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00:00:01

[music]

00:00:06

Today we have a master class on

00:00:08

setting up a Canon camera. I think everyone

00:00:11

knows very well that the camera

00:00:12

comes with instructions, a huge PDF file

00:00:15

that you downloaded a long time ago from the

00:00:18

official website A and simply has a

00:00:22

huge number of pages and does not

00:00:24

fit in in a box somewhere

00:00:27

around 500 pages long,

00:00:30

how to figure out this whole thing, how to

00:00:32

basically understand what’s in there, what’s

00:00:35

going on there, and considering

00:00:37

that the structure of the narrative of the instructions

00:00:41

looks somehow simply

00:00:44

terrible. To be honest, when I was preparing for the

00:00:46

master- class I had to go through

00:00:48

absolutely everything from cover to cover and

00:00:51

I can say that there is no structure

00:00:53

at all, that is, everything was written

00:00:57

at different times by different people, apparently with

00:00:59

different attitudes to everything, plus the

00:01:02

instructions pretty much

00:01:06

have marketing significance, that is

00:01:09

marketers, in order to sell their

00:01:12

product, they very beautifully describe

00:01:15

that they have added some kind of

00:01:16

super-duper

00:01:21

sophisticated And there are some popular

00:01:25

topics, I don’t know, we improved some kind of

00:01:27

super-duper incredible trick

00:01:30

or added some function

00:01:32

Do they need photographers? That's what we

00:01:34

'll talk about today, including in

00:01:36

addition to parsing the instructions, I'll

00:01:39

give comments on various

00:01:42

things like Expo tricks, measurements, and so

00:01:44

on. That is, I'll tell you a little about

00:01:46

how it all works in principle.

00:01:49

Having read it in instructions

00:01:51

Use this Expo metering And

00:01:53

why it is why how it works

00:01:56

we’ll talk about this And the instructions don’t

00:01:59

say exactly what we’ll work with,

00:02:03

using the example of the new Canon 5D Mark

00:02:08

4 camera, I’ll immediately say that if you have a less or

00:02:12

less top-end camera or there is another

00:02:15

camera of a different generation, there is

00:02:17

nothing wrong with that, what is in this

00:02:19

camera will sooner or later appear in

00:02:21

other cameras, including the EU. There is something in

00:02:23

your camera, it is

00:02:25

definitely present in this camera, we

00:02:26

will tell a master class using

00:02:28

this example cameras You and I

00:02:30

have almost all the possible options,

00:02:33

there is a menu of all sorts of settings and the like,

00:02:36

that is, all this one way or another will be

00:02:39

present in

00:02:41

other other copies, for example, an

00:02:43

example, here I have

00:02:45

here I have Canon mirrorless cameras here,

00:02:49

here is absolutely exactly the same

00:02:52

menu and My advice to you is not to use

00:02:55

paper instructions Why Because

00:02:58

you can do the following You can

00:03:01

download the instructions in pdf format and

00:03:05

if you have any questions,

00:03:07

use the search Which is much

00:03:09

faster than flipping through these

00:03:11

paper instructions Believe me for sure I have

00:03:13

already checked the menu we contain

00:03:15

some sections That is, you see they are

00:03:18

marked photo camera com yes here we have

00:03:20

photo camera comes then the

00:03:22

AF section and the section here

00:03:25

we have the setup section section

00:03:31

and accordingly my menu, each of

00:03:35

these sections contains information that is

00:03:39

most clear Probably

00:03:41

only the AF section contains information which

00:03:44

is responsible for autofocus, perhaps only

00:03:47

it contains some kind of

00:03:49

structured information, everything

00:03:50

else was just abandoned and

00:03:55

that’s all we have, the first section

00:03:58

is quality, friends, quality Let’s

00:04:02

take a look here, I think that for many people everything is

00:04:05

already perfectly clear And everyone knows about the fact

00:04:09

that there is a ro Well, I at least

00:04:10

hope that everyone knows that there is a

00:04:12

po format that allows us to shoot

00:04:15

with the best quality, that

00:04:18

is, let’s say so,

00:04:20

and get the maximum information from the image,

00:04:25

which accordingly gives us the

00:04:27

opportunity For further

00:04:28

editing, also at the same time

00:04:31

we can put absolutely any any

00:04:34

peg size, that is, these two files will be

00:04:37

recorded simultaneously. For example,

00:04:39

for work, well, for work, yes, for

00:04:43

work, I set the ro plus chpek to such a

00:04:47

small size, you see the resolution

00:04:50

and here we see such a smoother one, yes

00:04:53

fins S1, yes, or there are fins L

00:04:56

fins m and so stepped, that is,

00:04:59

stepped means that it is of

00:05:01

reduced quality, that is, what is

00:05:03

this done for, just if you

00:05:05

need to quickly send someone

00:05:07

some previews or for example, you work

00:05:11

via wi-fi and immediately photos are sent

00:05:13

to the computer. And in order not to throw

00:05:17

45 MB ravs, you

00:05:20

can absolutely throw only S size S

00:05:24

Pegs there and accordingly get

00:05:27

acceleration

00:05:30

That’s because, well, you know, 45 MB

00:05:33

via wi-fi is such a rather

00:05:35

difficult thing to throw accordingly, there

00:05:38

are different sizes and S, so here

00:05:42

you can choose what you

00:05:44

need accordingly Dual Pixel Ra Well, since we

00:05:48

are talking

00:05:49

about the prophet That’s quite logical Thanks to the

00:05:56

camera manufacturers for what they

00:05:59

stuffed in. It’s still side by side But

00:06:01

unfortunately this is an absolutely unnecessary function

00:06:04

that is on And so let’s say on the first

00:06:07

page and in general in the second second

00:06:10

number two and Dual Pixel RAW what is this

00:06:14

my friends this is the latest technology

00:06:17

that allows you to shoot A

00:06:21

And shoot RF which allows

00:06:25

you to further move the focus point

00:06:28

something- there’s still incredible things to do there my friends

00:06:32

[music]

00:06:34

Aa In general, well, no words but Apparently they

00:06:39

really dreamed about this function and decided to

00:06:42

do it after all, but it didn’t take root,

00:06:45

that is, more than six months have passed

00:06:48

since the release of the 5D Mark 4 camera and

00:06:51

Believe me, I don’t know a single person, not a

00:06:54

single person, and in general, not a single

00:06:56

owner of a 5D Mark 4 camera, who

00:06:59

actually tried Dual Pixel RAW, what is

00:07:03

it, that is, roughly speaking, they

00:07:05

allow us to move the

00:07:09

focus point slightly. That’s the main thing, slightly, but

00:07:12

they allow a little -there’s something to change the

00:07:15

bokeh and the like. In

00:07:17

general, this function doesn’t work.

00:07:20

Unfortunately, that’s why you need to disable it, and

00:07:23

by the way, a small point: this

00:07:26

function only works with the native

00:07:30

dpp Digital Photo Professional only with

00:07:32

it. It works with others; it doesn’t

00:07:34

work in principle, and plus everything

00:07:38

else, it doubles the

00:07:39

file size That is,

00:07:42

it’s terrible That’s

00:07:45

why my friends, what else

00:07:48

I want to say, and of course when I heard that you

00:07:51

can move the focus point and

00:07:54

it’s just incredible. Cool, I was just

00:07:57

happy, I thought about this Can

00:07:58

you imagine at a wedding at some

00:08:01

point the focus didn’t hit Where it needs to be in the

00:08:04

model’s eye oh in the bride’s eye But I

00:08:08

can then correct it once and after processing,

00:08:11

no guys It won’t work,

00:08:14

unfortunately it won’t work and the correction contains

00:08:17

Senka like this. Well, I’m

00:08:21

not lying. Friends, here’s a correction that goes

00:08:23

so far. That is, you can basically

00:08:26

ignore this point. And yes,

00:08:28

it only works under

00:08:30

certain conditions with the same aperture, and in

00:08:33

general, in short, there’s a lot of things that are specific,

00:08:35

theoretically, theoretically, just to

00:08:38

brag, I don’t know to whom,

00:08:40

probably to

00:08:41

Sony, to brag about the fact that we

00:08:44

came up with something so interesting, that’s

00:08:47

all, and then the viewing time, so And yes,

00:08:50

by the way, disable this function, the viewing time,

00:08:54

friends Well, look for yourself, I’m

00:08:57

telling you because this is quite

00:09:00

enough If you suddenly decided to

00:09:01

double-check yourself and they filmed it right away and looked at it

00:09:04

Yeah, yeah 200 Well, 2 seconds is

00:09:07

really enough for this and then we went to film,

00:09:09

so I sort of put 2 seconds on what to

00:09:12

put for you and decide for yourself in this case,

00:09:14

but there’s no point in taking longer That’s why that’s why

00:09:18

2 seconds

00:09:20

confirmation sound Oh that’s very

00:09:22

such an interesting thing, my friends, and the sound of

00:09:26

confirmation Well,

00:09:29

I advise If you suddenly shoot

00:09:32

a person, confirmation of which, by the way,

00:09:35

again confirmation of focus, it’s funny that the

00:09:38

menu doesn’t say anything at all about this

00:09:40

confirmation of focus When you

00:09:41

focus, the camera says

00:09:44

peep like peep I focus peep,

00:09:47

so this thing is quite funny,

00:09:50

especially when you are filming somewhere in a

00:09:52

church or some other very

00:09:55

quiet

00:09:56

place where this beep

00:10:00

starts to irritate everyone, and also

00:10:02

if you are filming some kind of

00:10:04

personal photo session with a person

00:10:06

who is shy I advise you to completely

00:10:08

turn off this beep because

00:10:10

when a person hears this beep, he understands that

00:10:13

after this there will be a click and he

00:10:15

will already be ready for this and make

00:10:17

some kind of grimace or something else

00:10:19

just out of embarrassment. Therefore,

00:10:22

my friends, I insist on you I advise you to

00:10:24

turn it off. In such cases, Believe

00:10:27

me, the effect will be much greater. Well,

00:10:30

touching the crossed out speaker, in general,

00:10:35

this refers to the tch mode that

00:10:38

is present on this

00:10:40

camera, that is, each of my touches

00:10:44

is accompanied by a pip or Nezha is not

00:10:47

accompanied. Well, in this case, I

00:10:49

’ll leave it on, I

00:10:53

just don’t know. It’s easier to focus, it’s

00:10:56

easier to work like that and releasing the shutter

00:11:00

without a camera. Well, this is up to your discretion.

00:11:03

If you are confident in your memory that

00:11:06

you won’t take some super

00:11:08

important shots without a card inside the camera.

00:11:13

And this happens sometimes It’s possible that everyone, I think

00:11:15

every photographer has

00:11:18

ever had such a failure with this function,

00:11:21

I had one, well, not again, it’s a

00:11:24

minor failure because usually we get

00:11:25

used to immediately looking and pressing the

00:11:27

Play button and seeing what we

00:11:29

got, that’s why And when we see

00:11:32

And that nothing happens to us We

00:11:34

naturally Ah forgot the card, that

00:11:36

’s why my friends

00:11:39

Ah, it’s better, of course, if you have bad

00:11:43

memory Disable this function, but sometimes

00:11:46

it happens when you dig through something in the menu

00:11:48

And the card is somewhere there And on the

00:11:51

computer it’s inserted into the computer, and sometimes it’s

00:11:54

useful to just see how everything

00:11:56

works, so I just have it

00:11:57

enabled by default, so it’s

00:11:59

like, well, it’s not a very important function,

00:12:02

and here, please note that it’s strange,

00:12:04

but from the important functions from the really important

00:12:06

functions And on

00:12:09

this one on the first page is worth everything But

00:12:13

probably this is an important

00:12:16

function, confirmation sound Well, let it be

00:12:19

important, yes, probably control

00:12:21

of the flash with the camera, more and more important

00:12:23

functions are missing, unfortunately, I don’t know how

00:12:26

they did it Well, okay, let’s move on Kore

00:12:29

lens operations But it’s not

00:12:31

just there correction of lens operation

00:12:34

we have a lot of other things here and

00:12:37

Please note

00:12:38

that there are various points here you have

00:12:41

some of these n points will be

00:12:44

present some will not be

00:12:45

present accordingly you

00:12:47

Can we say something like this and

00:12:52

leave something for yourself don’t leave it, but I would

00:12:54

advise you to do the following, I’ll tell you

00:12:57

about each menu in more detail. So

00:12:59

peripheral lighting, what is it

00:13:01

and why do I have it?

00:13:36

in dpp

00:13:41

But I immediately say that

00:13:43

this does not work in other envelopes, so this is an

00:13:45

unnecessary function, here everything that you see

00:13:47

will work only for your

00:13:50

peg. And if you remove the vra, then it

00:13:53

will never be displayed for you

00:13:55

except on

00:13:59

Aa, respectively ahh correction of

00:14:01

peripheral illumination vignetting

00:14:03

it’s not bad it’s not bad in principle for

00:14:06

just looking at the camera

00:14:07

Ahh well a cleaner picture is nothing more than

00:14:11

that plus it doesn’t eat up the resource further

00:14:13

distortion correction is correction Ahh of

00:14:16

perspective distortions that

00:14:19

all lenses give in one way or another so here

00:14:22

it of course brings a more correct

00:14:24

picture, but again, I repeat, you

00:14:27

still get a raw picture without

00:14:29

any distortion correction and the

00:14:31

like. That is, you will still get a

00:14:34

raw one and it will not be saved for you. Well, of

00:14:37

course, it will only be saved when

00:14:38

using DP. digital

00:14:41

lens optimization correction of

00:14:43

traumatic surgery and

00:14:44

diffraction correction my friends all these functions

00:14:46

are mandatory because

00:14:49

time

00:14:51

and during the

00:14:55

preparation of preparing files for recording on the

00:14:58

card During your shooting it will be

00:15:01

increased that what will give

00:15:04

you accordingly and let’s say it won’t give you

00:15:08

work normally, that is, you will have

00:15:10

constant delays Your camera will

00:15:12

constantly say bu

00:15:14

bu bisi In general, we disable these

00:15:17

digital lens optimization,

00:15:19

chromatic operation correction and

00:15:21

diffraction correction, we disable all this, given the fact

00:15:23

that it does not work in any

00:15:26

converter except dpp and

00:15:29

Well in it is recorded only for DP

00:15:31

flash control from the camera And here

00:15:34

Friends, let's now put

00:15:43

[applause]

00:15:44

flashes That's it, now I'll

00:15:49

go again, well, it's a good function flash

00:15:53

is allowed, that

00:15:54

is, evaluative I always put evaluative

00:15:59

ve, I'll explain this later for some reason, that is,

00:16:02

we to We’ll come back to this, just remember for now

00:16:04

that the

00:16:08

estimated flash sync speed

00:16:10

in A is set to auto because, in principle,

00:16:14

friends, this is such a terribly rare function

00:16:18

when you’re in A mode and shooting with a flash,

00:16:20

but I wouldn’t do it, to be

00:16:24

honest, it’s easier here. Already use

00:16:27

the mode but in principle, by and large,

00:16:30

what options do we have here? We have an

00:16:32

option for the shutter speed range,

00:16:35

shutter speed range, you see. Pay attention to the

00:16:38

shutter speeds, and that is, from 1.2 seconds to 1/6,

00:16:42

that is, a longer shutter speed or a

00:16:44

shorter shutter speed you have when working with a

00:16:47

camera flash will not do And then

00:16:49

Pay attention in mode A again in

00:16:52

AV mode here and 1/2 second

00:16:57

is fixed just at about a second

00:17:00

it doesn’t matter what mode you

00:17:03

had or

00:17:05

But if as soon as you put the flash

00:17:09

on the camera immediately you are getting better, the

00:17:13

shutter speed becomes 1 second, so

00:17:16

how can you put anything here, there

00:17:17

will be no benefit from it anyway

00:17:22

But because your shutter speed will be faster,

00:17:25

your camera does not have the

00:17:30

presence of an

00:17:33

external camera, the camera does not take into account the balance of

00:17:36

illumination of objects in the frame with with

00:17:40

a flash That is, you may end up with

00:17:41

something like you froze

00:17:44

a person with a flash and then the person still moved at a shutter speed of

00:17:47

one, for example, Shei second,

00:17:50

that is, I just don’t

00:17:53

recommend using this. It’s better to

00:17:56

use the mode

00:17:59

set there, set accordingly

00:18:01

set the shutter speed

00:18:03

there seconds and the appropriate aperture

00:18:07

is much easier than getting

00:18:10

attention every time, every time for

00:18:13

each shot there is a

00:18:14

different different exposure, so it will

00:18:18

all just

00:18:20

happen differently all the time, then flash settings

00:18:24

Look here you can immediately see what is

00:18:27

displayed here in this menu

00:18:28

directly on me flash, that is, it

00:18:31

immediately works here sleepily, here I can

00:18:33

choose TL or there mode m or

00:18:36

strobe Well, a strobe is an option

00:18:39

when it just makes a lot of

00:18:41

different flashes. I honestly in

00:18:43

my professional activity have

00:18:45

never encountered the need for this

00:18:47

mode, that is, to talk about the fact that it is for

00:18:49

what it is needed. Unfortunately, I can’t take it

00:18:51

because I have no idea and my colleagues

00:18:54

also have no idea why it is needed,

00:18:57

but here it is somehow historical that it is

00:18:59

present, maybe someone will tell you

00:19:01

Wireless of Please note that

00:19:06

flash And for example there is 580 yes And the same ones

00:19:11

there for example Yes 480 too And there are

00:19:13

completely new there 620 flashes they all

00:19:17

have they all have

00:19:20

wireless shooting capabilities so here you

00:19:23

can set it Here I am setting it for example

00:19:25

And here you can set Zoom Yes the size and the

00:19:29

lenses then there is how much it moves in

00:19:31

one direction or another, and synchronization on the

00:19:34

first curtain, my friends, synchronization

00:19:36

on the first

00:19:39

curtain is always Well, just always And except for

00:19:45

special spectacular

00:19:47

special effects, that’s all

00:19:50

And I won’t go deep into this whole

00:19:54

thing now, how is it necessary and why?

00:19:57

etc. all these second curtains there

00:19:59

blah blah blah blah blah

00:20:00

I’ll just say So this moment

00:20:04

here are the effects with the second curtain If you

00:20:06

go

00:20:07

to Google or Yandex you will get

00:20:10

much more information than I can

00:20:12

tell you during of this master class

00:20:14

Therefore, Look for yourself But I will

00:20:16

immediately say the choice of a professional, the

00:20:18

first curtain is always high-speed

00:20:21

synchronization, friends, this is when you

00:20:24

have the opportunity to set the flash

00:20:26

shorter than one and DH seconds That is, you

00:20:30

can set the flash and oh flash

00:20:33

shutter speed 1p 1h and so on but keep in mind that

00:20:37

in this case it will consume a lot of

00:20:39

energy and the battery and the life of the lamp, in

00:20:43

principle, too, because at this moment

00:20:46

it will shine and just simply longer

00:20:49

in time. Therefore, this is better. Of course,

00:20:52

you can use the e mode, but take care of

00:20:56

your camera; periodically correct

00:20:58

accordingly and compensate exposure with

00:21:00

flash, that is, EU You can do it

00:21:03

when working, yes, that is, when working with

00:21:06

Expo flash metering, you can make

00:21:08

a correction either plus or minus,

00:21:11

depending on whether you need it

00:21:12

brighter or not. I usually set plus

00:21:14

1/3 Oh well It’s just that it will be a little

00:21:17

So a little better for faces

00:21:20

A - this is bracketing That is, it makes the

00:21:24

flash lighter and darker and

00:21:28

the exposure that is, I honestly, in my

00:21:31

practice, have never found a way to use

00:21:34

this

00:21:36

flash feature. I have no idea. Well, rather,

00:21:39

no I I suspect why this is necessary, that

00:21:42

is, to make one, take the same

00:21:45

frame with different flash power,

00:21:49

then stitch it all together to

00:21:51

then pull out the extended dynamic

00:21:53

range and It all sounds

00:21:55

cool, but in fact it doesn’t work,

00:22:00

if you know at least one

00:22:02

person who uses this

00:22:04

function, tell me, I’ll at least look

00:22:07

at it, and the channels, my friends,

00:22:10

refer to the channels and the synchronization of the

00:22:12

flash with other flashes, that is,

00:22:14

accordingly, I can synchronize this flash

00:22:16

with any other, that

00:22:19

is, by choosing choosing a channel of some kind there is a

00:22:22

second one there first second third or

00:22:24

fourth It was quite funny about

00:22:27

7 years ago, probably, when

00:22:31

all the secular photographers were shooting with two

00:22:33

flashes and everyone set the fourth channel

00:22:36

thinking that no one else

00:22:38

would put the fourth channel. It was very

00:22:40

funny when you stand there it just flashes

00:22:43

like that there's

00:22:44

a flash there, well there it's just

00:22:47

flashing puff-puff-puff Well, everyone

00:22:49

there at one end And at one end of the hall a

00:22:52

flash flashed at someone at the other

00:22:54

end of the hall a flash flashed that's why

00:22:56

watch the channels If suddenly you

00:22:58

get into such a situation,

00:23:01

and accordingly here you can choose

00:23:03

whether the master flash is working,

00:23:06

whether the master flash is flashing or not flashing, you

00:23:08

understand perfectly well that And when you and I

00:23:10

can do something when we can synchronize something with you

00:23:15

synchronize option number time is

00:23:17

when we have a leading one flash This

00:23:19

will be the one that the camera is the flash that is

00:23:22

on the camera. It is the leading one and it

00:23:25

can either flash or not flash,

00:23:28

accordingly, this is what we choose. And if

00:23:31

we want to know such a direct imitation of

00:23:33

studio lighting, we can of course

00:23:35

turn it off so that it does not flash, but

00:23:37

it will set fire just

00:23:39

set fire to all the other flashes, for example,

00:23:41

you may have a dozen of them there, but

00:23:45

mine is allowed because I

00:23:47

work there with two flashes and for

00:23:49

example I have A on a camera flash A and on a

00:23:53

camera flash it works as

00:23:55

fill light when shooting a reportage

00:23:58

A

00:24:00

further here is the ratio of the

00:24:03

power ratio of group A and B, look friends, but

00:24:07

we have flashes, that is, a - this is

00:24:09

our master flash. Yes, often group

00:24:15

B is slave flashes. And there is also

00:24:19

the possibility of group c - these are also

00:24:21

slave flashes, but how it would be just another

00:24:24

group. You can set the

00:24:26

power ratio, what does this mean

00:24:28

when working in El mode, that is, it

00:24:32

means that you have exposure metering and

00:24:35

flash working It decides how powerful the

00:24:40

flash power is, I usually have the

00:24:43

power ratio

00:24:47

minus o in half either there

00:24:54

or yes

00:24:58

either 1/2 or 1/4 and in relation to the

00:25:02

hell of the slave flash, that is, roughly speaking.

00:25:05

What can we get with you? We can

00:25:08

get a slightly

00:25:10

illuminating

00:25:13

flash on the camera Yes, and a fully

00:25:17

working flash Well, roughly speaking, there

00:25:19

on the stand or somewhere else in the hand, that is, and the

00:25:22

slave flash will flash in

00:25:26

accordance with these proportions. That is,

00:25:28

we will have the master flash lightly

00:25:32

under-illuminated, and the slave will,

00:25:35

on the contrary, shine more. This is how, that is, the

00:25:38

brightness ratio is obtained.

00:25:41

And you,

00:25:45

please put the flash on the camera and it

00:25:48

will appear here. Perhaps you

00:25:50

don’t have it because you have it

00:25:52

now,

00:25:54

it’s here, that is, put

00:25:59

a or or here and that is, here Pay

00:26:02

attention, we also have here

00:26:04

a - this is also an

00:26:06

additional slave slave flash an

00:26:10

additional slave group of

00:26:12

flashes accordingly, if we turn on

00:26:14

A yes, then we have T the opportunity

00:26:17

to set Expo correction for C slave

00:26:20

for group C This is during work, but if

00:26:24

we work with you in the mode,

00:26:28

friends, we are simply in

00:26:31

mode A, we simply set the

00:26:34

power ratio, that is, roughly

00:26:36

speaking, Oh I'm sorry for a second,

00:26:39

I'm already used to it, I'm used to it, that

00:26:43

is, we can set it there, for example,

00:26:47

on our camera flash, the

00:26:49

power ratio will work there, for example,

00:26:51

there, one of

00:26:57

us will work there one to

00:26:59

one Well, in this way, that is,

00:27:01

I can and accordingly set the

00:27:03

power ratio That is, we

00:27:06

can configure the flash without entering menu

00:27:09

A in the

00:27:10

menu of the flash itself, but pay attention and on

00:27:15

other flashes that you will

00:27:18

set on fire with this flash, you still

00:27:20

have to go into the menu and dig around there

00:27:23

But that’s another story now

Description:

Это исчерпывающий практический онлайн мастер-класс о настройках камеры Canon. Смотреть весь мастер-класс «Настройка фотоаппаратов Canon» – https://liveclasses.ru/course/photo/camera_settings_canon/ Информация о преподавателе и его онлайн-курсах: https://www.profileschool.ru/teacher/aleksey-dovgulya

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