Options: –4 to +4
My preference: N/A
Leave it to Canon to add an often-misunderstood feature to their cameras, but not tell you what it is in sufficient detail. That’s why I’m here. Clarity is a contrast-adjustment process that concentrates on the mid-tones rather than the image as a whole. And, as I emphasized in Chapter 5’s discussion of autofocus, increased contrast translates into sharpness, and reduced contrast results in a blurrier appearance. However, Clarity adjustments—whether applied in-camera using this menu entry or in an image editor like Photoshop—differ from sharpness controls. Sharpness increases the contrast between all dark and light tones, while clarity increases the contrast only within the middle tones of the image. The results are similar to sharpening, but textures become more evident, and you don’t get as much digital noise.
If you want to increase or decrease Clarity, this menu entry provides a simple slider, with 0 as the default and adjustments available from –4 to +4. I recommend you experiment with the feature before using it widely. The clarity adjustments aren’t shown in-camera, so you’ll need to send your images to your computer to evaluate your results. Keep in mind that in images that are already high in contrast (that is, those with fewer middle tones), the clarity setting may lighten or darken areas adjacent to the boundaries between portions of your images.
Options: Peripheral illumination correction: Enable (default)/Disable; Distortion correction: Enable/Disable (default); Digital Lens Optimizer (Chromatic Aberration and Diffraction correction): Enable/Disable (default)
My preference: Use the default values
Your camera can automatically partially correct for lens aberrations in several different ways using three different settings if you are using a lens for which correction data is available. Previously, several of these corrections were available only when post-processing the image in Digital Photo Professional or another utility. The three choices (see Figure 11.17), all described in detail in the next section, are as follows:
I’ll explain what each of these components do one at a time and include some examples of those aspects that can be easily illustrated.
One defect is caused by a phenomenon called vignetting, which is a darkening of the four corners of the frame because of a slight amount of fall-off in illumination at those nether regions. This menu option allows you to activate Peripheral Illumination Correction, a clever feature that partially (or fully) compensates for this effect for any lens included in the camera’s internal, updateable (through firmware upgrades) database. Depending on the f/stop you use, the lens mounted, and the focal length setting, vignetting can be non-existent, slight, or may be so strong that it appears you’ve used a too-small hood on your camera. (Indeed, the wrong lens hood can produce a vignette effect of its own.) Vignetting can be affected by the use of a telephoto converter (more on those in Chapter 7, too).
Peripheral illumination drop-off, even if pronounced, may not be much of a problem. I actually add vignetting, sometimes, when shooting portraits and some other subjects. Slightly dark corners tend to focus attention on a subject in the middle of the frame. On the other hand, vignetting with subjects that are supposed to be evenly illuminated, such as landscapes, is seldom a benefit.
To minimize the effects of corner light fall-off, you can process RAW files using Digital Photo Professional or, if you want your JPEG files fixed as you shoot them, by using this menu option. Figure 11.18 shows an image at top left without peripheral illumination correction, and a corrected image at bottom left. I’ve exaggerated the vignetting a little to make it more evident on the printed page. Keep in mind that the amount of correction available with Digital Photo Pro can be a little more intense than that applied in the camera. In addition, the higher the ISO speed, the less correction is applied. If you see severe vignetting with a particular lens, focal length, or ISO setting, you might want to turn off this feature, shoot RAW, and apply correction using DPP instead.
When you select this menu option from the Shooting 3 menu, a screen appears with the name of the lens currently attached to the camera, along with a notation whether correction data needed to brighten the corners is already registered in the camera. (Information about the most popular lenses is included in firmware.) If so, you can use the QCD-1 to choose Enable to activate the feature or Disable to turn it off. Press the SET button to confirm your choice. Note that in-camera correction must be specified before you take the photo, so that the DIGIC X processing engine can lighten the corners of your photo before it is saved to the memory card.
This option adjusts to correct barrel and pincushion distortion, based on information in the camera’s database.
Barrel distortion is found in some wide-angle lenses, and causes straight lines to bow outward, with the strongest effect at the edges. In fisheye (or curvilinear) lenses, this defect is a feature. When distortion is not desired, you’ll need to use a lens that has corrected barrel distortion. Manufacturers like Canon do their best to minimize or eliminate it (producing a rectilinear lens), often using aspherical lens elements (which are not cross-sections of a sphere). You can also minimize less severe barrel distortion simply by framing your photo with some extra space all around, so the edges where the defect is most obvious can be cropped out of the picture. If none of the above work, you can apply this feature, which is disabled by default, to “undistort” your image with some bending of its own.
Pincushion distortion is a trait of many telephoto lenses, producing lines that curve inward toward the center of the frame. You might find after a bit of testing that it is worse at certain focal lengths with your particular zoom lens. Like chromatic aberration, it can be partially corrected using tools like Photoshop’s Lens Correction filter and Photoshop Elements’ Correct Camera Distortion filter, Digital Photo Professional, or this in-camera feature.
This option is a general-purpose fixer-upper based on a database of lenses and characteristics of the camera and sensor. It applies a whole range of corrections and can apply them separately to the center or edges of the frame, fixing spherical aberration, axial chromatic aberration, curvature of field, astigmatism, chromatic aberration, sagittal halo, and chromatic magnification. Many of these are technical aspects that are beyond the scope of this book. Note that image processing takes longer when these corrections are applied, continuous shooting maximum burst is lower with the High setting, and visual noise may increase. The higher the ISO setting, the lower amount of correction applied.
Another defect fixed by the Digital Lens Optimizer involves fringes of color around backlit objects, produced by chromatic aberration, which comes in two forms: longitudinal/axial, in which all the colors of light don’t focus in the same plane, and lateral/transverse, in which the colors are shifted in one direction. (See Figure 11.18, top right.) When this feature is enabled, the camera will automatically correct images taken with one of the supported lenses to reduce or eliminate the amount of color fringing seen in the final photograph. (See 11.18, bottom right.)
The final defect corrected by the Digital Lens Optimizer is diffraction, a phenomenon that can cause a reduction in the apparent sharpness of your image due to scattering and interference of photons as they pass through smaller lens openings. In effect, the edges of your lens aperture affect proportionately more photons as the f/stop grows smaller. The relative amount of space available to pass freely decreases, and the amount of edge surface that can collide with incoming light increases.
The best analogy I can think of is a pond with two floating docks sticking out into the water, as shown in Figure 11.19. Throw a big rock in the pond, and the ripples pass between the docks relatively smoothly if the structures are relatively far apart (top). Move them closer together (bottom), and some ripples rebound off each dock to interfere with the incoming wavelets. In a lens, smaller apertures produce the same effect.
The sensor includes a so-called “anti-aliasing” filter (technically known as an optical low-pass filter, or OLPF) designed to eliminate moiré. You might see it on your television when a guest wears a checked shirt with a pattern that’s very close to the interval, or frequency, of the lines that produce the video image. Or, it might show up when photographing a window screen (see Figure 11.20, left). The optical low-pass filter blocks most of that moiré by blurring the image slightly in a special way. Figure 11.20, right, shows what happens. The components described below are shown from left to right in the figure. Note that this diagram is a conceptual representation only and may not show the precise makeup (so far unreleased) of the new four-layer anti-aliasing filter Canon has developed.
Canon has greatly expanded the list of lens data included within the camera itself. However, if lens aberration correction information for your lens is not registered in the camera, you can often remedy that deficit using the most recent version of the EOS Utility. Just follow these steps:
Options: Off/Disable (default), Auto, On/Enable
My preference: Auto
This entry is the first in the Shooting 4 menu. (See Figure 11.21.) It allows you to enable or disable long exposure noise reduction or allow the camera to evaluate your scene and decide whether to use this noise-canceling adjustment. Visual noise is that graininess that shows up as multicolored specks in images, and this setting helps you manage it. In some ways, noise is like the excessive grain found in some high-speed photographic films. However, while photographic grain is sometimes used as a special effect, it’s rarely desirable in a digital photograph.
The visual noise-producing process is something like listening to a CD in your car, and then rolling down all the windows. You’re adding sonic noise to the audio signal, and while increasing the CD player’s volume may help a bit, you’re still contending with an unfavorable signal-to-noise ratio that probably mutes tones (especially higher treble notes) that you really want to hear.
The same thing happens when the analog signal is amplified: You’re increasing the image information in the signal but boosting the background fuzziness at the same time. Tune in a very faint or distant AM radio station on your car stereo. Then turn up the volume. After a certain point, turning up the volume further no longer helps you hear better. There’s a similar point of diminishing returns for digital sensor ISO increases and signal amplification as well.
These processes create several different kinds of noise. Noise can be produced from high ISO settings. As the captured information is amplified to produce higher ISO sensitivities, some random noise in the signal is amplified along with the photon information. Increasing the ISO setting of your camera raises the threshold of sensitivity so that fewer and fewer photons are needed to register as an exposed pixel. Yet, that also increases the chances of one of those phantom photons being counted among the real-life light particles, too.
Fortunately, the sensor and its digital processing chip are optimized to produce the low noise levels, so ratings as high as ISO 800 or ISO 1600 can be used routinely (although there will be some noise, of course), and even ISO 3200 can generate good results.
A second way noise is created is through longer exposures. Extended exposure times allow more photons to reach the sensor but increase the likelihood that some photosites will react randomly even though not struck by a particle of light. Moreover, as the sensor remains switched on for the longer exposure, it heats, and this heat can be mistakenly recorded as if it were a barrage of photons. This entry can be used to tailor the amount of noise-canceling performed by the digital signal processor.
TIP While the “dark frame” is being exposed, the display will be blank during Live View mode, and the number of shots you can take in continuous shooting mode will be reduced. White balance bracketing is disabled during this process.
Options: Disable, Low, Standard (default), High, Multi Shot Noise Reduction
My preference: Low, with further noise reduction as required in an image editor
The other type of noise results from using higher ISO settings. This entry allows you to specify just how much or how little of this noise reduction to apply, which can be a valuable option because noise reduction does eliminate detail while blurring the amount of noise. The default is Standard noise reduction, but you can specify Low or High noise reduction, or disable noise reduction entirely. At lower ISO values, noise reduction improves the appearance of shadow areas without affecting highlights; at higher ISO settings, noise reduction is applied to the entire photo. Note that when the High option is selected, the maximum number of continuous shots that can be taken will decrease significantly, because of the additional processing time for the images.
Multi Shot NR works best if the camera is mounted on a tripod and your subject is not moving. It is not available when Image Quality is set to RAW or RAW+JPEG/HEIF or Dual Pixel RAW, nor when using flash, live view, shooting multiple or Bulb exposures, or performing autoexposure/white balance bracketing.
Options: Store Delete Data
My preference: N/A
This menu choice lets you “take a picture” of any dust or other particles that may be adhering to your sensor. The information about the location of this dust will be appended to your photos, so that the Digital Photo Professional software can use this reference information to identify dust in your images and remove it automatically. You should capture a Dust Delete Data photo from time to time as your final line of defense against sensor dust. When you access this menu entry, the date of your last update will be displayed.
To use this feature, select Dust Delete Data, select OK, and press the SET button. The camera will first perform a self-cleaning operation by applying ultrasonic vibration to the low-pass filter that resides on top of the sensor. Then, a screen will appear asking you to press the shutter button. Point the camera at a solid-white card with the lens set on manual focus and rotate the focus ring to infinity. When you press the shutter release, the camera takes a photo of the card using Aperture-priority and f/22 (which provides enough depth-of-field [in this case, depth-of-focus] to image the dust sharply). The “picture” is not saved to your memory card but, rather, is stored in a special memory area in the camera. Finally, a “Data obtained” screen appears.
The Dust Delete Data information is retained in the camera until you update it by taking a new “picture.” The information is added to each image file automatically.
Options: Multiple exposure: Disable (default), On (Function and Control Priority), On (Continuous Shooting Priority); Multiple exposure control, Number of exposures, Save source images, Continue multiple exposure, Select image for multi-exposure
My preference: N/A
This is the first entry in the Shooting 5 menu. (See Figure 11.22.) This option lets you combine two to nine separate images into one photo without the need for an image editor like Photoshop. It can be an entertaining way to return to those thrilling days of yesteryear when complex photos were created in the camera itself. In truth, prior to the digital age, multiple exposures were a cool, groovy, far-out, hep/hip, phat, sick, fabulous way of producing composite images. Today, it’s more common to take the lazy way out, snap two or more pictures, and then assemble them in an image editor like Photoshop.
However, if you’re willing to spend the time planning a multiple exposure (or are open to some happy accidents), there is a lot to recommend the multiple exposure capability that Canon has provided. For one thing, you can combine two or more images using the RAW data from the sensor, producing photos that are blended together more smoothly than is likely for anyone who’s not a Photoshop guru. In addition, Canon has eliminated one annoying aspect of the feature found in some cameras: it’s not necessary to return to the menu to activate multiple exposure for every set. If you want to take a series of pictures, you can set it once, and forget it. (But don’t forget to turn it off when you’re done!)
Multiple exposures cannot be captured if white balance bracketing, HDR shooting, or movie-making modes are in use. Before you begin snapping your own multi-exposures, you’ll need to set your parameters using the options discussed below. The Multiple Exposure command has so many options that I didn’t list them in the Options line at the beginning of this entry; each one requires a more detailed explanation that I’m going to supply next. (See Figure 11.23.)
The Disable option deactivates the multi-exposure feature, but you can quickly choose either of the two On variations. This is the “master control” that allows you to turn multiple exposure on and off (leaving the other parameters you’ve set unchanged) and to select from two different multi-exposure modes.
Any time during shooting when using Function and Control-priority mode, you can press the Playback button to monitor exposure level, overlap alignment, and other factors. If the image doesn’t match what you wanted to get, you can press the Trash button and view a set of four options:
This essential parameter can determine how successful your multiple exposure is, by controlling how each individual exposure is merged with the overlapping portions of the other images in the series. Picture an image like the one shown at left in Figure 11.24. The performer, Todd Cooper of the Alan Parsons Live Project, was photographed against a plain, dark background. He happened to be moving, so neither of the two images overlapped with each other, or with any details of the featureless background. But in Figure 11.24, right, the dancer remained in place, so that each subsequent image overlapped the others slightly. The Multiple Exposure Control feature allows you to specify how the images are combined with these choices:
However, you can manually adjust the amount of exposure each shot is given by dialing in exposure compensation, making this mode useful for overlapping images as well. The customary procedure is to specify –1-stop exposure compensation for two shots, –1.5 EV for three-shot multiple exposures, and –2 EV for four-shot multis. Manually calculating the amount of negative exposure compensation allows you to fine-tune the look of overlapping images.
You can choose from 2 to 9 exposures in each multiple exposure set. Highlight the option, press SET, and spin the QCD-1 to choose the number of exposures. I recommend starting out with three multiple exposures when you begin exploring this tool; you’ll quickly discover picture opportunities that call for more or fewer combined shots in a single image.
As you might guess, in producing multiple exposures, each shot is taken separately, and then combined before the combination shot is saved. (In other words, the process is not like film multiple exposures, in which the same photosensitive frame collects all the images, adding each subsequent shot to the images that are already there.) Doing it this way keeps the sensor from becoming “overloaded” and losing detail, plus the camera can intelligently combine the images, using exposure compensation and other pixel tricks to produce the final image.
You can elect to save Result Only (just the merged image), or All Images to store each individual image for later use. There are two advantages to the latter approach. You may be able to create a merger of your own manually that is superior to the one generated in the camera. In addition, if one individual shot happens to be a “keeper” on its own, you’ll have it available without the distraction of the other merged images. The disadvantage is that saving All Images requires some extra time and memory card space.
Choose 1 Shot Only or Continuously. Choose the former if you want to take a single multiple exposure series and then return to normal shooting with Multiple Exposure then disabled. Select Continuously if you plan to shoot a batch of different multiple exposures and don’t want to return to the menu system to reactivate the feature after each shot.
If you like, you can use an image you already took as the base image for a subsequent multi-exposure. The base image can only be a RAW image. When RAW images taken with your camera (other RAW images on the card cannot be used) are available, this option will be selectable. However, a RAW image that is already a multiple exposure can be used as your base image (the mind boggles at the possibilities).
With the option highlighted, press SET and choose the image you want to use. Rotate the QCD to view compatible RAW images and press SET to choose one. Press OK. You can then take the remaining exposures in your set. That is, if you’ve chosen to combine three shots in a multiple exposure, the base image counts as one, so you’ll be able to add two more by pressing and holding the shutter release.
Note that images using Highlight Tone Priority or an Aspect Ratio other than 3:2 cannot be used as your base image, and Lens Aberration Correction and Auto Lighting Optimizer will not be applied to your set. If the RAW image specifies the Auto Picture Style, the camera will revert to Standard for the rest of the images.
Some special conditions are required to shoot multiple exposures. Some features are disabled, and others are locked in at particular values.
Options: Adjust Dynamic Range, Effect, Continuous HDR, Auto Image Align, Save Source Images
My preference: N/A
I described using HDR mode in detail in Chapter 4. To recap, this menu entry has five subentries you can adjust:
Options: Focus Bracketing, Number of Shots, Focus Increment, Exposure Smoothing
My preference: N/A
If you are doing macro (close-up) photography of flowers or other small objects at short distances, the depth-of-field often will be extremely narrow. In some cases, it will be so narrow that it will be impossible to keep the entire subject in focus in one photograph. Although having part of the image out of focus can be a pleasing effect for a portrait of a person, it is likely to be a hindrance when you are trying to make an accurate photographic record of a flower, or small piece of precision equipment. One solution to this problem is focus stacking (which Canon calls “Focus Bracketing”), a procedure that can be considered like HDR translated for the world of focus—taking multiple shots with different settings, and, using software as explained below, combining the best parts from each image in order to make a whole that is better than the sum of the parts. Focus bracketing requires a non-moving object, so some subjects, such as flowers, are best photographed in a breezeless environment, such as indoors.
With the camera’s focus bracketing feature, the camera takes a series of pictures, adjusting the focus slightly between each image, refocusing from closest to your subject to the farthest point that needs to appear sharp. You end up with a series of up to 999 different images that can be combined using Digital Photo Professional or another application. I find the process much easier in Photoshop, using two simple Photoshop commands, which I will describe shortly. If you prefer to use DPP, you can consult that software’s documentation for instructions.
You can visualize how focus stacking works if you examine Figure 11.25, which is cropped versions of three actual frames from one of my own focus bracketing series. All three used an exposure of 1/30th second at f/6.3 with an RF 85mm f/2 Macro IS STM lens. At top is the original exposure, with the lens focused on the nearest die. The center image shows the 35th exposure in the series, in which the focus shift feature had adjusted focus on the last die. In between were 33 intermediate-focus shots that I merged to produce the finished image at bottom.
Here are the detailed steps you can take to use focus bracketing for your own deep-focus images:
Note: Even though you’ll be effectively increasing depth-of-field through focus stacking, you should still avoid the widest apertures of your lens, as they are rarely the sharpest f/stops. I always stop down at least 1.5 f/stops—using f/6.3 in the example. Shutter speed is not as important, because the camera is on a tripod, but I tend to avoid very slow speeds anyway. You can manually set a slightly higher ISO sensitivity, if needed, to obtain the shutter speed/aperture combination you want to use.
You may need some trial-and-error to choose the correct number of shots and focus step width. For example, with 50 shots and a wide focus step, the first 10 may encompass your entire subject and the last 40 may be wasted on completely out-of-focus images. It’s often worthwhile to take a test shot, view a slide show of all your images, and decide whether to increase/decrease the number of shots and/or focus step width.
The next step is to process the images you’ve taken. Here are the instructions for Photoshop. Transfer the images to your computer, and then follow these steps:
Although this procedure can work very well in Photoshop, you also may want to try it with Digital Photo Professional, as well as programs that were developed more specifically for focus stacking and related procedures, such as Helicon Focus (www.heliconsoft.com), PhotoAcute (www.photoacute.com), or CombineZM (https://combinezm.informer.com/). Note that focus bracketing is not “sticky” and the setting reverts to Disable when the camera is powered down.
Options: Disable (default), Enable, Exposure Time
My preference: N/A
This feature, the first in the Shooting 6 menu, is available only when the Mode Dial is set to the B (Bulb) position. It allows you to specify exposure times up to 99 hours, 59 minutes, and 59 seconds. I described use of this feature in Chapter 6. (See Figure 11.27.)
Options: Disable (default), Enable; Times from 00:00:00 to 99:59:59 seconds
My preference: N/A
When you’ve enabled the feature using this menu entry, you can press the INFO button to specify a long exposure time up to 99 hours, 59 minutes, and 59 seconds. It’s unlikely that your battery will last that long and your camera won’t overheat with an ultra-long exposure (I haven’t tested the extreme settings), but longer exposures are helpful for star trails and other shots that require more than 30 seconds. The Mode must be set to B (Bulb) to use this feature, but unlike traditional Bulb exposures, you do not need to keep the shutter button depressed the entire time.
Options: Mechanical, Electronic 1st Curtain, Electronic
My preference: Enable when needed
Your camera can shoot completely silently using the camera’s electronic shutter instead of the mechanical shutter. There is a third mode available, in which an electronic first-curtain shutter is used to start the exposure, which is terminated using the conventional mechanical shutter. I explained first- and second-curtain shutters and electronic shutters in detail in Chapter 9 and will not repeat that information here. Here’s what you need to know to use the Shutter Mode entry:
You’ll want to use the mechanical shutter for the best dynamic range in your images, as explained below.
Options: Enable (default), Disable
My preference: Disable
This entry in the Shooting menu gives you the ability to snap off “pictures” without a memory card installed—or to lock the camera shutter release if that is the case. It is sometimes called Play mode, because you can experiment with your camera’s features or even hand your camera to a friend to let him/her fool around, without any danger of pictures being taken. Back in our film days, we’d sometimes finish a roll, rewind the film back into its cassette surreptitiously, and then hand the camera to a child to take a few pictures—without wasting any film. It’s hard to waste digital film, but Release Shutter without Card mode is still appreciated by some, especially camera vendors who want to be able to demo a camera at a store or trade show, but don’t want to have to equip every demonstrator model with a memory card. Choose this menu item, press SET, select Enable or Disable, and press SET again to turn this capability on or off.
Options: Enable (default), Disable, Focal Length
My preference: Disable
This is the first entry on the Shooting 7 menu. (See Figure 11.28.) In-body image stabilization (IBIS) is built into your camera, and optical image stabilization (OIS) is included in some RF- and EF-mount lenses. As I described in Chapter 7, the two systems can work with each other to provide up to 8 stops of stabilization and can add IS features even to lenses not equipped with OIS. This entry allows you to fine-tune these systems. The choices that appear depend on whether you have a lens with OIS attached and are in still photography or movie mode.
The Enhanced setting available in Movie mode applies electronic IS in addition to OIS and IBIS. Electronic image stabilization moves a slightly cropped version of each frame around within the boundaries of the sensor, allowing stronger shake correction. The result is a slightly magnified image due to the cropping. This enhanced IS works best with wide-angle lenses and not at all with lenses over 1000mm. It can also produce a slight amount of blurring caused by the pixel movement, as well as additional grain. You should avoid using the Enhanced setting when the camera is mounted on a tripod.
Options: Enable (default), Disable
My preference: Disable
The Touch Shutter feature allows you to tap the LCD screen to focus and snap a picture with one gesture. It’s easy to accidentally trigger the Touch Shutter, so I generally leave it off. However, it’s quite useful when your camera is on a tripod and you want to be able to snap a picture of some portion of your scene quickly and with minimal vibration. An icon appears in the lower-left corner of the screen. You can tap to toggle to turn the touch shutter on and off once you’ve enabled it here. When you’ve turned it off, touching the screen will instead perform focusing on the spot tapped. You’d need to press the shutter release down all the way to take the picture.
In Touch Shutter mode, the camera performs in single-shot mode even when continuous shooting has been specified; touch focus uses One-Shot AF, even if AF Operation has been set to Servo AF. To shoot with a Bulb exposure, tap the screen twice: first to start the exposure and a second time to stop it.
Options: Review Duration: 2 sec. (default), Off, 4 sec., 8 sec., Hold; Viewfinder Review: Disable (default), Enable
My preference: 2 sec., Disable
This setting has two options: Review Duration, and whether you want to play back images in the viewfinder.
Turning the review display off or choosing a brief duration can help preserve battery power. However, the camera will always override the review display when the shutter button is partially or fully depressed, so you’ll never miss a shot because a previous image was on the screen. Choose Image Review and select Off, 2 sec., 4 sec., 8 sec., or Hold. If you want to retain an image on the screen for a longer period, but don’t want to use Hold as your default, press the Erase button under the LCD monitor. The image will display until you choose Cancel or Erase from the menu that pops up at the bottom of the screen. A longer review time gives you an opportunity to delete a non-keeper quickly without a visit to the menu system.
Options: Enable, Disable (default)
My preference: Enable
This function activates a high-speed display that is more responsive, switching between the shot you’ve taken and the live image. It is always activated when working with the electronic shutter. Sports shooters will find it particularly useful when they’re trying to follow action. To use high-speed display, these conditions must be met:
High-speed display is not used at shutter speeds slower than 1/30th second and apertures smaller than f/11, during flash photography, or when expanded (L or H) ISO settings are used.
Options: 4 sec., 8 sec. (default), 16 sec., 30 sec., 1 min., 10 min., 30 min.
My preference: 8 sec. most of the time; I switch to 10 min. when shooting sports
This option allows you to specify how long the metering system will remain active before switching off. Tap the shutter release to start the timer again after it switches off.
Options: Enable (default), During DOF Preview, Disable
My preference: During DOF Preview
This option allows you to choose whether the live view image mimics the exposure level of the final image, or whether the screen displays a bright image (dependent on the LCD Brightness setting you’ve specified in the Set-up 2 menu) that may be easier to view under high ambient lighting conditions. Your choices are as follows:
Options: Screen Info. Settings, VF Info/Toggle Settings, VF Vertical Display, Grid Display, Histogram Display, Focus Distance Display, Reset
My preference: N/A
This multi-layered entry allows you to customize what is displayed while you’re shooting. Your camera is able to display a wealth of information right in your viewfinder or on the LCD screen while you shoot. Unfortunately, having all that data presented constantly can be distracting. The six sub-settings in this entry let you specify exactly what you do or do not view while you’re taking pictures. (See Figure 11.29, left.)
Options: Display 1, Display 2
My preference: Display 2
This is the first of two entries in the Shooting 8 menu. (See Figure 11.30.) Even if you don’t completely declutter your viewfinder, you can make it a little easier to view. You can choose from two viewfinder display formats. (See Figure 11.31.) Display 1 fills the viewfinder with your image, with some information located in a black bar below the frame, but the rest overlaid on the frame itself. Choose Display 2, and black bars appear at left and right sides and above the frame, and the additional information is included within those bars rather than overlaid on a somewhat smaller image frame. Pressing INFO cycles among the viewfinder information displays you’ve activated in the Shooting Information Display entry described above.
Options: Power Saving, Smooth
My preference: Smooth
This setting determines whether the display uses more power or displays quick-moving subjects more smoothly. I always carry extra batteries and am not concerned about power-saving, so I always use the Smooth setting.