Innholdsfortegnelse for September 2018 i PhotoPlus : The Canon Magazine

The holy grail of Canon DSLR photography is being confident enough to use Manual mode. The magic M mode, however, can often scare newbies into hiding behind auto modes for the rest of their photographic lives! The idea of independently setting aperture, shutter speed and ISO strikes fear into some, but it doesn’t have to be this way. In this issue, I aim to explain how easy it is to take control of your exposures, and why it’s the quickest way to the best results. M mode is often easier than using Av or Tv mode, and then using exposure compensation, to eventually get the right exposure for the job. Be brave, select M mode to fly manually, and turn to page 28 to start taking your camera skills and…

APPRENTICE NAME: DARREN KIDBY CAMERA: CANON EOS 5D Mk III A FORMER magician who has performed everywhere from London to Las Vegas, Darren is currently enjoying life as a driving instructor in Boston, Lincolnshire. Having first picked up a camera some 30 years ago, his interest was sparked again when he discovered the Canon EOS M5 mirrorless system. Finding the body too small, he opted for the 5D Mark III and has been keen to learn how to properly photograph Stanley – his 14-month-old show winning rottweiler. CANON PRO NAME: PHIL HAWLEY CAMERA: CANON EOS-1D X BASED in the Gloucestershire countryside, Phil has been a professional photographer across multiple genres. However, he found his true calling in dog portraiture. He runs a successful indoor and outdoor studio near Newent, where…

Lens Canon EF 24-105mm f/4L IS USM Exposure 1/320 sec, f/11, ISO200 ◆ The semi-auto modes Many amateur photographers are happy to rely on the semi-auto modes, like Aperture Priority (Av) and Shutter Priority (Tv). With Av, you select the aperture and the camera sets an appropriate shutter speed for a correct exposure. In Tv, you set the shutter speed, while the camera chooses an aperture. These modes give you limited control, but if you want to take full control of your pictures try Manual. Here, we were shooting from a dark woodland out to a city lit by sunshine. In Av our camera exposed the darker foliage well, but it rendered the city scene too bright. Switching to Manual meant we could increase our shutter speed to expose the…

Interesting buildings and architecture in your local city can make great photographic subjects – as long as the weather is good, the light is in right place, and you can include the whole building in shot. But it’s easy to overlook the insides of these buildings for great photo ops! For our main image on the right, we recently captured abstract viewpoints in the Gaudí designed Casa Batlló, in Barcelona. The key to the success of these images, is to learn to look for striking interior shots inside inspirational buildings, like the Bristol Central Library (insets), where we shot the archways and supports, and straight up to the blue, symmetrical ceiling. For interiors, you need a wide lens to work with in confined spaces. Using an ultra wide-angle lens, we’re aiming to…

You’ll sometimes hear photographers talk about wanting to have a ‘painterly’ look to their portraits. This refers to the kind of fine art, oilon-canvas look by artists like Rembrandt. Fine art is all well and good, but sometimes photographs call for pop art. This vivid, vibrant, graphic look was made famous by Andy Warhol, particularly his portraits of Marilyn Monroe and Elizabeth Taylor. Where Warhol used scalpels and silkscreening, with Elements we can achieve similar results using Lasso and Threshold. This can completely transform your photos; our original shot is of a bride, but we’ve accentuated her punk rock vibe to bring out a totally different side of her. It’s worth noting that this technique usually works best with a photograph of a well-lit subject with light hair. Though you…

The incorporation of 4K video in today’s Canon DSLRs has tempted photographers to try their hand at video, but with varying degrees of success. Many others feel the two mediums are too disparate in the required skills and technique to be mastered with the same level of proficiency. Simeon Quarrie is one professional who has reached that level, but unlike many of his peers, his first love was video and it was photography that he found more challenging to master… What was your first experience of photography when you thought, ‘this could get serious’? A friend who I grew up with was getting married, and she’d seen me do some video work. She said, ‘Would you shoot my wedding for me?’ Of course, I had no camera and no lenses!…

Light fantastic Remarkable new kit takes the art of light painting to the next level Earlier this year I backed an Indiegogo project by Fotorgear for its new light painting tool, Magilight. It’s similar to a Pixelstick. The objective of these shoots was to test and learn how to use the Magilight and I have to say, so far I’m impressed! I’m also pleased with the Canon EOS 5D Mark IV’s performance in low light. I took my kit to the beach for some light painting fun with my niece and nephew. For this shoot I used my Canon 5D Mark IV, Manfrotto tripod and Canon 580 Speedlite with PocketWizards. As it’s a long exposure the tripod is a must, and I had to pre-focus on my subject and worked…

Professional photographers reveal their top six tools of the trade they couldn’t shoot without “My main goal is to keep the balance between commercial and artistic value” I’m an Instagrammer turned professional travel photographer. It all started for me back in 2010 with mobile photography and Instagram, where I developed quite a large following over the course of several years. I was doing photography as an amateur long before that, shooting with my first camera (a Canon 5D), but I suppose that mobile photography gave a great push to my creativity and led me to what I’m currently doing. Although I had some great gear even back then, there was a period of about two years when I was taking pictures exclusively with my iPhone. They may not have been…

When your Canon captures a JPEG image it uses the specified picture style to adjust properties such as Sharpness, Contrast, Saturation and Color Tone. The Landscape picture style boosts the saturation of the sky and scenery, for example, giving scenic shots impact. Some picture styles, such as Neutral or Faithful, avoid sharpening or over-saturating, creating a shot with a flat contrast – this is actually a sensible option as you’re less likely to blow out highlights or clip shadows. You can then use software to add the amount of sharpening, contrast and saturation that you desire. Canon also provides free Picture Stye Editor software to run on your Mac or PC. If you shoot in Raw format you can open your image in the Picture Style Editor and adjust its…

New versions of both of Canon’s EF 70-200mm stabilized telephoto zooms are now available. The Mark III edition of the f/2.8 is only a minor refresh, with a high-tech coating added to one of the internal elements, fluorine coatings on the front and rear elements, and a new paint job that’s a slightly paler shade of grey. The new Mark II edition of f/4 lens is much more interesting to all Canon goers, having undergone a complete makeover. Naturally, the f/4 rating of this lens is a full f/stop slower than that of its f/2.8 sibling but the upside is that it’s significantly smaller and barely more than half the weight, at 780g compared with 1480g. Indeed, a tripod mounting ring is only supplied as an optional extra. Even so,…

£599/$799 The reduction of every single millimetre in focal length makes a noticeable difference in wide-angle coverage. This Sigma lens shaves 2mm off the shortest zoom length of competing zoom lenses, boosting the viewing angle from around 108 degrees to a monstrous 121 degrees (measured on the diagonal). The difference is obvious and eye-popping as you look through the viewfinder. While short in focal length, the Sigma isn’t short in build, and is a third longer than Canon’s 10-18mm lens. It’s twice as heavy as well, but the construction feels solid and sturdy. There are no weather-seals but the mounting plate is metal, not plastic. A conventional ring-type ultrasonic system delivers fast and quiet autofocus complete with full-time mechanical override, and a focus distance scale. In terms of optics, the…

£449/$499 When launched back in 2008, Tamron’s original 10-24mm lens beat every other APS-C format competitor for outright zoom range. It’s successor arrived on the scene last year, with major enhancements throughout. A new optical line-up includes enhanced aspherical and LD (Low Dispersion) elements. There’s also a new HLD (High/Low toque-modulated Drive) autofocus system and VC (Vibration Compensation) stabilization, both of which were lacking in the original lens. The HLD autofocus is faster, quieter and more accurate. It also gives a big boost to handling, as the focus no longer rotates during autofocus. Full-time manual override of autofocus is available. Unique among APS-C format lenses on test, the Tamron is fitted with weather-seals, including a rubber ring around its mount, plus a fluorine coating on the front element to repel…

£1399/$1599 Sigma’s 12-24mm Mk II lens gained an excellent reputation for maintaining stellar image quality and handling with an wide maximum viewing angle. The newer ‘Art’ edition from the company’s Global Vision line-up retains the same zoom range but adds a host of improvements. It goes head-to-head with the Canon EF 11-24mm f/4L USM lens (see boxout). A standout upgrade in the new lens is that it has a constant rather than variable aperture rating, generally preferred by enthusiast and professional photographers. The revamped optical path incorporates an extra-large diameter aspherical element and five premium FLD (Fluorite-grade Low Dispersion) elements. Fluorine coatings are applied to the front and rear elements, and the mounting plate is weather-sealed. The makeover also includes an uprated autofocus system. It’s still an ultrasonic ring-type arrangement…

For wide-angle shooting on APS-C format cameras, the revamped Tamron 10-24mm is the best buy. It’s very well built with a weather-sealed construction, and combines high-tech autofocus and image stabilization systems along with high-tech optics to deliver great results. For full-frame cameras, the recently launched Sigma 14-24mm Art lens is our new favourite. It delivers stellar contrast and sharpness, even at its generously wide f/2.8 maximum aperture, exhibits virtually no distortion, and offers spectacular performance characteristics in all respects. Again, the Sigma 12-24mm f/2.8 gives an even greater maximum viewing angle, while the Tamron 15-30mm option adds image stabilization.…

01 THE SPIRIT WALKER BY ALEX ELLINGHAUSEN Clinton Pryor walked some 3728 miles from Western Australia to Canberra, via Uluru and Sydney, to raise awareness of Aboriginal issues. The journey took almost a year and ended at the Aboriginal Tent Embassy on the steps of Old Parliament House. An insane journey! Lens Canon EF 16-35mm f/2.8L II USM Exposure 1/1600 sec, f/3.5, ISO100 02 IN DOUBT BY EVA COLLINS Eva’s provocative portrait depicts Sister Julietta, a 20-year-old nun, during a break from looking after a group of young children. Julietta found the children exhausting – as she did the convent’s rigid discipline as a whole. Encouraged by her parents to become a nun in order to receive a proper education, it now seems like a high price to pay. Lens…

Lens Canon EF 24-105mm f/4L IS USM Exposure 1/200 sec, f/8, ISO100 ◆ Using flash or studio lights You’ll need to use Manual exposure mode if using studio lights or flashguns, as in modes like Av or Tv, your camera won’t set a shutter speed or aperture to factor in your lighting power – resulting in over or under exposed images. Start at an exposure of f/8, ISO100 and 1/160 sec. You then adjust the power of the light in fractional steps, like 2.3 or 4.2, or 1/2 or 1/4 power, and the output remains consistent, regardless of exposure or framing. The light power determines how much light falls on the subject, yet the exposure is affected by your chosen aperture and ISO settings, as well as the distance of…

Before you start taking any pictures, you need to work out the right exposure. Your camera has a built-in meter for this purpose, so why do many photographers buy an expensive handheld meter? A handheld meter takes an incident reading – it measures the light that falls directly onto the subject. Your camera takes a reflective reading, metering the light that bounces off the subject. It’s a bit like measuring how much water is in a bucket by pouring it into a measuring container, versus throwing the water at a wall and measuring how much splashes off. On top of that, your camera is programmed to expose your images to ‘middle gray’. In other words, it wants the reflected light in your picture to have a tonality of 18% gray…

Sunrise and sunset may be the best times of the day for landscape photography, but they can be rather inconvenient. In this project, there’s no need to get up before the crack of dawn or wait all day for the setting sun. Instead, we’ll show you how to fake it in Photoshop. Of course, there’s no real substitute for being there, taking the shot and experiencing the moment. But if that’s not possible, then there’s always the option to fake it later. Purists would call this downright cheating, but the only naughty act would be to pass it off as a genuine capture rather than a composite (as the infamous winner of the 2012 landscape photographer of the year found out when stripped of his title for digitally altering clouds…

When Simeon was given the task of taking the pictures for the African launch of the Canon EOS 5D Mark IV, last minute schedule changes and delays in sending the camera meant he had just one day to produce the goods. After flying into Nairobi he drove west to Kenya’s fabled Masai Mara, but mother nature called for an unplanned stop at a roadside shop. Emerging from the rest room, Simeon noticed the shop owner standing proudly among his display of traditional crafts and curios. “I brought out my 5D Mark IV, a Profoto B1 strobe, and I just asked if he would mind if I took a picture of him,” the man agreed. “If I’d just done natural light the exposure would have been a bit flat. It was…

During the lighter brighter months of the year, you might think that there’s no need to even bother putting batteries in your flash, but you could be missing out if you don’t. However, all the sunlight can create high contrast between the lit and shaded parts of the frame. This is where an off-camera flash comes in… It is best to position your subject so they’re back lit, or side lit with the sun, leaving much of their face in shadow. While you can use a reflector, it doesn’t give you much control over the brightness of the reflected light. Using a flash, you can control how bright the light is on your subjects face. Aperture Priority works well with flash in bright conditions, but make sure that you have…

£239/$279 Carrying around additional lenses for your DSLR is no fun when they’re quite hefty. This relatively new offering from Canon is refreshingly small for a wide-angle zoom and tips the scales at less than half the weight of the two competing Sigma lenses on test. Its 67mm filter thread is much smaller than usual and, in fact, half of the lenses in this group have no filter attachment thread. Part of this lens’s weight loss is due to it having a plastic rather than metal mounting plate, but build quality feels robust. Typical of many recent Canon lenses, it features an STM (Stepping Motor) autofocus system which, in this case, is fast for stills, smooth for video capture and almost silent in operation. The usual electronically-coupled focus ring enables…

It’s always nice to be able to quantify performance with solid data, but sometimes results don’t offer a true reflection of ‘real-world’ shooting. By nature of their short focal lengths and very large field of view, wide-angle lenses need to be positioned very close to photographic test charts. A result of this is that lab scores for distortion can make lenses look worse than they are for shooting at more typical distances. The Sigma 12-24mm and 14-24mm lenses performed much better in normal shooting than in lab conditions, the latter producing virtually distortion-free images.…

£949/$999 This Canon lens has a lot going for it, especially in relation to the range-topping EF 16-35mm f/2.8L III USM (see boxout). The f/4 lens has the same zoom range but is more compact and lightweight. For many, that combination of advantages will outweigh the extra f/stop in aperture rating of the f/2.8 lens, especially as the f/4 only costs about half as much to buy. This lens is built to a pro-grade standard. As such, it’s robust and weather-sealed, with excellent handling. Optical highlights include two UD (Ultra-low Dispersion) elements and Super Spectra coating. Fluorine coatings are also applied to the front and rear elements. For maximum viewing angles on full-frame cameras, the Canon is the least impressive lens in the group. Even so, the resulting 108-degree angle…

Colour fringing gives rise to coloured lines that can be obvious around high-contrast edges, especially towards the corners of the shot. Like in landscapes, colour fringing can be visible around dark branches and leaves of trees against a bright sky. You’ll notice the effect around the roofs and walls of buildings in architectural shots. This graph shows how lenses compare, at short, medium and long zooms.…

£929/$1099 With a maximum angle of view midway between that of the Canon 16-35mm and Sigma 14-24mm lenses on test, this Tamron combines the fast and constant f/2.8 aperture of the Sigma, along with the added bonus of optical stabilization, featured in the Canon. It’s a good compromise, made better by the Tamron’s up-market build quality and handling, which come complete with weather-seals and a fluorine coating on the front element. One drawback with the Tamron lens compared with the Canon is it’s nearly twice the weight. But, it’s a touch lighter than both the Sigma full-frame lenses on test. The zoom and focus rings work with smooth precision and there’s a focus distance scale. High-quality optics include a specially developed XGM (eXpanded Glass Molded Aspherical) element and several LD…

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Your Canon DSLR offers many ways to take manual control of camera settings, including manually setting the white balance and manually selecting an AF point in the viewfinder. But when a photographer says that they’re ‘shooting in Manual’ that usually means that they have the camera set to Manual exposure mode – the magic ‘M’ on the mode dial. In this essential skills guide we’re going to explain why stepping up to shoot in this mode will take your photography to another level. You’ll be able to take direct control of your Canon DSLR and complete control of your photography. Read on to get started……

Lens Canon EF 16-35mm f/4L IS USM Exposure 1/250 sec, f/8, ISO800 ◆ ISO affects exposure As well as adjusting your aperture and shutter speed in Manual mode to tweak your exposure, you can also use ISO in unison to brighten or darken shots. Simply put, if you’re at ISO100 and your shots are too dark, but you want to keep your aperture and shutter speed fixed (such as shooting a portrait with a 200mm lens, so you’re shooting at f/5.6 and 1/200 sec), then you just increase your ISO to 200, 400, 800 etc, until you’re happy with your exposure. You can use ISO to obtain a faster shutter speed – keep your aperture fixed, and increase your ISO until you can dial in a shutter speed you’re happy…

The moon over Cathedral Cove, Coromandel, on the north island, New Zealand Lens Canon EF 24-70mm f/2.8L USM Exposure 15 secs, f/8, ISO400 “The moment passes quickly as the twilight brightens and the moonlight diminishes” Cathedral Cove, Coromandel, north island, New Zealand. 5:55pm. 6 December 2006. It’s a special thing to set out in the darkness before dawn; boots on, head torch on, camera bag on the back, tripod on the shoulder. And to then walk out onto the coast. It’s an experience that lies at the heart of what it means to be a landscape photographer. I will never tire of watching dawn break over a secluded bay or exposed headland, whether it be on the Jurassic or Coromandel Coast. Yes, the light of dusk is equally evocative, but…

As the saying goes, oil and water don’t mix – but they can combine to create striking visuals. With just a few simple household items, a flash (or powerful lamp) and the right camera settings we can create bold, vibrant abstracts. The key here is customizing our light source. By placing a colourful material in front of the light we can transform it into our own personally modified light box. This light will then be reflected in the oil and the water to create our very own oily abstract art. Each and every little circular bubble and drop of oil is highly reflective, so at the right angle they reflect the light from our source towards the camera. The result is a seemingly endless array of bubbles – some on…

How many times have you printed out your photos or seen them on someone else’s screen, and the colours looked completely different than they did on your monitor? For starters, don’t go blaming your home printer, the lab that you used for your prints, or your friends for having dodgy monitors – the reason is very likely because your display isn’t correctly calibrated. So what you’ve been seeing on your screen isn’t really what your pictures look like. Most people don’t bother adjusting their display at all once they’ve taken it out of the box. However, whether you’re using a cheap as chips screen or an HDR reference monitor, it needs careful calibration to accurately display colours, shadows, highlights, and white and grey tonality. The best way to think of…

When importing photos into Lightroom CC, the first thing you’ll want to do is begin processing the images. On the right-hand side, under the Edit panel, the first set of edit controls available reside in the Light panel – aptly named, since it enables you to control the light levels of the picture. From here it’s possible to adjust the overall exposure (brightness) of your image, alter contrast, control highlights, lift or reduce shadows, and manipulate the whites and blacks sliders. If you have an underexposed image, it’s possible to increase the exposure and save an image that might otherwise would be lost. All the controls should be used sparingly, though; if you’ve underexposed a photograph, even if you can retrieve that data by increasing the exposure by one or…

I love to travel and venture beyond the boundaries of tourism. So in 2015 myself, my partner Vikki and my son Tom boarded a flight to Nepal to go backpacking around this vibrant, beautiful country that is so rich in culture. I wanted to capture some of the stories that make this country so unique. I took my Canon EF 70-200mm f/2.8L IS II USM along with Canon EF 28mm f/1.8 USM to use with my old 5D Mark II. Our journey began in Kathmandu and I really wanted to go and experience Hindu cremations after reading about how raw the ceremonies were. I find it odd that we do not discuss death openly in Christianity. When we got to the Bagmati River, however, I’m not sure we were prepared…

01 BEFORE/AFTER To see how your processing is shaping up, keep an eye on both the original and the edited versions. To do so, click the Before/After comparison layout icon. If you’re working with a portrait-oriented shot, click the adjacent triangular fly-out icon and tick the Arrange Horizontally button. For landscape-oriented shots tick the Arrange Vertically button. 02 CREATE CYAN SKIES The sky consists of a range of colours, so you need to adjust the Hue of both of the Blue and Aqua channels to tint the sky. Here an Aqua Hue value of -20 and a Blue Hue of -15 is enough to create the trademark cyan sky look. It also cross processes the painter’s jeans, for a vintage analogue film vibe. 03 SATURATION By boosting the Aqua and…

Our technical guru is here to help. No Canon conundrum is too big or small. Get in touch today at EOSSOS@futurenet.com PhotoPlus EXPERT BRIAN WORLEY 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 answer all your EOS and photographic queries “My new Canon EOS 80D only takes photos when I press the shutter button twice, surely this is not normal?”Don Bergman, Bremerton WA, USA BRIAN SAYS… If the camera takes two presses of the shutter button, then I’m sure that you have activated the mirror lock up feature. Check in the red tabbed SHOOT4 menu and see if you have mirror lock up enabled, it should…

To test real-world performance, we use lenses in all sorts of lighting conditions. We check for good build quality, handling, smooth and precise operation of all controls, and we test the speed and accuracy of autofocus. APS-C format bodies were tested on 80D and 7D Mk II bodies, whereas full-frame compatible lenses were tested on a 5D Mk III and 6D Mk II. In-camera corrections for the likes of chromatic aberrations and peripheral illumination (available for most Canon lenses) are disabled throughout all testing, to better reveal the true performance of each lens. We also run a full range of lab tests under controlled conditions, using the Imatest Master and DxO Analyser suites. Test charts are shot throughout the range of apertures and zoom settings (where available), then analysed for…

£319/$399 Nearly ten years old, the 8-16mm zoom predates Sigma’s ‘Global Vision’ line-up of Art, Contemporary and Sport lenses. It’s nevertheless a revamp of the company’s original 10-20mm lens for APS-C format cameras. One of the biggest upgrades is the swap from a variable to a ‘constant’ aperture rating and its widest available aperture of f/3.5 remains throughout the zoom range. It’s the only constant-aperture zoom in the test group for APS-C format lenses. Unlike the Sigma 8-16mm lens on test, there are no FLD elements in the optical path, but there are two ELD (Extraordinary Low Dispersion) and an SLD (Special Low Dispersion) element in the mix. Build quality feels as good as in the 8-16mm lens but with the same lack of weather-seals. A major difference between the…

£1399/$1299 With a slightly more modest maximum viewing angle but a faster aperture rating than the Sigma 12-24mm Art lens, this one is a pretty much identical size and weight. Again, high-tech glass includes an ultra-high-precision moulded glass aspherical front element, this time combined with three FLD and three SLD (Special Low Dispersion) elements. The lens is wonderfully engineered and, unlike the Sigma 12-24mm Art, it gains a full set of weather-seals instead of just a sealed mount. Typical of ultra-wide lenses, the built-in lens hood gives physical protection to the bulbous, protruding front element as well as helping to reduce ghosting and flare. Unusually, however, you can have this exchanged for a shorter, circular hood for minimizing shadows when using multiple cameras in video capture. Handling is excellent, with…

Choosing lenses Key factors to watch out for THE MAIN factors to consider in a lens are its focal length, 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 crop-sensor lenses aren’t compatible with full-frame cameras. Contacts Canon www.canon.co.uk Peleng www.digitaltoyshop.co.uk Samyang www.samyang-lens.co.uk Schneider www.linhofstudio.com Sigma www.sigma-imaging-uk.com Tamron www.tamron.co.uk Tokina www.tokinalens.com Voigtlander www.robertwhite.co.uk Zeiss www.zeiss.co.uk…

Happy Canon user I’ve always enjoyed photography, and I always pick PhotoPlus because it’s a fantastic magazine to read and I can learn so much from the different photos and skills. I mostly like landscape, wildlife and motorsport photography. My camera is a Canon EOS 1300D, it’s a lovely camera and use it with the Canon EF-S 10-18mm wide-angle lens. I enjoy photographing landscapes, from Stogursey castle to the fishery viaduct and Somerton, from Sherborne Abbey to Gold Hill in Shaftesbury. For this shot of the National Trust’s Stourhead, I first walked around the big lake, and although I’ve seen this shot many times before, it really is a great shot. It was very busy so I had to wait for the scene to become clear to get the shot.…