Canon Eos Rebel Sl1 100d Instruction Manual

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A Registering Preferred Image Characteristics N
5Select a parameter.
 Select a parameter such as 
[Sharpness], then press < 0>.
6Set the parameter.
 Press the < Y>  keys to adjust 
the parameter as desired, then press 
< 0 >.
For details, see “Customizing Image 
Characteristics” on pages 137-139.
 
Press the  button to register the 
modified Picture Style. The Picture Style 
selection screen will then reappear.
X The base Picture Style will be 
indicated on the right of [ User Def. *].
X If the settings in a Picture Style 
registered under [ User Def. *] have 
been modified from the base Picture 
Style settings, the Picture Style’s 
name will be displayed in blue.
  If a Picture Style has alread y been registered under [User Def. *], 
changing the base Picture Style in  step 4 will nullify the parameter 
settings of the registered Picture Style.
  If you execute [ Clear all camera settings ] (p.227), all the [User Def. *] 
settings will revert to  their defaults. Picture St yles registered via EOS 
Utility (provided software) will have  only their modified parameters 
reverted to their default settings.
  To shoot with a registered  Picture Style, follow step 2 on page 101 to 
select [User Def. * ], then shoot.
  Regarding the procedure to register  a Picture Style file to the camera, 
refer to the EOS Utility In struction Manual (p.368).
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The function adjusting the color tone so that white objects look white in 
the picture is called white ba lance (WB). Normally, the  (Auto) 
setting will obtain the correct white bal ance. If natural-looking colors 
cannot be obtained with < Q>, you can select the white balance that 
matches the light source or set it  manually by shooting a white object.
1Select [White balance].
 Under the [ z2] tab, select [ White 
balance ], then press < 0>.
2Select a white balance setting.
 Press the   keys to select the 
desired setting, then press .  The “Approx. ****K” (K: Kelvin) 
displayed for the white balance 
settings < W>, , ,  
or < U> is the respective color 
temperature.
Custom white balance enables you to  manually set the white balance 
for a specific light source for bette r accuracy. Perform this procedure 
under the actual light source to be used.
1Shoot a white object.
 The plain, white object should fill the 
spot metering circle.
  Focus manually and set the standard 
exposure for the white object.
  You can use any white balance 
setting.
3  Matching the Light SourceN
O Custom White Balance
Spot metering circle
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3 Matching the Light Source N
2Select [Custom White Balance].
 Under the [ z2] tab, select [Custom 
White Balance], then press < 0>.
X The custom white balance selection 
screen will appear.
3Import the white balance data.
  Select the image that was captured in 
step 1, then press .
X On the dialog screen that appears, 
select [OK ] and the data will be 
imported.
  When the menu reappears, press the 
 button to exit the menu.
4Select [ O (Custom)].
 Under the [ z2] tab, select [White 
balance ], then press < 0>.
  Select [O  (Custom)], then press 
< 0 >.
 If the exposure obtained in step 1  differs greatly from the standard 
exposure, a correct white ba lance may not be obtained.
  In step 3, the following images cannot be sele cted: images captured 
while the Picture Style was set to [ Monochrome] (p.101), images 
processed with a Creative  filter, and cropped images.
 Instead of a white object, a gray  chart or 18% gray reflector 
(commercially available) can produc e a more accurate white balance.
  The personal white balance regist ered with EOS Utility (provided 
software, p.366) will  be registered under < O>. If you perform step 3, 
the data for the registered perso nal white balance will be erased.
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You can correct the white balance that has been set. This adjustment 
will have the same effect as using a commercially-available color 
temperature conversion filter or color compensating filter. Each color 
can be corrected to one of nine levels.
This function is for advanced user s who are familiar with using color 
temperature conversion or color compensating filters.
1Select [WB Shift/Bkt.].
 Under the [ z2] tab, select [ WB 
Shift/Bkt. ], then press < 0>.
X The WB correction/WB bracketing 
screen will appear.
2Set the white balance correction.
  Press the < S> cross keys to move 
the “ ” mark to the desired position.
  B is for blue, A for amber, M for 
magenta, and G for green. The 
image’s color balance will be 
corrected towards the selected color.
  On the upper right, “ Shift” indicates 
the direction and correction amount.
  Pressing the < L> button will cancel 
all the [ WB Shift/Bkt. ] settings.
  Press < 0> to exit the setting and 
return to the menu.
u Adjusting the Color Tone for the Light SourceN
White Balance Correction
Sample setting: A2, G1
  When the white balanc e is corrected,  will be displayed in the 
viewfinder and on  the LCD monitor.
  One level of the blue/amber  correction is equivalent to approx. 5 mireds 
of a color temperature conversion filter. (Mired: Measuring unit indicating 
the density of a color temp erature conversion filter.)
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u Adjusting the Color Tone for the Light Source N
With just one shot, three images with different color tones can be recorded 
simultaneously. Based on the color temp erature of the current white balance 
setting, the image will be bracketed  with a blue/amber bias or magenta/
green bias. This is called whit e balance bracketing (WB-BKT). White 
balance bracketing is possible up to ±3  levels in single-level increments.
Set the white balance bracketing 
amount.
 In step 2 for “White Balance 
Correction”, when you turn the < 6> 
dial, the “ ” mark on the screen will 
change to “     ” (3 points).
Turning the dial to the right sets the B/
A bracketing, and turning it to the left 
sets the M/G bracketing.
X
On the right, “Bracket” indicates the 
bracketing direction and correction amount.
  Pressing the < L> button will cancel 
all the [ WB Shift/Bkt. ] settings.
  Press < 0> to exit the setting and 
return to the menu.
Bracketing Sequence
The images will be bracketed in  the following sequence: 1. Standard 
white balance, 2. Blue (B) bias, and 3. Amber (A) bias, or 1. Standard 
white balance, 2. Magenta (M)  bias, and 3. Green (G) bias.
White Balance Auto Bracketing
B/A bias ±3 levels
 During WB bracketing, the maximum  burst for continuous shooting will 
be lower and the number of possible  shots will also decrease to approx. 
one-third the normal number.
  You can also set white  balance correction and A EB together with white 
balance bracketing. If you set AEB in  combination with white balance 
bracketing, a total of nine images will be recorded fo r a single shot.
  Since three images are re corded for one shot, it takes longer to record 
the shot to the card.
  “BKT ” stands for bracketing.
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The range of reproducible colors is called the color space. With this 
camera, you can set the color space  for captured images to sRGB or 
Adobe RGB. For normal shooting, sRGB is recommended.
In Basic Zone modes, sRGB is set automatically.
1Select [Color space].
  Under the [ z3] tab, select [ Color 
space ], then press < 0>.
2Set the desired color space.
 Select [ sRGB] or [ Adobe RGB ], then 
press < 0>.
This color space is mainly used for commercial printing and other 
industrial uses. This setting is not recommended if you are not familiar 
with image processing, Adobe RGB, and Design rule for Camera File 
System 2.0 (Exif 2.21 or higher). T he image will look very subdued in a 
sRGB computer environment and wit h printers not compatible with 
Design rule for Camera File System  2.0 (Exif 2.21 or higher). Post-
processing of the image with computer software will therefore be 
required.
3 Setting the Color Reproduction RangeN
Adobe RGB
  If the captured still photo was shot  in the Adobe RGB color space, the 
first character in th e file name will be an underscore “_”.
 
The ICC profile is not appended. Refer to explanations about the ICC 
profile in the Software Instruction Manual (p.368) on the CD-ROM.
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The camera’s mechanical shake caused by the reflex mirror action can 
blur images taken with a super teleph oto lens or close-up (macro) lens. 
In such cases, mirror  lockup is effective.
Mirror lockup is enabled by setti ng [5: Mirror lockup] to [1: Enable] 
in [54: Custom Functions (C.Fn)] (p.302).
1Focus the subject, then press the shutter button 
completely.
XThe mirror will swing up.
2Press the shutter button completely again.
XThe picture is taken and the mirror goes back down.
 After taking the picture, set [ 5: Mirror lockup] to [0: Disable ].
  Using the self-timer < Q>, < l> with mirror lockup
When you press the shutter button completely, the mirror locks up. 
The picture is then taken 10 sec. or 2 sec. later.
  Remote control shooting
Since you do not touch the camera wh en the picture is taken, remote 
control shooting together with mirror lockup can further prevent 
camera shake (p.309). With Re mote Controller RC-6 (sold 
separately) set to a 2-sec. delay, press the transmit button and the 
mirror will lock up before the picture is taken 2 sec. later.
Mirror Lockup to Reduce Camera Shake N
Shooting Tips
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							Mirror Lockup to Reduce Camera ShakeN
148
 In very bright light, such as at the beach or a sk i slope on a sunny day, 
take the picture prompt ly after mirror lockup.
  Do not point the camera toward the su n. The sun’s heat can damage the 
camera’s internal components.
  If you use the self-timer and bulb ex posure in combination with a mirror 
lockup, keep pressing the shutter bu tton completely (self-timer delay 
time + bulb exposure time ). If you let go of the shutter button during the 
self-timer countdown, there will  be a shutter-release sound, but no 
picture will be taken.
  Even if you set Drive/self-timer to < i>, , or < q>, the camera 
will still shoot in si ngle shooting mode.
  When [z 3: High ISO speed NR ] is set to [Multi Shot Noise 
Reduction ], four continuous shots will  be taken for the single picture 
regardless of the [ 5: Mirror lockup] setting.
  If 30 seconds elapse after the mirror  has locked up, it will go back down 
automatically. Pressing the  shutter button completely again locks up the 
mirror again.
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Shooting with the LCD Monitor
(Live View Shooting)
You can shoot while viewing the picture on the camera’s 
LCD monitor. This is called “Live View shooting”. 
If you handhold the camera and shoot while viewing the 
LCD monitor, camera shake  can cause blurred images. 
Using a tripod is recommended.
Remote Live View ShootingWith EOS Utility (provided softwa re, p.366) installed in your 
computer, you can connect the ca mera to the computer and shoot 
remotely while viewing  the computer screen. For details, refer to 
the Software Instruction Ma nual (p.368) on the CD-ROM.
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1Display the Live View image.
 Press the < A> button.
XThe Live View image will appear on the LCD 
monitor. In the  mode, the scene icon 
for the scene detected by the camera is 
displayed on the upper left (p.153).
  By default, Continuous AF (p.161) will 
take effect.
  The Live View image will closely 
reflect the brightness level of the 
actual image you capture.
2Focus the subject.
 When you press the shutter button 
halfway, the camera will focus with 
the current AF method (p.164).
3Take the picture.
 Press the shutter button completely.
XThe picture will be ta ken and the captured 
image is displayed on the LCD monitor.
XAfter the image review ends, the camera will 
return to Live View shooting automatically.
  Press the < A> button to exit the 
Live View shooting.
A  Shooting with the LCD Monitor
 The image’s field of view is appr ox. 100% (with the image-recording 
quality set to JPEG  73).
  In Creative Zone modes, you can chec k the depth of field by pressing the 
depth-of-field preview button.
  During continuous shooting, the exposure set for the firs t shot will also 
be applied to subsequent shots.
  You can also tap the subject on th e LCD monitor to focus (p.164-173) 
and shoot (p.174).
 
You can also use a remote co ntroller (sold separately, p.309) for Live View shooting.
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