Lens modulation optimizer. Okay. So all lenses are imperfect to some degree. There's maybe some barrel distortion or some vignetting or chromatic aberration or other sorts of problems. Well Fuji knows full well what's wrong with their lenses and all lenses have problems. It's not like Fuji lenses are the only ones that have problems. And so in this case, Fuji will correct digitally what their lenses are not optically doing correct. And it's not totally clear what they're doing, but it does seem to yield a little bit better sharper results from the lenses. And so this is something that I would probably leave turned on to get the highest performance from your Fuji lenses. Select custom settings. So we saw this earlier in the Q menu where you get to customize your camera. And so if you do want to customize your camera, set the camera up the way that you would like it to work for a particular scenario, then you can come to this setting in the menu setting, and you can save it as custom eit...
her one through seven. And you could do this for seven different types of photography. And that way when you're switching from one scenario to the next, you don't have to go through and change each individual feature yourself. You can just switch the camera over, and it switches everything at once. It's essentially like having favorites. And it's a great way to quickly change from radically different setups on the camera without going through and changing each individual feature. And so, the previous one, I may have spoken wrong, was for selecting what you've already edited and saved in the camera. This is the area that you would actually save a particular custom setting or where you would edit it. And so the first one is for selecting it, this one is for saving it. Beyond the Fuji lenses you can add on an M adapter, or a variety of other adapters to adapt other lenses. The M adapter is so that you can hook up Leica M lenses to the camera. And some information will be passed electronically from the lens and the adapter back to the camera and here's where you get to select which lens you have on so that when you look at the metadata of the photograph you're taking you know which lens was on the camera. So they have some preset ones. 21 through 35. Lens five and six you will notice have 50 and 70 but they have a little wrench and arrow off to the side. You can change the focal length. Perhaps you have a 90 millimeter lens or a 75 millimeter lens on there, but it also allows you to go in there and tweak the characteristics. This is kind of the lens modulation optimizer for these extra lenses and you can go in and adjust what focal length it is, as far as you're not gonna be able to zoom it just is the information going to the metadata. But you can actually correct for distortion and color shading and peripheral illumination or darkening of the color, corners. And so if you have an extra lens beyond Fuji that is working with one of the adapters, notably one of the Leica lenses, you can go in and correct for some inherent problems that that lens might have in it. And so very interesting feature to have on a camera for sure. I don't know any other camera that has that. If you were wanting to hook this camera up to an adapter maybe on a telescope or with other manual focus older lenses, you can turn this camera on so that it will fire without any sort of lens connected to the camera. Normally as a safety precaution, this is turned off so that the shutter is not firing when the lens is off camera because there could be something like a finger being stuck in the lens and that would potentially run into where to shutter is and that can potentially damage the shutter and damage the camera. And so unless you plan to use extra lenses with unusual mounts on the camera, you'd probably just be wise to leave this turned off. (clears throat) Fourth page of the shooting menu. Manual focus assist. So if you do like to manually focus, the camera has some interesting ways of helping you focus in visual aids. And I shot a couple of videos to help you out, understand what this is. So let's take a look at what the digital split image and what the focus peak highlighting looks like. So the digital split image. If you'll notice I'm gonna try to focus on the film canister on the left. And what I'm trying to do is I'm trying to get a straight line in that red box. And right about there, good, and then I go past it. And now I'm gonna try to focus on the one in the middle. And here is focused highlighting. And so it highlights the areas in red that are in focus. So as I focus on the nearer focusing canister, and then on the middle you can see how much depth of field we're getting and what's in focus. And so it's a different type of focusing aid for different types of situation, and some people prefer one some people prefer the other. Both are good they're just kind of for different types of scenarios. Now if you do choose the focus peak highlighting, you get to choose a color and an intensity. So either a low or a high intensity with red, white or blue. And so choose accordingly. Normally I leave it off and I like to use just the magnification assist where it magnifies the image and I can see it a little bit more clearly. Next up is the auto exposure and auto focus lock modes. How do you like your buttons pressed? The two options are pressing which means you need to leave pressure on the button, or it's a switch where you press it once. It's turned on and then you press it again and it's turned off. If you use it a lot and you have to leave your finger on it a lot, I would recommend using the switch. So it kinda just depends on how much and how you like to use these buttons. The auto focus lock mode. So, the AFL button can be used to lock the auto focus or the auto focus and the exposure at the same time. If you wanted to lock exposure and focus at the same time, it would be really tough to press both buttons unless of course you have two thumbs. And that is rather difficult to do so if you can just lock 'em together with the AEL, AE AF lock, it'll do both at the same time. So it really depends on how much you use that feature and so I leave mine with AFL 'cause I am rarely wanting to lock both at the same time. Photometry. This is metry, and this one I'm surprised is not in the Q menu so we haven't talked about this one before. So this is how the camera reads the light coming in. And so the multi-metry is a multi-segment system where it breaks the light up into many different areas, and is a very good general purpose metry system. We also have a spot which is a highly concentrated area where it reads lights which can be very handy in tricky lighting situations. And then it has a more simplistic average system which is very much like traditional cameras. If you would like to interlock the spot metry area and the focusing area which a number of photographers do like to be able to do to focus and read light on the exact same subject, you can do that if you want to leave this turned on and so that will take, in fact as I say a lot of people do like that feature. In the flash set-up mode we are gonna be diving into a flash set-up menu and so this whole menu within a menu again. So in here we can use the different flash modes which we have seen before. A lot of different options for controlling the built in flash or an add on flash. And I mentioned before that I thought powering the flash down about a stop, meeting two thirds of a stop was a very wise choice especially for people who like to do portrait photography, and they want to add a little bit of fill flash so that those eyes have a little bit of catch light in them. And if you do that on a regular basis you'll find that powering the flash down two thirds of a stop or one stop is gonna give you a little better look to your images. You might want to do some testing on your own to see what your style is like. The red eye removal is a software removal of the red eye problem in the eye, and if you shoot a lot of people with red eye problems it will probably save you some time turning this feature on. So that was our flash set-up sub menu. Next up the movie settings and once again we have another little sub menu to dive into. So in here is the movie set-up information. First up is the movie mode. This is the resolution and frame rate of our movies. And most of the time we're gonna probably want it at the highest resolution which is 1920 by 1080. And that one has full high definition. We do have some settings at 25 and fifty frames per second which is designed for the Powell market, which is a lot of European countries. The North American, the United States used the NTSC system which is normally shooting video at 30 frames a second. But if you want to shoot it at twice the frames you can shoot it at 60 frames a second and then slow it down half speed if you wanted to for certain types of videos but for your basic video, you're probably just gonna want it at 30 frames per second but they do have a number of different options in there but I think that's the most logical one for most basic videos. Movie ISO is slightly different than standard ISO. For instance the camera does not allow you to shoot at ISO 200. 400 is gonna be standard or base ISO setting for shooting movie modes. And so one of the things I was doing, testing out on the camera is, what happens if you're shooting in manual in ISO 200 and you suddenly start recording a movie? But what happens is the camera automatically jumps up to ISO 400 which would throw off the exposure, but it also jumps the shutter speed up in equal amount so that your getting a proper exposure. So it does jump those numbers around a little bit on you. So if you are gonna be very serious about shooting movies and you want to be very particular about shutter speeds, and apertures you'd probably be wise to select ISO 400. If you just want to collect simple basic movies, just put it in the auto and the camera will figure it out for you. If you want to adjust the mic level, if you are recording sound and you want to lower the sound volume that's being recorded or increase it 'cause you can't hear it long enough, you can go in and you can adjust it. You need to choose the little remote on the side of the camera, the pot on the side of the camera whether you plan to use a microphone or a remote in there. If you don't want to use either one then don't worry about it. You don't have to set anything but if you do want to put a microphone in there, you do have to set it to the microphone setting and the same thing with the remote. Alright so that was the movie set-up menu. And we are pretty much done with page four. On to page five the shooting menu. The bracketing and advanced settings. So this is going to head into another sub menu, and if you recall on the dial on the top of our camera we have a bracketing one and we have a bracketing two. And this is where the camera will shoot a series of photos and it's gonna make 'em a little different and there's a lot of different ways that you can make 'em a little different. So within the bracketing select you need to choose well what exactly do you want to bracket? Do you want to bracket the exposure, the ISO, the film, the dynamic range or the white balance? Most people are doing exposure bracketing. So they're shooting different exposures with their bracketing setup. But you can choose whatever you want in there. If you are gonna be doing the exposure bracket you want to bracket by a third, which really isn't very much folks. Two thirds of a stop, still not very much, or a full stop. And if I had to have a request, if somebody from Fuji was watching this class, we should have plus minus two and plus minus three in here as well so that we can bracket even further. That's what most all the other kinda camera companies do. So if you're gonna bracket by an amount I would highly recommend one stop because everything else is just very very too small. Too small. So if you want to bracket by ISO how much difference do you want between the ISO settings? Once again I think, one would be the logical choice here. It'd be nice to see even more numbers in there. With the film simulation bracket you can get, you get to choose three different film simulations that the camera will shoot very quickly between. And so here it's just a matter of personal preference. White balance. If you shoot RAW this is completely unnecessary because you can fix white balance later in post if you shoot RAW but if you shoot JPEG white balance is a little bit more important, but I don't know that I've ever run across somebody that's used this particular feature other than just to see if it works or not. And so, it's there if you need it. Probably not gonna be the most used feature in the camera. And you can do this for bracketing one and bracketing two. So for instance, you could have bracketing one for exposure bracketing and bracketing two for film exposure bracketing. Nice to have those two options in there. Alright next up is our advanced filter. We have number one and number two. So we kind of have two different areas of favorites. And so if you want to use one of these filter effects it's kind of that Instagram look if you will to your images. We have a lot of different unusual options on ways to make your pictures look a little bit different. Once again this is gonna be with JPEG images and you can select one for filter number one and one for filter number two and very quickly turn that dial on the top of the camera to change those settings which is a very quick and easy way to do it. Alright. The camera does not have built in image stabilization. It's the lenses that have built in stabilization, and for lenses that do have built in stabilization there are four different options in here. And the, difference between continuous and shooting is continuous is that the lens is always trying to stabilize things when you have your finger half way down on the shutter release. In the shooting options, it's only doing it when you press, only doing it when the photo is actually taken. So you won't see the image stabilization. It'll only be doing it when the picture's taken and so it potentially might be easier for framing up a subject in some scenarios. Now, the motion part of it is a little unusual in this case, 'cause what it's gonna do, let me check my notes here, is that the camera, if you select the continuous motion or shooting in motion, is that the camera will go in and adjust your shutter speed to make sure that you don't have camera shake. And for anyone who's shooting sports and has specifically chosen an exact shutter speed, you don't want the camera going in and changing the shutter speed on you. And so I'm thinkin' for most people just leavin' it in straight continuous would make the most sense and it's easy to work with. And so, some unusual options in there. The wireless communication is something we ran across before. That was the function button on the back of the camera which was function number seven. But it can be reprogrammed into something else. In that case you would dive in here to start that wireless communication with a smart phone for instance. The aperture setting. So there's a few of those lenses that do not have aperture rings on them and the way you control it is by turning the aperture control dial in the back of the camera. And the M option will basically take your from the lowest to the highest aperture. The A plus M option will take you through the aperture range but it will also have the auto setting at one end of the spectrum. And so the question is is do you want to be able to automatically flip it over into automatic aperture by just simply turning the back of that dial which seems to make sense for me but I do not own one of these lenses and you may have a different opinion. Alright, next one's pretty important one here. This is the shutter type. Normally the camera is using a mechanical shutter and we talked earlier about those very fast shutter speeds. The 8,000, 16,000 and 32 thousandth of a second that you can set on this camera but it can only be done with the electronic shutter. And so you have two options. One is the mechanical shutter which is the way the camera comes from the factory, the electronic shutter or a combination where it uses the mechanical shutter and it will go to the electronic shutter if you choose to use those really high shutter speeds. Now, with those really high shutter speeds you might think that that would be very good for stopping action but because of the rolling effect of it turning pixels on and off in a series of rows it's not capturing the whole image at one time. And you end up with some rather unusual results. And you'll notice on the left side here, as I'm panning the camera from right to left, those buildings in the background have a very angled look to them. Because the cameras not capturing all the information in one instant. In the case on the right the camera is totally still. Those bicycle wheels are not perfectly round because of this rolling shutter effect caused by an electronic shutter occurring. And so I don't recommend these higher shutter speeds for shooting action. They're great for exposure control. If you're using one of their portrait lenses like their 56 1.2 and you're trying to shoot outside in fairly bright light at 1. you're gonna need a very fast shutter speed and that's where the electronic shutter would really come in handy. And so I think the mechanical plus the electronic shutter is a nice option where you get the best of both worlds whenever you need it.
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 purchased my Fujifilm X-T10 over a year ago and recently realized that I wasn't using it to its fullest extent. John's Greengo's video on its use opened me to a wider use. The information is clear, well organized, sequential, and helpful. I don't have the time to read a small print booklet and found the visual presentation useful because I could go through the steps on my Fuji. I'm still a little unclear on the seven custom setting and think Fuji should explain what each does. Thanks, John, for your work and encouragement.
John Greengo's approach to teaching is the best. Each visual, each explanation and each example he demonstrated touched every sensory way of learning. The PDF print outs are a great bonus. Thank you for doing this video.
I'm thinking about purchasing an XT-20, this course was very helpful to understand the camera beforehand.
note: the opening slide in John's (excellent) presentation, shows an XT-1 not an XT-10... but I'm buying an XT-20, I think I got that right.
- perhaps just an Easter Egg hahaha