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The Infamous Canon Resume/Stop/Reset Button
The Infamous Canon Resume/Stop/Reset Button
The following information relates to small handful of Canon ink cartridges including the PG-37, CL-38, PG-40, CL-41, PG-50, CL-51, PG-510, CL-511,
PG-512, CL-513, PG-540, PG-540XL, CL-541 and CL-541XL. The warnings vary from printer to printer but should be similar to the following:
“The following ink cartridge may have run out:
Black PG-40/PG-50
Colour/Color CL-41/CL-51
The function for detecting the remaining ink level will be disabled since the ink level cannot be correctly detected.
If you want to continue printing without this function, press the printers Stop/Reset button for at least 5/five seconds.
Canon recommends to use new genuine Canon cartridges in order to obtain optimum qualities.
Please be advised that Canon shall not be liable for any malfunction or trouble caused by continuation of printing under the ink out condition.”
“The following ink has run out:
Black PG-510 or PG-512
Colour CL-511 or CL-513
Replace the ink cartridge and close the cover.
If printing is in progress and you want to continue printing, press the printers RESUME button for at least 5 seconds with the ink cartridge installed. Then printing can continue under the ink out condition.
The function for detecting the remaining ink will be disabled.
Replace the empty cartridge after printing.
The resulting quality is not satisfactory, if printing is continued under the ink out condition.”
In addition to these on screen messages you may also get “Check Ink” messages on your printer with the codes E13, E16, Check ink U162 and Check ink U163. Whatever the case your printer requires the STOP/RESET/RESUME button be held down for a specific amount of time, but in most cases this is 5 seconds. However I have encountered many people that simply don’t know which button this is, as the message itself is not massively clear. So to clarify you are looking for a button with the following symbol…
Whilst it is normally red/pink but on newer printers you may fine it is white or a duller grey in appearance.
So before you take your trouble shooting any further I would advise locating this button on your printer and holding it down for at least 5 seconds and with any luck your printer will jump into life and you will be able to continue printing. Please note that if you have changed multiple cartridges you may be required to indicate to the printer that you wish to continue using the cartridges individually so it may be worth holding it down again if the first attempt was not successful.
Please note that it is perfectly normal for a remanufactured or refilled cartridge to behave in this way as the cartridge itself has no way of physically checking how much ink it is carrying. Instead the printer relies upon the cartridge communicating how many pages it has printed in its lifetime and from this the printer estimates and ink level. As such the cartridge has simply retained the ink level estimate it has had previously that will normally indicate it is either partially used or empty.
Please note that despite the ominous warnings to the contrary there is no way that continuing to use cartridges under these conditions can damage your printer. As the ink comes straight from the cartridge to the paper at no point does any non-Canon product come in contact with your machine. Whilst the print head of the cartridge will eventually cease to function correctly after it has been refilled a significant amount of times the only thing that can inflict damage prior to this point is prolonged printing when the ink has physically run out.
I hope you have found this advice useful. If however you continue to have problems with the cartridge please do get in contact with your supplier or check out our other troubleshooting videos to help identify the problem.
Will this work for my printer?
This advice is applicable to the following printers Canon Fax JX200, MultiPass 450, MP150, MP160, MP170, Pixma iP1200, iP1300, iP1600, iP1700, iP1800, iP1900, iP2200, iP2400, iP2500, iP2600, MP140, MP150, MP160, MP170, MP180, MP190, MP210, MP220, MP450, MP460, MP470, MX300, MX310, iP2700, iP2702, MP230, MP240, MP250, MP252, MP260, MP270, MP272, MP280, MP282, MP330, MP480, MP490, MP492, MP495, MP499, MX320, MX330, MX340, MX350, MX410, MX420, MG2150, MG2250, MG3150, MG3155, MG3250, MG3550, MG4150, MG4250, MX375, MX395, MX435, MX455, MX515 and finally the Pixma MX525.
If you have any other questions or have something to add, please let us know below in the comments.
About the author
Matthew Stevenson
I have been involved in the printer industry since I was 18 and have been an employee of Refresh Cartridges since early 2009. I am a dedicated family man, gamer, music fan and friend to all.
I write the majority of the content here on Igloo and am responsible for its upkeep.
@Refreshcarts
At Refresh Cartridges you?ll find very low prices on our full range of compatible printer inkjet cartridges, remanufactured toner & original cartridges too!
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Refresh eCommerce Ltd, Company Registered in Cardiff Reg 3747805, VAT GB 819 3265 18 Refresh eCommerce Ltd, Unit 3, Longpark, 163 Newton Road, Torquay, Devon, TQ2 7AL Phone: 9, Fax: , Email:Photography Fundamentals: White Balance |
Photography Fundamentals:
White Balance
Adapted from
(Rocky Nook)
By Darrell Young
Back in the good old days photographers bought
special rolls of film or used filters to meet the
challenges of color casts that come from indoor
lighting, overcast days, or special situations.
Each type of light you shoot under has a particular Kelvin color temperature (tint). Your camera
needs to know something about the color of the
light your are shooting under so it can balance
itself and keep white truly white and keep other
colors accurate.
You can manually balance your camera’s
colors with its white balance controls, or let the
auto white balance system do it for you. Fortunately, auto white balance does a great job
for general shooting. However, discerning photographers learn how to use the white balance
controls so they can achieve color consistency
in special situations, such as when shooting a
series of product shots where the color must remain consistent.
How Does White Balance Work?
Normally you will use white balance to adjust
the camera so that whites are truly white and
other colors are accurate under whatever light
source you are shooting. You can also use the
white balance controls to deliberately introduce
color tints into your image for interesting special effects.
Image with different white balance settings
White balance color temperatures are exactly
backwards from the Kelvin scale we learned in
school for star temperatures. Remember that
a red giant star is cool, and a blue-white star is
hot. White balance color temperatures are backwards because the white balance system adds
color to make up for a lack of a particular color
in the light that is shining on your subject.
For instance, under fluorescent light, there is
not enough blue light, which makes your subject appear greenish yellow. When blue is added,
the image is balanced to a more normal appearance. White balance in cameras adds colors to balance the camera for the current light
Another example is when you shoot on a
cloudy, overcast day. The cool ambient light
could cause the image to look bluish if left
unadjusted. The auto white balance control in
your camera sees the cool color temperature
and adds some red to warm the colors a bit.
A normal camera white balance on an overcast
day might be about 6000 K (Kelvin), which will
warm up the cool bluish look. We’ll discuss color
temperature shortly.
Just remember, we use the real Kelvin temperature range in reverse, and in photography
reddish colors are warm and bluish colors are
cool. Even though this is backwards from what
we were taught in school, it fits our situation
better. Just don’t let your astronomer friends
convince you otherwise. To photographers, blue
seems cool and red seems warm. Doesn’t cold
snow look bluish white? Isn’t a beautiful sunset
nice and warm?
Let’s examine how color temperature affects
your images and then see how to adjust the
camera to achieve those effects.
Color Temperature
The white balance for many cameras can range
from a very cool 2500 K to a very warm 10000 K
(some cameras have less range).
The illustration below shows the same landscape picture
with three color temperature settings. Notice
how the image in the center (5000 K) is about
right for normal sunlight, and the image on the
left (2500 K) has a cool bluish cast and the one
on the right (10000 K) has a warmer reddish
A landscape shot
with three color temperatures
The same adjustments we made with film
and filters in the good old days can now be
achieved with the white balance settings built
into your camera. It should have several white
balance settings with names like cloudy, shade,
and fluorescent.
To make a warmer-than-normal image,
simply select the cloudy white balance setting
while shooting in normal daylight. This sets the
camera white balance to about 6000 K, which
makes nice warm-looking images. If you really
want to warm up the image, choose the white
balance setting called shade, which sets the
camera to about 8000 K. On the other hand,
if you want to make the image appear cool or
bluish, try using the fluorescent (4200 K) or incandescent (3000 K) settings in normal daylight.
Remember, the color temperature shifts
from cool values to warm values. Your camera
can capture images with various manual white
balance settings. Some cameras can be set to
any color temperature from 2500 K (very cool
or bluish) to 10000 K (very warm or reddish) or
any major value in between.
In the film days we had to carry different
film emulsions or filters to deal with the color
temperature ranges of light. Your digital camera
has very easy-to-use color temperature controls
and a full range of color temperatures.
Each camera has a certain way of setting
white balance manually. When you use the
manual controls and take your camera out of auto white balance mode, you have control
over the way the camera will record the current
color temperature of the ambient light. You can
introduce color tints by deliberately setting the
wrong white balance.
Below is a picture of a person taken in direct sunlight with the camera set to fluorescent
white balance. Since the camera added blue to
the picture to adjust for a shortage of blue in fluorescent light, your picture will have too much
blue because there is plenty of blue in sunlight.
Deliberately using the wrong white balance setting
to add a blue tint to a picture
Manual white balance settings are usually
needed only when you must have consistent
color from image to image or when you want
to cr otherwise, auto white
balance will do fine for most people. Check your
camera manual to learn how to manually adjust
white balance.
You can choose preprogrammed white balance settings on most cameras. The names and
number of white balance settings vary from
camera to camera. Each of the white balance
settings are designed for use under the type of
light for which the setting is named. The settings generally include the following:
Auto: With this setting the camera will decide what the correct white balance is for the
scene it sees through the lens. It will adjust the white balance for each picture you take,
so you may not have consistent color. That is
not a bad thing for most photography since
the white balance will vary by only a few degrees Kelvin between each shot. Most people
simply leave their cameras set to auto white
Incandescent: This type of lighting is gradually being phased out. The old standard in-
candescent light bulb gets hot and uses too
much energy. Most people don’t realize that
the light output of an incandescent bulb is
rather orange, or warm. If you are shooting
under incandescent light, your images may
be objectionably warm, with orange skin
tones and whites that are not white. Test
your camera’s auto white balance ability under incandescent light by shooting a picture
of someone reading a book under an old-style
light bulb. Look at the picture on your computer and see if the pages of the book look
reddish or orange. If not, your camera does a
good job with incandescent light. If the pages
look orange, you can manually set the camera
to the incandescent white balance setting
and take another shot. You should see a big
improvement.
Fluorescent: As mentioned earlier, fluorescent light has a deficit of blue, so your subjects will come out looking greenish. If you
take pictures of people under fluorescent
light and they look a sickly green or yellow,
set your camera to the fluorescent white
balance setting and shoot again. The camera
will add blue and the image will look more
normal. Some cameras offer several fluorescent white balance settings because there are
several types of fluorescent light.
Sunlight: When you are shooting outside
under direct sunlight, the color is somewhat
neutral and tends to be warm. Using this setting will balance your camera for shooting
under direct sunlight.
Flash: When you use a flash unit, whether
it’s a popup unit built into your camera or an
external unit mounted on your camera, you
can set the white balance to flash and the
camera will record consistent color for most
flash units.
Cloudy: On a cloudy or overcast day the light
has a blue tint that can make images seem
cool. When you set the camera to cloudy
white balance, it adds red (warmth) to the
image so it looks more natural. You can also
use the cloudy setting (and many people do)
when you want to warm up any of your images. Most people prefer the look of warm
images. Some people even leave their white
balance set to cloudy all the time. Usually
those photographers grew up shooting daylight film and using an 81A warming filter on
their lenses all the time. I don’t recommend
setting your camera to the cloudy white balance setting all the time because, in some
instances, the extra-warm images will not
look as good. For instance, if you are shooting
pictures of people in evening sunset light, the
ambient light is already very warm looking. If
you add more warmth by setting the camera
to cloudy white balance, your subjects’ skin
may have a too-warm, reddish-orange look.
Some photographers do not agree with me,
but I don’t believe that one settings works for
every picture, so I don’t leave my camera set
to cloudy all the time. Experiment with the
cloudy white balance setting under various
light sources and see what you like.
Shade or shady: Light in the shade is very
blue, primarily because the warm light of the
sun is not shining on the subject. If you set
the camera to shady white balance, it will
add a lot of warmth to the image.
Kelvin or K: Not all cameras have this setting.
It allows you to choose a specific Kelvin color
temperature for your images. Most cameras
that have this setting will let you choose
from temperatures as cool as 2500 K to as
warm as 10000 K.
Measure or PRE: This setting has different
names on various cameras. You can manually measure white balance with a gray card
or white card and the camera will use that
white balance setting for accurate color
under that one light source. Manual white
balance readings can be used anytime you
think the camera is not handling the color
consistently in auto white balance, and yet
you are unsure what white balance setting
to use (e.g., fluorescent, cloudy, or shade). For
instance, are you sure a fluorescent bulb is
cool white, or is it daylight, or maybe warm
white? If you cannot accurately identify the
color temperature of a particular light source,
you can simply measure or read the light by
letting it shine on a gray card or white card
(available in camera stores or online) and
then have your camera read the color temperature from the light reflected off the card.
Since the gray card or white card is a known
color, the camera can balance itself so the
gray or white is the correct color under the
light source you are using. It will color balance the pictures so they do not have an odd
tint. The illustration below shows a gray card set like the
one I use. I got mine on the .
WhiBal gray card kit with various sizes
You don’t need to be overly concerned about
adjusting your however,
when the circumstances require it, you should
know how to manually white balance your
camera. At the very least you need to understand what the camera is doing when it is using
auto white balance and learn to recognize when
an image has bad white balance (tint in the
Understanding white balance in a fundamental way is simply realizing that light has
a range of colors that go from cool to warm.
We can adjust our cameras to use the
available light in an accurate and neutral,
balanced way that compensates for the
actual light source, or we can intentionally
allow a color cast in our images by unbal-
ancing the settings.
If you decide to turn pro you will need a good
understanding of white balance and should
learn to do manual white balance readings from
a gray card or white card. Check your camera
manual to see if your camera requires either
gray or white. Most use either, but some may
accept only one color.
In any case, all enthusiast photographers
should at least buy a cheap paper gray card,
read their camera manual to find out how to
manually set the white balance, and retain that
knowledge for later use.
White Balance and RAW Mode
Should you worry about white balance settings
if you shoot in RAW mode? After all, you can
modify a RAW file after the fact.
The quick answer is no, but that may not be
the best answer. When you take a picture using RAW mode, data is written to the memory
card with no white balance, sharpening, or color saturation information applied. Instead, the information about the picture’s settings are stored
as markers along with the raw black-and-white
sensor data. Color information is permanently
applied to the image when you post-process it
and save it to another format, like JPEG or TIFF.
When you open the image in a RAW conversion program, the camera settings are applied
to the data in a temporary way so you can view
the image on your computer screen. If you do
not like the color balance, or any other setting
you used in-camera, you can simply change it in
the conversion software and the image looks as
if you used the new setting when you took the
Does that mean I am not concerned about
my white balance settings since I shoot RAW
most of the time? No. The human brain can
quickly adjust to the colors in an image and
perceive them as normal, even when they are
not. This is one of the dangers of not using the
correct white balance. Since an unbalanced image on your computer screen is not compared to
another correctly balanced image side by side,
there is some danger that your brain may accept
the slightly incorrect camera settings as normal
and your image will be saved with a color cast.
As a rule of thumb, if you use your white balance correctly at all times, you will consistently
produce better images. You will do less post-processing if the white balance is correct in the first
place. As RAW shooters, we already have a lot of
post-processing work to do. Why add white balance corrections to the workflow? It is just more
work, if you ask me!
Additionally, you might decide to switch to
JPEG mode in the middle of a shoot, and if you
are not accustomed to using your white balance
controls, you’ll be in trouble. When you shoot
JPEGs, your camera will apply the white balance
information directly to the image and save it on
your memory card—permanently. B always use good white balance technique!
White Balance Ambient Light Reading Tip
When you measure ambient light with a gray
card or white card, keep in mind that your camera does not need to focus on the card. In white
balance ambient light reading mode—or whatever your camera calls this mode—it will not
focus anyway since it is only trying to read color
temperature values, not take a picture.
The important thing is to put your lens close
enough to the card to prevent it from seeing
anything other than the card. The correct distance for most lenses is three or four inches
(about 75 to 100 mm) away from the card.
Be careful that your lens does not cast a
shadow onto the card in a way that lets your
camera see some of the shadow. This will make
the measurement less accurate. Also, be sure
that your source light does not produce glare on
the card. This is not a common problem because
most gray cards
it can still happen. You may want to hold the
card at a slight angle to the source light if the
light is particularly bright and might cause
Finally, when the light is dim, use the white
side of the card (if your camera supports white)
since it has more reflectivity. This may prevent
a bad reading in low light. The gray card may be
more accurate for color balancing, but it might
be a little dark for a good measurement in dim
light. If you are shooting in normal light and
your camera supports it, a gray card is best for
color balancing. You might want to experiment
in normal light with your camera to see which
you prefer.
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by Darrell Young. Adapted with permission from Rocky Nook. Copyright 2012.
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Copyright (C) 2016 Mediabistro Holdings
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