Life in The Fast Lane Shoot The Rapids!: Free!

POP-UP VIDEOS view the v
ideo no.1 for canon DSLR users

Issue 105 • Oct 2015
super test!
best beginner
EOS cameras
750D, 700D, 100D & 1200D
massive
expert guide
make your
photos pay
today!
Build an online portfolio • Stock library secrets • Set up successful workshops

Discover your speciality • Sell your prints • Shoot the perfect wedding
dslr techniques
shoot the rapids! canon pro interview

Canon pro Guy Edwardes teaches you
how to capture wild waterfall photos life in the
fast lane
Drew Gibson on how to take
free!
unique motorsports shots
new lens tests

CANON CITY guide
& essential guide
to PORTRAITS ebook
super sigma
You won’t believe how sharp
worth £6.95 this 24mm f/1.4 wide lens is!
LIFE IN THE
FAST LANE
Brilliant professional
motorsports shooter
Drew Gibson reveals
his unique approach
to capturing the world’s
fastest cars on camera
Page 62
Our Guarantee
Welcome...
• We’re the only photo magazine in the
newsagent that’s 100% dedicated
to Canon EOS DSLR OWNERs so
we’re 100% relevant to your needs.
A
s editor of the biggest and best Canon DSLR photography
magazine, I get to meet lots of readers, many of which aspire to • We’re 100% independent which
‘go pro’ one day. Whether you have desires to become semi- or means we’re free to publish what we
fully professional, or are just interested in making a little pocket money feel is best for every Canon DSLR
from selling your images, our massive Make Cash With Your Canon photographer from beginners to
guide this issue will help you take your hobby to next level. Over 12 enthusiasts to professionals.
Peter Travers pages, it’s packed with expert advice on all you need to know, including
Editor success stories from those pros who have made it. See page 28. • We’re Canon enthusiasts and,
This issue landscape pro photographer Guy Edwardes teaches our with our contributors, we can offer
Apprentice how to capture wicked waterfall scenic shots (page 8) as they years of expert photography
both get wet and go wild in the Brecon Beacons in Wales. Talented experience. We’re always excited
motorsports photographer Drew Gibson reveals the Canon kit and to pass on what we’ve learned.
techniques he uses to capture truly inspiring shots of racing cars in this
issue’s interview (page 62). While in Canon School you can learn how • We’re more than just a print mag;
your Canon DSLR’s metering system works (page 82). you can buy PhotoPlus for
In our Canon Skills section we have some lovely new projects for you any digital device worldwide
to try, including how to capture beautiful black-and-white fine art nude via Apple iTunes, Google Play, Zinio,
photos, shooting and creating a time-lapse movie of a sunset, and great Magzter, Amazon Kindle, B&N Nook,
new Photoshop Elements, CC and Lightroom imaging tutorials. These are PocketMags or PressReader.
all backed up with easy-to-follow videos to help you really nail these new
camera and image-editing techniques. • Our Video Disc has the very best
As well our free videos, we’re giving you a free Essential Guide DSLR technique & Photoshop
to Family Portraits with your Canon DSLR ebook worth £6.95, and a free video Guides which can also be
Canon City Photo Guide on Madrid. More details over the page. viewed via our digital editions.
• We’re proud to use the World’s

top Canon photographers
and experts. Meet them on page 6.
New deals! Great print & digital edition subscriptions PAGE 26
The Canon Magazine 3

CONTENTS
40
70
28
Learn pro secrets
Make cash with

your Canon
Take your hobby to the next level with expert
advice from the very best pro photographers
Essentials Canon pros New tests

18 Inspirational Canon imagery 8 The Apprentice
This issue’s gallery section is given over
to close-up shots of flowers from the Garden
Overcast sky and chucking it down? Ideal
conditions for shooting waterfalls, then…
100 Gear Update
Kit out your Canon with an
assortment of must-have accessories
40
Photographer of the Year contest
David Noton On Location
26 Subscribe today
Pre-book a year’s worth of PhotoPlus
Our globetrotting travel photographer
spends a few days in the Canadian Rockies 102 Mini Test: gimbal heads
Swing your super-telephoto around
with ease with these specialized tripod heads
62
in print, digital – or, best of all, both…
The Canon Conversation
28 Make cash with your Canon
We examine how you can develop your
We put the pedal to the metal and grill
motorsports pro photographer Drew Gibson 104 Full Test: Sigma 24mm
f/1.4 DG HSM A
Sigma continues the roll-out of its high-end
78 My Kit
hobby into a nice little earner, from selling
stock shots to shooting weddings… David Clapp usually travels with
‘Art’ lenses with a sublimely sharp wide prime
70 Photo Stories
A selection of your very best
everything but the kitchen sink – we force
him to cut down to six must-have bits of kit 106 Super Test:
entry-level DSLRs
We pit Canon’s beginners’ lineup of
Canon School
photographs – and the stories behind them
EOS DSLRs against each other,
104
76 Focus Point from the 100D to 750D
82 Canon DSLR Essentials 118 Complete

This is the place for you to air your
views on the mag and all things photographic
Boss your Canon’s metering system Buyers’
129 Next issue
for spot-on exposures every time…
Guide for DSLRs
88 Software Solutions
Coming soon in your not-to-be-
missed next instalment of PhotoPlus… Selectively adjust colours in DPP and
and lenses
Every current Canon
130 Canondrum
share your shots via Image Browser EX
EOS DSLR – plus every
93 EOS S.O.S
Quizmaster Chris is even more
terrifying to pit your wits against than
that lot from TV quiz show The Chase
No Canon-related question is too big –
or too small – for our expert Brian to tackle…
available Canon-fit lens
from Canon, Sigma,
Tamron, Tokina and more!
4 www.digitalcameraworld.com
Issue 105 October 2015
THIS
MONTH’S
FREE
62
videos
106
9 ways to improve your photography today
44 48 50
Project 1: Light and pose Project 2: Construct a Project 3: Shoot simple,
a model for a variety of digital pinhole camera classic fine art stock
fine art nude images for your DSLR shots at home
Photoshop elements Photoshop CC
52 56 58
Free! The essential Project 4: Make the time fly Tutorial 1: Use Photoshop
by shooting and editing a Elements’ graphics to create
Tutorial 2: Core retouching
skills for professional-
guide to Family time-lapse movie

Lightroom
fantastic portraits
Canon DPP
looking portraits
Canon Image Browser EX
portraits
Free 161-page ebook dedicated to
Canon DSLRs users, worth £6.95!
Download your free copy from
www.ninabailey.co.uk/
60 88 91
pp/family.html Tutorial 3: Make your own Canon School: Selectively Canon School: Share your
prints at home using enhance and adjust colours favourite photos with Canon
simple templates and tones in Canon DPP Image Browser EX
Free! Official canon READ THE TUTORIALS… THEN WATCH OUR EXPERT VIDEOS
photo guides No.4 Magical Madrid Look out FOR THIS ICON!
Download the fourth of six
To view our ‘pop-out’ videos, tap these
ideo
view the v
Canon photo guides for
Europe’s most photogenic badges that appear alongside the tutorials
cities from our Video Disc inside the magazine, or type the link that
or from this handy link: appears alongside into your web browser.
http://downloads.
photoplusmag.com/
City_Guide_-_Madrid.pdf THE INFORMATION PROVIDED IN THESE VIDEO TUTORIALS ARE 100% INDEPENDENT
AND NOT ENDORSED OR SPONSORED BY CANON OR ADOBE SYSTEMS INCORPORATED

Meet the team...
Print 20,240
Digital 4,289
The ABC combined print, digital and digital
publication circulation for Jan-Dec 2014 is
24,529
A member of the Audited Bureau of Circulations
Who we are, what we do, and our favourite bits of issue 105… PhotoPlus: The Canon Magazine, Future Publishing,
Quay House, The Ambury, Bath BA1 1UA
Editorial +44 (0)1225 442244
photoplus@futurenet.com
Peter Travers Adam Waring The PhotoPlus team

Peter Travers Editor
Editor • 5D Mark III Operations editor • 7D Adam Waring Operations editor
Hollie Latham Technique editor
peter.travers@futurenet.com adam.waring@futurenet.com Martin Parfitt Art editor
Shona Cutt Deputy art editor
Angela Nicholson Head of testing
Peter often meets readers asking Adam’s a big nude photography Ali Jennings Lab manager
for advice on how to go pro fan, although we prefer him to be Cover photo iStock
– now he can point them to this fully clothed rather than in his Advertising & Marketing
Matt Bailey Account director
issue’s Make Cash With Your birthday suit when he’s the one 01225 687511 matt.bailey@futurenet.com
Canon big expert guide. Page 28 taking the photos. Page 44 Claire Harris Account manager
01225 687221 claire.harris@futurenet.com
Sasha McGregor Advertising Business Manager
01225 687675 sasha.mcgregor@futurenet.com
Hollie Latham Martin Parfitt Charlotte Lloyd-Williams Campaign Manager
Technique editor • 60D Art editor • 600D Production & distribution

Vivienne Calvert Production controller
hollie.latham@futurenet.com martin.parfitt@futurenet.com Mark Constance Production manager
Michelle Brock Trade Marketing Manager 0207 429 3683
Printed in the UK by: William Gibbons & Sons Ltd
Hollie was soaked to the skin after Martin adores pansies – dahlias Distributed by: Seymour Distribution Ltd, 2 East Poultry
going behind-the-scenes for our and hydrangeas too – and almost Avenue, London EC1A 9PT, Tel: 0207 429 4000
Overseas distribution by: Seymour International
Apprentice feature in rainy swooned when he saw this issue’s
Subscriptions & back issues
Wales. At least it meant the Inspirations was devoted to our UK reader order line & enquiries 0844 848 2852
waterfalls were flowing. Page 8 petalled pals in close-up. Page 18 Overseas order line & enquiries +44 1604 251045
Online enquiries www.myfavouritemagazines.co.uk
Email photoplus@myfavouritemagazines.co.uk
Angela Nicholson Tom Welsh Licensing

Regina Erak International director
Head of testing • 5D Mk III Technique writer • 5D Mk II regina.erak@futurenet.com
angela.nicholson@futurenet.com chris.george@futurenet.com Management
Nial Ferguson Content & marketing director
Matthew Pierce Head of content & marketing, photography
Angela was delighted to discover Tom enjoyed playing with Chris George Group editor-in-chief
Rodney Dive Group art director
that Sigma has produced a intervalometers while shooting his
top-notch Art lens in the guise time-lapse project, as well as
of a 24mm f/1.4 optic. It’s now getting out in the elements to
top of her wish list. Page 104 enjoy the sunset. Page 52
This issue’s contributors… Chief executive Zillah Byng-Maddick

Non-executive chairman Peter Allen
Chief financial officer Penny Ladkin-Brand
Tel +44 (0)207 042 4000 (London)

Guy Marcus David Drew Tel +44 (0)1225 442 244 (Bath)
Edwardes Hawkins Noton Gibson Printed in the UK by William Gibbons and Sons Ltd, on behalf of Future. Distributed by
Guy does Marcus shows This month Motorsports Seymour Distribution Ltd, 2 East Poultry Avenue, London EC1A 9PT. Tel 020 7429 4000.
Overseas distribution by Seymour International.
go chasing how to make David explains supremo Drew PhotoPlus is an independent publication and is not in any way authorised, affiliated, nor
waterfalls with this issue’s dosh with your DSLR, from why he dedicated four days talks about life in the fast sponsored by Canon. All the opinions expressed herein are those of the magazine and not
that of Canon. ‘EOS’ and all associated trademarks are the property of Canon.
Apprentice in the Brecon selling stock to shooting to shooting a lake scene in lane in the latest PhotoPlus © Future Publishing Limited 2015. All rights reserved. No part of this magazine may be
Beacons. Page 8 weddings. Page 28 British Columbia. Page 40 interview. Page 62 used or reproduced without the written permission of the publisher.
Future Publishing Limited (company number 2008885) is registered in England and
Wales. Registered office: Registered office: Quay House, The Ambury, Bath, BA1 1UA. All
information contained in this publication is for information only and is, as far as we are
David Andrew Brian Matthew 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
Clapp James Worley Richards retailers directly with regard to the price and other details of products or services referred
to in this publication. Apps and websites mentioned in this publication are not under our
David doesn’t Andrew tells Another batch Canon’s control. We are not responsible for their contents or any changes or updates to them.
know the you everything of your Canon beginners’ If you submit unsolicited material to us, you automatically grant Future a licence to
publish your submission in whole or in part in all editions of the magazine, including
meaning of ‘travelling light’ you always wanted to know problems solved by in our range of DSLRs are put licensed editions worldwide and in any physical or digital format throughout the world.
Any material you submit is sent at your risk and, although every care is taken, neither
but narrows his kit list down about metering but were EOS SOS Q+A section by through their paces in our Future nor its employees, agents or subcontractors shall be liable for loss or damage.
to six vital items. Page 78 afraid to ask. Page 82 brainbox Brian. Page 93 Super Test. Page 106
Our contributors Ben Andrews, George Cairns, David Clapp, David Clark, Guy Edwardes, Pete Gray, Drew Gibson,
Marcus Hawkins, Andrew James, Simon Lees, Andy McGregor, Andrew McLaughlin, Mike McNally, David Noton,
Victoria Palframan, James Paterson, Matthew Richards, Joby Sessions, Jesse Wild, Brian Worley We are committed to only using magazine paper which
is derived from well managed, certified forestry and
chlorine-free manufacture. Future Publishing and its paper
suppliers have been independently certified in accordance
with the rules of the FSC (Forest Stewardship Council).
PHOTOPLUSApprentice
Apprentice canon PRO

Name:
Name:
Sue Green Guy Edwardes
Camera:
Camera:
Canon eos 70D Canon EOS 5D Mk III
Sue is a freelance TV producer
Landscape, nature and travel
from Berkshire with a passion for
photographer Guy is based in
cameras, be it video or stills. She
Dorset. He has a passion for
has worked alongside many film
conservation and capturing the
and TV directors and cameramen,
beauty of the British Isles and
and now wants the opportunity
further afield. Guy runs an
to work on her own landscape
extensive series of over
photography. Having used film
30 landscape and wildlife
cameras in the past and recently
photography workshops each
upgraded to an EOS 70D, she
year, both in the UK and overseas.
asked for Guy’s help to get the best
To find out more and view his
out of her camera to take her
stunning work, see his website
photography to the next level.
www.guyedwardes.com
SHOOT WITH A PRO
Don’t go
chasing
waterfalls
…not until you’ve read our expert advice on capturing fast-
flowing falls as our Apprentice heads to the Brecon Beacons
in a very wet Wales with landscape pro Guy Edwardes
PHOTOPLUSApprentice
TECHNIQUE ASSESSMENT
Is Sue ready to shoot? Guy throws Sue in the deep end with a crash course in all things manual
M for Manual Shoot Raw

“Sue hadn’t shot in Manual mode since using her “For the best image quality, shoot in Raw. As its
film SLR a number of years ago, so a quick refresher name suggests, it stores all the data recorded by
course was all that was required to get her the camera’s sensor in a raw, unprocessed state,”
controlling the aperture and shutter speed says Guy. “The more file information you have, the
independently again for greater control,” says Guy. more control you have in post-production in order
“As our cameras were going to be set up on a tripod, to lift dark shadows, rescue clipped highlights and
I got Sue to set her ISO to 100 to ensure top-quality correct any nasty colour casts. However, the
shots and also got her to switch to manual focus for downside is that your memory card will fill up
more accuracy to capture pin-sharp images.” quicker as Raw files are larger in size.”
EXPERT INSIGHT
Love landscapes 03
with Live View 02

“There are many reasons why you should enable Live
View mode, not just for accurate focusing but also for
aiding composition and exposure,” explains Guy.
01 It’s much easier than looking through the viewfinder,

04
especially if your camera and tripod are in an awkward
position. Some models, like Sue’s 70D, have a flip out LCD
screen, which is even better! You see the whole scene too; 05
as many viewfinders don’t show a 100% view.
02 It’s simple to meter for different areas of the scene by 04 If Exposure Simulation is enabled you’ll see Exp.SIM in
moving your focus point (a white square) around the frame, the bottom-right-hand corner of the screen. This is great
which will give you precise exposure readings. This is great for for getting a good idea of how your shot will look using your
when you want to take more than one exposure to blend. current exposure settings.
03 The histogram is live, so you fine-tune your exposure to 05 The 10x magnification view is brilliant for accurate
make the most of the highlights or shadows easily, plus you focusing. Simply twist the focusing ring until the most
can quickly adjust your exposure if the light changes. important part of the image is pin-sharp.
HOT
SHOT
#1
Sue’s comment
For a strong
composition Guy
said to get down low and
including some foreground
interest to lead the eye into
the waterfall in the background. Guy suggested
if you don’t have anything of interest, find
something and move it – so he simply found a
big rock and placed it neatly in the foreground
of my scene! Guy said a shutter speed of three
seconds was long enough for this short
waterfall, so we upped the ISO800 for a good
exposure in this dark Welsh forest.
Lens Canon EF-S 10-18mm f/4.5-5.6 IS STM

Exposure 3.2 secs, f/16, ISO800
1/200 sec 1/2 sec
Top gear #1
Canon EF 16-35mm f/4L IS USM
Canon’s EF 16-35mm f/4L IS USM is Guy’s
go-to landscape lens on his full-frame EOS 5D
shutter speeds
Mark III, but on a crop-sensor camera, an
“I SHOOT waterfalls between 1/2 sec to 3 secs, depending
ultra-wide-angle lens is needed for a similar
on the size and speed of the falls, and to avoid the very
angle of view, such as the Canon EF-S 10-18mm
milky effect that you get from a longer exposure. If the light
f/4.5-5.6 IS STM Sue was using. “It’s great for
is low I will up the ISO so I can shoot at f/16 and 1/2 sec.
capturing sweeping scenes, and also allows us
In these example shots, the blurred water defines the shape
to shoot in confined spaces,” explains Guy. “It
of the rocks and flow of the water; whereas a faster shutter
will capture great depth of field, so your images
speed freezes the water and can make it look messy.”
will be sharp from front to back.”

PHOTOPLUSApprentice
Sue’s comment HOT

Here we have three waterfalls in one,
so it made sense to compose this SHOT
#2
shot vertically to get everything in. Guy
pointed out the foam in the pool at the bottom
of the frame and explained that a slightly
longer exposure would capture some lovely swirls. This meant
exposing separately for this area of the scene and combining
shots later. In the end this image was comprised of three
exposures; 8 secs for the foreground and 2 secs for the
waterfall. The third exposure was for the leaves at the top of
the frame to ensure they were nice and crisp. As we didn’t want
to adjust the aperture but required a faster shutter speed to
freeze the movement of the leaves, we simply upped the ISO to
1600 to get a shutter speed of 1/4 sec.
EXPERT INSIGHT
Wet weather gear
“The weather can
change at any
time, despite what Lens Canon EF-S 10-18mm f/4.5-5.6 IS STM
the forecast might
Exposure 1/4 sec, 2 secs & 8 secs, f/22, ISO100
say, so come
prepared!”
exclaims Guy.
“A good pair of
walking boots is
essential, as is a
Top gear #4
pair of wellies in Tripod & head
case you need to
wade into water. “A tripod is vital when
To save on space, shooting long exposures,
weight and time and the sturdier, the
I use waterproof better!” says Guy. “My
overboots called Feetz (£10; www.feetz.co.uk) BH55-Pro ball head
that I slip over my hiking boots. I also carry a enables me to quickly
lightweight waterproof jacket, which folds change the orientation
up really small. When it’s really wet, I use my of a composition, and
waterproof cover to protect my camera bag spikes on my tripod
from the rain. A bin bag is handy to pop over feet anchor it into the
your tripod-mounted camera in case of a sudden ground, which is great to
downpour, as well as after the shoot to chuck secure it in place in mud,
wet clothes and boots in!” water and heavy foliage.”
HOT
SHOT
#3
Sue’s comment
To capture a close-up
shot, Guy suggested
switching to a longer focal
length and zooming into the
details and patterns in the
waterfall. We were standing at the top of this
one, so a focal length of 88mm was long
enough on my 70D. Guy says he often uses his
600mm to capture similar close-up shots, to
compress the perspective and capture lots of
layers. A shutter speed of 0.4 sec was slow
enough for this fast-flowing falls.

Exposure 0.4 sec, f/22, ISO100
13
PHOTOPLUSApprentice
EXPERT INSIGHT Shoot waterfalls
Be grad-free whatever the weather
Guy avoids ND grad filters
and prefers to blend his shots
A selection of Guy’s favourite waterfall shots
in Photoshop instead…
Slap Pericnik, Slovenia

If the temperature remains well
below freezing for several days
waterfalls can freeze, resulting in
spectacular icicles – but beware
1. Take two exposures – one for the
the dangers of falling ice!
darker foreground and one for the
lighter waterfall. Open both images
into Photoshop and copy and paste
the lighter exposure as a separate
layer onto the darker exposure.
Seljalandsfoss, Iceland
For waterfalls with a really long
drop, such as this famous
Icelandic fall, set your exposure
time approximately the same as Sgwd-yr-Eira, Wales
the length of time it takes the Although overcast light
water to fall from the very top generally works best for many
of the waterfall to the bottom. waterfalls, some nice effects,
This will result in a smooth and such as rainbows or illuminated
unbroken fall of water. spray, can be seen on sunny days.
2. In the Layers panel you should see

both exposures, with the lighter one
at the top of the stack. Add a layer
mask to this top layer, grab the Brush
Top gear #3
tool and pick a soft-edged brush. Polarizing filter
“I don’t tend to use
filters but a polarizer is
a must when shooting
waterfalls,” says Guy.
“It helps to cut through
reflections in the water
and on wet rocks and
leaves, and saturates
the colours of foliage.
It also reduces the light
entering your camera,
3. Make sure your foreground and
making longer
background colours are set to black
exposures of a second
and white. Paint in black at 100%
or two very achievable,
opacity over the waterfall and bright
without the need of an
foliage to reveal the darker exposure
additional ND filter.”
on the layer beneath.
SHOOT WITH A PRO
HOT
SHOT
#4
Sue’s comment
Guy got me to
change my white
balance setting to Cloudy
as it was getting late in
the day (which normally
results in a bluish light). Due to the angle
we were standing at I had to shoot down
at the waterfall, so Guy suggested shooting
it a little wider so we could correct the
converging verticals of the falling water
later. He explained that correcting
perspective in Lightroom means that you
lose part of the image through cropping,
so I composed with this in mind.

Exposure 0.6 sec, f/8, ISO400
Weather conditions
“There’s no need to wait for sunny
conditions to capture magical waterfall
shots; in fact, the duller the better. Bright
light means faster shutter speeds, which is
what you don’t want when shooting long
exposures,” explains Guy. “It also casts dark
shadows and blows out highlights. Heavy
rainfall means fuller waterfalls; if it’s been
particularly dry, you’ll find pathetic dribbles.”
Top gear #5
Self-timer mode
“You need to minimize
any camera vibration
during the exposure,”
wisely advises Guy.
“I recommend using the
2-sec Self-timer to fire
the shutter, rather than a
remote shutter release, so there are less things
flapping around in the wind.”

Win Landscape Calendars
by pro guy edwardes!
This calendar includes a dozen beautiful photos
from Guy’s stunning collection of landscapes
from around the world. With the images printed at
almost A3 size (50x30cm), they can be removed
and framed after use. For your chance to win one
of ten limited-edition calendars, go to
www.futurecomps.co.uk/calendar
To see more of Guy’s work or to find out more about
the calendar please visit www.guyedwardes.com
Sue’s comment Guy’s verdict

I had a fantastic day Sue was very
with Guy and the enthusiastic and
PhotoPlus team, it was such a picked things up quickly. For
good experience and I learnt a first attempt at shooting
so much. This shot was taken waterfalls on her new 70D, the
fairly early on in the shoot when I was getting a results are impressive. She has used the rule of
recap from Guy on shooting manually, so I’m thirds to compose the scene, making use of the
really pleased it’s been awarded Shot of the foreground interest for two thirds of the frame
Day! For me, the large branch and moss- and positioning the waterfall in the top third to
covered stones in the foreground make the avoid capturing lots of green foliage above it.
shot, leading the eye in nicely. Here I took two The rocks and large branch in the foreground
exposures, one for the foreground and another lead the eye in and the polarizer has cut
for the waterfall to combine, which is a new through the reflections in the water to reveal
concept to me, yet surprisingly simple. the beautiful colours and details of the riverbed.
By combining two exposures, Sue has achieved
a balanced exposure, and she has captured Lens Canon EF-S 10-18mm f/4.5-5.6 IS STM
some nice swirls in the foreground by setting a
Exposure 1 sec, f/22, ISO100
slightly longer one-second exposure.
Next Month LIVE RUGBY MATCH
SHOT
of the
day!
Be our next
apprentice
Do you need some
help to take your
Canon photography to
the next level? Let us
know what you’d like
help with and we could
pair you up with a top
pro for the day! Send an
email to photoplus@
futurenet.com with
‘PhotoPlus Apprentice’
in the subject line, and
include your telephone
number and address.

Stunning imagery from the world of Canon photography
These Canon images were placed or highly

commended in the International Garden
Photographer of the Year Macro Art Photo
Project competition 9. Visit www.igpoty.com
for more information about International
Garden Photographer of the Year.
fantastic CANON photography
01 Graceful Anemone by Janice Kum

I bought this Japanese anemone from
the florist – I was attracted by its long,
delicate petals, its pure colour and the
central stamens. I placed it in a vase on
my balcony and the sunlight shone right
through, carrying the light from some
pink roses behind onto the back of the
anemone. It was fantastic having the
contrasting background to reveal the
form and the details of the petals.
Lens Canon EF 100mm f/2.8L Macro IS USM
Exposure 1/400 sec, f/2.8, ISO100

INSPIRATIONS
02
03 02 Stitchwort by Mandy Disher

A small patch of these delicate spring
flowers, stellaria holostea, grow in my
garden; they are more commonly known
as stitchwort or poor man’s buttonhole.
I photographed a single bloom against a
brightly sunlit natural background; I was
attracted to the wonderful delicacy
of these tiny woodland flowers, and
the way in which their pure white star-
shaped petals contrasted beautifully
with the small orange anthers.
Lens Canon EF-S 60mm f/2.8 Macro USM
Exposure 1/160 sec, f/4, ISO100
03 Bowl of Beauty by Roy Hunt

This peony is growing in a garden that
I tend for a client. Looking closely into
the bowl of petals I was struck by the
apparent animation of the anthers.
Lens Tamron SP AF 180mm f/3.5 Di LD[IF] Macro 1:1
Exposure 1 sec, f/8, ISO200
fantastic CANON photography
04 Meteoroids by Christine
Blanchin dos Santos
Looking through my macro lens,
these strange seeds trapped
behind a glass pane magically
transported me to their micro
cosmos. I had never seen such
seeds, and I was fascinated by
their unusual shape. I wonder
about their origin too; there’s an
aura of mystery about them.
05 Enchanted Forest by
Anna Ulmestrand
I photographed this fern,
which reminds me of a boxer
because of its shape, through
and between plant parts, and
the effect of this natural filter
appears to have been painted
around it. The photo was taken
in the afternoon when the sun
was low, highlighting the fern.
Lens Tamron SP AF 90mm f/2.8 Di Macro 1:1
04
05
04

INSPIRATIONS
06 Last Embrace by Minghui Yuan

Dandelion seeds fly away in the wind. They
leave the ‘mother’, and fly to another place
to begin a new life cycle of their own. I find
such inspiration in nature: even ordinary,
everyday events like this convey emotion.
Lens Tamron SP AF 90mm f/2.8 Di Macro 1:1
07 Anemone by Barbara Gardner

This photograph of an anemone was
achieved by focus-stacking 11 images to
show the flower’s beauty and detail in
perfect focus. A close-up study reveals
more detail than can be seen with the
naked eye, and I wanted to capture
this detail in my photograph.
Lens Canon EF 100mm f/2.8 Macro USM 06
07
INSPIRATIONS
08 Androecium by James Woodend

I picked several flowers from the plant
rhododendron lees, and pressed them
between regular stationary paper and
a sheet of blotting paper. I heated the
arrangement in a Microfleur microwave
flower press before photographing it.
Subscribe today
Not in
the UK?
Tu
rn to
page 92
Whether you want PhotoPlus

delivered to your door, your
device, or both each month
we have these great offers
to choose from…
Get a
sub from
£45
Print offer Digital offer
Save up to 24% on the shop price Available on Apple and Android
Free gifts each issue, including a Interactive content: pop-up
Video Disc packed with tutorials video and image galleries
Every issue delivered direct to Keep every issue on your
your door each month tablet or smartphone and
Free PIXI Mini Tripod worth £24.95* search each issue easily
From £54 Gifts included in issue
From £45
Subscribe online now

www.myfavouritemagazines.co.uk/PHPixi
26
Subscription offer
Free Manfrotto The Manfrotto PIXI tripod is

perfect for entry-level Canon
PIXI tripod DSLRs with a kit lens – it can

support a payload of up to 1kg,
when you subscribe to and is the perfect go-anywhere

support when used atop a wall.
Print + Digital offer

Save up to 54% on the shop price
Print copy to read at leisure plus
digital edition to archive
Free PIXI Mini Tripod worth £24.95*
From £63
Great
free gift*
TERMS AND CONDITIONS: *PIXI Mini Tripod comes with print and print + digital subscriptions to PhotoPlus
for new UK customers only. Prices and savings quoted are compared to buying full-priced UK print and digital issues.
You will receive 13 issues in a year. If you are dissatisfied in any way you call us to cancel your subscription at any time
and we will refund you for all unmailed issues. Prices correct at point of print and subject to change. Gift is subject
worth
to availability. Please allow up to 60 days for the delivery of your gift. In the event of stocks becoming exhausted, we
reserve the right to replace with items of a similar value. Full details of the Direct Debit guarantee are available upon
request. Prices correct at point of print and subject to change. For full terms and conditions please visit:
£24.95
myfavm.ag/magterms. Offer ends 15 October 2015.
*
With our UK print and bundle subscription
27
learnprosecrets
Take your hobby to the next level with expert

advice and success stories from the very
best professional photographers
Make cash with your canon
MASSIVE
EXPERT G
UID
• Set up brilliant online p E
• Build a
suc ortfo
• Essenti cessful skills wor lio
al sto ksho
• Discov ck library secre ps
er your s ts
• Shoot th pe
e perfect ciality
• Sell you wedding
r prints
W
e’d find it hard to Over the next 12 pages you’ll find of cracking, commercial images.
believe that any a comprehensive guide to getting But it can be done. For instance,
PhotoPlus reader started. We’ll show you smart ways combining your other interests
first picked up a in which you can make money with with your photography can put you
camera with the your existing photographic ahead. Do you have an in-depth
intention of turning it into a portfolio, and how to shoot a fresh knowledge of fishing? Mad for
cash machine. In fact, we’d put stock of images that sell. martial arts? Have the hots for
money on it. We’re in it for the art, We’re going to be realistic too; dogs? You’re more likely to pick up
escapism and enjoyment, right? don’t expect to be inundated with sales if you’re a big fish in a
The thing is, photography can be commissions when you take your specialist pond. Don’t overlook the
an expensive business. All the first steps into the world of opportunities close to home, either.
travelling. All the shiny new lenses freelance and semi-professional Offering to shoot your company’s
and accessories. Software, storage, photography. Only a lucky few corporate headshots or a local
prints… it can soon start to mount social media-savvy photographers hairdresser’s marketing photos may
up. So, if you can use your camera can boast of ‘overnight’ success. In generate enough word-of-mouth to
to earn yourself some extra cash to reality it takes time to build a name start the ball rolling. Turn over the
splash on new gear, then why not? for yourself, as well as a collection page for more easy first steps…

learnprosecrets
Your web presence makes
the biggest first impression with
your potential customers
It will be easier to build a reputation

if you specialize in the type of
photography you love shooting, rather
than being a ‘jack of all trades’
Get started today

to be too ambitious; topping up your blog
once a month is perfectly acceptable for a
dedicated photographer. But the more
effort you put in, the faster your following
will likely grow. If you can upload a
picture a day, whether it’s fresh and hot or
You don’t have to invest a lot of time to begin making cash from your one pulled from your archives, then you’ll
photography – there are some simple steps you can take right now… keep visitors coming back for more.
Build a presence online
W
hen you’re setting out to alongside your contact details through Be active on social media, too. The likes
make money from your to a fully-functional website and blog of Facebook, Google Plus, Twitter and
camera, you need to keep with private client area and browsable Pinterest are your biggest marketing
your business head stock library with e-commerce facilities. opportunities, and the bigger the fan-base
screwed on. There’s no need to splurge As a minimum, you should have a web you can build for your work, the greater
on new kit and you should avoid offering presence on photo-sharing sites such the opportunity you’ll have for making a
your services for free, otherwise clients as Flickr and 500px, with a link to a sale. Remember internet etiquette: follow
will grow to expect it. Facebook page dedicated to your everyone who follows you, and ‘interact’
While business cards from the likes of commercial photography interests. and strike up conversations rather than
Moo (www.moo.com) give a professional The key is to make it easy to get in simply posting links to your own pictures.
touch, these days it’s the state of your web touch with you and to stay active. There’s You’ll have to get your head around
presence that makes the biggest first no point in starting a blog if you don’t SEO (Search Engine Optimization) if
impression with potential customers; it’s keep it updated; if the last entry was you’re going to start attracting large
essentially your shop window. It could be made in 2013, then the consensus will be numbers of visitors to your site. Your
a simple online portfolio presented that you can’t be bothered. You don’t need pictures will be invisible to users
Useful Make sure that you have the necessary insurance cover. We’re not just talking for your equipment, but public liability insurance. It covers
you should a member of the public seek compensation for an injury or damage caused by your business activities – such as tripping over
to know a tripod leg. Firms with bespoke plans for photographers include Aaduki (www.aaduki.com) and Photoguard (www.photoguard.co.uk).
searching for images online, unless you

give them keyword-rich filenames and
captions. Starting a blog through a
popular service like Wordpress
(http://wordpress.com) is a great way
of bringing visibility to your portfolio, as
you’ll have scope for targeting keywords
and phrases that you want to rank for on
search engines like Google; such as ‘best
British landscape photography’ or ‘cool
London photo prints’. You can be up and
running with a ‘responsive’ Wordpress Pro advice
theme (which adapts your website to the
dimensions of the device it’s being viewed
David Newton
www.photopositive.co.uk
on automatically) in a weekend. There’s a
huge assortment to choose from, and Upload images to photo-sharing site 500px and you can make
Photographer and expert
plenty of gallery styles and commercial them available through its royalty-free sales licensing service
Canon tutor David Newton
plug-ins with which to customize your
has steadily built up a
website. You’ll have to pay for the more shouldn’t stop you from offering a
reputation in education.
advanced features, but the basic training service on your local patch if you
He reveals: “I began training
Wordpress package itself is free. have a gift for teaching. “The most
people who contacted me
Once you’re up and running with a important lesson I’ve learned with
through a publication I wrote
website, you can start offering image running workshops is to try to cater for
for and a forum I set up. That
licensing and print sales to the world. all levels of experience,” says pro wildlife
gradually caused work to
The majority of professionals also offer photographer Ben Hall. “Organizing and
grow by word-of-mouth. I built
training in some form to supplement their planning is also vital. I take clients to
a website where people could
commissioned work and print sales. This areas that I know well, or I do a thorough
get more information and
typically ranges from one-to-one tuition recce beforehand. Having a good
contact me to book sessions;
by the day, to group workshops and knowledge of a location is critical.”
since then it has been a very
accompanied tours and holidays. If you’re as confident in front of a
organic growth. The training
Naturally, being an established name camera as you are behind it, then starting
seminars and workshops
helps to attract bookings, but that a YouTube channel is another money-
I give for Canon at various
making and marketing option. Whether
dealers helps as this gets
you’re delivering a verdict on a lens,
me in front of more people
explaining a photography technique or
regularly. The best advice
providing a Photoshop tutorial, as long as
I can give is to find your own
you upload original content you can start
niche. My training is different
to earn revenue from advertising.
to others as I don’t teach
And talking of videos, don’t overlook
creativity but concentrate on
the video function of your camera. Photo
the camera kit – most people
libraries are morphing into multimedia
don’t make the best use of
outlets, and being able to supply moving
what they’ve got. People go
pictures as well as stills means that you
away having learnt something
can double your chances of making a sale
concrete about their camera
from the same shoot.
that they can use in any
situation. Be willing to share
everything you know – too
many people are precious
about knowledge. If they
don’t learn it from you, they’ll
learn it elsewhere, so you may
as well teach whatever you
can. That way they go away
happy and are more likely to
come back, not to mention
tell their friends about you.”
You may not be equipped to run a group
workshop when you’re starting out, but Flickr’s a useful way of building a reputation and
one-on-one training is certainly an option contacts – and to direct visitors to your website
Do’s & Do… make it easy for potential clients to get in touch – add an email address to all your online channels,
as not everyone wants to fill out an online form to enquire about your work.
Don’ts Don’t… forget to ask for endorsement from satisfied customers that you can use for marketing purposes.

learnprosecrets
Making gains in T
he stock photography market
may appear to have crashed,
but having images available
to buy online is still one of
the stock market

the few ways you can earn cash
from your camera while you’re
asleep. Only a very few photographers
can rely on it as a major source of income;
you need to be committed and able to
produce commercial work consistently
Do you have a brilliant back catalogue of commercial images? Able to to make a decent amount of cash.
There are three main routes for
spot trends and think laterally? Crafty with keywords? Then stock reaching clients: through a regular photo
photography might just be your calling… library, a microstock collection or your
own website. To sell your pictures
through a commercial photo library,
When ‘keywording’ think you’re likely to have to submit a batch
in terms of emotive of test shots before being accepted.
words as well: ‘peaceful’ For instance, Alamy – which claims to
and ‘calm’ would apply to be the world’s largest stock photo
this image just as much collection – requires four shots ‘of varied
as ‘trees’ and ‘landscape’ subject matter’ to evaluate for technical
quality. Once you’ve passed this stage
only a sample of pictures are checked in
each subsequent submission – although
the whole batch will be rejected if one
shot fails to make the grade.
Microstock behemoth, iStock by Getty
Images, requests just three samples of
your work to check when you apply to be
a contributor, while the submission
process for Getty itself is much more
stringent. It is the dominant force in
worldwide premium stock, after all.
Of course, you don’t have to approach
the big libraries. If you specialize in a
particular field, then chances are there’s
a photo library dedicated to suppling that
type of image. For example, if you have
an eye for wildlife photography, then a
collection such as Nature Picture Library
(www.naturepl.com) will be more likely
to attract the type of customer you’re
trying to reach. Smaller agencies will
only want to represent your work if you
If you specialize in a
particular field, chances
are there’s a dedicated
photo library
Upmarket photo libraries, such as Alamy, have
higher standards than ‘microstock’ libraries
Useful One decision you’ll need to make is the type of licence you want to apply to your work: rights-managed or royalty-free. With rights-managed
photos, the client is essentially renting your image for a specific purpose. This allows the stock library to control where the image is seen
to know and for how long. Royalty-free means the customer can, within reason, use the image where they want to, as many times as they want to.
Make sure you upload seasonal
shots well in advance of the
season they’re depicting…
The British Association

of Picture Libraries and
Agencies has links to
large/small stock libraries
at http://bapla.org.uk
can offer a fresh approach or supply visible within the thousands of other Pro advice
images they don’t already have. Many images in a commercial library. Think
publish a specific ‘wants list’ of images about the words and phrases that people
David Clapp
www.davidclapp.com
they’re short of, and this can be a route in. are going to be searching for. Don’t think
simply in terms of descriptive words for
Photographer David Clapp
Stock library cheats the subjects depicted in a photo. Consider
has built up a successful
When it comes to submitting images to listing any photographic techniques, the
stock photography business
a stock library it pays to think in terms of type of camera or lens and any relevant
and explains: “My first
concepts and metaphors rather than just conceptual descriptions, such as ‘love’,
contract in 2006 came from
uploading pretty pictures. What are the ‘power’ and ‘growth’. And it is important
being spotted by a picture
major national and international stories to be relevant; any keywords should be
agent but a lot of this was
you could illustrate in a conceptual rather clearly portrayed in the image rather than
done over the phone, which is
than literal way? Keep a running calendar loose interpretations, otherwise you’ll
the best way to progress all
of upcoming events for the next year or simply frustrate potential customers.
business. This helped me to
two that you could ‘shoot to brief’ for. Think about the end use of your images
refine my aims and head
You will need to be meticulous when it if you want to maximize your potential
towards a commercial look
comes to metadata. You’ll need to add for a sale, too. Magazine designers
that other companies and
titles, keywords and captions to your looking to incorporate image into a layout
agencies could use. I began
images in order to make your image may be searching for pictures that have
to research architectural
space for headlines and text. Make sure
agencies and travel agencies,
you always shoot a vertical shot too, as
building a portfolio to
you increase your chances of an image
represent me. It’s harder
being used on the cover of a magazine.
now, because microstock
When it comes to the financial side of
sites changed the value of
things, you’ll need to factor in the
rights-managed and royalty
commission that a library will take for
free-imagery. If you want to
each image sale. For instance, Alamy
succeed then it is important
currently offers photographers 50% from
to shoot subject-specific
every sale while iStock pays a basic rate of
content. Most agencies will
15% for each file downloaded using its
highlight what it is they are
iStock Credits or Pay As You Go pricing,
looking for. You can’t just
with that fee boosted to 45% if you
take the photos and think
become an Exclusive contributor.
money will roll in. Diversity is
Microstock is cheap, though, so the
the key, it takes time to refine
amount of money you can make from
your aim and build stock.”
Join the Fotolia library (https://en.fotolia.com) and you can sell each sale is considerably smaller than on
your images through Adobe Stock, a service embedded in Adobe’s a regular photo library – although you’re
Creative Cloud apps, such as Photoshop CC likely to make a sale more often.
Do’s & Do… get signed model and property releases for your stock images. You can download an example model
release from the Royal Photographic Society website at www.rps.org/learning/resources/downloads.
Don’ts Don’t… include recognizable trademarks or copyrighted works as it’s likely to be rejected by a library.

learnprosecrets
Selling
prints
Pictures on the internet come
and go, but a good print can
be enjoyed for a lifetime.
Here’s how to sell yours to an
international audience
S
cooping up Likes on social
media is great, but it’s hard
to beat the satisfaction you
get from someone choosing
to buy one of your prints to hang
on their wall.
When it comes to selling prints you can
start small-scale and keep it local. You’ll
often find that coffee shops, restaurants
and bars will be willing to display your
images in return for a cut of the selling
price. You’ll have to offer them the prints
on consignment. This means that you
continue to own them until they’re sold,
at which point the retailer will split the
revenue with you. This can be anywhere
from 70:30 in your favour to a 50:50
share. Draw up a contract before you
hand over the images. It should detail the
prints, their retail price and how this will
be split and paid, and which party will
cover any damage while the pictures are
on display, as well as the length of time
they’ll be on show. Typically, you’ll have
to collect any unsold photos between Getting your work printed
three and six months later. commercially will save you time,
Building up a relationship with a even if it doesn’t save you money
gallery is even better. You may have to
work harder to convince them to display
your work and the fee structure may be more complex and potentially higher cheap – stick with A4 size as this makes a
compared with using the walls of your big difference to the price – but it’s worth
local cafe. But you’re likely to be able to getting it done professionally when you’re
Putting on an charge more for your pictures, as well as
getting your work in front of people who
putting on an exhibition or looking to sell
through a gallery.
exhibition is an obvious will be in a buying mood.
Putting on an exhibition is an obvious
An alternative hands-on approach is to
take a stall at a craft fair, a market or a
way of getting your way of getting your prints out there, but
you’ll have to weather a considerable
local art event. Again, this is going to take
a substantial initial outlay on your part,
prints out there upfront cost. Printing photos and getting
them mounted and framed doesn’t come
particularly if you’re looking to offer
prints, canvases, calendars and more.
Useful There are several ways to market photo calendars. You can print your own, but it’s not easy to estimate how many you’ll sell. A print-on-
demand service like Calvendo (www.calvendo.co.uk) might be a better option, although you’ll only get up to 30% of the revenue. Or register
to know as a photographer with a calendar company such as Carousel Calendars (www.carouselcalendars.co.uk) or Judges (www.judges.co.uk).
Canon’s PIXMA PRO-1 boasts

gallery-quality A3+ prints in
under three minutes, but at
2.3x1.5 feet and getting on
for 30kg, it’s a beast Pro advice
Geoff Scott-Simpson
Consider asking another photographer to
www.geoffscottsimpson.com
get involved, as this will shave the costs
and spread the risk, as well as halving
Nature photographer Geoff
the amount of work you have to do!
Scott-Simpson has taken the
Of course, any freelance photographer
bold step of setting up
worth their salt will offer picture sales
galleries to sell his prints
through their own website. Doing this
through. “It was my intention
enables you to print on demand, reducing
to open a series of galleries
both your outgoings and your storage
initially in the UK but, having
requirements. If you intend to print the
moved to Spain in 2011,
images yourself, then you’ll need an
I decided on my doorstep
inkjet printer that offers high-res printing
would be a more sensible
in the region of 4800dpi and is capable of
idea,” he reveals. “Now we
churning out A3 borderless prints. You’ll
have two showroom galleries
also need to factor in long-life ink and
If you fancy selling a photo calendar without paying printing costs in Ronda and Gaucín, with a
media to ensure your pictures will stand
up front, Calvendo prints to order and takes care of transactions third gallery planned to open
the test of time.
next March in Marbella. With
high-quality commercial colour bureau
so many people owning a
Cut your costs locally will enable you to keep tabs
digital camera and/or a
When you consider the running costs of on the quality and turnaround times,
smartphone these days and
such a printer – a complete set of inks for although that shouldn’t put you off
internet print services readily
Canon’s flagship £799 PIXMA PRO-1 will using an online photo lab, such as
available, your pictures have
set you back almost £280, for example Loxley Colour (www.loxleycolour.com)
to up there with the best and
– as well having to negotiate the or Whitewall (http://uk.whitewall.com).
it’s important to produce
minefield of calibration, printer profiles Look for recommendations on forums
idiosyncratic work – only that
and test prints, then the higher price of or from professional photographers.
way can you ever hope to sell.
getting prints made commercially can If that sounds like hard work then you
Depending upon your
start to look acceptable. Using a reliable, can always create a website with a
intended clients I would
hosting company such as SmugMug
strongly advise to shoot local
(http://smugmug.com) that enables you
scenes. Living in a tourist
to integrate photo lab ordering on your
area, our Gaucín gallery is
pages, so that you can offer wall art and
all about scenes of the castle
gifts such as mugs, ceramic tiles and
and view to Africa, while
keyrings. You set the profit you want to
Ronda is about the town’s
make while they take care of credit card
world-class architecture and
processing and fulfilment.
its culture. Above all, know
Websites like Fine Art America
your customers’ spending
(http://fineartamerica.com) and
ability. It’s no good being
Redbubble (http://redbubble.com)
overpriced and equally it’s
work in a similar way, offering a range
no good being underpriced.
of products that you can add your images
Collect email addresses,
to, while they take handle the ordering
send out a monthly
and customer care. Alternatively, if you’re
newsletter and be proactive.”
looking for place to sell your existing
Smugmug enables you to create a website, upload your pictures prints, you can try an Ebay-style arty
and sell them to the public – and keep up to 85% of the markup marketplace like Etsy (www.etsy.com).
Do’s & Do… ensure that images that will be viewed closely will print at a resolution of 300dpi at the size required.
Don’t… assume that your monitor is displaying colours correctly. Calibrate it using a device such as
Don’ts Datacolor Spyder and use the correct printer profile.

learnprosecrets
Your first
wedding is likely to
be a nerve-shredding
experience
Shoot the perfect wedding

Shooting a wedding can be a daunting experience – there are no second chances if you take any
duff shots – but everyone’s got to start somewhere. Here’s how to approach your first one…
D
espite the proliferation of promote your work. If you enjoy the using nothing more than an iPhone, most
smartphones and on-the-spot experience then lining up your first job Big Days will require wide-angle,
social media sharing seen at can be as easy as letting people at your standard and telephoto shots covered off.
the average wedding, the place of work know about your talent, Pro wedding shooters can often be seen
appetite for a professional advertising in local press (or shooting with the ‘holy trinity’ of Canon L-series
photography doesn’t appear to a story for them for free in return for zooms (EF 70-200mm, 24-70mm and
have diminished. Shooting a wedding a plug) or creating a dedicated website. 16-35mm) along with fast prime lenses
is a rite of passage for many pros, and As with any debut, your first wedding is that offer wide maximum apertures for
while the competition may be stiff, you likely to be a nerve-shredding experience. working inside the dimly-lit church,
can squeeze in the odd weekend wedding Digital cameras have made it mildly less registry office and for the evening do.
or two during the year without taking stressful; instant playback, histograms
food from another photographer’s plate. and Raw files take some of the heat out Pro gear on a budget
Don’t consider offering a wedding of the white dress/black suit exposure You don’t have to splash out on lots of
photography service unless you’re totally conundrum. Don’t underestimate how expensive glass; you can always hire
confident you can handle it. Not only will much editing you’ll need to do, either. Pro lenses to fill any holes you have in your
you need to be brilliant with people, with wedding photographers typically offer lineup. Companies such as Lenses for Hire
the ability to usher a large group of anywhere up to 500 high-res pictures as (http://lensesforhire.co.uk) offer a
people into the necessary positions, you’ll part of the package, so you’ll need to diverse range of rental EF lenses that can
also need to be on top of the technical brush up on your batch-processing skills. be delivered straight to your door. The
side of things so you’re not checking Lightroom makes easy work of this, and trick is not to take so much kit that you
every single shot you take on the spot. enables you to quickly apply commercial- spend longer thinking about which lens
For a feel for what’s expected, offer to looking presets to the entire shoot. to attach to your camera than you do
shadow a full-time wedding photographer You’ll also need a decent range of kit, getting the shots. And there’s also the
as a second shooter. You may even be able either bought, borrowed or hired. While it small matter of turning a profit! Do make
to use the pictures you produce to may be okay to shoot a hipster wedding sure you hire a second camera body,
Useful The Society of Wedding and Portrait Photographers (http://swpp.co.uk) represents photographers in the UK and Europe. Membership
ranges from £60 to £120, depending on your level of service, and there’s a no-fee complimentary preview. As well as organizing seminars,
to know competitions and a mentoring programme, it offers reduced insurance rates and the chance to advertise your services on its website.
Pro advice
Victoria Grech
www.victoriagrech.com
Wedding photographer and

Discuss with the couple what type of
filmmaker Victoria Grech
images they’re looking for: Formal?
explains: “I never intended to
Candid? Instagram-style filtered?
be a wedding photographer
This will determine your approach,
but after taking some
both photographically and digitally
additional images at a
friend’s wedding, who
identical to your own Canon EOS, though. images. Some photographers also supply
hated her professional
Not only will this allow you to carry two low-res images that can be shared on
photographer’s work, my
different lenses at once, but it’ll be a Facebook and other social media. Gone
business was born. I shot
backup should the worst happen with are the days when the photographer
over 50 weddings with as
your main one. maintained total rights over the images,
many photographers as
As far as making preparations for the although you’ll need to retain the rights
I could to fully understand
day, you’ll need to meet with the bride to use images to promote your work.
their style and how they
and groom to discuss their requirements
interacted with their clients;
well in advance. Get a running order for
I took the things I wanted my
the day and prepare a checklist of shots
brand to embody and
as it’s easy to miss important little details,
implemented those in my
such as the bride’s shoes and table
own business. Always putting
decorations. Keeping these printouts in
the client first became my
a lanyard will ensure you’ve got them
secret to success. I shot 52
close by for reference.
weddings in my first year in
Ideally you’d visit the wedding venue
business and ended up
ahead of time, too, so you can scout
£16,000 in the red because
suitable locations and predetermine
I never learnt to price and run
exposures. You can also find the best
a business. The clear
place to park; the last thing you want
difference in successful
to do is get boxed in when you’re trying
people in our industry is to
to zip between locations.
become a business owner in
The big question for many wedding
the photography industry
photography newcomers is how much to
rather than ‘just’ a wedding
charge. The answer really depends on the
photographer. Mindset will
level of service you’re prepared to offer.
set you apart from the rest.”
Prices from full-time pros typically range
from £600 to £3000, with the higher-end
of the scale reflecting a complete package
of pre-wedding or engagement shoot,
full-day coverage from preparations to
the first dance, a luxury photo album
and more. No matter where you pitch the You’ll need a range of top-quality optics and a
price, your clients will expect the high-res second body – if you don’t own them, hire them
Do’s & Do… consider getting some training with a reputable company such as Aspire Photography Training
(www.aspirephotographytraining.co.uk) if you’re confident that wedding photography is an area you’ll be committed to.
Don’ts Don’t… forget to include the cost of hiring any lenses or lighting equipment required when costing out a wedding.

learnprosecrets
Get your pictures published

Building a relationship with publishing houses can boost your income on a
regular basis, especially if you can spin a few words to support your shots
T
he monthly and weekly cycle Do you have interests outside of photography?
of magazines means that Pets? Gardens? Cakes? Why not approach
they’ve traditionally been a specialist magazines in that field?
good source of regular work.
But these days it’s not just a case of seeing
your pictures in print. The ‘magazine
experience’ includes digital versions,
websites, social media channels and
international editions, all of which may
be used to showcase your photos. Don’t
expect any fee you may receive to be
increased exponentially, just bear in
mind that your images are likely to reach
a global audience, and a bigger market
for potential future sales.
In the first instance, approach the
magazine’s editor or art editor with
examples of your work. An email works
best as your first point of contact. Keep
it brief and attach five to ten low-res
examples of your best images. Include
a link to your website or your pages on
photo-sharing websites such as Flickr or
500px, should they want to see more of
your portfolio. Don’t panic if you don’t
hear back the next day – the magazine
team may be on deadline – but send a
follow-up email if you haven’t received
a response within a week or two.
Seeing your work in print can be a
reward in itself, and a great marketing
opportunity should you get to plug your
website or social media page. But the best
way to earn some cash is to be able to
provide words-and-images packages. Be
honest with yourself when it comes to
your writing skills: there’s no point in
pitching an extensive article if you break
into a sweat stringing a photo caption
together. But some recent examples of
blog posts you’ve written may help to
convince a commissioning editor to take
a punt on you.
You should always retain copyright for
‘stock’ images that you have on file, and
agree a fee for licensing these pictures.
It can be slightly different if you’ve been
commissioned to shoot images for a
magazine and they’ve covered all the
necessary costs, such as travel expenses,
Useful The Freelance Photographer’s Market Handbook is a useful resource of contacts at British publishing houses. It also lists picture agencies,
greetings cards companies and other photo-buying markets. It’s published by the Bureau of Freelance Photographers (www.thebfp.com),
to know an organization that offers advice, a monthly newsletter highlighting potential opportunities and a copy of the book for an annual fee of £54.
Seeing your work in If you’re looking to sell to print

publishers, remember to take at
print is a reward in itself, least one picture that has space

to drop text over the top
and a great marketing

opportunity
model fees and location hire, in which
case you may be asked to hand over or Pro advice
share the rights to the images. You should
agree all these terms up front and ask
Sara Melotti
www.saramelotti.com
questions if you need anything clarified.
Book publishing is another area where
Based in New York, Sara
you can combine your pictures and words
Melotti is an advertising and
for financial benefit. Depending on your
fashion photographer who
level of ambition, you can try everything
works with clients and
from producing a short run of books
magazines. She says: “The
through a local printers and selling them
secret to getting clients is to
through your website, through to pitching
do a lot of legwork. I send a
for a commission from an established
lot of emails every month to
book publishing company.
either introduce my work to
potential clients or to remind
Do it yourself them of it – persistency is
In between these two extremes is the
key! Don’t let rejections bring
self-publishing route. Online book-
you down; in any creative job
printing services such as Blurb
you’ll be constantly facing
(www.blurb.co.uk) or Bob Books
rejections, even when you’re
(www.bobbooks.co.uk) are geared up for
established. Believe in
the complete process. Not only do they
yourself but be modest and
provide design tools and templates to help
keep learning. When
you create your book, they also offer an Self-publishing in this way allows you to
I approach magazines I email
online bookshop where you can sell your set your mark-up for each book. You’ll
the editor or fashion editor
printed title. The advantage here is that need to factor in any charge that a retailer
and introduce them to an
you don’t have to stump up for any copies will make for selling your book, but don’t
idea I am planning on
as they’re printed on demand. Blurb goes forget to include costs associated with the
shooting – if my idea fits the
a step further: not only is its service book’s production, such as the time it took
upcoming theme of the
integrated into Lightroom, but it enables you to take the shots, process them and
publication they will issue me
you to sell your books through Amazon, put the book together.
a commission letter that
the Apple iBook store and beyond. If you find that including all these costs
allows the stylist to get the
will make the book you want to produce
clothes needed for the shoot.
prohibitively expensive for customers,
One important thing to keep
then try the crowd-funding route.
in mind is that there isn’t
Kickstarter (www.kickstarter.com)
much money to be made in
always has a diverse range of
editorial – which is
photography book projects looking for
unfortunate because editorial
backing. By asking others to donate to
is where the fun is! The real
your book project, you can cover costs
money lies in advertising…”
such as professional design and
proofreading, as well as the printing fees.
You can ask for pledges as low as £1 and
beyond £100, but bear in mind that it’s
customary to offer the biggest sponsors
a signed copy of the book and a credit
inside. You’ll also need a thick skin if you
Blurb offers a print-on-demand service for books as well as offset choose crowd-funding, as you may not hit
printing for large orders, and can handle fulfilment, too the figure you’ve set as a goal.
Do’s & Do… consider the schedules magazines work to. There’s no point submitting autumn/fall pictures in October, as magazine teams will
be planning their winter issues, so this year’s shots will be more likely to appear in next year’s publications…
Don’ts Don’t… blanket-bomb magazines with the same pitch; editors are unlikely to use you if they see your images duplicated in a rival publication.

DAVIDNOTONonlocation
Emerald Lake
Yoho National Park, British Columbia, Canada. 07:10 local time. 18 September 2009
01
02
Landscape photographer David Noton finds

that working one location for a few days is more
rewarding than rushing from place to place
W
e pass over the continental divide sun break through? No, not
through the Kicking Horse Pass and this morning, but the scene
01 Emerald
Lake with the peak
into Yoho National Park; such great is wonderfully muted;
names – don’t they alone just make subtle and moody. This is of Mt Burgess beyond
you want to come to British what I’d been waiting for – it’s Lens Canon EF 16-35mm f/2.8L USM II
Columbia in Canada? Emerald Lake is all come together. I zoom in, Exposure 1/10 sec, f/13, ISO50, 0.6 ND grad
incomparably situated, with its creamy jade focus on the twig at the
glacial waters surrounded by the towering peaks of the hyperfocal distance, zoom 02 Emerald
Lake at dawn,
President Range. We’re here for four days, and I’m going to be out, and do a test exposure. shrouded in mist and with
shooting in this vicinity every dawn and dusk. I decide here and now that the peaks of the President
Increasingly I like to work this way – maybe I’m getting on a this image is going up big – a Range in the distance. The
bit, but while I should perhaps be whizzing all over western print over one metre wide is fallen trees in the foreground
Canada, trying to do it all now, experience has taught me that if on the cards. Crisp and sharp create effective lead-in lines
you travel less you see more – and that’s always going to be detail from fore to aft, rich, Lens Canon EF 16-35mm f/2.8L USM II
worthwhile photographically. deep shadow information, Exposure 0.5 sec, f/11, ISO100, polarizing filter
The combination of the previous day’s rain and a big pure evenness of tone with
overnight drop in temperature has left a subtle gradations of colour. When you
thick layer of mist lying over the lake in get it right with a full-frame DSLR the
the dawn light. I’m trotting around the results look phenomenal in print, but
lake again, paranoid that some other to get the very best from my camera/
photographer has nabbed my spot – if lens combination everything has to
so there will be the sound of tripod legs be right: tripod stability, focus point,
clashing in the woods. But no, I have the exposure and processing, not to
lake to myself; relief. mention the aesthetics.
I set up in the cool light before sunrise. There is a decisive moment when all
Two crossed pieces of driftwood give the the elements combine harmoniously,
composition some bold lead-in lines. How but with landscapes it’s often difficult
wide to go? I’m using my 16-35mm, and to know when that moment is. Here,
frame up with a 0.6 ND hard graduated the dawn sky has picked up a hint of
DAVID NOTON
filter to balance the reflections. If I go twilight colour, and this is my moment.
super-wide the foreground looks wowee, It’s my fourth morning shooting at this
but the scale of the President peaks Pro travel & landscape photographer same viewpoint. I could have been
beyond diminishes. This composition rushing all over British Columbia,
game is all about balancing shapes. David is an award-winning Canon working a multitude of different spots,
What’s right and wrong? It’s impossible to photographer with more than 28 years’ but that approach just doesn’t work for
say, but with the strong lines of the logs, professional experience. During his career me – I end up with memory cards full
the mountains, the tree-clad headland, David has travelled to just about every of mediocrity. Like a dog with a bone,
the mist and the reflections, a natural corner of the globe. In 2012, Canon invited when I’ve found a magic spot I’ll work
arrangement jumps out at me. Move David into its Ambassador Program by it to death, and Emerald Lake, without
slightly, assess, improve, analyse. designating him an Official Canon Explorer. a doubt, is a magic location.
Once the shot is framed up, I wait. Will Info and photos at www.davidnoton.com
strong directional light from the rising Next month The Alps
DAVID NOTON COLUMN
Like a dog with a bone,

when I’ve found a magic spot
I’ll work it to death
03 Emerald
Lake with the peak
of Mt Burgess reflected. Here
the rocks at the water's edge
create foreground interest
Lens Canon EF 16-35mm f/2.8L USM II
Exposure 0.6 sec, f/16, ISO100, 0.6 ND grad
canon skills
Sharpen up your photography skills with

our all-new photo projects and expert guides
Hollie Latham
Technique editor
New projects with video guides
hollie.latham@futurenet.com
Follow our Canon DSLR walkthrough guides and Photoshop editing videos
Welcome...
This issue we’ve got a great
44 The body beautiful
Light and pose a model
for a variety of fantastic
variety of projects for you to fine art nude images
try. Starting off in the studio, with James Paterson
James Paterson shows you
how to approach a variety of
48 Get pin-teresting
fine art nude shots by taking
control of lighting and posing.
Construct a digital pinhole
Staying indoors, put your DIY
camera with your Canon DSLR
skills to the test to construct
with Hollie Latham
a digital pinhole – with your
DSLR and a body cap – to
create some pin-teresting
results, then find out how to
shoot the classic ring-heart
shadow stock shot with
some basic household items.
Moving outdoors, Tom Welsh
heads off in search of a
50 Say it with shadows 52 Make time fly 56 Turn over a new leaf
glorious sunset to show you
how to shoot and edit your
Shoot simple, classic fine How to shoot and edit lots of Use Photoshop Elements’
own time-lapse movie.
art stock shots in your own home images to create a time-lapse movie graphics to create fantastic portraits
Moving into the digital
with Hollie Latham with Tom Welsh in Photoshop Elements
darkroom, we have a fun
technique in Photoshop
Elements, using graphics View the videos
to transform portraits, plus
core retouching skills for Whenever you see
this icon you’ll find
professional results in CC. an accompanying
If you want to produce video – tap the
ideo
perfect prints in the comfort
of your own home, check out
link and the video
will ‘pop-out’ of View the v
the page (as long
58 Retouching skills 60 Print with Lightroom

our Lightroom tutorial, with as you have an
everything you need to know internet connection).
Core retouching skills for Make your own prints at
about the Print Module. You can also download
professional-looking portraits home using simple templates project files to your computer.
in Photoshop CC in Lightroom

The Mission
Shoot understated
fine art nudes by
taking control of
lighting and posing
The body beautiful
James Paterson shows you how to take control of lighting and
Time needed
Two hours
posing to create captivating fine art images of the female form
F
Skill level rom Brassai to Brandt, porn. So how do we go about softboxes, of the kind you’ll find
Intermediate there’s a rich history creating art from a naked body? in any good home studio lighting
of the fine art nude in Over the next three pages we’ll kit. We’ll look at a few different
Kit needed photography. A nude explore several ways to approach setups over the page, but for our
Studio lighting kit shoot enables you to present the the subject, with the emphasis on first setup the aim is to shoot an
• Black velvet most celebrated form in the form, shape and light rather than abstract nude. By excluding
backdrop history of art – the female body titillation; think understated obvious features like the face,
– in any way you like, from a rather than X-rated. and concentrating instead on the
striking silhouette to an abstract Studio lights are a must, but you shapes, shadows and highlights
array of simple lines and shapes. don’t necessarily need a full studio of the torso, we can transform
However, there are fine lines setup for a shoot like this. Most of the body into a form that looks
between fine art, erotica, and our shots were taken with two almost like a landscape.
ideo
view the v Video also online fine art nudes
http://bit.ly/pp_105_1
Project 1
The setup Essential gear for a fine art nude shoot

A model, two flash heads fitted with softboxes, and a black backdrop is all you need to get started…
01 Softboxes 02 Black velvet 03 Light power & distance
Softboxes are perfect for a nude shoot as Nothing sucks up light like black velvet, As well as adjusting the power, you can
they provide even, soft illumination that which makes it perfect for a backdrop. control the strength of lighting by changing
can be directed in channels across your A plain dark backdrop makes it easy to its distance from the subject. Keep in mind
subject. You’ll need to light both edges of tidy up areas in post-production, but the ‘inverse square’ law, which states that
the body; a third light, such as a beauty try to stop your lights spilling onto the halving the distance of a light source will
dish, can be added for top-down light. background to keep it as dark as possible. increase its illumination by four times.
02
01
05
03
04
06
04 exposure settings 05 wireless flash Trigger 06 Look after your model

A good starting point is to use Manual A wireless trigger that connects to your If your model is going to be lying down
mode, set a shutter speed of 1/200 sec Canon’s hotshoe makes things easier, as for long periods, as here, think about
and aperture of f/11, and take some test you won’t need messy sync cables. These her comfort. Bring along soft blankets,
shots. If images are too bright either close triggers have a receiver that connects to cushions or beanbags so she isn’t
down the aperture or reduce the flash the studio flash, so that when you press sprawled on a hard, cold studio floor.
output; if they’re too dark do the opposite. the shutter release the flash fires. Turn the heating up too.

Project 1
Setup 1 Low-key an hourglass shape creates attractive

gentle curves, from the feet slightly
edge lighting apart to the closed, overlapping knees
up to the hips, waist and shoulders,
Keep your subject in the and eventually to the face. Having the
dark for atmospheric results head tilted to one side like this will allow
For a moody low-key look, keep the the side lighting to hit the profile of the
frontal illumination to a minimum. face and accentuate the features.
Positioning the lights to the side and
Kit needed: Black background,
slightly behind the model will light
two softboxes and an optional
the edges of the figure and plunge
top light
the front into darkness, enabling you
to create bright highlights along the Exposure: 1/200 sec, f/7.1,
edges of the body. Posing the body in ISO100
Setup 2 Wide angle

Elongate your subject’s limbs
A wide-angle lens creates distortion, which
is usually something to avoid on a portrait
shoot. But for nudes, distortion can add to
the drama of the shot by exaggerating and
elongating parts of the body that are closer
to the camera, like the legs here. You’ll need
to get in quite close to the subject and focus
precisely, as the closer you are the more
limited the depth of field. You may find with
a wide-angle lens that the backdrop isn’t big
enough to reach the edges of the frame, but
with a black backdrop it’s easy to fill these in
later using Photoshop’s brush tool.
Kit needed: Wide-angle lens
Exposure: 1/200 sec, f/5.6, ISO100
fine art nudes
Booking
a model
When booking a model
for a nude shoot, it helps
enormously if they have
some experience, as
they’ll be confident in
front of the camera and
will have plenty of poses
to call upon – there’s real
Setup 3 High-key backlit skill in knowing how to
strike poses that are both
Turn your model into a silhouette
aesthetically interesting
For a high-key setup that turns your subject and natural-looking. We
into a silhouette, use a white background and found our model through
direct your lights at this rather than the Model Mayhem, a
subject – here we used two softboxes either website that enables you
side of the background, and a top light. Angle to connect with models
the softboxes slightly inwards so that light and other creatives. Talk
spills onto the edges of the subject. The body through your ideas with
shape is important, so ask your model to your model beforehand,
angle their hips out and hold their arms away and have them sign a
from the sides of the body. A sheet of white model release.
Perspex on the floor will capture a reflection
that helps to ground the subject. Next month
Kit needed: White background board shoot a
Exposure: 1/200 sec, f/7.1, ISO100
multiplicity
portrait
Setup 4 capture a
rippled reflection
Add water for a mirrored effect
At the right angle, a tray of water placed in
front of your subject can create a beautiful
reflection that mirrors the edge of the body.
A shallow tray with an inch or two of water is
all that’s needed (a black cement-mixing tray
like this can be picked up from a DIY store).
Gently disturb the surface of the water for a
lovely rippled effect. Of course, water and
studio lighting can be a dangerous mix, so
keep the power packs and studio heads well
away. If water isn’t an option, a sheet of black
Perspex is a good alternative.
Kit needed: Shallow tray, water
Exposure: 1/200 sec, f/20, ISO100

ideo
Video also online view the v
Project 2
The Mission
Make a pinhole lens
Time needed
One hour
Get pin-teresting
Hollie Latham shows you how capture quirky images without a lens,
Skill level by making a digital pinhole camera using your DSLR’s body cap
B
Intermediate
elieve it or not, you photography, and it’s a great way your camera, a small, thin
Kit needed don’t need a lens to to add a twist to your creative piece of metal, a pin or needle
Tripod • Aluminium capture a photo with repertoire. Okay, so the images to make the hole, scissors, some
drinks can • Body your Canon DSLR – you you get won’t be perfect; in fact tape, fine sandpaper, a drill and
cap • Needle • Tape can make an image simply they’re likely to be quite blurred, some basic DIY skills. And if
• Sandpaper • Drill by allowing light to pass but that’s all part of the charm! you’re not too handy with tools,
• Scissors through a small hole onto What’s more, the technique is you can purchase a pre-made
your camera’s sensor. The very simple, and very cheap. All laser-drilled pinhole – they’re
technique is known as pinhole you need is a spare body cap for readily available online.
Step by step shoot a hole in one

Make your pinhole lens, set up your DSLR to capture a long exposure and add some flash lighting
01 Drill the body cap 02 Make the pinhole 03 align the holes
Place a spare body cap on a block of wood Carefully cut out a small square (to fit Place the aluminium square inside
or other secure protective surface, and snuggly inside the plastic body cap) from a the body cap and secure it with tape,
drill a hole that’s roughly 5mm in diameter clean aluminium drinks can. Use a needle positioning it so the pin-size hole is as
in the centre. Use some fine sandpaper to or pin to make a hole in the centre of the close to the centre of the hole in the
file away any loose bits of plastic so they square, and file down the centre of the body cap as possible. Now attach the
don’t fall into your camera. hole with sandpaper until it’s smooth. body cap to your camera body.
04 use a tripod 05 Set the shutter speed 06 Add some flash

Place the camera on a tripod – because You’ll need to experiment with the shutter When you’re happy with the exposure,
the light is passing through the pinhole speed, as the camera’s metering system use off-camera flash to add vibrance and
exposure times are likely to be several won’t be able to calculate a good exposure depth to your image. Set the flash to
seconds, so it’s essential that your camera through the pinhole. Start at between 5-10 quarter power, point it at the subject and
remains still. Set your camera to Manual seconds, take a test shot and adjust your press the test button to fire flashes from
mode, and set a low ISO of 200. settings until you get a balanced exposure. different angles during the exposure.
pinhole photography
Quick Tip!
Use your camera’s
histogram after
taking a test shot to
help you calculate a
balanced exposure
Composition
Composing your shot
will require a bit of
guesswork, so use
the rear LCD screen to
help you. The smallest
of adjustments to the
position of your camera
will have a big impact
on the composition;
to make things easier,
move the camera further
back so there’s plenty of
breathing room around
the subject, then crop
in as necessary in
post-production.
Next month
Fake an urban
Reflection
49
ideo
Project 3
Say it with
shadows
Hollie Latham shows you how to distort the
shadow of a ring into an arty heart shape
O
ne way of creating stylish
The Mission fine art images is by using
clever lighting techniques
Create a ‘ring heart’
to make interesting shapes
shadow image
with shadows. ‘Ring heart’ shadow
pictures are some of the most commonly
Time needed
bought stock photos and a staple of
One hour
greeting cards, and in this project we’ll
show you how to recreate the classic
Skill level
ring heart shadow effect by placing a
Easy
ring between the pages of an open book.
Kit needed
The effect is achieved by positioning Get the best composition
a single light source behind the ring so
Tripod • Lamp
it casts a shadow on the pages, with the Although lying the ring down flat
• Ring •Book
curves of the open book distorting the across the pages of the book is the
shadow so that it becomes heart-shaped easiest way to create the heart shadow
rather than oval. The exact shape of the effect, positioning the ring upright will
shadow will vary depending on several give you a more pronounced heart
factors, including the power and shape. Make sure you leave plenty of
Next month positioning of the light and the position space around the ring and its shadow,
create a of the ring and your camera, so you’ll so that you can crop the image to
multi-colour need to play around with the setup to create the desired composition.
collage get the effect you want.
Step by step Shooting shadows

Experiment with the position of the light and subjects for the best effect
01 Shine a light 02 shape the shadow 03 Depth of field

For the best results position a powerful Elevate the light source so the shadow To ensure that both the ring and shadow
light source behind the book. We used forms a tight heart shape, and shoot the are in focus, set a mid-range aperture such
a small Manfrotto LED light, but an setup from slightly above at a shallow as f/5.6. Use Live View mode to help you
angle-poise desk lamp works well too. angle, so the shadow is well defined. compose and focus your shot.
Teach yourself Teach yourself Teach yourself
Black & White Lightroom Photography
Photography Get to grips with Adobe’s Beginner’s guide to
Master mono photography powerful Lightroom image understanding the key settings
– from visualising the shot editing program with our on your digital SLR so that you
through to how to get the best complete instructional course can take better shots
results when editing
versions!
Available in book, interactive DVD and app
Teach yourself Teach yourself Teach yourself

Photoshop Photoshop Raw in Photoshop
Complete instructional Elements Serious photographers shoot in
course on mastering Adobe’s Elements is a more powerful Raw… We give a complete guide
powerful Photoshop CC image editing program than its low price to unleashing the power of this
editing program suggests. We help you unlock professional file format
its full potential
Get the book and DVD versions today from our secure online store: Buy the eBooks and interactive
video course via the free
myfavouritemagazines.co.uk/photo Digital Camera app
01 02
04 05
07 08
The Mission
Shoot a sequence
of images and
turn them into a
time-lapse movie
Make the time fly
Tom Welsh shows you how to shoot and edit a sunset time-lapse movie
T
Time needed
ime-lapse movies are a rate of at least 24 frames per camera doesn’t have this feature
Shooting time plus
great way of recording second, we need to shoot a lot of you’ll need a remote with an
two hours editing
the passing of time, by images to create a movie of useful interval shooting setting, or a
compressing an event length – for just a one-minute dedicated intervalometer.
Skill level
that takes place over hours video at 24fps, for example, you’ll We’ve used spot metering to
Intermediate
or even days – such as the need 1,440 images! keep the exposure consistent for
movement of clouds across To capture the images we need our shots of the setting sun; it’s
Kit needed
the sky, or day turning into to set our camera up to shoot at advisable to keep an eye on your
Intervalometer (or
night – into minutes. set intervals – so if we wanted to exposures, and use exposure
built-in interval
Time-lapse photography capture those 1,440 images over compensation if necessary.
shooting) • Tripod •
essentially enables you to create a a period of two hours we’d need We’re using Lightroom 5 to
Time-lapse software
flip-book style video, by shooting a photo every five seconds. Some create our time-lapse movie; you
images over a set period and then cameras, like the EOS 7D Mk II, can also use Photoshop CS6/CC,
playing them back at movie frame include an interval timer that will or one of the many free time-lapse
rates. As videos are shot at a frame do this automatically; if your programs that are available.
Video also online
http://bit.ly/pp_105_4 view the video
Project 4
Preparation plan your shoot

03 Things to check before heading out to capture your time-lapse images
01 Come rain or shine 02 follow the sun

Checking the weather forecast is always Checking where the sun will rise and set at
advisable before shooting outdoors – and your location will help you plan your shoot.
even more so if you’re going to be sitting The Photographer’s Ephemeris website
06
in one spot for a few hours. and app can help you here.
03 charge your battery 04 prepare for the worst

Make sure your battery is fully charged; Whatever the forecast, make sure you’re
a time-lapse shoot will take a long time, prepared for rain or falling temperatures.
and will often require you to capture in Take a cover for your camera, even if it’s
09
excess of 1,000 images. just a rain-proof jacket to drape over it.
ESSENTIAL kit What

Essential Everything
do youyou
need
need
forfor
long-exposure
a perfect time-lapse
seascapes?
01 Tripod 02 Interval remote 03 Grad filter 04 memory card 05 Calculator

It’s essential that your Unless your Canon DSLR If you’re shooting over Make sure you have a Use a calculator to work
camera doesn’t move has a built-in interval 1,000 images, bracketing large-capacity memory out your shooting intervals
throughout the lengthy timer you’ll need a remote your exposures will be card or two, as this will and ensure that you have
shooting process, so use control which includes time-consuming and will enable you to capture Raw enough images for your
a sturdy tripod. Make sure an interval timer, or a fill up your memory cards images or high-quality video. Divide the length
it’s on a solid footing, and dedicated timer called quickly – an ND grad filter JPEGs. Remember to of time you’re shooting
that all the adjustments an intervalometer, which will help prevent bright empty and format the over by the number of
are fully tightened. connects to your camera. skies from blowing out. cards first. shots you need.

Project 4
shooting technique how to capture your images

How to shoot a sequence of images that can be easily combined to create a smooth-running movie
Interval
remote
We’ve used a Hama Timer
Remote Shutter Release,
which connects to your
DSLR via a cable. The
Hama remote features
all of the shooting modes
found in your camera
along the bottom of its
screen, plus, at the top
of the screen, additional
Delay and Interval 01 Accurate positioning 02 rock solid
Shooting options. Use Set up your shoot where it won’t be disturbed, out of Set up your tripod, making sure that it can’t move
the arrow keys to move the way of passers by and sheltered from the wind. for the duration of the shoot; if necessary, open the
between the functions, Use a compass with the Photographers Ephemeris legs wider for maximum stability, and hook your bag
and the centre button app to work out where the sun will be. onto the central post to weigh it down.
to select them. Use the
same controls to set the
interval time, and press
the play/stop button to
begin shooting.
03 check your capacity 04 exposure settings

As a time-lapse video will be viewed on-screen, we Set your camera to Aperture Priority mode (Av) to
don’t need ultra-high resolution images. Shoot JPEGs keep the depth of field constant; your camera will
or low-resolution Raw files depending on your camera adjust the shutter speed as the light changes. If you
and card capacity – ensure you have enough space. prefer to use Manual mode, use Auto ISO.
05 cover the viewfinder 06 timing is everything

Next month During long exposures the viewfinder can leak light Calculate how many images you’ll need and how
Shoot a and affect metering or cause blemished images. You long you’re shooting for, and set the interval timer
bokeh won’t need to use the viewfinder once set up, so cover accordingly. We set our remote to shoot every five
panorama it using the cap on your lens strap or with some tape. seconds for just over an hour, giving us 800 images.
shoot a time-lapse
time-lapse treatment timely subjects

You can make time-lapse movies of all kinds of subjects and scenes…
01 opening flowers 02 Decaying food 03 day-to-night city scene

This popular time-lapse can take up to a The timescale for this will vary depending Another popular choice for time-lapse
week to shoot, depending on the flower. on the food – you can save time by buying photography is a bustling city – as with
You’ll need to set up your shoot in a quiet fresh food, such as fruit or bread, that’s our sunset this requires images shot at
space with no air currents to prevent the close to its sell-by date. As with flowers, shorter intervals over a shorter period.
flowers moving around; placing the stems set up the shoot with constant lighting in Shoot from a high vantage point, use
in florist’s foam will help to keep them still. a location where the camera can be left in Manual shooting mode, and use Auto ISO
The lighting needs to be constant too. place for several days. to balance the exposures.
editing Create your time-lapse movie

How to edit your time-lapse sequence and turn it into a video using Lightroom 5
time-lapse
templates
To create a time-lapse
using Lightroom 5 you
first need to download
Adobe’s free time-lapse
templates from the
‘LRBplugins’ website:
Create a collection edit your images Batch editing http://lrbplugins.com/
shop/presets/
Import your images, select all (Ctrl+A), and Select one image, go to Develop, and make With one image edited, select all the images lrb-timelapse-
click the ‘+’ icon on the Collections panel to any necessary edits, such as using the Spot you want to change and click ‘Sync Settings’ presetstemplates/. In
create a new collection. Removal tool to erase lens marks. to apply the edits to those images. the LRB Timelapse folder
there will be two further
folders – you need
‘Slideshow Templates>
User Templates’. This
folder includes options
for a variety of frame
rates per second,
enabling you to choose
how quickly your images
are played back.
Filter your images Import your template Export your movie

Scroll through the images and delete any Go to Slideshow view, right-click on the Select the frame rate template you want; we
that don’t work in the sequence. Go back to Templates panel, select ‘Import...’ and locate used 25fps. Select ‘Export video’ and set the
Develop to alter individual images. and import your template (see sidebar). resolution for your screen; we used 1080p.

photoshop cc
After Before
The Mission
Create a surreal
portrait by blending
graphic effects
Turn over a new leaf
Time needed James Paterson blends graphics with a portrait for fantastic effects
T
30 minutes
his surreal effect may Elements. We’re using a simple different ways. We then duplicated
Skill level look complex, but you Brass Leaves graphic, but there are the cut-out face and ‘clipped’ it to
Intermediate can copy it quite easily lots of other options. each layer to apply the pattern,
with any portrait, using We’ve built up the intricate before applying a Drop Shadow
Kit needed the graphics or backgrounds foliage effect by duplicating the layer style and changing the
Photoshop that come with Photoshop leaves graphic and reshaping it in colours. Here’s how it works…
Elements
layering effects in photoshop elements

Use clipping masks and layer styles to apply textures, colours and realistic shadows
01 Cut out the portrait 02 Add the brass leaves

Open the start image. Select the face with the Quick Go to Window>Graphics. Set to filter ‘By Word’ and
Download project files
Selection tool, then go to Select>Refine Edge to tidy type ‘Brass Leaves’ in the search box. Drag the leaves
to your computer from: up the selection. Set Radius 2.1, Contrast 25%, Shift graphic into the image. The graphic is a Smart Object,
http://downloads.
photoplusmag.com/pp105.zip Edge +17. Set Output to: New Layer and click OK. so it can be resized without any loss in quality.
ideo Video also online
view the v Graphic effects
photoshop elements
Quick Tip!
Drag a corner
handle on the
Transform box to
resize a layer, and
click and drag
outside the box to
rotate a layer
03 Build up the leaves 04 Copy & clip to the face
Take the Move tool, check Show Bounding Box and Rename the portrait layer ‘face’, and drag it above the
drag the box handles to resize and reshape the leaves, bottom leaves layer. Hold down Alt and click the line
and position the pattern over the face. Press Ctrl+J to between the two layers to clip the face to the leaves.
copy the layer and transform it again, in a different Hold down Alt, drag the face layer above the next
way to the first copy. Create and transform more leaves layer to make a copy, and clip these two layers.
copies until the face is mostly covered. Repeat to clip a copy of the face to every leaf layer.
Add a
vignette
effect
To darken the corners
of the background
layer, add a Solid Colour
adjustment layer above
it, with the colour set
to black. Select the
Brush tool and set the
foreground colour to
black. Click the Solid
05 Mask the leaves 06 Add drop shadows Colour layer’s mask to
Hold down Ctrl and click the image thumbnail of the Highlight any leaves layer and go to Layer>Layer
select it, and paint over
uppermost face layer to load its outline as a selection. Style>Style Settings. Check Drop Shadow and set
the central part of the
Highlight the leaves layer below, then click the Add Angle 40, Size 18, Distance 6, Opacity 90. Click OK.
layer to hide the black
Layer Mask icon to convert the selection to a mask. When you add a layer style an ‘fx’ icon will appear on
and reveal the green
Hold down Alt and drag the mask thumbnail onto the layer thumbnail – hold down Alt and drag this icon
background.
each of the other leaves layers to copy it over. to the other leaves layers to copy the drop shadow.
07 Colour the effect 08 Drop in the background

Select the top face layer and add a Hue/Saturation Go to the Graphics panel, find ‘leaves 02’ and place it
adjustment layer. Set Hue to +60, then hold down Alt at the foot of the layer stack. Press Ctrl+T, right-click
and click the line between the Hue/Sat layer and the and choose Flip Horizontal. Add a Brightness/
face layer below to clip the layer to the face. Repeat to Contrast layer set Brightness to +10 and Contrast to Next month
clip a Hue/Sat layer to the other face layers, changing +100. Finally, darken the corners of the background create a
the Hue value slightly each time to vary the colours. to draw the eye into the frame – see the sidebar. movie poster

ideo
photoshop cc
Before
The Mission
Learn how to
Retouch portraits to
get realistic results
retouch faces, lift
eyes, smooth skin
and give your
portrait shots a
professional edge
Time needed
20 minutes
James Paterson reveals a host of high-end Photoshop retouching
Skill level techniques that will help you take your portraits to the next level
Intermediate
A
full 25 years after we look, so most subjects will can use an array of Photoshop
Kit needed
Photoshop came on the want you to go to town on them. tricks to finish off the job.
Photoshop CC
scene, the retouching And there are times, as with this In this tutorial we’ll show you a
debate rages on. When shot, when the image straight out complete retouching workflow. It’s
it’s possible to remove every flaw, of camera is almost there, but not easy to lose hours when you start
enhance facial features and even quite. When a person is moving retouching, so we’ll employ a few
reshape a subject’s body, the like this the hair and the pose can shortcuts to keep things quick. It
question is – where do we stop? create a lovely sense of motion, helps to break the face down into
The best portrait retouching but it can be hard for them to keep different areas, so we’ll start by
should go almost unnoticed – a a relaxed, composed expression. removing spots and marks from
spot masked out here, a lift to the The jaw tightens, or the mouth the skin, then go on to subtly
face there – while still retaining clenches, or hairs fly out of place. boost the colour and tone in the
Download project files
the character of the subject. The These little flaws are all easy eyes, before employing a skin
to your computer from: flipside, however, is that we all to fix, and if the aim is to create a smoothing technique to leave skin
http://downloads.
photoplusmag.com/pp105.zip have insecurities about the way flawless, stylised portrait, then we tones looking silky smooth.
Portrait retouching
Step by step retouching faces masterclass

Reshape a dodgy smile, get silky textured skin and give your portraits a professional sheen
Quick Tip!
Retouching can get
monotonous, so use
the Actions Panel
to record common
tasks, so you can
run them next time
with a single click
01 Remove spots 02 Clone out the bags
Open the start image, create a new layer and rename Next select the Clone Stamp tool, choose All Layers
it ‘Spot’. Take the Spot Healing Brush from the Tools from the Sample menu, and press 2 to set the tool
panel, check ‘Sample All Layers’ in the Tool Options opacity to 20%. Alt-click to sample a clean area of skin
panel, then simply paint over small spots and marks on the cheek below the eye, then carefully paint over
on the face to remove them. the eye bags to tone them down.
enlarge
the eyes
Pro retouchers will
sometimes make eyes
slightly larger to make a
portrait more engaging.
03 Warp the smile 04 Start the smoothing trick To do this, simply grab
The mouth looks a little strained, so press Ctrl+Shift+ Create another merged layer, then open the blending
the Lasso tool and make
Alt+E to create a merged layer, then go to Filter> mode menu at the top of the Layers panel and choose
a rough selection around
Liquify. Select the Forward Warp tool, and nudge the Linear Light. Press Ctrl+I to invert the image, then
the eye, then right-click
corners of the mouth to form more of a smile. Push reduce the layer opacity to 50%. At this point the
the selection, choose
the right arm in slightly to make a body tighter shape. image will be completely grey.
Feather and set amount
to around 15px. Press
Ctrl+J to copy the area to
a new layer, then press
Ctrl+T to transform. Hold
down Shift+Alt, and drag
the corners of the box to
enlarge the eyes – but
not too much! You can
use the same technique
to de-emphasize noses,
or make fuller lips.
05 Create silky skin 06 Boost the eyes

Go to Filter>Other>High Pass, and enter 9px to blur Add a Curves adjustment layer, plot a shallow S-curve
the detail. Next go to Filter>Blur>Gaussian Blur and to boost contrast, then select Red from the menu and
set Radius to 3. Alt-click the Add Layer Mask button to drag down to add cyan. Add another Curves layer with Next month
add a black mask that hides this layer, then paint with a more pronounced S-curve. Invert the mask, and add 3d text
a white brush over the skin to reveal the blur effect. paint white over the eyes to reveal the contrast boost. to images

After
The Mission
Set up a print
Print with
Lightroom
template in
Lightroom for
printing for specific
sizes and papers
Time needed Before

15 minutes
Skill level
James Paterson explains how Lightroom’s Print module takes all the
Easy hassle out of making prints, with simple controls and handy templates
P
Kit needed
art of the reason many you a few minutes to work also have a huge bearing on print
Lightroom
of us don’t print out through all of the settings. But the quality, so make sure that your
nearly enough of the beauty of Lightroom is that – as monitor and printer are properly
images we so lovingly with other aspects of its workflow calibrated before you start.
create may be down to the – settings can be easily transferred Once you’re ready to make
fact that printing can be a from one image to another, or a print, the first step is to set up
bit of a chore. There’s setting even to an entire batch of photos. your page. You can choose to print
up the page, resizing and cropping So once you’ve gone through the a single image, display several on
images, working out resolution, print setup process once, you the same page, or create contact
handling your printer’s colours won’t have to do it again. sheets for an entire set of images,
and profiles and so on. Selecting and preparing your which is particularly useful if
However, Lightroom’s Print photos for print is a whole other you’re taking photos for clients.
module makes the whole process topic in its own right, so before As well as all the layout options
much less daunting. If you haven’t you head for the Print module you could possibly need it’s very
used the Print module before, it’s worth spending some time easy to add other elements to the
you’ll find that it’s designed to learning how to soft-proof and page, such as a logo or signature,
make printing your images as easy sharpen your images. Colour or copyright watermarks. Here’s
as possible. At first it may take management and printer profiles how it all works...
ideo
view the v Video also online Lightroom print module
lightroom
Step by step Printing perfection

Choose a paper, print size and layout for your image in the Print module Quick Tip!
Once your layout
is ready, be sure
to save it in the
Template Browser
at the left of the
screen, for use with
other images
01 Set up the page 02 Choose printer settings

Choose the images you want to print, and create a Click the Print Settings button (Mac only; in Windows,
collection for them in the Library module by clicking all the Print Settings are within the Page Setup
the ‘+’ icon in the Collections panel. Next head to options). Choose a paper type and colour settings.
the Print module and click the bottom-left Page Setup Make sure Colour Settings are set to Off. Choose the
button. Select your printer and choose a print size. highest quality settings and turn off High Speed.
Watermark
your images
Watermarks can be very
useful if you’re worried
about sending images
via email or posting them
online, as once an image
is out there in digital form
there’s no telling where
it’ll go. Watermarks help
you keep ownership of
your work. It’s very easy
03 Single image or multiple? 04 Set the image size to create a watermark
Head to the Layout Style panel at the top right. The Go to the Image settings. Check ‘Zoom to fill’ and
template in the Print
Print Package feature enables you to print several add a border if you like. Next go to the Layout panel.
module. Simply check
copies of the same image in different sizes on a single Start by setting Cell Size to your chosen print size
Watermarking in the
page, while Custom Package enables you to drag (10 x 12 inches here) then use the margin sliders to
Page panel, then choose
image cells into whatever setup you like. tweak the positioning on the page.
Edit Watermark. You can
choose the text, size,
positioning and opacity
in the Watermark Editor,
then save it for use on
any image you like.
05 Add text or graphics 06 Print the job

In the Page panel you can add text and graphics. Go to the Print Job settings. Set Print to: Printer, turn
Choose Identity Plate to add a graphic element such off the Draft and Resolution settings and select a
as a logo. You can also go to the Photo Info settings sharpening amount for your paper type. Go to Colour Next month
to add file info (if you want to add captions to images, Management Settings. In Profile, click Other and lightroom’s
do this first in the Library module’s metadata panel). select the paper profile for your printer. Click Print. web module

drew gibson
Drew
Drew Gibson
specialises in
photographing the
glamorous world of
Gibson
motorsports, but, as
he tells David Clark,
it takes hard graft to
get great pictures
t 31, Drew Gibson is a rising star
in the highly competitive world
of motorsports photography.
He shoots a wide range of
events, including Formula 1,
endurance and sports car
racing, and he’s not content
to take the easy route. Drew
prides himself on making images
that appeal to people beyond
the world of motorsports, and
he’s always looking for fresh
angles and innovative ways to photograph
his subjects creatively.
Freelance for the past three years,
Drew has built up a formidable list of top
editorial and corporate clients, including
major Formula 1 teams. To achieve this
kind of success you have to be dedicated,
determined and hard-working. Drew
undoubtedly ticks all those boxes and, as
he explains, fast cars and the thrills of the
racing circuit have been his overriding
passion from an early age…
So which came first – the

photography or the motorsports?
As a teenager I was really into rallying
and motorsports, and I travelled around
to events with my brother, who’s a couple
of years older than me. When I went to
college in 2001 to do a City and Guilds
media studies course I was given an SLR,
and I found that I enjoyed using it. I
started taking the camera along to events
to record what was happening, and take
pictures of cars I really liked.
01 no need for speed
Drew shot this image using a long exposure How did you start on the road to
while the car was pushed along the track at becoming a pro photographer?
walking pace. The speed is an illusion, but I made black and white prints of drivers
the approaching dark rain cloud was real. we knew, and they started asking to buy
Lens Canon EF 16-35mm f/2.8L II USM
my pictures. At the time I was 16 or 17,
and earning £15 a night working in a bar.
Exposure 3.2 secs at f/11, ISO50, ND filter
Suddenly I had someone who wanted to

TheCanonconversation
02
02
a good grade. I continued to go out to

motorsports events with photographers
for LAT, and I started shooting rally
pictures at weekends for an agency in
Birmingham; I missed some days at uni
because I was driving up to attend rallies.
I was aware that very few people made a
living out of motorsports photography, but
I really didn’t want to do anything else.
What was your big break in

motorsports photography?
When I left university I had a call from
F1 Racing magazine. Their picture editor
was going on maternity leave and they
needed someone for six months, so I
moved down to London and was plunged
right into the industry. I had the world’s
best agencies and freelance Formula 1
03 photographers trying to get work from
me. After six months I was given the job
pay me £20 for a black and white picture. and it was amazing to have access to a permanently. At weekends I worked for
I thought ‘this is brilliant’, and it got me vast archive that goes back to the 1800s; LAT photographing junior British racing,
motivated to do more. I loved looking at those images. After Formula 3 and other young driver series.
that I decided to study photography at After that I got a full-time job at LAT,
What was the next step? Cumbria Institute of the Arts in Carlisle. which I did for three years before going
I wrote to Motoring News, and they put freelance at the start of 2012.
me in touch with their picture agency, Did a degree help in your career?
LAT Photographic. LAT offered me work I was as busy trying to make a career How do you arrange your work?
experience in their archive in London, out of photography as I was trying to get I’ve got big regular clients like Aston
drew gibson
02 NICO ROSBERG, BELGIan GRAND PRIX

Drew shot just one frame of Rosberg as
he approached down the long straight.
This kind of shot takes years of practice,
but, says Drew, “When it all comes together
it’s worth the hard work, and it can feel like
the best job in the world.”
Lens Canon EF 600mm f/4L IS II USM
Exposure 1/1000 sec at f/8, ISO200
03 PIT STOP
This overhead shot of Mark Webber was
04
taken during 2013 Formula 1 Testing in
Barcelona. Drew made the most of the
vantage point above the pit garages.
Lens Canon EF 50mm f/1.8 II
Exposure 1/250 sec at f/5.6, ISO200
04 JULES BIANCHI, belgian grand prix

Drew was able to get close to Bianchi while
working for the Marussia F1 team during
the 2014 Belgium Grand Prix. The French
driver died in July from injuries suffered in
a crash in October 2014. “It was one of the
last pictures I took of Jules, who I’d worked
with for a number of years,” he says.
Lens Canon EF 50mm f/1.2L USM
05 LEWIS HAMILTON, indian grand prix

This shot, taken during the 2012 Indian
Grand Prix, shows Hamilton in his McLaren.
Drew waited for one of the evening practice
sessions so he could shoot in soft light.
Lens Canon EF 600mm f/4L IS II USM + 1/4x convertor

05
Martin, plus semi-regular clients such where I can do a nice head-on or panning
as sports car teams. I prefer to work for
a smaller number of clients at each race
shot. It’s all about thinking ahead, and
planning each session differently to make There’s a lot of
as I shoot in quite a creative way, which
makes it difficult to get pictures of a lot of
the most of the conditions. There’s a lot
of physical work involved in getting physical work involved
different cars or drivers. For example, if I
do a pit lane session it’s nice to sit in one
around a track to get a good, varied set
of pictures that I’m personally satisfied in getting around a track
garage and wait to get portraits when the
background’s clean and the drivers are in
with at the end of a weekend. That’s the
way I work, and luckily that’s what my to get a good, varied
the right position; if you’re working with
ten or 15 cars in the pit lane you’ve got to
clients want from me.
set of pictures
get a shot of one driver then quickly move Tell us about your first camera…
on to the next team. So I choose a smaller It was a film camera, a Canon EOS 5,
number of clients, which allows me to which I bought around 2004. I remember What was the first digital
take these creative images. that it had eye-controlled focusing – it camera that you used?
would register where you were looking An EOS 20D, which I bought in 2006.
How do you cover a race from so in the frame and change the focus spot However, I didn’t have it for very long and
many different angles? accordingly, although it didn’t work very soon moved on to an EOS-1Ds. It was a
A race takes a lot of concentration and well. After that I bought two second-hand slow camera and it took a long time to
planning, and I’m constantly thinking Canon EOS 1V cameras, which looked write images, but I liked it. When I went
‘what’s the next step?’. So in session one, awesome. My first few commissions were to LAT they provided my equipment, so I
I’ll go into the garage and get some nice shot on film, because at the time a digital had all sorts, including a 5D Mk II and a
driver shots, for example. Then in session camera which could take a magazine- 1V Mk III. Eventually I got two EOS-1Ds
two I might get some evening sunlight to quality double-page spread image was Mk IIs, which I inherited from two F1
work with, so I’ll go to a particular place very expensive. photographers. They were battered and

06
06 FELIPE MASSA, belgian grand prix

Drew panned his EOS-1Ds Mk III with
STORy BEHIND THE SHOT
Massa as he passed through the trees
during the 2014 Belgian Grand Prix. He 00
set his exposure manually, pre-focused
on a chosen spot and kept his panning
movement smooth and steady.
Exposure 1/8 sec at f/22, ISO50
there was barely any paint on them, but I

used them for most of my career at LAT.
What bodies do you use now?

When I went freelance I bought two EOS
1Ds Mk IIIs, and I still use them. I love
the Mk III – it’s a great camera and it
produces a beautiful file, although it’s a
little bit behind the times now. I think it’s 07
been overtaken by the speed at which the
new cameras can work, and some of their
focus point features.
What’s the next camera you’re

planning to buy?
Beautiful backlighting
I should have bought a 1D X when it came Drew tells the story behind this sunlit evening shot of the Aerial Atom
out, but I hung on and I think I’ve missed
the boat a little bit. I think Canon must “It had been a beautiful sunny day at Blyton Park, where I was shooting Evo magazine’s track
have something new in the 1D line car of the year feature,” says Drew. “With the circuit closed for the evening all the journalists
around the corner, so I’m wary of buying disappeared off to the hotel, but I decided to sit it out and waited for the sun to sit low enough
now and losing out. I always use two in the sky to create this image. Then it was just a case of wheeling the car into position, and
cameras as it’s very important to be able choosing the correct exposure. It’s not often that all the elements come together for a picture
to react quickly, especially when working like this, so it was well worth a late arrival at the hotel bar.”
in the garage. You’ll see something and
07
07 2015 WORLD ENDURANCE CHAMPIONSHIP

Drew had pre-focused further forward on
the circuit for this picture, but changed his
focus point as he saw the cars approaching;
as a result he got a much better formation
of cars than he would have if he’d waited.
08 2015 LE MANS 24-HOUR RACE

Drew pre-focused on a chosen spot when
photographing this Nissan GTR LMP1 car.
“As it hit the spot, the rear of the car hit the
ground hard, showering the circuit behind
with sparks and creating this dramatic
image,” he says.
08
events. I’ve got one zoom, which is a
17-40mm, but I tend to use that for
know it’s only going to be happening for a coming around a corner – I’ll take one automotive photography or when I’m
few seconds, so it’s important to be able to or two shots as the car goes past a spot doing clamp-on photography. So at an
switch to different lenses instantly. Using at which I know I want to take a picture. event I’ll take a Canon EF 14mm f/2.8,
two cameras makes it expensive to So for me, features like fast autofocus 24mm f/1.4, 50mm f/1.2, 85mm f/1.2,
change kit, but I’ll probably jump on the aren’t really important. However, for an old 200mm f/1.8 and a 600mm f/4.
next top Canon that comes out. some shots, like when winners are on the Apart from that I take a 1.4x convertor,
podium, catching the right moment is a an EF 12 close-up ring and a 580EX
Which camera features are the bit hit-and-miss, so it would be helpful to Speedlite, but I use very little flash. I also
most useful for you? be able to shoot ten frames a second. have a monopod for the 600mm lens. I
I work in quite a traditional way. I don’t don’t use a camera bag when I’m working
use a lot of autofocus, or Tv or Av; I use What lenses and other gear are in track-side as I’m moving around a lot, so I
a lot of manual focus and pre-focusing. your kitbag on a typical shoot? carry everything in pouches. So what I
And I don’t burst ten images as a car’s I only use fixed lenses for motorsports take comes down to what I can physically

TheCanonconversation
09
09 ASTON MARTIN AT LE MANS carry; when you’re walking miles at a challenge. It takes a lot of mental
For this image, taken during the 2013 Le time you don’t want to be dragging too concentration to do something different
Mans 24-Hour race, Drew waited for the much around in a big, heavy bag. to what you have been doing, when you’re
Aston Martin to appear in the shaft of working with very similar cars on very
sun light; a cloud passing overhead cast Which lens do you most often use? similar circuits. It would be easy to drop
the dark foreground shadow. I use my 600mm a lot, but mainly to do into a rut, and use the same shooting
more stock pan shots and stock head-ons. positions every time; doing something
A lot of the more creative images are shot different and trying to evolve and push
Exposure 1/1000 sec at f/7.1, ISO50 on shorter lenses like the 200mm. I enjoy yourself needs a lot of focus. When you
10 Neel Jani, Porsche 919, 2014 World doing an action shot on something like a do nail something you’ve never seen
endurance championship, brazil 50mm, as it encourages you to work in a before, that you know other people are
To get this shot Drew had to kneel down different way and take a creative image. going to like, it’s just brilliant – it’s the
and shoot through the fence to make an Often the interesting things are going best feeling. When all the bits of the
interesting shape out of the kerbing. on around the car, like big skies, or the puzzle fall into place like that you feel like
crowd, or trees in the background; if you punching the air and saying “Yesss!”
just crop in on the car you miss a lot of
that. A lot of my favourite action shots What’s your favourite motorsports
11 Gulf GR8 are taken on the shorter lenses. image that you’ve taken?
“I took this picture as part of a magazine One of my favourites is a shot of an Aston
feature,” says Drew. “This type of What kind of images do you Martin at Le Mans in 2013 [see page 70].
automotive photography offers far most enjoy taking? I visualised it two weeks before I took it. I
more control than my race photography, I really enjoy taking photographs which asked to have the car for an hour, plus the
and it’s nice to have the chance to choose someone who isn’t particularly into cars mechanics to help set it up. I clamped the
how and where the car is positioned. or motorsports can look at and think camera onto the car, then one mechanic
Having brought the car to the front of they’re cool or interesting. It’s the same sat in the driver’s seat and we literally
the garage, I used a tripod to steady the when I look at other photographers’ work pushed the car at walking pace while I
camera and a remote flashgun to illuminate in, say, tennis, surfing or fashion – I’m set off a 3.2-second exposure, shooting
the car in the dark garage.” inspired by people who can look at through an ND filter. We only had two
subjects in a new or different way and tries, then the heavens opened and we
give their shots the ‘X’ factor. had to stop. I was gutted at the time, but
Exposure 1/200 sec at f/4, ISO50 the picture turned out really well. For me,
What’s the most challenging the thing that makes it is the foreboding
aspect of your work? sky – it looks like it was Photoshopped,
Almost every race weekend is a but it was actually like that.
drew gibson
10 Profile
Drew Gibson
Motorsports Photographer
Drew did a degree in photography
at Cumbria Institute of the Arts, and
subsequently worked as a motorsports
photographer for the picture agency
LAT Photographic.
He won the prestigious Renault MSA Young

Motorsport Photographer of the Year Award
in both 2007 and 2008.
Freelance since 2012, Drew specialises in

endurance and sports car racing, but also
shoots automotive images and other
sports, including cycling and horse racing.
11
His editorial clients include the Telegraph,
Times, Guardian and New York Times.
Is shooting F1 a glamorous job? brand ambassador for Aston Martin. We
Corporate clients include Hackett, Porsche,
I would say generally that it’s one of the flew to a racetrack in a private helicopter
Aston Martin, Jaguar, Mercedes, Mazda,
least glamorous lifestyles. There are a lot so she could drive one of the cars, then
Nissan, McLaren and Red Bull.
of low-cost airlines, protracted flights and flew back and did a factory tour. While
cheap hotels. People don’t see the long I was doing that I was thinking this is
hours you do. Sessions start at 9am, but quite cool, quite glamorous. Occasionally Next issue: Acclaimed American fine art
you’re there at 7am to be in position so it’s nice to have a little insight into that and portrait photographer Howard Schatz
you leave the hotel at 6am. Cars finish world, but to be honest I’d rather be with
on track at 5 or 6pm, and then often the fans than at the exclusive parties.
there are other shoots you have to do of something that’s not particularly
for products or sponsors that take you What’s the best advice you can interesting or beautiful, and to do that
through to 9 or 10pm. After that you offer an aspiring motorsports you need to know how your camera
grab some food in hospitality, then start photographer? works. Also, don’t be afraid to start at
image processing until 11pm or midnight. I know it’s basic advice, but I’d say people the bottom, at the less glamorous races
Then you drive back to your hotel, get should learn about photography first. where it’s easier to get access; this is
some sleep and get up at 6am the next Don’t assume that the best thing to do is where you can learn from your mistakes.
morning to do it all again. get yourself into the Formula 1 paddock. That’s how I came up, and I wouldn’t
Anyone can make Lewis Hamilton look have done it any other way.
Are there any glamorous aspects? good on the grid of the British Grand Prix
Yes – don’t get me wrong. I did a job the with a massive crowd behind him; the To see more of Drew Gibson’s work
other day with Serena Williams, who is a challenge is to make a good picture out visit www.drew-gibson.co.uk.

PHOTOSTORIES Photo essays from PhotoPlus readers
and up-and-coming pro photographers Get £50
for every
photo story
we publish!
Join in
the fun!
Reflections in water make

for captivating images,
but photographing them
is harder work than the
serene-looking resulting
images might suggest, as
George Johnson explains
opposite. Also this issue,
Goran Jovic tells us how he
descended into a volcanic
crater to document the PROJECT INFO
harsh lives of Javanese 01
sulphur miners, and we get
an insight into an aspiring
Mirror images
portrait photographer’s
first location shoot.
We want your photos

and stories! We’ll pay
you £50 for every Capturing perfect reflections requires
project we publish.
Please send them to…
careful planning and lots of patience – not
Name: George Johnson
to mention a little luck with the weather
I
Email AGE: 43
photoplus@futurenet.com have been shooting so the bottom of the river or
Location: South-east England landscapes for five pond will not show through.
Online Mission: To capture genuine, or six years now, and I like to travel as light as
www.facebook.com/photoplusmag perfect reflections in bodies of I’ve always had a possible, keeping my kit bag to
water and flooded landscapes fascination with the bare minimum when I’m
www.twitter.com/photoplusmag
reflections. They’re a very on location – I might need to
Kit: Canon EOS 5D Mk II, challenging subject to shoot, stand in 18 inches of water
Post Canon EF 24-70mm f/2.8L
USM, Canon EF 17-40mm f/4L as the wind is almost always with nowhere to rest my bag.
PhotoPlus: The Canon Mag USM, Lee soft and hard 2-stop against you, disturbing the I usually only carry my
Future and 3-stop graduated filters, surface of the water. You need camera, tripod, two lenses
Manfrotto CX055 tripod with to locate a good scene, and and my ND graduated filters.
The Ambury 410 Junior geared head
Bath BA1 1UA plan to shoot when there will I generally find the best
www.fuzzypig.com be no algae or detritus on the reflections when the sun is
UK
water. You also need to ensure low, and lighting the sky
that the water is deep enough rather than the ground.
YOUR PHOTO STORIES
02
03
01 Horsey Windpump
Just as the colour started to fade, the clouds broke apart in the sky
Lens Canon EF 17-40mm f/4L USM Exposure 2.5 secs, f/8, ISO100
02 Dawn on the Stour

I stood in a flooded field for two hours until I got the shot I was after
Lens Canon EF 24-70mm f/2.8L USM Exposure 1/8 sec, f/16, ISO100
03 Keyhaven Harbour
I set a long exposure to capture the moving clouds as the sun rose
Lens Canon EF 24-70mm f/2.8L USM Exposure 132 secs, f/11, ISO100
I had to trek for a mile through flooded

fields, and then stand in the water for close
feedback
morning when the
F or the best results shoot reflections early in the
on two hours while I got the shot! from the sky into the
waters are still, and to reflect the warm tones
still in shadow
cooler-coloured pools or bodies of water that are
I prefer sunrise to sunset, as patience is not just a virtue, ’s Ephemeris (TPE)
you’re more likely to get a it’s a mandatory requirement! Use a smartphone app such as The Photographer
rise at a given location
location to yourself first thing On the day I shot Horsey to work out where and when the sun will
your composition; try
in the morning when sensible Windpump I arrived to find You don’t necessarily have to include the sky in
different results
people are still in bed! less that perfect conditions,
framing just your subject and its reflection for
Keyhaven Harbour was but I decided to stick around
shot first thing in the morning, and about an hour later, just
at around 4.30am. There was as the colour started to fade of rain in the previous week stand in the water for close on
very heavy cloud but the water from the sky, the clouds broke and the river had burst its two hours while I got the shot!
was perfectly still, so I waited up but fortunately the water banks, creating a fantastic Lots of Photoshop tutorials
around for an hour or so and remained still. opportunity to capture will show you how to fake
eventually the cloud began Dawn on the Stour was shot reflections. I had to trek for a a reflection in your shot, but
to recede; I’ve found that for by the River Stour at Dedham mile through flooded fields, in it’s more rewarding to find
a landscape photographer in Suffolk. There had been lots about a foot of water, and then and capture the real thing.

Your PHOTO
YOUR Photo STORIES
stories
PROJECT INFO
01
Hell’s kitchen
Name: Goran Jovic
The sulphur miners of Kawah Ijen eke out a living in the harshest
conditions imaginable – on the slopes of an active volcano
AGE: 37
D
Location: Kawah Ijen, Indonesia ocumenting the lake, avoiding slippery rocks the miners who work right
lives of sulphur hidden in the sulphuric mist. beside the acid lake. Kawah
Mission: To document the harsh miners on the But when you finally come Ijen is one of the toughest
lives of Javanese sulphur miners slopes of Eastern face to face with the and most toxic working
Java’s Kawah Ijen spectacular blue flames the environments in the world,
Kit: Canon EOS 5D Mk III,
Canon EF 15mm f/2.8 Fisheye, volcano was a challenge. journey seems worth it. The where one light breeze can
Canon EF 50mm f/1.4, Canon Hiking 2,800m up to the rim flames are created by sulphur literally kill you – if the wind
EF 35mm f/1.4L USM, Benro of the volcano is demanding, combusting as it comes into suddenly changes direction
carbon fibre tripod especially when you’re contact with the air, and this the sulphur gases can
carrying 10kg of photo gear. magnificent sight attracts suffocate you instantly.
www.goran-jovic.com It doesn’t get much easier tourist from all over the world. If this doesn't scare you,
as you descend into the crater Although the blue flames there’s always the risk of
are worth wandering through slipping and falling into a lake
the dark night for, they can be filled with hydrochloric acid.
very dangerous – especially if But I’ve learnt that danger
02 you want to be in the centre of often goes with adventure,
the combustion to photograph especially if you want to be
able to photograph such
01 Sulphur Spring miracles of nature.
Liquid sulphur solidifies, and
miners hew it with sharp tools
02 The Return feedbac k

Miners are paid by the weight D a high ISO
on’t be afraid to use
of sulphur they collect to increase your shutter speed
Lens Canon EF 15mm f/2.8 Fisheye – you can reduce image noise but
you can’t fix a blurred shot

PhotoStories
01
PROJECT INFO
Name: P1ay
In at the deep end
How a carefully planned first location shoot turned
AGE: 35 into an ultimately rewarding photographic adventure
I
Location: London, UK have been taking of light on people, directing in doing another shoot. The
pictures for a little models, choosing clothes, universe had heard me, and
Mission: I don’t want to stumble
across a photo that shows a while, but it was not makeup and backdrops. With had sent me my new muse.
revealing moment – I want to get until 2014 that I had each shot I was growing and This was my first location
out there and create it. my first experience my imagination was evolving. shoot, and I wanted to make
of shooting people, albeit When summer arrived I sure I had a location that
Kit: Canon EOS 60D, Canon in a studio. Afterwards my was itching to get outside for would complement my ideas
EF 50mm f/1.4 USM, Canon
EF-S 18-200mm f/3.5-5.6 IS, synapses were firing all a shoot, and one afternoon I and my model. I began
Westcott 40-inch reflector at once; the experience had got an email from Jessica de searching, walking down side
left me feeling focused, and Virgilis, a model I had worked streets looking for something
www.p1ay.co.uk, my mind had been charged. with before. She said she was that would stand out. I finally
Instagram: @p1ay_
I spent the next few months coming to London and wanted found two locations that were
learning all about the effects to know if I was interested perfect. I emailed pictures to
Your Photo stories
03
01 Looking For A Warm

Embrace
This is a very romantic
02 location, and I wanted to
show another side to it
Lens Canon EF 50mm f/1.4 USM
different colour – a horrible opened! Thank the
cream! – so we moved on. photography gods! 02 Pose From Within
We had to take the Suffice to say the second I used the hanging lights as
Underground to the next spot, part of the shoot went to plan, a backlight for this shot
and as we sat down we heard and I got my shots. Looking Lens Canon EF 50mm f/1.4 USM
a message saying the train was back I could probably have
Exposure 1/80 sec, f/2.5, IS0160
Jessica, along with ideas about delayed, so we got off and used Photoshop to change the
the clothing and makeup I was found another route. When we colour of that door back to 03 Look Into My Eyes
visualizing, and she responded finally arrived it had started purple. But would I go back I wanted to use the wall lines
with exactly what I wanted. raining lightly – typical. By and change anything? No. to lead you into Jessica’s eyes
When the day of the shoot this point I was beyond caring I love an adventure, and I
Lens Canon EF 50mm f/1.4 USM
arrived I was nervous and – all I wanted to do was get my think that goes hand in hand
excited. We met at the first shots – but then I noticed that with photography. Exposure 1/500 sec, f/2.2, ISO100
location and began shooting, the gate to my chosen spot
and everything was going was closed and that there
great – better than I had
expected. The main focus for
the next location was a big
was an eerie silence; normally
this gate is open and you can
hear people. We got closer
feedback
t will help things to
purple door, but when we got and my heart was beating fast. Scouting your chosen location in advance of a shoo
your model about your
there we discovered that the I grabbed the gate with both run smoothly on the day. Communicating with length and
wave
door had been painted a hands and pushed it – and it ideas will also ensure that you’re both on the same
working towards the same goals.
nts of a shoot are
This was my first location shoot, and No matter how much planning you do, some eleme
and working with
simply out of your control. Thinking on your feet
I wanted to make sure I had a location that what you’ve got will help you grow as a photogra
pher.
complemented my ideas and my model

FocusPoint
We’d love to hear your thoughts on the new-look mag and all
things photographic! Email us at photoplus@futurenet.com
Shot of
The Month
Digital edition options digital providers, notably Zinio,

Derwentwater I came back to SLR photography
which can be viewed on computers
(PC and Mac) and tablets (Android
after buying myself an EOS 650D and iOS). Though it doesn’t quite
After deciding to collect a portfolio of landscape
for my 60th birthday. Recently I have all the functionality of the
shots from around the UK, my first stop was Keswick
upgraded to a 7D Mk II, with EF-S Apple Newsstand edition, and the
to enjoy the sublime nature of the Lake District. I
17-55mm f/2.8 and EF 70-200mm way videos are viewed works a little
stumbled across the Derwentwater area by accident
f/4L IS lenses. I have to say that differently. If you’re interested go to
and the sun had just set, so I literally had seconds to
there is so much content in https://gb.zinio.com/photoplus
capture the last remaining light. I used an ND8 filter
PhotoPlus now, it takes a whole
in conjunction with an ND8 graduated filter to make
month to get through it all! There
sure I got an even exposure for the entire image;
are so many different aspects of
Where have all the
I also wanted the water to have the much-adored
‘silky effect’. I used my Canon 7D and Tamron
photography in the magazine that camera shops gone?
I would like to try, but I never have
10-24mm, with an exposure of 30 secs at f/16 and
enough time! I have been looking to upgrade my
ISO100. A great end to a successful weekend!
I have a long-standing digital Canon DSLR, but to my dismay I
Rory Wilson, Derby
subscription to PhotoPlus, and read find the Scottish capital is lacking
the magazine in Newsstand on my a proper camera shop. I’ve resorted
Every month we invite you to send in your best images,
along with around 100 words on the ‘story’ behind each
iPad, which I find both enjoyable to looking online via adverts in
shot (include Canon DSLR and lens used, plus exposure and extremely informative. I have PhotoPlus, but this is not the same
settings). Email photoplus@futurenet.com with Shot recently upgraded my home as trying equipment locally and
of the Month in the subject header. Good luck! desktop PC to Windows 10 and my supporting local traders. Has this
question is: is there a way of happened in other parts of the UK?
reading the magazine on both my Kenneth Smith, Edinburgh
WIN A £50 CEWE VOUCHER! iPad and PC with a single digital
edition subscription? There is a Calumet Photographic
Each issue, the photographer behind our Shot of the Month
is awarded a £50 voucher to have their image professionally Jon Weiner, Harrietsham, Kent in Leith, Kenneth, but we appreciate
mounted. Rory’s shot would look great as this isn’t central Edinburgh. Who
an Aluminium Print – mounted on a 3mm Glad to hear you’re a long-standing else feels there aren’t any proper
thick aluminium composite panel, they subscriber, Jon! Unfortunately, the camera shops in their local city?
add a modern touch to any home and Apple Newsstand edition of We have three in PhotoPlus’s home
ensure a sleek, glossy finish. CEWE Wall PhotoPlus can only be read on an town (and popular tourist
Art is available at www.photoworld.com iOS device (iPad or iPhone). destination) of Bath, but we realize
However, it is available from other that this isn’t typical these days.
Contact us at... YouFuturecanPublishing,

write to us by emailing photoplus@futurenet.com using the subject Focus Point, or write to us at Photo Plus: The Canon Magazine,
The Ambury, Bath, BA1 1UA UK. We reserve the right to edit your letters and queries for clarity or brevity.
Your views
Photography permits
I read with interest your article on
street photography in the August
issue, however there are many
parts of London and other cities The Social
that are privately owned, Canary
Wharf being one of them. Canary
Network
Wharf is an amazing place to take
striking images but you will need
a permit if using a DSLR and a
tripod. These can be applied for
The most-popular stories
from the Canary Wharf Press
found on the web this month
Office (http://bit.ly/cwpermit). Flash happy There’s lots to
Art Wolfe
shoot at Canary
I have visited three times with a
Wharf, but you’ll
photography permit and have been Naughty @PhotoPlusMag. In your
need a permit…
asked to show it numerous times live music event article (PhotoPlus
during the day. If you are travelling 103) you forgot to mention flash
a long way, as I sometimes do from generally isn’t allowed...
Somerset, it is always best to check @jonathanmorgan on Twitter
if you need permission, rather than
be disappointed when you’re there. You’re right that flash is a no-no at
Your lion eyes
The only way to shoot a lion – or
Glynis Dunkley, Taunton some events, yet at the Bathfest
trophy hunt any animal – is with a
dance music event (many flashing
camera. www.facebook.com/pages/
Button benefits lights on stage) we could use flash.
Always best to check beforehand.
Art-Wolfe-Photography-Fan-Club
We’d add that our best gig shots
When people talk about back-
Hang Meang Khou

were taken without using flash.
button focus, they often leave out
a couple of great benefits (EOS
SOS, PhotoPlus 103). Instead of Satisfaction guaranteed
half-pressing the shutter button
to pre-focus then switching the lens Some would say, if you want to
to MF to hold the focus, just hit learn DSLR photography, buy a
back-button focus and go on with half-inch book on the subject, and
your business. You can also take read it from cover to cover. Some
Kick the bucket
Perhaps a cynical view – with
advantage of the full-time manual would say buy a modern DSLR
amazing ‘what you imagine’ and
focus feature of a lens to make a camera. I say buy PhotoPlus, and
depressing ‘what it’s really like’
quick adjustment, should autofocus read that once a month. Do that for
choose a focus point slightly ahead 12 months and you’ll become an Subscribe photos – but have you ever been
really disappointed or happily
or behind what you want. expert. Guaranteed. and save! surprised when you’d finally visited
Jay Showalter, New York, USA Michael Cowley, Luton See page 26 a Bucket List location?
http://bit.ly/17bucket
The month in numbers

19 4
Which new prime lens do you want the most?
4%
cross-type AF points on million max ISO on tilt shift 29% Grin and Bear it
wide-angle
the Canon EOS 750D
(page 108)
Canon’s new ME20F-SH
multipurpose video cam 10% prime “We’re delighted to welcome rugby
super
170 40
super-fan Bear Grylls to Canon’s
telephoto
prime Rugby World Cup 2015 team…”
lenses featured in our years – Canon and We’re big Bear fans but were
Buyers’ Guide
(page 120)
Magnum photographer
Martin Parr’s career 15% 24%
intrigued when Canon announced
he’s part of their RWC2015 team!
telephoto
2693 253,561
macro
prime prime You can see Canon sports pro
shooter Dave Rogers get Grylled by
amount of images we PhotoPlus Facebook 18% Vote in our next poll
on shooting modes at Bear in a camera skills videos at:
shot for our time-lapse fans – www.facebook. nifty fifty http://bit.ly/poll106 www.facebook.com/CanonUK
project (page 52) com/PhotoPlusMag
Follow us on... Facebook

www.facebook.com/PhotoPlusMag
Twitter
www.facebook.com/PhotoPlusMag
Digital camera world
www.digitalcameraworld.com

Professional photographers reveal their top six
tools of the trade they couldn’t shoot without
The technology makes

life easier, but it’s important it
doesn’t hinder; synergy with
mind and camera is the key
What do I do?
David Clapp
Travelling light isn’t an option for landscape and travel photographer David Clapp.
In addition to all the camera kit, these days he even takes the office with him… David Clapp
W
www.davidclapp.co.uk
orking as a smaller day bag (Streetwalker the idea of having an office
landscape Pro) into which I decant the now, and I do all my ‘office’ I am a landscape, travel and
and travel kit I need for the day. work and image processing on architectural photographer based
photographer I use heavyweight Gitzo a top-spec MacBook Pro, in South Devon. I regularly work
means I shoot tripods – a 6x 5540 and a anywhere there’s a plug socket abroad, although I’m still
a wide range of subjects smaller 4543, with a levelling and a flat surface – from my obsessed with Dartmoor, where
in all kinds of conditions, base, as large-reproduction kitchen table to airports, car my photographic journey began
and this requires a lot of panoramic images are a very seats in the Arctic and, in 2003. I work regularly for
kit and a heavy bag. I’m a important part of my work. recently, a super yacht in the Canon UK, and run photo tours
‘long haul lugger’ and I find it Canon ISO technology has Med. Internet access is crucial, for workshop company Light and
hard to refine things down! always been world-class, so I so I run a 4G iPhone/iPad Land as well as my own tours.
My ‘bare minimum’ kit leave the tripod behind in the Mini system which I use for I sell my pictures worldwide
comprises three camera day and shoot hand-held at personal Wi-Fi hotspots. through Getty Images, and I’m
bodies and nine lenses. I take higher ISOs, especially on The technology makes life known for my moonlight and
two Think Tank bags with me travel assignments. easier, and it opens doors to infrared photography. I don’t
everywhere: one ‘airport’ bag Then there are all the leads, creativity, but it’s important it specialize in one area, so I tend
(Airport Acceleration V2) chargers and cleaning kit, plus doesn’t hinder; synergy with to do a bit of everything!
which stays in the hotel, and a the computer. I’ve abandoned mind and camera is the key.
Canon Pros & their kit
IN david’s BAG
01
02 04
03
05
06
01 02 03 04 05 06
Canon Canon Canon EOS 6D Canon TS-E Canon EF Canon EF

EOS-1D X EOS 6D (IR conversion) 24mm f/3.5L II 16-35mm f/4L 70-300mm
Web: www.canon.co.uk
Price: £4499/$4599
Price: £1139/$1399
Web: www.advanced
cameraservices.co.uk
Price: £1450/$1899
IS USM f/4-5.6L IS
Price: Camera £1139/$1399
Price: £729/$1099
USM
This is my night With GPS and Wi-Fi, Conversion £350/$350 approx I’ve used this lens Web: www.canon.co.uk
vision and extreme this camera suits me so much that I had to Price: £729/$1099
this is the lens
weather camera. My 6D above all other bodies. This camera have the entire tilt-shift
we’ve all been waiting
is a great camera, but The creative potential it was bought to replace mechanism replaced this smaller,
for. It’s the sharpest,
it was struggling out in can release is utterly a 5D Mk I that I had this year. It’s the most compact L-series zoom
most versatile
Finland this year, where remarkable. From converted for infrared versatile lens that is one of the most
wide-angle lens made
temperatures reached light-painting standing photography for a Canon produces in important lenses in my
by any manufacturer.
-25C, and the 1D X stones using my iPhone magazine article in my opinion – from kit bag. I was an avid
It can be used
performed flawlessly as a remote monitor, 2010. I’ve been an landscapes and 70-200 f/4L IS user
wide-open at 16mm
in extremes as low as to fast, unobtrusive infrared addict ever seascapes to until this lens was
and produce images
-40C. I use it to shoot travel photography, since, and I upgraded architecture, I can released, but I found
that are staggeringly
the aurora borealis, it’s an understated to this 6D converted for use it to stitch 2.5:1 myself constantly
sharp from corner to
stars and moonlit wolf in sheep’s clothing. IR, enhancing my love panoramas from reaching for my 1.4x
corner. The inclusion
scenes because of The quality of the of the medium with Live a simple shift left extender. This lens is
of Image Stabilization is
its incredible high-ISO full-frame sensor View and great high-ISO and right. The tilt so compact that it can
a real bonus for travel
performance, but it makes well-exposed capability. Infrared adjustment takes some fit inside my camera
photographers – taking
also produces beautiful shots look remarkable, photography is an working out, but once bag. It’s very sharp, and
a deep breath, I can
landscape images and I can’t imagine my interpretive medium conquered it opens resolves the detail in
shoot hand-held as
thanks to its fabulous professional life without that can produce doorways to limitless images on the new
slow as 1/4 sec and still
dynamic range. it – although I may well incredible results. creativity. It’s an 50Mp 5DS R. A superb
get sharp results.
upgrade to a 5DS soon. absolute gem. optic for all genres.

Your ultimate photographic reference guide
to the complete Canon EOS DSLR system
DIGITAL SLR ESSENTIALS PAGE 82 WITH
Master metering to get Andrew James

your exposures bang-on
It’s your Canon’s built-in metering system Photo expert
that determines what it sees as a ‘good’
exposure, so understanding the various Andrew James has combined
photography with writing for
metering modes on your DSLR and in what over 25 years. He uses a
shooting scenarios they are best used is Canon 5D Mk III and 1D X,
vital – as is knowing what conditions your he teaches on photography
camera is likely to be fooled by and the best holidays and workshops,
methods to counteract such situations. and runs PhotoBuzz.
SOFTWARE SOLUTIONS PAGE 88 WITH
Learn to master Canon’s George Cairns

free suite of software
This issue George explains how Digital Editing expert
Photo Professional can selectively adjust
colours – to boost drab areas of a shot George Cairns has been writing
image-editing tutorials for
without over-saturating the shades that PhotoPlus since our first very
the camera has got spot-on. Plus he issue, back in 2007. He uses a
reveals how you can share shots with Canon EOS 650D and 70D, and
Image Browser EX, in print, slideshows, writes for the Canon Professional
via email, or uploaded to an online album. Network newsletter.
EOS S.O.S PAGE 93 WITH
Need a question answered BRIAN WORLEY

or a problem solved?
Flummoxed by f-stops? Bamboozled by Camera expert
Bulb mode? Exasperated by exposure
compensation? You’ve come to the right Brian has unrivalled EOS
DSLR knowledge after
place. Our technical guru Brian has been working for Canon for over
an inside man at Canon, and no one 15 years. He now works as a
knows the inner workings of the EOS freelance photographer
system better than him. So drop him and photo tutor
a line and you’ll be confounded by in Oxfordshire.
your Canon no longer…

CANONSCHOOL
DIGITAL SLR Andrew James

Photo expert
ESSENTIALS
Andrew James has combined
photography with writing for over
25 years. He uses a Canon EOS
5D Mk III and 1D X, he teaches
on photography holidays and
workshops, runs online photo
Welcome to Canon School. In the third part of Digital SLR community FotoBuzz – and now
is your tutor at Canon School.
Essentials we take a look at your camera’s metering system
In-camera metering ‘Incident’

light falls
How your DSLR interprets reflected light on your
M
subject
etering is the way to be ‘incident’ light if it’s
in which you and falling directly onto a subject.
your Canon DSLR So your light source – typically
decide on what the the sun, although it could also
exposure should be for be flash or studio lighting, is
the image you want to incident light, and this light
capture. Taking a reading can be read by an off-camera
of the light reflecting from a light meter.
subject enables you and/or When incident light hits a
the camera to calculate a subject and bounces off it, it
combination of shutter speed, becomes reflected light – and
aperture and ISO that will, it’s this light that’s used by the
hopefully, produce a correctly camera to calculate exposure.
exposed image. The metering system does this
All Canon DSLRs have a by assuming the world is a
sophisticated metering system, midtone grey, or at least that
‘Reflective’ light
and different metering modes it has the same reflectance of
bounces off your
enable the camera to read the 12-18% grey. Of course this
subject and is read by
light in a way that suits both isn’t the case, which is why
your Canon DSLR’s
the subject and the result you metering doesn’t always work
metering system
want to achieve. But metering perfectly; different objects
can never be 100% accurate, reflect light in different ways,
as the quality of the light, and and this is when your camera
the way it’s reflected, differs can give you an incorrect
from scene to scene. exposure, underexposing or
It’s the word ‘reflective’, overexposing an image or
that’s important. Light is said parts of an image.
Why different scenes can confuse the meter

these TWO images have been shade in the foreground, plus a large,
converted to greyscale to give you an bright sky. Not only is this likely to
idea of what the camera’s meter is fool the meter; the scene may also
reading. There are no large areas of fall outside the camera’s exposure
brightness or darkness in the tree latitude. For example, a 6D has one
image, so a midtone grey metering of the best exposure latitudes of
won’t trouble any of the metering any DSLR, but it can still only cope
modes and will give a fairly accurate with approximately 11 stops of light
exposure. The gondolas image is before either underexposing or
different. There are large areas of overexposing parts of a scene.
Av F8.0 ISO
200
master metering
F AWB
ONE SHOT WB
L
Metering modes
Q
537 SET AF
Learn the four different metering modes in most Canon DSLRs

our Canon camera mode is used when you take a model standing in the shade. Centre-weighted average for
Y typically has four
metering modes:
picture in any of your camera’s
auto shooting modes. It takes
Each image was taken at the
same focal length, at f/2.8.
this scene, although none of
the modes has completely let
Evaluative, Spot, Centre- a series of light readings from Each metering situation is the side down. Evaluative has
weighted average and different points within the different and therefore it’s done a pretty good job too,
Partial (the 1200D frame and averages them out. impossible to say which mode which supports the notion that
doesn’t have Spot mode). To show you how the four is best, but as you can see from when you want to hedge your
The default metering mode is modes work here are a series these examples there’s little to metering bets it’s a sensible
Evaluative, and this ‘catch-all’ of portraits, all taken with the choose between Partial and option to choose.
Evaluative Partial Spot Centre-weighted

average
Evaluative does a good job, As the meter reading is taken As Spot metering only takes a Centre-weighted average has
although it’s biased towards the entirely from the face area in this reading from a tiny area of the given us a halfway house
zone where the AF point is, as the shot, the exposure is very much face in the middle of the frame it between the exposures achieved
meter assumes this is the most biased towards the skin – exactly produces an image that’s slightly with Spot and Partial, which isn’t
important part of the scene. It has what we’d want in a portrait. underexposed, with detail lost in surprising when you look at the
come up with a ‘best of all worlds’ However, this also means that the shadows of the hair. But it’s area it’s metered from. The
exposure: the model’s face is only the background remains bright, not far off, and Spot is a good resulting exposure is very good
slightly underexposed, and the although it’s certainly not option if you want to be precise in this case, with a lighter face
bright foliage is toned down. overexposed in this area. about the area you meter from. and some hair detail preserved.
Evaluative Linked to AF
Meter from an AF point
ou can link Spot from a 3% area of
Y
Av ISO
F8.0 200
metering to a the frame, so where
single or group of you’re metering F AWB
WB
ONE SHOT L
moveable AF points if you from is critical. If Q 537
SET AF
have Canon’s current top the point you need

of the range pro camera, to focus on is very
the 1D X, or any of the dark, for example,
earlier 1-series cameras. you could end up with a these two images
But while this sounds like a slower shutter speed than you show. The darker
great idea in principle, unless want, and an overexposed image was taken Spot metering linked to
you’re careful your exposures image. Conversely, if the area with Evaluative metering, AF, and the AF point
can be way off the mark. your AF point hits is very and although the camera positioned on the boy’s darker
Whether you’re selecting bright, the rest of the image has attempted to balance the top, the resulting exposure is
just one AF point or a group, will be too dark. However, this scene, the tricky backlighting better balanced, with more
the metering is still only taken option can prove useful, as isn’t helping. However, with detail visible in the subject.

CANONSCHOOL
manual override
Exposure compensation Av
F AWB
F8.0 ISO
200
Dial in more or less light to get the perfect exposure ONE SHOT L
WB
SET AF
Q 537
s sophisticated as Canons don’t have a +/- Av shooting
A Canon’s metering
systems are you’ll
button; you simply turn the
rear command wheel to dial
modes, or full
Manual mode.
sometimes need to help in exposure compensation. Your camera enables you the more area-specific modes,
the camera get things For experienced users this to compensate by up to plus such as Partial and Spot.
right, and you can do becomes second nature, but if or minus five stops, and the In the examples below, -1
this by using exposure you’re a beginner it can take a increments in which this can stop of exposure compensation
compensation. little getting used to; simply be done varies from model to brings out detail in the sky, but
On most entry-level and remember that it’s ‘right for model. As a rule of thumb, underexposes the foreground,
mid-priced Canon DSLRs, to light’ and left for dark. third of a stop increments will while +1 gets the foreground
dial in exposure compensation You can only dial in give you more precise control right but blows the sky; the
you press the +/- Av button exposure compensation in over the exposure. You can default exposure strikes a
and then turn the command the semi-auto modes: Shutter use exposure compensation reasonable balance, and if you
wheel to the right (plus) or Priority, Aperture Priority and with any of the metering shot Raw you could recover
left (minus). However, the Program. You can’t use it in modes, although you may find both highlight and shadow
high-end enthusiast and pro any of the fully automatic it’s more often required with detail in post-processing.
-2 -1 0 +1 +2
Assessing the histogram

How to tell when exposure compensation is required
WE TALKED about histograms, and compensation. In brief, a histogram
how useful they are for exposure is simply a tonal representation of
assessment, back in the very first your image, and the graph you see
Canon School (issue 100), so this when you press the Info button on
is just a reminder that they can be your DSLR when reviewing images
used in conjunction with exposure can give you a precise indication of
whether you’re
underexposing or
overexposing your
photo. There’s no such
thing as a ‘perfect’
histogram, as each The histogram for our high key portrait (left) looks similar to that of an
image has a different overexposed image, but in this case we’re deliberately clipping highlights
tonal range (see our
high key image and or overexposed. These will show as tonal range towards the left or right
histogram), but it’s pixels stacked flat against the left as desired. You don’t need to look
important to look out (shadows) or right (highlights) edge at the histogram of every shot
for areas that are of the histogram. By using exposure you take but, it can be very handy,
totally underexposed compensation you can move the especially in tricky lighting.
all about metering
Bracketing & HDR HDR
Auto bracketing 5D Mk III, enable you

to adjust the number
of images shot.
Shoot a sequence of images at different exposures Why would you
want to use bracketing?
s well as dialing than metered, one lighter and Well, for a start it’s a
A in exposure
compensation
one at what the camera thinks
is the correct exposure.
simple way of hedging your
bets, working on the principle
dynamic range than can
be captured in a single
manually, you can also The bracketing ‘spread’ that one of the three frame, with the intention
set your Canon DSLR to can be adjusted, and in most exposures will be perfect, or of merging them to create
automatically bracket high-end DSLRs you can also close enough that you’ll be a high dynamic range image.
exposures. When using choose the sequence in which able to recover sufficient Either way, it’s not really a
exposure bracketing you set the exposures are captured; shadow or highlight detail in technique to use for subjects
up the camera so that it will one correct exposure and post-processing. Alternatively, that move, and if you want
capture (typically) three two ‘over’ for example. Some you may want to shoot three to merge exposures then
images: one exposed darker pro cameras, such as the images to expose for a greater your camera must be in the
same position on a tripod for
-1 0 +1 all three shots, or the images
won’t align perfectly.
Bracketing exposures enables you

to create HDR images that capture
detail from deep shadows to bright
highlights in high-contrast scenes
In-camera HDR options

Create a high dynamic range image the easy way
WHILE YOU can use exposure Natural as your setting, unless
bracketing to capture a series of you have a particular liking for the
differently exposed images to blend over-processed images created by
together in post-production, newer using Art standard, Art vivid, Art
EOS DSLRs – such as the 7D Mk II, bold or Art embossed.
5D Mk III, 5DS and 5DS R – enable There’s no doubt that in-camera
you to capture and process the files HDR works, and it’s a no-fuss way to
as an HDR image in-camera. get that popular HDR look. However,
Although it’s an automatic mode, you don’t get as much control as
you can choose the amount of you would by shooting a series of
exposure bracketing applied, and the frames with different exposures and
style of blending that’s used. Most of then blending them with software on
the blending comes strictly from the your PC. When blending images, the
‘over the top’ drawer, so if you want in-camera software relies on each
to use in-camera HDR then stick with frame being taken from precisely the
same point, so it’s essential to use a
tripod. But you can shoot handheld
with fast shutter speeds, and
the camera will attempt
to align the three
frames. Note that
the in-camera HDR
images end up
Av F8.0 ISO
200 cropped so allow
for this in your
compositions. Plus
F AWB
WB the HDR image will
In-camera HDR is very effective ONE SHOT L only be saved as a
as long as the camera is locked Q 537
SET AF
JPEG, although you
on a tripod – and provided you
can save the three
stick with the Natural effect
originals Raw files.

CANONSCHOOL
taking control
Lock the exposure

The AE lock button is within
easy reach of your thumb
Use the AE lock button to ‘save’ an exposure

he AE lock it the camera will store the
T function on your
Canon camera is a
metered exposure until you
take the next shot; if you want
useful way of ‘saving’ an to lock the exposure in for
exposure setting while several frames it pays to keep
you recompose a shot, the button pressed, or the
and it’s well worth exposure may drop out.
familiarising yourself Using AE lock you can, for
with this feature. example, point the camera at
The AE lock button is on the and meter from a midtone
back of the camera, usually area of a scene (pavement, Without AE lock, when you’re according to the change in
on the upper right-hand side, grass, etc) to give you an in Aperture Priority or Shutter reflected light; if it happens to
and it’s marked by a * symbol. average exposure, then lock Priority modes, once you’ve meter from a very bright or
It’s easily operated with your that exposure in while you recomposed a scene the dark area then the resulting
thumb, and when you press reframe and take the shot. camera will alter the exposure exposure may be way off.
Go Manual
How to take full control
of your exposures
hen you want to
W take full control
over exposure
settings, Manual mode
is the way to go. In full
Manual mode – M on your
DSLR’s command dial – you
set the shutter speed and
aperture independently of one
another, using the command
wheels on the back and top
of the camera.
The only ‘help’ the camera
gives you is to indicate when it
thinks the exposure is correct,
by placing the point on the
exposure indicator bar in the
centre of the scale. Using full Manual mode can give you
Manual mode is easy as long better results in tricky lighting
as you’ve grasped the conditions, such as snowy scenes
relationship between shutter
speed, aperture and ISO, and need to set. Conversely, for landscapes, shooting in a semi-automatic modes, where
know which is the most an action shot of some sort, studio environment or for you need to use the AE lock
important element within the shutter speed will be your any general shots where the button (above) if you want
‘triangle’ for you to get right. prime consideration. exposure is particularly tricky, to hold an exposure in place
In other words, if front-to- Manual isn’t necessary such as the above shot of the when you move the camera.
back sharpness is required for every shooting situation. hare sitting in his snow hole. Of course, just because the
for a landscape image, then A lot of the time I’ll shoot in Remember, in Manual indicator is in the centre of the
aperture will be your starting Aperture Priority mode, but mode whatever exposure you exposure dial it doesn’t mean
point. Set a narrow aperture, there are occasions when I’ll dial in is fixed, even if you the exposure is correct, so be
such as f/11 or f/16, and then want the complete control of recompose a scene. This isn’t sure to check exposures, using
see what shutter speed you Manual, such as when taking the case in either of the the histogram as a guide.
all about metering
Exposure warnings
Be alert to overexposure
blinking, the histogram shows correctly. Also bear in mind
that the highlighs are within that if you’re shooting Raw
the acceptable range, so don’t and you overexpose an image
assume that detail is always slightly then you can usually
Use the Highlight alert to keep detail in bright subjects totally blowing out – just pull the detail back into the
check to ensure that you’re image in post-production,
he Highlight alert visual indication of in control of the exposure; as long as it isn’t drastically
T is a very useful
function for those
overexposure. If I see the
screen blinking like this I’ll
remember, sometimes you
may be quite happy to blow
bright in those areas; if you
shoot JPEGs there’s much
who are getting to grips double check the degree of some highlights as long as less chance of retrieving lost
with understanding overexposure by referring to the main subject is exposed highlight detail.
exposure but are making the histogram, then dial in the
a few mistakes along the required amount of negative
way. It was briefly mentioned exposure compensation.
in the first Canon School, but I’ve found that sometimes,
deserves a longer explanation. although the Highlight alert is
In most of the current EOS
DSLRs you can have Highlight
alert disabled or enabled, and
if you find that you’re
consistently overexposing
images I’d recommend that
you enable it immediately.
The LCD screen provides
a preview of the image you’ve
just taken, but it’s not always
easy to see that image,
especially in bright conditions.
I often resort to finding shade,
AF
or even sticking the camera

WB
SET
under my shirt to review the

image on the screen! Even
then the JPEG preview
isn’t a 100% accurate
537
reflection of the image

200
you’ve just taken.

ISO
This is why,
F8.0
especially in tricky,
bright conditions I’ll
AWB
enable the Highlight

ONE SHOT
alert, so that any areas

F
Av
of an image where the Preserving the highlights is

highlights have pushed too far important in bright and finely
to the right will blink black in detailed subjects such as flowers
the LCD screen as another
School tip Auto Lighting Optimizer

Use ALO to balance exposures by enhancing shadow detail
When you’re shooting JPEGs in harsh and Strong, with Standard being the
lighting it can be useful to enable the default mode and certainly the most
Auto Lighting Optimizer. This has useful. It works by bringing out the Av F8.0 ISO
200
been available in all Canon EOS shadow detail, although if you’re not
DSLRs since 2008, and is designed careful it can do this at the expense F AWB
to even out exposures so that the of pushing the highlights too far. WB
ONE SHOT L
overall image is better balanced. Other than in extreme contrast SET AF
There are three ALO settings, conditions, stick with the Standard
Q 537
as well as the option to disable the setting, and keep a check on highlight
function. These are Standard, Low detail by looking at the histogram.

CANONSCHOOL
SOFTWARE george cairns

Imaging expert
SOLUTIONS
George Cairns has been writing
image-editing tutorials for
PhotoPlus since our first very
issue, back in 2007. He uses a
Canon EOS 650D and 70D, and
writes for the Canon Professional
Get to grips with Canon’s free Raw image organising, editing Network – a newsletter for
Canon pro kit users.
and sharing software – Digital Photo Professional 4
Adjust colour selectively

Use Canon’s DDP to tweak the saturation and lightness of colours independently
I
n the previous issue saturation of all of a photo’s Adjustment palette that can be over-saturating the stronger
we demonstrated how colours equally. While this persuaded to produce similar ones. The sky in our example
DPP4 can fix colour- global adjustment might give selective adjustment results. image is rather desaturated,
related problems a drab blue sky more impact, As with the Adobe Camera while the flowers’ colours are
caused by incorrect white it could simultaneously make Raw editor’s HSL panel, DPP stronger. We’ll show you how
balance (WB) settings. over-saturated skin tones look 4’s Color Adjustment palette to adjust the saturation of
We’ll now move on to too orange. Photoshop users enables you to target and specific colours to make the
demonstrate how to make can selectively boost weaker tweak an individual colour’s sky more blue, while also
selective colour adjustments colours in their Raw files Hue, Saturation and creating more textural variety
to create more colourful and without over-saturating Luminance values, making it in areas such as the ivy on the
attractive images. stronger ones, courtesy of the a much more useful program pub wall. We’ll also show you
In previous versions of Vibrance slider. Although DPP when it comes to increasing how to tweak tones to reveal
Digital Photo Professional you 4 lacks a Vibrance slider it the saturation of a photo’s missing colours that you can
could only boost the does boast a new Color weaker colours without then enhance.
Step by step Prepare your picture

Before adjusting colours, get your photo’s tones looking their best
01 LIGHTEN THE SHADOWS 02 GAMMA ADJUSTMENT 03 FINE-TUNE

Browse to Color_start.CR2 in the Folder To reveal more midtone colour and In the Fine-Tune pane, tick the Auto
pane. Click the Edit Image button, then detail, toggle the Gamma adjustment Lighting Optimizer box. Leave it set to
the Basic palette tab. In the Advanced pane open. In the histogram window, Standard. Go to the Advanced pane and
section, drag the Shadow slider to 3 drag the vertical midtone control bar left drop the Highlights slider to -1 and boost
to lighten the slightly underexposed to remap the shot’s original midtones to Color Saturation to 1. You’re now ready
shadows and reveal more colour detail. a lighter value; -45 will do the trick here. to make selective colour adjustments.
eo
view the vid VIDEO also online Selective Colour Adjustments
Canon DPP 4
HOW IT WORKS Change your COLOURs

Discover how to boost an individual colour’s saturation, hue and lightness in your Raw images
01
02 03
04
08
05
06
07
01 all the image’s colours. Even if you 06

COLOR ADJUSTMENT close DPP 4, you can later choose HUE
JARGON BUSTER
PALETTE Adjustment>Revert To Shot Settings The H slider adjacent to each colour
OVER-SATURATED
Click here to access the Hue, to see the shot’s colours as they were thumbnail creates a shift in that
Saturated colours may not look
Saturation and Luminance captured in camera. You can also colour’s hue. By changing the Hue of
good printed, due to the different
(lightness) adjustment sliders reset individual colours by clicking the Aqua and Blue colours we’ve
way colour is reproduced by
for eight separate colours. the Reset icon below their thumbnail. added a hint of cyan to them.
screens and printers.
02 04 07
AUTO LIGHTING OPTIMIZER
GLOBAL ADJUSTMENTS COLOR THUMBNAIL LIGHTNESS
This tool helps auto correct an
These top two sliders adjust all the These thumbnails give you an idea By reducing the value of the Blues
image that is underexposed or
photo’s colours simultaneously. The of the range of colours that will be Lightness slider we’ve darkened the
lacks contrast with a click. You
Hue slider causes colours to shift to altered if you drag the adjacent HSL skies and made them look more
can fine-tune the result using
new values in a dramatic way. sliders; although this colour is dramatic. This slider can help
a three-setting slider.
labelled Yellow, it also alters lighter increase the contrast between
03 greens. It’s worth boosting the objects with different colours.
RESET Saturation slider of the Yellow section
Feel free to experiment with different
H, S and L settings. As you’re editing
if you have vegetation in your photo. 08
SELECTIVE
Can I use DPP 4?
a Raw file you can click here to reset 05 ADJUSTMENT DPP 4 is now available to all current
EXTRA TEXTURE By dropping the Orange colour’s Canon EOS DSLR owners – 1200D,
By boosting the Saturation of the Saturation slider to -3.0 we’ve kept 100D, 700D, 750D, 760D, 70D, 6D,
Yellows we’ve made some of the ivy the warm tiles from becoming 7D Mk II, 5D Mk III, 5DS/R and 1D X,
leaves stand out against their over-saturated. This slider provides plus 1D Mk IV, 5D Mk II, 7D and 60D.
greener colleagues, creating more an effective way of keeping skin tones Download it from http://bit.ly/
variety in this area. Distant yellow from looking too orange when get_dpp but you’ll need your serial
plants also have more impact, which boosting the saturation of other number. Check the website to see if
helps give the photo more depth. colours in a shot. your DSLR is compatible with DPP 4.

view the video VIDEO also online Share shots
Image Browser EX
Share photos using ImageBrowser EX

Use Canon’s free software to share your processed JPEGS at home, in print, online or via email
n our previous issue’s EX’s sharing tools to enable uploading tasks. However, you You can then send friends a
I look at Canon’s free
ImageBrowser EX
your photographs to be seen by
family, friends and colleagues.
can still upload your best shots
(and favourite video clips)
link to the Canon-hosted web
gallery so that they can enjoy
program we demonstrated Sadly, ImageBrowser EX no directly from ImageBrowser EX perusing your pictures from
how to use the software to longer enables you to export to a free web gallery, courtesy their PC or mobile device.
tweak your photographs’ JPEGs directly to Facebook or of Canon’s Image Gateway ImageBrowser EX also
colours, tones and video clips to YouTube (despite service. After registering with makes it easy for you to share
composition to perfection. those buttons still being Image Gateway you can enjoy shots via email. A full-size JPEG
And once you’ve got your present in the Share menu). 10GB of storage space for free, weighs in at around 10MB, so
favourite images looking their You need to use a web browser which is enough to display you can resize the images to
best you can use ImageBrowser to perform those social media thousands of JPEGs online. smaller email-friendly formats.
04
01 01 02
SLIDESHOW 03
Display your selected thumbnails as
a series of full-screen images.
02
PRINT
Click here to print a full page shot,
or turn a section of thumbnails into
a contact sheet for clients to peruse.
03
EMAIL
The Email Images option summons
the Custom Settings window, where
you can resize files.
04
iMAGE GATEWAY
Enables you to upload selected
images to free online albums.
STEP BY STEP SHARE TO A WEB GALLERY

Export your stills and clips online from within Canon ImageBrowser EX
01 SELECT ASSETS 02 ACTIVATE UPLOADER 03 ADVANCED SETTINGS 04 SHARE ALBUMS

Click the Thumbnail Mode icon Log into Canon Image Gateway To create web-friendly versions You can make albums in Canon
then Shift-click to pick a range – or click Register to get a free of shots, tick the Still Image Image Gateway then share a
of thumbnails to share. Click account. The Uploader window Resize button. Set Movie Size link and password for access.
the Canon Image Gateway displays the thumbnails for to HD 720p, or leave it at SD You can also decide whether
icon. Choose Upload images. your selected photos. size 360p. Click Upload. images can be downloaded.

International Subscription offer
International Save up
to 51%*
subscriptions
Wherever you are in the world, take out a subscription
when you
subscribe
today
to PhotoPlus and get it delivered direct to your door
Print offer
13 issues delivered to your door
Free gifts with each issue
including a great Video Disc
Prices include shipping
Europe €90.00 (Save up to 31%)
US/Canada $126.00 (Save up to 28%)
Rest of the World $135.00 (Save up to 23%)
Digital offer
Interactive videos and galleries
Digital versions of all gifts
included in print edition
Instant access to the latest issues
Print + Digital offer

Choose when and how
you read your magazine
13 issues delivered to your door
Free gifts in each issue
How to Subscribe
Visit www.myfavouritemagazines.co.uk/PHPOS
TERMS AND CONDITIONS: Prices and savings quoted are compared to buying full-priced print and digital issues. This offer is for new subscribers only. You
will receive 13 issues in a year. If you are dissatisfied in any way you can call us to cancel your subscription at any time and we will refund you for all unmailed
issues. Prices correct at point of print and subject to change. For full terms and conditions please visit: myfavm.ag/magterms. Offer ends 31/10/2015
CANONSCHOOL
EOSS.O.S
BRIAN WORLEY
Canon Pro
Brian is a freelance photographer
and photo tutor based in
Oxfordshire. He has unrivalled
EOS DSLR knowledge, after
working for Canon for over
Our technical guru is here to help. No Canon conundrum is too 15 years, and is on hand to
answer all your EOS and
big or small. Get in touch today at photoplus@futurenet.com photographic queries
I’ve purchased an inexpensive set of Digital Photo professional Lightroom

three extension tubes – how can I get the
best results using these?
Ian Lane, Hampshire
Brian says… Extension to a subject to get maximum

tubes move the lens further magnification. Wide-angle
from the sensor, enabling the lenses are less suitable for
lens to focus on a subject use with extension tubes,
closer than would otherwise as the point of focus may
be possible and therefore actually be inside the lens; I’ve
increasing the magnification. used an extension tube with
Using the EF 50mm f/1.8 lens, an EF-S 18-55mm lens, and
for example, the maximum the flower I was shooting was
magnification is 0.21x life so close it was touching the
size, and adding a 12mm front of the lens. Generally,
extension tube increases the you’ll use extension tubes
magnification to 0.45x. with longer lenses. Use
When using an extension manual focus, Live View and
The DPP-processed Raw image on the left has more sharpening
tube you need to be very close a tripod for the best results.
and contrast than the file processed with Lightroom’s defaults
Why does a Raw image processed with

Canon Digital Photo Professional look
different from the same image processed
using Lightroom?
Claire Dayton, Lancashire
Brian says… The Raw Lightroom standard profile,
images from your Canon and DPP will recognise the
D-SLR are analogous to the Picture Style that’s been
unprocessed film of old, and set in-camera, whereas
the results you create from Lightroom ignores it.
a Raw image will depend on Similarly, Adobe Raw
which tools you use to software will produce
process it, much like film different results to Capture
results depend on the One for the same Raw file.
developing chemistry used. You can, of course, tweak
Canon’s DPP software will contrast, sharpening and
read information from the other settings yourself, but if
Raw file to set its defaults for you rely on default settings
processing the pictures. The then you’ll need to decide
Canon Standard Picture Style which software gives the best
Extension tubes, such as the EF 25 fitted to an EF 135mm f/2L USM has more contrast, saturation results for the kinds of images
lens here, enable a lens to focus on closer subjects and sharpening than the you typically shoot.

CANONSCHOOL
The 600EX-RT, left, and 430EX III-RT

I see that Canon
Rebel cameras I’ve got an EOS 70D and
are cheaper to
buy online than I want a Speedlite. Should
the non-Rebel I get the new 430EX III-RT
equivalents.
Long exposure noise reduction takes a second ‘dark frame’ after the
main image is captured, with the same exposure time Why is this? or the 600EX-RT?
John Pegler, West Dawn Parker, Truro
Bromwich
Why is my camera unresponsive for a Brian says… Canon
Brian says… The 600EX-RT does
long time after I shoot long exposures? uses a regional naming
offer one stop more power at a given
zoom setting, it can be set as an optical
Gary Lawson, Keswick scheme for its entry-level
EOS cameras. In the USA master and it’s weather sealed; but,
the Rebel name is applied purely from a size and weight point of
Brian says… This sounds like you’ve set Long exposure
to the EOS 100-series and view, if this is a first flash I’d go for the
noise reduction to Auto or On in the camera settings.
1000-series models seen smaller and more compact 430EX
Exposures of more than one second can result in a pattern
in Europe – Rebel T6s in III-RT. Both Speedlites can be set as an
of noise that is largely repeatable, but it depends on several the USA is the EOS 760D optical slave triggered by the built-in
factors, including the exposure time and temperature of the in Europe, for example. flash on your 70D, and as a radio flash
sensor. What the camera does is capture a second, ‘dark Canon warranties are master they have similar capabilities.
frame’ exposure with the shutter curtains closed for the regional on EOS cameras,
same duration, and with the sensor at a similar temperature. meaning that Canon in
The camera then ‘subtracts’ the dark frame from the the UK is not obliged to
captured image to reduce noise. So if you shoot a ten-minute support Rebel cameras in
exposure, it will take a further ten minutes for the camera to the same way as it does
capture the dark frame before the next picture can be taken. cameras bought in the UK.
This means you’re likely
to have to pay for repairs
I have the EF 70-200mm f/2.8L IS II that would otherwise be
covered by the warranty.
USM lens, but I need more reach for I’m having
sports photos. Which zoom would you trouble installing
suggest that’s not too heavy? Lightroom 6. I
have Windows 7,
Folders can be used to segment different
Mark Thomson, Canada parts of the same shoot or event
and I’m getting a
message saying:
Brian says… There are two Canon options: the EF
70-300mm f/4-5.6L IS USM and the EF 100-400mm OS requirements When should I use the
f/4.5-5.6L IS II USM, both of which are compact and not met. Vista
not supported.
option on my 5D Mk III to
lightweight. Sigma and Tamron both offer 150-600mm
zooms that give a huge increase in range for not too Jim McGregor, UK select the folder where
much weight. Another option is to add the Canon EF Brian says… If you’re images are stored?
Extender 2x Mk III to your 70-200mm, installing the standalone Lynn Smith, Essex
turning it into a 140-400mm f/5.6 lens. version of Lightroom 6, as
My view is that your 70-200mm lens is opposed to the Creative Brian says… EOS cameras typically
hard to beat, and enables your camera’s AF Cloud version, open your store up to 1000 pictures in a folder
to perform at its maximum thanks to the computer’s DVD drive and before creating a new one, to improve
f/2.8 aperture. I’d choose the 2x Extender locate the setup file for read/write performance, and you can
if you’re not working in dusty environments Lightroom. Right-click the create custom folders to organise your
file, select Properties, click
when you need to attach the converter. images – if I’m shooting a sports
on the compatibility tab
Otherwise I’d choose the Canon and set the OS to Windows meeting I may use folders to separate
100-400mm, unless you really 7. You should now be able different events. Folders are also useful
need the 600mm reach. to install Lightroom. if you need to copy part of a shoot
between two cards in the camera.
All About light painting
multiple exposure light painting
Ask Brian!
Confused with
your Canon DSLR?
Email photoplus@
futurenet.com
with the subject
‘EOS SOS’
Four separate frames went in to the making

of this image. They were lit with a Speedlite
and then blended in Photoshop CC
Painting with Speedlites

Try a different approach to light painting by shooting several images and combining them in Photoshop
he word photography has its group with my Speedlite to External can cause small shifts in the picture
T linguistic roots in the Greek for
drawing with light, and you can
Auto metering, so that the light sensor
on the front of the Speedlite measures
from frame to frame, making it harder
to layer the images in Photoshop.
use some clever capabilities of Canon’s the light reflected off the subject and Combine the images in Photoshop
camera and flash systems to paint with cuts the light output when the correct as layers in a single document. In CC I
light in your pictures. exposure is achieved. For a subject use the Stack mode to define how the
Light painting typically involves long like a car, where the brightness needs frames are blended – set the Stack
exposures, using flash or a powerful to be even, the results are remarkably mode to Maximum so that the brightest
torch to illuminate a subject. Recently consistent, even with changes in areas from each image are displayed.
I’ve tried a different approach that distance between the light and the
involves taking a series of images and subject – just be careful not to block
blending them in Photoshop. Set the the sensor on the flash with your finger.
camera on a tripod in Manual mode, The radio flash system includes a
with the shutter speed at or close to the function to release the shutter by
flash sync speed. Set an aperture and pressing a button on the slave flash, so
ISO so the frame will be mostly dark I don’t need to go back to the camera
apart from where you paint the light. while shooting, eliminating any risk of
I work with my Speedlite 600EX-RT camera shake. Pressing the REL button
in my hand to light parts of my picture. sends a message to the camera to
The Speedlite is set as a slave, and I release the shutter, and also fires the
use an ST-E3-RT on the camera as the flash in the External Auto mode. If your The Speedlite 600EX-RT set to External Auto
master. Using Group mode, I set the lens has stabilization turn this off, as it mode and ready to release the camera shutter

CANONSCHOOL
I’ve bought the new EOS 760D and I
can’t get the focus points to illuminate the Rate my photo
spot in the centre of the AF frames, even
when using Spot metering. I used to see
the spots on my EOS 700D.
Keith Shenkin, Israel
Brian says… The 700D
and 760D both have a spot
meter that measures the
brightness from a small area
of the frame at the centre of
the viewfinder. Activating the
Spot metering mode doesn’t
change the viewfinder display By default, on the 760D AF points
of the AF points. are not illuminated in red except
In terms of AF points, in low light conditions
selecting a single point is
possible on both the 700D being used in low light. This is
and 760D when using one of a change between the 700D/
the creative modes – P, Tv, Av 650D and 750D/760D.
or M. Although the default for If you prefer the older way
a new camera fresh from the of operating there’s a custom
box is that the whole array of function on the 760D that will
points is active, rather than a make the camera operate like
single AF point, the camera the 700D. Custom function
chooses the best AF point C.Fn 8 changes the behaviour
automatically. when the camera is set to one
There’s a difference in the of the creative zone modes,
behaviour of the viewfinder and has three options. The
AF points on the 700D and default is that the AF points Lens EF-S 18-55mm at 40mm Get
the 760D. On the 700D the light up only in low light when critiqued!
Exposure 1/200s f/7.1 ISO 100 Email photos to
AF point that is active, or the focus is achieved; option two
photoplus@
one that achieves focus, is that the AF points are lit futurenet.com
shows a red spot in the centre when focus is achieved with the subject
of the grey focus frame when
focus is achieved. On the
regardless of the light level
(as on the 700D/650D); and Splash by Tony Messner ‘Rate My Photo’
760D the AF points don’t turn the third option is that the
Tony says… I set up this lit by the flash; certainly
red unless the camera is points never light up in red.
water splash picture and lit it very little of the light will be
with off-camera flash. The ambient light in the room.
flash was on the floor below The warm-coloured orange
the table which the glasses liquid in the glass and the
were on, illuminating the blue cool blue of the backdrop
backdrop. I used a smaller create lovely contrast.
tumbler filled with clear water, I wish the bottom of the
and a wine glass filled with glass stem was included in
coloured water. I dropped a the shot though. I’d also be
perfume bottle cap shaped tempted to try removing the
like an ice cube into the water outline of the tumbler from
to create the splash. inside the wine glass, and
clone or heal the water
Brian says… Tony’s spots on the backdrop. I
picture has something would also experiment with
extra; the clear and coloured a circular spot of light on the
water raised my interest background; this could be
over most splash photos. done with a snoot made
Given the camera settings from black card wrapped
I’m sure this picture is only in a tube around the flash.
Custom function 8 on the newer Canon EOS 760D enables you to choose
how the AF points illuminate when focus lock is achieved
Everything the Canon
photographer needs!
A comprehensive reference guide

to your Canon EOS digital SLR
100 Gear Update 118 Buyers’ Guide
All the latest Every EOS and
Canon-fit kit Canon-fit lens
The latest Canon DSLR and photo gear tested.

Independent advice to help you buy smarter
PAGE 106 Entry-Level EOS DSLRs

Angela Nicholson
Head of testing
angela.nicholson@futurenet.com
Welcome...
For those taking their
very first steps into DSLR
photography (or exisiting
users simply wishing to
upgrade to a newer
beginner-friendly model),
the choice of Canon EOS
DSLRs on offer can be
confusing. Do you go for
the very cheapest available
option, or splash out on a
more refined piece of kit that
will grow with you? We’ve PAGE 104 sigma 24mm f/1.4 DG HSM A PAGE 102 gimbal heads
pitted four entry-level
models against one another
in our Super Test. So what
will come out on top – the
budget-friendly 1200D,
the diminutive 100D, the
higher-specced 700D, or the
brand-spanking new 750D?
In our Mini Test, we turn
our attention to gimbal
heads – these specialized
tripod heads are perfectly
weighted for when you need
to move your heavy super-
telephoto lens around with
fluid ease, such as when
shooting birds in flight.
We also check out
Sigma’s latest upmarket
lens in its Art line of optics.
The 24mm f/1.4 DG HSM A
is among the sharpest
wide-angle primes we’ve Tests & awards
ever had the joy to use – and When IT comes to testing Canon DSLRs, lenses, photo gear
with a price tag a fair bit less and services in PhotoPlus, we tell it like it is. We’re 100%
than Canon’s equivalent. independent and we use our in-depth lab tests to find out how Buy for the best combination Only the best of best win
kit really performs and compares. Here are our main awards… of quality and value our coveted award

Update
01
02
The latest DSLR photography must-haves to make your life easier
05
04
New CANON-FIT KIT
01 Manfrotto 290 Dual and Xtra functions. The MG5750 and MG6850 are
controlled via 6.2cm and 7.5cm colour
New additions to the popular 290 range displays respectively and use five inks,
Xtra Aluminium £100 /$140, Xtra Carbon while the MG7750 has an 8.8cm colour
Fibre £195/$250, Dual £130/$170 touchscreen, and uses six inks to produce
www.manfrotto.co.uk high-resolution images up to 9600dpi,
giving smooth tonal gradations even in
Manfrotto has added two new models
mono prints. All three printers can be
to its 290 range of entry-level tripods.
controlled from a smartphone or tablet
The Xtra comes in aluminium and carbon
using Canon apps, and support optional
fibre variants; the aluminium version has
XL cartridges for cost-effective printing.
a 160.5cm maximum height, while the
carbon fibre model extends to 165.5cm.
The aluminium-only Dual has a 90-degree 05 Vanguard VEO CM 264
rotating centre column and a maximum Compact-but-sturdy monopod
03
height of 165cm. All three tripods have a £99/$120
maximum payload of 5kg. www.vanguardworld.co.uk
02LowePro Photo Sport The VEO CM 264 is a carbon fibre

monopod with a maximum payload of 6kg;
BP 300 AW II that’s easily enough to handle a combined
Tough-but-lightweight backpack 5.2kg weight of a pro 1D X and EF 400mm
£147/$199 f/2.8L lens attached. The four leg sections
www.lowepro.co.uk are extended using flip locks that feature
an adjustment screw to enable them to be
Designed for the active photographer, kept tight. Folded down the VEO CM 264
the BP 300 AW II combines protection measures just 54cm and extends to a
with comfort. The base section provides maximum of height of 160cm, ensuring
06 side access to your Canon kit, with enough plenty of flexibility. The rubberized grip
space for a 70D with 24-70mm lens, plus provides a good firm purchase, and the
another lens or accessory. The upper adjustable rubber foot at the base with
section has space for general supplies. integrated spike ensures slip-free footing.
03 Venus Optics Laowa 15mm 06 Takeaway T1 Clampod

f/4 Macro Versatile and portable camera clamp
Ultra-wide macro at an ultra-low price £49/$75
www.kenro.co.uk
£419/$479
www.ukdigital.co.uk Camera clamps enable you to attach
your camera to just about anything, but
finding 1:1 macro and optical shift
07 finding one that’s small and light enough
perspective correction in the same lens is
to carry with you has been difficult – until
uncommon, especially at the price of the
now. The Takeaway T1 Clampod is small
Laowa 15mm. The all-metal lens has no
and lightweight, yet can hold up to 3kg in
electronic contacts, so focus and exposure
weight. The worm screw clamp design
are handled manually. The shift-release
enables the Clampod to attach to almost
lever is a little crude, but the aperture ring
any object it can get its jaws around.
and focus rings are smooth in operation.
The minimum focus distance of 12cm for
1:1 macro enables seriously close-up 07 Crumpler Light Delight 4000
shooting, although accurate focusing is Stylish shoulder bag for street shooters
essential as such a short focus distance. £49/$89
www.crumpler.eu
04Canon PIXMA MG5750, The funky colours of this shoulder bag
MG6850 & MG7750 hide a serious interior. The outer shell is
Well-connected all-in-one inkjet printers made from light-but-strong material that
£100/$100, £130/$150, £170/$200 offers resilience against rips and scrapes,
www.canon.co.uk and the interior features movable padded
dividers. It’s not the toughest out there,
canon has overhauled its home inkjet but it offers enough protection for street
printer range with three new all-in-one photographers. It’s large enough to house
models that combine high-quality printing a mid-sized DSLR like the EOS 70D with kit
technology with improved cloud and Wi-Fi lens, plus another small zoom lens.

MINiTEST
Gimbal heads
When you need to support a seriously bulky
Benro GH3
£339/$425 www.benroeu.com
Gimbal heads tend to

body and lens combo, no other head will do conform to a fairly standard
design recipe, but the GH3 stands
out by being fully collapsible, with
hangs alongside the head,
T
raditional ball
the main gimbal arm split into two
heads are versatile, rather than sitting on top of it.
pieces for compact storage; it’s a
and a geared head You’ll need to spend a few
neat trick, though it doesn’t make
is great for precision work. moments aligning your lens
much difference in practice. At
When it comes to supporting so it balances on the head’s
least rigidity isn’t compromised,
big full-frame telephoto mounting plate, and, if you
as the GH3 stays strong under a
lenses for wildlife or sports go for a gimbal with vertical
mighty 25kg of kit. Compactness
photography, however, you adjustment, be sure to set this
doesn’t equal lightness though,
need a big head – or rather so the centre line of the lens is
and at 1.8kg this is one of the
your tripod does. parallel with the gimbal’s tilt
heavier options on test.
Simply using a larger ball axis. Once you’ve nailed the
As with most gimbal heads,
head isn’t ideal, though, as perfect point, your Canon will
the GH3 incorporates an Arca-
having the weight of a hefty effectively become weightless
Swiss quick-release mounting
400mm-plus telephoto lens, and able to hold any position,
plate, in which there’s plenty of
VERDICT
and perhaps a full-frame even if you loosen the head’s
vertical adjustment. Large, grippy Pros: Collapsible, fully-featured
Canon DSLR, perched on clamps and let go.
locking knobs are easy to use if design that’s easy to use
top of a ball head will be a We’ve selected five gimbal
you’re wearing gloves and they Cons: Relatively heavy, with a stiff
precarious balancing act. heads which all use the same
lock solidly, while also undoing and slightly jerky tilting motion
What makes a gimbal so basic design principle, but, as
without introducing any play into We say: A clever, highly adjustable
special is that it enables you you’ll discover, it’s the small
the pan or tilt joints. gimbal at a reasonable price
to lower your camera’s centre details that separate the best
of gravity, so it effectively from the rest…
six THINGS TO LOOK OUT FOr

Most gimbal heads may look similar, but there are a few 06 Telephoto lens support
features you should take note of before splashing out on one Large telephoto prime lenses, like Canon’s
EF 500mm L-series monster, come with a
01 Vertical adjustment lens collar bracket so you can attach the
A gimbal head without a vertical adjustment will do the job, but you’ll
lens safely to your gimbal head’s mounting
need this feature in order to achieve complete weightlessness – and
plate. This is because the heavier lenses
the more vertical travel, the better.
is what needs supporting centrally,
not your comparatively lighter
02 Precision engineering weight Canon DSLR!
Loosening the clamps that lock the pan base and tilt arm on cheaper
gimbals can introduce slack and wobble in the joints; better designs
will have tighter tolerances.
03 Ergonomics
You’ll be using your gimbal in all weathers, so be sure it has controls
that are easy to grip in the wet or cold, and if you’re wearing gloves.
04 Mounting methods
All the heads on test here use the widely-compatible Arca-Swiss
mounting plate standard. Go for a gimbal with a long plate and you’ll
also get better adjustment.
05 Leg it
There’s no point in buying a top-notch gimbal head and then mounting
it on a travel tripod. Stout, rigid legs are a must, even if the combined
weight will be a pain when you’re on the move.
Gimbal heads
LensMaster Gimbal RH2 Nest NT-530H MKII

£148/$230 www.lensmaster.co.uk £300/$467 www.nest-style.com
At less than half the price of High-end tripods are

any of the other gimbals on test, often made from carbon fibre,
LensMaster looks to be on to a so why not gimbal heads? This is
winner with the RH2. You still get the material of choice for the
solid, aircraft-grade aluminium NT-530H, with a ten-layer
construction with a choice of two construction giving a load-
powder-coated finishes. Payload bearing capacity of 25kg. At
capacity is also very respectable 1.16kg it’s not a lot lighter than
at 45kg, yet the gimbal’s 1.21kg comparable aluminium options,
weight is only beaten by the but this is still one of the lightest
Nest gimbal head. gimbals around.
However, there are some Lightweight doesn’t mean
cost-cutting compromises. Most no-frills though, as there’s good
obvious is the lack of vertical vertical adjustment and a long
adjustment, which although not Arca-Swiss lens plate gives plenty
a major drawback does mean of balancing adjustment. But
you can’t quite get the perfect while the tilt rotation is smooth
weightless balance that other
VERDICT and precise, some bearing slack
VERDICT
heads provide. The pan and tilt Pros: Well priced and well made, is apparent when loosening the Pros: Strong yet lightweight build;
locking clamps are slightly flawed, yet also lightweight panning clamp. And the clamps versatile mounting plate
too: the latter doesn’t lock very Cons: No vertical adjustment; themselves aren’t ideal, being Cons: Some slack in pan base;
tightly, and their design means substandard clamp design wrapped in smooth leather-like locking knobs not very ergonomic
undoing them also separates the We say: Not perfect, but a decent material that isn’t grippy enough We say: A capable mid-price head,
joints between components. budget option for occasional use for easy adjustment in the wet. but the small flaws are frustrating
ProMediaGear Katana Wimberley Head WH-200 II

£563/$750 www.promediagear.com £520/$595 www.tripodhead.com
The Katana looks more like Wimberley has a strong

a piece of high-tech weaponry reputation in the gimbal head
than a camera support, thanks to world, and WH-200 certainly lives
its macho design and huge 33cm up to it. It uses the same basic
height. A load capacity of ‘just’ design as most rivals, and though
23kg isn’t especially impressive, there are few frills it nails the
but superb build and material basics. There’s plenty of vertical
quality give the impression that it adjustment, yet the head is fairly
could hold much more. However, compact at 23.5cm tall and tips
at 2.2kg, this is the heaviest the scales at a reasonable 1.4kg.
gimbal head on test. Panning and tilt rotation are
The top-notch build extends smooth, and can be locked nice
to the tilt and panning motion, and tight by grippy, ergonomic
which is perfectly smooth and knobs when required; these also
has no bearing slack when the control the friction resistance in
locking knobs are undone. When each joint, which is progressively
tightened, these will hold your adjustable. The head uses the
DSLR completely steady; they’re standard Arca-Swiss lens mount,
large enough for easy use in all
VERDICT and Wimberley also offers
VERDICT
weathers, and they can be Pros: Superb build quality; large replacement low-profile feet to Pros: Top quality; easy to use;
repositioned for easier access. enough for most long lenses help balance lenses with taller wide lens compatibility
Being such a tall gimbal also Cons: Pricey; few setups require than average feet. Ultimately the Cons: Higher cost compared to
means there’s plenty of vertical such a large and heavy head ProMediaGear gimbal does give all but one of the competition
adjustment to perfectly balance We say: Worth the money if you you more for your money, but this We say: It’s quite pricey, but that
even the largest telephoto lens. use especially bulky setups Wimberley’s the best all-rounder. aside this is an excellent gimbal

LENSTEST
03
01
05
02
06
Sigma 24mm f/1.4

The 24mm f/1.4 precise and whisper-quiet, based on
features the same a ring-type ultrasonic system that
styling and high features the usual full-time manual
build quality as override. Typical of upmarket Sigma
DG HSM A Sigma’s other

recent Art lenses
lenses, a petal-shaped lens hood and
soft case are included.
The build quality and specs are
Sigma’s Art lenses are becoming synonymous with high- similarly impressive under the skin,
quality fast glass. We test their new wide-angle prime…

Specifications
W
e’ve been dazzled by the directly competing Canon EF 24mm
quality of Sigma’s recent f/1.4L II USM, which retails at Full-frame compatible Yes
Art-line prime lenses; around £1,225/$1,550. Effective focal length
With APS-C sensor: 38.4mm
indeed, the 35mm f/1.4 Starting at the back and moving
DG HSM A and 50mm f/1.4 DG forwards, the 24mm lens follows With full-frame sensor: 24mm
HSM A took the ‘Best on Test’ the same design ethic as the 35mm Image Stabilizer No
awards in our issue 100 and 103 and 50mm Art lenses. As such, it Minimum focus distance 0.25m
Super Tests respectively. features a high-quality brass Max magnification factor 0.19x
The newest addition to the lineup mounting plate that enables Manual focus override Full-time
is this 24mm lens, which maintains compatibility with Sigma’s optional Focus limit switches No
the same wide f/1.4 maximum USB dock for firmware updates Internal zoom N/A
aperture while extending wide- and customization, along with Internal focus Yes
angle viewing potential. Compared metal and TSC (Thermally Stable Filter size 77mm
with the 63.4-degree viewing angle Composite) barrel parts. There’s Iris blades 9 (rounded)
of the 35mm lens, this one stretches a focus distance scale under a Weather seals No
the envelope to a much more viewing window with depth of field Supplied accessories
generous 84.1 degrees (measured markings for f/8 and f/16 apertures Front/rear lens caps, petal-shaped hood,
on the diagonal, using a full-frame towards the rear, and a comfortably soft case
body). Like the 35mm and 50mm wide and super-smooth focus ring Dimensions (dia x length) 85x90mm
Art lenses, the new 24mm costs towards the front. Focusing is Weight 665g
around £700/$850, so it’s by no completely internal, so the front web www.sigma-imaging-uk.com
means a budget option. However, element neither extends nor rotates. Price £700/$850
it’s much less expensive than the Autofocus is extremely rapid,
sigma 24mm f/1.4 DG HSM A
FEATURES Sharpness
2500
01 2000
The brass mount is

compatible with
Centre
1500
Sigma’s optional 1000

USB Dock for
firmware upgrades 500
and customization.
f/1.4 f/2.8 f/5.6 f/8 f16
02
The rear section of
the lens barrel has a 2000
metal construction. 1500
Edge
03 1000
Simple controls boil

down to a single 500
switch for AF/MF

focusing modes. f/1.4 f/2.8 f/5.6 f/8 f/16
04 Sharpness across the frame is superb,

04 especially given the wide viewing angle
TSC (Thermally
Stable Composite)
is claimed to enable Fringing (at Edge)
greater precision
and less heat
with three FLD (F Low Dispersion) similar size and weight to the expansion than
elements that are claimed to be equivalent Canon lens. polycarbonate for
of equal optical performance to Wide-angle lenses often lack barrel and inner
top-grade fluorite glass, four SLD sharpness towards the edges of the components.
(Special Low Dispersion) elements frame, but the Sigma does well to 0 0.25 0.5 0.75 1 1.25 1.5 1.75 2 2.25 2.5 2.75
and two aspherical elements. retain corner-to-corner sharpness 05
f/1.4 f/2.8 f/5.6 f/8 f/16
Super Multi-Layer Coatings are even at its widest f/1.4 aperture, A focus scale under
also applied to reduce ghosting and where vignetting is also fairly the viewing window There’s remarkably little fringing at any
flare, and a nine-blade diaphragm well controlled; stop down to f/2.8 has DoF markings aperture, even towards the corners
enables well-rounded apertures for and both corner sharpness and for apertures of f/8
smooth bokeh. peripheral illumination become and f/16.
Distortion
Overall, the build quality and excellent. Resistance to ghosting
handling of the lens are absolutely and flare is similarly impressive, 06
superb, although it’s not a weather- while chromatic aberrations and Smooth and precise
sealed design, so it loses out to the distortion are both minimal. In in operation, the
competing Canon 24mm L-series short, the Sigma 24mm f/1.4’s focus ring enables -1.5 –1.25 –1 -0.75 -0.5 -0.25 0 0.25 0.5 0.75
lens in this respect. And while the high-quality build is complemented full-time override of
Barrel distortion from the 24mm f/1.4 is
Sigma 50mm Art lens is something by optical performance of the the impressively fast
impressively minimal for a wide-angle lens
of a Goliath, this 24mm optic is a highest order. autofocus system.
VERDICT
24mm at f/5.6 24mm at f/16
Continuing the trend set by recent Art-line
lenses, the new Sigma 24mm is beautifully
built and delivers exceptional image
quality. It’s a fully professional-grade lens
that’s available at a much more affordable
price than the equivalent Canon lens.
Features
Build & handling
Image quality
Architectural shots benefit from the lens’s minimal The narrowest aperture of f/16 ensures the greatest Value
barrel distortion, with little correction required depth of field, with just a slight drop in sharpness Overall
The Canon Magazine NEXT ISSUE: Sigma 150-600mm f/5-6.3 DG OS HSM S 105
SUPERTest
The contenders
Canon EOS Canon EOS Canon EOS Canon EOS

1200D/Rebel T5 100D/Rebel SL1 700D/Rebel T5i 750D/Rebel T6i
£230/$320 £280/$400 £400/$650 £520/$750
beginner EOS DSLRs
beginner
eos DSLRs
Getting into the world of DSLR photography
doesn’t have to cost a fortune. We put Canon’s
most cost-effective EOS beginner bodies through
their paces in our in-depth lab tests…
O
ver the last couple of years Canon
has launched some seriously
sophisticated DSLR cameras at
very competitive prices. All boast
advanced features, such as Full HD
movie capture and the ‘Live View’
mode to help you compose shots on the rear
LCD. All the cameras in our test group have
a lightweight and compact yet sturdy build,
and all have high megapixel-count sensors
– from 18Mp on the EOS 100D, 1200D
and 700D, to 24Mp on the newest and
most advanced EOS 750D.
Stabled in Canon’s lineup as
‘EOS for Beginners’, these cameras
are wonderfully intuitive, even for
complete novices. All have built-in
feature guides to demystify complex
menu options, while the newer
1200D and 750D have companion
apps which you can download to a
smart device. Even in fully automatic
mode, they all feature Canon’s Scene
Intelligent Auto system, which analyses
compositions in real time and adjusts shooting
parameters as necessary for the best results.
Plentiful scene modes help to tailor settings
to specific requirements, while the ‘Creative
Auto’ mode helps bridge the gap between
basic and ‘creative’ zone settings like Shutter
Priority and Aperture Priority.
Ultimately, these cameras can grow with
you as you learn, while giving you access to
the vast range of Canon lenses, flashguns and
accessories. Let’s pick out the best buys…

SUPERTest
06
05
Canon EOS 1200D

The 18-55mm kit continuous autofocus isn’t available
lens is the old IS II when you’re shooting movies.
version; the 100D Some of the finer points of custom
and 700D come functions are also absent, including
The most basic of Canon’s entry-level cameras, the with the newer, the Mirror Lockup option which
1200D combines new and established technologies faster-focusing
STM (stepping
helps to minimize blurring from
mirror-bounce, especially in
A
motor) model tripod-mounted shots. The range of
year newer than the 100D Further shortcomings compared scene modes is also comparatively
and 700D, this camera was with all the other cameras in the limited, and we particularly missed
originally launched back group include a lack of a touch- the in-camera HDR (high dynamic
in early 2014. It’s a major sensitive screen – and the screen
revamp of the older 1100D, which that is present has a relatively low The EOS 1200D’s
had a relatively low megapixel resolution of 460,000 dots. The rear LCD is a Specifications
count of 12.2Mp and could only 1200D is also the only camera non-touchscreen,
stretch to 720p video capture. The that lacks ‘Hybrid CMOS AF’, so low-res unit Sensor 18Mp APS-C CMOS (1.6x crop)
1200D is a much more modern image processor DIGIC 4
affair that adds a Scene Intelligent AF points 9 (1 cross-type)
Auto shooting mode, creative filters ISO range ISO100-6400 (12800 exp)
like Grainy Black & White, and metering zones 63
matches the 100D and 700D with 03 HD Video Full HD at 30, 25, 24fps
a 18Mp image sensor and Full HD Viewfinder 95% coverage,
video recording. 0.80x magnification
Despite its relative youth 04 Memory card SD/SDHC/SDXC
compared with the 100D and LCD 3-inch 460K-dot fixed
700D, the 1200D nevertheless has
Max burst 69 JPEGs or 6 Raws at 3fps
a budget-friendly selling price.
WI-FI/NFC No/No
Scratch the surface and you’ll soon
find that some of the features and Shutter speeds 30-1/4000 sec, bulb
specifications are more dated, or size 130x100x78mm
absent altogether. For example, it Weight (body) 480g
has an older-generation Digic 4 Web www.canon.co.uk
image processor that harks back Price £230/$320 (body only)
to the 500D, launched in 2009.
beginner EOS DSLRs
FEATURES 1200D lab tests

01
Raw* signal-to-noise ratio
50
Signal-to-noise ratio (dB)

The shooting mode
40
dial lacks the ‘SCN’
30
setting for additional
scene modes that’s 20
present on the other 10

02 three cameras. Canon eos 1200d
ISO100 200 400 800 1600 3200 6400 12800

02
The 1200D lags behind Canon’s other
Typical of entry-level
budget options, with image noise being
cameras, there’s a
more noticeable at ISO1600 and above
pop-up flash module
as well as a hotshoe.
Raw* dynamic range
03 11
Dynamic range (EV)

10
It’s the only camera
9
in the group that 8
lacks a touch- 7
sensitive screen; the 6
screen is relatively 5
Canon eos 1200D
low-res as well.
ISO100 200 400 800 1600 3200 6400 12800
04 There’s not quite as much dynamic range

01 Rear panel controls as from other cameras at low ISOs, and it
have a conventional drops off more at the mid-to-high ISOs
range) mode that’s featured in all stamina of any camera in the layout, with cross
of the other cameras in our group. group, with a fully-charged battery keys doubling up to Raw* resolution (at iso200)
good for around 500 shots. provide access to
Build and handling shooting settings. Canon EOS 1200D 26
A little larger than the dinky 100D, Performance
*Raw files are converted to TIFF using Canon’s Digital Photo Professional software
the 1200D feels less cramped in The 9-point autofocus module is 05 Line widths per 0 5 10 15 20 25 30 35
picture height x100
the hand, and it has a more basic but reasonably effective, with The LP-E10 battery
With the same megapixel count as the
mainstream layout of controls. one cross-type point at the centre. enables 500 shots
100D and 700D, the 1200D’s resolution
For example, the cross-keys at The sensitivity range is a little on a full charge.
score is only really beaten by the 750D
the lower right of the back panel limited at ISO100-6400 (12800
double up in function, so they can expanded) on account of the older 06
give direct access to ISO, autofocus processor, and image noise is more It’s the only camera Colour error
mode, white balance and drive noticeable at high ISOs. The max in which the SD/
Canon EOS 1200D 3.6
mode, as well as being used for burst rate in Continuous drive SDHX/SDXC slot
menu navigation. mode is pedestrian at 3fps (frames isn’t UHS-1
% (closer to 0
The camera’s weight is a modest per second), again losing out to the compatible, but it’s is better)
-2 -1 0 1 2 3 4 5
480g, making it a full 100g lighter other budget options. Image quality not really a problem In lab conditions colour accuracy is good,
than the 700D, although not as is good rather than great, with with the slow 3fps and similar to the 700D, but in general
light the 407g 100D. It has the best colours noticeably lacking vibrancy. max burst rate. shooting colours can look desaturated
INDOOR: ISO 6400 OUTDOOR: ISO 200 VERDICT

The 1200D is the outright cheapest
DSLR in Canon’s current line-up. It’s not
bad value, but it’s the least impressive
in the group for features, performance
and outright image quality.
Features
Build & handling
Image quality
ISO6400 is at the top of the 1200D’s standard range, Blues, greens and other colours look rather insipid
Value
and noise is clearly visible in this low-light interior compared with all the other cameras on test Overall

SUPERTest
06
Canon EOS 100D

If you want to the 700D also has a 9-point AF
stand out from module, but all of the points are
the DSLR crowd, cross-type with an f/2.8 point at
the 100D is the centre. Similarly, the 1200D
They say the best things come in small packages, but is available in white and 700D have maximum burst
the 100D capable of punching above its modest weight? as well as black rates of 3fps and 5fps respectively;
the 100D falls in between at 4fps.
A
vailable in black or white, example there’s a 9-point autofocus Build and handling
complete with colour- module with just one (more Pick up the 100D and the reduction
coordinated 18-55mm sensitive) cross-type point at the in size and weight is immediately
kit lens, the 100D’s main centre, which also has a higher- The smaller 100D
claim to fame is that it’s the sensitivity capability for lenses with has different,
smallest DSLR Canon has ever an f/2.8 aperture (or wider). The more simplified Specifications
made. Compared with the still 1200D lacks the extra sensitivity in layout to squeeze
fairly streamlined 133x100x79mm its single cross-type point, whereas in all the buttons Sensor 18Mp APS-C CMOS (1.6x crop)
dimensions of 700D, the 100D image processor DIGIC 5
measures just 117x91x69mm, and AF points 9 (1 cross-type)
sheds many grams in the process. ISO range ISO100-12800 (25600 exp)
At 407g (body only), it’s a real 03 metering zones 63
lightweight, but in a good way; HD Video Full HD at 30, 25, 24fps
in fact, it’s only about two-thirds Viewfinder 95% coverage,
the weight of the 700D, but it feels 0.87x magnification
equally solid and robust. Memory card SD/SDHC/SDXC (UHS-1)
Under the skin there are marked LCD 3-inch 460K-dot fixed
similarities between the 100D and
700D. Both were launched in early
WI-FI/NFC No/No
2013 and feature 18Mp image 04
sensors coupled to late-generation Shutter speeds 30-1/4000 sec, bulb
Digic 5 processors, along with a size 117x91x69mm
generous sensitivity range of ISO Weight (body) 407g
100-12800 (25600 expanded). In Web www.canon.co.uk
some specifications, the 100D falls Price £280/$400 (body only)
between the 1200D and 700D. For 05
beginner EOS DSLRs

01
50

The sculpting of
40
the finger grip is
30
relatively shallow,
and the main dial is 20
01 more in line with the 10

Canon eos 100D
ISO button than on
the 700D. ISO100 200 400 800 1600 3200 6400 12800
02 The 100D edges ahead for Raw noise

performance but, in practice, images are
The SCN option on
similarly noise-free as from the 700D
the mode dial adds
extras like Kids,
Food, Candlelight Raw* dynamic range
and HDR. 12
Dynamic range (EV)

11
10
03
9
With its relatively 8
narrow build there’s 7
no room for a 6
Canon eos 100D
vari-angle LCD,
ISO100 200 400 800 1600 3200 6400 12800
but you do get a
high-res, touch- Again, dynamic range is almost identical
02 sensitive screen. to the 700D, with good results that only
really start to drop off at ISO3200
obvious. Indeed, the layout of that’s both touch-sensitive and 04
buttons at the rear bucks tradition for has a much higher resolution. A simple directional Raw* resolution (at iso200)
this class of Canon DSLR, enabling pad replaces the
sufficient space to be maintained for Performance usual four cross Canon EOS 100D 24
the thumb grip area. As such, the AF For optimum autofocus accuracy keys, and doesn’t
point selection and exposure/flash in regular shooting when using the give direct access to Line widths per 0 5 10 15 20 25 30 35
picture height x100
lock buttons are shifted towards the viewfinder it’s best to stick to the shooting settings.
The 100D is outclassed for resolution by
edge of the body. The normal 100D’s central AF point, as it’s the
05 the 750D, but holds its own against the
provision of four individual cross only cross-type point. However,
700D right through the sensitivity range
keys is replaced by a four-way pad Live View and movie autofocus The Set button
that doesn’t give direct access to benefit from a second-generation doubles up to give
shooting settings such as white hybrid AF system that’s faster than access to the Quick Colour error
balance and drive mode. the 700D’s. Image quality is a step menu, saving space.
Making up for the lack of direct up from the 1200D, and a comes Canon EOS 100D 6.1
controls is Canon’s excellent Quick close to that of the 700D. The auto 06
% (closer to 0
control menu, which gives easy picture style option gives vibrant The 100D’s LP-E12 is better)
-8 -4 0 4 8 12 16 20
access to key shooting settings. The yet natural images in wide-ranging battery only delivers Here again performance is similar to the
‘Q’ menu is even easier to use than conditions, and image noise is well around 380 images 700D. Colour rendition is accurate and
in the 1200D, thanks to a screen contained even at high ISOs. on a full charge. very lifelike, with just a hint of warmth

Not just one for the road, the 100D
packs plenty of punch into a small,
light and travel-friendly build. It’s very
competitively priced, although, in some
respects, the 700D has more to offer.
Features
Build & handling
Image quality
Noise is well suppressed for clean-looking images, The Canon EOS 100D produces noticeably punchier
Value
even at ISO6400 in low light indoor scenes and more saturated images than the 1200D Overall

SUPERTest
Canon EOS 700D

The 700D’s screen, which matches the size,
stainless steel resolution and touch-sensitive
chassis helps operation the 100D’s, while also
to make it the adding vari-angle movement –
A feature-packed and powerful beginner’s EOS camera, heaviest of
Canon’s beginner
this enables Live View or movie
shooting from any angle, or even
with a screen that ensures it looks good from any angle cameras for shooting around corners.
W
It’s also great for taking the
ith a full-sized body include the likes of Grainy Black & compulsory selfies, as well as
that’s almost identical White and Toy Camera effects. enabling you to fold away the
in its dimensions to the active surface of the screen for
1200D and 750D, the Build and handling The rear LCD is
700D is nevertheless heavier The 700D has a more natural grip a touchscreen,
than both other cameras, mainly thanks to its bigger size compared vari-angle unit Specifications
due to having a stainless steel with the 100D, for large-handed that’s helpful for
rather than aluminium alloy photographers in particular. shooting at Sensor 18Mp APS-C CMOS (1.6x crop)
chassis. The high-quality glass- Another bonus is the excellent rear awkward angles image processor DIGIC 5
fibre reinforced polycarbonate AF points 9 (1 cross-type)
shell is more typical, as used in the 06
ISO range ISO100-12800 (25600 exp)
design of all cameras in the group, metering zones 63
as well as some upmarket bodies HD Video Full HD at 30, 25, 24fps
like the 70D and 6D. Viewfinder 95% coverage,
An impressive feature list 0.85x magnification
includes an 18Mp image sensor Memory card SD/SDHC/SDXC
(typical for APS-C format Canon 05
LCD 3-in 1,040K-dot vari-angle touchscreen
cameras launched a couple of years
03 Max burst 22 JPEGs or 6 Raws at 5fps
ago), Digic 5 image processor, Full
WI-FI/NFC No/No
HD movie capture, and extensive
ranges of scene modes and creative Shutter speeds 30-1/4000 sec, bulb
filters. Advanced scene modes size 133x100x79mm
include the now ubiquitous HDR Weight (body) 580g
(high dynamic range) option, Web www.canon.co.uk
which merges multiple bracketed 04 Price £400/$650 (body only)
exposures, while creative filters
beginner EOS DSLRs

50
01

40
As is typical, the
30
shooting mode dial
is divided into basic 20
zone and creative 10

Canon EOS 700D
zone settings.
ISO100 200 400 800 1600 3200 6400 12800
02
Typical of its generation of Canon DSLRs,
As on the 100D and
noise is well controlled even at high ISO
02 750D, the main on/
settings of ISO6400 and above
off power lever also
gives access to the
movie mode. Raw* dynamic range
12
Dynamic range (EV)

03 11
10
The rear layout is 9
practically identical 8
to the EOS 750D. 7
6
Canon eos 700d
04
ISO100 200 400 800 1600 3200 6400 12800
The 700D’s vari-
angle touchscreen Dynamic range is an almost exact match
01 enables you to to that of the 100D, both cameras edging
compose shots from ahead of the 750D at mid-to-high ISOs
greater protection when the 700D speed of 5fps, outstripping both almost any angle.
is packed inside your bag. the 1200D and 100D, and equalling
05
Raw* resolution (at iso200)
The control layout is more the 750D. However, there’s only
traditional than in the 100D, and enough buffer capacity for six shots As is the case on all Canon EOS 700D 24
enables quicker access to shooting in Raw quality mode, compared the cameras in this
settings. For example, the cross with the 750D’s eight shots, which group, the Live View Line widths per 0 5 10 15 20 25 30 35
picture height x100
keys are on hand for navigating the also have a higher megapixel count button also acts as
There’s nothing to choose in resolution
menus but also give access to white and therefore a bigger data size. a start/stop record
scores when comparing the 1200D, 100D
balance, AF mode, picture styles Autofocus performance is button when you’re
and 700D; they perform equally well
and drive mode. It’s intuitive better than in the 1200D and shooting movies.
enough for absolute beginners, 100D, with greater accuracy when
while also catering for proficient using off-centre AF points. This 06 Colour error
photographers who want to take is because all of the 700D’s nine The viewfinder’s
control of advanced settings. AF points are cross-type and so proximity sensor Canon EOS 700D 3.7
able to focus on detail in both the for turning off the

Performance vertical and horizontal planes. The screen when the
% (closer to 0
is better)
-8 -4 0 4 8 12 16 20
Well suited to sports and action 700D keeps going for longer than camera is raised to Scores for colour accuracy are slightly
photography, the 700D turns in a the 100D as well, with a battery the eye is absent on better than from the 100D, but it’s hard
maximum continuous shooting life of 440 shots on a full charge. the newer 750D. to see any difference in actual images

The 700D is nearly twice the price of the
1200D but it’s well worth the extra, with
more sophisticated features. It handles
better than the 100D, but there’s no real
difference in terms of image quality.
Features
Build & handling
Image quality
The 700D produces similar results to the 100D at Image quality is similar to that from the 100D, with
Value
ISO6400, with clean, largely noise-free images very good colour rendition, contrast and sharpness Overall

SUPERTest
Canon EOS 750D

With the 750D you adding built-in Wi-Fi and NFC
get a choice of two (Near Field Communication).
EF-S kit lenses:
the 18-55mm Build and handling
Good, better or best? Let’s see how the new and f/3.5-5.6 IS STM, The 750D inherits the 700D’s rear
improved 750D fits into Canon’s ‘beginner’ lineup or the 18-135mm
f/3.5-5.6 IS STM
layout, complete with an excellent
touch-sensitive vari-angle screen.
pictured here The intuitive rear button layout is
A
ccording to Canon, the phase-detection module in which practically identical, but there are
new 750D comes off all points are cross-type. The changes on top. Whereas the 700D
second-best in the current Hybrid CMOS autofocus system has a single button in front of the
line-up of ‘beginner’ for Live View and movie capture
cameras, losing out to the more also gets a revamp, with the new
feature-rich 760D. However, third-generation system being The vari-angle Specifications
apart from a few additions like the significantly faster than those touchscreen on
760D’s top-plate info LCD and used in the 100D and 700D. The the Canon 750D Sensor 24.2Mp APS-C CMOS (1.6x crop)
secondary command dial, both metering system is new and the is the same as image processor DIGIC 6
cameras are essentially identical. 750D is also better connected, the 700D’s AF points 19 cross-type
To our way of thinking, the ISO range ISO100-12800 (25600 exp)
760D’s extra features and higher 06 metering zones 63
price put it more in the ‘enthusiast’ HD Video Full HD at 30, 25, 24fps
sector, alongside models like the Viewfinder 95% coverage,
70D – all of which makes the 0.82x magnification
750D potentially the latest and Memory card SD/SDHC/SDXC (UHS-1)
greatest beginner’s DSLR. LCD 3-in 1,040K-dot vari-angle touchscreen
Headline attractions include a
new, high-res 24.2Mp image sensor 03 WI-FI/NFC Yes/Yes
that’s a significant step up from the
18Mp sensors in the 1200D, 100D Shutter speeds 30-1/4000 sec, bulb
and 700D. Next up there’s the very size 132x101x78mm
latest generation of Digic 6 image Weight (body) 555g
processor, again beating the other Web www.canon.co.uk
three contenders. Autofocus is yet Price £520/$750 (body only)
another upgrade, with a 19-point
04
beginner EOS DSLRs

01
50

The autofocus point
40
selection button is
30
a welcome addition,
making the most of 20
the 750D’s 39-point 10

Canon EOS 750D
AF system.
ISO100 200 400 800 1600 3200 6400 12800
02
01 Low light images taken at very high ISOs
02 The DISP. button
are as clean as from the 700D and 100D,
turns the LCD on
despite the higher megapixel count
and off, in the
absence of the
700D viewfinder’s Raw* dynamic range
05 proximity sensor. 11
Dynamic range (EV)

10
9
03
8
The layout of the 7
controls on the rear 6
panel is practically 4
Canon eos 750D
identical to the
ISO100 200 400 800 1600 3200 6400 12800
700D, which is
no bad thing. Dynamic range is similarly impressive
to the lower-resolution 100D and 700D,
04 even at high sensitivity settings
shooting mode dial, for ISO, the the 700D’s maximum burst rate of The 750D’s fully
750D has three. As well as the ISO 5fps despite its higher megapixel articulated vari- Raw* resolution (at iso200)
button you get a DISP. button for count, as well as enabling bursts angle touchscreen
turning the LCD screen on or off, of up to eight Raw-quality images. LCD is a joy to use. Canon EOS 750D 30
although we prefer the 700D’s
proximity sensor, which does this Performance 05 Line widths per 0
picture height x100
5 10 15 20 25 30 35
automatically. The third button is Lab tests and real-world shooting The 750D is the only
The 750D leads the field by some
for AF Area Selection, as seen on both confirm that the 750D easily ‘beginner’ camera
distance, retaining much more fine detail
Canon’s recent upmarket DSLRs. beats the other cameras in the with built-in Wi-Fi,
in shots than the other cameras on test
This enables switching between group for retention of fine detail and there’s NFC
single-point, selective zone, and and texture – the new camera connectivity too.
full 39-point automatic selection, really does make the most of its Colour error
and it’s good to have, especially greater megapixel count. It also 06
considering the much greater manages to retain detail well at Live View shooting Canon EOS 750D 6.2
number of AF points available than high ISOs while effectively and movie capture
% (closer to 0
on the other beginner cameras. suppressing noise. Last, but not benefit from the is better)
-8 -4 0 4 8 12 16 20
Thanks to the newer generation least, the new metering system faster, third- Colour accuracy is very good, with the
of processor and larger memory gives more consistent and generation hybrid 750D producing slightly more saturated,
buffer, the 750D is able to match predictable image results. autofocus system. punchier shots than the 100D and 700D

With more megapixels, better AF and
metering and built-in Wi-Fi, the 750D
overtakes the 700D as Canon’s top
beginner camera. Image quality is
superb, and it’s very good value.
Features
Build & handling
Image quality
Wonderfully crisp and vibrant, this indoor image is The 750D produces colour-rich images, as well as
Value
typical of the 750D, with excellent retention of detail retaining more fine detail than the 100D and 700D Overall
The Canon Magazine NEXT ISSUE: Flashgun upgrades 115

SUPERTest
The winner is... Canon EOS 750D

It has youth on its side, and excels in terms of features and image quality
hen it comes to digital cameras, impressive overall performance we’ve
W the march of progress often
seems like a marathon that’s run
ever seen from a ‘beginner’ DSLR.
Let’s not forget that the 1200D is a
at sprinting pace. Two years newer than year newer than the 100D and 700D,
the 100D and 700D, the 750D is a much but it has an older-generation image
more sophisticated camera. Pretty much processor than both of those cameras,
every key area has been upgraded and and a relative lack of clever features or
revamped, from the image sensor and advanced functions. Getting back to
image processor to the dual autofocus the clear winner of the group, the
systems and the metering system. All 750D is also the only camera of the
of these elements combine to deliver four that sports built-in Wi-Fi and NFC
the best image quality and the most for better-connected photography.
What’s your best option?

All the cameras in this group weight also make it a good
have something to offer the travelling companion.
novice photographer. On tight The 700D is good deal more
budgets the 1200D is simply expensive than the 100D, but
the most affordable option, it’s worth it if you want the feel
and capable of good image of a bigger camera. There are
quality despite its ageing more direct-access buttons
processor. However, the for changing key settings, and
100D isn’t much more a vari-angle screen, and the
expensive, and it delivers 700D has a more advanced
much better image quality, AF system and a faster burst
and has a newer and faster AF rate, making it a good choice
system; its small size and light for action photography.
Get the complete kit

Pair your new DSLR with one of Canon’s kit lenses – here are the options
Unless you’re upgrading from an transitions in video shooting (not
older Canon DSLR it’s likely that relevant for the 1200D). The STM
you’ll need a lens to complement lens is a particularly good option for
your new camera body, and you’ll the 100D because, unlike the older
usually save a considerable amount IS II, the focus ring doesn’t rotate
of money if you buy your camera during autofocus. This improves
complete with a ‘kit’ lens. Indeed, handling in the small 100D, as well
the quality of Canon’s more recent as the other cameras in the group,
kit lenses is so good that it’s often as it doesn’t matter if the focus
worth buying a complete kit even if ring rests on the fingers of your
you have an older lens already. left hand while you’re shooting.
The 1200D is often offered with There are two popular kit lens
the EF-S 18-55mm IS II lens. It’s a options for the 700D and 750D.
decent optic, but we much prefer As well as the EF-S 18-55 IS STM
the newer EF-S 18-55 IS STM. The you can go for the EF-S 18-135mm
STM ‘stepping motor’ autofocus is IS STM. It’s bigger and heavier, but
virtually silent in operation, and offers much greater telephoto reach
enables smooth autofocus and very good image quality.
BUYERS’
GUIDE
What to look for
Canon EOS DSLRs
Canon splits its EOS lineup into
entry-level, enthusiast and professional ranges, and the fewer digits
the more upmarket the camera; so the 1200D is the most basic, the
quid to 750D/760D for intermediates, while the 1D X is strictly for pros or
With prices ranging from a couple of hundred those with deep pockets. Expect greater ease of use (with thumb-
ryone,
several thousand, Canon has a DSLR to suit eve
operated scrollwheels replacing cumbersome cursor keys), more
robust build quality (with weather-sealing and tough magnesium-
pro…
from the complete beginner to most demanding alloy shells), more advanced functionality, and full-frame (rather than
smaller APS-C) image sensors with more expensive EOS models.
DSLR prices quoted are body-only
Canon EOS 1200D (Rebel T5) Tested In ISSUE 105 Price: £230/$320
An ideal starter camera, it keeps things simple Sensor 18Mp, APS-C (5184x3456 pixels)
yet covers all the basics, including an 18Mp Viewfinder Pentamirror, 0.8x, 95%
sensor. A handy companion app is available for ISO 100-6400 (12,800 expanded)
free download, serving as an interactive shooting AF 9-point (1 cross-type)
guide. However, the low-res LCD screen lacks LCD 3in, 460K dots
touch or vari-angle facilities. Max burst (buffer) 3fps (6 Raw/69 JPEG)
Memory card SD/SDHC/SDXC
Canon EOS 100D (Rebel SL1) Tested In ISSUE 105 Price: £280/$400
It’s smaller than any other Canon DSLR but Sensor 18Mp, APS-C (5184x3456 pixels)
is big on features and is something of a step up in Viewfinder Pentamirror, 0.87x, 95%
sophistication from the 1200D, with a newer- ISO 100-12,800 (25,600 expanded)
generation image processor, high-res touchscreen AF 9-point (1 cross-type)
and ‘hybrid CMOS AF’ for effective continuous LCD 3in touchscreen, 1040K dots
autofocus during movie capture. Max burst (buffer) 4fps (7 Raw/28 JPEG)
Canon EOS 700D (Rebel T5i) Tested In ISSUE 105 Price: £400/$650
Entry level
With a faster continuous drive rate than the Sensor 18Mp, APS-C (5184x3456 pixels)
100D, better AF and the bonus of a vari-angle Viewfinder Pentamirror, 0.85x, 95%
touchscreen, the 700D is more versatile for ISO 100-12,800 (25,600 expanded)
shooting from extreme angles or around corners. AF 9-point (all cross-type)
It’s a lovely lightweight camera but is now LCD 3in touchscreen vari-angle, 1040K dots
outclassed by the newer 750D. Max burst (buffer) 5fps (6 Raw/22 JPEG)
Canon EOS 750D (Rebel T6i) Tested In ISSUE 105 Price: £520/$750
Headline attractions include a new 24.2Mp Sensor 24.2Mp, APS-C (6000x4000 pixels)
high-resolution image sensor and DIGIC 6 Viewfinder Pentamirror, 0.82x, 95%
processor, plus a 19-point autofocus system. ISO 100-12,800 (25,600 expanded)
It beats the older 700D in all these respects, AF 19-point (all cross-type)
and adds Wi-Fi and NFC connectivity for easy LCD 3in touchscreen vari-angle, 1040K dots
image sharing and printing. Max burst (buffer) 5fps (8 Raw/940 JPEG)
Tested In ISSUE 75 Price
Canon EOS 760D (Rebel T6s) Tested In ISSUE 101 Price: £649/$849
Building on the impressive features of the Sensor 24.2Mp, APS-C (6000x4000 pixels)
750D, the 760D adds a secondary info LCD on Viewfinder Pentamirror, 0.82x, 95%
the top and Quick Control Dial on the rear. This ISO 100-12,800 (25,600 expanded)
improves handling and makes it feel more like an AF 19-point (all cross-type)
‘enthusiast’ model, rather than an entry-level LCD 3in touchscreen vari-angle, 1040K dots
DSLR, and is worth the extra outlay. Max burst (buffer) 5fps (8 Raw/940 JPEG)
Buyers’ Guide CAMERAS
Canon EOS 70D Tested In ISSUE 79 Price: £735/$999
A breakthrough DSLR, the 70D delivers fast Sensor 20.2Mp, APS-C (5472x3648 pixels)
and smooth autofocus in Live View and movie Viewfinder Pentaprism, 0.95x, 98%
modes, thanks to its revolutionary ‘Dual Pixel ISO 100-12,800 (25,600 expanded)
CMOS AF’ image sensor, backed up by DIGIC 5+ AF 19-point (all cross-type)
processing. The 7fps continuous drive rate is LCD 3in touchscreen vari-angle, 1040K dots
quick and it has built-in Wi-Fi. Max burst (buffer) 7fps (16 Raw/65 JPEG)

It’s a quick-shooter 8fps camera with dual Sensor 18Mp, APS-C (5184x3456 pixels)
processors and a tough magnesium alloy build. Viewfinder Pentaprism, 1.0x, 100%
However, while it had standout specifications ISO 100-6400 (12,800 expanded)
when launched back in 2009, it has now been AF 19-point (all cross-type)
Enthusiast
eclipsed by the new 7D Mk II. It is great value LCD 3in, 920K dots
though – whilst stocks last! Max burst (buffer) 8fps (25 Raw/126 JPEG)
Memory card CompactFlash
Canon EOS 7D Mk II Tested In ISSUE 95 Price: £1299/$1499

Here’s the king of action-packed APS-C format Sensor 20.2Mp, APS-C (5472x3648 pixels)
cameras. A long-overdue revamp of the original Viewfinder Pentaprism, 1.0x, 100%
7D, it has 65-point AF with advanced tracking, ISO 100-16,000 (51,200 expanded)
10fps continuous drive, dual DIGIC 6 processors AF 65-point (all cross-type)
and GPS, all wrapped up in a tough, weather- LCD 3in, 1040K dots
sealed magnesium alloy shell. Max burst (buffer) 10fps (31 Raw/unlimited JPEG)
Memory card CompactFlash + SD/SDHC/SDXC

Amazingly good value for a full-frame EOS Sensor 20.2Mp, full-frame (5472x3648 pixels)
DSLR in a medium-sized body, the 6D combines Viewfinder Pentaprism, 0.71x, 97%
a respectable 20.2Mp sensor with super-high ISO 100-25,600 (50-102,400 expanded)
sensitivities of up to ISO102,400. Image quality is AF 11-point (1 cross-type)
excellent and there’s built-in Wi-Fi and GPS, but LCD 3in, 1040K dots
the 6D has a fairly basic AF system. Max burst (buffer) 4.5fps (17 Raw/1250 JPEG)
Canon EOS 5D Mk III Tested In ISSUE 61 Price: £2249/$2499

Remarkably compact and lightweight for a Sensor 22.3Mp, full-frame (5760x3840 pixels)
fully pro and weather-sealed full-frame body, the Viewfinder Pentaprism, 0.71x, 100%
22Mp 5D Mk III boasts the same top-notch AF ISO 100-25,600 (50-102,400 expanded)
system as the 1D X and delivers stunning image AF 61-point (41 cross-type, 5 dual-cross)
quality, even under very low lighting. The big, LCD 3.2in, 1040K dots
bright viewfinder is brilliant. Max burst (buffer) 6fps (18 Raw/16,270 JPEG)
()
Canon EOS 5DS (5DS R) Tested In ISSUE 103 Prices: £2999/$3699 (£3199/$3899)
Professional
The world’s first 50Mp full-frame DSLR delivers Sensor 50.6Mp, full-frame (8688x5792 pixels)
huge and amazingly detailed hi-res images. The Viewfinder Pentaprism, 0.71x, 100%
higher-cost 5DS R adds a ‘low-pass cancellation ISO 100-6400 (50-12,800 expanded)
filter’ for marginally sharper shots. As expected AF 61-point (41 cross-type, 5 dual-cross)
with such a high-res sensor, max ISO and drive LCD 3.2in, 1040K dots
rate are lower than with the 5D Mk III. Max burst (buffer) 5fps (14 Raw/510 JPEG)
Canon EOS 1D X Tested In ISSUE 66 Price: £4499/$4599

Canon’s flagship full-frame professional Sensor 18.1Mp, full-frame (5184x3456 pixels)
camera boasts ultra-fast 14fps shooting and Viewfinder Pentaprism, 0.76x, 100%
super-high ISO, along with sublime handling in its ISO 100-51,200 (50-204,800 expanded)
large EOS body. Build quality is rock-solid, yet AF 61-point (41 cross-type, 5 dual-cross)
image resolution is relatively modest, especially LCD 3.2in, 1040K dots
compared with the 5DS and 5DS R. Max burst (buffer) 12–14fps (38 Raw/180 JPEG)
Memory card 2x CompactFlash

BUYERS’
GUIDE
Choosing lenses
Key factors to watch out for
The main factors to consider in a lens are its focal length,
maximum aperture, and whether or not it’s full-frame compatible.
We’ve categorized lenses by focal length range – from wide-angle
to telephoto. The larger a lens’s maximum aperture, the ‘faster’
Rs,
With over 150 lenses available for Canon DSL it’s considered to be – allowing you to control depth of field more,
Here’s
picking the best for the job can be a minefield.
and offering better options in low light. Zooms are more flexible
than primes, but tend not to have such fast maximum apertures.
glass
the lowdown on all currently available EOS-fit Full-frame lenses will also work with ‘crop-sensor’ EOS D-SLRs,
but crop-sensor lenses aren’t compatible with full-frame cameras.
KEY: ● BEST VALUE AWARD ● BEST ON TEST AWARD
n
ti o
nc
ti o
ta
iz a
d
ic a
we
re
dis
b il
nif
r tu
vie
es
me
ta
ize
us
ag
pe
la d
oo
re
es
ds
oc
a
ht
rs
xm
g
WIDE-angle zooms
-fr
xa
xz
ue
ti n
ic e
sb
ar
nf
ag
ig
te
ll
We
Ma
Ma
Ma
Is s
Aw
Ra
Im
Mi
F il
Fu
Pr
Iri
Canon EF 8-15mm f/4L Fisheye USM £915/$1250 Yes 1.9x No f/4 540g 0.15m 0.34x None 7 90 HHHH
WIDE-ANGLE ZOOMs
Canon EF-S 10-18mm f/4.5-5.6 IS STM £190/$300 No 1.8x Yes f/4.5-5.6 240g 0.22m 0.15x 67mm 7 104 HHHH ●
Canon EF-S 10-22mm f/3.5-4.5 USM £410/$600 No 2.2x No f/3.5-4.5 385g 0.24m 0.17x 77mm 6 104 HHH
Canon EF 11-24mm f/4L USM £2800/$3000 Yes 2.2x No f/4 1180g 0.28m 0.16x None 9 101 HHHHH
Canon EF 16-35mm f/2.8L II USM £1090/$1600 Yes 2.2x No f/2.8 640g 0.28m 0.22x 82mm 7 104 HHHH
Canon EF 16-35mm f/4L IS USM £725/$1100 Yes 2.2x Yes f/4 615g 0.28m 0.23x 77mm 9 104 HHHH
Canon EF 17-40mm f/4L USM £500/$800 Yes 2.4x No f/4 500g 0.28m 0.24x 77mm 7 74 HHHH ●
Sigma 8-16mm f/4.5-5.6 DC HSM £520/$700 No 2.0x No f/4.5-5.6 555g 0.24m 0.13x None 7 104 HHHH
Sigma 10-20mm f/3.5 EX DC HSM £385/$450 No 2.0x No f/3.5 520g 0.24m 0.15x 82mm 7 104 HHHH
Sigma 10-20mm f/4-5.6 EX DC HSM £300/$350 No 2.0x No f/4-5.6 465g 0.24m 0.15x 77mm 6 74 HHHH ●
Sigma 12-24mm f/4.5-5.6 II DG HSM £600/$950 Yes 2.0x No f/4.5-5.6 670g 0.28m 0.16x None 6 104 HHHH
Tamron SP AF 10-24mm f/3.5-4.5 Di II LD £360/$500 No 2.4x No f/3.5-4.5 406g 0.24m 0.2x 77mm 7 87 HHHH
Tamron SP 15-30mm f/2.8 Di VC USD £900/$1200 Yes 2.0x Yes f/2.8 1100g 0.28m 0.2x None 9 104 HHHHH ●
Tokina 10-17mm f/3.5-4.5 AT-X DX Fisheye £450/$485 No 1.7x No f/3.5-4.5 350g 0.14m 0.39x None 6 87 HHH
Tokina 11-16mm f/2.8 AT-X PRO DX II £360/$400 No 1.5x No f/2.8 550g 0.3m 0.09x 77mm 9 87 HHH
Tokina 12-28mm f/4 AT-X Pro DX £495/$450 No 2.3x No f/4 530g 0.25m 0.2x 77mm 9 87 HHH
Tokina 16-28mm f/2.8 AT-X PRO FX £550/$590 Yes 1.8x No f/2.8 950g 0.28m 0.19x None 9
Tokina 17-35mm f/4 AT-X PRO FX £420/$450 Yes 2.1x No f/4 600g 0.28m 0.21x 82mm 9

n
n
ti o
nc
ti o
ta
iz a
d
ic a
we
re
dis
b il
nif
r tu
vie
es
me
ta
ize
us
ag
pe
la d
oo
re
es
ds
oc
a
ht
rs
xm
g
TELEPHOTO zooms
-fr
xa
xz
ue
ti n
ic e
sb
ar
nf
ag
ig
te
ll
We
Ma
Ma
Ma
Is s
Aw
Ra
Im
Mi
F il
Fu
Pr
Iri
Canon EF-S 55-250mm f/4-5.6 IS STM £200/$300 No 4.5x Yes f/4-5.6 375g 0.85m 0.29x 58mm 7 96 HHHH
Canon EF 70-200mm f/2.8L IS II USM £1500/$2100 Yes 2.9x Yes f/2.8 1490g 1.2m 0.21x 77mm 8 98 HHHHH ●
Canon EF 70-200mm f/2.8L USM £975/$1350 Yes 2.9x No f/2.8 1310g 1.5m 0.16x 77mm 8 64 HHHH
Canon EF 70-200mm f/4L IS USM £805/$1200 Yes 2.9x Yes f/4 760g 1.2m 0.21x 67mm 8 98 HHHHH
Canon EF 70-200mm f/4L USM £440/$650 Yes 2.9x No f/4 705g 1.2m 0.21x 67mm 8 96 HHHH
Canon EF 70-300mm f/4-5.6 IS USM £370/$650 Yes 4.3x Yes f/4-5.6 630g 1.5m 0.26x 58mm 8 96 HHH
Canon EF 70-300mm f/4-5.6L IS USM £900/$1350 Yes 4.3x Yes f/4-5.6 1050g 1.2m 0.21x 67mm 8 83 HHHHH
TELEPHOTO ZOOMs
Canon EF 70-300mm f/4.5-5.6 DO IS USM £1120/$1400 Yes 4.3x Yes f/4.5-5.6 720g 1.4m 0.19x 58mm 6 90 HHH
Canon EF 75-300mm f/4-5.6 III £190/$200 Yes 4.0x No f/4-5.6 480g 1.5m 0.25x 58mm 7 15 HHH
Canon EF 75-300mm f/4-5.6 III USM £220/$180 Yes 4.0x No f/4-5.6 480g 1.5m 0.25x 58mm 7 70 HHH
Canon EF 100-400mm f/4.5-5.6L IS USM £1150/$1400 Yes 4.0x Yes f/4.5-5.6 1380g 1.8m 0.2x 77mm 5 94 HHHH
Canon EF 100-400mm f/4.5-5.6L IS II USM £2000/$2200 Yes 4.0x Yes f/4.5-5.6 1640g 0.98m 0.31x 77mm 9 100 HHHH
Canon EF 200-400mm f/4L IS USM Extender 1.4x £8600/$11,000 Yes 2.8x Yes f/4 3620g 2.0m 0.15x 52mm 9 77 HHHHH
Samyang 650-1300mm MC IF f/8-16 £320/$240 Yes 2.0x No f/8-16 2000g 5.0m 0.2x 95mm 0
Sigma 50-500mm f4.5-6.3 DG OS HSM £800/$1510 Yes 10.0x Yes f/4.5-6.3 1970g 0.5-1.8m 0.32x 95mm 9 94 HHHH
Sigma 70-200mm f/2.8 EX DG OS HSM £800/$1200 Yes 2.9x Yes f/2.8 1430g 1.4m 0.13x 77mm 9 98 HHHH ●
Sigma 70-300mm f/4-5.6 DG Macro £100/$170 Yes 4.3x No f/4-5.6 545g 0.95m 0.5x 58mm 9 96 HHH
Sigma APO 70-300mm f/4-5.6 DG Macro £150/$150 Yes 4.3x No f/4-5.6 550g 0.95m 0.5x 58mm 9 96 HHH ●
Sigma 120-300mm f/2.8 DG OS HSM S £2600/$3600 Yes 2.5x Yes f/2.8 3390g 1.5-2.5m 0.12x 105mm 9 98 HHHH
Sigma APO 150-500mm f/5-6.3 DG OS HSM £570/$680 Yes 3.3x Yes f/5-6.3 1780g 2.2m 0.19x 86mm 9 94 HHHH
Sigma 150-600mm f/5-6.3 DG OS HSM S £1455/$2000 Yes 4.0x Yes f/5-6.3 2860g 2.6m 0.2x 105mm 9
Sigma 200-500mm f/2.8 EX DG £12,700/$26,000 Yes 2.5x No f/2.8 15,700g 2.0-5.0m 0.13x 72mm 9
Sigma 300-800mm f/5.6 EX DG HSM £5500/$8000 Yes 2.7x No f/5.6 5880g 6.0m 0.14x 46mm 9
Tamron SP AF 70-200mm f/2.8 Di LD (IF) Macro £475/$770 Yes 2.9x No f/2.8 1320g 0.95m 0.32x 77mm 9 64 HHH
Tamron SP AF 70-200mm f/2.8 Di VC USD £1000/$1500 Yes 2.9x Yes f/2.8 1470g 1.3m 0.13x 77mm 9 98 HHHH
Tamron AF 70-300mm f/4-5.6 Di LD Macro £100/$150 Yes 4.3x No f/4-5.6 458g 0.95m 0.5x 62mm 9 96 HHH
Tamron SP AF 70-300mm f/4-5.6 Di VC USD £250/$450 Yes 4.3x Yes f/4-5.6 765g 1.5m 0.25x 62mm 9 96 HHHHH ●
Tamron SP 150-600mm F/5-6.3 Di VC USD £850/$1090 Yes 4.0x Yes f/5-6.3 1951g 2.7m 0.2x 95mm 9 94 HHHHH ●
Buyers’ Guide LENSES
e
n
ti o
nc
ti o
ta
iz a
d
ic a
we
re
dis
b il
nif
r tu
vie
es
me
ta
ize
us
ag
pe
la d
oo
re
es
ds
oc
a
ht
rs
xm
g
Standard zooms
-fr
xa
xz
ue
ti n
ic e
sb
ar
nf
ag
ig
te
ll
We
Ma
Ma
Ma
Is s
Aw
Ra
Im
Mi
F il
Fu
Pr
Iri
Canon EF-S 15-85mm f/3.5-5.6 IS USM £510/$700 No 5.7x Yes f/3.5-5.6 575g 0.35m 0.21x 72mm 7 84 HHHH
Canon EF-S 17-55mm f/2.8 IS USM £535/$830 No 3.2x Yes f/2.8 645g 0.35m 0.17x 77mm 7 84 HHHHH ●
STANDARD ZOOMS
Canon EF-S 17-85mm f/4-5.6 IS USM £335/$300 No 5.0x Yes f/4-5.6 475g 0.35m 0.2x 67mm 6 72 HHH
Canon EF-S 18-55mm f/3.5-5.6 IS II £130/$200 No 3.1x Yes f/3.5-5.6 200g 0.25m 0.34x 58mm 6 57 HHH
Canon EF-S 18-55mm f/3.5-5.6 IS STM £170/$250 No 3.1x Yes f/3.5-5.6 205g 0.25m 0.36x 58mm 7
Canon EF 24-70mm f/2.8L II USM £1400/$1900 Yes 2.9x No f/2.8 805g 0.38m 0.21x 82mm 9 72 HHHHH
Canon EF 24-70mm f/4L IS USM £700/$1000 Yes 2.9x Yes f/4 600g 0.38m 0.7x 77mm 9 93 HHHHH
Canon EF 24-105mm f/3.5-5.6 IS STM £375/$600 Yes 4.4x Yes f/3.5-5.6 525g 0.4m 0.3x 77mm 7
Canon EF 24-105mm f/4L IS USM £640/$1000 Yes 4.4x Yes f/4 670g 0.45m 0.23x 77mm 8 93 HHHH
Sigma 17-50mm f/2.8 EX DC OS HSM £310/$470 No 2.9x Yes f/2.8 565g 0.28m 0.2x 77mm 7 84 HHHH
Sigma 17-70mm f/2.8-4 DC Macro OS HSM C £330/$400 No 4.1x Yes f/2.8-4 465g 0.22m 0.36x 72mm 7 84 HHHH
Sigma 18-35mm f/1.8 DC HSM A £650/$800 No 1.9x No f/1.8 810g 0.28m 0.23x 72mm 9 90 HHHHH ●
Sigma 24-70mm f/2.8 IF EX DG HSM £600/$800 Yes 2.9x No f/2.8 790g 0.38m 0.19x 82mm 9 93 HHHH
Sigma 24-105mm f/4 DG OS HSM A £680/$900 Yes 4.4x Yes f/4 885g 0.45m 0.22x 82mm 9 85 HHHHH
Tamron SP AF 17-50mm f/2.8 XR Di II VC £330/$650 No 2.9x Yes f/2.8 570g 0.29m 0.21x 72mm 7 84 HHHH
Tamron SP AF 24-70mm f/2.8 Di VC USD £740/$1300 Yes 2.9x Yes f/2.8 825g 0.38m 0.2x 82mm 9 93 HHHHH ●
Tamron SP AF 28-75mm f/2.8 XR Di £320/$500 Yes 2.7x No f/2.8 510g 0.33m 0.26x 67mm 7 57 HHH
n
ti o
nc
ti o
ta
iz a
d
ic a
we
re
dis
b il
nif
r tu
vie
es
me
ta
ize
us
ag
pe
la d
oo
re
es
ds
oc
a
ht
rs
xm
g
SUPERzooms
-fr
xa
xz
ue
ti n
ic e
sb
ar
nf
ag
ig
te
ll
We
Ma
Ma
Ma
Is s
Aw
Ra
Im
Mi
F il
Fu
Pr
Iri
SUPERZOOMS
Canon EF-S 18-135mm f/3.5-5.6 IS STM £305/$550 No 7.5x Yes f/3.5-5.6 480g 0.39m 0.28x 67mm 7 92 HHHHH
Canon EF-S 18-200mm f/3.5-5.6 IS £390/$700 No 11.1x Yes f/3.5-5.6 595g 0.45m 0.24x 72mm 6 92 HHHH
Canon EF 28-300mm f/3.5-5.6L IS USM £1795/$2450 Yes 10.7x Yes f/3.5-5.6 1760g 0.7m 0.30x 77mm 8 6 HHHH
Sigma 18-200mm f/3.5-6.3 DC Macro OS HSM C £270/$400 No 11.1x Yes f/3.5-6.3 430g 0.39m 0.33x 62mm 7 92 HHHH
Sigma 18-250mm f/3.5-6.3 DC Macro OS HSM £300/$350 No 13.9x Yes f/3.5-6.3 470g 0.35m 0.34x 62mm 7 92 HHHHH ●
Sigma 18-300mm f/3.5-6.3 DC Macro OS HSM C £400/$580 No 16.7x Yes f/3.5-6.3 585g 0.39m 0.33x 72mm 7
Tamron 16-300mm f/3.5-6.3 Di II VC PZD Macro £450/$630 No 18.8x Yes f/3.5-6.3 540g 0.39m 0.34x 67mm 7 92 HHHHH ●
Tamron AF 18-200mm f/3.5-6.3 XR Di II LD Macro £135/$200 No 11.1x No f/3.5-6.3 405g 0.45m 0.27x 62mm 7 92 HHH
Tamron AF 18-270mm f/3.5-6.3 Di II VC PZD £270/$450 No 15.0x Yes f/3.5-6.3 450g 0.49m 0.26x 62mm 7 92 HHHH
Tamron 28-300mm f/3.5-6.3 Di VC PZD £540/$850 Yes 10.7x Yes f/3.5-6.3 540g 0.49m 0.29x 67mm 7
Tamron AF 28-300mm f/3.5-6.3 XR Di LD Macro £330/$400 Yes 10.7x No f/3.5-6.3 435g 0.49m 0.34x 62mm 9

n
n
ti o
nc
ti o
ta
is a
ic a
re
dis
b il
d
nif
r tu
we
es
me
ta
ize
us
ag
pe
vie
la d
oo
es
oc
a
ht
rs
xm
Wide-angle primes
-fr
xa
xz
re
ic e
sb
nf
ag
ig
ds
te
g
ll
We
Ma
Ma
Ma
ue
ti n
Im
Mi
F il
ar
Fu
Pr
Iri
Is s
Aw
Ra
Canon EF 14mm f/2.8L II USM £1650/$2100 Yes None No f/2.8 645g 0.2m 0.15x None 6
Canon TS-E 17mm f/4L (tilt & shift) £1600/$2150 Yes None No f/4 820g 0.25m 0.14x 77mm 8 90 HHHHH
Canon EF 20mm f/2.8 USM £385/$540 Yes None No f/2.8 405g 0.25m 0.14x 72mm 5 100 HHH
Canon EF 24mm f/1.4L II USM £1220/$1550 Yes None No f/1.4 650g 0.25m 0.17x 77mm 8
Canon EF 24mm f/2.8 IS USM £455/$600 Yes None Yes f/2.8 280g 0.2m 0.23x 58mm 7 100 HHHH
Canon EF-S 24mm f/2.8 STM £140/$150 Yes None No f/2.8 125g 0.16m 0.27x 52mm 7 100 HHH
Canon TS-E 24mm f/3.5L II (tilt & shift) £1480/$1900 Yes None No f/3.5 780g 0.21m 0.34x 82mm 8
Canon EF 28mm f/1.8 USM £380/$510 Yes None No f/1.8 310g 0.25m 0.18x 58mm 7 67 HHH
Canon EF 28mm f/2.8 IS USM £390/$470 Yes None Yes f/2.8 260g 0.23m 0.2x 58mm 7 100 HHHH
Canon EF 35mm f/1.4L USM £990/$1480 Yes None No f/1.4 580g 0.3m 0.18x 72mm 8
Canon EF 35mm f/2 IS USM £400/$600 Yes None Yes f/2 335g 0.24m 0.24x 67mm 8 100 HHHH
Peleng 8mm f/3.5 Fisheye £250/$215 Yes None No f/3.5 400g 0.22m 0.13x None
WIDE-ANGLE PRIMES
Peleng 17mm f/2.8 Fisheye £290/$290 Yes None No f/2.8 630g 0.3m None
Samyang 8mm f/3.5 IF MC CSII DH Circular £240/$260 Yes None No f/3.5 435g 0.3m N/S None 6
Samyang 10mm f/2.8 ED AS NCS CS £340/$430 No None No f/2.8 600g 0.25m N/S None 6
Samyang 12mm f/2.8 ED AS NCS Diagonal £360/$500 Yes None No f/2.8 530g 0.2m N/S None 7
Samyang 14mm f/2.8 IF ED UMC £280/$320 Yes None No f/2.8 560g 0.28m N/S None 6 74 HHH
Samyang 16mm f/2 ED AS UMC CS £375/$360 No None No f/2 590g 0.2m N/S 77mm 8
Samyang 24mm f/1.4 ED AS UMC £500/$530 Yes None No f/1.4 680g 0.25m N/S 77mm 8
Samyang T-S 24mm f/3.5 ED AS UMC (tilt & shift) £900/$800 Yes None No f/3.5 680g 0.2m N/S 82mm 8 90 HHHH
Samyang 35mm f/1.4 AS UMC AE £370/$420 Yes None No f/1.4 660g 0.3m N/S 77mm 8 100 HHHH
Schneider 28mm f/4.5 PC-TS (tilt & shift) £4980/$8300 Yes None No f/4.5 1560g 0.15m 0.16x 122mm
Sigma 4.5mm f/2.8 EX DC HSM Circular Fisheye £580/$900 No None No f/2.8 470g 0.14m 0.17x None 6 87 HHHH
Sigma 8mm f/3.5 EX DG Circular Fisheye £600/$900 Yes None No f/3.5 400g 0.14m 0.22x None 6 87 HHHH ●
Sigma 10mm f/2.8 EX DC HSM Diagonal Fisheye £480/$600 No None No f/2.8 475g 0.14m 0.11x None 7 87 HHHH
Sigma 15mm f/2.8 EX DG Diagonal Fisheye £475/$560 Yes None No f/2.8 370g 0.15m 0.26x None 7 44 HHHH
Sigma 24mm f/1.4 DG HSM A £700/$850 Yes None No f/1.4 665g 0.25m 0.19x 77mm 9 105 HHHHH
Sigma 28mm f/1.8 EX DG Asp Macro £360/$430 Yes None No f/1.8 500g 0.2m 0.34x 77mm 9 46 HHH
Sigma 30mm f/1.4 DC HSM A £370/$500 No None No f/1.4 435g 0.3m 0.15x 62mm 9 100 HHHH ●
Sigma 35mm f/1.4 DG HSM A £700/$900 Yes None No f/1.4 665g 0.3m 0.19x 67mm 9 100 HHHHH ●
Voigtlander 20mm f/3.5 Color-Skopar SL II £505/$500 Yes None No f/3.5 240g 0.2m N/S 52mm 9
Voigtlander 28mm f/2.8 Color-Skopar £350/$480 Yes None No f/2.8 230g 0.22m N/S 52mm 9
Voigtlander 40mm f/2 Ultron £445/$450 Yes None No f/2 250g 0.38m N/S 52mm 9
Zeiss Distagon T* 15mm f/2.8 ZE £2050/$2650 Yes None No f/2.8 820g 0.25m 0.11x 95mm 9
Zeiss Distagon T* 18mm f/3.5 ZE £1000/$1195 Yes None No f/3.5 510g 0.3m 0.08x 82mm 9 44 HHHHH ●
Zeiss Distagon T* 25mm f/2 ZE £1190/$1500 Yes None No f/2 600g 0.25m 0.17x 67mm 9

BUYERS’ Contacts
GUIDE
Sigma www.sigma-imaging-uk.com
Canon www.canon.co.uk Tamron www.tamron.co.uk
Peleng www.digitaltoyshop.co.uk Tokina www.tokinalens.com
Samyang www.samyang-lens.co.uk Voigtlander www.robertwhite.co.uk
Schneider www.linhofstudio.com Zeiss www.zeiss.co.uk
n
ti o
nc
ti o
ta
iz a
d
ic a
we
re
dis
b il
nif
STANDARD PRIMES
r tu
vie
es
me
ta
ize
us
ag
pe
la d
oo
re
es
ds
oc
a
ht
rs
xm
g
Standard primes
-fr
xa
xz
ue
ti n
ic e
sb
ar
nf
ag
ig
te
ll
We
Ma
Ma
Ma
Is s
Aw
Ra
Im
Mi
F il
Fu
Pr
Iri
Canon EF 40mm f/2.8 STM £130/$150 Yes None No f/2.8 130g 0.3m 0.18x 52mm 7 90 HHHHH ●
Canon TS-E 45mm f/2.8 (tilt & shift) £1100/$1400 Yes None No f/2.8 645g 0.4m 0.16x 72mm 8
Canon EF 50mm f/1.2L USM £995/$1450 Yes None No f/1.2 580g 0.45m 0.15x 72mm 8 103 HHHH
Canon EF 50mm f/1.4 USM £240/$350 Yes None No f/1.4 290g 0.45m 0.15x 58mm 8 103 HHHH
Canon EF 50mm f/1.8 II £90/$110 Yes None No f/1.8 130g 0.45m 0.15x 52mm 5 103 HHH
Canon EF 50mm f/1.8 STM £100/$125 Yes None No f/1.8 160g 0.35m 0.21x 49mm 7 103 HHHHH ●
Samyang 50mm f/1.4 AS UMC £360/$390 Yes None No f/1.4 575g 0.45m N/S 77mm 8
Schneider 50mm f/2.8 PC-TS (tilt & shift) £2820/$3365 Yes None No f/2.8 1400g 0.65m 0.11x 90mm 8
Sigma 50mm f/1.4 EX DG HSM £300/$500 Yes None No f/1.4 520g 0.5m 0.14x 77mm 9
Sigma 50mm f/1.4 DG HSM A £700/$950 Yes None No f/1.4 815g 0.4m 0.18x 77mm 9 103 HHHHH ●
Zeiss Planar T* 50mm f/1.4 ZE £520/$525 Yes None No f/1.4 380g 0.45m 0.15x 58mm 9
Zeiss Otus 55mm f/1.4 £2700/$3990 Yes None No f/1.4 1030g 0.5m 0.15x 77mm 9
n
n
ti o
nc
ti o
ta
iz a
d
ic a
we
re
dis
b il
nif
r tu
vie
es
me
ta
ize
us
ag
pe
la d
oo
re
es
ds
oc
a
ht
rs
xm
g
Telephoto primes
-fr
xa
xz
ue
ti n
ic e
sb
ar
nf
ag
ig
te
ll
We
Ma
Ma
Ma
Is s
Aw
Ra
Im
Mi
F il
Fu
Pr
Iri
Canon EF 85mm f/1.2L II USM £1500/$2000 Yes None No f/1.2 1025g 0.95m 0.11x 72mm 8 103 HHHH
Canon EF 85mm f/1.8 USM £240/$370 Yes None No f/1.8 425g 0.85m 0.13x 58mm 8 103 HHHH
Canon TS-E 90mm f/2.8 (tilt & shift) £1125/$1400 Yes None No f/2.8 565g 0.5m 0.29x 58mm 8
Canon EF 100mm f/2 USM £360/$500 Yes None No f/2 460g 0.9m 0.14x 58mm 8 46 HHHHH
Canon EF 135mm f/2L USM £700/$1000 Yes None No f/2 750g 0.9m 0.19x 72mm 8
TELEPHOTO PRIMES
Canon EF 200mm f/2L IS USM £4400/$5700 Yes None Yes f/2 2520g 1.9m 0.12x 52mm 8 98 HHHHH
Canon EF 200mm f/2.8L II USM £570/$750 Yes None No f/2.8 765g 1.5m 0.16x 72mm 8 98 HHHH
Canon EF 300mm f/2.8L IS II USM £4800/$6100 Yes None Yes f/2.8 2400g 2.0m 0.18x 52mm 9 54 HHHHH
Canon EF 300mm f/4L IS USM £960/$1350 Yes None Yes f/4 1190g 1.5m 0.24x 77mm 8 64 HHHH
Canon EF 400mm f/2.8L IS II USM £7700/$10,000 Yes None Yes f/2.8 3850g 2.7m 0.17x 52mm 9 54 HHHHH
Canon EF 400mm f/4 DO IS II USM £7000/$6900 Yes None Yes f/4 2100g 3.3m 0.13x 52mm 9
Canon EF 400mm f/5.6L USM £920/$1250 Yes None No f/5.6 1250g 3.5m 0.12x 77mm 8 94 HHHH
Canon EF 500mm f/4L IS II USM £6900/$9000 Yes None Yes f/4 3190g 3.7m 0.15x 52mm 9
Canon EF 600mm f/4L IS II USM £8900/$11,500 Yes None Yes f/4 3920g 4.5m 0.15x 52mm 9
Canon EF 800mm f/5.6L IS USM £9900/$13,000 Yes None Yes f/5.6 4500g 6.0m 0.14x 52mm 8
Samyang 85mm f/1.4 IF MC £230/$270 Yes None No f/1.4 513g 1.0m N/S 72mm 8
Samyang 135mm f/2 ED UMC £380/$550 Yes None No f/2 830g 0.8m N/S 77mm 9
Samyang 500mm MC IF f/6.3 Mirror £125/$150 Yes None No f/6.3 705g 2.0m N/S 95mm 0
Samyang 500mm MC IF f/8 Mirror £105/$110 Yes None No f/6.3 320g 1.7m N/S 72mm 0
Samyang 800mm MC IF f/8 Mirror £170/$190 Yes None No f/8 870g 3.5m N/S 30mm 0
Schneider 90mm f/2.8 PC-TS (tilt & shift) £2805/$3180 Yes None No f/2.8 1110g 0.57m 0.25x 104mm 6
Sigma 85mm f/1.4 EX DG HSM £650/$970 Yes None No f/1.4 725g 0.85m 0.12x 77mm 9 103 HHHHH
Sigma APO 300mm f/2.8 EX DG HSM £2280/$3400 Yes None No f/2.8 2400g 2.5m 0.13x 46mm 9 98 HHHH
Sigma APO 500mm f/4.5 EX DG HSM £3760/$5000 Yes None No f/4.5 3150g 4.0m 0.13x 46mm 9
Sigma APO 800mm f/5.6 EX DG HSM £4300/$6700 Yes None No f/5.6 4.9kg 7.0m 0.11x 46mm 9 21 HHHH
Zeiss Planar T* 85mm f/1.4 ZE £980/$985 Yes None No f/1.4 670g 1.0m 0.1x 72mm 9
Zeiss Apo Sonnar T* 135mm f/2 ZE £1650/$1825 Yes None No f/2 930g 0.8m 0.25x 77mm 9
n
n
ti o

nc
ti o
ta
iz a
d
ic a
we
re
dis
b il
nif
r tu
vie
es
me
ta
ize
us
ag
pe
la d
oo
re
es
ds
oc
a
ht
rs
xm
MACRO
-fr
xa
xz
ue
ti n
ic e
sb
ar
nf
ag
ig
te
ll
We
Ma
Ma
Ma
Is s
Aw
Ra
Im
Mi
F il
Fu
Pr
Iri
Canon EF 50mm f/2.5 Compact Macro £205/$300 Yes None No f/2.5 280g 0.23m 0.5x 52mm 6 50 HHH
Canon EF-S 60mm f/2.8 Macro USM £320/$470 No None No f/2.8 335g 0.20m 1.0x 52mm 7 102 HHH
Canon MP-E65mm f/2.8 1-5x Macro £850/$1050 Yes None No f/2.8 710g 0.24m 5.0x 58mm 6 50 HHHH
Canon EF 100mm f/2.8 Macro USM £375/$530 Yes None No f/2.8 600g 0.31m 1.0x 58mm 8 102 HHHH
Canon EF 100mm f/2.8L Macro IS USM £635/$900 Yes None Yes f/2.8 625g 0.3m 1.0x 67mm 9 102 HHHH
MACRO
Canon EF 180mm f/3.5L Macro USM £1050/$1400 Yes None No f/3.5 1090g 0.48m 1.0x 72mm 8 69 HHHH
Sigma Macro 70mm f/2.8 EX DG £360/$450 Yes None No f/2.8 525g 0.26m 1.0x 62mm 9 85 HHH
Sigma Macro 105mm f/2.8 EX DG OS HSM £380/$770 Yes None Yes f/2.8 725g 0.31m 1.0x 62mm 9 102 HHHHH ●●
Sigma APO Macro 150mm f/2.8 EX DG OS HSM £670/$1100 Yes None Yes f/2.8 1150g 0.38m 1.0x 72mm 9 102 HHHH
Sigma APO Macro 180mm f/2.8 EX DG OS HSM £1190/$1700 Yes None Yes f/2.8 1640g 0.47m 1.0x 86mm 9 102 HHHH
Tamron SP AF 60mm f/2 Di II LD (IF) Macro £320/$525 No None No f/2 350g 0.23m 1.0x 55mm 7 102 HHH
Tamron SP AF 90mm f/2.8 Di Macro £290/$500 Yes None No f/2.8 400g 0.29m 1.0x 55mm 9 102 HHH
Tamron SP AF 90mm f/2.8 Di Macro VC USD £380/$750 Yes None Yes f/2.8 550g 0.3m 1.0x 58mm 9 102 HHHH
Tamron SP AF 180mm f/3.5 Di Macro £700/$740 Yes None No f/3.5 985g 0.47m 1.0x 72mm 7 69 HHH
Tokina 100mm f/2.8 AT-X PRO Macro £370/$380 Yes None No f/2.8 540g 0.3m 1.0x 55mm 9 50 HHH
Zeiss Makro Planar T* 50mm f/2 ZE £920/$1085 Yes None No f/2 570g 0.24m 0.5x 67mm 9
Zeiss Makro Planar 100mm f/2 T* ZE £1300/$1545 Yes None No f/2 680g 0.44m 0.5x 67mm 9 50 HHHH
don’t miss next issue
Peter Travers
Jörg Kyas
top pro techniques
learn from
the best
World-class Canon professional photographers
tell you how to capture winning shots – from
landscapes and wildlife to portraits and sports
Thorsten Milse
FREE VIDEOS!
In the next Canon Skills chapter…
plus all this...
■ Canon interview: iconic American
pro photographer Howard Schatz
■ Multiplicity portraits ■ Reflections in ■ The Apprentice: The Times chief sports
photographer Marc Aspland teaches our
buildings ■ Fill-flash portraits ■ Make reader how to shoot a live rugby match
the most of colours in a collage
■ Photoshop Elements, CC, ■ Super Test: the best flashguns tested
Lightroom & DPP tutorials ■ Canon School: what’s white balance?
ISSUE 106 ON SALE 13 October Howard Schatz
129
triviaquiz Next month
don’t miss our
next issue
on sale
Chris George’s
13 October
CANONDRUM
How much do you really know about Canon photography?
Test yourself to the max every issue with our tricky trivia quiz!
01 What is a fixed-aperture zoom? 08 Image noise increases as ISO

A A zoom where the maximum increases, but what other factor
aperture remains the same size plays a part?
whatever the focal length A Aperture
B A zoom that has only one B Altitude

aperture value C A mbient temperature
C A zoom where the maximum D A ir pollution
aperture varies so that the

same amount of light is let 09 Colour temperature is measured
in as you zoom in Kelvin. If a light source is 2000K,
D A n obscure term for what what colour is that most likely to
we now call a prime appear to us and to a camera?
04 What is the key difference A Purple
02 If I focus at the hyperfocal distance between a 50mm macro lens B Green
of 2m, where does depth of field and a 100mm macro lens? C Orange
extend from and to? A The 100mm can make the D Blue
A From 2m to infinity subject twice as big

B From 1m to infinity B T he 100mm can get you life-size 10 DPP is Canon’s own editing
C To infinity and beyond images from further away software that comes free with every
D You would need to know C T he 50mm lens can also D-SLR. What does DPP stand for?
the aperture and focal be used a prime Digital Photo Professional
A
length to work this out D T he 100mm is usually Digital Professional Processing

B
much lighter Don’t Please Photoshop

C
03 Who is this pop star who Dual Photo Processing

D
featured in Canon’s advertising 05 None of these scenarios is

a few years back? great, but which is the worst?
A A my Winehouse A Scratching your lens cap
B Madonna B Scratching the front element
C Avril Lavigne C Scratching the rear element
D Miley Cyrus D Scratching your lens’s back cap
06 Which of these famous

photographers is not known
for their street photography?
A Martin Parr
B Elliott Erwitt
C Sebastião Salgado
D Henri Cartier-Bresson
07 Which of these filters do

landscape photographers use to
ensure that the foreground in the
How did you do?
shot does not appear too dark? 10 points You’re a photography mastermind!
A
8–9 points Fantastic, you’re a brainiac
Neutral density (or ND)
B
6-7 points Really good score
Ultraviolet (or UV) 6.C, 7.D, 8.C, 9.C, 10.A 4-5 points Respectable, but no cigar
C Linear polarizer 1.C, 2.B, 3.C, 4.B, 5.C 2-3 points We’ll keep your score secret
D Graduated neutral density Answers 0-1 points Epic fail
(or ND grad)
9000
90166

Life in The Fast Lane Shoot The Rapids!: Free!

Uploaded by

Document Information

Original Title

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Life in The Fast Lane Shoot The Rapids!: Free!

Uploaded by

Copyright:

Available Formats

POP-UP VIDEOS view the v

ideo no.1 for canon DSLR users

Build an online portfolio • Stock library secrets • Set up successful workshops

shoot the rapids! canon pro interview

new lens tests

• We’re proud to use the World’s

New deals! Great print & digital edition subscriptions PAGE 26

The Canon Magazine 3

Make cash with

Essentials Canon pros New tests

82 Canon DSLR Essentials 118 Complete

guide to Family time-lapse movie

The Canon Magazine 5

Peter Travers Adam Waring The PhotoPlus team

Technique editor • 60D Art editor • 600D Production & distribution

Angela Nicholson Tom Welsh Licensing

This issue’s contributors… Chief executive Zillah Byng-Maddick

Tel +44 (0)207 042 4000 (London)

Apprentice canon PRO

M for Manual Shoot Raw

with Live View 02

01 It’s much easier than looking through the viewfinder,

Lens Canon EF-S 10-18mm f/4.5-5.6 IS STM

1/200 sec 1/2 sec

The Canon Magazine 11

Sue’s comment HOT

Lens Canon EF-S 18-135mm f/3.5-5.6 IS STM

Slap Pericnik, Slovenia

2. In the Layers panel you should see

Lens Canon EF-S 10-18mm f/4.5-5.6 IS STM

The Canon Magazine 15

Sue’s comment Guy’s verdict

The Canon Magazine 17

These Canon images were placed or highly

01 Graceful Anemone by Janice Kum

The Canon Magazine 19

03 02 Stitchwort by Mandy Disher

03 Bowl of Beauty by Roy Hunt

The Canon Magazine 21

06 Last Embrace by Minghui Yuan

07 Anemone by Barbara Gardner

08 Androecium by James Woodend

Whether you want PhotoPlus

Subscribe online now

Free Manfrotto The Manfrotto PIXI tripod is

PIXI tripod DSLRs with a kit lens – it can

when you subscribe to and is the perfect go-anywhere

Print + Digital offer

Take your hobby to the next level with expert

The Canon Magazine 29

It will be easier to build a reputation

Get started today

Build a presence online

searching for images online, unless you

The Canon Magazine 31

the stock market

The British Association

The Canon Magazine 33

Canon’s PIXMA PRO-1 boasts

The Canon Magazine 35

Shoot the perfect wedding

Wedding photographer and

The Canon Magazine 37

• We’re proud to use the World’s

The Canon Magazine 3

The Canon Magazine 5

The Canon Magazine 11

The Canon Magazine 15

The Canon Magazine 17

01 Graceful Anemone by Janice Kum

The Canon Magazine 19

03 02 Stitchwort by Mandy Disher

03 Bowl of Beauty by Roy Hunt

The Canon Magazine 21

06 Last Embrace by Minghui Yuan

07 Anemone by Barbara Gardner

08 Androecium by James Woodend

The Canon Magazine 29

The Canon Magazine 31

The Canon Magazine 33

The Canon Magazine 35

The Canon Magazine 37

The Canon Magazine 39

The Canon Magazine 43

The Canon Magazine 45

The Canon Magazine 47

The Canon Magazine 53

The Canon Magazine 55

The Canon Magazine 57

The Canon Magazine 59

The Canon Magazine 61

The Canon Magazine 63

02 NICO ROSBERG, BELGIan GRAND PRIX

04 JULES BIANCHI, belgian grand prix

05 LEWIS HAMILTON, indian grand prix

The Canon Magazine 65

06 FELIPE MASSA, belgian grand prix

07 2015 WORLD ENDURANCE CHAMPIONSHIP

08 2015 LE MANS 24-HOUR RACE

The Canon Magazine 67

The Canon Magazine 69

02 Dawn on the Stour