Manual canon eos rebel xs 1000d

Select it and go to the Learning Station. Find Picture Style in the Digital Camera section. Once you download any or all of them, you can use the Open Picture Style file window in the Tool Palette to retrieve and use any one of them as a base style.

Drag each slider where you want it and click OK. The Software Use the Eyedropper to select a color in the image that you wish to enhance or change I chose the lighter green of the leaves. The Eyedropper selection will be indicated on the Color Wheel along with a triangle selection, called the Range of Effect, which represents the limits of color that are affected by the selection.

This range of effect may be shortened or lengthened by grabbing one of the markers with the cursor. These sliders have no influence on any color outside the range.

Repeat the Eyedropper selection if you wish to adjust any other colors. There are variations on this technique, all spelled out in the manual, that you should play with when you have the opportunity. Follow my instructions, and you may use this new Picture Style, Autumnal Passion, on any image you wish, whether it looks good or not. Select it and process the image. It baffles science! The Software After applying Autumnal Passion.

Another image, before AP treatment. After treatment with Autumnal Passion. Basic steps may be all you need, but there are many advanced features as well. EU will launch automatically. This is better than the LCD and faster, too. You can also download from a card reader. The Software After the images have been downloaded, find the correct folder and click it. Your images will appear in the Browser window. Selecting individual frames will enlarge those images in the center window.

Selecting SlideShow from the bottom row will launch a new window that will cycle through however many images you highlighted. This example would send the highlighted The Software images to a printer for an index print. When finished, the email application is launched and you can attach the new file or simply drag it to the copy block of the email.

The Software Change the display magnification level by dragging the slider in the middle of the window. If you wish to see a larger version of any image, just double-click it or select View Image from the bottom of the window.

There is also an option to add text and import date and time data, if you wish. Each Edit function opens in a new window. Each display synchronizes with the others so that the exact position of each image can be compared. Full Screen darkens the entire monitor screen to black and places the image onto the black field for the largest possible view.

Click anywhere on the picture to return to the window. The Software Print is a little different than the function in the Main window in that only the Photo Print window will be shown. You can still add text or crop the image before sending data to the printer. Sort images by selecting some or all of the thumbnails in the Browser window. Click on any one of them to call up the View window.

Use the Back and Next arrows to move through the selection. Assign values one, two, or three stars to each one each image is assigned two stars by default—Canon knows you can shoot better than they can spell. Based on the number of stars assigned to the images, you can extract your favorites from the file and place them in a new folder. Select Filter Tool and uncheck each level of stars you wish to hide.

What remains will be your favorites. With only your favorites selected, use Select All and drag the favorites into the new folder. Find the program you wish to authorize, such as Photoshop, and Open it. Click OK. Back in the Browser window, find the image s you wish to transfer. The image will be transferred to the authorized program for editing. Once those changes are made and saved, the saved image is returned to the ImageBrowser file.

In ImageBrowser, select the images you wish to overlap. Subtle light changes between frames will mean slightly different exposures from frame to frame, destroying the visual integrity of the final image.

Use one of the Focus Points as reference and keep it on the horizon for each shot. Photostitch will now merge the frames and make the final. There are many ways to work with natural light, indoors or outside. Indeed, some photographers work with natural light exclusively. Daylight Photography in full daylight can be problematic because shadows can be deep and contrasty.

Also, when the sun is high, the shadow it throws can be unattractive, especially on people. These are a few of the reasons why seasoned photographers avoid midday hours, although the shadow angle problem is worse in the summer when the sun is more directly overhead. Backlighting can be an effective and beautiful solution but will introduce its own issues.

For example, if you use a metering mode that encompasses too much of the viewfinder, the meter may correctly expose the background but underexpose the subject.

The first image on the next page would have been better with spot metering, at least on the subject, but more of the background would have been correspondingly overexposed. The sunlit background is still overexposed, and the end result is much more pleasant, but the lack of front light and the wraparound effect of the backlight renders a result that needs improvement. Light Light If you must work with the midday sun, the best light will come from a sky with a light overcast.

High, thin clouds effectively turn the entire sky into a large softbox but maintain enough directionality for shadows to form. Open shade is a term used for indirect sunlight. In other words, if a subject is lit by light that bounces into an area that is not receiving any direct sunlight, that subject is in open shade. Even though there is a White Balance preset for open shade, you should consider where the light is coming from before using it.

The Open Shade preset is designed to add warmth to what is typically cooler light shade at high noon and may not be the correct choice if the light is warm to begin with. Should you be in a situation where light is bouncing strongly off the side of a building into otherwise shadowed areas, take a look at the quality and color of that light.

Cold-toned structures will bounce cold-toned light, a good argument to use Auto White Balance for neutral color or the Open Shade or Cloudy presets for warmer color.

Using the Daylight preset will keep some of that character in the final image. Similarly, AWB should be avoided because it seeks to neutralize any color balance it sees. This image, using the Daylight preset, retains the subtle color of fog in a rainforest, a color that would otherwise be lost or changed with AWB or a preset.

Your exposures will be longer than usual or you may have to bump up the ISO higher than you typically would, but the results can be worth it. Deep, saturated color in cool light along with short focus can contribute to beautiful images. When you Light come across such a scenario, try using the Standard Picture Style and the Daylight white balance together. This is truly beautiful light, warmed and softened by extra atmospheric density as the sunlight fights its way through thicker air, almost horizontally, to the subject.

Try this light with images of people or places. Your window of opportunity is short, but the images created within this time frame are uniquely beautiful, mostly because of the color of the light—another argument for using the Daylight preset.

A tripod and higher ISO are both required, of course, and you may have to focus manually because the light levels are so low the auto focus may have trouble locking on. In subjective situations like this, let the camera find the exposure.

It will. Yes, totally natural light can be rightfully called ambient, even though the term often includes a mix of natural and artificial light sources or artificial light entirely. In many situations, AWB can be the best way to achieve neutral white balances in difficult images. The problem is in determining how neutral you wish the light to be. For example, this first image, made under stage lighting and using the Incandescent WB preset, truthfully represents the colored gels used on the lights and preserves a beautiful skin tone on the dancer.

When I attempted AWB, the camera correctly saw the overall blue cast from the background lights and did its best to add enough yellow to neutralize that color. It did its job admirably, but at the expense of flesh tones and the beautiful mood the lighting director threw at the Light background.

There is no set formula for how much off-color light is needed before AWB will skew the color of the image. This is more a matter of practice and testing, but when faced with a scenario in which the scene is lit with predictable light, you may get better results using a predictable preset. When the ambient light is bright enough, the Rebel is definitely capable of delivering great images without supplementary lighting.

Either Light Av or Tv exposure modes work well in this case, but be aware that too small an aperture f5. Situations lit with unusual lighting, such as sodium or mercury-vapor lamps, can be somewhat neutralized with AWB but will give you the most accurate color with a custom white balance. Clouds, whether thick or thin, will also influence how your images look. I mentioned previously that the Daylight white balance preset will allow those influences to add mood to a scene without the possibility of being neutralized by AWB.

Early morning light is also quite delicate, with a sweetness and clarity that changes rapidly as the sun climbs higher. The first rays of dawn are truly remarkable. In summer, the general guideline is to not shoot in direct sun between 10 a.

The sun is almost directly overhead, and the light it produces is hot and contrasty, with distinct shadows that are often Light unflattering.

Even though the background is warm in tone, look how much cooler and how much more harsh the high daylight looks on her. Somewhere around about three-fourths into the day, and once the shadows have lengthened, the contrasty nature of the light begins to diminish.

This is the time to get the Rebel out of the bag and start shooting, for this is the start of the best afternoon light. Your camera, set to the Daylight preset, will see light that is richer than your eyes can perceive and will create images with that beautiful, warm bias. Light As the last rays of sunlight are fading, take a look around at what they might be falling on. Those last rays, being so close to the horizon, tend to model the shapes they fall on in a wonderful, and very fleeting, manner.

Be aware of how sunlight is being affected by buildings, mountains, or any shape that may fall between your subject and the sun. Paying attention to how the sun is moving and what might be in its way can present stunning photo opportunities if you make yourself aware of how the light is changing. These two images were made over the course of only 14 minutes, as the sun moved between two buildings across the street from this fountain, about an hour before actual sunset.

Of course, you can clamp the reflector to a stand, but it may be necessary to employ an assistant to hold the reflector while you concentrate on the shot. This new series incorporated next-generation design specs and was developed with the entire camera line in mind.

Canon recognizes and appreciates your investment! Amazingly, Canon developed its own technology, right down to a successful method for creating artificial fluorite. When you multiply a focal length by the conversion factor, that number will give you the focal length of that lens as your camera sees it. Thus, a mm lens on a camera with a full frame sensor will have the angle of view of a mm lens on a Rebel. Angle of view of a mm lens on a full frame sensor. The same image as seen by the Rebel and its 1.

Lenses Note that a conversion factor only affects the angle of view of a lens, not its actual telephoto or wide-angle strength. Canon currently manufactures an impressive number of lenses in its EF series. EF14 MM F2. And I do mean extreme. Cropping also allows you to move the centered horizon up or down to a more compositionally friendly location.

EF15 MM F2. Wide-angle lenses are capable of more depth of field than normal perspective or telephoto lenses. As with any wide-angle lens, but certainly true of the fisheye, distortion is minimized when the horizon is framed at the center.

Note that the 15 mm Fisheye has an effective angle of view of 24 mm with the Rebel. Lenses 85 MM F1. Super fast and dead-on sharp, its slight telephoto focal length adds charm to the images through a slightly foreshortened perspective. This is a perfect, grab-shot lens for location work, and even though its huge front element 72 mm adds extra weight, it is the lens of choice for many wedding and documentary photographers on the prowl for the perfect moment. With a maximum aperture of f1. This lens will show an angle of view of approximately mm.

This lens is terrific for portraits. The slight perspective compression that I spoke of earlier coupled with a midrange f-stop of 5. At f1. Nice bokeh! Lenses 50 MM F2. Capable of one halflife-size magnification and ratio with the Lifesize Converter EF, this inexpensive and lightweight little lens also functions as a lens of normal perspective that you could use for everyday snapshot photography. This lens is best for inanimate objects, as you have to move in pretty close to get a tight image, a position some creatures feel uncomfortable with.

Still, it can work well with people. Many medical and legal operations and investigators use this lens for the everyday documentation of injuries or evidence. If you do work on a copystand this is a lens you really need. Take a step up and check out the mm f2. At smaller apertures, this lens keeps enough background detail so your subject matter will be tied to it.

The 24 mm, for example, is extremely useful for architectural photographers, as the keystoning effect one typically sees when rooms or buildings are photographed can be controlled, with vertical lines drawn back into parallel with the edges of the image frame.

Additionally, depth of field can be increased by properly tilting the lens into the frame. For that reason I often prefer the 90 mm, as it can be used to photograph details in what the eye perceives as a normal perspective, as well as to alter details of other subjects by narrowing the point of focus. Lenses When properly used, the TS lenses corrects perspective. Tilting the elements of a TS lens can shorten focus.

The old rule of thumb for handheld telephotos was that the focal length of the lens was equivalent to the maximum shutter speed one should use to get a critically sharp image. Lenses Attach an inexpensive nylon dog leash. Step on the leash while pulling up on the camera. As a portrait lens, this glass comes through every time. EF24—70 MM F 2. I know many photographers who carry two cameras, with the 70— mm on the second body, switching whenever the situation warrants a change in focal length.

This is a terrific, everyday lens for a lot of photographers. With its fast f2. Sports and wildlife photographers love this lens. At f2. This compressed scene began almost feet away from me. Lenses For this particular series of stock shots, I wanted even stronger telephoto compression than I was getting with the mm. The easy solution was to use the Canon Extender EF 2x II, effectively doubling the focal length of the lens to mm. It cost me two stops, so my available largest aperture was f5.

In this shot, made at least half a mile 1. You can take a trip through a Canon lens catalog and surely find gear that will do whatever you wish it to do. I realize that you may have different aspirations. I just want to assure you that whatever you need, Canon makes. The 14 mm aspherical and 15 mm fisheye do nice things for me and maybe for you , but this lens is an easy and relatively inexpensive way to get into wideangle. With its close focusing abilities, this lens is an excellent day-to-day lens and will do beautiful things for you.

Do yourself a favor and check them out. One of my favorites, the aforementioned mm f2. It is quick to focus, nice and sharp at the edges, and a great way to get into a fast lens at a low price. For the Digital Rebel shooter, its effective focal length is If you could mount an EF-S lens on a 10D, for example, the mirror would smack into the lens mount with the very first exposure. That would be bad. The lenses were designed to be lighter, smaller, and less expensive, which they can be because the camera sensors are smaller and the circle of light they throw is correspondingly small.

There are currently five lenses in this series. What makes it interesting is that it comprises the requisite number of exotic elements fluorite, aspherical elements, etc. The conversion factor effectively makes it a 27—88 mm zoom. Full-time manual focus means you can tweak focus anytime, even when using AF.

EF-S 17—85 F4—5. This strikes me as a useful lens for event photographers who shoot with flash. I think the f5. I had the opportunity to work with this lens for quite a while when writing this book, and aside from my professional reservations about f5. It focuses accurately and quickly, the zoom ring is smooth, and it weighs almost nothing.

Believe it or not, this image of the moon and city-lit clouds was hand held for a 1- second exposure. Not bad for a cheap lens, huh? I hope they will help you find your style as well. Try to be unobtrusive. Keep the camera to your eye, making exposures as opportunities present themselves. Besides, you might miss something. The Subjects Isolate your subject. Use a telephoto and a large aperture mm and f2. If at all possible, try to position yourself so that the background is at least partially in shadow.

Doing so will lend additional emphasis to the subject. To pan the camera successfully, find the subject and start panning before tripping the shutter. Note the location of the part of the image you want to remain important and its place in the viewfinder. Keep it there for the duration of the pan. Switch to Tv, and set the shutter speed you want. This shot would be lifeless if the flash had gone off. The Subjects Wait for the peak of the action. When something moves back and forth, there is a short time at each end of the arc where some action freezes.

Situations like this require a shutter speed fast enough to catch the peak but slow enough to allow faster movement to blur. Focus was locked on the diver as she stood on the rock, preparing herself. When she flexed The Subjects her knees I started shooting, following her fall by keeping her in the same place in the viewfinder as long as possible.

The Subjects Use Av to mix flash and ambient light. The Av mode will keep the shutter open as long as it takes to get a proper exposure of the ambient light in any scene, a feature you can exploit for shots like this because Av takes no notice of the flash.

In other words, if the correct exposure of a scene is 5 seconds at f5. Taking pictures is just too much fun. As an aside, colors are almost always more saturated after it has rained. At the magic hour just before and immediately after sunset, colors are warm and rich, unlike you will see them at any other time of the day. The Subjects Look down. Great compositions are not always found at eye level. This plant was slightly off the path, but moving the camera closer to it and pointing the lens down in an atypical manner revealed this unusual view.

Much as you would with people, get close to the subject with a longer focal length lens and use a large enough aperture to gently blur out the background. Use local architecture to frame areas of interest.

If the exposure had been made for the buildings, the resulting overexposure of the landscape would have made a rather ugly picture. The landscape by itself would have been just as dull, given the early morning fog. As it is, the buildings add a sense of interest and antiquity to a tranquil scene. The Subjects Use shadows to your advantage.

That makes them even more anonymous. Architecture, and the repetition of detail, presents many opportunities to record line and form, and you should certainly take advantage of that whenever possible.

Images of this nature, however, are actually improved by the addition of a human being into the shot, because the scale of the building becomes apparent as the design becomes humanized. Obviously, this is not a situation that you can control, but you certainly should photograph it when it arises. Use Exposure Compensation to saturate the colors of sunset. Depending on which metering mode you use, you may find it valuable to dial in Exposure Compensation to get even richer colors than your eyes will note.

The first image, using the Av mode, did a terrific job of photographing exactly how the sky looked just a few moments before sunset.

The Subjects The Subjects Shoot the icons. In hundreds, if not thousands, of locations around the world there are iconic images that represent the location. For almost 70 years, the USS Arizona has been leaking a small amount of oil a day since it sank in Arguments have been presented on both sides for stopping it or letting it continue.

The point is that those leaks represent the monument possibly more than the actual monument itself. The marker makes the note easy to read, even from a catalog thumbnail, and helps tremendously when I need to identify a subject. The best part?

It costs nothing to shoot the note, which stays with the file unless you delete it. You can also take a picture of a menu, napkin, or other identifier to help you keep track of where you were or what you did. This blizzard was a nasty event that lasted the better part of two days, caused me to miss a flight, and basically made my life miserable as far as my actual job was concerned.

The bottom line, though, is that its ferocity was photographically beautiful. In between my actual location job, I made several hundred images of this blizzard within just a block or two of my hotel. Yes, it was unpleasant, but so what? This first image was made with the Daylight preset, the second with the Incandescent preset. The Subjects By the way, your Rebel is perfectly capable of metering moonlight as well as sunlight.

Should you be lucky enough to see the moon rise behind a nice composition, well, bang away. You may need to do some Exposure Compensation, because the moon will be such a bright spot in the dark heavens, but playing with the camera will be worth the results.

Animals, each with its own personality, make marvelous subjects for your camera, even if you have to actively seek them out. House pets? A favorite subject, always, just for grins. Get in close. My wife and I were invited to visit friends in Costa Rica, and, naturally, I took a camera.

Our friends explained that local frogs found their way into the swimming pool every evening, had a great time while making a lot of noise, and left as the sun came up. This, I had to see. With my 70— mm f2. This big guy, who might have defied me had I been wearing a Speedo, instead let me shoot multiple frames at f4 with a bouncemodified flash until he tired of the publicity and scooted off to the other side of the pool.

There is no need to fear abrasion due to changing the lens too often; rather, the bayonet will break off if the camera falls to the ground unluckily. The EF-S mm There is also a mechanical switch for switching to manual focus mode — but the focusing ring is so small and so badly placed that it is not very easy to operate with the sun visor attached from the lens supplied. The zoom ring, on the other hand, is nice and wide and has a good grip. The focal lengths on it 18, 24, 35 and 55 mm have to be multiplied by 1.

But the focal length data that are not related to practice are nothing Canon-specific. Similar to the set lenses of many other camera manufacturers, the EF-S mm The middle measuring field is operated by a particularly precise cross sensor; to the left and right of it there are two measuring fields each and one measuring field each below and above.

This is enough to capture most subjects both landscape and portrait in practice. The autofocus system responds from an ambient brightness of 0. Especially in amateur life. With this combination, the first thing you notice is the clearly visible vignetting at the wide-angle end or 18mm position. Even with the lens stopped down, the more or less even light fall-off towards the corners and edges of the image remains visible in some images; in the other focal length positions, the vignetting that is initially more or less visible after stopping down is no longer a real issue.

However, stopping down helps in all lens positions — even if to varying degrees. When taking wide-angle photos with the set lens, you should not miss the very strong barrel distortion. A less strong curvature of straight lines exists in the other focal length positions; the more one zooms into the image, the less is the first barrel-shaped, then — towards the end of the zoom range — cushion-shaped distortion.

The vignetting and distortion values are considered to be largely good for a lens of this class. The highest resolution at all zoom positions with open aperture at F9. At the telephoto end the resolution progression is most uniform. This leads to all sorts of image distortions, which may not all be visible to the naked eye, but which can make subsequent image processing on the computer difficult, and limits the set of camera and lens for JPEG recordings to undemanding leisure photography i.

The noise values are very good at ISO , and good at ISO and with relatively strong noise reduction, the sharpness is not too strong and a good compromise between sharpness impression and post-processing ability of the images whereby the pronounced contrast enhancement in the highlights, i.

The white balance presetting for such light brings a slight improvement, but you can only get rid of the color cast completely with a manual white balance. What else did we notice? One took the meanwhile somewhat aged EOS D, revalued it with some features of the new EOS D and took care to come as close as possible to the psychological price limit of Euro — more is not necessary to create the appropriate purchase incentives with the consumers and to chase the competition away from the market.

High quality printers and faxes for your business. Connect your Canon camera to your Apple or Android device for remote shooting and easy photo sharing. Open up the world of Wi-Fi connectivity and revolutionise the way you print, copy and scan. Process RAW image files from your camera with this dedicated Canon editing software. Get creative with your printer and customise your paper creations. Interviews and inspirational stories from passionate people.

Try a new creative technique, or improve your results. Download drivers for your Canon product. Find contact numbers or product support. Expert services to keep your equipment working perfectly. Canon Professional Services. CPS members can find the right contact for each country and get through to the experts who can help you. Add page 1 to Favourites. Enable zoom. Add page 2 to Favourites. The camera provides many features such as high-speed, 7-point autofocus to quickly focus moving subjects, Picture Styles to expand your photographic expression, diverse shooting modes fr om Full Auto to Creative modes, and Live View shooting.

Take a Few Test Shots to Familiarize Yourself with the Camera With a digital camera, you can i mmediately view the image you have captured.

While reading this manual, take a few test shots and see how they come out. You can then better understand the camera. To avoid botched pictures and accidents, read the Safety Warnings p. Test the Camera Before Using and LiabilityAfter shooting, playback and check whether the image has been properly recorded.