All right, folks time to get onto the bottom side of the camera so down here of course we have our standard quarter twenty tripod socket for all of our tripods and tripod accessories down here you will notice the serial number of course you can jot that down for your insurance purposes and this is of course where we plug in our camera battery so this is using a new battery for cannon the l p e six in which is only slightly different than in previous cameras it's the same size same shape so it is forward backward compatible with the other batteries which is very convenient for everyone who owns the previous batteries it is slightly more powerful and when I say slightly emphasis on the slight it went from eighteen hundred to eighteen. Sixty five million power so it's a little bit more powerful than you could buy those new batteries and use them in your old seventy and your five d mark three as they say fully compatible forwards and backwards throughout the system and what else do we have...
here? One of the things in the battery menu system is that it will show you how full your battery is in a very exact manner. For instance if it's ninety percent or eighty five percent and so that's one of my favorite items in the menu system tau access on a regular basis to see how good the batteries are one of the things to note is that if you have a battery that has a ninety four percent charge or higher, it won't charge and so if it's ninety five and you're trying to get it topped off the five, you have to bring it down to ninety three and then charge it up, so be aware of that if you're wondering why it doesn't charge even though it's not fully charged that's the little reason so if you want to shoot a lot of sports if you want to shoot people stuff with this camera, the b g e sixteen grip is a great vertical grip that will make the camera mohr comfortable and easy to use for shooting vertical subjects and has a lot of sports photographers are shooting people in sports and those people are standing up and running and jumping. This is a very handy accessory found this very I'm very, very useful for shooting my sports photography where it puts the shutter release button in a more comfortable position. You do also have the ability to put two batteries in there, so you're likely to get sixteen hundred shots between battery changes of both batteries and so there's a couple of different reasons why it might work also works very well for people with really big camera hands, but for the most part it just makes it more comfortable for shooting in the vertical position the camera comes supplied with a basic travel charger, which is a very simple, small lightweight charger. The other options for the camera are a car charger that will plug into a cigarette adapter on the car. You could, of course, always get an inverter in lieu of that and plug in your charger to that. There is an a c adapter for anyone who needs to supply power to the camera continuously for long periods of time either for studio use or scientific type use where you need to have power to the camera with absolutely no interruption in battery power. There is that option with that adapter kit moving our way over into the front side of the camera. We have our little red dot, which is our lineup dot for the mounting index on the cameras. We also have one that is a white square for the different f s lenses will talk more about these different types of lenses in just a moment we have our microphone for picking up sound. If you do want good quality sound, you want a good quality video, you need good quality sound. And so I highly recommend anyone who's going to shoot video on this to get an external microphone there's a lot of them that are very small, not too big in size that plug right into the mic jack on the side of the camera our lens release for taking the camera on and off our mir and our cpu context. It's the cpu contacts that are communicating with lens, sending information on which way to turn to achieve sharpest focus, relaying information about the aperture set, as well as information aboutthe lens that gets transferred onto the metadata of the photograph. What lends you used, what focal length it was set at what aperture it said at inside the side, grip of the door there's. A little tiny holes. The dc couple are card hole. So if you do stick the d c coupler into the camera, has a core that runs out of it and there's a little rubber door that kind of opens up right here. Little bit bends out of the way so that you can have a cord running in to the adaptor that's plugged into where the battery would normally go. In the camera. We have our depth of field preview button, and this used to be a professional feature on cameras where you could press the button in and see how much depth of field you would get when you stop the lens down to that particular aperture. So let's, take a example here and let's press in on the depth of field button, and it stops the aperture down. And it allows us to see how much depth of field were getting. Let me do this again, and you'll notice. In the right hand side of the screen, you can see how much depth of field that lens is actually rendering when we stop it down to its working aperture. Now, if you just take your camera and you press this button, then you look through your camera. It may or may not do much, or it may be confusing to look at partially because you may not have been appropriate aperture set toward there's a noticeable difference. You'll notice this more if you stop it down to eleven, sixteen, twenty two and so forth. The downside of using this button is that it gets really dark in the viewfinder, and so you have to do is you have to just kind of look to the light, let your eyes adjust to the darkness and then look for what's sharp and what is not sharp in the photograph. For the most part, if you want to see how much depth of field you're going to get in a photograph, it's pretty simple, you could just take a picture and look at it on the back of the camera, but sometimes it's hard to see the back of the camera real clearly under bright light conditions. So this is a handy feature that I use for doing landscape photography or any type of photography outside where I want lots of depth of field but there's a lot of light out but it's a handy tool, the head and one of the things you can do like many of the other buttons on the camera is you can customize what that button does. If you found that the depth of field preview is a button that you would never utilize in your work, you can re position it and have it do something else that you find more important, there is a remote control sensor that is looking for the r c six signal, and so this is that twenty dollar little remote that allows you to fire the camera from a distance. It's not a very long distance, it's probably only in the range of, say, five to ten meters, and it depends and very quite a bit with direct sunlight because it's an infrared signal it doesn't work real well under bright light conditions. Next up is a little lamp on your camera that comes on for a variety of reasons. When you're taking a self timer shot, it lets you blinking nose lets you know when the shot's gonna be taken it's also a red eye reduction lamp that will come and turn on for a few seconds as you hold down halfway on the shutter release and this delays taking the picture and I also personally find it a little annoying because there's this bright light in your eyes now it does reduce red eyes but the fact of the matter is these days it's so easy to reduce red eyes in programs like photoshopping light room and all these other programs that other computers have fixing red eyes is a very standard thing that is on software and doing it in the camera is going to they'll interrupt the photo taking process in fact, if you take pictures of some kids they'll think that is the flash and you've already done taking pictures and then they'll turn around and be on their way. And so I recommend turning this off just because it delays that shutter taking by a little bit and that is the front of the camera we also have the focusing screen released forgot about that this camera is one of only a few cameras on the market that you can replace the focusing is going on and it requires just a little bit of a careful hand to go in there and replace the screen now the screen that it comes with is thie e h a which is your standard screen and the next one is the th s and this is a precision mats screen designed for people who are using fast lenses that want to manually focus them. One of the downsides of the standard screen is that it's been say simplified just to simplify the term it's been simplified so that you can work with all lens is very, very easy but it's not super accurate when it comes to focusing with really fast lenses so if you do want to manually focus a cinematographer for instance with the manual focus lands or somebody who has a really fast lens you may want to look into the precision math to see if it's right for what you want to dio and so I wasn't planning on this but I will show you on my camera how this works so let's take off the lands and we're gonna need to do a little operation so we're going to turn this camera upside down I want to make sure the guys on the control booth get this set right so that I can see if I can get in here there's a little lever right down in here and I haven't worked with this one before so I make sure I'm getting it correct I'm gonna have to flip it around like this back a little bit and farrago uh I need my flashlight any better light in here sorry about this this was unplanned there we go it's a little push up now that I know how to do it I'll do it back like this sorry, guys get the camera back up there we go. Okay, so there's a little lever I'm gonna push up on the lever is that a number of things to grab in there? You got to be a little careful there we go. And so now the screen is dropped down and so I can go in here very carefully that want to touch the mirror uh oh I'm gonna ruin things for ever now and now there is the focusing screen and so that's a little focusing screen that's in the camera and this very much reminds me of the game operation if anyone remembers the game operation so I'm gonna have I'm going to put this down back down on the ground because I think I can see it easier down here and I want to take my screen there we go oh, this is beauty it's right in there and I will now tuck it back up and we'll hear a nice sounding click perfect little click okay, so I think we're back to normal now so that's how you change it there that's how you don't change the legs and let's just make sure everything was good here oh beautiful, perfect okay, so it worked all right, so that's, how you change the focusing screen. Most people are never going to end up doing it, and I should have known about that camera. There was craig, nice job, guys. All right. So if you do change the focusing screen, you need to go in to the menu system and tell the camera that you're using a different screen because the camera meters differently with this e h s screen that you could put in there.
John Greengo is an award-winning photographer specializing in outdoor and travel photography. Shooting for over 3 decades, John has developed an unrivaled understanding of the industry, tools, techniques and art of photography. When he's not traveling for a new shoot,
I am a pro photographer in my dreams, where I know the in's and out's of my camera; however, reality proved differently, as real life would tell you, I was a deer caught in headlights just looking at my new 7D Mark II. I am a photographer enthusiast without the skills, but a lot of love for the moments one, or the profession/hobby of it can capture. I mostly shoot my husband, friends, and community surfers in the lineup, and of course, my children, who rarely sit still. Thus, I switched from Nikon to Canon, venturing on the 7D Mark II for the grand reviews of how stellar of camera it is for action shots (surfing, and kids, this was a no brainer). That said, and overwhelmed with the way beyond my skill set, but noted desire and aspiration to grow, I made the purchase, and sought help rather quickly as I wanted to feel confident with what I was utilizing to capture the best memories possible. I came into this CL course knowing the "on/off" button, and "auto" shoot mode. I came out of the course feeling like the pro in my dreams, and ready to shoot manual. John's teaching style is on point, and his detailed visuals are a huge plus. So impressed, I purchased, John's photography starter kit, and was even more blown away. My first shots post that course, I thought were great for my first educated shoot, and shockingly, I even received and email from one of the sponsors of the surfers I captured, asking if they could use my image for their sites and publications. Not bad for a newbie. Though, my intent was never a business purpose, I did not know if I should charge a small fee, or give it for free. I don't mind free as it's not my business, yet I don't want to ruin it for any photographers in town doing the same thing that are charging. Perhaps another course to help me with that. I highly recommend courses by John Greengo! Thank you so much, John!
I bought my 7D Mkii the week it was introduced as an upgrade to my old 20D. I immediately noticed what a huge step up it was and to be honest was a little overwhelmed by all of the options and customisations available. In the year I've owned it I've managed to pick up a lot but I still felt there was a lot in there that I wasn't making the best use of. John's course has filled in the missing pieces and I now feel a lot more confident that I will be able to get the best out of this amazing camera.
John's coverage of the Canon 7D Mod II was excellent. It helped immensely in understanding the myriad of choices available in this camera. I would recommend this course to any user of the 7D Mod II.
camera. The only comment I would make is that it might be helpful if John didn't assume that we all are sports photographers. Some hints for other types of photographers would be a great addition to an already excellent course.