Let's talk a little bit more about technique. We've talked about the gear we've taken you into the field, but the worst from questions early around about camera settings. And that's what we're going to talk about now in this pre recorded video. So let's roll the video. Let's talk about camera settings. Some of them are fundamental and apply to landscape as well as to wildlife photography, and others are a bit more specific to bird photography. Let's start to it your image quality. I capture images in raw moat. I know that some photographers capture J packs along with raw images, but I think that's a waste of pixels. Amateur. Sometimes I prefer to capture J pecs because the other easier to export, but I couldn't do much more of it. Arroyo image. It's really the equivalent of a digital negative, but it requires more work after the fact, so that's a little bit of a drawback. But for me to default is raw meeting moat. My default is matrix, which means that the meter automatically can have ...
captures points throughout the viewfinder and imbalances. Theo exposure for bird photography. Some people I prefer to use spot metering especially when you use a long lens. But I prefer matrix throughout and then I'll adjust my exposure of it Exposure, compensation if need be. And that's important to think about when you're looking at white birds. Sometimes you need to under expose. Sometimes you need to over expose It depends on the quality of light. How do you set your I s so in the days of film, your I s over is governed by your film stock and you didn't have a lot of options. It was Kodachrome at 64 then the receptor chrome at 100. And sometimes you could use actor chrome at 200 but these days disguised the limit The sensors in our cameras today are unbelievable. You can crank up the I s o all the way to 100, if you need be. It's a dizzy and concept to wrap your head around. But how do you deal with the flexibility in your I S O settings? Well, most manufacturers have come up with an amazing tool called Auto I s O. For many years, I was used to setting my SLR camera and eider aperture priority, or in shutter speed priority depending on better. I wanted to pay attention to the shutter release or to the aperture for technical, for creative controls. But now I apply auto sensitivity. And that means that with the two dial's on my camera, I can simultaneously kind of change the aperture as well as the shutter speed and the I s O becomes a floater. And that is the magic of the camera Stutts we have in our hands today. When I first heard about auto, I s so I was a little bit puzzled by it. But now I think it's one of the greatest functions on my camera, and we're gonna follow up on that as we are practicing. Made it in the field. My balance. My default is auto white balance. The meters are so good that they can adjust for different kinds of light. And if I need to make any adjustment, I do that after the fact in light room, no need to fiddle bit value in the field. Let the camera do the heavy lifting that it is designed for and you focus on the creative controls where it matters. Release Moz in bird photography, you want to be prepared for action, so my default is continues. Low release. I can shoot a couple of frames a second that this camera, when I want to get ready for riel action. Then it goes into continues. Hi for portrait. When not much is changing, I switch it back to a single release because I don't want to waste too many frames that are nearly identical that give me Mawr work after the fact when I have to edit the best frame image stabilizers. I mentioned that some muralist cameras have that built into the bodies, but in my DSLR it's relegated to the lenses. So it's on all the time as a default, and I put it in sport mode because bird photography is very much like sport photography, a lot of action, and it's unpredictable. Focus. Control. I started photographing birds back in the days when auto focus didn't exist. Him and I think back it's almost incomprehensible that I got any bird in flight sharp these days. It's so easy with the amazing capabilities off cameras and lenses to track birch in flight and to get them razor sharp as they fly into your viewfinder. but it can be a little bit bewildering to look at all the different autofocus settings. Let me cut to the chase for bird photography. I prefer dynamic area A F. You might try three D tracking mid Burton flight against the blue sky. And we're going to talk Maura, about those details. Member of practicing in the field. That's a lot of information, right? And, uh, we're not even done yet, but there's an extension to this technical video. Now comfort out in a minute. I just want to emphasize the holy Trinity of Shutter speed aperture and I s O I s O is a term that goes back to the film days. As you heard me explain, in Europe, they refer to it as a s a ah animus. Based on the sensitivity of the film stock these days, it's really it's a measure of your sensor sensitivity, and the crucial thing that that we can do now is instead of having I s so as a limiting factor on what you can do, it's becoming an enabling factor. And that is what auto I s O allows you to do. I can pick any combination of shutter speed and aperture that is optimal for whatever I want to achieve, but in a range of ISO settings. And the camera makes the isso float up or down, depending on the shutter speed and the opportunity I select. And you can set the limit for your I S O depending on what you feel comfortable with it in terms of a tolerance for digital noise. So that's a really eye opener.