Eos martie 2013

Exploring the world of Canon EOS photography

April-June 2013

Travel photography A masterclass with Richard I’Anson

Geotagging Adding location to your EXIF data

Trigger action Shooting with movement and sound

New camerasEOS 100DEOS 700D

New lensEF-S 18-55mm f3.5-5.6 IS STM

2 EOS magazine April-June 2013 © D

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EOS magazine April-June 2013 3

Welcomewww.eos-magazine.com

Publisher & Editor Robert Scott [email protected]

Associate Editor Angela [email protected]

Technical Writer Dave [email protected]

ContributorsDrew Buckley, Tracy Hallett

Business Manager Claire [email protected]

Magazine subscriptions Linda Gilman, Pam [email protected]

Subscription renewals Jackie [email protected]

EOS magazine shop Caron [email protected]

Accounts Kate [email protected]

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Write to:The Old Barn, Ball Lane, Tackley, Kidlington, Oxfordshire OX5 3AG, UK

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All information and advice in this magazine is offered in good faith. The publisher does not accept any liability for errors or omissions. All registered names and trade marks are acknowledged. The publisher acknowledges the help of Canon UK.

EOS magazine is published by Robert Scott Publishing Limited, a company registered in England and Wales. Registration number 4663971.

© 2013 Robert Scott Publishing Limited ISSN 1748-5568

For the last few years we have enclosed a copy of the our annual ‘Everything EOS’ supplement with the April-June issue. This supplement is a comprehensive guide to the EOS system from its birth in 1987 to the current day. The problem is that ‘Everything EOS’ can be out-of-date soon after publication as Canon now introduces new products every few months.

So now we are going to make ‘Everything EOS’ available online. This means that we can update the pages within days of new products being announced. We will also have the space for additional information, such as the latest firmware updates. We are currently working on the first digital edition. This will be free to download in PDF format, so you can read it on your computer or transfer it to an iPad or other tablet. Keep an eye on our website at www.eos-magazine.com for details of when the first Everything EOS digital edition will be ready for download. We will also announce publication in EOS magazine mail – our free e-mail newsletter. If you have not already signed up you can do so at the above website. The newsletter is only sent once or twice a month, so we will not flood your inbox.

I can remember when all we published was the printed EOS magazine. How times have changed. In addition to our website and e-mail newsletter we now offer: EOS magazine digital edition, EOS magazine app, EOS magazine forum and classified adverts, EOS newsblog, EOS magazine blog, EOSmag facebook page, Google+ community... You will find links to all these items at www.eos-magazine.comThe EOS magazine blog is new, so only a few postings so far, but bookmark the page to see how it develops. The blog is the place for comment and opinion, unlike the newsblog, which keeps you up-to-date with all the latest EOS cameras, lenses and accessories, firmware updates and other news. The Google+ community page is also new, with only around 140 members at the moment, but we expect it to build over the coming months. It already features some stunning photography.

Thanks to those of you that have already recommended EOS magazine to friends by passing on an issue or two. Rather than giving up one of your magazines, send us the details of your EOS-using friends by the end of May 2013 and we’ll send them a free copy. As a bonus, if they then go on to subscribe to the print edition before the end of July 2013 we’ll enter both of you into a prize draw to each win a £100 EOS magazine shop voucher. Sounds good? Then go and retrieve that loose bit of paper with your address on it from the recycling bin and find out more. Or get the details off our website. And the more friends you recommend, the more chance you will have of winning. So pass it on!

Robert Scott, [email protected]

Find us on facebookwww.facebook.com/EOSmag

4 EOS magazine April-June 2013

ContentsCover story

06 Canon Spring cashbackLatest news from Canon and details of seminars to be held at EOS magazine headquarters.

10 Wildlife workshopPatience and perseverance are prerequisites for outstanding wildlife images says Ben Hall.

12 Firmware updatesFirmware updates for the EOS-1D X, 5D Mark III and EOS C500, C300, C100 cinema cameras.

14 Canon shootIn five short weeks Julian Love tested Canon photographic gear worth over £100,000.

See page 30Cover photograph: book and perfume seller, Tunis, Tunisia by Richard I’Anson. “I came across this man selling religious books and perfumes in a quiet corner near the entrance to the main mosque. He seemed slightly bemused by my interest in taking photos, but after a brief exchange he was happy to go about his business. Between customers I asked him to pose for me and took the shot I’d planned while I was waiting for him.” EOS 5D Mark III with an EF 24-70mm f2.8L USM lens, 1/60 second at f2.8, ISO 400.

Subscription details

Each subscription is for four issues of EOS magazine. Subscriptions paid by credit card continuous authority (CCA) or Direct Debit (DD) receive a discount of £5. You can convert to CCA or DD payment at any time; a debit will not be made until your next renewal date. Details are available on request. Details of any change to the subscription fee for credit card continuous authorities (CCAs) are published in EOS magazine in advance of any change. CCA renewal fees are £16.95 (UK), £21.95 (Europe) and £26.95 (air mail outside Europe). Please notify EOS magazine of any change to your address or credit card details. CCAs can only be cancelled by contacting EOS magazine. Details of any change to the subscription fee for Direct Debit payments are sent to subscribers at least one month in advance of any change. Direct Debit payments are not notified or acknowledged except in the case of a change to the subscription fee or renewal date. Direct Debit mandates can be cancelled by contacting your bank, but please also notify EOS magazine to avoid confusion.

EOS Extra!EOS magazine subscribers have their own special area on our website where there is a variety of offers and articles. Click the EOS Extra! link at:www.eos-magazine.com and enter the password: extraeos

78 Freelance diaryMiles Willis gives up a safe, secure job to become a freelance photographer.

80 Experience seminars Forthcoming EOS photographic courses.

82 Forum A review of EOS magazine forum activity.

Other features

New products

18 Two new cameras and a lensDetails of the EOS 100D, the EOS 700D, and the EF-S 18-55mm f3.5-5.6 IS STM lens.

World of EOS


24 Basic zone+We explore the new basic zone modes and fi nd out how useful they are.

30 MasterclassRichard I’Anson shares how to capture the reality of a city or country in your travel images.

38 Trigger actionWays you can get your camera to photograph those hard to capture subjects automatically

44 Picture perfectEOS cameras have a few clever features to help you produce powerful compositions.

52 Optical fi xCanon’s Digital Lens Optimizer (DLO) helps you to get the very best out of your lenses.

58 Camera choiceDrew Buckley compares the attributes of the EOS 7D, 5D Mark II and 5D Mark III cameras.

64 How was it shot?Scott Sharman uses Speedlites to turn an overcast day into a dramatic shoot.

66 Geotagging imagesFind out how you can put the Global Positioning System (GPS) to work for your images.

72 Legacy lensesHow and why you might want to use an old FD lens with your EOS camera.


Techniques

World of EOS photography


For the latest news visit our newsblog at http://www.eos-magazine-news.blogspot.co.uk

PhotoNewsNew Canon cameras and Spring cashback

Canon showroomThe dream of many an EOS owner – a showroom packed with the latest Canon photography and print imaging technology in a hands-on, experiential environment. However, the Canon Experience Centre is a reality! Canon Image Square, located at Eighth Avenue Place, Calgary, Canada, is a unique venue where dynamic displays and demonstrations give visitors a true look at how Canon products work. Visitors can learn how Canon equipment and solutions can help them capture their experiences. On hand are expert staff who are dedicated to answering questions, sharing tips and finding information for visitors. Canon Image Square includes a fully-operational showroom exhibiting a range of Canon print production devices and solutions for business needs, a photo studio outfitted with professional EOS DSLR cameras, Speedlites, and photo production software. There is also a classroom-style learning space where expert staff will conduct seminars, projector demonstrations, presentations and Canon College photography classes. As yet, there is no indication whether similar showrooms will be rolled out elsewhere across the world. For more information, visit www.canon.ca/imagesquare

Canon spring cashbackIf you are tempted by Canon’s high-end cameras, lenses, compacts and printers, their latest cashback offers could help you take the final step. The EOS equipment included in this spring cashback comprises:

Product CashbackEOS 5D Mark III £160/€200EOS 6D £100/€125EOS 7D £80/€100EOS 60D £65 /€80EF 100mm f2.8L Macro IS USM £80/€100EF 16-35mm f2.8L II USM £160/€200EF-S 10-22mm f3.5-4.5 USM £80/€100EF 17-40mm f4L USM £80/€100EF 24-70mm f2.8L II USM £235/€300EF 8-15mm f4L Fisheye £155/€200EF 70-200mm f2.8L IS II USM £235/€300Speedlite 600EX-RT £80/€100

In addition to these EOS items, a camcorder, together with several printers and PowerShot compact cameras are also included in the cashback. The cashback is available on purchases made from 7 March 2013 until 31 May 2013. Claims must be made by 1 July 2013. To take up the offer, and for full terms and conditions, visit www.canon.co.uk/springcashback

Extender improvisation

In March we were privileged to get our hands on Canon’s latest innovative lens at the Focusing on Imaging show at the NEC, Birmingham. As the name suggests, the EF 200-400mm f4L IS 1.4x (below) incorporates a 1.4 Extender which, with the simple flick of a switch, will take you from a focal length of up to 400mm to up to 560mm. This means that if you suddenly want a bit of extra zoom you don’t have the inconvenience of removing a heavy lens and adding a converter. The built-in time-saving device could be critical for the type of images you are likely to be shooting with this lens – wildlife or sport – giving you extra reach without any extra weight. The first lens of its kind, it is still undergoing field tests and as yet there is neither a launch date nor price guideline – so keep saving.

New Canon products

Canon has kept up an extraordinary pace with the release of two new EOS cameras this quarter – the EOS 700D and the diminutive EOS 100D. You can find further details of both these cameras, together with the new EF-S 18-55mm f3.5-5.6 IS STM lens, starting on page 18. Other new products that have been launched since January this year include two new PowerShot compact cameras – the SX280 HS and the SX270 HS. Both cameras boast the latest DIGIC 6 image processing technology and a 20x optical zoom – not forgetting a waterproof housing as an optional extra (which makes them fantastic cameras for taking on holiday). The new PowerShot SX280 HS (above) costs £299.99. There is also a new photo scanner, the CanonScan 9000F Mark II, as well as four new all-in-one home office printers, which renew the PIXMA MX range.


Do you have any EOS-related news or photo stories? E-mail: [email protected]

World Press Photo of the Year 2012

We are hosting seminars!

© PAUL HANSEN/WORLD PRESS PHOTO OF THE YEAR 2012

Swedish photographer, Paul Hansen, won the World Press Photo of the Year 2012 with his image of the bodies of two-year-old Suhaib Hijazi and his elder brother Muhammad, almost four, carried by their uncles to a mosque for their funeral in Gaza City. For his winning image, shot on 20 November 2012, Paul was using an EOS 5D Mark III with an EF 16-35mm f2.8L II USM lens, 1/800 second at f5, ISO 400. The competition is sponsored by Canon and attracted entries from 5666 photographers from 124 countries. The children were killed when their house was destroyed by an Israeli air strike on 19 November. The strike also killed their father, and severely injured their mother and four other siblings. By the time of the ceasefire on 21 November over 150 people had been killed in Gaza. Of these 103 were thought to be civilians, including at least 30 children. For more information and winning images, visit www.worldpressphoto.org

New LCE storeLondon Camera Exchange has opened a new store in Manchester city centre in premises that were previously part of the Jacobs chain of camera stores. With the demise of Jessops and the loss of the Jacobs photographic chains, LCE felt that a second store in a more visible position was a timely move. London Camera Exchange has been in business for over 50 years and with 28 stores around the UK is the country’s biggest photo specialist retailer. Catering for beginners through to enthusiasts and professional photographers, all the staff share a passion for photography. Stocking an extensive range of new equipment they also specialise in second-hand equipment and part-exchange. The new address is: London Camera Exchange, 16 Cross Street, Manchester, M2 7AE; telephone 0161 834 7500.

High sensitivity sensorCanon has developed a high-sensitivity 35mm full-frame CMOS sensor exclusively for video recording. The new sensor enables the capture of full HD video even in exceptionally dimly-lit environments with as little as 0.03 lux of illumination (approximately the brightness of a crescent moon) – a level of brightness in which it is difficult for the naked eye to perceive objects. The new sensor features pixels measuring 19 microns square in size, which is more than 7.5 times the surface area of the pixels on the CMOS sensor incorporated in the EOS-1D X and other digital SLR cameras. In addition, the sensor’s pixels and readout circuitry use new technologies that reduce noise, which tends to increase as pixel size increases. For video clips taken using the new sensor in a prototype camera in very low light situations, such as footage recorded in a room illuminated only by the light from burning incense sticks, visit www.canon.com/news/2013/mar04e.html

We are delighted to announce that Experience Seminars is running a range of seminars and Open Days at our delightful headquarters in the rural village of Tackley, Oxfordshire. With courses at venues all over the UK, Experience Seminars is one of the leading providers of photographic training. The company specialises in offering seminars specific to EOS cameras. Courses in Tackley include: Making the most of your EOS 5D Mark III, Making the most of your EOS software and Creative techniques with your digital EOS. Why not make a short break of it? Tackley is only 12 miles from the spires and colleges of the city of Oxford and only five miles from Blenheim Palace – both of which make great photo opportunities. For further details about all the courses to be held at Tackley, turn to page 80 or visit www.experience-seminars.co.uk



International Garden Photographer of the YearThe International Garden Photographer of the Year is the world’s premier competition for garden, plant and environmental photography, organised in association with the Royal Botanic Gardens, Kew. Debbie Hartley, from Canberra, Australia, won the Beauty of Plants category with her image entitled ‘Dogwood Cover’. “I was attracted to the masses of beautiful pink flowers. I loved the contrast of the pink against the blue sky – it pays to look up!” Mandy Disher, from Cambridgeshire, was a finalist in the same category with her image of the woodland flower, Greater Stitchwort. “I placed a piece of greaseproof paper

© DEBBIE HARTLEY/INTERNATIONAL GARDEN PHOTOGRAPHER OF THE YEAR 2012 © MANDY DISHER/INTERNATIONAL GARDEN PHOTOGRAPHER OF THE YEAR 2012

Below ‘Dogwood cover’, Winner of the Beauty of Plants category. EOS 5D Mark III with an EF 100mm f2.8 Macro USM lens at 1/1600 second at f2.8, ISO 100.

Right Greater Stitchwort. EOS 450D at 60mm, at 1/6 second at f11, ISO 100.

Charlie Phillips was awarded the title of Scottish Nature Photographer of the Year 2012 with his image of a Bottlenose dolphin coming up for air. Charlie is a professional wildlife photographer and researcher based in North Kessock, near Inverness. Most of his working year involves studying and photographing the

Scottish Nature Photographer of the Yearpopulation of Bottlenose dolphins that reside in the Moray Firth. Charlie shot his winning image using an EOS-1D X while on a research boat survey trip from Aberdeen University Lighthouse Field Station at Cromarty. “It was a beautiful day, with calm, blue seas and no wind. This one young dolphin surfaced beside us at just the right distance and speed. The conditions were the best that I can remember and I took a total of 2600 frames that day. I was using an EF 70-200mm f2.8L IS II lens with my camera – a fantastic combination for this type of high-speed work. “Dolphins surface to breathe and go under again in less than a second so the 12fps and amazing autofocus accuracy of the camera means that I can concentrate on what the dolphin is doing and know that the camera will get the shots that I need. I tend to use manual exposure, utilising the auto ISO function to keep my shutter speed and aperture the same – in this case 1/1600 second at f6.3, ISO 500, Case 5 AF setting. The new Mark II lens is fantastic for this type of work – lightning-fast autofocus, razor sharp at all apertures and focal lengths and lovely contrast and colours. The Auto Picture Style is good for these colours and tones, with my dolphin image pretty much as it came out of the camera.” The Scottish Nature Photography Awards celebrates nature, wildlife and landscape photography in Scotland. For further information and other winning images, visit www.scottishnaturephotographyawards.com

behind the flower as I photographed it,” said Mandy. An exhibition of the winning images is touring the UK and venues across the world. All successful images are also included in a book published by Kew Publishing. For more information about the competition, winning images, details of the exhibition and book, visit www.igpoty.com


8 |9

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Ben Hall has won numerous international awards for his wildlife photography. He specialises in photographing birds and mammals in the British Isles, driven by the need to protect and preserve the fragile ecosystem.

What is the biggest challenge for a wildlife photographer?As a wildlife photographer I find myself facing constant challenges! Rarely does one of my most successful shots come easily – usually it is a result of weeks, or even months, of planning. Of course, getting close enough to wild animals is the challenge that I face almost every time I venture out with the camera. To overcome this I have developed fieldcraft techniques that help me to get within range of timid subjects. I also use various hides, including a floating one for photographing birds on water.

Is there a particular subject that you are obsessed with photographing – either because you think it is a quite beautiful living thing, or because you have yet to get an image of it with which you are truly satisfied?This is a tough question and I’m not sure that I have one favourite subject, but a few. Even though I photograph wildlife all over the world, one of my favourite subjects is the great crested grebe. During the past few years I have spent countless hours with these birds. Not only are they beautiful and elegant, but they display an astounding array of behaviour. There’s a pair that breed on a lake just two minutes from my house, which is ideal as I have been able to photograph them in-depth and build up a collection of images that gives a real insight into their lifecycle. I have always been fascinated with birds. I never tire

Wildlife workshop

Patience and perseverance are prerequisites for outstanding wildlife images

of photographing them – from a blue tit in the garden to a condor soaring over the Andes, it really doesn’t matter, as long as I’m out there appreciating nature.

Which EOS body do you currently shoot with?I am currently using an EOS-1D Mark IV as my main body and an EOS-1D Mark II as a backup. I’m planning on upgrading to the EOS-1D X very soon.

How have recent technological advances impacted on your photography?When I upgraded from the EOS 1D Mark II to the Mark IV I noticed a considerable improvement in both high ISO performance and resolution. Due to the nature of my work I often find myself shooting in low light, so being able to crank the ISO up is a huge advantage. It has opened up so many more possibilities and I now find myself shooting action – such as birds in flight in low light – that would never have been possible before. Has photographing fast-moving subjects got much easier with faster autofocus, better tracking and increased frame rate or do these improvements have limited impact bearing in mind there are so many aspects to achieving a good shot?There are many factors involved in getting a successful shot of a fast-moving subject, but having fast autofocus and a high frame rate is paramount. A great deal of my work is action-based, either birds in flight or images that depict a certain type of behaviour. I can safely say that improvements in the focusing system in recent years have made a marked difference to the amount of keepers I end up with!


10 |11

Win a copy of Ben Hall’s bookBen Hall is co-author of ‘The Wildlife Photography Workshop’ book with fellow wildlife photographer, Ross Hoddinott. This ‘workshop in book form’ allows you to absorb the benefits of the workshop experience without actually being on location with the professionals. Whatever your level of experience, be guided by the authors’ breadth of knowledge and technical advice. We have a copy of The Wildlife Photography Workshop to give away. To enter, simply send an e-mail with ‘The Wildlife Photography Workshop ’ in the subject box to: [email protected] The Wildlife Photography Workshop is published by Ammonite, priced £16.99. www.thegmcgroup.com

Ben’s kit:

EOS 1D Mark IVEOS 1D Mark IIEF 500mm f4 L IS USMEF 100-400mm f4.5-5.6L IS USMEF 70-200mm f2.8L IS USMEF 17-40mm f4L USMEF 100mm f2.8 MacroEF Extender 1.4x Mark IIIGitzo 3541 LS tripod with Manfrotto ball-and-socket and gimbal headsManfrotto monopodTwo Lowepro camera bagsTwo field hides (one low level, one high), floating hide

Which is your favourite lens?That would have to be my trusty EF 500mm f4L IS USM for the simple reason that I just couldn’t live without it! It accompanies me on nearly every shoot and certainly every overseas trip. The quality is superb and the focusing is fast, allowing me to capture both portraits and action shots.

What was your most recent photographic purchase and how is it performing?The last piece of gear I bought was the latest Extender, the EF 1.4x Mark III. When photographing shy species or when a close approach just isn’t possible, a long focal length is vital. I have always been a fan of the 1.4x Extender – it’s the perfect partner to the 500mm. The next piece of gear I buy will be the EOS-1D X. I’ve used one on several occasions and have been blown away by the performance.

What advice would you give anybody who is keen on wildlife photography?Try to develop your own style. In today’s crowded market you really need to be producing something different for your work to stand out. Take images of subjects that inspire you – this will help to keep you motivated. Study and observe the behaviour of your subjects and get to know your local patch. The more in-tune you are with the environment, the easier it will become. Finally, always strive to improve your images, even if it means returning to the same locations time and time again. In this sense, I find perseverance even more important than patience!

For more of Ben’s images and details of his photography workshops visit www.benhallphoto.com



The latest updates for EOS digital cameras are available by following the ‘Firmware Updates’ link on the EOS magazine home page at www.eos-magazine.com For information on updating your camera and lens fi rmware, see EOS magazine October-December 2012, pages 70 to 74.

EOS-1D XFirmware version 1.2.1 is now available for the EOS-1D X. It incorporates the following improvements and fi xes:1 The function to disable the Image size selection button has been added. See the instruction manual ‘EOS-1D X Firmware Version 1.2.x Additional Function’ (PDF fi le) included in the downloaded fi rmware 1.2.1 folder for information on how to intentionally disable this button, after the fi rmware update 1.2.1 has been installed in the camera. 2 Fixes a phenomenon in which Err 70 and Err 80 may occur during certain shooting conditions.

EOS 5D Mark III and EOS-1D X Depending on the shooting conditions, it may take slightly longer for the EOS 5D Mark III and EOS-1D X cameras to focus when using a Speedlite’s AF Assist Beam. This is compared with the focusing speed of the EOS 5D Mark II and EOS-1D Mark IV cameras using a Speedlite’s AF Assist Beam. Canon is developing a solution to enhance the focusing feature for the EOS 5D Mark III and EOS-1D X and plans to release fi rmware updates based on following schedule:

Apple software updates

iPhoto ‘11 software. You can download the update at:http://support.apple.com/kb/DL1604

EOS C500, EOS C300, EOS C100Updates for three Cinema EOS System cameras:

support for a new Magnify function that will allow users to check focus in different parts of an image on the camera LCD, as well as the centre.

an additional range of features designed to assist independent videographers as well as gain additional

PocketWizard compatibilityWhen the EOS-1D X and 5D Mark III were introduced they proved to be incompatible with the PocketWizard MiniTT1 and FlexTT5 radio fl ash control units. Pocket Wizard now has fi rmware updates for the units:

http://www.pocketwizard.com/support/downloads/

http://www.pocketwizard.com/support/downloads/beta

Firmware updates

Are you new to photography? Are you wondering what all the buttons and dials on your camera are for? Do you want to know how to use the potential of your EOS camera to take creative photos? Then Understanding EOS the latest eBook by EOS magazine contributor Andrew Gibson, could be for you. It teaches you how to use your EOS camera to take beautiful photos by exploring the settings that you need to know how to use to get started. You’ll learn what exposure modes, Picture Style and white balance do and how to use them, plus the importance of composition, lighting and post-processing. You can buy ‘Understanding EOS’ for £7 through EOS magazine at: www.eos-magazine.com/ebooks

Understanding EOS

Experience Seminars DVD

Experience Seminars covers everything you need to know about the EOS 650D in this, the latest offering in its model-specifi c DVD series. Making the Most of Your EOS 650D covers all the camera’s modes, features and overrides, including everything from full auto mode to more advanced options, such as customising the camera using Custom Function controls. It also introduces the camera’s metering system and how to use the options, as well as exposure and overriding exposure settings. The DVD is chapter-based for easy access to different functions. Contains 2 discs with a total running time of seven hours. Making the Most of your EOS 650D costs £24.99. It is one of seven model-specifi c DVDs (others are the EOS 5D Mark II, EOS 7D, 60D, 600D, 500D/550D and 1100D) available from the EOS magazine shop at www.eos-magazine.com

Project 1709

Canon has updated its Project 1709 beta, introducing version 1.1 that offers users the option of full Flickr integration, as well as new management and organisation features. Project 1709 version 1.1 now makes it possible to publish images and comments directly to Flickr from within the Project 1709 interface, as well as to pull in images already stored on Flickr, allowing users to enjoy their photographs from an even wider range of social networks. A series of enhanced functions and management tools have also been added, providing greater fl exibility to manage and organise images. These new features have been added following feedback from photographers since the launch of Project 1709 in September 2012. Canon will continue development of the service in the run up to a full public launch later this year. If you are interested in participating in the beta programme you can register at www.Project1709.com


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In five short weeks Julian Love tested Canon photo gear worth over £100,000.

Canon shoot

When Julian Love received his brief from Canon he quickly realised this was going to be a shoot like no other he had done before. It contained a long list of lenses – 33 to be exact – including everything from the EF 8-15mm f4L USM Fisheye to the EF 800mm f5.6L IS USM supertelephoto. Canon was looking to promote the huge range of EF and EF-S lenses available for its digital EOS cameras and needed pictures shot on each of them. In addition Julian was asked to shoot with Canon’s latest flagship camera – the EOS-1D X – which had not even been launched at the time.

I immediately set to work creating a detailed plan for the shoot – what locations and subjects were to be shot with each lens – and a budget. After a few meetings everything was agreed. The final plan included shooting in Scotland, the Swiss Alps, Italy and a string of locations across London over a five-week period. Soon after, Canon Professional Service (CPS) sent the lenses to my studio in four huge shipping cases. Seeing over £100,000 of lenses lying around my office was an impressive sight! A few weeks later, I was climbing up The Old Man of Storr on the Isle of Skye wondering whether shooting landscapes in Scotland in the middle of winter was such a good idea after all. I’d travelled up to Fort William a couple of days earlier with my assistant and one of the team from Canon and we’d faced almost constant wind and rain. The brief called for landscape shots on four different lenses to show the difference between each lens. I was shooting with a couple of EOS 7D bodies and the EF-S 17-55mm f2.8 IS USM, EF-S 15-85mm f3.5-5.6 IS USM, EF-S 17-85mm f4-5.6 IS USM and EF-S 18-55mm f3.5-5.6 II lenses.

A couple of days before the shoot I’d been given another camera to take along – the new EOS-1D X. At the time there were only four of these cameras in the whole of Europe being used to create imagery for the launch, which was still a few months away. There was no way for me to convert the raw files from the camera, so I set it to shoot in raw + JPEG simultaneously. That way I could use the large JPEGs to edit the shots, but I would still have the raw files for when my preferred raw converter – Adobe Lightroom – supported them. However, the EOS-1D X does not accept any of the EF-S lenses, which only fit on cameras with APS-C size sensors. So, in addition to the four EF-S lenses I was also carrying an EF 16-35mm f2.8L II USM and a tilt-and-shift TS-E 24mm f3.5L II lens. You might wonder why I needed an assistant for a landscape shoot, but when you think of the amount of

First impressions

The most impressive piece of equipment I used was undoubtedly the new EOS-1D X. I was using a pre-production sample with no instruction manual, but I had used the EOS-1Ds Mark II for many years prior to the EOS 5D Mark II coming out, so quickly got the hang of it. It was immediately apparent that the autofocus and frame rate were in a different league – especially helpful when shooting fast-moving skiers at night, for example. But it was only later when I opened the files on the computer that the image quality shone through – lots of shadow detail, almost noise-free at ISO 1600 and very usable at ISO 6400 make it a hugely versatile tool.


Opposite Skier, Swiss Alps. EOS-1D X with an EF 16-35mm f2.8L II USM lens, 1/3200 second at f8, ISO 400.Top Isle of Skye, Scotland. EOS-1D X with an EF 16-35mm f2.8L II USM lens, 30 seconds at f8, ISO 100.Above Venice. EOS 5D Mark II with an EF 70-200mm f4L IS USM lens, 10 seconds at f8, ISO 100.Top right The Old Man of Storr, Isle of Skye, Scotland. EOS-1D X with an EF 16-35mm f2.8L II USM lens, 1/4 second at f22, ISO 400.Centre right Skier using a kicker to get some air. EOS 7D with an EF-S 18-200mm f3.5-5.6 IS lens, 1/100 second at f4, ISO 2500.Right Fresh figs. EOS 7D with an EF-S 60mm Macro USM lens, 2 seconds at f8, ISO 100.

gear we needed to carry up the mountains and the need to switch lenses quickly to get the same shot on each lens in changeable conditions, it soon becomes clear this was not a job I could do on my own.

Dawn landscapeAfter a few days of driving around in the rain, the forecast was good and we set off at 5am on the hour-long drive to Portree. The overnight freeze had turned the rain to snow and our feet crunched through a thick white blanket as we hiked up to the Old Man of Storr’s summit using our head torches in the pre-dawn darkness. I had a feeling we were going to be lucky, and when we reached the top and set up we were treated to the most glorious of sunrises. As the sun came into view, the clouds turned fiery orange and the snow glowed pink in the reflected light. I used a 3-stop hard-edged graduated neutral density filter to hold the detail in the sky and stopped down to an aperture of f16 to produce a starburst around the sun. In the next couple of minutes I had to capture the same shot on five different lenses and two different cameras, switching the filter between the lenses and trying not to let the gale blow



snow inside the cameras. Before I knew it the sun had begun to creep into the clouds and the light was gone and, by the time we were back down in Portree, the sky had clouded over and it was raining again. But we had the first shot in the bag and I was feeling confident about our next stop – Venice. The brief was for some classic travel pictures using a number of zoom lenses, including the EF-S 18-135mm f3.5-5.6 IS and EF-S 18-200mm f3.5-5.6 IS on an EOS 7D and the excellent EF 24-105mm f4L IS USM on a 5D Mark II. I’ve photographed in Venice a few times, but this was the first time in winter. The weather was bitterly cold with an icy wind – at one point it actually started snowing as we took a motor launch down the Grand Canal. James Wilson, from the Canon team, was with me and knew the city well. We also had a fixer who worked for a local film production company to help with permits, model releases and guiding us around the maze of streets and alleyways. With flat grey skies making for rather dull light, I waited until dusk to get the best colours, the blue of the clouds contrasting nicely with the orange street lights. I stopped down to f16 to get slow exposures that gave some atmospheric motion blur to the gondolas.

Venice to VerbierBack from Venice and I had one day to re-pack and head to Switzerland with the EOS-1D X again. The brief called for sports images shot on telephoto lenses, including the EF 70-200mm f4L IS USM and EF 70-300mm f4.5-5.6 IS USM. I’ve skied and shot regularly in Verbier and am familiar with the terrain. In addition, I know Beanie Milne Holme, marketing manager for Faction Skis, which is based in the town. The company was excited to be part of the project and agreed to

lend us some of their professional skiers for the shoot. We skied for three days with Beanie and two of her team, Laurent ‘Lolo’ Belin and Oskar Pedersen. Oskar would think nothing of back-flipping off a rock by the side of the piste. It hadn’t snowed for a while so rather than hunt out fresh powder snow we focused on the snow park in Thyon, where the giant snow ramps (called kickers) were throwing the skiers 10m into the air. Oskar stole the show with a series of double backflips. With the EOS-1D X able to shoot indefinitely at 12fps in JPEG mode I captured some amazing sequences.

Illumination by snowcatThat evening, after warming up with pizza and coke at the bottom of the mountain, we headed back up with the pisteurs (who ensure the safety of the ski slopes and rescue injured users). Riding on the back of a snowcat with all our equipment, we set up by the uppermost kicker. With two snowcats illuminating the take off, and a further two lighting up the landing area and a skidoo to bring the skiers back up, we were ready to go. Oskar, Lolo and a couple of local skiers hit the jump time after time and we got some great shots with the skiers lit up in the dark. My Speedlite 580EX II flashguns were only just powerful enough. With the EOS-1D X I was able to shoot at ISO 6400 and f4 and still produce clean files, which didn’t tax the Speedlites too much. But when shooting with the EOS 7D I didn’t want to go above ISO 1600 and was limited to f5.6 by the lenses I was using. We were then into a series of one day shoots in and around London, including portrait, lifestyle, wedding, architecture, wildlife and macro photography. Over the course of two weeks we were shooting on the streets of Notting Hill, in


a café in Shoreditch, at a country house in Surrey, at Kew Gardens and at the Wildlife Heritage Foundation in Kent. Highlights included using the remarkable TS-E 17mm f4L tilt-and-shift lens at the British Museum to show how the shift function can be used to correct for perspective distortion when shooting architecture, and standing on the roof of Tate Modern with a whole suite of supertelephoto lenses to show how the field-of-view changes as the focal length increases. A couple of months later I saw the first use of the images in the launch brochure for the EOS-1D X. A few months after this they were reproduced in an interactive sales guide for Canon staff and their re-sellers, illustrating the differences between the vast array of Canon lenses on offer. The pictures will be turning up in other Canon publications throughout this year, so keep your eyes peeled!

For more of Julian’s images visit www.julianlove.com

Opposite pageTop left Bride and groom. EOS 5D Mark II with an EF 16-35mm f2.8 II USM lens, 1/500 second at f4, ISO 200.Bottom left Skier doing tricks in the snow park. EOS-1D X with an EF 75-300mm f4.5.6 lens, 1/250 second at f5.6, ISO 100.Right Ocelot. EOS 5D Mark II with an EF 70-300mm f4-5.6 IS USM lens, 1/250 second at f5.6, ISO 1600.This pageTop left British Museum. EOS 5D Mark II with a TS-E 17mm f4L lens with shift applied, 1/10 second at f11, ISO 100.Centre left British Museum. EOS 5D Mark II with a TS-E 17mm f4L lens with no shift applied, 1/10 second at f11, ISO 100.Bottom left Lone skier in fresh snow. EOS-1D X with an EF 70-200mm f4L IS USM lens, 1/3200 second at f5.6, ISO 200.Top right Tea break. EOS 5D Mark II with an EF 50mm f1.2L USM lens, 1/125 second at f1.2, ISO 400.Bottom right Coloured pencils. EOS 5D Mark II with an EF 100mm f2.8L Macro IS USM lens, 1 second at f4, ISO 100.

New products


NewcamerasKey features

World’s smallest DSLR (according to Canon research as of 21 March 2013)

APS-C format (approx. 22.3 x 14.9mm)

18.0 megapixel Hybrid CMOS

AF II sensor

Scene Intelligent Auto

Creative fi lters and Extra Effect Shot

Built-in feature guide

Optical viewfi nder

Large touch screen display

Accepts SD, SDHC, SDXC cards (UHS-I compatible)

DIGIC 5 image processor

Full-HD movies with Hybrid CMOS AF II for continuous tracking

A full specifi cation for the EOS 100D is on our website at: www.eos-magazine.com (follow the ‘EOS SYSTEM’ link)

Smallest and lightest DSLR ever made

Pricing and availability

The EOS 100D will be available from late April 2013

EOS 100D (body only) – £579.99 / €739.99 (SRP)

EOS 100D plus EF-S 18-55mm f3.5-5.6 IS STM – £709.99 / €909.99


Is there an advantage to being small? Canon thinks so. The new EOS 100D is the smallest and lightest digital single-lens refl ex (DSLR) so far. The camera has been designed from the ground up, with parts being made smaller and lighter where possible. Yet it still has an APS-C sensor, just like the rest of the EOS consumer cameras. Amazingly, it has a 3-inch LCD touch screen on the back – no miniaturisation here. There is also an optical viewfi nder (approx. 95% coverage). In short, the EOS 100D has all the features you would expect to fi nd on a consumer SLR and is an excellent entry-level model. It will

EOS 100D

Left The EOS 100D is the smallest and lightest digital single-lens refl ex camera ever made (according to Canon research, correct at 21 March 2013). It is compared here with the new EOS 700D (see page 20). The actual sizes are in the comparison chart on page 22. The EOS 100D (407g) is over 170g lighter than the EOS 700D (580g).

also make a good second camera for those times when you do not want to carry the bulk normally associated with a digital SLR.

New Scene ModesThe EOS 100D features three new automatic scene modes which have settings designed to capture great shots in specifi c scenarios. The new scene modes are: Kids: designed to capture fast-moving children whilst capturing skin tones as naturally as possible; Food: optimised settings to ensure shots of food look more appealing and detailed; Candlelight: settings have been programmed to capture accurately the warm glow of candlelight.

Above The diminutive EOS 100D still fi nds room for a 3-inch LCD screen. The buttons and switches will be familiar to owners of other EOS cameras


Canon’s latest compact camera is a single-lens reflex. While not as small as the recent mirrorless EOS M model, the EOS 100D is less of a handful than any other EOS SLR. “A DSLR you’ll never want to leave behind”, says Canon. It will certainly be a good travelling companion, taking up less space in your luggage, especially when used with the recent EF 40mm f2.8 STM ‘pancake’ lens. However, be aware that Canon has not introduced a battery grip for the camera, so handling might be a problem for a few photographers – at least until a third-party manufacturer jumps in to fill the gap.

19 |19

APS-C Hybrid CMOS AF II sensor

Creative filters preview

Designed and manufactured by Canon to work in combination with its own DIGIC image processors, Canon’s CMOS technology integrates advanced noise reduction circuitry at each pixel site, delivering virtually noise-free images. In comparison with CCD technology, the lower power consumption characteristics of Canon’s CMOS sensors also contribute to longer battery life. The EOS 100D features a new Hybrid CMOS AF II Sensor that uses a combination of phase detection pixels located on the sensor, along with contrast AF to acquire swift and accurate focus. Compared to Hybrid CMOS AF, the new Hybrid AF II Sensor has phase detection pixels over a larger proportion of the sensor’s area – approximately 80% of the full height and width (only 15% on the EOS 650D). As a result, the EOS 100D is able to achieve focus quickly across the entire scene – both in stills and Full HD movies.

The EOS 100D provides a range of Creative Filters which can now be previewed at the time of shooting when using Live View mode. Alternatively, you can apply filters to selected images after the shot is captured. Seven different filters are available to choose from: Art bold effect, Water painting effect, Fisheye effect, Grainy B/W, Soft focus, Toy camera effect and Miniature effect.

Miniature effect in moviesMiniature effect from Canon’s Creative Filter selection can now be applied to movies. Designed to recreate the effect of tilt-shift photography, Miniature effect in movie creates a time-lapse effect at three speeds.

results in approximately 12 seconds of footage in Miniature effect in Movie mode)

results in approximately 6 seconds of footage)

results in approximately 3 seconds of footage).

Creative Auto is a shooting mode that offers an easy to navigate range of creative options for beginner DSLR users wishing to experiment. In addition to the pre-existing Creative Auto modes, the EOS 100D includes two new features – Extra Effect Shot and enhanced Background Blurring. Extra Effect Shot allows users to capture two images simultaneously with just one press of the shutter button. One image is captured using the camera’s standard image settings, and an additional image is also taken at the same time with a Creative Effect applied. Users can choose from a range of creative effects when using Extra Effect Shot, including Creative Filters, Ambience Effects and Pictures Styles. Once both images have been captured they appear side-by-side on the EOS 100D LCD screen, making it easy for users to see the impact of their creative choice. The EOS 100D features a new Background Blurring function, which can also be previewed on the LCD and uses the aperture-priority AE settings to apply image blur, allowing users to experiment with blurring the background in a simple way.

Extra Effect Shot and Background Blurring

Above The built-in pop-up flash has a guide number of 9.4 (metres, ISO 100). This is less than the usual guide numbers of 12 or 13 for the built-in flash on other EOS models.

New products


NewcamerasKey features

APS-C format

18 megapixel Hybrid CMOS AF II sensor

Creative Full-HD movies with continuous autofocus tracking during shooting

Vari-angle Clear View LCD II Touch screen

Scene Intelligent Auto for autoexposure

3-inch TFT colour, liquid-crystal monitor with 1,040,000 pixels

Accepts SD cards (UHS-I compatible)

DIGIC 5 image processor

Continuous shooting at up to 5fps

Live View for stills and movies

ISO range from 100 to 12800 (expandable to 25600)

High dynamic range (HDR) mode

Built-in creative filters

9-point AF system

EOS 700D replaces EOS 650D

Pricing and availability

The EOS 700D will be available from late April 2013.

EOS 700D (body only) – £629.99 / €799.99 (RRP)

EOS 700D plus EF-S 18-55mm f3.5-5.6 IS STM – £759.99 / €969.99 (RRP)


EOS 700D

Barely nine months after it was introduced, the EOS 650D is being replaced by the EOS 700D. The two cameras have similar specifications, but there are a few tweaks to the new model. The EOS 700D is Canon’s most advanced model in the three-digit range. Features from the EOS 650D include a Vari-angle Clear View II LCD touch screen (below). Like the EOS 650D, the EOS 700D is powered by a Canon-designed and manufactured 18-megapixel APS-C Hybrid CMOS II sensor and DIGIC 5 image processor. Offering up to 5fps shooting, the EOS 700D is suitable for a range of subjects, from fast-paced action to stunning skylines, and portraits of family and friends. An external coating, adopted

from Canon’s mid-range EOS models, provides a more robust and durable finish to the EOS 700D.(The finish of some early EOS 650D cameras turned white and were recalled by Canon.)

AF systemThe camera’s advanced AF System consists of 9 high-performance, cross-type points spread across the frame, delivering improved focusing speed and accuracy. With the option to select and adjust focus points manually, or simply use full automatic mode, the EOS 700D provides you with an easy way to explore different kinds of image composition as your confidence grows.

A full specification for the EOS 700D is on our website at: www.eos-magazine.com

(follow the ‘EOS SYSTEM’ link)

Above EOS 700D AF sensor

Below The Vari-angle screen can be folded into the camera for protection.


20 |21

The EOS 700D is similar to the EOS 650D, but better-looking. The mode dial has been improved and the effects of creative filters can be previewed. That might make it sound like a non-event, but it’s actually a flagship camera which will take on the best-seller mantle of its predecessor.

21 |21

The EOS 700D shooting mode dial offers 360° rotation (just like the mode dial on the EOS 6D). You can keep turning in either direction to reach the mode setting you want. The SCN setting gives LCD screen access to additional modes – Night Portrait, Handheld Night Scene and HDR Backlight Control – without overcrowding the dial with icons.

NewlensEF-S 18-55mmf3.5-5.6 IS STMStandard zoom lens using Stepping Motor technology

From sweeping landscapes to portraits, the versatile 18-55mm zoom range can handle many different subjects. Images are captured with detail and clarity thanks to a 4-stop Optical Image Stabilizer. This lets you use lower ISO levels and longer shutter speeds while avoiding the effects of camera shake. The full time manual focus ring allows precise focus adjustments after autofocusing, while the near-silent STM technology ensures noise is kept to a minimum whilst focusing – perfect when capturing movies.

Specification

Angle of viewhorizontal 64° to 23°vertical 45° to 15°diagonal 74° to 27°

Lens construction (elements/groups) 13/11Number of diaphragm blades 7

Apertureminimum f22 to f38maximum f3.5-5.6

Closest focusing distance (metres) 0.25Maximum magnification (at 55mm) x0.36Lens/camera distance information yesImage stabilizer 4-stopsAF actuator STMFilter diameter 58mmSize (maximum diameter x length) 69 x 75mmWeight 205 g

Accessorieslens cap E-58 IIlens hood EW-63Clens pouch LP1016

Magnification with Extension tube

EF 12 II x0.65 to x0.23EF 25 II x1.0 to 0.51

EF Extenders not compatiblePrice (RRP inc. VAT) £239.99/€299.99Available from late April 2013

A standard STM zoom lens for everyday photos and movies

Creative filtersAs with the EOS 100D, Creative Filters, including Fisheye and Miniature effect, can now be previewed on the LCD monitor before the exposure, giving you the opportunity to experiment with the effects before taking a photograph. You can also capture two images at the same time – one with a Creative Filter applied and one standard image.

Built-in flashThe EOS 700D has a built-in flash with an integrated Speedlite transmitter. This gives wireless control of compatible Speedlites for multiple flash photography.

Battery gripThe EOS 700D uses the same BG-E8 grip as the EOS 650D. The grip accepts two batteries for extra power, plus a shutter button for easier vertical shooting.

GPS accessoryThe EOS 700D does not offer built-in GPS, but latitude, longitude and altitude can be written to EXIF data using the GPS Receiver GP-E2 accessory.

New products


EOS M EOS 100D EOS 650D EOS 700D

Announced Autumn 2012 Spring 2013 Summer 2012 Spring 2013

Lens mountEF-M mount

(EF/EF-S via adapter)EF/EF-S mount

Viewfinder

type Live View LCD optical TTL pentamirror

coverage/magnification approx. 100% 95% / 0.87x 95% / 0.85x

depth-of-field preview available with depth-of-field preview button

dioptric correction – -3 to +1 dioptres

CMOSSensor

effective megapixels 18.0

size (approx) 22.3 x 14.9mm

self-cleaning EOS integrated cleaning system

Recording media SD, SDHC, SDXC (UHS-1) card

Image processor DIGIC 5

File type recording raw, JPEG, raw+JPEG, MOV

Exposuremetering

type Real-time from sensor TTL full aperture with 63-zone SPC

exposure compensation ±3 EV ±5 EV

autoexposure bracketing 3 shots ±2 EV

ISO settingsstandard range 100 to 12800

extended values 25600

Autofocusing

type Hybrid CMOS TTL-CT-SIR with a CMOS sensor

AF points 31 9 (f5.6 at centre) 9 (f2.8 at centre) 9 (f2.8 at centre)

AF metering range EV 1 to 18 EV -0.5 to 18

LCD monitor

type fixed vari-angle

size 3-inch touch screen

pixels 1,040,000

Shuttermaximum speed 1/4000 second

maximum flash sync. 1/200 second

Flashbuilt-in (ISO 100, metres) – GN 9.4 GN 13

external E-TTL II compatible with EX-series Speedlites

Continuous shooting

maximum speed 4.3fps 4fps 5fps

max. burst (JPEG/raw) 17/6 1140/8* 30/6* *with UHS-1 compatible card

Live View yes

Movie mode

Movie size Full HD, HD, SD

built-in microphone stereo mono stereo

external microphone 3.5mm stereo jack

Custom functions (number/settings) 7/19 8/24 8/34 8/24

Battery and approx. battery life

battery pack LP-E12 LP-E8

23°C (AE 50%; FE 50%) 230 exposures 380 exposures 440 exposures

0°C (AE 50%; FE 50%) 200 exposures 350 exposures 400 exposures

Battery grip – BG-E8

Size and weight

w x h x d 109 x 66 x 32mm 117 x 91 x 69mm 133 x 100 x 79mm

body + card + battery 298g 407g 575g 580g

Accessories

battery grip – BG-E8

GPS GPS Receiver GP-E2

Remote switch – RS-60E3

Wireless remote RC-6

Wireless file transmitter compatible with Eye-Fi cards

comparison chart


EOS 1100D EOS 600D EOS 60D EOS 60Da EOS 7D EOS 5D Mark III EOS 6D EOS-1D X EOS-1D C

Spring 2011 March 2011 Autumn 2010 Summer 2012 Autumn 2009 Spring 2012 Autumn 2012 Spring 2012 Spring 2012

22 |23

Robert EOS 100D. Too small?

Current EOS cameras

There are 12 cameras in the current EOS range – the largest number we can recall. (The EOS 650D is now discontinued, but is included in the above line-up for comparison with the EOS 700D). Canon says that the expanded range is all about choice. You can’t argue with that. From the mirrorless EOS M and diminutive EOS 100D through the APS-C consumer digital reflexes to the full-frame models, not forgetting the cinema EOS-1D C, there is a camera to suit almost every requirement. Canon divides current EOS cameras into three groups: beginner, enthusiast and professional. Beginner cameras, often referred to as entry-level modes, are the EOS M, 1100D, 100D, 600D and 700D. ‘Beginner’ is not the ideal term for these cameras. The range of features and quality of results are more than adequate for most purposes. What places them in this first category has more to do with

“Too small.” This was the concise comment about the EOS 100D posted on a forum. It is a typical internet post – an opinion presented as fact by someone who has not handled the camera and probably is not in the market for one. I saw the camera at Canon’s UK headquarters a few days after

EOS 700D. Why?The EOS 700D is little more than a repackaged EOS 650D. There are a few cosmetic changes, but no technical innovations. So why has Canon replaced one of its best-selling models? The answer from Canon is that the EOS 700D is a premium product – the flagship model of the EOS range of the three-digit cameras. This makes sense. I expect the 700D to become the new EOS best-seller. A lot of the adverse comments about the camera have come from owners of EOS 600D and 650D cameras who are asking what is the point of them upgrading to the EOS 700D. The answer is ‘none at all’. The days when every new EOS camera was a potential upgrade model for every EOS owner are long gone. I frequently use the EOS 650D and will not be placing an order for the EOS 700D. I would rather spend the money – if I had it – on a new lens or accessory. This will not worry Canon. It is already working on EOS models which will, no doubt, tempt me and others to part with our money in the future. The EOS 700D is all about growing the EOS SLR market, not just in Europe, the USA and Japan, but in emerging markets, such as India. Canon is a global company and its plans reflect this.

Robert Scott

it was announced. My first thought was that, yes, it is too small to handle comfortably. Then I picked it up. A camera I have been using recently is the EOS 650D – with this model I can wrap three fingers of my right hand around the grip. Holding the EOS 100D I can only grip with two fingers – the body is too short for the third finger. But even with the new EF-S 18-55mm f3.5-5.6 IS STM lens attached, the EOS 100D is so light that a two-finger grip is all you need for comfort and security. If you were using a much heavier lens, you would support it with your left hand under the lens barrel, just as I do with the EOS 650D, so no problems there. All the Canon press images of the EOS 100D show it with the new EF-S 18-55mm lens. However, the camera is a perfect match for the EF 40mm f2.8 STM – the so-called ‘pancake’ lens. I had this lens with me for my visit to Canon and put it on the camera for the above picture. You are unlikely to find a more compact DSLR camera and lens. It is a combination I will be happy to carry when other cameras and lenses get left behind. So will I buy one? Yes – my order is already in! (Contrary to popular belief, we are not given cameras by Canon.)

Robert Scott

build quality. They are fine for non-professional picture-taking, but might not survive hard knocks and hard use. Enthusiast cameras are the EOS 60D, 7D and 6D. These take you to the next level, with more advanced features and a robust build. These are the cameras often favoured by photographers with special interests, such as wildlife photography or astrophotography (with the EOS 60Da). Professional models are the EOS 5D Mark III, 1D X and 1D C. These cameras stand up to hard usage. They also offer some of the best autofocusing performance and reliability available. The EOS-1D C is a multimedia camera which is great for shooting stills, but is bought mostly for its movie capabilities. Great pictures can be taken with any of these cameras. Don’t expect to see an instant improvement in your photography just by upgrading to a more expensive model.

Technique Basic Zone+


Basic zone+The basic zone shooting modes started out as a simple method of setting your EOS to suit specific subjects. However, on recent cameras, new basic zone modes have started to appear. These give more control over the camera. But are they a help or a hindrance?

Your EOS camera has a multitude of shooting modes. Four of these belong to what Canon calls the ‘creative zone’. They are the program (P), shutter-priority (Tv), aperture-priority (Av) and manual (M) modes. These give you complete control over exposure settings (even the program mode, which initially selects both shutter speed and aperture, can be adjusted to meet your requirements). The other settings on the shooting mode dial are mostly ‘basic zone’. These are ‘set and forget’ options. They allow you to concentrate on the subject, without having to concern yourself with camera adjustments. At least, that was the original intention. However, in the last few years new basic zone modes have appeared. These give extended control over the camera and what it does. If you have always steered clear of the basic zone, but have a recent EOS camera, it’s time to take a fresh look at what is on offer.

Program controlMost of the basic zone modes are program controlled, as is the program (P) shooting mode. This means your EOS camera has built-in tables of values which it calls on when needed. For example, in program mode, a certain level of brightness will always see the same shutter speed and aperture set in the camera. However, the landscape mode uses a different table, so the same level of brightness will result in a different shutter speed and aperture being set. Other tables are used for other modes, accounting for the different results given by each of the shooting mode selections. In the early days of EOS, the camera manuals included graphs which showed the shutter speed and aperture selected for different levels of brightness. These graphs are no longer published, perhaps because so many would be needed to cover all the modes and perhaps to avoid giving information to competitors.

Program(me)?In the UK we tend to use ‘program’ when writing about technology, but ‘programme’ in all other senses. So, a computer program, but a theatre programme. In the USA and Canada, program is used for all meanings. Australians are moving towards the USA usage, but New Zealanders still favour the UK style.

LEE

BE

EL

Above A basic zone mode, such as landscape, is good for general subjects when you don’t want to spend time thinking about camera settings.


Fully automatic

CACreative auto

The Full Auto setting, identified by a green square on the dial of most EOS cameras, is often called the ‘point-and-shoot’ mode. This is a good description. It makes most of the camera settings automatically, leaving you free to concentrate on the subject. Default settings of the green square mode include image quality (JPEG; raw available on recent models), Picture Style (Standard), drive mode (single). The ‘green square’ received an update with the EOS 600D and later consumer cameras. These cameras use what Canon calls ‘EOS Scene Detection Technology’ to analyse brightness, subject movement, contrast and distance. It also detects the presence of faces within the scene. Full auto mode is now called ‘Scene Intelligent Auto’ and is represented with an A+ within the green square. The information it provides is used to calculate the best shooting settings. In green square mode, for example, the

The Creative Auto (CA) mode was introduced with the EOS 50D and has been a feature of EOS consumer cameras ever since. This setting goes a step beyond Full Auto, allowing you to make a range of adjustments while still in the automatic mode and without the need to know the meaning of technical terms. In CA mode, the camera menu on the back of the camera spells out options in simple language – you can ‘blur the background’ and ‘lighten or darken the image’. You can also adjust flash settings, set the drive mode and select a Picture Style. These easy-to-understand image options will help beginners improve their images as they learn new techniques.

Flash off

If you use a basic zone mode in low light the camera will often activate the built-in flash. In many situations, this is useful. The additional illumination will add detail to the subject. However, if you are shooting inside a building the flash may not have enough power to be effective – and might even be banned as a distraction to other visitors. This is the time to use the ‘Flash Off’ mode. It gives you Full Auto operation, but keeps the flash firmly in the down position. Use Flash Off when shooting by candlelight or in large stadiums.

Right The built-in flash is not powerful enough to illuminate complete rooms. Much better results are obtained by using available light for the photograph.

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camera always sets the Standard Picture Style. In A+ mode, if the camera detects a face in the frame, it will switch to Portrait Picture Style to give more natural skin tones. You can select JPEG or raw image quality. You can also choose the drive mode, including continuous and self-timer. A+ mode is still a ‘point-and-shoot’ option, though with a few choices available for the more adventurous newcomer to digital single-lens reflex photography.

Above A+ mode, also known as Scene Intelligent Auto, is an excellent starting point if you are new to EOS cameras. We recommend the Large/Fine JPEG image quality for beginners, but you can chose single, continuous or self-timer shooting to suit your subject.

Right CA mode offers clear and easy adjustments to the image without leaving the comfort of the basic zone.



Landscape Portrait

SportsClose-up

In landscape mode, the camera sets a smaller lens aperture than normal. This increases the area of apparent sharp focus. However, don’t expect everything from the foreground to the horizon to appear in focus. This requires a very small lens aperture and landscape mode will not give you this. A small aperture requires a slow shutter speed to maintain correct exposure. Slow shutter speeds increase the effects of camera shake, giving a blurred image. It is assumed that basic zone users will not have a tripod, so a compromise between shutter speed and aperture is made. If you want all areas of the image to appear sharp, use a wide-angle lens (a focal length between 18mm and 28mm is good). This will also take in a broad sweep of the landscape.

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Portrait mode adjusts the exposure so that a fairly wide lens aperture is set – around f4 or f5.6, depending on the lens. This throws the background out-of-focus (the opposite effect to landscape mode). The sharp subject stands out against the blurred background, making the person (or people) dominate the image. If the subject is in shadow or shade, the built-in flash will fire. The continuous shooting mode is automatically set – if you keep the shutter button depressed you will be able to capture fleeting expressions. The recommended focal length for portraits is a short telephoto (around 70mm to 135mm is good). Dramatic results can often be obtained with wide-angle lenses, but this will bring more of the background into focus. As always, test this out for yourself.

The closer you focus to a subject, the more the background will go out-of-focus. One way to bring more of the background back into focus is to set a smaller lens aperture. Close-up mode does not do this. Instead, it keeps the lens aperture wide (around f4 or f5.6) and sets a faster shutter speed. This is because the effects of camera shake are magnified along with the subject. Canon’s thinking is that basic zone users are unlikely to work with the camera on a tripod, so a faster shutter speed is needed to keep the subject sharp. In any case, an out-of-focus background concentrates your attention on the subject. If the subject is in shadow or shade, the built-in flash will automatically fire to bring back some of the detail. The green focus confirmation circle in the viewfinder will blink if you move too close for the lens to focus.

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Most sports involve subject movement. Sports mode sets a relatively fast shutter speed to help keep the subject sharp. AI focus is set, which means that the lens will continue to focus on the moving subject right up to the moment the exposure is made (landscape, portrait and close-up modes lock the focus as the shutter button is partially depressed). The built-in flash does not fire in sports mode, even in low light, as this can cause a distraction. Sports mode is good if you are just starting to photograph moving subjects, but the shutter speed needed really depends on the speed of the subject, its direction of travel relative to the camera and its distance. Sports mode does not take any of this into account. As soon as you have enough confidence, move to the shutter-priority (Tv) mode and set a shutter speed to suit the subject.


Night portraits HDR backlight control

Handheld night scene

Shooting a portrait outdoors at night with flash will usually give a well-exposed subject, but a very dark background – the flash is not powerful enough to illuminate the background. Night portrait overcomes this. The flash fires to give a well-exposed main subject. At the same time the camera takes a meter reading from the background and adjusts the shutter speed and aperture to provide good exposure for this area. Because the background illumination is likely to be quite low, the shutter speed might be slow – though the ISO rating adjusts automatically on some models to counteract this. Night portrait is the only basic zone mode where a tripod is recommended to support the camera. Tell your portrait subject to remain still for a few seconds after the flash.

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Photographing floodlit buildings and cityscapes at night usually requires slow shutter speeds and the camera mounted on a tripod. Handheld night scene mode overcomes this in quite a clever way. It takes four shots in rapid succession using a faster shutter speed. Each shot on its own is underexposed, but the four images are combined in camera to give a well-exposed image. The camera is also able to deal with slight movement between each exposure. By default, the flash is off, but can be switched on to illuminate a close subject. The flash only fires for the first shot. With the flash on, handheld night scene is an alternative to night portrait mode. A lot of intensive in-camera processing takes place after the exposures. You will not be able shoot again for up to 10 seconds (until the red activity light goes out).

HDR is short for High Dynamic Range. It overcomes the problem where the digital sensor can capture the highlight detail of a subject, but not the shadow detail, or vice versa. With HDR you take several shots of the subject at different exposures (above). These images are merged to bring out both the highlight and shadow detail in the final image (top). You can take three images using autoexposure bracketing with any EOS camera and merge them with software such as Canon’s Digital Photo Professional. The latest EOS consumer cameras have an HDR backlight control mode which does the processing in the camera. When you press the shutter button, three shots are taken at different exposures and these are processed immediately in the camera to give a single image with improved highlight and shadow detail. As with the handheld night scene mode, intensive processing takes place in the camera after the exposure and you will not be able to shoot again for several seconds. Flash cannot be used for these HDR exposures.



Shooting by ambience selection

Ambience Levels

Standard none

Vivid Low/Standard/Strong

Soft Low/Standard/Strong

Warm Low/Standard/Strong

Intense Low/Standard/Strong

Cool Low/Standard/Strong

Brighter Low/Medium/High

Darker Low/Medium/High

Monochrome Blue/B&W/Sepia

EOS 60D, 100D, 600D, 650D, 700D, 1100D

‘Shooting by ambience selection’ is not a basic zone mode, but is only accessible through these modes (excluding A+, flash off and HDR backlight control). It gives 24 options for adjusting the final image. At first glance this looks quite complicated – basic zone modes are supposed to simplify the photographic process – not make it more difficult. However, once you spend a few minutes with ambience selection it becomes quick and easy to use. Of course, all of the effects can be done in post-processing, using software such as Digital Photo Professional or Photoshop. But ambience selection lets you do this work in the camera, so it is ideal for people who are not comfortable with computer processing, or have other things to do with their time. You can use ambience settings with Live View – the image changes with the setting, making it easier to choose the option and the strength setting for the effect you want.

Right Ambience selection helps you to intensify autumn colours. The first image (top) is with the standard setting – just the basic capture. The second image (centre) uses the Vivid/Strong setting to add a little contrast. The third image is with the Intense/Strong setting for maximum effect. If you shoot raw quality, the ambience selection settings are saved with the file and show as changes to the sharpness, colour saturation and other parameters when you open the image in Canon’s Digital Photo Professional software.

Below The cool interior of a church (below left) has been transformed by switching from Standard to Warm/Strong ambience selection (below).

Below right The Monochrome ambience selection offers three options. Black-and-white (top) and sepia (bottom) provide retro effects. We are not so sure about blue (not shown)!

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* See page 19 for details of new Creative Auto options on the new EOS 100D .We have put EOS 6D and M modes on a blue tint because they do not appear on the shooting mode dial – the basic zone modes are set from the menu.EOS-1D and 1Ds series cameras do not offer basic zone modes.

Basic zone options on EOS cameras

How useful are basic zone modes?Enthusiast photographers rarely use basic zone modes. It’s almost a badge of honour to say that your shooting mode dial never goes near them. Basic zone modes are good if you are new to EOS cameras and want to get started straight away. But we agree that the A+, CA, portrait, landscape, close-up and sport modes can be ignored if you know your way around the shutter-priority (Tv), aperture-priority (Av) or manual (M) modes. It is good technique to select the shutter speed or aperture to suit the subject. Night portrait mode can also be replicated using the Av shooting mode with the built-in flash activated. However, HDR backlight control offers a quick and easy method of increasing the dynamic range of your images, while handheld night scene mode saves you carrying a tripod at night. Both modes are worth trying if your camera has them available.

Above These are the intuitive screens for setting ambience selection.

Above Ambience selection can be set and seen in Live View mode.

Masterclass Travel photography


I started travelling to take pictures over 30 years ago, but the adventure that is travel photography continues to stimulate and challenge me. My aim is to take photographs that capture the reality of a place (as I see it) by shooting strong individual images that build on each other to create a comprehensive coverage of a destination, so that viewers get a sense of what it’s like to be there. I am freelance and have amassed a collection of images of people and places in more than 85 countries and on all seven continents, building a career based on my twin passions for travel and photography.

Travel photosMASTERCLASSwith Richard I’Anson

Right Lantern Shop, Hoi An, Vietnam. I used a tripod in order to shoot at a low ISO and then waited until the girl setting up the lanterns paused in her movements, so as to avoid subject blur. Even though I’m confident shooting at high ISO with the EOS 5D Mark III, my preference is to shoot as close to the native setting of ISO 100 as possible. EOS 5D Mark III with an EF 24-70mm f2.8L USM lens, 1/8 second at f2.8, ISO 200, tripod.

An insight into our worldAt its most basic, travel photography merely provides a visual record of the places visited. At its best it gives an insight into the world at large in all its diversity, adding something new to our understanding of a place and the people who live there. Good travel photography portrays familiar places in unique ways, reveals lesser known places with equal import, captures the spirit of the people with dignity and encapsulates unique moments in time that surprise, inform and intrigue viewers. It’s the counter to the incessant reporting and news footage that focuses on the negative side of people and places. Ultimately, it inspires in others a desire to see the world for themselves and to take their own photographs along the way.


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Left top London, UK. The very long shutter speed has captured movement in the London Eye, the clouds and the river giving the image an unusual softness. EOS 5D Mark III with an EF 24-70mm f2.8L USM lens, 30 seconds at f9, ISO 100, tripod.

Left bottom Carnaval Parade, Montevideo, Uruguay. The challenges here are the limited coverage of the floodlights and the strong shadows cast by the participants. EOS 5D Mark III with an EF 24-70mm f2.8L USM lens, 1/125 second at f9, ISO 1000.

Richard’s images are published worldwide in books, magazines, newspapers, brochures, calendars, posters, cards and websites. They have been reproduced from the size of a stamp (literally) to the size of a tarpaulin protecting the contents of a 53ft long truck trailer. Richard has published ten books including four editions of the best-selling Lonely Planet’s Guide to Travel Photography and the large format pictorials ‘Australia: 42 great landscape experiences’, ‘Nepal and India: essential encounters’. For more of Richard’s images and further information about his books and workshops visit www.richardianson.com

Your unique responseGreat pictures are the result of matching an interesting subject with the best light, pleasing placement of the elements and exposing the sensor to just the right amount of light using ISO, shutter speed and aperture settings that translate the way you see the scene and retain all the detail and depth of colour. It is how the photographer handles this combination of technical and creative skills at a particular moment in time that produces unique images and allows individuality to shine through. So what if everyone you know has photographed the Taj Mahal, the Pyramids or the Eiffel Tower? There’s nothing quite like the thrill of seeing places yourself and making your own version of the ‘classic shot’.



Above Syracuse, Sicily, Italy. A dull, wet day should not see you putting your camera away. Puddles of water afford the opportunity for reflections where there aren’t usually any. EOS 5D Mark III with an EF 24-70mm f2.8L USM lens, 1/3 sec at f14, ISO 100, tripod.

Left Rome, Italy. It takes some nerve to set up a tripod in the path of thousands of pedestrians. However, I liked the idea of blurring the people and needed a small aperture to give me plenty of depth-of-field. EOS 5D Mark II with an EF 24-70mm f2.8L USM lens, 15 seconds at f14, ISO 100, tripod.

Right Lama Temple, Beijing, China. A seriously good lens and lens hood help avoid flare when shooting into the sun.EOS 5D Mark II with an EF 70-200mm f2.8L USM lens, 1/200 sec at f13, ISO 200.

Choice of equipment is important. It’s the first building block in a series of creative decisions you’ll make that lead to capturing images that reflect your personal photographic vision. A good photographer can take good pictures of any subject on any camera with any lens. However, matching your gear to the kinds of shots you want to take and the kind of travel you prefer makes photography more enjoyable and more productive. You can expect to be out and about for many hours at a time, sightseeing, walking, climbing steps, getting in and out of vehicles, all the time watching and sometimes waiting for that great shot, so unless you have very specific aims that demand a truckload

Equipment

PreparationI always research my destinations, listing the key subjects I need to photograph and paying attention to the dates of festivals and markets. Simply shooting as you go along will rarely provide enough opportunities to be in the right place at the right time. I always plan what I’m photographing in the couple of hours around sunrise and sunset when the light is at its best. Having said that, I always allow time just to wander because often the most satisfying photos come on these unstructured walks.

Right Ganesh Chatsuri Festival, Mumbai, India.With the camera raised above my head I was able to shoot over the group gathered around their Ganesh shrine. I use the viewfinder grid line feature to keep the horizon straight. EOS-1Ds Mark III with an EF 24-70mm f2.8L USM lens, 1/125 second at f3.5, ISO 200.

of specialist equipment, keep your gear to a minimum. For the serious photographer who wants to travel light I recommend a full-frame camera body and either the EF 24-70mm f2.8L II USM lens or the EF 24-70mm f4L IS USM lens. These lenses will allow you to capture the majority of subjects you’ll encounter on your travels. If you consider this set up too heavy, bulky or beyond your budget then the EF-S 18-135mm 3.5-5.6 IS lens with any EF-S compatible body is an ideal combination for general travel photography. If wildlife is your thing then neither of these lenses will be adequate, so you’ll also need to take a 300mm lens.


Above Inle Lake, Myanmar.A tranquil scene is transformed into a dynamic landscape at sunset. A massive cloud stack fills the frame, thanks to the reflection in the water. A leg rower – the icon of Inle Lake – glides into the frame at just the right time. EOS 5D Mark II with an EF 24-70mm f2.8L USM lens, 1/125 second at f5, ISO 100.

Left Hanoi, Vietnam. The soft and even but bright light illuminating this man’s face is perfect portrait light, bringing out the textures without causing unsightly shadows. I usually shoot portraits with the 70-200mm zoom set at 100mm, as this offers a pleasing perspective, but this is from a series of images including wider shots so it was more efficient to stick with the same lens for the close up. EOS 5D Mark III with an EF 24-70mm f2.8L USM lens, 1/100 sec at f2.8, ISO 400.

My gear of choiceI take the same gear on all my trips. My choice of equipment gives me flexibility to capture the wide range of subjects I cover while being easily manageable so that I can shoot quickly. I rarely leave the hotel without both EOS 5D Mark III bodies – one with the EF 24-70mm f2.8L II USM lens and the other with the EF 70-200mm f2.8L IS II USM lens. However, the majority of my pictures are taken with the shorter of the two lenses.

My kit2x EOS 5D Mark IIIEF 24-70mm f2.8L II USM lensEF 70-200mm f2.8L IS II USM lensEF 300mm f2.8L USM lensEF 1.4x teleconverterSpeedlite 430EX IIHoya Pro1 digital circular polarising filtersGitzo G1228 carbon-fibre tripod with Induro ball head SanDisk 16GB Extreme Pro CompactFlash and SDHC memory cards, totalling 64GB

LensesBuy the best lenses you can afford, as lens quality determines image sharpness, colour and the light gathering capacity of the lens, which can determine how you shoot in various lighting conditions. Zoom lenses with a large, fixed aperture are the most desirable allowing you to shoot a variety of compositions from a single viewpoint and to shoot in low light levels without having to increase the ISO. The L-series lenses are essential for the working photographer.

File formatI capture all my images in the raw file format and process them using Adobe Lightroom. It is imperative that every file contains as much information as I can get from the sensor.

Accessories The only accessories I take are UV and polarising filters, a Speedlite, tripod and cable release:

The UV filters are permanently attached to each lens to protect them from dirt, dust, water and fingerprints. The polariser eliminates unwanted reflections and increases the colour saturation and the contrast in the picture.

I carry a Speedlite, but very rarely use it, preferring instead to use available light.

A good tripod is vital for the travel photographer. All my landscapes and cityscapes are shot with a tripod, allowing me to achieve images with minimum noise, maximum depth-of-field and to use slow shutter speeds for effect.

If you’re using a tripod you should use a cable release so you can fire the shutter without physically touching the camera, reducing the risk of camera shake.



Perfecting your technique There’s no better way to prepare for shooting your trip than getting out there and practising. Planning and executing a shoot of your own city is a great way to review your research skills, test your camera equipment, perfect your technique and develop your eye. Buy a guidebook, check out the postcards and souvenir books and draw up a shot list. Treat the exercise exactly as you would if you were away from home. You’ll get an insight into just how much walking you can expect to do, how many locations you can expect to photograph in a day and how suitable your equipment is. You can then use this knowledge to plan your trips away from home a little more accurately to meet your own goals.

Above Fishermen, Fort Cochin, India. I took a meter reading from the nets against the sea so as to avoid underexposing the image and losing detail. EOS 5D Mark II with an EF 24-70mm f2.8L USM lens, 1/125 sec at f6.3, ISO 100.

Right Middle Bogyoke Aung San Market, Yangon, Myanmar. EOS 5D Mark II with an EF 24-70mm f2.8L USM lens, 1/30 second at f5.6, ISO 1250.

Below Bottom Stakna, Ladakh, India. EOS 5D Mark II with an EF 24-70mm f2.8L USM lens, 1/15 sec at f11, ISO 100, tripod.

Workflow on the road

I travel with a laptop loaded with Adobe Lightroom, a memory card reader and two external hard drives.

card in a card reader and connect it to the computer with two external hard drives

select the destination for the images

hard drives for the country I’m shooting in

are copied to the hard drives

viewing the folders on both hard drives. I now have two copies of my original raw files

and format it ready for use the next day


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Right This young girl is sitting on the carpeted stairs in her house. There is a window behind her, over the stairs, and I am using the white side of a 32-inch reflector to bounce that light back into her eyes. I simply waited for her to zone out a bit before photographing this image. EOS 5D Mark III with an EF 24-70mm f2.8L USM lens, 1/100 second at f3.2, ISO 400.

Know your gear

Be inspiredYou can learn a lot about the photographic possibilities and be inspired by some of the best images taken at the destinations you’re going to visit by searching the image collections of the big photo libraries like Getty Images (www.gettyimages.com) and Corbis (www.corbis.com). You’ll find thousands of images shot by professional photographers over several years in all sorts of conditions as well as themed travel-related galleries that are sure to whet your appetite.

Don’t travel with equipment you’ve never used before. Organise it in plenty of time and use it for a while before you set off. If you don’t have time to become familiar and confident with the gear, at least take the camera manual with you. Check and clean gear at least six weeks before you travel. Allow plenty of time to have cameras serviced and repaired if necessary, to have the sensors cleaned, or to buy new equipment and familiarise yourself with it.

Learn the technical stuffLearn the technical stuff (ISO, shutter speed, aperture, exposure) so that the mechanics of taking a photograph become second nature. You’ll then be able to concentrate on, and enjoy, the creative side of picture taking – seeking out interesting subjects and great light – and you’ll have a much better chance of capturing those fleeting moments and expressions that make unique images.

Above Tawang Monastery, India. This image allowed me to accept that it was OK to shoot at ISO 1000 (and above). When I saw how beautifully it reproduced as a double page spread in my India book my fears were replaced with elation at the creative possibilities. EOS-1Ds Mark III with an EF 24-70mm f2.8L USM lens, 1/50 second at f2.8, ISO 1000.

Below left Iguaçu Falls, Brazil. At the end of a dull, wet afternoon, the falls changed colour as they were lit directly by the setting sun. These are the moments that I travel for. EOS 5D Mark III with an EF 24-70mm f2.8L USM lens, 1/15 second at f3.2, ISO 100, tripod.

Below right Coir factory, Kumarakom, India.Standing on the loom frame I took some wide-angle shots in a very dimly lit factory by increasing the ISO to 2500. EOS 5D Mark II with an EF 24-70mm f2.8L USM lens, 1/100 second at f3.2, ISO 2500.

EOS performance

I upgraded from the EOS 5D Mark II to the Mark III because of the new sensor. I take a lot of hand-held images in low light and am often shooting between ISO 1000 and ISO 2500. The advances in sensor technology between models means I can shoot at these higher ISOs and satisfy both my creative and technical requirements. I’m amazed at the file quality at ISO 2500, as long as the file is properly exposed. I’ll admit to still being conservative when it comes to pushing the sensitivity higher, so I have never used the camera’s expanded ISO capability. Apart from the improvements in the sensor and autofocus speed, the thing I am most pleased to see is that the mode dial now locks so it doesn’t accidentally shift when I move the camera in or out of my bag. I also love the built-in electronic level, the silent shutter mode and the increased capacity afforded by the two memory card slots. I’ve found the camera’s metering system is great. I use the average metering mode set to overexpose by a third of a stop in order to make sure I capture information in the highlights.



People

Release forms

As I intend to make commercial use of my people pictures I try and get a signed model release from at least some of the people I photograph, which gives permission from the subject to use their image in a photograph. Practically, it’s difficult and time consuming to ask everyone I photograph to sign a form (even if I could speak their language). I always take release forms in the language of the country I’m visiting to help overcome this problem. Generally, editorial uses, such as books, magazines, newspapers and websites don’t require releases. But in the advertising world, which pays the highest fees for licensing images, they will rarely be accepted without signed releases. Release forms have now been digitised and several apps are available for Apple and Android phone and tablet users that replace paper model and property releases by letting you collect information and signatures on your mobile device.

Left and below Tea estate, Kaziranga, India. You can see how close I have to get to the subject (bottom) to achieve the image I’m after (left). Shooting this close at 24mm adds a degree of distortion to the perspective, but that is countered by an intimacy that is lost when standing back with a longer lens. EOS-1Ds Mark III with an EF 24-70mm f2.8L USM lens, 1/125 second at f5, ISO 100.

For really good people pictures, you’ve got to be prepared to get close to your subjects. Except for crowd shots, standing at a distance with a long lens will rarely result in pleasing images as you generally won’t be able to fill the frame with your subject. And besides, this kind of shot usually looks as though you’ve tried to sneak them – which you have.

Seeking permissionBecause I am usually working at close range, I always ask permission to take someone’s photograph. I see it as common courtesy. Asking permission allows you to use the ideal lens, get close enough to fill the frame, provides the opportunity to take several shots, as well as to communicate with your subject if necessary. In order to capture natural-looking shots I work quickly and have developed techniques that minimise intrusion. I plan the shot before I approach my subject. I think about the composition and make sure I’ve got the right lens on the camera. Should it be portrait or environmental, horizontal or vertical? I also decide on the viewpoint. I study the light on the person’s face, check where it’s coming from and position myself correctly. Once I have permission to take a photo the person will usually follow me with their eyes if I move. A change of camera angle can make all the difference. Being organised and efficient means I minimise drawing attention to what I’m doing, which helps my subject remain relaxed and results in more natural-looking photos. Finally, I really enjoy sharing the photos by showing the results on the camera’s LCD screen. It’s a great way to say thank you.

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Sadhu, Rishikesh, India. Even in a crowded place it is still possible to isolate a subject by searching around and selecting an advantageous viewpoint and background. EOS-1Ds Mark III with an EF 24-70mm f2.8L USM lens, 1/60 second at f5.6, ISO 400.


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The impact of light in the creation of a photograph cannot be emphasised enough. Its ability to transform a subject or scene from the ordinary to the extraordinary is one of the most powerful tools at the photographer’s disposal. I clearly remember when I first understood this for myself and my photography took a quantum leap. Given all other things are equal, it is the light that a photographer shoots in that sets images apart. To be able to ‘see’ light and to understand how it translates onto the sensor and how it impacts on your compositions is a crucial element in creating striking images. There’s light and there’s the ‘right light’. The key elements to the ‘right light’ are its colour, quality and direction. Once you understand these elements and the way they interrelate you can predict the effect they may have on a subject. This in turn will inform you of the best viewpoint and time of day to be shooting, so that the light enhances your subject rather than detracts from it.

Iconic subjects

One of the challenges I enjoy most is trying to capture images that, in a single frame, encapsulate a distinguishing feature of the country I’m visiting. Often the subject is on the ‘must-see’ list – the Pyramids, Machu Picchu, Angkor Wat, the Eiffel Tower, Uluru, Great Wall, Grand Canyon, the Taj Mahal – places whose image is already deeply etched in our mind’s eye well before we stand before them. While these places are photographed millions of times a year and published all over the world, new and interesting pictures are still possible and I will spend time seeking out new viewpoints and waiting for the most dramatic light to give my pictures that different twist. I also set myself the triple task of taking a classic view of the subject that is as good as or better than any published images, then I look for a different view from those I’ve seen before and finally I’ll get close and fill the frame with a detail view to create an abstract, but recognisable image.

Above Taj Mahal, Agra, India. As you’re not allowed to use a tripod within the grounds of the Taj Mahal I chose to commit a couple of evenings on the opposite bank of the Yamuna River to capture a less photographed view with that great mix of daylight and artificial light. EOS 5D Mark II with an EF 24-70mm f2.8L USM lens, 8 seconds at f5.6, ISO 100, tripod.

Right Yulong River, Yangshuo, China. On my first day here I spent a few hours checking out vantage points and selecting what I hoped would be the perfect place for sunrise. EOS 5D Mark II with an EF 24-70mm f2.8L USM lens, 1/160 second at f7.1, ISO 100.

Bottom right Amman, Jordan. The kitchen of this restaurant was facing the street behind a glass window which, when opened, provided the ideal shooting position (very close but not in the way) and bathed it in great light. It’s much easier to get permission to take photos of the cook in action once you’ve placed an order! EOS 5D Mark II with an EF 24-105mm f4L IS USM lens, 1/80 second at f4, ISO 100.

Understanding light

Shooting in low lightI take a lot of images in low light and much prefer to shoot with available light than with flash. There are plenty of good reasons for being prepared to work with the available light. Most importantly, you’ll be able to take pictures in many places where the use of flash is impractical (floodlit buildings, displays behind glass); pro-hibited (churches, museums, concerts); intrusive (religious ceremonies); or would simply draw unwanted attention to your presence (covered markets, shops and shopping centres). In dimly lit interiors, don’t assume you need flash. As a rule, if you can see it, you can photograph it. By using a tripod or other camera support you’ll be able to shoot in low-light situations with your preferred ISO setting. Alternatively, increase the sensitivity of your camera’s sensor to hand-hold the camera, but be aware at what setting noise will become a problem. Yes, you can use flash, but pictures taken with flash from built-in or hot-shoe mounted units are usually unexceptional. The direct, frontal light is harsh and rarely flattering. Much more visually appealing and creative images can be taken using incandescent or artificial light sources such as electric light bulbs, floodlights or candles.

Technique Motion and sound sensors


Trigger actionWe investigate some of the ways you can get your camera to photograph those hard-to-capture subjects automatically using a range of technologies from old infra-red remote triggers to computer control and even smartphones. Someone once asked a famous conductor the question, “What do you need to know to play the triangle?” The conductor scowled and said, “Nothing – except when”. It’s not that different for photographers. Pressing the shutter release is easy, knowing when can make the difference between a snapshot and a great photograph. Whether it’s capturing the exact moment a runner crosses the finishing line or waiting for many hours to photograph some elusive wildlife, firing the shutter at the critical moment can be a source of either joy or frustration. Sometimes the solution to maximising the joy of photography is to trigger the camera automatically when the subject appears in the frame.

Canon controllersCanon has made a number of wireless controllers over the years both for film and digital cameras, but most of these only provide the facility to remotely trigger the camera by pressing a button on the controller much like the old-fashioned cable release. Some controllers

Units of time

We usually refer exposure times in fractions of a second, such as 1/125s and 1/500s. For very short intervals it is easier to express time in milliseconds (ms) where 1ms = 1/1000 of a second. For even shorter periods, each ms can be divided into a thousand microseconds ( s). Expressed in this way, a shutter speed of 1/8000 second can be written as 0.125ms or 125 s.

provide the facility to add a few seconds delay or to hold the shutter button down for continuous shooting, but the functionality is still not that far removed from a cable release. The Canon Wireless Controller LC-5 enables you to trigger the camera via an infrared link from up to 100 metres away, but this doesn’t really solve our problem (and besides it costs around £286). What’s needed is a device that can trigger the camera automatically when some event happens. Fortunately, there are a number of options based on both old and new technology.

Auto sensingA predecessor of the LC-5, the Canon Wireless Controller LC-2 controller was designed for film cameras and, like its latest version, uses infrared signals. However, a distinguishing feature of the LC-2, and something the more recent models lack, is auto sensing. This enables the transmitter and receiver to be configured so that the transmitter aims a continuous infrared beam at the receiver. The camera is triggered when the light beam is interrupted.

Above Small amounts of three basic colours of powder paint were placed on a make-up brush and ‘exploded’ with a burst from a compressed air pump. The sound of the pump releasing the air triggered the flash. The camera was in bulb mode in a totally dark room.

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Wireless Controller LC-2Although the LC-2 is no longer manufactured by Canon, it is available secondhand for around £40 or less. It is often sold with the warning ‘this device cannot be used with digital EOS cameras’. Don’t be put off as this is not strictly true. The firing circuit in the LC-2 will work with EOS digital cameras, but the connector design has changed since the old film days and will not plug directly into your new camera. However, to use it with a recent EOS camera you just need Remote Switch Adaptor RA-N3. This is still available and costs around £50 (RRP), which may seem a lot to pay for two connectors and short cable, but it gives you an auto triggering setup for a relatively low outlay of under £100. The LC-2 with RA-N3 is compatible with the EOS-1D/1Ds series, 5D series, 7D, 10D, 20D, 30D, 40D 50D (but not 60D), D30 and D60.

Setting up the LC-2Set both the transmitter and receiver to the same channel (choice of A or B) and select ‘auto sensing’ on the transmitter. Connect the receiver to your camera. The receiver can be fixed to the camera hot-shoe and the short cable plugged into the camera’s remote socket, but this limits the use. Extension Cord ET-1000N3 (RRP £99.99) gives 10 metres of additional cable for more ambitious setups. Align the transmitter and receiver so that they face each other and place them in the path of the intended subject. When the beam is broken, the camera will be fired.

Battery LifeThe transmitter is powered by two AA batteries and when switched to ‘auto sensing’ mode will give somewhere between 4 and 18 hours continuous use at a distance of 5 metres and 3 metres respectively. The receiver runs from a 6V silver oxide battery which will last for around 50 hours.

Hama IR Remote TriggerIf you want a new remote controller with similar features to the LC-2, consider the Hama IR Remote Trigger (available from the EOS magazine shop for £79.95). This neat system comprises a transmitter and a receiver. Both are fitted with 1/4 inch female threads to attach them to a tripod and both take two AAA batteries. To use this system with your EOS camera you will also need the Connector Cable N3 or E3 (see right). The receiver can be mounted either on the camera’s hot-shoe or off-camera up to 80cms away. If you need the camera to be positioned further from the receiver, a 5 metre extension cable is available.

In contrast to the LC-2, which draws a significant current on stand-by, the Hama system uses newer low-power components. The receiver only requires 3mA on stand-by and the transmitter only consumes 6mA when emitting a continuous IR beam. This is a big plus if you intend to set up the system and leave it for a few days. The AAA cells can power the Hama for nearly a week. The Hama system can remotely trigger your camera on either single shot or continuous mode as well as ‘bulb’ on one of three channels at a range of up to 5 metres. The Hama is a relatively sensitive system which is why it manages a range of 5 meters, but it can be difficult to use in beam-breaking mode if the transmitter and receiver are very close – for example across a narrow window. If you have to position the units across a narrow opening, try reflecting the beam off another object instead of placing them in direct line of sight. As the beam is at its narrowest at the transmitter, the most reliable triggering is when the subject breaks the beam near the transmitter.

Trigger devices

TriggerSmartA versatile triggering solution is the Triggersmart motion capture system (available from the EOS magazine shop for £237.99). Rather than using a purely digital solution such as a microcontroller, the Triggersmart is based upon mainly analog electronics. This product not only triggers your camera when an IR beam is broken, but can also trigger the camera or flash in response to changes in the ambient light level or by sudden sounds. The basic system comprises a control unit, two sensors, two mini-tripods and connecting cables. The control unit is powered by four AA batteries. You can expect the unit to work for around 24 hours on one set of batteries. For situations where you might want the unit to work for longer periods or to simply save running down the internal batteries, an external power socket is provided for a 6V 100mA mains adapter. N3 and E3 cables are available to suit all EOS digital cameras.

N3 cable EOS 1D/1Ds series, 5D series, 6D, 7D, 10D, 20D, 20Da, 30D, 40D, 50D.

E3 cable EOS 60D, 60Da, 100D, 300D, 350D 400D, 450D, 500D, 550D, 600D, 650D, 700D, 1000D, 1100D, D30, D60.



Protected species

Barn owls are a protected species under the Wildlife and Countryside Act 1981 (this applies to the UK; legislation in other countries may be different).

The Act prohibits, among other things, photography at a nesting site without a licence. Our photograph (left) was taken in the winter, before the nesting season (generally given as March to August) and well away from where a nest might be.

Does fl ash photography disturb birds? Our research suggests not. Even so, we were careful to position the fl ash at an angle. Firing the fl ash directly at the owl could caused temporary blindness and disorientation.

We took pictures over a period of several nights, showing that the owl was at ease with its portrait sessions and was not disturbed or scared away.

Shooting subjects using an infrared beam

Having discovered a farm building with a resident barn owl, we thought the opportunity to photograph it entering the building was too good to miss. As there was only one point of entry and exit for our subject, we set up the Wireless Controller LC-2 across the window and positioned a camera and fl ash on a tripod. Then we manually focused at the distance the beam would be broken and fi red some test shots. Not wanting to frighten our nocturnal visitor, we kept the fl ash power relatively low. Once set up, we were able to leave the equipment unattended for the night and hope that the batteries would last long enough for our subject to make an appearance. About an hour after dusk, the owl arrived. It looks as if he had perched on the window sill briefl y before breaking the IR beam as he took off again (image below). An important point to note is that the owl has already cleared the trigger beam by some distance before the camera fi red. This is due to the sequence of events that take place between the camera receiving the instruction to release the shutter and the fl ash fi ring (see ‘Shutter lag’ on next page). When setting up your shot, remember to take account of this delay and

focus on a point in front of the beam. We were able to take pictures over several nights and fi ne-tuned the focus based on earlier images.

Freezing movementIf you want to freeze motion in ambient light you need to use the fastest shutter speed your camera allows, but when using fl ash as your primary light source the ability to freeze motion is purely a matter of the fl ash duration. Although fl ash photography might seem instantaneous, when it comes to freezing motion some fl ash units are much faster than others. The choice usually boils down to using either mains-powered studio fl ash or battery-powered Speedlites.

Studio fl ash v. SpeedlitesIf you have to wait for many hours to capture your image and there is mains power available, a studio fl ash might seem to be the solution – it will always be ready. However, studio fl ash systems typically have minimum fl ash durations of a few milliseconds – which is enough to reveal some motion blur. Speedlites are capable of much shorter fl ash durations than a studio fl ash (20 to 30 times faster) and can give pin-sharp images of

Below This photograph shows our set-up for capturing images of the barn owl. The two parts of the Wireless Infrared Remote Controller are set near the base of the window. An infrared beam passes between them. As the owl enters it breaks the beam. This triggers the camera shutter and takes the picture. We used studio fl ash for our initial pictures. If you look at the ends of the wing, you will see the blurring as the wing has moved during the relatively long fl ash duration.EOS 50D, EF 28-105mm f3.5-4.5 USM lens, 1/100 second at f18, ISO 400.

Opposite page This image was shot using a Speedlite. The much shorter fl ash duration has given a sharp image, right to the tips of the wings.EOS 50D, EF 28-105mm f3.5-4.5 USM lens, 1/100 second at f18, ISO 400.

Wireless Controller LC-2 transmitter

Wireless Controller LC-2 receiver with trigger cable running to the camera


Shutter lag Once you signal your camera to take a photograph, either by pressing the shutter release button or by using a remote device, a sequence of actions is triggered.

up toward the focusing screen.

(if set to autofocus) and stopped down to the desired setting (if not already at full aperture).

is released, travelling at around 10mph to uncover the sensor.

without high-speed sync, this curtain has to fully

to happen as soon as the

fully or just before the second curtain begins to close after the allotted exposure time (an option called second curtain sync).

but depending on the selected shutter speed, may not have to wait

fully open, exposing the sensor using the narrow slit between the curtains.

shutter speeds, the shutter mechanism would have to move at close to 400mph! Although for most purposes these events all seem to happen instantaneously, the time taken (known as ‘shutter

speed photography and can vary from around 55ms to around 120ms.

Smartphone apps

Speedlites are battery-powered and so their

problem if you only need to set up the camera shortly before the anticipated event, but if you have to leave the Speedlite on overnight, there’s a good chance the batteries will be exhausted by

don’t replace the four AA cells in the Speedlight, but relieve them of the job of supplying energy

batteries only have to run the LCD and metering

heavy current requirements are handled by the accessory battery pack. Perhaps the best known battery pack is

£400. A cheaper alternative is the Nissin PS300 battery pack, which has just become available

plug into the high voltage port on the side of a Speedlite and enables it to give around 300 full

of about one second.

the external battery connector on the Speedlite, but is powered directly from the mains. We bought one from www.innovatronix.com for $135.

A word of cautionAt full power, a Speedlight can release a

tube and it is therefore important to allow time

use of external power packs makes it easy to

but it carries with it the danger of overheating

ever increasing computing power and communication capabilities, is an obvious contender for connecting to a DSLR camera.

impressive array of sensors built into them, supported by a comprehensive library of functions that encourages software developers to write applications. Sound can be measured and set to trigger a camera when a certain level or pitch is detected.Light intensity can be monitored to detect a sudden change or an absolute level threshold. Vibration can be detected by the phone’s level sensors which can detect when the camera is subjected to changes in its spacial orientation.Magnetic fi elds can be detected by the

is rotated in a certain direction or when

detect the presence of ferrous metals.Absolute and relative position GPS capability allows the phone to trigger the camera when a set distance has been covered or when a particular zone has been entered.

of particular interest.Timer/interval Since smart phones know the time and date they can easily be programmed to trigger your camera when a certain time interval has passed, either in a one-shot mode or repeatedly at whatever interval you want.

features of the average intervalometer.Wi-Fi and Bluetooth For short range remote control and two-way data communications, Wi-Fi allows you to remotely control the camera and its settings.Receiving a call Receiving a call from

the shutter thus allowing you to take a photograph from any distance.

Triggertrap

produced a mobile app that allows both iOS and Android smartphone owners to trigger their cameras automatically. A ‘dongle’ plugs into

the phone’s headphone socket and a second

dongle and camera trigger cable are available to buy as a package for around £20. Since the

solution for experimental photography.

Above

recommended for rapid



Above Balloon ready to burst. A Speedlite is mounted on camera, which is triggered by the TriggerSmart sound module. Above centre Triggering the camera introduces shutter lag and misses the action. Right Taken using a Speedlite 550EX mounted on a hot-shoe adapter and connected to the Triggersmart AUX output using a PC-to-2.5mm jack cable. The sound detector was fixed to the stand holding the balloon just out of shot to minimise the delay due to the speed of sound. The Triggersmart delay was set to minimum. The Speedlite was set to manual mode at 1/64 power to produce a very short flash duration.

Shooting subjects using a sound trigger

Here’s an example of a problem you might encounter when first trying to capture high speed events such as balloon bursting. You set up the equipment to trigger the camera when the sound of the balloon bursting is detected. Unfortunately, the image is captured too late, after the action has taken place. This is a symptom of shutter lag. Even if the camera is pre-focused and the mirror is locked up, you will still have to wait for around 1/20 second after the sound occurs before the sensor is exposed – by which time the interesting stuff has happened.

Dealing with shutter lagThere are two ways to overcome the shutter lag problem. One is to use an air gun to fire a pellet at the ballon and trigger the camera from the sound of the gun firing rather than the sound of balloon. You can then adjust TriggerSmart’s delay control to fine tune the timing for the perfect shot. A safer method is to forget triggering the camera altogether and trigger the flash instead. This technique requires that the camera is set up on a tripod in an area with little or no ambient light. Having been pre-focused and set to ‘bulb’ exposure mode, it is only necessary to open the shutter long enough to pop the balloon. The sound triggers the Speedlite and the shutter is then closed manually.

TriggerSmart connectionThe TriggerSmart provides an ’AUX’ output for precisely this purpose. To use it to fire a Speedlite you need to mount the flash on a hot-shoe adapter and connect it to the TriggerSmart using a PC sync cable fitted with a 2.5mm jack plug. You should be able to purchase both the cable and adapter for less than £10. When using a Speedlite in this way it can only work in manual mode. You need to determine

Operation of the TriggerSmart is fairly straightforward as there are only three adjustments. The Sensitivity control allows you to set the level at which your chosen sensor will be detected. This is generally adjusted until the unit is just triggering and is then backed off slightly. The Trigger Delay introduces a delay from between 0 to 10 seconds. Finally, the Trigger Time control sets how long the pulse generated by TriggerSmart will last. This is equivalent to how long you would hold your finger on the shutter release button. A number of switches provide control over trigger arming and focus.

the correct exposure by either using a flash meter or by checking the results in the back of the camera and adjusting the exposure accordingly. Using the TriggerSmart to fire the Speedlite is an almost instantaneous process. In fact the longest delay is the speed of sound, which is approximately one foot per millisecond. For minimum delay, you should position the sound sensor as close as possible to the sound source and then use the Trigger Delay control to fine tune the timing. For the best action-stopping results, set the Speedlite to the lowest power setting you can as this will produce an extremely short flash duration (typically as short as 25 microseconds).

Operating the TriggerSmart

Right Do you need sophisticated sound triggers to capture striking images? It all depends on the event. Here, the moment of a glass of coloured liquid breaking on a stone was captured by pressing the camera shutter release button at just the right moment. All it took was lots of practice and a good supply of glasses. This works because the event is taking place over a second or more. Sound triggers are effective for shorter events.


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Technique Mastering composition


Picture perfectThe way that elements are arranged in a photograph can have a powerful emotional impact on the viewer, says Tracy Hallett. Luckily, EOS cameras have a few clever features to help you strike the right balance

Fill the frameThere are many ways to improve a photograph, but one of the easiest and most effective is to fill the frame. Make the main subject the only subject in the photograph and you will have an image with impact. The reason for this is simple. If the subject fills the frame there are no distractions. The eye goes to the subject and stays there. Do you know how close you can get with your favourite lens? Try this simple test. Set manual focus (MF) using the switch on the side of the lens (left). Rotate the focusing ring anti-clockwise to set the minimum focusing distance. If you are using a zoom lens, set to the maximum telephoto setting. Now select a subject and focus by moving the camera closer. Stop when the subject is in sharp focus. This is the closest you can get with the lens. Try using this close distance more often when shooting – it will give you greater variety in your photographs and you will often find that the close-up shots give a stronger image.

Above Moving in close to this fly agaric fungi (Amanita muscaria) has given added impact. The red colour helps, as does the division of the frame into three distinct areas.EOS 400D with 105mm focal length, 1/60 second at f5.6, ISO 100, tripod.

Creating a well-balanced, aesthetically pleasing photograph can be a challenge. Painters have the luxury of starting with a blank canvas, allowing them to add or subtract components with relative ease. Photographers, on the other hand, often have to work with what’s already in front of them, prioritising elements in the frame using a combination of instinct, personal experience and technical skill. Many artists claim that composition requires a ‘natural eye’ – an innate knowledge of where to place objects for maximum impact. However, in reality this ‘eye’ can often be developed by studying the work of others – attending exhibitions, analysing why one arrangement succeeds while another fails. To make the task easier, many EOS cameras are equipped with compositional aids – grid displays, selectable AF points, a choice of aspect ratios and Picture Styles to help you communicate your vision effectively. These pages offer a few tips and tricks for you to try.

Above Most EF and EF-S lenses offer the choice of autofocusing (AF) and manual focusing (MF).

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Just as lines and shapes dictate how a viewer ‘reads’ a picture, colour also plays a major part in creating a well-balanced composition. Aside from directing our eye around the frame, colour stimulates the senses, triggering the smell of freshly cut grass or the sound of a police siren. By accepting that colour requires input from both the brain and the eye, we can see how different hues affect our emotional and physical well-being. Red, for example, can stimulate the mind and body, increasing blood pressure, whereas blue can calm our nerves and make us more productive. Most of the time we arrange hues, tints and shades in aesthetically pleasing ways simply by instinct. However, by understanding the basic rules of colour theory we can remove the guesswork, creating colour combinations that convey our personal style, while communicating our feelings about the subject.

Colour psychology and Picture Style

Using colour

Picture Style changesIn order to influence the response a viewer has to a picture, we can make colours brighter or more muted using Picture Styles. All of the models in the current EOS range offer six preset Styles: Standard (with increased saturation for vivid colours), Portrait (with increased saturation to brighten skin), Landscape (with a green/blue bias for enhancing blue skies and greenery), Neutral (with low saturation for post-processing flexibility), Faithful (with low contrast for a more realistic appearance), and Monochrome (with sepia, blue or other toning effects available). You can also customise a Picture Style using the ‘Detail Set’ tab (see display at far right).

Colour affects the way we see a picture. Some colours appear warm and friendly; others are cold or distant. You cannot change the colours of your subject, but you can watch out for effective colour combinations.Red is a dominant colour – even a small splash in a picture will attract attention.Blue is cool and often appears to recede into a picture. It can be very soothing.Green is the colour of nature. It is fresh, yet relaxing.Yellow is bright and bold. Pure yellow is not often seen in nature – it usually contains orange or green.Orange is a warm colour which conjures up thoughts of autumn. It blends in well with most other colours.Violet can be a bright and rather brash colour. It is a combination of red and blue, so it shares some of the characteristics of each.Brown is a good canvas for other colours, but rarely gives an appealing picture used on its own.

Above Nature is good at creating palettes of colours which blend together. EOS 40D with 300mm focal length, 1/500 second at f6.3, ISO 320.

Below The image below was shot in raw quality format and opened in Digital Photo Professional (DPP) software. The Standard Picture Style was applied to the first image (below left). This has given a rather flat result. The second image (below) shows the result with the Landscape Picture Style. The colour saturation has also been increased (see DPP palette (below right).



Cameras with grids and levelsCamera Grids Elec.

levelLV PB VF

EOS 1D Mark III 1

EOS 1D Mark IV 2

EOS 1D X 2 AF

EOS 1Ds Mark III 1

EOS 5D Mark II 2

EOS 5D Mark III 3 AF

EOS 6D 3 Ø

EOS 7D 2 Ø

EOS 60D 2 Ø

EOS 100D 2

EOS 500D 2

EOS 550D 2

EOS 600D 2

EOS 650D 2

EOS 700D 2

EOS 1100D 2

EOS M 2

The rule of thirds – and how EOS grids help

Proponents of the rule of thirds (including many designers, painters, architects and photographers) argue that a composition has greater dynamism when key elements are positioned off-centre – namely where four equally spaced lines (two horizontal and two vertical) intersect. Thankfully, we don’t have to imagine the scene in front of us divided into nine squares, because all of the models in the current EOS range support at least one grid display option. When this feature is activated during Live View, the LCD monitor overlays the subject with a 3x3 grid, allowing you to check that your composition is well balanced. In addition to the 3x3 formation, some models offer 6x4 and 3x3+diag (diagonal) grid options.

Above Compositions often have greater impact when key elements are positioned according to the rule of thirds.EOS 40D, EF-S 10-22mm f3.5-5.6 USM, 1/50 second at f/28, ISO 160, tripod.

Right Grids can be used to check that vertical subjects are vertical in the frame.EOS 40D, 180mm focal length, 1/320 second at f7.1, ISO 100.

LV Grids can be displayed in Live View. All models listed above offer a 3x3 grid. If there is a second grid it is 6x4. If there is a third grid it is 3x3+diagonal.

PB A few EOS models can display grids in the playback mode, letting you check the images you have shot.

VF Some EOS models display the grid in the optical viewfinder.

Elec. level Some EOS models help you to level the camera. AF uses the centre line of AF points to indicate tilt. Ø uses a special display (see opposite page).

3x3 grid 6x4 grid

3x3 + diagonals grid Grid in viewfinder

Right Grid display is set using the camera menu.


Landscape photographs often include a natural line in the form of the horizon – the placement of which is of great signifi cance. If the horizon is positioned towards the top of the frame it draws attention to the bottom of the image, if it’s placed towards the bottom of the image the reverse is true. Many newcomers to photography position the horizon in the middle, which is, generally speaking, the least effective option. When the frame is divided in this way, the viewer doesn’t know where to look fi rst. Once you’ve decided where to place the horizon you need to make sure that it’s completely level. To assist you in this task, the EOS-1D X, 5D Mark III, 6D, 7D and 60D feature a single-axis (or in some cases dual-axis) electronic level. This simple, screen-based tool works like a spirit level (see right) for horizontal slope and vertical tilt.

Horizons – and how to handle them

When the elements of a picture are carefully composed, the viewer’s eye is led effortlessly around the frame. To direct the gaze in this way, artists make the most of lines and shapes. Horizontal lines are said to promote calmness; vertical lines indicate strength; straight or curved lines leading into the image show perspective. Using lines and shapes can be effective, but noticing when they occur can sometimes be tricky. One way to exaggerate line, tone, shape and form is to view the subject in black-and-white. All of the models in the current EOS range offer monochrome as a Picture Style, but JPEGs created using this feature cannot be converted to colour later. To avoid this commitment, try exposing the subject in colour and then applying a monochrome Creative fi lter (the new image will be saved as a separate fi le on the memory card). Or shoot in raw with a monochrome Picture Style – the image will display on the camera in black-and-white, but you can switch to colour using a different Picture Style in Digital Photo Professional (DPP).

Directing the eye with monochrome

Left and above Horizons are best placed at the upper or lower third. A horizon placed in the centre of the frame can sometimes work, but sometimes not.

Above and right The electronic level will help you to avoid sloping horizons. Switch it on in the settings menu ‘INFO. button display options’ (right top). Then press the info button two or three times to display the electronic level. The long horizontal lines show the slope of the camera. Move the camera until the red line becomes green (right centre and bottom). The lines in the centre circle show the tilt. Adjust the camera until the longer line is in the centre (right).



Many compositions are more powerful when the main subject is positioned off-centre (see page 46). But autofocus systems are designed to prioritise the centre of the frame, which can sometimes limit creativity. To overcome this, EOS cameras offer three options: Focus lock, Selectable AF points and Manual focus. Locking the focus involves placing the subject in the centre of the frame and pressing the shutter button halfway. As long as you keep the shutter button partially depressed, the focus is fixed. You can now recompose the picture while holding the focus and then fully depress the shutter button to take the picture. Selecting an AF point entails pressing the AF point selection button, using the Cross keys, Main dial, Multi-controller or Quick control dial to toggle through the options and then covering the subject with the required off-centre point. Manual focus involves setting the lens focus mode to MF and turning the focusing ring to focus on the subject. You can magnify a Live View image to help with this.

Off-centre subjects and focusing

Proportions and aspect ratios

Above Manual focusing is recommended for off-centre close-up subjects. Canon EOS 10D, 105mm focal length, 1/90 second at f4.5, ISO 200, tripod.

In recent years aspect ratios other than 3:2 (the standard 36 x 24mm full frame) have gained popularity among shooters. Simply put, aspect ratio describes the width of the frame in relation to its height. Some EOS models offer a choice of ratios from 1:1 (square) to 16:9 (panoramic). Making the most of these options requires careful consideration. Each of these formats will suit some subjects more than others. Generally speaking, panoramics are great for landscape and architectural photography, while squares are ideal for still life and abstract. Aspect ratios can only be set or changed during Live View shooting and while JPEGs are saved with the ‘crop’ already applied, raw files are stored in the standard 3:2 format, with the aspect ratio information attached to the file. In order to view the raw image with your chosen dimensions, you’ll need to process the image using the Digital Photo Professional software supplied with your EOS. Of course, you can simply shoot the standard 3:2 format and crop at a later time, though this means that you can’t easily compose for the format.

The above menu is from the EOS 650D. The image aspect ratio can be set to one of the four options. The area surrounding the Live View image is masked when a ratio other than 3:2 is set (3:2 is the ratio of the LCD screen). JPEG images are saved with the set aspect ratio. Raw images are always saved in the 3:2 ratio, but the selected aspect ratio is appended to the file and the aspect ratio lines appear during playback and in Digital Photo Professional. The lines are not actually part of the image. In DPP, the aspect ratio can be reset to 3:2 using the ‘Trimming angle’ tool.

3:2

16:9

1:1 4:3


Many photographers make pictures from standing height, using a focal length that best replicates how they see with the naked eye (50mm). As a result, their pictures look remarkably similar, even when the subject matter is significantly different. To obtain a fresh perspective, try kneeling down and looking up at your subject, or climbing a stepladder and looking down at it. Before moving on, make sure that you record a scene using both portrait (vertical) and landscape (horizontal) formats. If adopting these positions feels physically uncomfortable, consider purchasing an angle finder and/or battery grip. Canon’s Angle Finder C (compatible with all current EOS SLRs) attaches to the camera’s eyepiece and allows low-level subjects to be viewed comfortably, and correctly orientated, from above. While the main use of a battery grip is to provide extra power, these attachments also offer welcome support when you’re holding the camera in the portrait format. Battery grips feature a suite of key controls (including a shutter-release button and Mode wheel) to ensure everything falls within easy reach. The battery grip you require will depend on the EOS camera you own – see below for details.

Viewpoints and battery grips

Above A battery grip makes it easier to hold the camera in a vertical format and provides an additional shutter button (and other controls) for shooting in this position. Grips are available for most EOS cameras.

Right and below Record a scene using both portrait (vertical) and landscape (horizontal) formats. You can decide later which view your prefer.EOS 40D with 10-20mm lens, ISO 100, 1/60 second at f18, tripod.

Battery grips for EOS camerasCamera Grip

EOS 5D BG-E4

EOS 5D Mark II BG-E6

EOS 5D Mark III BG-E11

EOS 6D BG-E13

EOS 7D BG-E7

EOS 10D BG-ED3

EOS 20DEOS 30DEOS 40DEOS 50D

BG-E2BG-E2N*

EOS 60D BG-E9

EOS 300D BG-E1

EOS 350DEOS 400D

BG-E3

EOS 440DEOS 500D

BG-E5

EOS 550DEOS 600DEOS 650DEOS 700D

BG-E8

EOS 1000D BG-E5

EOS D30EOS D60

BG-ED3

* The BG-E2 and BG-E2N are both compatible with the EOS 20D, 30D, 40D and 50D. The BG-E2N was introduced with the EOS 40D and adds a weatherproof seal to the battery compartment.

EOS 1D and 1Ds series camera have built-in battery grips, complete with a second set of controls for shooting in the portrait format.

There are no Canon battery grips for the EOS 100D and 1100D. Grips for the 1100D are available from third-party manufacturers and might become available for the 100D.

Framing and Live View If you study a well-composed picture you will notice that each element has a specific purpose – anything that could dilute the meaning has been removed or played down by the photographer. What you choose to exclude is equally as important as what you choose to include, so it’s imperative that every colour, shape, line and object earns its place. When we observe a scene, our brains often edit out minor imperfections – branches creeping into the picture area, blades of grass obscuring key details – but unfortunately the camera cannot exclude in this way and will record every distraction faithfully. To exacerbate the problem most viewfinders offer less than 100% coverage, which means that what you see through the lens is not exactly what you get in the final picture. Luckily, there are a few ways to avoid unwelcome surprises at the edges of the frame. First, you can move a little closer to your subject (or zoom in a touch) to allow for the extra 2% to 5% that the camera will record. Second, you can compose using Live View, which offers 100% coverage.


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Technique Digital lens optimizer


Optical fix

Squeeze out every bit of optical goodness from your lenses using Canon’s Digital Lens Optimizer (DLO). We test-drive this feature of Digital Photo

Professional software which is supplied free with every EOS camera.

Lens design has come a long way since the earliest records of ancient Greece where glass was ground by hand to form bi-convex magnifying glasses. These lenses are thought to have been used mainly to start fires, so any optical imperfections would have been of academic interest only. Now that we use lenses to form images, imperfections in the curvature of the glass and its optical quality are of prime importance. Modern lens design draws heavily on complex mathematical models to engineer a product that balances manufacturing considerations, optical performance and cost with the ability to produce an image that is as faithful as possible to the real-world scene. Despite their sophistication, modern computer-designed lenses are still a compromise. They still have some optical aberrations and they can still start fires.

Optical Correction only goes so farA single glass element will produce a whole range of distortions or aberrations which need to be corrected in order for it to produce an acceptable image on a flat plane. For photographic lenses, many of these aberrations can be minimised by adding extra corrective glass elements and special coatings to form a compound lens. This works very well for fixed focal length prime lenses but the task is much more difficult for wide-angle, telephoto and in particular zoom lenses where the aberrations change depending on the chosen focal length.

DLO to the rescueSince lens performance can be mathematically modelled, the aberrations produced by different

lenses at various focal lengths can be predicted and compensated for by image editing software. Although programmes such as Adobe Photoshop and Lightroom can process raw images and correct some lens distortion, they only apply a general lens correction. While this does produce some very effective results, it doesn’t take into account the individual lens and camera characteristics. The latest version of Canon’s Digital Photo Professional (DPP) software is armed with a feature called Digital Lens Optimizer (DLO). The DLO software module of DPP is unique in that it contains a database of the characteristics of a range of Canon lenses and camera bodies that enables it to calculate and correct for seven types of lens aberration, diffraction loss and even the effect of the optical low-pass filter fitted to the CMOS image sensor. This correction takes into account not only the lens in use, but also the subject distance and the specific focal length used when the image was taken – a particularly important parameter for a zoom lens. It’s important to understand that DLO will only work for full resolution camera raw files. You cannot use it to adjust DNG, TIFF or JPG files. If your camera gives you the option of creating smaller raw files (raw S or raw M) select the full sized raw.

How effective is DLO?We thought it would be interesting to test the effectiveness of DLO on some images taken with a variety of lenses. Since zoom lenses have to make the most compromises in their design, we tested wide-angle, medium and telephoto zooms. We examined the original and processed images to see what areas had been modified.

Lens aberrations

Spherical aberration Caused by light rays from the edge of the lens not focusing at exactly the same distance as those near the centre of the lens.

Curvature of field The image formed by the lens is in focus on a curved surface, but the sensor is flat causing loss of sharpness.

Astigmatism The inability of a lens to bring radial and tangential details into focus at the same time.

Comatic aberration A blurring of points into a comet-like smudge near image periphery.

Sagittal halo Different wavelengths of light are focused at different distances as a point source moves radially away from the optical axis causing coloured circles of confusion.

Chromatic aberration of magnification Different wavelengths produce images of slightly different sizes.

Axial chromatic aberration Differing wavelengths along the optical axis are brought to focus just in front or behind the sensor.





Putting the Digital Lens Optimizer to the test

After DLO has corrected the green and magenta colour fringing in high contrast areas and has enhanced detail in the brickwork and grass.

Before The unprocessed image looks quite reasonable, but enlarging the corner detail reveals some chromatic aberration and a loss of sharpness.

Wide-angle zoomEF-S 10-22mm f3.5-4.5 USM EOS 50DWe start with the popular EF-S 10-22mm zoom, which has a reputation for producing extremely good images for a non ‘L’ series lens. This high contrast wide-angle shot of Norwich Cathedral was taken in strong sunlight at maximum aperture, which is a challenge for any lens. Most of the distortion will be at the edges of the image so we examined the bottom right-hand corner in detail.

Before The image needs very little correction. This section is free of chromatic aberration, but some fi ne detail is a little soft.

After DLO has made some very small changes to each channel to make the detail on this basket a bit sharper. Correction has been applied to all colour channels.

Above Fisherman’s hut on a beach in North NorfolkEOS 50D, EF 24-105mm f4L USM lens at 80mm, 1/125 second at f7, ISO 200.

Medium zoom EF 24-105mm f4L USMEOS 50D cameraThis is an example of fi tting a good quality L-series lens to an APS-C body. In this situation lens aberrations are less severe since the lens is designed for a full-frame camera. This means that the APS-C sensor is only sampling the central area of the image and therefore sees none of the imperfections usually associated with the edges of the frame. There is little distortion for the DLO to correct.

Above Norwich Cathedral. EOS 50D, EF-S 10-22mm f3.5-4.5 USM lens at 16mm, 1/5000 second at f4.5, ISO 400.




Telephoto zoomEF 70-200mm f4L IS USM EOS 5D Mark IIOur final combination is the EF 70-200mm f4L lens with the EOS 5D Mark II. As expected, this combination produces an image with very few aberrations and we had to crank up the histogram adjustments to see the subtle modifications DLO had made. The corrections were most easily observed in fine edge details where some sharpening was evident mostly in the red and blue channels.

Above Evening light in Mousehole Harbour, Cornwall.EOS 5D Mark II, EF 70-200mm f4L IS USM lens at 106mm, 1/125 second at f8, ISO 200.

Before The lens was focused on the boats in the foreground, but some edge details around the cabin window and the ropes are slightly soft.

After This lens is so good that only small improvements are visible. DLO made slight improvements to the contrast on the window frame and ropes.

How will DLO affect my workflow?If you’ve just returned from a shoot and have a few hundred images to examine, the chances are that you’re not going to want to run all of them through the DLO process. Each optimised image you process will add several minutes to your total processing time and will also take up two or three times the original storage requirements. The improvements that DLO makes to your original image can be subtle and may not be obvious for small prints. The following procedure might work for you.1. Select only your best images and those that you wish to enlarge to A3 or greater.2. Apply DLO to the selected raw images, remembering to set the sharpness and unsharp mask strength to zero first. 3. Carry out any other raw processing only after you’ve applied DLO as this helps to prevent over sharpening the image.

Can I use DLO to correct my raw file and then continue to process it in Photoshop?Many photographers prefer to do their raw processing in applications such as Adobe Lightroom or Photoshop and don’t want to use an additional programme. This is understandable since these Adobe applications provide comprehensive raw processing functions. However, only DLO can tap into the full

database of camera and lens information needed to correct aberrations. This means that you will need to run your image through DLO to write the correction information to your raw file. Having done so, can you convert and save the corrected raw file and continue your raw processing in another application? To find out, we used Photoshop CS5.1 to open a normal and a DLO corrected raw file of the same image. Photoshop opened both files without any problems and when we examined them both images were identical. This makes sense, as DLO doesn’t correct the original raw data, but instead adds correction data which is used when the final image is converted and saved to a JPEG or TIFF file. To get the best of both worlds, we recommend that you use DPP to run the DLO correction and to make the common basic adjustments such as white balance or exposure. This may be all you need, in which case you can just save the image in its final file type – usually 8-bit JPEG. If you want to process the image further using Photoshop, select ‘Convert and save’ and choose the ‘TIFF 16bit’ option. This will cause the lens correction data generated by DLO to be applied and written to a 16-bit TIFF file, preserving the full colour depth information and giving you maximum editing ability in other image editing software.

Data inf lation

The DLO data will expand the original file size significantly. With our example image, the file size grew from 22.8Mb to 44.9Mb. This data inflation is indicated on the image thumbnail by the addition of a small ‘plus’ sign. The extra information is used when generating the final image. After this, the data can be removed from the raw file if you are concerned about file sizes. Go back to the Lens tab, click the Tune button and then untick the Setting box. DPP will tell you that the results of the adjustment will be added and saved with the image file. Click OK and your raw file will be stripped down to its original size. Unless storage is an issue, there is no need to remove the extra information once you’ve optimized – other raw processing software will ignore the extra data.




To discover what the DLO actually does to an image, we need to compare the original unprocessed image with the corrected version. We used Photoshop to spot the difference for the each colour channel.

Using DPP, the unprocessed and corrected images were saved as separate TIFF files to avoid any compression artefacts that would be generated when saving as a JPEG. Both images were opened in Photoshop and stacked on top of each other as shown in the layers palette (right top). The original unprocessed image was set as the background layer with the default blend mode of ‘normal’. The corrected image was stacked over it with a blend mode of ‘difference’. This produces a new image whose pixel values are the difference between the corresponding pixels in the unprocessed and corrected image layers. At this point the image appears totally black. This is to be expected as DLO is not making large adjustments to the image. In a normal image, the brightness of a given pixel will range between 0 (black) and 255 (white) representing the tonal range of the image. It is common to represent the tonal range in the form of a histogram that will normally exhibit some broad spread between these two extremes. However, since we’re examining the difference between two versions of the same basic image, and the differences are relatively small, over 99% of the pixels have a value of less than 10, making the information almost invisible (right, adjustments palette). To make the differences easier to see, we can amplify them by applying a levels adjustment layer. By moving the white slider down to a value of 20 or so, pixels that were only just visible are re-mapped and the differences become obvious (right, histogram). In order to see how colour was processed, we examined the red, green and blue channels of the image separately. All three channels show that the main differences are to be found in the edge details where colour fringing and contrast are improved. They also exhibit evidence that some ‘banding’ in the sky caused by uneven illumination of the sensor is being corrected.

What’s the difference?

EOS 1D EOS 1D Mark IIEOS 1D Mark II NEOS 1D Mark IIIEOS 1D Mark IVEOS 1D XEOS 1DsEOS 1Ds Mark IIEOS 1Ds Mark IIIEOS 5D*EOS 5D Mark IIEOS 5D Mark IIIEOS 6DEOS 7DEOS 30D**EOS 40DEOS 50D

EOS 60DEOS 400DEOS 450DEOS 500DEOS 550DEOS 600DEOS 650DEOS 700DEOS 1000DEOS 1100DEOS M

* Requires firmware version 1.1.1 or later

** Requires firmware version 1.0.6 or later

Compatible cameras

EF prime lensesEF 14mm f2.8L USMEF 14mm f2.8L II USMEF 20mm f2.8 USMEF 24mm f1.4L USMEF 24mm f1.4L II USMEF 24mm f2.8 IS USMEF 28mm f1.8 USMEF 35mm f1.4L USMEF 40mm f2.8 STMEF 50mm f1.2L USMEF 50mm f1.4 USMEF 85mm f1.2L USMEF 85mm f1.2L II USMEF 100mm f2.8L Macro IS USMEF 300mm f2.8L IS II USMEF 400mm f2.8L IS II USMEF 500mm f4L IS II USMEF 600mm f4L IS II USM

EF zoom lensesEF 16-35mm f2.8L USMEF 16-35mm f2.8L II USMEF 17-40mm f4L USMEF 24-70mm f2.8L USMEF 24-70mm f4L IS USM

The DLO software will currently process images created by many, but not all, Canon lenses. Canon is working on expanding its range of supported lenses. The current list is as follows:

Compatible lenses

EF 24-70mm f2.8L II USMEF 24-105mm f4L IS USMEF 28-70mm f2.8L USMEF 28-200mm f3.5-5.6 USMEF 28-300mm f3.5-5.6L IS USMEF 70-200mm f2.8L IS USMEF 70-200mm f2.8L IS II USMEF 70-200mm f4L USMEF 70-200mm f4L IS USMEF 70-300mm f4-5.6L IS USMEF 100-400mm f4.5-5.6L IS USM

EF-S lensesEF-S 10-22mm f3.5-4.5 USMEF-S 15-85mm f3.5-5.6 IS USMEF-S 17-55mm f2.8 IS USMEF-S 17-85mm f4-5.6 IS USMEF-S 18-135mm f3.5-5.6 ISEF-S 18-135mm f3.5-5.6 IS STMEF-S 18-200mm f3.5-5.6 IS

EF-M LensesEF-M 22mm f2 STMEF-M 18-55mm f3.5-5.6 IS STM

Dos and don’ts

DNG, S-RAW or M-RAW files – it will only process full resolution camera raw files.

will not be able to correct the image even if you are using a compatible lens.

shoot at the largest or smallest aperture as both extremes aggravate aberrations.

best optical quality from your image, it’s always wise to have at least one L-series lens in your camera bag if you are looking for the ultimate image quality.

as this will eat up your storage space faster and slow down your work flow. Leave the DLO treatment for your best images.



Above Initially, the small differences in pixel values are hard to see and the difference image looks black. A levels adjustment layer in Photoshop (below) is needed to reveal the information we seek.

Red difference Green difference Blue difference


56 |57

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Technique Camera choice


Camera choiceIf you want to move from an entry level consumer EOS camera to a ‘prosumer’ model, there are three that stand out – the EOS 7D, 5D Mark II and 5D Mark III. Drew Buckley has used them all and offers advice to help in your choice.

Above A white-tailed eagle plucks a fish from the seas surrounding the Isle of Skye.EOS 7D, 300mm focal length, 1/2000 second at f4, ISO 400.

Right A Ford Focus WRC making a splash at the Margam stage of the Wales Rally GB.EOS 7D, 200mm focal length, 1/500 second at f2.8, ISO 400.

Opposite page A majestic red deer stag bathed in autumnal golden light in the Highlands of Scotland.EOS 7D, 560mm focal length, 1/250 second at f8, ISO 400.

Drew Buckley’s main photographic interest lies with landscapes and wildlife. He loves experiencing the great outdoors and all it has to offer. “The natural world and the stunning landscape around us has always been one of my passions,” he says, “so together with photography, there’s no better thing I’d rather do. Being outside, whether it be in the countryside, on top of a mountain or along the coastline, invigorates the senses, makes you relaxed and gives you an enormous sense of well-being. “On the flipside with wildlife, photographing that elusive animal can be frustrating and sometimes can require immense patience and perseverance to get a unique image. When the hard work pays off though, there are not many things that come close to giving you as much self-satisfaction after capturing the magical shot. My aim from the outset is to always try to capture a stunning, well-composed and striking image.” When it comes to cameras, Drew is a Canon man and has used a variety of EOS models. Over the next few pages he offers his personal views on three of the cameras.

ALL P

HO

TOS

DR

EW

BU

CK

LEY



Pros

Cons

Uses

EOS 5D Mark II

Drew’s view

AboveEOS 5D Mark II, 17mm focal length, 2 seconds at f16, ISO 100.

BelowEOS 5D Mark II, 38mm focal length, 1/1000 second at f4, ISO 250.

The EOS 5D Mark II, introduced in 2008, was the first EOS camera to offer still and video capture. Although replaced by the EOS 5D Mark III, the camera is readily available secondhand and offers good value if you are looking for your first full-frame single-lens reflex. The EOS 5D Mark II has a 21.1 megapixel CMOS sensor and offers continuous shooting at 3.9fps. The camera includes a 15-point autofocus sensor with nine selectable AF points and six additional Assist AF points. There are three centre AF points sensitive to f2.8 lenses, with enhanced light source detection and AF microadjustment for greater autofocus performance. Video capture is part of the camera’s Live View function. Picture Style settings are applied to the movie, giving control over image sharpness, contrast, colour saturation and white balance.

Opposite pageEOS 5D Mark II, 22mm focal length, 4

seconds at f16, ISO 100.



Pros

Cons

Uses

EOS 5D Mark III

The EOS 5D Mark III incorporates a number of features introduced with the remarkable EOS-1D X, providing improved performance, flexibility, handling and durability over the EOS 5D Mark II. The camera’s newly-developed 22.3 megapixel full-frame sensor provides increased resolution and finer detail, enabling the capture of a wide range of subjects, from sweeping landscapes to studio portraits. Higher-speed continuous shooting (6fps) is good for wildlife photography. The EOS 5D Mark III uses the same 61-point wide area AF system as the EOS-1D X. It features 41 cross-type points and five dual cross-type points, providing accuracy across the frame. Six different AF Cases (presets) can be customised to suit different subject and shooting conditions using a built-in AF configuration tool.

BelowEOS 5D Mark III, 32mm focal length, 1/3200 seconds at f8, ISO 800.

AboveEOS 5D Mark III, 200mm, 1/80 second at f11, ISO 200.

BelowEOS 5D Mark III, 300mm, 1/1000 second at f4, ISO 2000.

Drew’s view


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ConclusionAs you can see, you’re greeted with a fantastic choice on the step up from the mid-range of EOS bodies. Depending on your main subject matter, you might choose the EOS 7D or the 5D Mark II. The phrase ‘horses for courses’ really runs true with these two bodies. If you’re a wildlife or sports shooter needing to freeze the action at all costs then go for the EOS 7D. If you are a wedding or landscape photographer needing to capture quality and clarity in an image, or in low light, then get the 5D Mark II. Don’t get me wrong, the 7D does a fabulous job of what it sets out to do, and the fps and AF system is very good, but image quality does start to deteriorate when using high ISO. Likewise, taking the EOS 5D Mark II to a motorsport event or using it for birds in flight, you will really suffer on the autofocus and frame rate side of things. So choosing the correct camera body for your subject is really vital in helping gain the images you’re ultimately after. The EOS 5D Mark III really blurs the line between the 5D Mark II and the 7D. It is, to me, two camera bodies in one. I can take it to any job and shoot a variety of subjects and succeed in all of them. I’ve tested the 5D Mark III at weddings where the insane high ISO performance helped me get some images in what were previously unshootable lighting conditions. I’ve used the sophisticated AF system to great effect on birds in flight and on wildlife. Also when out shooting landscapes on the coast, thanks to the full-frame sensor, the camera produces sublime tonal range and image quality, making the photographs stand out. It really is a jack of all trades, master of all.

Drew Buckley (www.drewbuckleyphotography.com)

Above A great sunset at Elegug Stacks, Pembrokeshire.EOS 5D Mark III, 17mm focal length, 3.2 seconds at f16, ISO 100.

Below A crested tit with heather for backdrop in the Cairngorms.EOS 5D Mark III, 300mm focal length, 1/3200 second at f4, ISO 1250.

Technique Behind the image


Adding dramaWith the right treatment, a dull and overcast day can prove the perfect backdrop for a dramatic shoot. Scott Sharman shows how, with multiple Speedlites and some creative thinking, a striking result can be salvaged from uninspiring surroundings.

Life as a freelance photographer means my work is varied and interesting. As well as weddings and family portraits, I am commissioned for editorial and product photography. However, a recent approach from a college student to shoot some photographs for her project enabled me to get creative with my Speedlites. Katie Biggs was studying fashion and wanted to photograph her designs being worn by athletes. She had a very specific image in mind. Northwood Stadium in Stoke-on-Trent proved an ideal venue, so I approached the site manager for permission for full access to the track. Katie already knew the male model, but I sourced the female model by putting a request on my Facebook page (www.facebook.com/ssharmanphotography). I always like to give someone who has an interest in modelling the opportunity to do so and this method of recruitment works well. Katie had several ideas as to what she was looking for, which I liked the sound of, but after shooting a few examples we decided not to go for a traditional approach with softboxes,

but instead went for a more dramatic look with lighting behind the models. The shoot involved a lot of experimentation in balancing and positioning the Speedlites. The metering of the lighting was relatively simple. I positioned the main flash and metered

Above Transform daylight into night using multiple Speedlites. EOS 5D Mark II with an EF 16-35mm f2.8L USM lens, 1/640 second at f6.3, ISO 400.

Right Scott Sharman shooting with one Speedlite on camera and another Speedlite behind the model. iPhone 4, 1/40 second at f2.8, ISO 80.

Scott’s kitEOS 5D Mark IIEF 24-70mm f2.8EF 16-35mm f2.8 3x Speedlite 580EX Mark II3 x Pocket Wizards Fex 5Lastolite 60cm softboxes

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Using flash in daylight

on the subject so that it would be illuminated correctly, but with only just enough light so that the background remained dark. The Speedlites positioned behind the subject were adjusted purely by eye – I played with the settings, zoom, power, and so on, until the correct amount of light was fired towards the camera. As for the actual positioning of the Speedlites, this was done with the models in position and myself looking through the viewfinder while, guided by me, an assistant moved the Speedlites into the correct spot. I used a laptop during the shoot to check both composition and lighting. I used a compact flash card reader, which I attached to the MacBook via USB cable. I don’t usually take the laptop with me, but knowing that Katie wanted a very specific look it was more for her benefit than mine – instead of showing her the images on the back of the camera she could see them on the laptop screen. We only used it a couple of times as I managed to get the look Katie wanted after shooting a few test shots. After she’d seen the results she was happy to trust my judgement.

For more of Scott’s images visit www.scottsharman.com

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Below Shooting with one Speedlite on-camera and two Speedlites on the ground in front of the model. iPhone 4, 1/40 second at f2.8, ISO 80.

Bottom Single model in starting position. EOS 5D Mark II with an EF 16-35mm f2.8L USM lens, 1/1000 second at f5, ISO 400.

Right The two models posed standing together. EOS 5D Mark II with an EF 24-70mm f2.8L USM lens, 1/125 second at f10, ISO 200.

Bottom right The two models posed in starting position. EOS 5D Mark II with an EF 16-35mm f2.8L USM lens, 1/500 second at f6.3, ISO 400.

Technique Geotagging


Only a generation ago, the task of pin-pointing your position was largely down to good map reading using landmarks, transits and trustworthy charts and maps. Ocean going vessels navigated by the stars and had to determine their position on a chart using a sextant and ship’s chronometer. These traditional techniques were difficult, and sometimes impossible, to use if there was no clear view of the sky. The accuracy of the fix often left a lot to be desired, particularly in the case of longitude. As technology advanced, land-based radio transmitters used in conjunction with special receivers and annotated charts enabled users to determine their position both on land and in coastal waters, but it still did not have global coverage or high accuracy. It was not until the advent of satellite technology and the construction of highly accurate atomic clocks that a global position fixing system became feasible. What we now know as the Global Positioning System (GPS), was developed by the US Department of Defense (DoD) to provide a satellite-based navigation system for the US military. It was later made available for civilian use. The first GPS satellite was launched in 1978 but, like the first telephone, it was useless until others were added. A full constellation of 24 satellites necessary to cover the whole of the Earth’s surface was finally achieved in 1994 and today we have a global system accurate to just a few feet. This enables us to log the location of a camera as it takes a photograph. The information is written to the image EXIF file.

GPS explainedAlthough GPS may seem like a leap in complexity compared with conventional map and transit techniques, the principal is very similar. You can fix your position on a map if you know the distance to three different landmarks. The same principal applies even if those ‘landmarks’ are satellites 20,000km above you and moving at a speed of 14,000km/h (as indeed they must in order to orbit the earth every 12 hours). A whole constellation of 24 satellites is needed to ensure that wherever you are on the surface of the Earth, you will be able to see at least four satellites (with up to 12 visible at any one time). Although only three are needed to fix a position on a flat surface (known as a 2D fix), the addition of an extra satellite enables the calculation of altitude in addition to longitude and latitude (3D fix). It is also used to correct timing errors in the receiver’s quartz clock which is not as accurate as the atomic clocks carried by the satellites. Each satellite transmits its identification, position and time together with the positions of the other satellites. The receiver compares the time it receives the data with the timestamps the satellites provided in order to calculate the distance between it and each of the visible satellites. The receiver’s position is then calculated using basic trigonometry. The calculations require nano-second timing accuracy and must take into account Einstein’s Special and General theories of Relativity, without which the GPS would be useless.

Geotagging imagesSince its beginnings in the late 1970s, satellite navigation has become an indispensable technology. Dave Baxter reviews the options to find out how you can put the Global Positioning System (GPS) to work for your images.

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Other systemsWith whole industries reliant on the merits of GPS, it’s not surprising that concerns over the control of the satellites should begin to surface. What would happen if the USA’s GPS was hacked or deliberately turned off? It turns out that the Russians have been busy working on their own GPS called the GLObal NAvigation Satellite System (GLONASS). This is a fully operational system of 22 satellites covering most of the globe. The system is also freely available, but works on a different frequency band to the US system. It will therefore be necessary to use a different GPS receiver to use the GLONASS, but it’s nice to know it’s there if you need it. Not to be out-done, the Europeans have their own GPS under development, due for deployment in 2014.


The simplest way to enjoy the benefits of image geotagging is to buy a camera with an integral GPS receiver. Until recently, no EOS had the option, but this changed when Canon launched the EOS 6D in September 2012. More than just an entry-level full-frame camera, the 6D boasts GPS capability. This long-awaited feature makes it incredibly simple to geotag your photos. It is likely that Canon will add this feature to some of its future models. With a built-in GPS receiver, all you need to do is switch it on from the menu and, provided it can pick up the signal from the satellites, the longitude, latitude and altitude will be added to each image’s EXIF data automatically as you take the photo. The GPS receiver of the EOS 6D can also take regular readings of its position (even when the camera is switched off) to build up a log of its travels. A new log file is created automatically each day in an area of the camera’s memory big enough to hold over 380,000 separate position fixes. This is sufficient to store a reading every second for over four days. The interval between log position readings can be set to 1, 5, 10, 15, 30, 60, 120 or 300 seconds, which gives you the option to record up to around 100 log files. If the memory becomes full, the existing log files are overwritten, starting with the oldest. After an expedition, simply connect the camera to your computer and run Canon’s Map Utility software (see next page). This will download your log files and allow you to display them on a map together with the positions of any images you import.

Using the EOS 6D built-in GPS receiver

Above The LCD screen on top of the EOS 6D showing anactive GPS and LOG.

Above The latitude, longitude and elevation for each image can be viewed on the back of the camera.

Right The 6D is the first EOS to feature an integrated GPS unit. This records location data in the EXIF file attached to the image. The EXIF file also records data such as the date and time of the exposure, shutter speed, aperture, ISO setting and other technical information. A GPS logger records the travels of the camera over a period.

Right You may find it useful to add GPS to your ‘My Menu’ so that it’s instantly available when you press the menu button (provided you have enabled ‘Display from My Menu’ in the My Menu settings screen).

Above The GPS setting screens are located in the second ‘spanner’ menu of the EOS 6D.

Above You will normally use the built-in GPS receiver, but there is the option to use an external unit.

Above If the camera is receiving a GPS signal, selecting the ‘GPS information display’ option gives a screen similar to the one below left.

Above A bonus feature of GPS is that it can set the date and time of your camera very accurately using the atomic clock of the GPS satellite.

Above The GPS logger screen lets you enable the feature, transfer data to the camera’s SD card and delete the log data.

Above You can choose how often you want to record the camera position (location).

The GPS logger places an extra drain on the camera battery. It is advisable to keep a spare battery fully charged if you plan to make extended use of this GPS feature.



Privacy issuesAlthough the ability to geotag your images with ease is a very useful feature, it can also present a security/privacy issue. Once enabled in the menu, all your photos will be tagged with position information until you turn the feature off again. This means that if you publish images shot at home while geotagging was enabled, you may be inadvertently giving away your address. Of course it’s often difficult to get a satellite lock when indoors so the geotagged information may not be correct, but why risk it? A related issue came to light in December 2012 involving anti-virus software chief John McAfee. His fortunes took a dive when he gave an exclusive secret interview to a reporter from Vice Magazine whilst on the run from alleged persecution in Belize. The article they published included a photo of their reporter with John McAfee taken with an iPhone 4S smart phone. Unfortunately for Mr McAfee, the photo’s EXIF data included GPS coordinates locating him in Guatemala. He was captured two days later – or not, depending on which blog you read. If you are publishing images to social media sites and forums or submitting them to photo agencies, you may want to remove some EXIF data to maintain privacy. Fortunately, you don’t need to delve into the binary code to do this. If you’re using Canon’s Map Utility, just select the photo and then click the ‘Add/delete location information’ button. If you are using Lightroom 4, right-clicking a marker in the Map page will give you the option to delete the GPS data. Alternatively, Lightroom’s export dialogue now includes an option to strip the GPS information when making the final image file. Users of Aperture 3 will also find comprehensive tools to add or delete GPS data.

Using the Canon GP-E2 accessory

There will be many photographers who have already invested in EOS cameras that don’t have built-in GPS receivers, so Canon has designed the GP-E2 hot-shoe mounting GPS receiver. This accessory is directly compatible with several of Canon’s more recent cameras (those that display ‘GPS Device Settings’ in the menu) giving the same ease of use as that enjoyed by EOS 6D users. In addition to the satellite position fix, the GP-E2 also tags photos with bearing information (the direction in which the camera is pointing)

from its built-in solid-state compass (except for the EOS 7D). A single control switch selects OFF, ON or LOG and two LEDs indicate battery condition and satellite signal acquisition. In the ON position, the GP-E2 automatically tags position information to each image when attached to a compatible camera. The LOG position is used to switch on automatic periodic recording of the current position to the GP-E2’s internal memory for later download to the Map Utility. The GP-E2 continues to tag individual images in the LOG position.

Why bother geotagging?Professionals such as surveyors and civil engineers have been using geotagging for years, but for recreational photographers the benefits of positional information are perhaps not quite so obvious. Being able to revisit the site where a particular photograph was taken or to view the location on a map afterwards is a nice-to-have facility, but it really comes into its own when you own a large collection of images. If you catalogue your images using key words, you may have found yourself being somewhat inconsistent with their use. Did you key word that image as ‘landscape’, ‘country’, ‘walks’, ‘rural’ or just ‘Derbyshire’? The problem can be quickly circumvented if your images have been geotagged, since you only have to search for all images that are positioned within a specified geographical area.

Above The GP-E2 attached to the new EOS 700D. A lever on the GP-E2 locks it tightly to the camera accessory shoe. It will not fall off accidentally.

Above Cameras compatible with the GP-E2 offer similar menu screens to the EOS 6D (see previous page), but are only accessible when the GP-E2 is attached and switched on. No selection of the device is needed and the logger is activated on the device, rather than by a menu screen. A feature not available on the EOS 6D is the digital compass, which records the direction the camera is pointing and is calibrated by rotating the camera. GP-E2: EOS-1D X, 5D

Mark III, 7D*6D, 100D, 650D, 700D, M* requires firmware update v.2.0 or later

GP-E1: EOS-1D X

The GP-E2 has an RRP of £299.99. The GP-E1 sells for around £268.

Above The GP-E1 has similar features to the GP-E2. It attaches to the side of the EOS-1D X.

Compatibility


A short trip to the Lake District afforded the opportunity to see how easy geotagging is in practice. We tried the EOS 6D with its built-in GPS receiver and also took along the GP-E2 accessory (see opposite page)with an EOS 650D and the EOS M. The EOS 6D proved to be very easy to use and once we’d switched on the internal GPS receiver, it was left on constantly with no obvious battery drain penalty. We also switched on the LOG function, set to record the location every 15 seconds and just let it run, allowing it to make a new log file automatically each day. A total of 183 photographs were taken and all but one were reliably geotagged.

After the trip, the log file from the EOS 6D was transferred to its SD memory card and the log files on it were copied to a folder on the computer using a card reader. The Map Utility software was then started and the ‘GPS log files’ tab selected. Four menu buttons control importing and editing of the track list. Since we’d already copied the log files across to the computer, we chose the ‘Import from file option’. If you choose to transfer the log files directly from the camera or the GP-E2 then you would connect the camera or GP-E2 to your computer and select ‘Import from GPS device’. During transfer, log files are removed from the camera or GPS device and stored in the folder ‘Canon Utilities/GPS Log Files’. Once transferred, any log files found will be added to the list shown on the left of the Map Utility screen. Clicking one of these logs will display the track in red on the map. The ‘Edit GPS log file information’ button allows limited editing of the log file restricted to the file name and time zone.

Photo locationsTo display your images on a map, they must first be imported into the Map Utility software using the Add images button. Those images that have positional information embedded in them will appear in the left hand list with a small satellite icon and, if clicked, will produce a thumbnail image on the map at their corresponding location. In this example, the highlighted image was not geotagged. A temporary loss of signal is the likely cause as the track log (shown in red) exhibits a different return route to that used on arrival and the vehicle in question was most definitely not of the off-road variety!

Manual correctionsMissing or inaccurate positional information can be easily edited by selecting the image from the list and then clicking the Add/delete location information button. If the image already has location information associated with it, Map Utility will warn you that you are about to remove it. Click ‘Yes’ and then click the location on the map you want associated with your image. It helps to switch to satellite view as this allows you see individual buildings and features that will help locate the position accurately. When you click the map, a thumbnail image will appear together with a blue pin. Click Save to add the new location information to the image.

Above A log file plotted in Canon’s Map Utility software

Using Canon’s Map Utility software

Changing the file name alters the name, but only as displayed in the list— the actual file name on disk remains unaltered. It’s not clear why anyone would want to do this when changing the file name on your computer makes more sense. The main use for the edit button is to shift the time zone to force it to the same zone as the camera in cases where the camera’s time zone was wrong. All Canon GPS compatible cameras have a menu option to set the camera’s time from the GPS signal to avoid this temporal misalignment situation. The ‘Delete log files from list’ button removes the log file from the list, but doesn’t delete the file from your computer. To get the deleted log back into your list, just re-import it. If your camera can automatically geotag your images, you will probably find that the ability to log your position every few seconds in a separate file is somewhat superfluous. However, if your camera doesn’t support direct live geotagging, recording a log file is the easiest way to tag your images when you get back to base.



When you don’t have the facility to geotag your photos as you take them, you can still easily tag them when you get back home. If you know where you took the photo, you can just drag a photo onto the map, but if you have a GPS log fi le the

Exporting data to Google EarthMap Utility can export images and location information in the

Above Automatically tagging images that were not tagged when the photograph was taken is a simple matter in Map Utility if you have a track log.

Geotagging after your trip

Bearing informationPhotos taken by cameras with the GP-E2 attached also have bearing information available. This

whole process can be done for you in a few seconds. In this case, we imported some images from three different cameras taken on a walk around Rydal Water and Grasmere. Some images had been geotagged in-camera and some hadn’t. Scanning down the list of images, it’s easy to see those that need tagging. Images with location information are shown with a satellite icon next to them. To automatically geotag those images that lack any GPS information, just click the Auto button and the Map Utility will compare the time each photo was taken with the log fi les in the Canon Utilities/GPS Log Files folder to fi nd a matching location. If it fi nds one, a blue pin will be displayed to indicate the location of the new photos. Click Save and after a few seconds the blue pins will turn red to indicate your images have been successfully geotagged. If the photo was taken on a journey through unfamiliar territory you may be able to determine its location if you’ve made a GPS log using a device such as the GP-E2 or a tracker app on a GPS-enabled smart phone. The location of a particular shot can be determined by matching the time the image was taken with the nearest corresponding time in the log. This task can be carried out automatically with just a few mouse clicks in the Map Utility, Aperture or Lightroom. In order for this to work properly, it’s important to ensure that the time set on the camera is correct. If you’ve moved between time zones and forgotten to change the time in your camera, the software that synchronises the times found in the track logs with those recorded in each image, will not be able to fi nd a match. If you encounter this problem, it’s a simple matter to specify a time offset to shift the log fi le time entries to match those generated by the camera. Our GP-E2 was shared between the 650D and the EOS M and was set to the LOG position. It acquired a satellite lock in around one minute and managed to calculate accurate position fi xes for almost the whole time they were used – even when travelling on the back seat of the car. Only occasionally did it lose lock when mountains obscured part of the sky.

is displayed by the modifi ed pin (above left). The direction recorded with the image is only shown approximately by this graphic as lying somewhere within a 45 degree arc. Bearing resolution as seen on the map is thus limited to one of eight general directions. If you want to know the bearing more accurately than this, the Map Utility will be unable to help as it is designed only as a geotagging tool and doesn’t display the GPS data numerically. Digital Photo Professional will display the longitude, latitude and altitude but bearing information is conspicuously absent (although it will probably be displayed on future versions). Lightroom 4 displayed all the EXIF data except the bearing. Only Aperture 3 displayed the bearing (see opposite page).

image list to a universal fi le format which can be opened in Google Earth (earth.google.co.uk). This allows you to create a fi le showing your route and images for others to view. Having loaded some images in Map Utility, click the Export button to generate a .kmz fi le that Google Earth can read. If you have hundreds of photos after a trip (and who doesn’t these days), it’s a good idea to make a number of smaller fi les to export rather than one huge fi le of your entire expedition as this will be easier to view in Google Earth and make it respond faster when you’re panning around. To see your exported data, open Google Earth and click File, Open and then navigate to the fi le you saved earlier from Map Utility. The fi le will be imported to the ‘My Places’ area.

Right and below This is Google Earth. You can zoom in to street, track or tree level. Below is part of the village where EOS magazine has its offi ces. You can also explore the sky, Mars and the moon.


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While it is possible to organise your photos using Digital Photo Professional, the vast majority of photographers find they need more sophisticated image management software as their photo library expands. Among the serious contenders for this task are Adobe Lightroom (Windows and Mac) and Apple Aperture (Mac only). Both programs have their strengths and weaknesses and are constantly being upgraded. They are both well written applications with many loyal followers and we wouldn’t want to upset anyone by saying one is better than the other. However, since this article is about GPS, it makes sense to briefly examine how the inclusion of GPS data might be handled by your favourite raw processing and photo organising software.

Adobe LightroomLightroom introduced support for GPS data via their Map Module in release 4. Geotagged photos are displayed on the map in well organised groups represented by flags that indicate how many images are at a given location. Clicking a flag will pop up a thumbnail of the image together with next/previous arrows if more than one image is found at that location. The facility to group images by locality and save the grouping with a name is provided by the ‘Saved Locations’ area. The GPS information can be read in the metadata window, but it doesn’t show the bearing information provided by the Canon GP-E2 receiver. Lightroom also imports track logs, but surprisingly doesn’t support the Canon native .log file. Hopefully, this omission will be fixed in later versions. Until then, you will need to convert the Canon log file to the more universal .gpx format. This can be done by uploading your log file to www.gpsvisualizer.com where you can quickly convert it to the .gpx format. Once converted, Lightroom will display the track together with the time as you move your cursor along it. You can now drag a photo onto the track or let Lightroom do it for you by selecting the images you want to tag and choosing Auto Tag from the Tracklog menu.

Apple ApertureAperture 3 handles GPS data on its ‘Places’ page. Photos are indicated by clusters of pins and, like Lightroom, non-geotagged images can be easily tagged by dragging them onto the map. Aperture will then offer to automatically geotag the other photos based on capture time. Unlike Lightroom and Canon’s Map Utility, the metadata inspector displays the bearing numerically, although there is no indication of bearing on the map display. Track logs are well supported and it’s possible to load a Canon format track file without having to convert it to the .gpx format first. Lightroom has the edge over Aperture in some areas, but handling of GPS data is more straightforward in Aperture 3.

Adobe Lightroom and Apple Aperture

Above Among many other features, Lightroom 4 allows you to find and group images by location, easily assign locations to images, or plot a photo journey. You can automatically display location data from GPS-enabled cameras and camera phones. Circled above is the GPS information shown in the EXIF data.

Above This is the Map Display from our Lake District trip shown in Lightroom 4.

Above Our Lake District trip shown as a log in Aperture Places Display. We use Aperture to hold the EOS magazine Photo Library (currently around 20,000 images).

Technique Legacy lenses


Legacy lensesDo you have any lenses or accessories with the earlier Canon FD mount? They are not directly compatible with EOS cameras, but you can attach them using an adaptor. We take a look at the how and why of using old lenses with new cameras.

Canon manufactures a truly staggering range of lenses – over 150 since the EOS system was introduced in 1987. Contemplating the plethora of lenses available can leave us feeling optically inadequate. Owning any of the more exotic models in these hard-pressed times remains firmly in the realm of fantasy. Even if you’re a relative newcomer to the EOS system, there’s a good chance you’ve already acquired a small collection of EF or EF-S lenses and you will probably regard functionality such as autofocus and image stabilization as essential. There are, however, some among our readership who still have a fine collection of Canon FD lenses. These were designed for earlier film cameras and cannot be fitted directly to an EOS single-lens reflex model. This is a pity, because the FD range of lenses has a reputation for both excellent optical performance and high manufacturing quality.

A bold moveThe FD range of lenses used mechanical linkages which served their purpose well enough at the time, but Canon realised that the design wasn’t sufficiently future-proof. In 1987, they took the bold decision to redesign the lens mount to enable electronic communication between the camera and the lens. Sadly, this meant that the

old FD range of lenses was, at a stroke, rendered incompatible with the new EOS camera body design.

Canon FD-EOS adaptorsIn order to appease photographers who had made a considerable investment in FD lenses, and to help ease them gently into the new system, Canon made two FD-EOS lens mount adaptors. One adaptor features a correction lens to retain infinity focusing. The other adaptor, which was designed for macro use, has no additional optics. Once most photographers had embraced the new EOS system, the adaptors were discontinued and many photographers either consigned their FD lens collection to everlasting storage in the attic or, more importantly for us, began to sell them at very reasonable prices.

Below left The Macro Lens Mount Converter FD-EOS allows FD lenses and accessories to be attached to EOS cameras. Lenses cannot be focused on infinity, but the close focusing ability is useful for macro photography.

Below right Lens Mount Converter FD-EOS allows you to use FD lenses with EOS cameras. The converter contains optics which allow the FD lens to focus at infinity. Shooting distances remain unchanged, but the effective focal length is increased by 26% and the aperture reduced by 2/3 stop.

Above Both adaptors provide a manual control to stop down the lens aperture.

Right The Canon mirror lens (see opposite page) turns background specular reflections into ‘doughnut’ shapes. This is a characteristic of all mirror lenses. Some photographers hate the effect, others quite like it.EOS 6D, Canon 500mm f8 Reflex lens, 1/1000 second, ISO 1600.

Far right The ‘doughnut’ effect only happens with bright background reflections. If you shoot against darker backgrounds the image appears normal, with no indication that a mirror lens has been used.EOS 6D, Canon 500mm f8 Reflex lens, 1/320 second, ISO 1600.

Using the Canon FD Reflex 500mm f8 mirror lens on an EOS camera


The surplus of relatively cheap FD lenses and the absence of an offi cial Canon FD-EOS adaptor has inevitably led some to experiment with varying degrees of success. A quick search on the internet will reveal a number of adaptors, but most of the cheaper varieties on offer serve only to fi t the FD lens mechanically to the camera body. This is only half the story, since the EOS system expects to read the lens aperture and to detect when the image is in focus. Obviously, fi tting an old lens to a new body has to involve a certain amount of compromise, but with some clever engineering the old and new can be reconciled with minimal fuss and expense.

The Lens Doctor adaptorInstead of making two converters as Canon originally did, Glasgow-based company The Lens Doctor (www.thelensdoctor.co.uk) sells a single FD-to-EF adaptor with a removable correction lens. The lens compensates for the difference between the FD lens mount and the fi lm plane (44mm) and the EF lens mount and the digital sensor (42mm) and allows FD lenses to focus at infi nity. For macro work, where infi nity focus is not required, the correction optics can be removed. The adaptor communicates with the EOS camera’s autofocus circuit so it appears to the camera that it is fi tted with an EF lens which is set to manual focus. This allows you to focus manually and still use the focus-confi rm indication in the camera. If you have a number of FD lenses you wish to use with your EOS system, the Lens Doctor adaptor can be swapped between lenses as needed and provides a cost-effective way to use all your FD lenses on the EOS system. It retails at £67 for most EOS cameras and £79 for the EOS 5D Mark III (this requires a more expensive AF confi rm chip). Sharing one converter between several FD lenses is the cheapest solution, but for the best optical quality conversion is the way to go.

Lens conversionThe full conversion of a lens involves the fi tting of a precision-engineered, weather-sealed rear mount. Since the conversion is specifi c to the individual lens, the difference in the position of the fi lm plane between FD and EF lenses can be taken into account in the mount design, dispensing with the need for correction optics. The conversion option usually includes the autofocus confi rm chip as standard, which is programmed for the specifi c lens. However, some HD video/fi lm users prefer not to have the AF confi rm chip included, opting instead for the Lens Doctor’s Fluid Variable Aperture system. The cost of converting FD lenses in the range 17mm to 135mm is £110. If no AF confi rm is needed, there is a reduction of £25.

Fitting FD lenses to your EOS camera

The Lens Doctor adaptor can be shared between various FD lenses. Here it is shown fi tted to an FD 50mm f1.8 lens. When the Lock/Open ring on the adaptor is set to the Lock position, rotating the f-stop ring will control the aperture blades. When in the ‘Open’ position, the aperture will be at its maximum allowing you to focus manually (and get feedback from the focus confi rm system if there is suffi cient light)

and compose the shot with a bright image. As the camera cannot control the iris (there are no mechanical linkages in the EOS system), it will be up to you to choose the required f-stop with the ring in the ‘Lock’ position. This will darken the image seen through the viewfi nder, but enable you to see the true depth-of-fi eld. The camera can be used in the Av mode and will report a maximum f-stop in the viewfi nder regardless of the setting on the ring, but will adjust the shutter speed as you vary the f-stop value. Alternatively, set the camera’s mode to manual (M) and set the f-stop you see in the camera display to the same value as that set on the lens ring.

Above This Canon FD Refl ex 500mm f8 mirror lens had been lying neglected at the back of the EOS magazine equipment cupboard for over 25 years. But no more. We have had it converted by The Lens Doctor and it can now be used with all of our EOS cameras.

AF confi rm chipThe AF confi rm chip in the FD-EOS lens adaptor fools your EOS camera into thinking that you have a fully automatic EF lens attached and that you have switched the lens to manual (M) focusing. As you manually focus the FD lens, the camera confi rms focus through the built-in chip. The camera then displays the ‘in-focus’ green circle in the viewfi nder (below). In Av mode, after you have manually selected the required aperture value on the lens, the camera will also calculate the shutter speed needed for correct exposure.

Above The FD side of The Lens Doctor Adaptor.

Above The AF Confi rm side of The Lens Doctor Adaptor.

Find out more about The Lens Doctor at: www.thelensdoctor.co.ukor phone 01236 781024.



Catadioptric optical systems have been around for nearly 200 years. They have been used in lighthouse reflectors, searchlights, telescopes, microscopes and camera lenses (also known as mirror and reflex lenses). In some systems, a silver coating is made on the rear surface of a concave lens. The lens is designed to correct the spherical aberration of the mirror. Light passes through the glass lens twice, as it approaches and is reflected from the mirrored surface, giving similar results to a triplet (three element) lens.

The purchase of an EF 500mm lens for your EOS system will set you back around £9000 (RRP) and is therefore well outside the budget of most photographers. However, there is an alternative – the Canon FD 500mm f8 Reflex lens. This particular lens comes from a very different stable and is closer in construction to an astronomical telescope than a conventional camera lens. It can be purchased secondhand for around £300-£400 and is surprisingly small and light considering its impressive focal length. The reason for the low price, size and weight is that it contains a novel combination of lenses and mirrors (known as a catadioptric system) to form the image. This design folds the light path between two mirrors and so reduces the length of the lens assembly. It is one of only four mirror lenses Canon has produced for SLR cameras (see ‘Olympic lenses’ opposite). There are, of course, some good reasons for the price difference between this lens and, say, the Canon EF 500mm f4L IS II USM. While the mirror lens will give you the reach of its more expensive refractive cousin, it cannot hope to match the image quality. Apart from the lack of image stabilization many of us now expect, this type of lens has no means of controlling the aperture and, consequently, you have no

Above and right Both these lenses have a focal length of 500mm. The EF 500mm f4L IS II USM lens (above) costs about £9000 (RRP), weighs 3190g and is 383mm long. The Canon FD 500mm f8 Reflex lens (right) weighs only 705g and is 148 mm long. Not only is it easier to fit into your camera bag, it is also available secondhand for a modest £300 to £400.

Canon FD 500mm f8 Reflex lens

control over the depth-of-field. Typically, catadioptric (or ‘cat’ lenses as they used to be called), have fixed apertures of f5.6, f8 or f11, depending on the diameter of the main mirror. Images from ‘cat’ lenses tend to be lower contrast than those obtained by their conventional counterparts and out-of-focus highlights tend to produce strange doughnut shapes, so this type of composition is best avoided (unless you have a weakness for doughnuts).

Cat history

Right The first small image was taken with a 50mm lens on an EOS 50D. The small red rectangle in the centre of this photograph shows the field-of-view captured by the Canon FD 500mm f8 Reflex lens on the same camera (second small image). One of the drawbacks of mirror lenses was the relatively low image contrast – something that was quite difficult to overcome when shooting with colour film in FD-mount cameras. However, when you use the lens with an EOS digital camera, everything changes. You can shoot raw images and open these in Digital Photo Professional (DPP) or Photoshop to enhance the image in many different ways. The large image (right) shows the mirror lens image after sharpening, an increase in contrast and a little colour adjustment. Digital photography is giving the Canon mirror lens a new lease of life.


Lenses and mirrors...The Canon FD 500mm f8 Reflex is an unusual lens in that it uses a combination of both refraction and reflection, in the form of lenses (dioptric, shown in blue) and curved mirrors (catoptric, shown in red) to form the image. This blend of refractive and reflective optics is known as a catadioptric system. Lenses based on this technology are usually called reflex, mirror or ‘cat’ lenses. The design greatly reduces the physical size of the assembly, compared to a conventional refractive version, partly by folding the light path between the mirrors and partly by the telephoto effect of the convex secondary mirror. Chromatic aberration, a problem with long focal length refractive lenses, is all but eliminated with this design, but there are some drawbacks. One problem is that reflex lenses have a fixed aperture which is determined by the mirror diameter. Exposure control is accomplished either by changing the ISO rating, shutter speed or the use of neutral density (ND) filters. The opaque circular area in the middle of the lens, caused by the position of the secondary mirror, means that instead of entering from all over the surface of the lens, light from the scene is restricted to a circular iris area. Consequently, what would have been ‘circles of confusion’ in a normal refractive lens are instead ‘doughnuts of confusion’. This is the reason for the peculiar bokeh for which reflex lenses are justly famous (see page 72).

Olympic lensesThe FD 500mm Reflex is usually described as Canon’s only mirror lens, but there were three others – 800mm f3.8, 2000mm f11 and 5200mm f14. These appear to have been introduced for the 1964 Olympics, held in Tokyo, and could be used on cameras with the FD lens mount and also with television cameras – though they appear to have been designed with television in mind. The 5200mm lens weighed around 100kg, compared to the 705g weight of the Canon 500mm f8 Reflex. A few years ago the 5200mm lens was advertised on ebay with a starting bid of $45,000. It did not sell, despite the fact that it is a rare item – we have heard that only three were made.

For those interested in macrophotography, it’s worth considering a fine set of bellows such as the Canon Auto Bellows unit (pictured above). It is still possible to buy the old Auto Bellows second-hand for around £150. When combined with a standard lens, it will give you a very respectable macrophotography kit. Since these bellows were designed to accept the FD lenses, you need only position the adaptor between the bellows and the camera. In this configuration, the corrective lenses within The Lens Doctor adaptor can be removed by unscrewing them – they are only needed to allow the lens to focus on infinity. Once the FD lens is attached to the bellows, there is no connection, mechanical or otherwise, to the camera and so the lens has to be stopped down manually in order to take an exposure reading. On a modern camera, metering is carried out while the lens is still fully open and is stopped down to the required value automatically when you press the shutter release button. On older mechanical camera designs the process was simplified by the use of a dual cable release (shown above). When the plunger was pressed on the cable release, the first cable actuated the lens iris and the second cable fired the shutter in one smooth action. When combined with an EOS camera, it is only necessary to fit a cable release to stop-down the lens for metering and then use the camera shutter button or a wireless trigger to take the photo.

Canon Auto Bellows

Above A dead (and rather dusty) house fly photographed using an FD 50mm f1.8 lens mounted on Canon Auto Bellows at full extension. EOS 50D, 1/200 second at f22, ISO 400. Illumination from two studio flash heads.

Light path in the Canon FD 500mm f8 Reflex Lens

Primary MirrorSecondary MirrorND Filter



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December and January were quiet; it was time to catch up with an old friend. As I sat in the pub and talked over what jobs I had been working on, I shared that the most difficult aspect of being freelance is getting new business. After another pint or two he asked, “So do you take business portraits, you know, for company websites?” ”Yes, I do, of course I do!” “Ah, I didn’t realise you did that kind of thing.” And easy as that, I had a job booked. This got me thinking. Although I have communicated many times over to contacts, friends and family what I do for a living, I realise it isn’t in their mind as much as it is in mine. I know that if I hadn’t had that pint with that friend that evening, I would have never have got that job. To me it’s obvious what I do, because I am the photographer, my own marketeer, PR, accountant, salesperson, blogger, the list goes on… I have a very clear picture in my head about where my talents lie and what I can do, but other people don’t, not even some of my close friends. The long and short of this is that finding new clients is tough and starting a new business and finding new clients is even tougher. As a

new freelancer, I am starting from zero. Nobody knows who I am, nobody knows what I am capable of and I won’t get the opportunity to shoot for someone unless I ask.

Direct mail shotAt the end of last year, I spent a lot of hours and a little bit of money putting together a marketing campaign directed at a particular business sector. I designed a postcard and put together an intro letter, which was personalised with the recipient’s first name. To me, it looked great. As I sent out the mailer, I wondered how and when the job offers would come rolling in. I waited and waited. I followed up each letter with an email and a phone call and nothing – nothing at all. Disheartened, I called up a friend, a marketing and communications officer for a large firm in the city. “I shoot business stock pictures,” I told him and asked if he needed any. “As it happens, yes,“ he replied. ” I was starting to see how this works. Every client I have worked for since turning freelance has been through referral from

Freelance diaryLast year, Miles Willis embarked on a career as a freelance photographer. Here he explains his quest for new business and how networking is much more effective than direct mail. The images are from some of his recent assignments.

Above This shot was taken while covering the London Bike Show. I had press access which afforded me inside track at the trails bikes circuit. I set up an off-camera Speedlite 580EX II with a remote radio trigger attached to the camera hotshoe. As the riders hit the bend I used the back button to focus on the rider and panned the camera following their motion. When the rider was in the right position I pressed the shutter button, firing the flash and freezing the action, continuing the motion to create the light trails from the roof lights you can see in the background. The hardest part was achieving focus in the fraction of a second before I fired. EOS 5D Mark III, EF 28mm f1.8 USM, 1/25 second at f8, ISO 250.


someone who knows me or a contact of a contact, bar none. That’s nearly nine months of work without advertising, marketing or developing my contact list in any significant way.In hindsight, that’s not too bad, but I know I need more contacts.

NetworkingI’ll be honest – the whole idea of networking has filled me with dread and fear in the past. I picture middle management wearing beige suits, drinking lukewarm tea talking about themselves in a hotel conference room somewhere off the M1 (shudder). Clearly I have some prejudices and misconceptions to overcome and some learning to do because, as it turns out, networking is actually just talking to people about what you do. Networking is calling up your mates and telling them, “I do this and I would like to try that, but haven’t had the opportunity yet”. Networking is about saying “yes” when invited by an acquaintance to the pub or an old work colleague’s birthday drinks. Networking is getting out there, putting your business first and telling people, “I am a photographer and this is what I can do for you….” I wouldn’t want to run my business without my website, blog, newsletter or social media activity – these are all important elements to what I do. But the fact is, they are periphery. If I swapped the time spent at the beginning designing my website and deliberating over individual photos for my portfolio and just got out there, started talking about me, meeting people, pushing and promoting, I would be in a different place right now. No one is born with the ability to run. We sit, then crawl, then make the first steps and always fall over. Thinking back I can remember lots of advice about networking at the beginning, but it is hard to sift the good advice from the bad. I think it is impossible to implement advice you have been given until you believe in it. You have to have good reason to think it is the right thing for your business. You must learn.

Pushing forwardMy philosophy of running this business is to keep going, to keep pushing forward and try new ideas. I have to change and adapt where I can and not get too sentimental about those unanswered quotes, those lost jobs and those unsubscribe emails from my newsletter. To even it up, I also know I can’t dine out on good jobs, great feedback, a potential job on the horizon. I have to keep on pushing forward regardless. The last seven months have been a very steep learning curve. Only now am I starting to get a grasp on what is really required to make this a success. But I fully expect to keep on learning. Even in a year, five years, 20 years from now, I will never know it all. I intend to push myself forward into uncomfortable situations, attend networking events, approach people I vaguely know and tell them I am looking for work.

I have also been shooting a fair few press jobs – entertainment mostly – award shows, red carpet and the like. This is Helena Bonham Carter receiving a Lifetime Achievement Award at the London Critics’ Circle Film Awards 2013. These jobs are a big departure from my usual work. To shoot these events you must be accredited through an agency and access is determined by showing

up and putting your press card into a hat. They are pulled out at random and you are allowed to take your position based on the draw. Often the best pictures come from the best positions so it is a bit of a gamble what you get. You are also up against up to 30 other press photographers all vying for the same shot! EOS 5D Mark III, EF 24-105mm f4L IS USM, 1/160 at f5.6, ISO 400.

See more work from Miles at www.mileswillis.co.uk

London Fashion Weekend

Luck of the draw


was a case of dialling in the settings and playing with composition, I wish all jobs could be this straight forward! The shot above was taken using the in-camera multiple exposure setting, an option I had never actually turned on before this shoot! I panned the camera as the 8 shots fired, trying to keep the model walking the catwalk in the same position. EOS 5D Mark III, EF 15mm f2.8 Fisheye, 1/640 second at f5.6, ISO 800.

I was taking photographs at the London Fashion Weekend (Canon is one of the sponsors). It was an opportunity to shoot in a new environment and try out a few techniques that typically you can’t really do on a client’s time. It was the first time I had shot a fashion show and one thing that struck me was how ready-made everything was compared to a typical job where I play stylist, art director, lighting director, etc. This

EOS courses


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The Summer School is run at the company’s in-house training facilities at Units 1-3, Hill Farm, Wennington, Huntingdon, Cambridgeshire PE28 2LU and at the EOS magazine offices at The Old Barn, Ball Lane, Tackley, Kidlington, Oxfordshire OX5 3AG.

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Making the most of your EOS 5D Mark IIIUnderstanding advanced features found on the EOS 5D Mark III that are not covered in our regular ‘Making the most of your digital EOS’, ‘Essential Overrides’ and ‘Advanced Overrides’ courses. Tue 25 June Tackley EM130337 £129

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How to shoot movies with your digital EOSThis looks at the whole process of shooting movies, including the computer requirements. Applicable to all EOS models but is aimed at users of the 600D, 650D, 60D, 7D and 5D series who generally already shoot a few clips and want to understand the process in more depth. Wed 26 June Tackley EM130338 £129

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Making the most of your EOS softwareThe course looks at the whole workflow process from downloading, sorting and filing the images. Based upon the use of Digital Photo Professional software, which is supplied with your camera.Thu 27 June Tackley EM130339 £129

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Understanding Photoshop Elements – parts 1 & 2A day in the classroom looking at how Photoshop works with lots of practical demonstrations. This course is applicable to both PC and Mac users as the program is identical on both platforms.Tues 6 Aug Tackley EM130340 Part 1 £129

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Essential techniques for black-and-white photographyHow to generate a great black and white image without the need for time-consuming Photoshop conversions. Thurs 8 Aug Tackley EM130342 £129

Creative techniques with your digital EOSWe look at how specific subjects and effects are best tackled and how you get the results that you want under a wide range of shooting conditions. So if you have ever wondered how a particular effect is obtained, this is the course you need.Tues 27 Aug Tackley EM130343 £129

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Making the most of the EOS 7DA day all about understanding the advanced features of the EOS 7D that are not covered in our Making the most of your digital EOS Essential Overrides and Advanced Overrides courses. Includes the focusing and customisation options.Wed 28 Aug Tackley EM130344 £129

Wed 10 July Huntingdon HS130139 £119

Getting started with your digital EOSA classroom-based event is suitable for the newcomer to DSLR cameras. We cover the fundamentals of how the cameras work and how to utilise the different settings when taking different subjects.Sat 29 June Tackley EM130345 £119

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Making the most of digital EOS part 1 – Essential overridesLooking at the key exposure modes and the settings used within them, as well as the key overrides within these modes including the focusing and white balance, and the use of manual mode.Sat 27 July Tackley EM130346 £139

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Making the most of digital EOSpart 2 – Advanced overridesThis course follows on from Making the most of your digital EOS - Part 1 - Essential overrides. We look at the advanced options that are found on the EOS cameras.Sun 28 July Tackley EM130347 £139

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Making the most of your EOS flash systemThis is a classroom based event looking at how the flash works within the EOS system. Covers how the flash and camera need to be setup to produce the optimum results, plus wireless options.Sat 6 July Huntingdon HS130135 £119

EOS 650D masterclass This is designed specifically for users of the EOS 650D, who are struggling with the operation of the camera and understanding the settings and overrides that the camera offers.Tues 23 July Huntingdon HS130348 £119

Close up and macro photography masterclassWe cover fully the techniques you need to shoot successful close-up, macro and micro images, including the use of multiple flashguns using Canon wireless flash.Wed 24 July Huntingdon HS130349 £119

How to see imagesThis seminar teaches you how to look at subjects in perhaps a different way than you have in the past and inspires you to create your own stunning masterpieces. Sat 27 July Huntingdon HS130146 £119

How to capture lightThis course looks at all aspects of lighting and how to best use light to be creative and produce stunning images. Sun 28 July Huntingdon HS130147 £119

Travel and landscape masterclassThis seminar looks at a diverse range of techniques for getting better travel and landscape images.Tues 30 July Huntingdon HS130351 £119

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EOS magazine October-December 2012 81

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Comment and opinions


Photo insuranceIs household contents insurance adequate for your photographic equipment, or should you consider a specialist photo insurance? That has been the theme of a recent thread on the forum. You might think EOS magazine is slightly biased in this area, as we offer a specialist policy to readers. But not so. We know that there is no single insurance policy which suits the needs of all photographers. Listing your equipment on a household contents policy will be perfectly adequate for many people. However, there are at least two areas where this might not work. First, there are often limits to the amount of cover for personal equipment, especially relating to theft from cars. You might only be covered for an amount of £2500 (the limit quoted by one forum user). If you own an EOS 5D Mark III, you are already outside this limit. Even with less expensive cameras, the limit can soon be reached when you add in lenses and accessories.

Replacement costs Remember that it is the replacement cost of the equipment which counts, not the secondhand value. If you have a camera which is now discontinued, look at the cost of replacing it with the nearest equivalent from the current range EOS cameras. This should be the insured amount. Specialist policies usually offer higher cover.

EOS magazine Photo Insurance can cover you for £16,000 of equipment, or more – even the limit for theft from an unattended vehicle is £7000, providing the equipment is in a locked boot or glove compartment, the vehicle has not been left unattended for more than 24 hours and there has been forced entry.

Business useThere is also the matter of using your photo equipment for business. This is excluded from most, if not all, home contents policies. Some policies see any photographic income as an indication of business use, even occasional wedding photography or sales of images through a photo agency. And keep in mind that some insurance companies will void the entire policy if you break any of the terms or warranties. EOS magazine Photo Insurance provides cover as long as you do not earn more than half of your income from photography.

False economyWe are all trying to cut costs and save money at the moment and insurance can appear expensive. If a household contents policy will give adequate cover for your photo equipment, it is probably the least expensive option. But make sure you check the details carefully and insure for the replacement value of the items. Give your insurer a call if you are in any doubt.

www.eos-magazine-forum.comForumLeft This image was one of several posted on the EOS magazine forum in early April by Stan Maddams. “My wife and I often visit the British Wildlife Centre near Lingfi eld, Surrey, where you can see over 40 different species of native British wildlife. On this particular occasion my aim was to photograph weasels and stoats – not an easy task as they both move like lightning and it’s diffi cult to anticipate where they are going to appear from next! After watching this stoat for quite a while, he paused momentarily in just the right place and I was able to get this shot using my EOS 7D and EF 70-200mm f2.8L IS lens. The exposure was 1/500 second at f5.6, ISO 800.”

Details of the centre are atbritishwildlifecentre.co.uk

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Statistics (as at 11 April 2013)Members: 6577 Threads: 15,686Posts 132,718Top poster: colinC with 7464 postsMost popular category: Landscape photography

AstrophotographyWe have added an astrophotography category to the forum. With the current interest in comets, we are looking forward to some out-of-this-world images.You are probably too late to catch comet PANSTARRS which was visible in the March and early April night skies. However, bigger and more spectacular will be comet ISON, which might be as bright as the full moon. It should become visible in dark sky locations around August and September, but will be at its best in late November and early December. There will be an article on capturing the comet with your EOS camera in the October-December 2013 issue of EOS magazine.

Google+ communityIn addition to this forum and our Facebook page, we have launched EOS magazine into the Google+ community – see page 3 for details.

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Thursday 29th August 2013 - Natural history open dayThis day is themed around photographing all things natural. With seminars

areas.

www.experience-seminars.co.uk

£10 off any

event or o

pen

day for E

OS Mag su

bscribers

use co

de EMSPR

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ouchers

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Eos martie 2013

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