• Chapter 6: Shooting mode selection

    Turn the mode dial to select the shooting mode. Press the mode lock button in the centre of the dial to lock your mode and prevent it being accidently changed. Press it again to release it when you want to change modes. Please read on for details about the different modes.

 
 
 
 
 
 
A
A
  • iAUTO mode for care-free photography

    In the full auto mode iAUTO, the camera automatically optimises all settings for the current scene. The camera does all the work – making it ideal for getting started with your E-M5 Mark II.

  • 1. Photo by Paul Emmings; 2. & 3. Photo by Gordon Meuleman

B
B
  • ART mode – unleash your creativity

    Choose the ART mode to select art filters and give your images a unique look and feel. The art filters give you enormous creative scope in-camera. You can select from a broad range of filters, which can also be modified in-camera. In addition, you can add effects such as Soft Focus, Vintage, Pin Hole and 12 more.

  • 1/
    Dramatic tone
    Grainy film
    Key line
    Light tone
    Pale light
    Partial color
    Pin hole
    Popart
    Sepia
    Soft focus
    Vintage
    Watercolour
    Cross process
    Diorama

    Photo by Gemma Rull

C
C
  • SCN mode for long exposures

    Select a scene according to the subject and quickly match settings to a particular scene. The 25 types of Scene modes include Portrait, Sport, Night Scene and Macro.

  • Photo by Paul Emmings

D
D
  • Photo Story – add a special touch

    Choose to select and create a Photo Story. Select Photo Story and different effects, number of frames and aspect ratios for your theme. Once you have finished selecting your settings, press OK.

  • Photos by Gordon Meuleman

    Rotate the mode dial to the Photo Story icon and then use the up and down arrow buttons to choose the theme. Press the right arrow button and then the up and down arrow buttons to choose a variation.

     
E
E
  • Movie mode

    Shoot movies in Movie mode and use special effects available in still photography mode for added creativity. You can also apply an after-image effect or zoom in on an area of the image during movie recording.

  • Add one of five special effects to your movies in Movie mode. Touch the on-screen icon corresponding to the effect you wish to use.

     
F
F
  • P mode – ideal for “point-and-shoot” photography

    Ideal for point-and-shoot photography: aperture and shutter speed are automatically adjusted according to subject brightness. With the P mode’s Program Shift function, choose different combinations of aperture and shutter speed with the rear dial, without altering exposure.

  • Photo by Nicholas Goodden

G
G
  • A mode – ideal for appealing background blur

    In aperture mode A, you control aperture – so you can sharpen or soften background details. Lower f-numbers decrease depth of field to soften background details, and higher f-numbers increase depth of field with more details remaining sharp in front and behind the subject.

  • Photo by Frank Rückert

    Photo by Frank Rückert

    • 1

    • 2

H
H
  • S mode – e.g. for blurring or freezing action

    In shutter mode, you control shutter speed to freeze motion or add blur. A slow shutter speed will blur a fast-action scene, adding a dynamic feel to your action shots. A fast shutter can freeze fast action for shots rich in detail.

  • Photo by Gordon Meuleman

I
I
  • M mode – for manual control of your photography

    You control both aperture and shutter speed in manual mode – ideal for long exposures of fireworks or other dark scenes. Use the M mode for Bulb Time and Live Composite photography where the image builds up over a longer period of time, e.g. with fireworks or star trails. Use a sturdy tripod and remote release for best results.

  • Photo by Rune Bjørkli

Congratulations! You’ve finished chapter 6!

Next: 7 – Symbols from the Electronic Viewfinder (EVF)/LCD

Now let’s familiarise ourselves with the symbols displayed both in the Electronic Viewfinder and on the touch screen on the rear of your camera.

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