The_Canon_Camera_Book_Fourth_Edition

Use your Canon© Matt Lincoln Pointers for stunning portraits One light challenge Alexandria Huff (www.alexandriahuff. Try shooting with com) shares tips on just one light to test your getting the best out composition skills and to of portrait shoots produce different looks. Position the body We get fixated on© Rebecca Miller www.rebeccamiller.co.uk CREATIVE faces and sometimes forget what the rest of the body is doing. Keep hands COMPOSITION and feet away from the camera. Photographer Dade Freeman Don’t ruin visual flow Arms and legs act shows how you can sometimes as lead-in lines to follow to the frame break composition rules for edge. Cropping at ankles, wrists and maximum impact. This portrait foreheads is too abrupt for viewers. taken in landscape format draws focus to the subject’s face Background distractions Avoid brain stems – lines, trees, or other things that CHARACTER photographers accidentally place their COMPOSITION models directly in front of. In studios they appear as backdrop creases. Matt Lincoln has produced a shot with an interesting setting, Slide to the side Symmetrical, centre- creating a sense of character weighted images can be good, but the rule of thirds is still strong. Placing your EYES ON model at an angle rather than square with the frame is flattering. THE PRIZE Think of the light Broad lighting is good Miller includes a number of for softening skin and for thin subjects, compositional elements in this while short lighting helps to bring out fashion shot for H magazine character and to thin wider faces. Minor facial adjustments Your best shot might differ from the rest because of a slight change in expression rather than from large movements. Talk to your model Even seasoned models don’t like a silent session. Keep the conversation going as your best shot may be the one you take after laughing. Make the most of locations Don’t avoid shooting if you don’t have a studio. Strong portraits can be taken anywhere if you follow compositional rules. Camera angle It’s rare for a model to look good when being shot from below, even for a power look. Nostrils aren’t very photogenic, so stick to eye-level. Use one light Simplify your workflow and exercise your creativity by limiting yourself to one tool and pushing the limits of how it can travel and how it can be shaped without distractions. THE CANON CAMERA BOOK 51

Use your CanonTop tips and tricks for Leading landscapesshooting on location Bring out the beauty of the scenes around you by Mark Cargill (www. making the most of compositional techniques markcargill.com) shares his advice for There are countless examples and rules of have much impact. Compare that with a shot of composing a winning that demonstrate how to shoot the perfect serene water, decayed rocks and an abandoned landscape shot landscape. Whether that’s heading out early building and soon your standard composition in the morning during the golden hour, or on a turns into something quite exciting. Don’t be afraid Plan Visit your location beforehand and lookout spot with views as far as the eye can see, to break the rules and to play with symmetry by take test shots to work out the best there is far more to composing a landscape shot including a lead-in line to a focal point right in the compositions. If shooting seascapes, than what’s just in the frame. middle of the image. By balancing the frame to check tide levels. a symmetrical harmony, you can produce quite As well as mixing composition skills, such impactful photos. Get up early, stay out late Be as the rule of thirds, capturing reflections and disciplined and get on location at least complementing shapes in the frame, it’s important It’s also essential to take colour and clouds into an hour before you intend to shoot so to have the right gear. It’s possible to go on consideration as part of your framing – luminous that you can work out the best light. forever about what brands and lenses are ideal sunrise hues or dramatic contrasting skyline with landscape photography, but it ultimately textures add excitement to a landscape instead of Compose using a decent tripod boils down to personal choice. Despite this, the dull and dreary skies, which can ruin your great If you’re serious about taking great compositional power that wide-angle lenses foreground composition. Be prepared to wait for images, think about how to support your provide are magnificent as they have more camera- atmospheric weather – timing and where you place camera. I’ve seen students with tripods to-subject distance in comparison with telephoto your tripod are key. Contrasting colours can add less stable than a drunk on a cattle grid. lenses, which compress the landscape. impact but ideally try not to compose a shot with more than three colours for the best results. Use a cable release Buy a hard-wired Also, by experimenting with aperture you option as you’ll be confident of getting can achieve a different landscape composition PITTENWEEM WEST SHORE that stunning, shake-free shot. This is depending on what you want to focus on. Whether perfect for long exposures. that’s texture in the foreground matched with a Capturing the power of the sea, a high shutter speed was used hazy background or a shot in full focus capturing by Mark Cargill to freeze the waves for a strong foreground Invest in filters Buy a 0.9ND grad and a every detail of a panorama, your settings are just as six or ten-stop ND. This is a great place important as where you position your camera. ST MONANS’ BREAKWATER to start and will allow you to embrace a new world of long-exposure landscapes. Of course, the elements within the frame are A strong lead-in line and a long exposure resulted in a striking important too, and composing your shots uniquely image that pulls you towards the incredible sunset Go back Perseverance will be rewarded will ensure your images stand out. While a as each time you visit you become more seascape with sandy beaches and a calm sea may SQUARE FORMAT familiar with your surroundings and will look pretty, the textures will be similar and won’t start to see compositions. By incorporating human activity in the composition, shooting square frames created a focused image with added drama Use apps to help you Tides Near Me tells of low and high tides along with sunrise and sunset, while The Photographer’s Ephemeris helps plan outdoor shoots in natural light. Experiment with aspect ratio Most of us tend to crop after the capture with the intention of improving a composition in the process. Why not actively shoot with a 1:1 or 16:9 ratio in mind? Study other work By immersing yourself in inspiring imagery, you are building a memory bank of shots that will help you get better compositions. Take a photography course You will learn more by taking a proper course and improve your technical and compositional skills in equal measure.52 THE CANON CAMERA BOOK

RULE OF THIRDS Use your Canon Instead of demonstrating the rule CONSIDER COLOUR of thirds vertically, here the thirds are horizontal to separate the By capturing a contrast foreground and background of colours the impact of the overall image can be emphasised and refined VISUAL IMPACT Capturing mid-ground interest, such a boats and lights, adds a narrative to the composition, making it more visually interesting ADD INTEREST It’s important to have a prominent feature and using lead-in lines to draw the eyes through the frame results in a strong shot What’s your ratio? Set on symmetry Explore new landscape photography compositions by altering your aspect ratios Why not try to shoot a landscape by avoiding the rule of thirds and instead make use of symmetry?All images © Mark Cargill (www.markcargill.com) When the standard landscape format just isn’t An aspect ratio such as 5:4 is pleasing when cutting it, experimenting with different aspect working with foreground and background ratios can dramatically alter the composition of a elements, but turning to a portrait composition landscape shot. with 4:5 can completely alter an image. It’s worth spending some time experimenting with crops so While it is absolutely fine to crop a landscape that you find a ratio that complements your style. photograph in post-production, you should have in mind which section of the landscape you intend to If you’re shooting with a DSLR that allows you to crop when composing at the start so that you can adjust the aspect ratio in-camera then it’s time to head home satisfied. challenge your composition skills. THE CANON CAMERA BOOK 53

Use your Canon ADD DIRECTION USE LEAD-IN LINES By aiming the camera towards the sky this Large cities are full of stunning gives the onlooker a architecture to shoot, so make point of direction to the most of lead-in lines to lead the eyes make scenes more dramatic ADAPT THE RULES Go exploring By shooting from an alternative perspective, it’s possible to Challenge yourself by create a much more dynamic finding an unusual shooting and inspired image spot away from crowds to © Martin Castein shoot architecture.54 THE CANON CAMERA BOOK

USE THE MATERIALS Use your Canon Utilising reflective surfaces in All eyes onhis composition, Martin Castein architecture has captured impact with light Get up close and personal to man- bouncing off the buildings made architecture with our compositional tips I n the city, there’s nothing more dominating and impressive than the looming skyscrapers or the bustling crowds. Architecture in all its overbearing glory provides much inspiration and material for photographers – after all, how could you not feel inspired by such iconic buildings like the Eiffel Tower, with all its lead-in lines and textures, particularly considering it is located in such a creative, photogenic city? While architecture is a different beast to landscape photography, their composition principles cross over. The rule of thirds and lead-in lines are essential in this type of photography – as is experimenting with aspect ratios to achieve an alternative view. With architecture, however, you can also use buildings to create natural frames, as well as create some stunning abstracts by focusing on just a part of the structure. Another wonderful element of architecture is its patterns and symmetry, which manages to form eye-catching images, so look out for these and try to capture them in the frame. Architectural photography also provides the benefit of working with reflective surfaces to open up much more creative, experimental photographic opportunities – one way of shooting architecture differently is to capture the building as a reflection on a nearby structure instead. Thinking outside the box is even more important when photographing landmarks, as you must think about how you can make the image stand out from the crowd. Come up with unique ways of shooting famous structures to make your composition really shine, whether that’s using a viewpoint others haven’t, or simply changing your shooting angle. Rather than relying on your lens’ zoom, use your feet to move around. This way, you can pick and choose what you Stay in line Keep lines straight in architecture with the right equipment While many photographers will say how great a wide- angle lens is for architecture photography, they aren’t the best option to keep the lead-in lines of a building straight. A telephoto lens is better when composing those important lead-in lines in an architecture shot as it won’t convex its original shape and will give a true representation of what is in front of you. Tilt-shift lenses are also a good investment for architecture photographers, especially those who have a tight space to work with. The tilt-shift lens will maintain the straight vertical lines. If capturing straight lines on a building in-camera is proving difficult, you can correct in Photoshop by reshaping the image. THE CANON CAMERA BOOK 55

Use your Canon1 Learn the art of architecture shots 3 STRIKING 2 Joas Souza (www. ARCHITECTURE joasphotographer. 4 COMPOSITION com) offers advice on photographing Heading to the streets of for architecture London, Martin Castein (www. martincastein.com) raises his Educate your eyes Learn to observe camera up towards the sky to symmetry. Put this in your composition capture the capital’s remarkable when you can, as it creates harmony. architecture using compositional techniques such as lead-in lines Get a tilt-shift lens They are the most and symmetry important tool. Images with converging vertical lines are totally unacceptable. SYMMETRICAL Find shapes Lines and curves must be SHAPES in total harmony – they have to make your eyes follow them across the image. A landmark piece of architecture in Disney World Florida, this Maintain balance Ensure that every building is strikingly different to aspect in your composition is in balance. the standard tall and rectangular architecture that we often Look up and down Some of the best see today, while its round details aren’t at eye level, so look around. perspective offers a number of unique shooting opportunities Be patient Wait for the right time to get the right light, as lights and shadows can  affect your composition significantly. CLOSE-UP CROP Visit the place beforehand Check the A great architecture photo location and see if you need permission comes with skill and practise to climb the building across the street. over time by exercising your composition skills. Although this Be polite Don’t be afraid to ask image demonstrates patterns permission to access somebody else’s put to use and focuses on detail, roof. Be honest, genuine and grateful. the crop seems too tight and the colour lacks interest Invest in a tripod Most shots will be taken using small apertures with low01SHAPES AND STYLE © Jess Bracey ISOs, so a tripod is very necessary. Shooting architecture thatdiffers to the usual office towers, the Love what you do Dedicate yourselfcentre composition puts the building to your speciality, research and getin focus inspired, but don’t copy others!02USE SYMMETRY By shooting straight on, thesymmetrical elements seen in theforeground complement the uniquearchitecture well03AESTHETIC CROP Filling the frame with thegeometric architecture, the crop isimpactful and draws the eye to thefeature building04MAKE A STORY The foreground interest ofthe architecture with the water fountaincreates a narrative that connotes asense of calminclude in the frame. However, similar to portrait wide-angle or telephoto – can transform a dull © Joas Souzaphotography where cutting off feet or hands in architecture shot to one that will set your work apartthe frame can disrupt compositional harmony, it’s from the rest.important to either include the entire building in theshot or crop it artistically. However you choose to compose your architectural shot, whether you opt for a full view Buildings are built with angles, curves and a of the building or a close-up crop, always be awarefocus point in mind, so think like a designer and of the lighting and the impact that light has on thefocus your lens on the part that is most inspiring image. Reflections can be very appealing, but tryand attracts the viewer’s eye. Whether it requires to avoid glare and unsightly lens flare, which canlying on the ground and shooting upwards for ruin a perfectly composed image. If you can’t avoidan image with impact, or standing on top of a unsightly glare and distortion from the Sun, try tobuilding to get a bird’s-eye view, choosing the right make the most of its effect by creating silhouettescamera angle and lens – whether that’s a tilt shift, for a dramatic, creative result.56 THE CANON CAMERA BOOK

Use your CanonPut the productsin the frame Trying to compose a still life shot? Omer Knaz (www.omerknaz. com) shares his photography secretsBalance items Make it look like theitems are balancing and with one smalltouch it will a collapse. Like a game ofJenga, it adds tensions and interest.Break the pattern Prepare a surprise forthe viewer. For example, put one productout of five at a different angle to breakthe symmetry in the frame.Use the rule of thirds The rule of thirdsrarely fails and happens naturally mostof the time in compositions. Saying that,rules are meant to be broken.Add movement When possible, create asense of movement. Although it’s a stilllife, there needs to be an energy so theviewer feels the atmosphere.Use props Create a set to complement Balancing © Omer Knazthe products and to produce a actnarrative, whether that’s withcompletely contrasting items or props Experiment withto support the scene. compositions by balancing items for a product shot withDon’t overdo it When products areoverlapping, always overlap by a good more impact.amount. When two items are touchingslightly it often looks like a mistake. The still lifeAdd light and shadow Reflections From watches to food, composition in productcan do wonders in terms of adding a photography is the deciding factordynamic feel to a shot without the needto add any further props which can S uccessfully selling a product is no easy feat. product images, enforcing a narrative of delicioussometimes be distracting. As photographers, it’s our job to compose an food being served at home, or of independent atmosphere that presents products from the women going on an adventure.Combine items Similar colours and world of fashion to food, accessories and cosmeticsstyles of different products in the same in the best light possible. One notable composition tip for productshot help create a tighter composition photography is to place the items in odd numbers,as there are less distractions. As with fashion, choosing the right location to as odd numbers are much more appealing. There unveil your narrative is an important factor as will be times when other ideas, such as symmetry,Background To complement the you are emulating a desirable world to potential seem more useful, though, so don’t be afraid toproduct, use shapes and textures that buyers. Chanel do this very well with perfumes by break the rules when it’s appropriate. The wholeare also present in the products being placing them in clean spaces with props, suggesting point of product photography is to draw attentionshot to help to boost the item’s qualities. expensive desires. Materials and backgrounds are to the product itself, so you want to avoid as many also a simple way to alter how a product is presented distractions as possible; keep it simple and keepDon’t over think it Many times the first alongside a well-planned lighting setup, which backgrounds uncluttered for the best results.attempt at creating a composition ends ensures that the product is on show, or in the caseup being the best. The best way to start of food, the dish is lit in a way that makes it truly TIME FLIESis I find by naturally placing items and irresistible. Another good example is Marks andtaking it from there. Spencer, who creates a sense of movement in its still By compositing butterflies in this shoot for Stylist magazine, Omer Knaz creates a narrative around the idea that time flies THE CANON CAMERA BOOK 57

Use your Canon Works best with Canon EOS 6DCENTRE-WEIGHTED AVERAGE METERINGAll of the action is in the centre of the image, so with the cameraset to centre-weighted metering, the edges of the frame play no part in the calculation © David Clapp58 THE CANON CAMERA BOOK

Use your Canon Metering with Canon Mastering metering can open the door toaccurate images and creative control of your Canon. This section uncovers the principle, technology and application of metering THE CANON CAMERA BOOK 59

Use your Canon“Everything we see contains varying levels oflight intensity... A good photograph renders thescene balanced, as it appears to the eye”With Canon camera technology Prior to digital technology, the only way to them, as the camera is electronic-free.  USING SPOT breaking boundaries to measure light was by using a separate The first concept to fully understand is METERING as the digital revolution hand-held light meter. Before camera the two distinctly different ways that lightadvances, photography is looking like technology advanced and in-camera can be measured using handheld meters Spot metering from the greya complicated ship to steer. Camera metering became more commercially and cameras alike. Reflected metering is lamppost stopped the cameracontrols are becoming so sophisticated viable in the Sixties, there was simply no where, like all ‘through the lens’ from metering the confusingthat as the manuals get thicker, the other option. Imagine it – no histograms, in-camera metering systems, the camera background incorrectlytechnological soup seems harder not even a viewfinder needle to assist; takes measurements based upon theand harder to wade through. Camera just a hand-held meter and some good light reflected from the subject surfacemetering, its modes, functions and understanding. Despite feeling somewhat towards the camera. The second method,subjectivity can be just as confusing, so underpowered, many photographers still incidental metering, is the measurementjust how do you learn to read the light? use hand-held meters as a preference. of light falling onto the subject from a Portrait photographers can’t work without light source, using a hand-held light Everything we see contains varying them and these feelings are still alive in meter. Reflected light from the subject’slevels of light intensity. From bright light the word of landscape photography, too. surface is not measured in the reading.streaming through a window to the darkshadow tones in a room corner, a good Remember, also, that film is far Unfortunately, reflected light can causephotograph renders the scene balanced, from dead. As large-format landscape problems. Different surfaces and texturesas it appears to the eye. All modern photography is making a popular reflect light in different intensities,cameras, from an everyday mobile phone resurgence, many photographers are varying greatly from subject to subject.to a professional Canon DSLR, have enjoying the slower pace and discovering In-camera metering tries to combat thismetering capabilities to assess these the accuracy of handheld metering. It’s problem by basing its calculations onlevels of light correctly for the ideal shot. the only form of measurement available light reflected from a tone in the middle © David Clapp © David Clapp EXPOSURE COMPENSATION Spot metering this eider duck’s plumage and exposure compensating by overexposing by +1.5 stop keeps those whites bright60 THE CANON CAMERA BOOK

Use your Canon© David Clapp Expert advice Learn how to choose the correct metering mode for the scene and set the appropriate focus points on your Canon DIFFERENT METERING MODES Most cameras are SPOT METERING/MULTI SPOT METERING The love.The screen is divided into small segments and equipped with a number of different in-camera metering metering area is concentrated in a small spot (3%), individual readings are taken.The camera then modes,but understanding how they work and when to ignoring all light levels outside this greatly reduced zone. evaluates the light in each segment and evaluates the use them will only add greater creativity to your Cameras that have multi-spot metering let the correct exposure. photographic approach.Let’s examine the five main styles photographer use this small zone to take spot readings of metering systems: from key points around the composition.The camera then AF POINTS It is also important to remember that as you averages these readings. change theAFpoint,so the camera can bias the exposure. CENTRE-WEIGHTED AVERAGE METERINGWhen This is particularly useful when autofocus is tracking an pointed at a scene,the camera biases the light reading AVERAGE METERINGThe camera does not add any object,or when a static subject is not positioned in the towards a central zone and pays less attention to light specific weight to any zone when measuring the light middle of the frame.Some cameras also give the option to values at the extreme outer edges. across the frame.Instead,it averages the light reading from link or unlink this facility. edge to edge without bias to any particular tonal area. PARTIAL METERING Similar to centre-weighted metering,but the light-gathering area is rapidly reduced to MATRIX/EVALUATIVE METERING By far the most a smaller zone (10-15%) in the centre of the frame. technical metering system and one that photographers ABCSpot metering (A), centre-weighted average metering (B) and matrix/evaluative metering (C) as they appear in the © David Clappviewfinder. The difference between these three popular metering modes is based on biasing the results. Althoughcentre-weighted average and spot metering are essentially reacting in the same way, the spot metering zone is much This scene is ideal for evaluative metering. It containssmaller. Evaluative approaches metering in an entirely different way, taking readings from each of the segments a wide range of tonal values from dark to light. These zones are not uniform across the frame, so the camera segments the readings to achieve an accurate exposure THE CANON CAMERA BOOK 61

Use your Canon© David Clapp  EVALUATIVE METERING © David Clapp Canon metering options With an even spread of blacks and whites, the How your Canon camera controls metering camera makes easy work of this situation using evaluative metering Your Canon camera can offer you a choice of four metering modes. Each one is useful for certain kinds of shot under certain kinds of COLOUR CONUNDRUM lighting conditions.The metering sensor inside your Canon camera measures and responds to light to help you balance your exposures A problem some photographers can face when and compose creatively.Set your metering options to one of the metering a scene is colour. Most cameras’ following depending on the kind of shot you’re taking. metering systems, unlike our eyes, don’t see the world in colour; they measure light in Evaluative metering is used to get an all-round even exposure.It luminance. Colours that appear extremely meters the light within the entire scene and balances the highlights vivid to the human eye, are interpreted simply and shadows for clear unbiased results.This is perfect for well-lit as tonal shades by the camera, without the scenarios such as daytime landscapes,but less suitable if you’re intensity we attribute. It can therefore be working with directional light such as a sunbeam or spotlight,or if difficult to predict exactly how metering will you’re trying to capture dramatic contrast. be affected, which can cause problems with setting the correct exposure settings. In recent Centre-weighted average metering is designed to meter the years, however, Canon has resolved this issue majority of light in the centre of your photograph.It will still take the and all of its current DSLRs now feature an iFCL surrounding edges into account but to a lesser degree.Centre- (intelligent Focus Colour Luminance) metering weighted average metering is great for face-on portraits as you can system. This smart technology takes into balance the lighting on the subject’s face,making it into a focal point. account both colour and brightness information when metering, as well as the focus setting Partial metering and Spot metering are similar to Centre-weighted that’s selected, so you’re sure to get accurate average metering; however,the central focus area that the camera exposure results meters the light from will be much smaller.Partial metering is also more precise,and won’t take the surrounding light into account,just the central region.Spot metering focuses on an even smaller central area and like Partial,it will not take into account the edges around this region.Although limited,these options are great for shooting more dramatic and creative captures such as low-key studio lighting effects and heavily contrasted scenes. 62 THE CANON CAMERA BOOK

© David Clapp Use your Canon © David Clapp  UNDEREXPOSURE ISSUES In-camera metering will try to push reflected whites of this cotton grass towards middle grey, underexposing the shot and making it murky  KEEP THE WHITES BRIGHT The histogram bunches to the right as it recognises the amount of light tones in shot© David Clapp “Metering systems are very sophisticated, but still get confused with tricky conditions”of the luminance range, a ‘midtone’ or to evenly measure, it is bombarded camera will consistently underexpose‘middle grey’. with reflected light. It tries to position unless the camera is set to compensate. the white in the middle of the tonal By setting the camera to overexpose by Incidental metering doesn’t suffer range, as it is convinced this is where around one and a half stops, the whitesfrom this miscalculation, as it is based the correct exposure should be. This will remain bright and clean. The sameon a measurement of light falling onto results in a shot that is significantly approach in the opposite direction worksthe subject. The subject can be any tone, underexposed. The same thing occurs with darker subjects, too.reflective or not, and the light reading when shooting excessively dark subjects;will remain consistent. Portrait or product the camera will lift the blacks towards the For film photographers, both amateurphotographers, in particular, base their midtone leaving you with a shot that is and professional, understanding meteringmetering calculations on handheld overexposed. With modes like aperture and gauging correct exposure is vital.incident metering, rather than reflected priority (Av) and shutter priority (Tv), Getting to understand photography inin-camera metering to get a more realistic in-camera metering can be difficult to this intimate way is a true art form.reading. Despite this, however, if the get right. As the camera bases the shutter Digital photographers must also payimage has a wide range of reflected speed or the aperture on the in-camera heed to these rules, but there is a hugelight and tones, in-camera metering still meter reading, the image can be prone safety net to fall back on – the histogram.works well. Metering systems are very to over- or underexposure. This is where With instant exposure feedback at thesophisticated, but still get confused with the Exposure Compensation mode comes fingertips, a quick test shot can sorttricky conditions. into its own. out any problems and let the photographer make any necessary The biggest issues occur when a Let’s consider the snow scene once adjustments accordingly. Get it rightsingle luminescence fills the scene, like again. With so much reflected light, the in-camera to avoid time editing.a blanket of snow. As the camera tries THE CANON CAMERA BOOK 63

Use your CanoneCaxnopn eoxpsoseurde64 THE CANON CAMERA BOOK

Use your Canon Works best with Canon EOS 7DControlling the T here’s nothing more fundamental to subjective. As with how a Shakespeare play or aexchange of light taking a photo than exposure. In fact, by Mozart symphony is interpreted, there are oftenbetween your taking a photo all you are actually doing many different valid options as to how a scenesubject and your is exposing the light-sensitive sensor in your should be exposed.sensor is ultimately camera to light.what photography Though there is such a thing as a badlyis all about The two big factors involved are how much light exposed image, absolutely correct exposure is is falling on your subject and how much of this difficult to define and is very often a matter of light is recorded by the sensor – the latter being a opinion. It also frequently depends on the effect direct response to the former. In some situations you are trying to achieve. This is particularly it’s possible to modify the exposure by reducing true in the digital world, as photographers now or increasing the amount of light on your subject, often shoot images with imperfect or unbalanced whereas in landscape photography, for instance, exposure properties with specific purposes in it’s necessary to adjust the exposure purely by mind for the subsequent image-editing process. changing various factors on the camera itself. Exposure is the principle that underpins Perhaps the most important thing to keep in photography as a science, but it’s also one of the mind with exposure is that it’s actually entirely main things that makes it a creative artform. THE CANON CAMERA BOOK 65

Use your Canon There are three main variables that can be most commonly ISO 100, you can make the exposure “As with everythingmodified by photographers to control exposure brighter without the need to open up the aperture or in photography,in-camera. The first of these is the aperture, which lengthen the shutter speed. there’s a finecontrols how much light can get through the lens balancing act atand reach the sensor. A wide aperture, indicated by As with everything in photography, there’s a fine play, as each anda lower f-number, will result in a brighter exposure balancing act at play, as each and every one of these every one of thesethan a narrow aperture, which is indicated by a adjustments affects your images in a different way adjustments affectshigher f-number. and there is always a trade-off of some kind. For your images in a example, if you open up the aperture from f5.6 to different way” The second is the camera’s shutter speed, which f2.8, you’ve gained two extra stops’ worth of light,determines the length of time that the camera’s but you’ll lose depth of field in the process. Thissensor is exposed to the light for. Slower, longer means that important areas of your image are not inshutter speeds enable more light to reach the sensor sufficiently sharp focus.and create a more brightly exposed image. Similarly, extending your shutter speed will grant Third, you can adjust the camera’s ISO setting. This you a brighter exposure in low light, but go beyond aalters the light sensitivity of the sensor, so by raising certain point (depending on the focal length you arethe ISO value away from its base setting, which is shooting with and how steady your hands are) and you’ll introduce the risk of camera shake, making a tripod necessary. Thankfully, the high ISO capability of modern digital sensors means that raising it to the dizzy heights of 1,600, 3,200 and even 6,400 is not the automatic image-quality disaster that it once was. Nonetheless, you are still trading quality for the convenience of working in low light and/or avoiding using a tripod. Of course, you can retain the same exposure value (EV) between images, even if you choose to adjust one of these variables. Opening up the aperture from f11 to f8 increases the light that’s able to reach the sensor and so will create an image that’s one f-stop brighter, but if you also switch to a faster shutter speed – 1/125sec to 1/250sec – you have effectively counterbalanced the change in aperture and the exposure value (EV) will stay the same.Hello to BACKLIT EXPOSUREhistograms In this image, the subject is backlit, withWhat they do and why they’re more light coming from behind themso essential to editing than falling onto their front. Exposing with the subject in mind is obviouslyOne of the best things about digital photography is required, but the best option is to makethat you now have the ability to see – at the time of the lighting slightly more balancedcapture – how your images have turned out, bypressing a review button on the back of your camera.Before digital, photographers had to wait until thefilm was developed to discover if their images wereover- or underexposed. By that time, it was too late tochange anything and also difficult to know just what itwas that you did wrong – which made it harder forbeginners to learn from their mistakes. However, rather than just looking at the imageitself on the camera’s LCD, it’s important to payattention to the histogram, as this tells you preciselyhow the scene has been recorded. The centre of thehistogram represents the mid-point, sometimesdescribed as 18% grey, between pure black at thefar-left and pure white at the far-right. How high thepeaks in your histogram ascend to indicate howmany pixels of that tone there are. If everything in your photo is bunched up to theright, particularly if the peaks are reaching up tothe top of the histogram display area, then youprobably have an overexposed image. Equally, ifeverything is grouped at the left of the histogram,with peaks reaching up to the top, your image islikely to be underexposed.66 THE CANON CAMERA BOOK

Use your CanonEYE LIGHTINGThe subject’s eyeslooked rather flat anddull, as simply goingfor a brighter exposuredoesn’t compensatefor an absence of light.Using a reflector gives amuch better resultDEFINITION BALANCESimply going to a By introducing a silverlighter and brighter reflector, we can throwexposure for the subject some light back ontowill also overexpose subject and make thethe light behind the overall exposure moresubject, which leads balanced and evento a softening effectaround the image. Using THE CANON CAMERA BOOK 67a reflector instead solvesthis problem SKIN TONES The correct skin tones will be achieved if the exposure is correctly balanced. Again, a silver reflector produces much better results on the model’s skin

Use your Canon One of the things that thrilled our ancestors about early days of photography, but instead of making the “Whether the goal isphotography when it was invented was the ability to sensor less light-sensitive they limit the amount of to create beautifullyfreeze a moment in time and preserve it forever. Back light that’s able to reach the sensor in the first place smooth water, or tothen, actually freezing a moment in time was difficult, via the lens. convey the journeyas the plates used lacked the light sensitivity required of clouds across theto avoid long exposures of up to several seconds or There are various densities are available, with sky, long exposureseven minutes for an ordinary photo. ten-stop ND filters with a density of 3.0 such as the are a powerful Lee Big Stopper or Hitech 4x4 ProStop IRND Glass creative tool” Fast-forward to the photography of today and many Filter 3.0 at the most extreme end of the spectrum.cameras feature fast shutter speeds of 1/4,000sec Ten-stop ND filters are ideal for situations where the LONG EXPOSUREor even 1/8,000sec. So it’s ironic that one of the light levels are quite high, but they’re less useful inmost popular techniques in modern photography is low light. This is because the shutter speed required By simply using a tripod and a Neutralto purposefully shoot with very long exposures to to achieve the correct exposure can go up to a minute Density (ND) filter, you’ll be able tocapture movement and a sense of the passage of time. or more, presenting a case of diminishing returns. In capture long exposures of severalWhether the goal is to create beautifully smooth water, almost all situations, a 30sec exposure is plenty long seconds or moreor to convey the journey of clouds across the sky – or enough and waiting around for a 60sec or 120seceven to capture human activity – long exposures are a exposure simply means that you’ll be able to takepowerful creative tool. For the earliest photographers, fewer images and have greater problems with long-whose goal was to be able to capture images without exposure noise.the need for long exposure times, this would probablyseem baffling. There are still times when long exposuretimes are forced upon photographers. Landscapephotographers, for example, often can’t avoid longexposures, unless they are willing to sacrifice a degreeof image quality by using a higher ISO setting. Asmost photographers want the best quality, offered bythe sensor’s base ISO (usually 100), shooting in lowlight at the beginning and end of the day will demandan exposure of several seconds. However, there are times when photographerswant to capture movement in their images whenthe light levels aren’t low. Simply setting the camerato Manual mode and dialling in an exposure of 20seconds isn’t an option, as even at a narrow apertureand a low ISO, overexposure will inevitably result. In recent years, the use of Neutral Density (ND)filters has caught on, as these effectively solve theproblem with overexposure when shooting longexposures. In a way, ND filters take us back to theGhostly portraits During a long exposure, if a person is only in a particular milling around! Use a tripod and a Neutral Density filter position for a limited amount of time, there’s a fair and, provided no one stands still for too long, there’s aLong-exposure shots don’t chance that, depending on the amount of time relative to good chance that you’ll be able to make the scene appearhave to be confined to the length of the exposure, they won’t appear in the final as if no one was there at all.landscape photography image at all. You can experiment with this approach when taking This is useful if you want to take a photo of a popular portraits, then if you keep the light low you may not need tourist spot, but don’t want to capture all the tourists to use any filters.68 THE CANON CAMERA BOOK

Use your Canon MOVING CLOUDS LONELY LOCATIONS Using a long exposure enables you to capture You won’t always be on the movement of the your own when taking clouds across the sky, landscape images, which adds atmosphere but a long exposure to your shots will ensure that any members of the publicSMOOTH WATERS strolling along a beach or hilltop won’t spoilThough there are your shottimes when it’s best tocapture the turbulence THE CANON CAMERA BOOK 69of crashing waves, longexposures can be usedto capture smooth andtranquil water, creating avery restful effect

Use your CanonHIGHLIGHT DETAILPlenty of detail has beenretained in the sky byvirtue of the shortestexposure of 1/4sec atf16. The only other optionwould be to use a two-stop ND filter positionedover the sky MIDTONE DETAIL Elements of the midtone exposure have been used for some of the surfaces on the foreground rocks, which were too dark in the highlights exposure and slightly too bright in the shadows exposure EXPOSE HIGHLIGHTS EXPOSE MIDTONES An exposure of 1/4sec at f16 and ISO This exposure – at 1/2sec, f16 and 100 ensured that the brightest parts of ISO 100 – is the best compromise, but the image – the highlights – were not neither the shadows nor the highlights dramatically overexposed. However, as are correctly exposed in this image. you can see in this frame, the shaded However, this exposure is still useful for areas are far too underexposed the blending process70 THE CANON CAMERA BOOK

Use your Canon SHADOW DETAIL Compromises very often have to be made “It’s vital to keep the with photography and you may have no choice aperture constant Thanks to the brightest other than to decide which area of the scene so as not to affect exposure, the final blend is most important. You can then base your the depth of field” shows good detail in the exposure on the need to make that part of the foreground rocks and image look good. Instead of using filters, the only thing that needs across the backlit fields to be done in the field is to shoot two or three images on the horizon However, in extreme situations where the with different exposure values, covering the different difference between the darkest and brightest areas of the scene. In a situation like this, it’s vitalEXPOSE SHADOWS areas of a scene is particularly significant, it’s to keep the aperture constant so as not to affect the simply not possible to get good results, no depth of field. You might shoot an image to correctlyThis exposure, at 1sec, f16 and ISO 100, matter what you do. expose the highlights at 1/4sec and f16, as well as is the brightest of the three exposures one to expose the shadows correctly at 1sec and f16.– two stops brighter than the exposure The problem this presents is that the You could also shoot an image that averages the two, for the highlights. This ensures that the highlight areas of your image will be thereby covering the midtones at 1/2sec and f16. The shadows are correctly exposed overexposed, or the shadow areas will be difference between your longest, brightest exposure underexposed. In a landscape scene, neither of and the shortest, darkest exposure is two EV stops, so these scenarios is acceptable, although there to achieve a similar result with a graduated ND filter are occasions when a photographer might you’d shoot at 1/15sec and f16 with a two-stop ND choose to accept a degree of underexposure of grad filter positioned over the sky. shadow detail – for example when shooting a silhouetted subject. EV With sunrise and sunset being such popular Easily find the perfect balance times for shooting landscape scenes, dealing between shutter speed and with very bright skies – frequently with a setting aperture value Sun – and significantly darker foregrounds is an almost constant challenge. Exposure value – or EV – simply refers to the effective combination of any shutter speed, any Over the years photographers have aperture and how different combinations relate to attempted to combat this problem by using one another. graduated ND filters. These are typically positioned so that a longer exposure can There’s a rather confusing equation that can be be used, enabling foreground shadow to be used to calculate the EV based on any given correctly exposed, without overexposing the shutter speed and aperture combination, but much brighter sky. fortunately there are plenty of tables online – and of course apps – that negate the need to be an Digital photography has made it far easier advanced mathematician. to use these filters, whereas in the days of film it was relatively easy to misjudge the position Assuming that ISO 100 is being used, a of the filter and end up with the darker ND landscape scene at sunset will often have an EV of half-cutting into the lighter foreground. Digital around 8 or 9. In other words, there’s a good capture enables you to see precisely what sort chance that you’ll be shooting at something like of results you’ve achieved with filters like these, 1sec at f16, or 2sec at f22. affording you the opportunity to correct any mistakes immediately. This EV table is the origin of the sunny 16 rule. As a sunny day generally equates to EV 15, assuming However, digital imaging goes a step further, ISO 100, you can shoot at around 1/125sec and negating the need for photographers to carry f16 knowing that your exposure will probably be and use ND filters if they prefer not to. The close to correct. 1/250sec and f8 also equates to downside is that this comes at the expense of EV 15, so will also be applicable for a sunny day. more time on the computer. However, this time spent in your imaging software can result in powerful and precise exposure blends, which would be impossible to produce with filters. CANON EOS 7D An fantastic exposure system – including 63-zone Evaluative, Center-weighted Average, Partial, and Spot options – means the EOS 7D is a great Canon camera to master exposure with THE CANON CAMERA BOOK 71

Use your Canon Works best with Canon EOS- 1D X © Doug HarmanShutter speedsControl your Canon’s shutter speed to create special effects S hutter speed – it’s one simple phrase that the detail of its beating wings, learning how to NIGHT-TIME AND LONGER every photographer knows and one that control your shutter speeds is key. EXPOSURES describes something utilised by your camera every time a photo is taken to help get a ‘correct’ There are other aspects of shutter speed control This shot of Tower Bridge was taken using a very long exposure. So, why take control of shutter speeds? you can take advantage of, such as the relationship exposure of around 25 seconds. A low sensitivity (to between focal length and shutter speed, which can keep noise to a minimum) and use of a tripod and Whether you want to photograph stunning star help to reduce camera shake. Plus, there are ways of remote camera release helps prevent camera shake. trails at night-time using very long exposures, or using shutter speeds for specific effects using ‘rules’ If your camera has it, use its mirror lock-up function freeze the fleeting motion of a bird in flight to reveal to stop that from vibrating as well that apply across every type of photographic style.72 THE CANON CAMERA BOOK

© Doug Harman  Use your Canon DELIBERATE BLUR Freezing action can be great where detail is paramount and you want everything to be sharply rendered in a shot. However, by using a slower shutter speed, you can help emphasise the power and grace of fast-moving subjects Shutters and shutter speeds Cameras have within them a device called a shutter that allows a timed and finely controlled amount of light to enter the camera.It can take the form of a focal plane shutter,such as that found in DSLRs,or a more simple leaf shutter,as found in most compact digital cameras. The shutter is usually positioned in the camera body behind the lens and in front of the sensor as with DSLRs, where it can be clearly seen when you swap a lens.This is a focal plane shutter.Or it can be inside the lens (the leaf shutter type) as with compact digital cameras.Whatever the case,as the shutter travels it reveals an open slit to the outside world that allows focused light to enter and hit the sensor.The velocity this swath of light crosses the sensor is the shutter speed. Flash and shutter speeds Including a puff of flash at any shutter speed your camera is capable of using (the flash synchronisation speed) can add greatly to an image’s impact.Using a burst of flash by forcing it to fire – even if it is not needed in daylight – can lift shadows,help add sparkle to a shot or freeze an action due to the fleeting duration of the burst of flashlight.It can also make your subject stand out against the background to add emphasis. On a basic level, the most important element of faster the action being snapped, the faster the shutter When combined with slower shutter speeds,flash canshutter speed control is simply to help ensure an speed you’ll need to use in order to freeze it. This help you create impressive blurring effects combinedimage is correctly exposed. If the shutter speed is too usually involves a lot of trial and error. with sharply defined action,such as when you combine afast, you risk underexposing the picture and vice slow shutter speed (and,so,very shaky) with a lowversa. Also, if you have a more creative bent, However, as shutter speeds get faster, less light is ambient light exposure,but include flash to help produce allowed to reach the camera’s sensor, so larger a motion-freezing burst of flash.By doing this,you’ll get acontrolling shutter speeds will help you freeze that apertures will need to be employed – or increasing funky,fill-in flash effect,where the main subject of thefast-moving action to crisply render every detail or, the camera’s sensitivity (the ISO setting) will become photograph is frozen and is sharply rendered by theconversely, you might want to allow the very same necessary – in order to ensure enough light is brevity of the flash,but seemingly pinned against amotion to be revealed within a shot to deliberately captured for a properly exposed shot. blurred and fuzzy background of ambient lighting.add blur. The slow shutter speed conveys the feeling The intuitive response to using very slow shutter Shutter speedsof the true speed and power of a subject or event. speeds in bright daylight is that the shots will and focal length overexpose. If you have control over apertures on Most high-end Canon digital cameras, and your Canon, then you can close the aperture down to, There is a direct relationship between the shutter speedcertainly their DSLRs, will provide control over the say, f22, reducing the amount of light entering the and focal length you use when taking pictures and,onceshutter speeds at their disposal. The exact range of camera and ensuring the shot is not overexposed. you get a grasp of it,it means you can reduce the risk ofcontrol on offer will vary from camera type and camera shake.Simply put,always use a shutter speedmodel, but expect to find a range of shutter speeds This technique lets you include motion blur forstarting at around 30 seconds to 1/4,000sec. creative effects, such as capturing passers-by as that is the reciprocal of the focal length in use.If you shoot Some cameras may have a Bulb mode where the ghostly blurs, making waves on the seashore become using a zoom lens set at 100mm,then also ensure youshutter can be set to remain open for as long as the smooth velvet blankets or rendering creatively use a shutter speed of 1/100sec.If you use a lens focalshutter button is pressed; some may not and others blurred waterfalls. length of 200mm,then a shutter speed of 1/200sec iswill offer even faster shutter speeds too. But of those required,and so on.This will help you get sharp shotsthat offer shutter speed control, all will provide a However, if employing this technique, watch out even if the camera is not supported on a tripod,though, for brighter backgrounds, which can lose detail by of course,a tripod is preferred in order to help withgood level of control. becoming too bright. To help prevent this leaching of camera stabilisation. If you have a Canon that provides full shutter detail, use an accessory filter called a neutralcontrol, be it via the shutter priority setting (whereyou control the shutter speeds and the camera“As shutter speeds get faster, less lightautomaticallypicksanaperturetogetaproperlyexposed shot) or through full manual control (whereyou can change both the apertures and shutteris allowed to reach the sensor, sospeedsasneeded),thenyouhavetotalpoweroverhow motion – or the lack of it – in your composition islarger apertures will be needed inrecordedwithinyourimages. In essence, the faster the shutter speed you use, theless motion will be evident in any shot; the more theorder for enough light to be captured”imagewillappeartobefrozenand,bearinmind,the THE CANON CAMERA BOOK 73

Use your Canon DELIBERATE BLUR Slow shutter speeds can offer up some very neat creative effects such as this ‘zoom burst’ technique. This was shot with a slow shutter speed of 1/3sec, but combined with zooming the lens during the exposure to create this dramatic effect © Doug Harman © Doug Harmandensity filter; it will help even out the range of shutter speed control. However, you can deliberatelybrighter and darker areas without affecting the colourtemperature or white balance of the shot. use a specific aperture in order to get a slower or Another tip is to use lower sensitivities, say ISO 50 faster shutter speed.or ISO 64, in order to reduce the light processed bythe camera and get even slower shutter speeds on tap. For instance, use a small aperture to force theOn the upside, you’ll be able to retain slightly morecontrol over the apertures used – depending on the camera to pick a slower shutter speed, and vice versa.sophistication of your camera and the flexibility of itsISO settings, you’ll also get less image noise too. On It is worth bearing in mind, however, that thisthe downside, you’ll probably have to support thecamera on a tripod to stop unwanted blur from technique has an impact on the depth of field; thecamera shake. smaller the aperture the greater the depth of field will A camera with aperture priority control only(typically most mid- to high-end compact digital become. Moreover, using slower shutter speeds oncameras), where you control the aperture values andthe camera automatically chooses the ‘correct’ shutter any camera may mean you need to support thespeed for a properly exposed picture, is going to bemuch less flexible than being able to employ direct camera using a tripod or monopod to help minimise the risk of camera shake. So, what happens if you have a camera that lacks shutter speed control? The more basic digital cameras, like point and shoot compacts such as the lower end of the IXUS range, provide little or no control over their shutter speeds; often, point-and- shoot models will have an all-auto program setting  where the camera does everything for you.74 THE CANON CAMERA BOOK

Use your Canon“Try using the night scene mode to Shutter speed tipsforce the camera to use a slower-than-normal shutter speed” • Use a fast shutter speed to freeze a fast-moving subject. The faster the action,the faster the shutter speed © Doug Harman needed to freeze it. • Use slow shutter speeds to creatively blur your subject, be it a waterfall or waves on a beach,to convey the feeling of motion in a subject. • Using flash can help freeze motion as well as a fast shutter speed. • Use a neutral density filter if you have problems with detail bleaching out when using longer exposures in daylight. •Always use a shutter speed the reciprocal of the focal length in use to help reduce problems from things like camera shake. • Bump up the camera’s ISO sensitivity to help get faster shutter speeds at your disposal. • If using slow shutter speeds,always support the camera with a tripod or monopod.  These cameras usually have a set of subject (or scene) SLOW SHUTTER FASTER SHUTTER modes and while these predefine the way the cameraFOR CREATIVE EFFECTS SPEEDS TO FREEZE ACTION behaves for specific subjects, such as portraits, night scenes or sports subjects, you can take advantage ofThis shot uses a burst of flash, long-ish focal length and a This shot was taken using a relatively fast them too, as there will be an element of automaticslow shutter speed. Flash has kept the happy couple sharply 1/420sec shutter speed to help freeze the shutter speed control you can turn to your advantage.defined while the slow shutter speed used helps convey the motion of the backlit fountain’s water droplets For example, in bright daylight, where you want toemotion and atmosphere of the happy moment to help create this quite dramatic effect use slower shutter speeds, use the camera’s night scene mode (crucially, without flash) to force the camera to use a slower-than-normal shutter speed. This could be ideal when snapping fast action, particularly if you want to include some creative motion blur. Obviously, this mode is usually used in low light or at night with or without flash, and used in its ‘proper’ fashion, it enables you to shoot an ambient light exposure using a slow shutter speed and the burst of flash will help illuminate any foreground subject giving you the desired effect. Used during daylight, the night scene mode with a burst of flash or the camera’s fill-in flash mode – if it has that setting – can help create a fill-in effect, lightening the shadow areas. The short duration of a burst of flash can also help freeze motion, so it can be worth turning your flash on wherever you want an extra crisp result. Alternatively, use the camera’s landscape mode to force the camera to bring into play a smaller aperture (smaller apertures ensure greater depth of field, ideal for landscape photography) and this will then drive the camera to use a slower shutter speed. Conversely, try using the camera’s sports mode – here the aperture used will be much bigger to get at those faster shutter speeds – and use the sensitivity (ISO) to your advantage by increasing the ISO to help freeze the action. In essence, however, because there’s no direct control over the shutter speed and you’re subverting the camera’s mechanisms to help get an effect, trial and error is the key. Try practising using the ‘wrong’ setting for special effects and see what happens. But watch out for unwanted or odd effects, such as the wrong white balance setting being used, which could skew colours in a shot. It’s best to experiment with your settings to see what gets the best result. Once you’ve an idea of how the camera behaves (or misbehaves), you’ll be able to predict what mode to use. THE CANON CAMERA BOOK 75

Advanced techniques Get professional results without the costAdvanced Creativetechniques close upsTake your photography further bytaking these next steps78 Low-cost pro portraits 114 Master macro Get savvy on how to capture expert Get to grips with macro photography to portraits without the expense get up close with your subject88 Atmospheric landscapes 124 Shoot in black & white Emphasise mood and tone Create contrast and elegance96 Capture motion 132 Polish your panoramas Master shutter speed to catch the action Encapsulate the whole scene104 24-hour landscapes 140 Shoot architecture Learn tricks for great shots at any time Explore your options for shooting of day or night buildings and more76 THE CANON CAMERA BOOK

Shoot Advanced techniquesarchitecture Master monochrome Capture mood by emphasising mist 132 Refine your panoramic images THE CANON CAMERA BOOK 77

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Advanced techniquesLow-costpro portraits Works best with Learn how to capture creative and professionalCanon EF images using minimal kit 85mm and without spending an absolute fortunef/1.8 USM One of photography’s potential drawbacks is that it can often appear to be rather prohibitive in terms of affordability. Many people hesitate over whether or not to pursue photography, simply because there seems to be an ever-increasing amount of kit that needs to be purchased in order to do so – much of which is certainly not cheap. Despite being among the most popular genres of photography, portraiture is one of the biggest culprits when it comes to perceived cost. It’s all too common for aspiring photographers to see portraits online that have been captured using multiple lights – with each individual unit costing several thousand pounds – and feel that they simply cannot access that sort of photography. Photographers are creative animals, but they’re also passionate about the engineering that’s gone into the kit that they use. You’ll frequently find photographers espousing the virtues of a light, lens or accessory that they love using, giving the impression that the sort of images they produce are only possible if you happen to have the same expensive equipment as they do. That’s a shame, because there’s plenty that’s possible even with only basic kit and minimal lighting. In this feature, you’ll discover how to utilise everything from a basic zoom lens through to an ordinary flashgun in order to capture beautiful portrait images. POWERFUL PORTRAITS Many people assume that expensive equipment – and lots of it – is necessary for capturing creative portraits, but this isn’t the case at all © Adrian Dewey THE CANON CAMERA BOOK 79

Advanced techniques WHY 85MM? Before zooms were prevalent, the 85mm lens wasGet affordable glass considered ideal due to the way it renders facial features with very little distortion and because it provides a comfortableYou don’t necessarily need to invest in working distance for head-and-shouldersexpensive lenses to take professional portraits shots.The standard zoom is arguably the most  or to create a slight sense of distortion that gives © Adrian Dewey maligned lens in all photography. Though the image creative impact. most zoom lenses do represent a marginaldegree of compromise, optically, over prime The classic portrait lens is the 85mm, yet whilelenses, the advantages that they offer in terms of there are very fast – and very expensive – f1.2compositional flexibility are considerable. aperture versions available, Tilo Gockel, author of Creative Flash Photography Since certain prime lenses – often with a focal (www.fotopraxis.net), says that the expensivelength of 85mm – are commonly referred to as version is not vital. “One of my favourite lensesportrait lenses, it’s easy to think that portraits have is an 85mm f1.8 prime, which is quite affordable,to be taken using this focal length to be successful. but delivers an incredibly smooth bokeh. I evenAlthough it’s true that these focal lengths produce like it better than the f1.2, because it focusesa flattering perspective for head-and-shoulders faster and is much lighter.”portraits, there’s plenty of potential offered by thewider end of a standard zoom for creative portraits. STANDARD LENSWhen you consider that most cameras are soldwith a standard zoom, you automatically have As used for this shot, a standardaccess to a huge degree of creative potential. lens can provide a good compromise between the benefits To make the most of wider-angle portraits, of a wide-angle and telephoto lensexperiment with compositions captured fromextreme angles. You might try shooting from floor WIDE-ANGLE LENSheight, looking up at the subject, posing them insuch a way as to create a sense of depth. You can These can be used for portraits veryalso try using the wider end of a zoom lens to effectively, enabling more dynamicincorporate lead-in lines into your portrait images compositions to be created such as this one by Adrian DeweyBudget lens options 1. SIGMA 17-70MM F2.8-4 DC MACRO OS HSM This lens costs around £350/$400 and is designed for cameras with an APS-C sensor. This model is a new version of an old favourite and provides the equivalent ofaround 27-112mm on the Canon APS-C sensorswith their 1.6x conversion factors. Its close focusingcapability is ideal for minimising depth of field andthe zoom offers flexibility in focal lengths. 2. CANON EF 85MM F/1.8 USM Canon users will be interested in this perfect portrait lens, which retails for around £250/$350. The f1.8 aperture enables shallow depth of field and it offers the classic 85mm portrait focal length. 3. SIGMA 50MM F1.4 EX DG HSM This alternative from Sigma is very highly respected and retails for around £300/$500. It features a maximum aperture of f1.4 and on cropped sensors this will achieve a flattering 80mm equivalent focal length.80 THE CANON CAMERA BOOK © Adrian Dewey

Advanced techniques GET THE RIGHT LOOK Experiment with their angle to the window and how this effects the shadowsTHE AMOUNT OF LIGHTUsing a larger window willdisperse more light on toyour subject CONTRAST DECISIONS If you want the light to be softer, move the subject further away from the windowUse window light THE CANON CAMERA BOOK 81Natural light can be used toshoot elegant portraitsIf you have no lighting accessoriesavailable, window light provides youwith a means of capturing elegantly litportraits with minimum fuss. The lightthrough a window can still be modified– net curtains, for example, can diffusethe light, while patterns can be createdwith blinds. A reflector can be used onthe subject’s shadow side to even up theexposure if desired.

Advanced techniques Use aperture for pro effects Portraits often rely on shallow depth of field to succeed, so learn to use it effectively One of the most powerful means of creating successful portrait images without recourse to expensive lenses, lighting or accessories is to take control of the depth of field in your images by working with aperture and focusing distance. Limiting the presence of distracting background elements will make your portraits look far more professional, enabling you to create an image in which all the attention is on the subject. This isn’t a recipe for every portrait, though – there will be situations in which a shallow depth of field isn’t desirable and you’ll want at least some of the background in focus. The kit lens you get when you buy a camera almost certainly won’t boast a particularly wide maximum aperture, with perhaps f4 or f4.5 at the widest end of the zoom and f5.6 at the telephoto end. However, help is at hand without you having Create blur without a wide-aperture lens Tricks for getting great backgrounds with your kit lens If you don’t have a lens with a particularly wide aperture to hand, you can re-create a similar shallow depth of field by going to the telephoto end and focusing tight on your subject at the widest aperture that’s offered to you, which will probably be f5.6. Depth of field is limited at longer focal lengths and closer focusing distances, so you will be able to reproduce the appearance of a much wider aperture.82 THE CANON CAMERA BOOK © Adrian Dewey

Advanced techniques Effects on a budget Work with the light for different looks 50MM LENS AT F1.8 Used wide open, a 50mm f1.8 lens produces very limited depth of field and is also ideal for dull lighting, in which a wide aperture enables you to use faster shutter speeds. REFLECTOR ADDED Adding a white, silver or gold reflector is a simple way to lift shadows and produce a more balanced exposure. Resulting images are well lit without looking fake. 50MM LENS AT F1.4 Though considerably more expensive than an f1.8, a 50mm f1.4 lens produces only a marginal difference in terms of depth of field, so if you’re budgeting, an f1.8 would be better suited. CROP Low-cost flash SENSORS accessories When used on an APS-C, Bottletop 5-in-1 50cm Reflector (Diffuser + DX-size sensor, a 50mm lens Gold/White & Sunfire/ Silver) acts as a 75mm lens – ideal www.lastolite.co.uk  £36/$39 for portraits. An f1.8 aperture is © Adrian Dewey This product enables you to reflect the light in using gold, particularly useful on smaller white, sunfire or silver surfaces. There is also a diffuser panel included. sensors, as their reduced size 4 Section Heavy Duty Air means that shallow depth Cushioned Stand www.lastolite.co.ukto break the bank. Although of field is harder to if you are using a camera with an £50 (approx. $78)85mm is generally considered achieve. APS-C sensor, in which depth of field This portable stand will enable you to use yourthe ideal portrait focal length, a is higher at shallower apertures because speedlight off-camera and produce creative, professional-50mm lens will do a similar job that’s of the crop factor – just as the effective looking flash effects.more than comfortably comparable and, best of all, focal length is affected by the smaller size of the Ezybox II Square Medium 60 x 60cmf1.8 and f1.4 50mm prime lenses are available for sensor. However, you must always ensure that the www.lastolite.co.uk £91/$115a fraction of the price of their 85mm counterparts. subject’s eyes remain in focus, as Osman Levent Quick and easy to assemble and“A 50mm 1.4 or 1.8 is a must, providing a load of Eryilmaz (www.themazephotography.com) disassemble, this softbox is highly collapsible and verylight and a great depth of field in images,” explains explains. “Eyes must be in focus – if shallow depth portable. You can also get grids to fit across the front diffuser panel.portrait photographer Adrian Dewey (www. of field is preferred to be used, [the] eye closer toadriandewey.com). the camera must be in focus. The viewer acceptsThe differences between an f1.8 and f1.4 the image as [being] in focus as long as [the] eyemaximum aperture are relatively small, with closer to the camera is in focus.”prices for a 50mm lens with an f1.8 apertureseveral times less than the cost of the f1.4equivalent. With this in mind, if you’re working to CROP-SENSOR EFFECTa budget, the 50mm f1.8 lens is a clear frontrunnerwhen it comes to achieving shallow depth of field When used on a crop-sensor camera, a 50mm lens effectively becomes 75mm, providing shallow depth of fieldin your portrait images. Having access to such a wide aperture gives you both the ability to take sharper OPTICAL QUALITYshots in lower light and to capture shallower depthof field in your images. This is particularly relevant Owing to the comparative ease of their manufacturer, 50mm prime lenses often boast superb image quality at all apertures THE CANON CAMERA BOOK 83

Advanced techniquesMake the most of one flash Budget speedlightsLearn how to maximise the potential of your regular Powerful third-partyspeedlight and take your portraits to the next level options can be found for less than £300Now that there are so many ways of on the colour of the surface that it has been Metz 52 AF-1 Digital triggering speedlights off-camera, their bounced from – so a white surface is best for Flashgun use has become far more popular among neutral results. www.intro2020.co.ukthe photographic community. This is great news, £230/$300because speedlights are an ideal creative tool for Second, if the flash has been bounced off This speedlight isphotographers interested in capturing creative, the ceiling, the light is coming down onto the available for Canon,professional-looking images on a budget. subject from directly above, which may mean Nikon, Olympus, Pentax that insufficient light is reaching them. For and Sony cameras. This model Just one speed light is capable of some this reason, you might want to try tilting the features 24-105mm automatic zoomincredible lighting wonders – and expensive flash unit’s head up at a 45-degree (rather than functionality and a touchscreen, with alighting modifiers and off-camera triggers aren’t a 90-degree) angle, so that some of the light is guide number of 52 with ISO 100/21 –automatically required either. For instance, to feathered onto the subject’s face more directly. more powerful than the Nikon SB910,deal with the potentially harsh light that a You can also use the bounce card that’s built which you can expect to pay more for.speedlight can create when used on-camera, into most flash units to direct the light.you can experiment with bouncing the light Phottix Mitros TTLfrom the flash for a softer impact. Even the most Of course, taking your regular speedlight off- Flashgunbasic speedlights on the market, which can be camera and triggering it wirelessly is one of the www.intro2020.co.ukpurchased new for as little as around £100/$157, simplest and most effective ways to take more £250/$499feature the ability to tilt the flash head, enabling sophisticated-looking images. Portable softboxes Even more powerful still,the light to be bounced off a nearby ceiling, wall and gels are affordable accessories that can be this speedlight – whichor other solid surface. used to modify the light from your speedlight can be found for around and give it a pro-level feel. “You do not need £250 – is available for both However, there are a few things that you need expensive lighting, studios or kit,” says Adrian Canon and Nikon cameras. It has ato be aware of when shooting portraits using Dewey. “I’ll shoot both just using the natural 24-105mm motorised zoom capability,a bounced flash. First of all, the light that’s light and also using speedlights to balance the TTL functionality, plus bounce andreturned to your subject will, naturally, take sky with the model. Shooting relatively close to swivel features. the model at anything from f16-22 and hitting the subject with the flash of a speedlight can Nissin Di866 create some very dramatic effects with shiny www.nissindigital.com skin and dark-blue skies, giving the impression £268/$350 of a much more professional lighting setup.” Available in both Canon and Nikon fits, this  CREATIVE COLOURS speedlight is adjustable from full power to 1/128FINAL SHOT Using a gel on your flash and a custom white power. At full power, this is balance can produce pro-style images with the strongest of the three speedlights minimal kit featured here and represents an excellent option, with an attractive, SET THE SCENE easy-to-use colour display. Make the most of outdoor shoots by combining outdoor lighting and coloured gels for a creative impactCombine flash with sunlight Create a pro effect using the Sun and your speedlight off-camera1Control ambient light Set the shutter 2Incorporate sunlight Position the subject 3Use a softbox A portable box will soften to the flash sync speed for your camera so the Sun serves as a kick light. Unless the light from your flash. A speedlight will(around 1/200sec or 1/250sec). Set a narrow you want to create a flare effect, be careful need to use its full capacity outdoors in theaperture to produce a darkened ambient result. with your composition to avoid direct sunlight. Sun and may take a few seconds to recharge.84 THE CANON CAMERA BOOK

© Tilo GockelAdvanced techniques Create a colour cast Combine a CTO gel and a cool white balance to produce a dramatic in-camera effect Some photographers like to add a second speedlight to their images, fitted with a CTB (colour temperature blue) gel to make the shooting environment – but not the subject themselves – turn a cool shade of blue. However, you can produce a very similar effect by using just one speedlight, fitted with a full CTO (colour temperature orange) gel and setting your camera’s white balance setting to 2500K. Here’s a guide to how it works. 1 USE A CTO GEL Fit your speedlight with a full CTO gel. You might want to add a ½ CTO gel too. Gels like these are very cheap and can be bought from many online retailers. 2 SET THE WHITE BALANCE Use a manual white balance to create a cold, blue colour cast. In this example, 2500K has been used. The CTO gel(s) will correct the colour on the model. 3 USE HARD LIGHT Without a softbox attached, the light from the flash is harder and makes better use of the split-tone effect produced by the CTO gel and the white balance. THE CANON CAMERA BOOK 85

Advanced techniques LOW-KEY MID-KEY HIGH-KEYWork with one studio lightProduce three different lighting effects using just onestudio flash, a softbox and a reflectorMany people assume that you can’t take distance. Photographers can take advantage of subject have also been moved slightly further away great photos in the studio without this, enabling a range of effects to be produced from the background. using multiple lights and that you simply by repositioning the subject and the light in will be very limited as to the range of shots relation to the environment that you’re working in. Finally, for the low-key effect, the subject andthat you can create unless you have at least light have both been moved further still fromtwo or three flash units to hand. While it’s true As already discussed, the most versatile the background by around half a metre. Thethat having access to more lights and an array of accessories to have to hand are a softbox and light, still fitted with the same softbox, has beenmodifiers will ultimately enable you to capture reflector, affording you a high degree of control for angled at 60 degrees to the subject, so even lessmore complex images, knowing how to control the amount of equipment that you are using, even light is able to fall on the background. This resultnumerous lights effectively is more complicated if you are working with only one light. In the high- is an in-camera effect in which the background isthan it might at first sound. It’s surprising how key image shown above, a flash with a softbox virtually black.much you can achieve just by working with one has been directed onto the background behindstudio flash unit and one softbox. With a white the model. A silver reflector has been positioned ONE LIGHT, THREE LOOKSpaper background – or even simply a white wall, a in front of the subject in order to redirect the lightreflector and a little bit of space – you can achieve that’s bouncing back off the wall back onto the These three very different images have beena low-key, mid-key and high-key effect with just model and create catchlights in the eyes. created by carefully repositioning just one lightone light. fitted with a softbox To create the mid-key effect with what looks like The inverse-square law’s effect on light means a charcoal background, the location of the light with ELEGANT SIMPLICITYthat the light emitted by a flash unit spreads, the softbox has been slightly altered and moved todiffuses and becomes less intense across a a more typical position for a key light, at about 45 Sometimes using minimal equipment degrees to the model. Here both the light and the can enable you to capture even more powerful portraits, the strength of which lies in their simplicity86 THE CANON CAMERA BOOK

© Dani DiamondAdvanced techniques Budget portrait tips Use a reflector These simple accessories provide an excellent means of improving your portraits without investing in extra lights. Buy a 50mm lens Offering either a f1.8 or f1.4 maximum aperture, these lenses enable you to create very shallow depth-of-field effects in-camera. Try off-camera flash Even if you only own one speedlight, simply using if off-camera, rather than on the camera, will make a big difference to your images. Use soft light Make the available light do some of the work. Soft, diffuse light will be more flattering than harsh sunlight. Buy second-hand Get more for your money by buying used lenses, speedlights and accessories. Models that have been superseded offer excellent value. Co-opt the sun If you only have one speedlight, position your subject so the sun serves as a hair light, kick light or rim light. Go wide You don’t have to shoot your portraits using a short-to-medium telephoto focal length. Explore the full range of your standard zoom lens. Minimise depth of field If you don’t have a wide- aperture prime lens, use your standard zoom or kit lens at its longest focal length and focus close to minimise depth of field. Colour temperature gels These enable you to create extra effects with your speedlight, entirely in- camera, saving time spent later in Photoshop. Understand light Big light sources, placed near the subject, will produce more flattering and professional- looking light than a small light source, so invest in a speedlight softbox. THE CANON CAMERA BOOK 87

Advanced techniques Learn to embrace mood and render your scenes in full dramatic glory Take a quick look at any online ready to welcome early starts and damp shooting photographic community and you’ll conditions for the best results. quickly see that atmospheric landscapes are one of the most popular and well-received If you’ve got a penchant for scenes that are full of styles. Artistic and painterly vistas aren’t a new mood, tone and feeling, you are in the right place! way of shooting, but with the advancements of Begin by following our tips, tricks and advice editing software and digital cameras in recent over the next few pages and then get out and start years, it’s now possible to render scenes with all practising yourself. You will find you will soon the visual splendour, detail and tone previously become a master of the moodscape. reserved for the naked eye. We’ll encourage your artistic vision with The best results come from shooting during ideas for powerful subjects, impart our inclement weather, when it’s stormy, misty, recommendations on how to incorporate changeable and unpredictable, and you should be reflections and mist, and explain how the direction of natural light will influence your imagery.  FOR JEFF This jaw-dropping capture by Erin Babnik was taken while she explored some of the higher elevations of the Dolomites. “I remember us being all giddy after having seen such a wonderful display of nature” © Erin Babnik88 THE CANON CAMERA BOOK

Advanced techniques Works best with Canon EF70-200mm f/2.8L IS II USM THE CANON CAMERA BOOK 89

Advanced techniquesDeliberate darkness Ideal atmospheric shooting conditionsTake inspiration from the painting mastersand underexpose your shots for feeling Know what elements to look out for when planning your next tripThe most successful atmospheric lighting that occurs with approaching or clearing landscapes rely on a heavy use of storms. The aim is to use light and dark to amplify It’s fundamentally understood that early contrast, as well as deliberate yet subtle depth and form within the scene. mornings can equal magical light, but forunderexposure. Landscape photography is a atmospheric landscapes, this rule onlynatural progression from traditional fine-art First, find a location with a definite contrast applies so far. Atmosphere also meanspainting, so it helps to understand some basic between light and shaded areas. Waterfalls, white capturing mood, drama and tone, andlighting theory that’s been exploited by artists like water in shaded rivers, and woodlands where though the genre can encompass theLeonardo Da Vinci. crepuscular light can filter through are all good golden hours, it excels perhaps even examples. Mountain ranges are an obvious further when the weather is inclement. The term ‘Chiaroscuro’ has been around since example, but not always the most accessible place Shoot during stormy weather whenthe days of Renaissance painting, is Italian in to start. the winds are high and the conditionsorigin, and literally means ‘light-dark’. In paintings, changeable, and you’ll find plenty ofit describes the tonal contrasts, which are used Once you’ve found your locale, set up your opportunities for depicting dark andto model and portray the volumes of the subjects camera on a sturdy tripod and set the lowest ominous cloudscapes. Nothing shoutsdepicted. It is also a term that has recently made ISO your camera will allow; this will ensure the atmosphere quite like a heavy sky withits way into the world of photography in order to shadowed areas remain noise-free. The section of rays of sunlight bursting through.describe the interplay of light across a landscape to the frame with the greatest contrast will usually Each season will offer somethingdraw attention to the three-dimensional nature of become the natural focal point of your image, different; for example, during autumn,the subjects. creating a strong pull on the viewer’s eye. Focus the colder nights mean a greater chance manually on this and use Live View to ensure it’s of fog, which in turn creates ethereal Ansel Adams made use of the Chiaroscuro pin-sharp. When underexposing the scene, keep views of shadows and light rays. Whentechnique in active weather and some of his most an eye on the histogram to avoid clipping too much the air is misty, atmospheric perspective,famous images take advantage of the high-contrast of the shadow detail. in other words, objects fading off into the distance, becomes more noticeable. CHASE There are no textbook shooting conditions, but with practice you’ll soon THE LIGHT discover what works and what doesn’t. Whether you want to capture misty mountains, or vast open plains bathed in sunlight, it’s important to plan your shoot meticulously, adapting to the weather at hand  COASTAL © Enrico Fossati ILLUMINATION Backlight is most impressive and dramatic when the Sun is positioned nearer the horizonEmphasise shape Shoot and compose your vistas to make use of backlighting1Compose the shot Consider the lighting 2Meter with precision Switch to Spot 3Shield from flare Use a lens hood or and background carefully, then position metering – it’s best to meter on the shadow the lens with your hand if youryour setup and compose the frame. A low darker areas to maintain information in the aim is to avoid lens flare. If the Sun is directlySun works best for backlit shots. Use Live shadowed areas, but try to avoid blowing out in your frame, reposition yourself differentlyView mode to protect your eyes. highlights completely. to obscure the Sun partially behind an object.90 THE CANON CAMERA BOOK

Advanced techniques BAD WEATHER SUPER SHARP Perfect your post-processing This genre makes the most of Narrow apertures should even the weakest light, as well generally be used to ensure Tweak your Chiaroscuro as typically bad weather, often that the entire image, from the imagery using Lightroom becoming most successful in foreground to the horizon line, gloomy conditions is in perfect focus USE SIDELIGHTING WIDE-ANGLE 1Boost the contrast Open the image in Lightroom, go to the Develop panel andTo add a sense of depth to your A medium telephoto increase the Contrast to +80. Next, drag landscapes, re-orientate your lens can be useful Shadows to +100 and Highlights to -50.camera so that the sunlight hits with subjects such as the subject from the side. This woodland, but a wide- angle is preferable in means that shadows will open environments fall across the frame and to capture the entire reveal the shape vast scenery and form. © Enrico Fossati 2Make it sharp Once you are happy with the overall brightness of the shot. Add a subtle level of sharpening with the Clarity slider, but don’t overdo the effect. CLOUDY SKIES CONTRASTING LIGHT 3Final tweaks For more precise sharpening, use the Detail tab. Add a Successful landscape The play between light and subtle vignette from the Lens Correctionartists embrace dramatic shadow in the frame will tab to darken the photo edges. skies in their imagery, EMPHASISE DEPTH add definition and depth to using a graduated ND landscapes. Windy conditions The emphasis on your images should be filter to balance the tonal, particularly if you convert images to are often perfect for exposure between black and white. Subtle shifts in tone will changeable conditions the landscape and a particularly bright sky also communicate the mood BEFORE AFTER  © Enrico Fossati © www.flickr.com/photos/epiphonication THE HIDDEN MYTHICAL FLAT ADDEDVALLEY LANDS RESULTS DEPTHBad weather and gloomy The unique shape of thisconditions often create the landscape, combined with While the light was The exact amounts ofmost successful type of shooting angle and weather visually pleasing in the editing will vary withlighting for getting the best conditions, enhance the initial shot, the image each photo, so checkout of your landscape shots mystic feel of the image was lacking slightly in carefully that your final depth and contrast image isn’t too dark THE CANON CAMERA BOOK 91

ATdECvHaNInQUcEeSd techniques © Adnan BubaloMaster the mistHead out at dawn to improve your chances of atmospheric conditionsShooting in foggy and misty conditions is polariser will work to pull out strong green and misty images still end up looking flat and a surefire way to add intrigue to imagery blue hues, but remember that it’ll also stop out disappointing, and this is because fog acts when exposed effectively, but getting your light. ND grads can work to darken excessively like a softbox, broadening the light out. Thinktiming right is easier said than done. Although bright sky areas, especially when shooting in carefully about the direction of your light source,these conditions appear throughout the year, the thin fog. Experiment with a combination of as mist tends to look most stunning when litdensity of droplets depends on the air currents different filters until you’re happy with the result. from behind. If you’re in woodland, positionand temperature being just right. Aim to head yourself with the mist between you and theout when the temperature differences between Likewise with lenses, taking out a range of Sun, so that beams of sunlight dapple through.night and day are more extreme, during the late focal lengths will enable you to adapt to the Although you should always strive to captureevening or early the following morning. Try to scene at hand. In foggy conditions, long range the best results in-camera, remember that somehead to a body of water such as local river or objects appear as silhouettes, while near objects subtle tweaks in Photoshop afterwards will addpond, or better still the coast, where cool sea air retain more of their colour and sharpness, so at the required punch and contrast.will meet warmer air on land. When you do set a basic level it’s wise to have a wide-angle andup, find a high vantage point to shoot from, for longer telephoto such as a 70-200mm. Consider MAGIC AT DAWNexample a cliff top. investing in a teleconverter if you feel you might need some added reach. Head out at daybreak to capture the Your choice of kit will depend entirely on the magical atmosphere created by the risingscene before you, but filters can be useful tools. A If you do heed the call of the alarm clock Sun and morning mist create together and head out early, you might find that yourShoot for depth Discover how to capture misty masterpieces with a telephoto lens1Find a spot Get into position and set 2Compose the shot Tighten all the controls 3Keep it sharp Focus manually to avoid up a sturdy tripod. Attach a telephoto on the tripod head. If you’re shooting with the lens focus hunting. Camera shake islens, ideally with a focal length greater than a zoom lens, try out different focal lengths exaggerated at long focal lengths, so turn on200mm. If the lens has its own collar, mount to see what works for the scene at hand. mirror lock-up and fire the shutter either withthe lens onto the tripod head. Eliminate distracting elements in the frame. a remote release or self-timer delay.92 THE CANON CAMERA BOOK

Advanced techniquesWoodland wonder Enhance the misty vapoursShoot forest scenes with lighting inmind to generate mood and feeling Make edits to your misty images for maximum impactWell-lit woodland scenes are a wonder   richer colours. Particularly dramatic results can to behold and when captured with be achieved on misty mornings, using a telephoto 1Adjust the levels Use a Levels the right atmosphere they become a lens such as a 70-200mm to isolate smaller sections adjustment layer in Photoshop, andmagical place. By their nature, however, they’re of trees and compress the composition. If you opt set your white and black points. This is afairly chaotic, with dark canopy layers contrasting for a wide-angle lens, include foreground interest subtle process, so edit gradually.bright sunlight through the trees, causing some like flowers, ferns or mosses to lead the eye intochallenges as far as exposure is concerned. the frame. Avoid strong sunlight by shooting in the early KEEP IT HAZYmorning, when the low-angled Sun will illuminatethe trunks and produce long, dramatic shadows. Even lingering mist after sunrise can addBacklighting works particularly well for forest atmosphere and depth to wooded scenesscenes and enables you to focus on the shape of thetrees only, capturing the woodland as a silhouette. SEEK WHITE WATERIf the Sun does cause lens flare, reposition yourselfso that it’s hidden behind a trunk. Certain velocities of water make for more interesting and dynamic photography Though they might look bleak, overcastconditions are a blessing for dense woodland, DELICATE RESULTSyielding light that’s more evenly spread along with It’s important to maintain the fine tones of mist when editing your images HAZY 2Use curves Adjust the mid-tones using EXPOSURES a Curves adjustment layer. Anchor points near the centre of the curve to Misty conditions cause the create separation in just the mid-tones.air to become more reflective, fooling your camera’s light meter into decreasing the exposure. Dial in a positive exposure compensation to overcome this.© Dariusz Duma 3Sharpen and blur Enhance any © Enrico Fossati obvious differences between a sharp © Pai Shihsubject and the softness of the mist usingSubtle water features the Sharpening tool and Blurring filters.Discover how natural subjects can BEFORE AFTERbenefit from overcast conditionsThe subdued light often found under thecanopy of woodland is perfect for capturingrivers, streams and waterfalls at their mostatmospheric. Be prepared to get your feet wetand compose images in the stream itself, facingthe upcoming water. For the best results use apolariser to bring out the most important detailin the colours of the water, as well as cut out anyunwanted glare in forest foliage. THE CANON CAMERA BOOK 93

Advanced techniquesMirrored © Enrico Fossati JUST THEimages MIRROR IMAGEPhotograph reflections for Leaving the main subject outadded magic of the frame and including onlySerene lakes towered by lofty mountain the reflection in the shot can ranges are the epitome of shooting make for a more abstract and locations when your aim is to capture interesting composition. Thisreflections in the landscape. For this technique,you’ll find again that natural light is most is useful if your mainfavourable in the early morning, when warm subject is harshly lit.sunrise tones look fantastic when mirrored incooler shades of the water. If you’re visiting anunfamiliar spot, use a phone app such as thePhotographer’s Ephemeris to calculate where theSun will rise, ideally positioning your subject infront of you and the Sun behind. Of course, it’s notalways possible to get out early, and while directlight on the surface will cause glare, a polarisingfilter reduces this effect. As a general rule, the most tranquil spots will besmaller and more sheltered, but it’s also possible tocapture creative reflections on puddles. The loweryour shooting angle, the more reflection you’ll beable to see; set a sturdy tripod up at its minimumheight to begin with, checking for wonky horizonsand shooting from the water’s edge where possible. Reflections are darker than the main subject,and you can balance the exposure using an NDgraduated filter or during the edit.DARK MIRROR This capture by photographer Enrico Fossati is the perfect example of this technique. Alter your shooting height to incorporate less or more of the reflectionWhatever the weather Create a masterpiece even when the elements are against you © Max and Dee Burnt © Ian Simpson STILL AND SERENE UNSETTLED CONDITIONS Tranquil water is most commonly used for reflections relying on shooting Perfect reflections are harder than they look to achieve. Any amount of wind in flat, calm conditions. will disrupt the water.94 THE CANON CAMERA BOOK

Advanced techniques All images © Erin Babnik Pro insight GUARD © Enrico Fossati Landscape pro Erin YOUR KIT Babnik shares her love ofDark and stormy atmospheric settings Keep an eye on the front lensHead out in dull conditions to element when shooting in fog, Why do stormy conditionsavoid cliché captures and wipe away any moisture from lend themselves so well to the lens and body itself with a atmospheric landscapes? Storms bring a lot of clouds, microfibre cloth. Invest in and the precipitation that reusable silica gel sachets they cause can result in fog and mist forming as the moisture interacts to absorb moisture. with temperatures near the ground. Because storms tend to bring clouds at differentMost typical landscape shots are bathed and contrasts heavily with the landscape, it can altitudes, the potential is greater during in the warm, golden glow of sunlight be tricky to expose the shot evenly. Rather than stormy periods to have interesting layers of found during the golden hours, but leaving the sky out of the frame, make use of a atmosphere. As a storm comes in or beginsthere’s a wealth of opportunities to be had in graduated neutral density filter to balance the to clear, those conditions are likely to becloudy conditions too. Heading out on a gloomy image more effectively. Of course, your image scattered enough to allow some light throughday not only makes the most of your shooting time, making needn’t stop at the shooting stage; take in dramatic episodes that are very photogenic.but also challenges you to work with the elements multiple images of the overcast scene at hand and Crepuscular rays, rainbows, backlit mist, andto your advantage. use Photoshop’s Photo Merge tool to blend the beautifully sculptural clouds can all result from exposures together for a seamless final result. stormy conditions. Cloud cover acts as a huge natural softbox forthe Sun and means that while the light hitting your If the lighting’s not what you’d hoped for on a Do you have a favourite technique that youlandscape is evenly dispersed, the contrast will shoot, don’t be too disheartened. Remember that use to add impact to your shots?also be lowered. If you feel there’s no life in your many subjects actually work best in overcast Most of the impact in my photos comes fromscenes captured in colour, change to Monochrome conditions, such as the reflections of a landscape my low-volume approach to shooting, moremode. If you pay attention to the natural colours in puddles or lakes, so experiment and take the so than from any particular technique. Whenyou’re including in the composition, you’ll be able opportunity to try something new. I find a composition that excites me and theto enhance these to add tonal contrast when you shooting conditions are working well for it, I willget to the editing stage. DELIBERATELY DARKEN commit to that composition for the entirety of an outing. Even when I feel as though I In windy conditions, where the cloud cover Recovering the blown-out details of water probably have a good shot already, I will usuallyis quickly dispersed to make way for bursts of is difficult in post-production, so if in doubt, remain glued to a composition and will ride outsunshine, choose Aperture Priority mode so underexpose the scene slightly the rest of what the conditions have to offer…that you don’t have to keep manually adjusting I’m likely to end up with a lot of great momentssettings. Every so often, check your histogram to CATCHING AIR for a single composition, but one of them willmake sure you aren’t clipping important shadow or be extra special. I will process only one ofhighlight detail. When the sky is brightly overcast “To me a mountain is essentially an abstract those moments, meaning that I typically get no sculpture in a landscape, as is any feature more than a single photograph from an outing. that stands out from its surroundings” My portfolio is therefore a lot smaller than it could be, but I’m able to present some really impactful scenes working in this manner. See more at www.erinbabnik.com. THE CANON CAMERA BOOK 95

Advanced techniquesCapture motion Discover the best techniques for mastering long exposures and freeze action in its tracksAt its core, photography is all about There are so many situations in which showing stopping motion and capturing a tiny movement makes for more beautiful and creative moment of time in a single freeze-frame. imagery, be it a wild wave crashing onto a cliff face,It’s for this very reason that photographers are a speeding motorcar, or an athlete caught up in theconstantly inspired to shoot action and show the heat of competition.reality of their images. There are different ways tocapture a sense of life in a still image. You might Learn how the pros use high-speed flash todecide to retain a blurring of the subject or trace freeze water droplet collisions and understandthat subject’s movement, keeping it sharp in the magic of slow shutter speeds when capturingcontrast to a blurred background. Adding artificial motion in serene waterscapes and landscapes afterlight to the mix then opens up a new wealth of dark. Read on to master the best techniques forcreative possibilities. stopping time and capturing beautiful moments in motion.© Marius Kasteckas A SKY FULL OF STARS Using long exposures to capture moving water is an effective, creative way of working with motion, and can add a sense of drama to a scene96 THE CANON CAMERA BOOK

Advanced techniques Works best with Canon EF 50mm f/1.4 USM THE CANON CAMERA BOOK 97

Advanced techniques CAPTURE GROUPS A flock of birds racing through the sky makes for a dramatic image, particularly when taken at dusk against a golden backdrop. Use Aperture Priority mode and dial in a low ISO to blur flight movement with a slow shutter. © Ray CooperEnhance nature’s movementsChoose between pin-sharp shots or artistic motion blur whenshooting wildlife and landscapesNature never stands still, and whether For hard-to-capture subjects like insects, invest subject’s movement with an exposure of 1/60sec or you’re photographing wild weather, in a camera trap that’s triggered by movement, longer. Though panning is generally a technique waves breaking on the shore, or a bird light or noise, such as the MicroFlash Pro (www. associated with motor sports, it’s very effectivemid-flight, you’ll never be short of creative angles. highspeedflash.com), which is able to achieve a when you want your subject’s face to remainA pin-sharp image of an animal on the move, for flash duration of 1/28,000sec. relatively sharp and the background to be blurred.example, has the power to get up close on the If the shooting conditions won’t allow shutter These panning shots really draw the viewer’s eyeaction. Your first consideration in capturing such durations this short, or if you’re looking for into the image by adding emphasis to the elementa shot should be shutter speed. Shoot in Manual something a bit more abstract, try panning your of the composition that’s in focus.mode, select a wide aperture and try to keep yourshutter speed approximately equal to the focal“For hard-to-capture subjects like insects,length of the lens. For example, if you’re using a300mm telephoto lens, you’ll need a shutter speedinvest in a camera trap that’s triggered byof at least 1/300sec to avoid motion blur. Smaller,swift-moving subjects, such as birds, require amovement, light or noise”considerably quicker speed of around 1/1,000sec.98 THE CANON CAMERA BOOK

Advanced techniques © Mike Lacey © Joshua Zhang  PERFECT PEACEFUL WING CHALLENGE ANOTHER TIMING SOMERSBY WORLD © Joshua ZhangRay Cooper used a In this shot a shutter Zhang used a one second1/1,000sec shutter to retain Landscapes are instantly speed of 1/1,600sec exposure to perfectlythe motion blur on the more dynamic when they froze the waves in this capture the smooth flowhummingbird’s wings include motion through split-second capture of the waterfall the scene Extend exposures with a neutral density filter Blur water movement and create atmosphere in your landscapes One of the most common subjects to use an ND filter GUIDE TO WATER MOTION with is water, as waterfalls and coastal scenes take on a whole new feel when the motion appears smooth 1/200 SECOND 1 SECOND 20 SECONDS and milky. ND filters are perfect for shooting during the day, and reduce the light entering your lens. The Depending on the speed and size A one- to four-second exposure Between 4 and 30 seconds the water Big Stopper (www.leefilters.com), for instance, will of the waves, a shutter of around will create a misty blur of water. tends to lose its definition, and will reduce the light by approximately ten stops. In real 1/200sec will freeze most kinds of The most natural look comes with take on a smooth, milky appearance. terms, this turns a 1/30sec exposure into a 30-second water movement speeds of 1/4 to two seconds For longer exposures, use Bulb mode one that’s perfect for recording smooth water motion. As ND filters are available in a range of light- stopping powers, you might find it a more flexible solution to buy several varieties. To achieve a correctly exposed scene, compose the shot and take a meter reading before fitting your filter, then calculate the exposure time needed for the strength you want to use. Your filter will usually come with an exposure table, so use this to calculate the correct conversion and set your desired aperture and shutter speed. Use a remote release to fire the shutter, and take care not to knock the camera or tripod during the exposure. THE CANON CAMERA BOOK 99

Advanced techniques © Damiano Levati/Red Bull Content Pool STROBOSCOPIC FLASH Sport at speed  Most modern speedlights are Push your shutter speeds to the capable of firing a rapid burst of limit to capture athletes in motion low-power flashes that capture a sequence of images of a moving The genre of sport photography, by subject in a single frame. Shoot its very nature, involves subjects in motion and images that freeze fast- against a dark background to paced pivotal moments. There’s great scope for avoid overexposure. shooting movement in the sporting world, and preparation is key to capturing a great shot in the COMPLEX heat of competition. Get to know the sport you’re ACTION photographing inside and out, researching the rules of the game so that you’re able to anticipate Photo sequencing what’s about to happen in front of you and be ready only works when the to shoot it. object moves across a static background, In terms of technique, there’s plenty of artistic but it’s a great way to scope for long exposures that convey movement, show the intricacies but if you’re working for a professional client, of potentially you’re probably going to need to freeze the action. complex movements To stop action, as a general rule, it’s critical to use a minimum of 1/800sec shutter speed. When MAKE A using long lenses, shoot wide open using the SPLASH maximum aperture to minimise distractions in the background and ensure the main subject Use a mid-telephoto stands out. Focus on fast-moving objects using lens with a wide the back-button AF on the back of your camera aperture to achieve body, holding it down as you track your subject’s the fast shutter movement, and firing off a burst of shots at the speeds needed to peak of the action. freeze high-speed sporting action “Preparation is key to capturing a great shot” Combat shutter lag Pre-empt the subject and speed up your camera The term ‘shutter lag’ refers to the time between pressing down the shutter, and when the photo has actually been recorded. When photographing fast- moving objects or people in motion, any delay is an evident problem, but you can overcome it to a certain degree by anticipating your shot and using presets on your camera. On most DSLRs, when you press down the shutter halfway, the camera will set the focus and exposure before you take the shot. Then, on a full press of the button, the shot should be taken almost instantaneously because the majority of the processing has already taken place.100 THECANON CAMERA BOOK