Innholdsfortegnelse for November 2020 i PhotoPlus : The Canon Magazine

We’re all friends here, so I’m going to share a secret. I bloody love trees. I love them all, whether it’s a cluster of birch trees or a dense forest full of oaks, and I get giddy if I can smell pine trees in the mountains. But what I really love is a single, lone tree in the middle of a field. As well as being photogenic and a great focal point in a landscape, I love how these big trees stand proud and defiant through the seasons. This issue Canon pro and landscape photography legend David Noton shows our Apprentice how to capture a variety of trees in his local locations, under different lighting conditions, from page 8. Also in this issue, we gather four of the best Canon…

CANON PRO NAME: DAVID NOTON CAMERA: CANON EOS R5 DAVID IS a landscape and travel photographer based in Somerset with over 35 (and counting!) years experience as a professional. During his photographic career he’s travelled to just about every corner of the globe. Despite now being considered a veteran in many ways David still feels as if he’s only just getting started. He believes that he is only just scratching the surface in his understanding of the subtleties of light. www.davidnoton.com APPRENTICE NAME: ROBERT CRONK CAMERA: CANON EOS 5D Mk IV ROBERT, 57, is a chartered surveyor from Berkshire and has been a photo enthusiast for 50 of those years! He started with an ‘instamatic’ and made his way through manual and semi-auto SLRs, and a range of DSLRs, now…

Sharpen up your photography skills with our all-new photo projects and expert guides 44 Boost dynamic range Increase depth and detail of your landscapes with B&W HDRs 48 Using a 50mm lens We run through some top tips when using a ‘nifty’ fifty lens 54 Shoot for the moon Get pin-sharp shots of the moon with entry-level Canon kit 56 Go vintage and retro Frame your shots and add flare for cool vintage-look images 50 Ease wedding worries Find out what you need to know to shoot your first wedding 58 Photoshop CC Create a punchy black-and-white image in Adobe Photoshop CC 60 Affinity Photo Learn how to use Liquify in Affinity to create surreal portraits VIEW THE VIDEOS WHENEVER you see this icon you’ll find an accompanying video to…

A LOW angle can often be ideal when shooting rivers, as it means you can exaggerate the foreground – especially when using a wide-angle lens. Rocks and pebbles can look great, and they help to draw the eye into the frame and towards distant scenery. WHEN SHOOTING at the edges of a river try looking for calm pools, where the water is slower. Here you’ll be able to see through the water to the bottom. Of course, it’s best if the river bed is covered in attractive rocks rather than mud!…

A BLACK and white conversion will emphasize the form and texture of the scene, so it’s ideal for images with lots of detailed textures like landscapes and architectural photos. It’s not always clear which images will suit this conversion, so when making HDRs it’s usually best to merge a colour version first, before converting to black and white afterwards. Scenes with bright and dark areas can benefit from the HDR technique, as it means you can tease detail out of the tonal extremes. But we needn’t be obsessed with detail, sometimes a bold, contrasty treatment will be better. With time, you learn to recognize which shots will benefit from the B&W HDR look, and which won’t.…

VIDEO ALSO ONLINE http://bit.ly/pp_171_3 There’s nothing more exciting and nervewracking than being asked to photograph someone’s wedding. On one hand, it’s a great boost for your portfolio and a bit of extra pocket money. But on the other, it may leave you fretting as it’s such a huge responsibility. Let’s face it, at some point you could be called upon to take on such a task if you’re known for being the photographer in your circle of friends, but fear not, I’m here to run you through the basic equipment you’ll need as well as take you through some of the key shots you’ll need to take on the couple’s big day. Due to lockdown and social distancing measures, weddings have been on hold for much of 2020, but we’re…

01 CHECK FOR CLOUD COVER For a clear shot of the moon, you’ll need a clear night. The Clear Outside app is on iOS and Android, and is an excellent tool to find out when that might be. It contains a wealth of info including the moon phase, forecast and the moon’s overall visibility. 02 SET UP ON A TRIPOD Movement is ramped up when zooming in, so set up on a sturdy tripod. We shot through an open window. Shooting inside takes more planning to ensure the moon is in a suitable position, but it offers some protection from the wind. 03 SPOT THE DIFFERENCE Evaluative metering is great for balancing exposure across the frame, but by switching to Spot metering you can expose specifically where your focus point…

WATCH VIDEO ONLINE http://bit.ly/pp_171_6 Black and white treatments and portraiture go hand in hand. But what’s the best way to strip out the colour, and what other edits can we make to enhance the monochrome image? In this tutorial, we’ll explore a few techniques you can use to create stunning black and white portraits, from the best conversion tools to essential enhancements like dodging and burning. Converting a photo to black and white shouldn’t just be an ‘effect’, there should be a reason behind the change. Perhaps the monochrome tones enhance the subject, or emphasize the composition, or draw attention to textures and form. Or perhaps the colour is a distraction, and removing it ensures the viewer focuses on the main aspects of the photo. With portraits in particular, colour…

WATCH VIDEO ONLINE http://bit.ly/pp_171_7 01 ENLARGE THE EYES Open the portrait in Affinity and duplicate the bottom layer with Cmd/Ctrl+J, then click on the Liquify Persona at the top left. Next, get the Liquify Pinch tool from the toolbar. Using a large brush, click over the eyes and nose a few times to enlarge them. 02 SHRINK THE PUPILS To shrink the pupils, grab the Freeze tool from the toolbar and paint around the edges of the irises, then use the Pinch tool to make the pupils smaller without affecting the rest of the eye. Use the Thaw tool to remove the ‘frozen’ area. 03 PUSH AND PULL Paint over the eyes and mouth with the Freeze tool, then use the Push Forward tool to reshape the head. Pull the…

EXTRA TIPS Still images can be extracted from movies using DPP and then processed with the standard tools in the tone curve and colour adjustment panels. It is better to shoot the movie clips with camera settings better suited to still images than movies, but you can shoot at fast frame rates. 01 REVIEW MOVIE IN DPP DPP can playback and even trim movie clips. Just put the movie files in a folder and you can start just like a still. Select your movie clip and select edit image, or press Ctrl/Cmd and <RIGHT ARROW>. At the bottom of the screen are the controls to playback and find the frame you need. 02 SAVE A STILL IMAGE FROM YOUR MOVIE To locate the exact frame is challenging just using the…

FOR SHOT-TO-SHOT consistency, it’s best to lock as many of the camera settings down as you can before you start shooting. For example, it’s usually better to manually choose a preset for the Picture Style and White Balance, rather than relying on the Auto settings, to prevent the camera from changing the look of your images part-way through a sequence. Some cameras, including the EOS 250D and EOS RP have a more detailed set of options when it comes to their automated Time-lapse Movie modes. You’ll be presented with a choice of three ‘Scenes’ in the Time-lapse Movie sub-menu. These are essentially different pre-set combinations of interval and shot count optimized for different types of subjects. There’s also a Custom option which lets you set the interval and shot count…

The world really is your time-lapse oyster, and there are a host of diverse subjects that suit this technique. I’d suggest starting close to home with quite short sequences, so that you can find your feet and get a feel for how your choice of interval and shots affect the smooth playback of the end result. Something simple like ice cubes or ice cream melting, the comings and goings of your family and pets around your kitchen, or a plastic model being built are good starting points. Regardless of the subject, it’s a good idea to try and envisage the start and end points for your time-lapse sequence, as this will determine how you frame the shot initially. If you’re shooting a flower coming into bloom, for instance, then try…

We’ve all seen the massed ranks of off-white Canon super-telephoto L-series lenses at sporting events around the world. Primes like the EF 600mm and EF 800mm are hulking beasts, weighing in at around 3kg and 4.5kg. By stark contrast, the new brace of RF 600mm and 800mm primes for EOS R-series mirrorless cameras offer a very different experience. Relative lightweights at 930g and 1260g, they’re ideal for handheld shooting and much easier to live with. Unlike many of Canon’s RF lenses, these super-telephoto primes are designed to be compact and lightweight. They have a relatively narrow fixed f/11 aperture rating, but that’s not such a limiting factor as you might think. Autofocus works flawlessly with the Dual Pixel AF sensor-based systems of EOS R-series cameras. As the aperture is fixed…

£160/$225 www.benroeu.com THE MAIN attraction of the G2 Low Profile Ballhead is its compactness. It measures just 88mm from base to mounting plate, and the head’s 530g mass maintains this portability. Rather than using a dedicated friction control dial, Benro has opted to incorporate it into the large, grippy locking knob for the ball. To adjust the drag, first clamp the ball, then loosen the friction dial on the end of the locking knob to release the ball and set optimal friction. Whenever the ball is clamped, this degree of drag is maintained. With low friction, the relatively large, polished blue ball moves smoothly, but up the friction setting and the ball’s glossy surface can cause it to stick when attempting to make small compositional adjustments. There are no such…

The Kenro Karoo Ultimate Travel tripod kit has a modern design with swing-up legs that enables a compact carrying size. However, unlike most travel tripods that have a distinctly limited max operating height, the Kenro beats even the conventional ‘full-sized’ tripods on test in this respect. Also, unlike the vast majority of travel tripods, it features a pivoting centre column, adding versatility. The aluminium version is great value, as is the dearer carbon fibre edition. For an ultra-compact travel tripod, the Benro Slim Travel and SIRUI T-005 both fold down to just 32cm in height, and they’re both lightweight at just over a kilogram. The SIRUI has a greater load rating and max operating height, but the Benro feels a bit more luxurious. The aluminium Manfrotto Befree 2N1 is relatively…

Lens Canon EF-S 18-135mm f/3.5-5.6 IS STM Exposure 95 secs, f/22, ISO100 Lens Canon EF 70-200mm f/2.8L IS II USM Exposure 1/125 sec, f/9, ISO100 Lens Canon EF 16-35mm f/4L IS USM Exposure 1/6 sec, f/16, ISO200 Lens Canon EF 16-35mm f/2.8L USM Exposure 6 secs, f/11, ISO50 All the images in this gallery were entrants to the PhotoPlus ‘Slow Shutter Speeds’ competition hosted on Photocrowd – a website where a public vote on the best-liked images is pitted against expert opinion. To enter our current contest, and vote on your favourite photos, simply visit www.photocrowd.com Lens Canon EF 16-35mm f/2.8L II USM Exposure 30 secs, f/16, ISO50 Lens Canon EF 24-105mm f/4L IS USM Exposure 0.8 sec, f/5.6, ISO200 Lens Canon EF 500mm f/4L IS II USM Exposure 1/80…

High Dynamic Range (HDR) photos are usually associated with bold colours and eye-popping images, and less so with black and white photography. So if the colours are part of the draw of HDR, why utilize it in your mono images? HDR is all about expanding the dynamic range of a photo to encompass the very brightest and darkest parts of a scene, and this can be just as useful for monochrome images, which are all about tonality. In fact, with black and white HDRs we have a few advantages. The lack of colour leads to a subtler HDR treatment. What’s more, several of the traits of HDR – crunchy textures, bold clouds and enhanced shadow detail - can soften look more natural in monochrome than in colour. In essence, black…

WATCH VIDEO ONLINE http://bit.ly/pp_171_1 LIGHTROOM BLACK AND WHITE TOOLS Lightroom offers a great array of black and white tools. For starters, there’s the Profile Browser in the Basic panel. Here you can choose a readymade treatment with a single click or – for Raw files - select the Adobe Monochrome Profile, which optimizes your Raw for further black and white edits. If you prefer to control the conversion yourself then you can alter the brightness of eight different colour ranges with the Black and White Mix panel. Keep in mind that the Temperature and Tint sliders can be used to subtly alter your black and white conversion by shifting the original colours in the scene. 01 LAUNCH HDR MERGE Import your bracketed sequence into Lightroom. There’s no need to make…

WATCH VIDEO ONLINE http://bit.ly/pp_171_2 Compact and with an ability to produce high-quality images in different lighting, a 50mm prime lens is one of the most useful optics you can own. From cheaper and lightweight models to more expensive but solidly built Canon EF and RF options, there’s always a 50mm to fit your budget and needs. All 50mm lenses offer you the ability to shoot in lower light conditions, such as indoors, thanks to their wide ‘fast’ apertures of f/1.2 to f/1.8. These apertures also produce beautiful background blur (or bokeh – see right). A 50mm prime also simplifies the way you shoot, as you are forced to work with one focal length. To shoot indoor environmental portraits, such as a metalworker in action, a 50mm lens is a great…

01 CANON CAMERA BODY We’d recommend using a full-frame camera for weddings, such as the Canon EOS 5D Mark IV. The larger full-frame sensors provide better depth of field, tend to handle noise better at high ISOs and are more forgiving when cropped in post-processing. 02 CHOOSE THE RIGHT LENS On a full-frame camera a 24-70mm f/2.8 lens would be a great choice, as you have the ability to zoom and also have a wide maximum aperture of f/2.8. Prime lenses, such as a fast 35mm or 50mm, are also great options as they have super-wide apertures. 03 BRING A FLASHGUN It’s best to assume the light at your venue is going to be challenging, so injecting your own lighting by way of a hotshoe flash can be a real…

WATCH VIDEO ONLINE http://bit.ly/pp_171_5 Photo frames are an easy way to show off your best photos and they can be a great way of giving your old forgotten gems a new lease of life. So this month we’ve created a bespoke vintage frame designed to look like an old 4.2x3.5-inch Polaroid that you can add to your images to complete the retro look. We’ll also show you how to add some aged flare effects and your own text as well. All sorts of photos work well with this technique, from holiday snaps, pictures of your kids playing, or a nice landscape. You could even print your finished pictures out on some glossy photo card and cut them out to hang up. Official Polaroid film, can be expensive, costing around £2…

01 CHOOSE A B&W PROFILE Import the image into Lightroom, then go to the Develop Module. Go to the Profile Browser at the top of the panels on the right, click the grid icon and choose a black and white profile – use the Adobe B&W or experiment with the BW profile set. We used BW10. 02 BOOST THE CONTRAST Use the Basic panel sliders to tweak the exposure. Hold Alt while dragging the blacks and whites sliders, this shows clipped pixels. Drag to a point just before they start to show. Next, go to the Tone Curve panel. Plot an S-shaped curve line like this to boost contrast. 03 FINE-TUNE THE CONVERSION Go to the B&W panel on the right. We can use the colour sliders to tune the…

Lens Canon EF 100-400mm f/4.5-5.6L IS II USM Exposure 1/800 sec, f/5.6, ISO100 IN THE foreword to his new book, the filmmaker and photographer Stuart Dunn argues that humankind’s hopes, fears, flaws and desires are common to all. For him, ‘Us’ and ‘Them’ doesn’t exist – there is ‘Only Us’, and those last two words form the title of the book. Chronicling Dunn’s years spent travelling the world, this is an epic photographic portrait of humanity featuring a diverse cast of characters. We caught up with him to discuss his fantastic photography and his career to date… How did you get into photography? Shortly after I left art college, I had a chance to travel South Africa with a friend. I took what little money I had and, while I…

Professional photographers reveal their top six tools of the trade they couldn’t shoot without “During lockdown I was able to double my wildlife portfolio!” I’ve been taking photos for over 10 years now, and have acquired almost all of my dream kit. Initially my parents helped me to carry on my passion by funding my kit, but now that I’m in the position to save up and get my own gear I’ve certainly gone a bit Canon mad! I’ve always had a passion for the outdoors and animals, so wildlife photography really puts me in my element. The thrill and excitement of not knowing what you might see drives my enthusiasm, and makes days of waiting worth it. I typically set myself certain animals to photograph, which helps to keep…

In this edition of Digital SLR Essentials we explain all you need to know about capturing and creating time-lapses Time-lapse is a creative technique that enables you to show how a subject or scene changes over time. You can compress minutes, hours and even days into just a few seconds, and reveal a world of movement and motion that might otherwise be too slow to see in real-time. The concept is easy to grasp – take photos at regular intervals and then combine them in a video clip – but there are a few tricks to setting up your camera so that you end up with professional-looking results. You can, of course, go back to basics and take the timelapse images yourself, manually timing the interval between each shot. This…

Recording time and playback time are two crucial aspects to consider when you’re setting up your camera to shoot a time-lapse. The speed of the movement you want to capture will determine the interval you should use between each picture. If you’re photographing a slow-moving subject, such as a flower blooming or wilting, then you’ll need to leave a gap of multiple minutes between each shot. But if you’re shooting a landscape on a windy day, then you may need to work in much smaller increments of just a few seconds so that the motion of fast-moving clouds plays back smoothly in the final movie. The interval you choose will also have an impact on how long the time-lapse will take to record. When you enable Time-lapse Movie shooting in…

YOU CAN process a time-lapse in the same way you would any video clip. Your favourite photo-editing software may support it, but you may need to use a workaround. For example, in Lightroom Classic you can’t open a video in the Develop module, but you can in the Library module. You can make some tweaks here, but you can do more. When you play the video in the Library module, you can use the ‘Capture Frame’ option under the video to extract a still frame. It’ll appear next to the video in the Library module. You can then process that image in the Develop module to get the look you want. Go back to the Library module, right-click the frame and select Develop Settings>Copy Settings. Next, select the video and…

£399/$418 www.gitzo.com/global AT 14.2CM in height and weighing in at a hefty 1kg, this is by far the largest head here. It’s to be expected, though, as the head comes from Gitzo’s pro-orientated Series 5 range, and is rated to support 12kg. What you lose in portability, though, you gain in usability. The oversized quick-release mounting plate and release lever offer unmatched ease of use, as do the large-diameter pan-and-tilt locking knobs. The size of the tilt knob also helps you to dial in just the right amount of friction. The unusual off-centre ball positioning allows for a greater range of movement than usual, especially if you want to shoot straight up or down. The separate fore-aft tilt motion also adds a degree of stability not present on a typical…

PRICES QUOTED ARE BODY-ONLY UNLESS STATED ENTRY-LEVEL CANON EOS 4000D TESTED IN ISSUE 140 PRICE: £300/$N/A CANON has stripped everything down to its bare essentials for the 4000D, and it’s a great if basic DSLR for beginners, and at only £300 (body), it’s the cheapest new EOS DSLR. Sadly, it’s let down by a cheap kit lens, that’s tough to tolerate, so we suggest buying the better IS lens. Sensor 18Mp APS-C CMOS Viewfinder Pentamirror, 0.8x, 95% ISO 100-6400 (12,800 exp) AF 9-point (1 cross-type) LCD 2.7-in, 230k-dot Max burst (buffer) 3fps Memory card SD/SDHC/SDXC CANON EOS 2000D (REBEL T7) TESTED IN ISSUE 149 PRICE with 18-55mm kit lens: £400/$450 THE 2000D is a better-spec Canon camera than the 4000D, but comes with a step up at its RRP current…

MAG A ZINE FOR CANON USERS! T HE NO.1 FREE VIDEOS! In the next Canon Skills chapter… ■ Dancers with paint! ■ Making a custom tilt-able lens ■ Polarized cutlery abstracts using a tablet screen ■ More new advice in our Photoshop CC, Elements and Affinity Photo PLUS ALL THIS… ■ PhotoPlus Apprentice: How to take better family portraits ■ Super Test: The best Canon-fit superzoom lenses for you ■ New David Clapp column: In the first of a new series, our Canon pro reveals how he got this shot! ISSUE 172 ON SALE 10 NOVEMBER 2020…

Action photography in genres like sports and wildlife, where you often need lightningfast reflexes to capture fleeting moments as a high speed subject zooms past your lens, will really put your skills to the test. That being said, the challenge is half the fun! There’s no greater feeling than when overcoming all odds to get the perfect image. This month, we get insight from four top Canon pros Drew Buckley, Marc Aspland, Martin Bissig and Drew Gibson. Between them, these pros have shot everything from puffins on Skomer island in Wales to mountain biking races in Pakistan, World Endurance Championship racing, the Olympics and more. Read on to see how you can perfect your autofocus technique; uncover the Canon settings you need for razor-sharp images; when to slow down your…

Balavaux, Valais, Switzerland. 11:56am. 08 April 2020. DAVID NOTON Pro travel & landscape photographer DAVID IS AN AWARD-WINNING Canon photographer with more than 30 years’ professional experience. During his career David has travelled to just about every corner of the globe. In 2012, Canon invited David into its Ambassador Program by designating him an Official Canon Explorer. Info and photos at www.davidnoton.com It feels good to be on the move again. It seems likely the drawbridge will be raised again soon, maybe while we’re still here, necessitating self-isolation on return, but que sera sera. I’m a roving photographer again on a mountain path high above le Valais with a camera in my hand. The valley is that of the upper Rhone here in the French part of Switzerland, and the…

WATCH VIDEO ONLINE http://bit.ly/pp_171_1 01 USE A TRIPOD We need to shoot several frames for an HDR image, and these need to be in alignment. Although you can sometimes get away with hand-holding the camera while firing off your shots, it’s better to use a tripod so that the alignment is more precise in Photoshop later. 02 SET UP BRACKETING Over our series of frames we need to capture detail in the brightest and darkest areas of the scene. Set up your camera’s bracketing feature – on most you’ll be able to set the number of shots and the increments between them. We’ve used 3 shots at 1 stop intervals. 03 SET THE EXPOSURE Set the camera to Aperture Priority mode with the aperture at f/16 and ISO100 – ideal…

01 HDR IN AFFINITY PHOTO The budget Photoshop rival offers plenty of excellent HDR tools. There’s an HDR command for merging your set of images and a dedicated Tone-Mapping Persona (Affinity’s term for different workspaces) with useful presets for your merged photos – including black and white effects. 02 PHOTOMATIX PRO Photomatix Pro is regarded as one of the best HDR tools. It also works as an extension for Lightroom. The HDR settings include deghosting controls and other merging features, while the tone-mapping workflow offers a range of monochrome presets and customizable settings. 03 SILVER EFEX PRO Not an HDR tool, but it is one of the best black and white plugins. So after merging an HDR in Lightroom you can send the colour image into Silver Efex Pro to…

01 SET UP YOUR CAMERA We used an aperture of f/5.6 to help control the intensity of light from the welding. Plus, to avoid overexposing the highlights, we set the exposure compensation to-2 stops. We also used Auto White Balance and shot in Raw. 02 FRAME UP AND START SHOOTING We kept a safe distance from the sparks and used AF to lock on to the welder. Don’t look directly at welding light – get set up and focused, then close your eyes and shoot as they start welding. Live View is a good option to avoid damaging your eyes. 03 SET A WIDE APERTURE For other low-light shots indoors, like our guitarist under stage lights, fast primes are ideal. Using Av mode, dial in your widest aperture, such as…

WATCH VIDEO ONLINE http://bit.ly/pp_171_4 While the moon is a staggering quarter of a million miles away, it’d be easy to think that it’s far too distant to be able to photograph, especially without specialist kit anyway! But this month we’re going to show you that it is entirely possible to get shots of the moon, even when you’re at home, using anything from a compact, or bridge camera, to a Canon EOS DSLR or mirrorless model with a zoom lens. A Canon DSLR or mirrorless camera with a zoom lens of 300mm or above would be ideal, though having a camera with an APS-C sensor can be beneficial here, as they have a crop factor that will make the moon appear bigger in the frame. This is a crop factor…

01 OPEN UP YOUR PICTURES Go into Photoshop Elements and open the Frame. jpg start image (see the download link bottom left) by going to File>Open. Now go back up to File>Open and find an image that you’d like to insert into it, we’ve used a colour shot of beach huts, and open it up. 02 PASTE YOUR IMAGE IN In the frame image, grab the Magic Wand Tool, click on the black part of the frame and hit Cmd/Ctrl+J to duplicate. Go to your main image and select it with Ctrl/Cmd+A, hit Ctrl/Cmd+C to copy it, then go back to the frame and press Ctrl/Cmd+V to paste it in. 03 RESIZE AND CLIP YOUR IMAGE Right-click on your image layer in the Layers panel and choose Create clipping mask,…

When it comes to editing photos there are many different directions you can take. There are those serious photo edits, like white balance tweaks and sharpening. Then there are those edits that are just for the fun of it, like this. Here, we’ll look at how to transform a portrait by tweaking features, enlarging eyes and reshaping the face to form a humorous caricature. Affinity Photo’s Liquify Persona offers the tools we need for this. It enables us to push, pull, expand, contract and reshape pixels in almost any way we like. Whether you need to make a subtle adjustment to the shape of a person or object, or you want to completely transform a portrait like this, the Liquify Persona is the tool for the job. We’ve supplied a…

In this episode, we show you how to pull still images from video using Canon’s Digital Photo Professional With EOS camera movie resolution increasing, some photographers are considering extracting a still image from a movie clip. After all, movies are just a series of still images recorded at 25fps or more. Many times I’ve heard photographers talking about shooting movie clips and then selecting the perfect still frame later. The reality is that it is possible, but you do need to consider the camera settings carefully when you shoot the movie. The most important choice is to record the movies at the highest resolution on your camera. Full HD movies are just 1920x1080 pixels, so each still frame is around 2Mp. Secondly if you choose to shoot this way, remember…

While the EOS 250D and EOS M50 just have a Time-lapse Movie mode, a number of other EOS cameras also have an additional Intervalometer option for shooting stills. Both of these functions work in basically the same way, allowing you to choose how many pictures to take and the gap you want between each one. The main difference is that the camera automatically creates a video clip for you in Time-lapse Movie mode, with the Intervalometer saves each individual picture to the memory card – you create the movie in software later. There are advantages and disadvantages to each option. You get more flexibility with the Intervalometer, as you can choose to turn the images into a time-lapse film or do something creative with the stills – such as combining…

TIME-LAPSE CAN trash a camera’s battery, especially if you’re shooting outdoors on a cool night or during the sub-zero winter months. If you’re recording a long time-lapse, then you could use a battery grip to hold a second battery and double your recording time. You could also use a compatible Canon power adaptor to plug the camera into a household socket, should you be shooting near one. If you’re using the Interval timer, make sure the Auto Power Off isn’t disabled in the yellow Set-up menu, as then the camera will automatically power on and off as needed. You’ll need plenty of memory card capacity too, especially if you’re using the Interval timer to take hundreds of full-resolution Raw files. If you’re shooting in Time-lapse Movie mode, then the playback…

Letter of the Month I am a new and avid reader of your photograph magazines. In reference to PhotoPlus 169, September 2020, I have to say that I have really enjoyed reading the magazine, especially The Apprentice article and conducting photo shoots in a socially-distanced environment – and I loved the images produced. I also enjoyed the feature on fine-art photography and thought that it was very insightful. I have been inspired by some of the photographic work on show in your Inspirations gallery, truly magnificent images highlighting reflections. Overall I have been impressed and glad that I have taken time out to read PhotoPlus magazine. I look forward to reading and viewing many more editions. David Onomivbori, London THIS MONTH’S PRIZE! Each issue, every letter printed wins an Experience…

Is the Canon EOS R7 arriving? Canon’s executive discusses the potential… The Canon EOS 7D DSLR line might soon become the Canon EOS R7 mirrorless line – and Canon’s managing executive officer didn’t deny it. See DigitalCameraWorld.com via quick at link bit.ly/dcw_r7 Five things that made me sell my Sony and get a Canon EOS R6 camera Swapping systems is a big step, so what does the Canon mirrorless system have to tempt a Sony user away? Find out more on our website DigitalCameraWorld.com via quick link bit.ly/r6_switch Could you shoot four winning portraits in 60 seconds? Canon sports photographer James Musslewhite challenges himself to capture four portraits in only one minute. Video and more on our website DigitalCameraWorld.com via quick link bit.ly/dcw_mussle INSTAGRAM www.instagram.com/PhotoPlusCanonMag FACEBOOK www.facebook.com/PhotoPlusMag TWITTER www.twitter.com/PhotoPlusMag DIGITAL…