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FREE VIDEO GUIDES VIEWTHEVIDEO FREE EBOOK WORTH £15.99 Issue 193 • July 2022 NEW CANON TIPS T&Cs apply + internet connection required CANON SKILLS FOR SUMMER! NEW TESTS! • Summer photo challenge • Shoot it all in one day CANON’S • From sunrise to sunset • No expensive kit needed R7 & R10 OUR BIG TEST Best value APS-C mirrorless cameras SUPER-TELE + budget RF-S lenses ZOOM LENSES PROFILE The best-buy super-telephoto zooms for your Canon camera BEAUTIFUL PORTRAITS FREE VIDEOS TO FOLLOW ONLINE Catherine O’Donnell reveals secrets to her Watch our expert guides to improve your skills successful pro career STPAOKRETSSHSAHROPTS Canon pro motorsports photographer’s top tips • Great video tutorials for you – see page 5 for details PLUS CANON SCHOOL • BUYERS’ GUIDES



NEW CANON EOS R7 & R10 We got our hands on Canon’s all-new APS-C mirrorless EOS R7 & R10 cameras this month Page 84 Peter Travers Welcome OUR GUARANTEE Editor Back in September 2018, Canon launched its new EOS R mirrorless • We’re the only photo magazine in the Get a Lowepro full-frame camera. We’ve been waiting ever since for an APS-C newsagent that’s 100% DEDICATED bag worth £67 crop-sensor Canon EOS R to complete the modern mirrorless TO CANON EOS CAMERA USERS, with your new family of bodies. Well, this month Canon has revealed not one but two so we’re 100% relevant to your needs. subscription! Plus new APS-C cameras: the Canon EOS R7 and R10. I was lucky enough to some big savings, test both cameras at the big launch in London. Compact, lightweight • WE’RE 100% INDEPENDENT, which too! Page 38 and affordable (compared to their full-frame big brothers and sisters), means we’re free to publish what we these are the ‘real’ mirrorless cameras we’ve all been waiting for! feel is best for EVERY CANON DSLR What’s even more impressive is Canon’s crammed in the best tech from OR MIRRORLESS PHOTOGRAPHER the top-end EOS R5 and R3, and both the R7 and R10 can shoot at 15fps – from beginners to enthusiasts to mechanically (faster than any other EOS camera), and they also have full-time professionals. the same Dual Pixel CMOS AF II as the R3, R5 and R6 bodies, with full subject AF tracking for humans, animals and vehicles. There are also • We’re CANON ENTHUSIASTS and, two new budget RF-S kit lenses. We reveal the full story from page 84. with our contributors, we can offer years of EXPERT PHOTOGRAPHY Why not try our summer photo challenge this month and shoot a fresh EXPERIENCE. We’re always excited portfolio of creative pictures in just one day? From landscapes at sunrise to pass on what we’ve learned. to flowers in the middle of the day and silhouettes at sunset, learn all the quick and inexpensive skills from page 28. Meanwhile, our PhotoPlus • We’re more than just a print mag; Apprentice learns how to capture sharp shots of fast motorbikes, page 8. YOU CAN BUY PHOTOPLUS FOR ANY DIGITAL DEVICE WORLDWIDE We have more fun photo projects and step-by-step image-editing via Apple iTunes, Zinio, Magzter, guides with free videos to follow in our Canon Skills section, from page 43. Amazon Kindle, B&N Nook, We also speak to Canon pro portrait photographer Catherine O’Donnell PocketMags or PressReader. about the secrets of her success, page 62, and test • Our Video Disc has THE VERY BEST eight of the best-buy super-telephoto zoom lenses CANON TECHNIQUE & PHOTOSHOP for your Canon EOS camera; see page 90 for our VIDEO GUIDES, which can also be verdict. Plus get your free Photography Made Simple viewed via our digital editions. ebook – find out how to download it over the page. • 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 44 62 CANON PHOTO CHALLENGE CANON SKILLS FOR SUMMER! Try our summer challenge and shoot a fresh portfolio of creative pictures in one day! ESSENTIALS CANON PROS NEW TESTS 20Inspirations 08The Apprentice 84New! Canon EOS R7 & R10 Dive into this month’s gallery of We head to Donington race track as We get our hands on the brand-new stunning images taken by our readers, Moto GP pro photographer Rob Gray teaches Canon EOS R7 and R10 – WKHÀUVW$36& all boasting beautiful bokeh reader Phil Perry to take sharp action shots EOS R mirrorless cameras – and the RF-S 18-45mm and 18-150mm IS STM kit lenses 28Canon skills for summer! 40David Clapp Column With longer days, summer offers more David manages to dodge the tourists 90Super Test: Super-tele zooms hours of photo opportunities – make the most LQ3URYHQFHWRWDNHVWXQQLQJÁRZHU\\VKRWV We test the best-buy super-telephoto of them with our big Canon skills challenge! zooms for your Canon EOS camera – great for 62Profile shooting fast action, sports, wildlife and more 38UK Subscription Offer We talk to pro portrait photographer Subscribe to PhotoPlus and receive a Catherine O’Donnell about her great career 102Buyers’ Guides Lowepro Nova 160 AW II bag worth £67 Stay up to date with all the latest CANON SCHOOL Canon EOS camera bodies and over 200 70Photo Stories 74 Part 15 Canon School &DQRQÀWOHQVHVXVLQJRXUEX\\HUV·JXLGHV One photographer shoots stunning scenery in Iceland, while another stays closer This month, Marcus shares some 84 to home to capture Cambridge cyclists invaluable tips on Canon’s photo apps 109Next Issue 78Software Solutions Find out what you can expect in Discover how to transform summer next month’s packed issue of PhotoPlus holiday shots into phenomenal photos 114 Focus Point 80EOS 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 193 JULY 2022 OTVLNIHDINTEWEKHOSESAVTPOOTIANDGCVLEEIIEHNSOWE!S 20 VIDEOGUIDES#193 6 WAYS TO IMPROVE YOUR PHOTOGRAPHY TODAY Project 1 Take super-long PHOTOSHOP CC exposures with a 16-stop neutral density filter 44 PHOTOSHOP CC 08 48 56 Project 2 Find natural Tutorial 1 Use your free frames in your landscapes lightbeam brushes to add for better compositions atmosphere to your images AFFINITY PHOTO ACCESS YOUR 52 58 60 FREE EBOOK Project 3 Learn the benefits Tutorial 2 Learn to stack Tutorial 3 Transform photos of Canon’s four different images for total sharpness of buildings into bold, blocky EF-EOS R lens adapters in Photoshop CC shapes in Affinity Photo How to get your free Photography Made WORTH READ THE TUTORIALS… THEN WATCH OUR EXPERT VIDEOS Simple ebook – download it to your £15.99 LOOK OUT FOR THIS! mobile device or computer Wherever you see 1. Toviewyourfreeebookgo toourwebpageat this icon, there’s an http://downloads.photoplusmag.com/pp193ebook.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 articles inside 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 got to try out the new Canon EOS “I show you how to create Lab Manager Ben Andrews R7 and R10 cameras this month, stunning long exposures at any Group Art Director Warren Brown the first APS-C EOS R mirrorless! time of the day using a 16-stop They’re tiny bodies but packed ND filter at the amazing and iconic Photography Colosseum in Rome.” PAGE 44 All copyrights and trademarks are recognized and respected with the latest great tech.” PAGE 84 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 “In this issue, I test the best-buy [email protected] • 01225 687511 “This month, I got my hands on four super-telephoto zooms lenses for UK Commercial Sales Director Clare Dove [email protected] of Canon’s EF-EOS R adapters, so I your Canon EOS camera – perfect could use my old EF lenses with an for shooting fast action, sports, International licensing PhotoPlus is available for licensing and syndication. To find out more, EOS R. Learn all about the different wildlife and more.” PAGE 90 contact us at [email protected] or view our available content at adapters in my 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] Rob Gray Martin Brown Michelle Jackson David Clapp or call 0330 333 1113 or you can visit www.magazinesdirect.com Subscription delivery disruption remains within UK and International networks. Canon pro Rob teaches our This Canon shooter used his See her top shot of an eagle Our columnist David dodges We kindly ask that you allow up to 7 days before contacting us about a late delivery Apprentice to take exciting EF 100-400mm lens to take brimming with browns, the tourists in lavender fields to [email protected] Moto GP motorbike shots at a colourful shot of bees in a oranges and yellows, and in Provence to instead shoot Customer service 0330 333 4333 or visit www.mymagazine.co.uk Donington track. PAGE 8 lavender field. PAGE 20 beautiful bokeh! PAGE 25 sunflower fields. PAGE 40 Head of subscriptions Sharon Todd Catherine O’Donnell Ita Martin Marcus Hawkins Brian Worley Circulation Head of Newstrade Tim Mathers 01202 586200 We talk to this pro portrait Ita photographed as many In Canon School this issue, Our Canon expert answers photographer about how iconic scenes as possible marvellous Marcus teaches your questions, and uses Production she started her career and in her week-long visit to you all about Canon’s clever Canon’s DPP to create great Head of Production US & UK Mark Constance her creative style. PAGE 62 incredible Iceland. PAGE 70 photo apps. PAGE 74 summer images. PAGE 78 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 Photo Plus (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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THEAPPRENTICE THE NEED FOR SPEED This month we headed to Donington race track to pair up PhotoPlus reader Phil Perry with Canon pro Moto GP photographer Rob Gray 8 www.digitalcameraworld.com

SHOOT WITH A PRO CANON PRO APPRENTICE NAME: NAME: ROB GRAY PHIL PERRY CAMERA: CAMERA: CANON EOS R3 & R5 CANON EOS R5 ROB STARTED his photography PHIL IS a healthcare relationship journey in 2013, picking up an manager with a high street bank. entry-level Canon EOS 550D as a In his spare time, he loves to way to shoot his big hobby at photograph motorsports and has motorsport events. He’s since recently upgraded to a Canon EOS turned his passion into a pro R5. He wrote to us asking whether career, graduating from shooting we could help him get the most the UK domestic racing scene to out his new Canon camera, so jetting off to Moto GP races all over we paired him up with pro racing the world, as well as running his photographer Rob at Donington online Speed of Light Academy. Park Circuit to take some fast and www.speedoflightacademy.com furious motorbike photos. The Canon Magazine 9

THEAPPRENTICE TECHNIQUE ASSESSMENT Rob set up Phil’s EOS R5 so it was ready for action MANUAL MODE TO BEGIN, Rob set Phil’s Canon EOS R5 to its Manual mode so that he could take full control of exposures. The first setup was all about using fast shutter speeds to make sure the riders were pin sharp in shot, so he set a shutter speed of 1/500 sec and an aperture of f/4 to let in loads of light. He also switched on Auto ISO, so there was one less exposure setting to worry about, enabled Raw image quality, and turned on the fastest burst rate mode, too. AUTOFOCUS NEXT, Rob set Phil’s EOS R5 to its Servo autofocus mode so that the camera would continually refocus – a must for fast-moving subjects such as motorbikes. He then went into the autofocus options by pressing the Menu button and set the Servo AF to Case 3, which is better suited to motorbikes and other speedy subjects. TOP GEAR #1 PHIL’S COMMENT Super telephoto prime lens I met up with Rob at Donington Park Circuit on a motorbike track day. The weather was overcast AT MOST circuits, Rob usually needs a lens with a although Rob explained this was perfect for our shots as 400mm focal length. He has a Canon EF 400mm f/2.8L we’d have even lighting, with the clouds acting as a large IS II USM, which Phil was using on his EOS R5 with the softbox in the sky. Once we’d gone through all of the EF-EOS R mount adapter, and on Rob’s own EOS R3 safety and settings (see Technique Assessment above), we headed he had the native Canon RF 400mm F2.8L IS USM trackside and Rob lent me his old Canon EF 400mm f/2.8L IS II USM for the attached. He always uses the lens hood to cut down on day, which I was very excited to use. For our initial setup, we were shooting flare – it also gives him a pivot point to hold on to at the the riders coming out of the Melbourne Hairpin, going into a long straight. front for smoother panning. We were using fast shutter speeds to try to freeze the action. I love this shot because you can see the rider’s face through the visor and 10 the look of intense concentration on his face. www.digitalcameraworld.com

SHOOT WITH A PRO HOT SHOT #1 EXPERT INSIGHT Lens Canon EF 400mm f/2.8L IS II USM Exposure 1/250 sec, f/3.5, ISO100 MAKE YOUR SPACE ACTIVE 11 THE SPACE around your subject has a big impact on whether the space feels active or dead. Active space is the area in the frame the rider is travelling into – composing to make sure there is a good amount of room in front of them to move into generally makes for better compositions than those with more space behind the rider, which is dead space. The Canon Magazine

THEAPPRENTICE ROB’S FAVOURITE TRACKSIDE SHOTS Rob shares the top three Moto GP photos he’s taken in his career to date RED CARPET HOT SHOT FABIO QUARTARARO winning the 2021 #2 Moto GP crown. The strong shadows helps to create a leading line, while shooting from Lens Canon EF 70-200mm f/2.8L IS II USM down low gives the subject dominance and Exposure 1/80 sec, f/14, ISO100 flash helps to fill in the shadows. CHAMPAGNE MOMENT INCLUDE YOUR ENVIRONMENT THIS SHOT is a once-in-a-lifetime. When THE SAFETY barriers will inevitably get in the way of your Valentino Rossi pulled into his garage for shot at some point, but Rob says to see this as a positive and the final time in his career, he was greeted intentionally figure out a way to incorporate it into your frame. by his team and friends with a bottle of For this shot of the riders coming around the hairpin, the barrier champagne. A special moment to capture. adds some colourful blue foreground interest, which adds depth and has been nicely blurred with a wide aperture. SPEED OF LIGHT COMBINING FLASH with ambient light in dark conditions allows for amazing effects. In this case, shooting under floodlights and capturing the moment this rider stormed back after a 200mph session on track. 12

EXPERT INSIGHT PANNING SPEED TO ACHIEVE perfect pans, you need to ensure you’re tracking your subject at the same speed as they are moving. With a shutter speed of 1/4000 sec, the rider was frozen pin sharp and the frame looks too static and stationary. Extending the shutter speed to 1/20 sec injected too much motion and both the rider and background came out blurry. A shutter speed of 1/100 sec worked perfectly for the speed at which these riders were travelling, creating a rush of movement in the background and a pin-sharp rider. PHIL’S COMMENT TOO SLOW TOO FAST Rob was keen to show me how to pan, which is where you follow the SPOT ON! bike through the viewfinder at the same speed at which it’s travelling, then with a slower shutter speed, you can catch a shot where the bike is sharp 13 and the background is blurred. I switched over to a 70-200mm lens and fixed the ISO to 100, then increased the aperture to f/14 to give me a shutter speed of 1/80 sec – just slow enough for some excellent panning blur. It took a while to get used to tracking at the same speed as the bikes but, with practice, I was able to get this shot, where I wanted to get one rider on their own for a simple uncluttered composition. The red bike really pops out of the frame. Having a monopod definitely helped keep me steady, too. TOP GEAR #2 Short telephoto zoom AT SOME parts of the race track, Rob finds himself too close to the riders to use his long 400mm lens, and this is where a shorter 70-200mm comes in very handy. He has Canon’s EF 70-200mm f/2.8L IS USM II workhorse, and a Canon RF 70-200mm F2.8L IS USM native mount for his Canon EOS R5 and EOS R3 cameras. With a shorter focal length, he can get frame-filling shots or zoom out a little to add more of the scenery. Both 70-200mm lenses are top L-series glass and have fast f/2.8 maximum apertures. The Canon Magazine

THEAPPRENTICE ROB’S TOP 10 TIPS EXPERT INSIGHT 1 Switch stabilizer off VEHICLE TRACKING Image stabilization on lenses can cause a slight AF delay when you’re shooting, which ROB’S CANON EOS R3 has a new vehicle subject has caused Rob to miss shots before, so tracking AF mode, which makes autofocusing on fast he switches it off. It’s also not needed motorbikes an absolute breeze. It’s been programmed to when you’re using fast shutter speeds. recognize racing cars and bikes, and locks on to riders’ helmets where possible to make sure these are totally 2 Lens armour sharp. This feature is also now available for Phil’s EOS R5, Rob’s kit gets a hammering, so to keep it so after a quick firmware update, he was able to make in top condition, he uses lens and camera use of this incredible auto AF tracking feature, too. wraps, plus neoprene armour to protect it. www.digitalcameraworld.com 3 Back button focusing Rob uses back button focusing, so the AF-ON button engages the autofocus and the shutter button doesn’t interfere. 4 Liability insurance You need liability insurance to be able to shoot trackside at many of the larger race tracks around the UK. You also need to ask for permission and get a press pass. 5 Reach out to get published Get in touch with editors of bike magazines and websites, and send them interesting shots that nobody else is likely to have caught to get their attention. 6 Evaluative metering This metering mode looks at the whole frame and works out an even exposure with good highlights and shadows across the frame when shooting in a semi-automatic mode, such as aperture priority. 7 Change the white balance Shoot Raw and set the white balance to Cloudy if it’s overcast, or Daylight if you’re in direct sun, for more accurate colours. 8 Don’t be put off by cloudy skies Sunny days don’t always mean great photos. Direct sunlight can cause problematic hotspots and overexposure on bright bikes, but overcast days are perfect because the light is much softer. 9 Rent a lens Canon’s RF telephoto primes cost several thousands, so if these are beyond your budget, it’s worth considering renting a lens for a race, so you can get a good idea of what you’d get for your money. 10 Practise, practise, practise! The more you shoot, the better you’ll be. Know your camera inside and out, so you can concentrate on nailing your panning and focusing. 14

SHOOT WITH A PRO HOT SHOT #3 Lens Canon RF 400mm F2.8L IS USM Exposure 1/1600 sec, f/3.2, ISO400 LEAD-IN LINES ROB’S COMMENT FOR WIDER contextual shots, We headed over to the Dunlop Straight going into the Fogarty Esses, the same rules apply as for where the riders can build up a lot of speed before going into their next conventional landscapes, such as hairpin. This was a fantastic spot, because you can often catch the riders getting using the rule of thirds or lead-in up to speed and pulling a wheelie, which makes for an excellent action shot. I lines. Get creative and use the used a fast shutter speed here of 1/1600 sec to freeze the action and eliminate vibrant rumble strips, track any camera shake or subject movement, to make sure everything was pin sharp. This meant markings or horizon as strong boosting the ISO to 400. The East Midlands Airport is also in the background and I was lines to guide the viewer’s eye super-lucky to line up a shot with both a motorbike and plane in the same composition – towards your subject and try to it gives me Top Gun vibes, like they’re racing each other! capture one single rider on their own for an obvious focal point TOP GEAR #3 the viewer can lock on to. Full-frame Canon EOS ROB HAS recently upgraded his Canon DSLRs to mirrorless bodies. While he’s switched over to many native RF lenses, he still has a few of his old EF lenses that he uses with EF-EOS R mount adapters. His current full-frame camera bodies of choice are an EOS R5, which can fire off 45MP stills at a staggering 20fps, and the new EOS R3, which can rattle off 24.1MP images at 30fps and includes features such as vehicle detection AF and Eye Control AF. The Canon Magazine 15

THEAPPRENTICE ROB’S COMMENT So far we’d covered a good selection of panning and still shots, so we headed to Coppice, where I wanted to show Phil how to shoot some wider scenes that reveal more of the landscape. The high angle lets you get the track snaking through the background and makes for some really great compositional lines. I still wanted the main focus to be on the rider, so I set the aperture to its widest f/2.8 setting because this would create a shallow depth of field to give the background a little bit of blur. I composed my scene and prefocused on the part of the track where I wanted the rider to be and then fired off a burst of images until I had a single rider in the perfect place where I wanted them. HOT SHOT #4 EXPERT INSIGHT TOP GEAR #4 SHOOT THROUGH FENCES Monopod MANY motorsports spectators have no option but to TO HELP support heavy telephoto shoot through the metal fences, and even with a press lenses, Rob uses a monopod pass, there are often parts of many race circuits where attached to the tripod collar foot. His professional photographers can’t get trackside. Use a monopod of choice is a Sirui P-306 long focal length such as 400mm to shoot through the with AM-10L head. The monopod can gaps in the fence and a wide f/2.8 aperture to blur any be extended quickly, enabling him to fence that creeps into shot. Get as close to the fence as set up his shots fast – essential when shooting possible for maximum blur and to reduce reflections on motorsports professionally – and the head gives just the metal find a fence that’s in a shaded spot. enough tilt to allow smooth panning. It can also be folded down flat, making it compact and easier to transport. 16 www.digitalcameraworld.com

SHOOT WITH A PRO CREATIVE COMPOSITIONS Lens Canon RF 400mm F2.8L IS USM Exposure 1/400 sec, f/2.8, ISO125 WHILE tightly cropped shots of riders taken with long telephoto lenses can 17 look fantastic, it’s worth switching your style up occasionally and shooting with a wide-angle lens. This helps you fit more of the surrounding scenery into your frame and gives your motorsports portfolio some variety. Rob’s wide-angle lens of choice is the Canon RF 28-70mm F2L USM, which has an incredibly fast f/2 maximum aperture throughout the zoom range. The Canon Magazine

THEAPPRENTICE Lens Canon RF 400mm F2.8L IS USM www.digitalcameraworld.com Exposure 1/1600 sec, f/3.5, ISO320 18

NEXT MONTH PUFFINS SHOT OF THE DAY! PHIL’S COMMENT ROB’S VERDICT I had an incredible My favourite shot time photographing of the day came and learning with Rob at from when we were shooting Donington Park and luckily at the Dunlop Straight. While the weather held out – it only I didn’t catch a plane in the started raining just as we started to pack up for background in this shot, I did manage to capture the day. I’ve learnt some key techniques that I’m one rider with decent air on this wheelie as he really eager to practise when I get back home, caned it down the straight. I used a super-fast and I now have a better understanding of what shutter speed of 1/1600 sec to freeze the scene, all the buttons and features do on my new and the vehicle tracking autofocus on my EOS Canon EOS R5, which is a massive help. A huge R3 made it a breeze to achieve sharp focus on thank you to Rob and PhotoPlus for arranging the rider and bike. Phil was a stellar Apprentice the shoot. It was a brilliant day and I plan to keep on the day and he picked up all of the techniques shooting as much as I can because one of my really quickly. His top Canon kit, such as his EOS goals for this year is to get some of my shots R5, will certainly help make it even easier to take featured in a prominent motorcycle magazine top sports shots. He just needs to keep at it and – I have got my fingers crossed! eventually he’ll catch his lucky break. The Canon Magazine 19

STUNNING IMAGERY FROM THE WORLD OF CANON PHOTOGRAPHY 20 www.digitalcameraworld.com

FANTASTIC CANON PHOTOGRAPHY 01 TWO BEE OR NOT TWO BEE BY MARTIN BROWN Martin got in close for a frame-filling image with his Canon EF 100-400mm lens. The central symmetrical framing works nicely and the lavender field has created a beautiful wash of purple in the foreground as well as vibrant bokeh in the background, allowing the two yellow bees to really pop out. Lens Canon EF 100-400mm f/4.5-5.6L IS II USM Exposure 1/1000 sec, f/11, ISO1000 The Canon Magazine 21

INSPIRATIONS 02 LADY SCARLET BY HENRIK SPRANZ 03 02 Henrik’s amazing dragonfly shot impressed us this month. His female All the images in this gallery were entrants to the www.digitalcameraworld.com scarlet dragonfly is perfectly sharp, PhotoPlus ‘Bokeh’ competition hosted on Photocrowd – a website where a public vote on the best-liked images well placed a third of the way in from the is pitted against expert opinion. To enter our current right edge of the frame and surrounded by contest, and vote on your favourite photos, simply visit incredible bokeh and super colourful out-of- www.photocrowd.com focus highlights. This image really pops and is unlike anything else we saw. Lens Canon EF 180mm f/3.5L Macro USM Exposure 1/60 sec, f/3.5, ISO250 03 BURSTING WITH BEAUTY BY JAY BIRMINGHAM Jay’s taken an incredible butterfly close-up. His off-centre composition works well, positioning the butterfly a third of the way in from the left edge. The low angle of the sun has produced dramatic lighting and bathed the scene in rich golden tones. The water spray is the icing on the cake. Lens Canon EF 100mm f/2.8 Macro USM Exposure 1/320 sec, f/3.5, ISO100 04 BLUEBELLS BY GERAINT ROBERTS Geraint has taken an incredible macro shot. Getting in close allowed him to blur the background into a wash of blues and purples. The composition works well and he’s underexposed the image to make sure no tones have clipped. He also stacked four images to ensure the bluebells were sharp. Lens Sigma 180mm f/2.8 EX DG OS HSM APO Exposure 1/640 sec, f/4.5, ISO160 22

FANTASTIC CANON PHOTOGRAPHY 04 23 The Canon Magazine

INSPIRATIONS 05 MUSHROOM FAMILY BY PAUL NASH Paul produced this lovely macro shot of mushrooms, with beautiful light coming into the scene from the left and incredible large bokeh circles in the background, by shooting close using a 105mm macro lens at f/2.8. This offers a perfect backdrop and a great range of texture and colours in the frame, too. Lens Sigma 105mm f/2.8 Macro EX DG OS HSM Exposure 1/125 sec, f/2.8, ISO100 05 24 www.digitalcameraworld.com

FANTASTIC CANON PHOTOGRAPHY 06 06 GOLDEN EAGLE IN THE HEATHER All the images in this gallery 07 BY MICHELLE JACKSON were entrants to the This is a wonderful woodland shot full PhotoPlus ‘Bokeh’ The Canon Magazine of beautiful bokeh. The colour palette competition hosted on is brimming with autumnal browns, Photocrowd – a website where a public vote on the oranges and yellows, while the background has best-liked images is pitted been blurred with a wide aperture for a shallow against expert opinion. depth of field. The eagle’s pose is also strong, To enter our current contest, looking into the active space on the left. and vote on your favourite photos, simply visit Lens Canon RF 100-400mm F5.6-8 IS USM www.photocrowd.com Exposure 1/1600 sec, f/6.3, ISO8000 07 POSER BY SAMUEL RUSU Samuel has taken a lovely portrait of this fox cub and has transformed the bluebells into colourful bokeh in the foreground and background by using a telephoto lens and a wide aperture of f/4. The green and blue around the frame help the fox to pop out of its surroundings. Great job! Lens Canon EF 200-400mm f/4L IS USM Exposure 1/640 sec, f/4, ISO3200 08 WATER DRAGON WATERFALL BY CHRIS COUSINS Chris’s shot is full of fantastic bokeh, turning water spray from a waterfall into incredible out-of-focus highlights, which add depth and texture. He’s done a great job focusing on the water dragon to make sure it’s pin-sharp while blurring the rest of the 08 frame, and the mono conversion adds punch. Lens Canon EF 100-400mm f/4.5-5.6L IS II USM Exposure 1/125 sec, f/5.6, ISO100 25

INSPIRATIONS 09 09 THE BEAST DAUGHTER 10 BY CHRISTY BERNSTEIN Christy’s lovely portrait of her daughter is full of incredible bokeh, with the autumnal yellow leaves swirling behind her. She used a Lensbaby Twist 60 to achieve the swirling effect, which really made the bokeh stand out. She’s also focused nicely on the girl to make sure she’s pin-sharp and the clear focal point of the frame. Lens Lensbaby Twist 60 Exposure 1/500 sec, f/2.8, ISO200 10 WILD OSPREY BY GRAHAM DAVIS Graham’s taken an incredible shot here of an osprey flying towards him with its catch in tow. He’s focused nicely on its striking yellow eyes to make sure its head is pin-sharp, and used a wide f/3.2 aperture for a shallow depth of field to blur the background into a wonderful wash of green. Lens Canon EF 400mm f/2.8L IS II USM Exposure 1/3200 sec, f/3.2, ISO2000 All the images in this gallery were entrants to the www.digitalcameraworld.com PhotoPlus ‘Bokeh’ 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

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SUMMERTIME SPECIAL Try our summer photo challenge – and shoot a fresh portfolio of creative pictures in just one day! W ith long days and clear Early and late in the day deliver range of photo disciplines – from the nights, summer gifts us warm, evocative light, enabling you moment the sun rises until just after with more hours of photo to shoot atmospheric images that it’s set – is a tough but rewarding opportunities. If you’re an catch the eye. But with a change mission that can arm you with a raft energetic photographer, of direction and some considered of essential EOS camera and photo the extended shooting time offers a technique, you don’t have to put your skills along the way. Let’s get started host of fun photo projects to tackle. camera away when the sun climbs shall we? high in the sky. You just need to know You’re going to have to burn your how to work with the light and set up CONTENTS 29 creative candle at both ends, but it’s your Canon camera accordingly. Capture the sunrise 30 possible to shoot a new and diverse Bugs for breakfast 32 portfolio in one mega session in a one Over the pages, our team including Make the most of daylight 34 long day. If you go for it, we’ll allow a photographers and contributors Jon Five fabulous flower photos 36 quick siesta in the middle of the day Adams and Andrew James, will take Seek out silhouettes to recharge your personal batteries, you through the techniques you need while giving your Canon camera’s to capture stunning summer images. battery a boost, too. Tackling different subjects across a 28 www.digitalcameraworld.com

f/16 ISO 1/30 100 sec Daybreak Shooting in the golden hour allows you to capture low, raking light on a landscape, which adds an evocative mood to any scene. 1 DAWN DAYLIGHT WB AUTO WB Capture the sunrise 29 Getty G olden hour is really early in the summer, so the only way to embrace it is to set the alarm to silly o’clock. When it comes to capturing the beautiful warm light of a sunrise, don’t set your white balance to its Auto setting – this neutralizes the colours. Set it to Daylight for the most natural look, but also try Cloudy or Shade if you want to give those warm colours a boost. Of course, by shooting Raw, you can adjust the white balance (colour temperature) to your taste in post-processing as well. The Canon Magazine

CANONPHOTOCHALLENGE 2EARLY MORNING Bugs for breakfast Get out your telephoto or macro lens, pull on a pair of boots and head to the river just as the damselflies are warming up W e all know it’s the early bird that f/8 f/4 catches the worm – and it’s the early photographer who gets Distracting background Diffused background great shots of damselflies. They will be around later in the day, but as the Even with a macro lens, a close background can By switching to f/4, the background is much temperature climbs, they warm up and be distracting if you use an aperture of f/8, so less distracting, allowing the insect to stand become active and harder to shoot. choose your aperture carefully according to out; the sacrifice you make is less depth of Damselflies are present around rivers what’s behind the subject. field in the body and wing detail. and ponds throughout the summer, and are a fast-moving but colourful target for keen nature photographers. Approach them with a telephoto lens or, if you want really close-up detailed shots of their amazing bodies, a macro lens. Search among the riverside reeds where they warm their wings in readiness for a busy day ahead. Getting close to damselflies requires stealthy stalking – perhaps with wellies on if you need to get in the water. While warming up, they’re likely to be half- hidden; this is the perfect time to get a macro lens just a few centimetres away. Use a single autofocus point and lock on to the head or eye, with a shutter speed that’s fast enough for hand-holding. EXPERT CANON ADVICE Professional fieldcraft Stand back Capture behaviour Quirky framing PATIENCE is the key to successful Take a few frames from slightly Interaction between A quirky composition like this macro photography of critters like the further back to include all of damselflies or a damselfly damselfly clinging to the reed damselfly; when you couple that with the wings. If the insect is still munching on an insect adds a stem gives you a different type careful observation, you are on to a settled, you can risk getting fresh element. And as they’re of image from the more typical winner. Walk slowly along the reed beds, the lens even closer. busy, they’re relaxed, too! side view of the body. peering in for any signs of insect life. Before the sun has warmed them up, they barely move, so you need a keen pair of eyes to spot them. Before you start shooting, take a moment to consider their position, how the light is hitting them and what’s in the background. All these things affect how you compose and expose your shot. When you’ve assessed everything, put the camera to your eye and steadily get into a good shooting position. 30 www.digitalcameraworld.com

SUMMERTIME SPECIAL f/8 ISO 1/320 800 sec Damselfly portrait With a male banded demoiselle settled on a Andrew James high reed stem and the background a long way behind, we used an aperture of f/8 with our Canon EF 100mm f/2.8L Macro IS USM lens to capture detail in the body, without creating a messy backdrop that could distract from the subject. A single AF point was placed on the bulbous eye, and the shot was taken just as the insect was vibrating its wings, in readiness for taking flight. The Canon Magazine 31

CANONPHOTOCHALLENGE 3MIDDAY Make the most daylight Use the bright light during the middle of the day to take better still-life photos of colourful seasonal flowers in your local area T he middle of the day in summer The RGB histogram Floral details is often regarded as the worst time to take photographs, WHEN SHOOTING vivid flowers, it’s worth CLOSE-UP shots of details can have just because the high sun above produces checking the RGB histogram, which shows as much impact as epic views of a field of unflattering bright light for most the red, green and blue channels. The flowers. To get frame-filling shots, you need subjects. But you can use the direct regular histogram tends to mirror the green a lens with a macro focusing function or a sunlight to your advantage and take channel, so if you shoot red or blue flowers, dedicated macro lens. You can also make a great still-life shots of flowers as they you might not be aware there is a problem normal lens focus closer with a close-up open during the day to soak up the sun. in the reds and blues. If you shoot a red diopter (which screws to the front of the The secret to taking good flower flower and the red channel is clipped, you lens like a filter) or extension tubes, which photographs is timing. If you’re shooting may lose detail in the petals. Shoot Raw to fit between the lens and the camera. flowers in the wild or in a garden setting, have more flexibility to fix this in software. you only get a limited period of weeks, or even days, when the subjects look Clipping their finest. When shooting flowers outside, it’s The red channel indicates that the the wind that tends to be a problem for reds are oversaturated. The normal photographers. As the day warms and histogram doesn’t show this. things start to move, taking sharp shots of flowers can be a lesson in frustration. The slightest breeze can make tall flowers knock like a metronome. Fortunately, the midday sun produces the brightest light and, therefore, faster shutter speeds for freezing flowers blowing in the wind. But if you have a cloudy day, you can just increase your ISO to compensate and achieve a faster shutter speed for sharp shots. WHICH LENS IS BEST FOR STILL-LIFE SHOTS? WIDE-ANGLE lenses (between focal lengths 30mm 200mm of 16 and 35mm) are great for group shots of flowers in context, but it can be challenging Shallow depths to keep distracting objects out of the picture. Longer-focal-length lenses (70mm-plus) Both of these shots were taken at f/5.6, with the subject the same size in the frame – notice how enable you to create tidier compositions as the background is softer and more out of focus in the shot taken at a focal length of 200mm. they blur backgrounds more. Their narrow angle of view makes it easier to line up the subject with a clean backdrop, and they make it simpler to achieve shallow depth-of-field effects that make the subject stand out. They do require faster shutter speeds to produce sharper handheld images, but image stabilization can help. 32 www.digitalcameraworld.com

f/3.2 ISO 1/250 200 sec Creative blur The closer you are to the subject, the less depth of field (or depth of sharpness) you have to work with, so your aperture plays a key role. Narrower apertures, such as f/16 and f/22, increase the depth of field, while wider apertures reduce it. The large degree of blur with wide apertures, such as f/2.8 and f/4, can really suit the soft, delicate features of a flower – but you really need to get your focus bang on. CANON CAMERA SKILLS x5 x10 Magnification Blow up the small stuff and focus with precision TAKE advantage of the magnification feature of the Live View screen or EVF to check details are sharp. It can be helpful to slightly focus the lens in front or beyond the point of focus, then pull it back to find the focal sweet spot. On Canon cameras, you can magnify the image up to x10 on screen The Canon Magazine 33

CANONPHOTOCHALLENGE 4AFTERNOON Five fabulous flower photos Use the sunny summer afternoons to capture a portfolio of colourful flower shots outdoors with our quick fixes W hile the afternoon fast shutter speeds if needed light in the middle and there is a lot of contrast of summer can be to make autofocusing easier harsh, its high but relatively – especially if you’re using a even illumination means we macro lens for big close-ups. can tackle floral subjects with confidence. Colours are rich However, the powerful and vibrant, and the flowers overhead lighting means it’s are fully open, so creative easy to overexpose lighter compositions are possible. petal details, so exposure With lots of light, we can get compensation may help to preserve your highlights. Use a polarizer If you use Live View to compose, focus and check A CIRCULAR polarizing filter helps you to intensify colours by your histogram for exposure reducing glare. If you want really strong, saturated colours, you simply errors, seeing the screen is pop a polarizer on to the end of the lens and twist it until you get the much harder. You can use a best results to improve your images. The downside of a polarizer is loupe that sits over the LCD that it loses you one or two stops of light, but in bright conditions, this to enable you to continue to isn’t an issue, even if you are hand-holding while shooting. Keep your use Live View. Alternatively, polarizer as clean as possible, avoiding dust and finger smears. just switch to the viewfinder – but if you are a DSLR user, remember that what you’re seeing through an optical viewfinder doesn’t match the depth of field achieved. f/2.8 ISO 1/500 100 sec 1Add water droplets If you shoot your florals early in the day, you might get natural dewdrops forming on the flowers – but this isn’t going to happen in the afternoon, so add your own with a good old-fashioned water sprayer. All it takes is a quick spray of water on to the flower head. Don’t overdo it, or the flower will become saturated and droplets will merge too much. You simply want a nice spread of individual droplets to add some sparkle. 34 www.digitalcameraworld.com

2Reflect and shade f/5.6 ISO 1/250 Even with surplus light on a bright 100 sec summer afternoon, you’ll find a use for a reflector. For starters, it bounces some of that natural light into darker areas, filling the shadows and revealing more of the interesting hidden details. It can also act as a simple sun-blocker, creating even shade over your subject and helping you to avoid exposure issues or blown highlights. You don’t need a large reflector for floral work. In fact, if your reflector is too big, you’ll probably find it more of a hindrance than a help on breezy days. 3Stop it from swaying f/4 ISO 1/800 Ask a professional garden photographer 100 sec what they hate most of all, and they’ll say the wind. Even a slight breeze can wreak havoc with floral photography – and the taller or more spindly the flower’s stem is, the more it’s going to move. There are purpose-made gadgets to help out, but often all you need is a cane pushed into the ground and a twist tie to anchor it to the stem and prevent the flower moving too much. 4Try colour backdrops f/4 ISO 1/400 5Soft-focus effects f/5.6 ISO 1/400 While a totally natural background is 100 sec To create a soft, almost dreamy effect 100 sec often aesthetically the best option when it comes to your floral photos, in your photo, shoot through an old CD case smeared with Vaseline. there are times when popping some coloured card behind your subject gives It reduces contrast and blurs the parts of the frame where the gel has been you a photo with added impact. Experiment with both complementary and applied. Leave the main subject clear of gel, so it is still sharp. If you’re able to harmonious colours to see which you like best. You can attach your card to a in the bright conditions, look at the results you’re getting on the rear display. couple of garden canes using nothing more than a clothes peg on each side, While it might seem crazy to put a piece of cheap plastic in front of your then position your makeshift studio background as required. expensive lens, it’s a technique that yields some surprisingly good results. The Canon Magazine 35

CANONPHOTOCHALLENGE 5SUNDOWN Seek out silhouettes Use the low and setting sun as a backdrop for punchy photos where your subject’s shapes tells the story T owards the end of the daylight Look for shapes Keep shapes simple! hours, the low sun gives similar conditions to those experienced WHEN YOU’RE sizing up the Well-defined structures, trees, at dawn. There’s a second golden hour opportunity for a silhouette, pick people or iconic buildings are with warm, flattering light, lasting until a subject that is recognizable perfect for silhouettes. You often the sun sinks below the horizon. Cloud from its shape alone, and make need to use a low angle to drop the formations may give you a dramatic, sure there is enough contrast horizon and make the most of the fire-coloured sky, but even on a clear, between it and the background sky to create a captivating shot. cloudless day, you still get an evocative for it to stand out. A quick squint warm glow, graduating into a cool blue. test – where you close one eye As well as a great time for capturing and scrunch up the other – often landscapes, sunset is also an excellent reveals whether or not a opportunity to shoot silhouettes – the silhouette is on the cards. dark outline of an iconic subject is a must for your creative portfolio. If you have a mottled If the sun is still visible, you can keep background that is both bright it in shot but direct light striking the lens and dark (such as stormy clouds reduces contrast and usually creates at sunset), find the angle that visible flare. Although flare reduces allows the silhouette to stand image quality, it can’t be avoided when proud of the bright areas, so it shooting directly into the light, so make doesn’t blend into the dark parts the most of it. Flare in the right place and lose its shape. can enhance the mood and give your silhouette shot extra atmosphere. STEP BY STEP CAPTURE A PERFECT SILHOUETTE Set up your camera to render subjects as distinctive, dark shapes against a bright sunset WHEN YOU’RE out shooting, you’ll have discovered that silhouettes sometimes happen and sometimes don’t. This is all down to how your camera’s light meter reads and interprets the scene and sets the exposure values. To take control of this process, you need to take charge of the exposure duties, and tell your Canon camera who’s the boss! 01 CAMERA & LENS CHOICE 02 EXPOSURE MODES Any Canon EOS camera and telephoto zoom lens Shoot in Manual mode (or Av or Tv mode if you will work for silhouette portraits. We used an prefer) so you can expose for the sky, not your EOS 5D Mk IV and a focal length of 155mm on our subject. We used park bench on top of a hill for Canon EF 70-200mm f/2.8L to frame and easily the best angle to show the clean outlines of our isolate our subjects against the sky. You need a subjects, with the bright sunset sky behind. bright, clear and colourful sky at sunset to Don’t worry if the sky in your images doesn’t contrast against our silhouetted subjects. look very colourful in camera. 36 www.digitalcameraworld.com

f/2.8 ISO 1/160 2000 sec Easy silhouettes An ultra-bright background with well-defined, easily identified subjects is a sure-fire way to get great silhouette shots. By spot metering from the sky, precise control of the exposure is established, and the foreground subject will turn into black outlines to show its form – rather than exposing for the subject’s tones which would render the sky too bright and boring. Future / Peter Travers SPOT METER PRO TECHNIQUE HERE Fine-tune your 03 AF POINT & SPOT METERING shot in Raw Learn to target a medium-to-bright area of the EVEN IF you get all your camera sky with your active AF point using Spot settings as perfect as possible for metering mode, to ensure your exposure is for the conditions, don’t be disheartened if the brighter sky. This will ensure subjects or shots don’t look amazing when you’re buildings against the sky will become stunning reviewing them on the back of the silhouettes. Use some negative Exposure camera – many silhouette shots can be Compensation if necessary. improved by a tweak in Raw software. The Canon Magazine In a Raw converter, you can adjust the highlights, shadows, blacks and whites in a shot, enabling you to suppress detail in the subject (shadows and blacks) and brighten up the background (highlights and whites) to make the silhouette stand proud of the backdrop. Also adjust the temperature; go blue for cool colours, or yellow for warmer sunsets. 37

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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 39

THECLAPPCOLUMN Dodging the tourists in Provence Do you turn up to shoot popular UK landscapes Provence, France. 19:34pm. 7 July 2017 and baulk at the increasing number of Social media has sent hordes of visitors to tripods? You haven’t Provence and changed it for the worse, but seen anything yet. I David has come up with a potential solution have been shooting in Provence since 2010 and the world is now a very different place from when my love affair with the purply blue began. The last time I went I vowed it was my last, as the landscape was overrun with global LQÁXHQFHUVJHRWDJJHGSKRWRJUDSKHUVDQG 40 www.digitalcameraworld.com

CANON PRO CLAPP ODYHQGHUIURPWKHÀHOGVWRWDNHKRPH with the sheer scale of the Valensole 2QHIDUPHUWROGDVWRU\\RIVSRWWLQJDÀOP plateau, this solution is far from easy. FUHZJDWKHUHGLQDFLUFOHLQKLVÀHOGMXVW after dawn. When he got closer, he One evening, when travelling back to Manosque, I see a wonderful spread of UHDOL]HGWKH\\ZHUHVKRRWLQJDSRUQÀOP, \\HOORZDKXJHÀHOGRIVXQÁRZHUV7KH literally spat my coffee across the room. tired group has been up since the early hours, but we pull into the side of the “They bring money to the area,” I hear road for an end-of-the day shoot. The you say. “It can’t be all bad.” Some do, but SUREOHPLVWKDWWKHÀHOGLVUDWKHUÁDWEXW it’s not always the case. Many tourists are WKHÁRZHUVDUHLQSHUIHFWFRQGLWLRQ,VHH on a very tight budget. Often, families an opportunity. Climbing carefully on to with as many as eight people share a WKHURRIRIWKHYDQJLYHVPHMXVWHQRXJK double room to reduce the cost (according elevation to frame a huge sea of yellow. to hotels I have stayed in). They eat cheap 8VLQJDQ()PPI/,VHW food from chain supermarkets, giving WKHOHQVWRPP,FDQ·WJHWWKHVKRW nothing back to the regional economy. sharp front to back, so I am passed up my The farmers who own the most SKRWRJHQLFÀHOGVKDYHWULHGWRJHWWKHLU WULSRG,VHWWKHDSHUWXUHWRIDQG own back. They have started putting up sec and show the group, who pass me up fake electric fences, stacking pallets in their cameras one by one! front of photogenic barns, even wrapping Lens Canon EF100-400mm f/4.5-5.6L IS II USM ORQHWUHHVLQSODVWLF0DQ\\RIWKHÀHOGVDUH NEXT MONTH ROME Exposure 1/8 sec, f/16, ISO100 being left to go over, full of weeds. coach-loads of tourists on a scale the likes +RZWRÀ[WKLV\",GRQ·WKDYHWKHSHUIHFW of which you have never seen. Drones solution, but the problem is that the buzzed in the sky among the millions of purpose for lavender has changed. It oblivious bees, wedding shoots traipsed was once an oil essential to the perfume lighting rigs and dirty dresses through business, but it has been replaced by the soil, while cutsie girls clutched straw synthetics. Lavender has shifted from hats and twirled in daffodil-yellow a prized agricultural crop to a tourist dresses as machine-gun shutters clattered attraction, so perhaps farmers need to – it was a circus of narcissistic insanity. shift their monetization – charge a fee to enter, with the crop yield a secondary Whilst running my last tour there, a TV crew was staying at the same hotel DAVID CLAPPEHQHÀW,ZRXOGQ WPLQGSD\\LQJÀYHHXURV as my group. The day they left, their news report had gone live. There stood WRVKRRWWKHPRVWSKRWRJHQLFÀHOGVEXW disgruntled farmers, telling woeful stories on an unbelievable scale, recalling Canon professional photographer thoughtless parking, blocked tractors and tourists hurling abuse at them. Then tales “Climbing carefully on to DAVID CLAPP has been a full-time of inexcusable behaviour – cars actually the roof of the van gives Canon professional photographer for 15 GULYLQJGRZQÁRZHUURZVWUDVKLQJWKH me just enough elevation to years and for the last 12 has lead exciting ODYHQGHUÀHOGV(YHU\\RQHWUHVSDVVLQJ frame a huge sea of yellow” photography workshops. He regularly works carelessly, many cutting armfuls of for Canon UK and is represented by Getty Images. Visit www.davidclapp.co.uk for a portfolio of inspiring photos and information on all of his workshops. The Canon Magazine 41



IAMLALGVOOEFNHI-DELOODIEUNIWTROEINVNPGGTIEAAUWOGVTEIIHDPDSVEEHE4IOOWE4SSTEW-OC6BO1APL!NNROINOLUBKJIEESRNCVOETIENAWNEDD VIDEO GUIDES #193 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 bring you a 44Slow down time 48Get in the frame great collection of creative Take super-long exposures Find natural frames in your outdoor photo projects, with a 16-stop neutral density filter landscapes for better compositions with a special architecture theme for some of them! On 58 Tool School 52 56Old lenses, new tricks Lightbeams page 44, James shows you Learn to stack images for Discover the full range of how to achieve incredible total sharpness in Photoshop CC Use your free lightbeam long exposures using a 16-stop neutral density filter Canon’s EF-EOS R lens adapters brushes to add atmosphere to shots at the Colosseum in Rome. And if you’re on a strict VIEW THE VIDEOS budget, Matty explains how to improve your landscapes WHENEVER YOU see with natural framing skills (page 48). I’ve been busy this icon, you’ll find playing around with four of Canon’s EF-EOS R adapters an accompanying to use my old DSLR EF lenses with an EOS R body. video to watch VIEW THE VIDEO Learn the benefits of the online, so you different adapter options can follow along. available on page 52. Don’t forget to download your You can view free lightbeam brushes to add atmosphere to your the videos on a shots in Photoshop (page 56) and get to grips with 60 Affinity smartphone, tablet or focus stacking in the latest Transform buildings into instalment of Tool School on bold, blocky shapes in Affinity Photo computer. See the links page 58. If you prefer to use Affinity Photo, we have a great tutorial explaining how to turn photos into fabulous sketches, too (page 60). on the project pages. The Canon Magazine 43

WATCH VIDEO ONLINE VIEW THE VIDEO http://bit.ly/pp_193_1 PROJECT 1 THE MISSION Super-long exposures Take exposures that Armed with a 16-stop ND filter and a lot of patience, James Paterson last several minutes shows you how to create stunning long exposures at any time of the day in daytime with a strong neutral Famous locations such PHDQVWKDWSHRSOHPRYLQJSDVW With this monster attached to the density filter as the Colosseum in lens, we can open the shutter for Rome are both easy and WKHIUDPHGRQ·WUHJLVWHULQWKH Time needed GLIÀFXOWWRSKRWRJUDSK One hour Easy because, well, look at it VKRW3OXVLWFUHDWHVORYHO\\PRWLRQ PLQXWHVXQGHUWKHPLGGD\\VXQ ²LW·VLQFUHGLEOH'LIÀFXOW blur in the clouds, which serves Skill level because it attracts tourists +RZHYHUWKHUHDUHWKLQJVWR Intermediate DQGSKRWRJUDSKHUVE\\WKH WKRXVDQGVAs such, not only is ERWKDVDQH\\HFDWFKLQJYLVXDODQG FRQVLGHUZKHQXVLQJQHDURSDTXH Kit needed it tricky to take an unusual photo, Camera, tripod, EXWLW·VDOVRKDUGWRÀQGDQDQJOH DQLQGLFDWLRQRIKRZWKLVJUDQG 1'ÀOWHUVOLNHWKLV)LUVWWKHUHDUH 16-stop neutral WKDWLVQ·WVZDUPLQJZLWKSHRSOH structure has stood for millennia WKHSUDFWLFDOLWLHVRIVKRRWLQJORQJ density filter (or 10-stop and 6-stop 7KLVLVZKHUHDVWURQJQHXWUDO ZKLOHDFWLYLW\\EX]]HVDOODURXQG H[SRVXUHVVXFKDVSRVLWLRQLQJWKH filters stacked), GHQVLW\\ÀOWHUFDQEHDKXJHDVVHW phone or cable It enables us to use shutter speeds :KHQVKRRWLQJLQWKHGD\\\\RX WULSRGIRFXVLQJDQGSUHYHQWLQJ release, exposure RIPLQXWHVLQGD\\OLJKWZKLFK calculator app QHHGDVWURQJ1'ÀOWHUIRUWKLVWR OLJKWOHDNV7KHQWKHUHDUHLPDJH ZRUNEXWKRZVWURQJ\"$VWRS concerns, such as increased noise 1'LVSRSXODUEXWQRWDOZD\\V DQGFRORXUFDVWV$QGZLWK HQRXJK$VWRSÀOWHUOLNHWKH H[SRVXUHWLPHVRYHUPLQV )RUPDWW+LWHFK1'ZHXVHGRSHQV WKHUH·VDOVRWKHZDLWLQJ/RWVDQG WKHGRRUWRVXSHUORQJH[SRVXUH ORWVRIZDLWLQJ%XWSDWLHQFHLV WLPHVHYHQLQWKHEULJKWHVWVXQ UHZDUGHGZLWKVWXQQLQJUHVXOWV 44 www.digitalcameraworld.com

SUPER-LONG EXPOSURES ON LOCATION SUPER-LONG EXPOSURES IN THE SUN Get set up for shutter speeds that run to several minutes using a strong ND filter in the day 01 STURDY TRIPOD 02 16-STOP ND FILTER 03 PEOPLE AND VEHICLES Your Canon camera needs to be perfectly A 16-stop neutral density filter stretches One of the benefits of shooting long still for several minutes, so a tripod is a your exposure times to minutes or even exposures in busy spots such as this is must. We need to remain in place for a hours. In bright sunshine, a 1/500 sec that people or vehicles moving through while, so set up in a spot that won’t get in shutter speed becomes 2 mins and 11 the scene do not register in the exposure the way of people passing by or other secs (compared to just 2 secs with a (unless they stay in one position for a long photographers. If a tripod isn’t practical, 10-stop ND) – a good length for blurring time). As such, it’s a great way to remove you could use a wall or your bag. clouds and removing passing tourists. crowds and traffic. 04 05 03 03 02 06 01 04 SLOW-MOVING CLOUDS 05 PHONE OR SHUTTER RELEASE 06 VIEWFINDER BLOCKER When exposure times run to several Your smartphone comes in very handy for There’s always a danger of light leaking minutes, the movement of clouds is long exposures. Firstly, you can calculate in and fogging the exposure. An optical transformed into streaks of blur. This equivalent exposure times for your ND viewfinder (on a DSLR) can allow light in, tends to be most effective with fluffy filter using free apps such as NDTimer. so block it up with the camera’s cover. clouds in a blue sky, and less so on Secondly, if your camera can connect to The filter attachment and lens fixings overcast days because the sky often your phone, you can use it to start and can also leak light, so if necessary use ends up looking flat and grey. stop the long exposure. black tape to block the edges. The Canon Magazine 45

WATCH VIDEO ONLINE VIEW THE VIDEO http://bit.ly/pp_193_1 PROJECT 1 TOP TIPS 16 STOPS TO SUCCESS Learn how to shoot very long exposures in bright sunlight SILLY NUMBERS Somewhat frustratingly, 01 TAKE A TEST SHOT 02 LOCK FOCUS manufacturers use three different approaches to Before attaching the filter, take a test shot to work The filter is almost opaque, so once in place you can’t naming neutral density out a normal exposure of the scene. Use settings focus or compose. Set your focus before switching filters. While some are you’re comfortable with – a good option is Aperture the lens to manual focus to stop it from hunting. Next labelled by the reduction Priority, with aperture f/8, ISO100. Experiment with fit the filter – making sure not to nudge the tripod out in f-stops – such as 3, compositions and fine tune your framing. of place – and block the viewfinder to stop light leaks. 6, 10 stops or similar – others are given a value that shows the amount of light that is reduced; 1-stop halves the light, so the filter is given a value of ND2, 2-stop is a 2x2 reduction, so ND4, 10-stop is 2 to the power of 10, so ND1024 (often rounded down to ND1000). A third method multiplies the number of stops by 0.3, so a 3-stop filter is ND0.9 and 10-stop is ND3.0. Confused? Us, too! 03 USING A 16-STOPPER 04 WORK OUT AN EXPOSURE TIME The 16-stop filter is suited to daylight conditions with An exposure calculator such as the PhotoPills app bright skies; it’s overkill for most situations, and we is helpful. We input the settings for our non-filter wouldn’t try it in low light - unless you’re into four-hour test shot, set the number of stops, then let the app exposure times! But if you like the long exposure look calculate the new shutter speed. Each stop doubles or minimalist scenes, it’s a great addition to your kit. the time – 1/200 sec becomes 5 mins, 28 secs. 05 SET TO BULB 06 WATCH YOUR TIMING Most cameras max out at a 30-second shutter speed, Sit back and wait, using a timer to watch the exposure so if you want to go slower, set it to Bulb mode. This length. Conditions may change during the exposure, way the camera stays open as long as the shutter is so you may need to judge things on the fly. Here the engaged. We don’t want to touch the camera, so we sun broke out during a planned five-minute exposure, need to use a cable or wireless release, or a phone. so we stopped it at two minutes, 16 seconds. 46 www.digitalcameraworld.com

SUPER-LONG EXPOSURES TOP TIPS FIX LONG EXPOSURE FLAWS Noise, colour casts and exposure mishaps can plague long exposures – here’s how to fix them 01 CORRECT NOISE 02 FIX COLOUR CASTS 03 COMBINE FRAMES The camera sensor heats up during a long Strong ND filters leave the image looking Long exposures can be tricky to get right, exposure, causing increased noise and hot slightly cool. In Lightroom, grab the white so you may need to use exposure blending pixels. Lightroom’s noise reduction tools balance eyedropper and click on a neutral to combine more than one frame. In can help, but a better option is DxO’s point (such as the path) to fix colour casts. Photoshop, copy one image on top of PureRaw, a Lightroom plug-in that can Sometimes light can leak in to give edges another, then Alt-click the Layer Mask icon automatically fix an astonishing level of a magenta cast. This can be fixed with a to add a full mask to hide the top layer. noise and produce a better Raw file. radial filter set to reduce magenta tints. Paint with white to reveal areas you want. TAKE IT FURTHER SMOOTHER WATERS 47 Blur moving water and create cleaner reflections with long exposures AS WELL as blurring clouds and removing tourists, strong ND filters are also fantastic for blurring the motion of water. With fast-moving waves, the churn is transformed into streaks of silky white blur. Notice, too, how reflections come out clearer when the water is smoothed out with a long exposure. You don’t necessarily need a 16-stop filter for this, as motion blur can be achieved with exposure times of just a few seconds, but one of the great things about a stronger ND is how you can use wider apertures. So, if you want maximum sharpness, set the aperture to the lens sweet spot, which is usually 2-3 stops down from the widest aperture, around f/8 or f/11. The Canon Magazine

THE MISSION Frame creatively To locate and make Matty Grahamdemonstrates how you can supercharge your use of natural scenes by creatively composing to utilize natural borders frames to add more interest to O ne of the common Essentially, you can use with your composition – keep your photos pitfalls for many anything in your surroundings to PRYLQJDURXQGWRÀQGIUDPLQJ photographers is to create a natural border around the that works, and don’t be afraid to Time needed line up a subject in frame. Of course, what you use to try high and low angles. It’s all One hour front of the lens and forget make your border depends on about experimentation, which is everything else in the scene. your environment, but trees, why it’s better to set the tripod to Skill level fences, railings and doorways all RQHVLGHEHFDXVHÀGGOLQJDERXW Basic The problem with this work perfectly. Bear in mind if with the leg locks and the tripod approach is that while centrally your ‘borders’ are brighter or head only slows you down. Kit needed placed subjects offer interest, the darker so they complement rather • Canon EOS DSLR compromise is that the rest of the than compete with your main Also, unlike many other or EOS mirrorless frame can look empty and lack subject. Using creative framing WHFKQLTXHVQRH[WUDNLWOLNHÀOWHUV • Kit lens any real value, which is what stops takes a little time, but once you lighting or (as mentioned) tripods a good image from becoming a VWDUW\\RX·OOÀQGSRWHQWLDOERUGHUV are needed – all that is essential to truly brilliant one. This is where a wherever you look. The main trick capture an expertly and creatively technique called creative framing ZLWKWKLVWHFKQLTXHLVWREHÁXLG framed image is your camera, lens can come in very handy. and an artistic eye. 48 www.digitalcameraworld.com

VIEW THE VIDEO WATCH VIDEO ONLINE BETTER BORDERS http://bit.ly/pp_193_2 PROJECT 2 THE SETUP GET CREATIVE WITH FRAMING Get the right kit to set up your shot and prepare to capture the perfect moment 01 CANON EOS CAMERA 02 LENS CHOICE 03 VARI-ANGLE LCD SCREEN Make no mistake, any Canon camera is Although this technique can be done with Some older Canon DSLRs have fixed suitable for this technique. That said, a kit lens, an alternative optic that offers a screens, which makes lining up high or low newer cameras, such as the EOS R, would more versatile focal length can speed angle compositions really awkward. If you come in handy. And a bigger full-frame things up. We used a Canon RF 24-105mm have a Vari-Angle LCD, flip it out and this sensor enables you to crop images without – a zoom lens that enables you to adjust should make life much easier, speeding up compromising image quality. your focal length quickly. your framing using Live View on screen. 02 04 05 01 03 04 SPARE BATTERY 05 MEMORY CARDS 06 LOCATION Because a lot of this technique is based If you own a camera that features dual Although these techniques can be applied around positioning and then repositioning memory card slots, it’s well worth taking in any location, it’s worth stacking the to get the composition spot on, it’s wise to advantage of these. Recording the photo odds in your favour by visiting areas such pack an extra battery in case the extended to two cards in the camera, you can make as forests or coastlines, where there is use and constant Live View on the LCD an instant backup of the photo for an extra always a number of natural borders at drains your battery flat. safety net. your disposal. The Canon Magazine 49

WATCH VIDEO ONLINE VIEW THE VIDEO http://bit.ly/pp_193_2 PROJECT 2 TIP 1 KEY SETTINGS Our first task is to get the camera ready to shoot. As always when shooting landscapes, it’s preferable to use the Raw file format instead of JPEG, because this retains more raw tonal detail, enabling you to make more of the shadows and highlights in the scene. When it comes to shooting modes, this is down to personal choice, but we like to use the semi- automatic Aperture priority (Av) mode, as it lets us concentrate on choosing the right aperture value while the camera then works out the best shutter speed to deliver a balanced exposure – depending on the metering mode you’ve set. We also set the ISO value fairly low on bright and sunny days for better image quality. TIP 2 FOCAL LENGTH With a mid-aperture of around f/8 dialled in, it’s now time to choose your composition. Flip out the LCD so you can clearly view the scene, and then proceed to adjust your focal length to frame it up. One tip is that although you may be tempted to go as wide as possible, zooming in to around 60-85mm on a full-frame often gives a more compressed field of view, which can make more of the natural border around the frame. What’s more, extending that focal length gives the frame a sense of depth, which can add a professional feel to your shots. It’s at this stage that you should adjust the exposure compensation to balance the brightness of your subject and the frame if needed. 50 www.digitalcameraworld.com