Innholdsfortegnelse for March 2021 i PhotoPlus : The Canon Magazine

Photography means to paint or draw with light, so shooting at night when the light levels have dropped off may seem like an odd prospect as there is little light left. While shooting in the dark isn’t easy, if you persevere you’ll be rewarded with brilliant photographic opportunities, bold contrast and whatever light sources you do have available will really stand out. While you won’t be able to rely on the sun to light up your scene, you’ll need to turn to more creative light sources such as car headlights, neon signs reflecting in puddles, the glow from a full moon lighting your foreground, or even the bright twinkling of stars from galaxies far away. And in the long winter nights it gets dark early, so you don’t have to…

Goðafoss Waterfall, Iceland. 11:22am. 12 December 2012 Lens Canon EF 24mm f/1.4L II USM Exposure 0.8 sec, f/2.2, ISO100 The North of Iceland is brutal. With subzero temperatures, raging winds and desolation, it's a hard place to live. I will never forget seeing a tiny mouse scamper from its burrow as I kitted up, running through my legs to sit shivering underneath my 4x4 exhaust – the little fella was going to make it though. I ground up an oat cake and fed it to him by hand, its tiny paws clinging tightly onto my fingers. With fewer than 20,000 people living outside of Reykjavík (Iceland’s population is 350,000), the north of Iceland is particularly baron. It’s neither easy to shoot or target rich, but what it holds is truly…

WATCH VIDEO ONLINE http://bit.ly/pp_175_2 THE MISSION How to capture high-quality images of paintings for professional prints Time needed One hour Skill level Intermediate Kit needed • Tripod • Art tape • Lighting kit • Spirit level • Straight edge MANY THANKS Thanks to Fiona Jane, an artist and photographer who’s paintings (see right) are inspired by beautiful walking routes on the SW coast, as well as mountain ranges and colourful cityscapes. More info at www.fiwalksandpaintsthesw.co.uk and Instagram @ fiwalksandpaintsthesw We know of a fair few landscape painters who are also keen landscape photographers, and vice versa – the artistic eye, composition, and joy of capturing a landscape works well whether it’s a painting or photograph. It’s often necessary to take photos of the paintings to be able to get multiple…

WATCH VIDEO ONLINE http://bit.ly/pp_175_5 THE MISSION How to emphasize background blur Time needed 15 minutes Skill level Intermediate Kit needed Photoshop Elements Being able to experiment with depth of field is one of the biggest advantages of having a DSLR or mirrorless system. Opening the aperture wide open will allow you to blur backgrounds and create separation between the two for a striking 3D effect. Sometimes shooting with a wide aperture isn’t practical, as the resulting plane of sharp focus may be too narrow to accurately use, or perhaps you shot wide open but would still like the background to be blurred further. We’re going to show you how to do that in Elements using layers, though the process is very similar if you want to use Photoshop CC. To…

Photo essays from PhotoPlus readers and professional photographers alike I did eight years in the army with The King’s Royal Hussars regiment – one tour of Northern Ireland one of Iraq and one of Afghanistan. On my tour of Afghanistan an RPG hit a wall next to me, causing me to go blind in my right eye and lose the peripheral vision in my left, so I have something similar to tunnel vision. We always had cameras around when I was growing up, but I didn’t get into photography until after I was medically discharged. The charity Blind Veterans UK had been helping me learn some basic IT skills and after a frustrating day my advisor, Dave, spoke to me about landscape photography and left me with his Canon DSLR. Photography…

PHOTOJOURNALISM has its roots in street photography and reportage, documenting contemporary social issues, daily life, cultural differences and international conflict. In some instances, the creative aesthetic of a few photojournalists means their work moves into the realm of fine art. But who in the art and photography worlds has ever considered the clandestine imagery by animal rights activists to be a part of the realm of photojournalism, let alone fine art? The quick and honest answer is no-one. However, that perception is changing fast as a new cabal of photographers, describing themselves as ‘animal photojournalists,’ attract greater media attention and public recognition for their work. A remarkable new book, HIDDEN, featuring images by 40 such photographers, and the undiluted praise of Nick Brandt and Brent Stirton, has helped raise their…

Removing sensor dust spots How to clean up your images with DPP and your camera’s dust removal and stamp tools When you change your lenses it’s possible for dust to get in to the EOS camera and on the sensor, resulting in spots on your photos. Use Canon DPP’s tools for removing the dust spots, and discover how your camera can speed up the process. Dust spots on the sensor block light, leaving a dark spot in pictures that is most commonly seen in lighter areas of the shot. Shooting with the aperture closed down (e.g. f/16) usually makes the spots more visible as their edges are more defined. There are two ways to remove dust spots from images, you can either manually clone in another section of the photo…

John Barnes from Morpeth asked if there was anything that he might find different for photography software if he switched from a PC to a Mac. Canon’s main apps; EOS Utility, Picture Style Editor and Digital Photo Professional exist on both OS, and a switch means you’ll need to redownload the software. Photoshop and Lightroom on a subscription doesn’t mind what platform you use. Often when you buy a software package outright you get it for a specific computer platform, and if you switch you may need to buy a new copy. Affinity Photo has paid for versions for PC and Mac, for example. One of the oddities often seen in magazines is that on Windows the CTRL key is the main modifier, but on the Mac it’s the CMD…

01 Aputure Amaran 100d/x and 200d/x LED lights Continuous LED studio lights From £221/ $199 www.aputure.com APUTURE’S NEW Amaran series COB LED lights – the 100d, 100x, 200d and 200x – are aimed towards the economy end of the market and feature Bowens lamp-compatible fittings. The ‘d’ suffix indicates that the lights are daylight balanced, while those bearing the ‘x’ are bi-colour units with an adjustable 2700–6500K colour temperature. All models have a built-in Bluetooth remote control, which is compatible with the Sidus Link system. Each of the 100d/100x units has a power output of 100 watts, while their 200d/200x siblings provide 200 watts. 02 Syrp Genie Micro A smart camera remote with top features £139/$159 www.syrp.co THE GENIE Micro is a universal smart camera remote for DSLR and mirrorless…

Canon seems to have been content to stick with its winning EF formula when updating its top-flight 70-200mm zoom. The barrel is a different shade of grey, but the only notable upgrades are coatings. An ASC (Air Sphere Coating) has been added to the 19th element in the optical path, to further reduce ghosting and flare, and fluorine coatings are applied to the front and rear elements, to repel moisture and grease. It has top-flight build quality and handling, and the same optical configuration that includes both fluorite and Super UD (Ultra-low Dispersion) elements. For high-end features, the Canon loses out to the latest competitors from Sigma and Tamron. For example, the Tamron has a more effective image stabilizer, with an extra operating mode, and the Sigma has dual AF…

Typically, fast telephoto zooms exhibit minor barrel distortion at the short end of the zoom range, negligible distortion at mid-range settings, and a little pincushion at the long end. That’s true of nearly all the lenses in this test group, although the Sigma 50-100mm and 120-300mm lenses are virtually distortion-free at the short end, the latter having minor pincushion throughout its entire range. Automatic in-camera corrections are available for the Canon lenses, as well as the Sigma 70-200mm Sports and 50-100mm Art, although the latter may need a firmware update.…

This Sigma lens is designed exclusively for APS-C format DSLRs, on which it gives a short effective range of 80-160mm. The flip side is that it’s 1.33 f-stops faster than an f/2.8 lens, which can give significant advantages. For one thing, you can shoot with faster shutter speeds under low lighting conditions, freezing the action for indoor sports. However, as one of Sigma’s ‘Art’ lenses, it’s really designed more for enabling a tight depth of field for creative effect. It’s ideal for still life and portraiture, when you want to combine sharpness with beautiful bokeh – the quality of defocused areas within images (see Sharpness and blur). Up-market glass includes FLD (Fluorite-grade Low Dispersion), SLD (Special Low Dispersion), high-refractive-index and even high-dispersion elements. Performance With no image stabilizer, the availability…

As with distortion, all of the lenses in this test group manage to keep colour fringing to a minimum. In most cases, lateral chromatic aberrations are barely visible even towards the extreme corners of the frame, when shooting at either end of the zoom range. Fringing tends to be even more negligible at mid-zoom settings. The least impressive lens in the group at controlling chromatic aberrations is the Tamron 70-210mm f/4, but it’s still good.…

The newest telephoto zoom in Tamron’s Canon-mount stable stretches to a slightly longer focal length than the competing Canon f/4 lenses and has a matching constant-aperture design. It’s a little heavier, at 860g, but still much slimmer and lighter than any for the f/2.8 lenses in the group. Like Tamron’s f/2.8 G2 lens, this one is compatible with the company’s optional TAP-in Console and teleconverters (see ‘Extend your reach). As an f/4 lens, however, the aperture rating shrinks to f/8 when using a 2x tele-converter, so AF will be unavailable unless you have a fairly recent, up-market camera body that supports AF at f/8. Compared with the Canon f/4 lenses, this looks a more basic design. There’s no AF range limiter switch, nor multiple switchable stabilization modes. There are really…

APPRENTICE NAME: HELEN MURPHY CAMERA: CANON EOS 7D HELEN, 53, is from Liverpool and works in a busy school office. She first got a digital camera when her children were small, but since they’ve grown up she’s spent more time photographing the flowers in her garden and the local coast. She is a scientist by training and enjoys modern technology, but has never really used her camera beyond Automatic mode, or used flash lights for indoor shots, so is keen to explore its full potential. CANON PRO NAME: DAMIAN WATERS CAMERA: CANON EOS 5D MK IV DAMIAN, 51, lives on the Wirral and has been a freelance nature and landscape photographer for more than 25 years. He spends as much time as possible in the mountains and valleys of Britain,…

WATCH VIDEO ONLINE http://bit.ly/pp_175_2 THE MISSION To light dark skin for brilliant results Time needed 30 minutes Skill level Advanced Kit needed Kit lens Reflector Flash and flash modifiers Dark skin has different reflective qualities compared to light skin, so needs to be shot differently. I’ve come up with four easy setups to light people with dark skin tones for beautiful portraits. You need to preserve the rich dark tones and subtle hues while avoiding harsh bright spots, so it can seem a bit daunting at first. Patience is key to good results so take time to set up, test, and measure your shots before you start shooting. I met up with ex-Olympic athlete and former ITV Gladiator ‘Rebel’, Jennifer Stoute, at The St Pancras Renaissance Hotel, London, to run…

WATCH VIDEO ONLINE http://bit.ly/pp_175_6 THE MISSION Build a fantasy scene from a variety of images in Photoshop CC Time needed One hour Skill level Advanced Kit needed Photoshop CC One of the best things about digital imaging is the ability it gives you to visualize places and scenes that could otherwise only exist in your dreams. With a few simple Photoshop skills, anybody can craft a fantasy scene that wouldn’t look out of place on the cinema screen. In this project we’ll show you how it’s done. You might have a selection of photos in your own image library that would be perfect for a fantastical composite like this, but if you want to look further afield you’ll find tons of great resources online. We’ve used several free images from…

In 2016, the International Rescue Committee asked Timo for his help to set up a meeting in Berlin between Oscar-winning actor George Clooney and a Syrian family. “They asked me if I knew anybody. I had the perfect family and connected them. It was really nice and I took photos of the meeting.” A year later the NGO contacted Timo again, this time to photograph Homeland star Mandy Patinkin who was meeting a Syrian family in another German city. “Mandy knew this family from a refugee camp in Jordan or Lebanon, so he’d met them before and it was a kind of reunion, it was very emotional.” Patinkin is an ambassador for the IRC and Clooney is one of its biggest donors.…

This eagerly anticipated addition to Canon’s line-up of RF-mount lenses has a portrait-friendly focal length as well as delivering a powerful 0.5x macro magnification at its shortest focus distance of just 0.35m. It’s a multi-tasking prime that’s refreshingly compact and lightweight, yet boasts fast and virtually silent autofocus, along with highly effective 5-stop image stabilization. The asking price is alluringly affordable too, especially compared with Canon’s frankly huge and fiendishly expensive RF 85mm F1.2 lenses. The new lens builds on the success of its RF 35mm F1.8 stablemate, which also combines a 0.5x macro facility with 5-stop ‘hybrid’ stabilization. This counteracts x-y shift as well as the more usual vibration or wobble, delivering greatly enhanced stabilization for close-up shooting. Both lenses also have a very similar overall look and feel,…

Along with a constant aperture rating that remains fixed throughout the zoom range, the physical length of 70-200mm lenses is also fixed. At least, that was the case before this new RF lens came along. Uniquely, it has a similar telescoping design as low-budget 70-300mm telephoto zooms, therefore having an inner barrel that extends forwards at longer zoom settings. The plus side is that it’s remarkably short at the 70mm zoom setting, making it easy to stow away, and it’s also quite lightweight at just over a kilogram. As it turns out, the RF lens is about three-quarters the length and two-thirds the weight of the Canon EF 70-200mm f/2.8 lens on test. Many love to use 70-200mm zooms with a 1.4x or 2.0x ‘extender’ to boost the reach but…

Sigma’s long-running 70-200mm f/2.8 OS lens was a popular, budget-friendly option. The replacement ‘Sports’ lens is noticeably larger and heavier, weighing in at 1805g, despite having a magnesium alloy barrel. The more robust design also features a full set of weather-seals, whereas the preceding lens had none. More than just an update, the new lens is redesigned from the ground up. The new optical path features 24 elements in 22 groups, incorporating nine FLD elements and one SLD element. There’s also a well-rounded aperture, based on 11 diaphragm blades. The AF system can be switched to auto-priority or manual-priority modes, the latter enabling manual override even in AI Servo autofocus mode. The design also features three AF-stop buttons, with the option of use as AF-on buttons via custom functions menus…

With exotic features and a wealth of upgrades packed into its metal barrel, the Tamron G2 feels every inch a pro-grade lens. Its optical design has been refined to increase sharpness and contrast, while reducing colour fringing, ghosting and flare. The AF system is uprated for faster, more accurate performance, and the VC system has three switchable modes and up to 5-stop effectiveness. The lens has a fluorine coating on the front element and a full set of weathe seals. As with the Sigma 70-200mm Sports, the Tamron G2 has a tripod mount ring with an Arca-Swiss compatible foot. However, the Tamron’s mounting ring can be removed, without leaving a stub. The lens is also smaller and 300g lighter than the Sigma, and has a more typical 77mm filter thread.…

When you need more telephoto reach than your lens can supply, an extender is an attractive option, as featured on the previous page. It’s cheaper to buy than a bigger, more powerful telephoto lens, and much easier to carry around. However, an extender is much like a glorified magnifying glass. It magnifies a relatively small section of the image circle produced by the lens to which it’s attached, but it also magnifies every flaw. Typically, you’ll notice a slight loss of sharpness, while autofocus speed and accuracy can take a hit. For optimum performance, it pays to invest in a super-telephoto zoom if you need greater reach, like the Canon EF 100-400mm f/4.5-5.6L IS II USM, at around £2199/$2399. Sigma and Tamron have recently both launched high-tech yet relatively lightweight…

What to look for Canon EOS cameras Canon splits its EOS DSLR lineup into entry-level, enthusiast and pro ranges; the 4000D is the most basic, the 850D 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 quality (weather-sealing and magnesium-alloy shells), more advanced features, and full-frame rather than APS-C image sensors. Over the page, we also have the full-frame EOS R mirrorless cameras, the EOS RP as an ‘entry-level’ and more affordable option, the EOS R and R5 for serious photographers. Plus not forgetting Canon’s smaller compact system (also mirrorless) APS-C EOS M camera range. DSLR CAMERAS ENTRY-LEVEL PRICES QUOTED ARE BODY-ONLY UNLESS…

THE NO.1 M AGAZINE FOR CANON USERS! FREE VIDEOS! In the next Canon Skills chapter… ■ Light painting in the garden ■ Time stack scenic images ■ Create artistic cyanotype prints at home ■ Image-editing in Affinity Photo, Photoshop and Photoshop Elements PLUS ALL THIS… ISSUE 176 ON SALE 2 MARCH 2021 * Content subject to change…

01 WINNNER UP BY SANDI BERTONCELJ Sandi’s captured this wonderful, stunning, wide-spanning vista from the top of Triglav in the Julian Alps and the highest peak in Slovenia, showing the narrative of two alpinists making their ascent as well as the sun peaking out over the tops of the clouds providing a warm golden glow. He’s really made the most out of his Canon EF 16-35mm f/4L IS USM lens using the widest 16mm setting and this has given him the ability to give ample space around his focal point and really let the viewer take in this beautiful landscape. Lens Canon EF 16-35mm f/4L IS USM Exposure 1/320 sec, f/9, ISO200 All the images in this gallery were entrants to the PhotoPlus ‘Go Wide!’ competition hosted on Photocrowd –…

Top reasons to subscribe now! ✓ Great savings Subscribe for 12 months and get your 13 issues delivered to your door, just choose between the three options below ✓ VEO Discover 38 Shoulder Bag A contemporary shoulder bag for your Canon EOS DSLR or EOS R mirrorless camera with lens, plus 2-3 lenses, flashgun, tripod, laptop and accessories! Option 1 Annual Digital Subscription £50 13 issues of PhotoPlus digital edition for your device Instant digital access Available on iOS or Android Option 2 Annual Print Subscription £54 13 issues of PhotoPlus print edition Delivery to your door included in the price Free Vanguard shoulder bag worth £90! Option 3 Annual Premium Subscription £69 13 issues of PhotoPlus print edition delivered to your door 13 issues of PhotoPlus digital edition for…

WATCH VIDEO ONLINE http://bit.ly/pp_175_1 THE MISSION Create coloured shadows for portraits by using gels over lights Time needed One hour Skill level Advanced Kit needed • Tripod • 3-4 studio flashes • Light stands • White backdrop • Red, green and blue gels • Wireless flash trigger or sync cable The coloured shadow look we see here is an old-school technique that you’re just as likely to see in a science museum as a photograph, but is becoming increasingly popular as photographers explore optical in-camera effects. And as well as a vibrant way to shoot a portrait it’s also a fascinating demonstration of colour theory at play. To split our shadows into different colours we need three separate light sources coloured red, green and blue. When working in combination –…

WATCH VIDEO ONLINE http://bit.ly/pp_175_5 THE MISSION Freeze an object for super cool pictures Time needed 1 hour Skill level Intermediate Kit needed Macro or kit lens LED lights Household props STACK THEM UP Want a super-detailed close-up? Try focus stacking. Focus manually on the part of your object that’s closest to the foreground and take the shot. Identify where your focus softens, focus on that area and take another shot. Repeat until the entire object has been captured in focus. You can stitch the images together in post. Incorporating snow or ice into your still-life setup is a great way to give them a wintry theme. So we’re going to encase a few props in a block of ice and then shoot this at home with a make-shift photo studio.…

WATCH VIDEO ONLINE http://bit.ly/pp_175_7 THE MISSION Add surreal spheres to a scene to create an otherworldly landscape Time needed 20 minutes Skill level Beginner Kit needed Affinity Photo This tutorial is inspired by the surreal, conceptual album covers of artist Storm Thorgerson, who crafted dozens of iconic sleeves for some of the world’s biggest bands. Like Thorgenson’s trademark surreal landscapes, we’ll make an otherworldly scene filled with unexplained objects. Our red orbs here are made using simple compositing tools and tonal tricks in Affinity Photo. We’ll begin by creating a sphere, which is simply a matter of making a circular shape, then adding a gradient and dodging and burning different parts to make it look 3D. Next, we’ll copy our sphere around the scene, resizing and repositioning as we go…

When the first lockdown hit in March last year I knew I wanted to find ways to keep getting creative with my photography, despite being limited to shooting indoors. I’m a photographer with modelling experience, so I guess you could call me a ‘modelographer’. While locked down, I wanted to keep challenging my artistic side by taking a series of self portraits as photographing other people wasn’t a possibility. It was liberating to have total freedom over the set design, lighting, camera settings and the postproduction and was a lot of work, but I wasn’t going to let anything get in the way of my passion. It was a great chance to pick up some new skills along the way too. I have ADHD, so I’m constantly coming up with…

“What shutter speed should I use to ensure that birds in flight are sharp?”Rachel Healey, Worcester BRIAN SAYS… Birds in flight are a demanding subject, requiring a mixture of skill and luck. Among the skills required is selecting a suitable shutter speed. For any birds flying directly towards the camera, your shutter speed will need be 1/1000 sec usually or more. Too slow and the bird will fly through the point of focus creating blurred results. As the birds get smaller they are often faster, so increase the shutter speed and don’t compromise shutter speed to have a lower ISO. It’s best to be sharp with a little noise, than a blurred shot. You’ll also need to understand your camera’s focus settings and be able to track the bird around…

Any zoom lens is a versatile tool but fast telephoto zooms are extra handy. Enthusiasts and pros have long been using them for wideranging shooting scenarios, from sports and wildlife, to weddings and other events. A 70-200mm f/2.8 zoom is regarded as being one of the ‘trinity’ of lenses, along with fast f/2.8 wide-angle and standard zooms, that many top photographers find essential. Still, it’s not the only choice. If you’re moving up from an APS-C camera to a full-frame, you may feel short-changed in terms of telephoto reach. Indeed, a humble 70-300mm zoom delivers an ‘effective’ max focal length of 480mm on an APS-C format body, thanks to the 1.6x crop factor. The upside of a 70-200mm f/2.8 lens is that it can deliver a much tighter depth of…

Whereas the upgrades in Canon’s new f/2.8 zoom are slim, there’s a comparative feast packed into the second edition of this lens. Headline updates include a revamped optical path, although it still features high-end fluorite and UD elements. The AF system gains a new processor for increased speed and accuracy, and the replacement image stabilizer matches that of the newer RF 70-200mm lens for performance and versatility. Indeed, the new-generation stabilizer has a 5-stop rating, gaining two full stops over the stabilizer in the original. Not only that but, it has three operating modes, similar to the RF lens as well as the Tamron 70-200mm G2. As such, you can switch between regular static and panning modes, while the third option applies stabilization only during actual exposures. The second-edition lens…

Nearly all of the lenses in this test group have an enormously popular 70-200mm zoom range, with a constant aperture of either f/2.8 or f/4. The Tamron 70-210mm f/4 lens is very similar, but two of Sigma’s ‘fast tele’ lenses are notable exceptions and rather unique. The 50-100mm Art lens for APS-C format cameras gives an effective zoom range of 80-160mm, whereas the 120-300mm Sports lens goes large in telephoto reach. This sequence of shots shows how the various focal lengths work out in practical terms.…

Upscaling the telephoto reach comes at a cost, but this Sigma is still a lot of lens for the money It’s a big ask to deliver 50 per cent more telephoto reach than a 70-200mm lens while maintaining a constant f/2.8 aperture. The result is a big lens that weighs in at almost 3.4kg. That’s more than twice the weight of most top-flight 70-200mm lenses. And while it retains internal zoom and focus mechanisms, the lens also measures about 1.5 times longer than most 70-200mm f/2.8 lenses and has a wide girth. That’s not the only price you pay for the extra reach, as the lens is also about twice the price of Sigma’s new 70-200mm Sports lens. Despite being the first lens in Sigma’s Sports line, it nevertheless features…

Canon, Sigma and Tamron all make 1.4x and 2.0x extenders or ‘tele-converters’, the latest editions of which are fully compatible with the respective brands of lenses on test. The only catch is that, if you use a 2.0x extender with an f/4 lens, the widest available aperture shrinks to f/8. This can make autofocus unavailable in some Canon DSLRs. There are no such problems when using a mirrorless body, but the RF 70-200mm on test is incompatible with Canon’s RF Extenders.…

The Sigma 70-200mm Sports lens delivers scintillating image quality and superb all-round performance. By contrast, the Canon EF lens’s image stabilizer is comparatively basic and only has a 3.5-stop rating. In this respect, the EF lens is outclassed by the new Canon RF lens’s 5-stop, triple-mode stabilizer. The RF lens is sharper too, although its telescoping design won’t be to everyone’s taste, plus it’s pricey. Tamron’s SP 70-200mm f/2.8 Di VC USD G2 is nearly as good as the Sigma and matches the Canon for sharpness but, despite having a 5-stop, triple-mode stabilizer, stabilization isn’t quite as effective when panning. If you’d prefer to downsize to a 70-200mm f/4 lens, the Canon EF 70-200mm f/4L IS II USM is the pick. Finally, the Sigma 50-100mm f/1.8 is a great lens…

Letter of the Month We just wanted to write in to say how much my partner and I have really appreciated your home photography tips you’ve been producing in your excellent magazine during these lockdowns. Both my wife and I use Canon cameras, and we’re usually out photographing our local landscapes – and wildlife if we’re lucky! – but as we’re staying at home more, we really miss getting out with our cameras during this latest lockdown. However, we are now really enjoying all the photo projects you’ve done that we can do indoors together at home. Chris and Susie Pipping, Derby Thanks for the positive feedback Chris and Susie. We all have to adapt during these challenging times, and it’s no different for all of us Canon photographers. You’ll…