How to Shoot in Manual Mode Cheat

Sheet for Beginners

A Post By: Antonio Leanza
The “Manual Photography Cheat Sheet-Reloaded” by The London School of Photography is a
clean-cut, visual way of showing you how to step-up your photography game from automatic to
manual shooting. Not only does shooting in Manual Mode enable you to produce sharp well-
composed imagery – but you’ll also gain a stronger understanding of the inner workings of your
camera and just how all those curious settings work in synch with each other.

By shooting in Manual Mode you have full control of your shutter speed, ISO, and aperture,
among an array of other settings that can further fine-tune your images. Manually controlling the
aperture, for example, can help you achieve those beautiful portraits with blurred bokeh
backgrounds. It’s also highly useful for changing shutter speeds, enabling you to achieve
amazing shots of those fast-moving subjects like cars or cyclists in crystal clear motion without
sacrificing quality.
You may often find yourself in a tricky lighting situation where everything appears far too dark,
too light, or very grainy. Unfortunately, automatic mode can’t always hack these extreme
conditions and often activates your camera’s flash at the smallest hint of darkness (making some
photos appear positively awful). This is where learning to shoot in Manual Mode can be a
lifesaver.
ISO

One of the most talked about settings on a camera is the ISO; a numerical value on your camera
that controls light sensitivity. Your camera’s ISO allows you to adjust its light-sensitivity and
allows it to pick up more light. Or on the flip side, to reduce your exposure on those bright sunny
days for a well-balanced result.
I highly encourage experimenting with different lighting conditions to find your ideal ISO. But
be wary of making your ISO too high in dark conditions as this will increase the amount of
noise in your final images.
Aperture

Another common term you may have come across is aperture. This is essentially an opening in
the lens that affects your exposure. It is also responsible for controlling the depth of field.
Generally, the lower the number (or f-stop), the larger the opening of the lens will be which will
result in less depth of field – ideal for those blurry backgrounds. On the other hand, the higher
your aperture the sharper the background will be – making it great for capturing all the tiny
details in your scene (great for landscapes).
Shutter Speed

Shutter speed is another key player that determines your image’s final outcome. It is essentially
the exposure time of the camera’s inner shutter that stays open to allow light to enter and hit the
sensor.
Generally, if you’re after blurred shots that illustrate an object’s motion (for example a racing car
or cyclist) then a slow shutter speed will keep the shutter open for longer, allowing for a longer
exposure time. A faster shutter speed, however, is perfect for a pristine action shot with no
motion blurs.
White Balance

Another setting on your camera which also directly affects your images is your White
Balance (WB). The process of setting your White Balance involves removing unrealistic color
casts and ultimately using a setting that produces more naturally toned images.
It is especially useful in removing harsh yellow tones or redness on the skin.
Alternatively, White Balance can be used in unconventional ways to refine your photographic
style. For example, for edgier photos, the Tungsten White Balance preset can be used in an
overcast setting to produce blue hues and enhance contrasts. With this in mind, it’s highly
beneficial to experiment with the various White Balance modes to achieve your desired results.

Things to note for shooting in Manual Mode

Keep in mind that when you’re ready to shoot in Manual Mode your settings will not adjust to
your shooting conditions. You have to adjust them, manually. By keeping this in mind you’ll
ensure your exposures are consistent throughout a shoot. The process of changing your settings
may sound tedious at first, but it will actually ensure your images are consistent.
This is what shooting in an automatic mode lacks, as it calculates how much light is being
measured through your camera’s light meter. As good as this might sound to you, you’ll
probably find that as you adjust your shooting position, the subject moves, or the lighting
condition changes to overcast – you’ll eventually have a set of very inconsistently exposed
images.

Other shooting modes

 As much as I love to shoot manual, don’t forget about the other letters on your mode dial that are
sparking your curiosity. In fact, I even recommend shooting in these semi-automatic modes as
practice to help you understand exposure compensation.

 Program mode (P) is a great transition mode when stepping out of the auto-shooting world. It
governs similar shooting to auto but allows you to adjust the exposure by controlling
compensation through a dial. If any of your photos appear dark, then using this simple feature
can increase the brightness.
 Aperture priority is another great transitional mode to shoot in that allows you control over
aperture as well as the ISO. It gives you control over your depth of field as well as the exposure
compensation to control brightness.
If you think you’ve mastered these settings then you’re ready to go manual!

Finally
In addition to camera settings, we highly recommend the following tips that will further enhance
your experience of migrating to manual shooting; such as the use of a tripod, golden hours, and
the top photographic golden rules to keep in mind for capturing stunning imagery time and time
again.
Read more from our Tips & Tutorials category

Antonio Leanza owner of the London School of Photography is a photographic artist, coach,
and teacher with extensive experience lecturing at LCC for over 10 years and for Ilford Film
across the UK. His approach to teaching focuses on helping students to invest in their creative
processes and inspire a transformational learning experience. Antonio also believes in helping
students achieve their full potential as creative individuals to realise their aspirations in the
photographic world.
How Playing With Manual Mode Can
Help You Learn Exposure Faster
A Post By: James Maher
I have a disclaimer before I even begin this article. I shoot much more often in Shutter or
Aperture Priority than I do in Manual mode. I save Manual mode specifically for studio
shooting, for some tripod work where I have a lot of time to get the settings perfect, or for
situations where the lighting is very consistent.

Learn Manual Mode to better understand

exposure
However, I think it is immensely important for you to try to periodically shoot in Manual early
on, especially if you’re just learning. Take a look at your camera. How many buttons does it have
on it? New cameras these days can have 20 or more buttons on them all doing different things,
but in reality, there are only three settings that make the photograph: the ISO, the Shutter speed,
and the Aperture.

Before you even go out, turn your camera to Manual mode and figure out the fastest and most
comfortable way to change each of these settings. You’re going to do a lot of that in Manual.

Understanding shutter speed

The next step is to understand a couple of important points. The shutter speedalways needs to be
at least one over your focal length to offset handheld camera shake. So if you are at 50mm (on a
full-frame camera), then your shutter speed needs to be 1/50th of a second. To freeze the motion
of moving subjects such as people, I like a shutter speed of around 1/250th or 1/320th of a
second, but you can get away with a little slower than that. You will need a faster shutter speed
to freeze faster moving subjects like cars, etc.

Understanding aperture
For your aperture, the lower the number (such as f/2.8), the less depth of field and more bokeh
there will be. This is counterintuitively called a large aperture because the size of the aperture
hole in the lens is actually larger. This will also let in a lot of light due to the size of the hole. A
small aperture (such as f/11 or f/16) will create a much larger depth of field, but the tradeoff is
that it will let in less light.

Understanding ISO
The ISO is the sensitivity of your camera’s sensor to light. The higher the number, the more
noise that an image will have, but the more sensitive to light it will be. Newer cameras can make
beautiful photos up to ISO 3200 or even 6400, but older or entry level cameras can have a lower
limit of around ISO 1600 (test your camera to find your comfort zone with its upper ISO limits).
If you want a lot of bokeh in your image, and you set your lens to f/2.8, that means the camera
will be letting in so much light that you will usually want a low ISO. However, if you are
shooting street photography, fast moving subjects, you want a shutter speed of 1/250th or faster,
and/or a smaller aperture such as f/11 – unless you are in bright sunlight, you will often have to
raise your ISO to be able to let in enough light to use those settings. In general, if it’s darker out,
then your ISO will often have to go up unless you are on a tripod.
Now play with them
Those are the main considerations that you need to learn; now just walk out the door and mess
around with your settings. Screwing around with the settings in Manual is the fastest way to start
to learn them well. Start off with your aperture. How much depth of field do you want in the
image? Once you pick that, then take a guess at the shutter speed and ISO and see how it looks.
View the back of the screen, look at the histogram, and zoom in on the details.
If an image is too dark, then slow the shutter speed, raise the ISO, or use a larger aperture. If the
main subject is too blurry, then speed up the shutter speed.

Try different lighting scenarios

Explore different lighting situations. Paying attention to lighting is the first thing that you should
do before you take a photograph. How strong is the light? Where is the sun or artificial light in
relation to what you are shooting? The strength of the light will be the number one factor in
helping you figure out your settings. From there, you can figure out the depth of field that you
want and if you need to freeze the motion of your subjects or not.
Get comfortable walking from one lighting situation to another. If you walk from the sun into the
shade, what will you need to change to expose the scene correctly? Pay attention to scenes with
both bright highlights and darker shadows. With these scenes you need to figure out which is
most important to expose correctly. If the shady area is more important, then let in more light. If
the highlights are the most important, then darken the scene so they are correctly exposed and the
shadows are closer to black. If you are in sunlight, learn how your settings will change if you are
shooting into the sun versus shooting away from it.

Go out in the morning, in the middle of a sunny day, at dusk, or in light rain. Learn how your
settings change in each of these lighting situations.
Most digital cameras will show you the light meter reading for what they believe will correctly
expose your image. For instance, if you choose the three settings, the light meter might show you
that it thinks you are underexposed by one stop (look in your viewfinder for a + 0 – scale, press
the shutter button part-way down to activate it). Keep an eye on this because it can help you, but
also try to not pay too much attention to it. The point of Manual shooting is to learn the numbers
yourself without relying on the camera. You can rely more on the camera later.

Conclusion and practice

The only way to learn these things is to experiment and do them. Shooting in Manual at first will
make you screw up much more than in Shutter or Aperture Priority, but a handful of dedicated
days of doing this will have you understanding the settings in a much more intuitive way. Then if
you decide to shoot in Shutter or Aperture Priority, you will have a strong understanding of how
to use those modes to the best of their ability.

Read more from our Tips & Tutorials category

James Maher is a professional photographer based in New York, whose primary passion is
documenting the personalities and stories of the city. If you are planning a trip to NYC, he is
offering his new guide free to DPS readers, titled The New York Photographer's Travel
Guide. James also runs New York Photography Tours and Street Photography
Workshops and is the author of the e-book, The Essentials of Street Photography..
How to Learn Your Camera’s Light
Meter and Master Manual Mode
A Post By: Simon Ringsmuth
Most cameras have a few different shooting modes such as Automatic, Aperture Priority (A or
Av), Shutter Priority (S or Tv), and Program. It’s not uncommon for people to take a majority of
their photos in Automatic mode since it generally does a good job of getting decent results,
though more advanced photographers will often use Aperture or Shutter Priority. Shooting in
Manual, however, might seem intimidating and highly complex but once you understand a few
basics it starts to make a lot more sense. Certainly you should have a working understanding of
the three components of the exposure triangle: shutter, aperture, and ISO.
But in order to get the most out of your camera you will need to know how to use a simple, but
incredibly powerful, tool that functions as the glue that binds everything together: the light
meter.

Nestled quietly at the bottom of your camera’s viewfinder or Live View display is a small block
of lines or bullets accompanied by a few numbers. You might also have noticed a little triangle
moving back and forth, or some vertical hash marks appearing and disappearing from time to
time, in a fashion that seems nonsensical or completely random. If these numbers and symbols
make no sense at all, don’t worry, you are not alone. It can be a bit confusing to understand the
light meter at first. But once you get the fundamentals you will probably find yourself growing
much more confident in understanding how photography works. Maybe you’ll even venture out
of Automatic and into Manual for the sheer amount of control you are able to have over your
photos.
Before I get into the nitty gritty of the light meter itself, I want you to take a look at it in relation
to the other data shown in your camera’s viewfinder. Note that this diagram is highly simplified
and your viewfinder might look slightly different, or include other information, but all cameras
(except some point-and-shoots) include the elements shown here.

In this example the camera’s shutter is set at 1/90 of a second, the lens aperture is f/4.8, and the
ISO is 400. The light meter is a readout that shows whether these values are going to result in a
photo that is properly exposed – that is, a photo that is neither too light or too dark. The small
triangle hovering over the zero in the light meter shows that the exposure is correct, and when
the shutter button is pressed the picture will look fine. But, I’ll show you a few pictures to see
what happens as the camera’s exposure settings are changed. If you want to try this yourself you
will need to have your camera in Manual mode, and I would recommend reading the rest of this
article with your camera at your side so you can do a bit of experimenting on your own.
For my first shot, I’ll show you a photo that is underexposed and then illustrate how the camera
settings can be adjusted to get the proper exposure. The values shown on these images are
exactly what I used in my camera to get these shots, and nothing has been edited or retouched in
Photoshop.
Here you can see that the shutter speed is 1/1000 of a second, the aperture of the lens is f/4, and
the ISO is 200. The camera’s viewfinder displays this information along with the light meter, and
note how the triangle has moved all the way over to -3 EV. (EV stands for Exposure Value, and
technically this image is underexposed by three stops. Don’t worry about the technical jargon
though! For now just follow along with the examples to see what happens when the exposure
values are altered.
To get a properly exposed photo you are essentially trying to re-create what your eye already
sees, but right now the light meter tells us that the photo will be way too dark. And indeed, the
resulting photo turned out just how the light meter predicted: it’s so dark it looks like it was
taken at night instead of mid-afternoon.
So what can be done to fix this? By adjusting the aperture, shutter, or ISO you can change the
exposure settings with the goal of getting that little triangle to hover above the zero. Watch what
happens when I change the shutter speed but I leave the aperture and ISO fixed at their present
values:
By altering the shutter speed from 1/1000 of a second to 1/15 of a second, the photo is now too
bright – exactly as the light meter said it would. It is overexposed by three stops, and the image
is virtually unusable. Because the viewfinder itself does not change as the aperture, shutter, and
ISO are adjusted, you have to rely on your light meter to tell you how bright or dark the image
will be. And sure enough, the triangle is hovering above the +3, which tells us the photo will be
too bright. Here is what a properly exposed photo looks like.
Finally, a good picture! By adjusting the shutter speed to 1/125 of a second, I was able to get the
triangle to hover above the zero, which means the photo would be properly exposed. Note that
there is no one correct way to do this, and a proper exposure could have also been obtained by
changing the aperture or ISO instead of the shutter speed, or a combination of all three. For
instance, I could have left the shutter at 1/1000 and increased the ISO to get the same result.

Why bother with all this?

At this point you might be wondering why you would want to go to all this trouble when you can
put your camera in Automatic mode and it will just take care of everything. The answer lies in
the fact that you, not your camera, know exactly what kind of photo you want to take. Your
camera does not know whether you are shooting landscapes, portraits, sports, starry nights, kids,
pets, or anything else. All it sees is how much light is coming in, and it tries to adjust the shutter,
aperture, and ISO to get that triangle to hover above the zero. But if you know how to control
those values yourself, you can open up vast new areas of photographic creativity that Automatic
mode can never do for you.
As another example, here is a picture of some berries, but again notice how it is underexposed by
three stops.
There are several settings I could adjust in order to fix this, or I could just put the camera in
Automatic mode. The problem with Automatic in this case is the camera does not know that I am
looking at berries. It just sees light, and would attempt to adjust the shutter, aperture, and ISO to
get a proper exposure even though it might not end up with the exact type of picture I want to
take.
Because I shot in manual using the light meter as my guide I was able to get precisely the shot I
was looking for. I knew that I wanted a shallow depth of field, which meant I should use a large
aperture of f/2.8. I knew that an aperture of f/1.8 would be too wide for my taste, and a smaller
value like f/4 or f/8 would not give me the nice blurry background I was hoping for. By leaving
the aperture at f/2.8 and changing the shutter speed I got a properly exposed photo with a nice
smooth background as you can see here:
But what if I had changed the other values instead? Look what happened when I left the aperture
and shutter at their original values from the underexposed photo (f/2.8 and 1/1000), and raised
the ISO instead:
The end result is almost the same: a properly exposed photo (just like our light meter told us it
would be, with the triangle hovering above the zero), but this image has much more noise and
grain than the previous one. Notice how the tree in the background just behind the berries looks
speckled and grainy instead of silky smooth, which is what usually happens at high ISO values.
Thus, raising the ISO might not be the best way to get the image I want even though the photo
itself is properly exposed.
So what about changing the aperture instead?
Once again the result is a photo that is properly exposed, but the depth of field is much wider –
see how the background is not quite as smooth and blurry as before? Also, because the aperture
was smaller I had to leave the shutter open longer at 1/90 of a second and even raise the ISO a bit
in order to maintain a proper exposure.

Get the exact shot you envision

Shooting in manual and using the light meter as your guide is a good way to ensure that the
image you see in your mind is exactly what you end up with when you click the shutter. If you
are shooting fast-moving subjects like cars or sports, you would want to start with a fast shutter
speed and adjust the other settings until you get that little triangle to hover above the zero. If you
are taking portraits and want a shallow depth of field with nice blurry backgrounds, keep the
aperture wide and change the shutter and ISO until the exposure is correct. It’s all about giving
control back to you, the photographer, instead of letting your camera make the creative decisions
for you.
Shooting in manual was the only way to capture this photo. By reading the light meter while
carefully adjusting my exposure settings I got precisely the shot I was aiming for. Camera
settings: f/16, 1/3 second, ISO 800
Understanding the basics of the light meter is really just scratching the surface, though.
Additional settings like your camera’s metering mode and the Exposure Lock function are even
more tools you can use to take control over your photography and unlock your true artistic
potential. Using manual mode and reading the light meter might seem like a complicated way to
take photos, but remember that you know better than your camera what kind of picture you want
to take. Once you know how to read your light meter and adjust your camera’s settings
accordingly, you can open up a whole new world of creativity that has been right in front of you
just waiting to be discovered.

Practice time
So now it’s your turn: grab your camera, put it in Manual mode, and hold the viewfinder up to
your eye. Now start changing the aperture, shutter, and ISO values and watch what happens to
the light meter. Is your image going to be overexposed? Lower the ISO, raise your shutter,
tighten the aperture, or try a combination of all three. Is your image going to be underexposed?
Do the exact opposite. The more practice you get, the easier it will be and soon you will feel
much more comfortable shooting in a mode that might have seemed hopelessly confusing before.
Do you shoot in manual? If so, how did you get yourself off Automatic mode? Or do you
actually prefer Automatic? Share your thoughts and experiences in the comments below.

Read more from our Tips & Tutorials category

Simon Ringsmuth is an educational technology specialist at Oklahoma State University and

enjoys sharing his enthusiasm for photography on his website and podcast at Weekly Fifty. He
and his brother host a monthly podcast called Camera Dads where they discuss photography
and fatherhood, and Simon also posts regularly to Instagram where you can follow him as
@sringsmuth.
 Switch to Manual Mode
A Guest Post by Sam Levy from citifar.
In the past couple of years, the price for DSLRs and other fancy cameras has decreased
dramatically and these cameras have become affordable to many more photo-enthusiasts. I often
stroll Fifth Avenue in New York City and observe so many tourists using their DSLR to ‘snap’
rather than photograph. There is nothing wrong with snapping but I can’t help feeling puzzled by
the reasons beyond their purchase of an expensive and heavy camera instead of a good and
cheaper point and shoot.

Since I started citifari to run photo tours for photo-enthusiasts of all levels, I have listened to
some of the reasons for not using the manual mode. It is usually one of these:

 I never took a photography class

 I don’t have time to think about these settings when I take a picture

 I am afraid of my camera’s settings, or

 It would take bad pictures

Essentially: fear and/or effort. Let’s think about it for a second and let’s tackle them one by one.
Taking bad pictures
What makes a bad picture? Is it only a picture that is not in focus and/or poorly exposed? No,
there are plenty of ways to take bad pictures. Rather, then, what makes a good picture? Is it only
a picture in focus and properly exposed? Not either! Chances are that you are already taking bad
pictures (I did not say only)! So where is the fear? That you will take more bad pictures? Are you
afraid at the possibility of maybe taking one good picture by chance? If it is only fear, you are in
the digital world: take one picture in manual mode and then switch to automatic to capture that
shot you were afraid to miss, it won’t cost you anything additional and with practice you will
realize that you don’t need the additional security shot.
Your camera’s settings
If the reason for the purchase of your fancy camera wasn’t a fashion statement or to get some
exercise by carrying a heavy camera bag, it was probably in order to be able to play with the
settings in order to get control over the camera and get those nice shots. What has changed
since? You became intimidated by the possibilities of your camera? You don’t know where to
start? You need only to consider three variables to take a picture: the aperture, the ISO and the
shutter speed. Forget for now all the fancy options hidden in the menus of your camera. Just
these three will get you a long way. Play with them, mess with them, read more, take a class. But
again: if you are afraid to miss a shot, take your picture in manual and turn to automatic as a
safety.
I never took a photography class
The easy answer to this is: take one. But I would like to augment that by: if you don’t have the
time or the means to, you don’t need to take a class. There are a ton of resources online to teach
you about the basics of photography, including DPS which I keep reading for tips, tutorials and
lessons from professionals. The best class is probably to take your camera out, take more
pictures and experiment. With digital, you can take as many pictures as you wish without
incremental cost, with software at home you look at the effect of the changes in one parameter by
comparing two pictures otherwise similar.

I don’t have time to think settings when taking a

picture
True, this one will be the hardest to overcome. It requires practice in order to build the
automatisms you need so that you can set your capture the way you want in manual mode. But
once again, you can start gradually. When you have time, force yourself take your picture in
manual mode and when you don’t have time, turn on the automatic mode. You will gain with
practice and will never want to go back to automatic mode after a while. Ultimately, the manual
mode will add fractions of seconds to your setup but your end result will improve much more
than the extra effort. Also, as a by-product, you will think more about your picture before the
shot and the message will pass better.
I would like to add one more reason why you might not be using the manual mode.
 I don’t know what the automatic mode does
If you knew you probably would not use it. You purchased your camera in order to control your
pictures and instead, the automatic mode selects everything for you:

 the focus point: your picture will be focused somewhere but not always on the subject you picked as a
point of interest

 the exposure: your picture will be exposed so that it matches an ‘average grey’. This will probably not
help seeing what you wanted to show in your highlights or in the shadows.

 all other settings: the processor inside the camera did not know whether you wanted to freeze the
movement or on the contrary, to have a slow shutter speed, it does not know either whether you
wanted to throw everything out of focus behind your subject or to have an ‘all in focus’ landscape
You invested and are now carrying your camera because you decided to tell the camera what to
capture: you want to be in control and you don’t want now to let the camera decide for you
instead. Forget the automatic mode and switch progressively to manual… (you might want to
explore the semi-automatic modes aperture and shutter speed priorities too).
Sam Levy is the founder of citifari. citifari offers photo tours in New York City. Structured as a 2-
1/2 hour practical workshop, citifari tour helps you get comfortable with your camera settings
and take great shots from New York City. visit citifari atwww.citifari.com, on facebook
at www.facebook.com/citifari or on twitter @citifari. email Sam Levy at sam@citifari.com
How To Read Your Camera Manual
(and why you really, really should!)
A Post By: Kevin Landwer-Johan
Camera manuals are notoriously difficult to read and understand. Often they are not read as
much, or as well, as they should be. You need to read your camera manual because it contains
vital information that will help you to become a better photographer.

© Kevin Landwer-Johan
Just as we need to learn the alphabet before we can learn to read and write, we must learn the
basics of operating our cameras in order to take the best photos we can.
Reading it from cover to cover is not necessary. There will not be a test on how much you can
remember.

The best way to use your camera manual

Begin to skim with your camera in your hands. Look through the contents and take note of
what’s covered. Mark which items you think may be of particular interest to you. Some you will
be able to just glance over. Others may be just painfully obvious, like this from the Nikon D800
manual;
“When operating the viewfinder diopter adjustment control with your eye to the viewfinder, care
should be taken not to put your finger in your eye accidentally.”
I would add that it’s always a good idea not to put your finger in your eye, even when you are
not adjusting your diopter.
If you’ve just bought a new camera and it’s a model you’re not familiar with, you’ll need to pay
more attention to the manual. For camera users who are upgrading you will be best to scan the
book for what’s been upgraded since your previous model. Sometimes these may be highlighted.

© Kevin Landwer-Johan
Break your reading down into bite-size chunks. Don’t attempt to read and understand everything
you need to know about your camera in one sitting. It’s a complex piece of equipment. Spread
your reading out over a few days or a week.
Give yourself time to practice what you are reading about. Getting hands-on experience will help
you retain what you’re learning about and make it much more relatable.
Do not read it all
Choose to learn the essentials first. Find out how to focus it and set the exposure well. There will
be various options available to you. Start reading about the ones most applicable to the way you
like to photograph.
If you are completely new to photography and not yet sure which exposure mode you prefer,
take some time to read through all the options.

© Kevin Landwer-Johan
Getting a good start by understanding the basics of your camera leaves you freer to concentrate
on photography. Don’t be filling your mind with more than you need to know. At the start you
are not likely to need information about producing video, making multiple exposures or how to
adjust the customs settings on your camera. These things can wait until you can find your way
around your camera comfortably.

Carry your manual with you

Download a PDF of your camera manual to your phone. Take it with you everywhere so you can
refer to it when you get stuck with a camera setting.
© Kevin Landwer-Johan
Practical application of the information contained in this little book will help you get to know
your camera better. But only if you use it well. Hands on is best.
Once it’s on your phone you can take a few minutes to read a little more on the bus or train or
whenever you have a few minutes to spare.

Consider buying a book specifically about

your camera (that’s not the manual)
I have purchased books and resources about cameras I own by Thom Hogan. Thom is well
known for his incredibly detailed writing about Nikon cameras. I find he’s much easier to read
than the camera manuals.

©Pansa Landwer-Johan
His books are well laid out and the information is broken down so it’s readily consumed.
This may be beyond the needs or wants of many photographers, but for those who have the time
and want the resources, picking up a book, other than your camera manual will help advance you
towards better picture taking.
Aim to be able to forget it all
As you become more confident and competent with your camera, you will have little need for
your camera manual. Well, I would hope that before long you have put what you’ve read to good
use and can remember it effortlessly.

©Pansa Landwer-Johan
Having the ability to pick up your camera and have it ready to take photos in any situation is well
worth aiming for. The more you can concentrate on what’s happening in front of you the better
photos you’ll obtain.
Gazing down at the camera in your hands as you try and figure out which settings you want to
use leads to you missing out. You may be able to take your best photos when you are focused
more on what you are making photographs about than what you are making them with.
Read more from our Cameras & Equipment category

Kevin Landwer-Johan is a professional photographer, photography teacher, and filmmaker

with over 30 years experience. Kevin is offering DPS readers his FREE course for beginner
photographers which will build your confidence in photography. You will learn how to make
sense of camera settings and gain a better understanding of the importance of light in
photography. Check out Kevin's Blog for articles with a more personal approach to
photography.
Aperture Versus Shutter Priority –
Which Shooting Mode to Use and When
A Post By: Kunal Malhotra
I too was once a beginner and I completely understand that how difficult it is to move into using
Manual Mode directly from shooting Automatic. Thankfully camera manufacturers have also
thoughtfully provided us with Aperture and Shutter Priority modes. These two camera shooting
modes are possibly the best ways you can understand the nature and role of aperture and shutter
speed.
Aperture and Shutter Priority are semi-automatic, or we can call them semi-manual camera
modes. These two modes can help you get away from the fully automatic modes (P, Auto) and at
the same time get you a step closer to using Manual Mode.

What is Aperture Priority Mode?

The Aperture Priority shooting mode allows you to take control of the aperture, whereas the
shutter speed and ISO (if you are set on Auto-ISO) are still controlled by your camera. This
means that you can adjust the amount of light entering into the camera through the lens. So using
Aperture Priority you can set the aperture value as per your need and control the depth of field.
Unlike the automatic modes, this mode gives you the freedom to adjust the aperture value and set
the amount of blur effect that you want in your photo.

When should you use the Aperture Priority

Mode?
As we discussed, Aperture Priority mode allows you to control the aperture value, which
ultimately affects the depth of field. This shooting mode is ideal if you wish to adjust the depth
of field as per your desire, whereas leaving the shutter speed and ISO value selection up to the
camera.

Situation 1: Portraits
While taking portrait or close-up shots, I am sure you would want to keep the subject in focus
and blur out the background by choosing a large aperture (small aperture value). Using Aperture
Priority Mode you can manually choose the required aperture value such as f/1.8 or f/2.8 to
achieve a shallow depth of field.

Situation 2: Landscapes
While shooting landscapes or cityscapes, you might want to have both the foreground and the
background very much in focus. This is only possible if you manually choose a small aperture
(high aperture value). Aperture Priority Mode gives you the freedom to select desired aperture
value such as f/16 or f/22 to get deep depth of field, while your camera takes care of the shutter
speed and ISO value.

Situation 3: Low lighting

Suppose you are in a dim lighting condition and your photos are coming out underexposed. By
increasing the size of the aperture opening (selecting a smaller aperture value like f/1.8), you can
allow more light into the camera and capture a better-exposed photo. Read: 6 Tips for Getting
Consistent Results Shooting in Low Light

Situation 4: Midday bright sunlight

If you are shooting in broad daylight and are getting overexposed photos while shooting in
automatic mode, you can close the aperture opening. This means that by using a higher aperture
number (like f/16), you can minimize the amount of light entering the camera through the lens.

What is Shutter Priority Mode?

As the name suggests, Shutter Priority mode allows you to take charge of the shutter speed. Just
to brainstorm, shutter speed is the duration for which the camera shutter remains open for the
light to enter the camera and ht the sensor. The slower the shutter speed is set on the camera, the
more the light is received by the image sensor. Similarly, the faster the shutter speed the less
light would hit the image sensor.

While you are shooting in Shutter Priority mode, you have the freedom to adjust the shutter
speed as per your requirement while the camera chooses the aperture and ISO value on its own.

When should you use Shutter Priority Mode?

As we just discussed, if you want to take full control of the shutter speed and experiment with
your camera then this is the ideal camera mode. Let’s look at two situations when you are most
likely to shoot in Shutter Priority mode.

Situation 1: Freeze a moving subject

If you want to freeze a fast moving bird, animal, or car in your photo, using Shutter Priority
mode will allow you to do so by setting a fast shutter speed. A shutter speed of anything faster
than 1/500th of a second is considered ideal for freezing an object, but this may vary depending
on the speed of the subject. Your camera will judge the required aperture and ISO values as per
the available light.

Situation 2: Showing movement

If you are out and planning to capture star trails, light trails, or blue hour photos, you would have
to select a slow shutter speed so that the subject’s movement is well captured in the single photo.
To capture long exposure photos, you must carry a tripod along to avoid any kind of shake.
Situation 3: Dim lighting
If you are in dim lighting conditions you might get underexposed photos while shooting in
automatic mode. By simply reducing the shutter speed (e.g. from 1/200th to 1/50th), you can
allow more light into the camera and capture a well-exposed photo.
Note: Watch out for the shutter speed going too slow as to introduce camera shakeinto your
image;

Situation 4: Broad daylight

Let’s suppose you are shooting in broad daylight and your camera is capturing overexposed
photos while shooting in automatic mode. Here you can increase the shutter speed. This means
that by using a faster shutter speed (e.g. from 1/200thh 1/1000th), you can minimize the amount
of light entering the camera sensor.
Conclusion
Using Aperture and Shutter Priority camera modes enables you to get familiar with how the
lens’s aperture and the camera shutter works. These modes ensure that you get well-exposed
photos with your desired selection of aperture value or shutter speed, unlike automatic mode
(where the camera makes all the choices for you).
So if your utmost priority is to manually choose the desired aperture value in order to get a
particular depth of field, then you must shoot in Aperture Priority Mode. Otherwise, if your
priority is to choose a specific shutter speed to capture something creative with the available
light (freeze or blur motion), then you must go with Shutter Priority camera mode.
How to Choose the Right Camera Mode
to Get the Shot You Want
A Post By: Rick Berk
When starting out in photography, one of the scariest and most confusing things for a beginner is
deciding which camera mode to use. While the automatic modes provide a bit of a safety net for
those just starting out, there will come a time when you either want to or have to, take greater
control of your camera to get the results you desire. But how do you know what camera mode to
use?

Aperture Priority mode is a perfect choice for a scene like this where you know you’ll want deep
depth of field to keep the entire scene in focus.
First off, I won’t discuss any of the automatic modes here. A full discussion of what those do can
be found here: Camera Modes Explained for Newbies. What I’d like to do here is discuss
specific situations and the appropriate mode for each. Before we dive into that, I’ll explain the
basics before we move forward.

Aperture
The aperture is the opening of the lens, which determines exactly how much light enters the
camera and strikes the imaging sensor. The aperture also affects the field of focus from
foreground to background, otherwise known as depth of field. A shallow depth of field is one
that has a sharp focus on the subject, while objects in front of or behind the subject are out of
focus. Deep depth of field is when the entire image is in sharp focus from foreground to
background. And of course, you can have a depth of field that is somewhere in between those
two.
Aperture is shown as a number on your lens, usually as a ratio. For instance, lenses with a
maximum (widest) aperture of f/1.8 will have a very shallow depth of field. That same lens set to
f/16 will have a deeper depth of field. An easy way to remember this is smaller numbers give
you less and higher numbers give you greater depth of field.

When you know you want the background blurred, setting a wide aperture to create a shallow
depth of field is key. Aperture Priority mode can be used in cases like this (keep reading to learn
more on that a bit later).

Shutter Speed
Shutter speed determines the amount of time light strikes the sensor when it enters the camera.
The faster the shutter speed, the less light strikes the sensor. In addition, shutter speed is directly
responsible for how movement is rendered in an image. Shutter speeds are referred to in fractions
of a second, such as 1/125th, 1/60th, or 1/1000th. Faster shutter speeds, such as 1/500th, freeze
motion, while slower shutter speeds, such as ½, 1 second, or even 30 seconds, will show motion
as more of a blur. The longer the shutter speed, the more blur motion will create.

ISO
Your camera’s ISO determines how sensitive it is to light. Lower numbers such as ISO 100 or
200 mean your camera is less sensitive to light and are used in bright situations, such as in direct
sunlight. When there is less light, such as in shade, or indoors, you might use a higher ISO such
as 800, 1600, or 3200 to make your camera more sensitive to light. ISO plays an important part
in the various situations I will discuss going forward, so always keep in mind that you can
change this setting, and don’t be afraid to raise your ISO if needed.

Camera Modes
Before going any further, I want to clarify that there are multiple ways to get a specific desired
result with your camera, using any of these modes. Once you understand the relationship
between shutter speed, aperture, and ISO, you’ll be able to do whatever you like in any of these
modes.
But which mode is best for which situation? You’ll have to visualize your image to decide.

Program Mode
Program Mode resides on the advanced side of the camera mode dial, usually denoted by a P. In
this mode, the camera will set the aperture, ISO, and shutter speed for you. So when should you
use Program Mode?
Program Mode is good when you’re not looking for any effect in particular. Your camera, when
set to Program Mode, will attempt to give you a proper exposure that can be handheld, meaning
you won’t be required to use a tripod to steady your camera. This is a good mode for when
you’re just casually photographing and just want to be sure your exposures are right.
It is a lot like Automatic Mode in that regard, except that you have the ability to override, or
shift, the exposure the camera sets, as well as many other settings such as white balance and
picture style. In addition, while in Auto mode, the camera will pop your flash up when it thinks it
needs more light. But in Program Mode the flash will not pop up unless you tell it to.

Aperture Priority
On some cameras, this mode is simply denoted by an A on the mode dial, while on Canon
cameras it is denoted as Av, meaning Aperture Value. In any case, in this mode, you set the
aperture and ISO you want and the camera will set the appropriate shutter speed for you. So
when should you use Aperture Priority mode?
When you want a shallower depth of field, such as in a portrait, using Aperture Priority and
setting a wide aperture is an excellent choice.
To determine the answer, visualize your finished image in your mind’s eye. What do you want it
to look like? Generally speaking, if you’ve decided that the most important factor in your image
is a specific depth of field, you’ll want to use Aperture Priority Mode so that you can force your
camera to give you the depth of field that you want. For instance, if you’re making a portrait, you
probably want your subject in sharp focus, but you may also want the background to be a little
blurred, to keep your viewer’s focus on the subject. An out of focus background can create a
setting without distractions for the viewer. So you might decide you want to use a fairly wide
aperture such as f/4, to create enough depth of field to keep your subject sharp, but let the
background blur nicely.

But watch your shutter speed too

It’s important to note, however, that you also need to keep an eye on the shutter speed setting.
While the camera will set this for you, unlike in Program Mode, the camera is not going to try
and give you a fast enough shutter speed to handhold. If there isn’t enough light, this will result
in a slower shutter speed that may not be fast enough to freeze any subject movement. This could
result in a slight blur due to unsteady hands or slight movement by your subject. If the shutter
speed chosen by the camera (based on the aperture you’ve set) isn’t fast enough to freeze motion
in this situation, you’ll need to raise your ISO. Raising your ISO will effectively increase the
shutter speed given for the aperture you’ve set.
Aperture Priority is a great choice when photographing a landscape where you want a deep depth
of field, and the shutter speed doesn’t need to be set at anything specific to capture motion a
certain way.

For landscape photography

Another situation for Aperture Priority would be a landscape photo, where you may want greater
depth of field to keep the entire scene in focus. In this situation, your primary goal is to get lots
of depth of field to keep the entire scene in focus, so you’d set an aperture of f/11 or even f/16 to
capture a greater amount of the scene sharply. In this situation, if you’re using a tripod, the
shutter speed may not be as big of a factor for you.
But if you’re handholding the camera, you will want to pay attention to the shutter speed the
camera sets to ensure it’s fast enough to avoid camera shake. In addition, if there is moving
water or clouds, or the wind is blowing the trees or grass, you’ll want to ensure that the shutter
speed the camera sets is appropriately stopping that movement to your liking. If not, you’ll want
to adjust your ISO so the camera sets a more appropriate shutter speed.

Shutter Priority
When you know you need a specific shutter speed, such as this image where a panning technique
was used, Shutter Priority is often the best choice.
Shutter Priority is usually denoted using an S on most cameras, while Canon uses Tv,
representing Time Value to denote Shutter Priority mode. Shutter Priority Mode is just the
opposite of Aperture Priority. In this mode, you set the shutter speed you want, as well as the
ISO, and let the camera choose the appropriate aperture. This mode is an excellent choice when
you’ve decided that rendering motion in a certain way is the key component of your image.

Shooting sports
For example, suppose you are photographing a sporting event. Most likely, you’ll want to freeze
the action of the athletes on the field. To do so, you need a fast shutter speed, such as 1/500th or
even 1/1000th. In shutter priority, you’ll need to again keep an eye on your ISO to ensure that the
camera is giving you a proper exposure. Usually, the exposure indicator in your viewfinder will
flash to show that at the current settings, proper exposure cannot be achieved. In this case, raise
the ISO to achieve the correct exposure for the shutter speed you want.
You might want to use Shutter Priority Mode when you know you need a fast shutter speed to
stop action, such as when photographing sports.
As another example, let’s say you want a slower shutter speed to create a panning effect. Again
you would set the correct shutter speed to create the effect, and let the camera adjust the aperture.
Any time the primary concern is the appearance of motion in an image, Shutter Priority is a good
choice for shooting or camera mode.
Another example of using a slow shutter speed to create a panning effect in Shutter Priority
Mode.

Manual Mode
Once you’re comfortable with changing settings and you really want to take control of your
camera, Manual mode is the way to do that. You will set all of your settings according to how
you want your final image to look. There is one caveat, however. Your settings will also be
dependent on the available light in the scene. So if you want a fast shutter speed, and deep depth
of field, you’ll probably need to raise your ISO a bit. Or compromise on one of the other settings
as well.

Watch the meter

Just keep an eye on your camera’s meter and it will help you find the right combination of
shutter speed, ISO, and aperture. The other modes do a nice job of taking some of the load off
your brain by allowing you to choose one setting to have priority, but sometimes you just need to
take full control.
Manual Mode is the best choice when you want to create an effect that the camera’s normal
exposure modes just don’t normally do, such as this silhouette.

Exposures long than 30 seconds

One instance where you’ll need to do this is when creating an exposure longer than 30 seconds.
Today’s cameras don’t have shutter speeds for longer than that, so you would need to calculate
in your head how long to keep the shutter open, and then use the Bulb setting to do so. Any time
the camera can’t properly calculate exposure is a good time to use Manual Mode.
When creating images using a long exposure, such as this one with an exposure time of two
minutes, Manual Mode is the best (or possibly only) choice.
Another time to use Manual Mode is when the lighting in a scene is especially challenging, such
as when there are a lot of dark shadows. Your camera will try to expose for the deep shadows,
causing the highlights to overexpose. Using a manual setting to override the camera’s choices
will work well in achieving a satisfactory exposure.

Summary
As I mentioned, there are many ways to capture an image and arrive at similar settings. But each
time I’m out photographing, I go through the following checklist in my head:

1. Do I want deep or shallow depth of field?

2. Do I want to stop action or is some motion blur okay?

3. Which of the above two choices is more important for this image?

4. Is one of the priority modes suitable for the available light of the scene?

The answer to those four questions should lead you to the correct mode for the shot you want.
Shutter Priority can be used when photographing sports to set a fast shutter speed to stop action.

Read more from our Tips & Tutorials category

Rick Berk is a photographer based in Freeport, Maine, shooting a variety of subjects including
landscapes, sports, weddings, and portraits. Rick leads photo tours for World Wide Photo
Tours and his work can be seen at RickBerk.com and you can follow him on his Facebook page
and on Instagram at @rickberkphoto.
 Nikon Custom Modes of the D750 and
D500. Which mode is best?
A Post By: Konstantinos Skourtis

Customization is a big trend. From 3D printing to personalizing phones to our face,

customization is becoming a requested product feature and a competitive advantage. Cameras
also try to provide more and more customizable features to cater to our individual shooting
styles. In this article, I will present and compare the Nikon custom modes of the D750 and
the D500 including:

 U1/2 and

 Memory banks

A D750 features ‘U1/2’ and a D500 the ‘Memory banks.’ In this article, you will learn ways to
set both up. Shooting scenarios showcasing the usefulness of custom settings will be included.
Finally, I will share my preferred settings for each one, as well as some thoughts on both
methods.
The location of U1/2 on the D750

Location and activation of U1/2

Generally a warmly received feature, U1/2 can be found on the top dial of the cameras that
include them.
The way to move between them is to push the button next to the dial and spin the dial until the
required setting aligns with the white indicator line next to the dial. This then becomes the active
combination of preselected settings.

Location and Activation of Memory Banks

On the other hand, Memory Banks are not assigned upfront directly to physical controls. Instead,
these are selectable through the menus or are assignable to button and dial press-and-turn
combinations.
 There are different ways to access and activate banks. The most common are:

 Through the ‘photo shooting’ and ‘custom’ menus shown below. It is the top option on
both menus. These switch between the four (A/B/C/D) available photo shooting menu banks (in the
photo shooting menu) and the four (A/B/C/D) available custom setting banks (in the custom setting
menu). This is the longest way to set banks up, as it resides deeper in the menus.

Screen of photo shooting menu on the D500

 Screen of custom setting menu on the D500

 Through the ‘info’ button at the back of your camera. Pressing this opens up a menu and the two
topmost options are: ‘photo shooting menu banks’ and ‘custom settings banks.’ There is no way to
change the order in which they are shown.

 Through the ‘my menu’ tab. With this menu, you assign them in any ranking that suits you. A
variation, for quicker access, is to first place either of them (but only one at any time) as the top item in
‘my menu.’ To follow, assign the shortcut ‘access top item in my menu’ to any permissible

button. The buttons / / / work for this shortcut (sub-selector press).

 Through the assignable button and dial press-and-turn combinations. This method applies exclusively
to ‘photo shooting menu banks.’ The buttons that can be pressed in combination with any command dial
rotation are / / (sub-selector press) / (movie record button next to the shutter
button). For the combination with the movie record button to work, the live view selector needs to be in

rotated to .

Live view selector to photography mode position on the D500

A Conceptual Way to Approach Custom

Settings
Now you should know how to access and activate both custom settings. I will now discuss the
rationale behind them using them.
Firstly, I will talk about useful ‘generic’ concepts:

1. Camera settings (core/output/fine-tune)

2. Photographic parameters (scene variables/photographic intent/enablers)

These concepts are a framework for you to consider in the use of custom settings. I prefer this
framework, rather than simply answering ‘which custom settings are best for portrait, sports,
nature or any other photography genre?’ I have intentionally left out perspective (I consider this
primarily impacted by lens selection) and composition (as this is the photographer’s prerogative).

1. Camera Settings
Core Settings: Aperture, shutter speed, ISO, and metering. These are at the heart of
photography, regardless of genre. Most of these are changeable on the fly while shooting through
the dedicated button and/or dial press/turns.

Output Settings: Most of the settings of the ‘photo shooting’ menu. These affect the
output file type, size and look, such as file quality (raw and jpeg), picture control system
(standard, vivid etc.), and white balance. An exception is the ISO setting, which I consider core.

Fine-tune Settings: The menu options of the ‘custom settings’ menu. These are important
adjustments to the way the camera looks at and reacts to the scene/subject.

2. Photographic Parameters
Scene variables: I keep it simple, by including (available) light levels and subject movement
only.
Photographic intent: This is the part where you decide what you want to convey or achieve
through your photograph. Do you want to freeze or show movement? Go high or low key on the
scene? Are you isolating your subject from its surroundings or showing some background detail?
These (and many more) are the meaningful aesthetic choices, which make each photographer
unique.
Enablers: Out of the many props/modifiers available to photographers, I include here
the flash and the tripod. These two (arguably filters as well) make possible, more than anything
else, the realization of our vision in diverse genres of photography (e.g. landscape, long
exposure, night photography, macro etc.). Additionally, each of them has their own distinct
group of settings to maximize their effectiveness.

How Do U1/2 and Memory Banks Approach

These Concepts?
Any given scene can be broken down to any pair of variables (marked with x) in the table below.
I argue that superimposing our photographic intent on these sets of variables, assisted by suitable
enablers, is the art and technique of photography. In my view, the custom settings number one
goal is to facilitate effortless interplay between variables, intent, and enablers.
To achieve this, they should allow a quick switch from one bundle of the core, output and fine-
tuning settings to another. U1/2 and Memory Banks do this in different ways, as I will
demonstrate below.

U1/2 Table
Key: U1 (User-defined 1), U2 (User-defined 2), C1 (Core 1), C2 (Core 2), O1 (Output 1), O2
(Output 2), F1 (Fine-tuning 1), F2 (fine-tuning 2)
 Memory Bank Table

The tables above summarize the difference in the logic of U1/2 and Memory Banks.

 U1/2 are vertical combinations of selected settings of all types of camera settings.

 Memory Banks is a matrix combination (i.e. mix and match) of primarily ‘Output’ and ‘Fine-tuning’
camera settings. The exception is the inclusion of the core ISO setting on the photo shooting Menu
 Banks. Turning on the ‘extended photo menu banks’ option in the ‘photo-shooting’ menu allows
for the other settings (aperture/shutter/manual priorities, aperture, and shutter values as well as
exposure and flash modes) to be embedded in the photo shooting banks.

Applying Custom Settings to Real-Life

Shooting Scenarios
Generic Shooting Style
Before I provide some examples of real-life shooting using both custom settings, I will make a
few important working assumptions about a ‘generic’ shooting style:

 You shoot various genres of photography regularly in a mixed way (i.e. you would opt for the maximum
settings’ range and flexibility within easy reach)

 You do not employ back button focus. I propose you do so. It can increase your focusing and composing
options, as well as your speed of shooting considerably.

 You are not a full-time raw or jpeg only shooter. Myself, I shoot raw 95% of the time/shots.

 You do not use auto ISO. I propose you do, as on the field it can make life a little less complicated.

 You have and know how to use a flash and a tripod.

Typical Shooting Situations

Now, I will walk you through one of my typical shooting situations – walking around town or
traveling, to show what I ideally expect from my custom settings.
Scenario One:
As I am strolling along, I see a nice background for a portrait. I want my camera to be on the
ready with pinpoint focus accuracy (AF-S single point) with a nice shallow depth of field.
Depending on surrounding light levels and contrast, I may or may not want to add flash-fill or
even overpower available light using high-speed sync, so it is handy to be able to quickly access
a convenient flash exposure starting point.
Portrait of a friend taken with the D750
Scenario Two:
Along the road, a cute animal is playing. I’d like to shoot it as it moves, freeze it or do a nice
pan. My camera needs to be ready to follow motion (AF-C combined with any preferred focus
area mode). Also, I need quick flexibility on my shutter speed selection from a 1/1000th sec (to
freeze action) down to around 1/30th sec (to pan).
A portrait of a dog taken with the D500
Scenario Three:
I enter a beautiful garden. Flowers are perfect to photograph close-up (macro) so I set up my
tripod. Here, I require a deeper depth of field and pinpoint focus accuracy again (AF-S single). If
the light is not plenty, I may need a longer than usual exposure.
Turning ‘on’ long exposure noise reduction and exposure delay, provides better image quality in
these scenarios. To further mitigate shake risk, I also engage mirror lock-up. Unfortunately,
mirror lock is not pre-configurable in U1/2 or in Memory Banks.
A Flower close-up taken with the D750
Scenario Four:
On any trip, it is great to take a nice landscape photo. In this case, the macro settings above,
more or less apply. If there is plenty of light, shooting handheld is not an issue.
A landscape taken with the D750
Scenario Five:
Finally, during a town-by-night walk, a nice long exposure is always memorable. Again, the
macro scenario settings and my trusty tripod come in handy.
A long exposure taken with the D500
Based on these realistic hypothetical-shooting scenarios, it is evident that settings vary
considerably from auto-focus mode to shutter speed and aperture, to flash or no flash etc. You
may also want to give your camera to someone for a quick snap, without having the time or
inclination to explain focus, recompose or other settings.
If there is an ‘auto’ option on your modes dial then all is good, if not, then resetting to ‘waiter’ or
‘dumbbell’ mode (as full-auto is also known to some) is not quick nor easy without custom
settings.
Now, I will briefly show my settings for both modes and a few tips to further increase their
flexibility.

My Settings for U1/2

U1 is my ‘General Shooting Mode’ and the settings are shown in the screen below. If you
employed back-button focus, then you would use AF-C instead of AF-S
My U1 settings in D750
U2 is my ‘Flash Shooting Mode’ and the settings are shown in the screen below.
My U2 settings in D750
It is important to mention that you have additional options by customizing M/A/S modes.

The Settings I Use For Memory Banks

(Extended Banks ‘ON’)
My photo shooting banks are named A=General B=JPG C=Shutter D=Manual
The custom banks are named A=General B=Flash C=Tripod D=Waiter
I have set banks this way to be able to move from my usual working best quality output (e.g.
A/A) to basic point and shoot output (e.g. B/D) within just a few seconds by using the

‘info’ button and changing the ‘custom settings’ banks.

Tips to maximize both methods:

1. Create and rank items in ‘my menu’. This will allow quick access and change of settings that
are not pre-programmable in any mode (e.g. mirror lock up).

2. Especially for Memory Banks, use the ‘save/load settings’ option onto an SD card (one you will not
format). Also, store the settings file on any drive for safekeeping. This will give you a quick restore
method, in case you forget what your initial Memory Bank settings were after many changes, as
banks are not ‘sticky’.

3. Read on the net for other ways that users have set their U1/2 and banks. Their needs and style may
suit yours.

So Which Method is Best?

After comparing U1/2 with Memory Banks for versatility in the above scenarios, my conclusion
is that banks provide me with the highest flexibility thanks to their matrix structure. However,
banks demand greater discipline in their set-up and use to remain helpful. This is because U1/2
are ‘sticky’, while banks are not.
Once settings are saved in U1/2, no matter what changes you make while shooting with U1/2
selected, you will not impact the saved settings. Simply reselect U1/2 and you are at your initial
settings in a blink, hence ‘sticky’. However, all 8 banks save settings dynamically in real time as
you apply them during your shooting. Following is a simplified example to elaborate:
You have U1 set up as A-priority, AF-S at f/5.6 and matrix metering. During your shoot, you
move from the matrix to spot and f/8. Do you want to go quickly back to your base settings?
Simply turn the dial from U1 to U2 and then back to U1 again, and you are back to f/5.6 and
matrix.
In banks (both custom and shooting), if you wanted to keep your selected bank identical to the
starting configuration, you would need to manually bring metering and apertures back to their
initial values.

Conclusion
So, in the grand scheme of things, I have no complaints from either method in the Nikon Custom
Settings. I am glad to have both available. I value the ease of use of U1/2 and I love the greater
choice that Memory Banks give me. For example, being tripod-ready for landscape or macro,
without having to remember to change many settings makes things easier and quicker.
It would be great to have an option to easily save and restore banks in camera to provide the best
of both worlds, or to have the quick recovery of U1/2 with the greater choice of the banks.
Join the discussion and let us know your preferred method and way of programming Nikon
Custom Settings on the D750, D500 or any other camera featuring U1/2 or banks.

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