Innholdsfortegnelse for December 2018 i PhotoPlus : The Canon Magazine

When we speak to PhotoPlus readers to enquire what they like to take photos of in the winter months – even though landscapes are by far the most popular subject to shoot – more often than not, people list something indoors when it starts to get cold! However, winter is a fantastic season for outdoors photos, and especially landscapes, as the sun is lower in the sky for better light through the day. Furthermore, sunrise and sunset times are more sociable. But there’s no point braving the cold, if you don’t know how to take great scenic shots when you’re get out there with your Canon gear. With this in mind, this issue we’ll teach you all you need to know about taking awesome winter landscapes. We’ll look at aperture,…

CANON PRO NAME: MATT PARRY CAMERA: CANON EOS 5D Mk III MATT is a travel photographer and writer whose images and articles have been featured in leading travel and photography publications. He has presented videos on travel photography for Wex Photo Video and given talks for Wex, the RPS and others. Many of them can be seen on his Instagram: @mattparryphotography or mattparryphoto.com APPRENTICE NAME: STEVE WALLACE CAMERA: CANON EOS 6D STEVE Wallace, 46, works as a Senior Business Development Executive at a steel merchants in Nottingham. He became a keen amateur photographer after his brother let him play with his Canon PowerShot SX50 bridge camera. From there he bought his own Canon EOS 1300D, his first DSLR, then upgraded to 6D. He asked for our help to improve his…

NEW YORK, USA SOMETIMES we can get distracted by the spectacular scene in front of us, yet switching to a telephoto lens can open up different compositions allowing you to focus in on abstract views of a city. DUBROVNIK SHOOTING in the harsh light of sunny, cloudless day is sometimes unavoidable when travelling. Removing the sky from your image can retain the vibrancy and helps to focus on the architecture. ARGENTINA THE ‘LA BOCA’ district of Buenos Aires is a colourful, vibrant neighbourhood. I cropped in on this row of buildings to fill the frame with colour and remove any distracting elements.…

Using Manual mode 14 THE aurora borealis is one of Mother Nature’s greatest displays: a dazzling curtain of greens and pinks that dances across the night sky. You just need to be far enough north – Northern Ireland and Newcastle is enough, but Iceland and Norway offer better odds, and better scenery – and ready with your Canon and wide-angle on a tripod. Exposure settings are similar to the shooting starry skies (see right), depending on light levels, but a good starting exposure is using Manual mode to control your aperture, ISO and shutter speed and begin around; f/2.8-4, ISO800-1600 and 2-10 secs. Exposures longer than this will tend to blur the northern lights too much. For more techniques and kit tips head to our website at: www.digitalcameraworld.com/features/northern-lights Star trails…

Most of us probably have a few old toy figures tucked away that would be perfect for a fun project like this. But this isn’t just an excuse to get out some cherished playthings, it’s also an exercise in the power of mood lighting. By illuminating a tabletop toy scene with a couple of torches, we can evoke a powerful, cinematic atmosphere. Over the next few pages we’ll explain how it’s done, using a long exposure so that we can ‘paint with light.’ If you’re not into the war theme, then look at this as an exercise in lighting. Similar tricks could be used to create a misty Jurassic scene, or bring a finely crafted Lego landscape to life. Our finished image here is a composite of several frames. By…

If you’ve used an analogue film camera, you might have experimented with double exposures – or maybe you got one by accident when you had a roll of film developed at Boots! As the name suggests, this technique is achieved when a single slide of film is exposed twice instead of once. This is accomplished by not winding the film on after taking a shot (or simply forgetting to do so), resulting in two images being exposed on the same slide. Shooting double exposures is one of the most creative effects you can achieve on an old film camera, but you can also replicate this on digital Canon cameras such as the 1D X Mk II, the 5D Mark III and IV, the 6D Mark I and II, the 70D,…

We’ve all been faced with less than perfect weather when trying to shoot. It might be too dark, too rainy, or a combination. So in this project, we’re going to explore how using the adjustment brush in Lightroom CC can powerfully alter the final look of a photo. This photograph of a puffin was taken on a wind-howling, soaking wet day on Skomer island, Wales. The puffin is underexposed and the entire frame looks rather drab. However, by selectively changing the photo with the adjustment brush, we’ll set about increasing the exposure on this puffin to lift it up from the background and make it pop. The brush also has colour and sharpening controls, which is perfect because our shot wasn’t quite as vibrant or sharp as we would have…

• Born and raised in Texas, Gray Malin travelled to the east coast where he gained a degree in marketing from Emmerson College in Boston, Massachusetts. • In 2016 his book, Beaches, featuring his popular aerial photographs of coastal resorts from around the world, topped The New York Times’ best seller list. • His fine-art lifestyle imagery is widely published in leading US magazines including Elle, Details, House Beautiful and Domino. • In 2015, Gray was recognized by the LinkedIn Next Wave list as one of the “150 professionals, 35 and under, who are changing the way we do business.” www.graymalin.com Next issue: Bruno D’Amicis, Italian-based environmental photojournalist…

“Capturing the landscape in the best possible light and conditions is what I live for” As the sun rises, spreading its first warm rays across the frozen stillness of a wintry landscape, I make a last quick check to my settings before pressing the shutter release. This is what landscape photography is all about: being in the right place at the right time. And being out in the landscape to capture it in the best possible light and conditions. A lot of time goes into researching locations, using maps, sun position apps, weather forecasts and good old legwork to plan and prepare for each shoot before the camera even comes out. Of course, even the most meticulous plans can quickly fall foul of the weather. So there’s an element of…

01 GIVE IT 100% To see how sharp your shot really is (and spot noise more effectively), you need to see the image’s actual pixels. Click here for an instant 100% view. 02 COMPARE VERSIONS Click here to change the way the before and after images are displayed. Due to our photo’s portrait orientation we’ve chosen the Arrange Horizontally option so that we can see how noisy and soft the start image is compared with the processed version. 03 NOISE Noise is especially noticeable in smooth, featureless areas, such as this background bokeh, as we can see in this part of the photo. You’ll notice more noise in images captured using higher ISO speeds. 04 SOFT DETAILS Delicate details, such as strands of fur, are slightly soft and lack impact.…

Get critiqued! Email photos to EOSSOS@futurenet.com with the subject ‘Rate My Photo’ NICK WHITTLE, LUTON SAYS… I went out to get some good take-off shots of aircraft at Luton airport, as September evenings frequently have excellent skies and colours. On arrival it looked like I was going to be in luck with great skies. I’ve photographed the aircraft here many times, so I selected a position around the airport perimeter that would let me capture them from the rear. This changes depending on the direction of the general wind. I took this shot of a Boeing 757 aircraft, as its heat trail disappeared through the sun, using a Canon EF 100-400mm L-series lens. BRIAN SAYS… I think your pictures shows you have delivered on your plan. It’s a great sunset…

£1119 / $1099 This incredibly sharp kit lens punches well above its aperture and pairs perfectly with Canon’s full-frame mirrorless EOS R. Don’t be thrown off by its kit status: the RF 24-105mm f/4L IS USM earns its red ring with impressive sharpness and responsive autofocus, combined with a focal range to suit most scenarios. The signature control ring offers a new degree of customization – although, like the RF 50mm, it isn’t de-clickable. Compensating for the EOS R’s lack of IBIS, this lens offers five stops of stabilization, which comes in very handy given the reach and smaller aperture. Like the RF 50mm, this zoom boasts weather sealing to cement its role as an all-purpose performer, and an ideal complement to the EOS R body. It’s not cheap for…

£119/$125 You might think that you can’t go wrong with a lens at this price. But older versions of Canon’s popular 50mm f/1.8 weren’t altogether ‘right’. They had a noisy autofocus system based on a basic electric motor, and a 5-blade diaphragm that gave pronounced pentagonal shapes to defocused lights when you weren’t shooting ‘wide-open’. This latest version of the lens puts all those wrongs to right. It has an STM (Stepping Motor) autofocus system that provides speedy yet quiet operation for stills, and smooth autofocus transitions during movie capture. The focus ring no longer rotates during autofocus, which improves handling, yet also gives the bonus of manual override in Single AF mode. The new lens has a metal mounting plate, and a more well-rounded aperture based on seven diaphragm…

£599/$949 Sigma’s previous 50mm lens was renowned as being a heavyweight but the replacement ‘Art’ edition piles on the pounds. It’s gains 50 per cent in length and rises from 505g to 815g. As such, it’s the outright largest lens on test, but still not quite as heavy as others. The main reason for the Art lens’s weight gain is that it has a much more complex and sophisticated optical path than its predecessor, based on 13 rather than eight elements. These include one complex aspherical element and three SLD (Special Low Dispersion) elements. The overall aim is to deliver excellent sharpness and contrast, while also keeping colour fringing, distortion and vignetting to a minimum. Build quality feels superb throughout. The focus ring operates very smoothly although it doesn’t quite…

£999/$1199 Autofocus cameras have been around since 1977, so why would a manufacturer still be making manual-focus lenses? Indeed, without the split-screen and microprism aids of yesteryear’s viewfinders, it can be tricky to nail manual focusing in modern DSLRs. But when it comes down to it, the Zeiss Milvus range of prime lenses does give a hands-on, feel-good-factor to photography. There are 11 lenses in the Milvus line-up, from an ultra-wide-angle 15mm f/2.8 to a 100mm f/2 macro lens. The 50mm f/1.4 lies at the centre of the range and is typical in having a well engineered metal barrel and a full set of weather-seals. It’s a fabulously crafted lens that should last a lifetime. The real delight is in the optical quality, based on Zeiss’s legendary Distagon design principles,…

RAW POWER “STEVE only shot in JPEG, and didn’t realize the benefits of shooting in Raw until I explained how much you can enhance a Raw image in Photoshop and Lightroom,” laughed Matt. “Compared to JPEGs, more detail can be revealed in the shadows in dark areas, for a more balanced exposure. I encouraged Steve to shoot in Raw+JPEG – he was excited to get home and edit his Raw shots!” MANUAL MODE “AS SOON as I get the tripod out for long exposures, I switch to Manual mode so I can control both the aperture and shutter speed. For cityscapes in daylight, I use a narrow aperture for good depth of field, usually f/11 to f/16, and a resulting shutter speed for a good exposure. In low light at…

01 TRAILBLAZER BY CHRISTIAN WAPPL This photograph was the winner of the Other Animals category, this shot of a firefly larva in Thailand was achieved using a long exposure with a second curtain sync flash. “It was long past midnight in the Peninsular Botanic Garden of Trang when I noticed a light that slowly but constantly moved through the darkness,” said Wappl. “It was an image idea difficult to achieve, because in the near-darkness I could only estimate the insect‘s actual position within my camera frame.” Lens Canon EF 16-35mm f/4L IS USM Exposure 33 secs, f/5.6, ISO1600 02 MOTHER TO BE BY JAIME CULEBRAS Winner of the Birds category, this female Anthony’s nightjar was shot on a Canon EOS 6D. “Using a flash on a low setting and a…

This is a simple yet effective photographic technique that works well whether you’re shooting in daytime sunshine, or even at night! By following our easy tips you will be able to turn small light sources into beautiful light bursts. Sun light will turn into sunbursts, while street lights at night, and lights on your Christmas tree, will be transformed into starbursts. We’ve used the low evening sun as it shines through the trees. Winter is perfect for these shots as the sun is lower in the sky for much of the day – making it easier to position yourself to shoot through the tree foliage. The key to this technique is to use a wide focal length and a narrow aperture of around f/22. As you increase the aperture size…

In Project 4 (page 54) we showed you how to shoot the kind of creative double exposure images that you can achieve on analogue film cameras. It’s great to be able to get this kind of effect in-camera, but if you don’t have a compatible Canon – or if you have images you’ve shot previously that you’d like to turn into double exposures – you can achieve the same result quickly and easily in Photoshop Elements. Using this method has a number of benefits. Firstly, while the in-camera method enables you to shoot two images specifically designed to work together, performing this technique in Elements enables you to edit any two photographs you’ve ever taken – or, indeed, to embellish one of your own pictures with a texture or stock…

AS A TEENAGER at high school in Texas, Gray Malin discovered that he had a creative instinct for photography – producing pictures that others seemed to like. A lot. At 16, he took a class in photography, processing and developing his black and white prints in a darkroom while studying the history of photography. “I was submitting my work through my school to a few competitions and I kept winning them and it started to make me wonder if photography was a viable future and career.” Less than 20 years later, as one website has written, “Gray Malin is more than just a photographer, he’s a brand.” That brand, defined by his ‘make every day a getaway’ mission statement, is one of modern photography’s most successful online businesses, with his…

I normally shoot portraits, weddings as well as events such as birthday parties, dance schools and christenings. I’m lucky I get paid to do something I’m passionate about. Shooting landscapes is my escape – it’s my perfect way of relaxing. This series is also an attempt to try to dispel the perception of the Midlands being full of concrete. All images have been shot on my Canon EOS 70D, using my favourite Canon EF-S 17-55mm f/2.8 IS USM lens. Spring at Swan Lake was shot on an evening in May, and with my camera set up on a tripod I had to be patient as the swan glided into position directly in-line with the sun! Chasewater is very close to where I grew up, and therefore is a ‘go-to’ place…

DAVID NOTON is a Canon DSLR professional, landscape and travel photographer, and PhotoPlus’s regular columnist (see page 40). He got a chance to test the new Canon EOS R full-frame mirrorless camera and in this exclusive interview, he tells us what he really thinks of the new EOS camera and RF lenses after shooting in a variety of challenging conditions and scenarios… What are your first impressions of Canon new’s EOS R full-frame mirrorless camera? David: The size and weight of both the new camera and system lenses should be attractive to landscape and travel photographers, pros such as myself, who routinely have to lug their gear long distances over rough terrain, and the AF system is exceptionable. The articulated screen is handy when shooting from a very low position,…

Getting and unboxing your new Canon DSLR is an exciting moment. But it can also be confusing if you don’t know what to do with it next to start taking pictures! So, don’t worry which new Canon EOS DSLR model you have; our quick start up guide is applicable to absolutely any Canon DSLR. Your Canon will have shipped with a chunky manual to peruse, but many of us will prefer to randomly explore our new gadget at our leisure while leaving the manual in the box. The box will also include a manual on disc, but some modern computers (such as Macs) don’t posses an optical drive. You may notice a leaflet in the box that invites you to download a Getting Started phone app for your camera, but…

You can’t beat a zoom lens for versatility and convenience. However, prime lenses often win out for sheer image quality. By definition, zoom lenses need to work throughout a range of focal lengths, which inevitably compromises optical quality to some extent – not with prime lenses… It’s not just about image quality. 50mm prime lenses have a ‘faster’ aperture rating than the majority of standard zooms, by a couple of f-stops or more. This has advantages in avoiding camera-shake and freezing motion, as well as enabling a tight depth of field for isolating the main object in a scene. ‘Nifty fifty’ lenses have always been popular on full-frame cameras. The 50mm focal length gives a natural perspective and is ideal for a variety of shooting scenarios. Of course, with the…

£385/$349 A real veteran in Canon’s line-up, this lens is 25 years old. It’s only about half the physical length of the competing Sigma and Zeiss 50mm lenses, and just a third of the weight. That’s naturally a good thing for all of us who don’t like being weighed down by big, heavy lenses. The downside is that the lens feels basic, and a lightweight in features and performance. The fact that it’s a ‘USM’ lens might sound like good news, but autofocus is based on an ultrasonic motor rather than being a ring-type system. It’s certainly not as quick or as whisper-quiet as the AF systems in most other lenses on test. On a plus point, it’s unusual for a Micro USM system, in that it features full-time manual…

£599/$599 When buying a prime lens, you often need to choose between a fast aperture rating or image stabilization. Typical of Tamron’s recent primes, this 35mm full-frame compatible lens combines a reasonably wide aperture rating of f/1.8 with a 4-stop image stabilizer. You can’t get quite such a tight depth of field as with an f/1.4 lens of the same focal length, but there’s not a great deal in it. The Tamron is larger and heavier than Canon’s competing 35mm f/2 stabilized lens on test. Still, it weighs in at under half a kilogram and feels well balanced on Canon’s APS-C format bodies, where it gives the same effective focal length of 56mm. It’s quite something that we’ve got this far into the group test before featuring a weather-sealed lens.…

Full-frame vs Crop factor I’ve never believed you get a greater magnification using lenses on a crop-sensor camera body, so I tried experimenting with my full-frame 5D Mk III and APS-C crop factor 7D Mk II, to do some simple tests. I set up my EF 100-400mm L-series lens on a tripod in my garden and took shots of a group of flowers. First using the 7D Mk II, then making sure I used the same zoom, shutter speed, aperture and ISO settings, I switched to the 5D Mk III for another sequence of images. Obviously the 7D Mk II images filled the frame, while the 5D Mk III captured a wider view. Looking at the shots in Lightroom, I then cropped the 5D Mk III images to the same…

It’s getting a bit fresh outside, but just because some animals are going into hibernation, that doesn’t mean you and your Canon gear need to do the same! In fact, winter can be the best time to photograph landscapes. Daylight hours may be shorter, and the weather can be challenging, but the sun’s lower in the sky and more diffused throughout the day, providing lovely light for landscape photographs. Plus sunrise and sunset are at much more social hours during the winter season. By following our killer Canon DSLR photography tips, you’ll be able to master essential techniques from focusing to long exposures. By the end, you’ll be confident with capturing wintry scenes, whether it’s the the first fall of snow, a clear and frosty morning, or the drama of…

Live View rules 10 FIVE reasons why you should be using Live View on your LCD when shooting landscapes: 1 It’s easier than peering through the viewfinder for seeing exactly what’s in your frame, as you can clearly see the whole image. 2 As you move the white square around the image, you’ll see the camera’s exposure reading for just that part of the scene. It makes it easy to expose precisely for the important elements in the image. 3 The histogram is ‘live’, so you can easily adjust your exposure to be as bright as possible, with the histogram all the way over to the right but without clipping. 4 Exposure Simulation gives a nice and bright display, even if the scene is dark, so you get an idea…

It’s an occupational hazard of being a photographer in the United Kingdom: you go outside to take a picture, but the sky is overcast and grey. Whether you’re shooting a wedding or you’re just shooting your kids, a lifeless grey sky can really deflate your image. Once you’ve exposed your photograph according to your subject, you’re often left with a pure white sky that doesn’t even have much dynamic range for you to recover. At this time of year, without the sun to burn away the cloud, fighting overcast skies can be a real nightmare. Thankfully, there’s a quick trick you can use to create a blue sky on even the most grey and gloomy days. All you need is your camera, a light source and some orange gel –…

One of the most useful ‘rules’ of photography is this – every photograph should have a subject. This holds true whether you’re shooting a portrait or landscape. Even abstract photos work best when they have a point of focus, something to draw the eye to a certain part of the image. Of course, all rules were meant to be broken, but having a subject to draw the eye can often lead to a stronger, more cohesive shot. But what if there’s no subject in sight? We’ve surely all come across beautiful scenes or gorgeous moments of light that don’t have a point of interest, but we go ahead and shoot anyway. Like our starting photo here, the resulting image will probably be nice enough, but a bit bland. Thankfully we…

Gray chose this stunning French Polynesia setting to, “challenge the conventional way one experiences design.” Inspiration was drawn from the summer house of his maternal great grandparents. He explains: “I grew up spending my summers on Lake Michigan and cultivated my love of artfully crafted furniture and interior décor. I was inspired to create a series that juxtaposes natural and man-made beauty.” Central to the resulting series of 12 images was a square mirrored platform constructed by local Polynesian engineers. Gray sourced and curated a selection of mid-century modern pieces into 12 individual vignettes, each placed atop the platform and cast along the sparkling waters, which were then photographed from a vantage point that included Mount Otemanu, Bora Bora’s highest peak, as a symmetrical backdrop. “With each vignette, we carefully…

Narai has become one of Japan’s Nationally Designated Architectural Preservation Sites, as it retains the historical timber buildings from the Edo period (1608-1868), and it is for this reason that I left the hustle and bustle of Tokyo to explore this rare, preserved gem. Narai has become a popular tourist destination. So, to get a sense of how this magical little town might once have been and to enjoy unobstructed views of the buildings, I made sure I arrived very early. In need of breakfast, I went into Matsuyasabo – a beautiful coffee shop that has been inhabited by the same family for 180 years (actually 300 years, if you count the previous building that was destroyed by fire in the 1830s). I was warmly welcomed by Imai Akinori and…

Ask Brian! Confused with your Canon DSLR? Email EOSSOS@futurenet.com Canon has launched the full-frame mirrorless EOS R, and I see this as the next step in evolution of the EOS system. The key is that it’s a whole new lens mount, and that’s more important than the specifications of the EOS R right now. When the first EOS SLR film camera was launched over 30 years ago, 1-point autofocus was groundbreaking! Yet that mount stood the test of time – so I have faith that this brand new RF lens mount has the same level of “designed for the future,” as the original EOS 650. If you have a collection of EF lenses, the great news is that they all work on the new RF system with a choice of…

£2349 / $2299 Costing 175% more and weighing 163% more than the EF 50mm f/1.2L, you might wonder if the new RF iteration is worth it. In short, if you can stomach the price, then yes: this lens takes the L-series to a whole new and exciting level. The new customizable Control ring is a real difference maker, offering fingertip manipulation of a variety of settings right from the barrel. It can be programmed to control aperture, shutter, ISO and white balance, either by turning the ring alone or by first depressing the meter button (to avoid errant turns). It should be noted, mainly for the benefit of videographers, that the Control ring isn’t clickless. The AF is very snappy, even under extreme low-light conditions, thanks to the new mount…

£519/$549 Canon makes a mighty, full-frame compatible 35mm f/1.4L II USM lens. But its size and weight, as well as its £1649/$1699 price tag makes it a bit of a mismatch for use as a standard prime on APS-C bodies. There’s also a dinky EF-S 35mm f/2.8 Macro IS STM which is designed exclusively for APS-C formats, but it’s more of a close-up specialist and even has a built-in LED lamp. Its f/2.8 aperture rating is also a bit on the narrow side compared with ‘standard’ primes. All in all, the EF 35mm f/2 IS USM is the best option for an own-brand Canon lens. It has a respectable f/2 aperture rating that enables a fairly tight depth of field and quick shutter speeds under low lighting. And it also…

£359/$499 This is the only lens in the entire group that’s specifically designed for APS-C format rather than full-frame. As such, it only needs to produce smaller image circles. The net result is that it’s small and lightweight compared with some of the other f/1.4 lenses here. But, it’s almost exactly the same physical size as the Canon 35mm f/2 lens, but 100g heavier. Build quality feels substantial, like a scaled down Sigma 50mm f/1.4 Art lens. Similar features to its larger Sigma sibling include ring-type ultrasonic autofocus and a focus distance scale that’s mounted beneath a viewing panel. Neither lens has weather-seals but both are supplied with a hood and padded soft case. The optical path includes a double aspheric element, with the aim of minimizing spherical aberration, astigmatism…

£479/$399 Not quite a 50mm lens, the Tamron 45mm gives a more generous viewing angle of 51 degrees rather than the more usual 46 degrees, on a full-frame. Suffice it to say, there’s very little in it. Like the Tamron 35mm lens also on test, the bigger 45mm combines a fairly fast f/1.8 aperture rating with 4-stop stabilization. It’s smaller than the Sigma and Zeiss 50mm lenses and more lightweight. At 540g, it’s two-thirds the weight of the Sigma and a little over half the weight of the Zeiss. It’s still almost twice as heavy as the Canon 50mm f/1.4. Build quality is considerably better than in either of the Canon 50mm lenses and not far off that of the Sigma. Like the Tamron 35mm, this lens features extensive weather-seals…

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