Canon 80d Picture Style Setting
Feb 22, 2016 - Selecting a Picture Style on the Camera (EOS 80D). Picture Style is a function for easily setting characteristics that match the image you are. Hit the menu button on your Canon DSLR and navigate your way to the picture styles heading. Use the Set button to select picture styles and load the list of different styles on screen. You’ll find the picture style is set to Standard.
Picture Style is a function for easily setting characteristics that match the image you are shooting. The available settings are shown in the following table. Picture Style Image Characteristics Auto The color tone will be adjusted automatically to suit the scene.
Canon 80d Picture Samples
The colors will look vivid for blue skies, greenery and sunsets, particularly in nature, outdoor and sunset scenes. Standard The image looks vivid, sharp, and crisp. This is a general-purpose Picture Style suitable for most scenes. Portrait For nice skin tones.
The image looks softer. Suited for close-up portraits. Boyka 4 full movie. By changing Color tone, you can adjust the skin tone.
Landscape For vivid blues and greens, and very sharp crisp images. Effective for impressive landscapes. Fine Detail Suited for detailed outline and fine texture description of the subject. The colors will be slightly vivid. Neutral This Picture Style is for users who prefer to process images with their computer. For natural colors and subdued images with modest brightness and color saturation.
Faithful Suited for processing the image with a computer. The color of a subject that is captured in sunlight at a color temperature of 5200K will be adjusted to match the subject's colorimetrical color. For subdued images with modest brightness and color saturation. Monochrome Creates black-and-white images. 1-3 You can register a basic style such as Portrait, Landscape, a Picture Style file, etc., and adjust it as desired. Any User Defined Picture Style that has not been set will have the same default settings as the Auto Picture Style.
In summary Positioned at the upper end of Canon’s entry-level DSLR line-up ““ or the lower end of the enthusiast-orientated cameras, the 80D will suit amateur photographers when want a serious imaging tool and enthusiasts who want functionality and performance. Both types of buyers can benefit from the smaller sensor format, which applies a 1.6x crop factor extension in focal length, particularly when they have only one or two lenses. Improvements to the autofocusing system are likely to be the main reason to purchase this camera. Canon’s Dual Pixel CMOS AF technology carries over from the EOS 70D for Live View shooting. But, expanding the number of sensor points in the AF system from 19 in the D70 to 45 in the D80 provides a better base for accurate autofocusing, improved low light capabilities and more accurate focus tracking.
All 45 points are cross-type and they can be selected individually or grouped into areas to enable fast and accurate focusing virtually anywhere in the frame. The AF system can operate in light levels as low as moonlight (-3EV), while the central 27 in the array can operate at apertures as small as f/8. Improvements to video recording may also be of interest, particularly the HDR movie and in-camera time-lapse recording modes, which have been ported across from the 7D II. Full review After publishing a detailed in February, we have now received a production unit.
It was supplied with the new, which is reviewed separately. This report complements the initial review, adding comments about our experiences using the new camera plus the results of our standard tests.
Use the links to jump between the two reports. Angled front view of the EOS 80D with the new EF-S 18-135mm f/3.5-5.6 IS USM kit lens. (Source: Canon.) As discussed in our original report, the 24.2-megapixel EOS 80D provides most of the features a photo enthusiast might desire in a body design that has changed little since the EOS 70D.
The increase in resolution is largely immaterial, but the new DIGIC 6 processor enables the 80D to support Full HD video at up to 50p (60p for NTSC) and add in-camera time-lapse recording. Who’s it For? Positioned at the upper end of Canon’s entry-level DSLR line-up ““ or the lower end of the enthusiast-orientated cameras, the 80D will suit amateur photographers when want a serious imaging tool and enthusiasts who want functionality and performance. Both types of buyers can benefit from the smaller sensor format, which applies a 1.6x crop factor extension in focal length, particularly when they have only one or two lenses. Improvements to the autofocusing system are likely to be the main reason to purchase this camera. Canon’s Dual Pixel CMOS AF technology carries over from the EOS 70D for Live View shooting. But, expanding the number of sensor points in the AF system from 19 in the D70 to 45 in the D80 provides a better base for accurate autofocusing, improved low light capabilities and more accurate focus tracking.
All 45 points are cross-type and they can be selected individually or grouped into areas to enable fast and accurate focusing virtually anywhere in the frame. The AF system can operate in light levels as low as moonlight (-3EV), while the central 27 in the array can operate at apertures as small as f/8. Improvements to video recording may also be of interest, particularly the HDR movie and in-camera time-lapse recording modes, which have been ported across from the 7D II. Also shared with the 7D II is the anti-flicker system, which enables the metering system to detect fluctuating brightness from artificial lights (particularly fluorescent lighting) and adjust the timing of the shutter release to compensate. Users of the 80D can record time-lapse sequences using the camera’s built-in controls. Full coverage of the camera’s features is provided in our detailed.
Handling We’ve covered the physical design of the EOS 80D in our. So in this section we will concentrate on its handling characteristics. Photographers familiar with Canon’s EOS cameras should feel right at home.
Most controls are in the same places as previous enthusiast-orientated models and the menu system has the same, logical layout. The new camera is slightly taller but lighter than the original EOS 70D but remains modest in size, fitting between the larger 7D cameras and the smaller, lighter and more basic 7.D models. Its button controls are also similar to previous models in the two-digit series, with a few small modifications. Front view of the EOS 80D. (Source: Canon.) The textured, faux-rubber cladding on the 80D’s body makes it secure and comfortable to hold. Similar ergonomics are found across Canon’s cropped-sensor line-up, a factor apparent when the 80D is in the user’s hands. On the front panel, the clusters of tiny holes for the stereo microphones have been relocated to sit astride the lens mount moulding, roughly level with and inwards of the self-timer LED and the EOS branding.
Theoretically at least, this should result in better audio recording, although there’s a greater chance of picking up noises from lens operations. It will be easier to monitor noise intrusions with the 80D, thanks to the new headphone jack that supports live audio monitoring while recording. Support for external microphones and flashguns carries over from the EOS 70D. To that end, Canon has released a new hot-shoe mounted directional stereo microphone, the, simultaneously with the 80D, although it wasn’t available for our review. The rest of the control layout has changed little since the 70D, although the modifications that have been made are generally beneficial.
A second Custom memory setting has been added to the mode dial on the top panel, which also gains a Creative Filters mode that accesses 10 settings and there are three more Scene presets (Food, Kids and Candlelight). Back view of the EOS 80D with the monitor reversed onto the camera body.(Source: Canon.) The addition of built-in Wi-Fi and NFC (Near Field Communication) provides facilities for easy sharing of images and movie clips via Canon Image Gateway to social media, along with backing-up to Cloud-based storage services. Remote control of the camera is available via the EOS Remote app for iOS and Android devices, which is available as a free download. There’s nothing really new here but it’s nice to see Canon considers these facilities essential for new cameras. The camera is supplied with an upgraded LP-E6N rechargeable lithium ion battery pack, which provides a slight capacity improvement over the LP-E6 battery used in the 60D and 7D/7D II.
It’s CIPA rated for approximately 960 shots/charge when the viewfinder is used or 300 shots with Live View, compared with 920 or 230 shots/charge, respectively, for the EOS 70D. Sensor and Image Processing Resolution-wise, there’s not much difference between the 24.2-megapixel CMOS sensor in the 80D and the 20.2-megapixel chip in the EOS 70D, and the 22.3 x 14.9 mm sensor is essentially unchanged. Both sensors utilise the same Dual Pixel AF technology, although the number of phase-detection pixels has increased to provide 45 all cross-type AF points, compared with 19-points in the EOS 70D. While the AF point array in the 70D covered approximately 80% of the image sensor’s effective pixels, both vertically and horizontally, Canon says the 80D’s array is wider both horizontally and vertically, making it easier to focus on off-centre subjects. Low light AF performance has been improved, enabling the centre point to focus down to -3EV, based on the sensor’s light collecting capabilities. The RGB+IR metering sensor can also be called upon to increase focusing accuracy for portraiture, thanks to its Colour Tracking function. When a skin tone is detected, AI Servo AF starts off on skin-coloured points and tracks the subject based of the original AF point’s colour information, maintaining focus on the person when they’re moving.
Upgrading the image processor to a DICIC 6 chip provides some worthwhile performance improvements, particularly for video (see below). The maximum frame rate for continuous shooting of stills remains at seven frames/second (fps) but the buffer memory has been expanded to accommodate up to 110 JPEGs or 25 CR2.RAW files (compared with 40 JPEGs or 15 raw files in the 70D). Low-speed and ‘silent’ continuous shooting modes are available, each recording at three frames/second. Raw files can be recorded in three sizes, while there are five options JPEGs and simultaneous RAW+JPEG recording is possible with any combination of raw and JPEG sizes. In Live View mode, users can choose from four aspect ratios: the standard 3:2 plus 4:3, 1:1 and 16:9 aspect ratios, achieved by cropping. The table below provides a guide to the pixel array sizes for 3:2 aspect ratio images.
Image size/ Compression Pixels File format File size Maximum burst L/ Fine 6000 x 4000 JPEG 7.6MB 77 L/ Normal 3.9MB 120 M/ Fine 3984 x 2656 4.1MB 140 M/ Normal 2.0MB 140 S1/ Fine 2976 x 1984 2.6MB 140 S1/ Normal 2976 x 1984 1.3MB 150 S2 (.) 1920 x 1280 1.3MB 150 S3 (.) 720 x 480 0.3MB 150 RAW 6000 x 4000 CR2.RAW 28.9MB 20 M RAW 4500 x 3000 22.8MB 21 S RAW 3000 x 2000 15.9MB 27 (.) Ideal size for images that will be displayed on a digital photo frame. (.) Suitable size for emailing or posting on a website.
Note: the maximum burst applies to the high-speed continuous shooting mode. This figure can vary, depending on the card size and write speeds. Video So far, Canon hasn’t offered 4K resolution in any consumer/enthusiast or semi-professional DSLR camera so, like its predecessor, the EOS 80D only supports Full HD (1080p) and HD (720p) frame sizes. The VGA recording option in the 70D has been dropped. Still photos cannot be captured while recording a movie clip. If you want to grab a still photo you must switch to the still shooting mode.
As usual, Live View is required for shooting movies and fast, high-capacity memory cards are mandatory. Like the 70D, the 80D lets users choose between the MOV format with H.264 compression and linear PCM audio or MP4 format with AAC audio. The MOV format supports the highest recording quality at 90Mbps (megabits/second) with ALL-I compression (which compresses each frame), but only with frame rates of 30p and 24p (actually 29.97 and 23.98 fps, respectively). This method is best if you plan to do frame-by-frame editing or extract still frames from a movie clip. If you want 50p frame rates, you must use the MP4 format, which uses IPB compression, which records one key frame in full every half second and compresses the intervening frames by recording just the visible changes, referring to the previous and subsequent key frames to extrapolate the sequence.
This method is fine if you’re simply shooting movies to playback on a TV set or post online. Typical recording times for the various movie settings are shown in the tables below. Subjective assessments of image noise at high ISO settings in both long exposures and with flash shots showed them to be slightly better than equivalent shots taken with the, which we reviewed in July 2015. We found little apparent noise in long exposures taken at up to ISO 6400, with noise and softening beginning to be visible at ISO 12800. Both noise and softening were evident at ISO 25600, although to a lesser degree than we expected.
Colour saturation remained relatively high and shots were printable at up to 5×7-inch size before quality became questionable. Flash exposures were consistent across most of the camera’s sensitivity range, although shots taken at ISO 100 were slightly under-exposed. Exposures remained relatively constant from ISO 200 to ISO 6400, after which shots became progressively over-exposed, with ISO 12800 shots roughly 2/3EV over-exposed and shots taken at ISO 25600 about 2EV brighter than the ISO 100 shots.
Contrast and sharpness were visibly reduced in flash exposures taken at the two highest ISO settings. Auto white balance performance was similar to other Canon DSLRs we’ve reviewed with shots taken under incandescent lighting remaining partly corrected, while shots taken with fluorescent lighting and with the camera’s built-in flash being almost cast-free. The pre-sets for incandescent and fluorescent lighting types slightly over-corrected but manual measurement delivered a neutral colour balance.
Plenty of in-camera adjustments are provided for tweaking images as you shoot and white balance bracketing of +/- three levels in one-step increments is available. Our impression of the autofocusing suggests there has been a worthwhile improvement over the EOS 70D, particularly in low light levels, where there was minimal delay in locking onto subjects. Focusing wasn’t quite as in the Live View mode, although it was quick enough for most still shots ““ unless subjects were moving very quickly or very close to the camera.system Autofocusing for movies was also acceptably fast in most situations we tested and the lagging we noticed during panning and zooming with the 70D was significantly less in the new camera. As with the 70D, the video quality setting influenced how quickly the camera was able to lock on to moving subjects, particularly in low-contrast lighting and with fast subject movements.
Video quality was similar to the clips we obtained from the EOS 70D, which isn’t surprising as this feature has barely changed. The slight differences between Standard and Light (IPB) settings were largely related to their different bit rates. Movies shot with the Light setting were also slightly slower to re-focus and more prone to glitches than those recorded with the Standard setting.
Aside from that, any differences between the HD 1080p and 720p video clips were largely related to the frame resolution and negligible when clips were viewed on a normal HD TV set. Audio quality was similar to that of the EOS 70D we tested. We didn’t detect any pick-up of operational noises when zooming and re-focusing while shooting movie clips. For our timing tests, we used the same 16GB Panasonic SDHC Class 10 UHS-1 memory card as we used when testing the EOS 70D, to provide a speed comparison. Like the 70D, the review camera powered up almost instantly, but it took the AF system roughly half a second to be ready for shooting. When the viewfinder was used for framing, we measured an average capture lag of 0.12 seconds, but this was eliminated by with pre-focusing.
Canon 80d Picture Modes
In Live View mode, the capture lag averaged 0.3 seconds, reducing to a consistent 0.1 seconds with pre-focusing. Shot-to-shot times averaged 0.4 seconds without flash and 1.6 seconds with, regardless of file format.
On average, it took 1.6 seconds to process each JPEG image, 3.1 seconds for a raw file and 3.6 seconds for each RAW+JPEG pair. In the normal continuous shooting mode, the camera recorded 33 Large/fine JPEG frames in 5 seconds before beginning to slow down. Processing of this burst was completed within 20 seconds of the last frame recorded. On swapping to shooting raw files, the camera slowed down after recording 19 frames in 3.2 seconds. It took 33 seconds to complete the processing of this burst.
The same frame rate was retained with RAW+JPEG pairs but the buffer capacity was also limited to 18 pairs of shots, which were recorded in 3.1 seconds. Processing took roughly 35 seconds. Conclusion Photographers looking to step up from an entry-level EOS DSLR to one with more serious imaging capabilities should consider the EOS 80D as a possible option, although (like other DSLR cameras) it’s not the best choice for anyone with a serious interest in recording movies. Movie enthusiasts will be better served by a mirrorless camera with an electronic viewfinder, which will run rings around ANY DSLR in usability, functionality and performance.
But if you only shoot the occasional movie clip and want a competent stills camera, the 80D will certainly fit the bill. It’s pleasant to use, provides plenty of control options and performs as well as you would expect from an enthusiast-level camera. Buyers should have few reasons to complain. The EOS 70D is still available and sells in Australia online for between AU$1230 and AU$1300, while the EOS 80D ranges from about AU$1675 to AU$1700 at reputable online re-sellers. Prices at competing US-based online stores are similar to the local prices when currency conversion is applied so you won’t save money by shopping off-shore and you will face extra costs for shipping, insurance and exceeding the AU$1000 tax-free limit on imported goods. If you opt for the kit with an 18-135mm lens, you’ll find the Australian prices are more than $100 less than the US prices ““ and that’s without shipping and insurance costs. SPECS Image sensor: Approx.