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FREE VIDEO GUIDES VIEWTHEVIDEO FREE EBOOK WORTH £17.99 Issue 194 • August 2022 CANON EXPOSURE MODES T&Cs apply + internet connection required BETTER BIRD PHOTOGRAPHY Aperture explained Shutter speed settings ISO skills Step up to Manual mode hwoFwiiltndhdlwiifseoeugcptrahepionattstuoird!eed PROFILE SUPER TEST! GREAT TRAVEL BEST-BUY PHOTOGRAPHY CANON EOS CAMERAS Pro tips for better landscape and portrait shots on holiday The top ten EOS DSLRs and mirrorless rated FREE VIDEOS TO FOLLOW ONLINE WIN! Watch our expert guides to improve your skills 27in PHOTO-EDITING VIEWSONIC MONITOR WORTH £386 See page 5 • Great video tutorials for you – see page 5 for details PLUS CANON SCHOOL • BUYERS’ GUIDES



TAKE PERFECT PUFFIN PHOTOS Canon pro photographer Drew Buckley teaches you how to capture these beautiful little seabirds Page 8 Peter Travers Welcome Drew Buckley Editor When you’re taking photos with your Canon camera, what’s the OUR GUARANTEE Get a Lowepro first thing you adjust when you’re perfecting your exposures to bag worth £67 the correct brightness? Do you tweak the aperture, shutter • We’re the only photo magazine in the with your new speed or ISO? If you’re a beginner, you may well use Auto exposure newsagent that’s 100% DEDICATED subscription! Plus modes and don’t tend to fiddle with any of these settings. If you’re a TO CANON EOS CAMERA USERS, some big savings, more experienced enthusiast, do you use Av or Tv mode to boss the so we’re 100% relevant to your needs. too! Page 40 aperture or shutter speed? Whatever your preference, it’s important to have a good understanding of the core exposure principles. Learn all • WE’RE 100% INDEPENDENT, which you need to know to take control of key settings so you can take better means we’re free to publish what we exposures of everything from classic landscapes and seascapes to feel is best for EVERY CANON DSLR action shots of fast wildlife and motorsports, starting on page 28. OR MIRRORLESS PHOTOGRAPHER – from beginners to enthusiasts to Our Apprentice gets a treat this issue as Canon pro Drew Buckley takes full-time professionals. them to Skomer Island to learn how to take amazing photos of Atlantic puffins! Find out the best techniques for portraits and flying shots, page 8. • We’re CANON ENTHUSIASTS and, with our contributors, we can offer We rate and review every current Canon EOS camera in our in-depth years of EXPERT PHOTOGRAPHY Super Test, from beginner to top-end EOS DSLRs and EOS R mirrorless, EXPERIENCE. We’re always excited including budget APS-C bodies and pro-spec full-frame options. Find out to pass on what we’ve learned. which is the best-buy EOS camera body upgrade for you on page 90. • We’re more than just a print mag; There are more inspirational photo projects and image-editing guides YOU CAN BUY PHOTOPLUS FOR with free videos to follow in our Canon Skills section, from page 45. Brilliant ANY DIGITAL DEVICE WORLDWIDE pro travel and landscape photographer Jeremy Flint talks about his career via Apple iTunes, Zinio, Magzter, and the challenges he’s overcome, page 62. There’s more of your fantastic Amazon Kindle, B&N Nook, Photo Stories, and expert advice in Canon School. PocketMags or PressReader. Get your free Modern Landscapes Photography • Our Video Disc has THE VERY BEST ebook and enter our ViewSonic 27-inch monitor CANON TECHNIQUE & PHOTOSHOP competition – find out more over the page. VIDEO GUIDES, which can also be viewed via our digital editions. • We’re proud to use THE WORLD’S TOP CANON PHOTOGRAPHERS and experts. Meet them on page 6. INSTAGRAM FACEBOOK TWITTER DIGITAL CAMERA WORLD www.instagram.com/PhotoPlusCanonMag www.facebook.com/PhotoPlusMag www.twitter.com/PhotoPlusMag www.digitalcameraworld.com The Canon Magazine 3

CONTENTS 28 52 42 CANON PRO SPECIAL! CANON MAIN EXPOSURE MODES Take control of your Canon EOS camera settings with our professional tips ESSENTIALS CANON PROS NEW TESTS 08The Apprentice 86Help Me Buy: Graphics tablets 20Inspirations Stroll through this month’s gallery We visited Skomer, aka 3ufÀn Island, Tablets are fantastic for photo editing of stunning still-life shots taken by our as reader Mark Braybook paired up with pro and we’ve rounded up 10 of the best buys talented PhotoPlus readers Drew Buckley to take incredible bird photos 88Lens test 28Canon exposure modes 42David Clapp Column An in-depth look at Canon’s new RF-S Master the main exposure modes How driving rain followed by pink 18-150mm F3.5-6.3 IS STM small superzoom on your Canon EOS camera to take more skies turned Rome into photographic heaven control and your best-ever photos 90Super Test: Canon EOS cameras 62Profile We test and rate every current Canon 40UK Subscription Offer We chat with award-winning travel EOS camera, from entry-level to fully pro- Subscribe to PhotoPlus and receive a photographer Jeremy Flint about his career spec EOS DSLR and EOS mirrorless bodies Lowepro Nova 160 AW II bag worth £67 CANON SCHOOL 104Buyers’ Guide 70Photo Stories 76Part 16 Canon School Stay up to date with the facts and One photographer takes powerful Àgures about all the latest Canon EOS DSLR minimalist landscapes, while another braves Marcus explains the differences and mirrorless camera bodies cold Antarctica for perfect penguin shots between full-frame and APS-C cameras 90 111Next Issue 80Software Solutions Find out what you can expect in Ensure your camera has the right next month’s wonderful issue of PhotoPlus lens proÀles and use DPP’s lens corrections 114Focus Point 82EOS S.O.S Your letters, stats and web news – Brian answers your technical questions stay up to date with the world of PhotoPlus 4

ISSUE 194 AUGUST 2022 WIN! OTVLNIHDINTEWEKHOSESAVTPOOTIANDGCVLEEIIEHNSOWE!S 27-inch PHOTO-EDITING VIEWSONIC MONITOR WORTH £386 Enter today online at bit.ly/colorpro-comp 08 VIDEOGUIDES#194 6 WAYS TO IMPROVE YOUR PHOTOGRAPHY TODAY 50 Project 2 Discover how to use a gobo for dramatic B&W noir portrait lighting 62 46 52 Project 1 James gets thrifty and takes a DIY approach to Project 3 We check out the portraiture with a budget studio setup that cost just £75 unique features of Canon’s RF 100mm Macro lens PHOTOSHOP CC PHOTOSHOP CC AFFINITY PHOTO ACCESS YOUR 56 58 60 FREE EBOOK Project 3 Use your free Tutorial 2 Master the Depth Tutorial 3 Find out how the borders to add an artistic frame to your best images Blur Filter to blur backgrounds Polygon tool can create fast in Photoshop graphic art in Affinity Photo How to get your free Teach Yourself Modern WORTH READ THE TUTORIALS… THEN WATCH OUR EXPERT VIDEOS LandscapePhotography ebook–download £17.99 LOOK OUT FOR THIS! it to your mobile device or computer Wherever you see 1. Toviewyourfreeebookgo toourwebpageat this icon, there’s an http://downloads.photoplusmag.com/pp194ebook.pdf VIEW THE VIDEO accompanying video Please enter this in your internet browser bar (not into Google) link to follow online and allow time for the hi-res ebook to appear. 2. On the web page that appears, you can view the ebook PDF in your internet ALL OF OUR VIDEO GUIDES AND THE INFORMATION PROVIDED ARE 100% INDEPENDENT browser. 3. You can either view the ebook there or, if on your AND NOT ENDORSED OR SPONSORED BY CANON OR ADOBE SYSTEMS INCORPORATED computer, click the icon top-right to download it. On a mobile device, click the share icon and Save To Files (or similar). 5

Meet the team... Who we are and our favourite Canon content in this issue… PhotoPlus: The Canon Magazine Future PLC Quay House, The Ambury, Bath BA1 1UA Peter Travers James Paterson Editorial Editor • 5D Mark IV & R6 Technique writer • 5D Mark IV Editor Peter Travers [email protected] Art Editor Martin Parfitt [email protected] [email protected] Production Editor Katharine Davies Technique Editor Dan Mold “I remember back when I first used “I take a DIY approach to home Lab Manager Ben Andrews Av mode to control apertures, studio portraiture with a few bin Group Art Director Warren Brown and learned how it affects depth bags and an old golf brolly to of field and your exposures. Find show you how to take brilliant Photography family photos on the cheap!” PAGE 46 All copyrights and trademarks are recognized and respected out more in our big guide.” PAGE 28 Photography Studio Phil Barker Matthew Richards Dan Mold Advertising Technical writer • R6 Media packs are available on request Technique editor • 1D X Mk III Advertising Sales Manager Michael Pyatt [email protected] [email protected] • 01225 687538 [email protected] Account Director Matt Bailey “We cover the top 10 current Canon [email protected] • 01225 687511 “I get up close and personal with EOS cameras, with the new R7 and UK Commercial Sales Director Clare Dove [email protected] Canon’s clever RF 100mm F2.8L R10 APS-C mirrorless, R3, R5 and R6 Macro lens. Discover how to get the full-frame mirrorless, plus the 850D International licensing PhotoPlus is available for licensing and syndication. To find out more, best out of this hi-tech optic in my to 5D Mk IV DSLRs.” PAGE 90 contact us at [email protected] or view our available content at in-depth photo project.” PAGE 52 www.futurecontenthub.com. Head of Print Licensing Rachel Shaw This issue’s contributors… Subscriptions New subscription orders or to renew email [email protected] Drew Buckley Sabrina Garofoli Guy Edwardes Natasha J Bella or call 0330 333 1113 or you can visit www.magazinesdirect.com Subscription delivery disruption remains within UK and International networks. Canon pro shooter Drew Sabrina’s food shot is mouth- Canon pro travel, wildlife Canon portrait pro Natasha We kindly ask that you allow up to 7 days before contacting us about a late delivery takes our Apprentice to watering, with her use of a and scenic photographer shows how to take dramatic to [email protected] Puffin Island to learn to take long exposure and torch to Guy shares top tips to take B&W noir portraits with a Customer Service 0330 333 4333 or visit www.mymagazine.co.uk great wildlife shots. PAGE 8 light each item. PAGE 26 better exposures. PAGE 28 gobo and lights. PAGE 50 Head of Subscriptions Sharon Todd Jeremy Flint Christine Matthews Marcus Hawkins Brian Worley Circulation Head of Newstrade Tim Mathers 01202 586200 We chat to the award- PhotoPlus reader Christine In Canon School, Marcus Our Canon expert answers winning Canon travel and captured amazing shots of a looks at the differences your questions and explains Production landscape pro about his life colony of emperor penguins between full-frame and how DPP can optimize your Head of Production US & UK Mark Constance in photography. PAGE 62 in Antarctica. PAGE 70 APS-C cameras. PAGE 76 Canon lenses. PAGE 80 Senior Production Manager Matt Eglinton Ad Production Manager Chris Gozzett Digital Editions Controller Jason Hudson Production Manager Vivienne Calvert Management Managing Director – Music, Photography & Design Stuart Williams Content Director Chris George Head of Art & Design Rodney Dive Commercial Finance Director Dan Jotcham Chief Revenue Officer Zack Sullivan Printed by William Gibbons Distributed by Marketforce, 5 Churchill Place, Canary Wharf, London, E14 5HU www.marketforce.co.uk Tel: 0203 787 9001 PhotoPlus (ISSN 1754836) is published monthly (with an extra issue in March) by Future Publishing, Quay House, The Ambury, Bath, BA1 1UA, UK. The US annual subscription price is $181.87 Airfreight and mailing in the USA by agent named World Container Inc., c/o BBT 150-15 183rd St, Jamaica, NY 11413, USA Application to Mail at Periodicals Postage Prices is Pending at Brooklyn NY 11256. 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All information contained in this publication is for information only and is, as far as we are aware, correct at the time of going to press. Future cannot accept any responsibility for errors or inaccuracies in such information. You are advised to contact manufacturers and retailers directly with regard to the price of products/services referred to in this publication. Apps and websites mentioned in this publication are not under our control. We are not responsible for their contents or any other changes or updates to them. This magazine is fully independent and not affiliated in any way with the companies mentioned herein. 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Our contributors Jon Adams, Ben Andrews, James Artaius, Natasha J Bella, Drew Buckley, David Clapp, Guy Edwardes, Future plc is a public company Chief executive Zillah Byng-Thorne Jeremy Flint, Drew Gibson, Marcus Hawkins, Justin Hession, Christine Matthews, Mostafa Nodeh, James Paterson, quoted on the London Stock Non-executive chairman Richard Huntingford Matthew Richards, Brian Worley Exchange (symbol: FUTR) Chief financial officer Penny Ladkin-Brand 6 www.futureplc.com Tel +44 (0)1225 442 244 www.digitalcameraworld.com



THEAPPRENTICE PERFECT PUFFIN PHOTOGRAPHY This month we visited Skomer, aka Puffin Island, as PhotoPlus reader Mark Braybook paired up with pro wildlife photographer Drew Buckley to learn to take some incredible bird photos 8 www.digitalcameraworld.com

APPRENTICE SHOOT WITH A PRO NAME: CANON PRO MARK BRAYBROOK NAME: CAMERA: DREW BUCKLEY CANON EOS 6D CAMERA: FIFTY-FIVE-year-old Mark worked as a professional CANON EOS R5 photographic printer at Colour Processing for 25 years. He recently wrote to us asking for some tips DREW IS a Canon professional landscape and wildlife and advice on how to get the most out of his Canon photographer based in South Wales, a regular PhotoPlus EOS 6D camera and he has also acquired a Sigma contributor, and has taken pictures for publications such 150-600mm f/5-6.3 DG OS HSM Contemporary lens. as Photographing South Wales and The Puffin Book. As he’s based in South Wales, we paired him up for the From May to July, he runs workshops on Skomer island, day with wildlife pro photographer Drew Buckley and the second largest island off the Welsh coast – home to they headed off to Skomer Island to practise puffin large colonies of Atlantic Puffins, some 6,000 pairs – portraits and fast flight action. where you can get close enough to take amazing portraits and flying shots of the birds. For more information or to book a workshop, visit his website: drewbuckleyphotography.com The Canon Magazine 9

THEAPPRENTICE TOP GEAR #1 HOT SHOT Telephoto zoom #1 IN PARTS of Skomer, the puffins come very close, so you don’t always need a huge zoom. In fact, a wide angle is worth experimenting with. As puffins are quite small, a telephoto lens is still ideal for getting frame-filling shots, so Drew’s lens of choice is a Canon EF 100-400mm f/4.5-5.6L IS II USM, which can be zoomed out to 100mm if the birds land nearby or zoomed in to 400mm if they’re further away. GET DOWN LOW HEAD HEIGHT GROUND LEVEL WHEN taking animal portraits, it’s a good idea to be at eye level with your subject. As puffins are small, this means crouching or lying down. It makes the shot more intimate and engaging, and enables you to increase the distance between subject and background, making it easier to create shallow depth of field effects for bokeh and softer backgrounds. 10 www.digitalcameraworld.com

SHOOT WITH A PRO MARK ’S COMMENT TECHNIQUE ASSESSMENT I met up with Drew in Marloes with plenty of Drew took Mark into uncharted time to spare to get our tickets territory by going into Manual mode for the ferry to Skomer. It was a beautiful summer’s day and MANUAL MODE as soon as we made it to the island, the amount of incredible wildlife was clear to see. With five MARK USUALLY uses Aperture Priority hours until our boat returned to take us back, we mode, where he sets the aperture and didn’t hang about and got straight off to one of the camera works out the shutter Drew’s favourite locations, The Wick. There were speed. Drew wanted to take Mark out of narrow paths, which meant a tripod wasn’t his comfort zone, so set his Canon EOS practical, so I handheld my Sigma 150-600mm 6D to its Manual mode, so that he could but switched on image stabilization. I also used take control over all of the key exposure the AI Servo mode on my Canon to continually parameters of shutter speed, aperture refocus on any moving birds, so they’d be sharp. and ISO. The trick to using this mode With Drew’s guidance, I crouched down low effectively is to regularly check your to make it easier to blur the background, shots are coming out nicely exposed positioned the puffin in the centre of my and adjust your settings if needed or composition and focused on its eye. the lighting changes. Lens Sigma 150-600mm f/5-6.3 DG OS HSM | C Exposure 1/4000 sec, f/6.3, ISO1000 EXPERT INSIGHT STARTING SETTINGS HIGHLIGHT MARK HAD set his camera to shoot ALERT Raw and JPEG, so Drew changed this to Raw only, to make his memory PUFFINS are full of contrast, card’s buffer less likely to clog up when with white faces and bellies, shooting a fast burst of images. He then and black backs and wings. set the shutter speed to 1/2000 sec as Retaining highlight detail is it was a beautifully sunny day and this important with all photos but would also help freeze the puffins in more so with the lighter areas flight, as well as reduce camera shake on the puffins that could easily when handholding. He then opened burn out, resulting in a loss of the aperture all the way to his lens’s detail. Drew switched on the maximum aperture, which was f/6.3 highlight alert on Mark’s EOS at 600mm, then raised the ISO to 640, 6D, which shows any clipped which gave a correct histogram reading. highlights as a blinking black area after you’ve taken the shot. 11 The Canon Magazine

THEAPPRENTICE Lens Canon EF 500mm f/4L IS II USM HOT Exposure 1/3200 sec, f/5.6, ISO500 SHOT #2 12 www.digitalcameraworld.com

SHOOT WITH A PRO TOP GEAR #2 Super-telephoto prime WHEN shooting birds in flight, Drew opts for his Canon EF 500mm f/4L IS II USM, which has a really long focal length, which means he can still get frame-filling shots of the tiny puffins even if they’re far away. As a prime lens, it offers incredible image quality and the autofocus is extremely snappy – perfect for locking on to agile puffins. Drew has wrapped it with a neoprene cover from LensCoat to offer a bit of protection from knocks and dings. He fits it to his Canon EOS R5 with an EF-EOS R adapter. EXPERT INSIGHT DEPTH OF FIELD GO WIDE THE APERTURE is a hole inside the lens made up of several blades that WHILE a long telephoto lens is certainly useful for skittish animals that you can open to let in more light or close may struggle getting close to, a wide-angle lens can also be a great choice to restrict the light entering the in many scenarios. You can get incredibly close to the puffins on Skomer camera. Opening the aperture wide, Island, especially locations such as The Wick, where they regularly land in to a value such as f/2.8 or f/4, is a front of you and cross footpaths to get back to their burrows. A wide-angle great option for wildlife photography, lens is perfect here, enabling you to get frame-filling shots of the birds with as not only does this flood the sensor a wide enough perspective to include some of the surrounding scenery. with light and allow a faster shutter speed, which helps eliminate camera DREW’S COMMENT shake and subject blur, but it also gives you a shallow depth of field, or While Mark shot with a 150-600mm zoom, my optic of choice for narrow zone of sharp focus, making it puffins is my Canon EF 500mm f/4L IS II USM, which I mount on easier to blur your backgrounds and my EOS R5 with an EF-EOS R adapter. Costing just shy of £10,000, it’s no bring the attention solely to your bird. surprise that it focuses much faster, can keep up with the unpredictable movements of the birds and is razor sharp. One downside is that I have to F/2.8 zoom with my feet to make the subject bigger or smaller in the frame, or wait for it to move into the perfect position. This usually isn’t a problem if the birds are too far away, as my F/16 EOS R5’s 45MP resolution means there’s plenty of room to crop in tight in post-processing. For this shot I used a wide aperture of f/5.6 to turn the sea into an incredible wash of 13 blue and waited for the bird to be side-on, so I could catch a perfect puffin profile. The Canon Magazine

THEAPPRENTICE MARK’S COMMENT HOT SHOT While we were at The #3 Wick, we had a few opportunities to catch the Lens Canon EF 500mm f/4L IS II USM puffins coming in to land. Exposure 1/4000 sec, f/5.6, ISO640 I found that although my camera and lens set-up did a decent job at puffin portraits when they were stationary, I really suffered with the in-flight photos because my 6D camera struggled to lock on to the fast little puffins and was hindered by the slower AF, burst rate and limited autofocus points. Drew showed me how effortless it was taking images like this incredible flighty action shot on his Canon EOS R5 using the new Animal Eye Detect autofocus, and he’s certainly given me some ideas for upgrading my equipment. TOP GEAR #3 EXPERT INSIGHT Full-frame Canon EOS camera AUTOFOCUS CASES DREW recently switched to Canon’s mirrorless EOS R5. It has a super- PUFFINS are incredibly small high resolution 45MP full-frame and fast creatures and their sensor, which is perfect for both his movements can be quite wildlife and landscape natural world unpredictable and erratic. shots, allowing hi-res prints and also To bolster Drew’s chances of creating room for cropping in if being able to lock on to one animals are too far away to fill the of these nimble birds, he frame. It can also shoot at 20fps customized his Servo AF case with a silent shutter, making it ideal in the Canon menu and set it to for wary wildlife subjects that are Case 3, which instantly focuses easily scared by any noises. The on subjects that suddenly Animal AF subject detection is also move over your active AF incredibly handy for making sure points. You can also customize bird pictures are pin-sharp. the tracking sensitivity as well as the acceleration or deceleration tracking here, too. 14 www.digitalcameraworld.com

FAST FPS SHOOT WITH A PRO DREW activated the fastest DREW’S TOP 10 TIPS FOR burst modes on his EOS R5 and GREAT PUFFIN PHOTOS Mark’s EOS 6D for a better chance of capturing a precise 1 Watch the wildlife moment when a bird is flying Before reaching for your camera, spend a few fast. On Drew’s EOS R5, he minutes just observing the wildlife, watching its has the option of High Speed behaviour and learning its patterns, as this will Continuous mode using the make it easier to know where to point your camera. mechanical shutter for a frame rate of 12fps, or High Speed 2 Stock up on supplies Continuous Plus mode using There’s no shop on islands like Skomer, so take food the electronic shutter for a and drinks. There’s little in the way of shade either, blisteringly fast 20fps to catch so a hat, suncream and plenty of water is advised. every split-second moment. 3 Be respectful of nature There are no bins on the island, so be sure to take any rubbish with you rather than litter the island. 4 Wear appropriate clothing Getting the best shots sometimes means getting down and dirty for the best angle, so put on hard- wearing clothes that you don’t mind getting messy. 5 Stay over It’s worth staying over on the island if you’re able to as you can shoot whenever you like, including at sunrise or sunset for magical golden hour lighting. 6 Bring spares As you’re not on the mainland, there’s also no power on the island, so bring plenty of memory cards and fully charged camera batteries to last the duration of your stay. Shooting with mirrorless and burst modes can eat up battery power quickly. 7 Shoot Raw Set your image quality to Raw so you capture as much exposure information as possible. If white areas, such as the sky or a puffin’s face, are clipped and overexposed, you have a better chance at rescuing slightly blown-out details in the edit. 8 Use a lens hood Lens hoods are ideal when shooting in harsh midday sun in the summer, as stray angles of light can cause image-softening flare to appear in your shots. A lens hood helps create sharper shots. 9 Image stabilization As the paths on Skomer are quite narrow, Drew doesn’t take a tripod and instead shoots handheld. To tame camera shake, he switches Image Stabilization on with the lenses he uses and sets it to Mode 1, which corrects for shake in all directions. 10 Stay on the path Make sure you don’t deviate from the designated footpaths around Skomer Island because the puffins make their burrows in all sorts of places on the land and they’re very fragile, so you don’t want to accidentally step on one. 15

THEAPPRENTICE CROP FULL-FRAME FACTOR APS-C WHILE cameras EXPERT INSIGHT with a crop factor are usually cheaper FAST MEMORY CARD than full-framers, don’t let that deter SHOOTING 4K videos or using the 20fps burst you using an EOS mode outputs large amounts of data. To ensure APS-C camera for wildlife – as they have a smaller sensor that Drew has enough storage for his shoots and size, your images actually appear more ‘zoomed-in’ which that his cards are fast enough to keep up with the can be a benefit. This is because the focal length of your EOS R5, he uses a ProGrade CFexpress card with a lens is effectively multiplied by 1.6x on EOS APS-C cameras, huge 325GB of storage, as well as a read speed of which means that if you fit a 300mm lens to an APS-C 1700MB/s and a write speed of 1500MB/s. The Canon, it gives you an angle of view similar to a 480mm, speed and storage don’t come cheap, though, and if you’re using a 600mm lens, it becomes 960mm! as each of these cards costs about £400! TOP GEAR #4 DREW’S COMMENT Teleconverters After lunch, we moved to High Cliff, which is my favourite spot for CANON’S extenders, also known photographing puffins in flight. While waiting as teleconverters, sit between your to catch some in-flight action shots, I spotted lens and the camera body, and the light hitting this little guy perfectly from magnify the light to give your lens the side, with loads of contrast and a dark moody blue sea a more zoomed-in feel. Drew uses behind. I opened the aperture to f/5.6 and boosted the ISO to the Canon Extender EF 1.4x III on a 640 for a fast shutter speed of 1/4000 sec – fast enough to 300mm f/2.8, which turns it into eliminate camera shake and subject moment. I focused on its a 420mm f/4 lens, giving extra eye to make sure the face was sharp and all of the puffin was reach in return for losing a stop of within the frame edges. I ended up with too much dead space light from the maximum aperture. around the sides, so I cropped in from 45MP to 25MP to Canon extenders are compatible get a similar angle of view as using an APS-C camera. only with specific top-quality lenses so check yours fits before buying. A WORLD OF WONDERFUL WILDLIFE SHOTS Pro wildlife photographer Drew shares some of his favourite photos of creatures in their natural habitat PUFFIN SUNSET RED KITE BUTTERCUPS WINTER BADGER OVER the years, I’ve I’VE GOT plenty ANYONE who spent hundreds of red kite photos knows me knows of days taking in my image I love badgers. shots on library, but only I’ve sat and Skomer Island on one occasion waited for and have also have I been them to appear enjoyed plenty lucky enough to countless times of sunsets over photograph them and usually it’s there, too. in proper winter when the light’s Occasionally, the weather plays ball as conditions. Snow on the ground acts gone and it’s too dark for photos. This well, and on a cloudless day, it allows for as a giant reflector, bouncing light into shot is from a memorable evening when some great golden-hour photos of the the underside of the wings (which are they appeared before sunset, as the sun puffins together with the sun sinking usually in shadow) and this illumination back-lit the grass and buttercups, giving over the sea. really adds to the shot. them a great yellow glow. 16 www.digitalcameraworld.com

SHOOT WITH A PRO HOT SHOT #5 Lens Canon EF 500mm f/4L IS II USM + EF 1.4x III 17 Exposure 1/4000 sec, f/5.6, ISO640 The Canon Magazine

THEAPPRENTICE Lens Canon EF 500mm f/4L IS II USM www.digitalcameraworld.com Exposure 1/5000 sec, f/5.6, ISO800 18

NEXT MONTH EDINBURGH SHOT OF THE DAY! MARK’S COMMENT DREW’S VERDICT High Cliff was a I had a great time brilliant location for shooting with Mark. catching shots of puffins in We had a brilliant sunny day flight, overlooking the cliffs and it’s incredible to think how and giving us a great vantage much he learned in five hours, point. That’s where Drew took the stunning I feel like we covered a lot of ground, from close in-flight shot of a puffin returning to its burrow intimate portraits to in-flight action shots. with a beak full of sand eels. It’s packed with Mark’s got a great eye for a photo but sadly I brilliant colours, and the orange beak and feet think he realized his 6D and Sigma 150-600mm really pop out of the frame in the sunshine. was a little old and far from ideal for fast action. Thanks again to Drew and the PhotoPlus team He’d be better off with a newer camera body like – I had a fantastic day and feel like my camera a used Canon EOS 5D Mark IV, and trading in the knowledge has doubled. My main takeaway was Sigma 150-600mm for a Canon EF 100-400mm getting to grips with Manual mode, as I’d never f/4.5-5.6L IS II USM – while it won’t deliver a used it, and understanding the limitations 600mm reach, with the 5D Mark IV it will of my set-up. I think I’m due an upgrade! offer a much improved autofocus setup. The Canon Magazine 19

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FANTASTIC CANON PHOTOGRAPHY STUNNING IMAGERY FROM THE WORLD OF CANON PHOTOGRAPHY The Canon Magazine 01 CHESS BY CLAIRE NORRIS Claire has won us over this month with her incredible still-life shot of a king chess piece on a glass chessboard with atmospheric blue smoke. It reminds us that simple still-life subjects can have a huge impact when approached artistically. Choosing a glass object that can be illuminated from the underside is a very clever consideration. Lens Canon EF 100mm f/2.8 Macro USM Exposure 1/10 sec, f/7.1, ISO100 21

INSPIRATIONS 02 All the images in this gallery 02 A FORK BY HOWARD MASON were entrants to the Howard’s still-life shot is incredibly PhotoPlus ‘Still Life’ atmospheric, focusing on the four tips competition hosted on of a fork prong with a macro lens and Photocrowd – a website where a public vote on the using a wide aperture to blur the rest of the fork best-liked images is pitted into an ethereal blur and create this amazing against expert opinion. abstract shot. The black and white conversion To enter our current contest, also works wonders. and vote on your favourite photos, simply visit Lens Canon EF-S 60mm f/2.8 Macro USM www.photocrowd.com Exposure 1/60 sec, f/2.8, ISO3200 03 03 ORANGE AND BLUE BY KAREN MOUSLEY Karen’s transformed a very simple still-life setup into a fascinating shot bursting with colour and refraction physics that boggle the mind. The clever lighting and central composition works well with the strong colour palette of warm oranges giving good contrast to the cooler blue tones. Lens Canon EF 24-105mm f/4L IS II USM Exposure 1/4 sec, f/9, ISO100 04 THE SHAPE OF ELEGANCE BY SZEKELY JANOS Szekely has captured a wonderfully low-key and minimalist still life here using nothing but a bottle of wine, a glass, a black background and creative use of rim lighting to beautifully illuminate the curved edges of his subject, using an air blower to add some motion to the wine. Lens Canon EF 70-200mm f/2.8L IS USM Exposure 1/160 sec, f/16, ISO200 22 www.digitalcameraworld.com

FANTASTIC CANON PHOTOGRAPHY 04 23 The Canon Magazine

INSPIRATIONS 05 WATCH MOVEMENT BY CHRIS HALL Chris has done a brilliant job of combining a long exposure with flash lighting to capture the motion blur of his swinging pocket watch and give it a sense of movement. He’s fired the flash at the perfect moment to leave the light trail behind it. Lens Sigma 105mm f/2.8 Macro EX DG OS HSM Exposure 10 secs, f/20, ISO100 05 24 www.digitalcameraworld.com

FANTASTIC CANON PHOTOGRAPHY 06 06 STILL DANCING BY JANICE CAFARO All the images in this gallery Jan’s image caught our eye because were entrants to the 07 she decided to photograph a gerbera PhotoPlus ‘Still Life’ that was wilting, rather than one that competition hosted on 08 Photocrowd – a website was standing perfectly upright. This has turned where a public vote on the The Canon Magazine the flower stem into a fascinating curved line, best-liked images is pitted and the petals on the flower head have curled against expert opinion. up in an interesting way. To enter our current contest, and vote on your favourite Lens Canon EF 100mm f/2.8L Macro IS USM photos, simply visit www.photocrowd.com Exposure 1/10 sec, f/8, ISO1600 07 SPICE CLOCK BY VIKKI LAMBERT Vikki has created a brilliant still life full of beautiful colours and textures – you can practically smell this photo! The black background adds a clean, minimalist look that really helps all of the colourful spices to leap out. Lens Canon EF-S 18-135mm f/3.5-5.6 IS STM Exposure 1/80 sec, f/5, ISO800 08 CHESS BY NATALIA BONDARENKO Natalia’s chess still-life scene is full of wonderful colour and depth, with a wide aperture of f/4 and shallow depth of field that has blurred the rest of the scene nicely. The additional bokeh effects added in post-processing also complement the scene well. Lens Sigma 105mm f/2.8 Macro EX DG OS HSM Exposure 0.3 sec, f/4, ISO200 25

INSPIRATIONS 09 09 SWEET MOMENTS BY SABRINA GAROFOLI Sabrina’s fantastic food still-life shot is full of delicious items that get the mouth watering. With a long shutter speed of 37 secs, she manually spot-lit various components around her board with a torch to create a wonderful studio look. Lens Sigma 24-105mm f/4 DG OS HSM | Art Exposure 37 secs, f/13, ISO100 10 SCREW CITY BY ZLATO ŽALEC Zlato’s use of different-sized screws and bolts to replicate a city skyline is fun and creative. The black background gives it a minimal feel of a city at night, and the reflective glass surface helps create the illusion of water in the foreground. Lens Canon EF-S 18-55mm f/3.5-5.6 III Exposure 1/3 sec, f/10, ISO100 10 All the images in this gallery were entrants to the www.digitalcameraworld.com PhotoPlus ‘Still Life’ competition hosted on Photocrowd – a website where a public vote on the best-liked images is pitted against expert opinion. To enter our current contest, and vote on your favourite photos, simply visit www.photocrowd.com 26

SUSBPJOECNTSHOERREDE David Clapp says the Canon imagePROGRAF TOP TIP With an impressive turn of speed, the Canon PRO-300 delivers gallery quality prints that imagePROGRAF PRO-300 printer can output last a lifetime, with direct support for fine-art To ensure you get the 11x14-inch mono and colour photo prints on media and outstanding archival qualities best print results, it’s A3+ paper in as little as 4m 15s. Plus a built-in important to use a calibrated colour screen makes it easy to keep an eye on Print your own computer monitor. A colour temperature of D50 settings, status and print progress (5000K), luminance of 80-120 Cd/m2 and a gamma of 2.2 is ideal. landscape masterpieces Canon pro photographer David Clapp explains why Canon’s imagePROGRAF SET THE TONE PRO-300 A3+ printer delivers unrivalled print quality, with speed and ease David says any photo will look different in print from nternationally acclaimed professional colour gamut in dark areas for this classic style of how it does on screen, due to the reflective rather landscape and travel photographer David fine-art paper. David is even more impressed when than light-emitting nature of the medium. Even so, he Clapp demands the absolute best when it comes to printing colour and mono images on wants what he gets on paper to match what he sees creating prints from his digital images. matte photo paper and fine-art media. The on screen as closely as possible. That’s where Canon That’s why he now uses a desktop Canon class-leading depth and detail in blacks and really Professional Print & Layout comes in. Available as a imagePROGRAF PRO-300 printer. David feels it dark tones gives a whole new level of expression free download, this pro-grade program includes soft- delivers unrivalled print quality for both mono and – the like of which he’s never seen from any other proofing and hard-proofing tools to ensure the utmost colour photo output, with seamless support for a inkjet printer or competing print technology. in accuracy and fidelity. David finds the Pattern Print vast range of glossy, matte and fine-art media, tool especially useful, as it creates different versions along with perfectly consistent accuracy. Another creativity boost is that the Canon of the same image on a single sheet of paper, with As well as putting David in full control of the imagePROGRAF PRO-300 features a new, subtly different renditions of brightness, contrast, entire printing procedure, he feels the printer and ultra-high-precision paper transport system that tone and colour, so he can easily pick the perfect its supporting, free-of-charge software gives him enables full-bleed, borderless prints not only on treatment for any individual image. He also loves unparalleled freedom of expression throughout glossy and lustre papers, but also on matte and the easy Gallery Wrap option for effortlessly creating the creative process – all with speed, efficiency fine-art media. David loves the fact that he only images for stretching over the sides of a frame. and cost-effectiveness. And best of all, it keeps needs to have white borders around images when things simple. he really wants them. All popular paper sizes are At the heart of the Canon imagePROGRAF supported, right up to 13x19 inches (329x483mm) PRO-300 is a newly formulated set of 10 Lucia Pro and for added wow-factor, you can print big pigment-based inks. This brings an enhanced panoramic landscapes at custom lengths of colour gamut that does full justice to striking up to 39 inches (990.6mm). landscape images, while Canon’s Chroma Optimizer ensures really vivid blacks and minimal All in all, the Canon imagePROGRAF PRO-300 bronzing on glossy and lustre papers. There’s even produces spectacular print quality that exceeds a special ‘Baryta’ mode that further expands the many professional labs, while putting you in control so you can create your own masterpieces quickly and easily, in your own home. Claim £100 cashback when purchased between 1st June – 9th August 2022* www.canon.co.uk/cashback Terms and Conditions: *To enter the cashback promotion, the Participant must purchase a Promotional Product from a Participating Retailer within the United Kingdom or Republic of Ireland between 01.06.2022 and 09.08.2022 inclusive. Claims must be submitted by fully and correctly completing the online claim form (including specifying a valid EEA product serial number) by midnight on 09.09.2022. Full details at canon.co.uk/cashback.

EXPOSUREMODES LEARN TO MASTER… CANON’S MAIN EXPOSURE MODES Take control of your Canon EOS camera settings with our pro tips for taking your best-ever exposures 28 www.digitalcameraworld.com

f/11 ISO 1/80 100 sec Shooting landscapes into the light “I shot into the sun for this landscape in Tuscany, which created beautiful evening light and long shadows. Even though the scene has a wide range of tones, the excellent dynamic range of my Canon mirrorless EOS R5 enabled me to capture all the detail in a single Raw file. I used Manual exposure at 1/80 sec, f/11 and ISO100, in combination with the histogram to set the exposure to ensure there was detail in both highlights and shadows,” says Canon pro travel, landscape and wildlife photographer Guy Edwardes. “I also used my EOS R5’s electronic shutter mode to make sure no mechanical vibration softened the image.” G etting to grips with great for most situations, because powerful mode that is essential for your exposures is you can take control of one key certain photographic situations, a fundamental part element (Av for aperture, Tv for helping you leave nothing to chance. of photography, and shutter speed) of your exposure, while the camera takes care of the Over the course of this Canon skills yet it’s an area many rest to produce a standard exposure. guide, we’ll help you learn all about the exposure triangle of aperture, photographers never really master, This is useful when you’re starting shutter speed and ISO. You’ll discover out as it allows you to concentrate how to get the best results depending relying on Photoshop to rescue bright on focusing and composition, but on your scenes, subjects and lighting the ‘big boy/girl’ Manual mode (M) conditions, when it’s better to use Av or dark images. One of the greatest enables you to take full control of mode or Tv mode, and when to adjust your exposure settings. Many of you your ISO. Plus, we’ll give you the features of modern digital Canon may find it too daunting or difficult confidence to go fully Manual to really to use Manual mode; however, it’s a take control of your exposures… cameras is their creative modes: the semi-automatic Aperture Priority (Av on your Canon EOS camera’s Guy Edwardes mode dial) and Shutter Priority (Tv on mode dial) modes. These are The Canon Magazine 29

EXPOSUREMODES Get to grips with exposure settings Find out how shutter speed, aperture and ISO work together W hen you’re exposing for If you’ve only ever used Auto and or boost the ISO to make the sensor a particular scene, you’re semi-auto modes before, you might not more sensitive to light, and so on. actually carrying out a have noticed that when you change a setting, the camera automatically There’s always a bit of a compromise balancing act. The aim is to changes the other variables to create to be made, so to get the best creative a balanced shot. Close the aperture results you want from your camera, refer get just the right amount of light coming and the camera needs to extend to our exposure triangle (opposite) to see the shutter speed to let in more light, which variable you should change in any through the lens to hit the camera’s given circumstance. sensor by adjusting three core variables: aperture, shutter speed and ISO. UNDEREXPOSED OVEREXPOSED BALANCED EXPOSURE Three exposure parameters Understand what the histogram tells you 01 APERTURE You’ll see histograms everywhere, from your camera’s Live View display to The aperture is a series of blades inside your lens that can be opened editing programs such as Photoshop and Lightroom. These graphs show you up or closed to let in more or less light, making the image brighter or the exposure information of your shot: if it’s bunched up towards the left, it darker. Adjusting the aperture value also alters your depth of field, means your shot is underexposed and some of the tones have burnt out to determining how large your zone of sharp focus is. A wide aperture, pure black; if it’s bunched up on the right, it means you’ve lost some detail in such as f/2.8, lets in lots of light but also gives you a shallow depth your highlights, as the shot is overexposed. An even graph with no bunched-up of field, blurring the background, while a narrow aperture, such as tones on the left or right means you have a balanced exposure. f/22, lets in less light, but delivers a sharper scene throughout. 30 www.digitalcameraworld.com

EXPOSURE SETTINGS Understand how exposure works by QUICK FIXES following this simple three-pointed guide Try Exposure THE RELATIONSHIP between shutter SLOW (MORE EXPOSURE) 100 LOW (LESS EXPOSURE) TOP TIP Compensation speed, aperture and ISO is at the heart of all UseAperture Priority mode You don’t always have to go into Manual photography. At one time, shutter speed and to roughly work out your mode to take back control. If you prefer aperture were the only exposure variables exposure,then dial these to stay in the semi-automatic Av and Tv you could change from one shot to settings into Manual modes but are noticing your images are the next, because the ISO was set mode to lock them in place a little brighter or darker than expected, by the type of film you were using. so they won’t change. you can make adjustments using Modern digital cameras make it exposure compensation. This enables possible to change ISO shot by you to force the camera to under- or shot, rather than unloading film overexpose the image by a certain or switching bodies. We number of f-stops, such as –/+ 2-stops. now have more control Just be sure to return the exposure over exposures than compensation setting back to zero ever before… when you’ve finished shooting, so the FAST (LESS EXPOSURE) SHUTTER SPEED exposures aren’t affected in your HIGH (MORE 1600EXPOSURE) subsequent images. ISO THE EXPOSURE TRIANGLE WIDE (MORE EXPOSURE) APERTURE NARROW (LESS EXPOSURE) 02 SHUTTER SPEED 03 ISO VALUE This is how long the sensor is exposed to light. Having the sensor This value changes the sensor’s sensitivity to light. Increasing the exposed to light for longer results in a brighter picture, but also creates sensitivity enables you to create well-exposed pictures in low-light more chance to pick up movement, such as motion blur if a person is scenarios, but it also amplifies background noise, making the images walking or clouds are passing through the frame, or camera shake appear more ‘grainy’. Digital imaging sensor technology and low-light caused by the vibrations in your hands. It’s called shutter speed because performance improves with every new Canon EOS camera, producing digital cameras have what’s called a mechanical shutter in front of the ever-cleaner results at higher ISO values. Typically, the lowest ISO value sensor, which opens and closes to let in and block out the light. to produce the best image quality on most EOS cameras is 100. The Canon Magazine 31

EXPOSUREMODES Aperture Priority mode Learn how to use Av mode to control depth of field W ith Aperture Priority/Av mode, you set the aperture to control the depth of field, and your Canon camera automatically sets the shutter speed for a standard exposure to match the brightness of your subject or scene. f/5.6 ISO 1/640 1600 sec Guy Edwardes Guy Edwardes Wide apertures “WHEN I found this butterfly roosting on a poppy bud, I used the long end of my EF 100-400mm f/4.5-5.6L set to a wide aperture of f/5.6 to provide shallow depth of field (DoF), isolating the subject among a surrounding haze of red. A long lens with wide aperture equals less DoF,” advises Guy Edwardes. “A wide aperture of f/5.6 with a long focal length provides a shallow depth of field” 32

APERTURE PRIORITY MODE Matt Parry f/16 ISO 1/160 400 sec Narrow apertures “FOR THIS wider landscape view of the poppy field, I used my Canon EF 16-35mm f/2.8L III wide-angle lens set to a narrow aperture of f/16 at 16mm for increased DoF to record the whole scene sharp, front to back. A wide-angle focal length with a narrow aperture equals more DoF,” says Guy Edwardes. “I also increased the ISO to 400 for a shutter speed of 1/160 sec, so the poppies were sharp without any motion blur in the breeze.” Brilliant backlighting f/4 ISO 1/3200 320 sec “I’VE ALWAYS had a preference for backlighting, as it can add so Guy Edwardes much atmosphere to the image. In bird photography, it can also give less flamboyant species a more dramatic look. Due to sun-lit cliffs behind this stunning bee-eater in Bulgaria, the backlighting was crucial in producing a rim-light to separate the subject’s outstretched feathers from the background. Using a wide aperture of f/4 has blurred the background, and a fast shutter speed of 1/3200 sec has ensured the back-lit features retain detail. My Canon EF 100-400mm f/4.5-5.6L IS II zoom lens helped me to get the composition just right in-camera,” says Guy Edwardes. 33

EXPOSUREMODES Shutter Priority mode Discover how different shutter speeds affect your shots I n Shutter Priority or Tv (Time Value) mode, you set the shutter speed, and your Canon camera automatically sets the aperture for a standard exposure to match the brightness of your subject or scene. SHUTTER SPEED 48 SECS f/22 ISO 76 100 secs Long exposures during the day SHUTTER SPEED 76 SECS “WHEN forced to shoot seascapes in midday light, I often reach for a strong neutral density filter. For this www.digitalcameraworld.com shot, I used my Canon EOS 5D Mk IV with a 10-stop ND and a polarizer filter on my EF 16-35mm f/2.8L lens. Using the narrowest aperture of f/22 produced a very long 76-second exposure. This has recorded movement in the passing clouds and smoothed out the ocean, plus made the colours more vibrant and there’s better separation between the water and cliffs. The dynamic motion blur in the clouds really brings the scene to life,” smiles Guy. 34

SHUTTER PRIORITY MODE Guy Edwardes Drew Gibson Front light for fast Super-fast shutter shutter speeds speed action shot “IN GOOD sun light, it’s normally easy ”A CLEARING in the forest allowed me to to achieve a shutter speed fast enough get back from the road and use an 85mm to freeze the quickest of birds in flight, lens to pan the Ford Puma rally car as it even when using a relatively modest passed in front of me. Using a slow ISO. Front lighting (with your back to shutter speed of only 1/25 sec and the sun) reveals the colours of the panning with the car blurs the plumage, shooting here comfortably at surroundings and gives a real sense of 1/4000 sec, f/4 and ISO400. But it’s speed to the image. The slow shutter essential to keep your own shadow speed also blurs the foliage in the pointing towards the subject to minimize foreground, which not only adds to the the amount of shadow on the subject. feeling of movement, but also stops any Shadows cast on the body of the bird by bushes or plants covering the car from its own wing can very easily spoil the becoming a distraction,” says Canon pro composition,” warns Guy Edwardes. motorsports photographer Drew Gibson. f/2 ISO 1/2500 200 sec Guy Edwardes Drew Gibson Motion blur with panning ”I REALLY liked this scene with the rocks 24mm prime helps to blur the foreground in the foreground framing the car, so shot rocks, but with this wide focal length, I was with a fast shutter speed to freeze the able to capture the car and surrounding action and remove any blur that would scene clearly. This very wide aperture distort the backdrop,” says Drew Gibson. forced a shutter speed of 1/2500 sec; “Using an aperture of f/2 on my Sigma more than fast enough to freeze the car.” The Canon Magazine 35

EXPOSUREMODES ISO techniques Don’t forgot the importance of using different ISO sensitivity settings ou can adjust the ISO speed Y on your Canon camera to decide the image sensor’s sensitivity to light. In Av, Tv and Manual modes, you can adjust the ISO accordingly – a low setting of around ISO100-200 is preferable for less noise and when using narrower apertures and slower shutter speeds, likely when you’re shooting landscapes with a wide lens and using a tripod; while a high setting of ISO1600-3200 may be needed to achieve a fast shutter speed for fast-moving subjects and to avoid camera shake when using a long lens handheld. f/11 ISO 1/250 400 sec f/4 ISO 1/3200 4000 sec High ISO for fast subjects “LITTLE OWLS take off incredibly quickly and without much warning, so a high frame rate and fast shutter speed are crucial to capturing a sharp image. Here I used my Canon EOS R5’s electronic shutter to achieve 20fps, along with a shutter speed of 1/4000 sec at ISO4000. For action images, I always maintain a fast shutter speed, even if that results in a high ISO, because noise is easily dealt with using software such as Topaz DeNoise AI,” suggests Guy Edwardes. Guy Edwardes Guy Edwardes Hazy early morning light “I WASN’T expecting these paddleboarders to appear in my sunrise shot of the River Frome at Wareham in Dorset, so I had to quickly adjust settings to freeze their movement. Increasing my ISO to 400 resulted in a fast enough shutter speed of 1/250 sec, while allowing me to maintain my f/11 aperture for sufficient depth of field using my EF 100-400mm f/4.5-5.6L II at 182mm,” says Guy Edwardes. In this instance, a higher ISO setting has helped him to use a narrower aperture – higher ISO settings aren’t just for obtaining faster shutter speeds! 36

ISO TECHNIQUES Guy Edwardes Soft light equals fewer shadows “SOFT AND overcast light is a little underrated in wildlife photography, but provides ideal conditions to even out contrast and record vibrant colours in the subject,” says Guy Edwardes. “It also reduces any problems with harsh shadows or bright highlights. This hoopoe returning to its nest was shot on my EOS R5 mirrorless with an EF 600mm f/4L IS II using a high ISO of 4000 for a 1/3200 sec shutter speed at f/4. Lower light levels necessitate higher ISO settings, but excess noise is easily reduced using Topaz DeNoise AI software.” “Lower light levels need higher ISOs, but excess noise is easily reduced” Night scenes f/5.6 ISO 1/160 with the moon 3200 sec “THE MOON moves Guy Edwardes surprisingly quickly when viewed through a 300mm 37 telephoto lens, so to capture this partial lunar eclipse over the town of Castiglione d’Orcia in Tuscany, I had to use ISO3200 to achieve a fast enough shutter speed of 1/60 sec to freeze that movement,” explains Guy Edwardes. “I also had to shoot a bracketed set of exposures to blend in Adobe Lightroom Merge to HDR to capture detail throughout this high- contrast scene. DxO PureRAW software helped to reduce the noise in the EOS R5 Raw files.” The Canon Magazine

EXPOSUREMODES Advanced Manual mode Make the step up to Manual for full control sing Manual (M) mode, you can set the aperture, U shutter speed and ISO to determine the brightness of your exposure as you see fit. You can also use the exposure level indicator on the screen or in the viewfinder to obtain a standard exposure. f/4.5 ISO 1/125 250 sec Future / Peter Travers f/20 ISO 1/6 Drew Gibson 100 sec Manual mode for studio lighting Control brightness of portraits “WHEN YOU’RE photographing people using Speedlites or studio lights, “RATHER than shooting in Av mode, which can you need to shoot in Manual mode so you can boss your exposure to work get tricked into underexposing if you have bright with the flash,” says PhotoPlus editor Peter Travers. “By fixing all three windows in the background, use Manual mode so exposure elements of aperture, shutter speed and ISO in Manual mode, you can expose for the subject instead,” suggests you can balance your lighting power for perfect exposures for the model. PhotoPlus editor Peter Travers. “Use a fast lens with For this portrait, I shot at f/4.5 to blur the wooden decor behind, with a a wide aperture such as f/2.8 to reduce depth of shutter speed of 1/125 sec to sync with the studio flash, and ISO of 250 field to blur foreground and background elements for the light to project enough to illuminate the model. The studio flash around your subject, then set a shutter speed for head was set to 2.7, with a softbox attached for more flattering light.” the brightness you prefer for your subjects. You can either go moody with a quicker shutter speed (such 38 as 1/160 sec), or go slower (for example, 1/40 sec) so skin tones are brighter. In Manual, learn to dial in around + or – 1-stops of compensation to either brighten or darken images if necessary.”

ADVANCED MANUAL MODE Super-slow shutter speed action shot ”IN ENDURANCE motorsports to pan with the car. To add to the racing, I get lots of opportunities to sense of speed, I positioned myself shoot the cars over the course of in a location where other cars were a long race, so I can sometimes passing between me and my shoot with slow shutter speeds as I subject vehicle. The slow shutter don’t need to capture a sharp shot speed allows the subject car to every lap, then I’m more likely to remain visible while also adding capture an interesting image. Here to the sense of speed,” explains I used a shutter speed of 1/6 sec motorsports pro Drew Gibson. DARKER – f/2.8 at 1/160 sec BRIGHTER – f/2.8 at 1/40 sec Future / Peter Travers The Canon Magazine 39

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GREAT UK SUBS OFFER YOURFREE SUBSGIFT! LOWEPRO NOVA CAWMFEORRREATHEBAG 160 AW II BAG £67! How useful is the Lowepro Nova 160 AW II bag when on the move? • Fits Canon EOS camera with 18-55mm lens plus 1-2 extra lenses • Weather-resistant and plenty of carrying options for your kit • Flexible interior dividers deliver customizable gear protection • Interior lid, front and side pockets offer easy access to storage Get this great Lowepro Nova 160 AW II bag by subscribing today online www.magazinesdirect.com/php/A59P Or you can call 0330 333 1113 and quote ‘A59P’ * Terms and Conditions: Offer closes 30 September 2022. Offer open to new UK subscribers only. Pricing is guaranteed for the first 12 months and we will notify you in advance of any price changes. Please allow up to six weeks for delivery of your first subscription issue (up to eight weeks overseas). Your gift will be delivered separately within 60 days after your first payment has cleared. Gifts only available to subscribers on the UK mainland. Gift not available with a digital subscription. The full subscription rate is for 12 months (13 issues) and includes postage and packaging. If the magazine ordered changes frequency per annum, we will honour the number of issues paid for, not the term of the subscription. For full terms and conditions, visit www.magazinesdirect.com/terms. For enquiries please call: +44 (0) 330 333 1113. Lines are open Monday- Friday 9am- 5pm UK time or email: [email protected]. Calls to 0330 numbers will be charged at no more than a national landline call, and may be included in your phone provider’s call bundle. The Canon Magazine 41

THECLAPPCOLUMN When in Rome… don’t wear flip-flops Ponte Vittorio bridge and the Vatican, Rome, Italy. 18:52pm. 17 April 2007 +RZGULYLQJUDLQWXUQHG5RPHLQWRUHÁHFWHG were Áying into Rome, taking the train KHDYHQDQGZK\\'DYLGGLVFRYHUHGWKDWÁLS to Prague and then onwards to Berlin ÁRSVGRQ·WZRUNIRUWUDYHOSKRWRJUDSK\\ before returning home and hopping over to Ireland. Three interesting capital cities can’t believe it’s 15 years had better dynamic range than the over two weeks would keep us very ago when I took this waning Áagship Canon 1Ds and was entertained. Travel photography was still sequence of images. That’s £5000 cheaper. It changed everything for in its digital infancy, but I had a list of vintage digital, for sure. In me and I gave a triumphant two-Àngered big-hitters: the Colosseum, the 9atican the future, will anyone care salute to the hell I had suffered shooting and the Romana Forum. about my beloved Canon and scanning Àlm. 5D? It was a landmark The skies were dark – very dark, as an camera that made professional- My global travels were Must beginning afternoon storm began to brew. I had level digital imagery accessible to and after a disastrous start in Bali the already scoped out the vantage points the public for the Àrst time. It even year before, this was a reboot – my Àrst and focal lengths. The intention was to maMor European excursion. Rachel and I strike on the second visit, something I truly recommend. On the walk into the remarkable Roman ruins, spitting turned into rain, which turned into hail. It was so intense the pea-sized icy chunks were 42 www.digitalcameraworld.com

CANON PRO CLAPP Lens Canon EF 24-105mm f/4L IS USM Exposure 1/160 sec, f/8, ISO100 “A great tip for urban ´Oh dear lordµ I shouted. I grabbed my reflections is to get the bag and looked out through the cafe s exit camera as low as possible” – she was right. It was getting colourful. How long would it take you to run half a Lens Canon EF 70-200mm f/4L USM EF -105mm fL remember this gem\" mile\" Now double it, because that’s how Exposure 0.3 sec, f/11, ISO400 to 35mm, 1160 sec, f8, ISO100, with long it takes to run in Áip-Áops With the polarizer cranked full tilt. If you have some huge moon-landing steps, and stinging my arms and face. As we climbed never tried a polarizer with a rainbow, I Áailing arms, I slide through the evening 9ia Sacra, there was nowhere to hide and urge you to do so. It is possible to tune trafÀc and cobbled streets – a reminder we felt sandpapered by the time we the effect and even remove it entirely. that Áip-Áops are far from suitable as reached the entrance kiosk. travel photography footwear. After pondering the supposed grave of I turned round and there was a photo Julius Caesar, we headed down the hill to NEXT MONTH DARTMOUTH from the heavens A double rainbow the Colosseum to Ànd Áash Áooding. The over the entrance columns, with the bright sunshine and dark backgrounds DAVID CLAPP Colosseum as its backdrop. I set my gave wonderful contrast and I used the same lens to shoot as low as I could. A Canon professional photographer great tip for urban reÁections is to get the camera as low as possible, so I balanced DAVID CLAPP has been a full-time my Canon 5D and EF 17-0mm fL on Canon professional photographer for 15 my Àlter bag and got a superb mirror years and for the last 12 has lead exciting effect – mm, 10 sec, f8, ISO100. photography workshops. He regularly works for Canon UK and is represented by Getty It had gone fairly grey, so Rachel and Images. Visit www.davidclapp.co.uk for I headed over to get some shots of the a portfolio of inspiring photos and 9atican. 9enturing down to the river for information on all of his workshops. some bridge images seemed like a great idea at Àrst, until the intoxicating waves of ammonia hit us. Everyone uses the steps as a public toilet. It started raining again, so we headed to a small cafe about half a mile away. The day’s images looked really compelling, especially the shots of the Colosseum. They really were something unique. ´Have you seen it out there\" It’s going peach,µ said Rachel, a little too calmly. The Canon Magazine 43



IAMLALGVOOEFNHI-DELOODIEUNIWTROEINVNPGGTIEAAUWOGVTEIIHDPDVSEEHE4IOOWE6SSTEW-OC6BO1APL!NNROINOLUBKJIEESRNCVOETIENAWNEDD VIDEO GUIDES #194 Sharpen up your photography skills with our all-new photo projects and expert guides Dan Mold New projects with video guides Technique editor Follow our Canon camera walkthrough guides and Photoshop editing videos [email protected] Welcome… THIS month we’ve got a 46Shoestring studio 50 Film noir portraits 52 Magnificent macro fantastic assortment of James gets thrifty with a Discover how to use a gobo We check out the key features photo projects and editing budget studio that cost just £75 for dramatic B&W portrait lighting of Canon’s RF 100mm Macro lens tutorials to get your creative juices flowing. Kicking us off, 58 Tool School 56 Step by step James challenged himself to Use the Depth Blur Filter to Use your free borders to add create a fully-fledged studio blur backgrounds fast in Photoshop an artistic frame to your best images for fun family portraits with a budget of just £75. See his VIEW THE VIDEOS results on page 46. If you’ve got a bit more cash to spend WHENEVER YOU see on your lighting setup, a gobo is a great way to this icon you’ll find achieve creative lighting and a film noir look. You’ll an accompanying find everything you need to know on page 50. I’ve been video to watch VIEW THE VIDEO getting to grips with the online so you Canon RF 100mm F2.8L can follow along. Macro IS USM lens to take some amazing close-up You can view shots – check out its unique features on page 52. If you’d the videos on a like to brush up on your editing skills, don’t miss Jon 60 Affinity Photo smartphone, tablet or Adams’s guide to using this Find out how the Polygon tool month’s free arty borders to can create graphic art in Affinity computer. See the links frame your shots on page 56. James also shows you how to blur backgrounds easily with Photoshop CC’s Depth Blur Filter, page 58, and how to create graphic art in Affinity on page 60. on the project pages. The Canon Magazine 45

THE MISSION Take professional portraits for peanuts Set up a portrait studio at home With just £75, is it possible to build a home studio? James Paterson takes with a DIY softbox a budget DIY approach to lighting portraits with bin bags and an old brolly! and umbrella W ith a cost-of-living budget of only £75, which was £50. Parabolic umbrellas can be Time needed crisis, spiralling basically enough to buy two cheap equally pricey. So, if you want 2 hours inÁation, eye- second-hand Áashguns and a to save a bit of cash but still get watering petrol green sheet for the backdrop. high-quality lighting, why not Skill level prices and an unprecedented We supplemented this with a few build your own? As well as our Intermediate fall in living standards to items found around the house DIY modiÀers, we’ve also opted consider, for many of us, – an old garden bag, a bust brolly, for a green screen studio setup. Kit needed shelling out money on bin liners and kitchen foil – to A green screen might seem like a Camera, tripod, two photography kit or a trip to a build our own DIY home studio. luxury for our shoestring studio, cheap speedlites, professional portrait studio but a chroma key sheet costs as wireless trigger, Must isn’t a priority at the The key to studio lighting is in little as £5 on eBay and its old umbrella, tin foil, moment. But there are ways to enlarging and softening the light versatility means we won’t need to large plastic bag (we create outstanding portrait photos source so that it becomes gentle buy lots of other colour backdrops. used a garden waste without expensive costs. and Áattering. This usually Instead, with simple digital bag), white bin requires light modiÀers like trickery, we can transform the liners, wire, string, In this project, we set ourselves umbrellas and softboxes. But green into any colour, or drop in tape, cardboard a challenge: to craft high-end these can be expensive – a typical an entirely new backdrop. studio portraits on a shoestring large softbox costs upwards of 46 www.digitalcameraworld.com

VIEW THE VIDEO WATCH VIDEO ONLINE BUDGET HOME STUDIO http://bit.ly/pp_194_1 PROJECT 1 SHOESTRING STUDIO PRO PORTRAITS AT HOME Get set up at home with a two-speedlite studio and create stunning family photos 01 GARDEN BAG SOFTBOX 02 OLD UMBRELLA 03 GREEN SCREEN Our key light here is a second-hand Godox Our fill light here is a second-hand Yongnuo Green screens – aka chroma key screens speedlite, bought for £30 on eBay. We speedlite (£40 on eBay), fired into an old – are easily changed in Photoshop, so ideal have crafted a softbox using an old garden umbrella covered in tin foil and bin liners. for a budget studio. Green is far from skin waste bag with the front covered in a white It’s placed directly above the subject and colour, which makes it easy to cut out or bin liner. There is no TTL mode on the set to 1/8 power to provide a gentle fill isolate from people. Ours cost £5 on eBay. flash, only manual power, but that’s all light. As the budget couldn’t stretch to Creases can be a headache to sort out, so we need. We set it to 1/4 power. a light stand, we simply tied it to the ceiling. keep the sheet as taut as possible. 02 01 03 05 06 04 04 EXPOSURE SETTINGS 05 FLASH TRIGGER 06 THE SUBJECT Our camera is set to Manual exposure We need a means of triggering our two This is a great project to try with kids. mode, at 1/200 sec, f/5.6, ISO100. off-camera speedlites. A cheap wireless Colourful clothes, toys and props can help This is a good stock exposure for studio flash trigger can be purchased for as little to add character to the shots, as well as portraiture, especially if you’re in a fairly as £20, but if the budget won’t stretch to keep the kids interested. Considering the tight spot, like our garage setup here, this, you can also use your pop-up flash cost of a professional portrait shoot, the because the wide aperture ensures a and set the speedlites to optical trigger savings from doing it yourself instead bit of separation with the backdrop. mode so they fire upon detecting the flash. could run into hundreds of pounds. The Canon Magazine 47

WATCH VIDEO ONLINE VIEW THE VIDEO http://bit.ly/pp_194_1 PROJECT 1 CRAFTY KIT DIY SOFTBOXES & UMBRELLAS Save cash by building your own softbox and parabolic umbrella from old junk THE POWER OF TWO SPEEDLITES With two speedlites, 01 CRAFT A SPEEDLITE HOLDER 02 PREPARE THE BAG you have the freedom not only to light your We wrap a small piece of cardboard around the end We used an old garden bag for our DIY softbox. We subject from different of the speedlite, leaving an overhang. We tape it in make a slit in the bottom centre to feed our speedlite angles, but also to place, then cut down each bend and spread out the tube through, then we fit the sheet of cardboard to the experiment with lighting sides. Next we take a larger sheet of cardboard, make base of the bag. For extra reinforcement, we run some ratios so that each flash a hole for our speedlite tube and tape it to the sheet. thick wire around the rim of the bag. complements the other. As such, we can build a simple two-light setup, with an overhead fill light to lift the shadows and a key light directed towards the face. Alternatively, we could place one of the lights behind, angled back towards the subject to create an edge light, or instead train one of the lights on the background to give it even illumination. 03 LINE WITH FOIL 04 ATTACH A STAND We cover the sides and base of the bag in tin foil. Next Attachments can be tricky. We used the speedlite’s we take a white polythene bag (we used a roll of pedal plastic stand. This has a thread in the bottom that can bin liners) and cut a piece to fit inside the bag. We tape be screwed on to a tripod plate. We’ve taped the stand it halfway up to make a first layer of diffusion, before a to a cardboard tube at the back of the speedlite, so we second layer of polythene is taped over the front. can mount our DIY softbox on a tripod. 05 COVER A BROLLY 06 HANG THE UMBRELLA Our parabolic umbrella is made using an old golf Whether made of tin foil and an old brolly or the real brolly, tin foil and polythene bags. The inside of the thing, a parabolic umbrella offers a beautiful broad umbrella is covered in kitchen foil to make it reflective, illumination that is soft but direct. As such, it’s the and bin liners are taped over the opening to diffuse perfect modifier to place over a subject for top-down the light. The speedlite is tied to the stem of the illumination. Fired at lower power than the main light, umbrella and angled upwards to bounce off the foil. it fills in the shadows and creates a gentle hair light. 48 www.digitalcameraworld.com

BUDGET HOME STUDIO TOP TIPS BUILD YOUR LIGHTING SETUP This lighting trick gives you greater control over what is lit by your flashes 01 JUST THE FILL 02 ONLY THE KEY 03 BOTH KEY AND FILL A fill light should result in an underexposed Next we turn off the fill light and turn on Finally, we turn on both speedlites and fire subject. We leave our softbox off and only the key light (our DIY garden bag softbox) them together for balanced key and fill fire the overhead umbrella. With exposure and angle it towards the face. We want this lighting. By building the lighting one flash settings locked (Manual mode, 1/200 sec, light to give us a correctly exposed subject, at a time, we get a better idea of how they f/5.6, ISO100), we adjust the flash power so we adjust the flash power manually until will work in combination, and ensure that until it results in a gentle fill like this. it looks right, at 1/4 power here. they harmonize with one another. EXPERT TIP CHANGE YOUR BACKGROUND A green screen can easily be changed to any colour, or completely removed… A GREEN screen can be transformed into any colour you like with a few simple Photoshop skills. Just make sure that there’s no green in the subject (like the green balls here) or this changes colour, too. If you like to use Camera Raw/Lightroom, head to the Color Mixer Panel, grab the Hue target tool and drag over the green background to change the colour. In Photoshop, the most effective tool is the Color Range command. Use it to select the greens, then change to any colour you like with a Hue/Saturation layer (or any other adjustment layer you like). If you want to completely remove the backdrop (which is useful when stitching several frames), in Photoshop hit Cmd/Ctrl+F for the Find menu, then use the Remove Background Quick Action. The Canon Magazine 49

WATCH VIDEO ONLINE VIEW THE VIDEO http://bit.ly/pp_194_2 PROJECT 2 THE MISSION Model: Jasmine Jada Emulate HollywoodCreateavintage film noir portrait Time needed 1 hour lighting with a goboSkilllevel Intermediate Kit needed Fit your flash with a gobo and turn models into femme fatales with this • Canon EOS and simple film noir lighting setup. Natasha J Bella shows you how… kit lens • Flash and gobo • Lightstand F ilm noir is a style of add a touch of Hollywood patterns on to your background or • Tripod portrait photography glamour to your own portraits, subject. You also need to attach a that originated in dramatic B W photography is the lens – ideally a prime lens with a Hollywood in the perfect style for you to try. wide aperture that lets more light 1940s. It’s characterized in. Different focal lengths produce by its moody, dramatic To help with this theme, we patterns at their relative sizes SHADOW TEST ambience. Today, this style used a gobo. This is a physical – the shorter the focal length, the is still popular and many template that you place between wider the projection, but a 35mm portrait photographers the light source and the subject in or 50mm lens is ideal. Turn on the modelling order to cast a shadow or pattern. *obos can be used to create all Although gobos can be bought lamp of your flash and use Àlm noir techniques to sorts of different effects, from commercially, you can also make achieve atmospheric images simple shadows to complex one at home by cutting a piece of be sure to turn off the patterns. So, whether you’re cardboard into your desired looking to add some dramatic Áair pattern. Homemade gobos are a overhead lights and by using low-key lighting or just want to experiment with great way to add some creativity light, they can be very useful. to your shots without spending a block any natural light. and high contrast. lot of money, and the possibilities The key to successful Àlm We used Pixapro’s Optical are endless. And if you don’t fancy This allows you to see Snoot Spot Projector to provide making your own, try propping up the light. There are a wide range your Áash behind some 9enetian exactly where the shadow noir photography is Ànding the of gobos that Àt between the lens blinds to replicate the same Àlm pattern is being cast and perfect balance between light and and the light to enable you to noir style. falling on your subject, shadow. By carefully controlling project different shapes and so you can move it to an the lighting, you can create a ideal position much more sense of mystery and drama. Film easily than seeing it in noir portraits often have a quality of sophistication and glamour that the brief moment the flash is fired. is unique, so if you’re looking to STEP BY STEP CAPTURE A FILM NOIR PORTRAIT Follow these six steps to project your gobo and achieve stylish lighting for extra drama 01 GET YOUR GOBO 02 SET UP YOUR GOBO 03 SETTINGS Gobos are metal templates that you place A prime lens such as a 35mm or 50mm Set your camera to Manual mode and dial in front of a projector to cast a specific is a good choice to attach to your optical in shutter speed 1/125 sec, aperture f/8 shadow on to your scene. We used the snoot or projector. Now select a suitable and ISO800, but increase it further if the Complete Kit gobos from Pixapro and a gobo that resembles a window or blinds, image is too dark. Set the Picture Style to Pixapro Optical Snoot Spot Projector to insert it into the gobo holder and slide it Monochrome to see the image in black project the light through the template. into the slot behind the lens. and white in Live View on the LCD. 50 www.digitalcameraworld.com