LUSCIOUS

LANDSCAPES
Landscape photography
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main Canon techniques
guide is dedicated to
taking better scenic
shots on Page 30

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The Canon Magazine

 CONTENTS
30
NEW CANON SKILLS
Essential landscape
photography guide
Improve every type of landscape photo
with these 23 fantastic photo techniques

48
98

ESSENTIALS CANON PROS NEW TESTS

22 Inspirations
The best Canon images from the
Close-up Photographer of the Year comp
08 The Apprentice
Catherine O’Donnell, our Canon pro, 92 Gear Update
A new haul of Canon gear heading
teaches our budding Apprentice how to your way, watch your wallets and purses
improve their portrait photography
Mini Test: Modifier kits
30 Your landscape photo guide
With these 23 landscape photography 94 Flashguns are great, but they need a
hacks, you’ll be capturing your best-ever
scenic shots in no time
44 David Noton On Location
'DYLGVORZVGRZQDQGUHÁHFWVRQ
contemporary photography in the Lakes
little help to really shine. Here are our top
PRGLÀHUVIRUZKDW·VRQWKHPDUNHWQRZ

Lens Test: Sigma 70mm

42 Subscription Offer
Giant subscription savings, plus get
a free Vanguard camera bag worth £49.99
66 The Pro Interview
,OY\1MLRNLNWMLHQWDONVDERXWKHU
96 f/2.8 DG Macro Art
7KHÀUVWPDFUROHQVLQ6LJPD·V
important photographic work in South Africa Global Vision line-up presents itself
as something of a surprise
74 Photo Stories
:HUHÁHFWRQRQHUHDGHU·VMRXUQH\WR
Norway and check out beautiful painterly CANON SCHOOL 98 Super Test: DSLR
portraits from another versus Mirrorless
New Canon EOS DSLRs go
96
117 Next Issue
A month of waiting made easier
80Software Solutions
Canon’s free Digital Photo Professional head-to-head with Canon’s
Mirrorless cameras in our special
Super Test to see which are best
with this brief preview of the next issue
82 Digital SLR Essentials

122 Focus Point 110 Buyers’ Guide

/LYH9LHZYV(9)YV2SWLFDOYLHZÀQGHU
Make sense of all the Canon EOS
Letters from the PhotoPlus inbox,
best of the web, and the month in numbers 86EOS S.O.S
Brian answers your technical questions
FDPHUDVDQG&DQRQÀWOHQVHVZLWKRXUKDQG\
buyers guides

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 ISSUE 156 SEPTEMBER 2019

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80
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6 www.digitalcameraworld.com
THEAPPRENTICE CANON PRO
NAME:
CATHERINE O’DONNELL
CAMERA:
APPRENTICE CANON EOS 5D MK III
NAME: CATHERINE is an award-winning
portrait photographer that’s been
LOUIS TAYLOR published in magazines globally.
CAMERA: She’s known for her laid-back
approach to family portraiture,
CANON EOS 5D MK III which helps her capture natural
poses and special moments that
LOUIS is 55-years old, lives in don’t look forced. Being a mum of
South Wales and describes himself two keeps her on her toes, but also
as a hobbyist photographer. He’s gives her ample opportunities to
been a PhotoPlus subscriber for perfect her portraits – making her
several years now and enjoys the ideal person to help Louis
photographing his daughter improve his portraits!
playing golf, but would love to take www.catherineodonnell.co.uk
more portrait pictures in general.
Louis feels that he lacks the
confidence to take on paid family
portrait photoshoots and has
concerns over the business side of
things of photography.

FAMILY
BUSINESS
Canon pro Catherine O’Donnell takes our reader to
Waterperry Gardens to improve his portrait photography

8 www.digitalcameraworld.com
 In association with

FACTFILE
Waterperry Gardens
FOR OUR Apprentice
shoot this month we
visited the stunning
Waterperry Gardens
in Oxfordshire. The
garden was opened
to the public in the
mid 1970’s, and is
steeped in
horticultural history.
Over the past 48
years they’ve been developed into
the renowned gardens they are
today. With eight acres of vibrant
herbaceous nursery beds and a
picturesque pear orchard, it was
the perfect backdrop for our family
portraits. The grounds are also
home to a quality plant centre,
garden shop, gift barn, gallery,
teashop and museum. So whether
you want to try out some portraits
yourself, or make a day of it and go
for an adventure, give Waterperry
Gardens a visit.
www.waterperrygardens.co.uk

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CEWE are a European market and
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Based in Warwick, their state-of-the-art
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The Canon Magazine www.cewe-photoworld.com/photoplus 9
THEAPPRENTICE
TECHNIQUE
ASSESSMENT
Catherine gave Louis some pointers on how to
set up his camera for perfect family portraits
GO INTO MANUAL
MODE FOR
CONSISTENT
EXPOSURES
CATHERINE mostly
GET LOW SO YOU’RE EYE LEVEL
works in Manual mode on FAMILY portraits generally look better when shot at
her Canon 5D Mark III. This means that she gets eye-level, so you’re not looking down or up at your subject.
consistent exposures during a shoot, even when the This might mean you have to get down on one knee, or lie
background or clothing changes. She checks her prone on the ground to get the shot – it’s a good idea to
pictures on the back of the camera regularly to wear clothes you don’t mind getting a little dirty on these
make sure they’re correctly exposed and sharp. She kind of shoots… Shooting at eye-level will make the
also shoots in the Raw format to give her that extra background further away too which makes it easier to throw
editing flexibility with the exposure and white it into a pleasing blur when using a wide aperture like f/1.8.
balance back at her computer.

CHOOSE THE RIGHT

FOCUS MODE
SETTING the right focus
TOP GEAR #1
mode will depend on 5D Mark III
whether the kids are
moving or staying still in a CATHERINE’S 5D Mark III
group shot. If they’re moving about a lot Catherine body is still going strong
uses AI Servo to continuously focus on them, but if after many years of service
they’re relatively still then she’ll switch over to the and remains employed as
One Shot mode. In this mode the camera focuses her primary body on shoots.
just once when you half-press the shutter. The full-frame sensor gives a
great depth-of-field and its
resolution of 22.3Mp is
perfect for family photos
– the larger resolution from
newer models would fill
memory cards faster too.
She’d rather put the money
towards better L-series
optics until her current 5D
body bites the dust.

EXPERT INSIGHT
FOLLOW THE LEADER
KIDS WILL be kids and just want to run around – so let them! You can get
some fantastic impromptu shots when they’re running around, climbing trees,
swinging from the branches and just generally having fun. Shoot photos with
them leading the way and going where they want to go and you’ll soon win
them over. After this you’ll find it much easier to round them up for family group
photographs later on. You just need to strike the right balance between fun and
posed shots – the last thing you want is bored, irritable children.

10 www.digitalcameraworld.com
 In association with

CATHERINE’S COMMENT
HOT
SHOT
The first family we
shot was the Van
Bommels, and five-year-old
Max, and his younger
two-year-old brother, Jack,
wanted to run around. I don’t like to force
#1
things, instead I believe you get better
pictures if you go with the flow, rather than
telling the kids what to do. Here, Max laid
on the floor and we turned it into a photo
opportunity. Louis and I got low to the
ground so we were eye-level with Max,
and his parents even managed to tease
a cheeky smile out of him.

Lens Canon EF 50mm f/1.2L USM

Exposure 1/800 sec, f/1.8, ISO200

HOT LOUIS’S COMMENT

SHOT At the start of the
day I was quite
happy watching Catherine go

#2 about how she would do the

shoot as if it was a paid job – it
was interesting to learn from her laid-back
shooting style that made everyone in the family
feel at ease. At this point,Jack was still running
around while we were trying to photograph Max
in the picture above. But Catherine saw an
opportunity to take this shot of Jack as he had
a big grin on his face. It’s a lovely moment and
just goes to show that sometimes you have to
think fast to get the shot!

Lens Canon EF 50mm f/1.2L USM

Exposure 1/800 sec, f/1.8, ISO200

11
THEAPPRENTICE HOT
SHOT
TOP TEN TIPS FOR #3
FAMILY PORTRAITS
1 Travel light
I don’t like to be bogged down by huge amounts of kit
so I keep things simple. I shoot mainly with a single
Canon 5D Mark III body, a 50mm portrait lens and,
occasionally, a reflector, but that’s about it!

2 Build relations
Take the time to get to know your client and what
makes each family individual, then try to capture
those characteristics throughout the day.

3 Fake it until you make it

Even if you’re not confident you’ll need to act
confidently when you’re on a shoot, otherwise your
clients won’t be fully at ease and you likely won’t get Lens Canon EF 50mm f/1.8 II
the best out of them if you look unsure. Exposure 1/1000 sec, f/2.2, ISO125

4 Keep an eye on the position of the sun

Bright sunlight will give you faster shutter speeds,
but also harsher shadows. It’s best to guide the
family towards a shady spot for more gentle and
even lighting. It will also stop them squinting!
TOP GEAR #2
50mm f/1.2L USM
5 Open up
If you’re using a lens like a 50mm f/1.8 don’t be
afraid to open the aperture up all the way. This will
THE top flight 50mm f/1.2L
USM belongs to Canon’s
suck more light in giving you faster shutter speeds esteemed L-series range. It’s
and makes it easier to blur the background too. Catherine’s lens of choice,
being her workhorse on shoots

6 Don’t force smiles

I always try my best to capture the kids and families
looking as natural as possible, so don’t try to force
as it delivers fantastic image
quality, a rapid autofocus which
is useful when the little ones are
any smiles, just let the kids be themselves and shoot on the move, and a wide
any magical moments that come up along the way. maximum aperture of f/1.2 that
makes it possible to shoot at
7 Use the environment you’re in
Every location will be different and you can
incorporate parts of your locations into the pictures
faster shutter speeds and also
blur backgrounds more easily.

to make them more unique. For example using

reflections in water or posing your model in a field.

8 Shoot from afar

Short telephoto lenses with a focal length of around
70-200mm will give you a much more zoomed-in
look. This lets you get frame filling shots from further
away and makes it possible to get candid reportage
style shots that are on trend right now.

9 Keep the conversation flowing

Having a running dialog with the parents and their
children will help them feel more relaxed. It will also
make it easier to gently guide them in the location or
help pose them for the picture.

10 Use cloud cover

Having large clouds in the sky is no bad thing when
it comes to portrait photography. The cloud acts as a
massive diffuser, softening harsh sunlight and giving
your portraits much more photogenic lighting.

12
 In association with

HOT
SHOT
Lens
#4
Canon EF 50mm f/1.8 II
Exposure 1/1000 sec, f/2.2, ISO125

LOUIS’S COMMENT
It was really
useful to
watch Catherine work,
as I was learning from
her relaxed style how
to communicate with the family
members to get them in to the poses
she envisioned. After the boys had a bit
of a run around she managed to get
them to sit with their parents in this
shaded spot and then had their father,
Jan, tickle them to get them to laugh
and smile. It was really effective and I
think I captured a lovely moment here
where the whole family are all smiles.
Sadly, there’s minimal eye contact with
each member, but Catherine reassured
me that even imperfect pictures can
still be perfect moments, and shouldn’t
be deleted just because it’s not
technically spot-on.

CATHERINE’S COMMENT
DISTRACTION TACTICS The kids were very well behaved as
they posed for some family group
PROPS are a great way to keep the
shots, so to keep them interested we decided
kids interested and help you get you
to explore some of the more forested areas.
out of a jam when their energy levels
After a short walk we stumbled upon this
start to dip too, which tends to happen
charming little bridge which I wanted to incorporate into my
after about an hour of shooting. With
photos. I asked mum Nikky, and her eldest Max, to pose by the
little children like Jack, who is only two years old, Catherine
bridge which had some lovely dappled and diffused light
sometimes waves a cuddly toy next to her camera to get
coming through the tree canopy. We tried a few different
them looking in her direction and increase eye-contact.
poses, but I really love this one where Max is standing in front
of his mum laughing.

The Canon Magazine 13

 KEEP YOUR KIT CLEAN
EVERY time Catherine reaches for a new
lens from her kit bag she’ll give it a quick
dusting with a large, soft makeup brush to
knock off any dust particles. This keeps
her kit in tip-top condition – essential
when you’re a working pro who only wants
to carry the minimum of kit.

HOT
SHOT
#5
Lens Canon EF 50mm f/1.8 II
Exposure 1/400 sec, f/2.5, ISO320

EXPERT INSIGHT
CAPTURE SPONTANEITY
NOT EVERY picture has to
be posed with the kids
looking directly into the
camera. Catherine tells us
that imperfection can also
be perfect, so watch out for
moments of spontaneity
where the children are
running around or doing
things they shouldn’t be
doing – these can often
make great pictures too!

14 www.digitalcameraworld.com
 In association with

LOUIS’S COMMENT CATHERINE’S

We walked through
to a wooded area of
Waterperry Gardens which
TOP SHOTS
was more shaded and gave us
more even lighting. I saw
Catherine had a small white chair in her props
bag so we decided to get that out and have Max
sit on it. This was also a good opportunity for
the kids to have a rummage through the props
bag to keep them interested. They both went
straight for the colourful ukulele’s and we
completed the look by giving them
each a straw hat.

BEACH LIFE FAMILY

I SHOT a session for this lovely
family in Cornwall; this image was
taken early in the morning at
Crantock Beach, which is
absolutely gorgeous.

MOTHER & DAUGHTER

I JUST adore this photo, it was
taken just before dusk on a
warm summer’s evening. It’s a
lovely quiet little moment
between the two of them.

TOP GEAR #3
85mm f/1.8 USM
WITH a longer focal length
compared to Catherine’s 50mm,
her 85mm lens is better suited
to tighter head and shoulders
portraits, or for shooting from
farther away. It has a slightly
less wide maximum aperture
value of f/1.8, but this short
telephoto focal length helps to BOY & DOG
compress scenes better THIS IS a personal favourite of
– meaning it’s easier to get the mine, it’s of my son Leo, and our
appearance of a shallow dog, we went for a walk one
depth-of-field. evening and this moment
captures their special bond.

The Canon Magazine 15

THEAPPRENTICE

HOT
SHOT
#6
LOUIS’S COMMENT
GET THE KIDS Moving into our afternoon session
INVOLVED we had a second family to work
with: mum Karis and her two daughters
Esmae, and toddler Florence. They girls
THE HARDEST part of a
arrived with several different outfits but I
family shoot is winning the
thought the red dresses they started out in were fantastic as
kids over. So get them
they really popped out of the greenery in the field behind.
involved by showing them
Following Catherine’s advice we just let them go where they
some of the pictures you
wanted at first to have some fun. So when Esmae without
take as you go along. Be
direction hugged her younger sister and pulled a cheeky face
sure to give them a high
I just had to get it. Using a wide aperture of f/1.6, like
five so they know they’re
Catherine suggested, I had a shutter speed of 1/2000 sec so
doing a good job too!
the picture came out totally sharp – it’s definitely one
of my favourite photos from the day.

16 www.digitalcameraworld.com
 In association with

EXPERT INSIGHT
USE A REFLECTOR
LIGHTING is super important with portraits and
a reflector is a great way to bounce some of the
available light back at your model to make the
image brighter and reduce harsh shadows.
Catherine often uses the silver side of her 110cm
5-in-1 reflector which injects a slightly cool silver
light back onto the subject to lift the shadows and
is great for creating catchlights in the eyes too.

NO REFLECTOR

SILVER REFLECTOR

Lens Canon EF 50mm f/1.2L USM

Exposure 1/2000 sec, f/1.6, ISO100

TOP GEAR #4
Jo Totes Gracie camera bag
I DID quite a bit of research before
buying a camera bag as I was specifically
looking for one that didn’t scream
‘photographer!’ but also gave adequate
protection for my kit, and one that would
let me grab my camera quickly. I went
for this Jo Totes Gracie bag which has
padded dividers on the inside to protect
my camera gear and on the outside it
looks like an everyday handbag.

The Canon Magazine 17

THEAPPRENTICE
LOUIS’S COMMENT
At the end of the
day the two girls
were starting to get tired
from running around, so it
was a good time to ask
them to sit down with mother Karis and
have a family group shot together. That’s
when Catherine managed to capture this
lovely moment. I’d never dared to shoot
wide open on my 50mm lens before as I
was scared that my focal point might come
out soft. But after Catherine challenged me
to do so, I was pleasantly surprised that my
subjects were sharp and I was rewarded
with a more dreamy, shallow depth-of-field
as well as faster shutter speeds that helped
reduce camera-shake.

CATHERINE’S VERDICT
It was really
lovely to see
Louis’s confidence grow
throughout the day. He
started off quite shy and
reserved, but by the end of the shoot he
really came out of his shell and was taking
control of the shoot, offering up his
suggestions and giving directions to the
families to get them into the poses he was
after. The most important thing was he
made both of the families feel calm and
relaxed on the day, which is always going to
give you the best and most natural results.
He clearly had a rapport with both the
children and adults on the day. His brilliant
people skills make him well-suited to this
type of photography and I really hope he
starts taking on the paid clients that he’s
been afraid to take on in the past.

Lens Canon EF 50mm f/1.2L USM

Exposure 1/640 sec, f/2, ISO250

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The Canon Magazine 19

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 STUNNING IMAGERY FROM THE WORLD OF CANON PHOTOGRAPHY

22 www.digitalcameraworld.com
 FANTASTIC CANON PHOTOGRAPHY

01 GERMAN WASP AND MITES (FINALIST:

ANIMALS) BY DARRON MATTHEWS
I placed little drops of honey around my
garden in the hope of attracting a wasp or
bee. A drop on a white clematis proved too
tempting for this German wasp, and I took
this shot while it drank, rocking back and
forth until it was perfectly sharp. It wasn’t
until I had a closer look at the images that I
realised the wasp had been joined by some

© Darron Matthews
tiny mites too!
Lens Canon MP-E 65mm f/2.8 1-5x Macro
Exposure 1/125 sec, f/16, ISO100

The Canon Magazine 23

INSPIRATIONS

© Perdita Petzl
© Mandy Disher
02

02 PAPAVER PASSION (SHORTLISTED:

PLANTS & FUNGI) BY MANDY DISHER
The poetic lines, detail and texture of this
All of the pictures used here poppy’s delicate papery thin petals drew
are our top picks from the
2019 CUPOTY (Close-up
my eye instantly. The back of the flower
Photographer of the Year) was particularly interesting so I decided
competition. CUPOTY 02 to take it from this angle. The petals were
kicks off in September 2019 quite shiny, so I underexposed to retain
with categories for Animals,
Plants & fungi, Intimate detail in the highlights.
landscape, Manmade and Lens Tamron SP AF 60mm f/2 Di II LD IF Macro
Micro, so make sure you
don’t miss it. Exposure 0.8 sec, f/22, ISO100
www.cupoty.com
03 FROSTED SPHAGNUM (FINALIST: PLANTS
& FUNGI) BY TINA CLAFFEY
Bogs are magical places that defy any
distinction between land and water. This
Sphagnum cuspidatum in suspended
animation took my breath away,
surrounded by frozen oxygen bubbles. This
was after a heavy night of frost in Killaun
bog, in the heart of Ireland.
Lens Canon EF 100mm f2.8 USM Macro
Exposure 1/320 sec, f/2.8, ISO400

04 GIMME (FINALIST: ANIMALS)

BY PERDITA PETZL
I really love European ground squirrels and
try to help them as much as I can, as there
are only a few small populations left in
Lower Austria, and their habitats are often
under threat. In this picture, a mother and
one of her babies are quarreling over a
rather tasty plant.
© Tina Claffey

Lens Canon EF 300mm f/2.8L IS USM

Exposure 1/640 sec, f/7.1, ISO500 03

24 www.digitalcameraworld.com
 FANTASTIC CANON PHOTOGRAPHY

04

The Canon Magazine 25

INSPIRATIONS

05

26 www.digitalcameraworld.com
 FANTASTIC CANON PHOTOGRAPHY
© Henri Koskinen

06

05 LOVING DUO (SHORTLISTED: ANIMALS)

BY THOMAS DELAHAYE
This pair of Niobe fritillaries was shot in the
French Alps. To get the high-key effect I All of the pictures used here
are our top picks from the
needed the sky to be cloudy, the subject in 2019 CUPOTY (Close-up
shadow and the background clear. I waved Photographer of the Year)
a tissue in front of the lens to create some competition. CUPOTY 02
blurry foreground interest too. kicks off in September 2019
with categories for Animals,
Lens Canon EF 100mm f/2.8L Macro IS USM Plants & fungi, Intimate
landscape, Manmade and
Exposure 1/320 sec, f/8, ISO1250 Micro, so make sure you
don’t miss it.
06 SEEDS ON STAGE (WINNER: PLANTS & www.cupoty.com
FUNGI) BY HENRI KOSKINEN
I tried a number of compositions of
seeds hoping to create the impression of
ballerinas on a stage, but coltsfoot worked
the best as they are so delicate and light.
I had to spray them with water to keep
them still and stop them from flying away.
Lens Canon EF 100mm f/2.8 L IS USM Macro
© Don Komarechka

Exposure 1/2 sec, f/9, ISO200

07 07 FRACTAL SYMMETRY (3RD PLACE:

INTIMATE LANDSCAPE) BY DON
KOMARECHKA
I focus stacked 46 separate frames to get
the snowflake totally sharp. I also cleaned
up the background in Photoshop to make it
totally black, removing some of the fibres
from the dark mitten it was resting on.
Lens Canon MP-E 65mm f/2.8 1-5x Macro
© Thomas Delahaye

Exposure 1/250 sec, f/4.5, ISO320

The Canon Magazine 27

INSPIRATIONS

© Mok Wai Hoe

08

08 NEMO ON PINK BUBBLE ANEMONE

(FINALIST: ANIMALS) BY MOK WAI HOE
Clown fish are perfect subjects for
All of the pictures used here
underwater photography as they are
are our top picks from the brightly coloured and cooperative in front
2019 CUPOTY (Close-up of the lens. During a dive in Pulau Weh,
Photographer of the Year) Banda Aceh, Sumatra I found a family of
competition. CUPOTY 02
kicks off in September 2019 three residing in a sea anemone, which
with categories for Animals, come in a variety of colours, but bright
Plants & fungi, Intimate neon pink was a rare find. The two adult
landscape, Manmade and
Micro, so make sure you
fish were closely guarding their newborn,
don’t miss it. an adorable baby clown fish no larger than
www.cupoty.com my smallest fingernail.
Lens Canon EF 100mm f/2.8L Macro IS USM
Exposure 1/250 sec, f/3.5, ISO100

09 CRYOGENIC (FINALIST: INTIMATE

LANDSCAPE) BY TOM LOWE
I arrived at Whitley Bay beach to find the
stormy winter seas had washed up large
banks of tangled kelp. This had become
frozen in sub-zero temperatures overnight
giving it loads of texture. I visualised the
central tangle to be the frozen heart of
some kind of mythical sea creature and I
wanted to give it a dark sci-fi feel inspired
by H.R. Giger, which I did by muting the
colours and boosting clarity.
Lens Canon EF 24-105mm f4L IS II USM
Exposure 6 secs, f/11, ISO100
© Tom Lowe

09

28 www.digitalcameraworld.com
NEWCANONSKILLS

SHOOT
LANDSCAPE
PHOTOGRAPHY
23 great ways to improve your landscape shots

30 www.digitalcameraworld.com
 LANDSCAPE PHOTOGRAPHY

Shutterstock / Andrew Mayovskyy

Timing is everything

01 With landscape photography

the conditions can change
dramatically from one moment
to the next. One minute the sky
might be full of cloud; suddenly a small break
allows dramatic light to pour into the scene… Then
it’s gone as quickly as it came. Being in position
and set up ready to shoot when these situations
arise is part and parcel of landscape photography.
One way to maximize your chances of good
light is to shoot around sunrise and sunset. Known
as the golden hour, the short period before sunrise
and after sunset is when you’re most likely to see
richly coloured light. But even at these times
conditions can change quickly and you have to be
ready. In a shot like our main image, the frames
before and after can look different. This moment
can be over in a flash, so you have to be ready with
your kit set up and settings figured out.

The Canon Magazine 31

 NEWCANONSKILLS
02 Maximize image quality
Image quality is important regardless of
the subject, but for landscapes, where you have the
time to slow down, the best image quality possible is
essential. To do this, shoot at ISO100 or 200, or the
lowest setting for your camera. Shoot in Aperture
Priority at f/11 or f/16 to take advantage of the
sharpest aperture on the lens being used, and to
help create a large depth of field. The camera will
select the appropriate shutter speed for a correct
exposure automatically.
Exposure times will often be too long to hand-hold
the camera, which makes a tripod a must-have
accessory. Set the metering mode on your Canon
to Evaluative or Centre-Weighted to achieve an
exposure as close to perfect as possible. If the image
looks too light or dark, use exposure compensation
to override the camera exposure to correct it. Take
a look at tip four to learn about focusing.

03 Blend day and night

Digital photography allows us
to achieve visually exciting images.
One great way to capture a landscape is to shoot
both the day and night and then blend the images.
Shoot on a tripod and make sure it and your camera
and lens don’t move or re-focus between the shots.
Shoot in Av mode at around f/8, and take a shot in
the day, at last night and at night. Once you have your
three to three images, open the day shot first in
Photoshop, and copy and paste the other images on
top as layers, then you can use layer masks and the
Gradient tool to quickly blend at least two of your
images together, and then paint over parts that you
want to see using the Brush tool on the masks.

32 www.digitalcameraworld.com
 LANDSCAPE PHOTOGRAPHY

04 Focus with ease

Focusing your camera lens is
one of the most challenging aspects of
landscape photography – after getting
to a glorious location and experiencing
amazing light, of course. The thing about
focusing, despite what some people might
tell you, is that it’s actually really simple,
and there are two straightforward

Alexwise
approaches you can try to make
the task much easier for yourself.
One popular method is to turn on Live
View and zoom the screen into a point
that’s roughly one third of the distance into
the scene and manually focus on this point.
05 Take to the skies
Drone photography has taken
off in recent years – no pun intended.
you pilot an aerial device that can injure
people. But in scenic locations with few or
no people around, drones allow you to get
Another trick, and one that may seem Thanks to falling prices and advanced a unique perspective on the landscape
haphazard, is to set the focus on the lens systems helping novices to fly safely below. Most drones made by DJI and
barrel to just before infinity (as shown without crashing, drone photography is Mavic allow you to shoot stills in Raw, and
above). It may need tweaking slightly, but now accessible to all. Of course, a large will hover in the same spot while shooting
it’s a quick and easy way to focus perfectly. dose of common sense is required when three bracketed exposures.

07 Try a telephoto lens

It goes without saying that an ultra wide-
angle lens, such as 10-18mm on APS-C cameras and
16-35mm for full-frame, is an essential piece of kit.
But relying solely on this focal range will severely limit
your ability to capture every scene at its best.
Wide-angle lenses are
best for landscapes where
there’s strong foreground
interest or lead-in lines
close to the camera.
Petr Jilek / Shutterstock

Telephoto lenses are great

for scenes where the main
subject, like mountains,
has no foreground interest
and is quite some distance
from the camera.

06 Shoot wide open Another advantage of

telephoto lenses is that
Achieving a large depth of field is a mantra you’ll hear
they can create the
over and over again when talking about landscape
illusion of perspective
photography. This is a decent rule of thumb for many shots, but it’s not
compression, making
always the best or only option. For images where there’s foreground
elements at different
interest, such as wild flowers or cracked earth, knocking the
distances from the
background out of focus, so it’s recognizable enough to add context
camera appear closer
but not sharp enough to demand attention, is a great technique.
Stefano Sala

together. A 70-200mm
Focus on the foreground object and set the aperture to f/2.8 or f/4.
f/4 lens is ideal because
it’s small and light.

The Canon Magazine 33

 NEWCANONSKILLS
08 Use a tripod
You’ll hear this
over and over again, but
09 Attach filters
Get the most out of your
shots with three essential landscape
serious landscape filters. ND grads are used to reduce
photographers should the exposure in the brighter sky while
always consider carrying leaving the darker ground unaffected
a tripod to ensure their for an all-over level exposure. ND filters
camera is completely still reduce light entering the lens, allowing
during exposures that are you to shoot with slower shutter
typically longer than other speeds. Polarizing filters can be used to
subjects. If you throw an reduce the effect of harsh light, reduce
ND or graduated filter reflections, increase saturation and
into the mix and deepen blue skies.
exposures could run
as long as minutes,
making robust
10 Make it level
Getting a perfectly level horizon
is one of the key ingredients of a good
support an shot. Some photographers favour a
absolute necessity. hotshoe-mounted spirit level to make sure
A medium- their camera is level on both the horizontal
size carbon-fibre and vertical axis. However, most cameras
tripod and ball now have a built-in virtual
head like this horizon that does
Manfrotto model is exactly the same
always a good option thing and can be
because it’s light and activated when you
relatively affordable. use Live View.

11 Try adding scale

with people
A trend that’s sweeping
landscape photography is having a person
in the foreground of a shot, with their back
to the camera, looking out over the scene.
This human element helps viewers to
connect to the image and imagine being
there themselves. A person in the
landscape can also be used to add scale. To
include a human element, ask a friend to
pose, or use the camera self-timer set to
20 secs and step into the shot yourself.

12 Use shape and tones

Colour and contrast are powerful tools in landscape photography, and
can help you to achieve creative shots you might normally walk past. The secret
here is to simply slow down and observe the landscape and how it behaves.
Reeds blowing in the wind, swirl pools at the foot of waterfalls and the tree canopy
Francesca Caruso / EyeEm

twinkling in the bright sunlight all provide opportunities for the photographer, but
they’re the kind of thing that can easily be missed.
No matter how slow the movement of natural elements in a scene is, extending
exposure time to anywhere between three and five seconds can be enough to
create detailed images that command as much attention as the perfect sunrise
or sunset. For the best result, try to include an element that’s completely still, to
give the viewer a focal point.

34 www.digitalcameraworld.com
 13 Head for the forest
Trees are such common subjects for
photography that they need little or no
introduction. From neat rows of evergreens to more
naturally positioned deciduous species, trees can provide a
forget evergreens that maintain their vivid colour
throughout the year, with their perfectly straight trunks
that appear to erupt out of the ground.
Photographing trees follows all the same technical
and creative rules as standard landscape photography.
wealth of great images all year round. The same forest can Sharpness, depth of field and composition remain as
change completely from one season to the next, so regular important as ever, although there is a little bit more room
visits to capture the changes as they occur are worthwhile. in a forest to break the rules of composition than you’ll get
Autumn, winter and spring are great for mist and fog, with some other subjects.
although mist can also occur during the summer months. You’ll almost certainly get the best result heading out
Bluebells in spring can cover the forest floor in a blanket of at the extreme ends of the day around sunrise and sunset.
ChrisHepburn

colour, while autumn is all about warm colours as the leaves With the sun lower in the sky, the forest will look amazing
begin to turn to incredible red and orange hues. And let’s not back- or side-lit, and mist is always a huge bonus.

The Canon Magazine 35

 NEWCANONSKILLS
Clifford Pugliese / Shutterstock

14 Zoom into detail

With all this talk of fine detail

fiz_zero / Shutterstock
and sharpness, you can be forgiven for
thinking that abstraction doesn’t have a
place in landscape photography. When
you’re in a great location, it can be easy
to become fixated on the wider scene.
Details are a great way to make use of the
middle of the day, when light conditions
may not be suitable for wider shots.
Whether you’re at the beach, in the
15 Capture movement
Movement is a common theme
that’s usually approached from the
move the camera during exposure to
create the movement blur.
An in-camera blur skill that produces
woods or in the hills, there will always perspective of capturing movement within ace results at the coast is a horizontal pan
be photogenic details worthy of your the landscape itself. Another option that’s looking out to sea. You need a one-second
attention. For these types of shots, a kit a lot of fun is in-camera movement; that’s shutter. The best time to shoot is at sunrise
lens or telephoto zoom will be perfect. where you use a slow shutter speed and or sunset, when there’s colour in the sky.

16 Anticipate
the tide
Seascape photography is an
excellent way to take some
fantastic scenic images full
of movement. The best
exposure time to capture
dynamic movement of is one
or two seconds, so this is what
you should aim for.
With the camera set to
Aperture Priority and using
a low ISO, you may find the
shutter speed is still too fast.
A polarizing filter can block up
to 1.5 stops of light, so try
attaching one to the lens;
alternatively try an ND filter.
Now wait for the tide to lap up,
then release the shutter just
as it begins to recede. It may
take a few shots to get the
timing just right, but you’ll
soon be getting results.

36 www.digitalcameraworld.com
 LANDSCAPE PHOTOGRAPHY

17 Slow down your shutter speed

Learning to control your shutter speed will have
a big impact on your landscape photos when
there’s something moving in shot. Using a fast split-second
shutter speed of 1/1000 sec will freeze most movement, such
as the river in our scene. Whereas slowing the shutter speed
down, any movement becomes blurred. The slower the shutter
speed, the more the gushing water turns milky, helping to
capture a sense of movement in the water. There are a few
techniques for obtaining the longest possible exposure. Shoot
in low-light overcast conditions, or shoot before first or after
last light. Select a narrow aperture to minimize the amount of
Scott Robertson

light reaching your Canon DSLR’s sensor, such as f/16, and

use the lowest possible ISO setting on your camera. But
adding an ND filter will really slow down your shutter speeds…

The Canon Magazine 37

 NEWCANONSKILLS

18 Better tonal range

in landscapes
A strong dynamic range is particularly important in
You can either compress the dynamic range of the
scene so that it will fit within the dynamic range of the
camera, or extend the dynamic range of the final image
Contrast levels are
extreme at sunrise
and sunset, and your
landscape photography. Dynamic range is a way of using exposure blending or HDR techniques. camera will be unable
describing the range of different brightness levels in Using graduated filters to squeeze the dynamic to record details in
a scene, from the deepest shadows to the brightest range is a classic technique. Or you can bracket the both the brightest
highlights. Landscapes can be a test for a camera’s exposure, shooting one image with the sky exposed and darkest areas
dynamic range, as you’ll often be dealing with high correctly and the other with the foreground exposed
levels of contrast where a sky’s substantially brighter correctly, then blending the best bits in post. You may
than the foreground, and the chances are your camera be able to get away with processing a single Raw file
will lose some detail in the bright areas or those in twice, once for the shadows and once for the bright
shadow – or both. areas, and blend the two.

38 www.digitalcameraworld.com
 LANDSCAPE PHOTOGRAPHY

19 Dynamic range
in action
Today’s digital cameras
can capture a wide range of different
brightness levels, but there is still a
01

01
limit. When the difference between the
brightest and darkest parts of a scene
– the dynamic range – is so great that
you are unable to find a single
exposure that can capture detail in
both, then you’ll either have to 02
compromise or take steps to deal with
the problem, whether that’s in-camera
or in-computer.
These don’t always have to be giant 02
steps, as you may be able to process a
03
single Raw file to recover detail that 03
might otherwise be lost. If this is your
aim, then exposing for the highlights
and processing for the shadows is the
EXPOSING FOR THE SHADOWS EXPOSING FOR THE HIGHLIGHTS
best option; for landscapes, that
means reducing the exposure on the 01 FIXED RANGE 01 HIGHLIGHT DETAIL
camera so that you capture detail in Cameras have fixed dynamic ranges, with some Exposing for the bright sky plunges the land into
the most important areas of the sky, offering a wider dynamic range than others. darkness, illustrating the problem clearly.
and then brightening dark areas when
02 EXPOSURE DIFFERENCE 02 COMPROMISE?
you process the image on your
Here, the exposure difference between the bright Expose for a midtone: you will get a brighter image,
computer. As you’ll see over the page, sky and the land below is too big. but may lose details in both highlights and shadows.
this can lead to an increased amount
of noise, but it’s preferable to trying to 03 SHADOW DETAIL 03 FIX THIS!
rescue highlights that have been The camera has given more prominence to To control the dynamic range, use graduated filters
completely blown out. foreground detail, which blows out the sky. or take a range of exposures and blend them.

20 Exposure
latitude
Changing the exposure makes a
landscape look brighter or
darker and pushes the
histogram to the right side of
the graph, or to the left, but it
doesn’t expand the overall
dynamic range. If the histogram
© Marcus Hawkins

is squashed up against just one

side of the graph, then either
increasing or decreasing the
exposure will move the
histogram along the graph and
can potentially pull the clipped
information back within the
camera’s dynamic range.
Note this only applies if
there’s enough exposure
latitude. A narrow histogram
has lots, enabling you to make
fairly big exposure adjustments
without losing any details, but CENTRAL HUMP SINGLE PEAK DOUBLE PEAKS
landscapes are typically quite The lack of extreme highlights and When the histogram is pushed to the This scene’s dynamic range exceeds that
high-contrast scenes, with shadows means this low-contrast scene right, then reducing the exposure, or of the camera’s and there’s no exposure
bright skies and dark fits into the camera’s dynamic range, using an ND grad filter, can help to latitude. Blending separate exposures
foregrounds… giving plenty of exposure latitude. restore detail in the bright areas. may be an option.

The Canon Magazine 39

 NEWCANONSKILLS

21
Working with ND grads
BEFORE - NO GRAD You can reduce the intensity of a bright sky and bring its exposure in line with
that of a dark landscape by using graduated neutral-density filters. The trick
here is to expose for the darker landscape (as the image on the left), then
select a filter that is the correct strength to bring the exposure of the sky within the sensor’s
dynamic range. You don’t have to do any complicated calculations: start with a two-stop or
three-stop filter, take a test shot and check the histogram. If the right side of the histogram is
pushed up to the edge of the graph, use a stronger filter.

HIP TO BE SQUARE
Use a square filter system
to adjust the position of
the transition.

CORRECT INCORRECT

JUST RIGHT Set a small aperture and use your camera’s depth of field preview button TOO LOW If the transition from dark to clear is positioned too low, it’ll clip the tops of
to make it easier to judge where to place the transition. the hills and other protrusions and turn the tips of these dark.

40 www.digitalcameraworld.com
 LANDSCAPE PHOTOGRAPHY

22 Digital
solutions
Utilizing the power of
your Raw files is a good way to get the
most of your landscape shots to create
out detail that might otherwise appear
lost when you check the picture on the
rear screen of your camera.
For instance, if you develop a Raw file
in Lightroom or Photoshop’s Adobe
better finished images. Camera Raw plug-in, you can apply a
Raw files are capable of holding a digital graduated filter on the sky, use
wider dynamic range than JPEGs, but the Shadows slider to reveal detail in BEFORE
both the histogram and the preview dark areas and fine-tune the Whites and
image that you see on the back of the Highlights sliders to pull back detail in
camera are based on a JPEG version of clouds and other areas in danger of
the image. A Raw file contains more being overexposed. You can also tweak
information in the brighter and darker the luminosity of individual colours,
areas, which means that you can tease such as darkening the blues in a sky.

STEP 1 Blown highlights

Straight out of the camera, the Raw file shows
the bright areas of this scene pushed up on the
right and ‘clipped’ by the edge of the graph. Not
surprising: it’s a high-contrast scene.

AFTER

STEP 2 Digital grad STEP 3 Brushing up STEP 4 The finished image

In Adobe Camera Raw of Lightroom, you can click If there are parts of a scene that poke into the grad,
After some further global image adjustments,
and drag a graduated filter across the sky that select the ‘–’ Erase brush at the top of the Graduated
the histogram is looking much healthier – as is
enables you to selectively control the brightness Filter panel and paint into these areas in order to
the image. Don’t feel you need to squeeze the
and tones in this area, using Exposure, Highlights, remove the effect. Press Y to show the Digital grad
histogram’s entire tonal range into the graph:
Whites and Dehaze we’ve managed to darken the mask, and if you click the Auto Mask box you’ll get
specular highlights on the water may still be
sky for a more balance image. more accurate results when brushing/erasing.
blown out, for example.

23 Raw is no silver bullet…

Although it’s possible
to extract more detail from
SHADOWS

Raw files, you should still try HIGHLIGHTS

to get the exposure right
in-camera. If the bright
areas have been extremely
overexposed, they’ll contain
no detail, and trying to
rescue them in software will
leave them looking muddy
and featureless. If you try and
brighten areas that were very
underexposed, you may just HIGHLIGHTS Severely overexposed highlights
reveal more noise. will still look featureless. SHADOWS Brightening up strongly underexposed dark areas increases noise.

The Canon Magazine 41

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42 www.digitalcameraworld.com
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The Canon Magazine 43

DAVIDNOTONONLOCATION

Buttermere
Lakes District, Cumbria, England. 08:53am. 24th September 2005.

David NotonVORZVGRZQDQGUHÁHFWV
RQFRQWHPSRUDU\SKRWRJUDSK\ZKLOH
FDSWXULQJWKHVHUHQHODQGVFDSHVRI
WKHLPSUHVVLYH/DNH'LVWULFW«

ometimes it

S
8VLQJWKHÀQHDGMXVWPHQWV
pays to take a possible with my geared tripod
step back from head, I adjusted the framing in
the tripod and the eyepiece with symmetrical
just look. When precision, so that the water-line
the wait for the bisected the frame perfectly. I then
light is over and zoomed in to 105mm with my
the decisive 70-200mm lens, so the strong
moment is nigh, I can be so diagonal line of the rays just
busy assessing histograms, clearing the ridge to the south east
levelling the horizon, slanted in precisely from the top
rummaging for rings, or left corner, painting the iconic trees
SRVLWLRQLQJÀOWHUVWKDWWKH at the head of the lake with strong,
true serenity of the scene in low side-lighting. Beyond the rays,
front of me passes almost the valley still deep in shadow
unnoticed. Rush, rush, rush: it’s emphasized the diagonal, and the
the story of our lives. If it weren’t trees stood out against the dark
for the joy of photography it’s background as if spot lit. Reflections on the shore of
XQOLNHO\,·GEHWKHUHLQWKHÀUVW The result was an image in my Buttermere at dawn, Cumbria,
place; but taking the time to just eyepiece of simple symmetrical Lakes District, UK
look and marvel at Mother Nature’s harmony, with the top half of the Lens Canon EF 70-200mm f/2.8L IS USM
ZRQGHULVDOZD\VEHQHÀFLDOIRUWKH frame mirrored exactly below. Exposure 1/100 sec, f/4, ISO100
soul, and my craft. I had to be precise with my
On the banks of Buttermere, composition: symmetry that wasn’t
with the early morning light quite perfect would jar the senses
painting a scene of stunning horribly, destroying the balance. instinctively knew it was the way
beauty, I paused to reappraise. 7KHZDWHUZDVVRÁDWFDOPWKDW to go. That’s the thing with this
Was I making the most of this barely a ripple broke this composition game: ultimately it’s
wonderful opportunity? I stepped symmetry; the image glowing on a gut feeling, an instinct partly
EDFNWRUHÁHFWRQWKHUHÁHFWLRQV the screen on the camera back intuitive, partly nurtured.
For just a moment my tranquillity FRXOGKDYHEHHQÁLSSHGDQGQR For such moments by still lakes,
was complete: no reversing alarms, one would have known. a 0.6 neutral density graduated
beeping phones or rattling diesel :KDWLVLWDERXWUHÁHFWLRQVWKDW KDUG ÀOWHULVDKDQG\WRROWKH
engines intruded. The only sound DUHVRDSSHDOLQJ"&OHDUO\WKH\ brightness of the top of the frame
was the tweeting of the birds and SURPSWXVWRUHÁHFWPHQWDOO\DQG is perfectly matched by the
the bahing of the sheep; why can’t suggest harmony, serenity and UHÁHFWLRQVZLWKWKHOLQHRI
it always be like this? tranquillity. I don’t always strive gradation laid along the shoreline.
There are few situations that are for harmony and balance in A touch of lens vignetting was
more photographically appealing compositions – my images would NEXT apparent, with the edges of the
than the perfect mirror-like all start looking boringly similar if I MONTH frame slightly darker than the
UHÁHFWLRQVRQDODNHLQ&XPEULD did – but here in the Lake District I PRAGUE middle. This is an effect I often

44 www.digitalcameraworld.com
notice with my 70-200mm f/2.8L, choose not to: the effect
but I don’t lose sleep over it. Even concentrates the view and provides
the best lenses do not have
completely even coverage across
an oh-so-subtle as to be barely
visible internal frame. I very rarely
DAVID
the frame. I knew that by using
/LJKWURRP·VOHQVSURÀOHFRUUHFWLRQV
use the in-built lens corrections; all
such adjustments modify or throw
NOTON
Pro travel &
I could correct the darkening of the away pixels, so I stick to my landscape
corners at the Raw conversion post-production ethos of the less photographer
stage, but I suspected I would I do to an image the better.
DAVID IS AN AWARD-WINNING Canon photographer
with more than 30 years’ professional experience. During
Rush, rush, rush: it’s the story of our his career David has travelled to just about every corner
of the globe. In 2012, Canon invited David into its
lives. If it weren’t for the joy of photography Ambassador Program by designating him an Official Canon
Explorer. Info and photos at www.davidnoton.com
it’s unlikely I’d be there in the first place
The Canon Magazine 45
LEARN NEW ON SALE
NOW
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 CANON SKILLS

Sharpen up your photography skills with VIDEO

AVAIL S
our all-new photo projects and expert guides ONLIANBLE
E

Dan Mold
Technique editor
New projects with video guides
[email protected]
Follow our Canon DSLR walkthrough guides and Photoshop editing videos
Welcome...
PHOTOSHOP makes it
possible for us to create
head-turning images that
are simply impossible to
create in camera. This
month we kick off with a
project that shows you how
to use in-camera skills and
Photoshop in equal measure
48 Precarious posing
Discover how to create this
mind-bending photographic illusion
52 Get the infrared look
Use infrared filters or fake
this striking effect in Photoshop
54 Double trouble
We show you how to turn a
humble spoon into abstract artwork
to create the illusion that
your model is effortlessly
sitting atop a stack of chairs.
If you prefer to capture
everything in camera then
fear not! We have projects
showing you how to use an
infrared filter for sublime
monochromatic results, and
use a humble spoon to get
creative with reflections.
Drones have increased
in popularity over the last
58 Master your drone
See how to improve your stills
and movies from the skies above
60 Add texture to shots
Download and start using the
12 textures, free with this issue
decade, so we take a look
at some essential tips and
tricks that will take your VIEW THE VIDEOS
aerial shots to the next level.
For those that prefer to WHENEVER you see
this icon you’ll find
get stuck into the editing, we an accompanying
show you how to colourize video on our Video
old pictures, use your free Disc. You’ll also
V IEW THE VIDEO
Affinity brushes and how to find these videos
online – so you
add texture files to pictures can view them on
in Photoshop Elements. So
pick one and get stuck in!
62 Restore old photos
Hand-colour old mono photos
to give them a new lease of life
64 Affinity brushes
Start using your free splash
brushes to get creative results
a tablet or computer
without an optical drive.
See the links on the project page.

The Canon Magazine 47

 THE MISSION
Shoot and edit a
trick balancing
portrait effect

Time needed
The balancing act
James Paterson uses a combination of excellent shooting skills
One hour and Photoshop magic to create a unique precarious portrait
Skill level
ne of the most fun This is exactly what we’ve done painting simple layer masks to
Intermediate

Kit needed
• Tripod
• Two chairs
• Step ladder
O things you can do with
Photoshop is blend
photos into an entirely
new image. This can lead to
all kinds of weird and
here for our precarious portrait.
We need a series of shots with
slight changes – one of the subject
perched on a ladder, another of
the stack of chairs, and a couple
blend the different versions of our
scene into one seamless image.
As is often the case with
Photoshop trickery, the real skill
lies in the shooting technique.
wonderful results, but it’s RIIUDPHVWRÀOOLQWKHJDSV Get things right in-camera, and
• Photoshop CC
not all about making double By shooting these frames all in the rest is simple. We’ll explain
or Elements
exposures, or blending a the same alignment with a tripod how to shoot the frames for this
crocodile with a kitten, or – and with very careful effect, then guide you through the
sending your granny to the positioning – the Photoshop 3KRWRVKRSZRUNÁRZ(YHQIRUD
moon. Sometimes it can be just side of the project becomes Photoshop novice it’s rather easy,
as eye-catching to craft a subtle surprisingly quick and easy. It’s a and the layer masking techniques
composite from slightly altered case of combining our frames can be used for all kinds of image
versions of the same scene. using automated tools, then editing projects.

48 www.digitalcameraworld.com
 IDEO
VIEW THE V VIDEO ALSO ONLINE CREATIVE COMPOSITE PROJECT
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PROJECT 1

ON LOCATION GET SET UP

Here’s what’s going on behind the scenes of our trick balancing act portrait
01 TRIPOD 02 CAMERA EXPOSURE 03 CHAIRS
We need to take a series of shots for this The exposure and focus point should be Our chairs are kept to one side, ready to be
effect and it’s vital that the camera stays consistent over several frames. So after substituted for the ladder once we’ve shot
still throughout so that they’re all in focusing, we switch to manual focus to our model. At no point does she balance
alignment. As such, a tripod is a must. It’s lock it. We need to work out a manual on them, that’s where the Photoshop
best to shoot on an overcast day so that exposure, we settled on 1/200 sec, f/2.8, trickery comes in. Try different kind of
the lighting stays similar during the shoot. ISO800 for our project. stacks, but make sure you stay safe.

06

05

02

04
03

01

04 LOW ANGLE 05 STEP LADDER 06 SUBJECT

A low camera angle emphasizes the height A step-ladder provides a solid platform for We asked our model to safely balance on
of our subject, pushing her upwards in the our subject to perch on. Crucially, it’s thin the ladder with legs dangling out. This way,
frame. It also strengthens the depth of the legs don’t cast too much of a shadow on we know there’s only one point of contact
scene here by allowing us to blur the road our scene. Helpfully, it’s roughly the same between her and the scene. A side-on
in the foreground and frame our subject height as our stack of chairs, which makes pose emphasizes the position and makes
against the treetops in the distance. it easier to combine our shots later in post. it easier to separate her from the ladder.

The Canon Magazine 49

 IDEO
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PROJECT 1

STEP BY STEP THE SHOT LIST

To make our balancing effect we need four shots – here are the frames you need to create this trick photo

CREATE A
SENSE OF
DEPTH
We used a Tamron
100mm f/2.8 prime lens
for our series of photos,
and by using a longer
01 SHOT ONE 02 SHOT TWO
For our first frame, we place the ladder and ask the Next, we ask our subject to get down from the ladder
focal length, we’re able
subject to climb up and perch on the top. At this point, and bring in our stack of chairs. We balance the chairs
to compress the scene
we focus on her with auto-focus then switch to manual against the ladder so that it looks like they’re teetering
and emphasize the blur
focus to lock it in place. We experiment with poses to on two legs. We check the frames to make sure the
in the background. A
give ourselves plenty of options. top of the ladder matches with the top of the chairs.
wide aperture of f/2.8
ensures depth of field is
limited. This, combined
with a low camera angle,
helps to create a sense of
depth, as well as nicely
blurring the trees in the
background and the road
in the foreground. If you
want to create a similar
sense of depth, take a
few steps back and zoom
in or use a longer lens to
compress the scene.
03 SHOT THREE 04 SHOTS FOUR AND FIVE
We need this third frame for the section where the We bring back the chairs and ask our model to perch
chairs meet the ladder in frame two. This way, we can on one like so. This gives us the connection between
copy in the bottom part of the chair leg. Our model her and the chair that we can copy into the composite.
holds the chairs in place. This frame is also useful for For our final shot, we remove everything and shoot
the shadows falling on the road, as there’s no ladder. – so we can fill in any obscured parts of the backdrop.

TOP TIPS SELLING THE EFFECT

Pay close attention to the details, shadows and joining seams in your composite images
IN AN effect like this CONSIDER how props
it’s the contact points and posing can help to
between the objects that enhance the shot. We
can give the game away, asked our model to hold a
so pay attention to these cup to make it look as if
areas. Here we ensure that she’s enjoying a quiet
there’s a clean line where moment with a relaxing
the bottom meets the cup of tea, just to contrast
ladder, so that it’s easier to with the precarious posing
substitute the ladder for and add to the surreal
the chairs afterwards. narrative of the shot.

50 www.digitalcameraworld.com
 CREATIVE COMPOSITE PROJECT

STEP BY STEP BUILD THE BALANCING COMPOSITE

Use Photoshop layers and masking skills to combine our photos and create our final image
THE AUTO-
ALIGN LAYERS
COMMAND
Found under the Edit
menu, this handy
Photoshop command
automatically corrects
for slight misalignment
between layers. As
such, it’s useful for a
project like this when
01 LOAD INTO LAYERS 02 AUTO-ALIGN THE LAYERS we need our frames to
Open Adobe Bridge. Hold Cmd/Ctrl and click to Go to the Layers panel, click on the top layer then hold match. There are several
highlight the images you want to combine (here we Shift and click on the bottom layer to select the entire alignment options to
begin with shots one, two, three and five), then go to stack. Next go to Edit>Auto-Align Layers. Choose choose from, but Auto
Tools>Photoshop>Load Files into Photoshop Layers. Auto and hit OK. This will correct any misalignment usually works fine. It’s
Your photos will open in Photoshop as a stack. between the frames caused by camera shake. also useful for other
workflows like focus
stacking, where the
slight change in focus
point between each
frame means it’s very
hard to align them in-
camera. The command
is also handy for manual
exposure blending, such
as when combining one
exposure for a sky and
another for the land.

03 MASK THE LADDER 04 ADD ANOTHER MASK

Highlight the top layer (shot one of the subject and Highlight the layer below (shot two of the chair stack)
ladder) then click the Add Layer Mask icon. Grab the then add another layer mask and paint with black to
Brush tool from the toolbar and hit D then X to set the hide the rest of the ladder. If you go wrong with a layer
colour to black. Paint over the ladder to remove it, mask, you can always hit X to switch to white and
revealing the chairs on the layer underneath. paint to reveal the missing parts.

05 COPY AND PASTE 06 TIDY THE SEAMS

Open shot four (the model perched on the chairs) and Add a layer mask then grab the Brush tool and paint
grab the Lasso tool. Make a loose selection of the part with black to soften the edges of the piece so it blends
where the bottom meets the chairs, then copy (Cmd/ in with the rest of the shout. Finally, make a new layer, NEXT MONTH
Ctrl+C) and paste (Cmd/Ctrl+V) it into the main grab the Clone tool, set it to Sample: All Layers in the BIG BURGER
image. Hit Cmd/Ctrl+T to transform, then position it. tool options then clone to tidy any messy patches. EXPLOSIONS!

The Canon Magazine 51

 O
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PROJECT 2

THE MISSION
How to capture and
convert IR images Inspirational
infrared imagery
Time needed
One hour

Skill level
Intermediate

Kit needed Take your black-and-white landscapes to a new level with

• Standard zoom
• Infrared filter
Peter Travers and his handy infrared photography cheap cheats
• Tripod
lack and white and IR light as well as the visible IR presets in the

CONVERT OLD
CANONS TO IR
B conversions can
transform your colour
landscape photos, but
with infrared (IR) imagery,
the tonality of the scene
wavelengths of light. Because of
WKLVGLJLWDOFDPHUDVKDYHÀOWHUVWR
block both ultraviolet and infrared
light. So what’s the solution?
You can pay to convert an old
Photoshop workspace.
Although this process
won’t give you a 100% true
representation of how the scene
would look if you’d shot it with an
Many landscape pros get completely changes, giving camera body to IR (see box on the ,5FDPHUDRU,5ÀOWHU\RXFDQVWLOO
an old Canon DSLR body you both a unique way to left), but why not use a cheap IR get decent results.
converted specifically for capture landscapes – taking ÀOWHULQVWHDG":HXVHGDEXGJHW
IR. From around £310, your mono photography to =RPHL,5ÀOWHUIURPH%D\EXW
companies such as the next level. WKHUH·VDOVRWKH+R\D5ÀOWHU COLOUR
advancedcamera To capture the best IR (between £49-149 depending on
services.co.uk will landscape photos, look for scenes ÀOWHUVL]H :HIRXQGWKHUHVXOWV
remove the infrared filter that have a contrast between to still be very impressive.
inside your camera so DUHDVDEVRUELQJRUUHÁHFWLQJ,5 Or you can fake the IR B&W
that the sensor can now light; water and blue skies absorb look in Photoshop! Using the
see infrared light, and IR light and therefore appear technique in the steps below right,
replaces it with a filter darker in images. While greenery you can mimic the tones of
that blocks visible light, like grass, leafy trees and clouds infrared by boosting the foliage IR FILTER
so your camera sensor UHÁHFWLWDQGDSSHDUPXFKOLJKWHU FRORXUVDQGXVLQJÀUVW&DPHUD
can only capture infrared Digital camera sensors are Raw’s sliders, and then the
light instead. sensitive to ultraviolet (UV) light Black & White adjustments and

STEP BY STEP SHOOT IT! PHOTOSHOP IT!

Discover different ways to capture IR images and how to convert them

01 SHOOT FOR IR 02 CANON DSLR, LENS & IR FILTER 03 CAMERA SETUP

Time your shots and position so trees and We’ve used a Canon 5D Mark IV with an EF Also block your eyepiece with the cover on
grassy foregrounds are well lit by the sun 24-70mm lens to capture our scene. We’re your strap to avoid light leaking in. You’ll
and the sky is blue with white clouds. using this budget (£20 on eBay) Zomei also need to use a tripod for sharp shots.
Scenes with contrasting elements work 82mm size IR filter. As these dark filters We shot in Bulb mode at f/5.6, ISO3200
best for IR so you have very bright and block so much light, like an ND filter, you’ll and 3 mins 30 secs! We found our IR filter
very dark areas in B&W IR conversions. need a very long exposure even in daylight. created impressive results (see above).

52 www.digitalcameraworld.com
 INFRARED PHOTOS

IR FILTER & B&W CONVERSION

QUICK TIP!
You might find you
need to further
lighten the IR B&W
image, which you
can do in Photoshop
with a couple of
layers and Curves

04 EDITING YOUR IR IMAGE 05 CONVERT IR IMAGES TO B&W 06 CREATE A FAKE B&W IR IMAGE
To convert your pink image in Camera Raw You may prefer a B&W IR finish, and for our To convert your colour images to a fake IR
click the White Balance eye dropper on image that doesn’t have enough blue sky, B&W image again in Photoshop go to
foliage to make it very light and the sky and this is a good option. In Photoshop go to Adjustments>Black and White… and now
water darker. In Photoshop use Channel Adjustments>Black and White… and use use the Infrared preset from dropdown
Mixer to swap values: Red channel; Red the sliders to lighten the Reds and Yellows, menu. We had to reduce the Yellow and
0%, Green 0%, Blue 100%; Blue channel; and darken the Blues and Cyans. But don’t Green sliders so the foliage isn’t blown in
Red 100%, Green 0%, Blue 0%. go OTT otherwise skies can pixelate. places. It’s not bad!

The Canon Magazine 53

 THE MISSION
Make an abstract
reflection with
household objects

Time needed
Seeing double
Dan Mold creates fantastical abstract photographs with everyday
20 minutes household objects you probably already own…
Skill level
ou don’t always have to sticking to wrapping paper rather lens. If you’re thinking about

Y
Beginner
stray far from home to than tissue gift wrap, which can purchasing a macro lens, be
Kit needed take a great picture, in be torn easily and is also usually sure to look for one with a 1:1
• Wrapping paper fact, this month we’re folded so has creases in it. If you’re reproduction ratio. This means it’s
• Metal spoon going to prove that there’s a VWUXJJOLQJWRÀQGDJLIWZUDS a ‘true’ macro lens as you’ll be able
• Microfibre cloth whole plethora of creative pattern you like, you could always to shoot your subjects at life-size.
• Macro lens opportunities in your create and print off your own When you’ve followed our step
(optional) kitchen drawer waiting to design – an A3 print would by step, be sure to experiment
be explored! With a roll of be large enough for the technique. with other sizes of spoons as this
gift wrap and a metal spoon You’ll need a Canon camera will allow you to include more or
you can achieve amazing with creative modes, such as a less of the pattern in your
abstract results like this. DSLR or an EOS M/R mirrorless UHÁHFWLRQ$OVRWU\PRYLQJWKH
You’ll need some wrapping model, and while it is perfectly spoon closer to you, or farther
paper with a repeating pattern, possible to get results with a kit DZD\WRFKDQJHWKHGHSWKRIÀHOG
such as the polka dot paper we lens, you can get even closer to Here’s what you need to know to
used above. We recommend accentuate the effect with a macro get started…

54 www.digitalcameraworld.com
 IDEO
VIEW THE V VIDEO ALSO ONLINE ABSTRACT REFLECTIONS
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PROJECT 3

STEP BY STEP DOUBLE TROUBLE

Construct this abstract still life setup at home for simple, yet creative results

GET PIN-
SHARP SHOTS
Canon’s Image
Stabilization is a
fantastic mechanic that
corrects some of the
01 PICK YOUR PAPER 02 BUFF YOUR SPOON movement experienced
A repeating pattern like our polka dot design works For the best reflections buy a new spoon so you don’t when shooting hand-
well. Position a table next to a wall and tape the paper end up with loads of dings and scratches. Breathe on held. But place your
to the wall so that it hangs down and curves across the spoon to create condensation and then buff it camera on a tripod
the table to create a seamless background. with a microfibre cloth to work it up to a mirror shine. and it’s possible that
the stabilzation will
continue to try to correct
movement even though
there isn’t any! For the
best results, and to
avoid this risk, it’s best
practice to disengage any
stabilization, whether in
the lens or on the sensor,
to avoid blur creeping
into your shots when
shooting on a tripod.

03 PLACE THE SPOON CAREFULLY 04 COMPOSE AND FOCUS

Holding the stem of the spoon, position it on the With your camera on a tripod use a macro lens or the
paper and make sure it’s perpendicular to your wall, 55mm end of a kit lens, and get the camera level with
so it’s dead-on to the camera. The closer it is to your the spoon. Go into Live View and hit the magnify
camera, the easier it will be to blur the background. button, then manually focus on the spoon.

05 DIAL IN THE SETTINGS 06 ACHIEVE EVEN LIGHTING

With the camera in aperture priority (Av) mode, Shooting next to a window will cause directional
set the ISO to 100, then choose a relatively small lighting which can result in a harsh shadow. To
aperture of around f/16 to get some definition in the diffuse this and create more even lighting, reflect
background. Turn on the two-second self-timer. light back in with a reflector or a white piece of paper.

The Canon Magazine 55

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PROJECT 3

STEP 1 PROP UP THE PAPER

The trick is to curve the paper down the
wall and across the table so that you get
the pattern repeating in the backdrop.
How much of the pattern ends up being
recorded is down to the depth of field
(DoF). Even a small aperture like f/16 will
give a shallow DoF when shooting macro,
so you may want to set a higher f-number.
Here, f/51 was used; we didn’t set f/51 on
the camera, but choosing the smallest
available aperture (f/32) and focusing the
lens at 1:1 resulted in the smaller aperture
being listed in the EXIF data.
Exposure: f/16, 1/5 sec, ISO100 and
f/51, 1.6 secs, ISO100
f/51 - narrow DoF f/16 - shallow DoF

STEP 2 NEVER MISS A BEAT

Be careful with non symmetrical patterns
as these will appear upside down if you lay
the paper down the ‘correct’ way, facing
the camera. Instead, flip it around so it’s
backwards, the reflection in the spoon will
then be the correct way up as shown in the
image here with our colourful heart
wrapping paper. Although eye-catching,
this heart patterned wrapping paper was
made from a very thin tissue paper. To
keep it looking clean and bright, we laid
down a sheet of white A3 paper below it to
stop the brown table showing through.
Kit needed: Wrapping paper, macro
lens, tripod, creative camera
Exposure: f/16, 0.5 sec, ISO100

56 www.digitalcameraworld.com
 ABSTRACT REFLECTIONS

STEP 3 BOOST CONTRAST

Drag your Raw image into Photoshop CC
or Elements in order to open it into Adobe
Camera Raw – alternatively import the Raw
file into Lightroom and head over to the
Develop module. In either programs you’ll
have access to sliders on the right that let
you adjust the contrast. We went for a mono
conversion. For this effect, set Saturation to
-100, then push Contrast to +45 and Clarity
to +90 to add some punch. Next up, we
pulled the Highlights and Blacks down to
the left and increased the Shadows and
Whites by dragging them to the right to
expand the dynamic range. When you’ve
achieved some good punchy contrast hit
Open Image in Photoshop or go to
Photo>Edit In>Photoshop CC in Lightroom.

STEP 4 REMOVE SCRATCHES

The next step is to remove any little
scratches or dings in the metal to make sure
the spoon has a beautifully shiny mirror
finish. The easiest way to do this is to grab
the Spot Healing Brush tool from the toolbox
and use the square bracket keys (‘[‘ and ‘]’)
to resize your cursor. Make sure it’s only
slightly larger than needed to paint over the
distraction. Before you start editing your
photograph it’s best practice to hit Ctrl/
Cmd+J on your keyboard to duplicate your
layer so that you’re not working on the
original image. Then zoom in with Ctrl/
Cmd+Plus and paint over all of the little
imperfections in the metal to make it
perfectly prestine, which gives a much
more aesthetically pleasing end result.

The Canon Magazine 57

 THE MISSION
Take to the skies
and capture great
photographs with
your drone
Reach for the sky
Dan Mold explains UK drone flying laws and dishes out some handy
Time needed tips to help elevate your drone photography to brand new heights
10 minutes

rone photography has don’t get into trouble with the

D
Skill level DQG\RXDUHQRWJRLQJWRSURÀW
Beginner literally taken off in from your drone footage and still authorities. The good news is that
recent years, and we images then you don’t need a it’s mostly common sense, such as
Kit needed know many of you are licence. But if you want to use QRWÁ\LQJ\RXUGURQHZLWKLQNP
• A drone proud drone owners. your drone for business purposes, of an airport and ensuring you
• A controller or Whether you use yours for then you’ll need to attend a PfCO keep a direct line of sight with it at
smart phone with videos or stills, they’re a course approved by the CAA with all times. You also need to make
dedicated app fantastic tool to have in a WKH1DWLRQDO4XDOLÀHG(QWLW\ VXUH\RXUGURQHVWD\VXQGHUP
photographer’s arsenal. 14( $OORIWKHLQIRUPDWLRQ (some models have a height
This month we’re looking at you need is on the Civil Aviation OLPLWHUEXLOWLQ DQGNHHSD
everything from the rules that you Authority website www.caa.co.uk distance of at least 50m from
need to follow, how to set one up if you fall into this category. buildings and people.
and how you can use them to $JRRGSURSRUWLRQRISHRSOHÁ\ Now you’re familiar with the
create powerful content. drones purely as a hobby, but law and some of the basic rules,
Let’s start with the rules… If there are some elementary rules here are some tips that’ll take
your drone weighs less than 20kg to follow to make sure that you your drone work up a level.

58 www.digitalcameraworld.com
 IDEO
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PROJECT 4

OPTIMIZE YOUR DRONE FOR PICTURES AND VIDEO

Take to the skies and capture your best aerial content to date

PRE-FLIGHT
CHECKS
Inspect your drone and
replace any damaged
rotors and clean the
camera lens with a
01 DOWNLOAD THE APP/UPDATE FIRMWARE 02 SET THE BEST IMAGE AND VIDEO QUALITY microfibre cloth. Make
Check that the drone controller has the latest Go into the settings on the controller or app and set sure you’re 50m away
firmware, and update it if required. Also check you Raw for stills if available and the highest quality video from buildings, people
have the latest version of the smartphone app if output; 4K is preferable to Full HD as you can crop it and vehicles and 1km
you’re going to be streaming the video feed to it. for a tighter shot and still output in Full HD. from any airports and
airfields. Be sure to check
the weather forecast as
you should avoid flying
in adverse conditions
such as rain, fog, snow
and strong winds. After
you take off you should
let your drone hover for
around 30 seconds to
check its stability in your
specific wind conditions.
Now you’re all set to go!

03 USE PHOTOGRAPHY FUNDAMENTALS 04 SHOOT IN THE GOLDEN HOUR

The basics of photography are just as important when The hour immediately after sunrise and before
shooting from the sky as they are on land. A good tip sunset is called the golden hour and will bathe your
to make your drone shots more striking is to frame up landscapes in a photogenic wash of warm golden
your pictures using the rule-of-thirds. tones. Shoot towards the sun to capture extra flare.

05 LEARN THE SPECIAL MODES 06 INVEST IN SPARE BATTERIES

Drones like DJI’s Spark have modes such as gesture Fly time is likely to be around 10-20 minutes with
control, target tracking and panoramic shooting. So consumer level drones, as it takes a lot of power to
it’s worth reading the manual and getting to grips with keep them in the air and recording clips and stills.
the special modes specific to your model. Invest in spare batteries so you can shoot for longer.

The Canon Magazine 59

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PHOTOSHOP ELEMENTS

BEFORE BEFORE

AFTER

Add texture easily

THE MISSION
Apply one of our
free textures to
your shots to give
it some punch
Dan Mold details how you can easily give your photographs a beautiful
Time needed fine-art finish using our free texture pack
10 minutes
photograph is made beach-weathered metal that has ÀOOPRUHRIWKHIUDPHZLWKLW
Skill level
Beginner

Kit needed
• Photoshop
Elements
A up of many different
components, including
composition, colour,
contrast and tone. The
texture of a photo is just as
loads of ‘grit’ which will give our
example landscape an
H\HFDWFKLQJÀQHDUWWZLVW
Once you’ve experimented with
our textures you can have great
Then you’ll want to use your
Canon camera’s aperture priority
$Y PRGHZLWKDQDSHUWXUHRI
around f/8 for a decent amount of
VKDUSQHVV7ZHDNWKH,62XQWLO
important to the overall IXQFUHDWLQJ\RXURZQ$OO\RX your shutter speed is around
effect, but it’s often need to do is take a picture of 1/200 sec or faster to avoid
overlooked. So this month something that has plenty of FDPHUDVKDNH
we’ve created 12 texture character, such as metal, wood, Here, we’re going to show you
images that are free to stone and even paper, then add it how to add a texture to an image
download (see link on the to a folder on your hard drive to – any will work but we’ve gone for
left) and can be added to build up your collection and give DFODVVLFODQGVFDSH<RX·OODOVR
your images to give them \RXPRUHRSWLRQVZKHQHGLWLQJ$ learn how to blend it into the
DOWNLOAD PROJECT FILES
some extra depth. macro lens will give you more LPDJHUHVL]HLWWRÀWWKHVKRWDQG
TO YOUR COMPUTER FROM: The textures we’ve provided options, as these optics allow you erase parts of the texture to reveal
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photoplusmag.com/pp156.zip are some photos of rusty, to get closer to your subject and PRUHRIWKHLPDJHXQGHUQHDWK

60 www.digitalcameraworld.com
 ADD TEXTURE TO YOUR SHOTS

STEP BY STEP HOW TO OVERLAY TEXTURES

Use our free texture pack to add an extra layer of depth to your photographs

01 OPEN YOUR IMAGE AND TEXTURE 02 COPY THE TEXTURE OVER

Load up Photoshop Elements then go to File>Open Hit Ctrl/Cmd+A on the keyboard to select the whole
and find the image you want to add your texture to. texture layer, you’ll see the marching ants appear
Now go back up to File>Open and find the Textures in around the image. Press Ctrl/Cmd+C to copy it and
the Start Images folder and double-click on the one Ctrl/Cmd+W to close it down. Finally, back in your
you want to work with. main image, press Ctrl/Cmd+V to paste it in.

03 CHOOSE A BLENDING MODE 04 RESIZE THE TEXTURE

QUICK TIP!
Head over to the Layers panel and change the The texture will likely need resizing to fit your photo so
Shoot your very own
Blending Mode from Normal to one that suits your go to Edit>Free Transform or hit Ctrl/Cmd+T on the textures and add
picture. Modes such as Lighten, Screen, Overlay, Soft keyboard to put the texture layer into Free Transform them to a folder
Light and Hard Light often work well, try a few out mode. Drag the corner handles of the bounding box on your desktop
and pick the one that works best. to resize it and hit Return to set it down.
so you have even
more choice when
making edits

05 TWEAK THE LEVELS 06 ERASE KEY AREAS

Press Ctrl/Cmd+L on the keyboard to bring up the The texture might be affecting your focal point or
Levels panel, which will allow you to change the another unwanted part of your shot. If this is the
contrast of the texture Layer. Move the Blacks, case, grab the Eraser Tool from the toolbar, set it to a
Midtones and Highlights sliders around underneath soft edge and brush over the part where you want to
the histogram to get the contrast you like and hit OK. bring back more clarity.

The Canon Magazine 61

 IDEO
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PHOTOSHOP CC

BEFORE

BEFORE

AFTER

Hand-colour old photos

THE MISSION
Retouch an old
photo then add a
hand-coloured
treatment
James Paterson breathes new life into old prints by restoring and then
Time needed colouring them using a series of straightforward Photoshop skills
One hour
estoring old photos is Often the trickiest part of the proved invaluable. It’s details like
Skill level
Beginner

Kit needed
• Photoshop
Elements
R one of the most
satisfying of digital
touch-up jobs. Not only
are we able to remove dirt,
scratches and all the other
process is choosing which colours
to use. But with some images a
little research can help. Here, for
example, my initial plan was to
paint London’s famous Tower
this that can not only help you
choose the right colours, but also
lends the photo extra authenticity.
If you like you can take things
beyond hand-colouring and add
detritus of time, we can also Bridge with the iconic bright blue other enhancements too. Here the
add our own creative input styling that we see today. But after original sky was washed out, so I
by colourizing these old a little digging, it emerged that dropped in a few clouds from
prints. This is a simple process of ZKHQWKHEULGJHÀUVWRSHQHGLQ another image to add depth to the
painting on different layers set to 1894 the cables were chocolate scene. Touches like this might
the Color Blend mode, a technique brown (they were only painted leave an archivist aghast, but if it
DOWNLOAD PROJECT FILES
that – with a little practice – even blue in 1982). I also discovered a makes sense visually then a little
TO YOUR COMPUTER FROM: the complete Photoshop novice painting of the opening ceremony creative licence can add to the
http://downloads.
photoplusmag.com/pp156.zip can get through. by William Lionel Wylie that effect of the photograph.

62 www.digitalcameraworld.com
 COLOURIZE OLD PHOTOS

STEP BY STEP GET THE HAND-COLOURED LOOK

Remove dirt, add colour and even drop in a new sky to enhance a damaged old print
SOURCE OLD
PHOTOS
If you want to use the
Tower Bridge image
here you can download
it from Wikimedia
Commons with this
link: bit.ly/2XkkERT.
Alternatively, why not
use a different image?
Maybe you’d like to
01 TIDY MESSY MARKS 02 ADD A COLOUR find another old photo
Open your old photo (or download the tower bridge Click the Create New Layer icon again, then go to the online (Wikimedia
here: bit.ly/2XkkERT), then go to the Layers panel and Blend Mode dropdown at the top of the Layers panel Commons is a treasure
click the New Layer icon. Grab the Spot Healing and change it from Normal to Color. Grab the Brush trove), or perhaps you
Brush. Check ‘Sample All Layers’ in the tool options tool and choose a colour, then zoom in close and start have a precious old
then zoom in close and paint to retouch small marks. painting over objects in the scene to colourize them. print or a dusty family
album to restore.

03 PAINT ON LAYERS 04 SELECT THE SKY

QUICK TIP!
Continue on, adding new layers set to the Color Blend Hit Cmd/Ctrl+Shift+Alt+E to merge a layer, then go to
When using
mode for each new colour you add. If a colour appears Select>Select and Mask. Get the Quick Selection tool the brush tool
too strong, simply lower the layer opacity until it looks and paint over the sky to select it. Next grab the you can uses
right. If a colour is too bright, try duplicating the layer Refine Edge Brush and paint to up the refinement over numbers 1-9 (in
(Cmd/Ctrl+J) then set the Blend Mode to Multiply. the bridge. Set Output to: Selection and hit OK.
increments of 10%)
to set the brush
opacity quickly

05 DROP IN A SKY 06 BOOST THE TONES

Open sky.jpg and use the Move tool to drag it in to the Highlight the mask thumbnail, then grab the Brush
bridge shot. Click the Add Mask icon to convert the tool, hit 2 for 20% brush opacity and brush black to
selection to a mask. In the Layers panel, click the link soften the sky. Hit Cmd/Ctrl+Shift+Alt+E again, then
on the image and mask thumbnail and select the shot go to Filter>Camera Raw Filter. Use the tonal controls NEXT MONTH
thumbnail and use the Move tool to alter the sky. as shown to boost the colours and finish off the photo. COMPOSITES

The Canon Magazine 63

 W THE VIDEO
VIDEO ALSO ONLINE VIE
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AFFINITY PHOTO

THE MISSION
Get to grips with
Affinity Photo’s
brush tool and
Fun with
create a scatter
portrait effect

Time needed
One hour
Affinity Brushes
James Paterson uses the powerful Affinity Photo Brush tool –
Skill level
Intermediate and our free set of splash brushes – to create abstract portraits
fun simply by playing with all the then paint both in front of and

B
Kit needed UXVKHVLQ$IÀQLW\
Affinity Photo 3KRWRJREH\RQGWKH settings. But the options don’t stop behind her on different layers.
VWDQGDUGFLUFXODU there. You can also create your We’ll paint on the layer mask too,
EUXVKPRVWRIXVDUH own brushes from any image or which has the effect of eating
IDPLOLDUZLWK,QVRPHZD\V shape, like the colourful splashes away at certain bits of our subject.
WKH\HYHQVXUSDVVZKDWFDQ in our portrait above. Once this is done, we can use
EHGRQHLQ3KRWRVKRSFirstly, One of the best things about our ink splash brushes (included
there’s a wide array of brushes to XVLQJEUXVKHVLQ$IÀQLW\LVKRZ ZLWKWKHSURMHFWÀOHV WRDGG
choose from, including the top set the tip shows a preview of the a splash of colour behind our
of grunge brushes we’ve used for stroke before you start painting subject. Finally, we’ll make use
our scatter effect. What’s more, – including any colour, opacity or of a star photo downloaded
brushes can be customized with a blend settings applied – so you can from the NASA images website
DOWNLOAD PROJECT FILES
range of parameters, including see how they’ll affect your shot. LPDJHVQDVDJRY ZKLFKLVD
TO YOUR COMPUTER FROM: spacing, scattering and wet edge For this effect we start by fantastic source of amazing
http://downloads.
photoplusmag.com/pp156.zip controls. You can have hours of isolating our subject with a mask, free photographs…

64 www.digitalcameraworld.com
 AFFINITY BRUSH TECHNIQUES

STEP BY STEP BRUSH-BASED ARTWORK

Use the Affinity Brush tool in combination with layers and masks for an awesome scatter effect in Affinity

QUICK TIP!
To alter the hardness
when using the
brush, hold Ctrl+Alt
and left mouse
(Mac) or hold Alt
and right mouse
01 SELECT THE SUBJECT 02 PAINT A TEXTURE (Windows)
Open the portrait and grab the Selection Brush from Drag the new layer to the bottom of the stack and go
the toolbar – paint over the subject to select her. Go to to Edit>Fill and fill with white. Next make a new layer,
Select>Refine Edges and increase the Border Width go to the Brushes panel (View>Studio>Brushes), click
to refine the selection. Set Output: Mask and OK. Go the dropdown and choose Texture. Pick a brush, then
to the Layers panel and click the Add Pixel Layer icon. grab a grey in the Color panel and paint over the layer.

MAKE
YOUR OWN
BRUSHES
We’ve supplied a set of
ink splash brushes in
the project files. To load
them, click the top-right
icon in the Affinity
Brushes panel and
choose ‘Import Brushes’.
To make your own, begin
03 ROUGH UP THE MASK 04 SAMPLE AND PAINT by isolating a shape on a
Highlight the mask thumbnail on the portrait layer and Make another pixel layer at the top of the stack, then transparent background,
set the colour to black and use the Grunge brushes to go to the Brushes panel and double-click the ‘Grunge then export it as a
paint over the image. This will take chunks out of the 3’ brush to open settings. Increase Scattering and PNG (see video for full
edges of the subject. Build up the effect with different Size Jitter. Hold Alt and click to sample colours, then details). Once done, you
brushes and experiment with opacity to add depth. paint to scatter them around the edges of the figure. can head to the Brushes
panel, click the top-right
icon and choose ‘New
Intensity Brush’ then
load in the PNG.

05 USE SPLASH BRUSHES 06 BLEND A PHOTO

Make two layers below the portrait layer and use the Open a star photo from the NASA website, then copy
ink brushes (see Quick Tip) to dab in dips of colour (Cmd/Ctrl+C) and paste (Cmd/Ctrl+V) it into the
behind the subject. Use the rotation control in the main image. Go to the Blend Mode dropdown in the NEXT MONTH
brush settings to alter the shape of the splashes. Paint Layers panel and choose Screen, using the Move tool CLEAN SKIN IN
a few drops of colour on the top layer too, if you like. to alter the position. Make any tonal changes you like. AFFINITY

The Canon Magazine 65

THEPROINTERVIEW

STORY BEHIND THE SHOT

THE KISS
Under Apartheid, interracial relationships
were forbidden…
Post-Apartheid, the ‘born-frees’ are the first
South African generation permitted to love and
marry anyone regardless of their race. Ilvy met
this couple, Wilmarie Deetlefs (24) and Zakithi
Buthelezi (27) in Johannesburg. “They met on
the Tinder dating app and they were very much
in love,” she says. “He is from quite a wealthy
family, his grandfather was in parliament with
Nelson Mandela. Wilmarie is from a smaller town
and a conservative family.” When Ilvy first met
the couple Wilmarie had not told her parents
about her new boyfriend. “He did and they loved
her,” she continues. “I took this photo while they
were on a night out in Johannesburg. They were
kissing and that to me tells a lot about the way
things should be, or about the way Nelson
Mandela wanted to see his country.”

ILVY
NJIOKIKTJIEN
66 www.digitalcameraworld.com
 ILVY NJIOKIKTJIEN

For the past decade

Ilvy Njiokiktjien has
detailed the lives of
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realities of life for the
¶ERUQIUHH·JHQHUDWLRQ

O
N MAY 10, 1994 Nelson
Mandela was elected
6RXWK$IULFD·VÀUVW
black president,
thereby bringing
an end to Apartheid,
a system of
institutionalized racial
segregation that
determined people’s
rights by the colour of their skin.
The realities of segregation meant ‘Blacks’
and ‘Coloureds’ had to carry legal passes
in ‘White’ areas; schools, workplaces,
transport and even beaches were divided
by race. White minority rule was
guaranteed by denying the vote to the
non-white majority. But all that changed
ZKHQWKHYRWHZDVÀQDOO\JUDQWHGWRDOO
adults regardless of race and Nelson
Mandela’s African National Congress
(ANC) party won a resounding majority
LQ6RXWK$IULFD·VÀUVWIXOO\GHPRFUDWLF
elections. In the 25 years since that
PRPHQWRXVGD\WKHÀUVWJHQHUDWLRQRI
free-born South Africans have come of
age in a country now referred to as the
‘Rainbow Nation’. Born Free: Mandela’s
Generation of Hope is Ilvy Njiokiktjien’s

01 LOVE ACROSS THE DIVIDE

Wilmarie Deetlefs, 24, together with her
boyfriend Zakithi Buthelezi, 27, on a night
out in Johannesburg, South Africa
Lens Canon EF 35mm f/1.4L II USM
Exposure 1/40 sec, f/1.8, ISO2500

The Canon Magazine 67

THEPROINTERVIEW
02 THE WORLD HAS BIGGER PROBLEMS
The statement on this white girl’s T-shirt
points to a different set of social issues
now occupying the first generation of post-
Apartheid South Africans
Lens Canon EF 35mm f/1.4L II USM
Exposure 1/250 sec, f/2.8, ISO400

03 YOUNG GIFTED AND BLACK

Friends and family take pictures of
celebrity millionaire forex trader Jason
Noah arriving at a club in Pretoria
Lens Canon EF 35mm f/1.4L II USM
Exposure 1/60 sec, f/2.2, ISO5000

04 WHITE PRIVILEGE NO MORE

Breakfast time at Hilton College, a former
whites-only boarding school
Lens Canon EF 35mm f/1.4L II USM
02
Exposure 1/80 sec, f/2, ISO2000

documentary in stills and video – an

exhibition, TV broadcast and book – that
provides an in-depth portrayal of life in
post-Apartheid South Africa.

What was your connection with

South Africa that led to you
pursuing this theme?
I was there as a student in 2004. It was an
exchange programme and the university
was in Grahamstown, which was a very
colonial, very English and quite posh little
town. What really struck me was that the
black and white people were not really
mixing at all. I remember having a few
black friends in that university and one
of them explained to me, ‘Well, you’re
DFWXDOO\P\ÀUVWZKLWHIULHQG·DQG,
was quite surprised by that. Which is
how I got into the idea for this story.

What were you studying? 03

Journalism. As an extra subject I took
photography. I hadn’t taken any world to me. There were students here stuff like that. I was busy with those types
photography classes prior to that, so who were politically active! I was from of assignments everyday, so I learned a lot
being in that photography class in the Netherlands and was just used to about being quick, being safe, shooting
Grahamstown with my fellow students students partying all the time! pictures under pressure and getting the
marked the beginning of photography right frame.
for me in general. It sounds like it was a learning
experience for you on many levels? How did your photography
When did you go back next with I don’t think the editors there realized develop after your experiences
the idea of photographing life in how much of a difference it was going in South Africa?
post-Apartheid South Africa? from the Netherlands, where I did an When I went back to the Netherlands
That started in 2007 because I went back internship at a small newspaper, to South in 2008 I said to everyone, “I’m a news
to start an internship at a national Africa. The news in the Netherlands was journalist!” So I became a freelance
newspaper, called The Star in so different at the time… News there was photographer for a Dutch press agency
Johannesburg. It was the biggest paper when our king and queen open a new and I remember only wanting to get the
in South Africa and when the newspaper hospital and they cut a ribbon. big assignments, but I was never getting
sent me out on assignments it was often When I arrived in Johannesburg, it was them. They put me on jobs like the Queen
students protesting and things that I had like, ‘Right, there’s been a shooting, there opening hospitals… It seemed to me that
never experienced in the Netherlands. are riots and somebody got killed, there’s hard news was only interesting if you’re
It opened up a whole new vision of the an investigation into the government,’ in Afghanistan or Iraq, for example.

68 www.digitalcameraworld.com
 ILVY NJIOKIKTJIEN

04

I remember going to Afghanistan in 2009, or towns. It’s the white people living of different imagery.’ It’s easy to fall into
thinking, ‘Okay I’m going to be a war in the centre. This is still the case in WKHWUDSRIVKRZLQJMXVWWKDWVSHFLÀFW\SH
correspondent,’ and I was quite scared! Johannesburg, but it’s much more of racist behaviour.
That’s when I realized that maybe I’m common to see black and white people
more the kind of person who photographs mixing in bars and in schools. However, What cameras did you end up
news, but in a different way. LQVPDOOWRZQVLW·VGHÀQLWHO\QRWDVPL[HG taking with you when you were
as it is in those larger cities. shooting in the townships?
When did you work out your I’ve been working with the Canon 5D Mk
approach to news stories? So, the signs of social segregation IV since it came out. I’ve been thinking
It took me until I won the World are still obviously visible? about switching to the EOS R because
Press award, for my story on the Yes, but what I have tried to stay away when the R came out Canon let me use it
Kommandokorps racist camp, to realize from in my series is having too many to do a campaign. I really loved it but the
what it was that I was focusing on. I won pictures that show that, mainly because only reason I didn’t switch is because all
in the category called Contemporary it’s quite repetitive. For instance, I have of my projects have been shot on the 5D
Issues, and I had to look it up in the an image of a domestic house worker 0DUN,,,,,DQG,9VR,ÀJXUHG,VKRXOG
dictionary. I really didn’t know what it – a black maid – who’s cleaning while the stick with what I’m used to working with.
meant! I was looking it up on Google and white lady who’s sitting on the couch is
I saw all these different kinds of stories lifting her feet and the maid is cleaning What are your lens choices?
called contemporary issues and that’s under her feet. I could have made tons When I go out I always take two bodies,
when I understood, ‘Oh, that’s what of similar images like that. mostly working on an EF 35mm f/1.4L
I’m interested in, these are all the and on the other camera I usually have a
WKLQJVWKDWLQWHUHVWPHVSHFLÀFDOO\· Pictures like that, too often, can 24-70mm f/2.8L. I used to always shoot
become a cliché, can’t they?
How much of the country did you Yes, exactly, so I really had to watch
cover for the Born Free project? out, especially when I was making my I learned a lot about
I tried to be as diverse as possible and exhibition. The director of the museum
travel throughout the country – I visited wanted to add more images like that, being quick, being safe,
little farming communities as well as the and yes, those images are strong because
big cities. City life in Johannesburg is so racism can be quite tough, for some shooting pictures under
different to a little town. In small places, people, to visualize. But it’s such a cliché
racism is more open, more visual, there and I wanted to move past that, so I had pressure and getting the
are still more black people living in to tell him, ‘No, we’re just going to have
townships on the outskirts of the cities this one image and then we’ll make a mix right frame
The Canon Magazine 69
THEPROINTERVIEW
05

on 35mm and 50mm, but when Canon becoming more creative with the way
05 MOURNING MANDELA
came out with that new version of the I’m using natural or available light.
Crowds gather in the streets to express 24-70mm… I hardly ever take it off my
their grief after the death of Mandela camera now, it’s amazing. The quality But isn’t the light from a mobile
Lens Canon EF 70-200mm f/2.8L IS II USM of the lens is astounding. I’ve also been phone too concentrated?
Exposure 1/160 sec, f/3.2, ISO1000 carrying around the 70-200mm and the ,SXWP\ÀQJHURYHULW:KHQ\RXSXW\RXU
16-35mm for the last 12 years, but I ÀQJHURYHULWWKHOLJKWWKDWFRPHVRXWLV
06 KEEPING A DISTANCE
hardly use them. For instance, the very diffused and kind of reddish because
Armed police avoid getting too close to 16-35mm went to Canon to be cleaned LWVKLQHVWKURXJK\RXUÀQJHU:HOOLW
mourners of white separatist, Afrikaner about three years ago and it’s still doesn’t shine through it, but if you cover
resistance leader, Eugene Terre Blanche, wrapped in the plastic they sent it in, almost all of it and put your nail on one
at his funeral in Ventersdorp, April 2010 I still haven’t taken it out! side, it just gives a bit of light and with a
Lens Canon EF 16-35mm f/2.8L II USM long exposure you can get nice stuff.
Exposure 1/400 sec, f/5, ISO250
:KDWDERXWÁDVK"
,KDUGO\HYHUXVHÁDVKEXW,DOZD\VFDUU\ So it helps to have long
07 TOWNSHIP KIDS DÁDVKZLWKPH,GLGDELJDVVLJQPHQWIRU ÀQJHUQDLOV"
Children play in the street in Khayelitsha, UNICEF at the beginning of 2018 using 'HÀQLWHO\\RXQHHGWKHP
Cape Town, South Africa ÁDVKLWZDVPRUHOLNHDVWXGLRWKLQJEXW
Lens Canon EF 24-70mm f/2.8L IS II USM ZKDW,DOZD\VWU\WRGRLVWRÀQGDZD\WR I suppose what colour you paint
use natural light and with the 5D Mark IV your nails matters too?
Exposure 1/4000 sec, f/4.5, ISO400
you can go up to ISO6400, or even higher. It matters a lot. Unfortunately, I don’t
When I have a big show I’d rather not use KDYHORQJÀQJHUQDLOVEHFDXVHWKH\ERWKHU
images with a super high ISO to get me when I’m photographing, but when
printed on the wall. Mainly, my images \RXXVHWKHWLSRI\RXUÀQJHUDQG\RX
I switched back are used for online long reads or cover almost all of the light of the phone,
newspapers online, so you don’t need it’s really perfect. I’m just not a big fan of
to pictures because that much light to get something nice. XVLQJÁDVK,UHDOO\ORYHQDWXUDOOLJKW
I’ve started using different light
I’m thinking, ‘Oh my sources more, my phone for instance, Video is an important part of this
just to shine on the subject by getting project, but many photographers
goodness I cannot miss someone to hold my phone and they shine aren’t comfortable shooting both
the light on someone. I’ve started using stills and video, so how do you
this moment!’ that to add a different light source, so I’m decide which medium to shoot?

70 www.digitalcameraworld.com
 ILVY NJIOKIKTJIEN

06

that to tell a story you will need a wide

shot, a close-up and an establishing shot,
because that’s exactly what you do as a
photographer. So to translate that into
video hasn’t been a massive issue. The
bigger challenge for me has been the
technical side of things like working
with audio recorders.

Did you use a separate camera

entirely for video or did you keep
switching back and forth on the
5D Mk IV?
No, I was constantly switching.
Interestingly, when I was looking back
at the footage I noticed that even though
I was working with two cameras and
switching either of them to video mode,
I had a tendency to use the camera that
07 had the 24-70mm lens more for video.

All the most important parts of the Born always mixed photography with the Why was that?
Free project I actually photographed. video side of the art. Because when you do video and suddenly
When I put the camera to video mode you need a close-up, it’s nice that you can
something important happened… What are the similarities between actually zoom in. That’s the lens I used
I switched back to pictures because I’m shooting video and stills? mostly for video, so one of my cameras
thinking, ‘Oh my goodness I cannot miss Many clients have started asking for was more geared up for video with an
this moment!’ So, doing video and photo video, people like UNICEF, Oxfam, external mic on it.
at the same just isn’t possible. all the big NGOs (Non-Governmental
A lot of the major events that happened Organisations) that I’m working for. 1RZWKDWWKHSURMHFWLVÀQLVKHG
I didn’t capture on video – I have them in They’re all asking for video, and it’s quite will you go back to South Africa?
pictures. But the nice thing is that within natural because as a photographer you do Two years ago, I became a member of VII
the short documentaries I have made, I’ve know how to frame an image. You know photo agency, they also have the VII

The Canon Magazine 71

THEPROINTERVIEW

08

08 MAKING A SPLASH academy, and I will be giving a with Nelson Mandela’s legacy. School
Members of the National Youth Orchestra
photography lecture in South Africa to children today in South Africa do not
enjoy one of Cape Town’s beaches
students. Ideally, I want to integrate other know a whole lot about Apartheid,
photographers into the community. South I noticed that while doing this project.
Lens Canon EF 24-70mm f/2.8L IS II USM Africa has some of the best photographers When I asked them about Apartheid
Exposure 1/320 sec, f/6.3, ISO400 in the world, it’s amazing what they’re many of them didn’t know that much.
making, but sometimes people don’t get
09 IN HARMONY
the right platforms, so I want to give Really? Are you talking about both
Students of Merensky High from Tzaneen
lectures and workshops. At least one is black and white school children?
perform during a school choir contest
planned for now, a workshop in Yes, it was over the colour line. Both black
Lens Canon EF 24-70mm f/2.8L IS II USM Johannesburg. The second thing I want to and white, I noticed an imbalance
Exposure 1/100 sec, f/2.8, ISO1000 do is to get an exhibition in South Africa, between what we are being taught in
to get my work out there as well. Europe, or at least in The Netherlands,
10 RACIST SUMMER CAMP
about Apartheid and Nelson Mandela. I
The Kommandokorps organizes camps South Africa seems like the had the feeling that we knew more than
during school holidays for young white obvious place to show your work the people I’d been speaking to, but I also
Afrikaner teenagers, teaching them self- The Born Free story is not just about asked a few of the youngsters I’d been
defence and how to combat a perceived being born free and growing up in a following, “Why do you think that is?
black enemy. democracy, to me it’s also about modern Why do you think the knowledge is low?
Lens Canon EF 24-70mm f/2.8L IS II USM day racism. Questions like, “what’s it like 2QHVDLG´:HDUHWKHÀUVWJHQHUDWLRQ
Exposure 1/1000 sec, f/4, ISO640 to be black?” “What’s it like to be white?” without Apartheid. The trauma within
“How do people relate to each other our parents is still so great that they don’t
nowadays?” Not just in South Africa, like speaking about it.” Something similar
We are the first but also in places like the United States, happened after World War Two in Europe
Europe, Asia, anywhere. where the generation that were born after
generation without Racism is everywhere and I think the World War Two: the most uneducated
EHVWZD\WRÀQGUDFLVPLVWRVKRZZKDW about the war because their parents
Apartheid. The trauma racism does in our day-to-day lives. I’m didn’t want to talk about it.
hoping to create a tour, a show, or an
in our parents is still so exhibition in South Africa that talks about You’ve built up some fascinating
modern day racism and integrating that experience over the years, so
great that they don’t like with school children, maybe doing tours. what’s your best piece of advice
I’m hoping to work with the Nelson for someone wanting to follow
speaking about it Mandela Foundation and to do something in your footsteps?

72 www.digitalcameraworld.com
 ILVY NJIOKIKTJIEN

09

PROFILE

ILVY NJIOKIKTJIEN
News and documentary
photographer
Ilvy Njiokiktjien is a
photographer and
multimedia journalist
based in the Netherlands,
specializing in current
affairs and social issues.
Her work has been published in
the New York Times, Stern, Der Spiegel,
10 Time, the Telegraph Magazine and many
other titles. Ilvy rose to global prominence
after her photo story from South Africa
I think what helped me most was having say, “Hey, I’m here, I’m not going
about the right wing Kommandokorps
a mentor and doing internships. The anywhere, teach me something please!”
organization, for which she received a
combination of those two things can take That’s exactly what I did and just keep
World Press Photo award. In 2013, Ilvy
any photographer anywhere. Of course, going because in the last 12 years I’ve
Njiokiktjien became Photographer of the
you need to have a certain amount talent, had more people say, “You cannot do this,
Nation in the Netherlands which involved
but that’s a given. Well, not a given, but I photography is dead, there are no jobs!”
travelling around her home country
don’t think I’m the most talented Oh man, I’ve heard it so many times. In
photographing birthday celebrations.
photographer. However, by having a fact, for the past 12 years I’ve had more
mentor who taught me things and doing than enough assignments. Just keep
www.imagesbyilvy.com
internships, if you’re lucky they will start going and don’t listen to naysayers,
www.bornfreegeneration.com
giving you assignments. If you’re dead that’s my advice.
lucky those assignments will lead to other
DVVLJQPHQWV(YHQLI\RXFDQQRWÀQGRQH Born Free – Mandela’s Generation of Next issue: Ellie Rothnie, award-winning
do one for free, stay somewhere for half a Hope is available to order for €39.50 wildlife photographer and tour guide
year, just put your foot in the door and from www.bornfreegeneration.com

The Canon Magazine 73

PHOTOSTORIES 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. Today,
we reflect on a reader’s
journey to Norway, while
another details his precise
workflow for delightfully
painterly portraits.

We want your photos

and stories! For your
chance to show off your 01
images in PhotoPlus, send
three to five high-resolution
JPEGs, along with a brief
synopsis – explain why you
took the shots, the location,
PROJECT INFO
Reflecting on
Norway
whether they’re part of an
ongoing project or a one-off
shoot, and anything else
unusual or interesting. Also
include Canon DSLR, lens Will captures a myriad of impressive
and exposure details.
scenes on his Scandinavian sojourn
Email
o way. It’s too far,

N
[email protected] NAME: Will Dower GDUNQHVVIRXQGXVÁ\LQJWR
too expensive and Bergen in late March. It was
LOCATION: Coast of Norway from
Bergen to Kirkenes too cold. This was bitterly cold. Under brilliant
Online
my initial reaction blue skies, we boarded a
www.facebook.com/photoplusmag MISSION: Capture the extraor-
r when my wife and Hurtigruten express ship and
www.twitter.com/photoplusmag dinary and expansive scenery of
the Norwegian coast I were exploring our next were sailed up the coast
photographic holiday. towards the Arctic Circle,
Post KIT: Canon EOS 5D Mark III & However, with its spectacular reaching the most northern
PhotoPlus: The Canon Mag EOS Canon 6D Mark II scenery, waterside towns, town of the cruise, Kirkenes.
Future, The Ambury ever-changing skies and pure I knew that I would be
www.willdower.com.au light, Norway certainly ticked overwhelmed by photo
Bath BA1 1UA, UK
all the boxes. Choosing the opportunities, but I was
optimal time for daylight and planning to get some water

74 www.digitalcameraworld.com
 02 YOUR PHOTO STORIES

03

04
01 TRONDHEIM
Colourful rows of houses make for fantastic reflections
Lens Sigma 14-24mm f/2.8 DG HSM Art Exposure 1/200 sec, f/2.8, ISO125

02 HENNINGSVÆR
UHÁHFWLRQVKRWVDQGZLWKDELW I researched the best way to Warm golden tones light up the remote fishing village of Henningsvær
of luck, hoped to see the shoot them and learnt that you as the sun sets
Northern Lights – not need a wide aperture, high
guaranteed in March. ISO and a long exposure to let Lens Sigma 14-24mm f/2.8 DG HSM Art Exposure 1/100 sec, f/2.8, ISO100
The Norwegian coastline is in as much light as possible. 03 ÅLESUND
blessed with opportunities to The problem was that I was A perfectly still day provides the opportunity to capture a mirror
shoot countless fjords, bays shooting on a moving boat, so image of the colourful, heritage buildings
and inlets, including beautiful that did not go well… Luckily Lens Exposure
Sigma 14-24mm f/2.8 DG HSM Art 1/400 sec, f/2.8, ISO200
7UROOIMRUG2XUÀUVWSRUWRIFDOO I had the chance to shoot them
was Ålesund. With the again when we visited Lofoten 04 LIGHTS
absence of any breeze, the islands. While, at -15ºC, it A powerful aurora brings the night sky to life over Lofoten
multi-coloured heritage wasn’t the most comfortable Lens Sigma 14-24mm f/2.8 DG HSM Art Exposure 4 secs, f/2.8, ISO1600
buildings, as well as boats H[SHULHQFHLWZDVGHÀQLWHO\
resting on the water, provided one of the most satisfying.
the elements for a great Once back home it was time
UHÁHFWLRQVKRW
Next up, Trondheim had
to download over a thousand
5DZÀOHVRQWRP\0DFDQG
FEEDBACK
amazingly lush conditions import into Lightroom. images that
Will has managed to shoot a wonderful group of
when shooting the canal area Besides some tweaking of biggest reservation is
document his travels in a fun, colourful way. My
from the Old Town Bridge. shadows and highlights, I of camera-shake in
Entering Svolvær Harbour didn’t have to do too much in that in his Northern Lights shot there has a bit
because the camera
provided a lovely evening the mountains when zooming in. This is may be
SRVWIRUWKHÀQDOUHVXOWV stabilization was left
vista, enhanced by the muted The coastal cruise of was knocked during the exposure, or the image
od. If you’re lucky
light of the midnight sun. Norway is touted as the most on, which can cause a blurry image when on a trip
k-solid tripod, engage
Capturing the Northern scenic route in the world. As enough to have another chance I’d suggest a roc
image stabilization.
Lights proved to be more a photographer, it is hard to the two sec Self-timer mode and switch off any
GLIÀFXOWWKDQSODQQHG argue with that statement.

The Canon Magazine 75

PHOTOSTORIES

01 02
PROJECT INFO

Old-school cool
Using custom clothing and props, Anatoly recreates a classical
looking painterly style in a modern digital medium
from light to shadows. For

W
KHQ,ZDVÀUVW DQGVRPHUHÁHFWRUVWRDGGÀOO
starting out in light back into the shadows. each model and each mood I
photography I My lighting is massively make special light settings:
experimented inspired by the painters sometimes more sharp to
NAME: Anatoly Karpov with all sorts Rembrandt and Caravaggio, as outline the strength, other
LOCATION: Wonder Studio, of portraiture including well as Russia’s Levitsky and times softer with a shallower
Moscow, Russia street, candid reportage Rokotov. Before I settled on GHSWKRIÀHOGWRPDNHWKH
MISSION: Create beautiful low
and natural light. I enjoyed the idea of historical portraits bokeh more pronounced and
key, studio portraits with a fine all of it, but I decided to I tried a variety of different bring out the fragility and
art, painterly look concentrate on classic styles, but I really believe that softness of the model.
VWXGLRSRUWUDLWVXVLQJÁDVK photographers in the present Each photo is the result of
KIT: Canon 5D Mark IV, Canon EF I prefer to work with studio have a lot to learn from the a long process of preparation.
85mm f/1.2L II USM, Profoto d1
500 air and 1000 air flashes OLJKWLQJEHFDXVH,ÀQGLW artists of the past. Firstly I come up with an idea,
allows more scope for self- In my work I try to build then I use the internet and
karpov-art.com/en expression, rather than the light and shadow artists’ galleries to look for
natural light outdoors. My FRQÀJXUDWLRQFORVHWRWKHVH RXWÀWVDQGLQVSLUDWLRQ(DFK
lighting setups vary, but I classic masters, with gentle costume I use is specially
usually use one large octabox sfumato and tender gradients made for an individual shoot.

76 www.digitalcameraworld.com
 YOUR PHOTO STORIES

04
03
01 ELIZABETH
I never use them for more than masterpiece or a complete Queen Elizabeth I and her attire was the inspiration for this piece
one studio shoot, making each disaster. It’s all about nuances Lens Canon EF 85mm f/1.2L II USM Exposure 1/160 sec, f/10, ISO100
of my images unique. and the devil is in the detail.
In fashion photography the I prefer to form my gallery 02 MS. GRAY
model is often free to move with young models. It’s not Beautiful lighting and wonderful textures come together here
around and it’s up to the because it’s easier to work Lens Canon EF 85mm f/1.2L II USM Exposure 1/160 sec, f/10, ISO100
photographer to catch the with children, but because
03 BARYSHNYA
right moment as the model they’re so open, and do not Bespoke clothing made from bright blue fabric elevates this shot
moves. But for these shoots it’s pretend to be someone they’re
almost the opposite. Every not. With adults it is different: Lens Canon EF 85mm f/1.2L II USM Exposure 1/160 sec, f/10, ISO100
part of the model’s pose has to they are used to “playing 04 VERONIQUE
EHÀQHVVHGIURPWKHLUKDLUWR roles” in their life, and they Anatoly uses Rembrandt lighting for a classic, timeless look
their expression and to make try to play it in front of my Lens Canon EF 85mm f/1.2L II USM Exposure 1/160 sec, f/10, ISO100
sure the light falls on them FDPHUD,W·VPRUHGLIÀFXOWWR
exactly how I want it to. get them to relax. But of
We spend a lot of time course, we do the best we can
ÀQGLQJWKHSRVHDQGWKHQKDOI
of the battle is trying to make
it look natural and elegant.
to produce a desirable end
result. In many cases the
photographer is like a mixture
FEEDBACK
nothing short of
Sometimes tilting the head by of painter, psychologist, friend The attention to detail in Anatoly’s portraits is
model’s pose and the
just a few millimetres can be and advisor. It’s not as simple astonishing. All of his tiny adjustments to the
liant professional
the difference between a as just clicking the shutter! lighting setup has rewarded him with some bril
to recreate the look of
portraits. As Anatoly explains, his mission was
spin on it and I think
classic painters, while putting a modern, digital
Sometimes tilting the head by just a few he’s succeeded with flying colours. I love his use
of props and
a one-time use as it
millimetres can be the difference between a clothing which his team make from scratch for
helps give each image its own character.
masterpiece or a complete disaster
The Canon Magazine 77
Professional photographers reveal their top six
tools of the trade they couldn’t shoot without
06

02

WHAT DO I DO?

Brendan Bishop
With big fashion clients like Next Retail, Amazon and House of Fraser under his belt,
Brendan’s fashion photography takes him to brilliant locations all around the world Brendan Bishop
www.epicshoots.net
recently took a a couple of Speedlites, a cheap the light and reducing

I ridiculous amount of
kit to Marbella, Spain
for a lifestyle portrait
photoshoot.
I took my Canon 5D Mark
III, Canon EF 24-105mm f/4L
and 50mm f/1.8 lenses, a light
ULQJÁDVKVRIWER[DEHDXW\
GLVKDQGVRPHWULJJHUVWRÀUH
P\ÁDVKJXQV
Light tents can cost
WKRXVDQGVVRLQWKHHQG,EXLOW
my own from aluminium poles
that I cut down to size. I also
VKDGRZVZKLOHEODFNLVXVHIXO
IRUEORFNLQJRIIQDWXUDOOLJKW
from one side of the tent.
We were also shooting on a
ZLQGVXUÀQJEHDFKVRZHKDG
the wind to contend with. The
reason for the trip was to give
AS A professional photographer
I shoot editorial, catalogue and
e-commerce images for fashion
and commercial clients. Next
Retail, House of Fraser, Matches
Fashion and Amazon are to name
but a few of the brands I’ve shot
tent, an overheard diffuser, a purchased some silks and WKHOLJKWWHQWLWVÀUVWSURSHU for. I do a lot of work with Amazon
Bowens Travelpak and one sewed these on. White silks test. The assignment was for at their huge Photo Fashion
Gemini 500 head, along with will act as a ‘scrim’ softening www.targetmodels.com and I Studio in Hoxton, but they also
was shooting Catherine from send me all over Europe. When I
the agency. My shots came out started out as a photographer I
Light tents can cost thousands of perfectly and I can’t wait to was just taking headshots for a
use my light tent for fashion couple of friends that are actors,
pounds so in the end I built my own from shoots in the future – it’s ideal and started getting more and
IRUEDODQFLQJQDWXUDOOLJKW more jobs through referrals.
aluminium poles which I cut to size ZLWKÁDVK

78 www.digitalcameraworld.com
 CANON PROS & THEIR KIT
IN BRENDAN’S BAG

05

01
03
04

02

06

01 02 03 04 05 06

Canon 600EX Bowens Canon EOS 5D Canon EF Grey White Neewer

II-RT Speedlite Gemini Mark III body 24-105mm Balance Colour beauty dish
WEB: www.canon.co.uk
Travelpak WEB: www.canon.co.uk
f/4L IS USM Card 2-in-1 WEB: www.neewer.com

WEB: www.wexphotovideo.com WEB: www.canon.co.uk WEB: www.greywhitebalance-

WHEN travelling CANON’S legendary A BEAUTY dish is
colourcard.co.uk
overseas for my shoots 5D Mark III body is key for portrait shoots
FOR location work I WITH all of the gear
I opt for the portability perfect for portrait as it can give you a soft
often use the Bowens already in my kit bag I COLOURS and skin
of Canon’s Speedlite shoots. Even though wonderful diffused light
Gemini Travelpak which like to keep things tones are massively
flashguns rather than it’s not the latest creating less harsh
I sometimes pair up simple when it comes important with
dedicated flash heads. model, it has a shadows and also
with studio lights, but to lenses. Canon’s portraits and you can’t
I have three Speedlites full-frame sensor for produce catch lights in
in this scenario it was 24-105mm f/4L IS USM take any chances when
at my disposal, a Canon wonderful depth-of- the eyes. This Neewer
impractical to carry is my go-to lens for you’re shooting for
Speedlite 600EX II-RT, field and 22.3Mp of comes in three foldable
those in addition to portraits because as an commercial clients.
a 580EX II and also a resolution so the file models: 70cm, 85cm
all of the gear I was L-series optic it’s super When I’ve got my lights
580EX. I power these sizes aren’t too large. and 100cm, but the one
already taking. I have sharp and very fast to set up just as I want
with my Bowens Gemini Putting too many I used was the smallest
an adapter that lets me focus. It also has the them I’ll ask my model
Travelpak to get faster megapixels on a sensor 70cm variation. It was
use the Travelpak with perfect zoom range to hold this Grey White
recycle rates. How can make noise good, though didn’t
my Canon Speedlites – the wide 24mm end is Balance Colour Card
many flashguns I use handling worse anyway provide quite the same
for consistent power great for full length or before I start taking my
will depend on the and I love the clean Raw results as a metal dish.
output without having mid length portraits, ‘proper’ pictures. I can
set-up of my light tent files that the Mark III But as I had exceeded
to worry about while zooming in to then sample those
and how much natural produces. It’s also fully my maximum weight
changing batteries 50mm, 85mm or the specific colours and
light I want to weather-sealed making allowance for the plane,
in the flashguns. maximum 105mm is tones in software later
incorporate into the it ideal for beach shoots this was a great
ideal for tight head on to get the colours
portrait image. like this one in Spain. lightweight alternative.
and shoulders shots. spot-on.

The Canon Magazine 79

CANONSCHOOL

SOFTWARE PETER TRAVERS

CANON EXPERT

SOLUTIONS
Peter’s been a passionate
photographer for well over
20 years. He’s worked on
PhotoPlus since the very
first issue, back in 2007,
and has been the magazine’s
editor for the past six years.
Get to grips with Canon’s free Raw image organizing, editing
and sharing software – Digital Photo Professional 4

Better black and whites

Create striking high-contrast monochrome shots with help from clipping warnings
ocial media is scene’s distracting colour monitor may not be calibrated losing important detail. We’ll

S swamped with
vibrant images vying
for attention,
whether that’s on a
Instagram feed or a
information you can create
contrasting greyscale tones
that help the eye perceive
contrasting shapes, for
example the curved lines of the
correctly, so what looks like
pure white on screen may
print out as a dull grey.
Fortunately, Digital Photo
Professional 4 packs enough
H[DPLQHKRZWKHÀOWHUHIIHFW
helps you lighten or darken
VSHFLÀFJUH\VFDOHWRQHVEDVHG
on the image’s original
colours. We’ll also show you
Facebook page. By dropping SDWKDQGUHÁHFWLRQRIWKHWUHH tools to help you guarantee a how to combine global
a black-and-white image into in our image. mono print that boasts a exposure adjustments with
the mix you can make your Making an effective mono striking contrast, featuring selective tonal tweaks, so you
work stand out from the crowd, conversion can be a challenge. both white highlights and can reveal detail where it’s
even in a thumbnail. A If you simply desaturate the black shadows. We’ll look at needed and overcome
well-processed monochrome shot then you can end up with how the threshold clipping in-camera exposure problems,
image can also suit particular a drab wash of greyscale tones warning helps you ensure leading to a striking and
subjects. By throwing out the that lack contrast. Your PC’s maximum contrast without effective mono conversion.

STEP BY STEP ADD A SPLASH OF COLOUR

Use the Toning Effect filter to alter the mood by adding subtle colour tints

01 DESATURATE THE SHOT 02 FILTER EFFECT 03 TONING EFFECT

Click our mono_start.CR2 image file’s Set the Filter Effect drop-down menu Experiment with different colour tints
thumbnail and choose View>Edit Image to Red; this darkens the blues of the sky, by using the Toning Effect drop-down
Window. Use our annotation’s settings helping the lighter greyscale tones of the menu. Green might suit a natural
to desaturate the shot and adjust its tree stand out more, and helps reveal subject like our park scene. Sepia
tones to create a strong contrast with subtle cloud texture and detail that helps give a warmer, friendlier vintage
some clipped shadows and highlights. was lost in the initial mono conversion. vibe to the monochrome conversion.

80 www.digitalcameraworld.com
 IDEO
VIEW THE V VIDEO ALSO ONLINE MONO CONVERSIONS
http://bit.ly/pp_156_8
CANON DPP 4

HOW IT WORKS HIGH-CONTRAST MONO

Ensure the presence of black shadows and white highlights with help from clipping warnings
02

01

03

06

07
08

04
05

01 04 06
BASIC PALETTE CLIPPING WARNING CONTRAST
JARGON BUSTER
The Basic image editing panel Click this icon to reveal clipped pixels. An effective mono conversion should
PICTURE STYLES
provides a range of tools to help you Underexposed shadows will appear have some black shadows and white
These in-camera presets change
make a striking high-contrast mono as patches of blue. These areas will highlights (or you’ll end up with a
the way an image is processed to
conversion of your colour Raw file. print out as pure black and be free of drab wash of greyscale tones). Drag
adjust its colours and tones. You
detail. Overexposed highlights will this slider right to create darker
02 can also alter a Raw file’s Picture
appear as patches of red. These shadows and whiter highlights.
Style in DPP 4.
HELPFUL HISTOGRAM areas will appear as pure white.
This tool is particularly useful for 07
05 THRESHOLD
ensuring a black-and-white image SHADOW & HIGHLIGHT
This term refers to the precise
has a healthy spread of tones, with DISPLAY SETTINGS The Shadow slider enables you to
range of shadows (or highlights)
shadows represented at the left Click this triangle to fine-tune the selectively lighten the shadows and
that the blue (or red) clipping
and the highlights at the right. threshold of the clipping warning’s midtones in your monochrome
warning patches will appear in;
Our start image is underexposed, settings. By default the threshold is conversions to reveal missing tonal
reduce the threshold to show only
so the graph will be clumped more wide, but we only want to be warned details. The Highlight slider helps to
the darkest or brightest areas.
towards the shadows and midtones about the very darkest shadows and claw back missing highlight detail.
at the left of the histogram when you the brightest highlights. Set the
08
first open it. The edited image’s
histogram should look more like this,
Shadow Warning threshold to 5. Set
the Highlight Warning threshold to FILTER EFFECT
Can I use DPP 4?
with a wider spread of tones. 250. Now only shadows with a level By experimenting with various filter Download the latest version of DPP
between 0-5 will appear in patches of effects you can make specific objects from http://bit.ly/get_dpp. Check
03 blue. Highlights with levels between stand out in the black-and-white the website to see if your DSLR is
PICTURE STYLE 250-255 will appear as patches of version of the scene, based on the compatible with DPP 4 – you’ll need
Click this dropdown menu to access red. This helps you discover the their original colours. For example, your serial number to update. DPP 4
the Monochrome Picture Style. This darkest and lightest pixels so you can the Red filter darkens the blue sky, works with most recent Canon EOS
removes all colour information so restore detail where needed while which helps reveal more subtle DSLRs, but for older cameras you
that only the greyscale tones remain. ensuring a strong contrast. contrasting cloud detail. may have to use a previous version.

The Canon Magazine 81

CANONSCHOOL

DIGITAL SLR MARCUS HAWKINS

PHOTO EXPERT

ESSENTIALS
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
In this edition of Digital SLR Essentials we explain all you uses a Canon EOS 5D Mk III.
need to know about the different types of viewfinders

View to a thrill
What’s the difference between an optical
INFO
Tapping the INFO button
with the Live View display
activated allows you to
viewfinder vs an EVF vs Live View? cycle through the range of
information screens. You
s you’ll see from may be able to customize the information

A
UHSODFHGE\DQHOHFWURQLF
this issue’s DSLR vs YLHZÀQGHU (9) ZKLFK that is displayed via the yellow Set-up menu
mirrorless Super OLNHWKHUHDU/LYH9LHZ
Test (page 98), the VFUHHQVKRZVWKHSKRWRJUDSK
fundamental difference EHLQJUHFRUGHGE\WKH
between Canon’s EOS LPDJLQJVHQVRU
DSLRs and EOS M and R 2IFRXUVHDOO(26FDPHUDV
mirrorless cameras is the UHJDUGOHVVRIZKHWKHUWKH\
mirror – or the obvious KDYHDQRSWLFDORUHOHFWURQLF
lack of it, in the latter’s YLHZÀQGHU²RUQREXLOWLQ
case… An EOS DSLR has a YLHZÀQGHUDWDOOLQWKHFDVHRI ISO

large mirror in front of the VRPH(260PRGHOV²IHDWXUH

imaging sensor; light rays D/LYH9LHZGLVSOD\/LYH9LHZ
coming through the lens are essentially removes the
WB
UHÁHFWHGE\WKLVPLUURUXSWR HOHPHQWRIGRXEWDVLWJLYHV
DSHQWDSULVP DVROGEORFNRI \RXDIXOOSUHYLHZRIWKHVFHQH SET AF
JODVV RUDSHQWDPLUURU DVHW ¶DVWKHFDPHUDVHHVLW·
RIVPDOOPLUURUV ZKLFKLQ FRPSOHWHZLWKWKHHIIHFWWKDW
WXUQUHÁHFWVWKHPLQWRWKH 3LFWXUH6W\OHZKLWHEDODQFH
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DQRSWLFDOYLHZÀQGHU 29) 
DQG$XWR/LJKWLQJ2SWLPL]HU
VHWWLQJVKDYHRQWKHLPDJH
Preview Grid display
$PLUURUOHVVFDPHUDGRHVQ·W ,I\RXPDNHDQDGMXVWPHQWWR The camera is only able to You can activate a grid
KDYHDPLUURUDVVHPEO\DQG WKHVHVHWWLQJVWKHFKDQJHLV display an image and display in the red Shooting
WKLVHQDEOHVLWWREHGHVLJQHG YLVLEOHLQUHDOWLPHDQGZKDW
VPDOOHUWKDQD'6/5ZRXOG \RXVHHLV PRUHRUOHVV ZKDW histogram based on a JPEG, menu to help with
EH7KHRSWLFDOYLHZÀQGHULV \RXZLOOJHW even if you shoot Raw composition

Vari-Angle touchscreen
One of the problems of using the rear display is that, in order to see the
screen, you have to hold the camera in a way that isn’t exactly stable. A
camera that has a Vari-Angle touchscreen make difference, as you can
hold the camera tightly to your body for extra support and still monitor
what you’re capturing. It’s useful for adding a bit of extra stability when
shooting videos and makes it easy to shoot from low or high angles. It’s
still better to lock the camera on a tripod for shots that require precise
focusing, as it’s easy to accidently shift a handheld camera back and forth.

82 www.digitalcameraworld.com
 VIEWFINDER 101
THE PROS AND CONS

Small screen time

The pros and cons of electronic viewfinders
n electronic working without a tripod too,
A viewfinder (EVF)
brings a number of
improving your chances of
taking sharp images.
potential advantages over But EVFs are not without
an optical viewfinder. As it’s their drawbacks, chief of which
essentially a miniature is that they draw more power
version of the rear display, than a regular optical
you’re able to see the effect viewfinder. While this doesn’t
that important camera impact day to day shooting, it
settings have on the image might be a concern if you’re
before you take it. You’re also travelling. There is one easy
able to view the live histogram,
allowing you to make accurate
option though: always have a
spare, fully charged battery to
Viewfinder sensor
exposure adjustments, and you hand. More problematic is that This activates the viewfinder
can even quickly access the
camera’s menu options, should
you can’t see anything in an
electronic viewfinder unless
when you bring it up to your Touch & Drag AF
eye, but you can set the camera Available on a few mirrorless
you wish to quickly change the the camera is powered on.
camera setup. One recent development up so it’s always on or off EOS cameras, this feature
While you can do all of this which is now available on a
using a camera’s rear screen, number of mirrorless cameras allows you to ‘thumb’ the AF
one of the benefits of using an is the option to turn the rear point(s) around the image
EVF – aside from not having to touchscreen into a large
take your eye from the autofocus trackpad when
viewfinder – is that you’ll have you’re using the EVF. By
no problem seeing the image touching the active part of the
when you’re shooting in bright screen with your thumb, you’re
light. You can support the able to drag the AF point(s) to
camera properly when you’re where you want on the image.

CUSTOMIZE THE DISPLAY

You can fine-tune the EVF in the Set-
up menu. For instance, on the EOS
RP you can opt to have fast-moving
subjects displayed more smoothly
(at the expense of battery life), and
have the shooting info rotate when
you shoot vertically.

Intelligent optical viewfinders

Advanced DSLRs fuse a traditional viewfinder with an LCD device
espite the apparent suffer from time lag or refresh such as the 7D Mark II and 5D
D disadvantages with
optical viewfinders,
rate problems; the live feed in
an EVF can look like a stop-
Mark IV includes an LCD
overlay which keeps you up to
there’s a lot to be said for motion movie when you move date with various camera
them. Yes, unlike EVFs, they the camera and fire a burst of settings, such as the shooting
are unable to show you how shots. You also get an instant mode, white balance and AF
the camera interprets view with a DSLR. mode, so as long as you know
things, and yes, they get These days, optical your way around the camera
dark when light levels drop; viewfinders are far from buttons and dials, you can
but they are easy on the eye. passive bits of glass. The make adjustments without
An optical viewfinder has ‘Intelligent Viewfinder II’ taking your eye from the
better clarity, and it doesn’t available in advanced cameras viewfinder.

The Canon Magazine 83

CANONSCHOOL
UPPING THE GAME

Live View autofocus

Most current EOS cameras use ‘phase detection AF’ for rapid response
ne area of images; the AF sensor then of contrast on the imaging the majority of DSLRs from
O performance where
an optical viewfinder
measures the distance
between them, and uses this
sensor to determine whether
the photo is in focus or not; the
the 250D upwards feature
Dual Pixel CMOS AF. Here,
used to really show up an information to drive the higher the contrast, the effective pixels on the surface
EVF or Live View display is autofocus mechanism. This is sharper the image. In order to of the imaging sensor feature
autofocus speed. known as ‘phase detection AF’. determine ‘peak contrast’, the two photodiodes; they are
As we detail in Super Test, When a camera is in Live camera has to focus back and combined when creating an
a DSLR has a standalone View mode, no light makes it forth across the image. So, image, but read separately for
autofocus sensor at the down to the AF sensor, and ‘contrast detection AF’ is slow. phase detection AF. It’s
bottom of the mirror box. there’s obviously no mirror at But Live View autofocus has transformed focusing during
Some of the incoming light all in a camera with an EVF. So moved on. All current movie recording, although not
is separated into a pair of the camera measures the level mirrorless EOS cameras and all cameras can use it with 4K.

Phase detection‘out of phase’

The camera sees two
ed to be
versions of the image which ne
autofocus,
aligned. It’s a rapid form of
which
because the camera knows in
focused for
direction the lens needs to be
focus
the image to snap into sharp

Contrast detection
Only the 1300D, 2000D and 4000D
rely exclusively on this slower type of
autofocus, where the lens has to be focused
backwards and forwards across the scene.
The 750D uses a hybrid system, where a
number of individual phase detection pixels
are embedded in the sensor

Doing it by hand (and eye)

Make the most of Live View’s manual focusing aids
ISO

THERE ARE numerous occasions position that over the detail you want the magnification/zoom button on
where the precision of manual to be sharp, then wait for the green the camera – once for 5x WB

focusing trumps autofocus, such as dot focus indicator to appear in the magnification, twice for 10x SET AF

when you’re shooting macro or viewfinder as you focus the lens), it’s magnification, and a third time to
landscapes or shooting with a a lot less hassle to simply use the return to the full view.
very shallow depth of field. Live View feed. Canon’s mirrorless cameras also
While it wouldn’t be true to say Once you’ve moved the focus offer ‘MF peaking’, which is a more activated in the red Shooting menu
that accurate manual is impossible point over the detail you want to be convenient manual focusing aid and the lens is switched to MF, the
using an optical viewfinder (you can, sharp in the Live View preview, you when you don’t have the time to edges of subjects that are in focus
after all, select a single AF point, can magnify that area by pressing magnify the image. Once this is will be outlined in a bright colour.

84 www.digitalcameraworld.com
 VIEWFINDER 101
REMOTE ACCESS

Remote control
You don’t necessarily have to be behind the camera – or even near it – to use Live View
he Live View feed play back your images. You Canon’s EOS Utility software where you can start editing
T can be streamed to
another device
can also do the same with a
portable monitor/recorder,
is compatible with both cables
and Wi-Fi, allowing you to
them while you shoot.
For location shooting,
either wirelessly or using a such as the Atomos Ninja. access Live View and remotely Canon’s Camera Connect app
cable, depending on which Designed primarily for video control a camera that’s provides a more convenient
camera you’re using. recording, these devices can connected to your computer. way to view the Live View feed
For instance, you can use an be attached to the camera’s Not only that, but images can from a Wi-Fi-enabled camera.
HDMI cable to connect your hotshoe and allow movie clips be saved automatically to your You can even manually
camera to a TV in order to to be monitored and saved computer and opened in Digital touch-up the focus, but the
mirror the Live View display or easily on location. Photo Professional software, lens needs to be set to AF.
EOS Utility

Monitor/recorder

HOME STUDIO TV
Tethering a tripod-
mounted camera to a
computer is convenient
when you’re shooting a
BATTERY LIFE
range of subjects using the
Activating Wi-Fi on
same setup, as it’s easier
the camera can
to check the composition
quickly run down
and manually focus Camera Connect
the battery, so have
a spare charged as
back up

Wireless
Wired

School tip Improve the view(finder)

How to fine-tune the focus of the viewfinder image
IF THE image you see in the viewfinder diopter until the menu text is sharp.
looks soft despite the lens being in You’re unable to view the menu in an
focus, don’t assume there’s something optical viewfinder, but rather than
wrong with your camera; the viewfinder looking at the image in the viewfinder,
display might need to be refocused. use the readout at the bottom or the AF
The majority of EOS cameras feature a point overlay as a guide while making
diopter adjustment which you can use adjustments. It can be a bit fiddly to
to tailor the display to your eyesight. access the diopter wheel, so remove
It’s easy to do this with an EVF: the rubber eyecup by squeezing it at
activate the main menu and adjust the the sides and pulling it upwards.

The Canon Magazine 85

 CANONSCHOOL
BRIAN WORLEY

EOSS.O.S CANON PRO

Brian is a freelance photographer
and photo tutor, based in
Oxfordshire. He has unrivalled
EOS DSLR knowledge, after
working for Canon for over
15 years, and is on hand to
Our technical guru is here to help. No Canon conundrum is too answer all your EOS and
big or small. Get in touch today at [email protected] photographic queries

Why does the Image Stabilizer stay

active the whole time that my EOS RP is
actually turned on?
John Graham, Quorn
BRIAN SAYS… This is the If you don’t want the
correct behaviour and is stabilizer on, and want to
described in the manual. preserve battery life, you can
The exact reason is not clear turn the Image Stabilizer off
to me, DSLR cameras only with the switch on the side of
activate the stabilization the lens. The same behaviour
unit when the shutter is happens with the RF lenses,
half-pressed. Having the plus EF and EF-S lenses on the
stabilizer continuously active mount adapter. IS assemblies
ensures the LCD and EVF are designed for long life,
displays are stabilized, plus so there shouldn’t be any Cameras can be set to override selected ISOs in Manual mode if
the AF system will be able to premature failing of the IS needed as a result of zooming or changing the lens
operate more effectively. unit due to continuous use.
Can you tell me how to avoid
underexposed shots in Manual or Shutter
Priority (Tv) when I zoom my lens?
George Martin, Rainham

BRIAN SAYS… If the feature to maintain the same

exposure changes as you exposure for new apertures.
zoom, your lens has a It works by overriding your
variable aperture. It’s written selected ISO if the exposure
in the lens name as f/3.5-5.6; changes as you zoom, add an
at the widest zoom the extender or change lens. You
aperture will be f/3.5 and will need to keep the camera
when zoomed in it’s f/5.6. switched on when changing
The change in the lens lenses for this to work.
aperture reduces the light
through the lens. If you are
using TV, with a fixed ISO
you need to watch for the
aperture display to flash; if it
does, then correct exposure
is not possible for your
chosen shutter speed.
Activate safety shift in the
camera custom functions, so EF 100-400mm f/4.5-5.6 tweaks
the body overrides the ISO. aperture as you zoom – set the
EOS R mirrorless cameras continuously operate a lens’s Image For manual exposure your body to auto override the ISO
Stabilizer by default when the body is switched on camera has an additional when using TV with safety shift

86 www.digitalcameraworld.com
 EOS S.O.S
FOCUS FIXES

Contrast between in and out of focus Ask Brian!

elements in the frame is accentuated Confused with
by the wide-open f/1.2 aperture and your Canon DSLR?
Email EOSSOS@
precise focus on the eyes
futurenet.com

Accurate focus
for fast lenses
Tips for accurate focus with limited depth of field
A fast f/2.2 aperture separates the lead rider
from the field, and a 1/1000 sec shutter
speed ensures they are frozen

ast aperture lenses help to you. If your camera has spot focus have even with the aperture wide open.
F create images with limited
depth of field, and are ideal for
point or smaller AF frame size then
use these for the utmost precision.
Longer focal lengths are ideal for
portraits as they flatter facial features.
when you want to separate your subject If you use the central AF point, then The final step is to make sure the
from their surroundings. Fast lenses focus, hold the shutter half-pressed to shutter speed is fast enough. With very
don’t have to be expensive – the lock AF and recompose then the small limited depth of field the slightest
fabulous EF 50mm f/1.8 STM lens is change in distance sometimes results movement of the subject can mean
one of the cheapest lenses in Canon’s in the focus being off. It’s better to they’re out of focus or blurred. This
range. To get great results with wide- select a single AF point that is closest slight out of focus result is more
open apertures it’s important that the to the part of your subject you want obvious as so little in the frame is
photo has some elements that are sharp, which usually means moving sharp when shooting wide open.
critically sharp, and others that are the AF point away from the centre. Thankfully shooting wide open lets
significantly out of focus for contrast. Just because you have a fast lens, plenty of light in to the camera to help
Instead of letting the camera select the it is not always necessary to shoot keep shutter speeds high. Using a flash
AF point automatically, it is best to use wide-open. Stopping down from f/1.8 can also help out here, as the short
a single AF point so that you control to f/2.5 still gives a shallow depth of duration of a flash freezes the subject
where the point of focus is precisely. field but with a little more room for and keeps in-focus elements really
Cameras choose the closest subject error. The further you are from sharp. Lots of practice really helps
if you let them select the AF point for the subject, the more depth of field you to guarantee results.

The Canon Magazine 87

CANONSCHOOL

How do I get a
copy of the latest Larger pixels are helpful for low-light shots,
version of DPP 4? like this crocodile captured at ISO 6400
Dennis Crutchley, West
Sussex What is the pixel pitch
BRIAN SAYS… You need of an EOS 2000D?
to download the full Pete Stockton, vie email
Custom function 22 controls Speedlite LCD display illumination;
version of the software
setting it to 2 keeps the light switched on from Canon. Go to: BRIAN SAYS… The pixel pitch of a
https://www.canon. camera is not one of the standard
If I press a button the display on my co.uk/support, type in
your camera model, then
specs provided by Canon. You can
calculate the pixel pitch with sufficient
Speedlite 430EX III-RT illuminates, can it click the link to check for
accuracy for comparison. You need the
downloads of DPP. There’s
be set to stay turned on? an updater and a full sensor dimensions and the number of
Richard Gibson, Brackley version. You need your pixels. For your EOS 2000D, the sensor
camera serial number to is 22.3x14.9mm with a 6000x4000px
BRIAN SAYS… The default configuration of the 430EX download the full version, resolution. Dividing the pixel count by
III-RT can be tweaked with the custom and personal which can be updated to the dimensions, gives a pixel size of
functions. This can be done on the flash, but most modern the latest version. about 3.72x3.72μm. EOS R pixels are
EOS cameras will let you change flash custom functions larger at 5.36x5.36μm.
from the camera menus. The custom function that controls What software
how the display is illuminated is 22. The display illuminates will cut down
for 12 seconds when you press a button or turn the dial – if reflections on
you change C.Fn 22 to 2, the display will stay lit. This same glass and water
capability, and custom function is available on the Speedlite in my images?
600EX-RT and Speedlite 600EX II-RT flashes too. Trevor Styles, Chorley
BRIAN SAYS… You can
darken an image like a
polarizer might, but
What does the Image Transfer reducing glare and
reflections is not possible
Utility (ITU) do when I plug in my new The polarizer cuts
EOS RP to the computer? reflections by reducing
light from specific
Variable ND filters can have cross artefacts
Phoebe Granger, Betws-y-Coed at max density, and flare is more likely
directions, this is all but
BRIAN SAYS… ITU is available for more recent models
impossible to do once the
image has been captured.
Can you use a variable
of cameras, including your EOS RP, EOS R, M50, and
250D. The software is designed to transfer the images
ND filter for stills? They
What is the
from your camera to your computer when the camera difference seem popular amongst
and computer are on the same network.
When you arrive home from a shoot, turning on the
between Raw and videographers.
CRAW format Ed Small, Luton
camera wakes the computer with ITU and new images images with the
are uploaded automatically to your computer. You’ll EOS 250D? BRIAN SAYS… Variable ND filters are
need to do the setup of the software with the camera Robin Forrester, Stirling created by sandwiching a pair of
before you go out, and the
BRIAN SAYS… There’s polarizing filters, then rotating one of
computer needs to be left
little information about the pair to create the darkening effect.
on. You can limit the
CRAW, except that it is a You could use it for stills, but flare can
upload to your choice of
compressed version of be a problem with long exposures and
file types, and selected
Raw. Visible differences in with bright lights, plus at some point
starred images if needed. shot aren’t obvious, and close to max density you often see a
Using the utility will drain you get up to 50% more cross appear as the two polarizing
your camera battery too. images with CRAW. layers interact. It’s cheaper to get a few
different plain ND filters for still use.

88 www.digitalcameraworld.com
 EOS S.O.S

BRIAN SAYS… There are a number of owners, just visit Canon’s support
I’ve taken some shots programs that’ll combine bracketed website. Open DPP and process your
using auto exposure photos, including Photoshop and Raws using the tools available. White
Lightroom. However you can also use balance, cropping, lens corrections are
bracketing, how do I Digital Photo Professional to process all best to do before HDR processing. You
combine them in software, your HDR images too. DPP will work with can process one of the images, then copy
Raw or JPEGs, though you get the best the settings as a recipe to paste to the
do I need Photoshop? results from working with Raws. DPP is other images. Next step, select the HDR
Mick Mcinerney, Milton Keynes free to download for Canon EOS camera compositing tool from the Tools menu.

01 PICK YOUR PICTURES 02 BLEND TOGETHER 03 THE PROCESSING

Select one or up to three other Selected images are loaded in to the DPP processes the HDR image for you,
photographs that you want to combine tool window; if you need to add or and displays the result for you to refine.
in the main browser window. Then just change images you can use the browse Presets matching the camera options
select Tools>Start HDR compositing buttons. Then choose the Start HDR and sliders for precise control are
tool from the menu. compositing button. available, before saving the file.

Get

RATE MY PHOTO critiqued!

Email photos to
EOSSOS@
futurenet.com
Splash Lens
Canon EF-S 18-55mm
f/4-5.6 IS STM
with the subject
‘Rate My Photo’

Exposure 1/250 sec, f/5.6, ISO3200

JON CORDING, UNITED approach. By thinking
KINGDOM SAYS… I really about your placement of
enjoy reading and learning the light you have kept the
from PhotoPlus, and just background dark, and not
recently I’ve tried water competing with the splash.
splash photography for the An ingenious method to
first time using my EOS 77D. use the continuous
As I don’t have an external self-timer, I can imagine you
flash I waited until it was counting in the dark before
really dark and headed down releasing the strawberry. A
in the basement. Lighting 1/250 sec shutter speed
from the side I could make has frozen the splash well,
the distant walls black though there’s a little blur
enough without using a in the strawberry in the
background. I used the water. To get sharper
continuous self-timer to take results you will need more
a series of 10-shots in a light to allow faster shutter
burst. It took four attempts speeds or use a flash,
to get a splash I was happy where the duration will
with. I’ve done very minimal freeze the movement. I
post-processing using an would also add a little more
app on my mobile phone. contrast to make the water
standout. Your EOS 77D
BRIAN SAYS… A flash can be used to trigger
testament to the ‘give it a an off-camera flash if you
try with what you have’ do get one.

The Canon Magazine 89

 92 Gear Update 110 Buyers’ Guide
New Canon- Every EOS and
related kit Canon-fit lens

The latest Canon DSLR and photo gear tested.

Independent advice to help you buy smarter

PAGE 98 DSLR VS MIRRORLESS

Ben Andrews
Lab Manager
[email protected]

Welcome...
DSLR VS MIRRORLESS
cameras – exactly which
one is currently ruler of
photography? We compare
Canon’s finest in both
camps to see which would
be best for your specific
requirements as a
photographer. We also
scrutinize the finer points of
Sigma’s latest macro lens,
and get all flashy with a fine
selection of handy-dandy PAGE 96 SIGMA 70mm f/2.8 DG ART PAGE 94 FLASH MODIFIER KITS
flashgun modifier kits.

HOW WE TEST

Lens tests are carried out with

Imatest suite, with specially
designed charts and data
analysis to test lens performance

We test cameras in laboratory TESTS & AWARDS

conditions using DxO Analyzer WHEN IT comes to testing Canon DSLRs, lenses, photo gear
hardware and software to check and services in PhotoPlus, we tell it like it is. We’re 100 per cent
dynamic range and image noise independent and we use our in-depth lab tests to find out how Buy for the best combination Only the best of best win
kit really performs and compares. Here are our main awards… of quality and value our coveted award

The Canon Magazine 91

 UPDATE

01

04

Our round-up of the latest digital photography must-haves

06

03

02

92 www.digitalcameraworld.com
 NEW CANON-FIT KIT

give your portrait shots distinctive

01 Gitzo 3-way Fluid Head GHF3W background bokeh. Designed exclusively
Gitzo’s ultimate pan & tilt head? for mirrorless cameras, it features a new
£440/$TBA bokeh control ring which allows you to
www.gitzo.com modulate the intensity of Lomography’s
distinctive bokeh. As well as the eight-
GITZO has replaced its confusing range bladed diaphragm, the lens also has a
of 3-way heads with this single redesigned ‘Waterhouse’ aperture system. This uses
05
offering. It borrows features found in slot-in plates to tweak and control the
Manfrotto’s X-Pro 3-Way Head, such as shape of the bokeh.
ergonomic retractable handles, and
there’s a new twisting bubble level that
lets you check for vertical and horizontal
05 Manfrotto Befree GT XPRO
alignment by rotating the device to the
Now with a 90-degree centre column
side. The Arca-Swiss QR plate holder can £270/$290
also be rotated through 90 degrees. www.manfrotto.com

MANFROTTO has topped off its Befree

02 Hoya Fusion One filters travel tripod range with a new, high-end
Top-grade protector, UV and polarizers Befree GT XPRO model. This incorporates
£20/$23 the 90-degree column mechanism
www.intro2020.co.uk previously seen only on larger Manfrotto
tripods. The Befree GT XPRO will be
BUILT from Hoya’s own high-grade available in a cheaper aluminium version
optical glass, Fusion One filters comprise weighing 2kg for £270/$290 and a more
18 layers of Super HMC multicoating for expensive 1.76kg carbon fibre option for
high light transmission and resistance to £410/$430.
flare. They’re designed to complement
the top optical quality of the best Canon
lenses, ensuring sharpness and colour
06 Nissin i600
rendition. Three types of Fusion One filter
A flashgun that shows less can mean more
are available – a UV filter, a protector, and £190/$TBA
a polarizer. All are water-repellent and www.kenro.co.uk
resistant to dirt, smudges and
THE i600 is a compact flashgun,
fingerprints, and come in typical thread
measuring 112x73x98mm and weighing
diameters from 37mm through to 82mm.
300g (not including four AA batteries), yet
it packs a punch with its huge GN60
03 Laowa 15mm f/2 Zero-D output rating. Expect a battery life of up
Stand by for the widest RF-mount f/2 lens to 1500 flashes and recycle times of
£TBA/$849 between 0.1 and 5.5 seconds. Despite its
www.venuslens.net size, the i600 still sports a 24-200mm
zoom head, and supports high speed
THE NEW 15mm f/2 Zero-D is wider than sync up to a shutter speed of 1/8000 sec.
any native Canon RF-mount lens, and
boasts a fast f/2 maximum aperture.
What’s more, it also has a short minimum
07 Tamrac SpeedRoller
focus distance of six inches, allowing for International
surreal wide angle close-ups. It may be Tamrac gets in on the roller bag scene
manual focus only, but as ultra-wide £390/$350
photography often relies more on manual www.tamrac.com
focus and depth of field control that’s no
deal-breaker. WITH its 51x36x23cm external
dimensions, this roller should fit within
most airline carry-on size limits, though
04 Lomography Petzval 55mm at 5.4kg, it’s a bit of a heavyweight. The
f/1.7 MKII 41x33x15cm interior is a practical size.
Canon RF-mounts can join the party There’s space in the main compartment
£349/$TBA to transport two 5D IV bodies, four to six
www.lomography.com extra lenses, plus multiple accessories.
The separate foam-padded outer pocket
LOMOGRAPHY is back again with holds a 15-inch laptop, while a tripod can
07 another stylish Petzval lens designed to be securely carried on the side.

The Canon Magazine 93

 MINITEST

Flashgun
modifier kits
Flashguns are great, but they need a little
Calumet
Speedlight Modifier System
help to really shine out there £99/$124 www.wexphotovideo.com
THIS KIT consists of a diffuser, a preserving catchlight sparkle.
HERE’S nothing feel, go for a kit containing a snoot, and a compact beauty dish There’s also a trio of honeycomb
T like the humble
ÁDVKJXQIRU
snoot or a honeycomb
attachment. These will
for portraiture. The elliptical
diffusion dome is a rigid plastic
grids that’ll control the dish’s light
spread. But, like everything in this
SURYLGLQJLQVWDQW concentrate light into a tight design that’s bulky compared to kit, the honeycombs are bulky and
LOOXPLQDWLRQLQD beam to isolate a subject or flat-pack alternatives. best suited to a home studio rather
SRUWDEOHSDFNDJH They’re SURGXFHDGHÀQHGKDLUOLJKW The corrugated snoot is also than location shooting.
not short on versatility either, Many kits also pack bulky; while its metal construction
EXWDGGDOLJKWPRGLÀHUDQG coloured gels for generating enhances durability and heat-
even more lighting effects can a cool or warm feel, or to resistance, this is one modifier that
VERDICT
be had. You’re spoilt for simply spice up a boring could benefit from having a PROS: Tough, effective and versatile
choice when it comes to backdrop when used on an collapsible design without modifiers; competitive price
LQGLYLGXDOPRGLÀHUVEXW RIIFDPHUDÁDVKJXQ$VLPSOH compromising functionality. CONS: Bulky; fiddly attachment
thankfully most ÁDWZKLWHFDUGFDQERXQFH For optimal portrait lighting, the design that’s not particularly secure
manufacturers offer kits light onto a subject, while a 150mm metal beauty dish does a WE SAY: There’s quantity, quality
containing a variety of black version will help shield decent job of softening light while and versatility here: a sound buy
popular accessories. other elements in your
There’ll usually be compositions.
something in the mix to We’ve selected six popular
soften light, whether it be a NLWVWRÀQGRXWZKLFKFRQWDLQV
rigid diffusion cap or dome, the best gadgets for
RUDÁDWSDFNIDEULFVRIWER[ maximizing your potential
If you’re after a more focused ZLWKWKHVHPRGLÀHUV

FIVE THINGS TO LOOK OUT FOR

Modifier kits may share similar elements, but some are more
useful and better designed than others
01 Versatility
Lastolite
Modifier kits are a great entry into lighting effects, but some kits
contain items that are of limited use.
Strobo Kit Direct to Flashgun
£52/$120 www.manfrotto.com
02 Portability
If a modifier won’t fit in your kit bag, it won’t be much use. Go for THIS KIT includes a mount that filter and a frosting filter. The
something that’s compact and collapsible. clamps directly to your flashgun’s combo is great for focusing and
head, and it attaches quickly and tinting accent lights, but you’ll need
03 Compatibility securely via a Velcro strap. to splash out on Strobo modifiers
Most modifiers will fix to your flashgun with a strap or elastic band, but The attachment design isn’t as to maximize the versatility, and it’s
a few are fussier. Ensure that you check compatibility before buying. neat as the MagMod, but it is easier a pity there are no available
to fit the mount on a flashgun with attachments to soften light.
04 Expandability a large head. What’s more, since
Some manufacturers have come up with modifier systems based each modifier contains a second
around one universal, quick-release mount. set of magnets, multiple modifiers
VERDICT
can be stacked for custom effects. PROS: Well-designed mounting
05 Light loss 9mm and 6mm grid modifiers system; stackable modifiers; price
Sticking a diffuser on your flashgun results in some light loss, so don’t are included, as are a pair of gel CONS: Needs other optional
forget to ramp up the flash power. mounts, plus a dozen gels including modifiers to realise its full potential
warming, cooling and colour effect WE SAY: Great for focussing and
filters, along with a two-stop ND colouring light, but limited

94 www.digitalcameraworld.com
Hähnel Honl Photo
Universal Flash Accessory Kit 16 Piece Master Flash Kit
£40/$54 www.hahnel.ie £313/$309 www.robertwhite.co.uk
DESPITE being the cheapest softens a flash burst; you only THIS kit contains a 23cm grids don’t hold particularly
option, Hähnel’s kit does give you a get seven gel colours; and the conical-shaped collapsible softbox, securely. Like the Hähnel, most
lot to play with. There’s a softbox to honeycomb attachment is basic. large and small roll-up snoots to items are light and pack flat for
take the edge off shadows, plus a The kit’s pricing is low enough focus light, a bounce card, a flag for on-the-go versatility, but the build/
honeycomb grid and a roll-up snoot to reflect the mediocre build keeping light out of of your frame, material quality here is a step up.
to concentrate light into a tighter quality, but we still don’t reckon 6mm and 3mm grid attachments, However, the price is high for
beam for dramatic lighting effects. this kit is good value. plus three packs of gels. A filter what’s mostly fabric and Velcro.
Each accessory fixes to your storage pouch, four flashgun
flashgun using a simple but fairly attachment straps and a carry bag
effective Velcro strap system, and
VERDICT make up the rest of the items.
VERDICT
Hähnel rounds the kit off with an PROS: Low price, yet includes several The large softbox is great at PROS: Decent range of well-made
adjustable bracket to attach your different modifiers and accessories diffusing light and works well modifiers; most items pack flat
flashgun to a tripod or light stand. CONS: Feels cheap; softbox and outdoors, where bouncing your CONS: Expensive; some modifiers
The modifiers can be useful, but honeycomb aren’t especially useful flash isn’t an option. The other don’t attach that well
their lasting appeal is limited. The WE SAY: Cheap but not very cheerful modifiers also work well and attach WE SAY: A decent comprehensive
softbox is too small and barely – you’ll get better value elsewhere easily to your flashgun, though the kit, but it’s overpriced

MagMod Rogue FlashBender 2

Professional Flash Kit Portable Lighting Kit
£230/$190 www.magnetmod.com £150/$200 www.rogueflash.com
MAGMOD modifiers use a environments where bouncing isn’t FLASHBENDER modifiers are FlashBender 2 reflector panels are
modular design based around a an option. It’s great outdoors, but famed for their construction, which 20-30% lighter than the original.
silicone mount that stretches over we found you’ll still get a softer lets one fabric panel transform Build quality isn’t up there with the
the head of flashguns – no straps illumination using a conventional from a flat reflector to a curved polished MagMod system, but it’s a
required. Within are two magnets, bounced flash where possible. For bounce card, or even a snoot when close second, while the clever
enabling instant mounting of the softest illumination, switch to rolled into a tube. design makes this kit enjoyable to
MagMod light modifiers. These can the omni-directional flash diffuser. This kit includes a second mini use and encourages creativity.
be bought individually or through FlashBender panel and diffuser
any of eight bundles. – which comes in handy, as the
This mid-range kit contains a
VERDICT large panel can feel unwieldy and
VERDICT
bounce modifier that’s big enough PROS: Quality, well designed make your camera feel top-heavy. PROS: Clever, versatile design; great
to create wide flash coverage, yet modifiers that are easy to use For more creative effects, fit the quality; most modifiers pack flat
packs small thanks to its silicone CONS: MagGrip is hard to stretch three-in-one honeycomb grid CONS: Diffusers can be fiddly and
construction. The idea is you get over flashgun head; high UK price modifier for a focused light beam. don’t give the softest illumination
illumination similar to a bounced WE SAY: The MagMod is fresh, but All the modifiers attach WE SAY: A winning combo of
flash, but MagBounce works in the Rogue kit wins on value securely, while these revised versatility and quality at a fair price

The Canon Magazine 95

 LENSTEST
01

03

06

07
04 05

Build quality and aberration, distortion and

SIGMA 70mm f/2.8 finish is amazing

and lends to the
Sigma’s pro feel
peripheral illumination, where
featured in the host body.
Whereas the older 70mm lens

DG Macro Art had an autofocus system based on a

noisy electric motor, the new Art
edition has a state-of-the-art
The first macro lens in Sigma’s Global Vision line-up presents coreless DC autofocus motor. It’s
quick, whisper-quiet and precise.
itself as something of a surprise Full-time manual override is
available and, more importantly for
his new 70mm Art lens macro shooting, fully manual

T
 7KHEXLOGTXDOLW\DQGÀQLVKRI
LVWKHÀUVWRI6LJPD·V the new lens is top-class. Premium
¶*OREDOYLVLRQ·OLQHXSWR materials include Sigma’s TSC
GHOLYHUIXOO[PDFUR (Thermally Stable Composite) SPECIFICATIONS
PDJQLÀFDWLRQ,WKDVDWRXJK plastic and a brass mounting plate FULL-FRAME COMPATIBLE Yes
DFWWRIROORZDVZH·YHDOZD\V that features a weather-seal ring. APS-C EFFECTIVE FOCAL LENGTH
UDWHGWKHFRPSDQ\·VPP The lens is compatible with Sigma’s 112mm
I(;'*26+600DFUR optional USB Dock for applying The Sigma IMAGE STABILIZER No
OHQVYHU\KLJKO\Launched in ÀQHWXQLQJDQGÀUPZDUHXSGDWHV performs very well, MINIMUM FOCUS DISTANCE 26cm
2011 and narrowly predating Global and it’s also compatible with making fringing MAX MAGNIFICATION FACTOR 1.0x
Vision lenses, Sigma’s 105mm Canon’s in-camera corrections for almost entirely MANUAL FOCUS OVERRIDE YES
macro lens has a focal length that’s the likes of lateral chromatic negligible
FOCUS LIMIT SWITCHES Yes
widely regarded as ideal for macro
INTERNAL ZOOM 6cm
photography. It also features fully 02
INTERNAL FOCUS No
internal ring-type ultrasonic
FILTER SIZE 49mm
focusing, adds an optical stabilizer
and delivers excellent image quality, IRIS BLADES 9
all for the bargain price of around WEATHER SEALS Yes
£329/$569. In some ways, the new SUPPLIED ACCESSORIES Hood
70mm Art lens looks more like a DIMENSIONS (DIA x LENGTH) 71x106mm
throwback to the somewhat WEIGHT 515g
antiquated 70mm f/2.8 EX DG PRICE £449/$469
Macro, but looks can be deceiving.

96 www.digitalcameraworld.com
 SIGMA 70mm f/2.8 DG Macro Art

f/11, 1.0x magnification FEATURES SHARPNESS

2500

01
2000
With an extending
inner barrel, the

Centre
1500
minimum working
distance is just 6cm 1000

even without the

500
hood fitted.

02 f/2.8 f/4 f/5.6 f/8 f/11 f/16 f/22

The front element is 2500

deeply recessed
2000
within the inner
barrel. 1500

Edge
03 1000

The extending inner

500
Sharpness is exceptional throughout the entire focus range, right down to the barrel has a focus
shortest setting that delivers full 1.0x macro magnification distance scale and
magnification f/2.8 f/4 f/5.6 f/8 f/11 f/16 f/22

f/16, 0.3x magnification factors printed on it. Levels of sharpness are spectacular
throughout most of the aperture range,
04 at all focus distances.
Electronically
coupled, the FRINGING (AT EDGE)
‘fly-by-wire’ manual
f/2.8
focus ring enables f/4
extremely fine f/5.6
adjustments. f/8
f/11
05 f/16
f/22
A three-position
autofocus limiter 0 0.5 1 1.5 2 2.5 3

switch can lock out There’s almost no colour fringing visible

either the long or in images, even at the corners.
short end of the
range. DISTORTION
06
Shooting at 0.3x magnification, there’s relatively little extension of the inner barrel 0.09
A weather-seal ring
and sharpness remains excellent even when shooting at f/16
is fitted to the brass
-6 –5 –4 -3 -2 -1 0 1 2 3
mounting plate.
focusing works with precision. This distances. Sigma claims that this is
Macro lenses tend to have low distortion
is due to the focus ring being to enable the best performance at 07 but it’s practically zero in the new Sigma.
electronically coupled, to enable every shooting distance.
The design omits an
¶Á\E\ZLUH·PDQXDOIRFXVLQJZLWK
small increments of adjustment. Performance optical image VERDICT
stabilizer.
The optical design incorporates Contrast and centre-sharpness are Optically, this is a fabulous lens that
two top-grade FLD (‘Fluorite’ Low ace between f/2.8 and f/11, and delivers incredibly sharp close-ups with
Dispersion) elements and two SLD there’s little drop-off towards the immense fine detail, complete with
(Special Low Dispersion) elements, edges of the frame. Due to ultra-precise focusing. The only real
along with one high refractive index diffraction, there’s a fall-off in drawback is that, with an extending inner
element. Two aspherical elements sharpness at narrow apertures, but barrel, the full 1.0x macro working distance
are also incorporated, with the aim no worse than competing macros. is quite short at 6cm.
of enhancing resolution at very Colour fringing is entirely
close focus settings. negligible and the lens is FEATURES
A similarity with the 70mm older practically free of distortion. BUILD & HANDLING
lens, and a notable difference from The lack of stabilization may be IMAGE QUALITY
the 105mm, is the lack of internal frustrating for general shooting but
focusing. As a result, the inner it would be of limited value for VALUE
barrel extends at shorter focus extreme close-ups anyway. OVERALL

The Canon Magazine 97

 SUPERTEST

THE CONTENDERS

Canon EOS Canon EOS M50 Canon EOS 77D Canon EOS M5 Canon EOS Canon EOS RP Canon EOS Canon EOS R
250D/Rebel SL3 £489/$629 £680/$699 £599/$579 6D Mk II £1399/$1299 5D Mk IV £2349/$2999
£519/$549 £1249/$1299 £2499/$2799

98 www.digitalcameraworld.com
 DSLRs vs MIRRORLESS

CANON DSLRs
vs MIRRORLESS
Do Canon EOS DSLRs have their backs up against the wall
in the mirrorless revolution, or are they still the better buy?

C
anon first dipped its toe in the
waters of mirrorless digital system
cameras back in the summer of
2012. The launch of the EOS M
(Electro-Optical System Mobility)
was effectively a mirrorless version
of the EOS 650D digital single lens reflex
camera. Without a reflex mirror assembly or
viewfinder, it was indeed very much smaller,
slimmer and lighter, while still qualifying as a
‘system’ camera, thanks to having
interchangeable lenses.
Although it helps with downsizing, most
of us struggle to shoot naturally without a
viewfinder, especially under bright sunlight.
Sure enough, the current EOS M50 and M5
mirrorless cameras have a built-in electronic
viewfinder, and one is available as an optional
extra for the M6. A bonus of electronic
viewfinders is that they give a live preview
of the effect of exposure and white balance
settings but, despite having very high pixel-
counts, they still tend to lack the clarity of
an SLR’s optical viewfinder.
Naturally, Canon has much more
experience in making DSLR system cameras,
stretching all the way back to 1959. EOS
35mm film cameras arrived in 1987 and
went digital in 2000. Nearly 20 years later,
Canon DSLRs have evolved into fabulous
cameras. By contrast, Canon’s EOS R and RP
full-frame mirrorless system cameras have
been around for less than a year, and are still
in their infancy. Let’s see how the range of
APS-C format and full-frame system cameras
stack up against each other, throughout the
price range.

The Canon Magazine 99

 SUPERTEST
RAW* SIGNAL-TO-NOISE RATIO FEATURES
50

Signal-to-noise ratio (DB)

01
40
The 18-55mm kit
30 lens isn’t retractable.
20
02
10 The viewfinder gives
more magnification
ISO100 800 1600 3200 6400 12800 25600 51200 than the M50, but
doesn’t cover the
entire frame.
RAW* DYNAMIC RANGE
14 03

Dynamic range (EV)

12 The layout is basic
10 with no info LCD on
8 the top panel.

CANON EOS 6

2
04
The beginner-

250D/REBEL SL3 £519/$549 ISO100 800

Compared with the M50, signal-to-noise

1600 3200 6400 12800 25600 51200
friendly ‘Guided’
interface option
works brilliantly with
the touchscreen.
Reflex cameras don’t have to be big. Canon’s latest is virtually identical, but dynamic range
DSLR is especially compact and lightweight is marginally better at ISO100 05
With its ‘vari-angle’
hinge, the rear
eighing only 60g more cameras have the same high-res, adequate, having only nine AF

W than the mirrorless M50

and barely any heavier
than the M5, the 250D
LVOLJKWZHLJKWIRUD'6/5,W·VRQO\
about half the weight of the 5D Mk
vari-angle touchscreen and both
enable 4K movie capture.
A difference between the 250D
and M50 is that the DSLR has an
optical rather than electronic
points of which just the central
SRLQWLVFURVVW\SH,Q/LYH9LHZ
mode, however, image sensor-
based autofocus matches that of
the M50, with up to 143 phase-
screen has full
articulation.

VERDICT

,9DQGLVLPSUHVVLYHO\FRPSDFW YLHZÀQGHURIFRXUVH,WJLYHVD detection points available via auto FEATURES

The outright newest camera in clear and bright view, despite only selection (3975 points manually),
the group, it’s only been on sale a being a pentamirror rather than and without the aperture width of BUILD & HANDLING
few months and shares the same pentaprism unit. Unlike in the the lens being limited to f/5.6. The
core specs as the M50, which was 0WKHYLHZÀQGHURQO\VKRZV 250D’s maximum burst rate of 5fps IMAGE QUALITY
launched last year. These include 95 per cent of the image frame. is respectable, but only half that of
a 24.1Mp Dual Pixel CMOS image the M50. When it comes to image VALUE
VHQVRUDQG',*,&SURFHVVRUDQG Performance quality, however, there’s minimal
the same shutter speed and The phase-detection AF system difference between the EOS 250D OVERALL
sensitivity ranges. Both competing IRUYLHZÀQGHUEDVHGVKRRWLQJLV and M50 cameras.

or real-world results, we test cameras with a selection of

HOW WE TEST F lenses, in wide-ranging shooting conditions, from bright
sunshine and dull outdoor conditions, to interior lighting
Our ratings are based on a rigorous regime and night shots. We pay attention to the accuracy and
consistency of AF and metering systems, auto white balance and
of real-world shooting and lab tests all other shooting parameters. All aspects of image quality are
checked. We also judge cameras for their handling, ease of use
and how well the menu systems work, including factors like the
intuitiveness of touchscreens and vari-angle screens.
We 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 are measured in Raw mode, at
one-stop increments across each camera’s sensitivity range.
We also test for colour accuracy when shooting in JPEG mode.

100 www.digitalcameraworld.com
 DSLRs vs MIRRORLESS

RAW* SIGNAL-TO-NOISE RATIO FEATURES

50

Signal-to-noise ratio (DB)

01
40
The EF-M 15-45mm
30 kit lens helps keep
the package light.
20

10
02
Dual Pixel CMOS AF
ISO100 800 1600 3200 6400 12800 25600 51200 is fast and accurate.

03
RAW* DYNAMIC RANGE The 0.39-inch OLED
14 electronic viewfinder

Dynamic range (EV)

12 has 2360k dots and
10 gives full coverage.
8
04
6

4
Beginner-friendly
2
shooting modes

CANON EOS M50 £489/$629 ISO100 800

Dynamic range is slightly less than from

1600 3200 6400 12800 25600 51200
include Scene
Intelligent Auto,
Hybrid Auto and
Creative Assist.
It’s the most lightweight camera in the group but still the 250D at ISO 100, but both cameras
packs a wonderful wallop are similar in other lab scores 05
The vari-angle
touchscreen’s Quick
Performance

S
LJQLÀFDQWO\GRZQVL]HGIURP HQWU\OHYHOPRGHOWKHYLHZÀQGHU
menu is a very useful
WKH'UHÁH[FDPHUDWKLV matches that of the range-topping One area in which the M50
feature.
mirrorless model is M5 with a 2360k dot, 0.7x outperforms the 250D is its max
delightfully svelte. The PDJQLÀFDWLRQ2/('GLVSOD\WKDW burst rate. Whereas the 250D can
theme is continued by the little gives full 100 per cent coverage. ÀUHRIIVWLOOVDWXSWRISVWKH0 VERDICT
EF-M 15-45mm kit lens, which is There’s a wealth of shooting info shoots at up to 10fps, dropping to
retractable to reduce storage space. DYDLODEOHLQWKHYLHZÀQGHUDVZHOO 7.4fps with Servo (continuous) AF. FEATURES
,WDOVRJLYHVDZLGHUPD[YLHZLQJ as a live preview of the effect of Performance is slightly less
DQJOHWKDQWKH'·VPP settings. While the M50 and 250D impressive when it comes to BUILD & HANDLING
kit lens, with an effective 24mm offer 4K UHD video capture, they battery, the M50 only managing
UDWKHUWKDQPPIRFDOOHQJWK also have a crop factor that limits 235 shots from a fully charged IMAGE QUALITY
in full-frame terms. the wide-angle potential of the battery, compared with the
The M50 is only the second lens. Like in the EOS RP, Dual Pixel impressive 1070 shots for the 250D. VALUE
Canon M-series mirrorless camera AF is unavailable when shooting 4K For image quality and in other
to feature a built-in electronic movies, so you have to rely on less areas of performance, the two OVERALL
YLHZÀQGHU'HVSLWHEHLQJDQ effective contrast-detection AF. cameras are incredibly similar.
Resolution (ISO100)

RESOLUTION 40

Which of these cameras has the most resolving power? 30

28 28 28 28
32
30
26 26

20
he EOS 5D Mk IV and EOS R lead the way for resolution
T scores in our lab tests. Technically, the 5D Mk IV
captures slightly more fine detail at low to medium 10

sensitivity settings but the EOS R’s omission of a reflex mirror

reduces in-camera vibrations which can degrade sharpness in 0

real-world shooting. The same holds true when comparing the

IV
RP
0D

50

II

R
M
77

S
k
M

6D Mk II and EOS RP, which have almost identical lab results.

25

EO
M
S
S

EO
EO
S

6D
EO

5D
S

EO

n
EO

no

In the APS-C format camp, the 77D wins out against the M5,
n
n

S
n

S
no
no
n

EO
no

Ca
EO
n

no

Ca
no

Ca
Ca

whereas there’s little to choose between the 250D and M50.

n
Ca

n
Ca

no

no
Ca

Ca

The Canon Magazine 101

 SUPERTEST
RAW* SIGNAL-TO-NOISE RATIO FEATURES
50

Signal-to-noise ratio (DB)

01
40
The 77D retains
30 plentiful scene
modes.
20

10
02
A tell-tale sign of its
ISO100 800 1600 3200 6400 12800 25600 51200 enthusiast dreams is
the LCD info panel
up top.
RAW* DYNAMIC RANGE
14 03

Dynamic range (EV)

12 As with the 250D, a
10 pentamirror rather
8 than pentaprism
6 viewfinder is fitted.
4
04
2

CANON EOS 77D £680/$699 ISO100

It eases ahead of the M5 for dynamic

800 1600 3200 6400 12800 25600 51200
It matches the 250D
and M50 in having a
fully articulated
vari-angle
This is Canon’s most compact enthusiast-level DSLR, range, but both cameras have similar touchscreen.
as well as being the least expensive signal to noise figures
05
The cross keys are
aunched a few months later

L
SHQWDSULVPYLHZÀQGHUPRUHDNLQ DQGRIWKHPFDQEHXVHGDWI
surrounded by a
than the EOS M5, back in to that in the 250D. Both have a beating the 250D on both counts.
quick control dial.
early 2017, the 77D aims to VLPLODUPDJQLÀFDWLRQUDWLRDQGWKH However, video capture resolution
pack enthusiast-friendly same 95 per cent coverage of the WRSVRXWDWS
controls into a small and image frame. Further similarities VERDICT
lightweight shell. As such, it’s between all of the APS-C format Performance
smaller and nearly 200g lighter UHÁH[DQGPLUURUOHVVFDPHUDVRQ The autofocus system is more adept FEATURES
WKDQWKH'\HWVWLOOPDQDJHVWR test include a maximum shutter at tracking moving objects than
VTXHH]HDQ/&'LQIRGLVSOD\RQWR speed of 1/4000 sec and a max that of the 250D and both BUILD & HANDLING
LWVWRSSDQHO,W·VFKXQNLHUDQG VWDQGDUGVHQVLWLYLW\RI,62 mirrorless M-series cameras. This
more than 100g heavier than the A key upgrade over the 250D is makes it the best APS-C format IMAGE QUALITY
M5, which has the same 24.2Mp that the 77D has a 45-point camera in the group for shooting
image sensor and processor. phase-detection AF module for action. At 6fps, the max drive rate VALUE
Unusually for an enthusiast-level YLHZÀQGHUEDVHGVKRRWLQJUDWKHU is a frame per second faster than in
Canon DSLR, the 77D has a than a 9-point system. Also, all of the 250D and the buffer can hold OVERALL
pentamirror rather than the 77D’s AF points are cross-type 27 Raw quality shots instead of 10.

SLIM PICKINGS
Mirrorless cameras tend to be slimmer than DSLRs for two reasons
ne reason that DSLRs are contrast, mirrorless cameras have a
O chunkier than their mirrorless
kin is that they have an optical
compact electronic viewfinder that’s
fed from the image sensor. Some
viewfinder. Depending on the quality of mirrorless cameras have no viewfinder
the camera, it’ll be either an up-market at all. The other factor in an DSLR’s
pentaprism unit, or a more budget- bigger build is the reflex mirror, which
friendly pentamirror variant. Both need needs sufficient room to be placed at
to be large to reflect and re-orientate an angle and flip up during exposures
the image from the lens and reflex and movie capture. Of course, the Typical of similar-spec mirrorless and DSLR bodies, the
mirror, directing it to your eye. By mirror is absent in a mirrorless body. M5 is noticeably smaller and slimmer than the 77D

102 www.digitalcameraworld.com
 DSLRs vs MIRRORLESS

RAW* SIGNAL-TO-NOISE RATIO FEATURES

50

Signal-to-noise ratio (DB)

01
40
The Dual Pixel AF
30 has a limited 49
points that can be
20
selected by camera.
10
02
ISO100 800 1600 3200 6400 12800 25600 51200 Connectivity
includes USB 2.0,
Wi-Fi, NFC,
RAW* DYNAMIC RANGE Bluetooth.
14

03

Dynamic range (EV)

12

10 The dedicated
8 +/-3EV exposure
6 compensation dial
4
is a nice addition.
2

CANON EOS M5 £599/$579

04
ISO100 800 1600 3200 6400 12800 25600 51200 An adapter for
mounting EF and
The M5 is the least impressive camera in EF-S lenses is
Canon’s flagship M-series mirrorless camera struggles the whole group for dynamic range but available.
to retain its crown against the newer pretender matches the 77D for noise
05
The 3.2-inch 1620k
giving a live preview of exposure

A
OWKRXJKVWLOORIÀFLDOO\WKH YLGHRFDSWXUHUHVROXWLRQLVS
rear screen is large
range-topping M-series and white balance settings. The so, as in the 77D, the 4K option of
and highly detailed.
APS-C format mirrorless same range of information is also the M50 and 250D is off-limits.
camera in Canon’s line-up, available, including three formats
the M5 has an image sensor and of grid overlay, a histogram for Performance VERDICT
processor that are a generation RYHUDOOEULJKWQHVVRUVHSDUDWH5*% Max burst rate is a little slower
older than those of the M50, as channels, an electronic level and a than in the M50 but still faster than FEATURES
well as the 250D for that matter. variety of aspect ratios. the 77D, at 7fps rising to 9fps if you
At its heart, the camera has the Both M-series cameras give can live with AF being locked in BUILD & HANDLING
same imaging system as the 77D. options for shooting stills in 3:2, SODFHEHIRUHWKHÀUVWVKRWLQD
As in the newer M50, the M5 4:3, 16:9 and square formats. sequence. The memory buffer is IMAGE QUALITY
KDVDQ2/('YLHZÀQGHUZLWK Around the back, the M5 has a VPDOOHUWKDQWKH'HQDEOLQJ
2360k dots and full coverage of the larger, higher-resolution 3.2-inch UDWKHUWKDQVKRWVLQ5DZ,Q VALUE
image frame. Again, it’s not as touchscreen with 1620k dots, but it -3(*WKH'·VEXIIHUHQDEOHV
FOHDUDVDQRSWLFDOYLHZÀQGHUZKHQ only has a tilt facility rather than unlimited shooting, whereas OVERALL
panning but has the advantage of being fully articulated. The max there’s a 26-shot limit in the M5.

ADAPT AND FLOURISH

Use myriad lenses with the EOS R or RP
anon’s full-frame mirrorless EOS R and
C RP camera bodies have a whole new
lens mount. It works brilliantly, with key
advantages including a large flange that’s also
relatively close to the sensor. At this stage of the
game, however, there’s not a whole lot of choice
when it comes to dedicated ‘RF’ lenses. That
shouldn’t put you off, as Canon also makes a range
of adapters that enable the use of both EF and EF-S As well as the standard Canon Mount Adapter EF-EOS R, up-market alternatives
lenses, designed for full-frame and APS-C DSLRs. add a control ring or a facility for using drop-in variable ND or polarizing filters

The Canon Magazine 103

 SUPERTEST
RAW* SIGNAL-TO-NOISE RATIO FEATURES
50

Signal-to-noise ratio (DB)

01
40
Compared with the
30 original 6D, the
viewfinder’s
20
coverage is greater
10 at 98 per cent.

ISO100 800 1600 3200 6400 12800 25600 51200

02
There’s the same
26.2Mp image
RAW* DYNAMIC RANGE sensor as in the RP,
14 but it is older.

Dynamic range (EV)

12

10
03
8 The vari-angle

CANON EOS 6

2
touchscreen is
another similarity
with the 6D Mk II.

6D MK II £1249/$1299 ISO100

Noise is very slightly worse than from

800 1600 3200 6400 12800 25600 51200
04
Built-in GPS and NFC
are featured here.
A massive upgrade to the original 6D, the Mk II has the EOS RP but dynamic range is
recently become much more affordable virtually identical 05
There’s a good
selection of
ow two years old, the 6D Mk a few months ago. The same image

N
YLHZÀQGHULVYHU\FOHDULWRQO\
direct-access
,,LVDUHYDPSHGYHUVLRQRI sensor is paired with an even JLYHVSHUFHQWIUDPHFRYHUDJH
buttons and dials.
Canon’s original enthusiast newer generation of processor,
full-frame DSLR. Key areas and both cameras have the same Performance
are a high-res 26.2Mp sensor VHQVLWLYLW\UDQJHRI,62 Performance is superb. Autofocus VERDICT
which gained Dual Pixel AF, (50-102,400 expanded). For stills, and metering are reliable and
DQHZHU',*,&SURFHVVRUD WKH'0N,,HGJHVDKHDGIRUEXUVW consistent, and image quality is FEATURES
45-point autofocus system in which rate, but for video it tops out at gorgeous. Handling is excellent,
all of the points are cross type and SZKHUHDVWKH53DGGVD. with plenty of direct-access buttons BUILD & HANDLING
ZRUNDWIDQGDQHZPHWHULQJ capability. The only movies you can and dials for shooting parameters,
module. The continuous drive rate VKRRWLQ.RQWKH'0N,,DUHRI to suit creative photographers. IMAGE QUALITY
rose from 4.5fps to 6.5fps, and the the timelapse variety. Stamina is great as well, with a
rear screen of the 6D is replaced Both cameras have built-in Wi-Fi 1200-shot battery life that beats VALUE
with a vari-angle touchscreen. DQG%OXHWRRWKEXWWKH'0N,, every other camera in the group.
Most of these improvements are DGGV1)&DQG*362QHPLQXV The price has dropped 25 per cent OVERALL
inherited by the EOS RP, launched point is that, while the pentaprism since launch, making it great value.

SHAKE-FREE SHOOTING
Stabilization can be a big bonus
o far, Canon has never fitted The image stabilizers in most
S in-camera image stabilization
to its DSLRs or to its EOS M
current Canon ‘IS’ lenses, as well as in
Sigma OS (Optical Stabilizer) and
and EOS R series of mirrorless Tamron VC lenses tends to be effective
cameras. In Body Image Stabilization with stills. But it’s of little benefit for
(IBIS) works by shifting the image movies. All of the cameras in this test,
sensor to counteract vibration, incurred apart from the EOS 5D Mk IV, have an
during handheld shooting. Instead, electronic ‘Movie Digital IS’ option,
Canon has believed that optical in-lens which applies a slight crop factor but Available in most current cameras, Movie Digital IS can
stabilization is more effective. enables steady movie shooting. increase steadiness for handheld movie capture

104 www.digitalcameraworld.com
 DSLRs vs MIRRORLESS

RAW* SIGNAL-TO-NOISE RATIO FEATURES

50

Signal-to-noise ratio (DB)

01
40
The camera is
30 supplied with an EF
lens adapter.
20

10
02
The RP is svelte but
ISO100 800 1600 3200 6400 12800 25600 51200 lacks an info display
on the top panel.

RAW* DYNAMIC RANGE 03

14 There are few access

Dynamic range (EV)

12 buttons, the camera
10 relying more on the
8 Quick menu.
6
04
4

2
The 0.39-inch

CANON EOS RP £1399/$1299 ISO100 800

There’s very little to choose between the

1600 3200 6400 12800 25600 51200
2360k-dot OLED
viewfinder is the
same as that of the
M50 and M5.
It’s certainly slim and lightweight for a full-frame camera, EOS R and 6D Mk II for noise and
but feels a little lacking in features dynamic range 05
It matches the 250D,
M50 and 6D Mk II
ith the same full-frame The thinner RP has a smaller parameters that are featured in the

W image sensor and a

similar set of core
features, the EOS RP is
very much the new mirrorless
YHUVLRQRIWKH'0N,,,W·VDLPHG
battery and, coupled with the need
to drive an electronic rather than
RSWLFDOYLHZÀQGHUEDWWHU\OLIHLV
RQO\VXIÀFLHQWIRUDSDOWU\
VKRWV7KH'0N,,FDQNHHSJRLQJ
competing DSLR.

Performance
7KHHOHFWURQLFYLHZÀQGHULVRQD
par with those of the M5 and M50.
with its vari-angle
touchscreen.

VERDICT

at enthusiast amateur QHDUO\ÀYHWLPHVORQJHU7KH ,W·VJRRGEXWQRWH[FHSWLRQDO7KH FEATURES

photographers, and similarly slimness and smallness of the body burst rate of 5fps is slower than in
priced to its DSLR sibling. You’d also makes handling feel a little WKH'0N,,DQGGURSVWRISVZLWK BUILD & HANDLING
expect a mirrorless camera to be awkward with RF lenses, most of continuous AF. Autofocus itself is
more slimline but, in this case, the which are comparatively large and quick and accurate, but not as fast IMAGE QUALITY
53LVVPDOOHUWKDQWKH'0N,, ZHLJKW\7KH'0N,,IHHOVPRUHRI DVLQWKH'0N,,LQYLHZÀQGHU
DQGDZKROHJOLJKWHULQZHLJKW a handful, in a good way. The RP based shooting. The RP can shoot VALUE
That’s good news if you like to also loses the info screen from the 4K video but, as with the 250D and
WUDYHOOLJKWEXWWKHGRZQVL]LQJ top panel, and many of the direct- M50 APS-Cs, there’s a crop factor OVERALL
comes with compromises. access controls for shooting and Dual Pixel AF is unavailable.

DEFOCUSED DELIGHTS
Be more shallow with full-frame APS-C: 50mm f/1.8 FULL-FRAME: 85mm f/1.8
hereas APS-C format cameras can boost
W your effective telephoto reach, full-frame is
better when you want a tight depth of field.
With no 1.6x crop factor, the ‘actual’ rather than
‘effective’ focal length can result in a much
shallower zone of focus. For example, shooting with
a 50mm lens on an APS-C camera gives a similar
effective focal length as using an 85mm lens on a
full-frame body, but is much more effective for Full-frame Canon DSLR or mirrorless cameras have a distinct advantage over their APS-C
blurring the background. format competitors when you want a shallow depth of field

The Canon Magazine 105

 SUPERTEST
RAW* SIGNAL-TO-NOISE RATIO FEATURES
50

Signal-to-noise ratio (DB)

01
40
The viewfinder gives
30 full 100 per cent
frame coverage.
20

10
02
The top panel has a
ISO100 800 1600 3200 6400 12800 25600 51200 large info display and
a row of direct-
access buttons.
RAW* DYNAMIC RANGE
14 03

Dynamic range (EV)

12 A regular shooting
10 mode dial enables
8 quick access to

CANON EOS 6

2
user-defined setups.

04

5D MK IV £2499/$2799 ISO100

Dynamic range is a little more

800 1600 3200 6400 12800 25600 51200
There are dual
CompactFlash
and SecureDigital
card slots.
For performance and versatility, this is the best DSLR impressive than from the EOS R, but
in Canon’s current range noise figures are slightly worse 05
The 3.2-inch,
1620k-dot
control lever on the back panel is shooting stills from tricky angles,

C
ODVVLÀHGDVD¶SURIHVVLRQDO·
touchscreen is
JUDGHFDPHUDWKH'0N,9 great for shifting the active AF area and for shooting movies. Speaking
highly detailed.
has a 30.4Mp image sensor around the frame. Crucially, the 5D RIPRYLHVERWKFDPHUDVFDQXWLOL]H
that generates higher- 0N,9DOVRKDVGXDOPHPRU\FDUG Dual Pixel AF in 4K capture.
resolution images than the bulky slots, so you can create instant VERDICT
0S(26';0N,,DQGPXFK backups as you shoot. Performance
FOHDQHUKLJK,62TXDOLW\WKDQWKH Dual Pixel AF enables excellent For action sports and wildlife, FEATURES
50.6Mp 5DS and 5DS R. autofocus performance in both where you need to track fast,
 1DWXUDOO\WKH'0N,9LVELJJHU FDPHUDVDOWKRXJKWKH'0N,9 HUUDWLFDFWLRQWKH'0N,9ZLOO BUILD & HANDLING
than its mirrorless EOS R lacks the EOS R’s additional generally give you a better hit rate
counterpart, and 230g heavier, but eye-detection mode. Naturally, you than the EOS R. For outright image PERFORMANCE
it packs in some handy extras. For FDQRQO\XVH/LYH9LHZPRGHLQWKH quality, there’s practically nothing
YLHZÀQGHUEDVHGVKRRWLQJWKH DSLR with the rear screen. There’s to choose between the two VALUE
61-point autofocus system is a problem here in that the rear FDPHUDVGHVSLWHWKH'0N,9·V
competent at tracking fast and screen has no vari-angle or tilt image processor being two OVERALL
erratically moving objects. A facility, so the EOS R wins out for generations older.

lthough the range of Canon top-drawer RF 28-70mm f/2L USM

RF LENSES A Mount Adapter EF-EOS R
converters are very good, they
combines spectacular performance
with an aperture that’s two f/stops
Pick the right tools for your full-frame do add extra size and weight to a faster, but it’s comparatively
full-frame mirrorless body and lens enormous, twice the weight and three
mirrorless job combination. That can seem rather times the price. The superfast RF
counter-productive when one of the 50mm f/1.2L USM and RF 85mm
main strengths of a mirrorless system f/1.2L USM are also big and pricey. We
is downsizing. Thankfully, there’s a really like the compact RF 35mm f/1.8
growing range of excellent native RF Macro IS STM, which is great for
mount lenses to choose from. everything from landscapes and
The natural first choice for most of architectural shooting to street
us is the highly versatile and photography and close-ups. It’s also
reasonably compact RF 24-105mm well priced, as is the RF 24-240mm
f/4L IS USM standard zoom. The f/4-6.3 IS USM superzoom.

106 www.digitalcameraworld.com
 DSLRs vs MIRRORLESS

RAW* SIGNAL-TO-NOISE RATIO FEATURES

50

Signal-to-noise ratio (DB)

01
40
It’s the pick of the
30 mirrorless bunch for
the viewfinder, with a
20
0.5-inch 3690k-dot,
10 0.76x OLED unit.

ISO100 800 1600 3200 6400 12800 25600 51200

02
The R features a
stylish mono info
RAW* DYNAMIC RANGE display on the top.
14

03

Dynamic range (EV)

12

10 The ‘M-Fn bar’ has

8 customizable
6 functions.
4
04
2

CANON EOS R £2349/$2999 ISO100 800

Signal to noise ratio is on a par with the

1600 3200 6400 12800 25600 51200
This touchscreen is
the most high-res in
the group, with
2100k dots.
Nearly all of the goodness of a premium full-frame DSLR, lower-megapixel EOS RP but the 5D Mk
in a delightfully low-fat body IV has a bit more Raw dynamic range 05
There are very few
direct-access
he EOS R hit the ground As usual, the Dual Pixel AF

T
'0N,9·VRSWLFDOYLHZÀQGHULV
buttons for shooting
running last year, as Canon’s system enables phase-detection still preferable when panning or
settings.
ÀUVWPLUURUOHVVIXOOIUDPH autofocus points across most of the tracking moving objects.
camera. As you’d expect, it’s frame, in this case 5,565 of them.
slimmer and lighter than the 5D Autofocus is rapid and works well Performance VERDICT
0N,9ZKLFKKDVDVLPLODU'XDO even in near-darkness, but still There’s no lack of drive speed for
Pixel AF image sensor with an ORVHVRXWWRWKH'0N,9·V VWLOOVZLWKDWRSEXUVWUDWHRIISV FEATURES
almost identical Mp. The most YLHZÀQGHUEDVHGSHUIRUPDQFHRQ That’s a frame per second faster
major difference between the two both counts. The electronic WKDQWKH'0N,9EXWWKH(265 BUILD & HANDLING
cameras is that the EOS R has YLHZÀQGHUÀWWHGLQWKH(265LV drops to a pedestrian 5fps when
Canon’s new RF lens mount, the best of any Canon mirrorless XVLQJFRQWLQXRXVDXWRIRFXV,PDJH PERFORMANCE
ZKLFKHQDEOHVDODUJHUÁDQJHWR FDPHUDLQWKHJURXS,W·VD quality is virtually identical from
be positioned closer to the sensor. particularly high-resolution OLED both cameras, with sumptuous VALUE
As with the EOS RP, an adapter is display with an increased 3,690k colour rendition, great retention of
also provided in retail kits, for dots and a greater 0.76x ÀQHGHWDLODQGPLQLPDOQRLVHDW OVERALL
using EF and EF-S lenses. PDJQLÀFDWLRQIDFWRU(YHQVRWKH KLJK,62VHWWLQJV

DUAL PIXEL PERFORMANCE

Like a dual carriageway for autofocus, Canon brings a speed boost
here’s a fundamental difference in the contrast-detection autofocus is the traditional
T way that DSLR and mirrorless digital
cameras autofocus. The reflex mirror
alternative. This adjusts the lens’s focus until
the greatest amount of contrast is registered
of an DSLR directs the image produced by the at a defined point or area in the scene.
lens to a dedicated phase-detection AF module, All of Canon’s DSLR and mirrorless cameras
as well as up into the viewfinder. This can work in this test group feature revolutionary Dual
out whether the lens’s focus distance is too Pixel AF. Each ‘pixel’ on the image sensor is Canon’s Dual Pixel AF CMOS image
long or too short, and make the adjustments. divided into a pair of photodiodes, enabling sensors enable phase-detection
For mirrorless cameras, or when using an phase-detection autofocus with excellent speed autofocus across 80 per cent of their
DSLR in ‘live view’ or movie capture mode, and accuracy. height and width

The Canon Magazine 107

 SUPERTEST
COMPARISON TABLE

NAME Canon EOS 250D/ Canon EOS M50 Canon EOS 77D Canon EOS M5 Canon EOS 6D Mk II Canon EOS RP Canon EOS 5D Mk IV Canon EOS R
Rebel SL3

Announced April 2019 February 2018 February 2017 September 2016 June 2017 February 2019 August 2016 October 2018

Format APS-C APS-C APS-C APS-C Full-frame Full-frame Full-frame Full-frame

Sensor 24.1Mp Dual Pixel CMOS 24.1Mp Dual Pixel CMOS 24.2Mp Dual Pixel CMOS 24.2Mp Dual Pixel CMOS 26.2Mp Dual Pixel CMOS 26.2Mp Dual Pixel CMOS 30.4Mp Dual Pixel CMOS 30.3Mp Dual Pixel CMOS

Image processor DIGIC 8 DIGIC 8 DIGIC 7 DIGIC 7 DIGIC 7 DIGIC 8 DIGIC 6+ DIGIC 8

Autofocus points 9 (1 cross-type), VF 143, dual pixel 45 (all cross-type), VF 49, dual pixel 45 (all cross-type), VF 4779, dual pixel 61 (41 cross-type), VF 5565, dual pixel
AF narrowest f/5.6 Any aperture f/8 (27 points) Any aperture Any aperture Any aperture f/8 (61 points) Any aperture
aperture (VF)
Metering zones 63/384 zones 384 zones 63/315 zones Not stated 63/315 zones 384 zones 252 zones 384 zones
(VF/LV)
ISO range (expanded) ISO100-25,600 ISO100-25,600 ISO100-25,600 ISO100-25,600 ISO100-40,000 ISO100-40,000 ISO100-32,000 ISO100-40,000
(51,200) (51,200) (51,200) (50-102,400) (50-102,400) (50-102,400) (50-102,400)
Shutter speeds 1/4000 to 30s, Bulb 1/4000 to 30s, Bulb 1/4000 to 30s, Bulb 1/4000 to 30s, Bulb 1/4000 to 30s, Bulb 1/4000 to 30s, Bulb 1/8000 to 30s, Bulb 1/8000 to 30s, Bulb

Max burst rate, buffer 5fps, unlimited JPEG, 7.4/10fps, 33 JPEG, 6fps, unlimited JPEG, 7/9fps, 26 JPEG, 6.5fps, 150 JPEG, 4/5fps, unlimited 7fps, unlimited JPEG, 5/8fps, 100 JPEG,
10 Raw 10 Raw 27 Raw 18 Raw 21 Raw JPEG, 50 Raw 21 Raw 47 Raw
Viewfinder Pentamirror, 0.87x, 95% OLED, 2,360k, 0.7x, Pentamirror, 0.82x, 95% OLED, 2,360k, 0.7x, Pentaprism, 0.71x, 98% OLED, 2,360k, 0.7x, Pentaprism, 0.71x, OLED, 3,690k, 0.76x,
100% 100% 100% 100% 100%
LCD screen 3.0-inch, 1,040k, 3.0-inch, 1,040k, 3.0-inch, 1,040k, 3.2-inch, 1,620k, 3.0-inch, 1,040k, 3.0-inch, 1,040k, 3.2-inch, 1,620k, touch 3.2-inch, 2,100k,
touch, pivot touch, pivot touch, pivot touch, tilt touch, pivot touch, pivot touch, pivot
Max video resolution 4K at 25/24fps 4K at 25/24fps 1080p at 1080p at 1080p at 4K at 25/24fps 4K at 30/25fps 4K at 30/25/24fps
60/50/30/25/24fps 60/50/30/25/24fps 60/50/30/25/24fps
Memory 1x SD/HC/XC UHS-I 1x SD/HC/XC UHS-I 1x SD/HC/XC UHS-I 1x SD/HC/XC UHS-I 1x SD/HC/XC UHS-I 1x SD/HC/XC UHS-II 1x CF, 1x SD/HC/XC 1x SD/HC/XC UHS-II
UHS-I
Connectivity USB 2.0, Wi-Fi, BLE USB 2.0, Wi-Fi, NFC, USB 2.0, Wi-Fi, NFC, USB 2.0, Wi-Fi, NFC, USB 2.0, Wi-Fi, NFC, USB 2.0, Wi-Fi, BLE USB 3.0, Wi-Fi, NFC, USB 3.1, Wi-Fi, BLE
BLE BLE BLE BLE, GPS GPS
Battery type LP-E17 LP-E12 LP-E17 LP-E17 LP-E6N LP-E17 LP-E6 LP-E16

Battery life 1070 shots 235 shots 600 shots 295 shots 1200 shots 250 shots 900 shots 370 shots

Size (WxHxD, body) 122x93x70mm 116x88x59mm 131x100x76mm 115x89x61mm 144x111x75mm 133x85x70mm 151x116x76mm 136x98x84mm
Weight (body, card 450g 390g 540g 427g 765g 485g 890g 660g
battery)
Price (body only) £519/$549 £489/$629 £680/$699 £599/$579 £1249/$1299 £1399/$1299 £2499/$2799 £2349/$2999

FEATURES
BUILD & HANDLING
PERFORMANCE
VALUE
OVERALL

THE WINNER IS... CANON EOS 5D Mk IV

Mirrorless may be the future, but the future’s not brighter than DSLRs just yet
anon’s mirrorless APS-C format flipside is that the EVFs of mirrorless’ give the
C cameras have really come of age, with
the introduction of the high-end EOS
bonus of displaying the effect of exposure and
WB settings in real time.
M5 and beginner-friendly M50. They’re top, For full-frames, the 5D Mk IV is worth its extra
compact cameras, capable of ace results. But, weight in refinement, compared with the EOS R.
the 250D DSLR is a more intuitive camera for Access to advanced settings is more direct and
beginners. Similarly, the up-market 77D wins the dual card slots enable instant backups. For
against the M5 for enthusiast-grade handling. a more budget-friendly option, the 6D Mk II is a
In all cases, the optical viewfinders of the clear winner over the RP, offering an experience
DSLRs give a clearer view that’s superior. The better suited to enthusiast photographers.

108 www.digitalcameraworld.com
 BUYERS’ What to look for
Canon EOS cameras

GUIDE
Canon splits its EOS DSLR
lineup into entry-level,
enthusiast and professional
ranges; the 4000D is the
most basic, the 800D and 77D for intermediates,
the 80D and full-frame 6D Mk II for more advanced
enthusiasts, while the 7D, full-frame 5D and 1D lines
have pro-level features. With more expensive
models, expect greater handling, more robust build
quid to
With prices ranging from a couple of hundred
quality (weather-sealing and magnesium-alloy
shells), more advanced features, and full-frame
ryone,
several thousand, Canon has a DSLR to suit eve rather than APS-C image sensors.
pro…
from the complete beginner to most demanding
We also now have the full-frame EOS R cameras
for mirrorless fans, the EOS RP as an ‘entry-level’
and more affordable option, with the EOS R for more
serious photographers. Plus not forgetting Canon’s
compact system APS-C EOS M camera range.

DSLR CAMERAS
PRICES QUOTED ARE BODY-ONLY UNLESS STATED

CANON EOS 4000D TESTED IN ISSUE 140 PRICE: £299/$N/A

CANON has stripped everything down to its bare Sensor 18.0Mp APS-C CMOS
essentials for the 4000D, and it’s a great if basic Viewfinder Pentamirror, 0.8x, 95%
DSLR for beginners, and at only £329 (body), it’s ISO 100-6,400 (12,800 expanded)
the cheapest new EOS DSLR. Sadly, it’s let down AF 9-point (1 cross-type)
by a cheap kit lens, that’s tough to tolerate, so LCD 2.7-inch, 230k-dot
we suggest buying the better IS lens. Max burst (buffer) 3fps
Memory card SD/SDHC/SDXC

CANON EOS 2000D (REBEL T7) TESTED IN ISSUE 149 PRICE: £419/$499
THE 2000D is a better-spec Canon camera than Sensor 24.1Mp APS-C CMOS
the 4000D, but comes with a step up at its RRP Viewfinder Pentamirror, 0.8x, 95%
current price. It’s arguably worth the extra, but ISO 100-6,400 (12,800 exp)
ENTRY-LEVEL

that puts it in a difficult spot, where another step AF 9-point (1 cross-type)

up in outlay will get you an EOS 200D, which is LCD 3-inch, 920k-dots
a far better overall DSLR camera. Max burst (buffer) 3fps
Memory card SD/SDHC/SDXC

CANON EOS 250D (REBEL SL3) TESTED IN ISSUE 153 PRICE: £599/$709
THE new EOS 250D/Rebel SL3 is not Canon’s Sensor 24.1Mp APS-C CMOS
cheapest entry-level DSLR, but we think it’s the Viewfinder Pentamirror, 0.87x, 95%
best budget/beginner DSLR with the perfect ISO 100-25600 (51200 expanded)
blend of power and value. This is the body that will AF 9-point (1 cross-type)
take people from snapping on their smartphones, LCD 3-inch vari-angle touch screen, 1040k
to getting into the hobby. Max burst (buffer) 5fps
Memory card SD/SDHC/SDXC

CANON EOS 800D (REBEL T7i) TESTED IN ISSUE 149 PRICE: £649/$899
CANON has shoehorned much of the tech of the Sensor 24.2Mp, APS-C (6000x4000 pixels)
enthusiast-level 80D into a beginner body. The Viewfinder Pentamirror, 0.82x, 95%
800D inherits its bigger brother’s 24Mp Dual Pixel ISO 100-25600 (51,200 expanded)
sensor for superior Live View autofocus, uses the AF 45-point (all cross-type)
same 45-point module for viewfinder autofocus, LCD 3in vari-angle touch-screen, 1040k
and betters its ISO performance. Max burst (buffer) 6fps (27 Raw/Unlimited JPEG)
Memory card SD/SDHC/SDXC

110 www.digitalcameraworld.com
 BUYERS’ GUIDE CAMERAS
CANON EOS 77D TESTED IN ISSUE 149 PRICE: £819/$1049
THE key specs are identical to the 800D, but the Sensor 24.2Mp, APS-C (6000x4000 pixels)
extra top-plate LCD gives at-a-glance access to Viewfinder Pentamirror, 0.82x, 95%
vital shooting info, while a rear control wheel ISO 100-25600 (51200 expanded)
makes dialing in exposure settings much quicker, AF 45-point (all cross-type)
promoting it to Canon’s ‘enthusiast’ range. Super LCD 3in vari-angle touch-screen, 1040k
image quality – even at high ISOs. Max burst (buffer) 6fps (27 Raw/Unlimited JPEG)
Memory card SD/SDHC/SDXC

CANON EOS 80D TESTED IN ISSUE 149 PRICE: £1099/$1349

THE 80D builds on the 70D with 25% more pixels, Sensor 24.2Mp, APS-C (6000x4000 pixels)
45 cross-type AF points, better ISO performance Viewfinder Pentaprism, 0.95x, 100%
and retains the ability to capture 7fps bursts. It ISO 100-16000 (25600 expanded)
can record movies at double-speed 50/60fps for AF 45-point (all cross-type)

ENTHUSIAST
slo-mo, and has NFC data transfer and Wi-Fi. Price LCD 3in vari-angle touch-screen, 1040k
has gone up a lot recently though. Max burst (buffer) 7fps (25 Raw/110 JPEG)
Memory card SD/SDHC/SDXC

CANON EOS 7D Mk II TESTED IN ISSUE 149 PRICE: £1350/$1649

HERE’S the king of action-packed APS-C format Sensor 20.2Mp, APS-C (5472x3648 pixels)
cameras. A long-overdue revamp of the original Viewfinder Pentaprism, 1.0x, 100%
7D, it has 65-point AF with advanced tracking, ISO 100-16000 (51200 expanded)
10fps continuous drive, dual DIGIC 6 processors AF 65-point (all cross-type)
and GPS, all wrapped up in a tough, weather- LCD 3in, 1040k dots
sealed magnesium alloy shell. Max burst (buffer) 10fps (31 Raw/Unlimited JPEG)
Memory card CompactFlash + SD/SDHC/SDXC

CANON EOS 6D Mk II TESTED IN ISSUE 102 PRICE: £1549/$1599

THE world’s smallest full-frame DSLR – with Sensor 26.2Mp, full-frame (6240x4160 pixels)
a vari-angle touchscreen LCD – gets a major Viewfinder Optical pentaprism, 98%
upgrade over the original 6D with improved speed ISO 100-40000 (50-102400 expanded)
and performance rather than outright image AF 45-point (all cross-type)
quality. It’s a great all-rounder now thanks to an LCD 3in vari-angle touch-screen, 1040k
improved AF system and burst rate. Max burst (buffer) 6.5fps (21 Raw/150 JPEG)
Memory card SD/SDHC/SDXC

CANON EOS 5D Mk IV TESTED IN ISSUE 148 PRICE: £3249/$3099

A SUPERB all-rounder, the pro-level weather- Sensor 30.4Mp, full-frame (6720x4480 pixels)
sealed full-frame 5D Mk IV combines a stunning Viewfinder Pentaprism, 0.71x, 100%
hi-res 30Mp sensor with a swift 7fps frame rate. ISO 100-32000 (50-102400 expanded)
Its impressive specs list includes 4K video, a AF 61-point (41 cross-type, 5 dual-cross)
touchscreen LCD, Wi-Fi and NFC connectivity, and LCD 3.2in touch-screen, 1620k dots
GPS to automatically geotag images. Max burst (buffer) 7fps (21 Raw/Unlimited JPEG)
Memory card CompactFlash + SD/SDHC/SDXC

CANON EOS 5DS (5DS R) TESTED IN ISSUE 148 PRICES: £2499/$3499 (£2699/$3699)
PROFESSIONAL
THE world’s first 50Mp full-frame DSLR delivers Sensor 50.6Mp, full-frame (8688x5792 pixels)
huge and amazingly detailed hi-res images. The Viewfinder Pentaprism, 0.71x, 100%
higher-cost 5DS R adds a ‘low-pass cancellation ISO 100-6400 (50-12800 expanded)
filter’ for marginally sharper shots. As expected AF 61-point (41 cross-type, 5 dual-cross)
with such a high-res sensor, max ISO and drive LCD 3.2in, 1040k dots
rate are lower than with the 5D Mk IV. Max burst (buffer) 5fps (14 Raw/510 JPEG)
Memory card CompactFlash + SD/SDHC/SDXC

CANON EOS-1D X MARK II TESTED IN ISSUE 148 PRICE: £5429/$5499

CANON’S Mark II flagship full-frame pro-level EOS Sensor 20.2Mp, full-frame (5472x3648 pixels)
boasts ultra-fast 14fps shooting (16fps in Live View) Viewfinder Pentaprism, 0.76x, 100%
and super-high ISO, along with sublime handling. ISO 100-51200 (50-409600 expanded)
It sports 4K video, body build quality is rock-solid, AF 61-point (41 cross-type, 5 dual-cross)
yet its 20Mp image resolution is relatively modest LCD 3.2in, 1620k dots
when compared to the 50Mp 5DS/R. Max burst (buffer) 14-16fps (170 Raw/Unlimited JPEG)
Memory card CompactFlash + CFast

The Canon Magazine 111

 BUYERS’
GUIDE
MIRRORLESS CAMERAS
PRICES QUOTED ARE BODY-ONLY UNLESS STATED

CANON EOS M100 TESTED IN ISSUE 135 PRICE with 15-45mm kit lens: £329/$449

CANON’S EOS M100 is aimed at attracting Sensor 24.2MP APS-C CMOS

Instagramers and smartphone upgraders to Viewfinder No
Canon’s mirrorless M range, and has an appealing ISO 100-25600
spec list including its 24Mp sensor which has AF 49-point AF
worked so effectively in the flasgship M5 CSC LCD 3in tilting touchscreen, 1,040k dots
and 80D DSLR cameras. Max burst (buffer) 6.1 fps
Memory card SD/SDHC/SDXC and UHS-1

CANON EOS M50 TESTED IN ISSUE 141 PRICE: £489/$629

THE M50 produces the same quality and Sensor 24.2Mp, APS-C CMOS
performance as the more expensive M5. Viewfinder OLED EVF, 2,360k dots
Its features probably won’t tempt any Canon ISO 100-25600
APS-C EOS M

DSLR users to the mirrorless camp, but for new AF 143/99-point (1 cross-type)
users looking for a smaller body and trying to get LCD 3in vari-angle touch-screen, 1,040k
into photography, it’s a marvellous route inside Max burst (buffer) 10fps, 7.4fps with autofocus
the Canon system. Memory card SD/SDHC/SDXC and UHS-1

CANON EOS M6 PRICE: £499/$579

THE M6 is an interesting proposition as it’s Sensor 24.2Mp APS-C CMOS
smaller than the M5 and comes without an Viewfinder No
electronic viewfinder. It’s only marginally larger ISO 100-25600
and heavier than the cheaper M100, but comes AF 49-point AF
with a hotshoe for an external flash, can shoot at LCD 3in tilting touchscreen, 1,040k dots
9fps, and has a port for an external microphone Max burst (buffer) 9fps
to help with HD video recording. Memory card SD/SDHC/SDXC and UHS-1

CANON EOS M5 TESTED IN ISSUE 122 PRICE: £599/$679

AS Canon’s flagship mirrorless M camera for Sensor 24.2Mp APS-C CMOS
enthusiasts, the EOS M5 really opens up the Viewfinder OLED EVF, 2.36 million dots
DSLR vs CSC debate. It shares much of the tech ISO 100-25600
as the 80D, but swaps the optical viewfinder for AF 49-point AF
an electronic version, making this compact LCD 3.2in tilting touchscreen, 1,620k dots
system camera a pocket rocket. Max burst (buffer) 9fps
Memory card SD/SDHC/SDXC and UHS-1

CANON EOS RP TESTED IN ISSUE 151 PRICE: £1399/$1299

CANON is catering to crop-sensor CSC M or EOS Sensor 26.2Mp, full-frame CMOS
DSLR users looking for a full-frame upgrade that Viewfinder 0.39-in EVF, 2.36 million dots
FULL-FRAME EOS R

won’t break the bank. The EOS RP is strong spec ISO 100-40,000 (exp. ISO50-102,400)
package that’s notably smaller, lighter and AF 4779 Dual Pixel AF positions
cheaper than almost all its rivals, and ideal as LCD 3in vari-angle touch-screen, 1040k
an ‘entry-level’ full-frame camera. Max burst (buffer) 5fps (50 Raw/Unlimited JPEG)
Memory card SD/SDHC/SDXC and UHS-ll

CANON EOS R TESTED IN ISSUE 148 PRICE: £2349/$2300

THE full-frame mirrorless Canon EOS R boasts Sensor 30.3Mp full-frame CMOS
the new RF mount and fully articulated Dual Pixel Electronic viewfinder 0.5-in EVF, 3.69million dots
AF touchscreen with 5,655 AF points. Equivalent ISO 100-40,000 (exp. ISO52-102,400)
in many specs to the EOS 5D Mark IV, it’s an AF 5655 Dual Pixel AF points
attractive way for those looking to experience LCD 3.2in fully articulating touchscreen
mirrorless photography. Max burst (buffer) Approx. 8fps (47 Raw, 100JPEG)
Memory card 1x SD/SDHC/SDXC and UHS-II

112 www.digitalcameraworld.com
 BUYERS’ Choosing lenses
Key factors to watch out for
THE MAIN factors to consider in a lens are its focal length,

GUIDE
maximum aperture, and whether or not it’s full-frame compatible.
We’ve categorized lenses by focal length range – from wide-angle to
telephoto. The larger a lens’s maximum aperture, the ‘faster’ it’s
considered to be – allowing you to control depth of field more, and
offering better options in low light. 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
With more than 150 lenses for Canon DSLRs, picking the crop-sensor lenses aren’t compatible with full-frame cameras.
best for the job can be a minefield. Here’s the lowdown

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WIDE-ANGLE ZOOMS

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Canon EF 8-15mm f/4L Fisheye USM £1120/$1250 Yes 1.9x No f/4 540g 0.15m 0.34x None 7 90 ++++
Canon EF-S 10-18mm f/4.5-5.6 IS STM £239/$279 No 1.8x Yes f/4.5-5.6 240g 0.22m 0.15x 67mm 7 143 ++++ O
Canon EF-S 10-22mm f/3.5-4.5 USM £500/$650 No 2.2x No f/3.5-4.5 385g 0.24m 0.17x 77mm 6 131 +++
++++
WIDE-ANGLE ZOOMS

Canon EF 11-24mm f/4L USM £2700/$2800 Yes 2.2x No f/4 1180g 0.28m 0.16x None 9 131
Canon EF 16-35mm f/2.8L III USM £1849/$1899 Yes 2.2x No f/2.8 790g 0.28m 0.22x 82mm 9 155 ++++
Canon EF 16-35mm f/4L IS USM £950/$1000 Yes 2.2x Yes f/4 615g 0.28m 0.23x 77mm 9 143 +++++ O
Canon EF 17-40mm f/4L USM £720/$750 Yes 2.4x No f/4 500g 0.28m 0.24x 77mm 7 113 ++++
Sigma 8-16mm f/4.5-5.6 DC HSM £600/$800 No 2.0x No f/4.5-5.6 555g 0.24m 0.13x None 7 143 ++++
Sigma 10-20mm f/3.5 EX DC HSM £330/$400 No 2.0x No f/3.5 520g 0.24m 0.15x 82mm 7 143 ++++
Sigma 12-24mm f/4 DG HSM A £1400/$1600 Yes 2.0x No f/4 1150g 0.24m 0.2x None 9 143 ++++
Sigma 14-24mm f/2.8 DG HSM A £1169/$1299 Yes 0.19x No f/2.8 1150g 0.26m 0.19x None 9 155 +++++
Sigma 24-35mm f/2 DG HSM A £760/$900 Yes 1.5x No f/2 940g 0.28m 0.23x 77mm 7 113 +++
Tamron 10-24mm f/3.5-4.5 Di II VC HLD £450/$500 No 0.19x Yes f/3.5-4.5 440g 0.24m 0.19x 77mm 7 143 +++++ O
Tamron SP 15-30mm f/2.8 Di VC USD £930/$1100 Yes 2.0x Yes f/2.8 1100g 0.28m 0.2x None 9 143 ++++
Tamron SP 15-30mm f/2.8 Di VC USD G2 £1279/$1299 Yes 2.0x Yes f/2.8 1110g 0.28m 0.2x None 9 155 ++++
Tokina 10-17mm f/3.5-4.5 AT-X DX Fisheye £430/$530 No 1.7x No f/3.5-4.5 350g 0.14m 0.39x 82mm 9
Tokina 11-16mm f/2.8 AT-X PRO DX II £480/$500 No 1.8x No f/2.8 560g 0.28m 0.12x 77mm 9 87 +++
Tokina 11-20mm f/2.8 AT-X PRO DX £529/$469 No 1.43x No f/2.8 560g 0.28m 0.12x 82mm 9 155 ++++
Tokina 12-28mm f/4 AT-X Pro DX £450/$400 No 2.3x No f/4 530g 0.25m 0.2x 82mm 9 116 ++++
Tokina 16-28mm f/2.8 FF £699/$699 Yes 1.8x No f/2.8 940g 0.28m 0.19x 82mm 9 154 ++++
Tokina 17-35mm f/4 AT-X PRO FX £570/$450 Yes 2.1x No f/4 600g 0.28m 0.21x 82mm 9
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TELEPHOTO ZOOMS
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Canon EF-S 55-250mm f/4-5.6 IS STM £270/$300 No 4.5x Yes f/4-5.6 375g 0.85m 0.29x 58mm 7 137 +++
Canon EF 70-200mm f/2.8L IS III USM £2099/$2099 Yes 2.9x Yes f/2.8 1480g 1.2m 0.21x 77mm 8 151 ++++
Canon EF 70-200mm f/2.8L USM £1330/$1250 Yes 2.9x No f/2.8 1310g 1.5m 0.16x 77mm 8 64 ++++
Canon EF 70-200mm f/4L IS II USM £1299/$1299 Yes 2.9x Yes f/4 780g 1.0m 0.27x 72mm 9 151 ++++
Canon EF 70-200mm f/4L IS USM £899/$1099 Yes 2.9x Yes f/4 760g 1.2m 0.21x 72mm 8 151 ++++
Canon EF 70-200mm f/4L USM £670/$650 Yes 2.9x No f/4 705g 1.2m 0.21x 67mm 8 123 ++++
Canon EF 70-300mm f/4-5.6 IS USM £400/$650 Yes 4.3x Yes f/4-5.6 630g 1.5m 0.26x 58mm 8 123 +++
Canon EF 70-300mm f/4-5.6 IS II USM £425/$500 Yes 4.3x Yes f/4-5.6 710g 1.2m 0.25x 67mm 9 137 ++++
Canon EF 70-300mm f/4-5.6L IS USM £1030/$1350 Yes 4.3x Yes f/4-5.6 1050g 1.2m 0.21x 67mm 8 117 ++++
Canon EF 70-300mm f/4.5-5.6 DO IS USM £1380/$1400 Yes 4.3x Yes f/4.5-5.6 720g 1.4m 0.19x 58mm 6 90 +++
+++
TELEPHOTO ZOOMS

Canon EF 75-300mm f/4-5.6 III £210/$200 Yes 4.0x No f/4-5.6 480g 1.5m 0.25x 58mm 7 15
Canon EF 75-300mm f/4-5.6 III USM £260/$190 Yes 4.0x No f/4-5.6 480g 1.5m 0.25x 58mm 7 70 +++
Canon EF 100-400mm f/4.5-5.6L IS II USM £1950/$2050 Yes 4.0x Yes f/4.5-5.6 1640g 0.98m 0.31x 77mm 9 152 ++++
Canon EF 200-400mm f/4L IS USM Extender 1.4x £11,000/$11,000 Yes 2.8x Yes f/4 3620g 2.0m 0.15x 52mm 9 152 ++++
Sigma 50-100mm f/1.8 DC HSM A £949/$1099 No 2.0x None f/1.8 1490g 0.95m 0.15x 82mm 9 151 ++++
Sigma 50-500mm f/4.5-6.3 DG OS HSM £1160/$1660 Yes 10.0x Yes f/4.5-6.3 1970g 0.5-1.8m 0.32x 95mm 9 130 +++
Sigma 60-600mm f/4.5-6.3 DG OS HSM Sport £1899/$1999 Yes 10.0x Yes f/4.5-6.3 2700g 0.6-2.6m 0.3x 105mm 9 152 ++++
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 ++++ O
Sigma 70-200mm f/2.8 DG OS HSM S £1349/$1499 Yes 2.9x Yes f/2.8 1805g 1.2m 0.21x 82mm 11 151 +++++ O
Sigma 70-300mm f/4-5.6 DG Macro £130/$140 Yes 4.3x No f/4-5.6 545g 0.95m 0.5x 58mm 9 123 +++
Sigma APO 70-300mm f/4-5.6 DG Macro £180/$180 Yes 4.3x No f/4-5.6 550g 0.95m 0.5x 58mm 9 137 +++
Sigma 100-400mm f/5-6.3 DG OS HSM C £689/$699 Yes 4x Yes f/5-6.3 1160g 1.6m 0.26x 67mm 9 152 ++++
Sigma 120-300mm f/2.8 DG OS HSM S £2700/$3400 Yes 2.5x Yes f/2.8 3390g 1.5-2.5m 0.12x 105mm 9 151 ++++
Sigma 150-600mm f/5-6.3 DG OS HSM C £790/$1000 Yes 4.0x Yes f/5-6.3 1930g 2.8m 0.2x 95mm 9 152 ++++ O
Sigma 150-600mm f/5-6.3 DG OS HSM S £1330/$1800 Yes 4.0x Yes f/5-6.3 2860g 2.6m 0.2x 105mm 9 152 +++++ O
Sigma 300-800mm f/5.6 EX DG HSM £6500/$6800 Yes 2.7x No f/5.6 5880g 6.0m 0.14x 46mm 9
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 £1289/$1299 Yes 2.9x Yes f/2.8 1500g 0.95m 0.16x 77mm 9 151 +++++ O
Tamron 70-210mm f/4 DI VC USD £599/$699 Yes 2.9x Yes f/4 860g 0.95m 0.32x 67mm 9 151 ++++
Tamron AF 70-300mm f/4-5.6 Di LD Macro £130/$145 Yes 4.3x No f/4-5.6 458g 0.95m 0.5x 62mm 9 137 +++
Tamron SP AF 70-300mm f/4-5.6 Di VC USD £330/$450 Yes 4.3x Yes f/4-5.6 765g 1.5m 0.25x 62mm 9 137 ++++ O
Tamron 100-400mm f/4.5-6.3 Di VC USD £750/$700 Yes 4x Yes f/4-5.6 1135g 1.5m 0.28x 67mm 9 152 ++++
Tamron SP 150-600mm f/5-6.3 Di VC USD £830/$870 Yes 4.0x Yes f/5-6.3 1951g 2.7m 0.2x 95mm 9 130 +++
Tamron SP 150-600mm f/5-6.3 Di VC USD G2 £1129/$1299 Yes 4.0x Yes f/5-6.3 2010g 2.2m 0.26x 95mm 9 152 ++++
 BUYERS’ GUIDE LENSES
KEY: O BEST VALUE AWARD O BEST ON TEST AWARD

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STANDARD ZOOMS

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Canon EF-S 15-85mm f/3.5-5.6 IS USM £690/$800 No 5.7x Yes f/3.5-5.6 575g 0.35m 0.21x 72mm 7 142 ++++
Canon EF-S 17-55mm f/2.8 IS USM £790/$800 No 3.2x Yes f/2.8 645g 0.35m 0.17x 77mm 7 142 ++++ O

STANDARD ZOOMS
Canon EF-S 18-55mm f/3.5-5.6 IS II £170/$200 No 3.1x Yes f/3.5-5.6 200g 0.25m 0.34x 58mm 6 110 +++
Canon EF-S 18-55mm f/3.5-5.6 IS STM £200/$250 No 3.1x Yes f/3.5-5.6 205g 0.25m 0.36x 58mm 7 110 ++++
Canon EF 24-70mm f/2.8L II USM £1740/$1600 Yes 2.9x No f/2.8 805g 0.38m 0.21x 82mm 9 142 ++++
Canon EF 24-70mm f/4L IS USM £800/$900 Yes 2.9x Yes f/4 600g 0.38m 0.7x 77mm 9 142 ++++
Canon RF 28-70mm f/2L USM £2500/$3200 Yes 2.9x No f/2 1430g 0.39m 0.18x 95mm 9
Canon EF 24-105mm f/3.5-5.6 IS STM £380/$600 Yes 4.4x Yes f/3.5-5.6 525g 0.4m 0.3x 77mm 7
Canon EF 24-105mm f/4L IS II USM £1065/$1000 Yes 4.4x Yes f/4 795g 0.45m 0.24x 77mm 10 127 ++++
Canon RF 24-105mm f/4L IS USM £1119/$1099 Yes 4.4x No f/1.2 700g 0.40m 0.19x 77mm 9 146 ++++
Sigma 17-50mm f/2.8 EX DC OS HSM £330/$370 No 2.9x Yes f/2.8 565g 0.28m 0.2x 77mm 7 127 +++
Sigma 17-70mm f/2.8-4 DC Macro OS HSM C £350/$500 No 4.1x Yes f/2.8-4 465g 0.22m 0.36x 72mm 7 142 ++++ O
Sigma 18-35mm f/1.8 DC HSM A £650/$800 No 1.9x No f/1.8 810g 0.28m 0.23x 72mm 9 90 +++++
Sigma 24-70mm f/2.8 DG OS HSM A £1200/$1200 Yes 2.9x Yes f/2.8 1,020g 0.38m 0.2x 82mm 9 142 +++++ OO
Sigma 24-105mm f/4 DG OS HSM A £600/$900 Yes 4.4x Yes f/4 885g 0.45m 0.22x 82mm 9 127 ++++
Tamron SP AF 17-50mm f/2.8 XR Di II VC £420/$650 No 2.9x Yes f/2.8 570g 0.29m 0.21x 72mm 7 142 +++
Tamron SP AF 24-70mm f/2.8 Di VC USD G2 £1250/$1200 Yes 2.9x Yes f/2.8 905g 0.38m 0.2x 82mm 9 142 ++++
Tamron SP AF 28-75mm f/2.8 XR Di £450/$500 Yes 2.7x No f/2.8 510g 0.33m 0.26x 67mm 7 57 +++

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SUPERZOOMS

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Canon EF-S 18-135mm f/3.5-5.6 IS STM £429/$449 No 7.5x Yes f/3.5-5.6 480g 0.39m 0.28x 67mm 7 153 ++++

SUPERZOOMS
Canon EF-S 18-135mm f/3.5-5.6 IS USM £469/$600 No 7.5x Yes f/3.5-5.6 515g 0.39m 0.28x 67mm 7 153 ++++
Canon EF-S 18-200mm f/3.5-5.6 IS £470/$700 No 11.1x Yes f/3.5-5.6 595g 0.45m 0.24x 72mm 6 128 +++
Canon EF 28-300mm f/3.5-5.6L IS USM £2289/$2450 Yes 10.7x Yes f/3.5-5.6 1760g 0.7m 0.30x 77mm 8 153 ++++
Sigma 18-200mm f/3.5-6.3 DC Macro OS HSM C £279/$400 No 11.1x Yes f/3.5-6.3 430g 0.39m 0.33x 62mm 7 153 ++++
Sigma 18-250mm f/3.5-6.3 DC Macro OS HSM £350/$350 No 13.9x Yes f/3.5-6.3 470g 0.35m 0.34x 62mm 7 92 +++++ O
Sigma 18-300mm f/3.5-6.3 DC Macro OS HSM C £370/$399 No 16.7x Yes f/3.5-6.3 585g 0.39m 0.33x 72mm 7 153 ++++ O
Tamron 16-300mm f/3.5-6.3 Di II VC PZD Macro £499/$629 No 18.8x Yes f/3.5-6.3 540g 0.39m 0.34x 67mm 7 153 ++++
Tamron 18-200mm f/3.5-6.3 Di II VC £199/$199 No 11.1x Yes f/3.5-6.3 400g 0.49m 0.25x 62mm 7 153 ++++ O
Tamron AF 18-270mm f/3.5-6.3 Di II VC PZD £300/$450 No 15x Yes f/3.5-6.3 450g 0.49m 0.26x 62mm 7 128 +++
Tamron 28-300mm f/3.5-6.3 Di VC PZD £600/$850 Yes 10.7x Yes f/3.5-6.3 540g 0.49m 0.29x 67mm 7
Tamron 18-400mm f/3.5-6.3 Di II VC HLD £650/$650 No 22.2x Yes f/3.5-6.3 710g 0.45m 0.34x 72mm 7 153 ++++
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Canon EF 14mm f/2.8L II USM £2000/$2100 Yes None No f/2.8 645g 0.2m 0.15x None 6
Canon TS-E 17mm f/4L (tilt & shift) £2000/$2150 Yes None No f/4 820g 0.25m 0.14x 77mm 8 90 +++++
Canon EF 20mm f/2.8 USM £450/$540 Yes None No f/2.8 405g 0.25m 0.14x 72mm 5 114 +++
Canon EF 24mm f/1.4L II USM £1500/$1550 Yes None No f/1.4 650g 0.25m 0.17x 77mm 8
Canon EF 24mm f/2.8 IS USM £430/$550 Yes None Yes f/2.8 280g 0.2m 0.23x 58mm 7 114 ++++
Canon EF-S 24mm f/2.8 STM £155/$130 No None No f/2.8 125g 0.16m 0.27x 52mm 7 141 ++++ O
Canon TS-E 24mm f/3.5L II (tilt & shift) £1690/$1900 Yes None No f/3.5 780g 0.21m 0.34x 82mm 8
Canon EF 28mm f/1.8 USM £420/$510 Yes None No f/1.8 310g 0.25m 0.18x 58mm 7 67 +++
Canon EF 28mm f/2.8 IS USM £390/$500 Yes None Yes f/2.8 260g 0.23m 0.2x 58mm 7 114 ++++
Canon EF 35mm f/1.4L II USM £1650/$1650 Yes None No f/1.4 760g 0.28m 0.21x 72mm 9 141 ++++
Canon RF 35mm f/1.8 IS Macro STM £495/$499 Yes None Yes f/1.8 305g 0.17m 0.5x 52mm 9 150 +++++
Canon EF 35mm f/2 IS USM £520/$550 Yes None Yes f/2 335g 0.24m 0.24x 67mm 8 146 ++++
Irix 11mm f/4 Blackstone £609/$650 Yes None No f/4 790g 0.28m 0.13 None 9
Irix 15mm f/2.4 Blackstone £599/$675 Yes None No f/2.4 685g 0.25m 0.11x 95mm 9 155 ++++

WIDE-ANGLE PRIMES
Peleng 8mm f/3.5 Fisheye £250/$215 Yes None No f/3.5 400g 0.22m 0.13x None
Peleng 17mm f/2.8 Fisheye £290/$290 Yes None No f/2.8 630g 0.3m N/S None
Samyang 8mm f/3.5 IF MC CSII DH Circular £240/$260 No None No f/3.5 435g 0.3m N/S None 6
Samyang 10mm f/2.8 ED AS NCS CS £379/$399 No None No f/2.8 590g 0.25m N/S None 6 155 ++++ O
Samyang 12mm f/2.8 ED AS NCS Diagonal £360/$470 Yes None No f/2.8 530g 0.2m N/S None 7
Samyang XP 14mm f/2.4 £899/$999 Yes None No f/2.4 791g 0.27m 0.08x None 9 155 +++++ O
Samyang 16mm f/2 ED AS UMC CS £330/$360 No None No f/2 590g 0.2m N/S 77mm 8
Samyang 24mm f/1.4 ED AS UMC £480/$470 Yes None No f/1.4 680g 0.25m N/S 77mm 8
Samyang T-S 24mm f/3.5 ED AS UMC (tilt & shift) £680/$760 Yes None No f/3.5 680g 0.2m N/S 82mm 8 90 ++++
Samyang 35mm f/1.4 AS UMC AE £430/$480 Yes None No f/1.4 660g 0.3m N/S 77mm 8 141 ++++
Sigma 4.5mm f/2.8 EX DC HSM Circular Fisheye £700/$900 No None No f/2.8 470g 0.14m 0.17x None 6 87 ++++
Sigma 8mm f/3.5 EX DG Circular Fisheye £700/$900 Yes None No f/3.5 400g 0.14m 0.22x None 6 87 ++++ O
Sigma 10mm f/2.8 EX DC HSM Diagonal Fisheye £600/$600 No None No f/2.8 475g 0.14m 0.11x None 7 87 ++++
Sigma 14mm f/1.8 DG HSM | A £1299/$1399 Yes None No f/1.8 1170g 0.27m 0.19x None 9 155 ++++
Sigma 15mm f/2.8 EX DG Diagonal Fisheye £600/$610 Yes None No f/2.8 370g 0.15m 0.26x None 7 44 ++++
Sigma 20mm f/1.4 DG HSM A £700/$900 Yes None No f/1.4 950g 0.28m 0.14x 77mm 9 114 +++++
Sigma 24mm f/1.4 DG HSM A £650/$850 Yes None No f/1.4 665g 0.25m 0.19x 77mm 9 114 +++++ O
Sigma 35mm f/1.4 DG HSM A £650/$900 Yes None No f/1.4 665g 0.3m 0.19x 67mm 9 141 ++++
Tamron SP 35mm f/1.8 Di VC USD £600/$600 Yes None Yes f/1.8 480g 0.2m 0.4x 67mm 9 146 ++++
Zeiss Milvus 15mm f/2.8 ZE £2330/$2700 Yes None No f/2.8 947g 0.25m 0.11x 95mm 9
Zeiss Distagon T* 18mm f/3.5 ZE £1090/$1395 Yes None No f/3.5 510g 0.3m 0.08x 82mm 9 44 +++++ O
Zeiss Milvus 18mm f/2.8 ZE £1850/$2300 Yes None No f/2.8 721g 0.25m 0.1x 77mm 9
Zeiss Milvus 21mm f/2.8 ZE £1400/$1850 Yes None No f/2.8 851g 0.22m 0.2x 82mm 9
Zeiss Distagon T* 25mm f/2 ZE £1270/$1700 Yes None No f/2 600g 0.25m 0.17x 67mm 9
Zeiss Distagon T* 28mm f/2 ZE £980/$1285 Yes None No f/2 580g 0.24m 0.21x 58mm 9
Zeiss Otus 28mm f/1.4 ZE £3500/$5000 Yes None No f/1.4 1350g 0.3m 0.2x 95mm 9
Zeiss Distagon T* 35mm f/1.4 ZE £1300/$1845 Yes None No f/1.4 850g 0.3m 0.2x 72mm 9
Zeiss Milvus f2/35mm ZE £935/$1120 Yes None No f/2 702g 0.3m 0.19x 58mm 9 141 ++++
 BUYERS’ Contacts

GUIDE
Sigma www.sigma-imaging-uk.com
Canon www.canon.co.uk
Tamron www.tamron.co.uk
Peleng www.digitaltoyshop.co.uk
Tokina www.tokinalens.com
Samyang www.samyang-lens.co.uk
Voigtlander www.robertwhite.co.uk
Schneider www.linhofstudio.com
Zeiss www.zeiss.co.uk

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Canon EF 40mm f/2.8 STM £200/$180 Yes None No f/2.8 130g 0.3m 0.18x 52mm 7 141 ++++
Canon TS-E 45mm f/2.8 (tilt & shift) £1200/$1400 Yes None No f/2.8 645g 0.4m 0.16x 72mm 8
Canon EF 50mm f/1.2L USM £1370/$1350 Yes None No f/1.2 580g 0.45m 0.15x 72mm 8 103 ++++
Canon EF 50mm f/1.4 USM £385/$350 Yes None No f/1.4 290g 0.45m 0.15x 58mm 8 146 +++ 
Canon EF 50mm f/1.8 STM £120/$125 Yes None No f/1.8 160g 0.35m 0.21x 49mm 7 146 ++++ O
Canon RF 50mm f/1.2L USM £2349/$2299 Yes None No f/1.2 950g 0.40m 0.15x 77mm 10 146 ++++
Samyang 50mm f/1.4 AS UMC £310/$350 Yes None No f/1.4 575g 0.45m N/S 77mm 8
Sigma 30mm f/1.4 DC HSM A £360/$500 No None No f/1.4 435g 0.3m 0.15x 62mm 9 146 ++++ O
Sigma 50mm f/1.4 DG HSM A £600/$950 Yes None No f/1.4 815g 0.4m 0.18x 77mm 9 140 ++++ O
Tamron SP 45mm f/1.8 Di VC USD £480/$400 Yes None Yes f/1.8 540g 0.29m 0.29x 67mm 9 146 ++++
Tokina Opera 50mm f/1.4 FF £879/$949 Yes None No f/1.4 950g 0.4m 0.18x 72mm 9 148 ++++
Zeiss Milvus 50mm f/1.4 ZF.2 £1000/$1200 Yes None No f/1.4 922g 0.45m 0.15x 67mm 9 146 ++++
Zeiss Planar T* 50mm f/1.4 ZE £560/$725 Yes None No f/1.4 380g 0.45m 0.15x 58mm 9
Zeiss Otus 55mm f/1.4 £2700/$3990 Yes None No f/1.4 1030g 0.5m 0.15x 77mm 9
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Canon EF 85mm f/1.2L II USM £1770/$1900 Yes None No f/1.2 1025g 0.95m 0.11x 72mm 8 116 ++++
Canon EF 85mm f/1.4L IS USM £1340/$1600 Yes None Yes f/1.4 950g 0.85m 0.12x 77mm 9 141 +++++ O
Canon EF 85mm f/1.8 USM £415/$350 Yes None No f/1.8 425g 0.85m 0.13x 58mm 8 141 ++++ 
Canon TS-E 90mm f/2.8 (tilt & shift) £1240/$1400 Yes None No f/2.8 565g 0.5m 0.29x 58mm 8
Canon EF 100mm f/2 USM £410/$500 Yes None No f/2 460g 0.9m 0.14x 58mm 8 46 +++++
Canon EF 135mm f/2L USM £940/$1000 Yes None No f/2 750g 0.9m 0.19x 72mm 8
Canon EF 200mm f/2L IS USM £5400/$5700 Yes None Yes f/2 2520g 1.9m 0.12x 52mm 8 98 +++++
TELEPHOTO PRIMES

Canon EF 200mm f/2.8L II USM £700/$750 Yes None No f/2.8 765g 1.5m 0.16x 72mm 8 98 ++++
Canon EF 300mm f/2.8L IS II USM £5800/$6100 Yes None Yes f/2.8 2400g 2.0m 0.18x 52mm 9 54 +++++
Canon EF 300mm f/4L IS USM £1140/$1350 Yes None Yes f/4 1190g 1.5m 0.24x 77mm 8 117 ++++
Canon EF 400mm f/2.8L IS II USM £9900/$10,000 Yes None Yes f/2.8 3850g 2.7m 0.17x 52mm 9 54 +++++
Canon EF 400mm f/4 DO IS II USM £7000/$6900 Yes None Yes f/4 2100g 3.3m 0.13x 52mm 9
Canon EF 400mm f/5.6L USM £1180/$1180 Yes None No f/5.6 1250g 3.5m 0.12x 77mm 8 117 +++
Canon EF 500mm f/4L IS II USM £8400/$9000 Yes None Yes f/4 3190g 3.7m 0.15x 52mm 9
Canon EF 600mm f/4L IS II USM £11,350/$11,500 Yes None Yes f/4 3920g 4.5m 0.15x 52mm 9
Canon EF 800mm f/5.6L IS USM £11,900/$13,000 Yes None Yes f/5.6 4500g 6.0m 0.14x 52mm 8
Samyang 85mm f/1.4 IF MC £300/$270 Yes None No f/1.4 513g 1.0m N/S 72mm 8
Samyang 135mm f/2 ED UMC £370/$530 Yes None No f/2 830g 0.8m N/S 77mm 9
Samyang 500mm MC IF f/6.3 Mirror £125/$150 Yes None No f/6.3 705g 2.0m N/S 95mm 0
Samyang 800mm MC IF f/8 Mirror £170/$190 Yes None No f/8 870g 3.5m N/S 30mm 0
Sigma 85mm f/1.4 DG HSM A £1000/$1200 Yes None No f/1.4 TBA 0.85m 0.12x 86mm 9 140 ++++
Sigma APO 300mm f/2.8 EX DG HSM £2600/$3400 Yes None No f/2.8 2400g 2.5m 0.13x 46mm 9 98 ++++
Sigma APO 500mm f/4.5 EX DG HSM £3600/$4400 Yes None No f/4.5 3150g 4.0m 0.13x 46mm 9
Sigma 500mm f/4 DG OS HSM S £5000/$6000 Yes None Yes f/4 TBA 3.5m 0.15x 46mm 9 9
Sigma APO 800mm f/5.6 EX DG HSM £5000/$6600 Yes None No f/5.6 4.9kg 7.0m 0.11x 46mm 9 21 ++++
Tamron SP 85mm f/1.8 Di VC USD £750/$750 Yes None Yes f/1.8 700g 0.8m 0.14x 67mm 9 140 ++++ 
Zeiss Milvus 85mm f/1.4 ZE £1380/$1800 Yes None No f/1.4 1280g 0.8m 0.14x 77mm 9
Zeiss Milvus 135mm f/2 ZE £1900/$2200 Yes None No f/2 1123g 0.8m 0.28x 77mm 9
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Canon EF-S 60mm f/2.8 Macro USM £380/$400 No None No f/2.8 335g 0.20m 1.0x 52mm 7 138 +++
Canon MP-E65mm f/2.8 1-5x Macro £980/$1050 Yes None No f/2.8 710g 0.24m 5.0x 58mm 6 50 ++++
Canon EF 100mm f/2.8 Macro USM £420/$600 Yes None No f/2.8 600g 0.31m 1.0x 58mm 8 138 ++++
Canon EF 100mm f/2.8L Macro IS USM £800/$800 Yes None Yes f/2.8 625g 0.3m 1.0x 67mm 9 138 ++++
Canon EF 180mm f/3.5L Macro USM £1330/$1400 Yes None No f/3.5 1090g 0.48m 1.0x 72mm 8 69 ++++
MACRO

Sigma 105mm f/1.4 DG HSM Art £1499/$1599 Yes None No f/1.4 1645g 1.0m 0.12x 105mm 9 144 ++++
Sigma Macro 105mm f/2.8 EX DG OS HSM £360/$570 Yes None Yes f/2.8 725g 0.31m 1.0x 62mm 9 138 ++++ O
Sigma APO Macro 150mm f/2.8 EX DG OS HSM £780/$1100 Yes None Yes f/2.8 1150g 0.38m 1.0x 72mm 9 138 ++++
Sigma APO Macro 180mm f/2.8 EX DG OS HSM £1250/$1700 Yes None Yes f/2.8 1640g 0.47m 1.0x 86mm 9 102 ++++
Tamron SP AF 60mm f/2 Di II LD (IF) Macro £350/$525 No None No f/2 350g 0.23m 1.0x 55mm 7 138 +++
Tamron SP AF 90mm f/2.8 Di Macro £350/$500 Yes None No f/2.8 400g 0.29m 1.0x 55mm 9 102 +++
Tamron SP AF 90mm f/2.8 Di VC USD Macro £580/$650 Yes None Yes f/2.8 610g 0.3m 1.0x 62mm 9 138 +++++ O
Tamron SP AF 180mm f/3.5 Di Macro £800/$740 Yes None No f/3.5 985g 0.47m 1.0x 72mm 7 69 +++
Tokina 100mm f/2.8 AT-X PRO Macro £350/$410 Yes None No f/2.8 540g 0.3m 1.0x 55mm 9 118 ++++
Zeiss Makro Planar T* 50mm f/2 ZE £950/$1285 Yes None No f/2 570g 0.24m 0.5x 67mm 9
Zeiss Milvus Makro Planar 100mm f/2 ZE £1300/$1840 Yes None No f/2 843g 0.44m 0.5x 67mm 9 50 ++++
Zeiss Makro Planar 100mm f/2 T* ZE £1400/$1545 Yes None No f/2 680g 0.44m 0.5x 67mm 9

116 www.digitalcameraworld.com
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Drew Gibson

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In the next Canon Skills chapter… QSuper Test: Different lighting
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We’d love to hear your thoughts on the magazine and all
things photographic! Email us at [email protected]

Letter of the Month

I don’t often write to magazines but The month
felt compelled after your great
article, The Apprentice, on how to in numbers
photograph birds of prey, in
PhotoPlus 155. I’m a keen twitcher

23
and try and take photos from hide’s
of the birds far away with my Canon
7D Mark II and Sigma 150-600mm
lens, but often struggle with my
focusing and obtaining sharp, much
like your Apprentice Ian Hamilton.
I’ve since adjusted my AF points Thanks for your email and feedback, What do you
and started using AI Servo AF, with a Alan, always good to hear from a think of our The number of tips in our main
much better hit rate. I’ve also been happy reader and glad to learn that PhotoPlus
trying to make sure the backgrounds you’re improving your Canon camera Apprentice
Canon skills guide to help you take
behind the birds are less cluttered so setup and bird photography skills! articles? better landscape photos (page 30)
they stand out better.
I only wish I could gain such
close-up access to the wonderful
birds of prey you photographed!
STAR LETTER PRIZE!
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3000
More than 3000 entered the
Thanks again to you and your wins an Experience Seminars selectively merged Close-Up Photographer of
Canon professional photographer, EOS training DVD. More info at for our levitation the Year, see the best Canon
Guy Edwardes’ top pro tips! www.eostrainingacademy.co.uk project on p48 images on p22
Alan Bell, Southampton

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Canon release the first superzoom for Canon crowdfunds new outdoor cam Canon EOS R image stabilization will
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makes a great companion for the compact latest camera, the Canon Ivy Rec – a IBIS + IS tandem stabilization for the RF
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