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THE GREAT OUTDOORS Find out how to take beautiful shots from landscapes to wildlife and flowers, with our Canon pro’s guide from Page 28 Getty / Tu xa Ha Noi OUR GUARANTEE • We’re the only photo magazine in the newsagent that’s 100% DEDICATED TO CANON EOS CAMERA USERS so we’re 100% relevant to your needs. Welcome Y Peter Travers Editor NEW OFFER Subscribe now & get a free Lowepro bag worth £52! Page 40 ou will enjoy our big Outdoor Photography skills guide this issue as it covers lots of our reader’s favourite photographic genres. With brilliant Canon pro Guy Edwardes, he shares his inspiring images and top tips, and you’ll learn how to capture stunning shots of all things outdoors. From landscapes and seascapes, wildlife and close-ups of flowers and insects, to amazing astro landscapes. Turn to page 28 before you start exploring the outside world with your Canon. Also inside this issue, our deputy editor Dan meets up with Canon photographer Adam Bulley and PhotoPlus Apprentice, Kevin Moulds, in photogenic Glasgow. Adam shows Kevin how to take great scenic shots as they visit many of the iconic Scottish city’s hot spots, page 8. We love to motivate you to try out new styles of photography, so in Canon Skills this month we have some great new photo projects for you, including different ways to capture the coast, using budget 50mm prime lenses for better portraits, and fire-spin light painting photos at night! Plus more image-editing tutorials, all with free video guides, from page 45. We interview the multi-talented landscape photographer Kav Dadfar. He not only travels the world taking photos, he runs photo workshops, publishes a travel mag, and is also a writer, speaker and photo contest judge. Kav explains how he juggles all his varied duties on page 62. In Canon School we have more in-depth EOS advice and answer your tricky technical questions, from page 76. We also test eight of the latest Canon EOS R mirrorless cameras, from the budget entry-level R100 to top-end pro R3, there’s a camera for everyone’s needs, from page 88. Also get your free Wildlife Photography ebook worth £17.99, details how to download on page 5. INSTAGRAM www.instagram.com/PhotoPlusCanonMag The Canon Magazine FACEBOOK www.facebook.com/PhotoPlusMag • WE’RE 100% INDEPENDENT and we cater for EVERY CANON EOS DSLR OR MIRRORLESS PHOTOGRAPHER from beginners to enthusiasts to pros. • We’re CANON ENTHUSIASTS and, with our contributors, we offer years of EXPERT EOS EXPERIENCE. • We’re more than just a print mag; YOU CAN BUY PHOTOPLUS FOR ANY DIGITAL DEVICE WORLDWIDE via Apple iTunes, Zinio, Magzter, Amazon Kindle, B&N Nook, PocketMags or PressReader. • We offer THE VERY BEST CANON TECHNIQUE & PHOTOSHOP VIDEO GUIDES – see our Canon Skills section. • We’re proud to use THE WORLD’S TOP CANON PHOTOGRAPHERS and experts. Meet them on page 6. TWITTER www.twitter.com/PhotoPlusMag Scan this QR code to get our FREE Digital Camera World newsletter every week day! DIGITAL CAMERA WORLD www.digitalcameraworld.com 3
CONTENTS 46 NEW CANON SKILLS Outdoor photography pro techniques Learn to take stunning photos of all things outdoors with Canon landscape photographer Guy Edwardes 72 ESSENTIALS 20Inspirations Some of our favourite images taken on Canon cameras from the PhotoPlus ‘The Perfect Moment’ competition on Photocrowd CANON PROS 08The Apprentice Canon pro Adam Bulley hits the streets of Glasgow with our Apprentice to teach them to take stunning cityscapes from day to night 28Outdoor Photography Guide 42David Clapp Column My Kit 74 40 New Subscription Offer! Learn to take stunning outdoor photos including landscapes, wildlife, coastal scenes and insect close-ups with pro Guy Edwardes Subscribe to PhotoPlus today and save money and receive a Lowepro Adventura GO SH 160 camera bag worth £52 70 Photo Stories One reader captures the splendour of English gardens, while another shares his collection of impressive portraits 107 Next Issue 114 Focus Point Find out what you can expect in next month’s brilliant issue of PhotoPlus Your letters, stats and web news – stay up-to-date with the world of PhotoPlus 4 Remarkable scenes under African skies on our pro’s panorama project in Cape Town NEW TESTS 88EOS R System Cameras We test eight of the latest Canon EOS 56\VWHPFDPHUDVWRÀQGWKHPLUURUOHVV APS-C or full-frame model that’s best for you 100 Buyers’ Guide Stay up-to-date with the facts and ÀJXUHVIRUDOOWKHODWHVW&DQRQ(26'6/5DQG mirrorless cameras plus more than 200 lenses Avid hill walker Jen Rogers shoots incredible astro photographs and seascapes with her favourite Canon kit CANON SCHOOL 76 Part 30 Canon School 80Software Solutions 84EOS S.O.S Learn how to sharpen up your Canon Speedlite skills with Marcus Hawkins New cloud technology can transform your image storage with auto downloads Brian answers your technical questions 88
ISSUE 208 SEPT 2023 WAT THE VIDCEHO S LINKS TO VIDEOS ONVLIEW ON THE PAG INE ES! 62 VIDEO GUIDES #208 6 WAYS TO IMPROVE YOUR PHOTOGRAPHY TODAY 50 Project 2 Learn how to produce perfect portraits with a ‘nifty fifty’ prime lens 08 Project 1 Learn the camera settings and photo kit you need for brilliant seascape scenes with Canon pro Drew Buckley How to get your free Teach yourself Wildlife WORTH Photography ebook – download it to £17.99 your mobile or computer 1. To view your free ebook, go to our web page at http://downloads.photoplusmag.com/pp208ebook.pdf Please enter this in your internet browser bar (not into Google) and allow time for the hi-res ebook to appear. 2. On the web page that appears, you can view the ebook PDF in your internet browser. 3. You can either view the ebook there or, if on your computer, click the icon top-right to download it. On a mobile device, click the share icon and Save To Files (or similar). The Canon Magazine Project 3 Create amazing fire spin images with a basic set-up and household items PHOTOSHOP AFFINITY 56 58 60 Tutorial 1 Enhance sunrise shots for pastel perfection by improving your editing skills Tutorial 2 Photoshop CC has Tutorial 3 Choose from 15 a range of noise reduction free textures and learn how to tools to control your grain blend them in Affinity Photo LIGHTROOM ACCESS YOUR FREE EBOOK 52 46 READ THE TUTORIALS… THEN WATCH OUR EXPERT VIDEOS LOOK OUT FOR THIS! Wherever you see this icon, there’s an O accompanying video E ID V E H T VIEW link to follow online ALL OF OUR VIDEO GUIDES AND THE INFORMATION PROVIDED ARE 100% INDEPENDENT AND NOT ENDORSED OR SPONSORED BY CANON OR ADOBE SYSTEMS INCORPORATED 5
Meet the team... PhotoPlus: The Canon Magazine Future PLC Quay House, The Ambury, Bath BA1 1UA Who we are and our favourite Canon content in this issue… Peter Travers James Paterson Editor • 5D Mk IV & R6 Technique writer • 6D Mk II peter.travers@futurenet.com james.paterson@futurenet.com “Sometimes you just need to get out with your Canon! In this issue’s big guide, learn to take better outdoor photos from landscapes to wildlife and insects.” PAGE 28 “In the latest installment of my Photoshop tools series, I show you how to edit high ISO images using all the varied noise reduction settings for better results.” PAGE 58 Dan Mold Matthew Richards Deputy editor • R & 7D Mk II Technical writer • R5 dan.mold@futurenet.com photoplus@futurenet.com “I head to my local coastline to practise the dark arts of fire spin photography at night! You’ll find all of my tips and tricks to a safe fire spin in my photo project.” PAGE 52 “In this month’s Super Test I test eight of the latest Canon EOS R mirrorless cameras, from the budget beginner R100, to enthusiast R7 and R6 Mk II, to pro spec R5 and R3.” PAGE 88 Editorial Editor Peter Travers peter.travers@futurenet.com Deputy Editor Dan Mold Art Editor Martin Parfitt Production Editor Chris McGine Lab Manager Ben Andrews Head of Design Dean Usher Photography All copyrights and trademarks are recognized and respected Photography Studio Phil Barker Advertising Media packs are available on request Group Advertising Director Matthew Johnston matthew.johnston@futurenet.com • 07974 408083 Account Director Matt Bailey matt.bailey@futurenet.com • +44 (0)330 390 6272 UK Commercial Sales Director Clare Dove clare.dove@futurenet.com International licensing PhotoPlus is available for licensing and syndication. To find out more, contact us at licensing@futurenet.com or view our available content at www.futurecontenthub.com. Head of Print Licensing Rachel Shaw Subscriptions New subscription orders or to renew email help@magazinesdirect.com or call 0330 333 1113 or you can visit www.magazinesdirect.com Subscription delivery disruption remains within UK and International networks. We kindly ask that you allow up to 7 days before contacting us about a late delivery to help@magazinesdirect.com Customer Service 0330 333 4333 or visit www.mymagazine.co.uk Head of Subscriptions Sharon Todd Circulation Newstrade & Retail Category Director Ben Oakden Production Head of Production US & UK Mark Constance Senior Production Manager Matt Eglinton Ad Production Manager Chris Gozzett Digital Editions Controller Jason Hudson Production Manager Vivienne Calvert Management Senior Vice President – Games, Entertainment, Tech & Sports Kevin Addley Managing Director – Music, Photography & Design Stuart Williams Content Director Chris George Head of Art & Design Rodney Dive Commercial Finance Director Tania Bruning Chief Revenue Officer Zack Sullivan This issue’s contributors… Printed by William Gibbons Distributed by Marketforce, Future, 121-141 Westbourne Terrace, London, W2 6JR For enquiries please email mfcommunications@futurenet.com Andy Bulley Guy Edwardes Drew Buckley Kav Dadfar Canon pro Adam teaches PhotoPlus Apprentice Kevin how to take sublime city photos in Glasgow. PAGE 8 Brilliant landscape and wildlife photographer Guy shows you how to shoot all things outdoors. PAGE 28 Canon photographer Drew shares his secrets for taking great coastal landscape shots in Wales. PAGE 46 Busy travel and landscape photographer Kav talks about how he juggles all of his multiple jobs! PAGE 62 Clive Nichols Jen Rogers Marcus Hawkins Brian Worley Pro garden photographer Clive on his favourite spots in England for taking wonderful garden scenes. PAGE 70 Devon-based Jen has a passion for the outdoors and taking great astro photos and seascapes. PAGE 74 Experienced Canon shooter Marcus helps you sharpen up your Speedlite skills for brighter photos. PAGE 76 EOS expert Brian answers your toughest Canon EOS technical questions, and rates your images. PAGE 80 Our contributors Ben Andrews, James Artaius, Adam Bulley, Drew Buckley, Alistair Campbell, David Clapp, Kav Dadfar, Guy Edwardes, Marcus Hawkins, Clive Nichols, Sean McCormack, James Paterson, Matthew Richards, Jen Rogers, Lauren Scott, Brian Worley 6 PhotoPlus (ISSN 1754836) is published monthly (with an extra issue in May) by Future Publishing, Quay House, The Ambury, Bath, BA1 1UA, UK The US annual subscription price is $181.87 Airfreight and mailing in the USA by agent named World Container Inc., c/o BBT 150-15 183rd St, Jamaica, NY 11413, USA Application to Mail at Periodicals Postage Prices is Pending at Brooklyn NY 11256. 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THEAPPRENTICE This month we headed to Glasgow, where our Canon pro city photographer Adam Bulley showed PhotoPlus Apprentice Kevin Moulds how to take sublime street photographs 8 www.digitalcameraworld.com
SHOOT WITH A PRO APPRENTICE CANON PRO NAME: NAME: KEVIN MOULDS CAMERA: ADAM BULLEY CAMERA: CANON EOS 5D MK III CANON EOS 5DS R & EOS R5 KEVIN IS based in Glasgow and works in insurance. He’s an accomplished wedding photographer, comfortable shooting big crowds and in high pressure situations, but would love to learn more about how to take better street shots. He turns to street photography to unwind and gets out and about with his camera to take urban shots after work and on his lunch breaks. He’d like to know how to take better city photos so we’ve paired him up with city slicker Adam Bulley. ADAM IS a professional landscape and street photographer based in Edinburgh, Scotland where he runs photography tours. He’s always wanted to photograph more of Glasgow so he leapt at the idea, and in the run-up to our shoot, he went on multiple recces to Glasgow. We met up with him and Adam to learn to shoot the city in the beautiful golden hour at sunset and watch the city transform from day to night in the magical blue hour. www.adambulleyphotography.com The Canon Magazine 9
THEAPPRENTICE TECHNIQUE ASSESSMENT Switch to Manual as light levels lowered HOT SHOT #1 APERTURE PRIORITY MODE KEVIN IS a wedding photographer with plenty of experience shooting in Manual mode. To begin with Adam suggested he shoot in Aperture priority (Av) mode in the daytime and move into Manual later when the light levels drop. Adam also suggested Kevin should shoot with a middle aperture, around f/8 on his 24-70mm lens so that more of the street scene would be in sharp focus. Though he told Kevin not to be afraid to open the aperture all the way if he wanted to bring attention to a certain focal point. USE THE HISTOGRAM ADAM SHOWED Kevin why he always checks the histogram after any important shot. It displays all of your exposure information from the deepest blacks on the left of the graph to pure white on the right and all of the mid-tones in-between. Switch on the histogram to appear over your image when shooting in Live View, or you can press the Info button in playback mode to see it. It’s worth checking to make sure the tones are evenly spread and not all bunched up on the left or right sides as this means your picture is over or underexposed and you will have lost some detail in the highlights or the shadows. 10 www.digitalcameraworld.com
SHOOT WITH A PRO ADAM’S COMMENT I met up with Kevin a few hours before sunset in Glasgow’s Merchant City so we had some time to practise shooting in daylight before the golden and magic hours began and day turned to night. We began on John Street just behind George Square and Glasgow City Chambers where there were these brilliant archways. We tried out some street photography waiting for people to enter the arches and then I saw this detailed composition with one of the arches framing a hanging lamp and the tower from the Whetley Academy in the background to add some depth. I also converted the image to mono to ramp up the contrast. SHOOT WITH YOUR PHONE BEFORE reaching for his Canon EOS camera, Adam quickly shoots his smartphone using the Viewfinder Preview app on his phone which allows him to simulate a wide variety of focal lengths, picture styles and effects so he can quickly work out whether a scene is going to work or not. The app is available for Apple iPhone and iPad for £4.99. The Canon Magazine Lens Sigma 50mm f/1.4 DG HSM Art Exposure 1/125 sec, f/7.1, ISO100 EXPERT INSIGHT SEEING IN MONO CANON EOS cameras have an assortment of Picture Styles that you can try out. The Monochrome Picture Style is particularly helpful for landscapes and street shots when you’re specifically looking to shoot a scene in black and white as you’ll see your scene in mono when activating the Live View. The great news is if you shoot in the RAW file format you won’t lose the colour detail either, so you can convert back to full colour when editing if you need to. TOP GEAR #1 Full-frame Canons TO TAKE his cityscapes, Adam uses a Canon EOS 5DS R, a DSLR with a 50.6MP full-frame sensor for brilliant resolution. Unlike the 5DS, the 5DS R has a Low-Pass Cancellation filter for sharper shots and crisper details. He also owns a Canon EOS R5 mirrorless which has a 45MP full-frame sensor and uses a Canon EF-EOS R mount adapter so that all of his older Canon EF lenses continue to work on his newer mirrorless camera, as well as the EF lenses on his DSLR workhorse. 11
THEAPPRENTICE HOT SHOT #2 Lens Sigma 50mm f/1.4 DG Art Exposure 1/100 sec, f/8, ISO100 12 ADAM’S COMMENT Our next location was the South Portland Street Suspension Bridge going over the River Clyde. We were shooting into the golden hour now, which gives this scene some wonderfully warm lighting and long shadows from the railings on the left. I framed up on a tripod and showed Kevin how I would compose this scene, using the wires from the suspension bridge as lead-in lines to guide the eye in towards the buildings in the background. I used an aperture of f/8 for strong depth of field throughout the scene and set ISO100 for best image quality. www.digitalcameraworld.com
HOT SHOT #3 EXPERT INSIGHT PROFESSIONAL TRIPOD A TRIPOD is essential for taking sharp shots at night and even in the day for long exposures. Adam has a Gitzo GT3532LS Series 3 carbon fibre model. He’s paired it with an Arca-Swiss D4 Quickset Classic geared head for maximum precision. Kevin uses an entry-level tripod that needed the centre column to be raised. This is the wobbliest part of any tripod, so Adam enabled his 10-sec self-timer to mitigate camera shake. TOP GEAR #2 Telephoto zoom lens ADAM PREFERS to use telephoto lenses over wide-angles as they compress the perspective, so your focal point doesn’t become lost like it would in a composition that was too wide. He uses the Canon EF 70-200mm f/4L IS II USM with his EOS DSLRs, although he also has a Canon RF 800mm F11 IS STM that he uses on his mirrorless EOS R5 when he needs the super-long telephoto reach. Lens Canon EF 70-200mm f/2.8L IS II USM Exposure 0.3 sec, f/11, ISO100 KEVIN’S COMMENT The sun was starting to set and Adam had staked out a location in Queen’s Park that would give us a brilliant sunset viewpoint. Using a long telephoto Canon EF 70-200mm f/2.8L IS II USM lens, I was able to compose my sunset city scene with the three buildings that filled the frame to add depth. There’s the Queen’s Park Baptist Church, then Pollack Shields Church of Scotland and Glasgow University all the way at the back. I didn’t zoom in fully because I wanted to include the trees to create a natural frame. RULE OF THIRDS ADAM uses the rule-of-thirds grid overlay available on many Canon EOS cameras in the main menu by changing the Grid Display option. The 3x3 grid is overlaid on your scene when shooting in Live View and you can use it to place important points of interest and focal points or horizon on the grid lines, or two intersecting lines to give your images even more compositional clout. The Canon Magazine 13
THEAPPRENTICE ADAM’S TOP 3 SHOTS REVEAL HIS SKILLS Canon pro with a head for heights and eye for images CASTLE IN THE CLOUDS AFTER THE fog rolled into Edinburgh I decided to hike to the top of Salisbury Crags to try to capture a shot I had visualized for years – Edinburgh Castle floating on clouds. HOT SHOT #4 FOGGY EDINBURGH THE DIFFUSE glow of the city lights in fog can work perfectly for photography. My eye kept getting drawn to this area of Edinburgh and the spire of St Peter’s church. Lens Canon EF 16-35mm f/2.8L II USM Exposure 1.6 secs, f/8, ISO200 TOP GEAR #3 Wide-angle zoom DESERT GLOW A SHOT I keep coming back to from my time in Utah; this remote viewpoint overlooks the city of St George and was taken with the sounds of noisy coyotes howling nearby. 14 ADAM USES a wide-angle focal length on his Canon EOS 5DS R with his Canon EF 16-35mm f/4L IS USM and Sigma 14mm f/1.4 DG HSM Art lenses. Anything wider than 50mm on a full-frame is considered wide angle, and focal lengths such as 14mm or 16mm are considered super wide-angle, enabling you to squeeze even more of the scene into your composition, although they can suffer from barrel distortion and make straight lines in buildings look curved. www.digitalcameraworld.com
SHOOT WITH A PRO CUSTOM WHITE BALANCE KEVIN’S COMMENT With the sun now set, the fun was just beginning. Adam explained that some of the best light can be found in the hour immediately after sunset, called the ‘blue’ or ‘magic’ hour. This is when there’s still a little bit of light and detail in the skies, so they don’t look completely black. To make the most of this photogenic time of day, we walked along the Clyde river where Adam knew there was a choice of decent bridges to photograph that would make a strong focal point. I liked the look of this Bell’s Bridge which created an interesting symmetrical fishtail shape in the middle of it. I was also able to frame up to include the SEC Armadillo and colourful OVO Hydro building on the right. IF THE colours in your city images aren’t quite right, one thing you can do is set a custom white balance. Make sure you’re shooting in the RAW file format so you capture all of the white balance information, this way you can change it back at your computer if needed. To get the colours as accurate as possible in-camera go into the White Balance setting on your Canon’s Quick Menu and choose from one of the presets, such as Cloudy, or set a custom value until your scene looks right. EXPERT INSIGHT CLEAR THE STREETS SOME OF the best places to take pictures in cities get heavy footfall and it can be hard to take a clean shot free from crowds. To make your tourists vanish you can set up on a tripod and either take several shots over a period of time and hope that the people move enough so that you can piece them together in Photoshop to create a totally clean scene. Another option is to attach a neutral density filter and extend the shutter speed to 30 secs, or even several minutes long. A long exposure will hopefully give you enough time to turn any moving people into invisible blurs! The Canon Magazine 15
THEAPPRENTICE TOP TEN CITY IMAGE TIPS FOR STREET LIFE 1 2-sec self-timer Pressing your camera’s shutter button can cause camera-shake, so turn on the 2-sec self timer mode or use a remote shutter release cable on a tripod. 2 Turn stabilization off Image stabilization systems on a tripod can actually introduce blur into stable cameras, so it’s best to play it safe and disengage them. 3 Aspect ratio One quick way you can change the look and feel of your compositions is to play with the aspect ratio, such as 1:1 for a square crop, or 16:9 for a superwide panorama look. 4 Focus a third of the way in for landscapes If you’re unsure where to focus in the frame, a good rule of thumb for landscapes is about a third of the way into the scene and use a mid-aperture value like f/8 or f/11 for a deep zone of focus that should render your whole scene acceptably sharp. 5 Use the electronic level A wonky horizon is the first thing your viewers will spot. Luckily it’s easy to fix by either using your Canon’s built-in electronic spirit level on screen, or with a crop and straighten in post-production. 6 Look for lead-in lines Keep an eye out for lines in your locations that can be used to draw the eye towards your main focal point, such as railings on a bridge, pathways, fences and bollards. 7 Buddy up Shooting in big cities, especially at night, isn’t without its own risks. Find another photographer or friend you can go out with for a more enjoyable social experience and to help keep yourself safe. 8 Get the right gear Kevin was struggling with his 11-year-old Canon EOS 5D Mark III, so it would well be worth upgrading to a newer camera body for better dynamic range and low-light performance. 9 Avoid midday sun Try to avoid shooting cities around midday – with the sun directly overhead, shadows in scenes can look harsh. Shoot instead around the golden and magic hours when the sun is lower in the sky. 10 Get a circular polarizer filter While many filter effects can be replicated in Photoshop, the effect of a polarizing filter is still hard to mimic. These filters cut out polarized light to boost blues in sunny skies and help tame glare and reflections in glass and water. 16 ADAM’S COMMENT We found this wonderful composition which included the Clyde Arc bridge on the right, flats on the left and the Finnieston Crane in the background. I still wanted to use a mid-aperture value of f/11 to create a good depth of field and an ISO of 100 for best image quality. This resulted in a shutter speed of 20 secs (without an ND filter) as it was getting dark, which is long enough to smooth out some of the ripples in the water and give it a more ethereal quality. I also set up my tripod on the river side of the railings so that I could frame up and use the railing as a lead-in line for the viewer’s eye. EXPERT INSIGHT WAIT FOR THE RIGHT MOMENT TIMING is crucial when taking your street shots, so always be on the lookout for special moments that are happening all around you. Sometimes you may find a brilliant scene, but will need to wait for some action to happen in it to give it a focal point, such as waiting for a person to walk through it, or a car to drive past. You may also need to wait for the light to change until it’s perfect. Set a fast burst mode on your Canon and prefocus on the area so you’re ready to go when the moment strikes you. www.digitalcameraworld.com
SHOOT WITH A PRO TOP GEAR #4 L-bracket ADAM HAS attached Three Legged Thing L-brackets to both of his Canon EOS cameras. These screw into the tripod attachment mount and have metal Arca-Swiss mount on the base and side of the bracket. When used with a tripod head that can accept an Arca-Swiss quick release plate it means the camera can be switched from landscape to portrait orientation in rapid time so you don’t miss the moment, all while keeping the weight over the centre of the tripod to keep it balanced. HOT SHOT #5 Lens Canon EF 16-35mm f/4L IS USM Exposure 20 secs, f/11, ISO100 SHOOTING A PANORAMA EVEN WITH a super wide-angle lens you may struggle to fit everything inside of your composition, plus a wide-angle lens can also cause problems with distortion. The solution could be to shoot a panorama. These shots work best with a standard/short telephoto focal length of around 50-200mm and this helps keep buildings The Canon Magazine looking straight. You’ll want to focus on your main building and switch to MF to keep it fixed, then in Manual mode, lock the exposure in so it doesn’t change between frames. Start on the left-most side of your panorama and take a series of shots moving towards your rightmost point, try to ensure each image overlaps by about 30% to make it easier for software to stitch the images together. You can also get a panoramic look shooting with a wide-angle lens and a 16:9 aspect ratio too. 17
THEAPPRENTICE KEVIN’S COMMENT ADAM’S VERDICT With the last light of the blue hour nearing we were able to squeeze in one more shot. This time it was of the Hydro Apartments Glasgow, reflected brilliantly in the Clyde. For this image we used a Canon EF 16-35mm f/4L IS USM lens and zoomed into 24mm to help reduce the barrel distortion you can get when shooting ultra wide, to keep the lines of the buildings nice and straight. The aperture was set to f/11 for a deep zone of sharp focus and ISO100 for good image quality. This resulted in a shutter speed of 25 secs which, on a tripod, has blurred the water and clouds brilliantly while keeping the bright city buildings pin-sharp and vibrant. Kevin was an awesome Apprentice on the day and he clearly knows his way around a camera, given that he shoots weddings fairly regularly. I was able to show him some new techniques and photo hotspots around the city that he can shoot – to unwind after work or when he feels he needs a break from weddings. A lot of landscape and city photography is luck, patience and determination, so if he heads back to the same spots time after time, eventually he’ll be rewarded with something special. 18 Lens Canon EF 16-35mm f/4L IS USM Exposure 25 secs, f/11, ISO100 www.digitalcameraworld.com
NEXT MONTH ASTRO SCENES SHOT OF THE DAY! you need help to take your Canon photography to the next level? Let us know what genre you’d like help BE OUR NEXT Do with and we could pair you up with a top pro for the day! Send an email to photoplus@futurenet.com with APPRENTICE ‘PhotoPlus Apprentice’ in the subject line, and include your Canon kit, telephone number and address. The Canon Magazine 19
STUNNING IMAGERY FROM THE WORLD OF CANON PHOTOGRAPHY 01 STICK TO IT BY STEVEN ZHOU Steven has taken an incredible shot here capturing the perfect moment to create eye contact with the bull and excellent expression from the rider. His conversion to black and white has enabled him to boost the contrast and make for winning shot packed with drama and atmosphere. Lens Canon EF 24-105mm f/4L IS USM Exposure 1/1250 sec, f/5.6, ISO4000 20 www.digitalcameraworld.com
FANTASTIC CANON PHOTOGRAPHY The Canon Magazine 21
INSPIRATIONS 02 02 WILL YOU? BY HENRIK SPRANZ 03 BONIE WITH RED ROSE BY ANIRBAN 04 AERIAL ACROBATICS BY ROY EGLOFF Henrik has caught this unique moment between a pair of European ground squirrels. In this cute exchange, he shot the moment they were both interested in a flower and side-on to the camera for a great composition. He also got down low and shot with a wide aperture of f/5 to make it easier to blur the background so the attention was firmly on his subjects. CHAKRABARTI Anirban took this wonderful portrait of his model Bonie in a photography studio and worked with a red theme using props, clothing and backdrops. The lighting is beautifully gentle and highlights the model’s face nicely, using flash to freeze her wistful gaze into the distance. Roy’s top shot of the Breitling Jet Team during their aerobatic display is perfectly timed with the five jets all spaced equally apart for an interesting composition and have a complementary blue sky as the backdrop which really helps the jets and their vapour trails to pop. Lens Canon EF 50mm f/1.8 STM Lens Canon EF 400mm f/2.8L IS USM Exposure 1/160 sec, f/7.1, ISO100 Exposure 1/2000 sec, f/5, ISO640 22 Lens Canon EF 100-400mm f/4.5-5.6L IS II USM Exposure 1/1250 sec, f/5.6, ISO400 www.digitalcameraworld.com
03 All the images in this gallery were entrants to the PhotoPlus ‘The Perfect Moment’ competition hosted on Photocrowd – a website where a public vote on the best-liked images is pitted against expert opinion. To enter our current contest, and vote on your favourite photos, simply visit www.photocrowd.com The Canon Magazine 04 23
INSPIRATIONS 05 24 www.digitalcameraworld.com
FANTASTIC CANON PHOTOGRAPHY 06 All the images in this gallery were entrants to the PhotoPlus ‘The Perfect Moment’ competition hosted on Photocrowd – a website where a public vote on the best-liked images is pitted against expert opinion. To enter our current contest, and vote on your favourite photos, simply visit www.photocrowd.com 07 05 199 STEPS BY CHRIS SMITH 06 CORMORANT BY JOHN MIHOPULOS 07 FESTIVITY FIREWORKS IN CALGARY Chris has taken a magical shot of the iconic Whitby steps in North Yorkshire. Shooting in the blue hour just after sunset has provided him with a beautiful, cool colour palette in the landscape, complemented wonderfully by the warm glow from the street lamp that he’s positioned in the frame using the rule of thirds. John expertly zoomed in with his RF 600mm F4L lens and used a 1.4x extender for a focal length of 840mm to achieve a frame-filling shot of this cormorant swallowing a catfish – an amazing moment! Boosting his ISO to ISO12800 also granted him a rapid shutter speed of 1/3200 sec – fast enough to freeze the bird in action. Lens Canon EF-S 10-22mm f/3.5-4.5 USM Lens Canon RF 600mm F4L IS USM + Extender RF 1.4x BY RONNIE CHUA Ronnie set up at the perfect viewpoint to catch the fireworks display at the Stampede Festivities Fireworks in Calgary. He used a 15mm super wide-angle lens to ensure he could fit in the wonderfully lit-up city at night, as well as the fireworks display. A long exposure of 12 secs was enough to capture plenty of colourful fireworks exploding brilliantly in the sky. Exposure 1.6 secs, f/8, ISO200 Exposure 1/3200 sec, f/5.6, ISO12800 The Canon Magazine Lens Sigma 15mm f/2.8 EX DG Diagonal Fisheye Exposure 12 secs, f/11, ISO100 25
INSPIRATIONS 08 All the images in this gallery were entrants to the PhotoPlus ‘The Perfect Moment’ competition hosted on Photocrowd – a website where a public vote on the best-liked images is pitted against expert opinion. To enter our current contest, and vote on your favourite photos, simply visit www.photocrowd.com 09 08 I’LL SEE YOU THROUGH THE DARKNESS 09 POLAR BEAR REFLECTION 10 C JUMP BY STEVE FIELD BY JACQUIE MATECHUK Jacquie has taken a mesmerising shot of a Great Grey Owl on Victoria Island, Canada. Her timing is spot on, with the owl flying directly towards her, and she’s expertly focused on its yellow eye to make it the obvious focal point of this image. The wing covering the bird’s other eye makes the shot even more effective. BY PAAL UGLEFISK Paal has caught an impressive shot of a polar bear in Svalbard, Norway. What’s great about his shot is the sublime reflection in the water and minimal colour palette of cool blues and white which really allows the viewer’s eye to be drawn to red blood around the polar bear’s mouth. What’s even better is that it was caught with basic camera kit – just a Canon EOS 70D and budget EF-S 55-250mm lens! Steve shot of his daughter at her gymnastics club shows some amazing split-second timing and precision. Steve set up a studio to freeze his daughter and friends in mid-air as they jumped and threw chalk. The lighting works wonderfully well with the dark black background, adding some great contrast. Lens Canon RF 600mm F4L IS USM Exposure 1/3200 sec, f/4, ISO1600 26 Lens Canon EF-S 55-250mm f/4-5.6 IS STM Exposure 1/1000 sec, f/5.6, ISO250 Lens Canon EF 24-70mm f/2.8L II USM Exposure 1/200 sec, f/6.3, ISO100 www.digitalcameraworld.com
FANTASTIC CANON PHOTOGRAPHY 10 The Canon Magazine 27
OUTDOORPHOTOGRAPHY YOUR CANON GUIDE PHOTOGRAPHY TECHNIQUES Learn to take stunning photos of all things outdoors with Guy Edwardes Landscapes Wildlife Coastal scenes Flowers Birds Insect close-ups Astro he term ‘outdoor photography’ can include a wide range of photographic genres. In this guide I’ll be concentrating on landscape and nature photography, which themselves can of course be highly varied! For me it’s this variety that helps to maintain my enthusiasm for photography, as well as continuing to encourage my creativity after almost 30 years in the business! T 28 I’ll begin with some tips to help you improve your landscape photography, including coastal scenes. I will also explain some of the techniques I use for shooting astro landscapes under the stars. I’ll move on to methods for capturing better wildlife photographs, and finally I’ll suggest some tips and equipment to help you hone your close-up and macro photography abilities. With photographic equipment and software advancing all the time, there are always new skills to learn. Hopefully this feature will inspire you to get out and about with your camera as we pass from summer into autumn, when a whole host of amazing photographic opportunities will be presenting themselves in the countryside around us. No matter where you live, there are always plenty of subjects to be found, from wide landscape vistas to the tiniest bugs and fungi in your garden. www.digitalcameraworld.com
CANON GUIDE PROFILE Guy Edwardes Canon professional photographer Guy Edwardes is a professional landscape and nature photographer based in his home county of Dorset. A Canon shooter from the start, he began with an EOS 650 SLR, moved to DSLRs, and now shoots with both EOS R5 and R7 mirrorless camera bodies. A regular contributor to PhotoPlus, Guy sells his images and runs a varied series of outdoor photography workshops around the world. www.guyedwardes.com The Canon Magazine 29
OUTDOORPHOTOGRAPHY 01 LANDSCAPES Experienced outdoor photographer Guy Edwardes gets you set up for taking better landscape photos Keep your camera still hile a lightweight tripod may seem appealing, landscape shooters should consider that they’ll often be working in windy conditions on hilltops and along the coast. To really see the benefit of high megapixel cameras and expensive lenses, a really sturdy tripod is often a necessity, especially when using telephoto lenses. The rigidity of the tripod head is equally important. I use a Sachtler Flowtech 75 video tripod topped with a Really Right Stuff BH55-LR ballhead. W After scouting this location several times, Guy managed to capture this shot of dramatic sand pyramids in the wilds of Bulgaria Long for landscapes common misconception is that every landscape photograph should only be taken using a wide-angle lens. Nothing could be further from the truth! I regularly use focal lengths as wide as 8mm, and all the way up to 1200mm, for my landscape photography. In fact, I prefer to use the extremes of this range as much as possible to capture a unique view of the landscape, my favourite lenses being my Canon EF 11-24mm f/4L and EF 100-400mm f/4.5-5.6L IS II zooms. A The 400mm end of a 100-400mm zoom with an EOS R7 gave Guy the equivalent of 640mm to compose tightly on these distant mountains 30 “I regularly use focal lengths as wide as 8mm and all the way up to 1200mm” www.digitalcameraworld.com
LANDSCAPES Which aperture is best? any landscape scenes require the use of a small lens aperture (e.g. f/22) to achieve front-to-back sharpness, usually resulting in the softening effects of diffraction. As long as there are no moving elements in the scene (especially windblown vegetation) try using a middle aperture of f/8 or f/11 and shooting a few frames focused in different places through the depth of the scene. These can then be focus-stacked in Adobe Photoshop to produce a much sharper final image. The Canon EOS R3, R6 Mk II and R7 mirrorless cameras have this function in-camera! M Looking for vantage points spend loads of time scouting for new landscape locations, both at home and abroad. After all, who wants to shoot only the iconic views we see time and time again? Successful landscape photography is all about planning. I will use maps and websites for my initial investigations, but there is no substitute for actually scouting a location in person to check for the best vantage points and lighting angles. Apps such as Photopills, TPE and Planit Pro are all extremely useful during location research to find the best landscape spots. I Auto Exposure Bracketing mode andscape scenes often include extremes of contrast when shooting into the light around sunrise and sunset. Camera sensors are unable to record detail throughout these scenes in a single exposure. In most cases, rather than using graduated neutral density filters, I use Auto Exposure Bracketing (AEB) to shoot a set of seven images, each 1-stop apart, which I then blend into a single DNG RAW file in Adobe Lightroom (Merge to HDR). The file can be processed with minimal noise in the shadow areas. L The Canon Magazine 31
OUTDOORPHOTOGRAPHY 02 SEASCAPES Head to your closest picturesque coast and put Guy’s essential skills to the test By the seaside hen working on sandy beaches it’s best to visit during a falling tide so the sand is pristine and free from footprints. I spend time scouting the beach for interesting foreground elements. I take care not to put my own footprints in W the sand by jumping from rock to rock or by walking along the water’s edge where my footprints will be washed away. Where possible, I will search the beach for the best shooting position using a small drone to fly ahead and check for me instead! A 10-stop ND filter extended Guy’s exposure time to 4 mins to really blur the waters and help the rock formations stand out on the Pacific coast of Costa Rica Variable ND filters here is a strong argument for using graduated neutral density (ND) filters to control contrast when there’s a bright sky and darker land in your composition. However, when conditions allow, I prefer to use a variable ND filter. This allows me to bracket my exposures by simply adjusting the density of the filter. I can therefore maintain the same exposure time for each bracketed shot, making it easier to blend the sequence of images in Adobe Lightroom or Photoshop as the water movement in each frame is similar. T These beautiful sand patterns on the Isle of Harris were created during an overnight storm – Guy took care not to disturb them with his boots or tripod feet! 32 www.digitalcameraworld.com
SEASCAPES Mastering longer exposures often use longer exposure times anywhere between 4 secs and 4 mins when shooting along the coast. My main reason for this is to remove some of the texture and contrast from the water, allowing shoreline rocks and other features to stand out as stronger elements within my composition. Your shutter speed will depend on how fast or slow the water is moving. Long exposures are achieved using a set of Breakthrough neutral density filters that slot easily into my Canon EF-EOS R drop-in filter mount adapter between a mirrorless camera body and EF lens. I Time for the tide orward planning is particularly important when working in coastal locations, both from a safety point of view and to ensure you capture each location in perfect conditions. I use an app called Surfline to help me determine tidal conditions, wave and swell heights. I use this in combination with the Windy app to track weather patterns. These help to ensure I visit each location when the light is at its best, the tide is at the correct height and the sea state is appropriate and safe for the shot I had in mind. F Many coastal locations require a very specific tidal height to be at their most photogenic The Canon Magazine “I use an app called Surfline to help me determine tidal conditions” 33
OUTDOORPHOTOGRAPHY 03 ASTRO LANDSCAPES After dark can offer some out-of-this-world opportunities for atmospheric scenic shots with star-filled skies Turn down the noise at night hooting night sky images at high ISO settings around ISO6400 will inevitably result in quite noisy images, even when using the latest EOS bodies. Thankfully software for reducing digital noise has been greatly improved in the past few years. My preferred noise S reduction software for night sky images is DxO Pure RAW3, but the Enhance function in Adobe Lightroom and Photoshop also does a good job. My standard set-up for night-time landscapes is a Canon EOS R5 and EF 16-35mm f/2.8L III USM wide-angle lens, using the EF-EOS R mount adapter. Star tracking! or the very best results try using a Sky Tracker, such as the iOptron Sky Tracker Pro. This permits the use of much lower ISO settings and smaller apertures through longer exposure times. It’s a good option if you don’t own a very fast wide-angle lens. The downside is the need to take one exposure for the foreground with the tracker turned off and another for the night sky with the tracker on, and to combine these in Photoshop. F For night scenes that include foliage against the sky, Guy tries to capture the whole scene in one exposure to avoid issues with moving leaves 34 www.digitalcameraworld.com
ASTRO-LANDSCAPES South facing coastal locations are great for astro photos as there’s little to no light pollution along the horizon Beating light pollution ight-time landscape photography is best undertaken in areas with little light pollution and on a clear night with no moon. I always like to find some interesting foreground, such as a building, rock arch or a still area of water where a reflection of the stars might be possible. I use an app called Planit Pro to help me determine the position of the Milky Way and to plan my shot in advance. Obviously, you’ll need to use a tripod for night sky photography! N Settings for astro he latest EOS cameras perform well at high ISO settings, so as long as you have a wide-angle lens with a maximum aperture of at least f/2.8 you can take a successful image without using a Sky Tracker. Zoom in on the rear LCD to manually focus on the brightest star. Select your widest lens aperture and an ISO of 3200-6400, and a shutter speed no longer than 15 secs (with a 16mm lens) to prevent blurring of the stars. T “The latest Canon EOS cameras perform well at high ISO settings” The Canon Magazine 35
OUTDOORPHOTOGRAPHY 04 WILDLIFE Photographing wild animals and birds is very rewarding, if you have the key skills dialled in Hide and seek hide will often allow you to get much closer to your subject, without the risk of causing disturbance. During periods of hot dry weather, providing a source of water can attract a variety of species within range of even a modest telephoto lens. Established hides are preferable, but tent hides and chair hides like the Stealth Gear One Man Chair Hide can all be very effective. I even use a floating hide to allow a closer approach to water birds. A Canon AF modes ne of the greatest recent technological advances when it comes to wildlife photography is Canon’s autofocus with Subject Tracking and Eye Detection. My EOS R7 and R5 will both recognise the eye of my wildlife subjects and track it using all available focusing points. This has greatly increased my success rate when photographing any type of action, especially birds in flight. Generally, I find the autofocus offered by the latest mirrorless cameras is much more reliable than the previous generation of EOS DSLRs. O A telephoto lens with a wide aperture, and shooting low at eye-level, will help subjects to stand out from backgrounds Be a specialist et yourself a project to focus on photographing a single species over an extended period. This will allow you to research and get to know your subject in greater detail. You’ll learn about its behaviour and the best way to approach it. You’ll also capture a wider variety of images in different lighting and weather. It will also encourage you to be more creative with lens choice, which will benefit your photographic development in the longer term. S Birds are attracted to water during hot weather, so compose with a reflection in mind for double the impact 36 “Set yourself a photo project to focus on photographing a single wildlife species” www.digitalcameraworld.com
WILDLIFE Compose to include context Animal recognition and Eye Detection AF is a huge advantage when shooting birds in flight hile frame-filling images of wildlife can work well, try not to limit your shooting in this way. I also like to show animals and birds within their environment, which helps to tell a story as well as adding variety to my portfolio. It is also a useful approach to compose your images in this way if you only have a relatively modest telephoto lens available. Composition is key, so try not to place your subjects bang in the middle in the frame, try including sky too. W Birds on the wing hotographs of birds in flight tend to be much more desirable than those of perched birds. Fast shutter speeds are essential in order to shoot consistently sharp action images, so don’t be afraid to crank up your ISO if necessary. A sharp but noisy image is always preferable to a clean but blurred one! I regularly shoot at ISO12800 on my EOS R5 and then use the Enhance function in Adobe Lightroom or Photoshop to reduce noise where necessary. P The Canon Magazine 37
OUTDOORPHOTOGRAPHY 05 MACRO Guy teaches you the best ways to photograph close-ups of smaller subjects in your gardens Try a super-telephoto zoom macro lens is normally the go-to lens for close-ups of flowers and insects. But a telephoto lens can be used instead to more easily isolate a subject from cluttered surroundings due to its shallow depth of field and A narrow field of view. I use my Canon EF 100-400mm f/4.5-5.6L IS II when photographing larger insects such as butterflies and dragonflies, as well as wildflowers. The beauty of this lens is that it focuses to just under one metre. Depth of field epth of field becomes extremely shallow when shooting high magnification macro shots. Focus stacking can be used to overcome this if the subject is still enough. I normally use a wide aperture to avoid diffraction and maintain a diffused background. I use my EOS R7’s Focus-bracketing and Depth-composite function where possible. Sometimes the resulting in-camera JPEG file works well, but with more complex subjects I will stack the sequence of RAWs using Helicon Focus Pro software instead. D Bokeh backgrounds always consider the background of my image to be almost as important as the subject itself. Try to eliminate distracting highlights or textures that might draw attention away from your subject. Look for backgrounds that might produce a pleasing bokeh effect. Small patches of sky between foliage can work well for this, as well as highlights on shiny leaves of distant trees such as holly. Shoot at a wide aperture and these will turn into large soft circles that can enhance your composition. I Shoot with a super-telephoto to fine-tune depth of field and isolate smaller subjects like flowers and insects 38 www.digitalcameraworld.com
MACRO Macro marvels here’s loads of interesting subjects that are too small to see clearly with the naked eye, such as leaf hoppers and slime moulds. A macro lens will enable you to achieve 1:1 magnification, but the addition of extension tubes or a dioptre will get you in even closer. I use the excellent Raynox DCR-250 dioptre on my Canon EF 100mm f/2.8L Macro lens as a cost effective entry into the fascinating world of ultra macro. This is where focusstacking becomes an important technique to master! T Focus stacking will allow you to get macro subjects sharp while retaining the benefits of shooting at wide apertures Early riser do most of my insect photos early morning. At this time of day the breeze tends to be lighter and the cool temperatures mean insects will be far less mobile. Only shoot into the sun when it’s very close to the horizon or diffused by cloud. As light levels increase, insects will open their wings to warm up in the morning sunlight. Dewy mornings can be particularly productive as butterflies need to dry moisture from their wings before taking flight. This allows a closer approach and time for careful composition. I Set your alarm and set up early for stunning results as dawns rises and nature wakes “The addition of extension tubes or a dioptre will get you in even closer” The Canon Magazine 39
SUBSOFFER FREE LOWEPRO ADVENTURA GO SH 160 CAMERA BAG When you subscribe to PhotoPlus: The Canon Magazine FREE CAMERA BAG WORTH £52! YOUR FREE LOWEPRO ADVENTURA GO SH 160 BAG Ideal for small Canon EOS DSLR or EOS R cameras with a lens 40 Or space for a mid-sized Canon EOS body, a standard zoom lens, and flash Durable fabric and a built-in belt loop and shoulder strap for comfy carrying www.digitalcameraworld.com
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THECLAPPCOLUMN Lens Canon EF 24-70mm f/4L IS USM Exposure f/8, 0.4 sec, ISO100 (multiple) South Africa Panoramics Cape Town, South Africa. 18:41pm. 13 September 2016 Two completely different panoramas and such little time, but surprisingly they're both next to each other in Cape Town very time I venture to Namibia for my annual photography tour, I try to spend a few days at the end of the trip in South Africa. :KHQ,ÀUVW went to Cape Town I really didn't know what to expect. The news headlines always describe this city as a crime hotbed and that South Africa is a failing nation, but I have nothing but good things to say about this remarkable 42 level cloud, but to the right of it sits Signal Hill, which arguably offers one of the greatest cityscape vistas in the world. Now imagine I turned you 180 degrees in the other direction… more urban sprawl, perhaps a dockyard? Now think the opposite. Towering above the coastline is a simply jaw-dropping sight – the Twelve Apostles. A mountainous ridge with twelve rock promontories, the mountains gently slides to coast, with a small town sat below. It's early evening and I'm feeling somewhat exhausted. There's a clear sky and the glistening city is alive as Greg, my fellow traveller, and I wind our way to the outlook. Sat in the car we are passed by country. Load shedding aside, Cape Town is a cosmopolitan city with some of the most breath-taking scenery. It was this majesty that I wanted to capture in the few short days I had before heading home back in 2016. The gigantic Table Mountain is the backdrop to this vast metropolis, a shape so iconic that it’s unmistakable wherever you happen to be. In fact, it is literally impossible to get lost in Cape Town. On low pressure days it is often sat in the low www.digitalcameraworld.com
CANON PRO CLAPP DAVID CLAPP Canon professional photographer DAVID CLAPP has been a full-time Canon professional photographer for 15 years and for the last 12 he has lead exciting workshops. He regularly works for Canon UK and is represented by Getty Images. Visit www.davidclapp.co.uk for a portfolio of inspiring photos and information on all of his workshops. require a foreground) and then adjust the shutter speed to get a good exposure. Now recompose to the start of the panorama and make sure you are generous with your composition, to allow room for a little cropping when stitched. With the Live View rear screen levelling base, perfect for hassle-free switched on, take a shot and then shift panoramas. What does this do? It means the camera to the next third or quarter, you can level your tripod head without WKHWHGLXPRIIDIÀQJWRJHWWKHOHJOHQJWKV depending on your choice of grid, take a shot, and then repeat. It's as easy as that. correct. Unlock, pivot and lock again. We head down to the hill and rejoice I thoroughly recommend one, even if it makes everything a little heavier to carry. at the sparkling city. Greg has seen this :HZDONXSZDUGVDQGÀQGDQLFHEHQG many times but he always enjoys the view. It doesn't have a high-rise centre, in the path. The sun is going to go into its usual cleaning cloud, but some directional but as you study it you realise how large it light and colour makes this truly amazing is, large enough for a 12-shot panorama! $ÀQDOWLSIRUSDQRUDPDV²EHTXLFN for the photo-tourist like me. joggers, who run to the top to combat Although it may be tempting to keep the A great tip is to switch on the camera’s WKHLUVHGHQWDU\RIÀFHOLIHVW\OH7KHSODQLV ISO low, I recommend increasing this as Live View grid mode, set to 3x3 or 6x4. to shoot the Apostles, and then the entire the darkness begins. Otherwise your 25 Start at the brightest part of the city, all as huge stitched panoramas. sec exposure times may take you four composition, select Manual Mode, an I have been using Gitzo tripods since mins or more to get from left to right! aperture of f/8 (as this shot doesn’t 2007 and my current setup includes a “Although it may be tempting to keep the ISO low, I recommend increasing this as the darkness begins” The Canon Magazine 43
HOW TO VIEW OUR E LIN VIDEO GUIDES ON PROJECT AND VIDEO GUIDES #208 ALL OF OUR NEW PHOTO N BE VIEWED IMAGE-EDITING VIDEOS CALINKS ON ONLINE VIA THE WEB PAGES 46-61! Sharpen up your photography skills with our all-new photo projects and expert guides Dan Mold Deputy editor dan.mold@futurenet.com New projects with video guides Follow our Canon camera walkthrough guides and Photoshop editing videos Welcome… IF YOU’RE looking for some inspiration to take your photography to the next level then look no further! This month, join landscapes expert Drew for a coastal masterclass (page 46). On page 50 portrait pro Alistair shows you how a cheap 50mm lens offers maximum bang for your buck, and can be used to create fabulous portraits with a buttery bokeh. Meanwhile I’ve been pushing my low-light skills to the limit by trying out some fire spin photography – see how I got on, and how you can do it yourself on page 52. If you’d equally like to keep your editing skills sharp then be sure to check out editing tutorials and videos. Sean shows you how to edit a sunrise scene in Lightroom (page 56) while James reveals his favourite tricks to turn noise down in Photoshop. If you prefer to edit in Affinity Photo be sure to turn to page 60, where James shows you how to create abstract effects using your free start images. The Canon Magazine 50 Nifty fifty portraits 52 Fire spin photos Take perfect people pictures with an affordable 50mm prime lens 46Explore the coast Light up night scenes with an incredible fire spinning technique 56 Lightroom Classic CC Get creative at the coast with top pro tips from Drew Buckley Use all of your RAW data to enhance a gentle sunrise scene VIEW THE VIDEOS 58 Turn down the noise! 60 Affinity Photo Reduce noise with Photoshop CC in this month’s Tool School Use your free textures to create amazing abstracts portraits WHENEVER YOU see this icon, you’ll find an accompanying video to watch VIEW T online, so you HE can follow along. You can view the videos on a smartphone, tablet or computer. See the links on the project pages. VIDEO 45
VIEW T HE VIDE WATCH VIDEO ONLINE O http://bit.ly/pp_208_1 PROJECT 1 THE MISSION Take some stunning coastal landscape shots in Wales Time needed One hour Skill level Intermediate Kit needed • Canon EOS & lens • Tripod • Various filters Capture the coast Drew Buckley shares his favourite pearls of wisdom for coastline scenes iving in Pembrokeshire, I’m lucky enough to have one of the best coastal areas in the world on my doorstep, so it’s fair to say I’m more of a coastal photographer than anything else. The coast is an ever-changing landscape, from winter storms L and crumbling cliffs, to serene summer evenings with lapping waves, so locations can look different every day. Add the sun rising and setting at varying angles through the year and the tides differing in height, all this plays a massive part in your scenes and potential compositions. Most landscape scenes will need a fair amount of planning and coastal scenes are no exception, especially throwing the tides into mix too, it can make it tricky to decide when and where to go. In this article I’ll give you some of my top tips, including Canon FDPHUDVHWWLQJVOHQVDQGÀOWHUV advice, that will help you to get some top coastal shots too. THE SETUP TAKE FANTASTIC COASTAL LANDSCAPES Discover the core Canon camera and photo kit you need for brilliant scenic seaside shots 02 03 01 01 STURDY TRIPOD 02 CANON EOS CAMERA 03 FILTER CHOICES Tripods are particularly great for coastal photos as they give you time to frame up, help combat camera shake in windy conditions, and also enable long exposures to be captured, to blur moving elements, such as crashing waves and clouds. Either Canon EOS DSLR or mirrorless models will be ideal for landscapes and coastal shots as they use large APS-C and full-frame sensors, as well as boast great lens mounts, meaning you’ll have plenty of options to experiment with lenses. Drew uses filters to take pro landscapes, including a circular polarizer (CPL) to tame reflections and boost blue skies, a neutral density (ND) to block out light for longer exposures, and a graduated ND (GND) to balance bright skies and dark foregrounds. 46 www.digitalcameraworld.com
COASTAL LANDSCAPES QUICK TIP! WATCH YOUR STEP! Before we start, a safety tip – always heed caution on the coast. Rocks by the sea can be slippery, and always check tide times thoroughly before commencing a photoshoot. Make sure to always have an exit route at the beach as tides come in, and steer clear of large waves or cliff edges in bad weather. The Canon Magazine During the summer months, the extra degrees of sun and its position can reveal a whole new batch of scenic locations to try out 47
IDEO V E H T WATCH VIDEO ONLINE VIEW http://bit.ly/pp_208_1 PROJECT 1 SCENE AT LOW TIDE SCENE AT HIGH TIDE STEP 1 PLAN YOUR SHOOTS The sun is usually the main variable that will affect the look and feel of a landscape. We know the that the sun rises in the East and sets in the West, but it also shifts more to the North in the summer and South in the winter. I’ll check for weather fronts which may result in interesting skies and use the PhotoPills app to check timings, as well as the angle of light. Look at the tide times on sites like www.tides4fishing.com. It’s also useful to visit a location ahead of time and at different tide heights. There will be a ‘best time’ to photograph a location for your composition, and the way that the sea incorporates into the frame will be the biggest feature to change the appearance of your images. STEP 2 LENS CHOICE Your lens will be the deciding factor that controls your field of view and what you include or exclude in the frame. I mainly use three lenses to cover most scenarios. Firstly, I use the Canon RF 24-105mm F4L IS USM – it’s razor sharp and gives me great flexibility when composing with its zoom. Secondly, I opt for the RF 15-35mm F2.8L IS USM for those scenes where I need to go wider, or I want to include everything in the nearest vicinity. The third lens, which doesn’t get used so much but is still handy, is the RF 100-500mm F4.5-7.1L IS USM telephoto zoom. This is amazing for shooting single crashing waves from a safe distance, cliffs, islands, or isolating coastal features when I’m on a high viewpoint looking down the coast. 48 www.digitalcameraworld.com
COASTAL LANDSCAPES STEP 3 USING FILTERS If you need to own just one filter for coastal photography, then a circular polarizing filter should be it. It’ll boost blue skies, reduce surface reflections, such as taking the shine off any rocks, wet sand or seaweed, and really make your sea colours pop! There are also neutral density (ND) filters which come in a variety of strengths – I carry 3, 6 and 10 stop varieties to cut out light and extend your shutter speeds for artistic effect; in most cases, to smooth out or blur moving clouds and water movement. Finally, there are the graduated ND filters, and these help to balance up the difference in exposure between the sky and foreground to capture a more balanced image in terms of exposure. SHOT AT 30 SECS SHOT AT 2 SECS STEP 4 COMPOSITION I love emphasizing the uniqueness of our coastline, be it natural arches, sea stacks or amazing strata rock formations along cliffs, so I think it’s important to keep an eye out for features like this as it will emphasize any scene. I find there needs to be a bit of blur to give coastal scenes some life. Water movement is the main factor in any image that can show great energy, especially in stormier weather conditions where the sea is whipped up into a white surf, so it’s good to keep some remnants of this power in your images. Choose a shutter speed that is sympathetic to the conditions and doesn’t smooth waters too much. On the flip side, smoother water can create a calmness in some scenes; lakes and waterfalls, for instance. 49
VIEW T HE VIDE WATCH VIDEO ONLINE O http://bit.ly/pp_208_2 PROJECT 2 THE MISSION To take sharp portraits with a beautifully blurred background Time needed One hour Skill level Beginner Kit needed • Canon EOS DSLR or mirrorless • A prime lens such as a Canon EF 50mm f/1.8 STM PRO TIP One of the benefits of being able to use extremely wide apertures, such as f/1.8 or even f/1.4, is that it enables you to use faster shutter speeds. I rarely drop below 1/250 sec when shooting handheld (and it’s often much higher) to help keep shots sharp. Perfect portraits with a prime lens Alistair Campbell reveals how to get the most from your model shoot using a budget ‘nifty fifty’ prime lens with a wide aperture hotographing people comes easily to some, but can feel daunting to others. Although there are many technical aspects to consider, you also need to build a rapport with your subject. In this photo project, I worked with model Melda (Instagram: @melem.en) and I’m going to show you how can simplify your shoots by using just one single prime lens. There are many opinions on which lens is the perfect lens for portraits. Usually 85mm is touted as the king (on full-frame). In fact, ZKHQ,SLFNHGXSP\ÀUVWFDPHUD a Canon EOS 5D Mark II, it came with a Canon EF 50mm f/1.4 USM. For a couple of years, this was the only lens I owned P and still, to this day, is one of my favourite lenses to use for great people pictures. $¶QLIW\ÀIW\·RQDQ$36& Canon gives you a similar focal length to that sought-after 85mm focal length, but on a full-frame body 50mm gives you more space around the subject to include the HQYLURQPHQW3OXVPPOHQVHV are often really affordable: the Canon EF 50mm f/1.8 STM is only £109 (or even cheaper second hand!) and it will still do a splendid job. It’s no surprise why a 50mm lens is usually the next upgrade for beginners who have outgrown the limitations of an 18-55mm kit lens. Shooting wide open at an aperture of f/1.8 or f/1.4 will create a softer background, which will draw full attention to your model you’re focusing on. Selecting an appropriate background is also an important part when choosing a spot to shoot in. Many photographers who are new to portrait photography tend to focus on the subject of the portrait, and don’t consider how their background will impact the overall look and feel of the portrait. Busy backgrounds can distract from the subject, and some backgrounds have no connection to them, making the portrait composition confusing. In this project, I shot RXWGRRUVZLWKRXWÁDVKXVLQJMXVW natural light at Bristol’s harbourside with an old dock hut for a neutral colour to work from. Here are my top tips... STEP BY STEP SHOOT WIDE AND FAST Follow these expert tips to take shallow depth-of-field portraits 01 GET NIFTY 02 OPEN UP THE APERTURE 03 KEEP THE NOISE DOWN First attach your 50mm lens to your EOS camera before you dial in your settings. On APS-C Canon’s your lens will appear more ‘zoomed in’, so you may want to try a focal length like 35mm instead for a similar field of view a 50mm offers on full-frames. Switch your shooting dial to Aperture priority (Av), then open it all the way up to f/1.8 (or wider) and leave it there. This will mean you don’t have to worry about selecting your shutter speed as your camera will determine the correct one. Now reduce your ISO to one of the lower settings – ideally to the base level of ISO100 if lighting conditions allow. This will keep any digital noise to a minimum and produce cleaner-looking skin. You rarely need to go higher than ISO640 for outdoor portraits. 50 www.digitalcameraworld.com
PERFECT PORTRAITS QUICK TIP! If you’re shooting with autofocus, use single-point focus and put the AF point directly over the model’s nearest eye so it’s pin-sharp 04 PRACTISE MAKES PERFECT 05 BUILD A RAPPORT 06 EDIT TO PERFECTION With everything in place, it’s time to start shooting. I use AF (you can also use MF) and always focus on the eyes – this is particularly important when shooting with a wide open aperture, because if you aim for the bridge of the nose, the eyes will be slightly out of focus. Of course, you have to get the technical settings right, but it’s just as important to get the best out of your model too. They can’t see the screen, so communicate with them. Once I have some images that I’m happy with I’ll show my model the images on the camera screen so they can see. Try to enhance only what’s already there in your portraits rather than going over the top and creating an unnatural finish. I use Lightroom Classic CC to edit the RAW files and tidy up minor blemishes with the Spot Removal tool, but try to keep editing to a minimum and looking natural. The Canon Magazine 51
Create and capture amazing fire circle photos at night You spin me right round Time needed One hour Dan Mold shows you how to safely create amazing fire spin images at night with basic camera kit and household items THE MISSION Skill level Intermediate Kit needed • Canon EOS camera • Tripod • Lens • Metal whisk • Wire wool 52 ire spin photos take light painting and turn it up to 11! If you’re looking for a photo project that is guaranteed to turn heads and leave your friends and family members wondering how you SXOOHGLWRIIWKHQD¶ÀUHVSLQ·SKRWR is the project for you. While not for the faint-hearted, DÀUHVSLQLPDJHFDQEHFUHDWHGE\ packing a metal whisk full of wire wool and igniting it, tethered to a dog lead you then spin it around quickly, and use a long exposure on your camera to capture the F EULOOLDQWOLJKWWUDLOVDVWKHVSDUNVÁ\ off in all directions, also lighting up the night scene with exciting and vibrant effects. 2IFRXUVHZRUNLQJZLWKÀUHLV dangerous and won’t be for everyone. If you don’t like the idea of working with wire wool, you could instead securely attach a torch to piece of string to get an idea of how the technique works. ,I\RXZRXOGOLNHWRWU\RXWDÀUH spin then it goes without saying WKDWVDIHW\FRPHVÀUVW:HVWURQJO\ recommend shooting with a friend so that you can take the pictures ZKLOH\RXUIULHQGGRHVWKHÀUH spinning – why not pair up with another photographer friend and alternate? We also shot at the coast next to open water so that there was much less chance of starting DÀUHDQGRIFRXUVHKDGDÀUH extinguisher to hand too, just in case. You’ll also want to avoid ZHDULQJÁDPPDEOHV\QWKHWLF clothing, so wool is a good choice. Gloves, hat and eye protection are also essential to protect yourself against any stray sparks. Raring to go? Here’s everything you need to know... www.digitalcameraworld.com
VIDEO E H T VIEW FIRE SPIN PHOTOS WATCH VIDEO ONLINE http://bit.ly/pp_208_3 PROJECT 3 THE SETUP SHOOT AN INCREDIBLE FIRE SPIN Get kitted out with all the gear you’ll need before you light up your fire photos 01 CANON EOS CAMERA 02 LENS CHOICE 03 STURDY TRIPOD You can use any Canon DSLR or mirrorless camera for this, so long as it has a Manual mode and can shoot long exposures of several seconds. A full-frame camera will tend to offer better image quality in low light scenarios, but it’s not a deal-breaker. With bright sparks flying and flung off in all directions, it’s usually easier to go for a wide-angle lens to give yourself the best chance of catching all of the bright light trails. We used a Canon EF 16-35mm f/2.8L and set it to the widest 16mm. You’ll need to keep the shutter open and the sensor exposed to light for several seconds so that you can capture the trail of sparks as the wire wool is spun around. This means setting up on a tripod is vital so that the rest of the scene is sharp. Getty / Bon Koo / 500px 03 01 06 05 02 04 04 WHISK & DOG LEAD 05 WIRE WOOL 06 9V BATTERY You’ll need a metal whisk with a sturdy ring on the base of the handle that you can attach a dog lead to so you can spin it around. A black dog lead is a good idea as it will show up less in your pictures. Wire wool with a fine grading of around 00 or 0000 is ideal for fire spin photography. You can even carefully fold one type inside of the other to mix them together. Pack your whisk tightly with the wire wool. The easiest way to ignite the wire wool when you’re all set up and ready to go it brush a 9v battery against the wire wool to create a spark. Once spinning, the extra oxygen will help it burn brighter. The Canon Magazine 53
IDEO V E H T WATCH VIDEO ONLINE VIEW http://bit.ly/pp_208_3 PROJECT 3 STEP 1 SET UP AT NIGHT It’s best to shoot a long exposure of several seconds to build up a bright and vibrant fire spin effect. This means setting up on a sturdy tripod so you can shoot a sharp long exposure. For safety, we also shot at the coast next to water to mitigate the risk of anything catching fire from the burning steel wool (and had a fire extinguisher to hand too). For settings, put your Canon to its Manual mode (M on the mode dial) and dial in ISO100 for best image quality and a shutter speed of 4 secs – this should give you enough time to catch a good spin. Then tweak the aperture value until your exposure looks good and take a few test shots. You can open the aperture or extend the shutter speed as it gets darker. STEP 2 FOCUS ON A FRIEND One of the trickiest parts of a fire spin photo is nailing the focus, so to make things easier bring a friend that can do the spinning while you stay behind the camera taking photos. Have your friend stand in the scene where you want the fire spin to appear. Also make sure they’re wearing dark clothing and shoot at night so that they don’t appear in your images. Compose and focus on your friend in the blue hour, or if it’s too dark to autofocus, have them shine a bright torch on themselves so you can lock the focus on them. Then you need to switch the focus mode to manual (MF) so that it’s locked off and won’t move between frames. Just make sure your friend doesn’t move off their mark during the spinning. 54 www.digitalcameraworld.com
FIRE SPIN PHOTOS STEP 3 PREP YOUR WHISK To create the fire spinning effect, you’ll need to get hold of a metal balloon whisk with a loop at the base of the handle. To this you’ll attach a sturdy dog lead so that you can spin it around safely at arm’s length. Some of the cheaper whisks have a very thin ring at the bottom of the handle which can easily slip out of dog lead’s clip, which is far from ideal! So make sure the attachment point is a few millimeters thick, or attach two dog leads so you have an extra layer of security. Next, you’ll need to pack the balloon whisk with your wire wool. It’s best to use a fine wire wool, such as 00 or 0000. You can even carefully fold a mixture of the two together and pack them into the whisk snugly. STEP 4 START SPINNING! Now it’s time to attempt your first fire spin. The easiest way to light the wire wool is to quickly bring it into contact with a 9v battery (above) and then have your friend spin it around in a smooth circular motion – as oxygen gets into the wire wool as it spins it will glow brighter. We had best results shooting straight on to our friend rather than from the side (see left). Keep continually firing your long exposures back-to-back until the fire has died. You can then check your shots and work out if you need a longer or shorter exposure time, or to open the aperture a little wider if it’s suddenly become a lot darker. Make sure your friend stays on their spot so that your next shots are pin sharp, and have another go! The Canon Magazine 55
VIEW T HE VIDE WATCH VIDEO ONLINE O http://bit.ly/pp_208_4 LIGHTROOM AFTER BEFORE THE MISSION Capture the start of the day with detail and colour Time needed 20 minutes Skill level Intermediate Kit needed Adobe Lightroom Classic CC DOWNLOAD PROJECT FILES TO YOUR COMPUTER FROM: http://downloads. photoplusmag.com/pp208.zip 56 Create a colourful pastel sunrise Sean McCormack reveals how to edit sunrise shots in Lightroom Classic s the days slowly start to shorten, those who love to sleep have more chance of catching a sunrise. The early starts that are needed for mid-summer sunrises make way for us to only need to get up slightly earlier and grab some magic morning shots before work. One technique that can help get the most detail and colour in A photographs is called ‘Expose to the Right’, or ETTR. It’s a simple principle where you expose to capture a lighter photo, rather than the medium exposure the camera metering suggests. You will still be avoiding clipped highlights, though. While sensor technology has improved, there’s less information in the shadows, so boosting them can introduce unwanted noise. It’s easy to darken shadows in editing, avoiding problems with potential noise. The image can look washed out, but that’s okay, as your intention is to shoot with postprocessing in mind, and there’s information we can pull out of the 5$:ÀOH7KHSURFHVVLQJORRNVDW 3URÀOH&RQWUDVWDQG6DWXUDWLRQ There’s often clean-up work to do with spot removal and getting rid of unwanted items. Here’s how... www.digitalcameraworld.com
SUPERB SUNRISES STEP BY STEP SHOOT AND EDIT A SUNRISE Four quick editing tips to help you give your sunrise images a subtle boost CROPPING YOUR SHOT FOR BIGGER IMPACT 02 CAMERA PROFILE 01 REMOVE SPOTS Clean-up is important in any photo. Press Q to open Spot Removal then press A to show a black overlay where white reveals the edges. Spots show roughly as circles where you shouldn’t see anything. Paint over the affected area to remove any dust spots. Probably the most important change you can make is to get a better camera profile. Unless you have changed defaults in Preferences, Lightroom applies Adobe Color on Import. For landscape photos, Adobe Landscape or your Camera Matching Vivid/Landscape profile is better. Click on Profile Browser and change it. Cropping greatly impacts a photo: for vertical shots, a crop to 4:5 aspect ratio is more pleasing; for horizontal, a 16:9 panoramic looks great. Crop to 4:5 and consider the internal balance in the photo – this shape also works well for social media, and for printing eg 8x10in. 04 FINAL TOUCHES 03 START WITH PRESENCE ADJUSTMENTS Normally, you would approach the Basic panel top down but here you can use Presence first. Try the ‘twenties’ approach: boost each Presence slider to 20. This will impact colour and contrast immediately, and you can tidy up the effect in the Tone section. This is just a starting point, but it’s a good place to begin. The Canon Magazine Jump back to Tone for the final processing step. Increase Contrast to 50 and open Shadows to 35 while reducing Highlights to -100. It’s a ‘two steps forward, one step back’ approach, but it does add a lift. Finally, pull Exposure back to -0.10 for some subtle darkening. 57
VIEW T HE VIDE WATCH VIDEO ONLINE O http://bit.ly/pp_208_5 PHOTOSHOP CC Part 22 of a series THE MISSION Discover the best solutions for reducing noise with Photoshop CC Time needed 20 minutes Skill level Intermediate Kit needed Photoshop CC DOWNLOAD PROJECT FILES TO YOUR COMPUTER FROM: http://downloads. photoplusmag.com/pp208.zip 58 Heal the noise THE CAMERA RAW FILTER James Paterson finds out which are the best noise reduction tools in Photoshop, and those you shouldn’t let anywhere near your Canon images oise in photos causes them to become grainy DQGODFNÀQHGHWDLO,W·V especially apparent in LPDJHVWDNHQDWKLJKHU,62V and even more so in the shadow areas of these LPDJHVHeavy-handed image editing can also lead to increased noise if you want to recover lost shadow details. But, there are tools that can help. In this project, we’ll explore some of the best on offer in Photoshop CC. Noise reduction is always something of a balancing act, because it can come at the H[SHQVHRIÀQHGHWDLO,WZRXOGEH N easy to remove the noise from any image simply by blurring it, but who wants a blurry image? As such, we need tools that let us remove the noise but retain the sharpness. What’s more, we may only need to worry about keeping certain areas of the image sharp while other parts of the frame can withstand stronger noise reduction. Like sharpening, judgement is key. In general, a slightly noisy image will look better than one that looks too smooth and fake, and sometimes \RXULPDJHVZLOOEHQHÀWIURP more grain to even out the noise reduction throughout. THE Detail Panel in Adobe Camera Raw offers both sharpening and noise reduction tools. As such, it’s the best tool for balancing out your noise reduction with image sharpness. You can use Camera Raw either as a standalone plugin or as a Photoshop filter (Filter>Camera Raw Filter). The Noise Amount slider lets you tackle grainy noise, while the Detail slider below lets you claw back fine detail. The Colour Noise Reduction slider tackles blotchy spots of colour noise. ACR is also very useful for adding a touch of grain to balance out any blotches of noise. www.digitalcameraworld.com
NOISE CONTROL STEP BY STEP STAY SHARP & PRESERVE DETAIL Balance noise reduction with retaining all-important image integrity when editing 01 REMOVE JPEG ARTEFACTS 02 MEDIAN 03 DUST AND SCRATCHES Some of what you perceive as noise in your images may actually be JPEG artefacts. These effects occur because of the compression that JPEG images go through when they’re opened and closed, which can result in marks or blocky edges. The ‘JPEG Artefacts Removal’ filter, which can be found in the Neural Filter dialog (Filter>Neural Filters), employs machine learning to fix the artefacts. While Median is listed under the Noise filters, it’s more of a blur filter, not the tool you should be using for removing noise. That said, if – like the Despeckle filter – you use it in combination with a layer mask, it can be used to remove noise in out-of-focus areas of an image. It’s more effective as a blur filter if you want to soften areas or surfaces, although dedicated blur filters can do this, too. As the name suggests, this can be useful for removing scratches, marks or dust, making it handy for restoration work, but less so as an actual noise-reducing filter. In fact, it does the opposite by removing large marks and dust spots while retaining the underlying noise or texture. The Radius slider controls the strength, while the Threshold lets you fine-tune what is affected. 01 06 02 04 03 05 04 REDUCE NOISE 05 ADVANCED NOISE REDUCTION 06 DESPECKLE Aside from the Detail panel in Camera Raw, the Reduce Noise filter is the best filter Photoshop has for noise reduction. The filter can be applied to a Smart Object layer – right-click the layer and ‘Convert to Smart Object’. Next, Go to Filter>Noise> Reduce Noise, and uncheck ‘Remove Artefacts’. Bring the sliders down to 0 and set Preserve Details to 30% and increase Strength until the noise is reduced. Images can be split into different colour channels in Photoshop: Red, Green and Blue for a normal RGB image. Sometimes, one channel will display more noise than others. Reduce Noise offers an Advanced mode that will allow you to apply noise reduction on a per-channel basis. Here, it lets us apply noise reduction to the blue channel. It can be useful for reducing noise in blue skies. Despeckle (Filter > Noise > Despeckle) is the simplest of Photoshop’s noise filters. There are no controls; it applies an automatic fix by blurring the image slightly. As such, it’s only useful for very quick edits. It may also be effective if you want to reduce noise in a background, as you can apply the filter on a duplicate layer, then add a layer mask to brush back the parts you want to remain sharp. The Canon Magazine 59
VIEW T HE VIDE WATCH VIDEO ONLINE O http://bit.ly/pp_208_6 AFFINITY PHOTO THE MISSION Use the Posterize layer to simplify a portrait then add textures to each shade of grey The perfect blend Choose from 15 free textures and learn how to blend them with your portraits using clipping skills in Affinity Photo with James Paterson Time needed 20 minutes Skill level Intermediate Kit needed Affinity Photo DOWNLOAD PROJECT FILES TO YOUR COMPUTER FROM: http://downloads. photoplusmag.com/pp208.zip 60 A IÀQLW\3KRWRRIIHUV DOONLQGVRIWRROVIRU EOHQGLQJLPDJHV WRJHWKHUIURPOD\HU EOHQGLQJPRGHVWRPDVNLQJ DQGPRUH,QWKLVSURMHFW ZH·OOWDNHDGYDQWDJHRI FOLSSLQJZKLFKDOORZVXVWR SRVLWLRQRQHOD\HULQVLGHWKH VKDSHRIDQRWKHU7KLVZD\ ZHFDQEUHDNRXUSRUWUDLW GRZQLQWRVHYHUDOVLPSOH VKDGHVRIJUH\WKHQFOLS WH[WXUHVWRHDFKTo begin by using the Posterize effect, which allows us to simplify the image into just a few shades of grey. We’ve chosen to create four levels from white to black. From here, we can select the four areas of brightness using the Magic Wand tool and create separate layers for each. Now the fun begins, as we can simply copy in different textures and colourful abstract images, then drag them on top of each layer so that the texture is FRQÀQHGWRWKHVKDSHRIWKHOD\HU ,WOHWVXVÀOOLQHDFKDUHDRI brightness with an image of our choice. We’ve supplied a free set of 15 textures for you to experiment with – see download link on the left. There’s colourful soap bubble images, rusty trays and close-up details. Not only are textures like this useful for this effect, they’re also a fun way to get creative with image blending for all sorts of interesting results. Try copying a texture on top of any photo then simply go to the Layers Panel and experiment with the layer blend modes. The Overlay, Multiply and Screen modes often work well. www.digitalcameraworld.com
BLENDING IMAGES STEP BY STEP SURREAL PORTRAIT EFFECTS Learn how to clip layers in Affinity Photo to create a striking portrait effect QUICK TIP! Pick images that are similar in brightness, from dark to light, then clip them to the matching shades of grey in the portrait 01 POSTERIZE THE PORTRAIT 02 SELECT THE WHITES Open the image into Affinity Photo. Go to the Layers Panel, click the Adjustment icon and choose Black and White. Tweak the sliders to control the mono conversion. Next click Adjustment again and choose Posterize. Set the Levels to 4. This divides the image into four levels of brightness. Press Cmd/Ctrl+Shift+Alt+E to merge a copy of all the layers. Grab the Magic Wand from the toolbar. Set Tolerance to 20% and uncheck Contiguous in the tool options. Click on the whites to select them. Click the Refine button and increase Smooth to 5px. Hit Apply, then hit Cmd/Ctrl+J to copy to a new layer. MAGIC WAND TRICKS 03 MAKE LAYERS FOR EACH 04 REMOVE THE BACKGROUND Double-click the layer name and rename it Whites. Hit Cmd/Ctrl+D to deselect then highlight the merged layer below. Use the Magic Wand to select the next brightest range of tones, then repeat the process to make separate layers for the highlights, midtones and shadows. Proceed to rename each. For the next step, we need to remove the background layers from the effect. First highlight the bottom layer, grab the Selection Brush, click ‘Snap to Edges’ in the options and paint over the background to select it. Click on the top layer and hit Delete, then repeat for the four layers below. 05 ADD A TEXTURE 06 FINISH IT OFF Open a texture image from your free download (link on left), hit Cmd/Ctrl+C to copy then go to the portrait and hit Cmd/Ctrl+V to paste. Drag the layer on top of one of the layer names – Whites, Highlights, Midtones, Shadows. This will clip the texture to the layer so that the shape of the layer confines the texture. Experiment by moving the layer around with the Move tool to find the best position, or use the bounding box to resize it. Copy in more textures and drag onto the other layers to build it up. You might want to lighten or darken the textures with Curves (Cmd/Ctrl+M) to fine-tune the tones. The Canon Magazine The Magic Wand tool lets us quickly select areas by detecting similar pixels. Here it lets us isolate the different shades of grey in our portrait so that we can create layers for each. There are a couple of key controls that will help you get the most out of the tool. Firstly the Tolerance slider; this determines the range of similar pixels the tool will seek out. A low tolerance means it will only search for the exact same shade of colour, while a large tolerance expands the range. The other key setting is Contiguous. With this checked you can confine the search to pixels connected to one another. 61
THEPROINTERVIEW 62 www.digitalcameraworld.com
KAV DADFAR As a photographer, writer, speaker, magazine publisher, and guide, Kav Dadfar is a true multi-skilled professional. Despite the rise of Instagram and travel photographers, he believes there’s always new and unique photo opportunities… AV DADFAR is the epitome of a successful, modern, Canon professional photographer. He embraces the business side of the profession as much as the creative and is never shy to diversify his skills in other areas. During the Covid-19 pandemic, several travel magazines sadly went under, but Kav – and fellow photographer Jordan Banks – saw it as the perfect opportunity to launch JRNY. 7KHODWHVWÀIWKLVVXHLVD SKRWRJUDSK\VSHFLDODQGDVWKHZHEVLWH MUQ\PDJFRPH[SODLQV´7KHUHLVQREHWWHU ZD\WRWHOODFRPSHOOLQJWUDYHOVWRU\WKDQ WKURXJKFDSWLYDWLQJWH[WDQGLPPHUVLYH LPDJHVµ.DY·VSKRWRJUDSK\KDVEHHQ WHOOLQJDVWRU\IRUHGLWRULDODQG FRPPHUFLDOFOLHQWVVLQFHKLVFDUHHUEHJDQ DQGHYHQLQWKHVHLPDJHVDWXUDWHGVRFLDO PHGLDGD\VKHVWLOOÀQGVQHZZD\V WRH[SORUHWKHZRUOGDQGFDSWXUH FROOHFWLRQVRIXQLTXHWUDYHOSKRWRV« 01 A DAZZLE OF ZEBRAS A pack of zebras crosses the savanna during the golden hour, the dust back lit and scattered by the setting sun behind them The Canon Magazine Lens Sigma 150-600mm f/5-6.3 DG OS HSM | Sports 014 Exposure 1/800 sec, f/8, ISO800 63
THEPROINTERVIEW 02 TRAVEL PORTRAITS IN BOTSWANA “As much as I love landscape photography, nothing beats photographing people.” Lens Canon EF 24-70mm f/2.8L USM Exposure 1/200 sec, f/6.3, ISO500 03 AROUND THE CANON CAMERA Kav’s main workhorse is a Canon EOS 5D Mark IV. Three young Buddhist monks gather to see the images on the screen Lens iPhone X back dual camera 4mm f/1.8 Exposure 1/280 sec, f/1.8, ISO20 04 FRAMED THROUGH THE BRANCHES Dead trees in dry climates often don’t fully decompose, and can act as dynamic contrasting subjects against brighter skies and foregrounds Lens Canon EF 24-70mm f/2.8L USM Exposure 1/125 sec, f/14, ISO800 Tell us about your photography journey. Where did it all start for? )RUPHSKRWRJUDSK\VWDUWHGDWXQLYHUVLW\ ,ZDVVWXG\LQJDUWGLUHFWLRQDQG LQIRUPDWLRQGHVLJQDWZKDWLVQRZWKH /RQGRQ&ROOHJHRI$UWDQGDVSDUWRIP\ FRXUVH,DOVRKDGWRVWXG\SKRWRJUDSK\ %XWWKDWZDVLQWKHHDUO\VWDJHVRIGLJLWDO SKRWRJUDSK\VR,KDGWROHDUQWRWDNH SKRWRVRQÀOPDQGGHYHORSWKHP 02 03 64 How would you describe your approach and portfolio to someone who’d never seen it? $IWHU,JUDGXDWHGIURPXQLYHUVLW\, ZRUNHGDVDQDUWGLUHFWRULQWKHZRUOGRI DGYHUWLVLQJIRUDIHZ\HDUV'XULQJWKLV WLPH,ZDVVWLOOWDNLQJSKRWRVEXWLWZDV IRUWKHRGGFOLHQWKHUHDQGWKHUHDQG PDLQO\DVDKREE\IRUP\VHOI%XWWKDW LQÁXHQFHRIEHLQJDQDUWGLUHFWRUKDV VWXFNZLWKPHLQERWKP\DSSURDFKDQG P\VW\OHDQGKDVFRQWLQXHGWRGRVRVLQFH WXUQLQJSUR6R,ZRXOGVD\,DPYHU\ PHWLFXORXVLQP\FRPSRVLWLRQRIDQLPDJH DQGKRZWKHVXEMHFWOLJKWDQGFRORXUV ZRUNWRJHWKHU,WKLQNZKHQVRPHRQH ORRNVDWP\SRUWIROLRWKH\ZLOOQRWLFH EULJKWYLEUDQWLPDJHVWKDWDUHFRPSRVHG ZHOODQGRIWHQHYHQLIWKH\DUHÁHHWLQJ PRPHQWVWKH\ORRNDOPRVWGHOLEHUDWH Are travel and landscape photography two distinct genres, or do you think they cross over? ,ZRXOGVD\WKDWWKH\DUHGLVWLQFWJHQUHV EXWDVDWUDYHOSKRWRJUDSKHU\RXKDYHWR EHDEOHWRGRERWK,W·VYHU\UDUHWKDW\RX ZLOOEHVHQWRQDQDVVLJQPHQWWKDWZLOO MXVWLQFOXGHODQGVFDSHSKRWRV(YHQLIWKH GHVWLQDWLRQLVWKHZLOGHUQHVV\RXZLOOVWLOO www.digitalcameraworld.com
04 EHUHTXLUHGWRFDSWXUHDYDULHW\RISKRWRV IURPFORVHXSVWRSRUWUDLWVRIJXLGHVRU SHRSOH\RXPHHWHQURXWH6RZKLOVW, EHOLHYHWKH\DUHGLIIHUHQWJHQUHVWKDW UHTXLUHGLIIHUHQWW\SHVRIVNLOOVDQG FUHDWLYLW\DVDWUDYHOSKRWRJUDSKHU\RX KDYHWREHDEOHWRVKRRWDZKROHYDULHW\ RIVXEMHFWVDQGVW\OHV GHSHQGLQJRQZKDW,·PSKRWRJUDSKLQJ,Q ODQGVFDSHSKRWRJUDSK\ZKHQP\FDPHUD LVRQDWULSRG,ZLOOXVXDOO\EHVKRRWLQJ LQ0DQXDOPRGH%XWLI,·PVKRRWLQJ KDQGKHOGLQDFLW\,ZRXOGEHVKRRWLQJLQ $SHUWXUHSULRULW\PRGH%XW,PD\VZLWFK WR6KXWWHUSULRULW\LI,·PSKRWRJUDSKLQJ IDVWPRYLQJDFWLRQOLNHDIHVWLYDO Are your camera techniques the same for travel and landscapes? 7KHELJJHVWGLIIHUHQFHIRUPHEHWZHHQ WKHWZRLVWKDWZKHQ,·PVKRRWLQJ ODQGVFDSHVPRUHRIWHQWKDQQRWIRU P\EHVWSKRWRV,ZLOOEHXVLQJDWULSRG DQGSUREDEO\DÀOWHURUWZRRIVRPHVRUW 7KLVLVEHFDXVHRIWKHORZOLJKWDQGWKH GLVSDULW\LQOLJKWLQJEHWZHHQWKH IRUHJURXQGDQGWKHVN\GXULQJWKRVH KRXUV7KLVPDNHVODQGVFDSHSKRWRJUDSK\ DVORZHUSURFHVVZKHUH\RXFDQUHDOO\ WDNH\RXUWLPHWRFDSWXUHWKHSHUIHFW FRPSRVLWLRQ:KLOHVRPHWLPHVWKLVLVDOVR SRVVLEOHLQWUDYHOSKRWRJUDSK\XVXDOO\ \RXDUHVKRRWLQJKDQGKHOGDQGEHLQJ PRUHUHDFWLYHWRSRVVLEOHÁHHWLQJ PRPHQWVWKDWSUHVHQWWKHPVHOYHVVR\RX QHHGWREHDEOHWRZRUNTXLFNHU How important is planning when it comes to travel photography? 3UHSDUDWLRQLVHYHQPRUHLPSRUWDQWZKHQ LWFRPHVWRWUDYHOSKRWRJUDSK\EHFDXVH \RXDUHVKRUWRQWLPHZKHQ\RXDUHRQ ORFDWLRQ6RKDYLQJDFOHDUSODQDQGDOVRD VKRWOLVWZLOOHQVXUH\RXGRQ·WZDVWHWLPH 6RPHWLPHV\RXPD\HYHQKDYHWRPDNH VSHFLDODUUDQJHPHQWVRUJHWSHUPLVVLRQWR EHDEOHWRSKRWRJUDSKVRPHZKHUHVRLW SD\VWRVWDUWSODQQLQJ\RXUVKRRWZHOOLQ DGYDQFH3DUWRIWKDWSODQQLQJDOVR LQFOXGHVZRUNLQJRXWZKDW\RXDUHOLNHO\ WRQHHGVR\RXFDQSDFNDFFRUGLQJO\ How do you generally shoot? Manual mode, Aperture priority? 0\VKRRWLQJPRGHVWHQGWRYDU\ The Canon Magazine Talk us through how you prepare for a big travel assignment… ,VWDUWE\JRLQJWKURXJKWKHEULHI WKRURXJKO\DQGFRPSLOLQJDOLVWRI TXHVWLRQVIRUWKHFOLHQW WKHUHZLOODOZD\V EHTXHVWLRQV ,ZLOODOVRJLYHDQ\ IHHGEDFNDWWKLVVWDJH)RUH[DPSOHLW PD\EHWKDWZKDWWKH\DUHDVNLQJIRULV WRRDPELWLRXVLQWKDWWLPHIUDPH2ULW PLJKWEHWKDWDSDUWLFXODUVKRWLVQ·W SRVVLEOH,ZLOODOVRVWDUWWRSXOOWRJHWKHUD VKRWOLVWRQDGD\E\GD\EDVLVWKDWZRUNV PRVWHIÀFLHQWO\DQGPDUNLWRXWRQDPDS )RUH[DPSOH,WU\WRJURXSVKRWVLQWRWKH VDPHDUHDVRWKDW,PLQLPLVHKDYLQJWR WUDYHOEHWZHHQORFDWLRQV,DOVRORRNDW ZKDWSKRWRVDOUHDG\H[LVWIURPWKRVH ORFDWLRQVVRWKDW,FDQWU\WRZRUNRXWQHZ YLHZVRUDQJOHVWKDWKDYHQ·WEHHQFRYHUHG 2QFH,KDYHP\VKRWOLVW,·OOFRPSLOH P\OLVWRIZKDW,ZLOOQHHGWRWDNHZLWKPH DQGLIQHHGHGUHQWDQ\QHZHTXLSPHQW What advice would you give to aspiring travel photographers SODQQLQJWKHLUÀUVWIHZWULSV" ,WKLQNRQHRIWKHELJJHVWPLVWDNHVQRYLFH WUDYHOSKRWRJUDSKHUVPDNHLVWU\LQJWR “Despite what most people think, I actually travel much less than I used to because most of my time is spent behind the desk” 65
THEPROINTERVIEW 05 06 05 SPOTTED HYENA AT A DISTANCE In 2022, Kav travelled to the Okavango Delta in Botswana with Desert & Delta Safaris Lens Sigma 150-600mm f/5-6.3 DG OS HSM | Sports 014 Exposure 1/600 sec, f/7.1, ISO1250 06 DESERTED LAND A minimal composition echoes the empty landscape of the desert: “There is just something magical about the dunes.” Lens Canon EF 24-70mm f/2.8L USM Exposure 1/125 sec, f/13, ISO800 07 EILEAN DONAN CASTLE, SCOTLAND The still waters allow for stunning, crisp reflections in the surrounding Loch Duich Lens Canon EF 24-70mm f/2.8L USM Exposure 1/250 sec, f/9, ISO250 SDFNLQWRRPXFKLQWKHWLPHIUDPHWKDW WKH\KDYH7KLVHQGVXSPDNLQJWKHP UXVKDURXQGZLWKYHU\OLWWOHWLPHDWHDFK ORFDWLRQ7KLVDOVRPHDQVWKDWWKH\DUH OHVVOLNHO\WRZDLWDURXQGIRUWKHSHUIHFW FRQGLWLRQVRUPRPHQWEHFDXVHWKH\ZDQW WRFDSWXUHHYHU\WKLQJ 7KHUH·VDJRRGZD\WRORRNDWWKLQJV« \RXDUHDOZD\VIDUEHWWHUUHWXUQLQJIURP DWULSZLWKPDJQLÀFHQWVKRWVUDWKHU WKDQPHGLRFUHVKRWV 66 You’re based outside of London… but as a travel photographer, are you usually on the move? ,GRQ·WDFWXDOO\WUDYHODVPXFKDVSHRSOH PD\WKLQN,GR$ELJSDUWRIEHLQJD WUDYHOSKRWRJUDSKHULVDOVRWKHERULQJ VWXIIWKDW\RXQHHGWRGRDVDEXVLQHVV RZQHU7KLQJVOLNHPDUNHWLQJ\RXUVHOI DQGWU\LQJWRZLQQHZFOLHQWVDUHMXVWDV LPSRUWDQWDVWUDYHOOLQJ,WHQGWREHDZD\ DURXQGIRXUWRVL[WLPHVD\HDU Where would you like to visit that you haven’t yet? 7KHUHDUHORWVRISODFHVWKDW,KDYHQ·WEHHQ WKDW,ZRXOGORYHWRYLVLW,KDYHQ·WVHHQ PXFKRI$IULFDVR,·GORYHWRYLVLWSODFHV OLNH&KDGDQG%HQLQ,·GDOVROLNHWRYLVLW VRPHRIWKH3DFLÀF,VODQGVOLNH6DPRD Tell us about your most memorable travel photography experience so far... ,·YHEHHQYHU\OXFN\WRKDYHEHHQDEOHWR WUDYHODORWLQP\FDUHHUDQGSHUVRQDOOLIH ZLWKVRPHXQEHOLHYDEOHDPD]LQJDQG VFDU\H[SHULHQFHV/LNHIRUH[DPSOHLQ %KXWDQZKHUH,ZDVKRQRXUHGWRKDYH EHHQLQYLWHGWRGLQQHUDWDIDPLO\ZLWK SOXVSHRSOHIRUDFHOHEUDWLRQRIWKH HOGHVWVRQRIWKHIDPLO\EHFRPLQJD PRQN2UWKHUHZDVWKHWLPHZKHQ,VOHSW RQDWUDLQSODWIRUPLQ7KDLODQG%XW, JXHVVLI,ZDVWRFKRRVHRQHLWZRXOGEH P\ÀUVWEDFNSDFNLQJWULSWR7KDLODQGDQG WKHYHU\ODVWPRUQLQJWKDW,ZRNHXSLQ P\KRWHOURRP,ORRNHGRXWRIWKH ZLQGRZDWVXQULVHDQGMXVWUHPHPEHU IHHOLQJOLNH,FRXOGQHYHUJREDFNWRP\ ROGFDUHHU$PRQWKDIWHUUHWXUQLQJKRPH ,TXLWP\MRELQDGYHUWLVLQJDQGVWDUWHG SODQQLQJDURXQGWKHZRUOGWULS Do you think the Instagram effect has been good for travel photography, or made it harder to stand out from the crowd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www.digitalcameraworld.com
KAV DADFAR 07 And is there a misconception about what a travel photographer does in reality, compared to what we might see online? %HLQJDWUDYHOSKRWRJUDSKHULVYHU\ GLIIHUHQWWRWUDYHOOLQJDQGWDNLQJSKRWRV <RXDUHXVXDOO\VKRUWRQWLPHRQDQ DVVLJQPHQWFRXSOHWKDWZLWKDODFNRI VOHHSORQJGD\VDQGWUDYHOOLQJIURPSODFH WRSODFHDQGLW·VDYHU\GLIIHUHQWUHDOLW\WR SHRSOHZDONLQJVORZO\RQWKHEHDFKDQG HQMR\LQJFRFNWDLOVRQVXQORXQJHUV7KH RWKHUSDUWLVWKDW\RXDOVRGRQ·WDOZD\V JHWWRJRWRWKHSODFHVWKDW\RXUHDOO\ ZRXOGORYHWRDVLWWHQGVWREHWKHPRUH SRSXODUGHVWLQDWLRQV6R\RXUDFWXDO WUDYHOOLVWGLIIHUVDORWWR\RXUEXFNHWOLVW When it comes to gear, have you always used Canon cameras? ,KDYHRQO\HYHUXVHG&DQRQFDPHUDV DOWKRXJK,GLGKDYHD)XMLÀOPFDPHUD IRUDVKRUWWLPHLQXQLYHUVLW\%XWRWKHU WKDQWKDWLW·VEHHQ&DQRQDOOWKHZD\ 1RZDGD\V,KDYHD&DQRQ'0N,9DQG DEDFNXS0N,,ERG\,WKLQNLW·VRQO\D PDWWHURIWLPHEHIRUH,PRYHWRPLUURUOHVV DWZKLFKSRLQW,ZLOOSUREDEO\UHSODFH P\WUXVWHG0N,,,DOVRKDYHD'-,0DYLF 3URGURQHDQGD*R3URDVPRUHDQG PRUHFOLHQWVQRZDOVRZDQWIRRWDJH DQGYLGHRVDVZHOODVSKRWRJUDSKV The Canon Magazine STORY BEHIND THE SHOT Grazing Zebras, Botswana Kav shares his first cover shot for JRNY magazine, which also went on to win the best cover photo at the European Publishing Awards I was in the Makgadikgadi Pans National Park in Botswana finishing a story for issue three of JRNY when we came across a herd of zebra grazing. At first, the scene was too harsh under the sun with dark shadows falling across the scene. But then a cloud covered the sun to give the scene an even exposure. In that instant, the herd slowly began to walk away kicking up dust. But the only thing missing was a point of interest which suddenly came in the form of one of the zebras turning and looking at the camera before scurrying away. I only managed to take four shots, with only two when the zebra was looking directly at the camera. 67
THEPROINTERVIEW 08 HABANA VIEJA RUMBA 08 A traditional Afro-Caribbean dance was in full swing during a visit to Cuba, and Kav found a quick pop on the vibrance levels brings the image to life Lens Canon EF 24-70mm f/2.8L USM Exposure 1/200 sec, f/5, ISO1600 09 GRAN TEATRO DE LA HABANA Twilight provided the perfect opportunity to contrast a fading blue sky with the theatre’s bright lights. “Havana was built to be photographed,” smiles Kav Lens Canon EF 24-70mm f/2.8L USM Exposure 6 secs, f/8, ISO50 10 WAT PHO, BANGKOK The Temple of the Reclining Buddha is one of the most famous in Thailand. Kav shot this quiet moment away from visitors, using leading lines to the young monk Lens Canon EF 24-70mm f/2.8L USM Exposure 1/200 sec, f/5, ISO800 What lenses do you use most often and why? Are they different for landscape and travel photos? :LWKRXWDGRXEWWKDWWKHOHQV,XVHWKH PRVWLVP\&DQRQ()PPI/ OHQV,W·VP\ZRUNKRUVHOHQVDQGRI P\VKRWVDUHWDNHQZLWKWKLVOHQV,QIDFW ,·GEHSUHWW\FRQÀGHQWRIEHLQJDEOHWRGR PRVWDVVLJQPHQWVZLWKMXVWWKLVRQHOHQV 0\VHFRQGPRVWXVHGOHQVLVP\&DQRQ() PPOHQVZKLFKLVDOVRVRPHWLPHV DJUHDWRSWLRQIRUODQGVFDSHSKRWRJUDSK\ DVLWFRPSUHVVHVWKHGLVWDQFHVEHWZHHQ REMHFWVIRUDSOHDVLQJUHVXOW As well as being a professional photographer, you’re a tour guide. What’s the most challenging part of teaching others? ,KDYHUXQSKRWRWRXUVDQGZRUNVKRSV DOORYHUWKHZRUOG,W·VVRPHWKLQJWKDW, WKRURXJKO\HQMR\DQGZLVK,FRXOGGR PRUHRILIP\WLPHDOORZHG,WKLQNWKH KDUGHVWSDUWDERXWWHDFKLQJLVSHRSOHDUH RIWHQVHWLQWKHLUZD\VDQGJHWWLQJWKHP WRFKDQJHEDGKDELWVXVXDOO\WDNHVORQJHU WKDQDIHZGD\V2QRQHWRXUDJXHVWKDG WKHPRVWXQXVXDOZD\RIKROGLQJWKH FDPHUD7KLVZDVUHDOO\KDPSHULQJWKHP DVWKH\NHSWJHWWLQJFDPHUDVKDNHHYHQDW DFFHSWDEOHVKXWWHUVSHHGV$VPXFKDV, NHSWUHPLQGLQJWKHPVXEFRQVFLRXVO\ WKH\ZRXOGVZLWFKEDFN You’re also a competition judge and writer. Do you think it’s important for photographers to be multi-skilled to have a career now? ,GRQ·WEHOLHYHWKDWDQ\RQHFDQZRUN 68 SXUHO\DVDWUDYHOSKRWRJUDSKHUWKHVH GD\V3KRWRJUDSKHUVKDYHWREHPXOWL VNLOOHGZKLFKLVZK\PDQ\UXQWRXUVRU ZRUNVKRSVVHOOHERRNVDQGVKRRWRWKHU JHQUHV6RPHOLNHPHKDYHDOVREHFRPH ZULWHUV7KHUHLVMXVWIDUWRRPXFK FRPSHWLWLRQWKHVHGD\VWREHDEOHWRMXVW EHDWUDYHOSKRWRJUDSKHU7REHUHDOO\ VXFFHVVIXOÀQDQFLDOO\\RXQHHGWRH[SDQG \RXUVNLOOVHWWRDEOHWREHDEOHWRRIIHUWKH ZKROHSDFNDJHWRDFOLHQW If all of that wasn’t enough, you are also the founding editor of the fantastic travel magazine JRNY, ZKLFKLVQRZRQLWVÀIWKLVVXHDQG has a spin-off podcast. What was your vision for the magazine? (YHUVLQFH,ZDV\RXQJ,KDYHZDQWHGWR SXEOLVKP\RZQWUDYHOPDJD]LQH:KHQ &RYLGVWUXFNDQGDQXPEHURIWUDYHO PDJD]LQHVIROGHG,IHOWWKDWWKLVZDVWKH SHUIHFWRSSRUWXQLW\WRÀOOWKHJDS7KDW·V ZKHQ-RUGDQ%DQNVDQG,IHOWZDVWKH ULJKWWLPH2XUJRDOZDVWRFUHDWHDWUDYHO PDJD]LQHXQOLNHDQ\WKLQJHOVHRXWWKHUH 2QHWKDWFRPELQHGJUHDWMRXUQDOLVP EHDXWLIXOWUDYHOSKRWRJUDSK\TXDOLW\ SURGXFWLRQDQGPLQLPDODGYHUWLVLQJ« PRUHRIDFRIIHHWDEOHERRNWKDQWKHXVXDO QHZVVWDQGW\SHRISXEOLFDWLRQ :HODXQFKHG-51<7UDYHO0DJD]LQH WKURXJKDVXFFHVVIXOFURZGIXQGLQJ FDPSDLJQZKHUHZHKLWRXUIXQGLQJ WDUJHWZLWKLQMXVWHLJKWGD\V,QWKHWZR \HDUVVLQFHRXUODXQFKZHKDYHSXEOLVKHG ÀYHLVVXHVRI-51<DQGKDYHZRQ PXOWLSOHDZDUGVLQFOXGLQJWKH SUHVWLJLRXVWUDYHOPDJD]LQHRIWKH \HDUDZDUGDIWHUMXVWRQHLVVXH www.digitalcameraworld.com
PROFILE Kav Dadfar Landscaper and travel photographer 09 Kav Dadfar is a professional travel and landscape photographer based in Surrey, UK. He started taking photos and developing film at university, then went on to work as an art director in London – where photos played a part in his everyday workflow. Since turning professional, Kav has worked on editorial and commercial assignments and shot hundreds of stock images, for clients including National Geographic, Wanderlust Travel Magazine, Lonely Planet, Rough Guides, American Express, Sunday Times Travel, The Guardian, and PhotoPlus. Kav is also a writer, tutor, and judge. He has written over 500 articles on travel and landscape photography, runs group photo tours as part of That Wild Idea with Jordan Banks – the photographer he co-founded JRNY Travel Magazine with – and is a judge on the Wanderlust Travel Magazine Photography of the Year competition. www.dadfarphotography.com 10 Where is the magazine headed next, what future plans are there? ,W·VDQH[FLWLQJWLPHIRUXVDW-51<ZLWK ORWVLQWKHSLSHOLQH:HUHFHQWO\ODXQFKHG RXUWUDYHOSKRWRJUDSK\FRPSHWLWLRQ WKH :RUOG7UDYHO3KRWRJUDSK\$ZDUGV LQ SDUWQHUVKLSZLWK:LOG)URQWLHUV7KHDLP RIWKLVIUHHWRHQWHUFRPSHWLWLRQLVWRÀQG WKHEHVWWUDYHOSKRWRJUDSK\LQWKHZRUOG :LWKDWRSFDVKSUL]HRI LWLVD IDQWDVWLFRSSRUWXQLW\IRUDQ\WUDYHO SKRWRJUDSKHUQRWRQO\WRZLQWKHSUL]H EXWDOVRSXWWKHLUEHVWVKRWVLQIURQWRIXV at -51<DQGRXULQFUHGLEOHSDQHORI MXGJHV&KHFNRXWWKHFRPSHWLWLRQDW MUQ\PDJFRPSKRWRFRPS “A big part of being a travel photographer is also the boring stuff that as a business owner you need to do” With so many elements to your career, what’s your favourite way to spend your working time? $VPXFKDV,ORYHSKRWRJUDSK\,UHDOO\GR HQMR\ZRUNLQJRQHDFKLVVXHRI-51< (YHU\LVVXHKDVLWVFKDOOHQJHVDQG VOHHSOHVVQLJKWVEXWZKHQ\RXJHWWKH ÀQDOSULQWHGPDJD]LQHLW·VDOOZRUWKLW 7KHWKLQJWKDW,ORYHPRVWDERXW SXEOLVKLQJHDFKLVVXHLVWKDW,UHPHPEHU The Canon Magazine Next issue: David Lund, liquid photography and video specialist LWIURPWKHYHU\VWDUWZKHQZHUHFHLYH WKHSLWFKIURPRQHRIRXUFRQWULEXWRUV ULJKWWKHZD\WRZKHQZHGHEDWHZKLFK SKRWRVZRUNEHVWIRUWKHIHDWXUH )URPDSKRWRJUDSK\SRLQW,ORYH VKRRWLQJVWRULHVIRU-51<HYHU\QRZDQG DJDLQ'HVSLWHZKDWPRVWSHRSOHWKLQN, DFWXDOO\WUDYHOPXFKOHVVWKDQ,XVHGWRDV PRVWRIP\WLPHLVVSHQWEHKLQGWKHGHVN VRUWLQJRXWWKHPDJD]LQHFRQWHQW And lastly, where are you headed next? What’s the destination for your next big travel shoot? 1H[WIRUPHLVDPRQWKORQJWULSWR &DQDGDLQ6HSWHPEHUIRU-51<:HDUH ZRUNLQJRQDIHZELJSURMHFWVDQG,·P OXFN\HQRXJKWREHKHDGLQJRXWWRWKH SKRWRJHQLFDUHDVRI%ULWLVK&ROXPELD 1RYD6FRWLDDQG6DVNDWRRQ 69
Photo essays from PhotoPlus readers and professional photographers alike JOIN IN THE FUN! One of the great things about photography is being able to share your view of the world. This month, one photographer captures the splendour of English gardens, while another shares some of his favourite portraits. We want your photos and stories! For your chance to show off your images in PhotoPlus, email three to five high-resolution JPEGs, along with a brief synopsis – explain why you took the shots, the location, whether they’re part of an ongoing project or a one-off shoot, and anything else unusual or interesting. Also include Canon EOS camera, lens and exposure details. Email images and info to photoplus@futurenet.com Catch us online at www.facebook.com/ photoplusmag www.instagram.com/ PhotoPlusCanonMag www.twitter.com/ photoplusmag 01 PROJECT INFO Green-fingered photographer Clive Nichols heads to some of his favourite spots in England to take wonderful garden scenes NAME: Clive Nichols LOCATIONS: Various gardens across England MISSION: To take pictures of the best English gardens for his book: Brilliant English Gardens KIT: Canon EOS 5DS R, Canon EF 24-70mm f/2.8L USM, Canon EF 70-200mm f/4L USM WEBSITE: www.clivenichols.com 70 Brilliant English garden images I WWRRNPHRYHUÀYH years to gather all of the images to put together my book: Brilliant English Gardens. I wanted to present gardens from all over England so I travelled far and wide in search of the best ones, from Devon in the west to Norfolk in the east, and from Sussex in the south to Northumberland in the north. I also wanted each of the 27 gardens to be shown in its full glory and that meant I could devote 12 or 14 pages to most of the garden locations featured. The gardens featured are not all well known – in fact, some have never been photographed before. My aim from the outset was to open the eyes of readers to gardens www.digitalcameraworld.com
YOUR PHOTO STORIES 03 04 01 THE OLD VICARAGE Borders bursting with colour in May at The Old Vicarage, Wormingford, in Essex 02 that I myself loved to photograph. I had planned to publish the book in Spring 2020 but then the pandemic hit and put my plans on hold. During the lockdowns I was able to visit gardens that would normally be busy with visitors and have the whole place to myself, which was wonderful and one of the few positives to come out of the pandemic. Luckily, the ZHDWKHUGXULQJWKHÀUVW lockdown in the Spring of “Most of the images were shot at dawn or sunset for maximum atmosphere” The Canon Magazine 2020 was also some of the best we have experienced in the past decade, with perfect skies and little wind. I shoot all of my images on a Canon EOS 5DS R and DOZD\VXVHWKH5$:ÀOH format for best image quality. ,WKHQSURFHVVWKH5$:ÀOHV using Adobe Camera Raw and then some basic work in Photoshop CC. Most of the images were shot at dawn or sunset for maximum atmosphere in the golden hour. I load up my camera bag with a Canon EF 24-70mm f/2.8L USM and Canon EF 70-200mm f/4L USM and this usually covers me for most scenarios, although I do sometimes reach for special tilt-shift lenses to keep the vertical lines in buildings absolutely straight when the shot calls for adjustment. Lens Canon EF 70-200mm f/4L USM Exposure 1/5 sec, f/11, ISO100 02 SILVER STREET FARM Sunrise on the camomile mound and fennel, Silver Street Farm, Devon Lens Canon EF 24-70mm f/2.8L USM Exposure 1/60 sec, f/11, ISO100 03 WOLLERTON OLD HALL Misty morning at Wollerton Old Hall, Shropshire Lens Canon EF 70-200mm f/4L USM Exposure 1/10 sec, f/11, ISO100 04 QUINTON OLD RECTORY Autumn colours in November at Quinton Old Rectory, Northamptonshire Lens Canon EF 24-70mm f/2.8L USM Exposure 1/15 sec, f/11, ISO100 FEEDBACK why it’s so Clive’s lovely English garden photographs and show first light, tiful beau important to get up early to make use of the sun beams, ning whether it’s shooting in the golden hour with stun to fill up like you’d or a gentle mist that covers the landscape. If sure to be os phot your memory cards with some cracking garden some for ens, check out Clive’s new book, Brilliant English Gard additional inspiration and locations. 71
PHOTOSTORIES 01 PROJECT INFO Perfect people pictures Tony shares some of his favourite portraits of interesting subjects NAME: Tony James LOCATIONS: Old Coach House Studio, Farningham, Kent and on location MISSION: The challenge of taking the perfect portrait KIT: Canon EOS R5 and Canon EOS 5D Mark IV, Canon RF 50mm F1.8 STM, Canon RF 24-105mm F4L IS USM, Canon EF 85mm f/1.4L IS USM www.tony-james-photography.com 72 y passion for portrait photography has been inspired by my love of ballet and the challenge of capturing the shape and movement of dancers as they practise their art. 0\ÀUVW opportunity came about under the mentorship of the late Andrew Appleton and the dancer Alexa Hilton, who took the time to explain some of the complexities of dance, even getting me to attempt some of the movements! M More recently, I’ve had the opportunity to photograph Kate Byrne and other dancers in the rehearsal studios of the English National Ballet. Another reason for my interest in portraiture is the challenge of engaging with the person with the aim of creating a rapport to get the best out of both the subject and myself. Shooting in the studio gave me the opportunity to hone P\VNLOOVLQFDSWXULQJWKHÁRZ of the dress and the point of balance of the movement. I’ve learnt that a photographically good image might not be good for the dancer if they aren’t happy with the execution of the movement. Therefore communication and checking your shots regularly is vital. My image of Ellie was inspired by an interest in 6FDQGLQDYLDQGUDPDVDQGÀOP noir. The venetian blind effect was created by attaching a *RERVODWWHGÀOWHUWRWKHIURQW of the studio light, taking care to place Ellie so that her eyes were not concealed by the darker shadows. A second light source was placed behind her to create a rim highlight on her hair. www.digitalcameraworld.com
YOUR PHOTO STORIES 03 02 I’ve been brushing up on my outdoors portraits too; working with natural light is totally different to the studio. My image of Terri was taken in Venice and I wanted to include the wonderful buildings along the canal in the background, though I didn’t want them to be a distraction. I settled on an aperture of f/4 in the end which gave just the right balance of blur and detail. My photo of Romario was taken at the Old Asylum Chapel, Peckham in London. It’s a crumbling Grade II building with an incredible atmosphere. I continued with my theme of attempting to create a sense of location without it becoming a dominant factor in the shot. 04 01 ELLIE A studio shot inspired by Tony’s interest in Scandinavian dramas and the film noir genre Lens Canon EF 85mm f/1.4L IS USM Exposure 1/125 sec, f/8, ISO100 02 KATE FEEDBACK from using different Tony has shown a broad range of camera skills ol over the lighting, lighting setups in the studio where he has full contr are nice and sharp, to working outside in natural light. His portraits and he’s posed with the focus expertly placed on the model’s eyes, with top . Along them well too, to get the best portraits of them tion skills too camera knowledge, he clearly has great communica le pictures. and this has rewarded him with some great peop A studio shoot gave Tony the opportunity to hone his skills and capture the flow of the dress and balancing point of the movement Lens Exposure 1/125 sec, f/9, ISO100 03 ROMARIO Shooting at the Old Asylum Chapel, in Peckham, London, Tony created a space for Romario for a wistful portrait pose Lens Canon EF 85mm f/1.4L IS USM Exposure 1/100 sec, f/1.8, ISO800 04 TERRI Tony experimented with natural light in Venice shooting with his model on the canals Lens The Canon Magazine Canon RF 50mm F1.8 STM Canon RF 24-105mm F4L IS USM Exposure 1/500 sec, f/4, ISO200 73
Professional photographers reveal their top six tools of the trade they couldn’t shoot without “As a scientist, I enjoy a technical challenge and learning about the position of the galactic core” WHAT DO I DO? Jen Rogers Devon-based Jen has a passion for the outdoors and takes her camera kit with her on hiking adventures to take incredible astro photographs and seascapes was given a used Praktica camera by my parents for my 22nd birthday, and I’d just moved to Scotland to study for my PhD, where I discovered hill walking. The camera became an extension of my love of the outdoors and remains so to this day. In 2007, I had the opportunity to travel through South America and realised I wouldn’t be able WRFDUU\HQRXJKÀOPZLWKPH so I switched to a digital Canon EOS 450D, and have since upgraded to better I 74 Canons over the years. I now shoot with a Canon EOS 5D Mark IV and an EOS R. In 2010, I moved to Bideford on the north coast of Devon. I’m attracted to wild places and have spent many hours exploring the area by foot or kayak, particularly around Hartland with its spectacular cliffs and hidden coves. I like moody weather and bold colours, so I often shoot at dawn or dusk or in stormy weather. Then I went to a talk by astrophotographer Stephen Banks in 2018, which triggered a new passion for astrophotography. As a scientist, I enjoy a technical challenge and learning about the position of the galactic core in the sky at different times of the year. I also love shooting the Aurora and have been lucky enough to visit Iceland and Norway. My aim is to capture the Milky Way, star trails or Aurora in the context of the landscape, particularly over the sea. I spend a lot of time planning how to frame the Milky Way RYHUWKHFRDVWOLQHRUUHÁHFWLYH pools on the beach. Jen Rogers jenrogersphotography.co.uk JEN is an enthusiast astro and seascape photographer based in the stunning setting of north Devon, with a love for the outdoors, hill walking and kayaking. She’s a consultant at the University of Bath and her passion is the natural world and astrophotography. In 2020 and 2022, she was shortlisted for the coveted Astrophotographer of the Year award and was also the runner-up for the Landscapes At Night category in the Landscape Photographer of the Year 2022 competition. www.digitalcameraworld.com
CANON PROS & THEIR KIT IN JEN’S BAG 01 02 06 03 05 04 01 02 Canon EOS 5D Canon EOS R WEB: www.canon.co.uk Mark IV WEB: www.canon.co.uk MY FIRST digital camera was a Canon EOS 450D though I quickly upgraded to the EOS 5D Mark II and eventually moved onto the Mark III and Mark IV models. The Mark IV is my favourite. It’s great in low light and I’ve used the Canon format for so long it’s become intuitive, which is great in the dark. The touch screen and bulb timer are also very useful. I love it for seascapes too, which I shoot in Manual mode using Live View, making it very easy to bracket my exposures. The Canon Magazine MY husband bought this for me in 2019 as it is significantly lighter than my Canon EOS 5D Mark IV but has a similar 30.3MP full-frame sensor. I now largely use the EOS R at night, as the electronic viewfinder and the Focus Peaking feature in Live View make it easier to focus on the stars and also to focus stack foregrounds. I also use a Canon EF-EOS R adapter so I can continue to use my old Canon EF lenses on the newer EOS R mirrorless body. 03 04 Canon EF iOptron 17-40mm f/4L SkyTracker USM Pro WEB: www.canon.co.uk WEB: www.ioptron.com THIS IS my go-to lens which I use most often for landscape work. It’s perfect for emphasizing foreground, and for capturing seascapes, so it’s the lens I usually have glued to my camera in the day. I have two kit bags, one for shooting seascapes with my Canon EF 17-40mm f/4L USM and Canon 70-200mm lenses as well as my LEE filters, and another bag for night shots with several fast prime lenses, and my StarTracker inside. THIS IS my trusty tracker which rotates at the same speed as the Earth in the opposite direction. Once aligned with Polaris, it keeps the stars still in the sky for long exposures to be used without capturing star trails. I use this for the majority of my Milky Way shots to give them incredible depth. In addition, I also use a Pixel TW283X intervalometer, which is essential for shooting star trails and tracked Milky Way exposures in bulb mode. 05 06 Samyang Sigma AF 24mm f/1.8 100-400mm WEB: www.samyanglens.com f/5-6.3 DG DN THIS IS my favourite OS | C night lens. Very sharp, fast, and the Milky Way is still significantly big in shot. The majority of my favourite nightscapes are shot with this. Taking a night landscape is always a compromise between getting as much detail in the Milky Way as possible and also putting it into context within the landscape. I tend to take two shots, one of the sky and one of the foreground and then stitch them together in software for a totally sharp scene. WEB: www.sigmauk.com A TELEPHOTO lens may sound like a strange choice for landscapes but I actually use two of them – the Sigma 100-400mm f/5-6.3 DG DN OS | C and my Canon EF 70-200mm f/4L USM. Both are great for compressing the perspective, but the Sigma, with its larger zoom range, is also ideal for pictures of the moon and big wave shots at the coast. 75
NEWSERIES CANON SCHOOL In part 30 of our series: Using your Speedlite off-camera opens up a range of lighting options for more creative photos MARCUS HAWKINS PHOTO EXPERT Marcus has been passionate about photography for more than 25 years. A former editor of our sister publication Digital Camera, he has written about photography and cameras for a wide range of clients, including Canon and Jessops, and uses a Canon EOS 5D Mk IV. Get up to speed on Speedlites A flashgun (or two) lets you get creative with your lighting in ways that other lights can’t A EXLOWLQÁDVKFDQ RQO\JHW\RXVRIDU ,WVÀ[HGSRVLWLRQ DQGFRPSDUDWLYHO\ ORZSRZHUUHGXFH\RXU FUHDWLYHÁDVKRSWLRQV VRPHZKDW6WHSXSWRD 6SHHGOLWHDQG\RXRSHQ XSPRUHRSSRUWXQLWLHV Being able to take the Canon Speedlite off-camera, use PRGLÀHUVVXFKDVVRIWER[HV and snoots, and add a second RUWKLUGÁDVKJXQHQDEOHV\RX WRFKDQJHWKHPRRGRI\RXU pictures and give them a more professional look. %XWZK\FKRRVHD6SHHGOLWH when continuous LED light offers a number of the same EHQHÀWV"<RX·UHDEOHWR H[SHULPHQWZLWKWKHSRVLWLRQ of an LED light to get a more FUHDWLYHORRNIRUH[DPSOH<RX FDQDOVRPRGLI\WKHRXWSXWIRU PRUHÁDWWHULQJRUGUDPDWLF results – although nowhere QHDUWRWKHVDPHH[WHQWDV\RX FDQZLWKDÁDVKJXQLWKDVWR EHVDLG:KDW\RXVHHLVZKDW \RXJHWZLWKDQ/('OLJKWVR LW·VVLPSOHUWRXVHWKDQD Speedlite, and it can also be easier to change the colour of the lighting to make it blend in ZLWK RUVWDQGRXWIURP DQ\ ambient light in a scene. Speedlites still rule for PDQ\VLWXDWLRQVWKRXJK7KH\ offer more power than LED 76 lights, in a smaller, lighter and PRUHPDQRHXYUDEOHIRUP<RX FDQXVHDÁDVKIURPIXUWKHU DZD\VRIWHQDQGVSUHDGWKH OLJKWZLWKVRIWER[HVDQG umbrellas, and still have bags of power in reserve to achieve DJRRGH[SRVXUH3HUKDSV WKHLUELJJHVWEHQHÀW compared with LEDs, is the ZD\WKDW6SHHGOLWHVHQDEOH\RX WRVHSDUDWHWKHÁDVKH[SRVXUH and the ambient light H[SRVXUHDQGH[SHULPHQW ZLWKH[SUHVVLYHFRPELQDWLRQV of sharpness and blur, such as VORZV\QFÁDVKDQGVHFRQG FXUWDLQV\QF Flash head The majority of Speedlite s allow you to rotate and swivel the flash head in order to bounce the flash Connection Speedlites and transmitters that have a Multi-Function foot, such as the EL-5 shown here, are compatible with EOS R series cameras Display Adaptor conventional To use a Speedlite with a camera, foot on an EOS R series tional you’ll need to attach the op ter AD-E1 Multi-Function Shoe Adap Advanced Speedlites have onbody controls and a screen where you can monitor adjustments – although you can also do this on the camera www.digitalcameraworld.com
FLASH PHOTOGRAPHY TAKE CONTROL Flash exposure modes Understand how the flash exposure can be affected peedlites give you the opportunity to try different flash modes, but ETTL and Manual are the main options. ETTL (Evaluative Through-The-Lens) is an automatic form of flash exposure, where the camera fires a brief pulse of flash before the main exposure. It uses this initial pulse to measure the light that’s reflected by the subject back through the lens to set the flash exposure. The ambient light is also analyzed too. To optimize the exposure, the camera’s AF points act as a guide to where the subject is and, if the lens transmits distance information, how far away it is too. Face detection can also be used to prioritize the flash output for people. ETTL doesn’t always get it right. If there are reflective objects in a scene, such as glass or mirrors, the camera might shut off the flash exposure too soon. Bright or dark subjects can also throw the camera. Manual flash offers a consistent output, but you have to set the power of the flash yourself. You can typically reduce the power S from 1/1 (full power) down to 1/128th power, although some Speedlites let you go lower – such as the EL-5, which goes to 1/1024th power. Higher power settings gives you a brighter flash, but you’ll have to wait for the flash to recycle. Lower power flash lets you take pictures quickly, as the flashes are shorter – but you may need to move in closer. To increase a flash exposure when using ETTL mode, you can use Flash Exposure Compensation to brighten or darken subjects For a brighter Manual flash exposure, increase the power. Alternatively, move the Speedlite closer, or use a wider aperture The pale setup resulted in a flash exposure that was too dark, but it’s easy to override this Experiment with flash modifiers Softbox Control the quality and intensity of the light with accessories he glare of a bare flashgun can be harsh, but there are huge range of modifiers available that allow you to soften and shape the light. Umbrellas and softboxes are popular choices for taking the edge off flash. There are two main types of umbrella: shoot through, where you aim the Speedlite at the subject through the fabric, and T The Canon Magazine reflective, where the umbrella and Speedlite are reversed and the light is bounced off the white, silver or gold interior. Softboxes diffuse the flash but also give you more control over the direction of the light. They have solid sides, with a panel of diffusion material at the front. The addition of a grid or ‘egg crate’ in front of this material can reduce the spill of the light, giving a more spotlit effect – albeit a soft one. The larger the light source, the softer the light is, so moving the Speedlite closer to the subject will give you more flattering results. If the Speedlite has a rotating head, you can try bouncing the light off a nearby white wall or ceiling instead of using a diffuser. Bare 77
CANONSCHOOL OPTICAL AND RADIO Taking flash off-camera Triggering your Speedlite wirelessly gives you more freedom he major benefit of a Speedlite over a built-in flash is that you can use the Speedlite remotely, allowing you to illuminate the subject in more interesting ways. When you take a flashgun off the camera, you’ll need a way of operating and triggering it remotely. While you can use an off-shoe cord to keep the Speedlite connected to the camera’s hotshoe, wireless is the most convenient way to go. You’ll need a wireless transmitter on the camera – some EOS cameras have one built in, but most will need a transmitter attached to the hotshoe. If you’re using Canon Speedlites, then you also have the option of using one of Canon’s Speedlite transmitters – relatively small and lightweight devices that slot onto the hotshoe or MultiFunction shoe of a compatible Canon camera. A wireless receiver is also required on the flashgun. Many flashguns have a wireless receiver/transmitter function, so you can use one flashgun on the camera to send commands to another remote flashgun. There are two types of wireless flash control: optical T and radio. Optical uses infra-red light to trigger a remote flashgun. This requires a ‘line of sight’ between the transmitter and the receiver. If they cannot see each other – or there are no walls or a ceiling for the beam of light to be reflected from – then the flash won’t fire. Radio transmission doesn’t have this limitation, so you’re able to hide the remote Speedlite behind and even inside objects in the scene that you’re shooting. You can also lock them away in a fully enclosed softbox or other light modifier, and freely change settings and fire the flash without having to constantly open and close the modifier – although you may still need to change the batteries. For this setup I used a Westcott Apollo Orb Speedlite Octabox Kit to turn the single Speedlite into a large overhead light source Speedlite remote control options There are now even more options for adjusting your Speedlite ONE OF the advantages of using a Canon Speedlite is that you can control it using the camera’s interface. It’s much easier to navigate the familiar menu structure and touchscreen of an EOS body than the small screen on the back of a Speedlite (if it indeed has one). You’ll find the flash settings menu under ‘External Speedlite control’ in the shooting menu. You may be able 78 to customize one of the camera buttons as a shortcut to this menu, which can help to speed things up. The Speedlite EL-5 and Speedlite Transmitter ST-E10, both of which are designed for the EOS R system’s Multi-Function shoe, include a button that automatically brings up the flash functions menu on the camera display. For added convenience, the EOS R6 Mark II and EOS R50 have a Quick Flash Group Control option, shown here, which comes in handy when you’re using more than one Speedlite. This feature enables you to customize one of the buttons as a shortcut to an overlay for adjusting multiple Speedlites. The Speedlite EL-5 also makes it possible to configure flash settings remotely on your smartphone, via Canon’s Camera Connect app. www.digitalcameraworld.com
FLASH PHOTOGRAPHY SHUTTER CHOICE Know your camera’s flash sync speed What happens if you set a shutter speed that’s too fast or too slow? he flash sync speed of an EOS camera determines the fastest shutter speed that it’s possible to use flash with for a standard exposure. It’s typically 1/200 sec, but it does vary. It can even change according to the Shutter mode you’ve set, if your camera offers this function. For example, the mirrorless EOS R6 Mark II can sync with EL/EX Speedlites at 1/200 sec or slower when it’s set to the mechanical shutter, but the sync speed jumps to 1/250 sec with the electronic first curtain shutter. If the subject you’re shooting requires a shutter speed that’s faster than the flash sync speed in order to expose it correctly, then the picture may end up looking too T To avoid blur when using Av mode in low light, you can ensure the camera maintains a shutter speed that matches the sync speed bright. This can often happen when you’re shooting outdoors on a sunny day and you’re using a large aperture to blur the background. In this situation, you’d normally use a fast shutter speed to avoid the image being overexposed, but when the Speedite is switched on, the camera has to use the longer exposure time required by the flash. If the sync speed is 1/200 sec, for example, but the scene requires a shutter speed of 1/800 sec to expose it correctly, then the image will be overexposed by two stops. There are a few ways to avoid this. You can fit a Neutral Density filter to the lens or set a lower ISO or a smaller aperture in order to bring the scene’s shutter speed down to the flash sync speed. Many Speedlites also offer the option to High Speed Sync, which allows you to use a shutter speed that’s faster than the flash sync – although the Speedlite may need to be moved closer to the subject as light power will be lower. If you’re shooting in the dark, you’re unlikely to have this problem. Watch out for motion blur though. You can reduce this by setting the camera’s shutter speed to the sync speed in Manual mode. Shooting in the dark 00 sec sync With the camera set to the 1/2 speed in Manual mode, I manually adjusted the flash power to control the exposure School tip Zooming flash heads Take advantage of this Speedlite feature for creative effect MANY flashguns have the capability to zoom the flash head to match the focal length of the lens. This ensures that flash power isn’t wasted and coverage is matched to the field of view of the focal length. Some Speedlites do this automatically – which is handy if you’re using a zoom lens – but you can also manually adjust the zoom position. Changing the zoom is a creative way to The Canon Magazine control the look of your flash pictures. Zooming to a focal length that’s wider than the lens, for example, can help to spread the light for a slightly more flattering look (although this can lead to underexposed images if the flash isn’t powerful enough). Alternatively, zoom the flash in when using a wider lens for a spotlit effect similar to using a snoot. PART 31 Next issue: Controlling colours in your images High-end Speedlites offer far-reaching zoom options, such as 200mm, whereas on the EL-100 you’re limited to 28-50mm 79
CANONSCHOOL SOFTWARE SOLUTIONS Canon EOS expert Brian explains how to safely store your images automatically with Canon’s cloud storage service BRIAN WORLEY CANON PRO Brian is a freelance photographer and photo tutor, based in Oxfordshire. He has unrivalled EOS camera knowledge as he’s been working for Canon for over 15 years and can help you master all EOS products. www.p4pictures.com Store images with image.canon Cloud storage service takes the hassle out of saving photos from holidays and travel trips mage.canon is a cloud service designed to VLPSOLI\\RXUZRUNÁRZ Connecting your Wi-Fi compatible Canon camera to image.canon allows you to seamlessly upload your images and movies in their original format and quality, then access them from the dedicated app or a web browser and I automatically forward them to your computer, mobile devices and third party services. Image.canon is also an online photo storage service designed for long term and short-term storage. You have up to 10GB of free storage that can be increased for a monthly fee, and a 30-day short term storage with unlimited capacity. Many recent Canon EOS cameras with built-in Wi-Fi can be used with the service. You’ll need a mobile device, the Canon app and an internet or mobile data connection to complete the setup. There you’ll need to create a Canon ID or login to an existing one, which will also add the camera to your MyCanon account. Once setup, images can be uploaded wherever you have an internet connection. Many recent cameras will upload images you choose from the playback screen directly to the Canon service, others will need you to transfer them to an app on your phone or computer to upload. You transfer your images to your account’s permanent storage. STEP BY STEP KEEP YOUR PRECIOUS PICTURES SAFE Learn how to transfer and share your high-res images using Canon’s cloud-based service SET UP YOUR CAMERA BEFORE YOU TRAVEL It’s best to do all the setup for your EOS camera with image.canon before you embark on your travels. It’s really simple and the mobile app guides you through the specific steps for your camera. Consider how much data you might use if you plan uploading via your mobile especially if you shoot in RAW images. 80 01 SET UP YOUR CAMERA CONNECTION 02 TRANSFER YOUR PHOTOS Firstly download and install the image.canon mobile app from your mobile device’s app store. Start the app, select your camera then follow the steps to create your account and configure your camera’s wireless settings. As part of the sign-up process you’ll need an email and to sign up to Canon’s online system with a Canon ID. Check your camera to see what transfer method is available. Options include moving images to your phone with the Camera Connect App, then uploading with the image.canon app, and transfer from your camera to the image.canon app. Some cameras can upload to image.canon as you shoot by using your mobile as an internet hotspot. www.digitalcameraworld.com
CLOUD STORAGE 03 SHARING TO ONLINE SERVICES 04 AUTO DOWNLOAD TO YOUR COMPUTER Photos you send to image.canon can be automatically transferred to other services including Google Photos, Google Drive, Adobe Photoshop Lightroom, YouTube, Frame.io or Flickr. You can upload and share pictures and movies in one step direct from your camera. Use the connected services to simplify your workflow. Your computer can automatically download images from your image.canon account when your computer is connected to the internet. So your travel pictures could be on your home computer ready for when you get home. You’ll need to install the image downloader on your PC or Mac and choose where to save the images to keep your pictures are safe. The Canon Magazine 81
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CANONSCHOOL BRIAN WORLEY CANON PRO Our technical guru is here to help. No Canon conundrum is too big or small. Get in touch today at EOSSOS@futurenet.com Brian is a freelance photographer and photo tutor, based in Oxfordshire. He has unrivalled EOS camera knowledge, after working for Canon for over 15 years, and is on hand to answer all your EOS and photographic queries Why are my photos rarely in focus when using a remote release, but always sharp when using back button focus? Peadar Ó Conghaile, Portadown BRIAN SAYS… When you configure a camera for back button AF, you stop the half-press of the shutter button from initiating focus. Most remote releases have two stages of release like the shutter, but internally the camera’s hardwire the connections of the remote socket to the switches in the shutter button. So when you combine remote release with a configuration for back button AF, the camera never initiates focus from the remote, any in-focus shots you get are pure chance or the good fortune of the depth of field with your aperture. If your camera has a custom shooting mode then you could configure this with different custom controls, and no back button AF. All you need to remember is to use this when doing a shot with a remote. Note, some EOS mirrorless R-series cameras do not support different button configurations for custom modes. Lenses including the RF-S 18-45mm kit lens don’t have an IS switch on the lens, so image stabilization operation is controlled from the menu Why is there an IS (Image Stabilizer) mode menu in the EOS R10, I thought it didn’t have In-Body IS? Peter Cox, Hereford When using a remote release, maybe for macro shots, you need to deactivate back button AF to enable focusing with the remote release 84 BRIAN SAYS… You are correct that the EOS R10 doesn’t feature In-Body IS, but the menu provides access to two possible settings. Firstly, it is used to set up movie digital IS. Movie digital IS works by slightly zooming in to the frame, and then dynamically reframing the scene to mimic the effect of image stabilization. This is technology that has been used on video cameras for many years, and the results are very effective. Even if you use a lens with IS, activating movie digital IS makes a significant extra improvement in stability while recording with a handheld camera. When certain RF lenses are fitted to the camera, the IS mode menu option appears. Some of the RF lenses with IS do not have an IS switch on the lens, the RF-S 18-45mm and RF-S 18-150mm kit lenses are prime examples. The menu appears and allows you to switch the lens optical image stabilization on and off. You may want to disable the lens IS if you are using a tripod for very long exposures. Movie digital IS crops in slightly to the image so that the camera can dynamically reframe the image to achieve a stabilising effect www.digitalcameraworld.com
EOS S.O.S Ask Brian! Confused with your Canon camera? Send your questions to EOSSOS@ futurenet.com Select a shutter speed of at least 1/125 sec for the sharpest portraits and avoid subject blur, even if the ISO has to be raised Resolution breaks the rules The old rules for shake-free photos are challenged by newer EOS camera’s high-resolution images ver since reading my first book on photography, there’s been one rule for sharper photos, and that’s to keep everything stationary. When hand-holding the camera, the traditional wisdom for shake-free shots was to use the reciprocal of the focal length. For a 500mm lens that means 1/500 sec, or for a camera with a crop sensor work with effective focal length – as 500mm becomes 800mm then use 1/800 sec. But with high-resolution digital sensors and larger viewing screens means that sharpness or lack of it is much more readily seen. A 24-inch monitor with 1920 pixels across is commonplace and if you zoom in to 100% on a 24MP image it’s like looking at a 1.5 metre print. It should be no surprise that you see more faults looking at digital images at full-size on a monitor. When the first 4.1MP EOS-1D was updated to the 8.2MP EOS-1D Mark II, E The Canon Magazine professional sports photographers found they needed to use faster shutter speeds to achieve the same level of sharpness they were used to. Fast forward to the 24MP to 45MP in use today and it becomes clear that the old rules may have stopped being as effective as they once were. Image stabilization, both in-lens and in-body, has certainly helped to reduce the effects of camera shake. But if the subject is moving, you will also detect motion blur at faster shutter speeds than in the past. For portraits it’s good to expect to set the shutter speed to 1/125 sec or faster to freeze movement. No amount of image stabilisation will help correct a moving subject. Those of you who use Program and Aperture Priority exposure modes can use Auto ISO to avoid camera shake. The camera programming takes the lens focal length into account when choosing shutter speeds and ISO settings, but it’s based around the reciprocal of the focal length idea. Many advanced cameras have the option to change how Auto ISO works with these modes, giving control for faster or slower shutter speeds. Check your ISO settings for the min shutter speed option, and use this custom setting to increase the shutter speed by 1-stop for a simple way to avoid camera shake with high-resolution images. Image stabilization reduces blurring caused by camera shake when the subject is stationary 85
CANONSCHOOL DON’T MISS THE SHOT What situation would you use RAW burst mode instead of continuous high speed drive? James Manning, Telford BRIAN SAYS… RAW burst mode captures images at up to 30fps, but with pre-shooting enabled it has the ability to capture up to 15 frames before the shutter is actually pressed. This pre-shooting feature is ideal for capturing the very start of action, as this is where most photographers miss the shot. The downside is that you then need to do special processing to extract an individual RAW file, and only the camera or DPP can do this currently. Continuous high-speed drive is better suited to situations where this is a build-up to the action happening and then it happens over a short period of time. You get to choose RAW or JPG images and each frame is saved individually on the card. When I shoot video with my EOS why is there a whirring sound recorded during quiet moments? Aisling Stewart, Dumfries BRIAN SAYS… The most likely cause is the camera picking up the lens Image Stabilizer or focus motor, especially if you are using the built-in mic as it picks up vibration. Automatic audio levels raise the recording level in quiet sections. Two of these three images were captured before the shutter was pressed using pre-shooting with RAW burst mode What is the point of ISO12,800 or more, surely the pictures are unusable? In Program mode, the photographer must choose suitable focus and image settings Why do green square Auto and Program modes have similar results? Jeffrey Craig, Dover BRIAN SAYS… Green square Auto or Scene Intelligent Auto puts most of the exposure, focus and picture settings under the camera’s control and limits access to the more advanced features. Program is a creative zone mode and provides full access to all the camera’s settings. Exposure is likely to be the same for both modes, but Program mode requires you to decide the appropriate focus settings and image settings, giving you more control. Nick Jameson, Preston What is HDR PQ shooting used for? It seems to prevent other features from working on my camera. Jasmine Robson, Ipswich BRIAN SAYS… Many EOS R-series cameras have the option to shoot in the HEIF format instead of JPG, and the HDR PQ setting is how this is selected. HEIF files are a modern type of image with advantages over JPGs. HEIF images support a much wider dynamic range and 10-bit colour to take advantage of HDR displays. But the HEIF file format is not quite a universal as JPG, so you may need to convert images to JPG to make them more usable. If you shoot RAW these capture even wider dynamic range and allow the utmost flexibility in post. When the camera is set to HDR PQ, greater dynamic range can be captured in the 10-bit HEIF images, but some functions are restricted 86 BRIAN SAYS… High ISO settings result in photos with more noise. But noise may be less important than a sharp shot. I’ve captured low light action pictures where ISO12,800 has allowed me to shoot 1/2000 sec to avoid blurred shots. Why does the link light on my Speedlite EL-1 show orange when configured as a sender? James Gibson, Hull BRIAN SAYS… The Speedlite is working as a secondary sender unit but another unit may be in radio range, so change channels. The EF or RF 100mm macro lenses are a great choice for close-ups of flowers and insects Can you suggest a macro lens that would be good for insects and flower photography? Ros Lynch, Thatcham BRIAN SAYS… With macro lenses for flowers and insects it often helps to have a greater working distance from the subject, so a 100mm lens is a very popular choice. Most 100mm macro lenses will capture 1:1 or life-size images from around 30cm. For handheld macro, both of Canon’s EF and RF L-series macro lenses feature a hybrid stabilizer that counters horizontal and vertical shift movement. www.digitalcameraworld.com
EOS S.O.S Can you explain custom shooting modes; it appears that they are simply extra program modes. Is it possible to use other exposure modes? Paul Haynes, Bridgnorth BRIAN SAYS… Custom shooting modes are used for recalling a myriad of camera settings that you would choose for a specific type of photography. In that respect they are similar to the scene modes or program modes, but with the complete capabilities available when using a creative mode like P, Switching from close-up and macro to action shots with AF and drive changes is swift with custom shooting modes Tv, Av, or M. It’s best to consider custom modes as an independent copy of another creative mode. You might be going wrong in the first step of setting up a custom mode. With custom shooting modes the initial decision you make is selecting the mode you want to make a copy of. So if you want to make a copy of manual exposure, turn the mode dial to M. The second step is to copy the current mode to your chosen custom shooting mode. Press menu and navigate to the set up menus then custom shooting mode. Choose this and then register settings. Now turn the mode dial to the custom mode; you should see that the custom Custom shooting modes make it simple to switch between different styles of photography that you have pre-configured mode is now a copy of the mode you selected. At this point, press menu and go back to the custom shooting modes menu item and make sure that auto update is set to enable. This means that while you are changing settings in the custom mode; those changes update the stored values for that specific custom mode. If you started with Av mode, and the aperture value was set to f/8, in the custom RATE MY PHOTO Thoughtful Puppy HANNAH WILKINSON, BRIGG, SAYS… This photo is of my dog whose name is Buck and it was a challenge to capture as he is a very active dog, and always running around. The main difficulty with a young dog is trying to get them to stay still for a photo. Plus the lighting presented a challenge as it was early evening and that meant finding a good spot was difficult. I predominantly photograph birds and landscapes, however, I like to photograph my dogs too. BRIAN SAYS… A nice picture of your dog and the red collar ensures that the viewer’s attention is kept squarely on the dog. There’s also a non-distracting background, that complements the subject and gives context. Importantly you have a nice sharp eye with a good catchlight, the fur detail is plenty sharp enough and the all-important wet nose The Canon Magazine mode you can choose f/4 and this will be stored. Now switching between Av and the custom mode changes aperture from f/4 to f/8. Any other custom settings for AF, drive modes, most custom functions, ISO, Picture Style can be different. The power of the custom modes is that you can quickly switch from a setup for wildlife to portraits to landscapes without having to make changes to multiple camera settings. Lens Sigma 55-200mm f/4-5.6 DC Exposure 1/4000 sec, f/9, ISO1600 Get critiqued! Email your best photos to EOSSOS@ futurenet.com with the subject ‘Rate My Photo’ sparkles in the sun. Perhaps a crop to a square format removing the space behind the dog’s head would further improve the result. For photos of your pets, it’s better to shoot lower from their eye level. Also to get his attention, if you (or get someone behind you) to hold a toy or treat for some eye contact. Since Buck is an active dog, you should try some action shots that shows this side of his character, though it can be more challenging to capture! 87
SUPERTEST THE CONTENDERS Canon EOS R100 £669 (kit) $479 (body) 88 Canon EOS R50 £789/$679 Canon EOS R10 £899/$979 Canon EOS R7 £1,499/$1,499 Canon EOS R8 £1,699/$1,499 Canon EOS R6 Mark II £2,779/$2,499 Canon EOS R5 £4,299/$3,399 Canon EOS R3 £5,499/$5,499 www.digitalcameraworld.com
EOS R CAMERAS There’s an EOS R mirrorless that’s perfect for you, but which one will it be? We test eight of the latest cameras he Canon EOS R system has come a very long way since the launch of the original EOS R back in 2018. More revolution than evolution, this camera took 30 years of EOS heritage and shoehorned it into a ground-breaking mirrorless full-frame body. The same goes for its companion RF lenses, which set new benchmarks in terms of image quality and all-round performance. And while RF lenses were thin on the ground to start with, mount adapters ensured compatibility with Canon’s back-catalogue of EF and EF-S lenses. Indeed, unlike with full-frame DSLRs, you can use EF-S lenses on full-frame EOS R system bodies in crop mode, giving yet more options for compact, lightweight shooting. There are now ten EOS R camera bodies and around 35 lenses to choose from. While many EOS DSLRs, EF and EF-S lenses are being phased out, new RF and RF-S lenses are ramping up, so there’s something for everybody. The only downside is that, with so much choice on offer, it can be hard to choose the EOS R system camera that’s right for you. To some extent, the perfect fit will depend on what kinds of photography you’re into, and your level of expertise. ‘Hybrid’ has definitely become a buzzword in the camera market so, for some, video specs can be just as important as stills performance. Nowadays especially, budget has become the bottom line for many, so the price tag is a major consideration. And nobody wants to spend more than they need to. Let’s take a closer look at what all the EOS R system cameras in the range have to offer, as well as touching base with some old favourites from the EOS DSLR and M system line-ups. The Canon Magazine 89
SUPERTEST APS-C Signal-to-noise ratio (DB) RAW* SIGNAL-TO-NOISE RATIO 01 40 The image processor and autofocus system are behind other test cameras. 30 20 10 02 ISO100 200 400 800 1600 3200 6400 12800 25600 RAW* DYNAMIC RANGE T processor, the EOS R100 is also the only camera in the main test group to lack Dual Pixel CMOS II deeplearned AI autofocus. As with the original EOS R and RP, it can ‘recognize’ humans, but not animals and vehicles. It’s also the only camera in the group to lack a vari-angle touchscreen, and the À[HG/&'LVQ·WDWRXFKVFUHHQDWDOO On the plus side, the R100 camera is on a level footing with most others on test for stills resolution with a 24.1MP sensor, and can capture 4K UHD video at 30/25/24p. That said, you can’t HOW WE TEST We combine real-world shooting results with rigorous lab testing to arrive at our overall ratings 90 The fixed rear LCD isn’t a touchscreen and lacks vari-angle versatility. 12 10 8 6 4 04 2 ISO100 200 400 800 1600 3200 6400 12800 25600 The R100 is good at low ISO settings, less so towards the upper end of the comparatively restricted sensitivity It’s a relatively inexpensive entry-level camera but a step or two behind other recent models he price of this camera is cut to the bone, aiming to entice photographers and content creators wanting to move up from a smartphone. It’s an R system replacement for the likes of the entry-level EOS 2000D/EOS 5HEHO7'6/5,W·VYHU\FRPSDFW with the same dimensions as the EOS R50, and even lighter in weight at just 356g. The body-only price is $200 cheaper in the USA but, in the UK, it’s currently only available as a kit, complete with an RF-18-45mm zoom lens. With an older-generation DIGIC 8 image Dynamic range (EV) CANON EOS R100 Control dials and buttons are basic but user-friendly. 03 14 £669 (Kit) $479 (Body) FEATURES 50 shoot video in HDR mode and there’s no support for 10-bit HEIF stills, as you can with all other recent EOS R system cameras. Performance Although the feature set lacks ÀQHU\WKHERWWRPOLQHLVWKDWWKH R100 is a very beginner-friendly camera that’s capable of taking beautiful still images, and makes a good stab at video. It’s not exactly sporty though, as the continuous burst rate of 6.5fps drops to just 3.5fps in Servo (continuous) autofocus mode. The mode dial has access to scene modes and filter effects. 05 The 2360k-dot viewfinder matches that of other APS-C format R cameras. VERDICT FEATURES BUILD & HANDLING PERFORMANCE VALUE OVERALL e test cameras with a selection of lenses, in wide-ranging shooting conditions, from bright sunshine and dull outdoor conditions, to interior lighting and night shots. We pay particular attention to the accuracy and consistency of autofocus and metering systems, auto white balance and all other shooting parameters. All aspects of image quality are checked. We also judge handling characteristics, ease of use and how well the menu systems work, including factors such as the intuitiveness of touchscreens and vari-angle screens. We also run a series of lab tests on cameras, enabling us to give quantifiable results for various attributes of image quality. These include signal-to-noise ratio, dynamic range, and the ability to resolve fine detail. All of these facets are measured in Raw quality mode, at one-stop increments throughout each camera’s sensitivity range. W www.digitalcameraworld.com
EOS R CAMERAS APS-C RAW* SIGNAL-TO-NOISE RATIO FEATURES Signal-to-noise ratio (DB) 50 01 40 The ISO button enables the addition of an AF/MF function on multi-way pad. 30 20 10 02 ISO100 200 400 800 1600 3200 6400 12800 25600 RAW* DYNAMIC RANGE 03 Dynamic range (EV) 14 CANON EOS R50 £789/$679 The sensitivity range is ISO 100-32,000 (51,200 expanded). 12 10 8 6 04 4 2 ISO100 200 400 800 1600 3200 6400 12800 25600 An excellent beginner’s camera that’s able to grow with you as you learn new photography skills Dynamic range is good for an APS-C format camera but the R50 is typically noisy at high ISO settings he EOS R50 is pricier than the R100 but has a lot more going for it. Compared with the more basic model, it has a newer 24.2Mp Dual Pixel CMOS II sensor, DIGIC X image processor and deep-learned AI autofocus. It has automatic recognition and tracking for humans (eyes, face, head, body), animals (dogs, cats and birds) and vehicles (racing cars and motorcycles). Also unlike the EOS R100, the R50 gives you the option of shooting with a fully electronic shutter, doubling the maximum well as offering 10-bit frame grabs in HEIF stills format. The Canon Magazine 05 Formats for stills include 14-bit Raw and C-Raw, 8-bit JPEG and 10-bit HEIF. Performance VERDICT For reacting to different shooting scenarios, the R50 has an almost identical control layout as the R100 but adds a dedicated ISO button. The touchscreen also makes it easier to navigate menus to adjust important shooting parameters. At low to medium ISO settings, image quality is excellent for both stills and movies, making the R50 a very compact camera that genuinely punches above its weight. FEATURES BUILD & HANDLING PERFORMANCE VALUE OVERALL 36 30 28 26 26 28 26 26 26 20 10 EO S R3 R5 Ca no n EO S R6 EO S Ca no n M k II R8 EO S Ca no n EO S R7 Ca no n Ca no n EO S R1 0 R5 0 Ca no n EO S R1 00 0 Ca no n hen it comes to resolving ultra-fine detail and texture within images, the 45MP image sensor of the EOS R5 pays dividends. The relatively high megapixel count enables the camera to make the very most of the inherent sharpness of Canon’s very best RF lenses. Most of the other cameras on test have a very similar megapixel count of just over 24MP, but the R6 Mark II takes second place overall, matching the 32.5MP APS-C format R7 through most of the sensitivity range and edging ahead at the very highest ISO settings. W Resolution (ISO100) It’s no surprise there’s an outright winner in this group for resolving the finest of details This camera has a less than fastest SD/HC/XC UHS-I memory card slot. 40 EO S RESOLUTION Ca no n T shutter speed from 1/4000th to 1/8000th of a second for freezing even really rapid movement. The maximum burst rate also jumps up to 12fps or 15fps in PHFKDQLFDO HOHFWURQLFÀUVW curtain) or fully electronic shutter modes respectively, although the Raw buffer depth is a mere seven shots. There’s a higher-resolution NGRW/'&DQGWKLVWLPHLW·V the more usual vari-angle touchscreen. The R50 delivers 4K 30/25/24p UHD video but with the addition of a 10-bit HDR option, as The R50 features a vari-angle touchscreen. 91
SUPERTEST APS-C Signal-to-noise ratio (DB) RAW* SIGNAL-TO-NOISE RATIO 01 40 Dedicated controls include a M-fn button and an AF-MF switch. 30 20 10 02 ISO100 200 400 800 1600 3200 6400 12800 25600 RAW* DYNAMIC RANGE A 03 10 Rear-mounted shooting controls include an AF-On button and joystick. 8 6 4 2 ISO100 200 400 800 1600 3200 6400 12800 25600 04 The vari-angle touchscreen has a 1040k resolution. 05 with deep-learned AI tracking for people, animals and vehicles. The camera can also capture 4K movie footage, although top-end 60p/50p comes with a crop mode. Not much bigger than some of Canon’s EOS M system mirrorless cameras, the R10 nevertheless has a microphone socket, vari-angle WRXFKVFUHHQDQGSRSXSÁDVK However, as with the EOS R100 and R50, there’s no in-body image stabilizer nor any weather-seals. 7KHYLHZÀQGHUJLYHVD[ PDJQLÀFDWLRQIDFWRUDQGWKH typical 100% frame coverage of CANON EOS M50 MARK II Unlike Canon’s full-frame mirrorless cameras, the R10 features a pop-up flash. 12 The R10 edges ahead of the newer R100 and R50 for signal-to-noise, but not for dynamic range Small but fast and powerful, this EOS R camera rewrote the APS-C format mirrorless rule book lmost as small and light as the EOS R100 and R50, the preceding R10 is particularly travel-friendly. It launched with a new 24.2MP APS-C format image sensor that really bumped up data output speeds. The result is super-fast drive rates of 15fps, rising to 23fps in electronic shutter mode. The latter also boosts the maximum shutter speed from 1/4000 sec to 1/16,000 sec. The budget-friendly R10 inherited the same Dual Pixel CMOS AF II autofocus system featured in the R3, R5 and R6, Dynamic range (EV) 14 CANON EOS R10 £899/$979 FEATURES 50 There’s only enough room for a slimline LP-E17 battery. mirrorless cameras, along with a well-detailed 2360k dot display. 7KHUHODWLYHO\VPDOO/3(EDWWHU\ RQO\VKRRWVYLHZÀQGHUEDVHG shots, although a more generous 430 shots is available for screenbased shooting. FEATURES Performance BUILD & HANDLING Speed and accuracy in terms of drive rate and autofocus are simply incredible for a camera aimed at the beginner/intermediate market. Image quality is excellent, not least because the RF mount gives access to Canon’s full range of RF lenses. VERDICT PERFORMANCE VALUE OVERALL £589/£599 The Mark II edition of the EOS M50 is particularly good for vlogging smart choice for vlogging as well as for shooting stills, the EOS M50 Mark II features a fully articulated vari-angle touchscreen, face/eye-tracking autofocus facility, microphone socket and can shoot video in 4K as well as Full HD 60p. It can capture vertical movies as well, and supports live YouTube streaming from any Wi-Fi A 92 network – no computer required. It’s nippy for stills too, with a 10fps continuous drive rate, while the 24.1Mp image sensor and DIGIC 8 processor ensure great image quality. As with other EOS M and EOS R system cameras, you can also use EF and EF-S lenses via EF-EOS mount adapters. www.digitalcameraworld.com
EOS R CAMERAS APS-C Signal-to-noise ratio (DB) RAW* SIGNAL-TO-NOISE RATIO 01 40 In-body stabilization goes to 8 stops on some lenses. 30 20 02 10 ISO100 200 400 800 1600 3200 6400 12800 25600 RAW* DYNAMIC RANGE A mirrorless replacement for the speedy but obsolete EOS 7D Mark II DSLR, the R7 packs extra firepower he EOS R7 packs serious ÀUHSRZHULQWRLWVGLPLQXWLYH $36&IRUPDWEXLOG/LNHWKH even smaller R10, it features all of the latest, deep-learned AI autofocus facilities, this time coupled to an even faster turn of speed, with mechanical shutter speeds of up to 1/8000 sec and a maximum drive rate of a blistering 30fps when using the electronic shutter option – despite having a 32.5Mp image sensor. Another major plus point of the R7 over other APS-C format R system cameras is that it features in-body image stabilization, with up to 8-stop effectiveness depending on the lens, even for lenses that don’t feature optical VWDELOL]DWLRQ7KHHOHFWURQLF2/(' YLHZÀQGHUKDVWKHVDPHGRWFRXQW of 2360k but this time it has a ODUJHU[PDJQLÀFDWLRQ FRPSDUHGZLWKWKH5·V[7KH 3-inch rear vari-angle touchscreen is also a more high-res affair, with 1620k dots rather than 1040k. The slightly bigger build enables the provision of two SD/HC/XC UHS-II card slots and the larger /3(1+EDWWHU\KDVHQRXJK CANON EOS RP £1,049/$999 T Dynamic range (EV) Deep-learned AI autofocus tracks humans, animals and vehicles. 03 14 CANON EOS R7 £1,499/$1,499 FEATURES 50 Top-rear is a concentric joystick and control wheel. 12 10 8 6 04 4 2 ISO100 200 400 800 1600 3200 6400 12800 25600 Dynamic range and noise suppression are very good at low ISO settings but drop off towards the high end stamina for nearly twice as many YLHZÀQGHUEDVHGVKRWVDVZLWKWKH R10, totalling 500 (770 shots with the rear screen). Performance The 32.5Mp image sensor enables H[FHOOHQWUHWHQWLRQRIÀQHGHWDLOLQ images and there’s a boost in video performance as you can shoot 4K 60p/50p footage with no additional crop factor on top of the inherent 1.6x of the APS-C format image sensor. All in all, the EOS R7 is simply the best and most powerful APS-C format camera ever. The 1620k vari-angle touchscreen matches that of the R50, R8 and R6 Mark II. 05 Unlike the EOS R10, the R7 includes weather-seals in its construction. VERDICT FEATURES BUILD & HANDLING PERFORMANCE VALUE OVERALL Slim and lightweight for a full-frame camera, it’s a little lacking in features ith the same full-frame image sensor and a similar set of core features, the EOS RP is very much the newer, mirrorless version of the 6D Mk II, and is a whole 280g lighter in weight. The electronic viewfinder is good but not exceptional and there’s no IBIS. The burst rate of 5fps is slower than in the 6D Mk II and drops to W The Canon Magazine 4fps with continuous autofocus. The camera’s autofocus itself is quick and accurate, but it lacks the advanced ‘deep-learned AI’ subject tracking AF of almost all next-generation R system cameras. 4K video comes with a severe crop factor and a lack of Dual Pixel AF. 93
SUPERTEST FULL-FRAME Signal-to-noise ratio (DB) RAW* SIGNAL-TO-NOISE RATIO 01 40 The viewfinder is relatively small for a full-frame camera, at 0.39-inch. 30 20 10 02 ISO100 200 400 800 1600 3200 6400 12800 25600 RAW* DYNAMIC RANGE The EOS R8 gives you a full-frame body for little more than the price of many smaller APS-C format cameras ust like the EOS R100 and R50 are very affordable APS-C format mirrorless cameras, the EOS R8 is a particularly budget-friendly full-frame model. Well-catalogued full-frame advantages include a tighter depth RIÀHOGDORQJZLWKEHWWHUG\QDPLF range and less image noise. With their much larger image sensors, full-frame cameras tend to be bigger and heavier but the surprisingly compact and lightweight R8 is smaller and lighter than the APS-C format R7. That’s partly due to the R8 running J RQDUHODWLYHO\VPDOO/3(EDWWHU\ and having only one memory card VORW/LNHWKHRULJLQDO(265DQG RP full-frame mirrorless cameras, the R8 also lacks in-body image stabilization, instead relying on optically stabilized IS lenses. You may start to think that the R8 is pared back, much like the R100, but there’s a lot to love here. It has the latest 24.2Mp Dual Pixel CMOS II sensor and DIGIC X processor, as featured in the EOS R6 Mark II, along with a full range of deep-learned AI autofocus recognition. While the maximum Dynamic range (EV) 14 CANON EOS R8 £1,699/$1,499 FEATURES 50 The 3.0-inch, 1620k, touchscreen is impressive for a full-frame camera at this price. 12 03 10 The battery powers 220/370 shots (VF/LCD). 8 6 4 2 04 The electronic shutter option The EOS R8 leaves all of the APS-C format enables a maximum R system cameras in its wake for high-ISO of 1/16,000 sec. dynamic range and signal-to-noise ISO100 200 400 800 1600 3200 6400 12800 25600 05 drive rate tops out at 6fps, it’s boosted to a super-fast 40fps in fully electronic shutter mode, matching the R6 Mark II, and with a generous buffer depth. Buffer depth gives more than 1,000 shots in JPEG mode. Performance FEATURES Although the R8 only has a single card slot, it’s SD/HC/XC UHS-II compatible, and its USB-C port is similarly ‘superspeed’, at V3.2. The USB port can also be used for powering the camera or charging its battery. The latest-generation autofocus is typically breathtaking in speed and consistent accuracy. VERDICT BUILD & HANDLING PERFORMANCE VALUE OVERALL CANON EOS R £1,449/$1,209 The EOS R was the ushering in of a whole new era of Canon cameras s with current Canon DSLRs in Live View mode, autofocus is based on a Dual Pixel AF system that enables phase-detection autofocus points across most of the frame. In this case, though, there are 5,565 of them. Autofocus is rapid and works well even in near-darkness. The electronic viewfinder is a real high-quality item but, as with the A 94 similarly first-generation EOS RP, there’s no in-body image stabilization. There’s no lack of drive speed for stills, with a maximum burst rate of 8fps, but it drops to a pedestrian 5fps when using continuous autofocus. Image quality combines sumptuous colour rendition with excellent retention of fine detail. www.digitalcameraworld.com
EOS R CAMERAS FULL-FRAME Signal-to-noise ratio (DB) RAW* SIGNAL-TO-NOISE RATIO 01 40 The conventional shooting mode dial has three custom settings options. 30 20 10 02 ISO100 200 400 800 1600 3200 6400 12800 25600 RAW* DYNAMIC RANGE A fabulous hybrid full-frame all-rounder, the R6 Mark II is a major upgrade over the original edition he original EOS R6 was a highly impressive camera, although its megapixel count of 20.1MP left a little to be desired for stills and it was a little prone to overheating issues in 4K UHD video shooting. The Mark II addresses both issues with a new 24.2MP image sensor and a raft of other improvements. It offers stellar autofocus performance and a blistering stills burst rate of up to 40fps, along with no time limit for video clips. While both of those are VLJQLÀFDQWLPSURYHPHQWVRYHUWKH original R6, the Mark II also T delivers 4K video at up to 60p/50p with no crop factor. Unlike the R8, the maximum shutter speed with mechanical VKXWWHU HOHFWURQLFÀUVWFXUWDLQ LV 1/8000th rather than 1/4000th of a second, although both cameras muster 1/16,000 sec in electronic shutter mode. The R6 Mark II has more than twice the stamina with LWVODUJHU/3(1+EDWWHU\DQG boasts dual UHS-II card slots. It also has a bigger 0.5-inch YLHZÀQGHUDQGWKHDGYDQWDJHRI in-body image stabilization. One handling bonus featured in Dynamic range (EV) The 3.0-inch vari-angle touchscreen isn’t quite as big or high-res as in the R5. 12 10 8 6 4 2 ISO100 200 There’s no secondary info display on top. 03 14 CANON EOS R6 MARK II £2,779/$2,499 FEATURES 50 04 400 800 1600 3200 6400 12800 25600 The EOS R6 beats the R5 for dynamic range and signal-to-noise performance at high ISO settings Handling benefits from joystick controller and three control dials. 05 both cameras is a stills/video switch at the left of the top panel. This makes switching between the two shooting modes seamless, without even needing to take your H\HDZD\IURPWKHYLHZÀQGHU The dual memory card slots are both SD/HC/XC UHS-II. VERDICT FEATURES Performance Despite the hike in megapixel count, the R6 Mark II delivers squeaky-clean image quality even at very high ISO settings, while its autofocus system works right down to -6.5EV. That equates to shooting in almost complete darkness, under less than a half-moon. BUILD & HANDLING PERFORMANCE VALUE OVERALL CANON EOS 90D £1,169/$1,199 Probably the best and most versatile APS-C format DSLR the world has ever seen his camera packs a 32.5Mp sensor and fast 10fps maximum drive rate that matches the speedy and now obsolete EOS 7D Mark II. It’s a DSLR that’s tailor-made for enthusiasts who demand resolution, speed, and advanced handling characteristics. Fast autofocus and face/ eye detection are enabled by a DIGIC 8 T The Canon Magazine processor, a huge step up from the DIGIC 6 in the previous 80D. We’ve always been impressed by the image quality that the 90D delivers, with highly detailed rendition. Along with its generous resolution, key advantages also include high-speed 10fps shooting and uncropped 4K video capabilities. 95
SUPERTEST FULL-FRAME Signal-to-noise ratio (DB) RAW* SIGNAL-TO-NOISE RATIO 01 40 The top panel features a large OLED display. 30 20 02 10 ISO100 200 400 800 1600 3200 6400 12800 25600 RAW* DYNAMIC RANGE The EOS R5 shoehorns stellar stills and video performance into a compact build with a pro-grade feel to control layout lthough practically identical in size to the EOS R6 Mark II, the R5 packs a much higher-resolution 45Mp image sensor, a dazzling 5760k dot HOHFWURQLFYLHZÀQGHUDLQFK 2100k dot vari-angle touchscreen and CFexpress as one of its dual memory card slots. As well as delivering feverishly highresolution stills, it also takes video capture all the way up to 8K at 30/25/24fps, as well as turning out 4K video at up to 120fps. Not just a phenomenal camera for hybrid stills/video formats, you A can effectively shoot both formats simultaneously. As well as capturing stills at up to 20fps in fully electronic shutter mode (12fps mechanical), there’s the option of shooting 8K video at 30fps and extracting 35.4Mp stills from individual frames, albeit in [DVSHFWUDWLR The R5 shares all of the groundbreaking autofocus and image stabilization advantages of the R6 Mark II, but it has a more pro-grade feel to its control layout. The shooting mode dial is replaced by a Mode button and rotary controller Dynamic range (EV) The vari-angle touchscreen gives a similarly detailed display. 12 10 8 6 4 04 2 ISO100 200 The extra-highresolution OLED viewfinder shows incredibly fine detail. 03 14 CANON EOS R5 £4,299/$3,399 FEATURES 50 400 800 1600 3200 6400 12800 25600 The EOS R5 beats the R6 for dynamic range at ISO 100, and high-ISO signal-tonoise is good for such a high-res camera DQGWKHUH·VDODUJH2/('LQIR display on the top panel, whereas the R6 Mark II has none. Performance A battery grip option gives landscape/ portrait handling benefits. 05 The 45Mp image sensor and DIGIC X processor ensure great performance. VERDICT Quality and performance for stills and video is spectacular. The only real downside of the R5 compared with the R6 Mark II, apart from its ssteeper price, is that high-ISO image quality isn’t as clean. But if you downsize and resample images taken at maximum resolution, a lot of the image noise disappears, or at least shrinks to the same level as an R6 Mark II. FEATURES BUILD & HANDLING PERFORMANCE VALUE OVERALL CANON EOS 6D MARK II £1,299/$1,199 Massive upgrade to the original 6D, the Mk II is unbeatable value for a full-frame DSLR ey areas of improvement over the original EOS 6D include a higherresolution 26.2Mp image sensor which gains Dual Pixel AF, a newer DIGIC 7 processor, a 45-point autofocus system in which all of the points are cross type and 27 work at f/8, and a new metering module. The continuous drive rate also rises from 4.5fps to 6.5fps. Around the back, the basic K 96 rear screen of the original 6D is replaced with a vari-angle touchscreen. The optical pentaprism viewfinder is clear and bright but only gives 98 per cent frame coverage. Video is limited to a maximum of 1080p. However, image quality and all-round performance are excellent, along with a 1,200-shot battery life. www.digitalcameraworld.com
EOS R CAMERAS FULL-FRAME Signal-to-noise ratio (DB) RAW* SIGNAL-TO-NOISE RATIO 01 40 The vertical grip perfectly duplicates controls for portrait orientation shooting. 30 20 10 02 ISO100 200 400 800 1600 3200 6400 12800 25600 RAW* DYNAMIC RANGE Not all mirrorless cameras are compact lightweights. The top-end R3 is built more like a juggernaut ith the kind of integrated vertical grip typical of top pro cameras like the EOS 1-DX series, the R3 replicates all the most important buttons and dials for shooting in both landscape and portrait RULHQWDWLRQV$QGLWGRHVVRLQÀQH style, with epic build quality and DUHDOO\FODVV\ÀQLVK7KH0S image sensor might seem a bit low in actual megapixel count but there’s a major upside in speed. Thanks to its stacked, backilluminated design and groundbreaking technology, the sensor W has super-fast readout speeds that enable a 30fps constant drive rate IRUVWLOOVDQGZLWKQRYLHZÀQGHU blackout. Another major plus point for both stills and video is that the readout speed virtually eliminates the rolling shutter effect, and shutter speeds themselves go up to an incredible 1/64,000 sec. For video, the hybrid R3 bridges the gap between the 4K of the R6 Mk II and 8K of the R5, outputting 6K footage at up to 60p. The R3 has the same deeplearned AI autofocus of most other recent R system cameras, for CANON EOS 5D MARK IV Dynamic range (EV) The top panel has a mono OLED info display with a similar layout to the EOS R5. 12 10 8 6 4 04 2 ISO100 200 There’s a vari-angle touchscreen around the back. 03 14 CANON EOS R3 £5,499/$5,499 FEATURES 50 400 800 1600 3200 6400 12800 25600 High-ISO signal-to-noise is almost as good as from the EOS R6 Mark II, and dynamic range is highly impressive ‘intelligent’ acquisition and tracking of people, animals and vehicles. It also adds Eye Control AF, in which the camera can detect what you’re looking at through the YLHZÀQGHUDQGVKLIWWKH$)SRLQW Dual card slots feature both SD/ HC/XC UHS II and CFexpress type B. 05 The LP-E19 battery lasts for 620 shots with the viewfinder, 860 with the LCD. VERDICT FEATURES Performance In terms of speed, accuracy and consistency, the range of high-end features come together brilliantly well. For action, sports, wildlife, weddings and anything else that GHPDQGVQDLOLQJWKHGHÀQLWLYH moment, the R3 makes it almost impossible to miss a shot. BUILD & HANDLING PERFORMANCE VALUE OVERALL £2,609/$2,499 For pro-spec performance and handling, it’s the most attractive full-frame DSLR lassified as a ‘professional’ grade camera, the EOS 5D Mark IV has a 30.4Mp image sensor. For viewfinder-based shooting, the 61-point autofocus system is highly competent at tracking fast and erratically moving objects. A control lever on the back panel (lacking in the EOS R) is great for shifting the active autofocus area around the C The Canon Magazine frame. The 5D Mark IV also has dual memory card slots, so you can create instant backups as you shoot. Dual Pixel AF enables excellent autofocus performance but lacks an eye-detection mode, and there’s no vari-angle or tilt facility for the rear screen, but Dual Pixel AF is available in 4K video capture. 97
SUPERTEST COMPARISON TABLE APS-C FULL-FRAME Canon EOS R100 Canon EOS R50 Canon EOS R10 Canon EOS R7 Canon EOS R8 Canon EOS R6 Mark II Canon EOS R5 Canon EOS R3 May 2023 February 2023 May 2022 May 2022 February 2023 November 2022 July 2020 November 2021 APS-C APS-C APS-C APS-C Full-frame Full-frame Full-frame Full-frame 24.1Mp Dual Pixel CMOS 24.2Mp Dual Pixel CMOS II 24.2Mp Dual Pixel CMOS II 32.5Mp Dual Pixel CMOS II 24.2Mp Dual Pixel CMOS II 24.2Mp Dual Pixel CMOS II 45Mp Dual Pixel CMOS II 24.1Mp Dual Pixel CMOS II DIGIC 8 DIGIC X DIGIC X DIGIC X DIGIC X DIGIC X DIGIC X DIGIC X No No No Yes, up to 8-stop No Yes, up to 8-stop Yes, up to 8-stop Yes, up to 8-stop 3975, dual pixel 4503, dual pixel 4503, dual pixel 5195, dual pixel 4897, dual pixel 4897, dual pixel 5940, dual pixel 4779, dual pixel Subject AF Humans Humans, animals, vehicles Humans, animals, vehicles Humans, animals, vehicles Humans, animals, vehicles Humans, animals, vehicles Humans, animals, vehicles Humans, animals, vehicles ISO range (expanded) ISO 100-12,800 (25,600) ISO 100-32,000 (51,200) ISO 100-32,000 (51,200) ISO 100-32,000 (51,200) ISO 100-102,400 (50-204,800) ISO 100-102,400 (50-204,800) ISO 100-51,200 (50-102,400) ISO 100-102,400 (50-204,800) 1/4000 to 30 sec, Bulb 1/4000 (1/16,000) to 30 sec, Bulb 15/23fps, 460/70 JPEG, 29/21 RAW 0.39in OLED, 2360k dots 1/8000 (1/16,000) to 30 sec, Bulb 15/30fps, 224/126 JPEG, 51/42 RAW 0.39in OLED, 2360k dots 1/8000 (1/16,000) to 30s, Bulb 6/40fps, 1000+/120 JPEG, 1000+/56 RAW 0.39in OLED, 2360k dots 1/8000 (1/16,000) to 30 sec, Bulb 12/40fps, 1000+/190 JPEG, 110/75 raw 1/8000 (1/16,000) to 30 sec, Bulb 12/20fps, 350 JPEG, 180 RAW 1/8000 (1/64,000) to 30 sec, Bulb 12/30fps, 1000+/540 JPEG, 1000/150 RAW 0.39in OLED, 2360k dots 1/4000 (1/8000) to 30 sec, Bulb 12/15fps, 42/28 JPEG, 7/7 RAW 0.39in OLED, 2360k dots 0.5in OLED, 3690k dots 0.5in OLED, 5760k dots 0.5in OLED, 5760k dots 3.0-inch, 1040k, fixed 3.0-inch, 1620k, touch, vari-angle 3.0-inch, 1040k, touch, vari-angle 3.0-inch, 1620k, touch, vari-angle 3.0-inch, 1620k, touch, vari-angle 3.0-inch, 1620k, touch, vari-angle 3.2-inch, 2100k, touch, vari-angle 3.2-inch, 4150k, touch, vari-angle RAW, C-RAW, JPEG RAW, C-RAW, JPEG, HEIF RAW, C-RAW, JPEG, HEIF RAW, C-RAW, JPEG, HEIF RAW, C-RAW, JPEG, HEIF RAW, C-RAW, JPEG, HEIF RAW, C-RAW, JPEG, HEIF RAW, C-RAW, JPEG, HEIF 4K at 60/50/30/25/24fps 4K at 60/50/30/25/24fps 4K at 60/50/30/25/24fps 8K at 30/25/24fps 6K at 60/50/30/25/24fps NAME Announced Camera – Format Sensor Image processor Sensor-shift stabilization Autofocus points Shutter speeds (electronic) Max burst rate, buffer Viewfinder LCD screen Stills file types 6.5fps, 97 JPEG, 6 RAW Max video resolution 4K at 30/25/24fps 4K at 30/25/24fps 4K at 60/50/30/25/24fps Memory 1x SD/HC/XC UHS-I 1x SD/HC/XC UHS-I 1x SD/HC/XC UHS-II 2x SD/HC/XC UHS-II 1x SD/HC/XC UHS-II 2x SD/HC/XC UHS-II 1x CFexpress B, 1x SD/ HC/XC UHS-II 1x CFexpress B, 1x SD/ HC/XC UHS-II Connectivity USB 2.0, Wi-Fi, BLE USB 2.0, Wi-Fi, BLE USB 2.0, Wi-Fi, BLE USB 3.2C, Wi-Fi, BLE USB 3.2C, Wi-Fi, BLE USB 3.1C, Wi-Fi, BLE USB 3.1C, Wi-Fi, BLE USB 3.2C, Wi-Fi, BLE Battery type LP-E17 LP-E17 LP-E17 LP-E6NH LP-E17 LP-E6NH LP-E6NH LP-E19 340/430 shots (VF/ LCD) 310/440 shots (VF/ LCD) 260/430 shots (VF/ LCD) 500/770 shots (VF/ LCD) 220/370 shots (VF/ LCD) 450/760 shots (VF/ LCD) 320/490 shots (VF/ LCD) 620/860 shots (VF/ LCD) 116x86x69mm 116x86x69mm 123x88x83mm 132x90x92mm 133x86x70mm 138x98x88mm 139x98x88mm 150x143x87mm 356g 375g 429g 612g 461g 670g 738g 1015g £669 (kit) $479 (body) £789/$679 £899/$979 £1,499/$1,499 £1,699/$1,499 £2,779/$2,499 £4,299/$3,399 £5,499/$5,499 Battery life Size (WxHxD body) Weight Price – body only FEATURES BUILD & HANDLING PERFORMANCE VALUE OVERALL THE WINNER IS... CANON EOS R6 MARK II This EOS R camera is a terrific all-rounder and gives you the most bang for your buck et’s not beat about the bush. The Canon EOS R3 is the best Canon camera of all time. But is it the best camera for you? It’s certainly not the best camera for your bank balance, it’s big and weighty, and has a higher specification than most of us would ever need. For us, the L 98 smart money is on the EOS R6 Mark II if you want a full-frame camera that excels in every area. Meanwhile, the EOS R5 wins out if you demand a really high megapixel count for the ultimate in quality when creating really large format prints. On a tight budget, the EOS R8 is a great buy for a full-frame camera. If you’d rather have an APS-C format camera that gives greater depth of field and extends your telephoto reach without going extra-large on lenses, there’s no beating the EOS R7. It’s a high-spec camera with a really impressive feature set and superb handling. www.digitalcameraworld.com
What to look for Canon EOS camera ranges to a few With prices ranging from a couple of hundred ryone, thousand, Canon has an EOS camera to suit eve pro… from the complete beginner to most demanding DSLR CAMERAS CANON EOS 4000D PRICES QUOTED ARE BODY-ONLY UNLESS STATED TESTED IN ISSUE 140 PRICE: £370/$N/A CANON has stripped everything down to its bare essentials for the 4000D, and it’s a great if basic DSLR for beginners. And at only £370 (body), it’s the cheapest EOS DSLR. Sadly, it’s let down by a cheap kit lens that’s tough to tolerate, so we suggest buying the better IS lens. CANON EOS 2000D (REBEL T7) BEGINNER DSLRs THE 2000D is a better-spec Canon camera than the 4000D, but comes with a modest step up in price. It’s arguably worth the extra, but that puts it in a difficult spot, where another step up in outlay will get you an EOS 200D, which is a far better overall DSLR camera. CANON EOS 250D (REBEL SL3) THE EOS 250D/Rebel SL3 is not Canon’s cheapest entry-level DSLR, but we think it’s the best budget/beginner DSLR with the perfect blend of power and value. This is the body that will take people from snapping on their smartphones to getting into the hobby. CANON EOS 850D (REBEL T8i) FOR ENTHUSIASTS looking to take the next step, the Canon EOS 850D is an impressive, lightweight yet powerful DSLR that captures detailed, colourful and sharper images, as well as 4K movies. Featuring iTR Face and Eye Detection AF, and accurate Auto AF via optical viewfinder, the 850D is sure to satisfy. 100 Canon splits its EOS range into mirrorless cameras and DSLRs. Its older DSLR line-up includes beginner, enthusiast and pro ranges; the EOS 4000D is the most basic, the 850D for intermediates, the 90D and full-frame 6D Mk II for advanced enthusiasts, and the full-frame pro-level 5D and 1D lines. Over the page are the two EOS mirrorless ranges: Canon’s smaller, older APS-C EOS M cameras, and Canon’s EOS R System APS-C and full-frame cameras that offer the very latest digital technology. The APS-C crop-sensor EOS R50, R10 and R7 are smaller, affordable entry-level options. While the EOS R8 up to the R6 Mark II, R5 and flagship R3 are full-frame for serious enthusiasts to professionals. Canon’s EOS R cameras are packed with intelligent features and most have IBIS, new AF tracking for any moving subject you shoot, and 20fps to 40fps continuous shooting bursts are common place using the speedy electronic shutter modes. Sensor Viewfinder ISO AF LCD Max burst (buffer) Memory card 18MP APS-C CMOS Pentamirror, 0.8x, 95% 100-6400 (12,800 exp) 9-point (1 cross-type) 2.7-inch 230K dots 3fps SD/SDHC/SDXC TESTED IN ISSUE 194 PRICE: £349/$479 Sensor Viewfinder ISO AF LCD Max burst (buffer) Memory card 24.1MP APS-C CMOS Pentamirror, 0.8x, 95% 100-6400 (12,800 exp) 9-point (1 cross-type) 3-inch 920K dots 3fps SD/SDHC/SDXC TESTED IN ISSUE 194 PRICE: £549/$649 Sensor Viewfinder ISO AF LCD Max burst (buffer) Memory card 24.1MP APS-C CMOS Pentamirror, 0.87x, 95% 100-25,600 (51,200 exp) 9-point (1 cross-type) 3-inch vari-angle touchscreen 1040K 5fps SD/SDHC/SDXC TESTED IN ISSUE 194 PRICE: £919/$749 Sensor Viewfinder ISO AF LCD Max burst (buffer) Memory card 24.1MP Dual Pixel APS-C CMOS Pentamirror, 95% coverage, 0.82x 100-25,600 45 cross-type AF point system 3-inch vari-angle touchscreen 1040K 7fps SD/SDHC/SDXC www.digitalcameraworld.com
BUYERS’ GUIDE CAMERAS CANON EOS 77D TESTED IN ISSUE 194 PRICE: £710/$550 THE key specs are identical to the 800D, but the extra top-plate LCD gives at-a-glance access to vital shooting info, while a rear control wheel makes dialing in exposure settings much quicker, promoting it to Canon’s enthusiast range. Super image quality – even at high ISOs. CANON EOS 90D Sensor Viewfinder ISO AF LCD Max burst (buffer) Memory card Pentamirror, 0.82x, 95% 100-25,600 (51,200 exp) 45-point (all cross-type) 3-inch vari-angle touchscreen 1040K 6fps (27 Raw/Unlimited JPEG) SD/SDHC/SDXC TESTED IN ISSUE 194 PRICE: £1299/$1199 CANON EOS 7D MARK II Sensor Viewfinder ISO AF LCD Max burst (buffer) Memory card 32.5MP, APS-C (6960x4640 pixels) Pentaprism, 0.95x, 100% 100-25,600 (51,200 exp) 45-point (all cross-type) 3-inch vari-angle touchscreen 1040K 10fps (25 Raw/58 JPEG) SD/SDHC/SDXC TESTED IN ISSUE 159 PRICE: £1050/$725 HERE’S the king of action-packed APS-C format EOS cameras. A little long in the tooth now, but it still has 65-point AF with advanced tracking, 10fps continuous drive, dual DIGIC 6 processors and GPS, all wrapped up in a tough, weathersealed magnesium alloy shell. CANON EOS 6D MARK II Sensor Viewfinder ISO AF LCD Max burst (buffer) Memory card 20.2MP, APS-C (5472x3648 pixels) Pentaprism, 1.0x, 100% 100-16,000 (51,200 exp) 65-point (all cross-type) 3-inch 1040K dots 10fps (31 Raw/unlimited JPEG) CompactFlash + SD/SDHC/SDXC ENTHUSIAST DSLRs THE EOS 90D is still Canon’s decathlete cropcamera that comes with a better 32.5MP sensor, super-quick 10fps continuous shooting and 4K video, plus improved handling and decent AF. This camera is an ideal APS-C camera upgrade for enthusiasts and beyond. TESTED IN ISSUE 194 PRICE: £1339/$1399 THE world’s smallest full-frame DSLR – with a vari-angle touchscreen LCD – gets a major upgrade over the original 6D with improved speed and performance rather than outright image quality. It’s a great all-rounder now thanks to an improved AF system and burst rate. CANON EOS 5D MARK IV Sensor 26.2MP, full-frame (6240x4160 pixels) Viewfinder ISO AF LCD Max burst (buffer) Memory card Optical pentaprism, 98% 100-40,000 (50-102,400 exp) 45-point (all cross-type) 3-inch vari-angle touchscreen 1040K 6.5fps (21 Raw/150 JPEG) SD/SDHC/SDXC TESTED IN ISSUE 194 PRICE: £2869/$2699 Sensor 30.4MP, full-frame (6720x4480 pixels) Viewfinder ISO AF LCD Max burst (buffer) Pentaprism, 0.71x, 100% 100-32,000 (50-102,400 exp) 61-point (41 cross-type, 5 dual-cross) 3.2-inch touchscreen 1620K dots 7fps (21 Raw/unlimited JPEG) Memory card CANON EOS 5DS (5DS R) THE world’s first 50MP full-frame DSLR delivers huge and amazingly detailed hi-res images. The higher-cost 5DS R adds a low-pass cancellation filter for marginally sharper shots. As expected with such a high-res sensor, max ISO and drive rate are lower than with the 5D Mk IV. TESTED IN ISSUE 148 PRICE: £2740/$1499 Sensor 50.6MP, full-frame (8688x5792 pixels) Viewfinder ISO AF LCD Max burst (buffer) Pentaprism, 0.71x, 100% 100-6400 (50-12,800 exp) 61-point (41 cross-type, 5 dual-cross) 3.2-inch 1040K dots 5fps (14 Raw/510 JPEG) Memory card CANON EOS-1D X MARK III THE Canon EOS-1D X Mark III is the ultimate hybrid DSLR/mirrorless machine, with superb low-light performance up to ISO102,400, expandable to 819,200, Deep Learning AF and 5.5K Raw video. It can also capture up to 20fps in Live View mode, making it a dream to shoot any action. CompactFlash + SD/SDHC/SDXC CompactFlash + SD/SDHC/SDXC TESTED IN ISSUE 194 PRICE: £6999/$6499 Sensor Viewfinder ISO AF LCD Max burst (buffer) Memory card 20.1MP full-frame (5472x3648 pixels) Pentaprism, 0.76x, 100% coverage 100-102,400 (exp 50-819,200) 191-point (155 cross-type) 3.2-inch touchscreen 2.1m dots 20fps (1000 Raw/unlimited JPEG) 2xCFexpress 1.0 Type B 101 PROFESSIONAL DSLRs A SUPERB all-rounder, the pro-level weathersealed full-frame 5D Mk IV combines a stunning hi-res 30MP sensor with a swift 7fps frame rate. Its impressive specs list includes 4K video, a touchscreen LCD, Wi-Fi and NFC connectivity, and GPS to automatically geotag images. The Canon Magazine 24.2MP, APS-C (6000x4000 pixels)
BUYERS’ GUIDE MIRRORLESS CAMERAS PRICES QUOTED ARE BODY-ONLY UNLESS STATED TESTED IN ISSUE 194 PRICE with 15-45mm kit lens: £570/$549 CANON EOS M200 CANON’S EOS M200 is aimed at attracting Instagramers and smartphone upgraders to mirrorless and has an appealing to several hundreMdrange, from a few gCanon’s spec list including its 24MP sensor and plenty of everyone, It shoots 4K era to suit an EOS camfeatures for beginners. seasy-to-use video totoseal deal. anding pro… t dem mosthe eginner Sensor Viewfinder ISO AF LCD Max burst (buffer) Memory card APS-C EOS M IF YOU’RE coming to the EOS M system afresh, the EOS M50 Mark II is a compact and capable camera, taking great stills and 1080p video, ideal for travel, everyday imaging, plus vlogging and content creation. But if you need to record 4K, this isn’t the camera for you. CANON EOS M6 MARK II Sensor Viewfinder ISO AF LCD Max burst (buffer) Memory card Sensor Viewfinder ISO AF LCD Max burst (buffer) Memory card OLED EVF, 2.36 million dots 100-25,600 (exp. to 51,200) Dual Pixel CMOS AF, 3975 focus positions 3-inch vari-angle touchscreen 1040K dots 10fps 1x SD UHS-I 32.5MP APS-C CMOS No 100-25,600 143/99-point 3-inch tilting touchscreen 1040K dots 14fps (23 Raws, 54 JPEGs) SD/SDHC/SDXC and UHS-1 TESTED IN ISSUE 168 PRICE with 15-45mm kit lens: £780/N/A AS Canon’s flagship mirrorless M camera for enthusiasts, the EOS M5 really opens up the DSLR vs CSC debate. It shares much of the tech as the 80D, but swaps the optical viewfinder for an electronic version, making this compact system camera a pocket rocket. Sensor Viewfinder ISO AF LCD Max burst (buffer) Memory card 24.2MP APS-C CMOS OLED EVF, 2.36 million dots 100-25,600 49-point AF 3.2-inch tilting touchscreen 1620k dots 9fps SD/SDHC/SDXC and UHS-1 TESTED IN ISSUE 208 PRICE with 18-45mm kit lens: £669/$599 THE Canon EOS R100 is effectively the mirrorless replacement for the 250D and 2000D, aimed at first-timers looking for better image quality than a smartphone. It boasts a robust 24.1MP APS-C sensor, great autofocus and wide-spanning lens line-up, all without breaking the bank. BEGINNER EOS R CANON EOS R50 Sensor Viewfinder ISO AF LCD Max burst (buffer) Memory card 24.1MP APS-C CMOS 2.36 million dots, 60fps 100-12,800 (25,600 exp) Dual Pixel CMOS AF II (88% coverage) 3-inch fixed (non-touch) screen 1.04m dots 6.5fps (3.5fps with AF) 1x SD/SDHC/SDXC slot TESTED IN ISSUE 208 PRICE: £789/$679 UTILIZING the small and compact size of the M50 yet improving upon its specs in every way, with the sensor/processor from the R10, the R50 is one of the best pocket-friendly cameras today. With a 24.2MP APS-C sensor, 4K video, intelligent AF modes, and 15/12fps continuous shooting, the R50 is a great beginner camera. CANON EOS R10 Sensor Viewfinder ISO AF LCD Max burst (buffer) Memory card 24.2MP APS-C CMOS 0.39 OLED, 2.36 million dots, 120fps 100-12800 (25600 exp) Dual Pixel CMOS AF II 3-inch vari-angle touchscreen 1.62 dots 15fps electronic, 12fps electronic 1st curtain 1x UHS-I SD TESTED IN ISSUE 208 PRICE: £899/$979 CANON’S budget, beginner EOS R10 – with pro-level autofocus and 15fps speed, 4K 60p imaging and 120p slow motion at 1080p – offers performance that punches well above its weight. The lack of in-body image stabilization or the crop at 4K 60p are the only drawbacks. 102 24.1MP CMOS APS-C TESTED IN ISSUE 194 PRICE: £799/$849 THE M6 Mk II is Canon’s compact yet powerful APS-C mirrorless, designed to deliver sharp images for amateurs on the move. It has the same 32.5MP APS-C sensor as the Canon 90D DSLR, but it’s able to shoot in 14fps blasts, and 30fps Raw image bursts, plus uncropped 4K video. CANON EOS R100 No 100-25,600 (51,200 exp) 143-point AF 3-inch tilting touchscreen 1040K dots 6.1fps SD/SDHC/SDXC and UHS-1 TESTED IN ISSUE 194 PRICE: £589/$599 CANON EOS M50 MARK II CANON EOS M5 24.1MP APS-C CMOS Sensor Viewfinder ISO AF LCD Max burst (buffer) Memory card 24.2MP APS-C CMOS 2.36 million dots, 120fps 100-32,000 (51,200 exp) 651 Dual Pixel CMOS AF II divisions 3-inch vari-angle touchscreen 1.04m dots 23fps electronic, 15fps mechanical 1x SD/SDHC/SDXC, UHS-II www.digitalcameraworld.com
BUYERS’ GUIDE CAMERAS CANON EOS RP TESTED IN ISSUE 194 PRICE: £1049/$999 CANON’S RP is ideal for crop-sensor CSC M or EOS DSLR users looking for a full-frame upgrade that won’t break the bank. The EOS RP is strong spec package that’s notably smaller, lighter and cheaper than almost all its rivals, and ideal as an entry-level full-frame camera. Sensor Viewfinder ISO AF LCD Max burst (buffer) Memory card CANON EOS R7 0.39-inch EVF, 2.36 million dots 100-40,000 (50-102,400 exp) 4779 Dual Pixel AF positions 3-inch vari-angle touchscreen 1040K 5fps (50 Raw/Unlimited JPEG) SD/SDHC/SDXC and UHS-ll TESTED IN ISSUE 208 PRICE: £1349/$1499 CANON EOS R8 Sensor Viewfinder ISO AF LCD Max burst (buffer) Memory card 32.5MP APS-C CMOS 2.36 million dots, 120fps 100-32,000 (51,200 exp) 651 Dual Pixel CMOS AF II divisions 3-inch vari-angle touchscreen 1.62m dots 30fps electronic, 15fps mechanical 2x SD/SDHC/SDXC, UHS-II TESTED IN ISSUE 208 PRICE: £1699/$1499 CANON’S R8 is the lightest full-frame EOS R camera, and can shoot it all, with the same sensor and processor as the R6 Mk II, latest AF subject recognition, 24.2MP images, and rapid 40fps shooting. But there’s no joystick or thumb dial, no IBIS, and smaller batteries. CANON EOS R Sensor Viewfinder ISO AF LCD Max burst (buffer) Memory card 24.2MP full-frame CMOS 0.39 OLED, 2.36 million dots, 120fps 100-25600 (102,400 exp) Dual Pixel CMOS AF II 3-inch vari-angle touchscreen 1.62 dots 40fps electronic, 6fps electronic 1st curtain 1x UHS-II SD ENTHUSIAST EOS R THE Canon EOS R7 is the first mirrorless camera to reach for if you want the advantages of APS-C with pro-level 15fps speed, intelligent AF, IBIS, and big-time image resolution. It’s a fantastic addition to the EOS R ecosystem and a worthy successor to the 90D and 7D DSLR lines. TESTED IN ISSUE 194 PRICE: £1449/$1799 THE first full-frame mirrorless Canon EOS R boasts the RF mount and fully articulated vari-angle Dual Pixel AF touchscreen with 5655 AF points. Equivalent in many specs to the 5D Mark IV DSLR, it’s now a cheaper EOS R option for those looking to experience mirrorless photography. Sensor Electronic viewfinder ISO AF LCD Max burst (buffer) Memory card CANON EOS R6 MARK II 30.3MP full-frame CMOS 0.5-inch EVF, 3.69 million dots 100-40,000 (50-102,400 exp) 5655 Dual Pixel AF points 3.2-in vari-angle touchscreen 2.1m dots Approx. 8fps (47 Raw, 100 JPEG) 1x SD/SDHC/SDXC and UHS-II TESTED IN ISSUE 208 PRICE: £2779/$3599 CANON EOS R5 Sensor Viewfinder ISO AF LCD Max burst (buffer) Memory card 24.2MP full-frame CMOS 0.5-inch OLED, 3.69 million dots 100-102,400 (50-204,800 exp) 4897 Dual Pixel AF positions 3-inch vari-angle touchscreen 1.62m dots 12fps mechanical, 40fps electronic 2xUHS-II SD TESTED IN ISSUE 208 PRICE : £4299/$3899 THE Canon EOS R5 is deserving of the hype: it’s the perfect amalgamation of the R’s full-frame form, the 5D’s function, the pro-grade autofocus of the flagship EOS-1D X Mark III DSLR, plus with near-medium format resolution, 20fps burst speeds and mirrorless magic such as IBIS and amazingly-intelligent Animal AF. CANON EOS R3 Sensor 45MP full-frame CMOS Viewfinder ISO AF LCD Max burst (buffer) OLED EVF, 5690K dots 100-51,200 (50-102,400 exp) 5940 Dual Pixel CMOS AF II 3.15-in vari-angle touchscreen 2100K dots 12fps mechanical, 20fps electronic Memory card CFexpress type B, UHS-II SD/SDHC/SDXC TESTED IN ISSUE 208 PRICE: £5879/$5999 CANON’S sporty pro mirrorless R3 has clever AF that’s amazing at detecting vehicles as well as people and animals, Eye Control AF, faster 30fps, blackout-free EVF, and it can take 4K 60p video without overheating, which means the R3 succeeds where the R5 fell short. Sensor Viewfinder ISO AF LCD Max burst (buffer) Memory card 24.1MP stacked CMOS 0.5-inch EVF, 5.76 million dots 100-102,400 (50-204,800 exp) 4779 Dual Pixel AF positions 3-inch vari-angle touchscreen 4.15m dots 12fps mechanical, 30fps electronic CFexpress type, SD/SDHC/SDXC 103 PROFESSIONAL EOS R WHAT can’t this camera do? The R6 Mark II is a hybrid camera that packs an obscene amount of firepower, with up to 6K video and 24.2MP stills at a startling 40fps. Plus updated AF detection for tracking trains, planes and horses (with the usual animal, people, vehicles AF detection) for sharp shots of anything that moves. The Canon Magazine 26.2MP full-frame CMOS
Choosing lenses BUYERS’ GUIDE Key factors to watch out for The main factors to consider in a lens are its focal length, maximum aperture, and if it’s full-frame compatible or not. We’ve categorized lenses by focal length range from wide-angle to telephoto. The larger a lens’s maximum aperture, the ‘faster’ it is. Zooms are more flexible than primes, but tend not to have such fast maximum apertures. Full-frame lenses will also work with ‘crop-sensor’ EOS DSLRs, but crop-sensor lenses aren’t compatible with full-frame cameras. For Canon EOS R mirrorless cameras the dedicated Canon RF lenses are best, but using Canon’s Mount Adapter EF-EOS R enables EF-S and EF lenses to be used on EOS R cameras. n io ed at 540g 240g 385g 1180g 540 840 790g 615g 500g 555g 520g 1150g 1150g 940g 440g 1100g 1110g 560g 560g 530g 940g 600g 0.15m 0.22m 0.24m 0.28m 0.20m 0.28m 0.28m 0.28m 0.28m 0.24m 0.24m 0.24m 0.26m 0.28m 0.24m 0.28m 0.28m 0.28m 0.28m 0.25m 0.28m 0.28m 0.34x 0.15x 0.17x 0.16x 0.38x 0.21x 0.22x 0.23x 0.24x 0.13x 0.15x 0.2x 0.19x 0.23x 0.19x 0.2x 0.2x 0.12x 0.12x 0.2x 0.19x 0.21x None 67mm 77mm None 77mm 82mm 82mm 77mm 77mm None 82mm None None 77mm 77mm None None 77mm 82mm 82mm 82mm 82mm 7 7 6 9 9 9 9 9 7 7 7 9 9 7 7 9 9 9 9 9 9 9 90 203 131 203 203 203 195 203 113 143 176 203 195 113 176 143 176 87 195 116 154 Canon EF-M 55-200mm f/4.5-6.3 IS STM Canon EF-S 55-250mm f/4-5.6 IS STM Canon EF 70-200mm f/2.8L IS III USM Canon EF 70-200mm f/2.8L USM Canon EF 70-200mm f/4L IS II USM Canon EF 70-200mm f/4L IS USM Canon EF 70-200mm f/4L USM Canon RF 70-200mm F2.8L IS USM Canon RF 70-200mm F4L IS USM Canon EF 70-300mm f/4-5.6 IS USM £299/$349 £309/$299 £2149/$2099 £1330/$1250 £1629/$1499 £360/$500 (used) £589/$599 £2659/$2699 £1699/$1749 £400/$650 No No Yes Yes Yes Yes Yes Yes Yes Yes 3.6x 4.5x 2.9x 2.9x 2.9x 2.9x 2.9x 2.9x 2.9x 4.3x Yes Yes Yes No Yes Yes No Yes Yes Yes f/4.5-6.3 f/4-5.6 f/2.8 f/2.8 f/4 f/4 f/4 f/2.8 f/4 f/4-5.6 260g 375g 1480g 1310g 780g 760g 705g 1070g 695g 630g 1.0m 0.85m 1.2m 1.5m 1.0m 1.2m 1.2m 0.7m 0.6m 1.5m 0.21x 0.29x 0.21x 0.16x 0.27x 0.21x 0.21x 0.23x 0.28x 0.26x 52mm 58mm 77mm 77mm 72mm 72mm 67mm 77mm 77mm 58mm 7 7 8 8 9 8 8 9 9 8 196 196 175 64 196 196 163 175 196 123 Canon EF 70-300mm f/4-5.6 IS II USM £639/$599 Yes 4.3x Yes f/4-5.6 710g 1.2m 0.25x 67mm 9 196 Canon EF 70-300mm f/4-5.6L IS USM Canon EF 70-300mm f/4.5-5.6 DO IS USM Canon EF 75-300mm f/4-5.6 III Canon EF 75-300mm f/4-5.6 III USM Canon EF 100-400mm f/4.5-5.6L IS II USM £690/$800 (used) £1380/$1400 £210/$200 £260/$190 £2529/$2199 Yes Yes Yes Yes Yes 4.3x 4.3x 4.0x 4.0x 4.0x Yes Yes No No Yes f/4-5.6 f/4.5-5.6 f/4-5.6 f/4-5.6 f/4.5-5.6 1050g 720g 480g 480g 1640g 1.2m 1.4m 1.5m 1.5m 0.98m 0.21x 0.19x 0.25x 0.25x 0.31x 67mm 58mm 58mm 58mm 77mm 8 6 7 7 9 196 90 15 70 206 ar f/4 f/4.5-5.6 f/3.5-4.5 f/4 f/4 f/2.8 f/2.8 f/4 f/4 f/4.5-5.6 f/3.5 f/4 f/2.8 f/2 f/3.5-4.5 f/2.8 f/2.8 f/2.8 f/2.8 f/4 f/2.8 f/4 Aw No Yes No No Yes Yes No Yes No No No No No No Yes Yes Yes No No No No No ti n 1.9x 1.8x 2.2x 2.2x 2.5x 2.3x 2.2x 2.2x 2.4x 2.0x 2.0x 2.0x 0.19x 1.5x 0.19x 2.0x 2.0x 1.8x 1.43x 2.3x 1.8x 2.1x g re Yes No No Yes Yes Yes Yes Yes Yes No No Yes Yes Yes No Yes Yes No No No Yes Yes Ra £1120/$1250 £249/$299 £500/$650 £3099/$2899 £1749/$1499 £2389/$1999 £2199/$2199 £1389/$1299 £720/$750 £600/$800 £319/$399 £1269/$1239 £1269/$1299 £760/$900 £449/$499 £930/$1100 £1099/$1299 £480/$500 £493/$549 £450/$400 £699/$699 £570/$450 ds vi es e Is su Ir Canon EF 8-15mm f/4L Fisheye USM Canon EF-S 10-18mm f/4.5-5.6 IS STM Canon EF-S 10-22mm f/3.5-4.5 USM Canon EF 11-24mm f/4L USM Canon RF 14-35mm F4L IS USM Canon RF 15-35mm F2.8L IS USM Canon EF 16-35mm f/2.8L III USM Canon EF 16-35mm f/4L IS USM Canon EF 17-40mm f/4L USM Sigma 8-16mm f/4.5-5.6 DC HSM Sigma 10-20mm f/3.5 EX DC HSM Sigma 12-24mm f/4 DG HSM A Sigma 14-24mm f/2.8 DG HSM A Sigma 24-35mm f/2 DG HSM A Tamron 10-24mm f/3.5-4.5 Di II VC HLD Tamron SP 15-30mm f/2.8 Di VC USD Tamron SP 15-30mm f/2.8 Di VC USD G2 Tokina 11-16mm f/2.8 AT-X PRO DX II Tokina 11-20mm f/2.8 AT-X PRO DX Tokina 12-28mm f/4 AT-X Pro DX Tokina 16-28mm f/2.8 FF Tokina 17-35mm f/4 AT-X PRO FX is Fi l te r bl si ad ze ni ag m ew fic st di M ax M in fo t W ei gh ap cu er s tu ili ab M ax e Im ag zo M ax st om m ra Fu l WIDE-ANGLE ZOOMS WIDE-ANGLE ZOOMS Pr ic e BEST ON TEST AWARD l-f BEST VALUE AWARD e KEY: re za an ti o ce n With over 200 lenses we’ve listed for Canon EOS cameras, picking the right one can be tough. Here’s the lowdown! • • • • TELEPHOTO ZOOMS TELEPHOTO ZOOMS Canon RF 100-400mm F5.6-8 IS USM £699/$649 Yes 4.0x Yes f/5.6-8 635g 0.88m 0.41x 67mm 9 206 Canon RF 100-500mm F4.5-7.1L IS USM £2979/$2899 Yes 5x Yes f/4.5-7.1 1530g 0.9-1.2m 0.33x 77mm 9 206 Canon EF 200-400mm f/4L IS USM Extender 1.4x Sigma 50-100mm f/1.8 DC HSM A Sigma 50-500mm f/4.5-6.3 DG OS HSM Sigma 60-600mm f/4.5-6.3 DG OS HSM Sport £11,209/$10,999 £949/$1099 £1160/$1660 £1699/$1999 Yes No Yes Yes 2.8x 2.0x 10.0x 10.0x Yes None Yes Yes f/4 f/1.8 f/4.5-6.3 f/4.5-6.3 3620g 1490g 1970g 2700g 2.0m 0.15x 0.95m 0.15x 0.5-1.8m 0.32x 0.6-2.6m 0.3x 52mm 82mm 95mm 105mm 9 9 9 9 182 175 130 182 Sigma 70-200mm f/2.8 EX DG OS HSM £900/$1300 Yes 2.9x Yes f/2.8 1430g 1.4m 0.13x 77mm 9 137 Sigma 70-200mm f/2.8 DG OS HSM S £1179/$1499 Yes 2.9x Yes f/2.8 1805g 1.2m 0.21x 82mm 11 190 Sigma 70-300mm f/4-5.6 DG Macro Sigma APO 70-300mm f/4-5.6 DG Macro £130/$140 £180/$180 Yes Yes 4.3x 4.3x No No f/4-5.6 f/4-5.6 545g 550g 0.95m 0.95m 0.5x 0.5x 58mm 58mm 9 9 123 137 Sigma 100-400mm f/5-6.3 DG OS HSM C £899/$799 Yes 4x Yes f/5-6.3 1160g 1.6m 0.26x 67mm 9 196 Sigma 120-300mm f/2.8 DG OS HSM S Sigma 150-600mm f/5-6.3 DG OS HSM C £2699/$3599 £849/$899 Yes Yes 2.5x 4.0x Yes Yes f/2.8 f/5-6.3 3390g 1930g 1.5-2.5m 2.8m 0.12x 0.2x 105mm 95mm 9 9 175 193 Sigma 150-600mm f/5-6.3 DG OS HSM S £1279/$1699 Yes 4.0x Yes f/5-6.3 2860g 2.6m 0.2x 105mm 9 206 Tamron SP AF 70-200mm f/2.8 Di LD (IF) Macro £630/$770 Yes 2.9x No f/2.8 1320g 0.95m 0.32x 77mm 9 137 Tamron SP 70-200mm f/2.8 Di VC USD G2 £1249/$1299 Yes 2.9x Yes f/2.8 1500g 0.95m 0.16x 77mm 9 175 Tamron 70-210mm f/4 DI VC USD Tamron AF 70-300mm f/4-5.6 Di LD Macro £549/$599 £130/$145 Yes Yes 2.9x 4.3x Yes No f/4 f/4-5.6 860g 458g 0.95m 0.95m 0.32x 0.5x 67mm 62mm 9 9 175 137 Tamron SP AF 70-300mm f/4-5.6 Di VC USD £230/$250 (used) Yes 4.3x Yes f/4-5.6 765g 1.5m 0.25x 62mm 9 196 Tamron 100-400mm f/4.5-6.3 Di VC USD £819/$799 Yes 4x Yes f/4-5.6 1135g 1.5m 0.28x 67mm 9 196 Tamron SP 150-600mm f/5-6.3 Di VC USD G2 £1299/$1399 Yes 4.0x Yes f/5-6.3 2010g 2.2m 0.26x 95mm 9 206 Tokina SZX Super Tele 400mm F8 Reflex MF £250/$239 No N/A No f/8 355g 1.15m 0.4x 67mm 9 206 • • • • •• • • •
ed io ew 0.35m 0.35m 0.25m 0.25m 0.35m 0.38m 0.21m 0.38m 0.39m 0.40m 0.45m 0.13m 0.40m 0.20m 0.28m 0.22m 0.28m 0.38m 0.45m 0.29m 0.38m 0.33m 0.21x 0.17x 0.34x 0.25x 0.19x 0.21x 0.30x 0.7x 0.18x 0.3x 0.24x 0.34x 0.24x 0.16x 0.2x 0.36x 0.23x 0.2x 0.22x 0.21x 0.2x 0.26x 72mm 77mm 58mm 58mm 58mm 82mm 82mm 77mm 95mm 77mm 77mm 67mm 77mm 49mm 77mm 72mm 72mm 82mm 82mm 72mm 82mm 67mm 7 7 6 7 7 9 9 9 9 7 10 7 9 7 7 7 9 9 9 7 9 7 207 207 110 207 207 162 162 162 162 127 207 162 207 127 180 90 190 207 142 142 57 Canon EF-S 18-135mm f/3.5-5.6 IS STM Canon EF-S 18-135mm f/3.5-5.6 IS USM Canon EF-M 18-150mm f/3.5-6.3 IS STM Canon EF-S 18-200mm f/3.5-5.6 IS Canon RF 24-240mm F4-6.3 IS USM Canon RF-S 18-150mm F3.5-6.3 IS STM Canon EF 28-300mm f/3.5-5.6L IS USM Sigma 18-200mm f/3.5-6.3 DC Macro OS HSM C £449/$549 £484/$599 £459/$499 £470/$700 £959/$899 £520/$500 £2479/$2449 £269/$399 No No No No Yes No Yes No 7.5x 7.5x 8.3x 11.1x 10x 8.3x 10.7x 11.1x Yes Yes Yes Yes Yes Yes Yes Yes f/3.5-5.6 f/3.5-5.6 f/3.5-6.3 f/3.5-5.6 f/4-6.3 f/3.5-6.3 f/3.5-5.6 f/3.5-6.3 480g 515g 300g 595g 750g 310g 1760g 430g 0.39m 0.39m 0.25-0.45m 0.45m 0.5m 0.17m 0.7m 0.39m 0.28x 0.28x 0.31x 0.24x 0.26x 0.31x 0.30x 0.33x 67mm 67mm 55mm 72mm 72mm 49mm 77mm 62mm 7 7 7 6 7 7 8 7 191 207 191 128 191 202 191 172 Sigma 18-250mm f/3.5-6.3 DC Macro OS HSM g ar 575g 645g 200g 210g 210g 805g 900g 600g 1430g 525g 795g 385g 700g 124g 565g 465g 810g 1,020g 885g 570g 905g 510g Aw f/3.5-5.6 f/2.8 f/3.5-5.6 f/4-5.6 f/4.5-6.3 f/2.8 f/2.8 f/4 f/2 f/3.5-5.6 f/4 f/4-7.1 f/4 f/4.5-6.3 f/2.8 f/2.8-4 f/1.8 f/2.8 f/4 f/2.8 f/2.8 f/2.8 ds vi Yes Yes Yes Yes Yes No Yes Yes No Yes Yes Yes Yes Yes Yes Yes No Yes Yes Yes Yes No ti n Is 5.7x 3.2x 3.1x 3.1x 38.4x 2.9x 2.9x 2.9x 2.9x 4.4x 4.4x 4.4x 4.4x 2.5x 2.9x 4.1x 1.9x 2.9x 4.4x 2.9x 2.9x 2.7x Ra e Ir No No No No Yes Yes Yes Yes Yes Yes Yes Yes Yes No No No No Yes Yes No Yes Yes is Fi su bl r M l te re ad ze si ag m M £779/$699 £849/$879 £170/$200 £219/$249 £379/$299 £1740/$1599 £2329/2299 £800/$849 £2500/$3200 £579/$599 £998/$1099 £449/$399 £1119/$1099 £339/$299 £330/$370 £350/$399 £650/$800 £1149/$1299 £639/$899 £420/$650 £1250/$1200 £450/$500 in W ei ax fo es fic ni di s cu t gh M ax at an st re tu er ap st e Im ag n ce n ti o za ili ab om zo M ax Fu l Canon EF-S 15-85mm f/3.5-5.6 IS USM Canon EF-S 17-55mm f/2.8 IS USM Canon EF-S 18-55mm f/3.5-5.6 IS II Canon EF-S 18-55mm f/4-5.6 IS STM Canon RF 24-50mm F4.5-6.3 IS STM Canon EF 24-70mm f/2.8L II USM Canon RF 24-70mm F2.8L IS USM Canon EF 24-70mm f/4L IS USM Canon RF 28-70mm F2L USM Canon EF 24-105mm f/3.5-5.6 IS STM Canon EF 24-105mm f/4L IS II USM Canon RF 24-105mm F4-7.1 IS STM Canon RF 24-105mm F4L IS USM Canon RF-S 18-45mm F4.5-6.3 IS STM Sigma 17-50mm f/2.8 EX DC OS HSM Sigma 17-70mm f/2.8-4 DC Macro OS HSM C Sigma 18-35mm f/1.8 DC HSM A Sigma 24-70mm f/2.8 DG OS HSM A Sigma 24-105mm f/4 DG OS HSM A Tamron SP AF 17-50mm f/2.8 XR Di II VC Tamron SP AF 24-70mm f/2.8 Di VC USD G2 Tamron SP AF 28-75mm f/2.8 XR Di • • • STANDARD ZOOMS STANDARD ZOOMS Pr ic ra m e BEST ON TEST AWARD l-f BEST VALUE AWARD e KEY: • SUPERZOOMS No 13.9x Yes f/3.5-6.3 470g 0.35m 0.34x 62mm 7 92 No 16.7x Yes f/3.5-6.3 585g 0.39m 0.33x 72mm 7 191 Tamron 16-300mm f/3.5-6.3 Di II VC PZD Macro Tamron 18-200mm f/3.5-6.3 Di II VC Tamron AF 18-270mm f/3.5-6.3 Di II VC PZD Tamron 18-400mm f/3.5-6.3 Di II VC HLD £499/$629 £209/$249 £300/$450 £599/$649 No No No No 18.8x 11.1x 15x 22.2x Yes Yes Yes Yes f/3.5-6.3 f/3.5-6.3 f/3.5-6.3 f/3.5-6.3 540g 400g 450g 710g 0.39m 0.49m 0.49m 0.45m 0.34x 0.25x 0.26x 0.34x 67mm 62mm 62mm 72mm 7 7 7 7 172 191 128 191 £2000/$2100 £299/$279 £2000/$2150 £450/$540 £229/$249 £1500/$1550 £529/$599 £159/$149 £1690/$1900 £420/$510 £390/$500 £1650/$1650 £499/$499 £539/$599 £609/$650 £574/$675 £250/$215 £290/$290 £240/$260 £379/$399 £360/$470 £899/$999 £330/$360 £480/$470 £680/$760 £489/$499 £700/$900 £700/$900 £600/$600 £1399/$1599 £600/$610 £449/$400 £700/$900 £650/$850 £329/$339 £699/$699 £379/$479 £649/$599 £2330/$2700 £1090/$1395 £1400/$1850 £1270/$1700 Yes No Yes Yes No Yes Yes No Yes Yes Yes Yes Yes Yes Yes Yes Yes Yes No No Yes Yes No Yes Yes Yes No Yes No Yes Yes Yes Yes Yes Yes Yes Yes Yes Yes Yes Yes Yes None None None None None None None None None None None None None None None None None None None None None None None None None None None None None None None None None None None None None None None None None None No No No No No No Yes No No No Yes No Yes Yes No No No No No No No No No No No No No No No No No No No No No No No Yes No No No No f/2.8 f/2.8 f/4 f/2.8 f/2 f/1.4 f/2.8 f/2.8 f/3.5 f/1.8 f/2.8 f/1.4 f/1.8 f/2 f/4 f/2.4 f/3.5 f/2.8 f/3.5 f/2.8 f/2.8 f/2.4 f/2 f/1.4 f/3.5 f/1.4 f/2.8 f/3.5 f/2.8 f/1.8 f/2.8 f/1.4 f/1.4 f/1.4 f/1.4 f/1.4 f/1.4 f/1.8 f/2.8 f/3.5 f/2.8 f/2 645g 165g 820g 405g 105g 650g 280g 125g 780g 310g 260g 760g 305g 335g 790g 685g 400g 630g 435g 590g 530g 791g 590g 680g 680g 660g 470g 400g 475g 1170g 370g 405g 950g 665g 270g 665g 280g 480g 947g 510g 851g 600g 0.2m 0.13m 0.25m 0.25m 0.15m 0.25m 0.2m 0.16m 0.21m 0.25m 0.23m 0.28m 0.17m 0.24m 0.28m 0.25m 0.22m 0.3m 0.3m 0.25m 0.2m 0.27m 0.2m 0.25m 0.2m 0.3m 0.14m 0.14m 0.14m 0.27m 0.15m 0.25m 0.28m 0.25m 0.3m 0.3m 0.5m 0.2m 0.25m 0.3m 0.22m 0.25m 0.15x 0.26x 0.14x 0.14x 0.21x 0.17x 0.23x 0.27x 0.34x 0.18x 0.2x 0.21x 0.5x 0.24x 0.13 0.11x 0.13x N/S N/S N/S N/S 0.08x N/S N/S N/S N/S 0.17x 0.22x 0.11x 0.19x 0.26x 0.1x 0.14x 0.19x 0.14x 0.19x 0.14x 0.4x 0.11x 0.08x 0.2x 0.17x None 43mm 77mm 72mm 43mm 77mm 58mm 52mm 82mm 58mm 58mm 72mm 52mm 67mm None 95mm None None None None None None 77mm 77mm 82mm 77mm None None None None None 67mm 77mm 77mm 52mm 67mm 55mm 67mm 95mm 82mm 82mm 67mm 6 7 8 5 7 8 7 7 8 7 7 9 9 8 9 9 9 • SUPERZOOMS £350/$350 Sigma 18-300mm f/3.5-6.3 DC Macro OS HSM C £369/$579 • • WIDE-ANGLE PRIMES 6 6 7 9 8 8 8 8 6 6 7 9 7 9 9 9 9 9 9 9 9 9 9 9 Zeiss Distagon T* 28mm f/2 ZE £980/$1285 Yes None No f/2 580g 0.24m 0.21x 58mm Zeiss Otus 28mm f/1.4 ZE £3500/$5000 Yes None No f/1.4 1350g 0.3m 0.2x 95mm 9 Zeiss Milvus 35mm f/2 ZE £935/$1120 Yes None No f/2 702g 0.3m 0.19x 58mm 9 203 90 114 180 • 180 190 67 114 141 202 180 • 167 167 167 90 180 87 87 87 203 44 161 114 114 161 180 202 180 44 141 • • • WIDE-ANGLE PRIMES Canon EF 14mm f/2.8L II USM Canon RF 16mm F2.8 STM Canon TS-E 17mm f/4L (tilt & shift) Canon EF 20mm f/2.8 USM Canon EF-M 22mm f/2 STM Canon EF 24mm f/1.4L II USM Canon EF 24mm f/2.8 IS USM Canon EF-S 24mm f/2.8 STM Canon TS-E 24mm f/3.5L II (tilt & shift) Canon EF 28mm f/1.8 USM Canon EF 28mm f/2.8 IS USM Canon EF 35mm f/1.4L II USM Canon RF 35mm F1.8 IS Macro STM Canon EF 35mm f/2 IS USM Irix 11mm f/4 Blackstone Irix 15mm f/2.4 Blackstone Peleng 8mm f/3.5 Fisheye Peleng 17mm f/2.8 Fisheye Samyang 8mm f/3.5 IF MC CSII DH Circular Samyang 10mm f/2.8 ED AS NCS CS Samyang 12mm f/2.8 ED AS NCS Diagonal Samyang XP 14mm f/2.4 Samyang 16mm f/2 ED AS UMC CS Samyang 24mm f/1.4 ED AS UMC Samyang T-S 24mm f/3.5 ED AS UMC (tilt & shift) Samyang 35mm f/1.4 AS UMC AE Sigma 4.5mm f/2.8 EX DC HSM Circular Fisheye Sigma 8mm f/3.5 EX DG Circular Fisheye Sigma 10mm f/2.8 EX DC HSM Diagonal Fisheye Sigma 14mm f/1.8 DG HSM | A Sigma 15mm f/2.8 EX DG Diagonal Fisheye Sigma 16mm f/1.4 DC DN I C Sigma 20mm f/1.4 DG HSM A Sigma 24mm f/1.4 DG HSM A Sigma 30mm f/1.4 DC DN I C Sigma 35mm f/1.4 DG HSM A Sigma 56mm f/1.4 DC DN I C Tamron SP 35mm f/1.8 Di VC USD Zeiss Milvus 15mm f/2.8 ZE Zeiss Distagon T* 18mm f/3.5 ZE Zeiss Milvus 21mm f/2.8 ZE Zeiss Distagon T* 25mm f/2 ZE
BUYERS’ GUIDE Contacts ed f/1.05 f/2.8 f/2.8 f/1.2 f/1.4 f/1.8 f/1.2 f/1.8 f/1.4 f/1.4 f/1.4 f/1.8 f/1.4 f/1.4 f/1.4 f/1.4 606g 130g 645g 580g 290g 160g 950g 160g 575g 435g 815g 540g 950g 922g 380g 1030g 0.57m 0.3m 0.4m 0.45m 0.45m 0.35m 0.40m 0.30m 0.45m 0.3m 0.4m 0.29m 0.4m 0.45m 0.45m 0.5m 0.13x 0.18x 0.16x 0.15x 0.15x 0.21x 0.15x 0.25x N/S 0.15x 0.18x 0.29x 0.18x 0.15x 0.15x 0.15x 58mm 52mm 72mm 72mm 58mm 49mm 77mm 43mm 77mm 62mm 77mm 67mm 72mm 67mm 58mm 77mm 13 7 8 8 8 7 10 7 8 9 9 9 9 9 9 9 202 141 £1999/$1999 £1489/$1599 £365/$369 £2869/$2699 £1240/$1400 £410/$500 £940/$1000 £5400/$5700 £700/$750 £5800/$6100 £1140/$1350 £9900/$10,000 £7000/$6900 £1180/$1180 £8400/$9000 £11,350/$11,500 £829/$799 £1099/$899 £11,900/$13,000 £319/$399 £599/$699 £370/$530 £125/$150 £929/$1099 £2600/$3400 £3600/$4400 £4699/$5999 £5000/$6600 £750/$750 £1380/$1800 £1900/$2200 Yes Yes Yes Yes Yes Yes Yes Yes Yes Yes Yes Yes Yes Yes Yes Yes Yes Yes Yes Yes Yes Yes Yes Yes Yes Yes Yes Yes Yes Yes Yes None None None None None None None None None None None None None None None None None None None None None None None None None None None None None None None No Yes No No No No No Yes No Yes Yes Yes Yes No Yes Yes Yes Yes Yes No No No No No No No Yes No Yes No No f/1.2 f/1.4 f/1.8 f/1.2 f/2.8 f/2 f/2 f/2 f/2.8 f/2.8 f/4 f/2.8 f/4 f/5.6 f/4 f/4 f/11 f/11 f/5.6 f/1.4 f/1.4 f/2 f/6.3 f/1.4 f/2.8 f/4.5 f/4 f/5.6 f/1.8 f/1.4 f/2 1025g 950g 425g 1195g 565g 460g 750g 2520g 765g 2400g 1190g 3850g 2100g 1250g 3190g 3920g 930g 1260g 4500g 730g 485g 830g 705g TBA 2400g 3150g TBA 4.9kg 700g 1280g 1123g 0.95m 0.85m 0.85m 0.85m 0.5m 0.9m 0.9m 1.9m 1.5m 2.0m 1.5m 2.7m 3.3m 3.5m 3.7m 4.5m 4.5m 6.0m 6.0m 1.1m 0.9m 0.8m 2.0m 0.85m 2.5m 4.0m 3.5m 7.0m 0.8m 0.8m 0.8m 0.11x 0.12x 0.13x 0.12x 0.29x 0.14x 0.19x 0.12x 0.16x 0.18x 0.24x 0.17x 0.13x 0.12x 0.15x 0.15x 0.14x 0.14x 0.14x 0.09x 0.11x N/S N/S 0.12x 0.13x 0.13x 0.15x 0.11x 0.14x 0.14x 0.28x 72mm 77mm 58mm 82mm 58mm 58mm 72mm 52mm 72mm 52mm 77mm 52mm 52mm 77mm 52mm 52mm 82mm 95mm 52mm 72mm 77mm 77mm 95mm 86mm 46mm 46mm 46mm 46mm 67mm 77mm 77mm 8 9 8 9 8 8 8 8 8 9 8 9 9 8 9 9 N/A N/A 8 8 9 9 0 9 9 9 9 9 9 9 9 £309/$299 £379/$349 £399/$350 £980/$1050 £499/$599 £999/$1099 £1330/$1400 £649/$549 £1239/$1199 £449/$495 £569/$499 £499/$499 £449/$569 £359/$569 £780/$1100 £1250/$1700 £350/$525 £350/$500 £649/$649 £800/$740 £464/$429 £1300/$1840 No No No Yes Yes Yes Yes Yes Yes Yes Yes Yes Yes Yes Yes Yes No Yes Yes Yes Yes Yes None None None None None None None None None None None None None None None None None None None None None None Yes Yes No No No Yes No Yes Yes No No No No No Yes Yes No No Yes No No No f/3.5 f/2.8 f/2.8 f/2.8 f/2.8 f/2.8 f/3.5 f/2 f/2.8 f/2.8 f/2.8 f.2.8 f/2.8 f/2.8 f/2.8 f/2.8 f/2 f/2.8 f/2.8 f/3.5 f/2.8 f/2 130g 190g 335g 710g 600g 625g 1090g 500g 730g 848g 619g 638-650g 515g 725g 1150g 1640g 350g 400g 610g 985g 540g 843g 0.097m 0.13m 0.20m 0.24m 0.31m 0.3m 0.48m 0.35m 0.3m 0.35m 0.21m 0.25m 0.26m 0.31m 0.38m 0.47m 0.23m 0.29m 0.3m 0.47m 0.3m 0.44m 1.2x 1.0x 1.0x 5.0x 1.0x 1.0x 1.0x 0.5x 1.4x 1.0x 2.0x 2.0x 1.0x 1.0x 1.0x 1.0x 1.0x 1.0x 1.0x 1.0x 1.0x 0.5x 44.8mm 56mm 52mm 58mm 58mm 67mm 72mm 67mm 67mm 77mm 67mm 67mm 49mm 62mm 72mm 86mm 55mm 55mm 62mm 72mm 55mm 67mm 7 7 7 6 8 9 8 9 9 11 13 7-13 9 9 9 9 7 9 9 7 9 9 103 185 202 185 202 166 185 185 148 185 g ar No No No No No No No No No No No Yes No No No No Aw None None None None None None None None None None None None None None None None ti n Yes Yes Yes Yes Yes Yes Yes Yes Yes No Yes Yes Yes Yes Yes Yes Ra £450/$486 £200/$180 £1200/$1400 £1370/$1350 £389/$400 £109/$125 £2389/$2299 £199/$149 £310/$350 £349/$499 £649/$949 £415/$549 £879/$949 £1159/$1199 £560/$725 £2700/$3990 ds vi es re e Is 7Artisans 50mm f/1.05 Canon EF 40mm f/2.8 STM Canon TS-E 45mm f/2.8 (tilt & shift) Canon EF 50mm f/1.2L USM Canon EF 50mm f/1.4 USM Canon EF 50mm f/1.8 STM Canon RF 50mm F1.2L USM Canon RF 50mm F1.8 STM Samyang 50mm f/1.4 AS UMC Sigma 30mm f/1.4 DC HSM A Sigma 50mm f/1.4 DG HSM A Tamron SP 45mm f/1.8 Di VC USD Tokina Opera 50mm f/1.4 FF Zeiss Milvus 50mm f/1.4 ZF.2 Zeiss Planar T* 50mm f/1.4 ZE Zeiss Otus 55mm f/1.4 is Ir su bl si Fi l te r m M ax ad ze ni ag s cu M in fo t W ei gh ew fic st di re tu er ap at an io n ce n ti o za ili ab M ax e Im ag zo M ax st om m ra Fu l STANDARD PRIMES STANDARD PRIMES Pr ic e BEST ON TEST AWARD l-f BEST VALUE AWARD e KEY: Sigma www.sigma-imaging-uk.com Tamron www.tamron.co.uk Tokina www.tokinalens.com Zeiss www.zeiss.co.uk Canon www.canon.co.uk Peleng www.digitaltoyshop.co.uk Samyang www.samyang-lens.co.uk Schneider www.linhofstudio.com • • TELEPHOTO PRIMES TELEPHOTO PRIMES Canon EF 85mm f/1.2L II USM Canon EF 85mm f/1.4L IS USM Canon EF 85mm f/1.8 USM Canon RF 85mm F1.2L USM Canon TS-E 90mm f/2.8 (tilt & shift) Canon EF 100mm f/2 USM Canon EF 135mm f/2L USM Canon EF 200mm f/2L IS USM Canon EF 200mm f/2.8L II USM Canon EF 300mm f/2.8L IS II USM Canon EF 300mm f/4L IS USM Canon EF 400mm f/2.8L IS II USM Canon EF 400mm f/4 DO IS II USM Canon EF 400mm f/5.6L USM Canon EF 500mm f/4L IS II USM Canon EF 600mm f/4L IS II USM Canon RF 600mm F11 IS STM Canon RF 800mm F11 IS STM Canon EF 800mm f/5.6L IS USM Samyang MF 85mm f/1.4 RF Samyang AF 85mm f/1.4 EF Samyang 135mm f/2 ED UMC Samyang 500mm MC IF f/6.3 Mirror Sigma 85mm f/1.4 DG HSM A Sigma APO 300mm f/2.8 EX DG HSM Sigma APO 500mm f/4.5 EX DG HSM Sigma 500mm f/4 DG OS HSM S Sigma APO 800mm f/5.6 EX DG HSM Tamron SP 85mm f/1.8 Di VC USD Zeiss Milvus 85mm f/1.4 ZE Zeiss Milvus 135mm f/2 ZE 179 179 159 179 • • 46 98 98 54 117 54 117 206 196 202 159 179 98 206 21 159 MACRO MACRO Canon EF-M 28mm f/3.5 Macro IS STM Canon EF-S 35mm f/2.8 Macro IS STM Canon EF-S 60mm f/2.8 Macro USM Canon MP-E65mm f/2.8 1-5x Macro Canon EF 100mm f/2.8 Macro USM Canon EF 100mm f/2.8L Macro IS USM Canon EF 180mm f/3.5L Macro USM Canon RF 85mm F2 Macro IS STM Canon RF 100mm F2.8L Macro IS USM Irix 150mm f/2.8 Macro 1:1 Dragonfly Laowa 90mm f/2.8 2X Ultra Macro APO Laowa 100mm f/2.8 2:1 Ultra Macro APO Sigma 70mm f/2.8 DG Macro Art Sigma 105mm f/2.8 EX DG OS HSM Macro Sigma APO Macro 150mm f/2.8 EX DG OS HSM Sigma APO Macro 180mm f/2.8 EX DG OS HSM Tamron SP AF 60mm f/2 Di II LD (IF) Macro Tamron SP AF 90mm f/2.8 Di Macro Tamron SP AF 90mm f/2.8 Di VC USD Macro Tamron SP AF 180mm f/3.5 Di Macro Tokina 100mm f/2.8 AT-X PRO Macro Zeiss Milvus Makro Planar 100mm f/2 ZE 177 177 164 50 177 204 69 204 204 204 204 202 204 204 138 102 138 102 184 69 204 50 • •
NEXT ISSUE YOUR EXPERT GUIDE MAKE CASH WITH YOUR CANON We show you easy ways how you can generate money with your own Canon photography THE NO MAGAZINE .1FOR CANON USERS! Getty / Peter Zelei Images FREE VIDEOS! In the next Canon Skills chapter… How to capture fog and mist in landscapes Spot metering explained Mushroom close-ups New Photoshop, Lightroom and Affinity Photo image-editing guides EOS D I V E H T VIEW PLUS ALL THIS... PhotoPlus Apprentice: Canon pro Drew Buckley shows you how to take amazing astro shots in Wales Profile: David Lund, the liquid photography specialist Super Test: The best lightweight lenses for those big days out! ISSUE 209 ON SALE 19 SEPT 2023 * Content subject to change 107
Catch up on what you’ve missed by buying a recent issue either in print or via digital download BACK IS SUES AVAILABLE ON YOUR TABLET, PHONE, PC OR IN PRINT imited back issues of PhotoPlus: The Canon Magazine print editions are available on our new MagazinesDirect.com secure store at www.magazinesdirect.com/photoplus-magazine-single-issue But if you’ve got an iPad, Android, Kindle or Nook tablet, or iPhone or Android smartphone, you can download PhotoPlus back issues from the following digital edition options: • Got an Apple iPad or iPhone? Get the free PhotoPlus: The Canon Magazine app in the App Store or at bit.ly/photoplus_app then browse through our back issues or subscribe and save through the app. • Kindle Fire or Nook HD? Simply search for PhotoPlus on Amazon’s Newsstand or in B&N’s Nook store. • Windows or Mac? Use Zinio to read PhotoPlus on your laptop or desktop computer or via the app! Go to www.zinio.com and search for PhotoPlus where you can buy back issues or subscribe. • PhotoPlus is also available on Magzter, PocketMags and PressReader. L LAST MONTH Issue 207 August 2023 CAPTURE CRACKING COASTAL PHOTOS With Canon pro landscape and travel photographer David Clapp in North Cornwall • Master your Canon exposure modes for better shots with our big EOS camera skills guide • We speak to brilliant beauty and fashion portrait photographer Siân Elizabeth • New photo projects and new image-editing tutorials to try, all with free video guides • In Canon School we show you how to create a great photo book • We answer your tricky technical questions in EOS SOS • And in Super Test, we look at eight of the most versatile standard zoom lenses Issue 206 July 2023 Issue 205 June 2023 TRAVEL PRO TIPS Award-winning Canon pro Jeremy Flint’s top 20 photo tips • Our Apprentice masters close-up wildlife photos • In Canon School, make the most of the longer summer days • New Canon EOS R100 could be the budget-beginner mirrorless camera you need • In our Super Test we put super-telephoto zooms in the lab • New photo projects, all with free video guides to follow along CANON SHOOTING CHECKLIST 25 essential tips for better images • Canon pro James Abbott teaches our Apprentice how to shoot slow motion waterfalls • Travel tripods on test – the best buys that won’t break the bank or your back • We put the new Canon PowerShot V10 vlogging cam through its paces • Brian Worley answers your questions in EOS SOS • In-depth photo projects with video guides READ YOUR MAGAZINE ON ANY DEVICE: 108 www.digitalcameraworld.com
BACK ISSUES Issue 204 May 2023 Issue 203 Spring 2023 Issue 202 April 2023 Issue 201 March 2023 Issue 200! February 2023 LEARN CANON PRO TECHNIQUES Master your exposures • Nature and travel photographer Damian Waters helps you set up your camera depending on subject or scene • Our Apprentice learns how to photograph birds in the wild • Canon’s new EOS R50 tested • In Canon Skills, from sunburst effects in landscape shots to taking creative castle photos, plus new image-editing tutorials – all with free videos NEW SPRING PHOTO SKILLS Your Canon guide to better seasonal photos • Canon R8 budget lightest full-frame mirrorless tested • Pro secrets to utilize the latest technology to improve your photos • Great flower macro photo skills with Canon pro Clive Nichols at RHS Wisley gardens • Eight great ultra-wide lenses tested • New photo projects including how to capture bluebell scenes in your own local forests • Free videos RAW IMAGES SKILLS 10 essential Raw image-editing tips • Our Apprentice spends a day in the studio with a Canon pro learning to take close-ups of reptiles • New budget Canon EOS R8 and EOS R50 • New photo projects, including how to use cool coloured gels on flashguns • Top ‘Dogtographer’ Kaylee Greer and her stunning close-up dog photos • We also test eight of the best budget Canon-fit lenses • Free videos 101 GREAT CANON TIPS We answer your toughest technical questions • Landscape pro photographer Justin Minns interviewed • 12 of the latest photo editors tested • Canon photographer Andrew James teaches our PhotoPlus Apprentice how to capture stunning seascapes on the beautiful Norfolk coastline • New inspiring photo projects with free videos • Plus free Creative Photography ebook 200 CANON TIPS We’ve compiled 200 top tips to help you take better photos of everything • Canon Gear of the Year – the best EOS cameras, lenses and kit • Our Apprentice learns new cityscape photo skills in London • David Clapp risks trench foot in torrential rain in Vietnam • Canon EOS R6 Mark II in-depth test • In Canon School we help you master aperture, shutter speed and ISO • Projects and videos Issue 199 January 2023 Issue 198 December 2022 Issue 197 November 2022 Issue 196 October 2022 Issue 195 September 2022 10 TIPS FOR BETTER WINTER LANDSCAPES From depth of field to mastering composition • New super-fast Canon EOS R6 Mark II • We speak to inspiring new Canon wildlife photographer Dani Connor • Our Apprentice gets to spend a day with Canon pro Emma Finch, learning how to take stylish Hollywood B&W portraits • Great photo projects with free videos • Free Teach Yourself Image Editing ebook MASTER WILDLIFE PHOTOGRAPHY Learn to take amazing photos of stags • Five great Canon gear setups and photo skills for better shots from landscapes to wildlife • Learn simple Canon camera settings and skills for capturing better low-light shots • David Clapp takes a photo trip to the Dolomites • A4 to A3+ home photo printers tested to find the best options to produce all prints great and small AUTUMN PHOTO SKILLS Ten top tips • We ventured to photogenic Isle of Skye to take great landscapes • Chris Fraikin discusses his arty shots of industrial architecture • We test eight of the best photo backpacks • Canon School helps you improve your black-and-white photography • Your technical questions answered in EOS SOS • New photo projects, all with free video guides to follow MASTER YOUR CANON IN 12 HOURS Use our Canon crash course to master your EOS camera and kit in less than a day and create a brilliant portfolio • Pro photographer Rebecca Faith teaches our Apprentice how to take outdoor portraits in a beautiful Bath park • We talk to macro and landscape photographer Oliver Wright • Affordable telephoto zoom lenses in Super Test • Photo projects with videos CANON PHOTO SKILLS How to take incredible wildlife, scenic and portrait shots on safari • We head to Edinburgh to teach our Apprentice how to take fantastic city scenes • Roberto Valenzuela talks about his journey from teacher to acclaimed LA photographer • In-depth first look at Canon’s new RF-S 18-45mm F4.5-6.3 IS STM kit lens • Round-up of the best lenses to help you capture landscapes The Canon Magazine 109
We’d love to hear your thoughts on the magazine and all things photographic! Email us at photoplus@futurenet.com Letter of the Month I wanted to say thank you for giving me inspiration and tips from your PhotoPlus magazines. I’m deaf and disabled and was somewhat a bit of a UHFOXVHDQGQHHGHGWRÀQGVRPHWKLQJ to get me out and about more. So I bought a secondhand Canon EOS 1200D with a couple of lenses (I mainly used my phone camera beforehand) and I bought the July issue of PhotoPlus, and then the August issue. Both have been brilliant and I learned so much (but still so much to learn), plus I’m slowly working through the wonderful handbook. But it would be great to learn how to take photos at night. Would it be possible to feature this in future issues? Once again, a big thank you for giving me a new lease of life. The month in numbers 9V it’s your lucky day, as we have some great tips for shooting cities at night in this issue’s in-depth Apprentice article on page 8, and on page 34, learn how to take astro landscape photos! Wendy Ransom, Westham, East Sussex Thanks for your email, Wendy, it’s lovely to hear we’ve inspired you. Also Get in touch with your own stories, issues & images at photoplus@ futurenet.com WIN NEW PRIZES! Every winner whose letter and photos are printed gets to choose three of our great camera and photo bookazines at our web shop MagazinesDirect.com Clever deputy editor Dan simply used a 9-volt battery to set the wire wool alight before spinning it around to create amazing fire spin photos – page 52 5 246 Multi-talented photographer Kav Dadfar has five jobs in total, find how he balances his work life on Page 62 Landscape and wildife pro Guy Edwardes used a 10-stop ND filter to extend his exposure to 246 secs (over 4 minutes) for his stunning seascape shot on Page 33 Image: Future Image: Canon Hannah Rooke Via Lensa and Photo AI DigitalCameraWorld.com The best from our brilliant website New patent suggests Canon is working on next-gen autofocus technology We need to address AI’s obsession with boobs – it isn’t healthy says Hannah Rooke Common filter mistakes photographers make (and how to avoid them) Patent reveals new linear autofocus system that could be smaller and more powerefficient than existing AF tech. Learn more Canon news at our DigitalCameraWorld.com via our quick link bit.ly/dcw_nextaf Overly sexualized deep fakes are a serious cause for concern as AI image generators continue to output unnecessary nudity. Read our opinions at DigitalCameraWorld.com via our quick link bit.ly/dcw_ai Filters for your lenses are an essential part of landscape photography but there are some essential do’s and don’ts. Learn more in our step-by-step at DigitalCameraWorld.com via quick link bit.ly/dcw_filters INSTAGRAM www.instagram.com/PhotoPlusCanonMag 114 FACEBOOK www.facebook.com/PhotoPlusMag TWITTER www.twitter.com/PhotoPlusMag DIGITAL CAMERA WORLD www.digitalcameraworld.com www.digitalcameraworld.com