final spine = 0.4784"
From Snapshots to Great Shots
Now that you’ve bought the amazing Canon EOS 70D, you need a
book that goes beyond a tour of the camera’s features to show you
exactly how to use the camera to take great pictures. With Canon
of photography instruction and camera reference that will take your
images to the next level! Beautifully illustrated with large, vibrant
photos, this book teaches you how to take control of your photography to get the image you want every time you pick up the camera.
Follow along with your friendly and knowledgeable guide,
photographer and author Nicole S. Young, and you will:
• Learn the top ten things you need to know about shooting
with the EOS 70D
• Use the EOS 70D’s advanced camera settings to gain full
control over the look and feel of your images
full-time photographer
specializing in food and
landscape photography,
and she also licenses
her images through
iStockphoto and Getty Images. Nicole
is an accredited Adobe Certified Expert
(ACE) in Photoshop, owns and operates
the Nicolesy Store, and is a regular
contributor to the National Association
of Photoshop Professionals and Photofocus websites. The author of several
books, including Plug In with onOne
Software and Food Photography: From
Snapshots to Great Shots, Nicole blogs
• Master the photographic basics of composition, focus,
depth of field, and much more
• Learn all the best tricks and techniques for getting great
action shots, landscapes, and portraits
• Find out how to get great shots in low light
• Learn the basics behind shooting video with your EOS 70D
and start making movies of your own
From Snapshots to Great Shots
EOS 70D: From Snapshots to Great Shots, you get the perfect blend
Nicole S. Young is a
Canon EOS 70D Canon EOS 70D
Get great detail
in your subjects!
Canon EOS 70D
From Snapshots to Great Shots
Peachpit Press
Level: Beginning / Intermediate
Category: Digital Photography
Cover Design: Aren Straiger
Cover Image: Nicole S. Young
Author Photo: dav.d daniels
Learn the best
ways to compose
your pictures!
• Fully grasp all the concepts and techniques as you go,
with challenges at the end of every chapter
And once you’ve got the shot, show it off! Join the book’s Flickr
group, share your photos, and discuss how you use your 70D to get
great shots at
9780133571257_CanonEOS70DSNP_Cvr.indd 1
US $24.99 Can $25.99
Nicole S. Young
11/18/13 4:41 PM
Canon EOS 70D:
Snapshots to
Great Shots
Nicole S. Young
Canon EOS 70D: From Snapshots to Great Shots
Nicole S. Young
Peachpit Press
To report errors, please send a note to
Peachpit Press is a division of Pearson Education.
Copyright © 2014 by Peachpit Press
Project Editor: Valerie Witte
Production Editor: Katerina Malone
Copyeditor: Emily K. Wolman
Proofreader: Patricia J. Pane
Composition: WolfsonDesign
Indexer: Valerie Haynes Perry
Cover Image: Nicole S. Young
Cover Design: Aren Straiger
Interior Design: Mimi Heft
Back Cover Author Photo: dav.d daniels
Notice of Rights
All rights reserved. No part of this book may be reproduced or transmitted in any form by any means,
electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the
publisher. For information on getting permission for reprints and excerpts, contact
Notice of Liability
The information in this book is distributed on an “As Is” basis, without warranty. While every precaution
has been taken in the preparation of the book, neither the author nor Peachpit shall have any liability to any
person or entity with respect to any loss or damage caused or alleged to be caused directly or indirectly by the
instructions contained in this book or by the computer software and hardware products described in it.
“From Snapshots to Great Shots” is a trademark, in the U.S. and/or other countries, of Pearson Education, Inc.
or its affiliates. All Canon products are trademarks or registered trademarks of Canon Inc.
Many of the designations used by manufacturers and sellers to distinguish their products are claimed as
trademarks. Where those designations appear in this book, and Peachpit was aware of a trademark claim, the
designations appear as requested by the owner of the trademark. All other product names and services identified throughout this book are used in editorial fashion only and for the benefit of such companies with no
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endorsement or other affiliation with this book.
ISBN-10 978-0-133-57125-4
Printed and bound in the United States of America
To Brian, my husband, best friend, and biggest fan. I love you!
There are a lot of things that go on behind the scenes when creating a publication, such
as this book. This being my fifth print book with Peachpit, I’ve come to really appreciate
the efforts and contributions that everyone puts into making things come together beautifully. With that said, I’d like to thank each and every one of the team who helped put
together this book: Valerie Witte, Katerina Malone, Emily K. Wolman, Patricia J. Pane,
WolfsonDesign, Valerie Haynes Perry, Aren Straiger, and Mimi Heft. Thank you all so
much for your hard work!
I would also like to thank all of my readers for sticking with me through all of these years.
I teach and write about photography because I truly want all of you to become skilled
photographers and enthusiastic memory collectors, and also so that you may further
enjoy the act of creating a photograph that you are proud of. Without you I would not
be writing this book, so thank you!
And, last but not least, I’d like to thank my husband, Brian. It’s an amazing thing to have
a partner who is as passionate about photography and education as I am. Brian, you’ve
given me so much creative freedom, and also made some amazing sacrifices, and I know
we have our best years yet to come. I love you!
Ten tips to make your shooting more productive
right out of the box
Poring Over the Camera
Poring Over the Camera
1. Charge the Battery
2. Turn Off the Release Shutter Without Card Setting
3. Set Your RAW/JPEG Image Quality
4. Set Your ISO
5. Set the Correct White Balance
6. Set Your Color Space
7. Set Your Autofocus
8. Set Up Wi-Fi 21
9. Enable Highlight Alert
10. Review Your Photos
Chapter 1 Assignments
A few things to know and do before you
start taking pictures
Poring Over the Picture
Poring Over the Picture
Choosing the Right Memory Card
Formatting Your Memory Card
Using the Right Format: RAW vs. JPEG
Lenses and Focal Lengths
Understanding Aperture, Shutter Speed, and ISO
Motion and Depth of Field
Chapter 2 Assignments
Using the camera’s mode settings
Poring Over the Picture
Poring Over the Picture
The Basic Zone
The Creative Zone
The Custom Setting Mode
How I Shoot: A Closer Look at the Camera Settings I Use
Chapter 3 Assignments
Settings and features to make great portraits
Poring Over the Picture
Poring Over the Picture
Using Aperture Priority Mode
Lighting Is Everything
Focusing: The Eyes Have It
Composing People and Portraits
Quick Tips for Shooting Better Portraits
Chapter 4 Assignments
Tips, tools, and techniques to get the most out of
your landscape photography
vi Poring Over the Picture
Poring Over the Picture
Sharp and In Focus: Using Tripods
Camera Modes and Exposure
Selecting the Proper ISO and White Balance
Balancing Your Image with the Electronic Level
The Golden Hour
Focusing Tips for Landscape Photography
Making Water Look Silky
Composing Landscape Images
Advanced Techniques to Explore
Chapter 5 Assignments
C A N O N E O S 7 0 D : F R O M S N A P S H O T S T O G R E AT S H O T S
Techniques and tricks with action photography
Poring Over the Picture
Stop Right There!
Using Shutter Priority (Tv) Mode to Stop Motion
Using Aperture Priority (Av) Mode to Isolate Your Subject
Setting Up Your Camera for Continuous Shooting and Autofocus
Manual Focus for Anticipated Action
A Sense of Motion
Tips for Shooting Action
Chapter 6 Assignments
Shooting when the lights get low
Poring Over the Picture
Poring Over the Picture
Raising the ISO: The Simple Solution
Controlling the Minimum and Maximum ISO
Using a Very High ISO
Stabilizing the Situation
Focusing in Low Light
Shooting Long Exposures
Using the Built-in Flash
Compensating for the Flash Exposure
Reducing Red-Eye
Using Second Curtain Sync
A Few Words about External Flashes
Chapter 7 Assignments
Improve your pictures with sound compositional elements
Poring Over the Picture
Depth of Field
Point of View
C O N T E N T S 
Patterns, Textures, and Shapes
Leading Lines
Rule of Thirds
Frames within Frames
Chapter 8 Assignments
Making movies with the Canon 70D
Poring Over the Video Camera
Getting Started
Exposure Settings for Video
Tips for Shooting Video
Chapter 9 Assignments
Customizing your camera and your creativity
Poring Over the Picture
Using a Custom White Balance
The My Menu Settings
In-Camera Image Editing
Picture Styles
Let’s Get Creative
Chapter 10 Assignments
viii C A N O N E O S 7 0 D : F R O M S N A P S H O T S T O G R E AT S H O T S
If you are reading this book, there’s a pretty good chance that you have read other “howto” photography books. Many of those books will be either camera-specific (how to use
the settings on your camera) or about the methods and techniques used to create specific
types of images (landscape, portrait, HDR, etc.). In this book you get the best of both
worlds—you learn how to use your 70D and its specific features as well as the different
methods and photography techniques to capture those images.
Here’s a quick Q&A about the book to help you understand what you’ll see in the following pages:
Q: What can I expect to learn from this book?
A: My goal in writing this book is to help owners of the Canon 70D learn more about the
camera’s specific settings and features, and put that knowledge to use to make great
images. You’ll also find a ton of general and advanced photography tips and tricks in
each of the chapters to push your photography to the next level.
Q: Is every camera feature going to be covered?
A: No. I wrote about what I feel are some of the 70D’s most important features, but don’t
worry! There’s a lot of information in here. This is more than just a book on simple steps
to get you started ... . I really dig into some of the advanced features to make sure that
you get as much as possible out of your 70D.
Q: So if I already own the manual, why do I need this book?
A: Your manual does a great job of explaining how to use the camera’s features, but it
doesn’t necessarily tell you why or when to use them. I tried my best to do both so that
not only do you know about the 70D’s knobs, buttons, and settings, but also what the
best situations are to make use of the camera’s features and settings.
Q: What are the challenges all about?
A: At the end of each chapter, I list a few exercises you can do to practice and solidify
some of the techniques and settings you learned about in that chapter. Feel free to try
them out if you like, and if you do, be sure to check out the Flickr group and share what
you’ve learned!
Q: Should I read the book straight through or can I skip around from chapter to chapter?
A: Well, both! The first few chapters are going to give you a lot of basics about your 70D
and digital photography in general, so if you don’t quite have a grasp on either of those
yet, it’s a good idea to read through them before heading on to the rest of the book.
ISO 160 • 1/125 sec. • f/2.8 • 40mm lens
Say Cheese!
Settings and features to make great portraits
Photographing people is challenging, rewarding, and fun all at the same
time. When you photograph a person, you are capturing a memory, a
moment in time. Images of friends and family often become our most
cherished possessions. The people you photograph are depending on
you to make them look good—and while you can’t always change how
a person looks, you can control the way you photograph that individual.
In this chapter, we will explore some camera features and techniques that
can help you create great portraits.
Poring Over the Picture
Whenever I visit my family back in Nebraska, my nieces and nephews end up being the
main subjects of my photographs. Oftentimes I bring them outside and have them smile
for me, or just play around, in order to get photos for the family. For this photo, the
front yard was shaded, which gave me a good opportunity to get some nice images of
my nephew playing in the grass. Overall, the kids are always good sports and give me just
enough time not only to get nice, smiling images of them, but to let their personalities
shine through as well.
I used a wide aperture to
blur the background.
ISO 100 • 1/750 sec. • f/2.8 • 40mm lens
I positioned his face in
the upper-right third of
the image for a pleasing
Because my nephew
was on the ground, I got
down low to photograph
him at eye level.
Poring Over the Picture
It was a cloudy day, so I was able
to achieve a balanced exposure
with nice, soft light throughout
the entire scene.
Her brightly colored pink shirt
was very complementary to the
green fields in the background.
ISO 400 • 1/3200 sec. • f/5.6 • 70–200mm lens
I used a very fast shutter speed
to “freeze” the dirt in midair.
A wide aperture combined
with a long lens allowed
me to blur the background,
giving separation between
the woman and the fields
behind her.
While on a trip to Vietnam, I decided to be adventurous and hire a man with a
motorbike to drive me around the countryside. I was hoping to find authentic
images of local people doing everyday things, and so when I spotted this woman
clearing out chunks of dirt from a rice paddy, I immediately asked the driver to
stop so I could go out and photograph her. After asking her permission, I used
a long lens and a fast shutter speed to freeze the action of her movements and
made several beautiful photographs.
Using Aperture Priority Mode
In the previous chapter, you learned about the different shooting modes, and that when
photographing people you’re likely to be most successful using Aperture Priority (Av) mode.
With portraits, we usually like to see a nice, soft, out-of-focus background, and you can
only guarantee that you’ll achieve those results if you have control of the aperture setting
(Figure 4.1). You’ll also be letting more light into your camera, which means that your ISO
can be set lower, giving your image less noise and more detail.
Now, don’t think that you have to use a crazy-fast lens (such as f/1.2 or f/2.8) to achieve
great results and get a blurry background. Often an f-stop of 4.0 or 5.6 will be sufficient,
and you might even find that having an extremely wide-open aperture gives you too little
depth of field for a portrait, since you want most of the face to be in focus. In fact, I shoot
many of my portrait photographs with a lens that has a maximum aperture of f/4, and I
always achieve the results I’m looking for.
Figure 4.1
For this image, I used
a large aperture combined with a long
lens to decrease the
depth of field and
make the background blurry.
ISO 100 • 1/50 sec. • f/4 • 70–200mm lens
98 C A N O N E O S 7 0 D : F R O M S N A P S H O T S T O G R E AT S H O T S
Go Wide for Environmental Portraits
Sometimes you’ll find that a person’s environment is important to the story you want to
tell. When photographing people this way, you will want to use a smaller aperture for
greater depth of field (which will put more of your background in focus) so that you can
include details of the scene surrounding the subject.
Also keep in mind that in order to capture the person and their surroundings, you’ll need
to adjust your view and use a wider than normal lens. Wide-angle lenses require less stopping down of the aperture to achieve greater depth of field. This is because wide-angle
lenses cover a greater area, so the depth of field appears to cover a greater percentage
of the scene.
A wider lens might also be necessary to relay more information about the scenery
(Figure 4.2). Select a lens length that is wide enough to tell the story but not so wide that
you distort the subject. There’s nothing quite as unflattering as giving someone a big,
distorted nose (unless you are going for that sort of look). When shooting a portrait with
a wide-angle lens, keep the subject away from the edge of the frame. This will reduce the
distortion, especially in very wide focal lengths.
Figure 4.2
A wide-angle
lens and a small
aperture allowed
me to show as much
detail as possible
in the room.
ISO 400 • 1/10 sec. • f/7.1 • 18–50mm lens
4 : S ay C heese !
Lighting Is Everything
Photography is all about capturing light, so the most important thing in all of your images
is the quality of the light on your subject. When you photograph people, you typically have
a lot of control over when and where the image is taken, so you can manipulate your
environment and find the best-possible light for your subject.
Before I get into what you should do, let me first talk about what not to do. It’s a common
misconception that bright sunlight is great for portrait photographs. Of course, this is not
entirely untrue, since there are some creative and amazing ways to use harsh natural sunlight and make great portraits. The problem is that when the sun is at its highest point,
in the middle of the day, it’s going to cast some very harsh shadows on your subject and
probably make them squinty-eyed as well.
There are several easy ways to achieve beautifully lit portraits in an outdoor setting, and
here are my two favorites. The first is to find shade. It might not seem like it at first, but
on a sunny day an extraordinary amount of light fills shaded areas, for example, on the
side of a building or underneath a covered patio. This is diffused sunlight and will give a
very soft, even light on your subject’s face (Figure 4.3).
Figure 4.3
The light was diffused evenly across
the little boy’s face
in this image, taken
in a shady area in
the grass.
ISO 160 • 1/180 sec. • f/6.7 • 40mm lens
100 C A N O N E O S 7 0 D : F R O M S N A P S H O T S T O G R E AT S H O T S
The second way to light your images outdoors is to use the light that occurs during the
“golden hour” of the day. This is the time period that occurs one hour after sunrise and
one hour before sunset (many photographers are more likely to use the evening light
since it’s more convenient). The quality of this light is soft, warm-toned, and very pleasing
for portraits (Figure 4.4).
Figure 4.4 This image was photographed in the evening,
just before the sun had
set, adding a nice warm
rim light on the little
girl’s hair.
ISO 160 • 1/60 sec. • f/2.8 • 50mm lens
When to Use a Flash
I’m not usually a big fan of using the pop-up flash or any type of on-axis flash, which is a
light source that comes from the same direction as the camera. It usually results in lighting that is very flat, and often adds harsh shadows behind the subject. But you won’t
always have the perfect lighting situation for each photograph, so keeping an on-camera,
ready-to-go flash on hand can be very practical. It’s also good for those moments when
you just have to get the shot and there’s not a lot of light available, for example, if your
baby takes his or her first steps in a darkened room. You wouldn’t want to miss that, and
the pop-up flash is a handy tool to help capture those moments.
4 : S ay C heese !
The flash can also be useful if you are in a situation where the afternoon sunlight is the
only light available and you need to use a fill light. A fill light will “fill in” the areas in
your subject that are not already lit by the main light—in this case, the sun. When photographing people outdoors in the direct sunlight, you don’t want them to face directly
into the light. Try to position your subject so the sun is off to their side or behind them.
This is a good situation in which to use a fill light, such as the pop-up flash on your 70D,
to expose their face properly (Figure 4.5).
Figure 4.5
I positioned this
family with the sun
out of their faces
and filled in the shadows with a flash.
ISO 100 • 1/250 sec. • f/5.6 • 70–200mm lens
Setting up and shooting with the pop-up flash
1. Press the Flash button on the front of the
camera to raise your pop-up flash into the
ready position (A). Take a photo with the
camera at its current settings.
2. Press the Q button on the back of the camera to bring up the Quick Control screen.
102 C A N O N E O S 7 0 D : F R O M S N A P S H O T S T O G R E AT S H O T S
3. Use the Multi-Controller to select Flash Exposure Compensation (B), and then press
the Set button.
4. Use any dial to increase or decrease the flash exposure (this is similar to exposure
compensation, but you are affecting only the amount of light that your flash will
generate for each shot). If your original image from step 1 was too dark, move the
dial to the right to make the flash output more intense; if the image was too bright,
move the dial to the left (C).
5. Take another photograph with these new settings and compare it with the original
on the LCD monitor to see if it looks good. If not, try increasing or reducing the
flash meter in one-third-stop increments until you get the correct amount of fill
flash for your shot. For example, my first image (D) was overexposed, so I reduced
the flash compensation by two stops and ended up with a nicer balance of light
from the flash that wasn’t too bright (E).
There are other options for filling in areas of your image that need additional light.
A reflector is a very common and inexpensive accessory that you can use to bounce light
back onto your subject. You can buy these at any camera store, but you could even use a
large piece of white foam core or anything that is reflective (like a sunshade for the windshield of your car) to get similar results.
Metering Mode for Portraits
Your camera gives you four different metering modes that tell it where and how to meter
the light. Each mode has a unique way of reading the scene, and which mode you use will
depend on the environment you are shooting in.
I use the Evaluative metering mode for
the majority of my work, and this mode
is ideal for portraits. However, sometimes you’ll run into situations where
the background is much darker or lighter
than the person you are photographing, which could give you an incorrect
exposure. In these cases, you’ll want to
use Partial metering, which will meter a
smaller portion of the center of the frame
(Figure 4.6). The great thing about digital
SLRs is that with instant feedback on the
LCD, you are able to make adjustments as
needed if the metering mode didn’t mea-
Figure 4.6 The shaded circle in the center represents
the area in your image from which the Partial metering mode will meter while you are looking through
the viewfinder.
ISO 100 • 1/125 sec. • f/6.7 • 40mm lens
sure the light properly.
Selecting a metering mode
1. Press the Q button on the back of
the camera to bring up the Quick
Control screen, and then use the MultiController to select the metering mode
at the bottom of the screen (A).
104 C A N O N E O S 7 0 D : F R O M S N A P S H O T S T O G R E AT S H O T S
2. Press the Set button, and then choose the metering mode that you would like to use
(I recommend starting with Evaluative) (B).
3. You can also change this setting on the LCD panel on the top of the camera. Just
press the Metering Mode selection button and use the Main Dial to scroll through
the different settings (C).
Shooting with the AE Lock feature
Once you select your metering, you can lock that setting in your camera temporarily if
you want to recompose your image—for example, if you are in an environment where
there is sufficient light on your subject but the background is significantly brighter or
darker. The metering in your camera is continuous, meaning it will change depending on
where the center of the viewfinder is pointed. If you want to compose the image so that
the person is off-center, the camera will meter the wrong part of the scene.
To correct this, you can meter for one part of the image (your subject), lock down those
settings so they don’t change, and then recompose the scene and take your photo. Here’s
how to use the AE Lock feature on the 70D:
1. While looking through the viewfinder, place the center
focus point on your subject.
2. Press the AE Lock button to get a meter reading and
lock the exposure settings (Figure 4.7). You’ll notice an
asterisk just to the right of the Battery check icon inside
of the viewfinder, which indicates that you have locked
your exposure.
3. Now recompose your shot and then take the photo; your
camera will maintain the exposure of the area where you
originally locked it.
Figure 4.7
4 : S ay C heese !
Focusing: The Eyes Have It
When you look at a person, probably the very first thing you notice is their eyes—it’s just
natural to make eye contact with other people, and we even do this with pets and other
animals. This is extremely important when creating photographs, because you want to
be sure that your focus is on your subject’s eyes (Figure 4.8). Also keep in mind that if the
subject is positioned at an angle, it’s best to focus on the eye that is nearest the camera,
since that’s where we naturally tend to look first (Figure 4.9).
In Chapter 1, “The 70D Top Ten List,” I discussed autofocus on the 70D. For the most control,
the best option for portrait work is to pick one of the nine focus points and stay away
from automatic selection. You can move the focus around within your viewfinder to find
the eye, ensuring that you are focusing on the proper part of the image before taking
your photo. Leaving the focusing decision up to the camera means you could end up with
an in-focus nose and blurry eyes, or, even worse, it might try to focus on the background
instead of the person.
Figure 4.8
It’s important to set
your focus on the
eyes when photographing portraits,
which is important
for both people and
animal portraits.
ISO 2000 • 1/1000 sec. • f/2.8 • 40mm lens
106 C A N O N E O S 7 0 D : F R O M S N A P S H O T S T O G R E AT S H O T S
Figure 4.9
I focused on this
woman’s right eye
because it was closest
to the camera.
ISO 200 • 1/125 sec. • f/2.8 • 35mm lens
4 : S ay C heese !
Focusing tip for portrait work
When focusing on your subject’s eyes, do your best to focus on the iris (the colored part of the eyeball). This is especially important if you are doing a very close-up portrait where the person’s face
fills most of the frame, since the focus area will be much more noticeable. If you’re shooting with a
large aperture and have shallow depth of field, sometimes it’s easy to miss focus and instead have
the eyelashes in focus and the eyeball a bit blurry.
Selecting and setting the AF point
1. Press the Q button on the back of your
camera to bring up the Quick Control
screen, and then scroll down to the AF
area selection mode option (A). Then
press the Set button.
2. Next, press the AF Area Selection Mode
button on the top of the camera to
cycle through the different AF options
(B). Choose the one you want to use,
and then use the Multi-Controller to
select the area of focus. I set mine to
an off-center Single-Point AF (Manual
Selection) (C).
3. You can also make these changes by looking through the viewfinder and pressing
the AF Area Selection Mode button; you’ll see the same screen you would when
using the Quick Control screen. Then follow step 2 to change your point or area of
108 C A N O N E O S 7 0 D : F R O M S N A P S H O T S T O G R E AT S H O T S
One easy way to work is to set the focus point location in the middle, find your subject’s
eye, and press the shutter button halfway to set focus. With your finger still holding
the shutter halfway down, recompose and
take the photo. The “focus and recompose”
method is a quick way to photograph people
and can work for many situations. Speed
is important because people tend to move
around during the shooting process, and
keeping the focus point in the middle can
simplify things for you.
A catchlight is that little sparkle that adds
life to the eyes (Figure 4.10). When you are
photographing a person with a light source
in front of them, you will usually get a reflection of that light in the eye, be it your flash,
the sky, or something else brightly reflecting
in the eye. The light reflects off the eye surface as bright highlights and serves to bring
attention to the eyes. Larger catchlights from
a reflector or studio softbox tend to be more
attractive than tiny catchlights from a flash.
Another option for photographing people is
to use Live View’s facial detection features.
The Canon 70D has the ability to detect and
track human faces, allowing you to focus
on those faces quickly. Basically, the camera
keeps a track on the faces it can find in your
scene, and then once you press the shutter it
focuses on the face onto which it is locked.
This is great for fast-moving subjects, but I
wouldn’t recommend it for close-up work
with a very shallow depth of field (such as an
aperture set to f/2.8), as you’ll want to make
sure that the focus is always set to the eyes
Figure 4.10 The catchlights in this image add a
sparkle to the little girl’s somber expression.
instead of another portion of the face.
ISO 100 • 1/500 sec. • f/2.8 • 40mm lens
4 : S ay C heese !
Setting up face tracking in Live View
1. Click the Menu button and scroll to the first Live View shooting menu item (the
fifth menu item from the left). Scroll down to the AF Method option and press
the Set button (A). (Also make sure that your lens is set to AF.)
2. Scroll up to the Face Detection + Tracking option and press the Set button to lock
it in (B).
3. Once you’ve chosen your subject, enter into Live View shooting by pressing the
Start/Stop button on the back of the camera (make sure the knob is turned to the
white camera icon) (C).
4. As your subject moves around, keep the camera positioned so that their face is in
the frame, and watch the camera’s facial detection at work as a broken white box
follows their face (D). When you’re ready, press the shutter button; the camera will
focus on the subject’s face just before you take the photo.
110 A
C A N O N E O S 7 0 D : F R O M S N A P S H O T S T O G R E AT S H O T S
Note: If you have more than one
person in the scene, the camera will
recognize this and give you the option
to select which face you would like to
focus on and track (E). When this happens, two arrows will appear on either
side of the white frame; to select a
face, use the Multi-Controller to move
the frame to the left or right.
Composing People and Portraits
When photographing people, it can be easy to get carried away with focusing on their
expressions and checking your exposure, but it’s always crucial to consider how the photo
is composed. The placement of the person, as well as the perspective and angle you are
using, can make or break the shot. Here are a few simple tips to help you create some
amazing portrait compositions.
Rule of Thirds
One of the most basic rules of composition, the “rule of thirds,” is a very good
principle to stick with when photographing people. It states that you should
place the subject of your photograph on
Figure 4.11
The little girl’s face
in this photo was
positioned on one of
the intersecting thirdlines for a pleasing
ISO 800 • 1/320 sec. • f/5.6 • 70–200mm lens
a “third-line” within the frame of your
viewfinder. Imagine a tic-tac-toe board,
with two lines spaced evenly down the
center of the frame both horizontally and
vertically (Figure 4.11). Your goal is to
place the subject on one of the intersecting lines—basically, you’re trying to keep
the person off-center without pushing
them too close to the edge of the frame.
Another thing to keep in mind is that you
want to fill the frame as much as possible
with your subject. This doesn’t mean that
4 : S ay C heese !
you should get in so close that you have nothing in the shot but your subject’s face, but
rather that you should be close enough so that you aren’t adding anything to the image
that you don’t want to see. This is usually done by sticking to the third-line principle of
framing the head near the top third of the frame. When I hand my camera to someone
else to take my photo, I always chuckle to myself when I look at the image afterwards
and my head is completely centered in the frame. I usually just go into editing software
and crop out the excess headroom, making it look like it was composed properly. However,
it’s much easier and more efficient to do as much of the work in-camera as possible.
The great thing about the 70D is that you can add a grid overlay to your LCD monitor
when shooting in Live View to help you with the composition.
Setting up the grid display for Live View shooting
1. Press the Menu button and go to the
first Live View shooting menu tab
(fifth tab from the left).
2. Use the Quick Control Dial and scroll
down to the Grid Display menu
item (A).
3. Press the Set button and select the grid
of your choosing (B). I prefer the 3x3
grid because it clearly shows the thirdlines on the frame without too much
distraction. Press the Set button to lock
in this change.
4. Press the Live View shooting button, located on the back of your camera, and you’ll
see a grid overlay on your LCD monitor (C).
112 C A N O N E O S 7 0 D : F R O M S N A P S H O T S T O G R E AT S H O T S
When shooting with your 70D, it’s very easy to take all
of your images from a standing position. This of course
will vary in height from person to person, but so will
the people you are photographing. I usually carry a
small stepladder when I go on location so I can vary my
height with the people I’m photographing, especially
since I’m shorter than most other people. The basic rule
to follow is to try to stay at eye level with your subject,
which could mean flopping down on your belly to photograph a child or baby (Figure 4.12).
Another technique I like to use is to shoot my photos
three different ways—vertical, horizontal, and slanted.
I will often do one of each with the subject I’m photographing, and these are all very good ways to angle
your camera for portraits. Sometimes you don’t realize
Figure 4.12 Photographing your subjects at eye level can
give your image a friendly and more approachable quality.
ISO 100 • 1/160 sec. • f/11 • 100mm lens
what will make a pleasing image until you try it out,
so it’s good to experiment a little bit to see what works best. One fun angle to use is a
slanted angle, also referred to as the “Dutch angle” (Figure 4.13). I find that doing this
gives my images a sense of motion and uniqueness, since our eyes want to see things
straight up and down.
Figure 4.13
This image was
photographed from
a position sometimes referred to as
the “Dutch angle.”
ISO 100 • 1/60 sec. • f/4 • 70–200mm lens
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Break the Rules!
So now that I’ve given you all of these great rules to follow when composing your image,
the last rule I’m going to tell you is to break all of them! Don’t think that you always need
to keep an image off-center or that you have to photograph children at their level all the
time (Figure 4.14). Experiment and find new ways to capture your images—you just might
find that breaking the rules was the best thing you could have done for your image.
Figure 4.14
Breaking rules can
sometimes yield
great results—this
image was photographed from high
up, a perspective
from which usually
you would not photograph children.
ISO 100 • 1/1000 sec. • f/2.8 • 40mm lens
114 Beautiful black-and-white portraits
Sometimes a portrait just looks better in black
and white—we see more of the person and
their expression rather than their surroundings or the color of their clothing (Figure
4.15). You can change the picture style to
Monochrome in your camera so that you are
photographing the image in black and white,
but when you do this and shoot in JPEG-only
mode, you are giving yourself only one option.
If you decide you liked it better in color, you
have no way to change it back.
I prefer to do all of my black-and-white
conversions while editing the photo on my
computer, and I encourage you to do the same.
You can make black-and-white conversions,
along with many other types of adjustments
to your images, using the Canon Digital Photo
Professional software on the disc included
with your camera. Another option is to play
with the 70D’s “Grainy Black and White”
Creative filter. More info on this feature is
detailed in Chapter 10, “Advanced Techniques.”
Figure 4.15 A black-and-white portrait eliminates
the distraction of color and puts all the emphasis
on the subject.
ISO 100 • 1/125 sec. • f/5.6 • 50mm lens
Quick Tips for Shooting Better Portraits
Before we get to the challenges for this chapter, I thought it might be a good idea to discuss some tips that don’t necessarily have anything specific to do with your camera. There
are entire books that cover things like portrait lighting, posing, and so on. But here are a
few pointers that will make your people photos look a lot better.
4 : S ay C heese !
Avoid the Center of the Frame
This falls under the category of composition. Place your subject to the side of the frame
(Figure 4.16)—it just looks more interesting than plunking them smack dab in the middle.
Figure 4.16
An off-center image
creates a pleasing
ISO 100 • 1/125 sec. • f/4 • 70–200mm lens
Choose the Right Lens
Choosing the correct lens can make a
huge impact on your portraits. A wideangle lens can distort the features of
your subject, which can lead to an
unflattering portrait. Try to use a
standard or long focal length, such
as 50mm to 200mm, if you want to
photograph a head-and-shoulders
portrait (Figure 4.17).
Figure 4.17 I used a standard focal length to
minimize the distortion in this photograph.
ISO 100 • 1/250 sec. • f/2.8 • 50mm lens
116 C A N O N E O S 7 0 D : F R O M S N A P S H O T S T O G R E AT S H O T S
Use Your Surroundings
Close-up portraits are always nice, but don’t forget about what’s all around you!
Including a person’s surroundings and environment can add a lot to a portrait image, and
even tell a story or help portray a person’s personality (Figure 4.18).
Sunblock for Portraits
The midday sun can be harsh and can do unflattering things to people’s faces. If you can,
find a shady spot out of the direct sunlight (Figure 4.19). You will get softer shadows,
smoother skin tones, and better detail. This holds true for overcast skies as well. Just be
sure to adjust your white balance accordingly.
Figure 4.18 My niece was so excited to see sparklers set up
in the lawn, so I included them in the shot to give a better
explanation for her expression.
Figure 4.19 A shady area will give you beautiful, diffused lighting
for portraits.
ISO 100 • 1/180 sec. • f/6.7 • 40mm lens
ISO 160 • 1/125 sec. • f/2.8 • 40mm lens
4 : S ay C heese !
Keep an Eye on Your Background
Sometimes it’s so easy to get caught up in taking a great shot that you forget about the
smaller details. Try to keep an eye on what is going on behind your subject so they don’t
end up with things popping out of their heads. You can also use a wide aperture to blur
the background, which will help eliminate distractions (Figure 4.20).
More Than Just a Pretty Face
Most people think of a portrait as a photo of someone’s face. Don’t ignore other aspects
of your subject that reflect their personality—hands, especially, can go a long way toward
describing someone (Figure 4.21).
Figure 4.20 The background in this image was very busy,
so I used a wide aperture to help blur it and keep the image
ISO 100 • 1/125 sec. • f/2.8 • 50mm lens
118 C A N O N E O S 7 0 D : F R O M S N A P S H O T S T O G R E AT S H O T S
Figure 4.21 A person’s hands can tell a story all on their own, just
like the hands of this potter in Vietnam.
ISO 800 • 1/40 sec. • f/5.6 • 70–200mm lens
Get Down on Their Level
If you want better pictures of children,
don’t shoot from an adult’s eye level.
Getting the camera down to the child’s
level will make your images look more
personal (Figure 4.22).
Don’t Be Afraid to Get Close
When you are taking someone’s picture,
don’t be afraid of getting close and filling
the frame (Figure 4.23). This doesn’t mean
you have to shoot from a foot away; try
zooming in and capturing the details.
Figure 4.22 Children look their best when photographed from their level.
ISO 100 • 1/30 sec. • f/13 • 14mm lens
Figure 4.23
Fill the frame to
focus the attention on the person
rather than their
ISO 100 • 1/500 sec. • f/2.8 • 50mm lens
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Find Candid Moments
Sometimes the best images are the ones that aren’t posed. Find moments when people
are just being themselves (Figure 4.24) and use a faster shutter speed to capture expressions that happen quickly (Figure 4.25).
Figure 4.24
Sometimes the
best photos are the
ones that weren’t
planned—find these
moments in your
models and you
can capture their
true selves.
ISO 100 • 1/60 sec. • f/4 • 70–200mm lens
Figure 4.25
Be sure to create
photographs of
moments that are
ISO 100 • 1/80 sec. • f/2.8 • 24–70mm lens
Find Different Angles and Perspectives
Portraits don’t always need to be photographed at eye level. Try moving up, down, and
all around to find unique ways to photograph people (Figures 4.26 and 4.27).
120 C A N O N E O S 7 0 D : F R O M S N A P S H O T S T O G R E AT S H O T S
Figure 4.26
Try photographing
portraits from
different angles
and perspectives.
ISO 100 • 1/30 sec. • f/13 • 14mm lens
4 : S ay C heese !
Figure 4.27 Unique points of view can make a photograph fun and exciting.
ISO 100 • 1/1000 sec. • f/4.5 • 18–50mm lens
122 C A N O N E O S 7 0 D : F R O M S N A P S H O T S T O G R E AT S H O T S
Chapter 4 Assignments
Play with depth of field in portraits
Let’s start with something simple. Grab your favorite person and start experimenting with using different aperture settings. Shoot wide open (the widest your lens goes, such as f/2.8 or f/4) and then really
stopped down (such as f/22). Look at the difference in the depth of field and the important role it plays
in placing the attention on your subject. (Make sure your subject isn’t standing directly against the background, or you won’t see much of a difference in your photographs. Give some distance so that there is a
good blurring effect of the background at the wider f-stop setting.)
Discover the qualities of natural light
Pick a nice sunny day and try shooting some portraits in the midday sun. If your subject is willing, have
them turn so the sun is in their face (they may want to close their eyes!). Then ask them to turn their
back to the sun. Try this with and without the fill flash so you can see the difference. Finally, move them
into a completely shaded spot and take a few more shots.
Pick the right metering method
Find a very dark or light background and place your subject in front of it. Take a couple of shots, giving
a lot of space around your subject for the background to show. Now switch metering modes and use
the AE Lock feature to get a more accurate reading of your subject. Notice the differences in exposure
between the metering methods.
Share your results with the book’s Flickr group!
Join the group here:
4 : S ay C heese !
2nd Curtain option
getting creative with, 207
selecting, 203
2-sec self-timer, using, 166
10-sec self-timer, using, 166
19-Point Automatic Selection AF, 169
avoiding overheating, 235
as DSLR (digital single-lens reflex)
camera, 43–44
setting up, 31
100 ISO, 49
Access Lamp (Card Bus Indicator), 3
action, following, 179
action photography. See also motion
AF (autofocus), 165–169
anticipation using manual focus,
capturing frames, 168
continuous mode for expressions,
continuous shooting, 165–169
direction of travel, 158
drive modes, 166–168
focus modes, 168–169, 179
getting creative, 163
ISO adjustment on the fly, 162–163
isolating subjects, 165–166
manual focus, 170–171
Manual mode with Auto ISO, 165
reviewing in LCD monitor, 174
subject speed, 158
subject-to-camera distance, 160
wide vs. telephoto, 179
action photography tips
composition, 174
experimenting, 176
framing, 174
freezing movement, 177
getting in front, 174
repositioning cameras, 176
somewhere to go, 174
Adobe RGB color space, 15
AE Lock feature, shooting with, 105
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AE Lock/FE Lock/Index/Reduce
Button, 3
AEB (Auto Exposure Bracket) mode,
using with HDR images, 150
AF (autofocus)
action photography, 165–169
assist beam, 193–194
AF Area Selection Mode Button, 4
AF areas
19-Point Automatic Selection
AF, 19
setting, 20
Single Point AF, 19
Zone AF, 19
AF Mode Selection Button, 4
AF points
availability and settings, 169
selecting, 108–109
setting, 108–109
AF Point Selection/Magnify Button, 3
AF Start Button, 3
AF-ON button, using, 169, 201
AI Focus mode, explained, 168–169
selecting, 168
shooting in, 168
Ambience setting, 63
angles, 214
examples, 49
explained, 48
and f-stops, 78
function of, 53
practicing with, 55
size of, 53
using to focus attention, 227
and zoom lenses, 78
Auto modes vs. Program AE, 68–69
autofocus modes, 18–20. See also focus
autofocus settings, 169
Av: Aperture Priority mode
benefit, 75
controlling depth of field, 91
environmental portraits, 99
explained, 74–76
isolating subjects, 165–166
setting up, 78
shooting in, 78
using, 76, 98–99
B: Bulb mode
explained, 83
setting up, 88
shooting in, 88
shutter speed, 84
using, 83–84
blurring, 47
considering in portraits, 118
in creative compositions, 214
Basic Zone
Ambience setting, 63
becoming familiar with, 91
best practices, 68
CA (Creative Auto) mode, 63
Close-up mode, 66
disabling Flash mode, 62
Full Auto mode, 62
Handheld Night Scene mode, 67
HDR Backlight Control, 67
Landscape mode, 65
menu items, 64
Moving Subjects mode, 66
Night Portrait mode, 66–67
Portrait mode, 65
setting up, 62
shooting in, 62
Special Scene mode, 64
Sports, 66
charging, 5
registering, 5
black-and-white portraits, 115
blur, adding to images, 173
bracketing exposures, 150
bubble level, 136
built-in flash. See also flashes
effective range of, 196
E-TTL technology, 197
FE (Flash Exposure) Lock, 198
locating, 2, 4
metering modes, 197
shutter speeds, 197
using for mood lighting, 196–198
C: Custom User setting, 88–89
CA (Creative Auto) mode, 63
camera back
Access Lamp (Card Bus Indicator),
AE Lock/FE Lock/Index/Reduce
Button, 3
AF Point Selection/Magnify
Button, 3
AF Start Button, 3
Dioptric Adjustment Knob, 3
Erase Button, 3
Flash-Sync Contacts, 3
Hot Shoe, 3
Info Button, 3
LCD Monitor, 3
Live View & Movie Shooting
Switch, 3
Menu Button, 3
Mode dial, 3
Multi-Controller, 3
Multi-Function Lock Switch, 3
Playback Button, 3
Power Switch, 3
Quick Control Button, 3
Quick Control dial, 3
SD Card Slot, 3
Setting (Set) Button, 3
Viewfinder, 3
camera front
Built-in Flash, 2
Depth-of-Field Preview Button, 2
EF Lens Mount Index, 2
Flash Button, 2
Lens Mount, 2
Lens Release Button, 2
Mode dial, 2
Red-Eye Reduction/Self-Timer
Lamp, 2
Shutter Button, 2
Strap Mount, 2
Terminal Cover, 2
camera modes and exposure, 132–133
camera settings
examples, 90
exposure compensation, 90
Highlight Alert, 90
camera top
AF Area Selection Mode Button, 4
AF Mode Selection Button, 4
Built-in Flash, 4
Drive Mode Selection Button, 4
Flash-Sync Contacts, 4
Focal Plane Mark, 4
Hot Shoe, 4
ISO Speed Setting Button, 4
LCD Panel, 4
LCD Panel Illumination Button, 4
Main dial, 4
Metering Mode Selection Button, 4
Microphone, 4
Mode dial, 4
Mode Dial Lock-Release Button, 4
Shutter Button, 4
Strap Mount, 4
Canon EOS 70D
avoiding overheating, 235
as DSLR (digital single-lens reflex)
camera, 43–44
setting up, 31
cards. See memory cards
catchlights, 109
Close-up mode, 66
close-up portraits, 45–46
CMYK (cyan, magenta, yellow, black),
color, considering, 221–222
color histogram, displaying, 27
color space, setting, 15–16
color temperatures
warm vs. cool, 136
and white balance, 15
composing. See also creative
black-and-white portraits, 115
breaking rules, 114
“Dutch angle,” 113
grid display for Live View, 112
people, 111–114
perspective, 113, 120
portraits, 111–114
rule of thirds, 111–112
shooting at eye level, 113
continuous mode, using to capture
expressions, 167
copyright information, setting, 17
creative compositions. See also
angles, 214
backgrounds, 214
color, 221–222
depth of field, 212–213
frames within frames, 225
leading lines, 223
patterns, 219–220
point of view, 218–219
rule of thirds, 224
shapes, 219–220
specialty lenses, 216–217
textures, 219–220
Creative filters
applying to images, 260
Art Bold, 258
Fish-Eye, 258
Grainy B/W, 258
Miniature, 258
playing with, 271
Soft Focus, 258
Toy Camera, 258
Water Painting, 258
creative photography. See also images;
light painting, 267–269
“swirly flash,” 266–267
zoom lenses, 269
Creative Zone shooting modes
Av: Aperture Priority mode, 74–78,
B: Bulb mode, 83
vs. Basic Zone, 19
M: Manual mode, 80
P: Program AE mode, 68–69
Tv: Shutter Priority mode, 70–74
crop sensor vs. full frame, 43
curtain, first vs. second, 202
dark environments, shooting in, 130
Delicate Arch at Moab National Park, 44
depth of field
controlling, 91
in creative compositions, 212–213
making shallow, 133
and motion, 51–53
in portraits, 123
Depth-of-Field Preview button, 2, 140
digital noise and long exposure, 87. See
also noise
digital zoom, setting for videos, 242
dioptric adjustment knob, 3
display modes, scrolling through, 27
Drive Mode Selection button, 4
drive modes
2-sec self-timer, 166
10-sec self-timer, 166
buffer, 166
high-speed continuous shooting,
166, 168
low-speed continuous shooting, 166
silent continuous shooting, 166
silent single shooting, 166
single shooting, 166
DSLR (digital single-lens reflex)
camera, 43–44. See also lenses
EF Lens Mount Index, 2
electronic level
setting in LCD monitor, 137
setting in viewfinder, 138
using to balance images, 136
using with videos, 241
environmental portraits, shooting, 99
EOS 70D Wi-Fi Instruction Manual, 25
EOS Remote app, downloading, 21
Erase Button, 3
E-TTL technology, 197
Evaluative metering mode, 104
exposure compensation
changing, 90
setting, 79
exposure time, increasing, 130
exposure triangle
aperture, 48
ISO, 48
shutter speed, 48
exposures. See also long exposures
bracketing, 150
calculating, 49–50
and camera modes, 132–133
checking with histogram, 29
explained, 48
lengths and digital noise, 87
perfecting, 48
reciprocal change, 49–50
expressions, capturing, 167. See also
face tracking
external flashes, using, 204
eye level, shooting subjects at, 113
eyes, focusing on, 106
f/4–f/22 apertures, 49
face tracking, setting up in Live View,
110. See also expressions
FE (Flash Exposure) Lock, 198
flash button, 2
Flash Exposure Compensation, using,
Flash mode, disabling, 62
flash synchronization, 202
flashes. See also built-in flash
disabling, 201
external, 204
using, 101–104
Flash-Sync Contacts, 3–4
focal lengths
normal, 45–46
telephoto lenses, 47
Focal Plane mark, 4
focus modes. See also autofocus modes
AF-ON button, 169
AI Focus, 168
Basic Zone, 19
Creative Zone shooting modes, 19
setting, 20
focus point, resetting for mood
lighting, 192
focus settings, experimenting with, 31
attention, 227
on eyes, 106
face tracking, 110
in low light, 191
on multiple subjects, 111
Quick Control screen, 108
274 C A N O N E O S 7 0 D : F R O M S N A P S H O T S T O G R E AT S H O T S
setting AF point, 108
tip for portraits, 108
using AF-ON button for, 201
formats, RAW vs. JPEG, 40–43. See also
image formats
frame rates, 232
capturing, 168
within frames, 225
freezing movement, 177
front of camera. See camera front
and aperture, 78
explained, 50–51
Full Auto mode, 62
full frame vs. crop sensor, 43
golden hour, 138
gray card, using with white balance,
grid display
setting for video recording,
using with Live View, 112
Handheld Night Scene mode, 67
HDR (high dynamic range) images
AEB (Auto Exposure Bracket)
mode, 150
photographing, 148–151
HDR Backlight control, 67
HFD (hyperfocal distance)
adding to landscapes, 152
explained, 140
High ISO Speed NR, 187
Highlight Alert, enabling, 25–26, 31, 90
high-speed continuous shooting, 166
histograms, 28–29
horizon, 152–153
hot shoe, 3–4
image editing, in-camera, 258–262
image formats. See also formats
exploring, 55
frame capture, 168
image quality settings, chart of, 9
image resolution, 42
images. See also creative photography;
balancing with electronic level,
maximum number viewed, 30
resizing, 262
reviewing, 31
sharpening via self-timers, 195
viewing up close, 30
in-camera image editing
Creative filters, 258–260
RAW processing, 261
index display, 30
IS (Image Stabilization) lenses
using, 74, 206
using for mood lighting, 190
warning about using with tripods,
explained, 48
external flashes, 204
maximum for mood lighting,
minimum for mood lighting,
numbers, 49
pushing to extreme, 206
raising for mood lighting, 186–189
selecting, 70
selecting for landscapes, 134–135
selecting for nature photos,
setting, 10–11
using Manual mode with, 165
ISO Speed Setting button, 4
JPEG and RAW formats, using
simultaneously, 43
format, 40–43
image quality, setting, 7–9
Kelvin temperature properties, 15
kit lenses, 48
landscape images, composing, 143–145
Landscape mode, 65
Landscape picture style, 263
balancing images, 136–138
camera modes and exposure,
color temperatures, 136
creating depth, 145
Depth-of-Field Preview button,
electronic level, 136–138
focusing tips, 140
golden hour, 138
HFD (hyperfocal distance), 140, 152
ISO, 134–136
shooting, 130
using tripods, 130–131
white balance, 134–136
LCD monitor
on camera back, 3
info displayed in, 5
reviewing shots in, 174
Vari-angle, 257
LCD Panel, 4
LCD Panel Illumination button, 4
LCD touch-screen features, 7
leading lines, 223, 227
Lens Mount, 2
Lens Release button, 2
Lensbaby, 217
lenses. See also DSLR (digital singlelens reflex) camera
choosing for portraits, 116
creative and specialty, 216–217
exploring, 55
function of, 44
IS (Image Stabilization), 74
kit, 48
lengths, 44
normal, 45–46
prime, 47
telephoto, 47
tilt-shift lens, 216
wide-angle, 44–45
zoom, 47
light meter ranges, 80
light painting, 267–269
lighting. See also mood lighting;
natural light
catchlights, 109
focusing in low light, 191
metering mode for portraits,
outdoor, 100–101
using flashes, 101–104
lights, off-camera, 205
lines, seeing, 227
Live View
face tracking, 110
setting up grid display, 112
using with videos, 244
and white balance, 14
Live View & Movie Shooting Switch, 3
Long Exp. Noise Reduction, 196
long exposures. See also exposures
reducing noise in, 206
shooting, 194–196
taking in dark, 206
low light, focusing in, 191
low-speed continuous shooting, 166
M: Manual mode
explained, 80
light meter, 80
setting up, 83
shooting in, 80, 83
using, 80
using with Auto ISO, 165
main dial, 4
manual focus
for anticipated action, 170–171, 179
panning shots, 171
memory cards
choosing, 38
formatting, 38–39, 55
low-level formatting, 39
quality, 38
reformatting, 38
sizes, 38
verifying, 6–7
Menu button, 3
Metering Mode Selection button, 4
metering modes
AE Lock feature, 105
built-in flash, 197
Evaluative, 104
selecting, 104–105, 123
MF (manual focus), 20, 31
Microphone, 4
Mode dial
camera back, 3
camera front, 2
camera top, 4
Mode Dial Lock-Release Button, 4
mode settings. See camera settings;
shooting modes
mood lighting. See also lighting
AF (autofocus) assist beam,
built-in flash, 196–198
flash exposure compensation,
flash synchronization modes,
focusing in low light, 191–193
high ISO, 188
High ISO Speed NR, 187
IS (Image Stabilization), 190–191
Long Exp. Noise Reduction, 196
maximum ISO, 187–188
minimum ISO, 187–188
raising ISO, 186–187
reducing red-eye, 199–201
resetting focus point, 192
second curtain sync, 202–203
shooting long exposures, 194–196
motion. See also action photography
creating sense of, 172–173
and depth of field, 51–53
panning, 172
practicing mechanics of, 179
stopping, 160–163
motion blur, using, 173
movement, freezing, 177
movie files, maximum length of, 234
movie-recording size, experimenting
with, 249
movies. See also videos
disabling Wi-Fi option, 235
file settings, 234
Playback mode, 237
playing, 236–237
recording, 236
setting compression, 234
setting recording size, 234
Moving Subjects mode, 66
mRAW format, using, 41
Multi-Controller, 3
Multi-Function Lock Switch, 3
My Menu settings, 255–256
natural light, qualities of, 123. See also
nature photography
balancing images, 136–138
camera modes and exposure,
color temperatures, 136
electronic level, 136–138
golden hour, 138
ISO, 134–136
using tripods, 130–131
white balance, 134–136
Night Portrait mode, 66–67
noise. See also digital noise and long
explained, 10
getting rid of, 206
reducing in long exposures, 206
normal lenses, 45–46
NTSC and PAL, 233
off-camera lights, using, 205
overheating of camera, avoiding, 235
P: Program AE mode
vs. Auto modes, 68–69
setting up, 69
shooting in, 69
starting off with, 91
PAL and NTSC, 233
panning photography, 172
panning shots, using manual focus
for, 171
panoramas, photographing, 146–148
patterns, 219–220, 227
people, composing, 111–114
changing, 227
considering, 113
experimenting with, 120
photos, reviewing, 26–27. See also
creative photography; images
picture styles, 263–265
Playback button, 3
playing movies, 236–237
point of view, 218–219
pop-up flash
setting up, 102
shooting with, 102
testing limits of, 207
Portrait mode, 65
Portrait picture style, 263
portrait tips
angles, 120
avoiding center of frame, 116
backgrounds, 118
candid moments, 120
children, 119
choosing lenses, 116
close-ups, 119
human anatomy, 118
perspectives, 120
sunblock, 117
using surroundings, 117
black and white, 115
close-up, 45–46
composing, 111–114
depth of field, 123
focusing tips, 108
metering mode for, 104–105
power switch, 3
prime lenses, 47
276 C A N O N E O S 7 0 D : F R O M S N A P S H O T S T O G R E AT S H O T S
Quick Control button, 3
Quick Control dial, 3
Quick Control screen, using with AF
point, 108
RAW and JPEG formats, using
simultaneously, 43
RAW formats
benefits, 40–41
image-quality settings, 42
vs. JPEG, 40–43
mRAW, 41
processing software, 41
selecting, 41–42
smaller image sizes, 41
sRAW, 41
RAW images
playing with, 271
processing, 261
RAW shooters, advice for, 41
RAW/JPEG image quality, setting, 7–9,
reciprocal change, 49
recording movies, 236
red-eye, reducing, 199–201, 207
Red-Eye Reduction/Self-Timer Lamp, 2
Release Shutter Without Card setting,
turning off, 6–7
resizing images, 262
Review Time setting, changing, 26–27
reviewing photos
histogram information, 27
Info button, 27
in LCD monitor, 174
Playback button, 27
rule of thirds
applying to landscape images,
explained, 111–112
sticking to, 224
SD (Secure Digital) cards, using, 38
SD card reader, using, 38
SD card slot, 3
second curtain sync, using, 202–203,
2-sec, 166
10-sec, 166
using, 195
Setting (Set) button, 3
shapes, 219–220
shooting continuously, 165–169
Shooting Information Display, 27
shooting modes
accessing, 57
Basic Zone, 62
shots, steadying with IS lens, 206
shutter, mechanics of, 70–71
Shutter button
camera front, 2
camera top, 4
shutter curtain, 202
Shutter Priority mode. See Tv: Shutter
Priority mode
shutter speeds
Aperture Priority (Av), 197
built-in flash, 197
choosing, 50, 73
controlling, 73
explained, 48
Program (P), 197
Shutter Priority (Tv), 197
silent continuous shooting, 166
silent single shooting, 166
single shooting, 166
Single-Point AF, 169
Camera access point mode, 22
Camera Connection, 23
Connect Smartphone option, 22
connecting to Canon 70D, 21–24,
Easy Connection, 23
SSID, 23
Special Scene mode, 64
Speedlites. See external flashes
sports, shooting, 66
sports images, getting creative with,
sRAW format, using, 41
sRGB space, 15
star photography, 192
and aperture, 78
explained, 50–51
strap mount, 2, 4
“swirly flash” effect, creating, 266–267
telephoto lenses, 47
terminal cover, 2
textures, 219–220
themes, photographing, 227
tilt-shift lens, using, 216
tripod head, using, 131
choosing, 131
stability, 130
using, 130–131
using with videos, 242
warning about IS lenses, 131
Tv: Shutter Priority mode. See also
shutter speeds
controlling time, 91
setting up, 74
shooting in, 74
using, 70–71
using to stop motion, 160–163
Vari-angle LCD monitor, 257
video camera back
Info button, 230
LCD monitor, 230
Magnify button, 230
microphone, 230
mode dial, 230
Movie Shooting Switch, 230
Multi-Controller, 230
Multi-Function Lock Switch, 230
Playback button, 230
power switch, 230
Quick Control button, 230
Quick Control dial, 230
Setting button, 230
terminal cover, 230
video camera LCD monitor
aperture, 231
attenuator, 231
auto lighting optimizer, 231
battery check, 231
compression method, 231
digital zoom, 231
drive mode, 231
exposure level indicator, 231
exposure mode, 231
focus method, 231
ISO speed, 231
Magnify/Digital/Zoom, 231
maximum burst, 231
movie shooting mode, 231
Movie Shooting Remaining Time/
Elapsed time, 231
movie-recording size, 231
picture style, 231
possible shots, 231
quick control, 231
recording level, 231
shutter speed, 231
still image quality, 231
video snapshot, 231
white balance, 231
Wi-Fi function, 231
wind filter, 231
Video mode
image quality, 235
RAW/JPEG setting, 235
video quality
280×720, 232
640×480, 232
1920×1080, 232
ALL-I compression, 233
compression settings, 233
frame rates, 232
IPB compression, 233
video recording, setting grid display
for, 240
videos. See also movies
adjusting picture styles, 249
audio, 245–246
Auto Exposure vs. Manual
Exposure, 238–239
composition, 240–242
editing, 247
electronic level, 241
exposure compensation, 239
exposure settings, 238–240
focusing, 243–244
limitations of microphone, 249
NTSC and PAL, 233
picture styles, 239–240
playing back, 236
playing back on computers, 238
setting digital zoom, 242
setting focus, 249
setting Lock switch, 239
shooting, 236
slow motion, 233
snapshots, 248
tips for shooting, 246–247
using Live View, 244
using tripods, 242
white balance, 239–240, 249
viewfinder, 3
white balance settings
Auto, 12
Cloudy, twilight, sunset, 12
Color temperature, 12
Custom, 12
Daylight, 12
Flash, 12
Shade, 12
Tungsten light, 12
White fluorescent light, 12
wide-angle lenses, 44–45
drain on battery, 24
enabling, 24–25
setting up, 21–24
Zone AF, 169
zoom lenses
and maximum apertures, 78
playing with, 269
using, 47
water, silky appearance of, 140–143
white balance
customizing, 254–255, 271
explained, 11–15
Kelvin temperatures, 15
and Live View, 14
previewing, 14
selecting, 31
selecting for landscapes, 134–135,
selecting for nature photos,
134–135, 152
setting, 13
and temperature of color, 15