Information Displayed on the LCD Monitor
Shooting Information (Shooting mode)
* Spot AE Point Frame * AF Frame (p. 46) * Low Battery (p. 105) Zoom Magnification* (p. 37) Grid Lines* (p. 28) ISO Speed (p. 64) Shooting Method (pp. 38, 40) Macro/Infinity (Basic Guide p. 10) Flash (Basic Guide p. 9) Auto Rotate (p. 65) (Red) * Movie Recording (p. 42) Stills: Recordable Shots Movies (Sec.): Remaining Time/ Elapsed * AE Lock (p. 48) * FE Lock (p. 49) * AF Lock (p. 47) Time Zone (p. 24) * * * * * Create Folder (p. 66) Shooting Mode (Basic Guide p. 6, pp. 35, 36, 42, 44, 58) Metering Mode (p. 50) Exposure Compensation (p. 51) Compression (p. 32) Long Shutter Mode (p. 52) Frame Rate (Movie) (p. 34) White Balance (p. 54) Photo Effect (p. 57) My Colors (p. 58) Resolution (pp. 32, 34) * Camera Shake Warning (pp. 53, 94) (The shutter speed will also display when the displays.) Exposure Shift Bar (Movie) (p. 44)
* Appears even if the LCD monitor is set to Standard display.
If the indicator blinks orange and the camera shake icon displays, it indicates there is insufficient illumination and a slow shutter speed will be selected. Raise the ISO speed (p. 64) or select a setting other than (flash off), or attach the camera to a tripod or other device.
Playback Information (Playback Mode)

Standard

WAVE Format Sound (p. 76)
Folder Number-File Number

Shooting Date/Time

Protection Status (p. 82)
Total number of images Displayed image number
Compression (Still Images) (p. 32) Resolution (Still Images) (p. 32) Movie (p. 34)

Histogram

Exposure Compensation (p. 51) Flash (Basic Guide p. 9) Macro/Infinity (Basic Guide p. 10) Photo Effect (p. 57) Shooting Mode (Basic Guide p. 6, pp. 35, 36, 42, 44, 58) * Long Shutter Mode (p. 52) ISO Speed (p. 64) Resolution (Movies) (p. 34) Frame Rate (Movies) (p. 34) Resolution (Still Images) (p. 32) Movie Length Shown on Movies (p. 42) My Colors (p. 58) Metering Mode (p. 50) White Balance (p. 54) File Size
The following information may also be displayed with some images.
A sound file in a format other than the WAVE format is attached or the file format is not recognized. JPEG image not conforming to Design rule for Camera File System Standards RAW image Unrecognized data type

Shooting

Changing the Resolution and Compression (Still Images)

Shooting Mode

FUNC. Menu pression).

* Default setting.

* (Resolution)/

* (Com-

See Menus and Settings (p. 26).
Use the or button to select resolution/compression settings and press the FUNC./SET button.
Approximate Values for Resolutions
Resolution (Large) 3072 x 2304 pixels 2592 x 1944 pixels Purpose High Print A3-size prints 297 mm x 420 mm (11.7 x 16.5 in.) Print larger than A4-size prints* 210 x 297 mm (8.3 x 11.7 in.) Print larger than Letter-size prints* 216 x 279 mm (8.5 x 11 in.) Print up to A4-size prints* 210 x 297 mm (8.3 x 11.7 in.) Print up to Letter-size prints* 216 x 279 mm (8.5 x 11 in.) Print postcard-size prints 148 x 100 mm (6 x 4 in.) Print L-size prints 119 x 89 mm (4.7 x 3.5 in.) Low Send images as e-mail attachments Shoot more images

(Medium 1)

(Medium 2)

2048 x 1536 pixels

1600 x 1200 (Medium 3) pixels 640 x 480 pixels

(Small)

(Postcard Date Imprint Mode)
1600 x 1200 When printing to postcards (p. 39). pixels
* Paper sizes vary according to region.
Approximate Values for Compression Settings
Compression Superfine Fine Normal Normal Purpose Shoot normal quality images Shoot more images High Quality Shoot higher quality images
See Image Data Sizes (Estimated) (p. 118). See Memory Cards and Estimated Capacities (p. 117).
Changing Resolutions and Frame Rates (Movies)
Shooting Mode You can change the resolution and frame rate when the movie mode is set to (Standard) or (My Colors).

FUNC. Menu Rate).

*Default setting.

* (Frame

Use the or button to select a resolution/frame rate and press the FUNC./SET button.
Resolutions and Frame Rates
Resolution Standard My Colors Fast Frame Rate Compact 640 x 480 pixels 320 x 240 pixels 320 x 240 pixels 160 x 120 pixels Frame Rate (frames/sec.)
* Frame rates indicate the number of frames recorded or played back each second. The higher the frame rate, the smoother the appearance of motion. * The resolution and frame rate are fixed in the and modes.

Shooting in a Special Scene Mode
Shooting Mode You can take an optimal picture simply by selecting the appropriate shooting mode.

* (Portrait).

Use the or button to select a shooting mode and press the FUNC./SET button. See the Basic Guide (p. 7) for explanations of the Special Scene modes.

Shoot.

Shooting in Manual Mode
Shooting Mode You can adjust settings yourself, such as the exposure, white balance and photo effect, when shooting in this mode.

* (Manual).

See the Basic Guide (p. 6) for Manual mode explanations.
Change the settings as required and shoot.
Magnified Close-Up Shooting (Digital Macro)
Shooting Mode You can shoot a subject from as close as 5 cm (2.0 in.) (minimum focal distance) from the end of the lens at the maximum wide angle setting. With the digital zoom, the image area is 14 x 11 mm (0.55 x 0.43 in.) at maximum zoom (approximately 4 times).

(Manual)

(Digital Macro).
Choose the angle of view with the zoom lever and shoot.

Using the Digital Zoom

Shooting Mode You can shoot zoomed images using the combined digital and optical zooms. Stills: zoom up to approximately 12 times Movies (Standard): zoom up to approximately 12 times The digital zoom cannot be used when the LCD monitor is turned off.

(Rec.) Menu

[Digital Zoom]
Press the zoom lever toward

and shoot.

The combined digital and optical zoom setting will display in the LCD monitor. When you press the zoom lever toward , the zoom stops when the lens reaches the maximum optical telephoto setting (when shooting still images). Press the zoom lever toward again to activate the digital zoom and further zoom the image digitally. Press the zoom lever toward to zoom out. Images become coarser the more they are digitally zoomed.

Continuous Shooting

Shooting Mode In this mode, the camera shoots continuously while the shutter button is held down. If you use the recommended memory card*, you can shoot continuously (smooth continuous shooting) at a set shooting interval until the memory card is full (p. 117). *Recommended Memory Card Super high speed SDC-512 MSH memory card (sold separately) immediately after a low level format (p. 23).
This reflects standard shooting criteria established by Canon. Actual results may vary according to the subject and shooting conditions. Even if continuous shooting suddenly stops, the memory card may not be full.

Press the Shoot.

to display
The camera will continue to record successive images while the shutter button is fully pressed. Recording will cease when the shutter button is released. To Cancel Continuous Shooting Press the button twice to display. The interval between shots lengthens when the built-in memory of the camera fills. If the flash is used, the interval between shots lengthens because the flash must charge.

Postcard Date Imprint Mode
Shooting Mode You can shoot images with the optimal settings for postcards by composing them inside the print area (width-to-height ratio of approximately 3:2) shown in the LCD monitor.
FUNC. Menu * (Resolution) Card Date Imprint).
The resolution is set to (1600 x 1200) and the compression to (Fine). When you press the shutter button halfway, the area that will not get printed grays out. The digital zoom cannot be used in this mode. For printing instructions, refer to the Direct Print User Guide.
Embedding the Date in the Image Data
You can embed the date in image data when Date Imprint Mode) is selected. (Postcard
(Rec.) Menu [Date & Time].
LCD Monitor Display : [Off]

[Date Stamp]

[Date]/
: [Date]/[Date & Time]
Ensure that the cameras date/time is set beforehand (p. 30). The date stamp cannot be deleted from the image data once it has been set.
Shooting Mode You can set a 10 sec. ( ) or 2 sec. delay ( ), or a custom delay time and the number of shots ( Custom Timer), for shooting after the shutter button is pressed.

button to display

When the shutter button is pressed fully, the self-timer will activate and the self-timer lamp will blink. When using redeye reduction, the self-timer lamp will blink and then stay lit for the last 2 seconds. To Cancel the Self-Timer Press the button to display.
You can change the self-timer sound (p. 31).
Changing the Self-Timer Countdown Time (

[Self-timer]

The following occurs with each option. : 2 sec. before the shutter releases, the selftimer sound and lamp will speed up. :The self-timer sound will play when the shutter button is pressed and the shutter will release 2 sec. later.
Changing the Delay Time and Number of Shots (
You can change the delay time (010, 15, 20, 30 sec.) and number of shots (110). These settings, however, cannot be set for the Stitch Assist mode, movie mode or My Colors modes.

Before recording, you can set the AE lock (p. 48) and exposure shift. 1. Press the button. The exposure will lock (AE lock) and the exposure shift bar will appear in the LCD monitor. 2. Use the or button to adjust the exposure. Press the button again to release the setting. Also, the setting will be canceled if you press the MENU button or change the white balance, photo effect or shooting mode settings. QuickTime 3.0 or later is required to play back movies (Data type: AVI/Compression method: Motion JPEG) on a computer. QuickTime (for Windows) is included on the Canon Digital Camera Solution Disk. On the Macintosh platform, this program is standard with Mac OS X or later.
Shooting Panoramic Images (Stitch Assist)
Shooting Mode Stitch Assist can be used to shoot overlapping images that can later be merged (stitched) to create one panoramic image on a computer.
The overlapping seams of several adjacent images can be joined into a single panoramic image.

* (Manual)

(Stitch Assist).
You can select from the following two shooting directions. Left to right horizontally Right to left horizontally
Shoot the first image in the sequence.
The exposure and white balance are set and locked with the first image. Shooting
Compose the second image so that it overlaps a portion of the first and shoot.
You can retake a shot by pressing the or button and returning to the previously recorded image screen. Minor discrepancies in the overlapping portions can be corrected when the images are stitched together.
Repeat the procedure for additional images.
A sequence may contain up to 26 images. Press the FUNC./SET button after the last shot. You cannot display the images on a TV when shooting in Stitch Assist mode. The settings for the first image are applied to the second image onward. Use PhotoStitch, a supplied software program, to merge the images on a computer.
Switching between Focusing Modes
Shooting Mode You can select between the following two focusing modes according to the AiAF setting.
The camera detects the subject and highlights the AF (No frame) On frames, from 9 available points, that it will use to determine the focus. The camera focuses using the center AF frame. This is Off convenient for focusing on a specific part of a subject with greater certainty.

[AiAF]

[On]/[Off].
The focus is locked to the center AF frame when the digital zoom is used. The AF frame appears as follows (when the LCD monitor is on) when the shutter button is pressed halfway. - Green: Shooting preparations complete - Yellow: Focusing difficulty (AiAF set to [Off])
Shooting Hard-to-Focus Subjects (Focus Lock, AF Lock)

Shooting Mode It may be difficult to focus on the following types of subjects. Subjects with extremely low contrast to the surroundings Scenes with a mixture of near and far subjects. Subjects with extremely bright objects at the center of the composition Subjects that are moving quickly Subjects through glass: Try to shoot as close to the glass as possible to reduce the chances of light reflecting back off the glass.
Shooting with the Focus Lock
Shooting The focus lock can be used in any shooting mode.
Aim the camera so that an object at the same focal distance as the main subject is centered in the viewfinder or in the AF frame displayed on the LCD monitor. Press the shutter button halfway. Re-aim the camera to compose the shot as desired and press the shutter button fully.
Shooting with the AF Lock
The AF lock cannot be used in the , or mode.
Turn on the LCD monitor. Aim the camera so that an object at the same focal distance as the main subject is centered in the AF frame. Press the shutter button halfway and press the / button.
The icon will display and the lower indicator will light yellow.
Re-aim the camera to compose the shot as desired and shoot.
To Release the AF Lock Press the / button. When shooting with the focus lock or AF lock using the LCD monitor, setting [AiAF] to [Off] (p. 28) makes shooting easier since the camera focuses using the center AF frame only. The AF lock is convenient because you can let go of the shutter button to compose the image. Moreover, the AF lock is still effective after the picture is taken, allowing you to capture a second image with the same focus.
Locking the Exposure Setting (AE Lock)
Shooting Mode You can set the exposure and focus separately. This is effective when the contrast is too strong between the subject and background or when a subject is backlit. You must set the flash to [ the flash fires. ]. The AE lock cannot be set if
Turn on the LCD monitor. Focus on the part of the subject on which you wish to lock the exposure setting. Press the shutter button halfway and press the button.

The icon will display.

Re-aim the camera to compose the shot as desired and press the shutter button fully.

Playback/Erasing

Please also see the Basic Camera User Guide (p. 11).

Magnifying Images

will display and a magnified portion of the image will display. Images can be magnified up to a factor of approximately 10x.
Approximate Location of the Displayed Area
Use the , , or around the image.

button to move

If you press the FUNC./SET button while in magnified display, the camera switches to image advance mode and will display. You can use the or button to advance to the next or previous image at the same level of magnification. The image advance mode is canceled when you press the FUNC./SET button again. You can change the magnification level with the zoom lever. To Cancel the Magnified Display Press the zoom lever toward. (You can also cancel it immediately by pressing the MENU button.) Movie frames and index playback images cannot be magnified.
Viewing Images in Sets of Nine (Index Playback)
Up to nine images can be viewed at once. Use the , , or button to change the image selection.

Selected Image

Switching between Sets of Nine Images
The jump bar will display if you press the zoom lever toward while in index playback and you can switch the display between sets of nine images. Use the or button to move to the previous or next set of 9 images. Hold the FUNC./SET button down and press the or button to jump to the first or last set. To Return to Single Image Playback Press the zoom lever toward.

Jump Bar

Jumping to Images
When you have many images recorded onto a memory card, it is handy to use the five search keys below to jump over images to find the object of your search.
Jump 10 Images Jumps over 10 images at a time. Jump 100 Images Jumps over 100 images at a time. Jump Shot Date Jumps to the first image of each shooting date. Jump to Movie Jump to Folder

Jumps to a movie.

Displays the first image in each folder.
In single image playback mode, press the button.
The camera will switch to jump search mode. The screen sample will vary slightly according to the search key.
Location of image currently being displayed. Number of images matching search key.
Use the or button to select a search key and press the or button.
To Return to Single Image Playback Press the MENU button.

Viewing Movies

Movies cannot be played in the index playback mode.
Display a movie and press.
icon are Images with a movies.
Movie Control Panel Volume Level (Adjust it with the or button)

Select

(Play) and press
The movie will pause if you press the FUNC./SET button during playback. It will resume when you press the button again. When playback ends, the movie stops at the last frame displayed. Press the FUNC./SET button to display the movie control panel.

Operating the Movie Control Panel
Ends playback and returns to single image playback Print (An icon will display when a printer is connected. See the Direct Print User Guide for details.) Play
Slow Motion Playback (You can use the or the button to speed up playback.)

Displays the first frame

button to slow down
Previous Frame (Rewinds if the FUNC./SET button is held down) Next Frame (Fast Forwards if the FUNC./SET button is held down) Displays the last frame Edit (Switches to movie editing mode) (p. 73)
Use the televisions controls to adjust the volume when playing a movie on a TV set (p. 89). The sound cannot be played in slow motion playback.

Editing Movies

You can delete portions of recorded movies. Movies 1 second or longer before editing can be edited in 1second increments, but those that are protected or less than 1 second long cannot be edited.
Select (Edit) in the movie control panel and press.
The movie editing panel and the movie editing bar will display.

Movie Editing Panel

Movie Editing Bar
Use the or button to select Beginning) or (Cut End) and the button to specify the cut point( ).

(Cut or

To check a temporarily edited movie, select (Play) and press the FUNC./SET button. Selecting (Exit) cancels the edit and restores the movie control panel.

(Save) and press

Select [New File] or [Overwrite] and press.
[New File] saves the edited movie under a new file name. The preedit data is left unchanged. Note, if you press the FUNC./SET button while saving the movie, saving is canceled. [Overwrite] saves the edited movie with its original name. The pre-edit data is lost. When there is not enough space left on the memory card, only [Overwrite] can be selected. It may take approximately 3 minutes to save an edited movie. If the battery runs out of charge partway through, edited movie clips cannot be saved. When editing movies, it is recommended to use a fully charged battery or the separately sold AC Adapter Kit ACK900 (p. 109).
Rotating Images in the Display
Images can be rotated clockwise 90 or 270 in the display.

Original

(Play) Menu

Use the

button to select an image to to rotate it.

rotate and press

Cycle through the 90/270/original orientations with each press of the FUNC./SET button. This also can be set in the index playback mode. Movies cannot be rotated. When images are downloaded to a computer, the orientation of images rotated by the camera will depend upon the software used to download the images.
Playback with Transition Effects
You can select the transition effect displayed when switching between images. The displayed image darkens and the next image gradually brightens until it is displayed.
Press the and the button to have the previous image display from the left button to have the next image display from the right.
The transition effect will not display when an image is switched while the camera is reading of an image from the memory card.
Attaching Sound Memos to Images
In playback mode (including single image playback and index playback), you can attach sound memos (up to 60 seconds) to an image. The sound data is saved in the WAVE format.
Use the or button to select an image to attach a sound memo to and press.
The sound memo control panel will display.

(Record) and press

The elapsed time and the remaining time display. Pressing the FUNC./SET button pauses the recording. Pressing it again resumes recording. Up to 60 seconds of recordings can be added to any one image.
Sound Memo Panel Elapsed Time/ Remaining Time Volume (Adjust with the button)

Sound Memo Panel

Exit Record Pause Play Erase Select [Erase] in the confirmation screen and press the FUNC./SET button.
You cannot attach sound memos to movies. Sound memos for protected images cannot be erased.
Automated Playback (Slide Shows)
Automated Playback of Memory Card Images. Image settings for slide shows are based on the Digital Print Order Format (DPOF) standard (p. 83).
All Images Date Folder Movie Stills Custom 13 Plays all images on a memory card in order. Plays images bearing a specified date in order. Plays images in a specified folder in order. Plays movie files only, in order. Plays still images only, in order. Plays the images selected for each slide show, Custom 1, Custom 2 or Custom 3, in order (p. 80).
For or , select the image date or folder to be played back (p. 80). For , or , select the images to be played back (p. 80). If you want to add a transition effect to play back images, use the button to select [Effect] and choose the type of effect with the the next page).

button (See

Select [Start] and press
The following functions are available during slide shows. - Pausing/resuming the slide show: press the FUNC./SET button - Fast forwarding/rewinding the slide show: press the or button (continue to hold the button to switch between images more rapidly) - Stopping the slide show: press the MENU button.

The camera moves when the shutter button is pressed.
Subject is out of focal range.
The subject is hard to focus on. Insufficient light for shooting. Subject is dark in contrast to the background. Subject is too far away for flash to reach.
Subject in recorded image is too dark.
Set the exposure compensation to a positive (+) setting (p. 51). Use AE lock or use the spot metering function (pp. 48, 50). Shoot within correct shooting distance of the subject when using the built-in flash (p. 114). Raise the ISO sensitivity and then shoot (p. 64).
Subject in recorded image is too bright.
Subject is too close, making the flash too strong. Subject is bright in contrast to the background. Too much light is shining directly into the camera, or is being reflected off the subject. Flash is set to on. Shoot within correct shooting distance of the subject when using the built-in flash (p. 114). Set the exposure compensation to a negative (-) setting (p. 51). Use AE lock or use the spot metering function (pp. 48, 50). Change the shooting angle.
Set the flash to Guide p. 9).

(flash off) (Basic

Image flashes white. Image contains noise.
ISO speed is too high. Higher ISO speeds increase image noise. To take clean images, use as low an ISO speed as possible (p. 64). In , , , and modes, the ISO speed increases and noise can appear. This is a phenomenon that occurs with digital cameras and does not constitute a malfunction.
White dots appear on the image.
Light from the flash has reflected off dust particles or insects in the air. This is particularly noticeable when shooting using the wide angle.

Eyes appear red.

Light reflecting back from eyes can make them appear red when the flash is used in dark areas. Use the (auto with red-eye reduction) mode (Basic Guide p. 9). For this mode to be effective, the subject must be looking right at the red-eye reduction lamp. Try asking them to look directly at the lamp. Even better results can be obtained by increasing the lighting in indoor settings or approaching closer to the subject. The shutter will not activate for approximately 1 second after the red-eye reduction lamp fires in order to improve the effect. To enhance the continuous shooting performance, you are recommended to format the memory card in the camera after you save all its images to your computer (p. 23, Basic Guide p. 20).
Continuous shooting slows down.
The memory card's performance has dropped.
Recording images to memory card takes a long time.
Memory card was formatted in another device. Memory card slot/battery cover was opened with power on. Use a memory card formatted in your camera (p. 23).

Cannot register this image! You attempted to register an image recorded in a different camera or a movie as a start-up image. Protected! You attempted to erase or edit a protected image, movie or sound memo. Too many marks. Too many images have been marked with print settings, transfer settings or slide show settings. Cannot process any more. Cannot complete! Could not save the print, transfer or slide show settings. Unselectable image. You attempted to set the print settings for a non-JPEG image. Exx (xx: number) Camera malfunction. Turn the power off and then back on, then shoot or play back. A problem exists if the error code reappears. Note the number and contact your Canon Customer Support Help Desk. If an error code displays directly after taking a picture, the shot may not have been recorded. Check image in playback mode.

Appendix

Battery Handling

Battery Charge

The following icon and message will display. Change the battery pack Battery charge is low. Recharge it as soon as possible it will be used for an extended period. Battery charge is insufficient to operate the camera. Replace the battery immediately.
Battery Handling Precautions
Keep the battery terminals clean at all times. Dirty terminals may cause poor contact between the battery and camera. Polish the terminals with a soft cotton swab before charging or using the battery. At low temperatures, battery performance may be reduced and the low battery icon ( ) may appear earlier than usual. Under these conditions, review the battery by warming it in a pocket immediately before use. However, ensure that there are no metallic items in the pocket that could cause a short circuit, such as a key ring, etc. The battery may be short circuiting. Do not allow any metal objects Fig. B Fig. A such as key rings to touch the ( ) and ( ) terminals (Fig. A). To carry the battery or store it during periods of disuse, always replace the terminal cover (Fig. B). These conditions can damage the battery.
You are recommended to use it in the camera until it is completely discharged and to store it in an indoor location with low relative humidity and between the temperatures of C (F). Storing a fully charged battery for long periods of time (about one year) may shorten its life cycle or affect its performance. If you do not use the battery for long periods of time, charge it fully and discharge it fully in the camera about once a year before returning it to storage.

Image Data Sizes (Estimated) 118 Index Playback.. 70 Indicator.. 22 Infinity. 14, Basic 10 Interface Cable. Basic 14, 18 ISO Speed.. 64
Date/Time Setting. Basic 4 Using the Clock. 16 World Clock.. 24 Digital Macro. 36 DIGITAL Terminal. 12, Basic 19 Digital Zoom.. 37 Direct Transfer. Basic 22 Downloading Images to a Computer. Basic 16 DPOF Print Order Print Style. 85 Selecting Images.. 83 DPOF Transfer Order. 87

JUMP (Image Search). 71

Language.. Basic 4 LCD Monitor Night Display.. 17 Playback Information.. 19 Quick-bright LCD. 17 Shooting Information.. 18 Using the LDC Monitor. 15
Macro.. 14, Basic 10 Magnifying.. 69 Memory Card Estimated Capacities. 117 Formatting. 23, 108 Handling.. 107 Inserting.. Basic 2 Menu FUNC. Menu. 26, 28 Menu List.. 28 Menus and Settings. 26 My Camera Menu.. 31 Play Menu. 29 Rec. Menu. 28 Rec./Play/Set up/My Camera 27 Set up Menu.. 29 MENU button. 14 Messages.. 102 Metering Modes.. 50 Mode Dial. 14, Basic 4, 5 Movie Editing.. 73 Playback.. 72 Shooting.. 42 Mute Mode. 29, Basic 5 My Camera Menu. 31 My Camera Settings.. 91 My Colors. 58
Self-Timer.. 40 Set up Menu.. 29 Shooting Mode Auto.. Basic 6 Manual. 35, Basic 6, 7 Movie. 42, Basic 8 Selecting.. Basic 6 Special Scene Mode.. 35, Basic 7 Shutter Button. 14 Fully.. Basic 5 Halfway.. Basic 5 Shutter Speed. 52 Slide Show.. 78 Repeat Settings.. 81 Selecting.. 80 Transition Effects.. 79 Smooth Continuous Shooting 38 Sound Memo. 76 Spot AE Point Frame. 18, 50 Stitch Assist.. 44 System Requirements. Basic 17
Telephoto.. Basic 8 Time Zone. 24, 30 Transition Effects Playback.. 76 Slide Show.. 79
Photo Effect.. 57 Playback.. Basic 11 Postcard Date Imprint Mode. 39 Power Button. 14, Basic 5 Power Saving. 22, 30 Print/Share Button. 14, Basic 14, 22 Printing.. Basic 14 Protect. 82

Video Output System. 89

White Balance. 54 Wide Angle. Basic 8 World Clock.. 24 Wrist Strap.. 12

Zoom.. Basic 8

Red-Eye Reduction. 12, Basic 9 Reset All.. 31 Resolution.. 32, 34 Rotate.. 75

Disclaimer

While every effort has been made to ensure that the information contained in this guide is accurate and complete, no liability can be accepted for any errors or omissions. Canon reserves the right to change the specifications of the hardware and software described herein at anytime without prior notice. No part of this guide may be reproduced, transmitted, transcribed, stored in a retrieval system, or translated into any language in any form, by any means, without the prior written permission of Canon. Canon makes no warranties for damages resulting from corrupted or lost data due to a mistaken operation or malfunction of the camera, the software, SD memory cards (SD cards), personal computers, peripheral devices, or use of non-Canon SD cards.

Functions Available in Each Shooting Mode
The chart below is a reference for the settings available for various shooting conditions. The settings selected in each shooting mode are saved after you finish shooting.

Function

Large Medium 1 Medium 2 Resolution Medium 3 Small Postcard Movie Super Fine Compression Fine Normal Frame Rate Auto Auto with Red-Eye Reduction On with Flash(3) Red-Eye Reduction On Off Slow Synchro Macro Mode Infinity Mode AF Lock AE Lock FE Lock Single Continuous Shooting Shooting 10-sec. Self-Timer Method 2-sec. Self-Timer Custom Timer Date Stamp Autofocus Modes

p.32 p.34

Basic p.9

(5) (5)

Basic p.10 p.47 p.48 p.49 p.38 p.40

p.39 p.46

AF-assist Beam Digital Zoom Metering Method On Off
Evaluative Center-Weighted Average Spot Exposure Compensation Exposure Shift Long Shutter White Balance Photo Effect (10) ISO Speed Auto Rotate Grid Lines
*Default setting Setting available
p.37 p.50 p.51 p.44 p.52 p.54 p.57 p.64 p.65 p.28

(10) (10)

(10) (10) (10)
Setting can only be selected for the first image.
(Shaded Area):Setting is retained even when the camera power is shut off.
With the exception of the [Date/Time], [Language] and [Video System] settings, all the other menu settings and changes made with the camera buttons can be reset to the default values in a single operation (p. 31). (1)(2) The resolutions and frame rates for the (Movie) mode are as follows.

Resolution

Frame Rate
(3) The default flash setting is Auto with Red-Eye Reduction in the modes, Auto in the modes, and Off in the modes. - The flash cannot be set in mode. - When the flash fires in mode, the camera will automatically use Slow Synchro mode. (4) The flash is set by default not to fire in the and modes. (5) You cannot switch between the Macro/Infinity modes when the camera is in the modes. (6) AF cannot be selected in the modes. (7) The AF-assist Beam cannot be set in mode. (8) Can be set during shooting (only in Standard mode). (9) Exposure compensation not available in or modes. (10) Automatically set by the camera. (11) The Photo Effect cannot be set in the mode.

TR2006-583, Dartmouth College, Computer Science
Digital Image Ballistics from JPEG Quantization
Hany Farid Department of Computer Science Dartmouth College Hanover NH 03755

Abstract

Most digital cameras export images in the JPEG le format. This lossy compression scheme employs a quantization table that controls the amount of compression achieved. Different cameras typically employ different tables. A comparison of an images quantization scheme to a database of known cameras affords a simple technique for conrming or denying an images source. Similarly, comparison to a database of photo-editing software can be used in a forensic setting to determine if an image was edited after its original recording.

Introduction

When performing a forensic analysis on a digital image, it is often useful to be able to determine its source (e.g., a digital camera, a digital video camera, or a photo-editing software). Since the JPEG image format has emerged as a virtual standard, most devices and software encode images in this format. This lossy compression scheme allows for some exibility in how much compression is achieved. Manufacturers typically congure their devices differently to balance compression and quality to their own needs and tastes. This difference, embodied in the JPEG quantization table, can be used to identify the source of an image. In related work [3], the authors describe a technique to identify a specic camera based on sensor noise. Here, a much cruder identication will be made at best, that of identifying the camera make and model. One benet of this approach is that it can be applied to any device or software that employs JPEG compression.

JPEG Compression

Figure 1: A sample JPEG quantization table employed by a Nikon Coolpix 2500 digital camera.
JPEG 1 is a standard lossy compression scheme [1, 6]. Given a three channel color image (RGB), compression proceeds as follows. The RGB image is rst converted into luminance/chrominance space (YCbCr). The two chrominance channels (CbCr) are typically subsampled by a factor of two relative to the luminance channel (Y). Each channel is then partitioned into pixel blocks. These values are converted from unsigned to signed integers (e.g., from [0, 255] to [128, 127]). Each block is converted to frequency space using a 2-D discrete cosine transform (DCT). Depending on the specic frequency and channel, each DCT coefcient, c, is then quantized by an amount q: c = round(c/q). (1)
from top to bottom, are the luminance and chrominance channel tables. As is typical, the quantization for the luminance channel is less than for the two chrominance channels, and the quantization level is less for the lower frequency components. With 192 entries, and values ranging typically from 1 to 25 there are 10268 possible quantization tables in practice, this number is much smaller because the entries are not chosen independent of one another.

Ballistics

This stage is the primary source of information loss. A nal entropy encoding is then employed. With some variations, the above sequence of steps are employed by JPEG encoders in digital cameras and photo-editing software. The primary source of variation in these encoders is the choice of quantization that subsequently controls the compression rates and artifacts. The quantization is specied as a table of 192 values a set of values associated with each frequency, for each of three channels (YCbCr). For low compression rates, these values tend towards a value of 1, and increase for higher compression rates. Shown in Figure 1, for example, is the quantization table employed by a Nikon Coolpix 2500 digital camera. Shown,

1 The Joint Photographic Experts Group (JPEG) developed an image le format known as the JPEG File Interchange Format (JFIF), which is most commonly abbreviated as JPEG.
A single image from each of 204 digital cameras was collected, Table 5 2. While some cameras have only a single JPEG quality setting, many others have multiple quality settings. In this current analysis, only a single image at the highest quality was examined. The JPEG quantization table was extracted from each image and compared for uniqueness. On average, each camera matched 1.43 other cameras. 62 of the 204 cameras had a unique table. The remaining cameras fall into equivalence classes of sizes between 2 and 28, Table 5. In the majority of cases, it is cameras from the same manufacturer that share the same quantization tables. In many cases, only two or three cameras are indistinguishable the Canon PowerShot family is the
2 Most of the images were downloaded from the digital photography review site http://www.dpreview.com. The metadata of each downloaded image was checked to make sure that the image was not subsequently edited in a photo-editing software, which would have compromised the original JPEG quantization table.
exception, where 28 cameras have identical quantization tables. And in several cases, different makes and models share the same quantization table, with the largest diversity nding Kodak, Nikon, Olympus, Pentax, and Sony cameras in the same equivalence class. While the JPEG quantization is clearly not perfectly unique, it is reasonably effective at narrowing the source of an image to a single camera make and model or to a small set of possible cameras (on average, this set size is 1.43).

Software Ballistics

Photo-editing software packages (e.g., Adobe Photoshop, Corel Paint Shop, Microsoft Digital Image Suite, etc.) employ different JPEG quantization tables. Photoshop, unarguably the most popular such package, provides 13 levels of compression (12: lowest compression & highest quality 0: highest compression & lowest quality). An image was saved at each of these levels for Photoshop CS2 (the most recent version), Photoshop CS, Photoshop 7, Photoshop 4 and Photoshop 3. The quantization tables at each compression level were different from one another. Moreover, at each compression level the tables were the same for all ve versions of Photoshop 3. More importantly, the tables differed from each the 204 digital cameras listed in Table 5. An image can therefore be linked to a specic software (or possibly a set of software packages). Similar in spirit to forensic techniques for detecting double JPEG compression [2, 4], the presence of quantization tables unique to a photo-editing software can be used to determine that an image was previously viewed and saved from within a photo-editing software. The reliability of such a claim will, of course, require the uniqueness of the software tables to hold over a larger set of cameras.

using motion estimation. The motion between a P frame and its preceding I- or P -frame is estimated. A motion estimated version of the next frame is generated by warping the P -frame according to the estimated motion. The error between this predicted frame, and the actual frame is then computed. Both the motion vectors and the motion errors are encoded and transmitted the motion errors are encoded using JPEG compression. The encoding of a B-frame is similar to that of a P -frame except that motion estimation for these frames employ past, future, or both of its neighboring I- or P -frames. In an MPEG video sequence, the I-frames and the motion errors for the P - and B-frames are each JPEG encoded. As such, the quantization tables for these frames may be used to identify the source of a video recording.

Discussion

By choosing a JPEG quantization table camera manufacturers and software developers are able to balance the amount of compression and the quality of their images. In so doing, a signature of sorts is embedded within each JPEG image. This simple observation allows for a rather crude form of digital image ballistics, whereby the source of an image can be conrmed or denied. In order for this ballistic technique to be more effective and reliable, it is important to collect data from an ever-increasing number of cameras and software. In addition, it is important to consider the quantization tables for each JPEG quality setting afforded by a specic device or software. In collaboration with other ballistic and forensic tools, this technique should prove useful for the forensic examination of digital images and video.

Video Ballistics

The MPEG video standard (MPEG-1 and MPEG-2) employs two basic schemes for compression to reduce both spatial redundancy within individual video frames and temporal redundancy across video frames [5]. In a MPEG encoded video sequence, there are three types of frames: intra (I), predictive (P ) and bi-directionally predictive (B), each offering varying degrees of compression. These frames typically occur in a periodic sequence. A common sequence, for example, is: I1 B2 B3 P4 B5 B6 P7 B8 B9 P10 B11 B12 I13 B14 , where the subscripts are used to denote time. I-frames are encoded using the JPEG compression scheme described in Section 2. P -frames are encoded
3 More recent versions of Photoshop afford more JPEG compression levels. The quantization tables found in older versions, however, are the same as in the most recent versions of Photoshop.

Acknowledgments

Thanks to Paul McJones and Sean Parent of Adobe Systems for their assistance extracting the JPEG quantization tables from older versions of Adobe Photoshop. Thanks to Jeff Woodward for writing the batch processing scripts for extracting JPEG quantization tables. This work was supported by a Guggenheim Fellowship, a gift from Adobe Systems, Inc., a gift from Microsoft, Inc., a grant (FA8750-06-C-0011) from the United States Air Force, and under a grant (2000-DTCX-K001) from the U.S. Department of Homeland Security, Science and Technology Directorate (points of view in this document are those of the authors and do not necessarily represent the ofcial position of the U.S. Department of Homeland Security or the Science and Technology Directorate). 3

References

[1] Digital compression and coding of continuoustone still images, Part 1: Requirements and guidelines. ISO/IEC JTC1 Draft International Standard 10918-1, 1991. [2] J. Lukas and J. Fridrich. Estimation of primary quantization matrix in double compressed JPEG images. In Digital Forensic Research Workshop, Cleveland, Ohio, August 2003. [3] J. Lukas, J. Fridrich, and M. Goljan. Digital camera identication from sensor noise. IEEE Transactions on Information Security and Forensics, 1(2):205214, 2006. [4] A.C. Popescu and H. Farid. Statistical tools for digital forensics. In 6th International Workshop on Information Hiding, Toronto, Cananda, 2004. [5] T. Sikora. Digital Consumer Electronics Handbook, chapter MPEG-1 and MPEG-2 Digital Video Coding Standards. McGraw-Hill, 1997. [6] G.K. Wallace. The JPEG still picture compression standard. IEEE Transactions on Consumer Electronics, 34(4):3044, 1991.
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