer, or sendingimages (or links to images) to aweb service such asFacebookorTwitter andsending movies to YouTube (see Figure 97). First Enable Wi-Fi with thepreviousmenu item, then access thisWi-Fi Function item. The first time you

accessityouwillregisteranicknameforthecamerabeforetheWi-FiFunctionScreen of Figure 97-right appears. Configuring and using Wi-Fi will beexplainedintheWi-FiFunctionschapterofthistext.

Set-up4menu

Figure98-Set-up4menu.

SensorCleaningEnabletheAutoCleaningsettingsothattheautomaticsensorcleaninghappenseverytimeyouturnyourcameraonoroff(seeFigure99).Youcaninterruptitwhen you turn the camera on by tapping the ShutterButton. Since the sensorcleaning works by shaking the low-pass filter in front of the sensor andcollectingthedustthatfallsoffontoatinyadhesivestripatthebaseofit, it isrecommendedtoholdorsetthecameralevelandinthestandardorientationasthishappens.Ifyoudon’twishtoEnableAutoCleaning,youcanalwaysaccessthismenu toClean now when desired. This menu is also accessed to initiatemanual sensor cleaning (Cleanmanually),where themirror is raised allowingyou access to the sensor.Please read theSensorCleaning sectionof this textandpages343-344oftheCanonEOS70DInstructionManualbeforeattemptingmanualsensorcleaning.

Figure 99 - Sensor Cleaning menu, including Auto Cleaning and CleanManuallyoptions.PleasereadtheSensorCleaningsectionofthistextandpages343-344oftheCanon70Dmanualbeforeattemptingmanualsensorcleaning.

BatteryInfoAccess this menu item to view the current battery’s information, and registeryour LP-E6 batteries in the camera and keep tabs on their performance (seeFigure100).This ismostuseful for someoneusingmultiplebatteriesorusingthe optional Canon BG-E14 battery grip that holds two batteries, so thatindividualbatterylifeandperformancecanbemonitored.NotethattheShuttercountisresetwhenthebatteryisrecharged.WhentheRechargeperformanceisshownasonereddot,itistimetoreplacethatbattery.Thismenufunctionmaynotoperateproperlywithnon-Canonbatteries,which isoneof thecompellingreasonstouseofficialCanonbatteries.

Whenviewingthisscreen,presstheINFOButtontoRegisterthecurrentbatterywiththecamera(anduptosixbatteries).Thenyoucanaccessthisscreentoseewhenabatterywas lastusedand its remainingchargeat that time(seeFigure100-right). You will have to attach a label to your batteries, with the serialnumbershownonthisscreen,inordertomatchuptheinformationtothecorrectbatterywhenitisnotinthecamera.

Figure100-BatteryInfomenuscreenshowingthecapacityandperformanceofthespecificLP-E6batterybeingused(left).AllofyourLP-E6batteriescanberegisteredwiththecamerainordertokeeptrackofthem(right).

CertificationLogoDisplayThismenuitemwilldisplaysomeofthecamera’scertificationlogosthatapplytoyourcountry(inadditiontotheonesthataredisplayedonthebottomofthecamera,intheCanonmanual,andonthebox).

CustomShootingMode(CMode)This powerful feature allows you to register your preferred camera settings -includingtheshootingmode,Menusettings,andCustomFunctionsettings-tothe customCMode position on theModeDial (seeFigure101). You can setyourcameraupforaspecifictypeofshootingyoutypicallydo,suchasactionshooting, landscape shooting, or studio shooting, and assign your desiredcombinationofsettingstotheCmodeontheModeDial.Forexample,foractionshooting you would likely set the mode to Shutter-Priority (Tv), the variousautofocus settings and Custom Functions to accommodate tracking andcapturing moving subjects, and the Drive Mode for High-Speed ContinuousShooting. Or for landscape shooting you may wish the camera to be set forAperture-Priority(Av),theautofocussystemsetforstillsubjects,andtheDriveModeforSingleShooting.Thenwhenyouaregoingtobeshootinginthattypeofsituation,youcanturntheModeDialtoCandallofyourdesiredsettingswillbe in place. To recall which ShootingMode you registered to the C position(suchasAvorM),presstheINFOButtonandyoucanviewthisinformationattheupper-leftoftheCameraSettingsscreen.

Therealpowerofthisfeaturesliesintheabilitytoquicklychangetoaspecificset-up of the Menus and Custom Functions, as it otherwise takes time to gothroughandchangethesesettingseachtimeyouneedthemsetupforacertain

typeofshootingsituation.YoucanthenadjustanysettingsyouwishonceyoustartworkingintheCMode.UsingtheAutoupdatesetoptioninthismenu,youcanchoosewhethertheCModesettingsareupdatedtonowincludedthesenewsettingsadjustmentsyouhavemade(Enable),orifthedefaultCModesettingsthatyouinitiallysetwillremainunchangedandwillalwaysbethesameeverytimeyoubegintousetheCMode(Disable)(seeFigure101-right).

Figure101-CustomShootingMode(Cmode)menu,toregisteracombinationof camera settings to theC setting on theModeDial (left). Right: Setting theAuto Update Settings option to Enable will tell the camera to update theregisteredCModesettingswithanysettingschangesyoumakewhileshootingintheCMode.

To register the settings you want, set your camera to all the desired settings,access this menu item, and select Register settings, then confirm OK. ReadthroughtheCustomFunctionsMenussettingsandusethecameraabitbeforeyoudeterminehowyouwould like toset theseup.TheCanonmanual listsallthemenuitemsthatareavailabletoselectandregisteronpages391and392.

Again,sinceyouwill likelychangesomeofthecamerasettingsonceyoustartworkingintheCustomShootingMode,youcandecideifyouwantthecameratorememberthesechangesthenexttimeyouusetheCMode,orifyouwishtoreturn to the initialsettingsyouregisteredfor themode.Onthe initialCustomShootingModemenuscreen(seeFigure74-left),setAutoupdatesettoEnableinordertoautomaticallyupdateyourCModesettingsifyouchangeanysettingswhileshootinginoneofthesecustommodes(seeFigure74-right).Ifyouwouldalwaysliketoretaintheinitiallysetbaselinesettings,whichyoumightchangeduring shooting butwant to return to next time you useCMode, set this forDisable.

ClearAllCameraSettingsNo!Don'ttouch!Youjustputinallthesettingsyouwant!Thisitemwillreturnall the menu settings back to their defaults. See pages 61-63 of the Canonmanualforalistingofallthedefaultsettings.

CopyrightInformationEnter your author’s name and copyright details information (seeFigure 102).Thiswillnowbepartofthemetadataofyourimagefiles.Youcanthenviewandchange thismetadata in your image filemanagement program such asAdobeBridge. The metadata will also appear with the EXIF information when youupload your images to a website such as Flickr (see Figure 103). Whenregisteringyour information,usethe[Q]Buttonto jumpbetweenthetopuser-informationfieldandtheletters-numbersfield,thenuseeitherdialortheMulti-Controller and theSETButton to select letters and numbers.Make use of the“Aa=1@” icon near the lower-right to switch between letters, numbers, andsymbols.OrmoreeasilysimplyusetheTouchScreentonavigatethescreenandenter this information. For theEnter copyright details, youmaywish to enteryourwebsiteorcompanyname.

Figure 102 - Copyright Informationmenu options (left), and Enter CopyrightDetailsscreenwhereyourdesiredinformationisentered(right).UsetheTouchScreenorMulti-Controllertonavigatethescreen.Pressthe[Q]Buttontojumpbetweenthetopandbottomfields.

Figure 103 - An image’s EXIF information and metadata shown on Flickr,including the Author and Copyright Information and camera settingsinformation.ViewonFlickrhere:http://www.flickr.com/photos/dojoklo/9634476218/meta/in/set-72157634994886314FirmwareVersionWhile your camera will likely be loaded with the latest firmware, be sure tocheck which Firmware Version your camera has, and check with the Canonwebsite to see if amore current version is available. You can check this andupdate to the latest firmware on the Canon EOS 70D product page, underDriversandSoftware:

http://usa.canon.com/cusa/consumer/products/cameras/slr_cameras/eos_70d#DriversAndSoftware

Atthetimeofpublication,theinitialfirmwarewasVersion1.1.1,andtherehavenotbeenanyfirmwareupdates.Butcheckbackeveryonceinawhiletoseeifanewerfirmwareversionisreleased,especiallyinthemonthsfollowingtheinitialintroductionofthecamera.IfyouregisteryourcamerawithCanon,youwillbealertedtonewfirmwareupgradesviaemail,evenyearsinthefuture.TheCanonwebsite will include instructions for downloading and installing the firmwareupdate. Typically firmware updates correct minor menu issues or bugs withcertainfunctions.Morerarely,firmwaremightaddadditionalfunctionsormenu

items.

Ifafirmwareupdateresults insignificantchanges to thecamerafunctionsandmenusIwillupdatethise-bookguideaccordingly,andwilloffertosendyouanupdatede-bookcopyofthisguideforfree.Youcansignuptoreceivenoticesofupdates to the text and be eligible to receive free e-book copies of updatedversionsofCanon70DExperiencehere:

http://blog.dojoklo.com/ebooks/sign-up-for-full-stop-e-book-updates/

Significant firmwareupdateshaveoccurredwith theCanon7DandCanon5DMarkIII,soitisafuturepossibilitywiththe70D.

CustomFunctionsMenus

ThenextmenutabaftertheSet-upmenusaccessestheCustomFunctions.Thesewill be returned to and explained in the followingCustomFunctionsMenuschapter.

3.6MyMenu

Use this tocreateyourowncustommenu, calledMyMenu,with someof thesettings you use most often (see Figure 104). I mentioned some of thepossibilitiesabove,andwillmentionsomemorebelow.Youcanregisterup tosix items from most of the Menus and Custom Function (C.Fn) Menus.Determinewhat other settings you are digging into themenus to look for andchangemostoften,andput theminMyMenu,suchasperhapsFlashControl,Custom White Balance, Multiple Exposure, Auto Lighting Optimizer, Wi-FiFunction,orFormatCard.

Figure 104 -MyMenu tab screen, customized by the user in order to quicklyaccessfavoriteoroften-usedfunctions.

Register items by selecting Register to My Menu, then choosing the desiredmenu items to include (seeFigure 105-left). Also, you can set it so thatMyMenuappearsfirstwhenyouhittheMenuButtonratherthanhavingtonavigatetoiteverytime.DothisinMyMenuSettings>DisplayFromMyMenu:Enable(seeFigure105-right).IfyousetDisplayFromMyMenuforDisable, then themenuyouwerelastusingwillappearwhenyoupresstheMenuButton,whichmay be more convenient and more desirable for certain users or in certainshootingsituations.

Figure105-MyMenuSettingsoptions(left),whereMyMenuitemsareselected(RegistertoMyMenu)andarrangedinthelist(Sort).“DisplayfromMyMenu”optionenabled(right),sothattheMyMenutabisthefirsttoappearwhentheMenuButtonispressed.

IrecommendyouincludeFormatCardasoneoftheregistereditems,sinceyoushould re-format yourmemory card each time you are ready to clear off thatcard,andnotjustEraseAll.However,usetheSortoptionofMyMenutochangetheMyMenu list order and putFormat Card lower down in the listing, andalwaysmovethecursorawayfromFormatCardwhenyouaredoneformattingandareleavingMyMenu,sothatyoudon'thaveatragicmemorycardaccidentfromacouplequick,accidentalbuttonpresses.SortitemsbyselectingSort,thenchoose the itemyouwish tomove by pressingSET, press up or downon theMulti-ControllerorTouchScreenarrowstoputitintothedesiredposition,thenpressSETtocomplete(seeFigure106).

Figure106-SortingtheMyMenulist-SelecttheSortoption(left)tochangetheorderoftheitemsintheMyMenulist.Right:SelecttheitemtomoveandpressSET,pressupordownontheMulti-ControllerorTouchScreenarrowstoputitintothedesiredposition,thenpressSETtocomplete.

3.7MovieShootingModeMenus

Turn theLiveView/MovieShootingSwitch to theMovie icon thenpress theMenuButtontoaccessthefollowingtwoMoviemenus.

Movie1menu

Figure107-Movie1menu

AFMethod(Movie)Theseautofocusmodesormethodsare thesameasdescribed in theLiveViewShooting1menuforAFMethod,withtheexceptionofQuickModewhichisnotaccessible for movie shooting. Set this according to your preference or whatworksbestfor thesituation(seeFigure108-left).YoucanalsoquicklychangethisAFMethod setting by pressing the [Q]Button or Touch Screen [Q] iconbeforemovierecording(seeFigure108-right).

Figure108-AFMethodforMovieShootingoptions,asaccessedviatheMovie1 menu (left), and via the [Q] Button and Quick Control Screen for MovieShooting(right).

AswithLiveViewautofocusing,thenewphase-detectionDualPixelCMOSAFtechnologyofthe70Dwillenableyoutoinitiallyfocusandthenretainfocusonmovingsubjectsmuchmoreeffectively,quickly,andsmoothlycomparedtotheLiveViewautofocusingof previousdSLRcameras.This capabilitymakes theuseofreal-timecontinuousautofocusduringmovieshootingausableoptionfordSLR videographers. Each of these Live View AF Methods will be fullyexplained in theLiveView andMovieAutofocusing section, but below is abriefsummary:

FaceDetection+Tracking AF automatically detects and focuseson faces. The camerawill track the subject’s face as long as itremainsvisibletothecamera.Ifmultiplefacesaredetected,youcanselectwhichoneyouwishtofocuson.

FlexiZone -Multi AF allows you to choose between automaticselection of 21AFPoints (not shownon theLCDMonitor), ormanualzoneselectionof3zonestolocateandtrackasubjectandachieve focus. When using 640x480 Standard Definition videoImageSize,therewillbe25AFPointsor9zones.

FlexiZone-SingleAFprovidesasinglesmallerAFPointthatisused for focusing, which you can first move to your desiredpositiononthescreen.

With each of these above AF methods you can also make use of the TouchScreentoselectyourdesiredface,zone,orAFPointposition.

MovieServoAFThis will allow the camera to continuously autofocus on your subject duringmovie shooting (see Figure 109). Set for Enable to take advantage of thisfeature,thoughnotethatthebuilt-inmicrophonesofthecamerawillrecordthecontinuous noise of the lens autofocus operation. The newerEF-S 18-55mmf/3.5-5.6ISSTM, theCanonEF-S18-135mmf/3.5-5.6ISSTM lens,and theotherCanonSTMlensesaredesignedtoperformmorequietlyinthissituation.Anoptionalexternalmic is recommended.Thecamerawill remainfocusedon

thesubjectas longas it remainsat theactiveAFPointorzone,or thecamerawillfollowthesubjectabouttheframeifusingFaceDetection.

Figure 109-Movie Servo AF menu options (left). You can also use the TouchScreen to enableordisable this featureby tapping theSERVOAF iconat thelower-leftoftheLCDscreenbeforeorduringmovieshooting.

IfyouwishtotemporarilystopthecontinuousautofocusduringmovieshootingyoucanpresstheFlashButtonorgentlytaptheSERVOAFicononthelower-left of the Touch Screen (see Figure 109-right). You can also use CustomFunctionC.FnIII-4:CustomControlstoassignabuttontoAFStop,whichcanthenbeusedtotemporarilystopthisoperationwhilethatbuttonisheld.Ifyouhave setMovieServoAF forDisable, youwill need to half-press theShutterButtonpriortorecording,orpresstheAF-ONButtonbeforeorduringrecordinginordertofocus.NotethatthisServoAFfunctionwillnotoperateduringMovieDigitalZoom,andmaycause some temporary imagemagnification issues if asubjectismovingtowardorawayfromthecameraorifthecameraismoved.IfMovieServoisenabled,theFlexiZone-SingleAFPointusedtoautofocuswillbealargersize,asshowninFigure109-right.SilentLVShootingThisfunctionappliestostillsphotoshooting,whichcanbedoneduringmovieshootingbutwill interrupt thevideo.Thesettingsare thesameasdescribed intheLiveViewshooting2menuforSilentLVshootingexplainedearlier.Mode1is a quieter mode,Mode 2 is the stealthy mode where you can postpone thesoundoftheshutterresetting,andDisableisrequiredwhenusingsometilt-shiftlenses(seeFigure110).

Figure 110 - Left: Silent Live View Shooting menu options. Right: MeteringTimermenu option, used to set how long exposure lockwill stay in effect formovieshooting,afterpressingtheAELockButton.

MeteringTimer(Movie)This is tosethow long theexposure lockstays ineffectafterpressing theAELockButtonandbeforerecordinghasbegun,rangingfrom4sec.to30min.(seeFigure110).Setforperhaps30sec.or1min.unlessyoutakemoreorlesstimetolockinexposureandthenbeginfilming.Youcancancelthelockedexposuresettings,duringfilming,bypressingtheAFPointSelectionButton.

Movie2menu

Figure111-Movie2menu

GridDisplay(Movie)AswithLiveViewshooting,youmaywish todisplay the3x3“ruleof thirds”grid to help with your framing and compositions when working in movieshooting(seeFigure112).Orelseusethedenser6x4grid,orthe3x3+diagonal

optionthataddsdiagonallinestothe3x3grid.TurntheGridDisplayOffifyoufinditdistractingorunnecessary.

Figure112-GridDisplay-3x3gridshownpriortomovieshooting,aswellastheElectronicLevel,whichcanbeviewedbypressingtheINFOButton.

MovieRecordingSizeTheseoptionswillvarybasedonhowyousetuptheVideoSystemitemoftheSet-up3menu(NTSCorPAL).TheseoptionswillallbeexplainedintheImageSize, Frame Rate, and Compression Method sections of the Video - AnIntroductionchapterlaterinthistext.Thisoptioncanbesetthroughthismenu,orelseviatheMovieShootingQuickControlScreen(seeFigure113).

Figure 113 -MovieRecording Size options, for setting the ImageSize,FrameRate,andCompressionMethodformovieshooting.Left:ViatheMovie2menu.Right:UsingtheMovieShootingQuickControlScreen.

DigitalZoomThe70DhasreintroducedthemovieDigitalZoomfeature,whichallowsyouto

extend beyond the reach of your lens andmake use of a 3x-10x digital zoomduringmovie shooting.Enable this featurebyselecting the3-10 zoom icon inthismenu,oryoucanenableitusingtheMovieShootingQuickControlScreen(seeFigure114).Youwillseewhenyouenableit thatthecameraimmediatelyshowsthe3xzoom.

Figure114 -DigitalZoom formovie shooting -YoucanenablemovieDigitalZoom through the Movie 2 menu (left), or with the Movie Shooting QuickControlScreen(right).

Thenbeforeorduringvideofilming,pressupordownontheMulti-ControllertomaketheDigitalZoombarappear,thenpressuptozoominanddowntozoomout.Thescreenwillindicatethezoomamountbelowthezoombaratright(seeFigure115).

Figure 115 - Digital Zoom formovie shooting -When this feature is enabled(left), press upordownon theMulti-Controller tobringup themovieDigitalZoombar(right),andcontinuetopressupordownontheMulti-Controllertozoominorout.

Focusbyhalf-pressingtheShutterButton(beforeshooting)ortherearAF-ONButton(beforeorduringshooting).Thoughnotethatthecamerawillonlyfocus

usingFlexiZone - Single AF and a fixed center point. Remember thatMovieServoAF(automaticcontinuousfocus)willnotfunctionwhenDigitalZoomisin use. The camera will not make use of the advanced phase-detectionautofocusing during Digital Zoom, but rather will use the slower contrast-detection autofocusing. And additional digital noisemay appear in the video.Theselimitationswouldsuggestnotmakingextensiveuseofthisfeature,whichcanbeturnedoffbyselectingtheOFFiconinthismenu.

SoundRecordingSetforAuto ifyouwishtorecordaudiowiththebuilt-instereomicrophoneoranoptionalexternalmic.,unlessyouwishtoDisablethesound.OruseManualif you have some experience with sound levels or are comfortable using it.Generally, adjust it, using the rear Quick Control Dial, until the soundoccasionally peaks at the 12 mark (-12 dB) (see Figure 116-left). If set forManual,youcanalsoadjusttheaudiolevelontheMovieQuickControlScreenbyfirstpressingthe[Q]ButtonandthenaccessingtheAudioRecordingLevelicon(seeFigure116-right).

Besure toEnable theWindFilterwhenusing thebuilt-inmicrophoneoutsideandyouencounterwind,butdon’tleaveitenabledotherwise.UsetheAttenuatortolimitsounddistortionifyouexpectextremelyloudsoundswhilerecording.IfthecameraissetononeoftheBasicZoneshootingmodes,youwillonlybeableto set this for On or Off, and the levels will be set for Auto. The built-inmicrophone record at a sampling rate of 48 kHz/16-bit. Sound recording forvideoisfurtherdiscussedintheAudiosectionoftheVideo-AnIntroductionchapter.

Figure 116 - Sound Recording menu screen for audio settings during movieshooting.

TimeCodeThe 70D has timecode ability to help sync your video with a separate audiorecordingorwithadditionalvideorecording takenat thesame time. It followstheSMPTEstandardofHour:Minute:Second:Frame,andcanbesettofunctionanddisplay inavarietyofwaysusing thisTimeCodemenu(seeFigure117).Thesesettingsare fullydescribed in theTimeCodesectionof theVideo-AnIntroductionchapterlaterinthistext.

Figure 117 - Left: TimeCodemenu options. Right: Video Snapshotmenu, forcreatingamovie(album)madeupofsmallvideoclips(snapshots).

VideoSnapshotThis is for creating several short video clips of a specified duration (calledsnapshots), which you can save together in an album and then play as acontinuousmovie,alongwithbackgroundmusic(seeFigure117).Thistypeofediting is typically more easily done with more control using video editingsoftwareonyourcomputer,soleavethisonDisableuntilyouplantoexperimentormake use of it. If youwish to use itEnable the feature in thismenu, thenadjust the settings accordingly (seeFigure 118). The Video Snapshot settingsandprocesswillbeexplainedintheVideo-AnIntroductionchapter.

Figure118-VideoSnapshotmenu.SelectAlbumSettingstocreateanewalbum

(left),andthensettheSnapshotLength(right).

4.CUSTOMFUNCTIONSMENUS

4.1C.FnI:Exposure

Figure119-CustomFunctionsC.FnI:Exposure.

I-1:ExposureLevelIncrementsThis is to change the increments of shutter speed, aperture, and exposurecompensationavailableforyoutoselect,either1/3-stop incrementsor1/2-stop(seeFigure120).Thiswillapply to theShootingModeswhereyoucanselectyour desired aperture setting and/ or shutter speed, such as Aperture-Priority(Av)Mode,Shutter-Priority(Tv)Mode,orManual(M)Mode.Thissettingwillalso apply to the increments for Auto Exposure Bracketing (AEB) and FlashExposureCompensation.

Forexample,toprogress1fullstopusing1/3-stopincrements,youwillbeabletoselect:Aperture:f/5.6,f/6.3,f/7.1,f/8.0Shutterspeed:125,160,200,250

With1/2-stopincrements,youcanselect:Aperture:f/5.6,f/6.7,f/8.0Shutterspeed:125,180,250

Setthisdependingonyourpersonalpreferenceandwhatyouareusedtousingfor these increments. Many photographers prefer the greater precision of 1/3stops,whichisgenerallythetraditionalandstandardsetting,butyoumayprefer

the simplicity and ease of 1/2 stops (which may also make “in-your-head”exposurecalculationseasier).ShutterspeedandaperturewillbefullyexplainedintheExposurePart1chapter,andExposureCompensationinitsownsectionofthetext.recommend:1/3-stop

Figure 120 - Exposure Level Increments options (left), and ISO Speed SettingIncrements(right).

I-2:ISOSpeedSettingIncrementsThissetstheincrementsforISOsettings,either1/3-stopor1-stop(fullstop).

Forexample,toprogress1fullstopusing1/3-stopincrements,youwillbeabletoselect:ISO:100,125,160,200

With1-stopincrements,youcanselect:ISO:100,200

Again,thesettingdependsonyourpersonalpreferenceandwhatyouareusedto(seeFigure120).Manyphotographerspreferthegreaterprecisionof1/3stops,which is generally the standard setting, but youmay prefer the simplicity andeaseoffullstops.ISOisdiscussedintheExposurePart1chapter.recommend:1/3-stop

I-3:BracketingAutoCancelBracketingiswhenyoutakeaseriesofthesameimageusingdifferentcamerasettings, in order to ensure that at least one of the images is correct, or toexperiment,orforHDRpurposes.AutoExposureBracketing(AEB)iswhenthecamera automatically changes the settings and takes this series of shots,accordingtoyouruser-determinedsettings.Thismenuitemsetswhetherornot

AutoExposureBracketingorWhiteBalanceBracketing iscanceledwhenyouturn off your camera (see Figure 121). I recommend that you have thiscancellationset forOn:Enable, because if youhavea shooting sessionwhereyouareauto-bracketing, thenuseyourcamera thenextday,youwillprobablyhaveforgottenthat it issetonbracketing,andthenautobracketingisgoingtooccur and most of your shots are going to be improperly exposed. AutoExposureBracketingwillbeexplainedlaterinthistext.recommend:On:Enable

Figure 121 - Left: Exposure Bracketing Auto Cancel options to cancelBracketingwhenthecameraisturnedoff.Right:BracketingSequenceoptions,todeterminetheorderthatAutoExposureBracketing(AEB)andWhiteBalanceBracketingshotsaretaken.

I-4:BracketingSequenceThis setting determines the sequence of exposureswhen usingAutoExposureBracketing(AEB)orWhiteBalanceBracketing.(The70Dcanbracketeither2,3,5,or7shots,notjust thetraditional3shots- thisnumbertobesetwiththenextmenuitem.)Thebracketingsequencesettingdependshowyouliketoorderyourbracketing,andthismaybeimportanttoyouifyoudoalotofHDRwork.Setting0: 0, -, +means the “correct” exposure is taken first, then the darkerexposure(s) (under exposed), then the lighter exposure(s) (over exposed),with“correct”meaningwhat the camera thinks is the proper exposure (seeFigure121).Setting1:-,0,+meanstheorderisdarker,normal,lighter.Setting2:+,0,-meanstheorderisoverexposed(lighter),normal,underexposed(darker).AnHDRshooterandtheirsoftwaremayprefersetting1:-,0,+.Thisalsoaffectsthebracketingsequence forwhitebalance (WB)bracketingsodeterminewhatsequenceyouwantifyoumakeuseofWBbracketing.

When making use of White Balance Bracketing, the zero (0) in the series

indicates the standardwhite balance.WithWhiteBalanceBracketing you canbracket alongeither theBlue/Amberaxisor along theMagenta/Greenaxis, sothe negative (-)will indicate either blue ormagenta bias, and the positive (+)will indicate either amber or green bias. White Balance Bracketing will beexplainedintheWhiteBalancesection.recommend:User preference. The second setting (1: -, 0, +) is suggested forHDRshootersifitmatchestheirpersonalandsoftwareworkflow.

I-5:NumberofBracketedShotsThisistosetthenumberofshotsthataretakeninanAutoExposureBracketing(AEB) sequence or aWhite Balance (WB) bracketing sequence. The numberyouchooseisobviouslythenumberofshotsthatwillbetaken:3,2,5,or7(seeFigure122).Generalbracketingistypically3shots,butthoseshootingforHDRworkwillwanttotakeadvantageof5or7shots.recommend:variesbyuser

Figure 122-Left: Number of Bracketed Shots options, to determine howmanyexposures are automatically taken during auto Bracketing. Right: Safety Shiftoptions, to determine which exposure settings the camera will automaticallychange,ifnecessary,inordertoobtainthecorrectexposure.

I-6:SafetyShiftThis option, Safety Shift, allows your camera to change an exposure settingwithoutyourexpressedpermissionwhenitisvitaltogettingtheshot(seeFigure122). This is a good thing in certain situations, such as when shooting at aconcert and the lighting and lighting-levels are changing erratically, or whenshooting in very dim light without flash, and proper exposuremay not occurbasedonyourcurrentapertureorshutterspeedsettings.ItonlyfunctionsinTv,Av,orPShootingModes,basedonthefollowingoptions:

0:Disable-SafetyShiftnotused.1:ShutterSpeed/AperturewillautomaticallychangethecurrentShootingMode’s setting inorder toobtain theproper exposure,meaning that in Shutter-Priority (Tv) mode it will change theshutter speed setting (which you are selecting when using Tvmode), and in Aperture-Priority (Av) mode it will change theaperture setting (whichyouchoosewhenworking inAvmode).Sowhenusingthisoption,realizethatifthecameracannotobtaintheproperexposurebychanging the“other”exposuresetting, itwillchangetheexposuresettingthatyouset.Forexample,ifyouareworkinginShutter-PriorityTvModeandhavesettheshutterspeed at 1/1000 in order to freeze the subject, the camera willnormallyadjusttheaperturesettinginordertoobtaintheproperexposure.Ifthecamerareachesthelimitoftheavailableaperturesettings(theapertureisaswideopenorasclosedasitcanbe)andtheproperexposurestillcannotbeobtained,thecamerawillthenchangetheshutterspeedthatyousetsothattheproperexposurecanbecaptured.

2:ISOSpeedwillworkinAv,Tv,andPmodes.Inordertoobtaintheproperexposure,thecamerawillchangetheISOspeed.Thismaybe themoredesirablesetting,since the lowlightcapabilityofthe70DisverygoodevenathighISOsettings,andthatwayyou can allow the camera to adjust the ISOwhile you set andretain the aperture or shutter speed setting you desire. ButbecauseyoumaynotwantthecameratoautomaticallyselectanexcessivelyhighISOsettinginthesesituations,youwillbeableto dictate the minimum and maximum ISO settings that thecamerawilluse.

TheminimumandmaximumISOsettingsselectedbythecameraduringSafetyShiftaresetintheAutoISORangesettingoftheShooting3menu>ISOSpeedSettings.Thecamerawill choosean ISOsetting in that rangeunlessyouhavemanuallyselectedanISOsettingoutsidethatrange,andinthatcasethecameramayexceed theset range,up toyourmanuallyselectedISO.SafetyShiftmayoverridetheISOSpeedRangeorMinimumShutterSpeedthatyoualsosetinthisShooting3menu>ISOSpeedSettingsifitneedstoinordertoobtaintheproperexposure.

ConsiderenablingSafetyShift inunpredictableorerraticallychanginglightingsituations,exceptwhenshootingwithaflashandyouneedmoreprecisecontroloftheexposuresettingstoavoidbluranddon’twantthecameraoverridingyoursettingswithoutyouhavingcontrolorevenrealizingit,asSafetyShiftoperatesevenwhenaflashisused.Failingtodisable itduringflashusemaydriveyoucrazy as you try to determinewhy the resulting exposures do not seem to bechangingbasedonyoursettingschanges-becausethecamerakeepsoverridingyour settings with Safety Shift. Keep this in mind if you are going to bephotographingindooreventsorreceptionsusingaflash.recommend:SetforISOSpeedwhenneeded,andDisablewhenusingflashandcontrollingyourexposuresettingsandflashoutput.

4.2C.FnII:Autofocus

Figure123-CustomFunctionC.FnII:Autofocus.

II-1:TrackingsensitivityWhen usingAI ServoAutofocusMode (used to track amoving subject), thissetting specifies the speedatwhich the autofocus systemwill switch from theinitialsubjecttoanothersubjectwhenanewsubjectentersthefocusingfieldofview or passes in front of the initial subject, or if you momentarily lose thesubject that you are trying to keep positioned under a selected AF point (seeFigure124). If youwish for theAF system to quickly switch focus to a newsubject that enters the area you are focusing on, or wish to rapidly andintentionallyswitchbetweensubjectsatvariousdistances,setforResponsive+2.If you wish to retain focus-tracking on the same subject and ignore new or

obstructing subjects, set for Locked on -2. If your objective is somewhere inbetween,setaccordinglyat+1,0,or-1.NotethatifyousetforLockedon-2andthe camera locks onto thewrong subject, thenwhenyou realign theAFpointoveryourdesiredsubjectyouaregoingtohavetowaitamomentorsoforthecameratolockontoyourdesiredsubject.AndwhensetforResponsive+2, thecamera will quickly focus on another subject if your intended subject movesawayfromyourselectedAFpoint.ThismenuitemwasformerlycalledAIServotrackingsensitivity in previousCanon cameras such as the 7D.Youwill learnaboutautofocusmodesincludingAIServointheAutofocusingchapterofthistext.recommend:variesbysituationanduser’sgoal

Figure 124 - Left: Tracking Sensitivity options, to tell the camera how fast toreact to a new subject at a different distance from the current subject. Right:Acceleration/DecelerationTracking,totellthecamerawhattoexpectregardingthedirection,rate,andspeedofthesubjectbeingtracked.

II-2:Acceleration/decelerationtrackingAI Servo Autofocus Mode (used to track moving subjects) works in part bypredictingthepotentiallocationofasubjectbasedonthesubject’scurrentspeedanddirection.Inordertomakethesepredictionsmoreaccurate,usethissettingtotellthecameraifthesubjectisaccelerating/deceleratingtowardorawayfromthecameraatasteadypace,or if it ischanging its speedmoreerratically (seeFigure124).Forsubjectsthatmovesmoothlyatasteadyratesetfor0andthecamera will then predict the subject’s likely location based on its currentmovement. If the subject moves erratically andmay very suddenly speed up,slowdown,start,orstopsetfor2.Whenasubjectsuddenlystops,forexample,setting 2 will help prevent the camera from assuming that it continued at itsprevious speed and direction. Or set for 1 if the subject’s movements aresomewhereinbetweentheseotheroptions.

recommend:variesbysituationandsubjectmovement

II-3:AIServo1stImagePriorityThissettingandthefollowingsetting,AIServo2ndImagePriority,alsoapplywhenworkinginAIServoAutofocusMode,whichisusedtocontinuouslytrackandretainfocusonmovingsubjects.Thesetwosettingsareusedinconjunctiontodictatethecamera’spriorityfortheinitialshotandthensubsequentshotsasyouholddown theShutterButtonduringaburstofcontinuousshootingwhenusing one of theContinuous ShootingDriveModes (seeFigure125). Is yourpriority to precisely focus on and track the subject at the possible expense ofmaybeafewmicro-secondsdelayasthecameraconfirmsfocus,or is it tofireoffrapidshotsatthemaximum7fpsburstspeedatthepossibleexpenseofexactfocus?After explaining the settings forC.Fn II-3 and II-4, I will go over thevariouscombinationsofthesettingsofthesetwomenus,andhowyoumaywishtosetthem.

Setting for Release priority will prioritize shutter release, orimmediatelycapturing the initial shotat thepossibleexpenseofexactfocus.Generallywhentakingaphoto,youaresupposedtohalf-press the Shutter Button, allow the camera to focus, thencontinuethefull-pressoftheShutterButtontotaketheimage.Ifyou simply “mash down” the Shutter Button, this setting willcause thecamera to take thephotowithout taking time to focusfirst. Sometimes when photographing sports, news, or events,capturingtheprecisemomentmaytakepriorityoverexactfocus.

SettingforFocusprioritywill prioritize focus for the first shot,ensuringthatthesubjectisinfocusbeforethepictureistaken.SowhenyoufullypresstheShutterButton,thissettingmaycauseabrief, perhaps micro-seconds delay while the camera confirmsfocusbeforeactuallyreleasingtheshutter.

EqualpriorityisaslightcompromisebetweenReleaseandFocuspriorities.Itallowsabrief(perhapsmicro-seconds)pauseforthecameratopossiblyfindfocusbeforereleasingtheshutter.Itdoesnotguaranteethattheimagewillbeinfocus,butmerelygivesitmoreofachancetofindfocus.ItgenerallyseemstomakemoresensetochooseReleaseorFocusbasedonyourpriority.

Figure125-Left:AIServo1stImagePrioritymenu,todetermineifcapturingthe shot or getting the subject in-focus is the priority for the initial shot in acontinuous burst. Right: AI Servo 2nd Image Priority menu, to determine thepriorityforthesecondandsubsequentshotsintheburst.

II-4:AIServo2ndImagePriorityThis is similar to the above setting but applies to the second and subsequentimages in theContinuousShootingburstasyouholddown theShutterButton(seeFigure125).

SettingforSpeed(Shootingspeedpriority)willprioritizeshutterrelease,orcontinuingthecontinuousburstatthepossibleexpenseofexactfocus.

SettingforFocuswillprioritize focus trackingfor thefollowingshot(s), ensuring that the subject is in focus as you continue totake theburstof images.Again, thismaycauseabrief,perhapsmicro-seconds delay while the camera confirms focus beforereleasingtheshutterforeachimage.

Equal priority again allows a slight pause before each of thesubsequent shots to perhaps give the camera time to find focusbefore releasing the shutter. This pause may be slightly morepronouncedwhenshootinginlowlightorlowcontrastsituations.

These 1st Image Priority and 2nd Image Priority settings should be set inconjunction with each other, based on the type of situation you arephotographingasexplainedhere:

FocusPriority /FocusPriority:Setting1st imagepriority forFocus and2nd

imagepriorityforFocuswillprioritizefocusforthefirstshotandfocustrackingfor the next shots. This is typically a good setting for capturing the standardmovingsubject,asexactfocusofthesubjectwillbethepriorityforeveryshot.However,youmaysacrificethemaximum7framespersecond(fps)continuousshootingspeed(whenyouhavetheDriveModesetforHigh-SpeedContinuousShooting)astheremightbeacouplemicro-secondsormoredelayasthecameraensuresthatthesubjectisinfocusbeforetakingthefirstandsubsequentshots.

FocusPriority /SpeedPriority: Setting1st forFocus and2nd forSpeed willalso prioritize focus for the first shot and thenmaximum drive speed for thesubsequentburstofshots.Thisisgoodforcapturingacriticallytimedshotofamoving subject, especially one whose distance from the camera will notdramatically change.For example if youwish to capture themoment aplayercrossesthegoallineorfinishline,youcanstartshootingafewmomentsbeforeusing High-Speed or Low-Speed Continuous Shooting. The first shot willprioritize attaining focus but then the 7 frames per second or 3 fps will beprioritizedandmaintainedforthesubsequentshotsandwillnotbesacrificedforexactfocus,sothatyoumightcapturetheexactrightmoment.

ReleasePriority/SpeedPriority:Setting1stforReleaseand2ndforSpeedwillprioritizeshutterrelease,or immediatelycapturingthefirstshotat thepossibleexpense of exact focus. Drive speed of the continuous burst will also be thesubsequentpriorityandnot focus.Thiscanbeusedasabove,except forwhenthetimingofeventhefirstshotismorecriticalthanexactfocus.Youwilllikelywant to ensure that the camera is pre-focused in some way on the subjectdistance for the initial shot before starting the burst so that the first and thefollowingphotosarenotmildlyordramaticallyoutoffocus.

ReleasePriority/FocusPriority:Setting1stforReleaseand2ndforFocuswillalso prioritize shutter release, or immediately capturing the initial shot at thepossibleexpenseofexactfocus.Focustrackingwillbethesubsequentpriority,so that the next imageswill be in focus at the possible expense ofmaximumframespersecond.UsingthisRelease/FocusPrioritycombination,thefocusofthefirstimagemaybesacrificedsimplytogettheimagecapturingburststartedright away.Theremaybe situationswhere thiswould bemore useful that thefirst combinationofFocus /Focus, such as starting a burst before a player orrunnerreachesagoal/finishlineandthefocusoftheinitialshotisnotcritical.

Recommend:formostgeneralactionsituationsyoumayfindthatFocusPriority

/FocusPriorityworksbest,with focus and focus trackingbeing the first andsubsequentpriorities.Thoughofcoursethismayvarydependingonthespecificsituation,asexplainedintheexamplesabove.

II-5:AF-AssistBeamFiringThissettingistoenableordisabletheautofocusassistbeam,whichisaflashorflashes of light emitted from the built-in flash or from a dedicated externalSpeedlite flash, to help the camera focus on the subject (see Figure 126). Isuggestenablingit,setting0,unlessyouareinasituationwhereitisunwantedortoodistractinginsomeway,andthenyouwillwishtosetfor1:Disable. Ifyou never use the internal flash and only an external Speedlite, set it on 2:Enableexternalflashonlyor3:IRAFassistbeamonlywhichwillonlyusetheSpeedlite’s infraredAF-assistbeamandnot theseriesofsmallflashesof light.Makesure theSpeedlite'sCustomFunctionshave theAF-assistoptions turnedonaswellifyouwishtomakeuseofthem.TheAF-AssistBeamwillfunctionduring Live View shooting only when using the Quick Mode AF autofocusmode.recommend:userpreference

Figure 126 - Left: AF-Assist BeamFiring options, applicable when using thebuilt-in flash or an optional Speedlite flash. Right: Lens Drive when AFImpossible options, to tell the camera whether or not to continue to try toautofocuswhennosubjectisfound.

II-6:LensDriveWhenAFImpossibleThis setting tells the camerawhat to dowhen it is unable to find focus usingautofocus. It either keeps trying if set to0:Continue focus search, or it stopstryingifsetto1:Stopfocussearch(seeFigure126).Isuggestyouhaveitstoptrying,especiallywhenusingalongtelephotolens,andeithermanuallyfocustohelpthecamerafindtherightrangetoworkin,manuallyselectyourfocuspoint

andaimitwhereyouwant it, findsomethingwithmorecontrastoradetail tofocuson,usethemoresensitivecenterAFPointtoautofocus,orrealizethatyouare too close to your subject or the lighting is too dim for the lens to focus.DuringLiveViewshooting,ifthisfeatureisenableditwillonlyfunctionwhenusingtheQuickModeAFautofocusmode.recommend:1:Stopfocussearch

II-7:SelectAFAreaSelectionModeThis setting is to enable or disable the different autofocusAFArea SelectionModessothatyouwillbeabletochoosefromthemall,orsothatyoucanlimitthenumberofmodesavailableforselectionifyoudonoteverwishtouseoneortwoofthem.TheavailablemodesincludeSingle-PointAF(ManualSelection),ZoneAF(ManualSelection),and19-PointAutomaticSelectionAF (seeFigure127).Youcannotdeselectthefirstone,Single-PointAF.

Figure 127 - Select AF Area SelectionModemenu to choose which AF AreaSelectionModeswillbeavailableforyoutoselectduringshooting.

When setting this menu item, turn the rear Quick Control Dial to select thedesiredmodes,thentheSETButtontoactivateorde-activate(seeFigure127).Youmaywish to enable all of them at first and experimentwith the differentmodes,andthenlaterpossiblydisabletheonesyoufindthatyoudonotwishtouse. That waywhen you are later quickly selecting between the different AFAreamodes,youwon’thaveto“click”throughalltheoptionstogettothemodeyoudesire-however,sincethereareonlythreemodes,itshouldn’tbemuchofaproblemtosimplyhavethemallavailable.MoreabouttheAutofocus-AFAreaSelection Modes, the differences between them, and their uses later in theAutofocusingchapterofthistext.recommend:selectallthreemodes.

II-8:AFAreaSelectionMethodThismenuitemdetermineswhichcameracontrolsyouwillusewhileshootingto select your desired Autofocus (AF) Area SelectionMode (such as Single-PointAF,ZoneAF,or19-PointAutomaticSelectionAF)(seeFigure128).

Figure 128 - AF Area Selection Method, to choose which control is used tochangetheAFAreaSelectionModewhileshooting.

As explained in the Camera Controls section, the 70D has two somewhatsimilarlookingautofocus-relatedbuttons,butwhichtypicallyperformdifferentfunctions.TheAFAreaSelectionModeButtonisonthetopofthecamera,andtheAFPointSelectionButtonisattheupper-rightontherearofthecamera(seeFigure129-right).

Figure129-Left:TheautofocusAFPointsandAFAreaSelectionModeiconsasseenintheViewfinder.Right:Theiconsusedtorepresentthetwoautofocus-relatedbuttons,andwhichresembleeither thepatternofAFPointsasseen intheViewfinder,orthetrioofAFiconsseenatthetopoftheViewfinder.

Thefirstmenuoption0:[AFPointSelectionButton]>AFAreaSelectionButtonmeansthatyoufirstpresstherearAFPointSelectionButton(oryoucanpressthe top AFArea Selection Button) and then press the top AFArea Selection

Button repeatedly to “click” through the three AF area modes as you lookthroughtheViewfinder,untilyouarriveatyourdesiredmode(seeFigures129and130).Thesecondoption[AFPointSelectionButton]>MainDialmeansthatyoufirstpresstherearAFPointSelectionButton(oryoucanpressthetopAFAreaSelectionButton)and then turn the topMainDial toselect theautofocusarea mode as you look through the Viewfinder. The different modes will berepresentedbythenumberandconfigurationofAFpointsandbracketsyouseeintheViewfinder,aswellasbytheAFAreaSelectionModeiconsyouwillseeatthetopoftheViewfinder(seeFigures129and130).ThevariousmodeswillbefullyexplainedandillustratedintheAutofocus-AFAreaSelectionModessectionoftheAutofocusingchapter.

Figure130-BrooklynBotanicGarden,Brooklyn,NY-SimulationofZoneAFAutofocusAreaSelectionModeas viewed in the70DViewfinder.All threeAFAreaSelectionModesareavailabletochoosefrom(asdictatedbyC.FnII-7),asseenwiththethreeiconsattop.FlowerimagelightenedheretobettershowAFpoints.Shutterspeed1/1000,Aperturef/8.0,ISO400,E.C.-1/3(thoughflowerimageshownhereat65%opacitycomparedtooriginalimage).

If you set the second option you will not be able to use the Main Dial inconjunctionwiththeAFPointSelectionButtontomanuallyselectanAFPoint,

andwillalwaysneedtomakeuseoftheMulti-Controllerinsteadtoselectyourdesired AF Point, which shouldn’t be an issue unless you are in the habit ofusing theMainDial to selectyourAFPoint. I suggest leaving this set for thefirst option,0: [AFPoint SelectionButton]>AFArea SelectionButton, unlessyouhavea specific reason tochange it, suchasyouareused tousing the topMainDial tochoosetheAFAreaSelectionModeorfindthat tobequickerorinstinctive.recommend:0:[AFPointSelectionButton]>AFAreaSelectionButton

II-9:OrientationLinkedAFPointThis canbeused tohave a specificAFAreaSelectionModeand specificAFPoint(orZone)beautomaticallyselectedwhenyouholdthecamerainacertainorientation(seeFigure131). Ifyouset this for0:Same forbothvertic./horiz.,thecurrentAFAreaSelectionModeandthespecificAFPointorZonethatyouhave selectedwill remain the activemode andAF Point (or Zone)when youchangecameraorientation,asyouwouldgenerallyexpect.However, ifyousetthis for 1: Select different AF points, the camera will return to the AF AreaSelectionMode andAFPoint (orZone) last selectedwhen the camerawas inthatorientation.So,forexample,set thisfor1:SelectdifferentAFpoints,thenhold the camera in the standard orientation and chooseAF areamodeSingle-point AF and then select the far-right AF Point. Then position the cameraverticallywiththegripsideupandselectAFAreaSelectionModeZoneAFandthen select the far-leftAFZone.When you return the camera to the standardhorizontalorientation,thecamerawillreturntoSingle-PointAFmodeandtothefar-rightAFPoint as the activeAFPoint.Whenyou return the camera to thegrip-uporientation,itwilljumpagainbacktoZoneAFandthefarleftZone.

Thecamerawill recognize threedifferentorientations:horizontal,verticalwiththecameragripsideofthecameraup,andverticalwiththecameragripfacingdown.Thiscanbehandyinsituationssuchaswhenyouaretakingportraitsandyouswitchbetweenhorizontalandverticalcameraorientation,yetyouwantanAFPointat,perhaps,therelative“upper-right”positiontoremainselected,nearwhere you have located themodel’s face. Typically youmaywish to use thesame AF Area Selection Mode for each orientation and not switch betweenSingle-pointAF,ZoneAF,oreven19-pointautomaticselection-unlessyouhaveaspecificneedtodoso.

However if you set this on 1: Select different AF points and then use yourcameralaterandforget thatyouhaveitset thisway, theautofocusareamodes

andAFPointswillseemtobeactingextremelyerraticallyasyouchangecameraorientation,untilyouremembertosetthisbackto0:Sameforbothvertic./horiz.recommend:Leavethissetat“0:Sameforbothvertic./horiz.”untilyouwishtomakeuseoftheotheroptionforaspecificshootingsituation.Thenremembertoswitchthecamerabacktosetting0whenyouarefinishedwiththatsituation.

Figure131-Left:OrientationLinkedAFPointoptions,toenablethecameratoquickly jump to a different, specific AFArea SelectionMode and specific AFPoint or zone when the camera orientation is changed (Select Separate AFPoints)orremainatthesameselectedAFPointorzone(SameforBothVertical/Horizontal).Right:ManualAFPointSelectionPatternoptions,tochooseiftheselected AF Point will stop when you reach an edge point even if you keepclicking theMulti-Controller, or if it will “wrap-around” to the opposite side(Continuous).

II-10:ManualAFPointSelectionPatternWhenmanually selecting a singleAF Point, the selection can stopwhen youreachapointonanouteredgewiththesetting0:StopsatAFareaedges.Oritcancontinueand“wrap-around”totheotherside(ortop/bottom)oftheframewithsetting1:Continuous(seeFigure131).Inotherwords,whenyoufirstpresstheAFPointSelectionButton and thenpress theMulti-Controller to the rightmultipletimes,theselectedAFPointwillcontinuetomovetotherightuntilitreaches the edge, and then will either stop or continue on the opposite side,dependingonyourchoice.TheAFPointselectionisprettyquickandsensitive,soyoumaypreferfortheselectiontostopattheAFareaedgessothatyoucanmore easily select the edge and corner pointswithout “wrapping around” andjumpingtotheothersideoftheframe.OryoumayfindtheContinuous“wrap-around”choicequickerforthewayyouworkwhenselectinganAFPoint.recommend:user’schoice

II-11:AFPointDisplayDuringFocusThis setting dictates if and when the autofocus AF Points are displayed andvisible in theViewfinder (SeeFigure132).While having all 19points alwaysdisplayedmay seem tomake the Viewfinder appear busy and difficult to seethrough,Ibelievethatyouwillquicklygetusedtothemandeasily“lookpast”the AF Points when you are not using them. In many situations I feel thatknowing exactly where your selectable AF Points are located is essential tochoosingthedesiredAFpoint.However,yourstyleofworkingmaynotrequirethis, somakeuseof the followingoptions to selectwhen the focuspoints arevisibleintheViewfinder.

0: Selected (constant) - The selected AF Point (or points) isalwaysvisible,butnotalloftheother19AFPoints.

1: All (constant) - All of the 19 AF Points are always visible.Recommended:thiswillmakeiteasiertoalwaysknowwheretheotherpoints are forwhenyouquicklyneed to select a differentpoint.TheseAFPointsaretypicallytooimportanttohide!

2: Selected (pre-AF, Focused) - The selected AF Point(s) isvisiblewhen thecamera is ready toshootevenbeforeyouhavestartedanyAFoperations,whenyouareselectinganAFPointorzone,andwhenfocusedisachievedbythecamera(exceptwhenworkinginAIServoAFmode).

3: Selected (focused) - The selectedAF Point(s) is visible onlywhenyouare selectinganAFPointorzone,andwhen focus isachieved(exceptwhenworkinginAIServoAFmode).

4: Disable display - The selected AF point(s) will only bedisplayedwhenselectinganAFPointorzone.

Figure132-Left:AFPointDisplayDuringFocusoptions,todetermineifandhow the selected and active AF Points are seen in the Viewfinder. Right: VFDisplayIllumination,todetermineiftheautofocuspointsareilluminatedintheViewfinderwhenfocusisachieved.

II-12:VFDisplayIlluminationThis is to illuminate the AF Points in the Viewfinder in red when focus isachieved, so that theyareeasier to see in low lightorall the time (seeFigure132).ThiswillalsoilluminatetheViewfindergrid,ifthegridisEnabledunderVFGridDisplayintheShooting1menu.Autowillilluminatetheminlowlight,Enablewill illuminate themat all timesduringautofocusing, andDisablewilldisable the illumination. I recommend that you selectEnable so that you canalwaysverifythatfocushasbeenachieved.NotethatyoucanpresstherearAFPointSelectionButtonortopAFAreaSelectionModeButtonatanytimeduringshooting to illuminate the AF Points and grid in the Viewfinder, even if thissetting is disabled, which can be helpful if working in a dark setting. Whenworking in AI Servo AF Mode, the AF Point will not illuminate as it iscontinuouslytrackingthesubject.recommend:1:Enable

II-13:AFMicroadjustmentThisfeatureisusedtoadjustandfine-tunethefocusofupto40differentlenses(includingmultiplecopiesofthesamelensforcertainlenses)forback-focusorfront-focus issues (seeFigure133-left).Youcanmake theseadjustmentswhenshooting through theViewfinder, orwhen using LiveViewwithQuickModeAF. (The microadjustments you make will not apply to Live View shootingwhenusinganyoftheotherautofocusmethods-onlywhenusingQuickModeAF.) The camera may automatically detect (or else you can enter) the serialnumberofa specific lens,and thusyoucanseparatelyadjust the focusof twocopiesofthesamelens-forexampleifyouhavetwo50mmf/1.4lenses.Ifan

asteriskappearsnexttothelensserialnumberonthemenuscreen,youwillnotbe able to registermultiple copies of that lens. If you use an extenderwith atelephotolens,thelensandextendercombinationwillberegisteredandcanbeadjustedasaunit.

Figure133 -AFMicroadjustmentmenu, to fine tune the focus of your lenses.Herethecamerarecognizedthata16-35mmf/2.8LIIlensisattached.

Due to quality control issues, acceptable tolerances, or (very rarely) defectivecamerasor lenses,yourcameraand/or lensesmay focusa fewmillimetersormoreinfrontoforbehindtheexactdistanceyoufocusedon.Ifyourcameraand/orlenshappentobemorethanabitoff,youmayhavesomeissues.Itisbesttofirst determine if the camera or the lens is the culprit, by testing the lens onanotherbodyorthebodywithanotherlens,butitmaywellbeacombinationofbothsinceeachlensandcameraisuniquelyimperfect.

Figure134-Testinga50mmf/1.4lensonanEOS50D,withenlargeddetailoftargetshown.Ideally,useatripodandcontrolledlightingandexposuresettingsforconsistentresults.Shutterspeed1/200,Aperturef/1.8,ISO400.

Be aware that focus accuracy also varies from shot-to-shot due to brightness,focal length, subject conditions, and other variables, so absolutely preciseAFMicroadjustment is not really absolute. See this great post, “ThisLens is SoftandOtherMyths” formore informationon this. If youwish to undertake thistypeofcalibration,Canonprovidesclear step-by-step instructionsof themenusettingsonpages377-382of theCanonmanual,aswellas instructionsfor thecalibrationprocesshere:

http://www.learn.usa.canon.com/app/pdfs/quickguides/CDLC_Accurate_EOS_AF_QuickGuide.pdf

Youcanadjustall lensesby the sameamount (Allby sameamount),oradjusteach individual lens (Adjust by lens). If you chose toAdjust by lens, you canadjustfocusatboththewide-angleend(W)andthetelephotoend(T)ofazoomlens(seeFigure135)byfirstpressing the[Q]Button toRegister the lens (seeFigure133-right).Thefocusadjustmentoftheintermediatefocallengthswillberelativetothesewideandtelephotosettings.

Figure135-AFMicroadjustmentsub-menus-Left:Herethetelephoto(T)endof the lens (35mmend) is selected foradjustment.Right:The telephoto end isfine-tuned to focus slightly behind where it is currently focusing before theadjustment (further fromthecameraas indicatedby thecameraandmountainicons).

Itisatimeconsumingandoftenfrustratingprocess,andsometimesperhapsnotworththeeffort.Partoftheproblemisthatyoumaycalibrateyourcenterfocuspointtobeexactincontrolledconditions,butthisdoesn’ttakeintoaccounttheuseofalltheotherfocuspointsorrealworldshootingconditionsatallthefocallengths.Howeverforthoseshootinginveryexacting,controlledsituations,suchasmacroimagesorinastudio,especiallyifprimarilyusingthecenterAFPoint,itcanbeworthwhiletomicroadjustthefocusofyourvariouslenses.

4.3C.FnIII:Operation/Others

Figure136-CustomFunctionC.FnIII:Operation/Others.

III-1:DialDirectionDuringTv/Av

ThisgivesyoutheoptionofreversingthedirectionoftheadjustmentofshutterspeedandaperturesettingsasyourotatetheMainDialandQuickControlDial(seeFigure 137). For example,whenworking in Shutter-Priority Tv shootingmode,turningtheMainDialtotherightwillincrease(notdecrease)theshutterspeed. Some Nikon dials work the opposite of Canon dials when adjustingcertain exposure settings, so this is useful toReverseDirection for thosewhorecently switched from one brand to the other, or who work with both.Otherwise,leaveitatNormal.NotethatitreversesthedirectionofbothdialsinMmode,butonlythetopMainDialintheothershootingmodes.recommend:0:Normal

Figure137-Left:DialDirectionDuringTv/Avoptions,tomodifydialfunctionincaseyouareusedtoturningthedialsintheoppositedirection.Right:MultiFunctionLockoptions,todeterminewhichcontrolswillbelockedbytheMulti-FunctionLockSwitchonthecamera.

III-2:MultiFunctionLockThis setting affects the Multi-Function Lock Switch located below the rearQuickControlDial,whichcanbeused to“lock”ordisable theQuickControlDial,MainDial, and/ orMulti-Controller so that turning or using that controldoesnotchangeasetting(seeFigure137).(Thedialsorcontrolleraredisabledandwillnotchangethesettings,butwillstillmove.)Choosetohavetheswitchlock theMain Dial, Quick Control Dial, orMulti-Controller by selecting theitem(s)inthismenuandpressingtheSETButtontoenablethecheckmark.Notethatyoucanstillusethelockedcontroltochangeasettingthatrequiresabuttonpushfirst,suchaspressingtheISOButtonandthenturningadialtochangetheISOsetting.Usingthislocksettingcanhelppreventaccidentalsettingschangeswhile shooting, though Iwillbeexplaininghow touseallof thesecontrols inthisguide,soyouwillnotwanttolockthemfornow.However,youmaywishtoenablethelockingofallofthem,andthenmakeuseoftheMulti-FunctionLock

Switchwhen-aftersettingupashot-youhandthecameratosomeoneelsetotakeapicture,orsomesimilarcircumstance.recommend:Whileyoucanchecktheseoptionsforlateruse,donotmakeuseoftheactualLockSwitchwhilereadingthisguide.

III-3:Warnings!inViewfinderUse this setting to enable a warning sign (!) in the lower-right corner of theViewfinder frame for specific functions, to remind yourself that you haveenabled a setting that is not often used or desired for standard shooting (seeFigure138).Youcanchoosetobeinformedwhenoneormoreofthefollowingfunctions are enabled: Monochrome Picture Style (black and white), WhiteBalanceShift,ISOExpansion,andSpotMetering.recommend:Selectallofthesewarnings.

Figure 138 - Warnings in Viewfinder menu to select which functions will beindicatedwitha(!)symbol in theViewfinder toremindyourself. Isuggest thatyoucheckallofthem.

III-4:CustomControlsThis incredibly versatile set of options allows you to customize many of thebuttonsandcontrolsof the70D(seeFigure139).Theability tocustomize thecameraanditscontrolsspecificallyforyouandyourshootingstyleandneedsisoneofthefeaturesthatmakethe70Dsuchapowerfulcamera-soyouwillwishto take advantage of it!At first youmaywant to leavemany of them on thedefault settings, or set them to match your previous camera settings and themusclememoryyoumayhavedevelopedasyourfingersinstinctivelyreachforspecificcontrols.Thenafterworkingwiththecameraawhile,youwillbegintoknow how youwork and how youwish to work faster ormore convenientlythroughcustomizingsomecontrols.Pages384-385of theCanonmanualshowallthepossibleoptions,andyoumightconsiderprintingthosemanualpagesto

carefullystudyandconsideryourpotentialconfigurations.

Figure139-CustomControlsmenutocustomizethebuttonsandcontrolsofthecamera to function exactly how you need, to fit your working methods andshootingstyle.

WhileyoumaywishtoreadthroughthisguideandthenworkwithyourcamerabeforeconsideringchangingmostoftheseCustomControlssettings,Istronglyencourage you to immediately change the function of the thumb-pad Multi-Controller toAFPointdirect selection so that youdon’t have topress theAFPoint SelectionButton first every time before you select your autofocus point(seeFigure140). Insteadyoucan justpress the thumb-padMulti-Controller tochooseyourdesiredAFPoint(onceyouhavetappedtheShutterButtontowakeupthecameraandbeginmetering).

Unfortunately, if you set theMulti-Controller toAFPointdirect selection, theSETButtonwillstillnotdirectlyselectthecenterAFPoint,asyoumaybeusedto.YouwillstillhavetopresstheAFPointSelectionButtonfirstandthenpresstheSETButtontodirectlychoosethecenterAFPoint.ThisissuemaycauseyouabitoftroubleifyouaregoingtoassigntheSETButtontoanotherfunction,asthatfunctionscreenwillsuddenlyappearontherearLCDMonitorifyoupresstheSETButtonwhileyouare shooting,andyoumayaccidentallychange thatsetting.Ifthisbecomesanissue,leavetheSETButtonassignedtoOFF.

Figure140 -CustomControlsoptions for theMulti-Controller (thumbpad) toset forAFPointDirectSelectionsothatyourdesiredAFPointcanbequicklyselectedwiththeMulti-Controlleralone.

TheremainderoftheCustomControlsettingsareanywherefromsemi-advancedtovery-advanced,andtypicallyrequiretheknowledgeyouwilllearnthroughoutthis guide. Youmaywish to skip over the next section for now and jump toChapter 5, then return here after reading the guide and learning aboutautofocusing,exposure,andtheothercamerafunctions.IwillremindyouattheendofChapter12toreturnhere.

4.4C.FnIII-4:CustomControls-Advanced

YoumayalsowanttoconsiderassigningtheDepthofFieldPreviewButtontooneoftheotheravailablefunctionsifyoudon’ttypicallyuseitforitsdepthoffieldpreviewfunction(seeFigure141).Forexample,youcanuseitforFELock(flashexposurelock)ortoquicklyswitchbetweenOne-ShotfocusmodeandAIServo focus mode. The switch only occurs as you hold the button, so forexample if you are shooting a still subject using One-Shot focus mode butsuddenlywish tostart trackingamovingsubject,pressandhold thisbutton totemporarilyworkinAIServomode.OrifthecameraissetforAIServomode,holding thisbuttonwill temporarilyswitch thecamera toOne-Shotmode.YoucanalsosettheDepthofFieldButtonastheViewfinder’sVFElectronicLevel,which is sort of a “hidden feature” of the 70D. This is different than theViewfinderLevel iconof theShooting1menu,andinsteaduses theAFPointsdisplayedintheViewfinderasaone-axislevel.Thislevelwillfunctionineithercameraorientation.Ifthisoptionisselected,whenyouareshootingsimplypresstheDepthofFieldPreviewbuttonforthisViewfinderLeveltoappear,thentaptheShutterButtontoresumeshooting.

Figure 141 - Custom Controls options for customizing the Depth of FieldPreviewButton.

AndyoumaywanttoassigntheSETButtontothefunctionofyourchoiceforquickaccess (seeFigure142), such as perhapsFlashExposureCompensationsince there is not a dedicated button for this. Or you might set it for ImageQuality.ThiscanbeahelpfulsettingbecausecertaincamerafunctionssuchasHDRModeareonlyaccessiblewhencapturingJPEGimages,soyoumayneedto quickly change from RAW or RAW+JPEG image quality to JPEG only.Thoughnote thatyoucanchange thesesettingsprettyquicklyusing theQuickControlScreen.AnotherinterestingsettingfortheSETButtonisSetISOspeed(hold button, turnMain Dial). What this customization does is allow you tochangetheISOsettingbypressingandholdingtheSETButtonandturningthetopMainDial.While thismay seem unnecessary as there is a dedicated ISOButtononthetopofthecamerathatallowsyoutoquicklychangetheISO,itcancomeinhandyduringshooting.ForexampleifyourcameraisonatripodandyouarepositionedbehinditusingtheLiveViewscreen,itmayeasiertousethisSETButtonandMainDialarrangementtochangetheISOthanitisforyoutolookorfeelaroundthetopofthecameratodeterminewhichbuttonistheISOButton.Oryoumayfindthatthismethodissimplyareallyquickwaytochangethe ISO during Viewfinder shooting. Of course you can always use the [Q]Buttonor[Q]iconandTouchScreentochangetheISOsettingaswell.So,aswithmanyothersettings,determinewhichcameraset-upandmethodworksbestforyouandyourshootingsituation.

Figure142-CustomControlsoptionsforcustomizingthefunctionsoftheSETButton.

Ifyouoftenwork inAperturePriority (Av)modebut then sometimeswork inManual(M)shootingmodeIsuggestyouswapthefunctionsof theMainDialandtheQuickControlDialinManualMode(seeFigure143).AccesstheMainDialoption(thehalf-circleicon)andassignittotheAvoption(AperturesettinginMmode).ThenaccesstheQuickControlDial(thefull-circleicon)andassignit to theTv option (Shutter speed setting inMmode).Bydoing this theMainDialcontrolstheaperturesettinginMmodejustasitdoesinAperturePriorityMode, and the Quick Control Dial controls the shutter speed setting whenworkinginManual(M)mode.IfyoutypicallyworkinAvModeandthenswitchover toMmode, themusclememoryofyour indexfingerwill thankyouas itwillinstinctivelyturntheMainDialtoadjusttheaperturesetting,andthiswasnot the default setting of the camera. If you typically work in TvMode andsometimesswitchtoMMode,leavethesebuttonsonthedefaultsettings.

Figure143-CustomControlsoptionsforcustomizingthefunctionsoftheMainDial(left)andQuickControlDial(right)whenworkinginManual(M)ShootingMode.

OthersthatyoumayconsiderexperimentingwitharetheassignedsettingsoftheShutterButton(whenitispressedhalfway),theAFStartButton(AF-ON),andtheAELockButton(theonewiththe[*]symbol).Youcancustomizethemsothat they initiate and/ or lock focus and exposure separatelyor in a variety ofdifferentbuttoncombinations.WhenworkinginEvaluativeMeteringModeandOne-ShotAF,thedefaultsettingisthatexposuremeteringislockedandfocusislockedatyouractiveAFPointwhenyoupresstheShutterButtonhalfway(SeeFigure144).YouthenrecomposeifnecessaryandfullypresstheShutterButtontotakeyourphoto.Buttheexposuresettingswerelockedonadifferentframingthanyourfinalframing!Soyoumaywishtolockfocuswithadifferentbuttonthanyoulockexposure,orelsere-determinetheexposuremeteringsettingsforthe final framing before taking the shot (which is typically donewith theAELock[*]Button).Thisallmaysoundconfusingandcomplicatedrightnow,butall of these settings and button optionswill be discussed in theAutofocusingandExposure chaptersof thisguide.After reading through theguideyoucanreturntothesebuttonsettingsandre-readthesedescriptions.

Figure144-CustomControlsoptions-SelectingtheShutterButton(left),andchoosingwhichfunction(s)itwillperformwhenpressedhalfway(right).

When working in One-Shot AF with one of the Metering Modes other thanEvaluativeMetering (Spot, Partial, or Center-Weighted), the default setting isthatexposuremeteringisbegun(notlocked)andfocusislockedwhenyoupresstheShutterButtonhalfway.YouthenrecomposeifnecessaryandfullypresstheShutterButtonto takeyourphoto,andexposureisdeterminedat thatmoment.But with these other Metering Modes it is likely that you will want to lockexposureonacertainareabeforeframingforthefinalshotandtakingthephoto(again,tobeexplainedintheExposurechapters).

Eitheroftheseabovedefaultsettingsmaycauseyoutometerforasceneorarea

that is different fromwhat you intend, and thus result in a slight or profoundunder-or overexposed shot. With the default button settings and the abovescenarios,youcanalwaysuse theAELockButton(exposure lockbuttonwiththe [*] symbol) to lock in theexposureofyourdesired framing.Butyoumayfindthatafterworkingawhile,youwouldliketostartorstopexposuremeteringand/orfocusinginadifferentmannerthanthedefaultsettings,andthenyoucanreconfigurethefunctionsofthesebuttons.

Totesthowyourcamerafunctionsbeforeorafterchangingthesesettings,setiton One-Shot AF Mode, Tv or Av Shooting Mode, and Evaluative MeteringMode, hold the camera to your eye, aim it at a bright area, andhalf-press theShutterButton.WhilekeepingtheShutterButtonhalf-pressed,movethecameraand aim it at a dark area. Keep your eye on the aperture and shutter speedsettings in theViewfinder andwatch if they change or if they remain locked.Change the Metering Mode (Spot, Partial, or Center-Weighted) and do thisagain.ThenrepeattheprocessbyfirstpressingtheShutterButtonhalfwayandthenpressing(andreleasing)theAELock[*]Button.Youcanrepeatasimilarprocess to see focus lock in action or to test your custom focus lock buttonsettings.

TheAELock(whilebuttonpressed) (*)optiononlyapplies tocustomizing theShutterButton,andwilllocktheexposureaslongastheShutterButtonremainshalf-pressed, similar to how the cameraworkswith theOne-Shot /EvaluativeMetering default settings, as described above. This differs from assigning theShutterButton toMetering start becausewithMetering start, the camerawillstartevaluatingforexposure,buttheexposurevalueswillnotbelockedbutwillcontinue to change until you take the photo or press theAE Lock [*] button(whenyouareworking inPartial,Spot,orCenter-WeightedMeteringModes).Again, you can see this in action by half-pressing the Shutter Button to startmetering,lookintheViewfinder(orontheLCDPanel)attheexposuresettings,movethecameraaround,andseethesettingschange.

Note that there are multiple Auto Exposure Lock (AE Lock) options whensettingthefunctionoftheAELock[*]Button(seeFigure145).TheAEL/FELoptionwilllocktheexposuresettingsduringnormalshooting.However,duringflashuse,itwillfireapre-flashandlocktheflashexposuresetting.TheAELock(*)optionwilljustlocktheexposureforthecurrentscenewhenyoupressandreleaseit(nevertheflashexposure).Ifyoureframetheshotandwantthecameratore-evaluateandre-locktheexposure,justpressthe[*]Buttonagain.TheAE

Lock(hold) option (indicatedwith “*H”)will lock the exposureandmaintainthat lockwith thoseexposure settings forallsubsequentshots, until youpresstheAELock[*]Buttonagain.ThisdiffersfromtheAELockoptionwithoutthe(hold) option thatwas just explained (indicated in themenu optionswith just“*”),whichwill only lock the exposure settings until themetering timer ends(theexposurenumbersdisappearintheViewfinderandonthetopLCDPanel).

Figure 145 - CustomControls options for customizing the function of the AELockButton.

SomeCustomControlsoptionswillallowyoutoperformwhat iscalled“backbutton focusing,” which is further explained in the Back Button Focusingsection.This techniqueallowsyoutostartand/orstop(lock) theautofocusingusing theAF-ONbutton, in conjunctionwith or instead of the ShutterButton(see Figure 145a). Taking advantage of these options can help you to fullyutilize theautofocus systemof the70Daswell asmodify it foryourpersonalshootingstyle.

Figure145a-CustomControlsoptionsforcustomizingthefunctionoftheAF-OnButton.

5.PLAYBACKandIMAGEFILEFORMATS

5.1ImagePlayback

YoucaninstantlyreviewtheimageyoujustcapturedontherearLCDMonitor,butofcourseyoucanalsomakeuseofimageplaybacktoviewalloftheimagesandmoviescurrentlyonthememorycard,andtomorecloselyinspectanimageand the shooting settings used.You can even use thePlaybackQuickControlscreenperformsomeeditingfunctionstotheimagesin-camera,suchasrotatinganimage,resizingaJPEG,addingarating,orapplyingaCreativeFilter.

To view the images (and movies) currently on the memory card, press thePlayback Button. Press left and right on theMulti-Controller or turn the rearQuickControlDialtonavigatetopreviousorsubsequentimages,andpresstheMagnifyzoom-inButtontohaveacloserlook.Whenmagnified,usetheMulti-Controllerthumbpadtopanaroundtheimage,andusetheQuickControlDialtoviewpreviousorsubsequentimagesatthesamemagnificationlevel.Thiscanbe handy for inspecting a detail or area of focus of similar images. Press theReducezoom-outButtonrepeatedlytoviewanindexscreenwithmultiple(fourornine)imagethumbnails(seeFigure146).Thisfunctionisrepresentedbythegridiconnearthezoom-outbutton.RecallthatyouusedtheImageJumpitemofthePlayback2menutosethowtheMainDialfunctionsduringimageplayback-itcanbeusedtojumpforwardorback10imagesor100images,orjumpbydate, folder, movies, stills, or rating. This can help you to quickly navigatethrough your images.Note that you can’t zoom-in on an image during imagereviewimmediatelyaftertheimageistaken,youneedtofirstpressthePlaybackButton.

Figure 146 - Image Playback - Zooming-in during image playback to moreclosely inspectanimage(left).Zooming-outduringimageplaybacktoviewanindexscreenwithmultipleimages(right).

Also remember that you can usemulti-touch gestures on theTouch Screen tonavigate and zoomduring imageplayback, suchas swipingone finger for theprevious or next image, two fingers for the Image Jump setting, or spreadingpinching two fingers tomagnify reduce, thenmovingone finger topanaroundthemagnifiedimage.

Whenviewingasingleimage,presstheInfoButtonrepeatedlytoscrollthroughvarious informationdisplayscreens thatshowcameraandshootingsettings,aswasfirstexplainedintheCameraControlschapter(seeFigure147).Youcanviewjusttheimagewithnoinformation,theimagewithbasicinformation,andscreens with a thumbnail of the image with shooting information plus thebrightnessand/ortheRGBhistograms.

Figure 147 - Image Playback - Two of the various playback display optionswhichcanbeviewedbypressingtheInfoButtonduringimageplayback:basicinformation(left),andshootinginformationwithBrightnessHistogram(right).

Andwhenviewingasingleimage,pressthe[Q]ButtontoaccessthePlaybackQuickControl screen,whichwill allowyou to quickly accessProtect,Rotate,Rating, theCreative Filters, Resize JPEG,Highlight Alert, AF Point Display,ImageJump,andtheWi-Fisettings(seeFigure148).Youcanaccesstheseiconsusing theMulti-Controller - press up and down to navigate to the icon, thenpressrighttochangethesetting.Ormoreeasily,usetheTouchScreentoaccessandchange thesesettings.Note thatWi-Fineeds tobeenabled in theSet-up3menuinorderforittobeaccessiblehere.

Figure 148 - Quick Control Screen for image playback, with Resize optionselected.

5.2ImageFileFormats-JPEGvs.RAW

Youareputtingalotofeffortintotakingyourimages,soyoushouldmakesurethe files are of the best possible quality. I recommend that you use either thehighest quality (Fine) and largest (L) JPEG setting if you shoot JPEG, or thehighestqualityRAWsetting ifyoushootRAW,orbothcombined ifyouneedbothtypesoffiles.SelecttheImageQualityintheShooting1menuorthroughtheQuickControlScreen(seeFigure149).Ifyoupreferorneedimagefilesthataresmallerinsizeandpixeldimension,suchasforimmediateoutputforuseontheWeb, choose a smaller JPEG or RAW setting - though note that you canalwaysquicklyandeasilyresize(reduce)afull-size,full-qualityJPEGimagein-camera using the Image Playback Quick Control Screen (as shown inFigure148),ormakeuseoftheRAWImageProcessingitemofthePlayback1menutooutputaJPEGimageofanydesiredsizefromaRAWimage.

Figure149-ImageQuality-UsetheQuickControlScreen(left) toaccesstheImage Quality settings options (right). The Image Quality setting is used forselecting theRAWand/ or JPEG file format and desired quality to save yourimagefiles.

JPEG

WithJPEGimagefiles,thecameratakestheinformationthathitsthesensorandprocesses itwith all the settings that you ask it to use. If you have theWhiteBalancesetonCloudy,itprocessestheimagetoapplythatinformation.Ifyouhave the Picture Style set to Landscape, it processes the image to incorporatethat information. All of those settings are applied during the in-camera JPEGprocessing,andarenow“lockedintoandsaved”inyourresultingJPEGimagefile,andcannotbechangedlater.Soifyourcombinationofsettingsresultedinanimagewithveryhighcontrastandbrightbutreddishcolors,thatiswhatyourJPEGimagewilllooklike.ThecameradiscardedsomeormuchoftheoriginalinformationthathitthesensorwhenitprocessedandsavedthatJPEG,andthatinformationislostforever.Asanextremeexample,ifyourPictureStylewassettoMonochrome(blackandwhite),allofthecolorinformationthathitthesensorwasdiscardedduringJPEGimageprocessing,andisnotrecoverable.Asalesssevereexample,ifthePictureStyleyouchosewasonethatincludedahighlevelof contrast, those subtle gradations of skin tones from light to dark werediscardedduringtheprocessingandaregone,forever.Andifyouunderexposedtheimagebyminus11/2stops,youcantrytoadjustthatinPhotoshop,buttherewillbesomelossofimagequalityintheadjustedimage.JPEGimagefileswillbesavedbythecamerawiththe.JPGextension.

NowJPEGisnotaterriblething.Iamusingextremeexamplesinordertobetterexplain how it works. If you carefully select a Picture Style, and if theAutoWhiteBalancedoesitsjoboryouselecttheWhiteBalanceyourselftomatchthelighting conditions, and your exposure was correct, then the JPEG will lookgreat.TheproblemisthatyouwillhavelessleewaylaterifyouadjusttheimageinPhotoshop, especially ifyour settingsor exposurewereoff.The JPEG filesaresomuchsmallerinsizethanRAWfilesbecausethereislessinformationinthem. But if you are not going to be processing each of your images inPhotoshop(orLightroom,Aperture,etc.),thenyouwillneedtocaptureandsaveyourimagesasJPEGfiles.ChooseyourimagesettingslikeWhiteBalanceandcarefullyselectandadjustaPictureStyletocreatethekindsofimagesyouwant- the contrast, color, sharpness, etc. You should experiment with the differentsettingsandfindwhatgivesyouthelookyouwantinyourimages.ThePicture

Stylessectionwillprovidemoreinformationandguidanceonthis.

RAW

RAW is a format which captures the “raw” data that hits the camera sensor,without processing the image in the camera (well, it does a little bit ofprocessing). It savesa large filewithnearlyall theoriginal information.RAWimage fileswillbe savedby thecamerawith the .CR2extension.Even ifyouhaveyourcameraset,forexample,toCloudyWhiteBalance,itdoesnotprocessthefiletolockthatinformationintotheimage.Itmay“apply”thosesettingstothe imageyou seeonyour rearLCDMonitororwhenyouopen the image inCanon’s Digital Photo Professional (DPP) software, but all the originalinformationthathitthesensorisstillthereintheRAWimagefile,andyoucanchangeittoTungstenWhiteBalancelaterwithoutanylossofimageinformationor quality. RAW is such a powerful file format because it contains so muchinformation that you can even dramatically adjust the exposure of the imagelater. If you underexposed the shot byminus 2 stops, you can fix that in postprocessingwithlittle-to-nolossofimagequality.YouwillneedaprogramlikeAdobeCameraRaw,AdobeLightroomorAppleAperturetoviewandprocessRAWfiles, or you canuse theDigitalPhotoProfessional program that comeswith the camera (see Figure 150), or can be downloaded here:http://www.usa.canon.com/cusa/consumer/products/cameras/slr_cameras/eos_70d#DriversAndSoftware

Figure150-CanonDigitalPhotoProfessional(DPP)-Processinga70DRAWimageusingCanon’sDPPsoftware.

DPPisgoodfordemonstratingwhatyoucandowithaRAWfile,butitcanbemorecumbersomeand isperhaps lessused than theotherprograms.AlthoughthecurrentversionofDPPthatisincludedwiththe70D(v3.13ormorerecent)deserves a second look because it now supports the camera’s HDR mode,Multiple Exposure mode, and incorporates Digital Lens Optimizer (DLO),whichCanonclaims inanearlierpress release:“(DLO)precisely imitates lensperformance,withaseriesofcomplexmathematical functionsreplicatingeachstage of the journey of light through the optical path. Using this informationDLOcan correct a range of typical optical aberrations and loss of resolutioncaused by a camera’s low pass filter, by applying an inverse function to eachshottotaketheimagenearertohowthesceneappearstothenakedeye.”http://www.canon.co.uk/About_Us/Press_Centre/Press_Releases/Consumer_News/Cameras_Accessories/Canon_unleashes_the_EOS_5D_Mark_III.aspx

Note that after applying DLO, the RAW file size will be two to three timeslarger.

5.3FileSizesandMaximumBurstRate

Anadditionalimportantconsiderationwithfileformatchoice(JPEGorRAW)isthe size of the files and the maximum burst rate when using ContinuousShootingDriveMode.WiththehighestqualityJPEGsettings,theimagefilesaregoingtobearound6MB,whichwillallowforalotmoreimagesonyour16GBor32GBmemorycard.Andthetimeyouspendtransferringthemplusthespaceneeded to store themonyourcomputerandexternalharddriveswillbemuchless.(Youaregoingtobestoringbackupsintwoorthreeseparateplaces,right?)WiththemaximumqualityRAWsettingtheimagefileswillbeabout24MBinsize.That’sprettybig.Theytakealotoftimetotransfertoyourcomputerandtakeupalotofspaceonyourharddrives,andyouwillhavetoinvestmoreinexternalharddrivestostoreyourever-growingcollection.

Regardingmaximumburstrate,alargehighqualityJPEGfilewillallowarateof40continuousimages,whileRAWwillallowonly15beforethebufferfillsupandthecamerahastopausebrieflytoprocessand/orsavethem.Nowkeepinmind,15imagesinarowmaybemorethanenoughtosuityourneeds,butifnot,youmayneedtouseJPEGincertainsituations.CapturingandsavingbothRAW+JPEGmayseemlikeaconvenientoptionsothatyouhavetheRAWfilesto post-process but JPEG files for immediate use, but remember that youwillneedmemorycardandharddrivespacetostoreallofthesefiles,anditwillslowyourmaximumburstratedowntojust8consecutivephotos.Someoftheseburstrates can be improved with the use of a SanDisk Extreme Pro UHS-1 SDMemoryCard(orsimilarcardfromanotherbrand),whichwillaccommodate65continuousJPEGshots,or16continuousRAWshots(oragainjust8continuousRAW+JPEGshots).Theapproximatemaximumburstnumberwillbedisplayedat the lower-right of the Viewfinder, as well as near the lower-right of theShootingFunctionSettingsScreen,andmayvaryfromtheabovefiguresbasedon various camera settings. Note that when using any memory card, havingvarious functions enabled (that require in-camera processing) will limit themaximum burst rate, including Peripheral Illumination and ChromaticAberration Correction, Long Exposure and High ISO Noise Reduction, AutoLightingOptimizer,andHighlightTonePriority.TheCanon70Dmanualhasahelpful chart on page 117 showing the various ImageQuality settings and theresultingpixelsize,filesize,andmaximumburstrate.

6.AUTOFOCUSING

6.1UsingAutofocus

Oneof theessentialsteps in takingasuccessfulandsharpphoto iscontrollingwhere the camera autofocuses. During Viewfinder shooting, if you allow thecamera to autofocus by automatically choosing the focus point(s) (such as inAuto+ Shooting Mode or withOne-Shot AF mode and Automatic AF PointSelection)ittypicallyfocusesontheclosestobject.Thismayormaynotbewhatyou want to focus on, so you should almost always select where the camerafocusesbyselectingthedesiredautofocusAFPoint.Orifthesituationorsubjectdoesnotallowyoutoquicklyoreasilyfocusbyselectingaspecificpoint,youcaninsteaddecidetoselectalargerZone.

ByselectinganAFPoint(orZone),youaretellingthecameraexactlywheretoautofocus(inOne-ShotAFmode)orwheretolooktofindamovingsubjecttostart tracking (when working inAI Servo AF mode). For example, you oftenwanttofocusonasubject’sclosesteye,butifyouallowthecameratochoosetheautofocuspoint itself, itmayselectanotherpartof the face,orsomewhereelseonthebody,orevenaraisedhandthatisnearertothecamerathantheface,to focusmostsharplyon. Ifyouarecapturingan imageofabird ina tree thecamerahasnoideayouwanttheautofocussystemtozeroinonthebirdsothatitisinsharpfocus,andnotthebranchesorleavesnearitorperhapsevensomeleavesclosertoyouandnowhereneartheintendedsubject.

Figure151- IncaLlamaEffigies-Combinepreciseautofocusingwithshallowdepthoffieldtocallattentiontothedesiredsubject-here,thefrontfigurine,andbelow (Figure 152) the rear figurine. Shutter speed 1/40, Aperture f/2.8, ISO1600.

Figure152- IncaLlamaEffigies-Combinepreciseautofocusingwithshallowdepth of field to call attention to the desired subject - above (Figure 151) thefrontfigurine,andheretherearfigurine.Shutterspeed1/40,Aperturef/2.8,ISO1600.

Theautofocus systemofadSLRplaysa large role inallowingyou tocaptureexactlytheshotyouintend.IntheCreativeZoneShootingModes(P,Av,Tv,M,and Bulb-B) you can, and should, take control of the autofocus system. TheViewfinderautofocussystemiscomprisedoftheautofocusrelatedcontrols(seeFigure 154), the autofocus AF Modes (also called the AF Operation), theautofocusAFAreaSelectionModes,theautofocusAFPoints,andtheautofocusrelatedmenuandCustomFunctionitemsdescribedatthebeginningofthistextwhichcustomizehowtheAFsystemworks.(LiveViewautofocusingisslightlydifferent,andwillbecoveredlaterinthischapter.)YouwillselectanAFModetypically based on if the subject is still (or perhaps only moving slightly orrelatively slowly), or if youwish to continuously track and retain focus on amovingsubject.AndyouwillchooseanAFAreaSelectionModebasedonhowlargeofanareayouwant thecamera to lookat to findor trackyour intendedsubject-inotherwordshowmanyAFPointswillbeactivewhenattemptingtofocusonthesubject.ThiscanrangefromasingleAFPointtoawiderZonetoalltheAFPointsavailableintheViewfinder.YoucansettheAFModesandAF

AreaSelectionModesinavarietyofcombinationsbasedonwhatandhowyouare shooting. Be sure to read theMenu Settings and the Custom FunctionsMenus chapters first to make sure your camera is properly set up to alwaysdisplayyouractiveAFPoint(s),andvariousotherrecommendedAFsettings.

Viewfinderautofocusworksby lookingforcontrastsoyoushould try tofocus(locate the activeAF Point as seen in theViewfinder as inFigure 153) on atextureoradetailwithapronouncedlineorsomeamountofcontrastbetweenlightanddark.Thecameramaynotbeabletofocusonalargeareaofconsistentcolor-suchasanall-whitewallorclearbluesky,orevenauniformlycoloredand lit shirt - or on a subject that is too dark. It can be disrupted by regularpatternsorconfusedwhenlookingthroughcloseobjectstoobjectsfartheraway,such as looking through a fence. And it sometimes fails toworkwell in dimlight,thoughthecenterAFPointisslightlymoreresponsivethantheouterAFPointsinlowlightsituations(downto-0.5EVforthecenterpointvs.0EVfortheouterpoints).Also,theAF-AssistBeamFiringofCustomFunctionC.FnII-5can assist in this low light situation if you are using the built-in flash or anoptionalSpeedlite.Allofthe19AFPointsaretheaccuratecross-typepoints,soyoushouldfeelcomfortablemakinguseofanyofthem.(Across-typeAFPointdetectscontrastinboththehorizontalandverticaldirections,asopposedtoAFPointswhichareonlysensitivetocontrastinoneofthesedirections.)ThecenterAF Point of the 70D performs with additional sensitivity when using mostCanon lenseswithanf/2.8orwidermaximumaperture.Note thatwithcertainolder Canon lenses, many of the outer AF Points will not act as cross-typepoints.Seepage108oftheCanonmanualforthislistoflenses.

Iwillusetheterm“recompose”afewtimesthroughoutthetext.BythisImeanmovingthecameraafteryouhavelockedthefocusorexposuresuchaswithahalf-press of theShutterButton, but before you fully press theShutterButtonand take thepicture.Thismeans thatwhat you see in theViewfinder changesfromwhen you do those first actions towhen you take the picture; you haverecomposed theviewyou see in theViewfinder (seeFigure153)Thiswill befurther explained in theAF Points and Composition section of this chapter.Andremember,whenphotographingpeoplegenerallytrytofocussomewhereontheface,ideallyonthenearesteye,thenrecomposetheframingofyourimageifnecessary.

Figure153-SimulatedviewofCanon70DViewfinder-The imageon the leftshowswhat is seen in theViewfinderasone isusing the selectedAFPoint tolock focus on the subject. The image on the right shows what is seen in theViewfinderastheimageisrecomposedtothedesiredframingfortakingtheshot.

6.2Autofocus-AFPointSelection

AsIgoovertheAutofocusModesinthenextsection,IwilltalkaboutmanuallyselectingyourdesiredAFPoint.This isdone to tell thecameraexactlywhichAF Point to use for autofocusing, and is generally recommended so that youhavefullcontroloverwherethecamerafocuses.Alternately,youcanmakeuseofAutomaticSelectionoftheAFPointwherethecameradecideswhichofthe19AFPointstouse,butthenyouwillhavelittlecontroloverwherethecamerafocuses.However, automaticAFPoint selection is required in certain subject-trackingsituations,aswillbedescribedbelow.

Figure154-AutofocusrelatedcontrolsoftheCanonEOS70D.

TochoosebetweenmanualandautomaticAFPointselection,presstherearAFPointSelectionButtonorthetopAFAreaSelectionModeButton,thenpressthetop AF Area Selection Mode Button a couple times. When the autofocusbracketsarevisibleintheViewfinderandthefar-rightAFAreaSelectionModeiconisindicatedintheViewfinder,youareusing19-PointAutomaticSelectionAF (seeFigure 155-right). This is also the mode used by the camera in theAuto+, Creative Auto, and Scene modes. When either of the other icons are

selectedintheViewfinder,youareusingoneofthemanualAFPointselectionmodes,eitherSingle-PointAF(lefticon)orZoneAF(middleicon)(seeFigure155-left).FornowsetthisonSingle-PointAF,thelefticon.

Figure 155 - Single-Point AFManual Selection (left) and 19-Point AutomaticSelectionAFareamodes(right),asindicatedintheViewfinderbytheAFAreaSelectionModeiconsandtheconfigurationofAFPointsorbrackets.

WhenmakinguseofmanualSingle-PointAFormanualZoneAFselection,withthedefaultcamerasettings,youfirstpresstherearAFPointSelectionButton(attheupper-rightof the rearof thecamera) and thenuse theMulti-Controller toselectyourdesiredAFPointorZone(seeFigure154).IfyousettheC.FnIII-4:Custom Controls menu item to have the Multi-Controller perform AF PointDirectSelection,youcan insteaduse theMulti-Controllerdirectly toselect theAF Pointwithout pressing theAF Point SelectionButton first. However, youwillneedtopresstheAFPointSelectionButtonbeforepressingtheSETButtontoquicklychoosethecenterAFPoint.

Toseehowmanualautofocuspointselectionworks,turntheModeDialtoAv,andmakesuretheswitchonyourlensitsettoAF.SetyourAutofocusModetoOne-Shotusingeitherthe[Q]ButtonandQuickControlScreen,ormoresimplypress theAFButton (AFMode SelectionButton in the line ofButtons at theLCDPanel)onthetopofthecamerathenturntheMainDialorQuickControlDialasyouviewthesettingonthetopLCDPanel.NextpressthetopAFAreaSelectionModeButtonorrearAFPointSelectionButton,thenrepeatedlypressthetopAFAreaSelectionModeButton(neartheShutterButton)untilyouseethe left AF Area Selection Mode icon selected and a single large AF PointamongthesmallerAFPointsintheViewfinder,asshowninFigure155-left.YoucanalsousetheQuickControlscreentochangethissettingbyselectingtheAFAreaSelectionModeicon.

TaptheShutterButtonwithahalf-presstowakeupthecamera.

ToselectyourowndesiredAFPoint,whilelookingthroughtheViewfinderuse your thumb on theMulti-Controller to select the focus point that isnearest towhereyouwant to focus.Press theMulti-Controllerup,down,side-to-side,ordiagonal.IfyoudidnotsettheCustomControlforAFPointDirectSelection,youwillneedtopresstheAFPointSelectionButtonfirstbeforeusingtheMulti-ControllertomovetheAFPoint.

PlacethatAFPointoveryourintendedsubjectordetail(seeFigure156).

PressandholdtheShutterButtonhalfwaydownandseethatpointblink(ifCustomFunctionC.Fn II-12:VFDisplay Illumination is set forEnable).TheFocusConfirmationLightshouldlightupinyourViewfinder,andthecamerawillbeepifyouhavethatenabled.Youhavelockedthefocus.

Keeping the Shutter Button pressed halfway to keep the focus distancelocked, recompose if necessary, and take the shot by fully pressing theShutterButton.

IftheFocusConfirmationLightdoesnotlightupandthecameradoesnottakethephoto,thecameramaynotbefindingenoughcontrasttofocuson,youmaybetooclosetoyoursubjectforthelenstofocus,orthelightingmaybetoodimfor the AF system to work properly. Try using the center AF Point, whichperforms slightly better in low light, and is amore sensitive cross-type pointwithcertainlenses(havinganf/2.8orwidermaximumaperture).OryoumaybeinAIServoAFmode,whichdoesnot lock focus in thismannerbecause it istrackingamovingsubject.Notethattheareathatthecameraevaluatesforfocusis slightly larger than the actual active AF Point squares you see in theViewfinder. In rare situations when autofocusing fails, you can also resort tomanualfocusingbyswitchingyourlenstoMFandusingthelensfocusingring.Oryoucanautofocusonanobjectatthesamedistancefromthecameraasthesubject,and thenrecompose the imageback to thesubject.This techniquecanalsobeusedinothersituationssuchasasportingevent,whereyoupre-focusataspecificspotordistanceandwaitforthesubjecttogettothatpoint-sothatthecameraisalreadyinproperfocusandthemomentorsubjectcanbecaptured.

Figure156-CambridgeCarnival-Cambridge,Mass.-Simulatedviewof70DViewfinder, using a manually selected AF Point to focus on the subject’s eye(manually selected far-right Focus Point shown here in red over the subject’seye).Shutterspeed1/1000,Aperturef/4.0,ISO400.

Thereareimportantreasonstousetheouterfocuspoints,andnotjustthecenteroneallthetimeassomephotographersmaybeinthehabitofdoing.Onereasonforthisisthatifyoulockfocuswiththecenterpointandrecompose,youmovedthecamerainaslightarcandthefocusplanewillthusbelocatedslightlybehindyoursubject.Thiscouldbemorenoticeablewhenworkingcloseto thesubjectand/ or when using wide aperture settings (f/1.4, f/2.8). The potentialconsequencesofrecomposingwillalsobediscussedlaterinthetextinrelationtoexposureandmetering. Itmaysounddifficult toselect the focuspointeachtime,butitisactuallyveryfeasibleandwilllikelybecomeinstinctive.Youmayeven find thatyoustart to setyour focuspointwithyour thumbon theMulti-Controller as you approach a scene before evenbringing your camera to youreye.Forexampleyouknowthesubjectwillbeontherightsideoftheframe,soyouclick, click, click theMulti-Controller to the right a few times so that theactiveAFPointisalreadyontherightasyoubringthecameratoyoureye.

6.3Autofocus-AFModes

The 70D has three different focus modes (AF Modes or AF Operations) tochoosefromforViewfindershooting,typicallydependingifyoursubjectisstillor slightly moving, or if it is actively moving and you wish to track itsmovement and remain continuously focused on it. Select the AF Mode bypressingtheAFOperationSelectionButtononthetopofthecameraandturningthetopMainDialorrearQuickControlDialwhilereadingthesettingonthetopLCD Panel. You can also use the [Q] Button and Quick Control Screen tochangethissetting(seeFigure157).OriftheShootingFunctionSettingsScreenisvisibleontherearLCDMonitor,youcanpressthetopAFButtonandmakeyourselectionontherearLCDMonitor,similartoasshowninFigure157-right.

Figure157-SelectingtheAutofocusModeviatheQuickControlScreen.

One-ShotAFFocusMode

Use this mode when your subject is still and not going to move, or if yoursubject is not going to move very much or very quickly, or if the distancebetweenyouandthesubject isnotgoingtochangebetweenthetimeyoulockfocus, recompose, and take the shot.Thismode can even be used formovingpeopleorobjectsifyouquicklytaketheshotafterestablishingorlockingfocus.

YouwilloftenwishtousethisinconjunctionwithoneofthemanualselectionAFAreaSelectionModes (to be explained in the next section), either Single-PointAForZoneAF,sothatyoucantellthecameraexactlywheretofocus.Fornow,set theAFAreaSelectionModeonSingle-PointAF.Dothisbypressingthe topAFAreaSelectionModeButton (near theShutterButton)asyou lookthrough the Viewfinder. You will see three small icons in the top of theViewfinder-pressthebuttonrepeatedlyuntilyouseethelefticonselected.

As you look through theViewfinder, focus on your subject by first using theMulti-ControllertomanuallyselecttheAFPointclosesttoyoursubject(asjustexplained in Section 6.2), locate that point over your subject, then press theShutter Button halfway (if you haven’t changed the function of the ShutterButtonintheCustomControls).TheactiveAFPointwillilluminate(blink),andtheFocusConfirmationLightatthelower-rightintheViewfinderwillilluminateaswell.ContinuetopresstheShutterButtonallthewaytotaketheshot.Ifyouhalf-press the Shutter Button to lock focus on your subject, the camera willremain focused at that distance as long as you keep half-pressing the ShutterButton.YoucanrecomposetheshotasyouwishandthenfullypresstheShutterButtontotakethephoto.IftheFocusConfirmationLightdoesnotlightupandthe camera does not take the photo, the camera may not be finding enoughcontrasttofocuson,youmaybetooclosetoyoursubjectforthelenstofocus,orthelightingmaybetoodimfortheAFsystemtoworkproperly.

Youcanalsouse19-PointAutomaticSelectionAFwithOne-ShotAF,wherethecamerachooseswhichofthe19AFPointstousetofocusonthesubject.WhenshootinginOne-ShotAFModeandchoosingthismode,thecamerawilluseall19AFPointstoautomaticallylocatetheclosestsubject(generally)andfocusonthat.Sincethecameradoesnotknowwhatyourintendedsubjectis, itwillnotconsistentlyfocuswhereyoumaywantitto,andthusmanualAFPointselectionratherthanautomaticAFPointselectionisrecommendedformostsituations.

Ifyouarephotographingasubjectthatisapproachingorrecedingfromviewatarelatively constant rate, or photographing a subject that is moving about theframe,orphotographingsports,action,oractivewildlifeyouwillinsteadusuallywanttouseAIServoAFfocusmode.

Figure 158 - Autofocus AFModes - One-Shot AF is used to focus on a stillsubject (left),andAIServoAFcanbeuse toretaincontinuousautofocusonamovingsubject(right).

AIServoAFFocusMode

Thismode,usedinconjunctionwiththevariousAFAreaSelectionModesandtheautofocus relatedCustomFunctionsettings, iswhatmakes the70Dsuchapowerful,well-performingcamera forcapturingactionandmotion (seeFigure158-right).TotakefulladvantageofthismodeyouwillneedtoalsounderstandtheAFAreaSelectionModes,aswillbedescribedintheAutofocus-AFAreaSelectionModes section just below. AI Servomode is used for tracking andfocusing on moving subjects, and is ideal for capturing sports and wildlifeincluding birds. If the subject is moving towards you or away from you thecamerawillkeepevaluatingthefocusdistance,andifthesubjectismovingfromsidetosideorthroughouttheframethecameramaytrackitasitpassesfromoneAF Point to the immediate surrounding ones or to any of the other points -depending on which AF Area SelectionMode you are using. The AutofocusCustomFunctions optionswill even allowyou to tell the camera exactly howfast to react tonewsubjects thatcome into theviewof theactiveAFPointorcomebetweenyouandyoursubject(Trackingsensitivity)andwhethertoexpectsteady or erratic subject movement of the subject toward or away from thecamera(Acceleration/decelerationtracking).

Figure159-SelectingAIServoAFFocusMode.

YoufirstneedtomanuallyselectwhichAFPointorZonethecamerawillusetostart tracking the subject (using the Multi-Controller as explained in Section6.2), place that point or Zone over the subject, and press the Shutter Buttonhalfway. As long as you keep the Shutter Button pressed halfway and yourinitiallyselectedAFPointorZonepositionedoveryoursubject,thecamerawillcontinuouslyevaluatethefocusdistancetothesubjectsothatitwill(ideally)beinfocuswhentheshotistaken(seeFigure160).TheFocusConfirmationLightwill not illuminate since focus is continuous and not locked at a specificdistance.IfyouareusingSingle-PointAFAreaSelectionModeyouwillhaveto

keepthesubjectlocatedatyourselectedAFPointifyouwishforthecameratoretainfocusonit,asitwillnotpassfocusofftoanadjacentAFPoint.IfyouareusingZoneAFAreaSelectionMode,thesubjectcanbelocatedatanyoftheAFPointswithintheactivezone(seeFigure160).

Figure160-DogRunninginSnow-Simulatedviewof70DViewfindershowingtheuseof“AIServoAF”focusmodeand“ZoneAFAreaSelectionMode”toretaincontinuousfocusonadogrunningtowardsthecamera.Thedogmustbekeptwithin theactiveZoneas theShutterButton is kepthalf-pressedor fully-pressed in order for the camera to retain focus on it. Shutter speed 1/2500,Aperturef/5.6,ISO400.

Ifthesubjectmovesfromside-to-sideorelsewhereintheframeawayfromtheinitiallyselectedAFPointorZone,theadjacentAFPointscanbecomeactivatedandbegin trackingandfocusingon thesubject.However, to takeadvantageofthis you need to be usingAI ServoAFMode alongwith19-Point AutomaticSelectionAFAutofocusAreaSelectionMode.Forexample,youcanusethis19-PointAutomaticSelectionAFAreaSelectionModeandthenkeepyourcamerarelativelystillasthesubjectmovesacrossorabouttheentireframe,andall19pointswill beused to retain focuson amoving subject.Whenusing19-PointAutoAF,youwillneedtomanuallyselecttheinitialAFPointandlocateitoverthesubjectandhalf-press theShutterButtoninorder to initiatefocustracking,

andthenifthesubjectmovesawayfromthispointtheotherAFPointswillpickitupandcontinuetofocusonit(ideally).

Remember,thisfocustrackingonlyoccursaslongastheShutterButtonremainshalf-pressed. Thuswhen the image is taken, the subject is in focus. Thiswilleven work in conjunction with continuous shooting. If you keep the ShutterButtonfullypressedandcontinue to takephotos,evenat7framespersecond,thecamerawillkeepfocusingonthemovingsubject.Asyoucanimagine,thisisidealfortrackingaplayerrunningacrossafield,adogrunningtowardyou,orabird moving across the fame. Note that when shooting with High SpeedContinuousnoteveryshotmaybeinsharpfocusasthecamerasometimescan’tkeepup and accuratelypredict the subject’s speedor location, and the subjectneedstobelocatedatoneoftheAFPointsinorderforthecameratotrackandfocusonit.ButyouwillbeabletoimprovetheresultsforyourspecificsubjectmovementusingthefirstfourAutofocusCustomFunctionsettingsintheC.FnII:Autofocusmenu,andthusshouldbeabletocapturemoresharpimagesthanpreviouslypossiblewithanolder,9AF-PointCanondSLR

As you will see, when using AI Servo mode your compositions will besomewhatdictatedbythepositionsof theautofocuspoints inyourViewfinder.The subject needs to be at one of theseAF Points in order for the camera tomaintain focus on it. That is why in certain situations when your subject islocatedawayfromtheAFPointsasviewedintheViewfinder,becomingskilledatquicklyusingOne-ShotAF-evenforactionscenes-willsometimesgiveyoumoreabilitytocontrolyourcompositions.

AIFocusAFFocusMode

Thisthirdmodeisasortof“hybrid”ofthetwootherfocusmodes.ThecamerastartsinOne-ShotAFmodethenchangestoAIServoAFmodeifyoursubjectstartsmoving.Whyshouldn’tyouusethisallthetime,then?Well,itistypicallynot thebestofbothworlds. Ifyouare focusingand then recomposing,asyoumayoftenbedoing,yourmovementofthecameramayfoolitintothinkingthatthesubjectismovingandthenactivatesubjecttrackingAIServoAFMode,andyour resulting focusmay not bewhere you intend it to be, ormay not be asaccurateasitcouldhavebeenwithOne-ShotAF.AndinAIFocusModeitmaynotbeasquicktorespondtoamovingsubjectas itwouldinAIServoMode.Typicallyyouknowifyoursubjectisstillormovingsoitisbettertoselectoneof theother twoAFModes.Plus thatwayyou alwaysknowwhichAFModeyouareworkinginandcaneitherlockfocuswhereyouwantitorbegintracking

asubjectwithoutwonderingwhatmodethecameraisinandifitwillsuddenlychange.Buttheremaybesituationsthatcallforthiscombinationmodesuchasastillbirdoranimalthatmaystartmovingunexpectedly,sokeepitinmind.

Figure 161 - Autofocus AFModes as displayed on the rear LCDMonitor. AIFocusisthe“hybrid”mode,positionedbetweentheothertwomodes.

Howdoyourememberwhichmodeiswhichsincetheterms“AIServo”and“AIFocus” tell you nothing that makes sense? Although I explained them in adifferentorderabovetointroducethemmoreeasily,onyourcamera’stopLCDPanelorrearLCDMonitor(seeFigure161)theyarelisted:OneShotAIFocusAIServo

Remember that One-Shot AF just focuses once and doesn’t change once youlock it in, andAI ServoAF is the other extreme - continuous focus used formoving objects. And AI Focus AF is listed in the middle, between the two,becauseitisthe“hybrid,”combinationofthetwo.

ManualFocus

Sometimesyoumaybetakingseveralphotosofthesamesubjectfromthesamedistance,orforsomeotherreasonwanttokeepthesamefocusandnothavetokeeprefocusingandrecomposing.Oryoumaybe takingmultiplephotos forapanorama.In thesesituations, turnoff theautofocusonyour lensbyswitchingfromAFtoMFwiththeFocusModeSwitchonthelensitself(seeFigure162).ThetopLCDPanelwilldisplayMFOCUS.(RemembertoswitchitbacktoAFwhen you are finished.) You may also wish to switch to MF after you haveautofocusedbutyouwant to thenpreciselymanuallyfocuswith thefocusringon your lens. For lenseswith “full timemanual focus,” such asmostL-serieslenses, you don’t need to switch to MF in order to manually override theautofocuswiththelensfocusring.AlthoughthefollowingchartbyCanonisnot

yetupdatedwithall the latest lenses,youcanhavea look toseewhich lenseshave full time manual focus, as indicated with the “*2” notation in the AFActuatorcolumn:http://www.usa.canon.com/app/pdf/lens/EFLensChart.pdf

Figure162-DetailoftheCanonEOS70Dwiththe50mmf/1.4USMlenssetformanualfocus(MFonthelensswitch).

Duringmanualfocusingyoucanmakeuseofa“rangefinder”feature toverifyfocus. Do this by manually selecting your desired AF Point, then press theShutterButtonhalfwaywhilemanuallyfocusing.TheFocusConfirmationLightwill lightupand theactiveAFPointwillblinkwhenfocus isachievedat thatactivepoint, toverify thatyour subject is in focus.Thecamerawill alsobeepwhen focus is achieved at the activeAF Point, if you have enabled theBeepoptionintheShooting1menu.

Note thatdigitalSLRcamerasaredesigned touseautofocusandaregenerallynotoptimalforusingmanualfocus.WithafilmSLR,thefocusingscreenseeninthe Viewfinder assisted you in manually focusing such as with a separatedsection in thecenter thatcame togetherclearlywhen thesubjectwas in focus.Digital SLRs do not have this and as you can see, it is difficult to determineexactlywhenthesubjectisinfocususingtheViewfinder,evenwhenthesubjectis still. There are situationswheremanual focusmay be useful such as those

mentionedabove,orwhenusinga tripod for subjects likemacrophotography,but in general the camera can react and focus using autofocus much morequickly and accurately than a photographer often can. Evenwhen using LiveViewandtherearLCDMonitor,theimageyouseeonthescreencontainsabout1/20ththenumberofpixelstheactualimagehas,soimagesthatlookinfocusonthesmallLCDscreenmaynotbeassharpwhentheactualimageisviewedfullsize on a computer. You invested in this highly capable autofocus system, sowhynottakeadvantageofit!

6.4Autofocus-AFAreaSelectionModes

Tofullytakeadvantageofthe70DautofocussystemyouhavetounderstandnotonlytheAFModesbutalsotheAFAreaSelectionModes.Theseareusedtotellthe camera where to look to find the subject you wish to focus on, or todesignatewhereyouwishtoinitiatefocustrackingofamovingsubject.TheareayouselectcanrangefromasingleAFPoint, toaZoneofpoints, toall19AFPointsavailableintheViewfinder.Thesmallertheareathemoreaccurateyourfocusingmaybe(intermsofhavingthecamerafocusexactlywhereyoudesire),butthelargerareasorZoneswillgiveyoutheabilitytoworkmorequickly-ifslightlylessaccurately-aswellashelpremainfocusedonfastmovingsubjects,sothatyoudon’tmissashot.(By“accuracy”Idonotmeanthattheaccuracyofthe70Dautofocusingsystemchanges,butratheryouraccuracyorprecisionofbeing able to focus at exactly theplace in the sceneor thepart of the subjectwhere you wish to focus.) The optimal way to work is thus to use the mostpreciseAFAreaSelectionModethatstillallowsyoutocapturethemajorityofthe images in a specific shooting situation.So for examplewith a still subjectandnotimepressure,youcaneasilymanuallyselectasingleAFPoint,butforafast-moving subject youmay have tomake use of larger Zones comprised ofseveralAFPoints,orevenresorttousingall19AFPointswhereyouallowthecameratoautomaticallydecidewheretofocus.

Remember thatyouactivatedall theavailableAFAreaSelectionModesusingC.Fn II-7: Select AF Area Selection Mode. To select a specific AF AreaSelectionMode,turntheModeDialtoanon-AutomodesuchasAvorTvandmakesuretheswitchonyourlensitsettoAF,then:

Press theAFPointSelectionButton (at the upper-right of the rear of thecamera), or press theAFAreaSelectionModeButton (on the top of thecameraneartheShutterButton).

Then while looking in the Viewfinder press the top AF Area SelectionModeButtonrepeatedly.Youwillseethecameracyclethroughthevariousoptions with the AF Area Selection Mode icons indicating the currentmode, as well as the AF Points appearing in various different ways toindicate the mode. If you set up Custom Function C.Fn II-8: AF AreaSelectionMethod touse theMainDialas theAFAreaSelectionMethod,thenyouwillturnthetopMainDialafterpressingoneoftheAFbuttonsin

order to select the AF Area SelectionMode (this customization was notrecommended).

Figure163-AFAreaSelectionModes,asseenintheViewfinderwithboththetop iconsand theAFPointconfiguration-Top-Left:Single-PointAF(ManualSelection).Top-Right:ZoneAF(ManualSelection).Bottom:19-PointAutomaticSelection.

For now set it on Single-PointAFwhere you see the left icon selected and asinglelargeAFPoint(seeFigure163-top-left).Youshouldpractice thisactionof selecting the AF Area Selection Mode so that you can change it withouttakingyourcamerafromyoureye.

OnceyouhaveselectedthedesiredAFAreaSelectionMode,selectyourdesiredAutofocus(AF)Point(orZoneifworkinginZoneAFAreaSelectionMode)inthe Viewfinder using the Multi-Controller. If you set C.Fn III-4: CustomControls to have theMulti-Controller performAFPointDirect Selection, youcannowusetheMulti-ControllerdirectlytoselecttheAFPointwithoutpressingthe rearAF Point Selection Button first. Press theAF Point Selection ButtonthentheSETButtontoquicklychoosethecenterAFPoint.

Again, you will choose one of the AF Area Selection Modes based on how

quicklyyouareworkingandhowpreciselyyouwillwanttobeabletofocusonyoursubject,orbasedonhowquicklyorerraticallyyoursubjectismovingandhowwellyouareabletokeepyoursubjectlocatedatyourdesiredAFPointorZone: Single-Point AF (Manual Selection): This AF Area Selection Modeallowsyoutoselectasinglepointofyourchoosingfromamongthe19availableAF Points (see Figure 164). This can be one of the most accurate AF AreaSelection Modes from a user standpoint, allowing you to tell the camerapreciselywheretoautofocus.Rememberthatthecameraneedstoseecontrastortextureinordertobestfocus,soavoidplacingtheAFPointoveranareaofsolidcolor,andremember togenerallyfocusonaneyewhenphotographingpeople.TheareathatthecameralooksatislargerthantheactualAFPointsquareyouseeintheViewfinder.

Youcanuse thiswithOneShotAFMode toaccurately focusonstill subjectsandtolockfocus(withahalf-pressoftheShutterButton)ataspecificdistanceand recompose before taking the shot. Or even to perform these actions andcapture moving subjects if you work quickly and if the camera-to-subjectdistancedoesnotdramaticallychangebetweenthetimeyoulockfocusandtakethe image.Single-PointAF is indicated in theViewfinder by the single largersquareamongthesmallersquares(seeFigure164).

Figure 164 - Nashoba ValleyWinery, Bolton,Mass. - Simulated view of 70D

Viewfinder, selecting Single-Point AF Autofocus Area Selection Mode.Backgroundimageshownat75%opacity-Shutterspeed1/100,Aperturef/2.8,ISO1250.

When using Single-Point AF and working in AI Servo AFmode for movingsubjects, you tell the camerawhat subject to begin tracking by selecting yourdesired AF Point, placing it over the subject, and half-pressing the ShutterButton. The camera will now continuously track the focus distance of themovingsubjectasitmovescloserorfartherfromyou.However,ifyoursubjectleavesthisselectedAFPoint-whetherthroughitsmovementoryourinabilitytokeepthepointlocatedoveryoursubject-theothersurroundingAFPointswillnotbeginfocusingonit.IfyouwishforthesurroundingAFPointstohelpyouretainfocusonamovingsubjectyouwillneedtouseoneoftheotherAFAreaSelectionModesexplainedbelow.

ZoneAF (ManualZoneSelection): If it is too difficult to place a singleAFpointonasubjectbecauseyouneedtoworkquicklyorthesubjectismovingtooquicklyorerratically,youcanfocusonyoursubjectusingaZonecomprisedofseveralAFPoints(seeFigure165).ThecamerawilllookamongtheAFPointsintheZoneandfocusonthenearestobjectinthatarea.Theadvantageofthisisthatyoudon’tneedtobeasaccurateandpreciseaswithchoosingasingleAFPoint,but thedrawback is that thecamerawilldecidewhichof theAFPointswithintheZonetouseforfocusing.SoifyouplaceaZoneclusterofpointsovera subject’s face, the cameramay choose to focus on the nose rather than theeyes.IfyouuseaZonetofocusonabirdinatree,thecameramayselectanAFPointinthatZonelocatedoveracloserleafratherthanfocusingpreciselyonthebird.

Whenworking inAIServoAFMode, thecamerawilldecidewhichAFPointwithintheZonetousetoinitiatefocustracking(again,theclosestsubject),andas long as the subject remains in thisZone the camerawill continue to retainfocusonit,aslongasyoukeeptheShutterButtonhalf-pressed.YoumayseetheactiveAF Point switchingwithin the zone, so that the subject stays in focus.Notethatthe70DdoesnothavetheAFPointAutoSwitchingCustomFunctionoption that youmay have seen on otherCanon cameras, and thus you cannotcontrolhowquickly the camera switches fromonepoint to anotherwithin theZone.

Figure165-NashobaValleyWinery,Bolton,Mass.(toastedwine-barrelstaves)- Simulated view of Viewfinder, selecting Zone AF Autofocus Area SelectionMode.Backgroundimageshownat75%opacity-Shutterspeed1/100,Aperturef/2.8,ISO1250.

Just as with the single point, use the Multi-Controller to select your desiredZone. Zone AF is indicated in the Viewfinder by the lines surrounding thevarious groupings of AF Points, like parentheses, indicatingwhichAF PointsworktogetherineachZone(seeFigure165).

19-Point Automatic Selection AF: This is an automatic AF Point selectionmodewherethecamerausesall19pointstolocatetheclosestsubjectandfocusonthat(inOneShotAFMode),orelseusesalltheAFPointstotrackamovingsubject(inAIServoAFMode).ItthusfunctionsslightlydifferentlydependingifyouareworkinginOneShotAFModeorAIServoAFMode(seeFigure166).ThisisalsothemodeusedinFullAutoandCreativeAutomodes.

19-PointAutomaticSelectionandOneShotAF:WhenworkinginOneShotAFMode, thecamerawillsimplychose theAFPointlocatedover theclosestsubjectandfocusat thatdistance.Sincethecameradoesnotknowwhatyour intendedsubject is, itwillnotconsistentlyfocuswhereyoumaywantitto.Rememberthat

by enabling any of the options other than Disable display inCustomFunctionC.FnII-11:AFpointdisplayduring focus, thecamera will at least indicate which AF Point it is using forfocusing.

Itisbesttoavoidthismodeexceptforactionsituationswherethemotionistooquickorerraticandyouwouldnotevenbeabletopick a focus Zone quick enough, or for action situationswhereyouwishtokeepthecamerarelativelystillasthesubjectmovesabout theframe.In thesesituationsyouwillneed towork inAIServoAFMode.

19-PointAutomaticSelectionandAIServoAF:WhenworkinginAIServoAFmode,youmustfirstmanuallyselecttheAFPointyouwishtousetoinitiatefocus,half-presstheShutterButtonortherearAF-OnButton,andthenas thesubjectmovesabout theframetheotherAFPointswillideallypickitupandretainfocusonit,bothlaterallyandasitmovesnearerandfarther(aslongasyou keep the Shutter Button half-pressed or the AF-On Buttonfullypressed).Remember thatCustomFunctionC.Fn II-11:AFpoint display during focus must be set for one of the enabledoptions in order for the active AF Points (which the camera isselecting) to bedisplayedwhenworking inAIServoAFModewithAutoSelect19-PointAF.Assuggestedbefore,setC.FnII-11toAll(constant)sothatyoucanalwaysseealltheAFPoints.Duringreal-life,less-than-idealshootingsituations,youmayfindthat the camera sometimes has a difficult time following andretaining focus on the subject. It is best to set the CustomFunctionC.FnII-1:TrackingsensitivitytoLockedon(-2)forthebest chance of having the camera remain locked on the desiredsubject. Also, be sure to set C.Fn II-2: Accel./decel. trackingaccordingtotheexpectedmotionofthesubject.Setting0isforasubject that moves at a steady rate, while +1 and +2 are forsubjects that may accelerate, decelerate, or suddenly changedirectionorstop.

Theouter linessurroundingall theAFPoints indicate thatyouare in19-pointautomaticselectionAFmode(seeFigure166).TheAFPointsmayormaynotbevisibledependingontheOneShotAFvs.AIServoAFsetting.

Figure 166 - Nashoba Valley Winery, Bolton, Mass. - Simulated view ofViewfinder, selecting “19-Point Automatic Selection AF” Autofocus AreaSelectionModewithOne-ShotAF(left,displayingAFbracketsonly)andwithAIServoAF(right,displayingAFbracketsandAFPoints).Backgroundimageshownat75%opacity-Shutterspeed1/400,Aperturef/2.8,ISO400.Notethatyouwouldn’treallyneedtouseAIServoautofocusmodefortrackingnon-activegrapes!

6.5AFPointsandComposition

Don’tLettheLocationoftheAFPointsDictateYourComposition

What happens when the subject you want to focus on is not located exactlyunderoneoftheAFPoints?Evenwith19potentialAFPointstochoosefrom,theywillnotalwaysbelocatedexactlyatornearwhereyouneedthemtobe.Imentionrecomposingmanytimesbecauseitisoftennecessarytorecomposetheframingofyourshotbetweentheframingyouusetolockfocusorlockexposureand the final, desired framing of your image.Recomposing or reframing yourshotisoftennecessarysothatthelocationsoftheAFPointsasyouseetheminthe Viewfinder do not always dictate the exact framing of your desiredcomposition.Figure167showsthedesiredframingandcompositionoftheshotI want to take, but the woman is not located under an AF Point. Thiscompositionisdesiredformebecauseitcapturestheentirewindowalongwithsome space around it, aswell as some space in frontof thewoman forher to“walk into” - but not an excessive amount of space. So Imanually select thelower-rightAFPoint,temporarilyframetheimagetoplacetheselectedAFPointoverherfaceorhead,pressandholdtheShutterButtonhalfwaytolockfocusatthatdistance(Figure168), andsee theFocusConfirmationLight illuminate intheViewfinder.IthenrecomposebacktothefinalframingIwant(Figure167)andpresstheShutterButtonfullytotaketheimage.Eventhoughthesubjectismoving, I do not need the sophisticated tracking ofAI Servo FocusMode tokeep her in focus. I can quickly lock focus using One-Shot Focus Mode,recompose, and take the image without the camera-to-subject focus distancechangingsignificantly.

Figure 167 - Street Scene, Antigua, Guatemala - The desired framing andcompositionoftheshotIwishtotake,yetnoAFPointislocatedexactlyatthewoman’s headwhere Iwish to focus. Shutter speed1/160,Aperture f/5.6, ISO400.

Figure168-ImageistemporarilyframedtoplacetheselectedAFPointoverthewoman’shead,ShutterButtonispressedhalfwayandheldtolockfocusatthatdistance, image is recomposed to the desired framing of previousFigure 167,andShutterButtonisfullypressedtocapturetheimage.

Withtheexampleimageabove(Figure167),focusingonthewallmaynothavebeen tragic because the distance between the subject and the background issmall,and ifamediumornarrowaperturesuchas f/8or f/16 isusedboth thewallandthesubjectmaybeinacceptablefocus.Youwilllearnmoreaboutthesevariables in theExposure Part 1 section, but if the background was fartheraway,and/orawideaperturesuchasf/2.8wasused-especiallywithatelephotolens, and if the image was enlarged, you would clearly see that the camerafocusedonthewallandnotthewoman.Nottomentionthefactthatthewallisasomewhat consistent area of color and the AF system may have difficultyproperly focusing on it quickly. So it is best not to take shortcuts such asfocusing on thewall and hoping the subjectwill also be in focus, because inmanyothersituationsyouwillnothavethisoption.It isbest totakethephotoproperly and to learn and practice the habit of working in the more rigorousmannerifyouwantallyourphotostobeassharpaspossible.

CheckingFocus

YoucanreviewyourimagesontherearLCDMonitorofyourCanon70Dtotrytodetermineif theyareinfocus,especiallybyzoominginascloseaspossibleusing theMagnifyButton.But be aware that this 3” screen has just over onemilliondotsorpixels,whileyouractualimagehasover20millionpixels.ThatmeansthatmanyimageswillappeartobeinproperfocusonyourLCDscreen,butyoumightdiscoverthattheactualimagesarenotreallyinsharpfocuswhenreviewing themonyourcomputermonitor.Theoppositecanactuallyoccuraswell,wherean imageappearsoutof focusat suchasmall sizeandresolution,butisactuallyinsharpfocuswhenviewedfull-sizeonamonitor.

6.6AutofocusCustomFunctionSettings

BesuretorevisittheautofocusrelatedCustomFunctionSettingsoftheC.FnII:Autofocusmenu,asexplainedintheCustomFunctionsMenuchapteronceyouhave a better understanding of the autofocus system. The first four items areparticularly important for photographing action situations. These settings willapply to the autofocus systemwhen it is inAIServoAF AutofocusMode (orwhenitisinAIFocusAFmodeandthecamerahaschosentoworkinAIServo),for when you want the autofocus system to track moving subjects that arepositionedat anAFpoint and/orwhichmovearound the frame fromoneAFpointtotheotherAFpoints.

HereisabriefreminderoftheseCustomFunctionitems:

II-1:Trackingsensitivity:WhenusingAIServoAutofocusMode,thisisusedtospecify thespeedatwhich theautofocussystemwill switch fromthe initialsubject to another subject when a new subject is positioned at the active AFPoint, or passes in front of the initial subject, or if youmomentarily lose thesubject that you are trying to keep positioned under a selected AF point (seeFigure169). If youwish for theAF system to quickly switch focus to a newsubject that enters the area you are focusing on, or wish to rapidly andintentionallyswitchbetweensubjectsatvariousdistances,setforResponsive+2.If you wish to retain focus tracking on the same subject and ignore new orobstructing subjects set for Locked on -2. If your objective is somewhere inbetween,setaccordinglyat+1,0,or-1.ItisrecommendedthatyousetthisonLockedon(-2)forthebestchanceofthecamerastayinglockedontoyourinitialdesiredsubject.

II-2:Acceleration/decelerationtracking:Thissettingisusedtotellthecameraifthesubjectisaccelerating/deceleratingatasteadypace,orifitischangingitsspeedordirectionmoreerratically-inordertohelpthecamerabetterpredictthelocation of the subject as it moves towards and away from the camera (seeFigure169).Forsubjectsthatmovesmoothlyatasteadyratesetfor0andthecamera will then predict the subject’s likely location based on its currentmovement. If the subject moves erratically andmay very suddenly speed up,slowdown,start,orstopset for2.Orset for1 if the subject’smovementsaresomewhereinbetweentheseotheroptions.

Figure 169 - Left: Tracking Sensitivity options, to tell the camera how fast toreact toanewsubjectatadifferentdistance fromthecurrentsubject, rangingfrom immediately refocusing on the new subject at a different distance(Responsive) to continuing to focus on the initial subject (Locked on). Right:Acceleration/DecelerationTrackingoptions, to tell thecamerawhat toexpectregarding therateandspeedof thesubjectbeing tracked,eithererratic speedandmovement(2),steadyspeedandmovement(0),orsomewherebetween(1).

II-3:AIServo1st ImagePriority:This settingand the following setting (AIServo 2nd Image Priority) are set to coordinatewith each other to dictate thecamera’spriorityfortheinitialshotandthensubsequentshotsasyouholddowntheShutterButtonduringaburstofcontinuousshootingwhenusingoneoftheContinuousShootingDriveModes.Youcanchoosebetweenpreciselyfocusingon and tracking the subject at the possible expense of maybe a few micro-seconds delay as the camera confirms focus (by setting forFocus), or simplyfiringoff shotsat themaximum7 fpsburst speed - at thepossibleexpenseofexactfocus(bysettingforRelease)(seeFigure170).

II-4: AI Servo 2nd Image Priority: This is similar to the above setting butapplies to the second and subsequent images in the burst. Setting for Speed(Shooting speed priority) will prioritize shutter release, or continuing thecontinuousburstat thepossibleexpenseofexact focus.Setting forFocuswillprioritizefocustrackingforthefollowingshot(s),ensuringthatthesubjectisinfocusasyoucontinuetotaketheburstofimages(seeFigure170).Again, thismaycauseabrief,perhapsmicro-secondsdelaywhilethecameraconfirmsfocusbeforereleasingtheshutterforeachimage.

Figure170-AIServo1st ImagePrioritymenu(left) todetermine ifcapturingtheshot(Release)orgettingthesubject in-focus(Focus) is thepriority for theinitialshot inacontinuousburst.AIServo2ndImagePrioritymenu(right) todetermine thepriority for the secondand subsequent shots in theburst, eithermaintainingthefastestcontinuousburstspeed(Speed)orgettingthesubjectinfocus(Focus).

ForbothCustomFunctionsettingC.FnII-3and II-4, settingforEqualprioritywillallowaslightpausebeforeeachofthesubsequentshotstoperhapsgivethecameratimetofindfocusbeforereleasingtheshutter.Thispausemaybeslightlymorepronouncedwhenshootinginlowlightorlowcontrastsituations.

As I suggested earlier (in the Custom Functions Menu chapter), for mostgeneral action situations you may find that Focus Priority / Focus Priorityworks best, with focus and focus tracking being the first and subsequentprioritiessothatallyourimagesarepotentiallyinfocus.Thoughofcoursethismayvarydependingonthespecificsituation,asalsoexplainedearlier.

6.7BackButtonFocusing

As I began to discuss in theCustom FunctionsMenus section, back buttonfocusing is a technique that allowsyou to separatecontrolof theautofocusingfunctionandtheexposurefunction,sothattheyarenotnecessarilyinitiatedand/or lockedby the samebutton.There are variousways to performbackbuttonfocusing, depending on your needs, and it may vary based on if you arephotographingstillsubjectswithOne-ShotautofocusmodeortrackingmovingsubjectswithAIServoautofocusmode.WhenusingOne-ShotAF, itcanbeawayto lock thefocusdistance inorder toremainfocusedon thesubjectwhileyourecomposetheframingofyourimage.Anditcanallowyoutolockfocussothatyoucantakeseveralimagesofthesamescenewithouthavingtofocus,lock,recompose between each shot.Whenworking inAIServomode, it can allowyoutomomentarilystopthesubjecttrackingoperationifdesired,suchaswhenyoursubjecthasstoppedmovingorwhenanobstacleappearsbetweenyouandyour subject. Typically, you will use the AF-ON Button to lock or stop theautofocusingoperation(seeFigure171).

ThoughIamincludingbackbuttonfocusingintheAutofocusingchapter,thisisanadvancedtechniquethatyoushouldreturntolateraftercompletingtheothersections and fully understanding autofocusing, autofocus lock, exposure, andexposure lock. It should not be used simply because the option is there, butrather should be used if and when you encounter the need for it or havedetermineditworksbetterforyouthanShutterButtonfocusing.

Figure171-DetailoftheEOS70D,showingtheAF-ONButtonusedforBackButtonFocusing.

So for example,whenphotographing a still subject such as for a portrait, youmaywish to take several similar shots in a row.Normally youwould chooseyour desired AF Point, place it over your subject, press the Shutter Buttonhalfway to lock focus, then recompose as necessary and take the shot. AftertakingthatshotyourfingerwilllikelyliftfromtheShutterButtonanditwillnotremainhalf-pressed,andthustotakethenextshotyouhavetorepeattheprocessand lock focusagain. Ifyou insteaduse theAF-ONButton to lock focus,youcancontinuetotakephotos,slightlyrecomposingtheframingifdesiredbetweenshots, and you don’t need to keep refocusing and recomposing between eachshot-aslongasyourfingerremainsontheAF-ONButtonandyourcamera-to-subjectdistancedoesnotchange.

Figure 172 - Back Button Focusing - One option for this technique is to useCustomFunctionC.Fn III-4:CustomControls to assign the ShutterButton toMeteringandAFStart(left),andtheAF-ONButtontoAF-Off(right).

Themost straightforward way tomake use of back button focusing is to useCustom FunctionC.Fn III-4: Custom Controls to assign the AF Start Button(AF-ON) to AF-Off (also called AF stop or AF lock) but keep the exposuremeteringlinkedtothefullshutterpress.Thisallowsyoutolockthefocusasyouwish,independentoftheShutterButtonanditsmeteringfunction.Toworkthisway,youneed to set theShutterButton toMeteringandAFStart and, as justmentioned, set the AF-ON Button to AF-OFF (AF Stop) (see Figure 172).Remember,seepages384and385oftheCanonmanualtoviewachartofallthebuttonoptions.Thissetupwillallowyoutousethecameraasyoualwayshave,in thedefaultmannerof theShutterButton lockingfocus(inOne-ShotAF)orinitiating focus tracking (in AI Servo AF) and starting and locking exposuremeteringwhen pressed halfway ifworking inEvaluativeMeteringMode.ButthenafterstartingthefocusoperationwiththeShutterButton,youcanpressandholdtheAF-ONButtontolockfocusatthecurrentfocusdistance.AndaswillbedescribedintheExposureLocksectionofExposurePart2,the[*]Buttoncontinues to function according to its default, locking the exposure settings atanytimewhenpressedandreleased.

ItisevenmorecriticaltousebackbuttonfocuswhenworkinginAIServoAFfocusmode.SincetheShutterButtonhalf-pressisnotlockingfocusbutratherisinitiating focus and then tracking the subject (by continuously evaluating thesubject distance), the AF-ON Button can be used to lock (or stop) theautofocusingoperationwhendesired.ThisisdonebysettingtheAF-ONButtonforAF-OFF(alsocalledAFStop).

TooperatethiswayineitherOne-ShotAForAIServoAFfocusmode,settheCustomControlsasdescribedabove-settheShutterButtontoMeteringandAF

StartandsettheAF-ONButtontoAF-OFF(AFStop),then:

TaptheShutterButtonhalfwaytowakeupthecameraandstartmetering.

Looking through the Viewfinder, select your AF Point using the Multi-Controllerandplaceitoveryoursubject.

PressandholdtheShutterButtonhalfwaytofocusonyoursubject(ifusingOne-ShotAF)orbegintrackingit(ifusingAIServoAF).WithAIServo,asthesubjectmovescloserorfarther,thecamerawillcontinuetotrackitaslong as the active AF Points remains over the subject and the ShutterButtonremainshalf-pressed.

As you continue to half-press the Shutter Button, press and hold theAFStart Button (AF-ON Button) with your thumb. Focus is locked at thisdistancenomatterwhereyouaim thecamera,or ifyoupress theShutterButtonhalfwayorfully,oreventakeyourfingeroffit(theShutterButton),aslongasyouholddownthisAF-ONbutton.

IfusingOne-ShotAF,youcanremoveyourfingerfromtheShutterButton,stillholdingtheAF-ONButtonwithyourthumb,andcomposeyourphotoas desired. Press the Shutter Button fully to take the image, and properexposureisdeterminedwhenyoutakethephoto(unlessyouhavealreadylockedexposurewith theAELockButton). Ifyoucontinue toholddowntheAF-ONButton,focuswillcontinuetoremainlockedatthatsameinitialdistanceasyoutakeadditionalimages.

IfusingAIServoAF,keepyourfingerhalf-pressingtheShutterButtonandkeeptheactiveAFPointlocatedoverthesubjectinordertokeeptrackingit.ButwhenyousimultaneouslypresstheAF-ONButton,thecamerawillstop tracking the subject. You could do this to momentarily stop focustrackingasanotherplayerrunsinfrontofyoursubject,andthenreleasetheAF-ONButtonandresumetrackingthesubject.

You can also remove the autofocus start and focus lock functions from theShutterButtonentirely,anduse theAF-ONButton tocontrol (beginand lock)autofocus.TheAF-ONButton thusneeds tobeset forMeteringandAFStart.(ThisiseffectiveforworkinginOne-ShotAFmodebutnotAIServoAFmode,because with AI Servo mode you need one button to start the focusing, andanotherbutton tostop/ lock focus.) Ifyouremovefocusing functions fromtheShutter Button, you would then set the Shutter Button to only control either

metering start by setting it forMetering Start, or perform exposure lock bysettingifforAELock(whilebuttonpressed) (seeFigure173).AELock(whilebuttonpressed)means that the ShutterButtonwillalways determine and lockexposurewhenhalf-pressed,similartothe[*]Buttonwhenpressed,andwillnotjustlockexposureinEvaluativeMeteringMode.

Figure173-UsingCustomFunctionC.FnIII-4:CustomControlstoassigntheShutterButton(left)to“AELock(whilebuttonpressed)”asshownatright.

RemovingthefocusingfunctionfromtheShutterButtontakessomegettingusedtoifyouareaccustomedtotheShutterButtonstartingand/orlockingautofocus,but after learning this technique there aremanywho prefer towork thisway(includingmyself).However,whenyourcameraisfirstsetupthisway,youmaywishtoputaPost-Itnoteonitwhenyouputitawaysaying“backbuttonfocus”toremindyourself,thenexttimeyouuseit,whythecameraisn’tfocusingwhenyoupresstheShutterButton.Evenafterusingbackbuttonfocusingoften,yourformerwaysofworkingandthinkingmayremainapartofyourshootinghabitsattimes.

This link to Canon further explains the concept and uses of back buttonfocusing:

http://www.usa.canon.com/dlc/controller?act=GetArticleAct&articleID=2286

Aswithotherdescriptionsofadvancedconcepts,Irealizethatthismightsoundconfusingwhensimplyreadingtheexplanation.Itisnecessarytotrythevarioussettingsandprocedureswiththecamera,changethesettingsandcarefullynoticethedifferences,andrepeatuntilyouunderstandexactlywhat ishappeningandwhy. The experimenting process itself may be frustrating at times, but isnecessary to continue until the concept finally “clicks” and becomes clear inyourhead.Andafteryouhavechangedyourcamerafromthedefaultsettings,besuretotestittoensurethatitwillfunctionasyouintend.Forexample,tryusing

back button focusing with still or moving subjects, and make sure that thecamerafocusesasyouintend,andthatfocusislockedasyouintendevenifyourecompose.AlsomakesurethattheShutterButtonisn’tsetupinamannerthatwilloverrideyourbackbuttonfocusingandthuscausethecameratorefocusonsomethingelseasyoutaketheshot.

6.8LiveViewandMovieAutofocusing

IntroductiontoLiveViewandMovieAutofocusing

IfyouhaveshotstillsorvideowithLiveViewusingapreviousdSLRcamera,youwill likelyhave experienced the slowautofocusing andhunting for focus,which made Live View autofocusing frustrating and impractical for manysituations, and virtually eliminated the usefulness of continuous autofocus forvideo shooting.And in the past itwas common thatmaking use of autofocuswhileshootinginLiveVieworvideowasslower,noisier,andmorecumbersomethanworkingthroughtheViewfinder.ThishasalldramaticallychangedwiththenewDualPixelCMOSAFLiveViewautofocus systemof the70D.With thissystem,CanonhasintroducedamajordSLRdevelopmentwhichwillresolvethemajorityoftheseissues,andaccordingtoCanon,thisnewDualPixelCMOSAFLiveViewautofocus systemof the70D is“breakthrough technology”and“arevolution.” Marketing hyperbole aside, it should prove to be one of theimportant developments in dSLR camera technology, particularly concerningdSLRvideo.TheincorporationofthisDualPixelCMOSAFtechnologyforLiveView will allow you to accurately focus much quicker, without the camerahunting for focus, aswell as enableyou to successfully trackmoving subjectspriortotakingtheshotduringstillshooting,andtoaccuratelymaintainsmoothandaccurate continuous focusonmoving subjectsduringmovie shooting (seeFigure174).

Figure174-MakinguseoftheDualPixelCMOSAFcapabilitiestoquicklyandsmoothlychangefocusfromoneareaofthescenetoanother,priortoorduringmovierecording,bysimplytappingonthedesiredareaoftherearLCDscreen.

Canon’s Dual Pixel CMOS AF is a sensor-based phase-detection autofocus

systemwhichallowsthecameratoquicklydeterminebothhowmuchasubjectis out of focus and inwhichdirection it needs to correct. (By sensor-based, itmeansthatnomirrorandseparateautofocussensorarerequiredtotemporarilyor partially divert the light for focusing, as is done with Viewfinderautofocusing.) Previously, dSLR Live View autofocusing relied on eithercontrast-detection systems, which had to test and hunt to determine whichdirection to correct, or hybrid systems which used phase-detection to get thesubject close to focus and then contrast-detection to fine-tune the final focus.And with previous systems, a limited number of separate, dedicated phase-detectionpixelswerelocatedaboutthesensor.Howeverwiththe70D,dedicatedphase-detection pixels are located at every pixel over a full 2/3 of the imagesensorarea-acentrallylocatedareathatisapproximately80%ofthesensor’swidth and height (see Figure 175). In other words, unlike Viewfinderautofocusingwhereautofocusingandsubject trackingcanonlyoccuratoneofthe 19AF Points,with LiveView autofocusing, this can occur at almost anypointofthislargecentralareaoftheframe!Obviouslyonecanseethebenefitsofmakinguseofthistoeitherimmediatelyfocusexactlywhereyouwish,ortotrackand retain focusonamoving subjectbefore taking the shot,without theissueoflosingitifitstraysawayfrom,orbetween,AFPoints.

Figure175-ApproximateareaoftheactivepixelsoftheLiveViewDualPixelCMOS AF system (outer dashed rectangle) compared to the location of theViewfinderAFPoints.Asyoucansee,thisareaisalsoapproximatelytheareaoftheFlexiZone-MultiAFbracketsasseenduringLiveViewfocusing,asshownhere in white. (Background image shown at 65% opacity to better view AFelements.)Canon’s ingenious solution for accomplishing this is to divide eachpixelintotwophotodiodesthatactindependentlyforthephase-detectionprocess

duringautofocusing,butworktogetherasasinglepixelforimagecapture.Eachpixel has a micro-lens that separates the light between the pixel’s twophotodiodes,and thecamera focusesbymakinguseof thephase-differenceasseenby the twohalves of eachpixel. For an excellent detailed explanationofhowphase-detectionand theDualPixelCMOSAF autofocusing systemwork,have a look at this article: http://www.imaging-resource.com/PRODS/canon-70d/canon-70dDUAL_PIXEL_AF.HTM

Severalinitialtestsofthistechnologyofthe70DhaveproventobeassuccessfulaspromisedbyCanon,andthissystemiscertaintoeventuallymakeitswayintothe fullCanondSLR line-up.While thisnewAFsystemwillworkwithallofCanon’s current lenses, the use of one of their newer STM “steppingmotor”lenseswillresult inevenquieterautofocusoperationwhileshootingvideo.So,aswithpreviouscameras,LiveViewisusefulforsituationssuchasworkingona tripod, macro shooting, and when placing the camera at a low or highviewpoint.Additionally,with its improved technology, it cannowprove to beveryeffectivefortrackingandfocusingonamovingsubjectsuchasatoddler,sportsplayer,dancer,bird,orotheranimal,etc.Althoughnotethatwhenusingacontinuous shooting DriveMode with Live View, the camera will lock focuswith the full Shutter Button press, and will not continue to track a movingsubject. And of course you can now make greater use of it when shootingmovieswithmovingsubjects,thougheventhentherearetimeswhereyouwillwishtomanualsetthefocusandthenretainthesamefocusdistance,orcarefullyadjust focus while shooting. An additional advantage of this system is thatbecausethecameraisusingtheimagesensoritselftofocus,withoutaseparateAFsensor,theimageshouldneversufferfromfront-focusorback-focusissuesdue tomis-calibration.An there are nomaximum aperture limitations for thissystemtofunction,meaningyoucouldpotentiallyusea telephotolenswithanf/5.6 maximum aperture plus a teleconverter and still take advantage of thisaccurateLiveViewautofocus.

Note that during Live View, the Final Image Simulation feature is active,meaningthattheimageyouseeontheMonitorreflectsapproximatelywhatwillbecapturedinthefinalimageincludingallofthecamerasettingssuchasWhiteBalance, Picture Style,AutoLightingOptimizer,Highlight Tone Priority, lenscorrections,andCreativeFilters. Ifyouhaveenabled theExposureSimulationitem of the Live View Shooting 1 menu, then the screen will also reflect theexposuresettingsyouhaveset.

MakingUseofLiveViewandMovieAutofocusing

ToenterLiveViewMode,settheLiveViewMovieShootingSwitchontherearofthecameratoLiveView(thecameraicon),andpresstheLiveViewShootingMovie Shooting [START/STOP]Button located inside this switch (seeFigure176).Ifnecessary,ensurethatyouhaveenabledLiveViewShootingintheLiveViewShooting1menu.YoucanaccessandsettheLiveViewAutofocusMethodintheLiveViewShooting1menu,orpressthe[Q]ButtonorTouchScreen[Q]iconandaccessthissettingdirectlyontheLiveViewScreenbyselectingtheAFicon at the top-left of theLCDMonitor (seeFigure177). Then use either thecontrolsor theTouchScreentomakeyourselection.AlsoremembertoenableContinuousAFintheLiveViewShooting1menuifyouwishtotakeadvantageof continuousautofocus.Thoughnote thatyouwill still need to achieveexactfocuswithahalf-pressoftheShutterButtonbeforetakingastillimage.AndbesuretoenableMovieServoAFintheMovie1menuifyouwishtomakeuseofcontinuousautofocusduringmovieshooting.

Figure176-Detailof theCanon70D,showing theLiveViewMovieShootingSwitch on the rear of the camera, and the Live View Movie ShootingSTART/STOPButtonlocatedinsidethisswitch.HeretheswitchisshownsettoMovieShooting.

There are four Live View Autofocus Methods to select from, as were firstintroduced in theMenuSettings chapter, includingFaceDetection+Tracking,

FlexiZone - Multi, FlexiZone - Single, andQuick Mode. These different AFMethodoptionsallowyoutodecidehowmuchofthescenethecamerawilllookattolocateasubject.Obviously,thesmallertheAFarea,themoreaccuratelythecamera isable to focusexactlywhereyouwish.Plus, the smaller theAFareaused,thequickerthecameracanfindfocusinmostsituations,becauseyouarelimitingtheareathatthecameraneedstoevaluatetofindandfocusonasubject.

Figure 177 - Left: Selecting the Live View autofocus mode in Live View bypressing the [Q]Button to access theLiveViewQuickControl Screen.Right:SelectingtheLiveViewautofocusmodebypressingthetopAFModeSelectionButton. Note that both methods of selecting the AF mode ([Q] Button or AFButton)willworkineitherLiveVieworinMovieShooting.

FaceDetection+TrackingAF:Thismode is represented in the cameramenusandscreenswithafaceicon,thoughIwillsubstitute“FaceDetection”inplaceofthisicon(seeFigure178).

Figure178-Selecting“FaceDetection+TrackingAF”LiveViewFocusMethodontheLiveViewQuickControlScreen.

Withthismethod,facesareautomaticallydetectedandcanthenbefocusedon.The camera will track the subject’s face as long as it remains visible to the

sensor.Ifmultiplefacesaredetected,youcanusetheMulti-Controllertomoveand place theAF Point square over the desired face, as shown by the arrowssurroundingtheAFPoint(seeFigure179).YoucanalsousetheTouchScreencapabilityandtaponthefaceyouwishtofocuson.(IfTouchShutterisenabledintheLiveViewShooting1menu,touchingthescreenwillalsotaketheimageafterfocusing.ThiscanbeturnedofforonusingtheTouchShuttericonatthebottom-leftof theMonitor.Press theINFOButton if it isnotyetdisplayedonthe screen. ThisTouchShutter feature applies to all LiveViewAFMethods.)Half-press theShutterButtonor press theAF-ONbutton to lock focus on theselectedface.AgreenAFPointwillindicatethefaceisinfocus,andanorangeAFPointwillindicatefocuswasnotachieved.PresstheShutterButtonfullytotaketheshot.

Figure 179 - “Face Detection+Tracking AF” Live View Focus Method. Thewhite arrows surrounding the AF Point square (on my face, near the center)indicatethatmultiplefacesaredetected,andthatyoucanpressleftorrightonthe Multi-Controller to select another face, or simply tap on the face on thescreen.

Ifnofacesaredetected,orifthefaceisoutsideofthelargecentralareaoftheframe, or if you tap on an area without a face, the camera will default toFlexiZone-MultiAFmode.ThiswillcauseaslightfocusinglagasthecamerafirstlooksforafacebeforechangingtotheFlexiZone-MultiAFmode.Onceinthatmode,ifyoupresstheSETorEraseButton,thelargeAFPointwilljumptothecenteroftheframe,andyoucanusetheMulti-Controllertomoveitaround

the frame. Pressing the SET or Erase Buttons againwill toggle back toFaceDetection.

FlexiZone - Multi AF: This method makes use of up to 31 automaticallyselectedAF Points (not shown on the LCDMonitor), or 9manually selectedzones to locate a subject and achieve focus (seeFigure 180). The number ofpoints is limited to21AFpointsor3zoneswhenworking in the16:9AspectRatioandduringmovieshooting.Youcanchoosebetweenautomaticselectionand manual zone selection, though when shooting in one of the Basic Zoneshootingmodesthecamerawilluseautomaticselectiononly.PresstheSETorEraseButtontoswitchbetweenautomaticselectionandmanualzoneselection,andthenifusingzoneselection,usetheMulti-Controllerortouchthescreentoselectyourdesiredzone(ofthenineavailablezones).TheSETorEraseButtonwillreturnyoutothecenterzone,andpressingitagainwillswitchtoautomaticselection.

Figure 180 - Left: “FlexiZone - Multi AF” Live View Focus Method, withautomaticselection,asseenontheLCDMonitor.Thecamerawilldecidewheretofocus.Right:“FlexiZone-MultiAF”LiveViewFocusMethod,withmanualselection, and the far-right zone selected. Press the SET or Erase Button toreturn to thecenterzone,and tap the“return” iconon thescreen toswitch toautomaticselection.

Again,half-presstheShutterButtonorpresstheAF-ONbuttontolockfocusonthesubjectwithintheselectedzone.AgreenAFPointorPointswillindicatethesubjectisinfocus,andanorangeAFPointwillindicatefocuswasnotachieved.PresstheShutterButtonfullytotaketheshot.YoucanusetheMagnifybuttonortapthezoomiconatthelower-rightofthescreentomagnifytheselectedareaontheLCDMonitor(seeFigure180-left),althoughtheactualfinal imagewillnotreflectthismagnification-itismerelytomorecloselyinspectthescene.Ifthezoomiconisnotvisible,suchasinFigure180-right,presstheINFOButton

tohaveitappearonthescreen.TheimageviewontheLCDMonitorwillrevertback to the full view when the Shutter Button is half-pressed or the AF-ONButtonpressedforfocusing,asthecameraneedsalargerviewforfocusing.

FlexiZone-SingleAF:WiththismethodasinglesmallerAFPointisusedforfocusing(seeFigure181-left).Youcanmove thepointaround thescreenwiththeMulti-Controller,andusetheSETorEraseButtontoreturntheAFPointtothecenter.YoucanalsotaptheTouchScreentopositiontheAFPoint.WhentheAFPoint is locatedoveryourdesired subject,half-press theShutterButtonorpress the AF-ON button to lock focus, and fully-press the Shutter Button tocapturetheimage.Again,agreenororangeAFPointwillindicateiffocushasbeenachievedornot.YoucanusetheMagnifybuttonortapthezoomicononthescreen tomagnify theAFPointareaon theLCDMonitor(tomorecloselyinspect the subject), although the actual final image will not reflect thismagnification (See Figure 181-right). (Again, press the INFO Button if thezoomicon isnotvisibleon thescreen.)However,unlikewithFlexiZone-MultiAF, here the camerawill retain thismagnifiedviewasyou focus and take theshot, thusenablingyoutobetterverifyfocus.Butnote that thecamerawillbemakinguseofslowercontrast-detection(pronetohuntingforfocus)andnotthenew phase-detection system when focusing in this magnified view, andContinuousAFwill not be possible, so it needs to be a still subject.And themagnifiedviewwillaffecttheexposuresettings,soitisbesttoreturntothefullviewbeforetakingtheshot.

Figure181-Left:“FlexiZone-SingleAF”LiveViewFocusMethod,with theAF Point positioned over the llama’s head, and seen in green indicating thatfocushasbeenachieved.Right:PresstheMagnifyButtontozoominforacloserlook, and use theMulti-Controller or Touch Screen arrows to pan around thescreen.

When shooting amovie, FlexiZone - Singlewill allowyou to autofocusmost

preciselyontheexactareaorsubjectyouwishtofocus,asitoffersthesmallestAFPoint.ThoughnotethattheAFPointbecomeslargerifMovieServoAFisenabledintheMovieShooting1menu(seeFigure182).EnablingMovieServoAFintheMovieShooting1menuwillallowthecamera tocontinuouslyfocusontheselectedsubject(thesubjectlocatedattheAFPoint).YoucanthentapontheTouch Screen, as you are recording, to relocate the area of focus (theAFPoint)andthecamerawillautomaticallyandquicklyrefocusonthenewsubject.This immediate and accurate refocusing is one of the important advantages ofthenewDualPixelCMOSAF system. If youwish to stop continuousMovieServoAF,presstheFlashButtononthecamera,orpresstheSERVOAFiconatthelower-leftoftheLCDMonitor(seeFigure182-left).PresstheINFOButtonifthescreeniconsarenotvisible.

Figure 182 - “FlexiZone - Single AF” Live ViewFocusMethod as seenwithmovieshooting.Left:A largersingleAFPoint is seenbecauseMovieServo isenabledintheMovie1menu.NotetheSERVOAFiconatthelower-leftofthescreen to enableordisable continuousautofocus,and theMagnify iconat thelower-right to zoom in for a closer look prior to recording. Right: A smallersingleAFPointbecauseMovieServowasdisabledintheMovie1menu.

QuickMode:Withthismode,displayedasAFQuickon theLiveViewscreen,you use the 19 autofocus points similar to the Viewfinder AF Points, asdisplayednowontheLCDMonitor(seeFigures183and184).Sincethecameraisusingthededicatedautofocussensortofocus(asduringViewfindershooting),itmomentarily interrupts theLiveViewon theLCDMonitorwhen it flips themirrorbackdowntoaccesstheAFsensor.ItwillbenoisierthantheotherLiveView autofocusmethods, and youwill briefly lose sight of the scene on yourLCDMonitor.

Figure 183 - Selecting “QuickMode” Live View FocusingMethod, using theLiveViewQuickControlScreen.

Figure184-“QuickMode”LiveViewFocusingMethod,andthe19AFPoints.Herethelower-rightAFPointisselectedandlocatedoverthetruckmodel.

AndaswithViewfinderautofocusing,youcanallowthecameratoautomaticallyselectanAFPointoryoucanmanually selectyourdesiredpointorazoneofmultiple points. Press the top AF Area Selection Mode Button repeatedly totogglebetweenautomaticandmanualAFPointselection,includingSingle-PointAF,ZoneAF,and19-PointAutomaticSelectionAF (seeFigure185).With19-PointAutomaticSelectionAFyouwillseetheautofocusbracketsonthescreen,andwithmanualAFpointselectionyouwillseethe19AFPointsandeitheralargersinglepointorlargerzoneofpointsasyoumakethisselection.ThenusetheMulti-ControllertoselectyourdesiredAFPointorZoneandpresstheSET

orEraseButtontoreturntothecenterpointorZone.YoucanalsotaptheTouchScreentoselectyourdesiredpoint.

Figure 185 - “QuickMode” Live ViewFocusMethod andAFArea SelectionModes - Press the top AF Area Selection Mode Button repeatedly to togglebetweenautomatic andmanualAFPoint selection, includingSingle-PointAF,ZoneAF,and19-PointAutomaticSelectionAF.

PresstheShutterButtonhalfwayorpresstheAF-ONbuttontolockfocus.Youwillhearthesoundofthemirrorflippingdownandback.AgreenororangeAFPointwill indicate if focushasbeenachievedornot.Press theShutterButtonfully to take the picture. Quick Mode cannot be used in conjunction withContinuousAFtotrackamovingsubjectastheotherLiveViewAFmodescan,and cannot be used duringmovie shooting. It does notmake use of theDualPixel CMOS AF system, but instead uses the phase-detection autofocusingsensor as used with Viewfinder shooting. Again you can make use of theMagnifyButtonoricontozoominclosertotheareaoffocusandthentaketheimage, but the final image will be the full framing of the scene and not themagnifiedview.

ManualFocus:YoucanofcoursealsomanuallyfocusinLiveViewandMovieMode.Inthepast,thishasbeenthedesiredmethodoffocusingwhenshooting

video because it avoided the possibly slow, erratic, and noisy hunting andsearchingofLiveViewautofocusing- thoughnowthenewDualPixelCMOSAFLiveView/Movieautofocussystemwillresultindramaticimprovement.

Important: Before switching to manual focus, be sure to first exit movieshooting or Live View so that the lens is not actively continuously focusing.Thenswitchyour lens toMFformanual focusing.Youcandisplaya focusingframetoassistyoubypressingthezoom-inMagnifyButtonortappingthezoomiconontheTouchScreen.MovethefocusingframearoundthescreenusingtheMulti-Controller,thenzoomincloserforabetterlookbyrepeatedlypressingtheMagnifyButton.YoucanstillusetheMulti-Controllertopanaroundthescreenwhen magnified. Continue to press the Magnify Button to return to the fullscreenview,andpresstheSETorEraseButtontoreturnthemagnifyingframeto the center.Turn the focus ring on your lens to focus, and press theShutterButtontotaketheimage.

7.DRIVEMODES

TheDriveModesettingcontrolsthenumberofshotstakenwhenyoupressandholddowntheShutterButton.Thisisusedtocapturejustasingleshotoraburstof several consecutive shots. Select the Drive Mode by pressing the DRIVE(DriveModeSelection)ButtonontopofthecamerathenturningtheMainDialorQuickControlDialasyouviewthesettingsonthetopLCDPanel.Youcanalsousethe[Q]ButtonorTouchScreen[Q]iconandQuickControlScreentochangetheDriveModebyselectingortouchingtheDriveModeicontoaccesstheoptions(seeFigure186).DuringLiveView,youcanchangetheDriveModeusingeitherthe[Q]Buttonor[Q]iconandtheLiveViewQuickControlScreen,orbypressingthetopDRIVEButton(SeeFigure187).

Figure186-DriveModes,asaccessedthroughtheQuickControlScreen.SelecttheDriveModeicon(left)andchangeitdirectlyontheQScreenwithoneofthedials,orpressSETortaptheicontoviewtheoptions(right).

Figure187 -Changing theDriveMode inLiveView -Left:Afterpressing the[Q]Buttonor[Q]icon.Right:BypressingtheDRIVEButtononthetopofthecamera.

Single Shooting will take just one shot even if you keep holding down theShutterButton.Use this, obviously,when you onlywish to take single shots.Consider using it when you are photographing with the built-in flash or anexternal Speedlite flash, because the flash may need a brief time to fullyrechargebetweenshots.

High-SpeedContinuousShootingwillkeeptakingphotosasyouholddowntheShutter Button, approximately 7 frames per second (fps). Use this for actionsituations when you want to capture the exact right moment or the peak ofaction, or when a subject’s expression may be changing from moment tomoment,orwhencapturinganimals inmotion.Remember thatwhenusingAIServo AF focus mode, you can keep the Shutter Button fully pressed andcontinuetotakerapidshotsastheAFsystemcontinuestotrackandfocusonthesubject. Keep in mind that 7 frames per second can quickly add up and willrapidlyfillupyourmemorycardwithmultiple,similarshotsthatmustbesaved,backed-up, viewed, edited, etc. Be conscious that it is a real cost of time andstoragespace tooveruse thiswhennotnecessary!Note that the“fineprint” intheCanon70Dmanual (pg.112) explains that the7 fpsmaximumcontinuousshootingspeed isonlyattainablewhenusingashutterspeedof1/500orfasterandthemaximumapertureofthelens.PlusyoumayneedtoworkinOne-ShotAF mode, and turn off image stabilization with some lenses. The use of in-camera processing features such as ChromaticAberration Correction can alsoslowdown the burst rate. So in otherwords, based on your settings and yourlens,youmaynotalwaysachievethemaximum7fps.Again,itisimportanttonote that if youmake use ofHigh-Speed or Low-SpeedContinuous ShootingduringLiveViewshooting, thecamerawill lockfocusat thefirst imagewhentheShutterButtonispressed,andwillnotcontinuetotrackamovingsubject.

Low-SpeedContinuousShootingwillkeeptakingphotosasyouholddowntheShutter Button, approximately 3 frames per second (fps). Use this for actionsituationsasexplainedwithHigh-SpeedContinuous,butwhenyoudon’trequiresucharapidcontinuousshootingrate.Itcanalsobeusedinsituationswhereyouareforcedtouseaslowshutterspeed,andtheimagemaybeblurredfromyourunsteadyhand.By taking a burst of shots, typically at least one of them is insharpfocus.

SilentSingleShooting uses a slower and quieter shutter andmirror action sothatyoucanremainasdiscreetaspossiblewhileshootinginsituationssuchasweddings, performances, or certain photojournalistic scenes. This is indicatedwithan“S”aspartoftheDriveModeicononthetopLCDPanelorrearLCD

Monitor.Theremaybeaslightshutterlag(afewmoremicro-secondsaftertheShutter Button is pressed and the image is taken) compared to using SingleShootingDriveMode.

SilentContinuousShooting also uses a slower andquieter shutter andmirroraction so that you can remain as discreet as possible, and also allows up to 3framespersecondcontinuousshooting.Again, this is indicatedwithan“S”aspart of theDriveMode iconon the topLCDPanelor rearLCDMonitor (seeFigure 188). Again, theremay be a very slight shutter lagwhen using SilentContinuousShooting.

Figure188-DriveModes-Left:SilentContinuousShooting.Right:Self-Timer-selecteitherthe10secondself-timerasshown,orthe2secondself-timericonatthefar-right.

SelfTimer/Remoteisusedtotakeaphoto2or10secondsafteryoupresstheShutterButton(seeFigure188).The10seconddelay isactive if just theSelf-Timer/Remote icon isshownon the topLCDPanel,and the2seconddelay isactiveifthenumber2isshownnexttotheicon.Thismodecanalsobesettobeused in conjunction with a remote control such as the Canon RC-6, and thesettingswilltheneithertakethephotoeitherimmediately(not10seconds)or2secondsafterpressing the remote. Inaddition togivingyou theopportunity toget into the shot, the self-timer can be utilized to prevent the camera fromshaking a tiny bit from your finger pressing the Shutter Button. So it can beused,withthecameraonatripodorotherstableposition,totakemacroshotsorlong exposure shotswhere youwant sharp focus andwish to prevent cameramovement. Use in conjunction with Mirror Lockup, found in the Shooting 2menu,tohelpfurtherpreventcamerashakeduringtripodshooting.

8.EXPOSUREPart1

Toconsistentlymakesuccessfulimagesyouneedabasicunderstandingofwhatis sometimes called the “exposure triangle,” which is the function of andrelationshipbetween theshutterspeed,aperture,andISOsettings.Whilesomemay find this subject to be confusing, intimidating, and perhaps sometimescounter-intuitive,itliesatthecoreofdSLRcamerauseandimagemaking,soitisessentialthatphotographersunderstandit.Ifyoudon’tyetfullyunderstandthe“exposure triangle” after reading this section, read a book dedicated to thesubjectrightaway,suchasBryanPeterson’sUnderstandingExposure.

Figure189-DetailoftheCanon70D,includingtheModeDial.

8.1IntrotoAperture,ShutterSpeedandISO

Exposure is controlled by three settings,which determine the amount of lighthitting the sensor, the time that the sensor is exposed to the light, and thesensitivity of the sensor.An optimally exposed image is obtainedwhen all ofthese settings are harmoniously set based on the lighting of the scene and thedesiredresults.Sinceallthreesettingsworktogether,theycanbechangedina

specific situation (one can be raised and another lowered) and a “properly”exposedimage(onethatisnotoverexposedorunderexposed)canstillbetaken.But the resulting imagesmay be dramatically different. For example you cantaketwoverydifferentyetproperlyexposedphotosofarunnermovingacrossyour frame. Inoneshot the runner is frozen inspaceand in theother shot therunner is a blurred streak of color.Or you can take two properly exposed yetverydifferentlookingportraitsofasubject.Inoneshotthesubjectandthetreesbehindthemareallinfocusandinanotherthesubjectisinsharpfocusbutthetrees behind them are softly out of focus. The differences depend on whichshutterspeedand/orwhichaperturesettingyouorthecamerachooses.

Aperture istheopeninginthelensthatcontrolstheamountoflighthittingthesensor.Youcancontrol the sizeof thisopening inAperture-PriorityAEmode(Av),andinManualmode(M)byusingtheappropriatedial(tobeexplained)orviatheQuickControlScreen(seeFigure190-left).Alargeopeningletsinalotoflightandasmallopeningletsinalittlelight.

ShutterSpeedistheamountoftimethattheshutter,whichisthecurtaininfrontofthesensor,isopen.Ifitisopenalongtime,alotoflighthitsthesensorandifitisopenashorttimelesslighthitsthesensor.Youcancontroltheshutterspeedin Shutter-Priority AE mode (Tv), and in Manual mode (M) by using theappropriatedial(tobeexplained)orviatheQuickControlScreen.

ISOisthesensitivityofthesensor,itsabilitytograbthelightthatlandsonit.AlowISOisnotverysensitivetolightanddoesnotgrabmuch(relatively),andahighISOisverysensitivetolightandgrabsallitcan.YoucancontroltheISOspeedbypressing the top ISOButtonand turningeitherdial,orvia theQuickControlScreen(seeFigure190-right).

Figure 190 - Aperture settings (left) and ISO settings (right), as accessedthrough the Quick Control Screen or by pressing the top buttons when the

ShootingFunctionSettingsScreenisshownontherearLCDMonitor.Notethatthe aperture screen will indicate which direction to adjust for a “Small” or“Large”f/number,thoughyouwillneedtoknowthata“Small”f/numberisawider aperture that provides shallower depth of field, (and isn’t actually a“smaller”numbersinceitisafraction,aswillbeexplained).

As you can see, they all relate to the light hitting the sensor. For a properexposure,onethatisn’ttoolightortoodark,therightamountoflightneedstohit the sensor and the sensor needs to be at the right sensitivity to accept thatlight.Soall threework together tocontrolandaccept theamountof light thathits the sensor. InAuto+Mode, the camera chooseswhat it thinks is the bestcombinationofthesethreesettingsandcreatesaproperexposure.Forexample,a small opening (aperture) will need more time (shutter speed) to let in thenecessaryamountoflightbasedonthecurrentsensitivityofthesensor(ISO).Alargeopeningwillneedlesstimesincemorelightcomesinthelargeopeningatonce. You are going to want to take over control of these choices from thecamerabecausethesethreesettingsjusthappentodootherthingsaswell.

Aperturealsocontrolsthedepthoffield,whichisthedistancerangethatobjectswillberenderedacceptablysharp.Adeepdepthoffieldmeansthateverythingfromafewfeetinfrontofyoutovery,veryfarawayisallinfocus.Thisisoftendesirableinphotosoflandscapes.Ashallowdepthoffieldiswhenperhapsjustafewfeetorevenjustinchesofthesceneinfrontofyouareinfocus,forexampleaportraitorimagewherethesubjectisinfocusbutthebackgroundisblurry(seeFigure191).Inportraitswithverydramaticshallowdepthoffield,perhapsthesubject’s eyes and nose are in focus but their ears and everything beyond isblurry.

Figure 191 - Bee andFlower,Cambridge,Mass. - A “wide” aperture createsshallowdepthoffieldwhichemphasizesthesubjectandcausesthebackgroundtoappearoutoffocus.70D:Shutterspeed1/200,Aperturef/4.0,ISO100.

ShutterSpeedcontrolsyourabilitytofreezeamovingsubjectortoletitbecomeabluracrossyourframe.Afastshutterspeedwillfreezetheactionandaslowshutterspeedwillcauseanymotiontobecomeablur(seeFigure192).

Figure192-Mototaxi,Pucallpa,Peru.Useofaslowshutterspeed toexpressmotionthroughblur.Camerawascarefullyhand-heldhere,thoughtheuseofatripodisrecommended.Shutterspeed1/20,Aperturef/14,ISO100.

ISO doesn’t reallydoanything fun.High ISOsettings just cause the image tohavemore digital noise and loss of detail and sharpness,which you typicallywanttoavoid.However,thehighISOperformanceofthe70D’ssensorisverygood,anddependingonyourneedsanduses,JPEGimagesfromthiscameracanhave an acceptable, minimal amount of digital noise up to around 1600 ISO(with in-camera noise reduction is enabled) and even very useable images at3200ISOorperhapshigher-dependingonthefinalimageuseandoutputsize.ToinspectISOresults,pleaseviewsomeofthepreliminaryJPEGtestimagesItookshownbelow(SeeFigures193and194),whichcanbeviewedlargerintheCanon 70D ISO set at:http://www.flickr.com/photos/dojoklo/sets/72157635390783665/

Figures 193 and 194 - Samples of various ISO settings (JPEG, with LongExposure Noise Reduction: Auto, High ISONoise Reduction: Standard).Top:70D:Shutterspeed0.4sec,Aperturef/6.3,ISO400.Bottom:70D:Shutterspeed

1/40,Aperturef/6.3,ISO6400.

DPReview has also performed high ISO tests with JPEG and RAW images,whichcanbeinspectedhere:

http://www.dpreview.com/previews/canon-eos-70d/9

Keep in mind that what is considered “good” or “acceptable” varies by user,situation, image use and audience, and the size at which the image will beviewedorprinted.Basedonmyexperimentation,IbelievethathighISOJPEGimages(thattakeadvantageofin-cameranoisereduction)displaythefollowing:

1600ISO-begintoshowaslightshiftinimagequality,butstillretainexcellentdetail,color,andverylittlenoise.

3200 ISO - can appear very good, with some noise, goodretention of detail, andwith some loss of sharpness that can belargelycorrectedwithcarefulsharpeninginpost-processing.

6400 ISO - noticeable noise appears, images can still be veryacceptable for some needs, but with some loss of detail andsharpnessandslightchangesofcolors.

12,800ISO -willdisplayexcessivenoiseandnoticeable lossofdetailandsharpnesswithsomechangesofcolors.

OfcourseviewingaJPEGimagetakenat3200ISOnexttoonetakenat400ISOwill clearly demonstrate a difference in quality. But you may find thatindependentlyviewinganimagetakenatthehigherISO,particularlyatsmallerdimensions, will often result in an image of perfectly acceptable quality,dependingonyourneeds.RAWimagesdonotdisplaysuchdramaticresultsatthesehighISOsettingsas theJPEGimagesprocessedby thecamera,andwillrequire further processing inDPPorPhotoshop (orLightroom,Aperture, etc.)fornoisereduction,colorcorrection,andsharpening.

Allofthatbeingsaid,youtypicallywanttousethelowestISOsettingpossibleforthesituation,butyoumayneedtochangeittoallowfortheaperturesettingorshutterspeedthatyouwishtouse,aswillbeexplainedjustbelow.

8.2Aperture-PriorityAEMode(Av)andShutter-PriorityAEMode(Tv)

Aperture-Priority AE Mode - Av: Many dedicated photographers work the

majorityofthetimewiththeircamerasetinAperture-PriorityAEmode(Av)sothattheyhavefullcontrolofthedepthoffield(dof)oftheirimages.Aswillbediscussedmore in theComposition chapter, depth of field is one of themostpowerfulcompositiontoolsavailabletophotographers.

Aperture settings are identified by numbers such as f/5.6 or f/16. In theViewfinder of your camera and on the top LCD Panel you will just see thenumber like 5.6 or 16. On the Shooting Function Settings Screen or QuickControl Screen viewed on the rear LCDMonitor you may see F5.6 or F16.These numbers often confuse people because a seemingly “small” aperturenumberlikef/2.8 isa largeapertureopening,andaseemingly“large”aperturenumber like f/22 is a small aperture opening. But because they are fractions,f/2.8reallyislargerthanf/22.1/3ofapieislargerthan1/22ofapie,right?SoIwill say largeaperture size tomean a large opening (maybe f/2.8 or f/4) andsmall aperture size to mean a small opening (maybe f/16 or f/22). A largeaperturesizewillcreateshallowdepthoffield,whichwillmakethebackgroundblurry, andgenerally creates amoredramaticor interestingphoto that focusestheviewer’sattentiononyourintendedsubject.Asmallaperturesizewillcreatedeepdepthoffield,whereeverythingfromtheforegroundtothedistanceis infocus,andisoftenusedinlandscapephotography(seeFigure195).YoucanuseAvmodemostofthetimefornon-actionsituations,tocontroltherangeofyourdepthoffieldandtheamountofbackgroundblur.

Figure195-LongfellowHouse,Cambridge,Mass.-Asmallaperturesizecanbeusedtocaptureeverythingintheimagefromtheforeground(thesign)tothedistance (the house) in sharp focus.Although f/11was used here, f/16 or f/22wouldhaveworkedaswell or evenbetter. Shutter speed1/500,Aperture f/11,ISO200.

Whenworking inAperture-PriorityAEMode (Av), simply turn the topMainDial to change the aperture setting, as you view the number on the top LCDMonitororintheViewfinder.YoumayneedtotaptheShutterButtontowakeupthecamerafirst.YoucanalsousetheQuickControlScreentosettheaperture,includingusingtheTouchScreentoswipeacrosstheaperturescale(seeFigure196). During Live View, you can either use the topMain Dial to change thesetting,ortaptheApertureicononthebottomofthescreenandswipeacrosstheAperturescaletochangethesetting(seeFigure197).

Figure 196 - The Aperture setting as displayed on the Quick Control Screen,shownhereasF5.6(left).Selectortouchtheapertureiconinordertoaccesstheaperturescalewhichcanbeadjustedbyswipingonthescreen(right).

Figure197-DuringLiveView(left),taptheApertureicononthebottomofthescreen(theiconthatreads“8.0”here),andswipeacrosstheAperturescaletochangethesetting(right).

IfyouseeoneoftheexposuresettingsblinkingintheViewfinderorononeofthedisplays,theexposureisbeyondtherangeofthecameraandtheimagewillbeunder-oroverexposed.YouwillneedtoadjustyouraperturesettingorchooseanISOsettingthatisappropriateforthescene,suchasalowISOforbrightlight(100,etc.)orahighISOforlowlight(1600,etc).

Theamountofbackgroundblurringyoucanachievewillvarywidelydependingonseveralfactorsincludingtheaperturesetting,thecameratosubjectdistance,the distance between the subject and the background, and indirectly the focallengthof the lens andhow that affects howcloseyouwill need tobe toyoursubjectinordertoframethesceneasyoudesire.Inordertoachievethegreatestamount of backgroundblurring, use awide aperture such as f/2.8 or f/4.0, setyour lens at the longest telephoto focal length (the highest number such as135mmforthe18-135mmlens),andbackupifnecessarytofityoursubjectinto

the frame.Make sure thatyour subject is separated from thebackground - forexamplenotstandingimmediatelyinfrontofawallortree(seeFigure198).

Youmay find that your lens only allows amaximum aperture of f/3.5 at thewidestfocallength,andbecomesevenmorelimitedtof/5.6whenyouzoominallthewayonthetelephotoend.Iwilldiscussvariouslensesandtheirfeaturessuch as variablemaximum apertures in theLenses chapter, but this limitationshouldbegintoexplainsomeoftheadvantagesofhighquality(moreexpensive)lenses,andwhyyouwilloftenhearorreadaboutphotographersravingovertheresults they can achievewith a 70-200mm lenswith an f/2.8 fixedmaximumapertureoran85mmlenswithanf/1.2maximumaperture.

Figure198-Portrait,Cambridge,Mass.-Thesubjectispositionedseveralfeet

in front of the background wall so that the background can be renderedsomewhat out-of-focus, so as not to distract from the subject. Shutter speed1/250,Aperturef/4.0,ISO200.

Shutter-PriorityAEMode -Tv: To control the shutter speed you need to useShutter-PriorityAEmode(Tv).Shutterspeedsareidentifiedbytimeinsecondsormostoftenfractionsofasecond.Aslowshutterspeedissomethinglike1/2or1/30,whilea fast shutter speed isperhaps1/500,1/1000,or faster. Inorder totake a photo that does not have blur caused by camera or subject movementwhenhandholding, thecameraneeds tobe set at anappropriate shutter speed.Generallythisis1/60orfaster,suchas1/125or1/250.Aruleofthumbistouseashutterspeedthatisatleastasfastasthereciprocalofyourlensfocallength(and at a minimum 1/60 or faster). So if you are using a 200mm lens, yourshutterspeedneedstobe1/200orfaster-forstillsubjects.Youcancheatalittleifyourlenshasimagestabilization,anduseaslightlyslowershutterspeedthanthesituationcallsfor.Butnotethatimagestabilizationcompensatesforcameraand lensmovement in your unsteady hands, not for subjectmovement. Imagestabilizationdoesnotfreezeamovingsubject-afastershutterspeeddoesthat.For moving subjects you need to increase the shutter speed, and use maybe1/500,1/1000,orfaster,butthisvariesbysubjectspeed,direction,anddistancefrom thecamera.Usea slowshutter speedsuchas1/30 to intentionallycreateblur-eitherpanwiththesubjectorholdthecameraverystilloronatripodasthesubjectmovesacrosstheframe(seeFigure199).UseTvmodewhenshutterspeed is critical and takes priority over depth of field, such as photographingfastactionyouwishtofreezeorwhenyouwanttopurposelycreateblurwithaslowshutterspeed.

Figure199-BookstoreWindow,Cambridge,Mass. -Aslowshutterspeedcanexpress action, activity, and movement (the motion-blur of the walkingpedestrians).Shutterspeed1/25,Aperturef/7.1,ISO100.

WhenworkinginShutter-PriorityAEMode(Tv),simplyturnthetopMainDialto change the shutter speed setting, as you view the number on the top LCDMonitororintheViewfinder.YoumayneedtotaptheShutterButtontowakeupthe camera first.You can also use theQuickControlScreen to set the shutterspeed,includingusingtheTouchScreentoswipeacrosstheshutterspeedscale(seeFigure 200). During LiveView, you can either use the topMainDial tochangethesetting,ortaptheShutterSpeedicononthebottomofthescreenandswipe across the Shutter Speed scale to change the setting (see Figure 201).

Again,ifyouseeoneoftheexposuresettingsblinkingintheViewfinderoronone of the displays, the exposure is beyond the range of the camera and theimagewillbeunder-oroverexposed.YouwillneedtoadjustyourshutterspeedsettingorchooseanISOsettingthatisappropriateforthescene,suchasalowISOforbrightlight(100,etc.)orahighISOforlowlight(1600,etc).

Figure 200 - Shutter-Priority Auto Shooting Mode (Tv) - The Shutter Speedsetting as displayed on theQuickControl Screen, shown as 1/500 here (left).SelectortouchtheshutterspeediconinordertoaccesstheShutterSpeedscalewhichcanbeadjustedbyswipingonthescreen(right).

Figure201-DuringLiveView,taptheShutterSpeedicon(left)onthebottomofthescreen(theiconthatreads“13”here),andswipeacrosstheAperturescaletochange thesetting (right).Note that1/13 is far tooslowofashutterspeed,unlessusingatripod.

8.3ISO

Ifthesearealreadytoomanyvariablesfornow,youcanjustleaveyourcamerasetonAutoISOandallowthecameratomakethischoice.Butyoumayfind,forexamplewhenworking inAvShootingMode, that the camera is choosing anISOthatiscausingittoselectshutterspeedsthatareslowerthanyouwish.Soitisbesttotakecontrolofthissettingtoosothattheexposuresettingsaren’tlefttochance.

TochangetheISOsetting,pressthetopISOButtonandturntheMainDialorQuick Control dial as you view the setting on the top LCD Panel or in theViewfinder.RememberthatthisISOButtonhasasmallraiseddotonittohelpyoulocateitwithouttakingyoureyefromtheViewfinder.Youcanalsochangethis setting by using the [Q]Button or Touch Screen [Q] icon and theQuickControlScreen(seeFigure202).Whenusing the ISOscaleviaQuickControlScreen to change the ISO setting, you can press the INFOButton to quicklyjump to Auto ISO, as indicated on the screen (seeFigure 202-right). DuringLiveView,presstheISOicontoaccesstheISOscale,whichyoucanswipetoadjust on theTouchScreen (seeFigure203).DuringLiveView you can alsopressthetopISOButtontoaccesstheISOsettingsonthescreen.RecallthatyousetvariousparametersforISOandAutoISOintheShooting3menu,includingtheISOrangesthatyouorthecamerawillbeabletochoosefrom.

Figure202-UsingtheQuickControlScreentochangetheISOSetting-SelectortouchtheISOiconinordertoaccesstheISOscalewhichcanbeadjustedbyswipingonthescreen(right).Press theINFOButtonorscreenicontoquicklyjumptoAutoISO.

Figure203-DuringLiveView,press theISOicon,near the lower-rightof thescreen(left)toaccesstheISOscale,whichyoucanswipeontheTouchScreentoadjust(right).

Asaruleof thumbyoucanstartoffwith thefollowingISOsettings,and thencheckyourapertureandshutterspeedtoconfirmtheyareintherangeyouwish.Throughexperienceyouwillgetabetter,instinctivefeelforwhichISOtostartwithinvariouslightingsituations.

ISOSettingstostartwith:

Sunnyday:100-200ISOCloudydayorintheshade:200-800ISOEveningorindoorswithoutflash:400-3200ISO

In Av mode you are selecting the aperture, and the camera is selecting theappropriate shutter speed to create the proper exposure. Since you are notcontrolling the shutter speed in Av mode, you need to keep your eye on theshutterspeedthatthecameraisselecting(intheViewfinderoronthetopLCDPanelorbackLCDMonitor)andmakesurethatitis,typically,atleast1/125orfaster, depending on your lens and subject motion. If the shutter speed thecamera selects is slower than you desire, you have to increase the ISO andthentheshutterspeedthatthecamerachooseswillincrease,becauseyouhavein effect made the sensor more sensitive to the light. In Tv mode you areselectingtheshutterspeedandthecameraisselectingtheappropriateaperturetocreate the proper exposure. Since you are not controlling the aperture in Tvmode,youneedtoobservewhataperturethecameraischoosing.IfyoudesireasmalleraperturesizeraisetheISOandtheaperturethatthecameraselectswillbe smaller in size. Since a higher ISOwillmake the sensormore sensitive tolightandthuslesslightisneededforaproperexposure,asmalleraperturesizewhich lets in less light is then allowed.And conversely, lower the ISO if you

wantalarger(wider)aperturesize.

WhenworkinginLiveView,youcanalsochangetheexposuresettingsviatheapplicable Touch Screen icons at the bottom of the Live View InformationDisplayontherearLCDMonitor.

8.4FullStops

As a brief aside, if you recall from theMenu andCustomFunctions settings,someoftheminvolvedfullstops,1/2stopsand1/3stops.Booksaboutexposurewillalsotalkaboutstops(alsocalledstepsorExposureValuesorEVsteps).Thatwasprobably thepointwhereyourhead started tohurt andyouputdown thebook.Andyouwillhearaboutstopswhenusinga flashorevencertain filterslikeapolarizingfilter.Long-timephotographersalwayswantyoutoknowaboutstops and exposure values because it is sometimes complicated, hard earnedknowledgethattheyhadtolearnandtheywantyoutosuffertoo.

In the days of film cameras, photographers easily learned what the full stopswerebecausetheywerelistedondialsontheircameraorontheapertureringontheir lens. Nowwe just see numbers on the screen or in the Viewfinder, andusersmaynotknowwhichonesarethetraditionalfullstopsandwhicharethe1/2 stops or 1/3 stops. So below are the traditional full stops for apertures,shutterspeeds,andISO.

Apertures:f/1.4f/2f/2.8f/4f/5.6f/8f/11f/16f/22f/32

ShutterSpeeds,inseconds:1/2000,1/1000,1/500,1/250,1/125,1/60,1/30,1/15,1/8,1/4,1/2(or0”5),1(or1”)ISO:100,200,400,800,1600,3200,6400,12800

Afullstopdifferencemeans that theamountof light that reaches thesensor iseitherdoubledorhalved.Forexample,ifyourapertureissettof/5.6,changingittof/4willdoubletheamountoflightreachingthesensor,andchangingitfromf/5.6tof/8willhalvetheamountoflightthathitsthesensor(seeFigure204).The area of the aperture openingwas doubled or halved.With shutter speeds,changingfrom,say,1/125to1/250halvestheamountoflight,and1/125to1/60doublestheamountoflighthittingthesensor.Thetimethattheshutterwasopenwas halved or doubled. With ISO settings, changing from, say, 400 to 800doublesthesensitivity,andgoingfrom400to200halvesit.

Figure204 -SundialatLongfellowHouse,Cambridge,Mass. -The slightbutnoticeabledifferencebetweenaperturesettingf/4.0(left)andf/2.8(right).Noticethe“smoother”backgroundblurringofthef/2.8image,thoughresultswillvarybasedoncamera-to-subjectdistance.CanonEF24-70mmf/2.8LUSMlensandCanon EOS 50D. Left: Shutter speed 1/200, Aperture f/4.0, ISO 200.Right:Shutterspeed1/400,Aperturef/2.8,ISO200.Notethanwhenapertureissetonestopwider (f/2.8) shutter speedmustbesetonestop faster (1/400) inorder toobtainthesameoverallexposure.

Therealityisyoudon’tnecessarilyhavetobethinkingaboutthismathtotakeasuccessfulphoto.AndwhenyouhaveyourcamerasetonAvorTv,itfiguresoutsomeofthisforyou.Youwillinevitablylearnmoreaboutitthroughexperience,whenyoumakeuseofflashorfilters,andasyoufollowuponwhyyourcameradidacertainsomethingorwhyanimagelooksasitdoeswhenyouusedcertainsettings. But it is important to know the terminology and have a basicunderstanding of what a full stop is, that stops can involve aperture, shutterspeed, or ISO settings, and that a one stop difference of any of these settingseitherhalvesordoublestheamountoflightreachingthesensor.

8.5ManualExposureMode(M)

Although Aperture-Priority Mode and Shutter-Priority Mode are perfectlyacceptableandcommonwaystouseadSLRcameraandits intelligentbuilt-inexposuremeteringsystemthatCanonspentyearsdeveloping,andmanyworkingprofessionalsuseAvand/orTvmostofthetime,therearesituationswhereyoumaywishorneedtouseManualExposure,including:

You are working in a studio-type setting where the lighting will remainconsistent,andyoucansettheexposureonceandthennotworryaboutit,oradjustitasnecessary(seeFigure205).

Inanyothersituationwherethelightingwillremainconsistentsuchasanindoorperformancewhere the lightingdoesnot change,or evenoutdoorsonacleardayifyouarenotmovingbetweenshadeandsun.

In challenging lighting situationswhere you carefullymeter to determinetheexposure,setitmanually,andadjustitasrequired.

Ifyouare takingseveralphotos tostitch together intoapanorama,whereyou want them all to be taken with the same exposure so that they areconsistentacrosstheentirescene.

Or just in general, for photographers who want full control over theirexposuresettings.

Figure 205 - Detail of Sculptural Relief - Use Manual Exposure Mode insituationswithconsistentorchallenginglighting.UsetheSpotMeteringmodetodeterminetheexposuresettingsofacriticalareaormultipleareas,andsettheexposure settingsmanually usingMmode. Shutter speed 1/30, Aperture f/5.6,ISO800.

Todeterminetheexposuresettings,firstchooseanappropriateISOsettingbasedonthelightingofthescene,asexplainedearlier,inSection8.3.Setthecamerato your desiredMeteringMode (youwill learn aboutMeteringModes in thefollowingchapter).Decideif theshutterspeedsettingor theaperturesettingisyourpriority.Forexample,ifyouwillbeshootingactionormotion,theshutterspeedsettingistypicallythepriorityasyouwillwanttomakesureyouareusingan appropriately fast shutter speed to prevent blur. If you are shooting alandscapeorportraitthentheaperturesettingislikelyyourpriority,sothateithertheentiresceneisinfocusordramaticdepthoffieldisobtained.Basedonthispriority, set theModeDial temporarily onAv (AperturePriorityMode) orTv(Shutter Priority Mode) and select the aperture or shutter speed you desire(dependingonwhichmodeyouare in:Av-selectaperture;Tv-selectshutterspeed).LookthroughtheViewfinderatyourscene,half-presstheShutterButtontostartthecamera’smetering,andmakenoteoftheapertureandshutterspeedinthe Viewfinder (you selected one of these variables, and now the camera is

tellingyouwhichothersettingneedstobeusedforanoptimumexposure).ThensetyourModeDialonM,anddialinthosesettingsyoujustnoted.UsetheMainDialonthetoptosetshutterspeedandtheQuickControlDialonthereartosettheaperture(unlessyouhaveswitchedthedialsettingsasdiscussedintheC.FnIII-4menuforCustomControls and set theMainDial to control theAperturesettinginMmodeandtheQuickControlDialtocontrolShutterspeedsettinginMmode).Or,todeterminetheexposuresettings,youcanalsodirectlystartoutinManual(M)ShootingMode,settheapertureortheshutterspeedsettingthatyoudesire,andthenadjust theothersettinguntil theExposureIndicatorintheViewfinderlinesupwith0.Thenfocusandtakethepicture.Youcanalsoadjustthe Exposure settings using the Quick Control Screen during Viewfindershooting, or the exposure icons at the bottom of the screen duringLiveViewshooting(seeFigure206).PresstheINFOButtonduringLiveViewiftheiconsarenotyetvisibleonthescreen.

Figure 206 -Manual ShootingMode - Adjust the Exposure settings using thecameracontrols,theQuickControlScreenduringViewfindershooting(left),ortheexposureiconsatthebottomofthescreenduringLiveViewshooting(right).

TheExposureLevelMark in theViewfinderwill indicate if the scenewill beproperlyexposed(if the line isalignedwith0),underexposed(if the line isonthenegativeside),oroverexposed(if the line ison thepositiveside).Youcanadjust the aperture or shutter speed to bring this line to 0, or to your desiredlevel. When the indicator is at 0, the camera believes that is the optimumexposure.However,thismaynotbetheexposureyoudesirebasedonhowandwhere you metered the subject or scene, or your creative intentions. This isexplained in detail in the Metering Modes and Exposure section of theMeteringModeschapter,andshouldbeunderstoodbeforeattemptingtouseMmode.

When usingMmode, the goal is not necessarily to align the Exposure Level

Markwiththe0position,asthecameradoesnotknowhowyouwishtoexposetheimage.Youmaywishtopurposefullyoverexposeorunderexposetheimage,oryoumaybemeteringoffofacertaintoneandknowyouneedtocompensateafewstopstoproperlyexposeit.IfyouaresimplygoingtouseManualModeinthis method by letting the camera determine the optimum exposure and thenmanuallyadjustingthesettingstoalignthelinewith0,youcanmoreeasilyuseAvorTvmodeandletthecameraautomaticallydothisforyou.

If you choose to useAuto ISOwithManualShootingMode (M), you can setyourdesiredapertureandshutterspeedsettingsandallowthecamera toselectthe proper ISO to achieve a correct exposure.However, thiswill prevent youfromalteringtheexposure,suchasifyouwishtounder-oroverexposethescenefromwhatthecameradetermines.IfyoudouseAutoISO,youcanpresstheAELock [*] Button to lock the ISO setting at any time while shooting, thenrecomposeasdesiredbeforetakingtheshot.TheExposureLevelIndicatorintheViewfinderoronthetopLCDPanelwillshowthedifferencebetweenthelockedexposure setting and the current “correct” exposure determined by the camera(withtwolines).Ifyouwish,youcanadjustyourexposuresettings(apertureorshutterspeed)whiletheISOsettingremainslocked.

8.6BasicZoneShootingModes

While I encourage you to use the Creative Zone Shooting Modes such asAperture-Priority AE and Shutter-Priority AEmodes in order to have greatercontroloveryourimportantcamerasettings,theremaybetimesyoumaywishtoturn to the Basic Zonemodes. For example, if you suddenly find yourself infront of a great photo opportunity butmay not have time to check and adjustyoursettingsorifyouarenotgettingtheresultsyoudesireandyourbrainjustseemstofreezeup. In these typesofsituationsyoucanquickly turn theModeDial toSCNandmakeuseofoneof theSpecialSceneModesettings suchasSportsorPortrait,andstillpossiblycapturetheimageyouareafter.

Additionally,NightPortraitcanbehandyifyoudon’tyethaveacompletegraspof flash and challenging exposures, or the time to experiment. TheHandheldNight Scene and HDR Backlight Control Modes will capture and combinemultiple images to create a resulting image that may have been previouslyunobtainable.Oryoucanconsiderusingsomeofthesemodesasalearningtool,to compare and understand how various settings affect the image result.Otherwise,ifyouprimarilyintendtotakemorecontrolofyourcamerausingAv,Tv, andMmodes, you can quickly read through these to learnwhat else thecameraoffers.

Whenworkinginanyofthesemodes,thecamerawilluseEvaluativeMeteringMode and automatically select the ISO setting, Picture Style,White Balance,Auto LightingOptimizer level, High ISONoiseReduction, andAutofocusingMode.Thecamerawill also select aDriveMode, thoughyoucanchange thissetting.

SceneIntelligentAuto(A+)-Thisisthefullyautomaticshootingmode,wherethe camera will made all the decisions including where to focus and whichaperture, shutter speed, and ISO settings to use (see Figure 207). Since thecamera does not know in advance if your subjectwill be still ormoving, theautofocussystemwillmakeuseofAIFocus inorder tobeprepared foreithersituation.Youcanemployfocuslockinthismode(aswellaseveryotherBasicMode except for Sports). The Intelligent aspect of this settingmeans that thecamerawillalsoanalyzethescenetodeterminewhatitthinksisthebestWhiteBalance setting,PictureStyle, andAutoLightingOptimizer setting to use.Asindicatedonthescreen,youcanchoosewhichDriveModeyouwishtouse,by

pressing either the [Q] Button or the top Drive Mode Selection Button (seeFigure207).Youcanalsochoosetheflashsetting.

Figure 207 - Scene Intelligent Auto ShootingMode (A+) -While the camerachoosesmostallofthesettings,youcanchoosethedrivemode(right)andtheflashsettingsbyfirstpressingthe[Q]Buttonor[Q]icon.

FlashOff-ThismodeisfullautomaticjustaswiththeA+Mode,howevertheflashwillnotfire.UsethisinsituationswhereyoumightwishtouseA+,except,obviously,youdon’twanttheflashtoautomaticallyfire,suchasinamuseumorat a performance.When using thismode in low light, youwill likely see theshutterspeedsettingintheViewfinderblink,indicatingthataveryslowshutterspeedwillbeused,andthusyouwillneedtoholdthecameraverystilloruseatripod.

Creative Auto (CA) - This mode allows you to change some of the settingsincluding the Ambience setting which is similar to Picture Styles, aperture,DriveMode,andflashsettings(seeFigure208).However,insteadofreferringtoaperture settings, the information on the rear LCD allows you to choose theamountof“backgroundblur”(seeFigure208-right).Accessthatitem,thenusetheMulti-Controller,MainDial,QuickControlDial,orTouchScreentoadjustit.Whilethiscanbeseenasawayofeasingintounderstandingaperturesettingsand their image results, it is best to useAperture-PriorityAEMode and fullycontrolthisyourself.

Figure 208 -CreativeAuto ShootingMode - Left: ShootingFunction Settingsscreenshowingtheoptionsthatareavailabletochange,includingtheAmbience,amountofBackgroundBlur,DriveModeandFlash.Right:Pressthe[Q]Buttonor [Q] icon to activate theQuickControl Screen, then select and change thedesiredsettingbyselectingitwiththeMulti-ControllerandSETButton.

SCN-SpecialSceneModes

ToselectoneoftheSpecialScene(SCN)Modes,placetheModeDialonSCNthen press the [Q] Button to access the Quick Control Screen. Highlight theshooting mode icon at the upper-left of the rear LCDMonitor, then turn theMainDialorQuickControlDialtoselectthedesiredmode.Youcanalsopressthe SETButton after highlighting the shootingmode icon, or press it directlywiththeTouchScreen,andselectyourdesiredmodefromthelistoficonsofalltheSpecialSceneModes(seeFigure209-left).

Figure209 -Left: Selectingoneof theSpecial SceneModeson the rearLCDMonitor.Right:TheoptionsavailabletochangeforPortraitMode.

Portrait - This mode will automatically make use of wide aperture settings(perhapsf/4.0orf/5.6)inordertocreateout-of-focusbackgroundswhichhelptomake your subject stand out. It also sets the Drive Mode for Low-Speed

Continuous Shooting so that you can quickly take several shots in a row. Asmentionedabove,thiscouldbeusedasaquickgo-tosettingwhenyouwanttocaptureashot(notnecessarilyaportrait)usingawideaperturesothatyougetashallow depth of field and a nice blurry background. Although, this PortraitsettingwillalsoautomaticallyusethePortraitPictureStylewhichisoptimizedfor skin tones and less sharpening.Aswithmanyof theseBasicZonemodes,youcanchangetheAmbienceanditsamount(similartoPictureStyle)andtheLight or Scene Type (similar to White Balance), or just leave them set forStandard. (These settings will be explained in the Ambience Selection andLight or Scene Type section of Chapter 11.) The Quick Control Screen willshowtheadditionalsettingsthatcanbechanged,includingtheDriveModeandflashsettings(seeFigure209-right).

Landscape -With thismode the camerawill select a narrow aperture setting(perhaps f/16 or f/22) so that everything in the frame from the foreground tobackground is in focus.This couldbeused as aquickgo-to settingwhenyouwant tocaptureashotusinganarrowapertureso thatyougetadeepdepthoffieldandeverythingisinfocusfromneartofar.AlthoughthisLandscapesettingwillalsoautomaticallyuse theLandscapePictureStylewhich isoptimized forblueandgreentonesandincreasedsharpening.

Close-Up-Thismodeisforphotographingasubjectataveryclosedistance(seeFigure210).Itisnotexactlyatrue“macro”mode,asyouneedamacrolenstoachieve1:1magnificationataveryclosedistancewherethelenscanstillfocus.Yourlensesmayindicatetheirminimumfocusdistance,oryoucansimplymovebackuntil the lenswill focusonthesubject.Thesymbolof thecirclewith thelinethroughitthatyoufindonthetopofyourcameraindicatesthefocalplane(locationofthesensor)fromwhichthefocusdistancebegins.

Figure 210 - Left: The Shooting Function Settings screen forClose-Up SceneMode,showingtheoptionsthatareavailabletochange,includingtheAmbience,

LightorSceneType,DriveMode,andflashsettings.Right:SportsSceneModeQuick Control Screen, used to change the available settings including theAmbienceand itsamount,LightingorSceneType,andDriveMode.Press the[Q] Button to activate the Quick Control Screen, then select and change thedesiredsettingbyusingtheMulti-ControllerandSETButtonorTouchScreen.

Sports -With thismode thecamerawillselecta fastshutterspeedso thatyouwill be able to freeze amoving subject.The camerawill alsomakeuseofAIServoFocusModesothatyoucantrackthesubject,andHigh-SpeedContinuousShootingsothatyoucanfireoffseveralshotsinarow.YouwillalsobeabletochangetheDriveModeifdesired(seeFigure210).BesuretousethecenterAFPoint to initiate focus and keep the Shutter Button half-pressed to track thesubject. This can be used as a go-tomode for any action scenes youwish tocapture.

NightPortrait-Thismodeisdesignedtobeusedwithatripod.Itfirestheflashto illuminate the subject but then leaves the shutter open longer (uses a slowshutterspeed)toproperlyexposethebackground.

HandheldNightScene-Thismodeisusedfornightshootingwithoutatripod.Itcompensates foranyhand-heldcameramovementby takinga rapidburstoffour images and then combining them for a better exposed, sharp picture (seeFigure211).However,youwillstillneedtoholdthecameraasstillaspossibleduring the process.You cannot capture images inRAWorRAW+JPEGwhenusingthismode.Thisdoesnotworkwellformovingsubjects,astheywillnotbeinthesameplaceinthefourconsecutiveimages.

Figure 211 - SelectingHandheldNight Scene (left), and viewing its availablesettings(right).

As you can see in the example images, theHandheldNight SceneMode canresult in awell exposed and possibly less noisy imagewhen compared to the

samesceneshotinAvMode(seeFigures212,213,and214).Somesharpnessmaybelost,butthiscanbecompensatedforwithsharpeninginpost-processing.In other situations, however, youmay find that you can get better results andhavemorecontroloveryournightexposures simplybyworking inoneof theCreativeZone shootingmodes and placing your camera on something to helpstabilizeitifyoudon’thaveatripodwithyou.

Figure212-BuildingDetail,Cambridge,Mass.-HandheldNightSceneModeused.Theresultingimage,takenonadimlylitstreet,iswellexposedandtakesadvantageofall theavailable light.Thismodeallowsyou tousea lower ISOand faster shutter speed than an image of the same scene taken in Av or Tvmode,andwilldisplaylessdigitalnoise,(seeFigure213).Anyimagesharpnessthat is lost with Handheld Night Scene Mode can be compensated for withsharpening in post-processing. Resulting exposure settings of the combinedimage: 70D: Shutter speed 1/80, Aperture f/3.5, ISO 12,800. Image can beviewed larger here: http://www.flickr.com/photos/dojoklo/9709761727/in/set-72157634994886314/

Figure 213 - Building Detail, Cambridge, Mass. - Same scene as above (seeFigure212)but takeninAvMode.Theimageisrelativelywellexposed,but isnotaswellexposedinthemidtonesanddarkareasasthepreviousimage.Andupon close inspection, this version containsmuchmore digital noise than theHandheldNightSceneModeversionabove,asthisimagerequiredaveryhighISOsetting.70D:Shutterspeed1/80,Aperturef/5.0,ISO25,600.Imagecanbeviewed larger here: http://www.flickr.com/photos/dojoklo/9709759817/in/set-72157634994886314/

Figure214-DetailsofPreviousImages212and213-HandheldNightSceneMode (left) vs. AvMode (right).HandheldNight SceneMode results inmuchless digital noise, though also results in loss of image detail andwill requireadditional sharpening. Comparison image can be viewed larger here:http://www.flickr.com/photos/dojoklo/9709944767/in/set-72157634994886314/

HDRBacklightControl-Thismodewillenableyoutocaptureanimagewithagreaterrangeoflighttodarktonesthanasingleimageallows.Thehumaneyehasawiderdynamicrangethanacamerasensor,andthuswecansimultaneouslyseeabroader range(frombrightareas throughdetails indarkshadows) thanasensor or film can capture.However, using thisHDR (HighDynamicRange)Backlight Control mode, three continuous images of the same scene will bequickly and automatically taken (with one Shutter Button press) at variousexposures(similartoAutoExposureBracketing)andthencombinedtocreateasingleimagewithamuchwiderdynamicrange(seeFigure215).Besuretoholdthe camera steady during the process. You cannot capture images in RAW orRAW+JPEGwhenusingthismode.

I highly recommend that you use a tripod to take the automatic sequence of

images,asitcanbedifficulttogetgoodresultswhenhandholding.Youwillseethatthecombinedimagesoftendonotlineupinthefinalimage,resultinginaseeminglyblurryandunusableimageresult.

Figure215-HDRBacklightControlSceneModevs.AvMode-Left:TheHDRBacklightControlimageisabletosimultaneouslycaptureawiderangeoftonesfromthebrightwater to thesubjectstanding inshadow.However,youcanseethat contrast and detail is lost. 70D: Shutter speed 1/500,Aperture f/2.5, ISO200. Right: The same scene capturedwith Avmode andEvaluativeMetering.Thecamera isunable to successfully capture thewide rangeofbright todarktones.70D:Shutterspeed:1/500,Aperturef/4,ISO400.Anothersolutionwouldhavebeentousefill-flashtoilluminatethesubject,ortomovethesubjectintobetterlighting(asyouwillseeinFigure217).Largerversionsoftheseimagescan be viewed here: http://www.flickr.com/photos/dojoklo/9714298414/in/set-72157634994886314/

IfyouwishtocreateyourownHDRimages,youcantakethreeormoreimagesatvaryingexposures(preferablyinMshootingmodeandmanuallychangingthesettings,orusingAutoExposureBracketing).Thencombineandprocess themusing HDR software. Or you can also use the HDR Shooting Mode to be

explained in theHDRShooting andMultipleExposures section of this textbelow.

ProgramAEShootingMode (P) -AlthoughProgram (P)mode is aCreativeZone exposure mode, I will mention it here since it has not been previouslydiscussed.ProgramAEissimilartofullyautomaticAutoIntelligentScene(A+)mode,exceptthatitallowsyoutochangemanyofthecamerasettingsthatcan’tbeadjustedwhenshootinginA+ModesuchastheISOsetting,WhiteBalance,andautofocusmodes(seeFigure216).

Figure216-ProgramAEShootingMode(P),andthevariousshootingsettingsthatcanbechanged,asseenontheShootingFunctionSettingsScreen.

Andyoucanalsomakeuseof“programshift” toadjust the shutter speedandaperture combination. As you choose a desired shutter speed or aperture, thecamerawillautomaticallyadjusttheothersettingsothatanequivalentexposureismaintained.Forexample, ifyouadjust theaperture todecrease thedepthoffield (a wider aperture which will let in more light), the shutter speed willautomaticallybeincreased(andthusdecreasetheamountoflightletin)sothatthe correct exposure, equivalent to the initial exposure determined by thecamera, ismaintained.After half-pressing and releasing the Shutter Button tobeginmetering,simplyturntheMainDialtochangetheexposuresettingsasyouview them in theViewfinder (within4secondsorelse themetering timerwillturnoff).

InPModeyoucanalsochange theISOSetting,PictureStyle,WhiteBalance,MeteringMode,AutofocusMode,Flashoperation,andchoosemanualAFPointSelection. You canmake use of Exposure Compensation, Exposure Lock andAutoExposureBracketing.ItisasignificantstepclosertoAv,Tv,andMmodeshooting,thoughIencourageyoutolearnandusethesemoreadvancedmodesforfullcontrol.

Figure217-PortraitinEveningLight-SubjectfromFigure215ismovedoutoftheshadowsandintothe“warm”eveninglight,andisturnedaroundsothatthecameraisnolongerfacingintothebrightback-lighting.ThisimagewastakenonlyafewminutesafterthepreviousexperimentsofFigure215,demonstratingthe importance of seeking out good lighting. 70D: Shutter speed 1/1250,Aperturef/3.2,ISO400,EvaluativeMeteringMode,AutoWhiteBalance.

Bulb ShootingMode (B) - Bulb (B) mode is also a Creative Zone exposuremode.Whenusingthismodetheshutterwillremainopenaslongasyoufullypress the Shutter Button. You can use Bulb (B) mode to take long nighttimeexposures suchasauto light trails, starmovements, and fireworks.TurneithertheMainDialorQuickControlDialtosettheaperturesetting,thenobservetheelapsed timeon the topLCDPanel asyouholddown theShutterButton.Forbest results youmay wish to use a tripod and a remote to start and stop theexposure.Presstheremoteoncetostarttheexposureandasecondtimetostop.You can set the remote to start the exposure immediately or after a 2 seconddelay.YoumayalsowishtoenableLongExposureNoiseReductioninordertoreduce theamountofdigitalnoise,but remember that thecamerawillneedanextended period to process the noise reduction during which you cannot takeanothershot.

Asahistoricalside-note,thismodeiscalled“bulb”becausewithmanycameras

intheearlydaysofphotography,theshutterwaseitherheldopenorreleasedbysqueezingarubberairbulb(asseeninFigure218),andthe“heldopen”functioneventually became known as the “bulb” setting.Air bulbswere later replacedwithshutterreleasecables.

Figure 218 - From an historic advertisement for Thornton-Pickard camerashutters, showing a shutter mechanism with a pneumatic (air) bulb release.ThesetypesofbulbsaretheoriginofthenameforBulb(B)ShootingMode.Thisroller-blindshutterwouldhavesatbehindthelensandattachedto thecamerafront panel. The shutter was held open or released, based on the “Time” vs.“Instantaneous”setting,by squeezing the rubberairbulb.The“Time”settinghas become today’s “Bulb” setting. Image from“Instruction inPhotography”10th edition, by Sir William de W. Abney, Published 1900 by Sampson Low,MarstonandCompany,Limited,London.(Credit:workinpublicdomain).

9.METERINGMODES

Thecamera’sMeteringModedictateshowthecameraevaluatesthescenewhendetermining the proper exposure setting. As with all current Canon dSLRcameras, the Canon 70D provides you with four different metering modes tochoose from: Evaluative, Partial, Spot, and Center-Weighted Average. If youplantotakeadvantageofthemitisimportanttounderstandhowtheydifferandwhenandhowtousethemforvariousshootingsituationsandchallenges.UnlikemanypreviousCanondSLRcameras,youcannowevenchoosewhichmeteringmode to use in Live View. The 63-zone metering system of the 70D is anexcellentimprovementoverthemeteringsystemofoldermodelssuchasthe5DMk II, and the default Evaluative Metering Mode can be counted on todetermine the proper exposure for general images nearly all of the time. Buttherearesituationsyoumaywantorneedtousetheothermodes.

ChangethemeteringmodebypressingtheMeteringModeSelectionButtononthe topof thecameraandviewing the settingon the topLCDPanel.Youcanalso change it via the Quick Control Screen. As with other settings, you candirectly change the settingon theQScreenusingoneof thedials,oryoucanpress theSETButtonoruse theTouchScreen toview theoptions (seeFigure219). Ifyoupress the topMeteringModeButtonwhile theShootingFunctionSettingsScreenisvisibleontherearLCDMonitor,youwillalsobeabletoviewtheoptionsandmakeyourselectionontherearLCDscreen.

Figure219-MeteringMode-Left:asaccessedwiththe[Q]Buttonor[Q]iconandtheQuickControlScreenRight:PresstheSETButtonortapthescreentoviewandselecttheMeteringModeoptions.

DuringLiveViewshooting,usethe[Q]Buttonor[Q]icontoselectthemetering

mode(seeFigure220-left).YoucanalsopressthetopMeteringModeButtontoview and access the options on the rear LCDMonitor.With Partial and SpotMetering,themeteringareacirclewillbevisibleontheLiveViewScreen(seeFigure220-right).

Figure 220 - Metering Mode and Live View - Left: The Metering Mode asaccessedbythe[Q]ButtonduringLiveViewshooting.Right:Themeteringareacircle for Partial and SpotMeteringwill be visible on the Live View screen -SpotMeteringcircleshownhere.

9.1EvaluativeMetering

Thisisthedefaultmodeforyourcamera,anditcanperhapsbeused90%ofthetimeormoreforgeneralphotography.Thecameraevaluatestheentirescene,asdividedinto63zones,andchoosesthebestexposurebasedonitsalgorithmsanddatabaseofthousandsofimages.Themeteringsystemissogooditcanoftenberelied on for backlit or other challenging lighting situations. An importantfeature of thismode is that theCanon 70D takes into account the selected oractivefocuspointinitsdeterminationofexposuresettings.Itassumestheactivefocuspointisonyourmostimportantsubject,sounderchallengingandcriticalsituations, it iswisetoconfirmthat thecamerahaschosenthefocuspointyouwant (well, this isalwayswise).Evenbetter,aswaspreviouslydiscussed,youshould manually choose the location of the AF Point. In some situations theexposure that thecameradeterminesmaynotbe theexposureyoudesire.Thismayhappenwhenphotographingsceneswithverybrightand/ordarkareas,orsomeothertypeofdramaticlighting.Sincedramaticandinterestinglightingcanmake for compelling images,youwill need toknowhow todealwith this. Inthese situations you can make use of a different Metering Mode, or eitherExposure Compensation orExposure Lock. Often you may need to use acombinationofthesethreesolutions.Theywillbediscussedindetailinthenextchapter,butasan introduction,ExposureCompensationmeansyouwill adjustthecamerasothatthenextexposureiseitherlighterordarker.DothisbyturningtheQuickControlDial.ExposureLockiswhereyoulocktheexposuresettingsthat the camera has determined, so that they don’t changewhen you aim thecameraatadifferentarea.DothisbypressingtheAE-LockButton,markedwiththe[*]symbol.

9.2PartialMetering

Thismodemetersasmallcentralarea,about7.7%oftheViewfinderareaofthe70D(orabout10.3%oftheLiveViewscreen).WhenworkinginLiveView,aPartial Metering circle will be shown on the screen (see Figure 221). ForViewfindershooting,themeteredareaisacentralcircularareathatislargerthantheSpotMeteringcircle(thatisshownintheViewfinderonlywhenusingSpotMetering),andapproximatelyreacheshalfwaybetweenthetopandbottomfocuspointsandthenextclosestpoints(seeFigure222).

Figure221-Left:SelectingPartialMeteringMode.Right:ThePartialMeteringcirculararea,asshownonthescreenduringLiveViewshooting.

Figure222-BoatintheHarbor,Gloucester,Mass.-PartialandSpotMeteringAreas of the 70D in simulated Viewfinder screen - Partial Metering Modeevaluates only the area under the superimposed grey circle to determine theexposure settings (grey circle not actually seen in Viewfinder). SpotMeteringMode evaluates only the area inside the center black circle (visible in theViewfinderwhenusingSpotMetering)todeterminetheexposuresetting.Shutterspeed1/400,Aperturef/4.0,ISO100.

Thismodeisusefulwherethereisadramaticdifferenceinlightingbetweentheforegroundorsubjectandthebackground(seeFigure223).Forexample,whenyoursubjectisbacklit-maybestandinginfrontofabrightwindoworthesun-andconsequentlytheirfaceisinshadow.IrealizeIjustsaidEvaluativeMeteringModecansometimeshandlethistypeofsituation,butifyouwantthefaceorthesubjecttobeproperlyexposedandnotriskmissingtheshot,itisworthittousePartialMeteringmode.Anothertimetousethisiswhenthereisawiderangeoflight in your scene, from bright sunlight to deep shadows. You will need todetermineandlocktheexposuresettingsofacriticalareaofthescene-afaceoramiddle tone in theareayouwantproperlyexposed.Remember, thismode isnot linkedtoyourfocuspoint.Thepartialareathatismeteredisalwaysinthecenter, someteron a faceormiddle tone in thepart of the scene that ismostcritical and that you want properly exposed, using the central area of the

Viewfinder. Lock in that exposure using Exposure Lock (to be explainedbelow),thenfocus,recomposeandtaketheshot.

Figure223-DetailofLionSculpture-PartialMeteringusedtoproperlyexposeforthesubject,thenfocusandexposureislocked,andframingisrecomposedtoplace the subject off center. (Very carefully hand-held at very slow shutterspeed.)Shutterspeed1/13,Aperturef/4.0,ISO800.

9.3SpotMetering

Thismodemetersasmallercenterarea,approximately3.0%oftheViewfinderarea(or2.6%oftheLiveViewscreen),whichisindicatedbythesmallcircleinthecenteroftheViewfinderthatisvisiblewhenusingSpotMetering(seeFigure222).ThecirclewillalsobeshownwhenusingSpotMeteringinLiveMode(aswasshownaboveinFigure220).

SowhendoyouwanttouseSpotmetering?This,again,isusefulforsceneswithgreatvariationinlightandshadow,orinsituationswheretheproperexposureofa certain element is very critical. One of themost commonways to use it iswhen metering for proper exposure on a face or subject, especially in achallengingorvariedlightingsituation(seeFigure224).

Orforadvancedusers,SpotMeteringisusedtodeterminetheexposurevaluesof several important parts of the scene, and then the desired exposure isdetermined andmanually set usingManual ExposureMode. If you have everread about the process of metering different elements of a scene in order todeterminetheirrelationshipsandplacetheminexposure“zones,”thatisrelatedtothis technique.InthiswaySpotMeteringModeisusedtoturnyourcameraintoa lightmeter,asa tool todetermineproperexposureofasubjectorscenebefore switching the camera to Manual Mode for a controlled studio shot, acriticalshot,oraseriesofshotswherethelightingisnotgoingtochange.

Figure224-Dancer,NewYorkCity,NY-UseSpotMeteringinhigh-contrastorchallenging lighting situations to meter for a small area which you wantproperly exposed (such as the face here), then lock exposure, focus, andrecomposeforthefinalimage.Shutterspeed1/125,Aperturef/6.3,ISO1600.

9.4Center-WeightedAverageMetering

This metering mode is sort of a combination of both Partial and EvaluativeMetering. Itacknowledges that thesubject is in thecenterandrequiresspecialmetering attention, but it also takes into account the average exposure for theentire frame. The central area that is given extra “weight” in determining theexposure reaches to about the top and bottom AF Points, but is not actuallyindicated in the Viewfinder (see Figure 225 for a representation of theapproximatearea).Again,thisisnotlinkedtotheAFfocuspoint,butalwaystothe center, so if your subject is off center -which it oftenmaybe for amoredynamic image - you need to first lock the exposure settings on your subject(ExposureLock)andthenrecompose.

Figure225 -WeeksBridge,Cambridge,Mass. -TheCenter-WeightedAverageMetering central area, shown superimposed on the simulated 70D Viewfinderscreen,with grid enabled.Center-WeightedAverageMeteringMode evaluatestheentireViewfinderareabutgivesadditionalweight to theareaat thecenterwhendetermining theexposuresettings. (Thegreycircularareashownhere isnotactuallyseeninViewfinder.)70D:Shutterspeed1/160,Aperturef/5.0,ISO250, though background image is shown here at 50% opacity to better view

meteringarea.

As with Spot or Partial Metering, this might be used when your subject isbacklit,orwhenanicelylitsubjectisinfrontofadarkerorlighterbackground.Another time to use this iswhen there is awide rangeof light in your scene,such as bright sunlight to deep shadows. Determine the proper exposure bymeteringonthesubjectusingthecentralareaoftheViewfinder,andlockinthatexposure(seeFigure226).

Figure226-BusRider,Iquitos,Peru-UseCenter-WeightedAverageMeteringtoensureproperexposureofthesubject,andtoalsotakeintoaccounttheotherareasoftheimageframewhendeterminingexposure.UseExposureLockwhennecessary: first meter on the main subject using the central area of theViewfinder, lock exposure, and recompose for the final framing of the image.EvaluativeMeteringwouldperhapsworkaswellhere,butmaybeoffduetothewide range of light to dark tones in the image. Shutter speed 1/250, Aperturef/8.0,ISO800.

IfyouarefindingthatEvaluativeMeteringisnotgivingyoutheexposureresultsyoudesirebecauseyouarealwaysseekingoutandusingunusual,dramatic,ordifficult lighting, and your exposures are consistently slightly too dark or toolight, try using Partial Metering or Center-Weighted Average Metering in

conjunction with Exposure Lock. Or use Exposure Compensation, to bediscussedinthenextchapter.

Center-Weighted,Partial,orSpot?

TodecidebetweenCenter-WeightedMeteringandPartialMetering:usePartialMetering inahigh-contrast situationwhereyouwant toproperlymeteron thesubjectbutdon’twantanextremelybrightordarkbackgroundtoinfluencetheexposure (such as the lion sculpture of Figure 223). Use Center-WeightedMeteringinachallenginglightingsituationwhereyouwanttoensurethesubjectis properly metered, but the background or other areas of the image are alsosomewhat important for themeteringsystemtoconsider,andaren’tso lightordarkcompared to the subject that theywill completely throwoff theexposure(seeFigure 226). Use SpotMetering in a similarmanner to PartialMetering,except thatyouneed tometeronaneven smaller area formoreprecisionanddon’twishforanyotherareaoftheframetoinfluencetheexposure(suchasthedancer’sfaceinFigure224).

WhilepreviousCanondSLRcameraslimitedtheMeteringModetoEvaluativeMetering when using Live View, the 70D allows you to also select Center-Weighted,Partial,orSpotMeteringModes,aswasshowninFigure220.WhenusingPartialandSpotMeteringModes, theappropriatelysizedmeteringcirclewillbevisibleontheLiveViewscreen.TheLiveViewexposurecanbelockedusingtheAE-LockButton.

9.5ManualMetering

Manual metering isn’t actually a mode in your camera, but is a method ofmetering.Thisiswhereyouusealightmeteroruseyourcameraasalightmeter(such as described at the end in the SpotMetering section above) and thenmanuallysetyourexposurebasedonthemeterreadings.Thisisusedwhenyouwantultimatecontrolofthemeteringandexposure.

ManualExposureMode(M)andmanualmeteringisbestputtouseinsituationsorsceneswithconsistentand/orpossiblychallenging lighting(suchasawiderangeoflightsanddarksthroughoutthescene), includinglandscapeorportraitphotographyonasunny(orconsistent)day,macrophotography,orstudio-typework(seeFigure227).Youdeterminetheexposuresettingsyouwishtousebymetering a midtone or critical area or areas of the scene. Then adjust theaperture,shutterspeed,andISOsettingsmanuallyandphotographthesituationorscene.Youcanthenadjustthesettingstoincreaseordecreasetheexposure,basedontheresultsandyourdesiredcreativeintentions.

Ifyouwishtousemanualmeteringandshoot inManualExposureMode(M),finish reading this chapter to learnmore about exposure andmeteringmodes,andthenreturntotheManualExposureMode(M)sectiontoreviewandbetterunderstand the relationshipsbetweenmanualmetering, exposure, and shootinginMMode.

Figure 227 - Detail of Egyptian Artifact - Usemanual metering in situationswith consistent or challenging lighting. Use the Spot Metering mode todeterminetheexposuresettingsofacriticalareaormultipleareas,andsettheexposure settingsmanually usingMmode. Shutter speed 1/60, Aperture f/6.3,ISO800.

9.6MeteringModesandExposure

Anexampleofacriticalexposure thatwillvarydependingonwhichmeteringmode you use and where youmeter in the scene is an image of a bride andgroom.Thebride is typicallydressed inallwhite, and thegroommaybe inablack tuxordark suit. IfyouareusingPartialorSpotmeteringandmeter theexposure on the bride’s dress, the camera will most likely under expose theimageandthenicewhitedresswill turntogreyinthephotosandthegroom’ssuitwillturnintoapoolofdeep,darkblack.IfyouusePartialorSpotmeteringandmeteronthegroom’soutfit,thecamerawillmostlikelyoverexposeandthedark suitwill become amediumgrey suit, and the bridewill disappear into ablown-out blob of white. This is just an example to help you realize thedifferences and importance of metering modes. It is quite possible thatEvaluative Metering will properly evaluate the entire scene and capture thissituationjustfine.Butbeawarethattherearesituationswhereitiscriticalthatyouknowhow themeteringmodesof the70Dwork,andmakeadecision forwhichonewillserveyoubest.

Sohowwouldyouensureproperexposureoftheabovesituation?UsingPartialorSpotMetering,meteron thebride’s(orgroom’s)facesince that is themostcritical part that you want properly exposed, and then lock in that exposuresetting(ExposureLock).Youmayalsohave toadjustexposurecompensationasnecessarysinceskintonevarieswidelyandistypicallynotexactlyequivalenttomiddle-grey(ExposureCompensation).Orelse-inthisorinothersituations-meteronamiddletoneoranareawithanormalvarietyoftones,somewhereelseinthescene,todetermineyourexposuresetting.

Youmeteronamiddletonebecausethatishowcamerametersaredesignedtowork, particularly when using Partial Metering or Spot Metering Modes(Evaluative Metering and Center-Weighted Average Metering are morecomplex).The camera attempts to average the tones in the area it ismeteringinto a middle-grey tone, specifically 18% grey. (Actually, 18% grey is thetraditionalfigureusedinphotography,butitturnsouttobecloserto12%grey.)Soifyoumeteredexclusivelyonablacksuit (suchasbyusingSpotMeteringand placing themetering circle in yourViewfinder over the area of the blacksuit),thecamerawouldexposetheimagetomakeitamiddle-greycoloredsuit.Thus everything else in your photo would be over exposed (brighter). If youmetered exclusively on an area of white snow, the camera would expose the

imagetomakeitmiddle-greytonedsnow,andthusyouroverallimagewouldbeunderexposed(darker).

Trythisforyourself(seeFigure228):setyourcameraonP,Av,orTvShootingMode,setyourcameraforPartialorSpotMeteringMode,andtakeaphotoofawhite piece of paper, completely filling the Viewfinder with the white area(althoughthecamerawillonlybemeteringontheareainsidethePartialorSpotMetering central area of theViewfinder). The resulting image should turn outgrey (with perhaps some color tone since the camera may have difficultydetermining the correctWhite Balance). Take a photo of an all black area orobject,andtheresultingimageshouldbegreyaswell.

Figure228-ExposureMeteringand18%Grey.Left:whitepaperonblacktabletop,properlyexposedforreference.Middle: imageof thewhitepieceofpaperfillingtheentireViewfinder,withcameradeterminingexposure.Resultingimageis thus under exposed and thewhite paper is rendered as approximately 18%grey. Right: image of the black table top filling the entire Viewfinder, withcamera determining exposure. Resulting image is thus over exposed and theblacktabletopisrenderedasapproximately18%grey.Noticehowthecameraturnedbothblackandwhiteintonearlyexactlythesamegreytone.

Theexposurefortheimageontheleft(thepaperonthetable)willalsonotbeproperlydeterminedbythecamerabecausethecamera’smeterwillaveragetheareatobemeteredto18%grey.Ifyouweretometeronanareaof1/2blackand1/2 white, the resulting image will be improperly exposed as the cameraaverageswhatshouldbe50%greyandcalculatestheexposuretomakeit18%

grey.

Soasyoucanseefromtheexamplesabove,anentirebookandsomededicatedstudyandpracticeisrequiredtofullyexplainandunderstandexposure!AsI’vementioned, agoodplace to start isBryanPeterson’sUnderstanding Exposure.But know that in certain challenging lighting scenes or situations whereEvaluativeMeteringisnotproperlydeterminingtheexposure,youcaneitheruseadifferentmeteringmodethatwillworkbetterforthatsituation,oryoucanuseExposureCompensation (discussed in the next chapter), or a combinationofboth.

10.EXPOSUREPart2

10.1ExposureLock

Asdiscussedpreviously,whenworkinginEvaluativeMeteringModeandOne-ShotAF thedefault settings are that exposuremetering is locked and focus islocked when you press the Shutter Button halfway. You then recompose ifnecessaryandthenfullypresstheShutterButtontotakeyourphoto.However,youmayhavealreadychangedthesebuttonfunctionswiththeCustomControlssettings.YoucanseehowyourcameraissetbypressingandholdingtheShutterButton halfway but thenmoving the camera around as you aim at bright anddarkareas.DotheexposuresettingsvisibleintheViewfindercontinuetochangebasedonthecurrentsceneordotheyremainlocked?WhenworkinginoneoftheotherMeteringModes(Partial,Spot,Center-WeightedAverage) thedefaultisthatexposureisnotlockedwithahalf-pressoftheShutterButtonbutratherwiththefull-presswhentheimageistaken.Theproblemwiththisisthatoftenyoumaywishtolocktheexposuresettingbasedonacriticalpartofthescene,beforetakingtheshot,especiallywhenusingPartialorSpotMetering.

For example, your subjectmaybe standing in a shady spotwith a brightly litareaofftooneside.EvenwhenusingEvaluativeMetering,thecameramaynotfully realize that the subject and the shady area is the part youwant properlyexposed,andthatyoudonotwantthebrightareatoaffecttheexposure.Takingthebrightarea intoaccountmayresult in thesubjectand theshadyareabeingsignificantly underexposed (dark). To deal with this situation, you cantemporarily frame the image to just include the shady area, and lock theexposuresettingthatthecameradeterminesforthatscene.Thenrecomposetheshotasdesired-perhapstoplacethesubjectmoredynamicallyoff-center-lockfocusifnecessary,andtaketheshot.Tobeevenmoreprecisewiththeexposuremetering,youcanset theMeteringModeforPartialorSpot,aimthecenteroftheViewfinderon the subjectorcriticalpartof the scene, lockexposure, thenrecompose,focus,andtaketheshot(aswiththelionsculptureshownearlierinFigure223).

Figure229-DetailoftheCanon70D,showingtheAELock(*)Button.

Use theAELockButton to lock in the exposurewhen necessary. This is thebuttonthatislabeledwiththe[*]symbol(seeFigure229).Todothis:

TaptheShutterButtonwithahalf-presstowakeupthecameraandstarttheexposuremetering.

Frame theareaof thescene inyourViewfinder thatyouwant toproperlyexpose. If using Evaluative Metering this area encompasses the entireViewfinder.IfusingPartialorSpotMeteringthisareaencompassesasmallcentralareaoftheViewfinder.

Press and release the AE Lock Button [*] to lock this exposure. Thisexposure setting will remain locked until you wait too long and see thesettingsdisappearfromtheViewfinder.Youwillseethe[*]symbolintheViewfinder. If youwish to continue to takemultiple shotswith the sameexposure settings locked, youwill need to continue topress andhold theAELock[*]Button(seeNote1justbelow).

Movethecameraasnecessarytogetyoursubjectatthechosenfocuspoint.

PressandholdtheShutterButtondownhalfwaytolockthatfocus(oruseback-buttonfocuslockifyouhavesetupyourcamerathatway).

Thenrecomposetothefinal,intendedframing,andfullypresstheShutter

Buttontotakeyourphoto.

Note that this allmust occurwithin a certain time frameor the exposurelock is canceled.Youwill know this happens if the lit-up information inyourViewfinderturnsoff.

Ifyouchangeyourmindorcompositionplanandwant thecamera to re-determineandre-locktheexposurebeforeyoutaketheshot,justpresstheAELock[*]Buttonagain.

Note 1: If you wish to take multiple shots with the same exposure settingslocked,youcancontinuetopressandholdtheAELock[*]Buttonthroughoutthefollowingshots,asnotedjustabove.OryoucansettheAELockButtonforAE Lock (Hold), and the exposure settings will be locked by pressing andreleasingthebutton,andwillcontinuetoremainlocked,formultipleshots,untilyoupresstheAELockButtonagaintoreleasethehold.This“hold”set-upmaybebeneficialtoyouifyouareoftengoingtobetakingaseriesofshotswiththesameexposuresettingslocked.Butit isnotrecommendedforgeneralshootingwherethesceneandexposuresettingschangefromshottoshot-ifyouhaditsetthis way (hold) and forgot that the exposure remained locked, all of yoursubsequent imageswill be improperly exposed until you remembered to pressthe [*] Button again to release the “hold.” You can customize the AE LockButtonintheCustomFunctionsC.FnIII-4:CustomControlsmenu.ThisprocesswillbeexplainedinTheImageTakingProcesschapterlaterinthetext.

Asjustmentioned,exposurelockismostcommonlyrequiredwhenusingPartialMetering,SpotMetering,orevenCenter-WeightedAverageMetering.Sincethecameraisusingthecenterpartoftheframetodeterminemetering,youneedtoplacethatcenterpartoveryourintendedsubjectorthecriticalpartofthesceneyouwantproperlyexposed, then lockexposure,and recomposeasdesiredandtaketheshot.Butasdescribedabove,thecameradoesn’tmagicallyknowhowtoexpose every subject. It determines the proper exposure for a middle-grey ormidtone.Soyouhavetoensurethatitismeteringonamiddle-greyormidtoneareaoftheimage.Iftheareayouneedtouseformeteringisnottheequivalentofmiddle-grey,thenyouwillalsoneedtomakeuseofExposureCompensation(aswillbeexplainedinthischapter).

Figure230-UsingtheCustomFunctionC.FnIII-4:CustomControlstosetuptheShutterButtonforAELockatalltimes.

AsdiscussedintheBackButtonFocusingsection,usingtheCustomFunctionC.Fn III-4: CustomControls to set up the Shutter Button forAE Lock (whilebuttonpressed)willcustomizethecamerasothattheShutterButtonwillalwaysdetermine and lock exposure, similar to the [*] Button, and not just lockexposure inEvaluativeMeteringMode (seeFigure230). If youoftenwork inone of the Metering Modes other than Evaluative and often need to lockexposureand recompose,youmaywish to try thisbuttoncustomization ratherthanalwaysusingthe[*]Buttonforexposurelock.However,youwillthenneedtosetupandusetheAF-ONButtonatalltimestoinitiateandlockfocus.

10.2Histograms

While you can typically rely on the advanced63-zonemetering systemof the70Dtodeterminetheproperexposureforyourimages,youneedtoverifythatithas. Or you need to verify that you captured the exposure you desired,particularlywhenmakinguseofthevariousmeteringmodesorwhenworkinginchallenginglightingsituationswithvariedlighting(areasofextremebrightnessandareasofdarknessorshadow).YoucandothisbylookingattheimageontherearLCDMonitor,butthisisatinyversionofyourimageandaswithverifyingfocus,whatlooksgoodonatiny3”screenmaynotlookgoodontheactualfull-sizeimage.Sohowdoyouverifythatyouhavecapturedtheproperordesiredexposure?Withthehistogram.

Figure231-TheBrightnessHistogram,asviewedduringimageplaybackontheShooting Information Display screen (left), and as seen during Live ViewShooting(right).

Toviewthehistogramofanimage:whenyouarereviewingyourimagesduringimage playback on the rear LCDMonitor, press the INFO Button repeatedlyuntil you see the detailed Shooting InformationDisplay view. Thiswill showyouasmallthumbnailofyourimage,plusthebrightnesshistogramandvariouscamera settings (seeFigure231-left).You can leave this view setting in place(justpress thePlaybackButtonor theShutterButton to return to shooting) sothat the camera shows you this detailed view the next time you press thePlaybackButtontoviewanimage.Ifyouneedtoviewyourimagelarger,youcanzoominwiththeMagnifyButton,thenzoombackouttothedetailedviewshowingthehistogram.

Whenworking inLiveViewandmovieshooting (prior to recording),youcan

press the INFO Button repeatedly to view the Histogram on the rear LCDMonitor (seeFigure231-right).Note thatExposureSimulationneeds tobesetforEnableintheLiveViewShooting1menufortheLiveViewHistogramtobeaccessible.

BrightnessHistogram:IntheHistogramdisplayitemofthePlayback3menuIsuggestedselectingtheBrightnessHistogramastheonewhichwillbedisplayedintheShootingInformationDisplayviewandduringLiveView.TheBrightnessHistogram is the littlegraph that showspeaksandvalleyswhich represent thedistributionofanimage’sbrightness levels(seeFigure232).Thehistogramofanimagewithlotsofdarkareaswillhavepeaksattheleftsideofthegraph,andanimagewithlotsoflightareaswillhavepeaksattherightsideofthegraph.Atypicalimagemayshowadistributionofpeaksacrosstheentiregraph,ormaybea nicely centered “mountain.” But, the histogram of an ideal image does notnecessarily show a nice distribution or a well formed “mountain.” If you aretakingdynamicimageswithdramaticlightsanddarks,thepeaksmaybealloverthegraph.Thisisfine.Thekeytoproperexposure,however,istomakesurethatthepeaksdropdowntozero,thebaseofthegraph,beforetheyreachtheleftandright edges. If your peaks run off the sides of the chart, thatmeans you have“blown-out” (overexposed) the highlights or “blocked” (underexposed) theshadows,andthoseareasofyourimagewillbepurewhiteorpureblack,withnodetailremaining.

Figure 232 - The Histogram of an image showing that the image is notoverexposed (the data barely touches the right side of the graph) except forperhapssomehighlightreflectionsonthechrome.However,itshowsthattherewillbeareasofshadowswithoutanyremainingdetail,as indicatedon the left

sideofthegraphwherethepeaksarecutoffatthegraph’sedge.

Again,thedarkareasofanimagearerepresentedontheleftsideofthegraph,andthelightareasarerepresentedontherightside.Itisespeciallycriticalthatyoudon’t blow-outyourhighlights, thewhites, on the right sideof thegraph.Reviewyour images’histogramstomakesure that thepeaksfalldowntozerobefore reaching therightsideof thegraph. In thePlayback3menusettingsatthestartofthetextIrecommendedthatyouenabledHighlightAlert.ThismeansthatwhenyoureviewyourimagesontheLCDMonitorandyouhaveblown-outthe highlights, those areas of the image will blink - sometimes called the“blinkies.”Thisistoalertyouthatthoseareasoftheimagehavenodetail,andthatyourhistogrampeakhasrunofftherightsideofthechart.

Nowtheremaybeexceptionstothis“rule.”Thecamera’ssensorhasalimiteddynamicrangecomparedtoyoureyes,andcannotcapturethefullvisiblerangeofdark to light.Thatmeanssometimesyouhave tosacrifice thedetails in theshadowsinordertoretainthedetailsinthehighlights-meaningthepeakswillhavetorunofftheleftsideofthegraphinorderforthemtonotrunofftherightside of the graph. Or other times you may wish to blow-out some highlightdetailsinordertoretainmoreshadowdetails.Andbrightlightssuchasthesun,sunreflections,andothersourcesoflightwillalwaysbeblown-out.

Howdoyoureadjusttheexposureifyouhavetakenanimageandfoundthatthepeaks run off the edges of the Brightness Histogram graph? If the situationallows,youcanadjustthelightinglevelordirection,orlowertheflashoutputifyouareusingflash.Youcanperhapsblocksomeofthelightwithadiffuser,orchange the orientation of the subject or yourself to reduce harsh lighting orreflections.Youcanmoveyoursubjecttoanareawithlessdirectlight,ormakeuse of a tree or other object to help block or diffuse the light. If the scene orsituation does not allow for any of these remedies, you can make use ofExposure Compensation to adjust the exposure settings of the camera beforeretaking the image. Youwill see that compensating a full stopwillmove thehistogrampatternaboutonesectionoftheHistogramgraph,soyoucanusethehistogram segments to gauge the amount of compensation you will need toapply, for example -1/3, -2/3, or a full stop.ExposureCompensationwill bediscussedjustbelowinthenextsection.

RGBHistogram:Whenphotographingsubjectsorsceneswithareasofprimarycolors,sometimestheBrightnessHistogrammayindicatethattheoverallimageis properly exposed, yet one of the individual color channels may still be

overexposed.Forexample,thiscancommonlyoccurwhenphotographingbrightredorblueflowers,orwithcertainclothingorcostumesthatasubjectmaybewearing,orwithimagesofartwork.Thebrightestareasofred,forexample,maybe oversaturated in the image and lack any detail or color variation and willsimplyappearas“pure”red(seeFigures233and234).

Figure233-1956BuickCenturionconceptcaratHeritageMuseum,Sandwich,Mass.-Duetofocusedlightingandareflectivebrightredsurface,someareasofredintheimagearepronetooversaturationandlackanydetail,suchasareasofthehoodandthetriangleofbrighterredonthetopoftherearfender.70D:Shutter speed 1/100, Aperture f/2.8, ISO 1600. See larger image here:http://www.flickr.com/photos/dojoklo/9662330970/in/set-72157634994886314/

InthesesituationsyouwillalsowanttomakeuseoftheRGBHistogram,whichshowsseparatebrightnesslevelsforthered,green,andbluechannels.TheRGBHistogram can be viewed along with the Brightness Histogram during imageplayback, by pressing the INFO Button until you see the Histogram ImagePlaybackview(seeFigure234).Youcanalsosetupthecameratodisplaythistypeofhistogramasyourprimaryhistogramby setting theHistogramdisplayitem of the Playback 3menu toRGBHistogram. With this setting the RGBHistogramwillbeshownin theShootingInformationDisplayduringplayback(the display shown in Figure 232), as well as be shown when accessing the

HistogramforLiveViewandmovieshooting.

The RGB Histogram will show the distribution and brightness levels of animage’s primary colors: red, green, and blue.This can be useful to see if youhaveoverexposed,forexample,ablueareaorredareaofyourimage.Ifoneormoreofthecolorsispushingupagainsttherightedgeofthehistogram,itmeansthat there will be areas of that color that are oversaturated and thus will notdisplayanydetail,variationofcolortone,orshadowgradation.Theseareaswillinsteadbesimply“pure”red,green,orblue.Digitalsensorshaveatendencytooverexposered,sothiscanbeaproblemwhenphotographingasceneorsubjectthatcontainsalotofthiscolor.

Figure234-TheHistogramviewduringimageplayback,showingboththeRGBandBrightnessHistograms.TheBrightnessHistogramindicatesthattheimageisperhapsunderexposed,asthepeaksstopbeforeapproachingtherightedgeofthegraph,eventhoughtherearebrightwhiteareasoftheimagethatshouldberepresentedclosertotherightedge.YettheredchanneloftheRGBHistogramshows that there are areas of red that are overexposed, as indicated by theRchannelbeingcutoffattherightedgeoftheRGBHistogram.

Whenphotographing a subjectwith large or distinct areas of a single primarycolor, be sure to check the RGB Histogram in addition to the BrightnessHistogram.Asyoucan see inFigure234, there are situationswhere theRGBHistogram shows that one of the color channels is overexposed, while theBrightnessHistogramshowsthattheoverallimageisnotoverexposed.Youcanattempttoremedythesituationbymodifyingthelightingintensityordirection,rotatingormoving thesubjectoryourself,ordiffusing the light. Inasituationwhere you can’t control the lighting or the subject location, youwill need to

make use of Exposure Compensation to lower the exposure (underexpose theimage)beforeretakingtheimage.While thiswillsolvetheoversaturatedcolorissue,itwillalsomaketheoverallimageappeardarkerthandesired,soyouwillthenhavetocarefullyprocesstheimage(ideallywithaRAWconvertersuchasAdobeCameraRaw,Lightroom, orCanonDPP), to “bring back” or raise theexposure while trying to keep the problematic color channel from becomingoversaturated.

10.3ExposureCompensation

You can use Exposure Compensation in Av, Tv, and P Shooting Modes, to“override” the exposure that the camera is selecting, in order to brighten ordarkenthenextimage’sexposure.Andyoumaywanttomakeuseofthisifyouhaveseen thatyourhighlightshaverunoff therightsideof thehistogramandbeenblown-out,resultingincompletelossofdetailinthoseareasoftheimage.Oryoumayneed touse exposure compensation in conjunctionwithMeteringModes to achieve your desired exposure, as first described in theMeteringModes section.The70D is capable of exposure compensationvalues of+/- 5EV (stops), in 1/2 or 1/3 stop increments (as you specified in theC.Fn I-1:Exposurelevelincrementsmenu).ExposureCompensationworksthesamewhenusingAv,Tv,orPShootingModesduringLiveViewshooting.

Figure235-ExposureCompensation,asaccessedviatheQuickControlScreen(left), shownatrightadjusted+11/3EV.Note that thescreen indicateswhichdirectiontoadjustinordertomakethesubsequentimageDarkerorBrighter.

TouseExposureCompensation,justturntheQuickControlDialontherearofthe camera (unless you have locked the Quick Control Dial with the MultiFunction Lock Switch). You will see the Exposure Compensation amountchange in yourViewfinder and on the top LCDPanel. If the Exposure LevelIndicatorineitheroftheseplacesisnotchanging,presstheShutterButtonhalfwaytofirstwakeupthecamera,ormovetheLockSwitchnearthereardialto“unlock” the dial. If youwish to use an exposure compensation value greaterthan+/-3stops(+/-3EV),suchasuptothepossible+/-5stops,youcanaccesstheExposureCompensation/AEBoptionoftheShooting3menu,orbyusingthe[Q]ButtonandQuickControlScreentoselecttheExposureCompensationitem(seeFigure235). IfyouaccessExposureCompensationvia theQuickControl

Screen, you can use the Touch Screen to increase or decrease the ExposureCompensationamountbypressingthe+or-icons.

To make the next exposure of a scene lighter, turn the Quick Control Dialclockwise(seeFigure236).Tomake it darker, turn thedial counterclockwise.Asseen inFigure235, theExposureCompensation screenasaccessedvia theQuickControlScreenindicateswhichdirectiontoadjusttomakethesubsequentimageDarkerorBrighter.TrychangingtheExposureCompensationby1/3or2/3 EV in the direction you desire, retake the shot, and see if your exposureproblemissolved.IncreaseordecreasetheExposureCompensationasneeded.

Remember toset theExposureCompensationback tozerowhenyouaredonewiththatsituationandmoveontotakedifferentimages!Thisisonereasonwhyyoushouldcheckyourcamera’ssettingsoften-tomakesureyouhaven’tleftthecameraonthesettingsfromaprevioussituation.ThiscanoftenhappenwiththeISOsetting,ExposureCompensationsetting,andWhiteBalancesetting.CheckyourcurrentsettingsonthetopLCDPanel(thatiswhyitisthereforyou),intheViewfinder,orontherearLCDMonitorbypressingtheINFOButton.

Figure 236 - Exposure Compensation - Using EvaluativeMeteringMode, thewiderangeoftonesintheimageresultedinthecameranotdoingagoodjobofdetermining proper exposure, resulting in an underexposed image (left).Exposurecompensation(EC)canbeusedtocorrect thisbeforetakingthenextshot,suchasbyusinganECamountof+1(right).70D:Shutterspeed1/800,Aperturef/2.8,ISO100.(Exposurecompensationof+1addedtotherightimageinpost-processing).

To help remember how to compensate when not viewing the ExposureCompensationscreen-whichdirectiontoturnthedial-thinkofthehistogrampeaksonthegraph.Ifyouwishtoshiftthepeakstotheleft,tothedarkerside,tomake the image darker, turn the dial to the left (counterclockwise) so that the

ExposureCompensationlevelmovestotheleft(-1,-2,etc.).Ifyouwishtoshiftthepeakstotheright,tothelighterside,tomaketheimagelighter,turnthedialto theright (clockwise)so that theExposureCompensation levelmoves to theright(+1,+2,etc).Darktotheleft,brighttotheright.

Exposure Compensation does not function inMMode because you have fullcontrolover theexposuresettingsyourself.Youhavesetyouraperture,shutterspeed, and ISO settings as desired. To change the exposure, first determinewhichsettingismorecritical:isaperturecriticaltomaintainyourdesireddepthoffieldorisshutterspeedcriticaltofreezeorblurmotion?Ifapertureiscriticalforthesituation,thenyouwouldkeeptheapertureasyouhavesetitandchangetheshutterspeedinordertoadjustyourexposure.Setyourshutterspeedslowerto make the image brighter and set it faster to make the image darker. Or,recallingthatISOaffectsexposureaswell,leavetheapertureandshutterspeedas set, and then set the ISOhigher tomake the image brighter or set the ISOlowertomaketheimagedarker.

RememberthatAutoLightingOptimizerwillattemptto“correct”theexposureof an image and thus will work to override any Exposure Compensationadjustmentsyoumake,soit isbest toDisableALOintheShooting3menuorviatheQuickControlScreenifyouwishtohavefullcontrol.

Expose to theRightPhilosophy:There isaverycommondigitalphotographyphilosophy, related to exposure, exposure compensation, and the Histogram,called“ExposetotheRight”(ETTR).Thisisamoreadvancedtopic,soyoumaywish toensure thatyou fullyunderstandexposureconceptsand theHistogrambeforeattacking this.The“Expose to theRight”approachsuggests that ifyouarecapturingRAWfiles(andwillthusbeprocessingtheminaRAWconvertersuchasAdobeCameraRaw,Lightroom,orCanon’sDigitalPhotoProfessional),youshouldexposeyourimagessothatthehistogrampeaksareasfartotherightof the histogram graph as possible, without hitting the edge of the graph andblowingout the highlights.Thismay result in your imagebeingoverexposed,butyoucanthenfixthatinpost-processing.

Figure237-ExposetotheRight(ETTR)-Themajorityoftheinformationintheimage was captured in the left sections of the Histogram. The Expose to theRightphilosophyexplainsthatfarmoreimageinformationcouldbecapturedbythesensoriftheexposurewasincreasedsothatthebulkoftheHistogrampeakmovestowithintherighttwosectionsoftheHistogram.

Exposing to the right is proposed because with digital camera sensors, muchmoredigitalinformationiscapturedintheareasrepresentedintherightsideofthehistogramthanin theareasrepresentedin the leftsideof thehistogram.Inother words, far more discrete bright tones can be captured by the sensor(represented by the far right segment of the histogram) than the number ofdiscretedark tones(representedby thefar leftsegmentof thehistogram).Andthus if the histogram peak is to the right, the image contains more digitalinformation,anditwillgiveyoumorelatitudetoadjustitinpost-processingandbring out the maximum amount of highlight and shadow details (see Figure237). If this is something you wish to explore, you can start with the articlebelow called Expose (to the) Right - Maximizing S/N Ratio in DigitalPhotography byMichaelReichmann, andcontinueyour researchby searchingtheInternetfor“exposetotheright.”

http://www.luminous-landscape.com/tutorials/expose-right.shtml

However,knowthatothersareskepticalorlessenthusiasticofthisapproach,foravarietyof reasons.One is the fact that not all actualhighlights in the imagemay be shown in the camera’s histogram, and thus if you push the histogrampeakstoofartotheright,evenwithoutreachingtheedgeofthegraph,theremaystillbeblown-outhighlightsintheactualimage-whichyouwilllaterdiscoverwhenviewingitonacomputer.SoifyoudecidetotaketheETTRapproach,you

may wish to compensate a bit and leave a little space to the right of yourhistogram peaks to allow for possible highlights that aren’t represented. Oneimportant reason toexpose to the right is so thatmoredetail is retained in theshadowareasof the images.Howeversomephotographersaren’tasconcernedabout exposing to the right and retaining these shadow details because theyappreciatetheappearanceofdeep,blackshadowsintheirimagesandprints.Ifyou look in a museum or gallery at the printed photographs by renownedphotographers from the black and white era, you will often see deep, darkshadowsandfullyblackareas.Whetherthiswasduetotheiraestheticdecisionsor to limitations of the films and papers they used, these black areas remainpowerfulandappealingaspectsoftheirimages.Somephotographerstodaywishto emulate that approach, and are thus not concerned about retaining subtledetailsinalltheshadowareas.

10.4AutoExposureBracketing

Exposurebracketing iswhenyou take several images in a row - onewith thecorrectexposure,oneormoreofadarkerexposure,andoneormoreofalighterexposure.Thisissometimesdonetoensurethatyougetashotwiththeproperexposure, or to experiment and see which exposure looks better to you (seeFigure238).Oritisdonetocreatemultipleexposuresofthesamescenethatarelater combined to create anHDR, or high dynamic range, image.UsingAutoExposureBracketing(AEB),the70Dcanbracketforyouautomatically,withamaximumrangeof+/-5EV,andupto7shots-whichisidealforthoseshootingmultiple images theywish to combine and process into anHDR image usingHDRsoftware(thisisdifferentthanthein-cameraHDRfeaturediscussednext).Unlikepreviousmodels,the70Dcanauto-bracket2,3,5,or7shots,notjustthetraditional3shots.RecallthatyousettheBracketingsequenceandtheNumberofbracketedshotsintheC.FnI:Exposuremenu.

Figure238-FrenchMedievalStorefrontCarving,HammondCastle,Gloucester,Mass.-Threebracketedexposuresofthesamescene:the“proper”exposureasdetermined by the camera (Center-Weighted Average Metering Mode) in thecenter;overexposed+1stopontheleft;underexposed-1stopontheright.Thedesired exposure, for my eye, lies somewhere between the “proper” exposureand thedarkerunderexposure,wheresomehighlightson the figureremainbutthecoloranddetailof thewoodcanbe seen in thoseareas.Centerexposure:Shutterspeed1/60,Aperturef/2.8,ISO200.

Using Auto Exposure Bracketing (AEB), you set the camera up to take thedesired number of bracketed exposures and you tell the camera how muchlighteranddarkeryouwisheachoftheotherimagestobe.Youthenhavetotakethemultiplephotosyourself.YoucandothisindividuallyusingSingleShootingdrivemode:click,click,click.OryoucansetthecameraonaContinuousdrivemodetotakethemallquicklyinarowwithoneShutterButtonpush,anditwillthen pause after the set number of shots. Remember you need to take all theimages inarowof thesamescenebeforeyoumoveonto thenextscene.The70DwilltrytoremindyouofthisbyhavingindicatorsblinkintheViewfinderandonthetopLCDPanelifthefullseriesofphotoshasnotbeentaken.Afterthefirstbracketingseries,AutoExposureBracketingwillcontinuetobeenabledso that you can take another bracketing series. To cancel AEB, return to theExposureCompensation/AEBmenuoriconandsetthebracketingamountbacktozero.

Figure 239 - Auto Exposure Bracketing (AEB) screen showing bracketingexposure latitude of EV 1, with the bracketed exposures centered around 0.Noticehow the top row is indicatedby the iconon the left asbeingExposureCompensation(+/-),tobecontrolledbytheMulti-Controllerasindicatedbythearrowiconsontheright(theQuickControlDialwillalsowork).AndthebottomrowisindicatedasAEBorAutoExposureBracketingbytheiconontheleft,tobecontrolledbytheMainDialasindicatedbythehalf-circleiconontheright.YoucanalsousetheTouchScreentoadjustthesesettings.

Set Auto Exposure Bracketing in the Shooting 3 menu under ExposureCompensation/AEB or via the Exposure Compensation scale on the QuickControlScreen.ThenusetheMainDialortheTouchScreenarrowiconstoset

thebracketingamount(seeFigure239).YoucanuseexposurecompensationinconjunctionwithAutoExposureBracketingsothatthethreeormorebracketedexposures are centered around a brighter or darker exposure instead of beingcentered around 0. For example, using “standard” AEB, your exposures arecenteredaround0andthecameratakesadarkerexposureat,say,-1andalighterexposureat+1(asinFigure239). Ifyouchangeexposurecompensationto+1thenAEBtakesthreeexposurescenteredaround+1,withthedarkerexposureat0and the lighterexposureat+2 (seeFigure240).Use theMulti-Controllerorthe Quick Control Dial to change the exposure compensation amount whenusingtheExposureCompensation/AEBSettingscreen.AsseeninFigures239and240,themenuscreenwillhelpindicatethesefunctionsandcontrolssothatyoudon’thaveto“memorize”them.

Figure 240 - Auto Exposure Bracketing (AEB) screen showing bracketingexposure latitudeofEV1 combinedwithExposureCompensationEV+1, andthusthebracketedexposuresarecenteredaround+1.

RememberintheCustomFunctionmenuC.FnI-3:Bracketingautocancelyoutold thecamera tocancelAEBwhenyouturn thecameraoff.This issowhenyouusethecameranexttimeandyouhaveforgottenthatyouwerebracketing,thecameragoesbacktonormalandwillnotstillbesettoautobracket.Andnotethat you cannot use Auto Exposure Bracketing with Multi-Shot NoiseReduction, Creative Filters, or flash. (Though you can make use of FlashExposureBracketing in theFlashExposureCompensationmenu.)10.5HDRShootingModeandMultipleExposureMode

HDR(HighDynamicRange)ShootingMode

Asnotedpreviously, thehumaneyehasawiderdynamic range thanacamerasensor,and thuswecansimultaneouslyseeabroader range (frombrightareasthrough details in dark shadows) than a sensor or film can capture.However,usinghighdynamicrange(HDR)photography,imagesofthesamescenetakenat various exposures can be combined to create a single image with a muchwiderdynamicrange.Theresultscanvaryfromnatural,realisticlookingimageswhichcontainawiderdynamicrangethanispossiblewithasingleexposure,tohyper-realistic appearing images with distorted tones and dramatic contrast.PreviouslyHDRprocessingwasperformedonlywithsoftware,butwiththein-cameraHDR(HighDynamicRange)Shootingmodefeatureofthe70D,youcannowautomaticallycapturethreeimagesofvariousexposures,combinethemintoasingleHDRimage,andprocessthem,allin-camera.Notethatyoucannotusethis featurewhen shootingRAWor JPEG+RAW images. The resulting imageresultwillbea JPEG,and the70Dwillnot save theoriginal three images forlateruseorpost-processing.

UsingHDRShootingMode, thecamerawill captureanunderexposed image,correctly exposed image, and over exposed image, similar to Auto ExposureBracketing.Youcanselecttheexposurerangeoftheimagesfrombetween+/-1to+/- 3EV, or let the camera automatically select the range (seeFigure 241-right). You then also select if you would like the camera to auto-align theindividualframesforthefinalimage-recommendedifyouarehandholdingtheshots.

Figure241-Left:HDRModemenu,accessibleintheShooting4menu.Right:AdjustDynamicRange options to determine the exposure latitude of the threeHDRsourceimages.

Toperformthein-cameraHDRShootingfunction,accesstheHDRModemenuintheShooting4menu(seeFigure241).Besurethat thecameraisnotsetforRAWorRAW+JPEG imagequality,BulbShootingMode, ormovie shooting.

AlsodisableAutoExposureBracketing,WhiteBalanceBracketing,MultiShotNoiseReduction, orMultipleExposuremode, as theywill conflictwithHDRandpreventyoufromaccessingtheHDRmenu.YouwilllikelywishtosetthecameraonAvShootingmode so that you can choose the aperture setting.Setyour ISO setting a little higher than you typicallywould for the scene, as thecameraneedsleewaytotakethevariedexposuressootherwisetheshutterspeedmightbecomevery slow.Use theAdjust dyn range option to set the exposurerangeofthethreesourceshots,oruseAutotoletthecameradecidebasedonthescene(seeFigure241).

Figure 242 - LowellHouse,Cambridge,Mass. -Left: In-cameraHDRMode,AdjustDynamicRangesetting+/-1,AutoAlignenabled,withtripod.Right:In-cameraHDRMode, AdjustDynamic Range setting+/-3, Auto Align enabled,with tripod. The HDR +/-3 image displays a wider range of tones and lessoverexposed highlights. Resulting images: 70D, Shutter speed 1/6, Aperturef/5.0, ISO 3200. Larger versions of the images, plus comparisons to the samesceneinAvModeandHandheldNightSceneMode,canbeseeninthe70Dsethere: http://www.flickr.com/photos/dojoklo/9720801156/in/set-72157634994886314/

TheContinuousHDRmenu item (seeFigure 243)will determine if you onlytake one set of HDR exposures (three shots that are combined) before HDRShootingisdisabledandthecamerareturnstoregularshooting(withthesetting1shotonly),or ifHDRShootingcontinuesforall the images thatyoucaptureuntil you set the previousAdjustDyn range setting back toDisable (with thesettingEveryshot).

ThesettingforAutoImageAlignshouldbesetforEnablewhenshootinghand-heldHDRimagessothatthethreeimagesareautomaticallyaligned(seeFigure243). You can set forDisable when using a tripod. Ideally you should use atripod when shooting HDR images, so that the framing of all of the sourceimages is the same, resulting in the sharpest possible final image. It is best tocreate HDR images of still subjects, as moving subjects will change locationfromframetoframepreventinganoptimalmergingoftheimages,andpartsoftheir bodywill often disappear in the resultingHDR image. The three sourceimagesofHDRShootingarecapturedwithoneShutterButtonpress.NotethatyoucannotuseaflashwithHDRshooting,andarelimitedtotheISOrangeof100to12800.

Figure243-HDRShootingModemenuoptions-Left:ContinuousHDRoptiontosetifonlyoneHDRimageistakenbeforerevertingtoregularshootingorifHDRshootingcontinues.Right:AutoImageAlignoption,usedtoalignthethreesourceimagesinthefinalimage,suchaswhennotshootingonatripod.

MultipleExposureMode

The 70D is capable of shooting and processing multiple exposures, whereseveralimagesarecombinedtogether,or“stacked,”asiftheyweretakenonthesame frame (see Figure 244). Anywhere from two to nine frames can becombinedintoasingleimage,andyoucandeleteandreshootthelatestexposureduring the process. Multiple exposures can be taken while shooting in either

RAWor JPEGfile format,but this functionwillnotbeaccessiblewhenusingWhiteBalanceBracketing,MultiShotNoiseReduction,HDRMode,orWi-Fi.Any settings for Auto Lighting Optimizer, Highlight Tone Priority, and lenscorrectionswillbedisabledduringMultipleExposureshooting.Thesettingsyouchoose for the Image Quality, ISO speed, Picture Style, and High ISONoiseReductionwillbeappliedtoalloftheexposures.NotethattheAutoPowerOffsettingoftheSet-up2menuwilltakeeffectifyouallowtoomuchtimebetweenimageswhenmakinguseofMultipleExposure.

Figure 244 - Multiple Exposure Mode menu to set up the parameters andprocessingoptionsofin-cameraMultipleExposureshootingandimageresults.

TouseMultipleExposureaccesstheMultipleExposureitemintheShooting4menu and setMultiple exposure for Enable. The multiple exposures can beprocessed in a couple different ways to achieve the final single-image result,usingMulti-exposctrl(seeFigure244).

Additive setting is most similar to shooting multiple exposureswithfilm,wherethetotalexposureisthecumulativeexposureofeachoftheindividualframes-inotherwords,theyarealladdedtogether.Thiscouldresultinaverydarkimage,soitistypicallybesttounderexposeeachframetosomedegreesothatwhentheyarecombinedthecumulativeresultisaproperlyexposedimage.Forgeneraluse,youcanunderexpose0.5stop(-0.5EV)pertotalnumber of exposures. For example if yourmultiple exposure isgoingtobeacombinationof5exposures,underexposeby0.5x5=2.5stops(-2.5EV)foreachoftheindividualexposures(setExposure Compensation for -2.5 EV then take each of the 5exposures that will be combined). Or, since the camera can dothatforyouautomaticallywiththeAverage setting(below),youcan vary the exposure of each shot to obtain your final desired

result,possiblygivingmore“weight”tocertainexposuresintheseriesandmakingotherexposureslighterandlessvisible.

Average setting offers automatic exposure adjustment. Eachindividualframewillbeunderexposedtheproperamountsothatthe final stacked imagehas thecorrectoverall exposure, similarto the formula I just explained above. To determine the finalexposure,the“total”exposuresofalltheframeswillbeaveragedand individual frames will each be under exposed the sameamount.Basically,thecameraisautomaticallyapplyingthe“-0.5EV per image” underexposure formula of above. If you wouldlike tovary theexposureamount fromframe to frame,youwillneedtouseAdditive.

Figure 245 -Multiple ExposureMode menu to set up the parameters for in-cameraMultipleExposureshooting.Left:Numberofexposurestobetakenandcombined for the final result. Right:ContinueMultiple exposure to set if onlyone multiple exposure series is taken before the camera reverts to normalshootingorifmultipleexposureshootingcontinuesuntildisabled.

Set the number of exposures thatwill be combinedwith theNo.of exposuresmenuitem,from2and9(seeFigure245).ThesettingforContinueMult-expistodetermineifyouaregoingtotakejustoneMultipleExposuresequencebeforethe camera reverts back to normal shooting (1 shot only), or if you wish tocontinue to work in Multiple Exposure mode until youDisable the MultipleExposurefunction(Continuously)(seeFigure245).

Figure 246 - Neon Restaurant Signs, Cambridge, Mass. - Multiple ExposureModeusedtotakethreeframesthatwereautomaticallycombinedasoneimage.Multiple Exposure Control setting: Average (which allows the camera toautomaticallyunderexposeeachframetocreateaproperlyexposedfinalresult).Finalimage:70D,Shutterspeed1/80,Aperturef/4.0,ISO3200.

During the multiple exposure process, you can delete the last individual shotafteritistakenbypressingthePlaybackButtonandselectingUndolastimagebeforecontinuingontothenextshot.Thiswayyoucancapturethefirstimageyou want, use it to start the sequence, and delete and retake the subsequentimagesasyoutakethemifyoudon’tliketheongoingresults.Youcanalsoshootmultiple exposures while working in Live View. During the process, thecombined, in-progress multiple exposure will be shown on the rear LCDMonitoralongwiththe“live”image,butyoucanviewthesingleLiveViewofthe sceneby repeatedlypressing the INFOButton.Viewing the combined, in-progressmultiple exposure in LiveView can obviously assist you in buildingyour final image.The individual progress images of aMultipleExposurewillnotbesaved,justthefinalimage(seeFigure246).

YoucanchoosetoselectalargeRAW(notM-RAWorS-RAW)imagealreadytakenandsavedonthememorycardastheinitialimageinthemultipleexposuresequencebyusingtheSelectimageformulti.expo.menuitematthebottomof

the Multiple Exposure menu screen (see Figure 244). An image taken withHighlightTonePrioritycannotbeselectedastheinitialimage,norcanaJPEGimage.(However,youcanshoottheimagesinJPEGifyoustartanewsequencewithoutchoosingapre-recordedinitialimage.)Someofthesettingsusedforthisinitial selected image will also be used for the subsequent multiple exposureimages such as the ISO speed andPictureStyle.Selecting an initial imageonyourmemorycardwillallowyoutouseanearlierimageyouoriginallymaynothaveplannedtouse inamultipleexposure,orcanhelpyou tobettercomposeand“build”amultipleexposure-possibilitiesthatwereobviouslynotavailablewithfilm.

11.ADDITIONALCAMERAFUNCTIONS

11.1AutoLightingOptimizerandHighlightTonePriority

AutoLightingOptimizer(ALO)

This feature, first introduced in the Shooting 3 menu section of theMenuSettings chapter, automatically adjusts contrast and brightness and helps tomaintain detail in both the shadows and highlights of images with a widecontrastrange(onescontainingverybrightareasandverydarkareas,suchasabacklitsubject).Itdoesthisbyapplyingatonecurvetotheimageasitisbeingprocessedin-camera,similartowhatyoumightdowithaCurveinPhotoshop.ItonlyaffectsJPEGimagesandnotRAWimages.IfALOisturnedon,itwillbeappliedtoaJPEGimagebythecameraandcannotbeundonelater.

If you are shooting in JPEG and will not be post-processing your images,experiment with the Low Standard Strong settings of ALO in high contrastsituations and see if it gives you the improvements and results you seek.However,ifyoufeelyouhavecontrolovertheexposuresyoudesire,andwanttoadjustthemhowyouwishwithyourexposuresettings,thendonotnecessarilyallow the camera to do it on its own and override your settings with AutoLightingOptimizer.Ifyouturniton,itwillattemptto“correct”yourexposuresand it will override your settings for exposure compensation and flashcompensation,andevenyourManualModesettingsunlessyouchecktheboxforDisableduringM(Manual)orB(Bulb)modesintheALOmenu(seeFigure247).Ifyouinadvertentlyleaveiton, itmightpossiblydriveyoucrazyasyouwonderwhyyourexposuresdonotseemtobereflectingthesettingchangesyouare making to the camera or flash. The best solution for those wanting fullcontrolof their images isgenerally to turnoffALO,shoot inRAW,andmakethese types of adjustments yourself later in post-processing. Note that ifHighlight Tone Priority is enabled (Shooting 4 menu), then ALO will beautomatically disabled. It will also be disabled when using the HDR andMultipleExposuresmodes.

Figure247 -AutoLightingOptimizermenu (left),andHighlightTonePrioritymenu(right).

HighlightTonePriority(HTP)

This featurewas firstdiscussed in theShooting4menuof theMenuSettingschapter at the beginning of the guide (see Figure 247). Although I don’trecommend that you enable it all the time, youmaywish to use it in certainsituationswhere it is vital that you retain detail in the highlights. This settingimproves the details seen in highlights and helps prevent them from beingoverexposedorblown-out.Itshiftsthedynamicrangetothebrighterend,soyousacrifice some detail in the shadows. (The camera attempts to capture moreinformationinthebrighterareasoftheimage,andthushastosacrificecapturingsome of the information in the darker areas.) Consider using it whenphotographingaweddingdressorsomethingverybrightwhereyoudon'twishtolosethesubtledetails,orina“high-key”imagewheresubtledifferencesoflighttonesisimportant.(Again,a“highkey”imageisonewithonlyverylighttonesandwithlowcontrast,typicallywithaverylight,brightlylitsubjectandawhitebackground.) Perhaps put Highlight Tone Priority in My Menu so yourememberitistheretousewhenyouneedit.Notethatwhenyouenablethis,thecamerawilldisableAutoLightingOptimizerandwilllimityourISOrangefrom200 to12,800.HTPaffectsbothJPEGandRAWimagefiles,andcanbeusedduringmovieshootingtoo.However,ifyouareshootinginRAWandensuringthatyourexposuresare retaining thehighlights (andnotoverexposing themor“blowingthemout”aswillbeindicatedontheHistogramifthegraphgetscutoffontherightside)youwillbeabletomakethissametypeofadjustment toyourRAWfilesinpost-processing.WhenHighlightTonePriorityisenabled,a[D+]iconwillappearintheViewfinderandLCDPanel.

11.2WhiteBalance

WhiteBalance(WB)isforensuringthatwhiteobjectsappearaswhiteunderanylightingandthattheoverallcolortoneofanimageisthuscorrect.Oureyesandbraincorrectwhatweseesothatwhiteobjectsalwayslookwhitetous.Buttothecamera,whiteobjectsunder some fluorescent lightingappeargreenishandunder incandescent lighting appear orange or reddish. Generally, AutoWhiteBalance(AWB)doesanexcellentjobofsettingtheproperwhitebalance.AndifyouareshootingRAWfiles,youcanalwaysuseAutoWhiteBalanceandthensetyourdesiredwhitebalanceinpost-processing.ButifyouareshootingJPEGfiles you may wish to set the white balance to match the actual lightingconditions, especially if you areworking in the evening, at sunset, or indoorswithout a flash. Remember that the Cloudy setting is also used for twilight(evening)andsunsetscenes,tomakeimagesofthemappearwarmandreddishlike they naturally appear to our eye or our expectations. Shade WB settingmakes these images appear even warmer (as will be shown in Figure 250).Indoors, set the WB to Tungsten for standard incandescent bulbs, WhiteFluorescent Light for fluorescent lighting, or learn to set a Custom WhiteBalanceforbetterprecisionorformixedlighting(moreonthisbelow).

Figure 248 -White Balance - Selecting theWhite Balance icon on theQuickControl Screen (left), and then viewing and selecting the desired WB option(right).

SettheWhiteBalancethroughtheShooting3menuormoreeasilywiththe[Q]ButtonandQuickControlScreenorvia theTouchScreenbyfirstpressingthe[Q] icon on the Shooting Function Settings Screen and accessing the WhiteBalance icon (seeFigure248).When theWhiteBalance icon is selected, turnoneofthedialstodirectlychangethesetting.Orelseselecttheiconbytapping

it or pressing the SETButton and then you can view all theWBoptions andselectyoursetting(seeFigure248-right).DuringLiveViewshootingyoucanaccesstheLiveViewQuickControlScreentochangetheWhiteBalanceSetting(seeFigure249-left).

Figure249 -WhiteBalance -Left:Selecting theWhiteBalance settingon theLive View Quick Control Screen. Right: Setting a specific color temperatureusingtheKoption(right).

The camera’s incandescent (tungsten), fluorescent, and other standard whitebalanceoptionsandtemperatures(inKelvin)are:Daylight:5200KShade:7000KCloudy,Twilight,Sunset:6000KTungsten(Incandescent):3200KWhiteFluorescentLight:4000KFlash: approx. 6000K (ormayvary if yourSpeedlite shares color temperatureinformation)Belowaresomecommoncolortemperaturesofvariouslightbulbs.Thetypeandcolortemperaturesoffluorescentbulbsaretypicallyprintedonthetubes,nearoneof theends.Youcanmanuallysetaspecificcolor temperatureusingtheKsettingintheWhiteBalancemenu,orsetaCustomWhiteBalanceas described below. To choose a specificK setting, access theWhiteBalancemenu,choosetheKsetting,turntheMainDialtoselectthedesiredtemperature,thenpressSETtocompletetheprocess(seeFigure249-right).

Sodiumvaporlamps:2,700KWarm-whitefluorescent:3,000KCool-whitefluorescent:4,200KDaylightfluorescent:6,500KHightemperaturemercury-vapor:7,200K

Figure 250 - Terracotta Ornament, Public Library, Cambridge, Mass. - Thesame photograph with three different White Balance settings (set in CanonDPP):4600Konleft,creatinganaccuratebutdullcolorrenditionofthescene,Daylight-5200K in thecenter to createamorepleasingandnatural look,andShade-7000K at right to create awarm, sunset look.Cloudy-6000Kwould beslightlylessreddishandwarmthanShade.70D:Shutterspeed1/1250,Aperturef/4.0,ISO200.

WhiteBalancecanalsobeusecreatively(seeFigure250).Onasunnyday,youcansetittoCloudyoreventoShadetowarmupthecoloroftheimages.OryoucanuseTungstenoutsidetocreateimageswithacooler,bluercolortemperatureappearance,suchasforsnowscenesoradynamictwilightsky.NotethatifyouareshootingwithaSpeedliteflash,itisbestandeasiesttouseagel(colorfilter)onyourflashtomatchthelightfromtheflashtotheambientlight.Thensetthecamera’sWhiteBalancetotheambientlightsource.Thatwayboththesubjectandthebackgroundwillhavethesamewhitebalanceorcolorcast,asthecolortemperaturefromtheflashwillmatchthecolortemperatureoftheambientlightof thescene.Settingthecamera’sWhiteBalanceto thissamesettingwill then“neutralize”thecolorcastfortheentirescene.Ifyoudon’tdothiswhenusingflash, thecolorcastof thebackgroundmayappeardifferent,andpossiblyodd.DoallthiswiththeRoscoStrobistCollectiongelsandaccessoriesdescribedinthePhotographyAccessoriessectionofthistext.

CustomWhiteBalance

If oneof thepresetWBsettings is not givingyouaccurateWhiteBalance, or

youareshootingstudio-typeshotswithconsistentlightingandyouwantamorepreciseWhiteBalance,orifyouareworkinginasituationwithmixedlightingsources,youmaywishtosetaCustomWhiteBalance.TosetaCustomWhiteBalance,placeadigitalgreycardorplainwhiteobjectsuchasapieceofpaperinthesceneyouwishtoshoot,withthelightingyouwishtoshootin,andwiththeproperexposureforthescenesetorlockedbeforetakingthephoto.Adigitalgreycardispreferredbecausethecolortoneof“white”variesbetweendifferenttypesofpaper.

Figure251-CustomWhiteBalance-PlacingadigitalgreycardinthesceneinpreparationforcreatingaCustomWhiteBalance.Besurethatthegreycardfillsthe central area of theViewfinder, as indicated by the dotted rectangle shownhere(butwhichwillnotbeseenintheViewfinder).

Takeaphotoofthegreycard,framedsothatthecardfillsthecentralareaoftheViewfinder,asshowninFigure251.ThisdashedareawillnotbevisibleintheViewfinder,sousetheViewfinderGridandAFPointstoapproximatethearea,or simply fill a large portion of the framewith the grey card.Make sure theimageisnotoverexposed(withblinkinghighlights)orelsethecameramaynotacceptitforthisprocess.AccessCustomWhiteBalanceintheShooting3menu,pressSET,findtheimageyoujust tookbyscrollingthroughyour imageswiththeQuickControlDial(seeFigure252-left),pressSETagainthenselectOKto

“UseWB data.” The camera will remind you to then set theWhite Balancesetting toCustom(seeFigure252-right).Exit themenubypressing theMenuButton.ThisprocesstellsthecamerawhatimagetorefertofordeterminingtheCustomWhite Balance and, as noted, you will need to select CustomWhiteBalanceasyourWhiteBalancesettingusingeitherthemenusorthe[Q]Buttonor Touch Screen [Q] icon and the Quick Control Screen. The custom whitebalancesymbolistheoddsymbolwithtwotrianglesbelowasquare,asshownin Figure 252-right. When you are finished shooting in that situation,remembertochangeyourWBbacktoAutoortoyourdesiredsetting.

Figure252-CustomWhiteBalance-TosettheCustomWhiteBalance,findtheimage you just took by scrolling through your imageswith theQuickControlDialandthenpressSET(left).Afterselectingtheimage,thecamerawillremindyoutothensetthecamera’sWhiteBalancesettingtoCustom(right).

WhiteBalanceCorrection,Shift,andBracketing

You can carefully tweak the white balance setting using White BalanceCorrection(alsocalledWBShift).Thisisforadvanceduserswithveryspecificwhite balance needs.Access this in theShooting3menu, then use theMulti-Controller to shift thewhite balance settings along the blue-amber and green-magentagrid(seeFigure253).UsetheQuickControlDialtobracketforwhitebalancealongeitheroftheseaxes.ThisissimilartoAutoExposureBracketing,exceptthecamerawilltakethreeimagesusingdifferentcolortones-oneimageatthecurrentwhitebalancesetting,oneshiftedtowardsonecoloroftheselectedaxis, and one shifted to the other color. You can even use White BalanceBracketing with Auto Exposure Bracketing, and the camera will take ninebracketedshots(threeexposuresateachofthethreeWBsettings).YoucanuseCustomFunctionC.FnI-5:Numberofbracketedshotstochangethenumberofbracketedshotsfrom3to2,5,or7ifdesired.

Figure 253 - White Balance Shift / Bracketing - Access this setting in theShooting 3menu (left). Right: TheWhite BalanceCorrection screen to adjustWBShiftandWBBracketingtoadapt toaspecific lightingsituation.Herethewhitebalance is shifted in theAmberandGreendirections (themiddledotonthegraph),andthenbracketedalongtheBlue-Amberaxis(thedotssurroundingit to the left and right). Note that the icon at the bottom indicates to use theQuickControlDialforBracketing.UsetheTouchScreenorMulti-ControllerforWBShift.

11.3PictureStyles

Picture Styles were discussed briefly in the Shooting 4menu section at thebeginningofthetext,butIwillrevisitandaddalittletothat.PictureStylesareusedtoapplyyourdesiredsettingsofSharpness,Contrast,Saturation,andColorTone to JPEG image files as theyareprocessedand saved in thecamera.Youcanchooseoneofthepresets,modifyoneofthepresetstoyourdesiredsettings,or create your own. Remember that the processing changes done by PictureStylestotheimagefilewillpermanentlyaffecttheJPEGfileanditsappearance.You can still adjust the image inPhotoshop, but certain informationwill havebeen lost during the in-camera processing and saving of the image file. Thatbeingsaid,ifyouhavedecidedtoshootinJPEGandwillnotbepost-processingallyourimages,carefullyselectandmodifyaPictureStyletocreatethetypeofimagesyouwant.

ThePictureStylemenucanbe accessed through theQuickControlScreenbypressingthe[Q]Button.Oryoucanpressthe[Q]iconontheShootingFunctionSettings Screen and then press the Picture Styles icon tomake your selection(seeFigure254).PictureStylescanalsobeaccessedintheShooting4menu,orvia theLiveViewQuickControlScreen(seeFigure255).Youcanbeginwithoneofthepresets,perhapscustomizeittobetterachieveyourdesiredresults,orcreateandregisteryourownUserDefinedstyle.

Figure254-PictureStyles-AccessingthePictureStylesettingsusingtheQuickControl Screen (left). Right:Choose your desired setting, and press the INFOButtontoadjustitsparameters.

Figure255-PictureStyles-AccessingPictureStylesvia theShooting4menu(left), or using the Live View Quick Control Screen (right). Again, press theINFOButtontoadjustthePictureStyleparameters.

PictureStyleAutoprovidesautomaticadjustmenttothesesettingsbasedoninformationacquiredbythecamera’s“SceneDetectionSystem,” and is claimed by Canon to work well for generalshooting with particular effectiveness for nature images,landscapes,andsunsets.

Standardcreatessharp,vividimageswithabitofanincreaseofsaturation and contrast, and can be used for general images,straightoutofthecamera.

Portrait is optimized for good skin tone, and lowers thesharpeningwhich is common for softer,more attractive portraitimages.

Landscape affects the greens and blues for vividly naturallandscape images,with increased sharpness forcrispoutlinesofobjects.

Neutral is best if you plan to post-process your images, as itcaptures the information that hits the sensor with the accuratecolors and least amount of in-camera processing. Images maylook a bit dull without the color, contrast, and sharpeningadjustmentsyouwillwanttomakeinpost-processing.

FaithfulissimilartoNeutralinthatitcapturesaccurate(butdull)colorsandisoptimizedfordaylightcolortemperatureof5200K.Youwill likelyneedtoprocessimagestakenwiththissettinginordertoenliventhecolors.

Monochrome is forcreatingblackandwhite images,andcanbeusedwithvariousFilterEffects borrowed fromblack andwhitefilmphotography(seeFigure256).Yellow,Orange,andRedwillincreasecontrastanddarkenthesky-Yellowalittlebit,Redalot,andOrangeinbetween.Thesecreatemoredramaticlookingskiesespeciallyifthereareclouds,whichwillstandoutnicelyagainstthedarkenedsky.Green isused tosoftenskin tonessuchas forportraits, or to create crisper, brighter leaves inblack andwhitelandscapes. With the Monochrome setting, you can also applyToning Effects, or a colored tint including Sepia, Blue like acyanotypeimage,Purple,andGreen(seeFigure256).However,itisgenerallybettertotakeallyourimagesincolorandconverttoblackandwhiteinpost-processing.Thiswayyoustillhavethecolor image plus you have much more control over theconversions, tones, and filters in Photoshop (or Lightroom,Aperture,etc.).

Figure256-FilterEffectoptions (left)andToningEffectoptions (right)whenusingtheMonochrome(blackandwhite)PictureStyle.

Regarding customizing thePictureStyle settings to create the image lookyoudesire: all digital images require some sharpening to look their best, so youmight wish to increase this, but don’t over-do it to where the image looksunusual.Alsobeawarethatforportraits,asofter,lesssharpenedimagemaylookbetter. Contrast also makes images “pop” and helps them appear sharper, soexperiment with that. Saturation, too, can really bring images to life -particularly those that emphasize color - so this should generally be slightlyincreased.ColorTonemakesskintonemorereddish(minus)oryellowish(plus)so it isprobablybest to leave italoneunlessyouneed toadjust itbecause theskin tones of a subject are not being captured as desired. Don’t hesitate to

increase theothersettingsbeyond thedefaults,butbesurenot toover-do it tothe point where the adjustments looks obvious or unreal (unless that is yourintention). Choose Standard, Neutral, or Faithful Picture Style if you shootJPEGs but plan to edit in Photoshop later, so that your images areminimallyprocessed by the camera.When setting theMonochrome Picture Style,FilterEffectandToningEffectwillreplacetheSaturationandColorToneparameters.

If you are shooting inRAW, thePictureStyle you set applies to the playbackimagesandtheirhistogramsthatyouseeontherearLCDMonitoreventhoughyouareshootinginonlyRAW.SoitissomewhatimportantthatyouleavethissetatStandard,Neutral,orFaithfulifyoushootRAW.Otherwiseifyouset,forexample,aPictureStylewithhighcontrast, the imageyoureviewontheLCDMonitor may show blown-out highlights, but in reality the RAW file will beproperlyexposed.

Or,asmentionedearlierinthePictureStylesitemoftheShooting4menu,youcantakeadifferentapproachandcustomizeaPictureStyletocloselyresemblehowyou typically process yourRAWfiles.Thatwayyou canpreviewon therearLCDhowyourfinal,processedimagewillappear.Thisapproachshouldbetakenonlyafteryouhavegainedexperiencewithpostprocessing(inPhotoshop,Lightroom, Aperture, etc.) and have developed your own typical processingsettings. If you find thatyouhavedeveloped standardpost-processing settingsthat vary for your landscape photos, portraits, and sports photos, you cancustomize different Picture Styles in the camera to reflect these settings andmakeuseoftheminyourvariousshootingsituations.

Figure257-Left:DetailSettingscreenofthePictureStylemenu,tocustomizeone of the pre-set Picture Style settings to better obtain your desired imageresults.Right:AdjustingtheSaturationparameter.

YoucancustomizeandsaveoneofthepresetPictureStyles,orelsecreateand

register your own Picture Style as one of the three available User DefinedPictureStyles.Tomodify(customize)aPictureStylepreset,suchasStandardorLandscape,enterthePictureStyleoptionsscreenthroughtheShooting4menuorbyusingthe[Q]ButtonandQuickControlScreen:

1. Highlight(select)thePictureStyleyouwishtomodify.

2. PresstheINFOButtontoaccesstheDetailSet.screen(asshowninFigure257-left).

3. Navigate to the desired parameter (such asContrast orSaturation) usingtheMulti-ControllerandpresstheSETButton.

4. Press left and right on the Multi-Controller to adjust that parameter (asshowninFigure257-right),thenpressSET.

5. PresstheMENUButtontocompletetheprocess.WhenyouhavemodifiedaPictureStylepreset, its iconwillappearbluetoremindyouthat it isnolongersettothedefaultsettings.

TocreateandregisteracustomUserDefined(UserDef.)PictureStyle,enterthePictureStyleoptionsscreen(through theShooting4menuorbyusing the[Q]ButtonandQuickControlScreen):

1. Select oneof theUserDef.PictureStyle icons (1, 2, 3) that youwish tomodify(seeFigure258-left).

2. PresstheINFOButtontoaccesstheDetailSet.screen.

3. Navigatetothetopitemonthelist,PictureStyle,andpressSET.

4. PressupordownontheMulti-ControllertoselectoneofthepresetPictureStylestouseasthestartingpointforyourcustomstyle,andpressSET(SeeFigure258-right).

5. Navigate to the desired parameter (such asContrast orSaturation) usingtheMulti-ControllerandpresstheSETButton(seeFigure259-left).

6. Press left and right on theMulti-Controller to adjust that parameter (seeFigure259-right),thenpressSET.

7. PresstheMENUButtontocompletetheprocess.

Figure 258 - Register aUserDefined Style -UserDefinedPicture Styles arelocated lower on the screen below theMonochrome option (left). Create andregister a custom User Defined (User Def.) Picture Style by accessing thePicture Style options screen, highlighting on of the User Def. choices, andpressing the INFOButton to choose aPicture Style to use as a starting point(right).

Figure259-RegisteraUserDefinedStyle,continued-AfterchoosingaPictureStyleasthestartingpoint,selectandadjustitsparametersasdesired.

11.4AmbienceSelectionandLightingorSceneType

AmbienceSelection

AmbienceSelectionandLightingorSceneTypeareverysimilartoPictureStylesandWhiteBalancesettings,andgiveanadditionalamountofcontrolover theimagewhenshootingintheBasicZoneorSCNSpecialScenemodes.However,since this guide has taught you to use the Creative Zonemodes of Aperture-Priority, Shutter-Speed Priority, and Manual you may not be needing thesesettings!

IfyouwishtoexperimentwithAmbienceSelection,settheModeDialtooneof

theBasicZonemodesorScenemodesotherthanA+orHDRBacklit.YoucansetAmbiencebypressingthe[Q]ButtonandaccessingtheQuickControlScreenthenchoosing theAmbience item(seeFigure260).Youcanalsowork inLiveViewtoimmediatelyseetheeffectsofdifferentAmbiencesettingsontheLCDMonitor before shooting. When working in one of the Basic Zone or ScenemodesandinLiveView,theAmbienceiconwillalsobeavailableontheLiveViewQuickControlScreenbypressing the[Q]Button.ThevariousAmbiencesettingoptionsaregenerallyself-explanatory,andaredescribedonpage94-95oftheCanonEOS70DInstructionManual.AfterchoosinganAmbiencesetting,you can adjust itsEffect option, which is the strength level of the effect (seeFigure261).

Figure260 -Ambienceoptions, accessiblewhenworking inmostof theBasicZone Shooting Modes. Left: Selecting the Ambience setting when working inPortraitSceneMode.Right:ChangingtheAmbiencesettingtoVivid.

Figure 261 - Ambience options - Once an Ambience Selection is chosen, theEffects option becomes available and can be selected and adjusted (the scaleshowndirectlyunder“Vivid”).

LightingorSceneType

WhenworkinginoneoftheBasicZoneModes,thecameraautomaticallyselectstheWhite Balance and you do not have control of it. However, you can useLighting or Scene Type as the equivalent ofWhite Balance with some of theBasicZoneModes.IfyouwishtoexperimentwithLightingorSceneType, setthe Mode Dial to SCN and choose Portrait, Landscape,Close-up, or Sportsmode.As above, you can set theLighting or Scene Type by pressing the [Q]ButtonandaccessingtheQuickControlScreen(seeFigure262).YoucanalsoworkinLiveViewtoimmediatelyseetheeffectsofdifferentLightingorSceneTypesettingsontheLCDMonitorbeforeshooting.TheiconforthissettingwillalsobeavailableontheLiveViewQuickControlScreenwhenworkinginoneof theseScenemodeswhile inLiveView.ThevariousLightingorSceneTypesetting options are similar to theWhiteBalance settings explained above, andarealsodescribedonpage98oftheCanonmanual.

Figure 262 - “Lighting or Scene Type” options, accessible when working insome of the Scene modes, such as Portrait SceneMode as shown here (left).Selectingthedesired“LightingorSceneType”(right).

11.5Flash

Many experienced photographers will recommend that you generally avoidusingadSLRcamera’sbuilt-inpop-upflash.Thisisbecauseittypicallycreatesin-your-facelightingandharshshadowsanddoesnothavemuchreachormanyoptionstocontrolormodifytheoutputanddirection.Butifyoudowishtouseit, therearesomeadjustmentsthatcanbemade.TheeasiestwaytobeginistoleavetheflashonE-TTLIIflashmode.Withthismode,theflashmakesuseofapre-flashtodeterminetheproperflashexposurebeforefullyfiringtheflash.Ofcoursethisallhappensinasplit-second.Ifyoudon’tagreewiththecameraanditsresults,youcanuseFlashExposureCompensation(FEC)toadjusttheflashoutput up or down until you obtain the results you want. Flash ExposureCompensationisseteitherintheFlashControlsettingsoftheShooting2menu,ormoreeasilyusingtheQuickControlScreen(seeFigure263).

The flash often lights the subject more than you might wish to, so in theShooting 2menu item for Flash Control, I mentioned that perhaps you try aFlashExposureCompensationsettingofminus1/3ormoreasa startingpointandadjustitaccordingtoyourresults.Remember,ifAutoLightingOptimizerisenabled,itwillattemptto“correct”yourexposureandmayoverrideyourFlashExposureCompensation setting, soyouwill likelywish todisableALOwhenworkingwithaflash.

Figure 263 - Flash Exposure Compensation - Access Flash ExposureCompensation(FEC)ontheQuickControlScreen(left),andadjust thesettingdirectlywiththeMainDial,orselecttheiconbytouchorwiththeSETButtontoadjustitontheFlashExposureCompensationscreen(right).FECworkssimilartoExposureCompensationbutaffectsthebuilt-inorexternalflashoutput.

As you will discover, even in books dedicated to flash photography, theexplanationofhow toobtain the right flashexposure isoftenamatterof trialandadjustment.Thebestwaytobeginistosetyourcamera’sexposuresettingstoproperlyexposeforthebackground,thenusetheflashtolighttheforegroundorsubject.AdjusttheFlashExposureCompensationuntilthesubjectisproperlyexposed.Thekey tonatural looking images is tomake the flashuse subtle sothatitdoesn’tactuallyappearthataflashwasused.

Theflashwillnotautomaticallypopupinthenon-automaticmodessuchastheCreative Zone modes (P, Av, Tv, M). This is so that you have control overwhetheryouwanttouseitornot.PresstheFlashButtontomanuallyraisetheflash.Theflashalsoactsasanautofocusassistbeam(AF-AssistBeam)inlowlightconditions,sointhenon-automaticmodes,youmayalsowishtopressthisbutton to raise the flash for this use.Youcan access thebuilt-in flash settingsthrough the Flash Control item in the Shooting 2 menu, (see Figure 264).Chooseyourdesiredflashsettingsasexplainedjustbelow.

Figure 264 - Flash Control Settings - Choose the Flash Control item of theShooting2menu(left)toaccessthebuilt-inflashsettings(right).

Flashfiring:ThisistoEnableorDisabletheoperationofthebuilt-inflashorofanoptionalexternalflash.YouwillwanttosetthisforEnableifyouaregoingtobeusing flash. If set forDisable, the flashwill only operate as theAF-AssistBeamtohelpwithautofocusingindimlightingsituations.

E-TTL IIMeter: This is how the flashwillmeter the scene to determine theproperflashexposurewhenusingtheautomaticE-TTLFlashMode(asopposedtoManualFlashMode).TypicallythisissetforEvaluative,wheretheflashtakestheambient light levelandsubjectdistance intoaccountwhendetermining theproper flash exposure (seeFigure265). If set forAverage, the cameramerelyaveragestheflashexposurefortheentirescene.Someusersmayhavemastered

Average flash exposure metering many years ago and feel more comfortableusingthatsetting.

Figure 265 - Flash Control Settings - Choose the E-TTL II Metering method(left),andtheFlashSyncSpeedinAvMode(right).

FlashSync.Speed inAvMode:This settingdetermines the flashsyncshutterspeed setting (or range of settings) that will be selected by the camera whenusingthebuilt-inflashoranexternalflashinAperture-Priority(Av)mode(seeFigure265).The flash needs to coordinatewith the camera’s shutter speed sothatpartofthesensorisn’tcoveredbyashuttercurtainwhentheflashisfired.Acamera’smaximum(fastest)shutterspeedthatcanbeusedwithaflashiscalledtheFlashSyncSpeed,andforthe70Dthisflashsyncspeedis1/250seconds.Ifyouweretouseashutterspeedfasterthan1/250(suchas1/500)whileusingaflash,thesecondcurtainoftheshutterwillbegintoclosebeforethefirstonehascompletely exposed the sensor, and your images will thus have a dark bandacrossthem(unlessyouusehighspeedsync,explainedbelow).

Thesettingyouchoosereallydependsonyouruseandexperiencewithaflash,andwhetherornotyouareusingatripod.

Auto will choose a wide range between 1/250 to 30 seconds,whichmayresultinveryslowshutterspeedsincertainsituationsthatmightbetoolongforhand-heldimages.

1/250-1/60 sec. auto will keep the shutter speed in a morereasonablerangeforhandholding,butwon'tallowyouto“dragtheshutter”slowerthan1/60second.(Dragtheshuttermeanstouse a slow shutter speed to let in more ambient light to betterexposethebackgroundastheflashilluminatesthesubjectwithaquickburstoflight.)Inlow-lightsituationsthebackgroundoftheimagemayappeardarksincetheshutterdidnotremainopenfor

verylong.

1/250 sec. (fixed) keeps the shutter speed fixed at the camera'ssync speed of 1/250 at all times, which is the most “efficient”settingforexternalflashoperation-meaningyouwon’tbeusingsettings that may give similar lighting results but which arecausingyourflashtoworkharderandinefficiently;thedownsideis you lose control of this setting and the ability to drag yourshutter.Andagain,thebackgroundoftheimagemayappeardark.

Autowillobviouslygiveyouthewidestshutterspeedrange,butwillrequirethatyoukeepacloseeyeontheshutterspeedtomakesureitdoesn'tgettooslow.Ifyou have less experience with flash or are working in a situation where youaren’tcertainyouwillbeable tocarefullykeepyoureyeon theshutterspeed,youmaywish to keep it set on 1/250-1/60 sec. auto. If your combination ofaperture setting and shutter speed is not allowing a proper exposure, raise theISOsettingtomakethesensormoresensitivetothelimitedlight.

When using an optional external Canon Speedlite with high-speed synccapabilitiesyoucanonlymakeuseofhigh-speedsyncwhentheabovesettingissetonAuto.HighSpeedSyncisexplainedintheExternalFlashsectionbelow.

Figure 266 - Built-in Flash Settings options - From the Flash Control menu(left),accesstheBuilt-inFlashSettings(right).

Built-inFlashSettings(seeFigure266):

FlashMode:BydefaultthisissetforE-TTL,wherethecameradetermines the appropriate flash level which you can furthercontrol with Flash Exposure Compensation. If you want directcontrolover flashoutput, youcan set this forManual flashandcontrol theFlashOutput setting,whichwill then appearon this

menu.

-Flash Mode: E-TTL II - As explained earlier, with the FlashMode set forE-TTL II, the cameramakes use of a pre-flash todetermineproperflashexposurebeforefullyfiringtheflash-allin a split-second. If you don’t agree with the camera and itsresults,useFlashExposureCompensation(FEC)toadjustitupordown until you obtain the results you want. Youwill not haveabsolutecontrolovertheflashlevel,butinsteadwillhaverelativecontrol of the output that is automatically determined by thecamera.

-FlashMode:ManualFlashIftheFlashModeissetonManualflash,youhavefullcontrolovertheflashoutput,andcanadjustitto an absolute level, anywhere from 1/1 (full power) to 1/128flash power (see Figure 267). If you and/ or your subject aremovingaround, itmaybedifficult tomakeuseofManual flashbecauseyouwillneedtoconstantlyadjusttheoutputbasedonthelightingand thecamera-to-subjectdistance.However, ifyouareworkinginastudio-typeenvironmentoronewheretheconditionsarenotchangingfromshot-to-shot,youcanuseManualflashtosetanexactoutputamount,andthenmaintainaconsistentflashamount.

Figure267-Built-inFlashSettings-IftheFlashModeissettoManualFlash(left), you can directly control the Flash Output level (right). Use the swipemotionontheTouchScreentoquicklyadjustthelevel.

FlashOutput: If you areworking inManual flashmode ratherthanE-TTLIIFlashMode,FlashExposureCompensationwillbereplacedwiththeBuilt-inFlashOutputmenuitem.Thisisusedto

setandadjustanabsoluteoutput level for the flash, suchas1/1fullpoweror1/16power,downto1/128(seeFigure267-right).YoucanusethecameracontrolsorsimplyswipethelevelontheTouchScreentoadjusttheamount.Youcanthusilluminateyoursubjectasdesiredbyincreasingordecreasingtheamount.Again,noticethatifyoumovefurtherorclosertoyoursubject,youwillhave to continually adjust this setting in order to maintain aconsistent flash lighting level - so if the camera to subjectdistancewillbechangingasyoushoot, itmaybebest touseE-TTL II flash metering mode and let the camera automaticallyadjustforthechangingdistance.

ShutterSync.:Thissettingtellstheflashwhentotrigger,eitheratthebeginningof the exposure (First-curtainsynchronization) orattheendoftheexposure(Second-curtainsynchronization) (seeFigure268-left).Ifyouwishtocreatelighttrailsandmotionblurlines behind a subject when using a flash with a slow shutterspeed,setthisforSecond-curtain.Therestofthetimeyoushouldtypically useFirst-curtain. One reason for this is that the flashwill emit a pre-flash to determine its setting before firing theactual flash burst. If using Second-curtain when shooting asubject,theremaybeadelaybetweenthepre-flashandtheflashburst,whichmaycauseyoutocaptureyoursubjectinmid-blinkas they react to the pre-flash. Also, you can only use Second-curtain synchronization at shutter speeds of 1/25 or slower,otherwise the camera will automatically revert to First-curtainsynchronization.High-speedsynchronization (or “sync”)will beaccessible with an external Speedlite, and can be used whenshootingwith shutter speeds faster than the flash sync speed ofthecamera(1/250),aswillbeexplainedbelow.

Figure 268 - Adjusting the Shutter Sync. Setting (left), and the Built-in FlashExposureCompensationamount(right).

FlashExposureCompensation:Usethistoadjusttheleveloftheautomatic flash output of the built-in flashwhenworking inE-TTL II flashmeteringmode (seeFigure 268-right).With flashuse, the challenge is typically to properly expose both thebackground and the subject. Generally one sets the cameraexposuresettings(aperture,shutterspeed,ISO)tobestexposethebackground, and then the flash settings to properly expose thesubject.SowhenworkinginE-TTLFlashMode,andthecameraisautomaticallydeterminingyour flashoutput,youcanadjust itby increasing or decreasing flash output using Flash ExposureCompensation. When using an external flash, Flash ExposureCompensationcanalsobeaccessedandsetontheSpeedliteitselfor on the camera’s Quick Control Screen, but note that theSpeedlite'ssettingwilloverridethesettingonthecamera.

Wireless Function: This will allow you to enable theWirelessFlashoptionswhereyoucanwirelesslycontroloff-cameraflashesusing the built-in flash (seeFigure 269). These optionswill beexplainedintheWirelessFlashsectionbelow.

Figure269-WirelessFunction-ThiswillallowyoutoenabletheWirelessFlashoptionswhere you canwirelessly control and trigger off-camera flashes usingthebuilt-inflash.

IfyouexitoutoftheBuilt-inFlashSettingsmenuandreturntothemainFlashControlsettingsmenu,thereareacouplemoreitems(seeFigure270):ExternalFlash Func. Settings: These options for setting and controlling an optionalexternalSpeedliteflashwillbeexplainedinthenextsectionjustbelow.

ExternalFlashC.Fn.Settings:Theseoptionsforcustomizingthesettingsandfunctions of an optional external Speedlite flash will vary based on whichSpeedlite you are using. See the Speedlite’s manual for information on thesesettings.

ClearSettings:SelectthisoptionatthebottomoftheFlashControlmenuscreento access its sub-menu,where you can choose toClear built-in flash settings,Clearexternalflashsettings,orClearexternalflashC.Fnsettings(ifanexternalSpeedliteisattachedandon)(seeFigure270).

Figure 270 - Flash Control menu, listing the External Flash options and theClearSettingsoption(left).Right:TheClearSettingssubmenuoptions.

11.6ExternalFlash

Ifyouoftenneedtouseflash,investinoneoftheexternalSpeedliteflashunitssuchas theCanon600EXRTwhichwill giveyoua largeamount flashpower,morecontroloveroutput,andversatilitywithdirection,bounce-flash,andcolorcorrecting gels. Flash photography is a complex subject that requires its ownbook,and therearesomegoodoneson thesubject. I suggesthavinga lookatOn-Camera Flash by Neil van Niekerk for learning flash techniques andSpeedliter’sHandbook by SylArena orCanon Speedlite SystemDigital FieldGuidebyMichaelCorsentinoforin-depthinformationonusingtheCanonflashsystem.

ItisimportanttonotethattheAF-AssistBeamoftheCanon430EXIISpeedlitewillnotcoverall19AFPointsofthe70Dbetweenthe15mmand70mmfocallengths,meaningifyouaretryingtofocususingsomeoftheouterAFPointsinalowlightsituation(andthecurrentfocallengthofyourlensisbetween15mmand70mm),theflash’sAF-AssistBeamwon’tnecessarilyassistinilluminatingtheareayouare trying to focuson. Ifyouencounter issues,use thecenterAFPoint.TheCanon600EXRTSpeedlitesupportsall19AFPoints.

WhenyouattachanexternalSpeedlitetothecamerayoucanaccessandchangethatflash’ssettingsusingtheShooting2menu>Flashcontrol>Externalflashfunc.setting(seeFigure271).YoumaywishtoaddtheFlashControlmenuitemtoMyMenuifyouoftenuseanexternalflash.

Figure271-ExternalFlashFunctionSettingsontheFlashControlmenu(left),anditsoptionsforusewithanoptionalexternalflash(right).

TheeasiestwaytobeginwithexternalflashphotographyistosettheSpeedliteonE-TTLII(ETTL)flashmodewherethecameraautomaticallydeterminesthe

flash output. If you don’t agree with the camera and its results, use FlashExposureCompensationtoadjustitupordownuntilyouobtaintheresultsyouwant.FlashExposureCompensationcanbesetinseveraldifferentways:

Ontheflashunititself.

Using the Quick Control Screen after pressing the [Q] Button or TouchScreen[Q]icon.

Through theShooting 2menu >Flash control >External flash functionsettings(seeFigure271).

Remember again, if Auto Lighting Optimizer is enabled, it will attempt to“correct”yourexposureandmayoverrideyourFlashExposureCompensationormanualflashsettings,soitisrecommendedthatyoudisableALO.

ExternalFlashFunctionSettings(seeFigure271-right):

FlashMode(optionswillvarybasedonwhichSpeedliteyouareusing)

ETTL:AsexplainedintheFlashsectionabove,withthismode,apre-flash is used to determine the proper flash exposure. FlashExposureCompensation(FEC)isthenusedifyouwishtoadjusttheflashlevel.

M(Manual):Youcanchoosetomanuallycontroltheflashlevelofyourexternalflash,andsimplydialitupordowntoobtaintheamountof flash illuminationyoudesire, suchas fullpower,1/2power,1/64power,etc.

MULTI:Thisisusedtocreateastrobeeffect.SettheflashpowerOutput, the number of Times the flash will fire, and theFrequency,orhowoftentheflashfirespersecond.Makesurethatyour shutter speed is long enough to allow the set number offlashes(Times)basedontheselectedFrequency.

TTL:Thismakesuseofanolder, lesssophisticatedmethodthanE-TTL“throughthelens”flashmetering.SomemaypreferTTLbecause they mastered the use of it before E-TTL II wasintroduced.

WirelessFunction:Byusinganon-cameraSpeedlitewhichalso

acts as awireless flash controller, or an optional wireless flashtransmitter, you can wirelessly control multiple off-cameraflashes. Use this menu item to set for radio or optical remotetransmission,basedonthetypeofSpeedliteortransmitteryouareusing. Wireless flash using the built-in flash as a controller isintroducedintheWirelessFlashsectionnext.

FlashZoom:This settingcoordinates theSpeedlite’s flashheadwiththefocallengthofyourlens,inordertofullyandefficientlycover the visible scene with the light of the flash (see Figure272). Ifyouhave this setonAuto,youmayhear the flashheadmove as you zoom in and outwith a zoom lens (half-press theShutterButton tobeginmetering ifyoudon’thear itmove,andmakesurethattheflashheadisaimedandlockedintheforwardposition and not up or down).Generally youwillwant to keepthissetonAuto,butyoucanchangeittoaspecificfocallengthifyouwishtoaccomplishspeciallightingeffectswiththeflash.Forexample,youmayhaveyourlensatthewide24mmfocallengthbutsettheFlashZoomtothe“narrow”105mmsettinginordertocreatea“spotlight”effectonyoursubject.

Figure272-ExternalFlashFunctionSettings-FlashZoom(left),andShutterSynchronization(right).

ShutterSynchronization:Aswiththebuilt-inflashsettings,thissetting tells the external flash when to trigger, either at thebeginning of the exposure (First-curtain synchronization) or atthe end of the exposure (Second-curtain synchronization) (seeFigure 272). If you wish to create light trails and motion blurlines behind a subject when using a flash with a slow shutterspeed,setthisforSecond-curtain.Therestofthetimeyoushould

typically use First-curtain. This was explained in the Flashsectionjustabove.

High-speed synchronization (or “sync”) is used when shootingwithshutterspeedsfasterthantheflashsyncspeedofthecamera(1/250). Remember, when using an optional external CanonSpeedlite with high-speed sync capabilities you can only makeuse of high-speed sync in conjunction with Av ShootingModewhen theFlash Sync. Speed inAvMode setting is set onAuto.Find this setting in the Shooting 2menu > FlashControl. Thehigh speed sync flash function will allow you to use shutterspeeds faster than1/250 and thuswider apertures in brightly litoutdoor situations when using flash. Normally when workingoutside, there is somuch light that if youwished touse awideaperture such as f/4, the shutter speed required for a properexposuremightbeasfastas1/1000or1/2000-farfasterthanthe1/250 flash sync speedof thecamera.Sowithhigh-speed sync,theflashfiresseveralburstsofflashrather thantheusualsingleflash,andthisavoidstheblackbandthatwouldnormallyappearacrossyourimagecausedbytheshuttercurtainwhenusingflashwithashutterspeedfasterthanthecamera’sflashsyncspeed.

FlashExposureCompensation:Aswasexplainedinthebuilt-inflashsettings,use this toadjust theautomatic flashoutput, suchaswhenworking inE-TTL II (ETTL) flashmeteringmode (seeFigure273).FlashExposureCompensationcanalsobeaccessedandseton theSpeedlite itselforon thecamera’sQuickControlScreen, but note that the Speedlite's setting will override thesettingonthecamera.Itisbesttosetitat0onthecameraandontheSpeedliteatfirst,thenchangeitusingoneortheother.

Figure273-Left:FlashExposureCompensationscreen.Right:FlashExposureBracketing.

FlashOutputLevel: Ifyouareworking inManual flashmode,Flash Exposure Compensation will be replaced with the FlashOutput Level amount (see Figure 274). This is used inconjunctionwithManualflashmodetosetandadjustanabsoluteoutputlevelfortheexternalflash,suchas1/1fullpoweror1/32power, and thus you can illuminate your subject as desired byincreasingordecreasingtheamount.

Figure274-ExternalSpeedliteFlashsettings-WhenusingManualFlashMode(left), you will need to adjust the FlashOutput Level to your desired amount(right).

FlashExposureBracketing:AswithAutoExposureBracketing,you can also bracket the flash amountwhenworking inE-TTLFlash Mode (see Figure 273). This will allow you toautomatically take three images in a row: one at the “correct”flashexposure (asdeterminedby thecamera,oneunderexposedby less flashoutput,andoneoverexposedbymoreflashoutput.Aswiththeothertypesofbracketing,thisisusedtoexperimentortodeterminetheproperflashexposureamountforascene.

External Flash C.Fn. Settings: These options for customizing the CustomFunction settings of an optional external Speedlite flash will vary based onwhichSpeedliteyouareusing.SeetheSpeedlitemanualformoreinfo.Youcanadjustthesesettingsontheflashitself,orthroughthecamerausingthismenuiftheflashisattachedandturnedon.

11.7WirelessFlash

Withthe70Dyoucanusethebuilt-inflashasawirelessflashmaster-controller,whichwillenableyoutocontrolandtriggerasingleormultipleoptionalremoteexternal Canon Speedlite flashes (see Figure 275). (When I use the terms“external”flashorSpeedliteinthissection,itmeansaremoteexternalflash,asopposed to a dedicated external flash that is attached to the Hot Shoe of thecamera.) The Canon manual begins to explain the various uses, set-ups, andoptionsforusingwirelessflash,onpages203-213,andIwillintroducehowtoapplythesesettingstoactualremoteflashuse.Duetothefact that thesettingsand optionswill vary based onwhich optional Speedlite(s) you are using andwhich flashmodeyouareworking in, andbecause flashand remote flashusecanbeacomplicatedsubjectthatrequiresanentirebookofitsown,besuretorefertoabooksuchasCanonSpeedliteSystemDigitalFieldGuidebyMichaelCorsentinoforathoroughexplanation.

Figure 275-Wireless Flash - Using the camera’s built-in flash as a mastercontroller tocontrolandtriggeraremoteCanonSpeedlite flash(shownfiring,withaflashdiffuser).

Figure 276 - Wireless Flash options - Access the Flash Control item of theShooting2menu,thenselect“Built-inFlashSettings”(left),inordertoaccesstheWirelessFunctionoptions(right).

Tobeginusingwireless flash, access theShooting2menu>FlashControl>Built-in Flash Settings > Wireless func. to choose one of the wireless flashoptions (seeFigures 276and277).With any of theseWireless Functions youwillfirstalsoneedtoenablewirelessflash(opticaltransmission)ontheremoteexternalSpeedlite,andset theSpeedlite to the“Slave”function.Youwill thenneed to set theChannel setting in theBuilt-inFlashSettingsmenuandon theexternalflashtothesamechannel(seeFigures277and278).Makesurethattheremote Speedlite’s wireless sensor is facing the camera, and is withinapproximately23feet(7m)outdoors,or32.8feet(10m)indoors.

Figure 277 - Left:Wireless Function settings. Right: Be sure to first set thecameraandtheexternal flashto thesameChannel.HerethecameraisshownsettoChannel2.

Figure278-Settingthecamera(left),andtheexternalSpeedliteflash(right)tothesameChannelsothattheycancommunicate.The580EXIISpeedliteflashisalsoshowsettothewirelessmode(thezig-zagarrow),asa“slave”(aremoteflash)andtoGroupA(whichisusedifmorethanoneexternalremoteflashisbeingused.

Wireless Functions: The following functions are represented in the Built-inFlashSettings sub-menuwith icons for the external Speedlite and the built-inflash,asshowninFigure279. Iwilluse“External”and“Built-in”plussquarebracketsinplaceoftheseicons.

Figure279-WirelessFunctions,asaccessedintheBuilt-inFlashSettingsmenu.

Disable-Thisisset,obviously,ifyoudon’twishtomakeuseofwirelessflash.

[External]:[Built-in] -This settingwill allowyou to illuminatethesubjectwitha single remote flashand thebuilt-in flash (seeFigure280).Note that you cannot usemultiple external flashes

withthismode.SettheWirelessFunctionto[External]:[Built-in]andset thecameraand the flashon thesameChannel.You canthenset theoutput ratioof theexternalvs. thebuilt-in,with the[External]:[Built-in]ratioitematthebottomoftheBuilt-inFlashSettingsmenu.For example, setting for 4:1will fire the remoteexternal flash at four times the output as the built-in flash.Youcan use the Flash Exposure Compensation menu item tosimultaneouslyadjusttheoveralloutputofbothflashestogether-theywillboth still fire at the same ratio toeachother,but theiroveralloutputwillbeincreasedordecreased.

Figure 280 - [External]:[Built-in] Wireless Function for controlling a singleexternalremoteSpeedlitewhilealsousingtheilluminationofthebuilt-inflash.Heretheexternalflashwillfireatfourtimestheoutputofthebuilt-inflash,andanexposurecompensationamountof-1willapplytobothflashes.

IftheFlashModeissetforManualflash,thisWirelessFunctionoption will not be available, as you can instead use the[External]+[Built-in]wireless flashoption to control theoutputof the built-in flash and the remote flash, which is the thirdWirelessFunction,explainedalittlelaterinthissection.

[External]-Settingfortheexternalonly[External] icon in thisWireless Functions sub-menu will allow you to quickly set up,control, and trigger a single ormultiple remote external flashes(seeFigure281).EnsurethatFlashFiringisenabledintheFlashControlmenu,andthatbuilt-inandexternalflasharebothsettoE-TTLII.SettheFiringGroupto[External]All.Thebuilt-inflash

willthenactonlyasatriggerfortheexternalflash(es),thoughitwillemitasmallamountof light to trigger theremoteflash(es).Notethatthissmallamountoflightmaybevisibleintheimageor in a reflection.To control the flashoutput of a remote flash,simply adjust the [External] Exposure Compensation amount,suchas-1/3or-1.

Figure281-[External]WirelessFunctionforcontrollingoneormoreexternalremote Speedlites using the built-in flash.WithE-TTL II FlashMode, use theExposureCompensationmenuitemtoadjusttheflashoutput.

IfyouareusingmultipleexternalSpeedlites,theywillallfireatthesameoutputbecausetheFiringGroupissetfor[External]All.Youcanadjusttheirangleordistancefromthesubjectinordertohave them each illuminate the subject at different amounts.HoweverifyousettheFiringGroupto[External](A:B),youcansettheexternalSpeedlitestoGroupAandGroupB,andthenusetheA:BFireRatio setting to have them fire at different outputs(seeFigure282).Forexample,settingtheratiofor4:1willhavetheGroupA flash fire at four times the output of theGroupBflash.

Figure282-Left:IfusingmultipleexternalflashesandtheFiringGroupissetto[External](A:B),youcansettheSpeedlitestoGroupAandGroupB,andthenusetheA:BFireRatiosettingtohavethemfireatdifferentoutputs.Right:Forexample,settingtheratiofor4:1willhavetheGroupAflashfireatfourtimestheoutputoftheGroupBflash.

IntheBuilt-inFlashSettingsmenu,ifyousettheFlashMode toManual Flash (rather than E-TTL II), then you can adjust the[External]FlashOutputamountoftheexternalflash(es)inordertocontrol theabsoluteoutput(fullpower,1/2power,etc.).WithFiringGroup set for [External]All theywill all fire at the sameoutput(whichyouset),soyouwillneedtoadjusttheirindividualangle or distance from the subject in order to have them eachilluminate the subject at different amounts. But if you set theFiring Group to [External](A:B), you can set the externalSpeedlites toGroupAandGroupB, and thenuse theGroupAOutputandGroupBOutputtohavethemfireatdifferentoutputs,suchas1/1fullpoweror1/4power(seeFigure283).

Figure283-Whenusingthe[External]WirelessFunction,ifyousettheFlashMode to Manual Flash (rather than E-TTL II), then you can adjust the

[External]FlashOutputamountoftheexternalflash(es)inordertocontroltheirabsoluteoutput.WiththeFiringGroupAll,setoneoutputforall flashes(left).WithFiringGroup(A:B),settheFlashOutputlevelsseparatelyforeachgroup(right).

[External]+[Built-in] -ThisWirelessFunction is similar to the[External]WirelessFunctionjustdescribed,except thatyoucanalso add the light of the built-in flash to illuminate the subject(seeFigure284).Itwillallowyoutosetup,control,andtriggerasingle or multiple remote external flashes while also using thebuilt-inflashasaflashandnotjustasatrigger.EnsurethatFlashFiringisenabledintheFlashControlmenu,andthatbuilt-inandexternal flash are both set toE-TTLII. Set theFiringGroup to[External]All and [Built-in]. You then have separate FlashExposure Compensation settings in the menu to individuallyadjust the amount of the built-in flash and the amount of theremoteflashorflashes.

Figure 284 - [External]+[Built-in] Wireless Function for controlling one ormore external remote Speedlites while also illuminating the subject using thebuilt-inflash.(FlashModesettingisat thetopofthescreenandthusnotseenhere-itissettoE-TTLII.)

If there is more than one remote flash, theywill all fire at thesame amount because the Firing Group is set for [External]Alland[Built-in]asshowninFigure284.Youcanadjusttheirangleordistancefromthesubjectinordertohavethemeachilluminatethe subject at different amounts.However if you set theFiring

Group to [External](A:B)[Built-in], you can set the externalSpeedlites toGroupAandGroupB, and thenuse theA:BFireRatiosettingtohavethemfireatdifferentamountsasdeterminedbyaratio(seeFigure285).Forexample,settingtheratiofor2:1will have theGroupA flash fire at two times the output of theGroup B flash. You will also be able to set the ExposureCompensation amount of the built-in flash and external flashes,whichwillraiseorlowertheiroveralloutput.SoifyoulowertheFlashExposureCompensationto-2, theGroupAflashwillstillfireattwicethepoweroftheGroupBflash,buttheircombinedoutputwillbelowered.

Figure285-Left:WhenusingWirelessFunction[External]+[Built-in]andE-TTLII,ifyousettheFiringGroupto[External](A:B)[Built-in],youcansettheexternalSpeedlites toGroupAandGroupB,and thenuse theA:BFireRatiosetting to have them fire at different amounts as determined by a ratio. Forexample,settingtheratio for2:1willhavetheGroupAflashfireat twotimestheoutputoftheGroupBflash,asshownatright.

IntheBuilt-inFlashSettingsmenu,ifyousettheFlashMode toManual Flash (instead of E-TTL II), then you can separatelyadjust the absoluteoutput amountof the remote flashes and thebuilt-in flash, using the [Built-in] Flash Output and [External]FlashOutputmenuitems(fullpower,1/8power,etc.)(seeFigure286).Thoughnote that thebuilt-in flash is limited at the1/4 to1/128range.WithFiringGroupsetfor[External]Alland[Built-in]allof the remote flasheswill fireat thesameoutput, soyouwill need to adjust their angle or distance from the subject inorder to have them each illuminate the subject at differentamounts.

Figure 286 - Two views of the same, continuous scrollingmenu -WhenusingWirelessFunction[External]+[Built-in]andManualFlashMode,ifyousettheFiringGroup to [External]ALLand [Built-in], you can set the separateFlashOutputofthebuilt-inflashandtheexternalflash(es).

But if you areworking inManualFlashMode and you set theFiring Group to [External](A:B)[Built-in], you can set theexternal Speedlites to GroupA andGroup B, and then use theGroupAoutputandGroupBoutputsettingstohavethemfireatdifferentoutputs.Forexample,GroupAcanbesetat1/4powerandGroupBsetat1/1fullpower.Youwillalsobeabletosettheabsoluteoutputofthebuilt-inflash, thoughagainit is limitedat1/4to1/128power(seeFigure287).

Figure 287 - Two views of the same, continuous scrollingmenu -WhenusingWirelessFunction[External]+[Built-in]andManualFlashMode,ifyousettheFiringGroupto[External](A:B)[Built-in],youcansettheexternalSpeedlitestoGroupAandGroupB,andthensettheoutputofeachgroup,plustheoutputofthebuilt-inflash.

ImportantWarning:Because thebuilt-in flashoutput is limitedto1/4powerwhenusingthisspecificwirelessflashfunctionand

with theFlashMode set toManual flash, this 1/4FlashOutputsetting(oranylowersettingthatyouadjustedthisto)willremainineffectwhenyouexitwirelessflashuseandreturntousingjustthe built-in flash in theManual flash FlashMode. So youwillneed tocheckyour[Built-in] flashoutput settingwhenyouexitwirelessflash,asyoumaywishtosetitbackto1/1fullpower.Ifyou don’t do this immediately, youmay forget that the built-inflashisnotsetatfullpowerwhenyoulaterusethecamera.

Whileallofthesewirelessflashvariablescansoundquiteconfusingatfirst,takeeachsettingindividuallyandthanbuiltuptheset-upyoudesire.EachdifferentWireless Function shares many of the same overall settings that need to beunderstood first. For example:Flashmode will either beE-TTL II orManualflash.WithE-TTLIIthecamerawillautomaticallydeterminetheflashoutputoftheremoteand/orbuilt-inflashes,andyoucancontroltherelativeoutputusingthe Flash Exposure Compensation setting in this menu (such as -1/3 or -2).Dependingonyourothersettings,theflashoutputoftheindividualflasheswilleitherbecontrolledalltogether,orseparatelyingroups.IftheFlashModeissetforManualflash,thenyouwilldeterminetheabsoluteflashoutputbysettingtheFlashOutputmenuitem(suchasfullpoweror1/8power).Again,dependingonyour other settings, the flash output of the individual flashes will either becontrolledalltogether,orseparatelyingroups.

WirelessFunctionwillbesetbasedonifyouwishtofirethebuilt-inflashplusoneremoteflash,ifyouwishtofireoneormoreremoteflashesandonlyusethebuilt-inflashasatrigger,orifyouwishtousemultipleremoteflashesplus thebuilt-inflashtoilluminatethesubject.

Channel merely needs to be set the same on your camera and on the remoteflashessothattheycancommunicate.

FiringGroupisusedwithmultipleremoteflashesanddeterminesiftheflashesall fire at the same output (All) or if theywill be set up in separateA andBgroupsthatarefiredatdifferentoutputsdeterminedbyaratio(A:B).

Andsowhilelearningtouseandcontroltheactuallightingcanbecomplicated,theconceptcanremainsimpleandbebuiltuponflashbyflash.Thebuilt-inflashcanmerelytriggeraremoteflash,andyoucanuseasingleoff-cameraflashthatis set to fire at the output level of your choice. Or the built-in flash can firetogetherwiththeremoteflash,eachattheoutputlevelofyourchoice(Manualflash), or at levels determined by the camera (E-TTL)which can be raised or

loweredbyincreasingordecreasingtheFlashExposureCompensationamount.UsetheFiringGroupformultipleoff-cameraflashesthatyouwishtoeitherfireat the same output or control separately with different flash outputs asdeterminedbyaratio.

For example, set theWireless Function to [External]:[Built-in], set the FlashMode on E-TTL, and place the remote flash at one side of your subject andaimed at the subject. Set the [External]:[Built-in] ratio setting in theBuilt-inFlashSettingsmenu(thelastitem,belowFlashexp.comp),fortheremoteflashtofireata4:1ratiotothebuilt-inflash(seeFigure288-right).Thustheremoteflashwillprovidethemajorityofthelightfromtheside,andthecamera’sflashwill provide a bit of additional light from the front. By usingE-TTL II FlashMode,thecamerawilldeterminetheappropriateflashlevelofbothflashes,andif the two flashes combined are providing too much light, use the FlashExposureCompensationsettingtolowertheoverallflashamount.

Figure 288 -Wireless Flash - If you set theWireless Function to [External]:[Built-in], you then set the “External:Built-in” ratio (left). A setting such as4:1(right)means the external flashwill firewith4 timesmoreoutput than thebuilt-in flash (right). Use the Flash Exposure Compensation setting (left) toadjusttheoveralloutputlevelofalltheflashestogether.

OryoucansettheWirelessFunctionto[External+Built-in],settheFlashModeand external flash onManual Flash (not E-TTL II), and thus more directlycontroltheiroutput(seeFigure289).SettheFiringGroupfor[External]alland[Built-in]sinceyouareonlyusingoneremoteflash.Thebuilt-inflash’sFlashOutputcouldbesetat1/16powerandthusprovidejustalittlebitoffrontlight,and theremoteflash’sFlashOutput couldbe setat1/2powerand thusbe themainlightononesideofthesubject.Ofcourseyoucancontinuetoaddflashes,andvarytheiroutputincountlesscombinations.

Figure289-IfyousettheWirelessFunctionto[External+Built-in]andsettheFlashModeandexternal flashonManualFlash(notE-TTLII),youcanmoredirectlycontrol theirabsoluteoutput.Setting theFiringGroupfor“[External]alland[Built-in]”willallowyou toset separateFlashOutput for thebuilt-inflashandexternalflash.

And in this example, rather thanusingManualFlashmode,youcoulduseE-TTL II flash mode and allow the camera to determine the appropriate flashoutput.Ifyouwerenothappywitheitherthebuilt-inflashoutputortheremoteflashoutput, youcan thenadjust them independentlywith the [Built-in Flash]exp. comp. or the [External Flash] exp. comp. settings in this Built-in FlashSettingsmenu.

Inorder to learn thewireless flashsettings,again take themoneata timeanddeterminewhateachofthesettingsaredoing.DecidewhichWirelessFunctionfitsyourneeds,andlearnhowitdifferswhenusingE-TTLIIvs.ManualFlashmode.Understand how to control the flash output inE-TTL II flashmode byadjusting theFlash Exposure Compensation, and then learn how it works inManualFlashmodewhere you can control the absoluteFlashOutput setting.BeginwithjustoneexternalflashandusetheFiringGroup-Alluntilyouhavemasteredthecontrolofasingleremoteflash.Onlythenattempttoaddadditionalremoteflashesindifferentfiringgroups.Again,reviewtheUsingWirelessFlashintroduction starting onpage 203of theCanonEOS 70D InstructionManual,andconsultabookdedicatedtoCanonSpeedlitesforcompleteinformation.

11.8SensorCleaning

Besuretofirstreadpages343-344oftheCanonEOS70DInstructionManualbeforeattemptingmanualsensorcleaning.Thisisaverydelicateoperationandshouldbedonevery carefully according tomanufacturer’s instructions. If youwishtocleanyoursensormanually,makesureyouhaveafullychargedbatteryinthecamera.Removethelensandputonthebodycap.SelectCleanManuallyintheSet-up4menuunderSensorCleaning.Thiswillraisethemirrorandallowyoutocleanthesensor(actuallythelow-passfilterinfrontoftheImageSensor)afteryouremovethebodycap.ThewayIdoitistouseaRocketAirBlasterbyGiottos to swiftly blow air at the sensor, while holding the camera with theopening facingdown so that dust can fall out andnodust can fall in. Put theBodyCapbackonwhendonecleaningandturnthecameraoff.Donot turnitoff while you are cleaning because the mirror will come back down and bedamagedifithitsanything.IftheAirBlasterdoesnotremoveallthedust,youcan move to a “silicon stamp,” such as the Dust-Aid Platinum dSLR SensorFilterCleaner.Thisisslightlymoreinvasive,asyouwillbetouchingthesensorwith the cleaning device. Be sure to carefully read and follow the Dust-Aidinstructions.AndagainusetheCleanManuallyitemintheSet-up4menuunderSensorCleaningtofirstraisethemirror.

IMPORTANT: Never touch the sensor with anything, other than a cleaningdevicedesignedforsensorcleaningifabsolutelynecessary.DonottouchitwiththetipoftheRocketBlower,donottouchitwithyourfinger.Donottouchorbump the mirror or other parts in there with anything. Do not blow into thecamerawithyourmouthbecausespittlewill inevitablyflyoutand landon thesensor.Donotusecompressedcannedair tocleanyoursensoror theinsideofyourcamerabecauseitmaydamageit.Ifyouchoosetouseoneoftheproductsmade for cleaning sensors where you swab, wet-clean, or touch the sensor,follow their instructions very carefully. For best and safest results have anauthorizedCanonservicepersoncleanit.

Someotherrecentcameramodelshaveexperiencedexcessivedustoroilspotsonthesensorcausedbycameralubricants,whichcanincreaseasthecameraisusedandthenceaseafterfurtheruse.Ifyouexperiencethiswithyour70D,donot attempt to clean it yourself but rather send it toyour localCanonProductRepair Service Center for cleaning and servicing:http://www.usa.canon.com/cusa/professional/standard_display/support_pro

Figure290-DetailoftheCanonEOS70DandSDmemorycard.

11.9PuttingitallintoPractice

IbelievethatIhavecoveredeveryimportantbutton,control,andsettingonthe70D that is needed or useful for general photography as well as for manyspecializedscenesandsituations.It isbesttobeginbymasteringthebasicandstandard functions and concepts that I described, and then learning andexperimentingwiththemoreadvancedfeaturesintime.Itisimportanttolearnallof thesestandardfunctionsandcontrolssothat theybecomesecondnature,and that you instinctively know which settings to use and how and why tochange them in shooting situations. Then you can begin to focus on anotherimportantaspectofphotography,composition.

Figure291-GullinfrontofMotifNo.1,Rockport,Mass.-Shutterspeed1/320,Aperturef/8.0,ISO100,Focallength200mm.

Whilesomeofthesesettings,features,andexplanationsmayseemcomplicatedat first, and someof themcertainly are advanced functions, just start shootingandattemptingtomakeuseofwhatyouhavelearned,piecebypiece.Youwillgain a quicker understanding of functions, controls, and concepts through useand mistakes and questions that arise when the camera does not act as you

expectortheimagesdonotappearasyouwish.Youcanreadaboutadifficultconceptoverandoverandstillnotgrasp it,butyoumightunderstand itbetterand quicker through use, error, experimentation, and success.As I said at thebeginning,allof this informationmaynot immediatelymakesenseorbeclearafter one or even two readings. It takes weeks, months, sometimes years ofphotographingbeforealloftheconceptsbecomeclearandtheinterrelationshipsof functions and settings are fully understood. And then there is still alwaysmoretolearn.Doyoufullyunderstandcirclesofconfusionyet?Everyheardoffocusshiftatwideapertures?Howaboutfocusstacking?(Iusedthattechniquetogetbothnamebadgesinfocusonthecoverphoto!)Evenafterphotographingandwriting about photography formany years I am still continually learning,andenjoyingtheprocess.

12.THEIMAGETAKINGPROCESS

12.1StillSubjects

Thisisabriefstep-by-stepexplanationofthebasicprocessofusingyourCanon70D to photograph a still subject or scene, for general, everyday, and travelphotouse:

1. Turnoncamera.

2. SetModeDial toAperture-PriorityAEMode (Av) ifyouwish tocontrolthedepthoffieldoftheimage.SetModeDialonShutter-PriorityAEMode(Tv)ifyouwishtocontrolshutterspeed.

3. Makesurethecameraissetto:

EvaluativeMeteringModeAutoWhiteBalance(AWB)AFMode:One-ShotAFAFAreaSelectionMode:Single-PointAFSingle Shooting or Low-Speed Continuous ShootingDriveModeExposureCompensation:0

4. MakesurethelensissettoAFforautofocus.

5. SettheISOaccordingtotheamountofavailablelight.UseISO100or200ifoutdoorsonasunnyday.

6. Hold theViewfinder toyour eyeandgive theShutterButtonahalf-presstaptowakeupthecameraandstartthemetering.

7. If working in Av mode, turn the top Main Dial to select your aperturesetting as you view the settings in the Viewfinder. Use a setting of 4.0(f/4.0)-orthelowestnumberyourlensiscapableof-fordramatic,shallowdepthoffieldor16(f/16)fordeepdepthoffield.IfworkinginTvmode,turntheMainDialtoselectyourshutterspeedsetting.

8. InAvmode,verifythat theshutterspeedselectedbythecameraiswithinyourdesired range. Ifnecessary, increase the ISO inorder to increase theshutterspeed that thecameraselects.Ordecrease ISO todecreaseshutter

speed.InTvmode,verifythattheaperturesettingselectedbythecameraiswithin your desired range. If necessary, raise the ISO setting in order toobtainasmalleraperturesizeor lower the ISOinorder toobtainawideraperturesize.

9. UsetheMulti-Controllertochooseyourdesiredfocuspoint.PresstheAFPointSelectionButtonfirstifnecessarytomanuallyselectanAFPoint.

10. (Optional:FrameyourdesiredfinalimageintheViewfinderandpressthe[*]Buttontolockthatexposuresetting.)

11. PlacetheselectedAFPointoveryourintendedsubjectandpressandholdthe Shutter Button halfway to lock focus, or press and hold the AF-ONButtontolockfocus.

12. With the principles of composition in mind, recompose the frame asnecessarywhilestillholding theShutterButtonhalfway(orcontinuing topress the AF-ON Button), and check the Electronic Level icon in theViewfindertoensurethecameraislevel,ifdesired.ThenpresstheShutterButtonallthewaytotaketheshot.ContinuepressingtheShutterButtonifyouwishtotakecontinuousshots.

13. Press the Playback Button and review the image(s) on the rear LCDMonitor.ChecktheBrightnesshistogramforproperexposure.Ifnecessary,check theRGBHistogram to ensureyouhavenotoverexposedanycolorchannels. Zoom in on the image if desired, using theMagnifyButton orTouchScreen.

14. When you are done reviewing the histogram and the image(s), press thePlaybackButtonagainortaptheShutterButtonhalfwaytoturnofftherearLCDMonitor.

15. If adjustment of exposure is necessary, use Exposure Compensation byturning theQuickControlDial. Tap the shutter button to begin exposuremeteringifmovingthedialdidnotchangetheExposureCompensation.

16. Gotostep6andRepeat.

Figure 292 - Detail of 1956 GM Firebird II concept car, on display at theHeritageMuseum,Sandwich,Mass.-70D:Shutterspeed1/120,Aperturef/4.0,ISO1600.

12.2MovingSubjects

Forgeneraltrackingofamovingsubject,beginwiththefollowingprocedure:

1. Turnoncamera.

2. SetModeDialtoShutter-PriorityAEMode(Tv).

3. Makesurethecameraissetto:

EvaluativeMeteringModeAutoWhiteBalance(AWB)AFMode:AIServoAFAFAreaSelectionMode:Single-PointAF if youplanto keep the subject located at the sameAFPoint.19-PointAutomatic Selection if the subjectwill leave theinitialpointandmovethroughouttheframe.Review the Custom Functions C.Fn II: Autofocussettings,andsetaccordingtoyoursubjectandsituation.Low-SpeedorHigh-SpeedContinuousShootingDriveModeExposureCompensation:0

4. MakesurethelensissettoAFforautofocus.

5. SettheISOaccordingtotheamountofavailablelight.UseaslightlyhigherISO to ensure proper exposurewith the faster shutter speeds youwill beusing.

6. Hold theViewfinder toyour eyeandgive theShutterButtonahalf-presstaptowakeupthecameraandstartthemetering.

7. TurnthetopMainDialtoselectyourshutterspeedsettingasyouviewthesettingsintheViewfinder.Useasettingof1/500,1/1000,orfastertoensurefreezing themotionof themovingsubject (maydifferwithsubjectspeed,direction,distance,andfocallengthvariables).

8. Verifythattheapertureselectedbythecameraiswithinyourdesiredrange.

Ifnecessary,increasetheISOinordertodecreasetheaperturesizethatthecameraselects.OrdecreaseISOtoopentheaperturewider.

9. UsetheMulti-Controllertochooseyourdesiredfocuspointwhereyouwillinitiallybegintrackingthesubject.

10. PlacetheselectedAFPointoveryourintendedsubjectandpressandholdtheShutterButtonhalfwayorfullpresstheAF-ONButton.

11. If using Single-Point AF, follow the moving subject while attempting tokeep it located under the selectedAF Point. If using19-Point AutomaticSelectionandwishtoholdthecamerarelativelystillasthesubjectmovesabout the frame, keep the Shutter Button half-pressed or AF-ON ButtonpressedastheotherAFPointspickupandtrackthemovingsubject.

12. Press the Shutter Button fully to take the shot, or press and hold forcontinuousshooting,astheautofocussystemcontinuestotrackandretainfocusonthesubject.

13. Press the Playback Button and review the image(s) on the rear LCDMonitor.ChecktheBrightnesshistogramforproperexposure.Ifnecessary,check theRGBHistogram to ensureyouhavenotoverexposedanycolorchannels. Zoom in on the image if desired using theMagnify Button orTouchScreen.

14. When you are done reviewing the histogram and the image(s), press thePlaybackButtonagainortaptheShutterButtonhalfwaytoturnofftherearLCDMonitor.

15. If adjustment of exposure is necessary, use Exposure Compensation byturning theQuickControlDial. Tap the shutter button to begin exposuremeteringifmovingthedialdidnotchangetheExposureCompensation.

16. Gotostep6andRepeat.

ByadjustingthesettingforCustomFunctionC.FnII-1:Trackingsensitivity,youcan readily see how the camera refocuses on a subject at a different distancemore quickly or not. It can bemore difficult to immediately evaluate changesmadetotheC.FnII-2:Acceleration/decelerationtrackingsetting,andyoumayhave to inspect your results after shooting to see the differences made bychangestothissetting.

Figure 293 - Charles River, Cambridge, Mass. - 70D: Shutter speed 1/1600,Aperturef/5.0,ISO800.

At this point you may wish to return to the Custom Controls section that Irecommended you skip earlier - Section 4.4C.Fn III-4: Custom Controls -Advanced. After learning all the functions and working with your camera awhile,youwillbegintoknowhowyouwishtocustomizesomeofthecontrolstobetterfityourshootingstyleandprocess.

13.Wi-FiFUNCTIONS

The Canon 70D is one of the first Canon dSLR cameras with built-inWi-Ficapabilities (after the introduction ofWi-Fi on the EOS 6D). Previous dSLRcamerasarecapableofthistoo,butyouneedanoptionalexternalWi-Fidevice.The Wi-Fi functions of the 70D will enable you to wirelessly connect yourcameratoyourcomputer,smartphone,tablet,wirelessnetwork,printer,orTVtoperformavarietyof functions includingcontrollingyourcamera remotelyandsharingyourimages(SeeFigure294).

Figure294-Controllingthe70DwirelesslyusinganiPhoneoriPad(left),oranAndroidtablet(right).

ThecameraincludesabasicprintedEOS70DWi-FiFunctionBasicInstructionManual, as well as a more in-depth EOS 70D Wi-Fi Function InstructionManual inPDF format on the includedEOS 70DCamera InstructionManualCD. These manuals can all be downloaded from the Canon website as well:http://www.usa.canon.com/cusa/consumer/products/cameras/slr_cameras/eos_70d#BrochuresAndManuals

Theuseofthesefunctionsismostlystraightforward,thoughinitiallyconnectingyour camera viaWi-Fi to your network, computer, or other devicesmay varywidelybasedonyourequipmentandnetworksettings. I foundthat thecameramenu screens guided me easily and successfully through all of theseconnections, though you may need to consult the in-depth Wi-Fi manual fortroubleshootingifyourunintodifficulties.Oneimportantsteptonoteisthatyouneed to disableWi-Fiwhen connecting your camera to your computer via theUSBcable,whichyouwillneedtodoforsomeinitialset-up,asIwill remind

you.

Byfollowing the instructions in themanuals (andsummarizedbelow),and theprompts on the camera’s screen (or on your computer, phone, or tablet screenwith the software and apps), you will ideally be able to let the camerasuccessfully walk you through the various set up procedures to automaticallylocateandwirelesslyconnectyourcameratoyournetworkandvariousdevices.TheEOSUtilitysoftwarealsoautomaticallyinstallsa“devicepairing”functiononyourcomputerthatfindsthecameraandshouldeasilyletyouconnect.SincetheEOS70DWi-FiFunctionInstructionManualgenerallyprovidesveryclear,straightforward step-by-step instructions for these functions, I will not repeateverythingitsays,butwillinsteadbrieflyexplaintheprocessandpointoutsomepossibledifficulties.Duetowireless,network,security,andfirewallsettingsthatwill vary widely with users, you may have to consult the EOS 70D Wi-FiFunctionInstructionManual to readhow toconnectusingalternateormanualmethods.

IMPORTANT!:BesuretosettheAutopoweroffoptionintheSet-up2menutoDisable so that the camera does not turn off duringWi-Fi operation, and thuslosetheconnection.

Figure295-EnableWi-FiandaccesstheWi-FiFunctionsintheSet-up3menu(left).Aftertheinitialset-up,choosingWi-FiFunctionwillbringyoutotheWi-FiFunctionscreenshownatright.

Figure296 - IfWi-Fi isEnabled in theSet-up3menu,youcanuse theQuickControl Screen to access some of the Wi-Fi Functions for which ConnectionSettingshavealreadybeenregistered.

EnableWi-FiintheSet-up3menu,thenchooseWi-Fifunctiontobeginsettingitup(seeFigure295).Inthefuture,ifWi-FiisEnabledintheSet-up3menu,thenyou can also use the Quick Control Screen to access some of the Wi-FiFunctions forwhichConnection Settings have been previously registered (seeFigure296).ThefirsttimeyouinitiateWi-Fi,youwillbepromptedtoregisteranickname for the camera, so that it can be identified when accessing it fromotherdevices(seeFigure297).Fromthenon,Wi-Fi functionwillbringyou totheWi-FifunctionscreenasseeninFigure295-right.Ifyouwishtolaterchangethe nickname, press the INFOButton while on this screen to accessGeneralsettings(asindicatedbytheiconatlower-left),andchooseEditnickname.

Figure297-Wi-FiFunction-ThefirsttimeyouaccesstheWi-FiFunctionyouwill be prompted to register a nickname for the camera, so that it can beidentifiedwhenaccessing it fromotherdevices.Here Iamnaming thecamera“Elvis70D”.

Below are the various available Wi-Fi functions accessible from the Wi-Fifunction screen, as shown inFigure 295-right:Camera to Camera Transfer:

You can transfer images between Canon cameraswith built-inwireless LAN,availablefrom2012or later.BothJPEGimagesandmoviescanbetransferredbutnotRAWimages.Startthecameraconnectionprocessonbothcameras,thenselect the images/movies to be sent to the target camera.You can select andsend images one at a time by choosing Send img shown, or check up to 50imagesbeforeinitiatingsendingbychoosingSendselected.Youcanfirstresizean image or all selected images before sending by choosingResize image orResize images to send on the screen and picking the desired size. You canregister the connection tomultiple cameras tomake later reconnection easier.Thisfeaturecouldbeuseful,obviously,forimmediatelysharingspecificimageswith your family, friends, or colleagues and not having towait to get back toyourcomputertodoso.Oryoucouldconsiderusingitasatemporaryformofimageback-up.

Smart Phone/ Tablet and EOS Remote: You can also control your camerathroughyour smartdevice - iPad, iPhone,Androidphoneor tablet -using thefreeEOSRemoteapp(seeFigure298).With thisappyoucanperformremotecamera control in a similar manner as with using EOS Utility from yourcomputer (to be explained below). Using a smart phone or tablet, you canmonitoronyourdevice’sscreenexactlywhatthecameraisseeinginLiveView.Youcanchangesomesettingsbasedonyourshootingmode(includingaperture,shutter speed, ISO), move the focus area to tell the camera exactly where tofocus,andreleasetheshutter.Youcanalsoview,search,organize,anderasetheimages that are on the camera’smemory card, and transfer images from yourcamera to the device (as reduced size JPEGs) for sharing via email or socialnetworksites.

Figure298-EOSRemoteApp-ScreenshotsofEOSRemoteAppon the iPad,showingtheHomeScreen(left),andtheRemoteShootingScreen(right).

This feature can be useful as a more interactive version of a remote shutterreleasewhilethecameraissetuponatripod.Forexample,youcansetupthecamera for a shot youmay have to patientlywait for, thenmore comfortablymonitorwhat the camera is seeing (and change some of the settings) on yourtabletwhile sitting next to, or even farther away from the camera.You couldpositionthecameraoutsidein thecold(notnecessarilyrecommended- justanexample!)whilemonitoringitfrominsideahouseortent.Oryoucouldsetupthe camera in the studio for a portrait, and then be able to walk around andinteractwithyoursubjectwhilecontrollingthecameraviayoursmartphone.

Tomakeuseofthis,firstdownloadtheEOSRemoteapptoyoursmartphoneortablet.Atthistime,theEOSRemoteappissupportedbyAppleiOSversions5.0and later, and Android versions 2.3.3 and later. Note that EOSRemote is an“iPhoneOnly”appat this time,whichwill alsoworkonan iPad,butwillnotappearinasearchoftheAppStoreifyouareonlyviewing“iPadOnly”apps.

Thecameracanactasitsownaccesspoint(CameraAccesspointmode),soyoudonotneedtobewithinreachofawirelessnetwork(Infrastructuremode).To

connect,chooseConnecttosmartphoneontheCamera’sWi-Fifunction screen,thenfollowtheprompts,typicallychoosingthedefaultsettingsandpressingOK(seeFigure299).MakenoteoftheSSIDnetworknameandtheEncryptionkeyprovided(seeFigure300),asyouwillneed touse theseonyoursmartdevicewhenconnecting.

Figure299-Connectingyoucameratoasmartphone/tablet.Left:Choosethe“Cameraaccesspointmode”toconnectdirectlytothecamera.“Infrastructuremode” will connect via aWi-Fi network, such as your home network. Right:Here“Elvis-70D”isthenicknameofthecamera.

On the smart device (iPhone, iPad, Tablet), access the Wi-Fi settings in thedevice’sgeneralSettingsscreen, select theSSIDnetworkname thatwas listedon thecamera(“Elvis-70D” in the imageshere), andenter theEncryptionkeylistedonthecameraasthepasswordonthesmartdevice(seeFigures300and301).

Figure300-Continuingtoconnectthecameratoasmartdevice.NotetheSSIDnetworkname(thenameof thecamera)andtheEncryptionkey, foruseasthepasswordwhenconnectingthesmartdevicetothe70D.

Figure301-Wi-Ficonnectionofcameratosmartdevice-Inthesmartdevice’sWi-Fisettings(shownhere,aniPad),selecttheSSIDnetworknameprovidedonthecamera’s rearLCDMonitor (“Elvis70D”here), andenter theEncryptionkey(providedonthecamera)asthepassword.

Whenthis iscomplete, thecamerawill instructyouto“Start theEOSapp”onthe smart device (seeFigure 302). In theEOSRemote app on your phone ortablet,chooseCameraConnection,andtapwhereitliststheCanonEOS70Dtoselectyourcamera(seeFigure303).

Figure302-Continuingtoconnectthecameratoasmartdevice.NotetheSSIDnetworkname(thenameof thecamera)andtheEncryptionkey, foruseasthepasswordwhenconnectingthesmartdevicetothe70D.

Figure303-OncethecamerainstructsyoutostarttheEOSapp,opentheapponyoursmartdeviceandselect“CameraConnection”(left).Taptoselectyourcamera(right)tobeginthepairingconnection.

The camera’s rear LCDMonitor will indicate when the pairing connection issuccessfulwhenitsays“Connecttothissmartphone,”sothennavigatewiththeMulti-ControllertoOKandpresstheSETButton.Aftersuccessfullycompletingthis connection for the first time, you can then enter a Settings name on thecameraforeasilymakingtheconnectionagainlater(seeFigure304).

Figure 304 - After successfully completing the camera-to-smart-device

connection for the first time (left), you can then enter a Settings name on thecameraforeasilymakingtheconnectionagainlater.HereIregistermy70D-to-iPadconnectionas“DJKiPad”(right).

OnceyouhaveenteredyourSettingsname,pressOK(seeFigure305-left),andyouwillbetakentotheConnectionscreen(seeFigure305-right).Donotclickortouchanythingonthisscreenasyoumayaccidentallyexittheconnectionyoujust established - instead proceed to your phone or tablet to begin remoteshooting.

Figure305-AfteryouhaveenteredyourSettingsname,pressOK(left),andyouwillbetakentotheConnectionscreen(right).Donotclickortouchanythingonthis screen as youmay accidentally exit the connection you just established -insteadproceedtoyourphoneortablettobeginremoteshooting.

Figure306-Left:Viewof theEOSRemotehomepageonan iPad,whereyoucanchooseCameraImageViewingtoviewtheimagesonthecamera’smemorycard,orRemoteShootingtowirelesslycontrolthecamerafromthesmartdevice.Right:Besuretoenablethe“ShowAFButton”optionintheSettingsscreen.

You can begin to control the camera remotelywithEOSRemote by choosingRemoteShootingon theEOSRemotehomescreen (seeFigure306).But first,since by default the smaller autofocus button isn’t shown on the RemoteShooting screen, go into the EOS Remote settings on the main EOS Remotepage and choose Show AF Button (see Figure 306-right - the EOS Remotesettingsareaccessedviathesettingsicononthetop-leftofthescreen.)Youwillneed tosetyourdesiredautofocusingmodeon thecamera,asdescribed in theLive View andMovie Autofocusing Modes section. FlexiZone - Single AFModewillprovidethelargeautofocusingsquarewhichcanbemovedbytappingon the desired location on the phone’s or tablet’s screen. FaceDetectionLiveMode will automatically detect faces, and Quick Mode will display the AFPointsasseenintheViewfinder.IsuggestworkinginFlexiZone-Singlemodeforeasiestcontrolofthefocusareaviathephoneortabletscreen.Youwillalsofirst need to place the camera’s AF Point in the center of the camera’s LCDMonitor,bypressingtheSETButton-otherwiseyoumaynotbeabletocontrol

theAFPointviathesmartdevice.

TheRemoteShootingscreenwillshowtheviewasseenbyyourcamera,similarto working in Live View (see Figure 307). The screen you see may differslightlybasedoniOSvs.Androidandonthecurrentorientationofyourdevice.TheHomeiconat top-leftwillbringyouback to themainEOSRemotehomescreen,theINFOiconattop-rightwillturnonoroffcamerasettingsinformation(which will be shown along the left of the screen), the Rotate icon will lockrotation,andtheCameraiconwillstartorstopLiveViewonthecameraitself.TheSettingsiconatthelower-rightofthesmart-devicescreen(showninFigure307asareturnarrowsinceanactionisinprocess)willallowyoutochoosetheaperture, shutter speed, ISO setting, and exposure compensation amount.AvailablesettingswillvarybasedonwhichShootingModeyouareworkingin.Youcanswipeyour fingeralong thescaleof theactivesetting (aperture, ISO,etc.) tochange theamount. InFigure307-right, the aperture scale is currentlytheactivesetting,seenbelowtheimageview.Thetinythumbnailatthelower-leftor lower-rightwilldisplay thumbnailsof images taken,arrangedalong thebottomofthescreen.

Figure307-EOSRemoteappinRemoteShootingmode,asviewedonaniPad(left),andonaSamsungtablet(right).Positiontheautofocusareabytappingonthe screen,andchangecamera settingswith theSettingsbuttonat lower-right(shownasthe“returnarrow”herebecauseithasbeenpressedandtheExposureCompensation and Aperture setting scales are currently shown at the bottom.Thesesettingscanbechangedbyswipingacrossthescale).

Toautofocus,taponthescreenwhereyouwishtofocus,andthefocusareawillmovetothatlocation.Double-tapthefocusareatozoominforacloserlookand

tobetterfocus.PressthesmallerAFButtonicontofocus(theAFframewillturngreen), then slide your finger to the larger Shutter Button icon to capture theimage.As noted above,with the app’s default settings the smallerAFButtonicon is not shown, and you can simply press the large Shutter Button icon tofocusandcapturetheimage.

Once thecamera-to-smartdeviceconnectionhasbeenmade,youcanuseEOSRemoteonyourtablet/phonetoview,organize,delete,ortransferimagesstoredon the camera by selectingCamera ImageViewing on theEOSRemote homescreen (seeFigure 306). You can limit which images currently stored on thememory cardwill be visible on the smart device by first accessing theWi-Fifunction menu in the Set-up 3menu of the camera, chooseConnect to smartphone, choose Review/change settings (see Figure 308), and select Viewableimgs.Youcanthenchoosewhichimageswillbeviewable,whetherallimages,byselectedpastdaysrange,byspecificrating,orbyacertainfilenumberrange.

Figure308-ViewingCameraImagesontheSmartDevice-Oncethecameratosmartdeviceconnectionhasbeenmade,usethecameratosetupwhichimagesstoredonthecamerawillbeaccessibletoview,organize,delete,ortransferonthe smart device. You can limitwhich images currently stored on thememorycard will be visible on the smart device by first accessing theWi-Fi functionmenuintheSet-up3menuofthecamera,chooseConnecttosmartphone,(left),choose Review/change settings (right), and then you will be able to select“Viewableimgs.”Youcanthenchoosewhichimageswillbeviewable,whetherall images,byselectedpastdaysrange,byspecificrating,orbyacertain filenumberrange.

Back on the EOS Remote home page on your smart device, you can chooseCameraImageViewingtoviewthumbnailsoftheimagesstoredonthecamera’smemory card. At the top right of the EOS Remote screen, you can select todisplay the images in the tiledviewor the tableviewwith image information.

Near the bottom-right of the EOSRemote screen you can choose the reordericontoreordertheimagesbyrating,date,orfolder,orusetheImageJumpicon(seeFigure309).

Figure309-OntheEOSRemotehomepageonyoursmartdevice(left),youcanchooseCameraImageViewing toviewthumbnailsof the imagesstoredon thecamera’smemorycard (right).At the toprightof theEOSRemotescreen,youcanselecttodisplaytheimagesinthetiledview(shown)orthetableviewwithimageinformation.

Figure 310 - Left: During Camera Image Viewing, you can use the top-righticonstodisplaytheimagesinthetableviewwithimageinformation.Theiconsalong the bottom of this screen are to save or delete multiple images, Sort /DisplayOrder,andImageJump.Right:Tapa thumbnail toview it full screen,anddisplayitsinformationbypressingtheINFOicon.Alongthebottomofthefull screen image, you can access icons to Save the image onto your smartdevice,Senditinanemail,Rateit,orDeleteitfromthecamera.

Youcanalsotaponanimagetoviewitfullscreen,anddisplayitsinformationbypressingtheINFOicon.Alongthebottomofthatfullscreenimage,youwillbe able to access icons to save the image to your smart device, send it in anemail,rateit,ordeleteitfromthecamera(seeFigure310-right).

Totransferordeletemultipleimages,selecttheActionicononthelower-leftoftheEOSRemotescreen(asseeninFigure310-left),andchoosetoSaveImagesto Smartphone orDelete Images from Camera. You can then select multipleimagesbeforepressingSaveorDelete.RAWimageswillbeconvertedtoJPEGformat,andallimageswillberesizedtotheverysmallS2JPEGsizeforuseonthesmartdevice.

Computer and EOS Utility: When the 70D is wirelessly connected to your

computer, youcanmakeuseof the includedEOSUtility software to remotelycontrolthecamera,savetheimagesdirectlytoyourcomputer,andvariousotherfunctions(explainedbelow).PreviouslyyoucouldperformEOSUtilitytetheredshooting with a computer only through the use of a USB cable (hence“tethered”),butthe70DWi-FinowallowsthisconnectionoverawirelessLANnetwork.EOSUtilityoffersmorecontrolovercamerasettingsthandoestheEOSRemoteapp,plusitallowsyoutoimmediatelyviewyourimagesonacomputerscreen, as well as save the full size image files on both the camera and thecomputerat the same time.Thedisadvantage is thatyouneedacomputerandmonitor nearby. This type of wireless tethered shooting is great for studioshooting,includingportraits,stilllifeshots,andproducts,sincethephotographer(andothers)canimmediatelyviewtheresults.

To make use of this, first install the included EOS Utility software on yourcomputer.Make sure that youhave the latest versionofEOSUtility installed.You can get this from the Canon 70D webpage if necessary:http://www.usa.canon.com/cusa/consumer/products/cameras/slr_cameras/eos_70d#DriversAndSoftware

ThiswillalsoinstallthenecessaryWFTPairingsoftwaretowirelesslyconnectthe camera and computer.ForWindows7 andWindowsVistausers, youmayneed to manually open the WFT Pairing application before performing thefollowingprocess.YoushouldfindthisapplicationintheEOSUtilityprogramfolder,oraccessitfromtheStartButtonasshownbelow(seeFigure311).IntheEOSUtilityPreferences, youcanchoose toAddWFTPairing Software to theStartupfoldersothatthisapplicationautomaticallystartswhenyouturnonyourcomputer.YouwillalsowishtospecifythevariousremoteshootingandimagedownloadsettingsinthePreferences.

Figure 311 - Opening the WFT Pairing application in order to wirelesslyconnectthe70DtoaWindowsPC.

On the Wi-Fi Function screen on the camera, select the computer icon forRemote control (EOS Utility). Chose the Infrastructure mode to initiate theconnectionwiththecomputer,andthenfollowthepromptstoFindnetwork(seeFigure312).

Figure312 -Choose thecomputer icon to initiateconnecting the70D toyourcomputerusing the“Remotecontrol (EOSUtility)” function (left).Choose the“Infrastructuremode,”thenfollowthepromptsto“Findnetwork”(right).

Thecamerashouldcontinuetowalkyouthroughthepropersettingsasshowninthefollowingscreenshots(seeFigures313to317),whereyoufirstselectyourLANnetwork,enterinyourwirelessnetworkpassword,thenallowthecameratoautomaticallysettheIPaddress.Ifnecessary,manuallyenterintheIPaddress

assignedtothecamera(ManualsettingontheIPaddressset screen),and thentherequiredwirelessnetworksettingswhichcanbefoundonyourcomputerasisexplainedonpage166of theEOS70DWi-FiFunction InstructionManual.Thetwodevicesshouldpair,andthenEOSUtilityshouldautomaticallyopenup.(Previously one needed to click on the WFT Pairing Software icon on yourcomputer’s taskbar tobringup theWFTPairingSoftwarewindowso thatyoucouldselectyourcamera,butthisprocessappearstobeautomaticnow.)Onthecamera, you will be prompted to enter in a Settings name for this specificconnectionsothatyoucanaccess itagainlater.HereIcalledit“DJK-PC1”toindicatetheconnectionwithmyPCcomputer.

Figures313and314(theabove4menuscreenshots) -Theprocess toconnectyour70Dtoyourcomputer, inordertousetheEOSUtilitysoftwaretocontrolthecameraviaWi-Fi:1.Chooseyourwirelessnetwork,2.choosehowtoenteryournetworkpassword,3.enterthepassword,and4.select“Autosetting.”

Figures315and316(theabove4menuscreenshots)-Thecontinuationof theprocess toconnectyour70Dtoyourcomputer, inorder touse theEOSUtilitysoftware to control the camera via Wi-Fi: 1. Click OK to start the pairingconnection,2.makesuretheWFTPairingsoftwareisrunningonyourcomputer,3.createasettingsnameforthisconnection,4.suchasDJK-PC1shownhere.

Figure317-ConfirmtheSettingsnamebypressingOK(left),andthenyouwillbetakentotheConnectionscreen(right).Donotpressanythinghere,asyouarenowconnected.OpenupEOSUtilityonyourcomputer.

Open the EOS Utility software on your computer, which will allow you toremotelychangemanyofthecamerashootingsettings,releasetheshutter,save

images directly to a designated folder on you computer, view the capturedimages immediatelyon thecomputer screen, and setupanduse interval timershooting.Clickon thevarious camera settings, icons, and items to access andchange them. Click the large Shutter Button icon at top-right to capture animage.YoucanalsousetheEOSUtility’sLiveViewshootingmode,whereyoumoveandadjust theautofocusareasimilar tousing theEOSRemoteapp (seeFigure318).WithEOSUtilityyoucanalsoselectanddownloadother imagescurrentlyonthememorycard,setupthecamera’sMyMenuanduser/copyrightinformation,updatethefirmware,transferslideshowmusictoyourcamera,andcreateacustomPictureStyle.SeetheEOSUtilityInstructionManual includedonthediscforcompleteinformationonmakinguseofthissoftware.

Figure318-EOSUtility-UsingEOSUtilityanditsLiveViewshootingmode.FlexiZone-SingleAFLiveViewautofocusmodeshownhere.Youcanchangeanumberofcamerasettings fromtheEOSUtilityscreen,movetheAFPoint,aswellasreleasetheshutter.

Wireless Network – Internet Services: You can set up your camera withwebsites including Canon Image Gateway, Facebook, Twitter, YouTube, andyouremailaccount,anddirectlysendimagesorvideostothesesites–straightfrom the camera! (Some instances likeTwitterwillmerely share a link to theimage on Canon Image Gateway, but with Facebook the actual image willappear.) This process is relatively straightforward as well, although you firstneedtojoinandlog-intoCanonImageGateway(http://canon.com/cig).Then

configure theInternetservicesyouwish touseon thecamera.Do thisbyfirstdisablingWi-Fionthecamera, thenconnect thecamera toyourcomputerviatheUSBcableandopenEOSUtilityonthecomputer.IntheEOSUtilityMainWindow, select Set Up Web Services (seeFigure 319-left), enter your CanonImage Gateway user name and password, and in the Web Service Settingswindow, select theEditWeb Services icon to set up the various services likeFacebookandTwitter(seeFigure319-right).

Figure 319 - In the EOS Utility main window select “Set UpWeb Services”(left),andinthe“WebServiceSettings”windowselectthe“EditWebServices”icontosetupthevariousservices(right).

ChoosetheWebserviceyouwishtoconfigurefirst,selecttheEditbuttonicon,andfollowtheonscreeninstructionstosetupthatparticularservice(seeFigure320-left).Afteryouhavecompletedtheset-upwiththeWebservice,clickSetatthe bottom of theEdit Facebook (or other) link settings screen (as shown inFigure320-right).Repeat theprocesswith theotherWebservicesyouwish touse. Once the variousWeb services are set up, clickFinish on theEdit WebServices Settings screen to return to theWeb Services Settings main screenshownontherightinFigure319.SelecttheWebservicesinthecolumnontheright,andpresstheleft-arrowicon(betweenthetwocolumns)totransfertheseconfiguredservicesfromyourcomputertoyourcamera.Youcanusethereorderbuttonstorearrangetheorderoftheservicesinthelist.ClickOKwhenfinished.Ifyouencounteranydifficulty,consulttheEOSUtilityInstructionManual.Thendisconnect the camera from the computer, and Enable Wi-Fi again on thecamera.

Figure320-ConfiguringWebservicesonyourcomputerbeforeaddingthemtoyourcamera.Atleft,theavailableWebservicesareshown.Clicktheapplicable“Edit” button icon to set up that particular Web service, such as Facebookshownatright.OncetheWebserviceissetup,click“Set”atthebottomofthescreen.

OncethevariousWebservicesaresetuponthecamera,youcansendimagesorvideos(orlinkstoimagesinsomecases)directlyfromthecamera,aslongasthecamera is connected to a wireless LAN access point. You can send imagesdirectly toCanon ImageGatewayandFacebook,oryoucanshare links to theimagesonTwitterorviaemail,andtheactualimagewillbeuploadedtoCanonImageGateway.You can sendmovies directly toYouTube. Note thatmoviesusingALL-IcompressionarecurrentlynotcompatiblewithYouTube.

Figure321 -Uploadyour images to theWebbyaccessing theWi-FiFunctionmenuandselectingthe“UploadtoWebservice”icon(left),andthenchoosingthe desired Web service (right) that you previously set up on your computerusingEOSUtility.

FirstaccesstheWi-Fifunction screenon thecamera,select theUpload toWeb

service icon, thenselect thedesiredWebservice(seeFigure321).Aswith theotherWi-Fi functions explained above, the camerawillwalk you through theconnection settings. You can choose the Find network option and choose anetwork as above, and then register that connection for future use (seeFigure322). If you encounter difficulty andmust use a different connectionmethod,consultpages107to119oftheEOS70DWi-FiFunctionInstructionManualfordetailedinstructions.

Figure322-ConnectingtoFacebook(left),andthenregisteringandnamingtheconnection for future use (right). Here I will rename the connection SettingsNameas“DJK-FB”.

Onceconnected,usetheMulti-Controllertofindtheimageyouwishtosendandpress SET.You can then send an individual image (Send img shown), choosemultiple imagestosendatonce(Sendselected),or resize the individual imagebeforesendinginordertouploadasmallerimagefile(Resizeimage)(seeFigure323). If multiple images are selected, you will be prompted to resize all theimagesbeforesending,ontheSendselectedscreen,usingResizeimagestosend(seeFigure324).Whenready,selectSendtobegintheupload.

Figure 323 - Send the individual image shown, or choose multiple images tosend at once by choosing Send Selected (left), or resize the individual image

beforesendingsoastouploadasmallerimagefile(right).

Figure 324 - Resize the individual image ormultiple selected images prior touploading,thenselectSend(left)toinitiatetheuploadtotheWebservice(right).

Figure 325 - An image taken with the 70D, as viewed on Facebook afterwirelesslyuploadingittothesocialnetwork,directlyfromtheCanon70DusingWi-Fi.

PrinterandTV:Youcanwirelesslyprintimagesdirectlyfromthecameraviaawireless compatible printer, or view the saved images located on your camerathroughaDLNA-compatibleTV,gameconsole,orothermediadevice.Aswiththe other Wi-Fi functions, select the appropriate icon on the Wi-Fi function

screen, then follow theprompts tomake thewireless connection.Andaswiththepreviousfunctions, register theconnectionSettingsname inorder toeasilyreestablishtheconnectioninthefuture.Ifyourunintoissuesconnecting,consultthestep-by-stepinstructionsintheEOS70DWi-FiFunctionInstructionManual.

For full camera-to-printer printing instructions, see the EOS 70D InstructionManualstartingonpage345.ToviewyourimagesthroughaDLNA-compatibleTV, game console, or othermedia device, once connected select theEOS70DiconontheTVordevice,thennavigatetothedesiredfolderandimages.

14.VIDEO-ANINTRODUCTION

Whilethemainfocusofthisguideisstillphotography,Iknowyouwanttostartexperimentingwith the improvedHD video capability of your 70D, so I willprovidesomestartingpointsandexplanations.Tofullylearntheins-and-outsofdSLRvideoshooting,includingadditionalequipmentandadvancedtechniques,you should study a book dedicated to the subject. I suggest starting with theexcellentDigitalPhotographer’sCompleteGuidetoHDVideobyRobSheppardandMichaelGunchen.AndrecallthatmanyoftheseMovieModesettingswereintroducedintheMovieShootingModeMenusectionatthebeginningofthetext,whichyoumaywish to review.Remember tousea fastmemorycardformovieshooting,suchasa45MB/sorfaster,class10card.

Figure326-Detailof theCanon70D,showing theLiveViewMovieShootingSwitch on the rear of the camera, and the Live View Movie ShootingSTART/STOPButton,usedtostartandendvideorecording, locatedinsidethisswitch.HeretheswitchisshownsettoMovieShooting.

To begin shooting a video turn the Live View/ Movie Shooting Switch(surrounding the START/STOP Button) to the video icon (see Figure 326).

Select Manual Shooting Mode (M) on the Mode Dial in order to manuallycontrol ISO,aperture, andshutter speedsettings.Additional suggested settingswillbeexplainedbelow.AlsobesuretoDisableWi-Fipriortomovieshooting.FocususingoneoftheautofocusmodesexplainedintheLiveViewandMovieAutofocusingsection(withtheexceptionofQuickModewhichcannotbeusedfor video). With the new Dual Pixel CMOS AF Live View autofocusingtechnologyofthe70D,theuseofautofocuswhileshootingvideoismoreviablethan it has been in the past, as itwill retain focus on amoving subjectmorequickly,smoothly,andaccuratelythanpreviousmodels.Youcaneventaponthescreen beforemovie shooting to set where to focus, and then also tap gentlyduringmovieshootingtoimmediatelychangetheareaoffocus.

MovieServoAF

Be sure toEnableMovieServoAF in theMovie1menu if youwish to takeadvantageofthiscapabilityandhavethecameracontinuouslyretainfocusonamoving subject (see Figure 327-left). And remember that one of the Canon“steppingmotor”STMlenseswillautofocusmuchquieterthanotherlenses,thusreducing the lens noise thatmay be picked up by the built-inmicrophone. IfmakinguseofMovieServoAF,youcantemporarilystopthecontinuousfocusoperationbypressingtheFlashButton,orturnitoffbytouchingtheSERVOAFicon on the bottom-left of theLCDMonitor (seeFigure327-right). Note thatthiscontinuousfocusfunctionwillnotoperateduringMovieDigitalZoom,andthe use of Movie Servo AF may result in some unusual changes in themagnificationoftheframeifasubjectmovestowardsorawayfromthecamera,orwhenpanninghorizontallyorvertically.

Figure327 -Left:EnableMovie ServoAF in theMovie 1menu.Right:Onceenabled, you can turn Movie Servo AF off and on, before or during movieshooting,bytappingtheiconatthelower-leftofthescreen.

IfyouarenotmakinguseofMovieServoAF,youwillneed tohalf-press theShutter Button before movie shooting, or press the AF-ON Button before orduringmovieshootinginordertofocus.Thoughforcompletecontrolincertainsituations,youmaywishtomanuallyfocus.Thisisparticularlyrecommendedifyouarefilmingastillsubjectorsceneandcansimplymanuallypre-focusbeforeshooting.Ifyouwishtoswitchtomanualfocus,besuretoexitmovieandLiveViewshootingbefore switching the lens toMF, so that thecontinuous focusoperationofthelensisnotactive.

AswithLiveView,youcanmakeuseofthezoom-inMagnifyButtontohaveacloser look at the scenebefore shooting.After choosingyour desired settings,youwillpress theSTART/STOPButton tobegin filming. Ifyouareusing theRC-6remotecontrol,settheremoteonthe2secondsettinginordertostartorstopmovie recording. If set for the immediate shooting setting, itwill insteadtakeastillimage.

MovieShootingModes

SettingtheModeDialtoanyoftheBasicZoneShootingModes(A+,FlashOff,CA,SCN)willactthesameassettingforA+,withthecameradeterminingallthesettings.AScene Iconwillappearon the rearLCDMonitor to showwhatscene the camera has determined and adjusted the camera settings foraccordingly (see page 255 of theCanon 70Dmanual for a chart of the Sceneicons). Setting the Mode Dial to P, Tv, Av, or B all will result in automaticexposure settings, though you can use the AE Lock [*] Button to lock theexposure settings. Then while shooting, you can press the rear AF PointSelectionButtontocancel thelockedexposuresettingsifdesired.Andaswithstills shooting, you can turn the Quick Control Dial to change the ExposureCompensationamountbeforeorduringshooting.Whenshootinginthesemodes,notethatpressingtheShutterButtonhalfwaywilldisplaytheexposuresettingsontheLCDMonitor,butthesearetheexposuresettingsfortakingastillphotoandmay differ from themovie exposure settings,which are unfortunately notshownduringuseofthesemodes.

WhenshootinginManual(M)ShootingMode,youshouldgenerallyadjustyourexposuresettingsprior to recording(ShutterSpeed,Aperture,andISO,aswillbe explained just below).However if desired, you can also adjust themwhileshooting. Do this using the camera controls or with the Touch Screen iconsshownat thebottomoftheLCDMonitor.PresstheINFOButtonrepeatedlyiftheyarenotvisible.YoucanalsopresstheINFOButtontoviewtheHistogram,

Level, or turn on or off the shooting Information Display (see Figure 328).WhenshootinginManualShootingMode,remembertodisableHighlightTonePriority (in the Shooting 4 menu) if you wish to have full control over theexposuresettings.

Figure 328 - The Information Display for movie shooting, showing theHistogram(left),andtheElectronicLevel(right).

As with Live View shooting, the LCD Monitor displays the Final ImageSimulationenablingyoutoviewtheresultsofvariouscurrentsettingsincludingthe Picture Style,White Balance, exposure settings,Auto LightingOptimizer,HighlightTonePriority,andlenscorrections.

The 70D can continuously record for longer than the previous 12 minutelimitation of some dSLR video - up to 29 minutes 59 seconds - though thecamera’s internal temperature may rise during this extended period andautomatically stop the recording. If the time limit is reached (and thetemperatureissuenotencountered),youcanimmediatelybeginrecordingagainbypressing theSTART/STOPButton.AlthoughFAT32memorycards limit afileto4GB,anewfileisinstantlycreatedwithoutstoppingthevideorecording.Theseparate4GBfilescanonlybeplayedbackindividuallywhileviewingonthecamera,butcanbeplayedconsecutivelyandseamlesslyonacomputer.

Press the [Q] Button prior to movie recording to access theMovie ShootingQuickControlScreenwhichwillenableyoutoquicklyadjustvarioussettings,including Autofocus AF Methods, Drive Mode (for stills shots), MovieRecording Size, Digital Zoom, Audio Recording Level (if audio is set forManual), White Balance, Picture Style, Auto Lighting Optimizer, and VideoSnapshot.PressupanddownontheMulti-Controllertoselectthedesiredsettingand press right or left on the same controller to adjust the setting (seeFigure329).

Figure 329 - Press the [Q] Button or [Q] icon to access the Movie QuickControlScreenandadjustMovieShooting settingsprior to recording, suchastheAudioRecordingLevel(left),andtheWhiteBalance(right).

And you can press the top camera buttons, such as the AF Button and ISOButton, to adjust those settings as you view them on the rear LCDMonitor -althoughrememberyouneedtobeinManual(M)ShootingModetobeabletoadjust theISOsetting(seeFigure330).Beforeshooting,pleasereadallof themovie shooting notes and precautions in theCanon 70D Instruction Manual,includingpages259-260, 262, 287-288, and theLiveViewCautionsonpages249-250.

Figure 330 - You can also press the topAFButton to change theAFMethod(left),orthetopISOButtontochangetheISOsetting(right)asyouviewthemontherearLCDMonitor.

14.1ImageSize,FrameRate,Compression

ImageSizeandFrameRate

Image Size: Choose Full HD (1920x1080), HD (1280x720), or Standard-definition(640x480),combinedwithyourdesiredFrameRateandCompressionMethod which will be explained just below. You can access these settingsthrough theMovie2menuorbyaccessing theMovieShootingQuickControlScreenbypressingthe[Q]Buttonortouchingthe[Q]iconatthetop-rightoftheMovieInformationDisplay(seeFigure331).

Figure331-MovieRecordingSizemenuscreenwithImageSize,FrameRate,andCompressionMethodoptions,asaccessedthroughtheMovie2menu(left),andviathe[Q]Buttonor[Q]icon(right).

FrameRate:AvailablechoiceswilldependonwhichVideoSystemsettingyoupreviouslyselectedintheSet-up3menu,NTSCorPAL.

60 fpsand30 fps are used forNTSC format, such as inNorthAmerica, most of Central America and South America, Japan,andTaiwan.Theserateswillgiveyouthat“video” looktoyourvideos. Use 30 fps for general use, or 60 fps for high speedaction,quickpans,orforslowmotion(byslowingitto30fpsinpost-processing).

50fpsand25fpsareusedforPALformat,suchasinAustralia,Europe, the restofAsianotusingNTSC,andelsewhere. Itwillgiveyouthat“video”looktoyourvideos.Use25fpsforgeneraluse, or 50 fps for high speed action, quick pans, or for slowmotion(byslowingitto25fpsinpost-processing).

24fpswillgivethe“cinema”or“movie”looktoyourvideos(inbothNTSCandPALformatcountries).

CompressionMethod

The camera records using theH.264 codex, butwith a choice of compressionmethods:

ALL-I is an “Intra-coded Frame” system, with framescompressedindividually,andresultsinthehighestqualityoutputandisbetterdesignedforediting.Individualframescanbeeditedwithout losing image quality. The files will be approximatelythree times larger than when using IPB, yet require lessprocessing power and will play back smoothly on “slower”computers.Youwillneedamemorycard that recordsat20MBpersecondorfaster.

IPB uses bi-directional compression where multiple frames aresimultaneously compressed, and frame-by-frame editing willcause lower imagequality.Fileswillbeaboutone-third thesizecomparedtoALL-Ifiles,andthuswillallowyoutoshootlonger.Youwillneedamemorycardthatrecordsat6MBpersecondorfaster.

14.2VideoSettings

ShutterSpeed

WheninManual(M)mode,theshutterspeedcanbesetbyturningthetopMainDial(unlessyouchangedtheShutterspeedsettinginMmodeitemintheC.FnIII-4:CustomControlsmenutousetherearQuickControlDial),orbypressingthe Shutter Speed icon at the bottom of the rear LCDMonitor.You can thenswipealongtheshutterspeedscaleonthescreentochooseyourdesiredsetting(seeFigure332).Theshutterspeedshouldbethereciprocaloftwicetheframerate(ortheclosestavailablesetting):ShutterSpeedsforNTSCFrameRates:

Frame rate 30 fps use Shutter Speed 1/60 (i.e. 1 over (2 x 30),thus1over60)Framerate60fpsuseShutterSpeed1/125Framerate24fpsuseShutterSpeed1/50

ShutterSpeedsforPALFrameRates:

Framerate25fpsuseShutterSpeed1/50Framerate50fpsuseShutterSpeed1/100Framerate24fpsuseShutterSpeed1/50

Figure332-MovieExposureSettings-Settheshutterspeed,aperture,andISOsettingseitherusingthecameracontrolsorviatheTouchScreeniconsalongthebottom of the rear LCD Monitor (left). Change the shutter speed setting bypressing the shutter speed icon (shown as “60” at left), and swipe across thescale,asshownatright.

ISO

SetyourISObasedonthelightingofthescene,inordertoobtaintheapertureandshutterspeedsettingsyoudesire.UsetheISOiconontheTouchScreentoaccess and choose your desired ISO setting, or press the top ISOButton (seeFigure333). The lower ISO settings (100, 160, 200)will result in less digitalnoise.YoucansettheISOanywherebetween100to6400,oruptoISO12,800ifyousettheISOSpeedSettingstoincludeISOHigh(H).

Figure333-ChangingtheISOsettingformovieshootingusingtheISOiconontheTouchScreen(left)orbyfirstpressingthetopISOButton(right).

Generally,itwasoftenrecommendedtosettheISOtoafullstopforvideo:100,200,400,800,1000,1600,etc.However,moreprecisetestshavebeendonewiththeCanon60D,7D,and5DMarkIIIdSLRforvideo,andthebestorderofISOsettings touseforminimalnoise for thosecamerashasbeenshownto involvemultiples of 160. I suspect testswill show that the 70D sensor acts similarly.HerearethebestISOsettingsonthepreviousCanonEOScameras,inorderofleastnoiseonup:160,320,640,100,200,400,800,1250,125,250,500,1000,1600,2500,2000,3200

SeethislinkforimagesofthistestwiththeCanon60D:

http://wiegaertnerfilms.com/tutorials/the-best-iso-settings-for-canon-video-dslrs/

A video test was performed on the 5D Mark III which confirms that the“multiples of 160 ISO” rule applies to its sensor as well:http://vimeo.com/groups/eos/videos/39556242

TheISOsettingsatmultiplesof160(or theclosestpossible)will“pulldown”theexposurefromthenativeISOnumberslike200or400,resultingincleanerimageswith lessdigital noise, however theremaybe a slight loss of dynamicrange.

Note that even if you have set certain minimum and maximum ISO rangesettings,thereareadditionallimitationstoISOsettingsthatareavailableduringmovieshooting,asdescribedintheCanonmanualonpages257.Ifyouchooseto use Auto ISO, you can lock the ISO speed by pressing the AE Lock [*]Button before or during shooting.During shooting you can press the rearAFPointSelectionButtonifyouwishtounlockthesetting.

Aperture

When inManualMmode, the aperture setting can be set by turning the rearQuickControlDial,(unlessyouchangedtheAperturesettinginMmodesettingin the C.Fn III-4: Custom Controls menu to use the top Main Dial), or bypressing theAperture iconat thebottomof the rearLCDMonitor (seeFigure334). Set to your desired aperture setting and adjust the ISO if necessary toobtaintheproperexposure.Ifthecameraisindicatingthatthesceneisgoingtobeslightlyorwildlyoverexposedwithyourdesiredsettings,youwillneedtouseadarkneutraldensity(ND)filteronthelenstoblocklightinordertousewideapertures (such as f/ 2.8 or f/4.0), particularly when working outside and inbright lighting. This will be explained just below in theManual ExposureSettingsforVideosectionnext.

Figure334-MovieExposureSettings-Settheaperturesettingeitherusingthecamera controls or via the Touch Screen icon at the bottom of the rear LCDMonitor,shownas“4.5”atleft.Right:Changethesettingbyswipingacrosstheaperturescale.

PictureStyle

Ifyoudonothaveadvancedvideoeditingcapabilities,itmaybeimportantthatyousetaPictureStyletocreatethefinallookyouwant.Again,youcansetthisthroughtheShooting4menuorviatheQuickControlScreen(seeFigure335).

AlsomakesurethatHighlightTonePriorityisturnedoffintheShooting4menu.Ifyouwillbepost-processingyourvideoandwantthebest“film”likeresults,thenyouwillwant a “flat” image that gives youmore room to adjust. In thatcasesetaUserDefinedPictureStylewithSharpnessat0,Contrastatoraround-4,andSaturationatoraround-2(althoughthereisdebateoverthesesettings,soyou can research something similar to “flat Picture Style settings for CanondSLRvideo”ontheInternetandlearnaboutthesettingsthatworkbestforyourpostprocessingworkflow).ThePictureStyleparameterscanbeadjusteddirectlyfrom themovie settingsQuickControl Screen by selecting Picture Style thenpressing the INFO Button as indicated on the screen, to access the variousparameters(seeFigure335).

Figure 335 - Select aPicture Style using theQuickControl Screen (left), andmodifythePictureStylebypressingtheINFOButtontoaccessitsparameters,includingContrast(right).

WhiteBalance

While AutoWBmay work, it is best to set theWhite Balance to match theactuallightingofthescene:Daylight,Tungsten,etc.oraCustomWhiteBalanceif required.Adjust theWhiteBalancevia the [Q]ButtonorTouchScreen [Q]iconandtheMovieQuickControlScreen(seeFigure336).

Figure 336 - Select the desired White Balance setting on the Quick ControlScreen by first pressing the [Q] Button or [Q] icon (left), then making yourselection(right).

TimeCode

The70Dnowhastimecodeabilitywhichcanbeusedtosyncyourvideowithanaudiorecordingorothervideorecordings.ItfollowstheSMPTEstandardofHour:Minute:Second:Frame,andcanbesettofunctionanddisplayinavarietyof ways using the Time Code item of theMovie 2 menu (see Figure 337):

Figure 337 - TimeCode item in theMovie 2menu (left), and the TimeCodemenuoptionsformovierecordingandplayback(right).

Count Up - Rec. Run advances only when a movie is beingrecorded, and is designedmainly for single-camera use. It willcontinueacrossmemorycardsandwillnotberesetifamoviefileisdeletedorifthememorycardisformatted.FreeRuncontinuesto advance even without a movie file being recorded, and isusefulwhen editing footage taken simultaneouslywithmultiplecameras.

StartTimeSetting-Withthissettingyoucanmanuallyinputthedesired starting time code (Manual input setting), reset it to00:00:00:00(Reset), or set it to the current camera time (Set tocameratime).

MovieRecordCount -This is tosethowthe time isdisplayedon the rear LCD monitor during video recording. Rec. Timedisplays the elapsed movie shooting time on the rear LCDMonitor,andTimeCodedisplaystheSMPTEformattimecodeofHour:Minute:Second.

MoviePlayCount -This is tosethowthetimeisdisplayedontherearLCDmonitorduringvideoplayback.Rec.Timedisplaysthe elapsedmovie shooting time on the rearLCDMonitor, andTimeCode displays the SMPTE format time code. This settingworks in conjunctionwith theMovie Play Count setting in thePlayback 3menu, and changing either one will automaticallychangetheother.

DropFrame - Since video frame rates are not really a wholenumber such as 30 fps or 60 fps, but are actually numbers like29.97 fps or 59.94 fps, you must decide how the camera willcountthenumberofrecordedframes.(ThissettingwillnotapplytoFrameRates24fps,25fps,or50fps.)Thecameracancountasifitwerereally30fpsor60fps,orcounttheactualframesandcompensate for thedifference.Thismaynotbeas important forshorterclipsasitisforlongervideos.Forlongervideoclipsyouwillgenerallywant toEnable theDropFrame setting.Thiswill“drop”twoframesfromthecountertotaleveryminutesothatthecountedframesmatchtheactualframes.Noactualvideoframesare dropped, just the number counted, so this will enable acoordinatedplaybacktimeandtimecode.

DigitalZoom

As explained in the Movie Shooting Mode Menus section, the 70D hasreintroduced the movie Digital Zoom feature, which allows you to extendbeyondthereachofyourlensandmakeuseofa3-10xdigitalzoom.Thiswillonly function when the Full HD (1920x1080) Image Size is selected. Enabledigital zoom by accessing the Digital Zoom item of theMovie 2 menu, andselectingthe3-10zoomiconinthatmenu(seeFigure338).

Figure 338 - Enable digital zoom by accessing the Digital Zoom item of theMovie2menu(left),andselectingthe3-10zoomiconinthatmenu(right).

YoucanalsoenableDigitalZoomusing theMovieQuickControlScreen (seeFigure339-left).Youwillimmediatelyseetheframezoomin3x.Thenbeforeorduring video shooting, press up or down on theMulti-Controller tomake theDigitalZoombarappear, thenpressuptozoominanddowntozoomout(seeFigure339-right).Focusbyhalf-pressingtheShutterButtonpriortorecording,or theAF-ONButtonduringrecording- thoughnote that thecamerawillonlyfocus using FlexiZone - Single AF and a fixed center point. Remember thatMovie ServoAF (automatic continuous focus)will not functionwhenDigitalZoomisinuse.Thecamerawillnotmakeuseoftheadvancedphase-detectionautofocusing during Digital Zoom, but rather will use the slower contrast-detection autofocusing. And additional digital noisemay appear in the video.Theselimitationswouldsuggestnotmakingextensiveuseofthisfeature,whichcanbeturnedoffbyselectingtheOFFiconintheDigitalZoommenu.Insteadmakeuseofactualzoomwithatelephotolens.

Figure339-EnableDigitalZoomusingtheMovieQuickControlScreen(left).You will immediately see the frame zoom in 3x, then before or during videoshooting, press up or downon theMulti-Controller tomake theDigital Zoombarappear,andpressuptozoominanddowntozoomout(right).

VideoSnapshot

You can use the Video Snapshot feature to create several short video clips(snapshots) of a specified duration, which you can save together in an album(movie) and then play as a continuous movie, along with background music.AccessthisfeatureviatheVideoSnapshotitemoftheMovie2menu,orthroughtheMovieQuickControlScreen(seeFigure340).

Figure340-VideoSnapshot-AccessVideoSnapshotviatheMovie2menu(left)orthroughtheMovieQuickControlScreen(right).

Tomakeuseofit,EnabletheVideoSnapshotfeatureinthismenu.UnderAlbumSettings,chooseCreateanewalbumandchoose theSnapshotLength foreachsegmentthatwillbeaddedtogethertoformthefinalmovie(seeFigures341and342).Allvideosnapshotswithinanalbumwillbeofthesamelength.

Figure341-VideoSnapshotmenu-SelectAlbumSettingstocreateanewalbum(left),andthenselectCreateaNewAlbum(right).

Figure 342 - Video Snapshot menu - Select the desired Snapshot Length. Allindividualclips(snapshots)inthemovie(album)willbeofthesamelength.

Shoottheinitialvideosnapshot.Whenitiscomplete,youwillbepromptedwithfouriconsatthebottomofthescreen-chooseSaveasalbum.Aftershootingthenext clip(s) chooseAdd to album in order to add the clips (snapshots) to thealbum (movie) you are creating. Or playback the individual snapshot beforeadding it to the album by selecting the Playback video snapshot icon at thebottomofthescreen,whereyoucanthenskiptothefirstorlastframe,orskipbackorforwardafewsecondsorframes.ThenyoucanchoosetoAddtoalbum(lefticon)orDeletewithoutsavingtoalbum(righticon).

Onceyouarefinishedaddingtothealbum,pressthecamera’sPlaybackButtonandthentapthescreentoplaytheentireMovieSnapshotalbum.OrpressSETtodisplay theplaybackoptions, then selector touch theplay icon (seeFigure343).You can also then select theEdit (scissors) icon, as seen inFigure 343-right, to rearrangeor delete individual clips in themovie (seeFigure344). Inorder tousebackgroundmusic,youwillneedtoaddthemusic to thememorycard using the included EOS Utility software. For complete information onVideoSnapshotcreationandplayback,seepages277-288oftheCanonmanual.

Figure343-PlaybackofVideoSnapshotalbum-pressSET(left)todisplaytheplaybackandeditingoptions(right).Pressthescissorsicontoedittheclips.

Figure344-MovieSnapshotEditing-Viewandedittheindividualsnapshotsin

analbum(left)afterchoosing/pressingthescissorseditingicon,includingMoveSnapshot(right)orDeleteSnapshottomoveordeleteanindividualclip.

MoviePlaybackandEditing

Pressthecamera’sPlaybackbuttontoaccesstherecordedmovies,thenpresstheSETButton todisplay themovieplayback icons includingPlay,SlowMotion,jumptoFirstFrame,jumptoPreviousFrame,jumptoNextFrame,jumptoLastFrame, and BackgroundMusic (seeFigure 345) You can control the volumewiththeMainDial.Youcanalsosimplytaponthelargeplaybackicontobeginplayback.

Figure345-MoviePlayback-Pressthecamera’sPlaybackbuttontoaccesstherecordedmoviesandpressthelargeplaybackicontobeginplayback(right),orpresstheSETButtonorSETicontodisplaythemovieplaybackicons(right).

The scissors icon, seen inFigure346-left,will access themovie editing icons(seeFigure346-right).ChoosetoCutbeginning(deletealloftheframespriortotheselectedframe)orCutend(deletealloftheframesaftertheselectedframe).ThennavigatetoyourdesiredframewiththeleftandrightMulti-Controller,andpressSETtoedit.UsethePlayicontowatchtheeditedmovie,andthefar-rightSaveicontosavetheeditedfile.

Figure346-MovieEditing-SelecttheScissorsicon(left)toaccessthemovieeditingoptions(right).

14.3ManualExposureSettingsforVideo

IfyouaremanuallysettingyourexposuresettingsusingManual(M)ShootingMode,assuggestedearlier,youwillfirstneedtosettheModeDialonM.YoucanthensettheexposuresettingsjustasyouwouldwithManual(M)ExposureModeshootingofstillimages,asexplainedintheExposurePart1chapter.UsetheMainDialonthetoptosettheshutterspeedandtheQuickControlDialonthe rear to set the aperture (unless you have switched the dial settings asdiscussed in theC.Fn III-4: CustomControls menu and set theMain Dial tocontrol theAperture setting inMmodeand theQuickControlDial to controlShutterspeedsettinginMmode).Set theISOsettingbyfirstpressingtheISOButton.OryoucanchangeanyoftheexposuresettingsbypressingtheiconsatthebottomoftheLCDMonitor(seeFigure347).

Figure 347 -Manual Exposure Settings for Video - Select the desiredmanualexposure settings using the camera controls or the exposure icons along thebottomoftherearLCDMonitor(left).Right:Recordingamovieusingmanualexposurecontrols.

Youwillsettheshutterspeedbasedonthevideoframerateasdescribedearlierinthischapter-suchasforFrameRate24fpsuseShutterSpeed1/50.SettheISOsettingbasedontheamountoflightinthescene,forexampleindaylightsetit at100or160.Set theaperture settingbasedonyour creativedepthof fielddesires.Ifyouwishtotakeadvantageofdramatic,shallowdepthoffield,whichisoneofthemajorappealsofdSLRvideo,chooseawideaperturesuchasf/4.However, especially ifyouareoutside in sunoropen shade,youwill see thatthis is causing the lens to let in far too much light - possibly 2 to 4 stopsoverexposed.YoucanseethisontheExposureLevelIndicatoronthetopLCDPanelorontherearLCDMonitor.YoumayneedtopresstheINFOButtonone

ormoretimestoviewthisinformationontherearscreen.Thelevelislikelyfarto the right or even blinking at the far right, indicating that the scenewill bemorethan3stopsoverexposed.SinceyoucannotreducetheISOanylowerthan100,andyoucannotchangetheshutterspeedasitisbasedonyourframerate,youwillneedtoadjustyouraperturesettinginordertocreateaproperexposure.Youmightbe required toadjust theaperture setting to f/11or f/16 inorder tobring the Exposure Level Indicator to zero. But because you wish to takeadvantage of wide aperture settings (such as f/4) to achieve shallow depth offield,youcaninsteadmakeuseofaverydarkneutraldensity(ND)filter.Thiswillblockoutalotoflightandallowyoutousethewideaperturesettings.

Figure348-Screenshotof70Dmovieduringplaybackonacomputer.

Neutral density filters are available in a variety of densities to block out aspecific amount of light, which will enable you to increase your exposuresettingsbyaspecificnumberofstops-suchas3stops(0.9),6stops(1.8),10stops(3.0),etc.Todeterminehowmanystopsofadjustmentyouwillneedforaparticularscene,firstmanuallysettheshutterspeed,aperture,andISOsettingsthat youdesire. If theExposureLevel Indicator is to the right of zero, simplylookatthisleveltodeterminehowmanystopsofoverexposureareindicated.Ifthe level isblinkingat therightsideof this level this indicatesover3stopsofoverexposure. Turn the Quick Control Dial (or Main Dial if set as such)

clockwise to adjust the aperture setting until the Exposure Level Indicatorreturnstozero,andcountthenumberofclicks(ormonitortheaperturesettingonthetopLCDPanel).IfyouhaveCustomFunctionsettingC.FnI-1:ExposureLevelIncrements set to1/3stop, therewillbe3clicksperstop(every3clicksequalsone full stopof adjustment).So if youneeded to adjust the camera sixstopstogettheExposureLevelIndicatortozero,youwillneeda6stops(1.8)NDfilter.Withthisfilteronthelens,youcanthenreturntoyourdesiredwideaperturesetting,andtheExposureLevelIndicatorshouldbeatornearzero.

Because the lighting and scenes you film may vary widely, you may need acollectionofNDfiltersinvariousdensities.Youcanstackmultiplefiltersonthelens if desired (1 stop filter plus 3 stop filter = 4 stops), but this is notrecommendedasitwillimpactimagequalityandcancausevignettingwithwideanglefocallengths.TherearealsovariableNDfilters,whereyoucanadjustoneof the filter’s rings to vary the amount of density, as well as the Cokin filtersystem thatmakes use of a filter holder that attaches to the front of the lens,whichthenholdssquarefilters.

Ifyouarefilmingin lower light,andyouhavesetallyoursettingsasdesired,(withnoND filteron the lens) and theExposureLevel Indicator is to the leftsideofzeroorblinkingonthefarleftside,thisindicatesthatthescenewillbeunderexposed.Thisisamucheasierfix,asallyouneedtodoisincreasetheISOsettinguntilyoubringtheleveluptozero.

14.4Audio

The70Dhasaninternalstereomicrophoneusedtocapture16bit,48kHzstereoaudio, aswell as amini-stereo input for an optional externalmic,which alsocapturesat48KHz.AsdiscussedintheMovie2menu,setSoundRecordingforAuto if you wish to record sound with the built-in microphone or with anexternalmicrophone,unlessyouwishtoDisablethesound.UseManualifyouhave some experiencewith sound levels or are comfortable using it. You canviewandmanuallycontroltheaudiolevelpriortofilmingusingtheaudiolevelmeterintheMovie2menu(seeFigure349-left).UsetheQuickControlDialtoadjustthesettinghere.IfManualissetinthismenu,youcanalsousetheAudioRecordingLevelicononthemovieshootingQuickControlScreentoadjustthislevelwithoutgoing into themenus (seeFigure349-right).Todo this, prior tomovie shooting,press the [Q]Buttonor [Q] screen icon thenselect theAudioRecordingLevel iconandadjust the levelby turningeitherdialorbypressingleftorrightontheMulti-Controller.

Generally, adjust the Rec. level or Audio recording level until the soundoccasionallypeaks at the12mark (-12dB).Distortionwill occur above the0level. Be sure toEnable theWind Filter when using the built-in microphoneoutsideandyouencounterwind,butbesuretodisablethisotherwise.EnabletheAttenuator to limitsounddistortion ifyouexpectextremely loudsoundswhilerecording. If the camera is set ononeof theBasicZone shootingmodes, youwillonlybeabletosetSoundRecordingforOnorOff,andthelevelswillbesetforAuto.

Figure349-AudjustingtheManualAudioRecordingLevelforMovieShooting,througheithertheMovie2menu(left),orthe[Q]Buttonor[Q]iconandQuickControlScreen(right).

Forbetteraudiorecordingwhileshootingvideo,youshouldconsideranexternalstereomic, suchas theRodeVideoMic or theRodeVideoMicPro,which aregood-quality,affordableexternalstereomicrophonesthatmounttothecamera’sHotShoe.Ifyouuseanexternalmicrophone, therecordinglevelmetershouldfunction, but youmay experience an issue that the audiodoesnotworkwhenyouplaybackthemovieonthecamera.Howeveryoushouldfindthattheaudiohas been recorded and will be heard when you playback the movie on acomputer.

15.COMPOSITION

Although the primary intention of this guide is to focus on applying thefunctionsandcontrolsoftheCanon70D,andIrealizethatmany70Duserswillhaveafirmgraspofgoodcomposition, I’llbriefly introducesomeconceptsofimagecomposition.Therearealsoseveralphotographycompositionbooksthatcanhelptoexplainthesubject,andanexcellentbooktoreadandstudyonceyouhave a solid grasp of the basics, but hope to further improve, is ThePhotographer's Eye: Composition and Design for Better Digital Photos byMichaelFreeman.Advancedcompositionisanoftendifficultconcepttoteach,andthatisoneofthefewbooksthatreallytakesitbeyondthebasicsandtothenext level. But here are some composition starting points:

Figure 350 - Deep Depth of Field: Aperture set at f/16, deep depth of field,imageinfocusfromneartofar.

Figure 351 - Medium Depth of Field: Aperture set at f/8, image in focus atmiddledistance,butappearsoutoffocusatnearbricksandatdistantbricks.

Figure352-ShallowDepthofField:Aperturesetatf/2.8,shallowdepthoffield,image in focusatmiddledistanceonlyandbecomesdramaticallyoutof focuscloserandfurtherfromtheplaque.

Depth ofField:First and foremostmake use of depth of field (dof) to createinteresting,dynamic images,and tocallattention toyour intendedsubject (seeFigure353).ByusingAperture-PriorityAEMode(Av),settinganaperturewithalargeopening(f/2.8orf/4)andfocusingonyoursubject,thatsubjectwillbeinsharp focusand thebackgroundandotherelements in the scenewillbe softlyoutoffocus.Thishelpstoseparateyoursubjectfromthebackgroundandguidestheviewerexactlywheretolookinyourimage.Oruseslightlysmallerapertureopenings(f/5.6orf/8)sothatmoreisinfocusifmultiplesubjectsareatvariousdistancesfromyou.

Note thatdepthoffieldvariesnotonlydependingonyouraperturesettingbutalso on your distance from the subject. Look at an online dof calculator orexperimenttoseeandlearnexactlyhowmuchisgoingtobeinfocuswithyourchosen aperture, focal length, and distance. For example, position yourself sothatyouarelookingdownarowofsomething-bricksonawall,arowofporchrailposts,alineofflowers.Focusonanarea,post,orflowerthatisafewfeetinfrontofyou,putthatinthecenterofyourframe,andtakephotoswithvariousapertures. Then view the results and look at the image metadata to see theaperture settings. Notice that the area in focus extends both in front of andbehindthepointwhereyoufocused.Astandardruleofthumbisthatthein-focusareawillextend1/3ofthewayinfrontofyourfocusdistanceand2/3behindit,thoughyouwill seewithadof calculator that it ismoreoftencloser to1/2 infrontand1/2behind(seeFigures350,351,352).Toputthisintopractice,ifyouaretakingaphotoof threepeopleinarow,eachatanincreaseddistancefromeachother,focusonthemiddlepersonsothatallthreeareinfocusifyouuseamediumaperturesettingsuchasf/8(orwillvarydependingonyourlensfocallength,distancetosubjects,etc.).

Figure 353 - Figurines, Chichicastenango, Guatemala - Image makes use ofdramatic depth of field to emphasize themain subject, subjects fill the frame,andalowpointofviewusedtoviewthesubjectatitslevel.Shutterspeed1/80,Aperturef/4.0,ISO200.

FilltheFrame:Determineyoursubject,whatattractedyoutothescene,andfillyourframewiththatsubject.Zoominclosetoeliminateelements in thescenethatarenotimportantorarenotpartofthestory(seeFigure353).Oreliminatetheseelementsbychangingyourpositionorpointofviewandby framing theshotsothatthoseelementsdonotappearinyourframe.Fillingtheframedoesnothoweveralwaysmeanzoominginascloseasyoucan.If,forexample, thesubjectisapersonandtheirrelationshiptotheirenvironment,itcanmeanusing

awideanglelenstocapturethepersonandtheirsurroundings.

Figure354-Sidewalk,Cambridge,Mass.-Imagemakesuseofadramatic,lowpoint of view to emphasize the pattern and material of the community’sdistinctive sidewalk paving, and the pedestrian using it. Shutter speed 1/1600,Aperturef/4.0,ISO200,E.C.-1/3.

PositionandPointofView:Changeyourpositionandpointofview tocreatemore interesting and varied compositions. Move around the subject to try todiscoverdifferent,moreinterestingcompositions,andtryhigherorlowerpointsof view so that you are looking downor up at your subject (seeFigure354).Shoot the image“through”orpast foregroundobjects tohelpplace theviewerintothescene-forexample,shootthesubjectthroughawindoworlookingover

theshoulderofapersonvisibleintheforeground.

Backgrounds:Payattentiontothebackgroundsofyourcompositions.Youmaybeconcentratingonyoursubjectwhenyoutakeaphoto,buteverythingaroundit,evenfarinthedistance,willallberenderedintwodimensionsinyourimage,and potentially may become distracting. So consider how near and distantelementswillrelatewhencompressedintotwodimensions.Eliminatedistractingelementsthoughuseofshallowdepthoffield,orbyrepositioningyourselforthesubject.Rememberthatthegroundortheskycanbecomethebackgroundifyouchangeyourpositionandpointofview(seeFigure355).Alsopayattention totherelativelightnessordarknessofthebackgroundcomparedtothesubjectandreposition yourself or your subject for the most flattering or the desiredbackground. Do not place your subject immediately in front of a backgroundsuch as awall or foliage, but separate the subject and background by severalfeet.Thiswillallowyou tomakeuseof shallowdepthof fieldand render thebackground out of focus, thus calling more attention to your subject andminimizinganybackgrounddistractions.

Figure 355 - Silhouette, Cold Spring, NY - The camera and subject arepositionedso that theriverbecomes theentirebackground.Awideaperture isused to create shallow depth of field so that the water and light reflectionsbecomeamoreabstractbackground.Shutterspeed1/3200,Aperturef/4.0,ISO

100.

RuleofThirds:Youwillreadaboutthisineveryphotobook,andthatisbecauseitisgenerallyhelpfulinmanytypesofsituationsandimages.Itshouldn’treallybecalleda“rule”becauseitismoreofacompositionalaidandnotaruletobefollowedorbrokenwitheveryshot.Itinvolvesdividingyourframeintothirds,with imaginary lines,bothhorizontallyandvertically.You thenuse those linesandtheirpointsofintersectiontohelpdeterminewheretoplacethesubjectandother elements in the frame (seeFigure356). Using it can help you to createmoreinterestinganddynamicimages.Youdon’thavetouseitallthetime,butaftersomepracticeitmayoftenbecomesecondnature.Youcanturntoitwhenyouhaveadifficultsceneinfrontofyouthatyouneedtomakesenseofvisually,orevenwhencroppinginpost-processing.

Figure356-AfterSchoolProgram,SanMiguelDuenas,Guatemala-ElementsoftheimageareplacedaccordingtotheRuleofThirdsgrid(gridsuperimposedinred).The“visualmass”ofthechildreniscenteredalongthebottomlineandtheupper-leftwindow is locatedalong the linesat the intersectionof thegrid.The tall flowersarealso locatedalong the right vertical line -bycoincidenceandluck!Shutterspeed1/100,Aperturef/5.0,ISO200.

Timing and Moment: One of the classic concepts of photography is Henri

Cartier-Bresson’s“DecisiveMoment.”Aphotographfreezesamomentintime,anditisimportanttoconsiderexactlywhichmomentyouchoosetocapture.Onabasiclevelthiscaninvolvereactingtoasubject’sever-changingexpressionorposition(seeFigure357).Significantorevenminorchangesofanexpressionorgesture can dramatically change the tone, meaning, or visual success of thecapturedimage.Or,themomentcaninvolveanticipatingthepeakofactioninasituationinvolvingmovement,sothatanathlete,dancer,oranimaliscapturedatthemostdynamicandvisuallyinterestinginstant.Anticipating,recognizing,andcapturing this precise moment can obviously result in much more interestingimages.Ofcoursethisalsoinvolvesbeingpreparedwiththecamerasettoallthedesiredsettings,andbeingreadytoquicklychangethesettingsasneeded.

But Cartier-Bresson meant much more by the “decisive moment,” as heexplained,

"Tome,photographyisthesimultaneousrecognition,inafractionofasecond,of the significance of an event as well as of a precise organization of formswhichgivethateventitsproperexpression."HenriCartier-Bresson(1952).TheDecisiveMoment.NewYork:SimonandSchuster.pp.1–14.

Healludestoamuchmorechallengingaspectofthemoment-ofbeingawarewhenall theelementswithintheframefall into theperfectalignment,creatingthe best composition, interacting just right with the subject, and thusstrengthening the idea you are trying to express through the photograph.Somethingtokeepyoureyesopento!

Figure 357 - Flower Vendor, Chichicastenango, Guatemala - I attempted tocapture the most interesting moment of the woman’s quickly-changingexpression, as she laughed while interacting with a customer. Shutter speed1/1250,Aperturef/4.0,ISO200.

Lighting:Photography is all about light…and shadow.Always keep your eyeoutforgoodlighting,interestinglighting,theinterplayoflightandshadows,andsilhouettes.And be aware of the quality of light - the color, the intensity, theharshnessorsoftness,thewarmthorcoolnessofthelight(seeFigure358aswellasthe“warmth”ofFigure354vs.the“coolness”ofFigure355).YoucanthenalsoadjusttheWhiteBalancesettingtoaccentuatethecolorofthelight.Ifyoufindgreatlightbutnosubject,seekoneoutorwaitforasubjecttocomeintothescene.Considernotonlythelightingonthemainsubjectbutalsothelightingonthe background and how it might enhance or distract from the subject. Placeyourselfinthebestpositioninrelationtothelightandthesubjecttoensurethe

subject is illuminatedasyoudesire, andmovearoundas that changes.OneofmyfavoritebooksforlearningaboutseeingandphotographinginnaturallightisAvailableLightbyDonMarr.

Figure358-DetailofMotifNo.1Building,Rockport,Mass.-ThelastmomentsofdirectsunlightarecapturedonthedistinctiveredwallandbuoysoftheMotifNo.1buildinginRockportHarbor.Thedramaticandwarmeveninglightingisused to emphasize the material, color, and forms in the scene. Shutter speed1/60,Aperturef/4.0,ISO100.

16.LENSES

16.1LensNotations

You have probably noticed that Canon lens notations contain a variety ofdescriptivelettersandnumbers.ForexampleEF-S18-135mmf/3.5-5.6ISSTMisthefullnameofthekitlensthatyoumayhavepurchasedwiththecamera.Alenswithasomewhatsimilarfocallength,butwhichismuchmoreexpensive,istheEF24-105mmf/4LISUSM.Eachofthosenotationsissignificant,andallareimportanttoknowandunderstandwhenyouareresearchingadditionallensestobuyforyourphotography.

Figure359-DetailofCanonLenses:70-200mmf/4LIS,16-35mmf/2.8LII,and24-70mmf/2.8L.

EFandEF-S are twodifferentCanon lensmounts.EF lenses canbeusedonanyCanondSLR,whileEF-Slensesaredesignedfor,andcanonlybeusedonCanondSLRswith1.6xcroppedsensors,includingthe70D,allRebelssuchastheT5i/700D,plusthe60D,7Dandothers,butnotthefull-frame6D,original5D,5DMarkIIorMarkIII.TherearofEF-S lenses reachesfurther into thecamerabody,andthuswilldamagethemirrorofthefull-framecamerasifyouattempt toattach them.EF-S lensesareoptimizedfor the1.6Xcroppedsensor

cameras,andhaveashorterback-focusdistancewhichgivesthemtheabilitytobemoreeffectiveaswide-anglelensesonthecameraswithsmallersensors.EF-S lensesaremountedby lining-up thewhite squareon the lenswith thewhitesquareonthecamera.EFlensesmatchreddottoreddot.YoucanuseeitherEForEF-SlenseswiththeCanon70D.

24-105mmor18-135mm is the focal lengthof the lens.Thesearebothzoomlenses, which cover a range of focal lengths. There are wide-angle zooms -typicallywithin the10-40mmrange, standardzooms- typicallywithin the17-135mm range, telephoto zooms - typically within the 70-300mm range, andsupertelephotozooms-inthe400mmandaboverange.SeethispageforallofCanon’s lens offerings:http://www.usa.canon.com/cusa/consumer/products/cameras/ef_lens_lineup

APrimelenshasonlyasinglefocallength,suchas50mmor85mm.Itwillnotzoom in and out, and thus you have to “zoom with your feet” as they say.However,withouttheadditionalmechanismsrequiredbyzooms,yougenerallyget more quality for the price with a prime lens, plus typically very wideaperturesforgreatlowlightuse,dramaticshallowdepthoffield,andnicelyout-of-focusbackgrounds.

f/4or f/3.5-5.6 indicates the largestmaximumaperture.SeeFixedMaximumAperture vs. Variable Maximum Aperture Lenses just below for moreinformationonwhat thismeansandwhyone lenshasa rangeofnumbersandtheotherlensjusthasonenumber.

Figure 360 - CityHall, Cambridge,Mass. - Awide angle lens (EF 16-35mmusedatthe16mmfocallength)isusedheretocapturealarge,verticalangleofview.Thedistortioncausedbythelensat16mmistakenadvantageofinordertoemphasize the building’s size, height, and vertical form. Shutter speed 1/1600,Aperturef/5.0,ISO200,E.C.-1/3.

LlensesareCanon’stopofthelinelenses,identifiablebytheredbandaroundthe front endof the lens.L lenses are generally higher quality lenses than thestandardlensesinjustabouteverywaypossible.Theytypicallyoffer:

Bettersharpnessthroughoutthefullrangeoffocallengthsandapertures,aswellasbettersharpness,color,contrast,andimagequalityacrosstheimageframe from the center to the corners. They accomplish this in part by

preciselyandaccuratelyresolvingallthelightwavelengths(colors)onthesensorplane.(Thinkofacheapprintingjobyou’veseenwherethecolorsdon’tallalignandthusthewordsorimagesalwayslookoutoffocus.Thisisanexaggeratedexampleofwhatalowerqualitylensmightdo.)

Higherqualityandstrongerconstruction,durability,andsealsforincreaseddust,water,andweatherresistance.

Higherqualityglass(orevenfluoritecrystal)andcoatingstopreventflareandinternalreflections.

Largermaximumaperturesandfixedmaximumapertures.

Imagestabilization.

Higher quality, quieter, and faster autofocus mechanisms and full timemanual focus (ability to override autofocus for manually tweaking focuswhileremaininginAF).

Internal zoommechanisms, meaning the lens does not extend when youzoom,whichalsoallowsforbetterweathersealing.

Metal lens mounts (the part that attaches onto the camera) for betterdurability, sealing, and electrical connections (less expensive lensessometimeshaveplasticmounts thatwear and then the lensmightwobbleandloseelectricalconnection).

However, severalnon-L lenseshavemanyof these featuresandcharacteristicstoo, and someapproach theL lenses in termsofquality.One thing tokeep inmind with lenses is that you almost always get what you pay for. Moreexpensivelensesofferhigherimagequality,constructionquality,andfeatures.

With the high resolution 20.2megapixel sensor of the 70D, you are going towanttousethehighestqualitylensespossible(basedonyourneedsandbudget),asthissensorwilleasilyshowthelimitationsandshortcomingsoflower-qualitylenses.TheexpensiveLserieslensesaretheidealchoice.

ISmeansimagestabilization,andallowsyoutohandholdyourcameraatslowershutter speeds and still obtain an in-focus image. The IS system in the lensmonitors vibration andmoves the internal lens elements to counteract cameramovement, which might normally cause camera-shake to blur the resultingimage.AlenswithISallowsyoutouseashutterspeedupto4stopsslowerthannormallypossiblewhentakinganimagewhilehandholdingthecamera.Image

stabilizationisn’tcriticaltohaveforwide-angleandstandardfocallengthlenses,butbecomesmore importantwhenworking in the150mm,200mmor300mmfocallengths.Thisisbecausethoselensesaretypicallylongerandheavier,andbecause you are often zooming in on something further away and a slightmovementofthelenstranslatestoalargemovementoverthatdistance(thinkoftrying to hold your view of a distant bird steady while looking throughbinoculars). Image stabilization does not correct for subject movement, butratherforcameramovement,suchasfromanunsteadyhand.Youneedtouseafastshutterspeedtofreezesubjectmovement.

TherelativelynewEF-S18-55mmf/3.5-5.6ISSTMlensandEF-S18-135mmf/3.5-5.6ISSTMlensbothhaveanewtypeofimagestabilization-whatCanoncalls Dynamic IS. This means that while shooting video in Movie ShootingMode, the lens makes use of a larger range of correction to keep the imagesteady, allowing you to walk while filming. (The STM notation of this lensstandsforSteppingMotor,whichenables thelenstoachievesmoother,quieterautofocusing, particularly during movie shooting.)USM stands for ultrasonicmotor,andmeansthelenshasahighquality,precise,rapid,andquietmotorforautofocusing.

II means it is the second version of that specific lens. For example the 70-200mmf/2.8LISUSMlenswasreplacedwithanewversionwhichnowhasa“II”initsname.Mostoften,thesecondversionofalensboastsimprovementsinqualityandconstruction.

16.2 Fixed Maximum Aperture vs. Variable Maximum ApertureLenses

Youmayhavenoticedthatsomelenseshaveafixedmaximumaperture,whileothershaveavariablemaximumaperture.Thisisalsospelledoutinthenameofthe lens. For example, the EF-S 18-135mm f/3.5-5.6 IS lens has a variablemaximumaperturewhichrangesfromf/3.5 tof/5.6,dependingonwhichfocallength you are using and the EF 24-105mm f/4L IS USM lens has a fixedmaximumapertureoff/4atallfocallengths.

The term fixed aperture usually does not mean that the lens only has oneaperturesettingyoucanuse,butratherthatisacommonwayofsayingithasafixedmaximumaperture.Soyoucanchangetheapertureofafixed(maximum)aperturelensandsetitanywherefromitsmaximumaperture,possiblyf/2.8,toitsminimumaperture,perhapsf/32.

Withvariablemaximumaperturelenses,thewidest(themaximum)apertureyoucanchoosewhenyouzoomtothetelephotoendwillnotbeaswideopenasthewidestapertureyoucanchooseatthewide-angleend.ForexamplewiththeEF-S18-135mm f/3.5-5.6 lens,with the lens set at the focal length of 18mm (thewideend),youcanuse the f/3.5aperture setting.Butwith the lenszoomed to135mm(the telephotoend), thewidest apertureyoucanuse is f/5.6.Thiswillslightlyaffecttheamountofbackgroundblurringpossible.Itwillalsodecreasetheamountoflightenteringthelens.

Wider, larger apertures like f/1.4, f/2.8 or f/3.5 blur the background themost,whichhelpstocreatedramaticimagesandfocustheviewer’sattentiononyourintendedsubject.Lenseswithverywidemaximumapertures (f/2.8or f/1.4 forexample)arecalled“fast” lensesnotbecause they focusquicklyor takequickpicturesoffastmovingobjects,butratherbecausetheirwideapertures let inalotoflightandthusallowforfastershutterspeedsinlowlightsituations(seetheExposure sections for the relationship between aperture and shutter speedsettings). These faster shutter speeds prevent blur due to camera shake, anddecrease the need to rely on a flash in low light. If you are typicallyworkingoutside,thisshouldn’tbetoomuchofaconcern,butifyouworkindoorsorinlowlight,lenseswithwideapertureslikef/2.8orf/1.4aredesirable.

The reason not all lenses have fixed maximum apertures is that they requiremoresophisticated internalpartsandmechanisms,suchasmore lenselements,whichthusmakesthemmoreexpensive,larger,andheavier,sovariableapertureisacompromiseinordertooffermorereasonablypricedandpracticallenses.

16.3WhichLenstoBuyNext

With Canon lenses, there are some typical, standard lenses that manyphotographersuse.Ofcourse,thelensesyourequirewilldependonthetypeofworkyoudo,butbelowisanexplanationofsomeofthesepopularlenses.ThefirstsectionlistsbriefcomparisonsbetweensimilarLserieszoomstohelpyouunderstand how they differ. It then continues with some additional telephotozoomsandsomestandardprimelenses.

ZoomLenses

WideAngleZoom

It issometimessaidthatthewideanglezoomisthe“breadandbutterlens”ofthephotojournalist,asitisabletocaptureboththesubjectandthesurroundingcontext.Wide angle zoom lenses are used for up-close-and-personal shots, forenvironmentalportraitsorphotos,andfor“story-telling”imageswhichincludemultiplesubjectsoralargercontext.

Figure 361 - Detail of 1954 BuickWildcat II concept car, HeritageMuseum,Sandwich,Mass.-A16-35mmf/2.8LIIwideanglezoomlensusedupcloseto

exaggerate the details, curves, and lines of the car. 70D: Shutter speed 1/80,Aperturef/2.8,ISO1600,focallength16mm.

EF16-35mmf/2.8LIIUSM

pros: slightly wider on the wide end, largermaximum aperture(“faster”) for use in low light situations or for more dramaticdepthoffield.

cons:highprice,heavierinweight.

filter:82mmslimfilterfitsthislens.

notes:gettheslimUVfiltertoavoidpossiblevignettingatwide-anglefocallengths.

EF17-40mmf/4LUSM

pros:more zoom on the far end, lighter inweight,much lowerprice.

cons: f/4 maximum aperture not as “fast” and slightly lessdramaticforshallowdepthoffield,notquiteaswideonthewideend.

filter:77mmslimfilterfitsthislens.

notes:gettheslimUVfiltertoavoidpossiblevignettingatwide-anglefocallengths.

StandardZoom

These are great “walk-around” all purpose lenses, especially for travel oreverydayphotography.Ifyouwanttoheadoutonthestreetswithjustonelens,thisistheonetotakewhichwillserveyouwellinmostsituationsyouencounter.They also work well for portrait lenses at about the 50mm and higher focalranges.

EF24-70mmf/2.8LIIUSM

pros: larger maximum aperture (“faster”) for use in low lightsituationsandmoredramaticdepthoffield.

cons:heavierinweight,higherprice,lesszoomrange,noimagestabilization.

filter:82mmmulti-coatedfilterfitsthislens.

notes:agreatall-purposewalk-aroundlens,thoughrelativelybigandheavy.

ThereisalsoanewEF24-70mmf/4.0LISUSMversionofthislens. It adds Image Stabilization, and is lighter than the abovelens, but has an f/4 maximum aperture rather than the f/2.8maximum aperture of the 24-70mm lens above. With the twoavailable24-70mmlensesandthe24-105mmlensjustbelow,allof thesevariables(cost,weight,maximumaperture,ISornoIS,focal range) combine tomake this standard zoomdecisionverychallenging!

EF24-105mmf/4LISUSM

pros: lighter in weight than the 24-70 f/2.8L lens, imagestabilizationwhichwill help yougain 2 or 3 stops in speed vs.hand-heldwithoutIS(seeNoteAjustbelow),morezoomrange,lowerprice.

cons: f/4 maximum aperture not as “fast” and slightly lessdramaticforshallowdepthoffield.

filter:77mmmulti-coatedfilterfitsthislens.

Note A: This means for example, if the proper exposure of ascene is 1/50 at f/5.6, and you want to hold on to that f/5.6apertureforcompositionalreasonsandnothavetosacrificeyourchosendepth of field for a faster shutter speed (or changeyourselectedISOsetting),youcouldcaptureitwithoutblur.Whereaswithout the image stabilization (IS) the hand held imagewouldhaveriskedbeingblurryduetocamerashake.

TelephotoZoom

These are great lenses for portraits, close ups, details, ability to zoom in andcapture something far away, sports and action shots, and the ability to createdramaticshallowdepthoffieldorblurrybackgrounds(bokeh),andtocompressspace (“pull” the background closer as if it is right behind the subject, as inFigure355ofthesilhouetteandriver).TherearefourversionsoftheCanon70-200mmlens-eitherf/2.8orf/4,eachwithorwithout imagestabilization(IS),

plustheolderMarkIversionofthef/2.8IS.Ibelievethatwithalensthislongandheavy,youneedimagestabilizationifyouaregoingtobehandholdingit,so Iwill not list the non-IS versions. If youwill beworking exclusively on atripod,thenconsiderthenon-imagestabilizedversions.

Figure 362 - Detail of 1954 BuickWildcat II concept car, HeritageMuseum,Sandwich,Mass.-A70-200mmf/4LIStelephotozoomlensusedfrom5metersawaytoemphasizearearfindetailofthecarusingshallowdepthoffield.70D:Shutterspeed1/50,Aperturef/4.0,ISO1600,focallength200mm.

EF70-200mmf/2.8LISIIUSM

pros: larger maximum aperture (“faster”) for use in low lightsituationsandmoredramaticdepthoffield.TheMarkIIversionofthishasacloserminimumfocusdistanceandimprovedopticsovertheoriginalversion.

cons:veryheavy,verylarge,higherprice.

filter:77mmmulti-coatedfilterfitsthislens.

EF70-200mmf/2.8LISUSM(olderMarkIversion)

pros:similarasaboveMarkIIversion,buttheMarkIIversionof

this has a closer minimum focus distance and improved opticsover this original version. Less expensive than the Mark IIversion.

cons:veryheavy,verylarge,higherpricethanf/4model.

filter:77mmmulti-coatedfilterfitsthislens.

EF70-200mmf/4LISUSM

pros:lighterweight,smaller,lowerprice.

cons: f/4 maximum aperture not as “fast” and slightly lessdramaticforshallowdepthoffield.Nobraggingrightsforhavingtheultimatef/2.8version.

filter:67mmmulti-coatedfilterfitsthislens.

notes: Although you sacrifice one aperture stop with the f/4version, you may wish to consider it if you will be using itextensively, such as for travel, due to the lighterweight.A fulldayofcarryingaroundtheheavyf/2.8versionmayquicklyleadto fatigue,which can reduce picture taking enjoyment and thusaffectyourresultingimages.

AdditionalTelephotoZoomsinclude:

EF70-300mmf/4-5.6L ISUSMUD -This lenswill provide additional focalrangeon the telephotoend inarelativelycompact lens,but thesacrifice is thevariableminimumapertureoff/4onthewideendandf/5.6onthetelephotoend,soitcan’treallybeconsidereda“fast”lens(seeFixedMaximumAperturevs.VariableMaximumAperturelensesabove).Thisimagestabilizedlensisalsonearly a pound lighter (440g lighter) than the 70-200mm f/2.8 IS II and canreasonablybeusedasahand-heldlens.NotethatthislensisnotcompatiblewithCanontelephotoextenders.

Anoptiontothislensistouseoneofthe70-200mmf/2.8LlenseswiththeEF1.4X III Telephoto Extender, to effectively make it a 98-280mm lens. Thisaccessory,whileextending the focal lengthbya factorof1.4,also results inaone-stoploss,effectivelymakingthef/2.8lensanf/4lens.

EF28-300mmf/3.5-5.6LISUSM -Thislensoffersaverybroadfocusrange,fromwidetotelephoto,butagainthesacrificeisthevariableminimumaperture

aswellastheweight.At3.7lbs/1670g,itwillhardlybeapracticalall-purpose,walk-around lens for many people. This lens is also image stabilized, thoughshould typically be used on a tripod ormonopod. The zoom on this lens is apush-pullmechanism, rather than the turning of a ring ofmost current lenses.NotethatthislensisnotcompatiblewithCanontelephotoextenders.

EF100-400mmf/4.5-5.6LISUSM-Thistelephotozoom,alsowiththepush-pullzoom,isgreatforthosewhoareshootingsports,birds,wildlife,safaris-oranyothersituationwhereyouwanttoworkatadistanceyetusethelenstogetin really close to the subject or action.Aswith the above lens,working on atripod or monopod is highly recommended. This lens is compatible with theextenders.

PrimeLensesSome photographers prefer to often - or even exclusively - work with primelenses, which are lenses of a single focal length (that don’t zoom) such as a50mmlens.Thischoiceismadeformanyreasons,includingimagequality,the“purity” and simplicity of working with them, and their large maximumapertures (as wide as f/1.2) for very dramatic compositions and beautifulbackground blurring (bokeh) through the use of shallow depth of field. Sinceprime lenseshaverelatively lesscomplicatedconstructioncompared tozooms,high quality primes are often significantly cheaper than high quality zoomlenses.Arguably,onedoesnotnecessarilyneedtoinvestinLseriesprimelensestogetexcellentimagequalityevenwiththe70D,thoughofcourseifitisgoingtobeoneofyourprimarylensesyoumightconsiderit.

Figure 363 - Weeks Bridge over Charles River, Cambridge, Mass. - a 50mmprimelensusedtoapproximatethenormalangleofviewofwhatapersonwouldsee,withoutdistortion.70D:Shutterspeed1/500,Aperturef/5.0,ISO200.

Common prime lens focal lengths offered by Canon include 24mm, 28mm,35mm,50mm,and85mm.The50mmisoftencalleda“normal”lensbecauseitmost closely replicates the field of view of the human eye. For general andportraituse,the50mmand85mmarepopularchoices,andwhichoneisbestforyou depends on how close you might prefer to work to your subject (actualphysicaldistance), thepossiblecompressionanddistortionof theimageduetothefocallengthandworkingdistance,aswellashowmuchofthesubject’sheadandbodyyouwishtogenerallycapture.Itisbesttocomparethemthroughuseon your camera to better see which focal length and results you favor. Asmentionedabove,therearevery-highqualityLversionsoftheseprimesaswellas high quality non-L versions:EF 50mm f/1.2L USM andEF 50mm f/1.4USM-TheLversionoffersaslightlywidermaximumaperture,aswellasmorerugged construction, improved autofocusing, and better optical elements andcoatings resulting in better image quality such as color and contrast. It alsoincludesthehood,whichisoptionalwiththef/1.4version.Anadvantageofthef/1.4versionisthatitis25%thepriceofthef/1.2version.

EF85mmf/1.2LIIUSMandEF85mmf/1.8USM-Asabove,theLversion

offers a wider maximum aperture, as well as more rugged construction, andbetter optical elements and coatings resulting in better image quality such ascolorandcontrast.Theautofocusingspeedof theL is relativelyslowforanLlens. It also includes the hood, which is optional with the f/1.8 version. Anadvantageofthef/1.8versionisthatitis20%thepriceofthef/1.2version.

SpecialtyLenses

Specialty lenses include ultra-wide angle lenses and fish-eye lenses, supertelephotos, macro lenses, and tilt-shift lenses. These can all be viewed onCanon’s lens webpage:http://www.usa.canon.com/cusa/consumer/products/cameras/ef_lens_lineup

Consider the above specifications and notes as starting points for issues youwanttoconsiderinyourselections.Andwhilethereareendlessdiscussionsandcomparisonsregarding imagequality,sharpness,sweetspots,etc. foreachpairabove, Iwill stayoutof thatdiscussionand tellyou therearehighly regardedprofessionalswhouseeachofthese,thatanyCanonLserieslensisprofessionalquality, thatpriceand/orlargestmaximumaperturewilloftenindicatetheonethatisgenerallyconsidered“better,”andthatyouwillneverregretyourchoicebasedontheseconcerns.NotethatmanyL-serieslensesaresealedagainstdust,water,andweather.Sometimesafrontfilterisrequiredtocompletetheweathersealing, such as with the 16-35mm f/2.8L wide angle lens. I suggest alwaysusing a clear, protective filter with any lens, preferably a high quality, multi-coatedone, unlessyouareworking in a carefully controlled situationwhere afilterisextraneous.

When making your choices between lenses of similar focal lengths, Irecommend that you compare the difference in size andweight, as it is oftendramaticandmayhelpyoumakeyourdecision. Ifyouundecided, rentoneormoreforafewdaysandworkwithit-suchasfromthecameraandlensrentalwebsiteLensProToGo.com.

LensHoodsandFilters

For any lens Iwould highly recommend typically using the lens hood (whichusuallycomeswithL-serieslenses).Ithelpsshadethelenstopreventunwantedlens flare (although lens flare can sometimes be used for a great effect whendesired), helps protect the lens from bumps and drops, and makes you lookcooler andmore professional. And of course always consider a good quality,coatedUVfilterforprotection.Irecommendthemulti-coatedB+Wbrandfilters

or a comparable brand, especially for high quality L series lenses. There is asignificantdifference in theclarityand lackof reflectivenessofamulti-coatedfiltervs.a(single)coatedornon-coatedcheapofilter,whichyoucanseeifyoulookatthemsidebyside.Soifyouareconcernedaboutimagequality(ofcourseyouare!)youshouldconsideramulti-coatedfilter.

Figure 364 - Peacock Figurine - Taken with Canon 50mm f/1.4 lens. 70D:Shutterspeed1/60,Aperturef/2.8,ISO1600.

Somearguethatitisasintoputanyfilter-anotherpieceofglass-infrontofyourhighqualitylens,duetothepotentialforanylossofimagequality.Whilethisiscertainlyaconcern,formanyusesandsituationstheminutelossofimagequalitymaybea fair trade-off against the riskof scratches anddamage to thelens.Andtestshaveshownthatthereisverylittlelossofimageresolutionwhenusing high quality filters.While no one plans to drop or bump a lens, manyfiltershavetakenthebruntofafallandleftthelensunscathed.Also,IknowthatI feel muchmore comfortable about quickly wiping some dust or mysteriousspotsoffthefrontofafilter,perhapsevenwithmyshirtintheheatofshooting,whereIwouldbemuchmorehesitanttoriskascratchbydoingthistothefrontelementoftheactuallens.

However,itdefinitelydependsonyourworkingstylewhetheryoumayneedor

shoulduseafilter.Ifyouarecarefullyworkingincontrolledconditions,suchasinastudioorona tripod inafixed location,youmightsafelyfeelyoudonotneed a filter. I take the lens cap off at the start of a shooting day, and don’treplaceitwhileI’musingthatlens,thusexposingittoriskatalltimesandthusprefera filter.Othersmayworkmoreslowlyandmeticulouslyandreplace thecapbetweenshootingsituationsorfeelthatthelenshoodisadequateprotection.Note thatwhenphotographingchildrenandwhen traveling, littlehands like toreachoutandtouchthereflectionstheyseeonthefrontofthelens!

17.PHOTOGRAPHYACCESSORIES

Herearesomeaccessoriesthatareusefulforgeneralphotographyuseaswellaswhentravelingwithyourcamera,plusaccessoriesmentionedinthetextthatarespecific to theCanon70D, and some recommendedphotographybooks.ClickonthelinkstogototheproductorcategorypagesonAmazon.com.Pleasenotethat these aremyAmazonAssociates referral links, and Iwill receive a smallreferralbonusfromAmazon.comifyouusetheselinkstomakeyourpurchases-yourcostwillbethesameasalways.Thanks!Thereisalsoafullversionofthislist,withAmazon links, onmy blog: http://blog.dojoklo.com/2011/02/10/gear-accessories-andbooks/

17.1Canon70DAccessories

Canon LP-E6 Battery: It is always good to have an extra battery or two,especiallywhentravelingorwhenphotographingalldayorforanevent.

CanonBG-E14BatteryGrip: This optional battery pack and gripwill enableyoutousetwoLP-E6batteriesorsixAA/CR6batteries, thusallowingyoutoshootlongerwithouthavingtochangebatteries.Thegripreplicatesthecontrolsof the body and also increases the size of the 70D bodywhichmay bemorecomfortableforsomeshooters,especiallywhenusingthecameraintheverticalposition.

CanonGP-E2GPSReceiver:Use thisGPSreceiver forautomaticgeotaggingofyourimagesincludinglocationandaltitudedata,adigitalcompass,andUTCtime.

Canon Remote Switch RS-80N3 orCanon Wireless Remote Control RC-6:These remotes will allow you to trigger the shutter of the camera remotely,allowingeitherself-portraitsortheabilitytoreleasetheshutterwithoutpressingthe Shutter Button thus preventing possible camera shake. There is also theTimer Remote Controller TC-80N3 for time-lapse or long exposurephotography.

Canon Speedlite 600EXRT: Thismost recently introduced external flashwillgive you themost flash power and control of theCanon Speedlites. It has anadjustableandrotatingheadsothatyoucanuseindirectandbounceflash,andiscompatiblewith a specially designed color filter holder and gels (see below).The600EXRTalsoallowsinfraredwirelessfunctionalityplusiscompatiblewiththenewradiowavewirelessflashsystemwhencontrolledandtriggeredbytheSpeedliteTransmitterST-E3-RT.

Speedlite Transmitter ST-E3-RT: Use this radio wave wireless transmitter tocontrolandtriggerupto5groupsof15flashes,upto30meters,withnoline-of-siterequired.CurrentlyonlycompatiblewiththeCanon600EXRTSpeedlite.

Notethateitherthe600EXRTSpeedliteortheST-E3-RTTransmittercanalsoactasaremotecameratriggerforthe70D.IfeitheroneoftheseunitsisintheHotShoeofthe70D,anotheroneoftheseunitscanfirethecameraremotely,forasingleframe,withthepressofabutton.

CanonSCH-E1ColorFilterHolder:Thisplasticholderattachestothefrontofthe600EXRTSpeedlite andholds thegelsof theCanonColorFilterSet.Usethese filters (gels) to balance the color temperature of your flash to the colortemperatureoftheambientlightinordertohaveasingleWhiteBalancesettingthatneutralizesthecolorcastoftheentirescene.

CanonSpeedlite580EXII orSpeedlite 430EX II orSpeedlite320EX: Theseexternalflasheswillgiveyouvaryinglevelsofflashpowerandcontrol,withthe580EXIIbeingthemostpowerfulof thegroup.Theyalsohaveadjustableandrotatingheadssothatyoucanuseindirectandbounceflash.The320EXalsohasabuiltinLEDlightforlightingvideo.ToattachcolorfilterstothesemodelsseetheRoscoStrobistCollectionFlashGelssectionbelow.

CanonHTC-100HDMIcable:UsethisHDMIcabletoconnectthe70DtoanHDMICECcompatibleTV,andthenviewmovies,images,andslideshowsfromthecamera.BysettingtheControloverHDMImenuitemtoEnable(Playback3menu),youwillalsobeabletothencontroltheimageorvideoplaybackusingtheTVremote.UsetheCanonAVC-DC400STStereoAVcablefornon-HDTVsets.

17.2DigitalSLRPhotographyAccessories

SanDiskExtremeSDMemoryCards: Isuggestgettingacouple16GB,32GB(class10),orhighercapacitySecureDigital(SD)cardstocaptureandstoreyourphotos-ormorecardsiftraveling.Again,besuretochecktheSanDisksiteforcurrent rebates.TheExtremeSD cards are currently available in the 45MB/sspeedandthefaster80MB/sspeed.

SanDiskExtremeProUHS-1SDMemoryCards:TotakefulladvantageoftheContinuousShootingDriveModeofthe70Dandcaptureuptothemaximum65continuousJPEGimagesor16RAWimagesinasingleburst,youwillneedoneofthefastSanDiskExtremeProUHS-1SDMemoryCards(orsimilarcardfromanotherbrand),whichsavesat95MB/s.

Eye-FiWireless FlashMemoryCard: This SDmemory card can be used toautomatically upload photos wirelessly via Wi-Fi to your computer duringshootingorafterwards,thoughthismaynotbenecessaryduetothebuilt-intheWi-Fifunctionofthe70D(Wmodel).

Giottos Rocket Air Blaster: Always have this manual air blower handy forgettingdustofflensesinahurry,becauseblowingonthemwithyourmouth-nomatter how careful - inevitably leads to spittle on the lenses. Also use formanuallycleaningthesensorasdescribedpreviouslyinthetext.

Dust-Aid Platinum dSLR Sensor Filter Cleaner: If the Air Blaster does notremoveallthedustduringsensorcleaning,youcanmovetoa“siliconstamp,”such as this one. This is slightly more invasive, as you will be touching thesensorwiththecleaningdevice.BesuretocarefullyreadandfollowtheDust-Aid instructionsandprecautions.Use theCleanManually itemin theSet-up4menuunderSensorCleaningtofirstraisethemirror.

LensPenCleaningSystem:Worksgreatforcleaningoffmysteriousspotsandsmudgesthatappearonthelens(thisiswhyIalwaysuseUVfilters)aswellasthat a-fore-mentioned spittle. Blow dust off the lens firstwith theRocketAirBlaster, brush itwith theLensPenbrush, and then follow the instructions forusingtheLensPen.

Figure365-DigitalSLRphotographyaccessories.

UVFilters:Clear,protectivefiltersforthelenses.Isuggesthavingoneoftheseon at all times to protect your lenses. Get high quality ones, such as B+W,especiallyforhigherqualitylenses.ConsidertheMRCmulti-coatedversionsforhighest quality lenses. Use the slim filters for wide angle lenses to avoidvignetting. While some argue that any filter may degrade image quality, forothers’shootingcircumstancesitischeapertoreplacea$100filterthantorepaira$1500lens.Andtestshaveshownthathighqualityfiltershavealmostnoeffectonlensresolution:http://photographylife.com/filters-affect-resolution-lenses?fb_source=pubv1

CircularPolarizingFilter:Usethisoutdoors insunlight todarkenthesky,cutthroughhazeandreflections,andincreasecontrast.Donotuseonawideanglelensasitwillcausetheskytochangefromlighttodarkandbackagainacrosstheframe.Youhavetoturnthesecondringofthefiltertocreatetheamountoflightness or darkness in the sky that you desire, or to reduce or eliminatereflections.Itworksbestwhenthesunistoyourleftorright,butdoesnothave

anypolarizingeffectifthesunisdirectlyinfrontorbehindyou.Donotuseanolder linear polarizing filterwith a digital camera, as itwill interferewith themeteringandautofocussystems.Again,lookforthehighestqualityMRCmulti-coatedversions.

NeutralDensity(ND)Filter:Ifshootingvideoinbrightlighting,youwillneedtouseadarkneutraldensity(ND)filteronthelenstoblocklightinordertobeabletousedramaticwideaperturesettings(suchasf/2.8orf/4.0).Thesearealsouseful with still photography for allowing slow shutter speeds in bright light,suchas forphotographingwaterfalls.Asexplained in thevideochapterof thisguide,theyareavailableinavarietyofdensitiestoblockoutanamountoflighttoenableyou to increaseyourexposure settingsbyacertainnumberof stops,such as 3 stops (0.9), 6 stops (1.8), 10 stops (3.0), etc. For example, whenworkinginTvmodeandtheexposuremeterreads1/30s,f/8,ISO100,butyouwishtouseanaperturesettingoff/2.8while“holding”theothersettings-youcanusea3-stopNDfilterandtheexposuremeterwillnowread1/30s,f/2.8,ISO100,allowingyoutoobtainthewideaperturesettingandresultingshallowdepthof field. There are also variable ND filters, where you can adjust one of thefilter’sringstovarytheamountofdensity,aswellastheCokinfiltersystemthatmakes use of a filter holder that attaches to the front of the lens, which thenholdssquarefilters.Theseareusefultolandscapephotographersusinggraduatedorsplitneutraldensityfiltersthateithergraduallyorsharplytransitionfromdarktolight.Usingthesquarefilterinfrontofthelens,youcanthenvarytheangleandlocationofthetransitiontoalignwiththehorizon.

LensHoods:Usealenshoodonyourlenstobothpreventflareandtoprotectthefrontofthelenswhenitinevitablebangsagainstsomethingordrops.SomenicerlensesincludingmostLserieslensestypicallycomewithalenshood.Withotherlenses,buythecorrespondingoptionalhood.

BlackRapidR-Strap:Adifferent,morecomfortablewaytocarryyourcamera,especiallyonewithalargerorheavierlens.TheRS-7versionhasanicecurvedshoulderstrap,theRS-4isnotcurvedattheshoulderbutdoeshaveanicelittlepocketformemorycards,andtheRS-W1R-Strapisdesignedforwomen.

Manfrotto055XPROBTripodLegsandManfrotto496RC2BallHead:Thisisan excellent “starter” combination of tripod legs and head for the enthusiast.Theyaresturdyanddurableyetaffordable.Ifyouknowyouwillbedoingalotoftripodwork,suchasforstudio,landscape,ortravelphotography,itisbesttoinvest in more advanced (expensive) versions, including lighter carbon fiber

legs,foursectionlegsthatclosetoashorterlength,andaheadwithadditionalorspecializedfeatures.

Insurance: Make sure your equipment is covered by insurance. Your localcamerastorewilltellyouhowpeoplecomeinonaweeklybasistoreplacetheequipmentthatwasstolenfromtheircar,trunk,luggage,whiletraveling,orwasin a fire. You may need special insurance or a rider if your homeowner orrenter’s insurance does not cover it. Several professional photographyorganizations including NPPA, NANPA, and PPA offer equipment insurance.Thecoveragemayormaynotincludeequipmentplusliability,solookforaplanthatfitsyourneeds.

Silica Packs: Keep these in your camera bags to absorb moisture. Considerusing real ones that youbuy in solid cases insteadof the little packs that youfoundinyournewpantspocketthatmaybreakopenovertime.

Sto-Fen Omni Bounce Diffuser for the Canon 580EXII or for the Canon600EXRT: Works great on the optional external flash units like the Canon580EX II Speedliteor the newer600EXRTSpeedlite. Do not use this on yourflashoutdoorsbecauseallitwilldooutsideiscauseyourflashtoworkharder.Iknowyouseelotsofpeopledoingit.Theydidn’tbotherreadinghowtouseit-don’t imitate them! Use a direct bare or gelled flash outdoors, as these aredesigned to work as a diffuser when bounced off a surface and angled at 45degreesorso,notstraighton,andnotbouncingoffthesky.

DigitalGreyCard:Usedtomeasureandsetaccuratewhitebalance.

Rosco Strobist Collection Flash Gels: Use these to balance the colortemperatureofyourflashtothecolortemperatureoftheambientlightinordertohaveasingleWhiteBalancesettingthatneutralizes thecolorcastof theentirescene.TapetheminplaceorusetheLumiQuestGelHolderwhichattaches toyour flashwith theHonl Speed Strap, an overpriced strip of Velcro. A colorfilter holder and gels specifically designed for the new Canon 600EXRTSpeedlitearelistedbelow.

StereoMicrophones:TheRodeVideoMicortheRodeVideoMicProaregood-quality affordable external stereo microphones for recording audio whileshootingvideo.Theymounttothecamera’sHotShoe.

SDCardReader orAll-in-OneCardReader:Use this to transfer image filesfromthememorycardstoyourcomputerifyourcomputerdoesnothaveacardreaderbuilt in.Theymaybefaster than thecamera’sUSBcableandwillsave

camerabatteries.

Camera’s USB Cable: Always have the included camera USB cable whentraveling,asaback-upmethodoftransferringimagefilestoyourcomputer.

LensandBodyCaps:Don’tforgettohavetheseinyourcamerabag,toprotectlensesandcamerabodywhenswitchingandstoringthem.

CameraWrap: For protecting your camera while carrying it around in dusty,misty,orsandysituations,orforprotectionwhenstoringit.

Rainhood or Rainsleeve: For protecting your camera while using it in dusty,misty,rainy,orsandysituations.

Remember,strong insect repellantscandamageplasticsandothermaterialsonthebodyofyourcamera.

AdobePhotoshopCS6ornewAdobeC.C.,and/orAdobeLightroom5:Thesesoftware programs are essential for editing, processing, retouching, andmanipulating your photographs, especially if you are shooting in RAW.Lightroom is designed specifically for photographers and is the processingprogram of choice for many of them, but it does not have the manipulationcapabilities of Photoshop. Take advantage of Adobe’s significant student andteacherdiscountsifapplicable.

17.3DigitalPhotographyBooks

Understanding Exposure:How to Shoot Great Photos with Any Camera byBryanPetersonLearning to SeeCreatively: Design, Color&Composition inPhotography by Bryan Peterson The Photographer's Eye: Composition andDesign for Better Digital Photos by Michael Freeman The Photographer'sMind: Creative Thinking for Better Digital Photos by Michael FreemanAvailableLight:PhotographicTechniques forUsingExistingLightSourcesbyDon Marr On-Camera Flash Techniques for Digital Wedding and PortraitPhotography by Neil van Niekerk Speedliter’sHandbook: Learning to CraftLightwithCanonSpeedlitesbySylArenaCanonSpeedliteSystemDigitalFieldGuidebyMichaelCorsentinoTheNewCompleteGuidetoDigitalPhotographyby Michael Freeman - a comprehensive general reference guide with briefexplanationsofnearlyeveryaspectofdigitalphotography.

Digital Photographer’s Complete Guide to HD Video by Rob Sheppard andMichaelGunchen.

18.CONCLUSION

Photography involves numerous essential thoughts, actions, and decisions inthosebriefmomentsbetweenthetimeyouseeasceneyouwanttocapture,raisethecameratoyoureye,andtakeaphotograph.Theprocessisthesumofanalerteye,numerousconsciousdecisionswhilevisualizingandframing,knowinghowtoadjustyourequipmentanduseitscontrols,aswellassub-consciousdecisionsbasedontheaccumulatedexperienceoftakingcountlessimages,experimenting,andlearningfromtheresultsbothgoodandbad.Thecontrols,menus,features,andcustomizationoptionsoftheCanon70Dhaveallbeendesignedtomakeiteasy to set up your camera, adjust your settings, and capture the intendedexposuresothatyoucanbetterfocusyourattentiononcomposingandcapturingthe image you desire. Its advanced features, including the 19 point autofocussystem,63zonemeteringsystem,andDIGIC5+processor,shouldallowyoutocapture more images that were previously not possible - including in actionsituationsandlowlightscenes.ItsDualPixelCMOSAFLiveViewandmovieautofocusingsystemwillenableyoutomorequicklyandsuccessfullytrackandretainfocusonmovingsubjectsthanwithanypreviousCanondSLR.ItsWi-Ficapabilitywill helpyou to capture and share images innewways.And its in-cameraeditingandprocessingfeatureswillallowyoutoperformeditingworkinthefieldandtooutputimages-processesthatyoupreviouslyneededtogetbackto your computer to undertake. It isworth yourwhile to learn these features,options,andcontrolsandtotakefullcontrolandfulladvantageofyourpowerfulCanonEOS70D.

Figure 366 - Flower Detail, Newton,Mass. - A wide aperture used to createshallowdepthof fieldwhichemphasizes thesubjectandblurs thebackground.Objects in the far background become an abstract background element of theimage.70D:Shutterspeed1/2000,Aperturef/2.8,ISO100.

Ifyouhaveanyquestionsorcomments,pleasegetintouchwithmethoughmyblog Picturing Change at http://blog.dojoklo.com/ or website atwww.dojoklo.com. Also please be sure to read through the TroubleshootingGuideandErrorCodesstartingonpage418oftheEOS70DInstructionManual.Evenifyouhaven’tencounteredanyissuesyet,itwillhelpmakeyouawareofsomeofthevarietyofquestionsyoumayencounterwhenusingthe70D.Manyofthemhaveverysimplesolutions,butifyouarenotawareoforhaveforgottenaboutaspecificsettingormenuitem,youwillnotimmediatelyrecognizethatitisnotamajorissue.

Again,notethatalltheexamplephotographsfromthistextcanbeviewedonlinehere:

http://www.flickr.com/photos/dojoklo/sets/72157634994886314/

FutureUpdatestotheText

As I statedat thebeginningof theguide, although Ihavecarefullyproof-read

andeditedthistext,Imaylaterfindtyposorerrors.AndsometimesasIusethecameramoreandansweruserquestions,ImaydiscoverchangesIwouldliketomaketothetexttoclarifyanexplanationorbetterdescribeaprocess,setting,orfunction. So I will keep a log of updates, corrections, and clarifications forCanon 70D Experience on my blog at: http://blog.dojoklo.com/ebooks/canon-70d-experience-updates-page/

You can also sign up to receive notices of any important updates, and to becontactedaboutreceivingfreee-bookcopiesofupdatedversionsofCanon70DExperience (if any major updates are made to the text). For example, Canonsometimesreleasesupdatedfirmwarewhichaddsfeaturesandmenuitems,andIupdatetheguideaccordingly.Orifanimportantadditionorcorrectionismade,orseveralminoradditionsandcorrectionsaccumulateovertime.Pleasesignuptobenotifiedoftheseupdates,here:http://blog.dojoklo.com/ebooks/sign-up-for-full-stop-e-book-updates/

If you purchased the guide from Amazon, you may also wish to enable theAutomatic Book Update feature, which is done in the Manage Your KindlesectionofyouraccountontheAmazonwebpage.FollowAmazon’sinstructionshere: http://www.amazon.com/gp/help/customer/display.html?nodeId=200875610#autoupdate

Alsomake sure thatAnnotationsBackup is enabled on yourKindle device sothatyournotesandhighlightsareretained.ThisisdoneonyourKindledeviceitself, following Amazon’s instructions here:http://www.amazon.com/gp/help/customer/display.html?nodeId=200911660#backup

And as a final request, if you enjoyed this guide and found it to be helpful,pleasetakeamomenttowriteareviewofitonAmazon.comand/oroniTunes,toshareyourthoughtsandhelpotherreadersdecideifitistherightguideforthem.Asan independentauthorandpublisher, this isoneof themosteffectivewaysformetoreachawideaudience.Thankyou!

AbouttheAuthor

DouglasKlostermann is a travel, culture, and humanitarian photographer aswell as the author and publisher of the bestselling Full Stop e-book cameraguides includingCanon5DMark IIIExperienceandNikonD600 Experience.HehasphotographedfornumerousorganizationsintheUnitedStatesandLatinAmerica,been recognizedby theUnitedNationsDevelopmentProgramme forhis humanitarian photography, and been published in magazines and booksincludingCondeNastTraveler,Sherman'sTravel,SouthAmericanExplorer,andViva Travel Guides. He also lectures and gives instruction on digitalphotography.DougisamemberoftheNationalPressPhotographersAssociation(NPPA).

LearnmoreaboutphotographytechniquesandequipmentonhisblogPicturingChange at http://blog.dojoklo.com/, view his photography and e-books atwww.dojoklo.com,andfollowhimonTwitterat@dojoklo.

ThisbookisdedicatedtomywifeL.S.S.,forherunconditionalloveandnever-endingsupport!

TableofContents1.INTRODUCTION

1.1TakeControlofYourCamera1.2UsingThisGuide1.3QuickStartforPreviousCanondSLRUsers1.4GettingStarted

2.CAMERACONTROLS2.1EOS70DCameraControls2.2QuickControlScreenandTouchScreen

3.MENUSETTINGS3.1IntroductiontoSettingupthe70D3.2ShootingMenus3.3LiveViewShootingMenus3.4PlaybackMenus3.5Set-upMenus3.6MyMenu3.7MovieShootingModeMenus

4.CUSTOMFUNCTIONSMENUS4.1C.FnI:Exposure4.2C.FnII:Autofocus4.3C.FnIII:Operation/Others4.4C.FnIII-4:CustomControls-Advanced

5.PLAYBACKandIMAGEFILEFORMATS5.1ImagePlayback5.2ImageFileFormats-JPEGvs.RAW5.3FileSizesandMaximumBurstRate

6.AUTOFOCUSING6.1UsingAutofocus6.2Autofocus-AFPointSelection6.3Autofocus-AFModes6.4Autofocus-AFAreaSelectionModes6.5AFPointsandComposition6.6AutofocusCustomFunctionSettings6.7BackButtonFocusing6.8LiveViewandMovieAutofocusing

7.DRIVEMODES

8.EXPOSUREPart18.1IntrotoAperture,ShutterSpeedandISO8.2 Aperture-Priority AEMode (Av) and Shutter-Priority AEMode(Tv)8.3ISO8.4FullStops8.5ManualExposureMode(M)8.6BasicZoneShootingModes

9.METERINGMODES9.1EvaluativeMetering9.2PartialMetering9.3SpotMetering9.4Center-WeightedAverageMetering9.5ManualMetering9.6MeteringModesandExposure

10.EXPOSUREPart210.1ExposureLock10.2Histograms10.3ExposureCompensation10.4AutoExposureBracketing10.5HDRShootingModeandMultipleExposureMode

11.ADDITIONALCAMERAFUNCTIONS11.1AutoLightingOptimizerandHighlightTonePriority11.2WhiteBalance11.3PictureStyles11.4AmbienceSelectionandLightingorSceneType11.5Flash11.6ExternalFlash11.7WirelessFlash11.8SensorCleaning11.9PuttingitallintoPractice

12.THEIMAGETAKINGPROCESS12.1StillSubjects12.2MovingSubjects

13.Wi-FiFUNCTIONS14.VIDEO-ANINTRODUCTION

14.1ImageSize,FrameRate,Compression14.2VideoSettings14.3ManualExposureSettingsforVideo

14.4Audio15.COMPOSITION16.LENSES

16.1LensNotations16.2 Fixed Maximum Aperture vs. Variable Maximum ApertureLenses16.3WhichLenstoBuyNext

17.PHOTOGRAPHYACCESSORIES17.1Canon70DAccessories17.2DigitalSLRPhotographyAccessories17.3DigitalPhotographyBooks

18.CONCLUSIONFutureUpdatestotheTextAbouttheAuthor