From the live shooting display, press DRIVE/DELETE on the back of the camera. Use the focus stick to highlight a mode and its available choices, following the displayed navigation prompts, then confirm with MENU/OK.

Check the shooting display before taking a photograph. A change in the main menu can configure a bracket without selecting it as the active drive. Conversely, returning to STILL IMAGE does not automatically undo every other setting you changed.

In playback, DRIVE/DELETE is a delete button. Half-press the shutter to return to the shooting display before opening Drive. The same physical button has a different job in the two contexts.

View screen · Drive chooser — all main entries

A deliberate single exposure makes it easier to connect your timing with the result. There is no stream of near-identical frames to sort through afterwards, and each press asks you to notice what has changed in front of you.

Half-press to prepare focus and exposure according to your control assignments; press fully to make the frame. Release before the next full press. STILL IMAGE describes the drive, not the exposure mode: you can still choose aperture priority, shutter priority, Program or manual exposure.

A delay before the frame or a pause afterwards can come from another setting. Check the self-timer, shutter speed and processing choices before deciding that single-frame drive has failed.

Try it · Make five different decisions

Photograph one small scene five times. Before each full press, change your position, framing or timing deliberately. Review the five photographs and name the reason for each frame. This makes a useful comparison with the burst exercise below.

View screen · STILL IMAGE selected

CH gives you more positions within a movement: the shape of a jump, a changing expression or the moment a moving subject reaches a particular part of the frame. It cannot choose the strongest picture for you. Decide where the useful action will happen before holding the shutter.

Select CH and its rate, then hold the shutter fully down. Release to end the burst. A fast shutter speed freezes movement within each photograph; a high frame rate only makes the photographs closer together in time. You may need both, but they solve different problems.

Rates, shutter type and crop

11 fps setting: About 11 fps mechanically; the manual specifies about 13 fps electronically for this setting. This is the uncropped high-rate choice.
8.0 fps setting: About 8 fps mechanically or 8.9 fps electronically. A little more space between frames can make the sequence easier to manage.
20fps (1.29X CROP): Electronic shutter only. The tightest time spacing here, with a narrower recorded view.
13fps (1.29X CROP): Electronic shutter only. Retains the crop while reducing the pace from 20 fps.
10fps (1.29X CROP): Electronic shutter only. The slowest of the three cropped CH choices.

Available choices depend on SHUTTER TYPE. Treat the figures as approximate rates, not a promise for every exposure or an unlimited recording duration. Long exposures, focus work, file type, the card and a filling buffer can change the pace. Leave space around a subject when using a cropped rate.

For focus to follow changing distance, use C on the focus selector and a suitable autofocus setup. For automatic exposure to update between burst frames, SHUTTER AE must be OFF. Neither setting can rescue an unsuitable shutter speed or a focus area placed on the wrong subject.

Pre-shot: before the full press

PRE-SHOT has ON/OFF choices in SHOOTING SETTING. With CH and ELECTRONIC SHUTTER selected, it buffers images during the half-press and saves a sequence including the lead-in when you press fully. Leave it OFF for an ordinary burst; use ON when your reaction is likely to be later than the event. Flash is unavailable with the electronic shutter.

Try it · Separate timing from sharpness

Use a short, repeatable movement. Make a brief burst, then inspect the individual frames at magnification. First ask whether you caught the right moment; then ask whether each frame was sharp. Change frame rate for the first question and shutter speed or focus setup for the second.

View screen · CH rates with mechanical shutter

View screen · CH rates with electronic shutter

View screen · PRE-SHOT on and off

CL is useful when an expression or gesture develops over a second or two and you want a few alternatives without collecting a dense burst. Think of a person turning towards the light, someone lifting a cup or a child looking up from an activity.

Choose CL, select the rate and hold the shutter fully down; release to stop. The same focus and exposure questions apply as in CH. Slowing the drive does not automatically make the shutter speed faster or focus follow the subject.

Choose for the pictures you need, rather than trying to use the largest number because it is available. A short, well-placed sequence is easier to assess than a long hold that begins before anything useful happens.

Try it · Find your useful pace

Photograph a repeatable gesture at 3 fps and 6 fps, keeping shutter speed and focus setup comparable. Compare the extra timing choices with the extra editing. Pick the slower rate if it already contains the moment you want.

View screen · CL rate choices

The chooser offers ±⅓, ±⅔ and ±1. These are the amount of the sensitivity variation used to make the alternatives. The camera exposes once, then produces a reference version and two shifted versions. A larger amount gives a more obvious comparison.

This is useful for learning how a rendered picture changes in brightness without asking a person to repeat the same expression. It does not collect a new, cleaner shadow exposure or a separately protected highlight exposure.

Choose the amount in the Drive display, confirm and make one photograph. Compare the versions for a specific reason: perhaps a slightly darker rendering gives the mood you wanted. If important detail was never captured, choosing a brighter copy cannot recreate it.

Try it · Watch what changes

Use a static scene with bright and dark detail. Make one ISO bracket, then compare both the overall brightness and the information in the brightest area. Decide whether the altered rendering helped the photograph or merely changed its appearance.

View screen · ISO bracketing amount

One exposure produces three rendered versions: the current balance and two fine-tuning alternatives. These numbers are shift amounts, not a choice between three Kelvin temperatures, and they are not three independent custom recipes.

Use it when the expression matters and you want to decide between small colour interpretations afterwards. If the starting white balance is clearly wrong, correct that first. A small bracket around an unsuitable starting point can give you three unsuitable results.

Select the amount, confirm and take one frame. Review a neutral surface and an important colour such as skin in all three versions. Avoid choosing by the neutral surface alone if it makes the person look less convincing.

Try it · Choose a colour intention

Photograph a simple scene with a neutral object and a coloured subject. Compare ±1 and ±3 brackets. Choose a version because it suits the light or mood, then describe that decision rather than assuming one bracket member must always be correct.

View screen · White balance bracketing amount

View screen · BKT branch choices

AE BKT

Make separate exposures when you want a choice of captured brightnesses or source files for a deliberate merge. A bright window in a quiet room is a better first subject than a moving person: the scene stays consistent while you learn what each exposure contributes.

Configuration: SHOOTING SETTING → AE BKT SETTING

FRAMES/STEP SETTING: FRAMES offers 2, 3, 5, 7 or 9 photographs. STEP changes their EV spacing, in one-third-stop increments up to 3 EV. More frames extend the set; wider spacing leaves a bigger difference between neighbours.
1 FRAME/CONTINUOUS: 1 FRAME releases the members individually. CONTINUOUS makes the set as a burst operation. Use the former when you need to wait between members, the latter when consistency between them matters.
SEQUENCE SETTING: Choose the displayed exposure order. Read 0 as the reference, minus as darker and plus as brighter. Inspect a two-frame arrangement particularly carefully because it has no central third photograph.

For a first trial, choose three frames and a 1 EV step, keep framing, aperture, focus and white balance consistent, then select AE BKT in Drive. The configuration menu prepares the set; selecting this Drive mode activates it. The camera still has exposure limits, so inspect the actual settings of every file.

You keep separate pictures. If you combine them later, the merge is a separate editing decision. This differs from HDR, which builds a composite in the camera, and from ISO BKT, which creates processed alternatives from one exposure.

Try it · Identify the role of each exposure

Make the three-frame trial in a stable scene. Use playback information to identify the reference, darker and brighter frames. Decide which protects important bright detail and which helps the darker area. Keep a single frame if it already does the job.

View screen · AE BKT selected

View screen · AE bracket settings

FILM SIMULATION BKT

Make three interpretations of one moment. Choose the three simulations under SHOOTING SETTING → FILM SIMULATION BKT, then select this Drive mode. A colour/colour/monochrome set can help you learn how a scene responds without trying to repeat an expression.

Each of the three slots selects a film simulation. The choices are PROVIA/STANDARD, Velvia/VIVID, ASTIA/SOFT, CLASSIC CHROME, REALA ACE, PRO Neg. Hi, PRO Neg. Std, CLASSIC Neg., NOSTALGIC Neg., ETERNA/CINEMA, ETERNA BLEACH BYPASS, ACROS, ACROS+Ye, ACROS+R, ACROS+G, MONOCHROME, MONOCHROME+Ye, MONOCHROME+R, MONOCHROME+G and SEPIA. The linked Film Simulation reference explains their rendering differences and monochrome filter variants.

The three slots do not load three complete C1–C7 recipes. White balance, grain and other ingredients do not become independent full recipes simply because you chose three simulations. For a whole-recipe comparison, make controlled separate photographs or develop a retained RAW file deliberately.

Select the three simulations, choose FILM SIMULATION BKT and release the shutter once. Judge the versions at a comparable size and brightness. Ask which treatment supports the subject rather than looking for a universally best simulation.

Try it · Learn one scene in three ways

Try PROVIA, CLASSIC CHROME and ACROS on one scene with a person or an object that matters to you. Compare the important colour relationships, contrast and separation. Change one slot next time to answer a specific question.

View screen · Film simulation bracket and three slots

DYNAMIC RANGE BKT

Sensitivity is at least ISO 500 during this bracket and returns to the preceding setting when the bracket ends. Unlike film-simulation or white-balance bracketing, the three members are separate captures, so a moving subject can change position.

Use a quiet scene with a bright area that matters and compare how the rendered files handle it. Keep the camera steady and judge the important detail, not just a flatter-looking thumbnail. The DR percentages describe the camera’s dynamic-range processing choices; they are not a promise that every scene gains that much usable information.

Choose DYNAMIC RANGE BKT, confirm and make the set. It produces alternatives to compare rather than merging the three into one HDR photograph. If you want a consistent everyday DR setting, use the normal DYNAMIC RANGE control after finishing the experiment.

Try it · Compare one important highlight

Bracket a stable scene containing a bright textured surface. Review that surface in each member and check the exposure information. Decide whether the difference is useful enough to influence your ordinary DR choice.

View screen · Dynamic range bracket

FOCUS BKT

Build a set of different focus planes when one frame cannot keep all the required depth sharp. A small still-life object is a useful first subject. Focus stacking in software is a later step; the Drive mode supplies the separate photographs.

Configuration: SHOOTING SETTING → FOCUS BKT SETTING

MANUAL → FRAMES: Choose how many focus positions to record. Extra frames help only if the spacing covers the required depth.
MANUAL → STEP: Choose the relative focus increment. It is not a calibrated millimetre distance. Smaller steps give closer planes; larger ones can leave gaps.
MANUAL → INTERVAL: Choose the pause between captures. Balance any recovery time your lighting needs against the risk of the scene changing.
AUTO → INTERVAL: Choose the pause, then define the depth on the live focus-range display. The camera calculates frames and step.
AUTO → A and B: Focus on one required limit and press MENU/OK for A. Focus on the other and press DISP/BACK for B. Either limit can be first. MENU/OK lets you choose A again.

With MANUAL, start at the nearest required detail; the sequence advances towards infinity and stops there even if the requested count has not been reached. With AUTO, register both ends carefully, then select FOCUS BKT in Drive and make the series.

Support the camera and keep the subject, framing and light stable. Check near, middle and far detail in the results. More frames cannot repair a focus gap caused by overly large steps, a moving subject or a starting point closer than the lens can focus.

Try it · Check coverage before merging

Arrange an object with clear near, middle and far detail. Use AUTO to cover that depth. Review the sequence in order and locate where each feature becomes sharp. If you merge later, inspect edges as well as the centre of the result.

View screen · Focus bracket selected

View screen · Manual focus bracket fields

View screen · Auto focus range A and B

HDR AUTO: The camera chooses a dynamic-range value between 200% and 800%. A useful first trial when you want it to choose the strength.
HDR200: A fixed 200% choice for a restrained comparison.
HDR400: A fixed 400% choice when you want to compare a stronger treatment.
HDR800: A fixed 800% choice. Inspect texture and transitions rather than judging by the number alone.
HDR800+: The strongest option adjusts settings for maximum dynamic-range variation. It is an intentional treatment to evaluate, rather than an automatic quality upgrade.

One release starts three differently exposed captures and an in-camera combination. Keep the framing steady until the process finishes. Movement between members can produce artefacts: a person’s face or a branch in the wind may change while the sequence is being assembled.

The composite is cropped slightly and loses a little resolution. Stronger settings can introduce mottling. Flash is unavailable, extended ISO values are unsupported, and the actual shutter speed can differ from the selected value with some HDR/ISO combinations.

Use it when a still scene needs a broader tonal treatment and a ready-made result is useful. Use AE BKT when your aim is to keep separate exposure alternatives for a controlled decision or merge later.

Try it · Judge the picture, not the strength

Make an ordinary still frame and an HDR AUTO version of a stable scene. Compare important detail, edge artefacts and the feeling of the light. Try a fixed strength only if the first comparison suggests a useful reason.

View screen · HDR strength choices

ADDITIVE: Exposure contributions accumulate. Bright areas can build quickly, so make the individual layers deliberately dark enough for the idea.
AVERAGE: The camera balances the combined exposure. A useful place to start when learning how two compositions overlap.
BRIGHT: At each image position, favour the brighter contribution. Useful to explore bright shapes against a dark field.
DARK: At each position, favour the darker contribution. Useful to explore dark shapes against a light field.

Choose the blend mode and take the first frame. MENU/OK accepts it and brings its image into the live preview for composing the next. After each new exposure, MENU/OK accepts that layer. Move the focus stick left to retake the previous step; use DISP/BACK to finish with the exposures accepted so far.

If you leave after the first frame with DISP/BACK, the camera saves that frame without making a multiple exposure. With more layers accepted, it finishes the combination. You can stop before nine; the maximum is not a target.

JPEG replaces HEIF for multiple-exposure photography. Check the resulting file before planning a workflow around your ordinary file preference. BRIGHT and DARK compare brightness at corresponding positions; they are not subject cut-out tools, and colours can mix.

Try it · Make two frames belong together

Choose AVERAGE and plan a two-frame combination before starting. Accept the first, use its overlay to place the second and finish. Repeat with a different blend only if you can predict a useful change in how the shapes meet.

View screen · Multiple exposure blend modes

View screen · Multiple exposure preview and prompts

View screen · Advanced mode branch

PANORAMA

Make a stitched wide view by moving the camera through the scene. Compose the start and finish before you begin; a wide file still needs a reason for the viewer to travel across it.

Sweep size: Focus stick left opens the size/angle choice; select and confirm with MENU/OK. A smaller sweep is easier to keep consistent.
Pan direction: Focus stick right opens the direction choices; select and confirm. Follow the arrow shown for the chosen orientation.
Output sizes: The larger panorama is 9600 × 1440 horizontally or 2160 × 9600 vertically. The smaller is 6400 × 1440 horizontally or 2160 × 6400 vertically. These are panorama files, not ordinary full-sensor still dimensions.

Press fully once to begin; you do not hold the shutter down. Turn steadily in the indicated direction and let the guide complete. A second full press stops early and may leave no finished panorama.

Nearby objects, moving people, waves, featureless surfaces and abrupt light changes can spoil the joins. If a sweep fails, try a simpler scene and a steadier pace before changing everything else. With SHUTTER AE ON, the first frame determines exposure for the panorama.

Try it · Plan both ends of the frame

Choose a quiet scene with some clear distant structure. Rehearse the sweep, then make the smaller panorama. Inspect joins and the horizon. Move people or nearby railings out of the composition for a second attempt and compare.

View screen · Panorama size and direction

View screen · Panorama sweep guide

Choose an effect deliberately before taking the frame. These are strong treatments that can change how a scene reads; they are distinct from the film-simulation palette and from saving a custom recipe.

Select ADVANCED FILTER, choose the effect and make the photograph. If CONTROL RING SETTING is STANDARD, the ring selects filters in this mode. Review an actual file as well as the live view: brightness, hue and graininess can vary with the scene and settings.

TOY CAMERA: A pronounced toy-camera treatment. Try it when an imperfect, playful rendering suits the subject.
MINIATURE: Blur towards the top and bottom suggests a small model scene. Try a high viewpoint with a clear central subject.
POP COLOR: Strong colour and contrast. Keep the composition simple enough that the treatment does not compete with it.
HIGH-KEY: A brighter, gentler-contrast effect. Judge the important pale detail after capture.
LOW-KEY: A darker treatment with selective bright emphasis. Look for a light shape worth retaining.
DYNAMIC TONE: A strong tonal treatment. Inspect texture and transitions before deciding that more drama helps.
SOFT FOCUS: An overall softness effect. Use it for an intentional impression rather than to conceal an unintended focusing error.
PARTIAL COLOR (RED): Retain red areas while rendering other colours in monochrome. Choose a subject with a clear colour relationship; the effect may also retain unrelated objects of that colour.
PARTIAL COLOR (ORANGE): Retain orange areas while rendering other colours in monochrome. Choose a subject with a clear colour relationship; the effect may also retain unrelated objects of that colour.
PARTIAL COLOR (YELLOW): Retain yellow areas while rendering other colours in monochrome. Choose a subject with a clear colour relationship; the effect may also retain unrelated objects of that colour.
PARTIAL COLOR (GREEN): Retain green areas while rendering other colours in monochrome. Choose a subject with a clear colour relationship; the effect may also retain unrelated objects of that colour.
PARTIAL COLOR (BLUE): Retain blue areas while rendering other colours in monochrome. Choose a subject with a clear colour relationship; the effect may also retain unrelated objects of that colour.
PARTIAL COLOR (PURPLE): Retain purple areas while rendering other colours in monochrome. Choose a subject with a clear colour relationship; the effect may also retain unrelated objects of that colour.

For partial colour, choose RED, ORANGE, YELLOW, GREEN, BLUE or PURPLE to match the colour you want to retain. It is a colour selection, not a way of identifying a particular person or object.

If retaining a flexible original matters, make an ordinary RAW+JPEG photograph separately before experimenting. Do not base the whole shoot on an assumed RAW or HEIF output from an effect mode. Check the recorded files before relying on a particular workflow.

Try it · Make the effect earn its place

Pick one subject and one filter that suits an idea you can describe. Make an ordinary frame too. Compare whether the effect makes the subject clearer or simply makes the processing more noticeable.

View screen · Advanced filter choices

View screen · Advanced filter working display

Select MOVIE and confirm. A full shutter press starts recording; a second full press stops it. Confirm the recording indicator and elapsed time before assuming the clip has started. Use a short test to check framing and sound.

This is different from assigning MOVIE RECORDING RELEASE to a function button while you remain in the stills display. The stills-side Movie Setting menu is a convenient subset; the dedicated movie context exposes the full set of movie controls. Shared settings carry between the two, so they are not two independent video setups.

Frame size and frame rate belong in MOVIE MODE; recording format and related file choices belong in MEDIA REC SETTING. Those decisions and their submenus already have dedicated references, linked below. Return to STILL IMAGE when you want the shutter to make ordinary photographs again.

Try it · Confirm a complete round trip

Select MOVIE, record a short clip and stop it. Play it back and listen to its sound. Return to STILL IMAGE and make one still photograph. Practise until the shutter’s job in the two contexts feels obvious.

View screen · Movie selected and recording display

Before the next photograph

Return to ordinary shooting.

Select STILL IMAGE in Drive.
Check shutter type, self-timer, focus mode and the active custom bank.
Check exposure and file settings you deliberately changed for the experiment.
Make one test frame, review it and confirm that the shutter behaves as expected.

If the camera is behaving unexpectedly, name the symptom first. “Several versions of one expression”, “a sequence of different moments” and “one composite after a pause” point to different modes. That observation is often more useful than changing unrelated settings.

The Drive menu.

Open, choose and confirm.

STILL IMAGE

CH HIGH SPEED BURST

Rates, shutter type and crop

Pre-shot: before the full press

CL LOW SPEED BURST

ISO BKT

WHITE BALANCE BKT

BKT

AE BKT

Configuration: SHOOTING SETTING → AE BKT SETTING

FILM SIMULATION BKT

DYNAMIC RANGE BKT

FOCUS BKT

Configuration: SHOOTING SETTING → FOCUS BKT SETTING

HDR

MULTIPLE EXPOSURE

Adv. MODE

PANORAMA

ADVANCED FILTER

MOVIE

Return to ordinary shooting.