Eos Magazine July September 2015

Information and inspirational images to improve your photography
+,+0*(;,+;6*(565,6:*(4,9(: July-September 2015
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www.eos-magazine.com
Welcome
Publisher & Editor Robert Scott EOS magazine is expanding. With effect from
robert@eos-magazine.com 1 July 2015 we took over the EOS Training
Academy. All the bookings for their events
Associate Editor Angela August
(see pages 72 to 73) will now be handled by
angela@eos-magazine.com
the admin team at Tackley phone 01869
Technical Writer Dave Baxter 331741. However, the running of the events
dave@eos-magazine.com will remain in the capable hands of the
founders, Nina Bailey and Brian Hall. The EOS
Marketing Director Claire Barrett magazine Photoworkshops will now be run
claire@eos-magazine.com under the EOS Training Academy banner.
Merging the training programmes in this way will enable us to
Magazine subscriptions
expand the range of events beyond our training centre at Tackley. In
Linda Gilman, Pam Bass
subscriptions@eos-magazine.com addition, we can now offer online training over 300 video tutorials
which can be viewed by anyone with an internet connection. With the
EOS magazine shop increased resources provided by the merger, we will develop this into
Caron Oliver, Elinor Smith a major source of EOS information.
shop@eos-magazine.com We have come a long way since Club Canon was launched over
30 years ago, with the name change to EOS magazine in 1993.
Accounts Kate Middleton
In addition to the magazine, we now have a shop, forum, website,
kate@eos-magazine.com
newsblog, training programme and online tutorials. We hope there is
Advertising Brian Hall something for everyone but let us know if there is anything else you
brian@eos-magazine.com would like to see.
Write to: From today, painting is dead. This comment is attributed to the
The Old Barn, Ball Lane, Tackley, French painter Paul Delaroche (1797 to 1856) after he viewed a
Kidlington, Oxfordshire OX5 3AG, UK
Daguerreotype, one of the early photographic processes. He was
wrong, of course. Painting might have been changed by photography,
Tel: 01869 331741 (+44 1869 331741)
Fax: 01869 331641 (+44 1869 331641)
but it is still very much alive. Also getting it wrong was IBM President
Thomas J. Watson, who was reported to have said in the early 1940s,
Forum: www.eos-magazine-forum.com I think there is a world market for about ve computers.
Shop: www.eos-magazine-shop.com So how much faith should we place on current claims that the
Facebook: www.facebook.com/EOSmag future of photography is the mirrorless camera? Will we have to wait
Google+: https://plus.google.com/ 50 or 100 years for an answer? Probably not. Technology moves at
Twitter: #eosmag
such a pace these days that ve years will give us the picture. By
which time there will be a new image capture device which will be the
Printed by Warners (Midlands) plc
new future of photography.
All information and advice in this 4K cameras will be in the mix somewhere, capturing video from
magazine is offered in good faith. The which you can extract a single high resolution frame. Will the still
publisher does not accept any liability for photograph and its decisive moment come to an end when you can
errors or omissions. All registered names shoot everything all the time and select the perfect picture at your
and trade marks are acknowledged. leisure? It would certainly make birds in ight photography much
easier, though far less satisfying.
EOS magazine is published by Robert
Scott Publishing Limited, a company
However, it seems likely that all the different types of camera will
registered in England and Wales. continue to be available for the moment. Smartphones, compact
Registration number 4663971. digital cameras, mirrorless, digital single-lens reex models and studio
cameras all have their advantages and disadvantages and we dont
2015 see any of them disappearing in the immediate future.
Robert Scott Publishing Limited
ISSN 1748-5568
Robert Scott, Editor

robert@eos-magazine.com
Find us on facebook
www.facebook.com/EOSmag
EOS magazine July-September 2015 | 3

Cover story
Contents
LOIC LAGARDE
World of EOS
06 Canon news and current offers

Details of Canons summer cashbacks.
12 Firmware and software updates

Check to see if there is an update for your camera
and the benets and xes offered.
see page 42 14 Cities from the sky

A new capture of one of my best viewpoints in Paris, Vincent Laforet captures aerial cityscapes at night
the Place de LEtoile, says Loc Lagarde. I really from 7,500 feet.
wanted to take this photo with my new ultra wide-
angle lens, the EF 11-24mm f4L USM, so just after
some rain one Sunday evening I ran to shoot this
puddle mirror image.
New products
EOS 5D Mark III, EF 11-24mm f4L USM lens (at 11mm),
1/40 second at f9, ISO 100.
Subscription details
Each subscription is for four issues of EOS magazine.
Subscriptions paid by credit card continuous authority
(CCA) or Direct Debit (DD) receive a discount of 5.
You can convert to CCA or DD payment at any time;
a debit will not be made until your next renewal date.
Details are available on request. Details of any change
to the subscription fee for credit card continuous
authorities (CCAs) are published in EOS magazine in 21 New EF prime lens
advance of any change. CCA renewal fees are 16.95 Full details of the EF 50mm f1.8 STM lens.
(UK), 21.95 (Europe) and 26.95 (air mail outside
Europe). Please notify EOS magazine of any change to
your address or credit card details. CCAs can only be
cancelled by contacting EOS magazine.
Details of any change to the subscription fee for Other features
Direct Debit payments are sent to subscribers at least
one month in advance of any change. Direct Debit
payments are not notied or acknowledged except 22 Me & my camera
in the case of a change to the subscription fee or We talk to an EOS subscriber about their
renewal date. Direct Debit mandates can be cancelled photography.
by contacting your bank, but please also notify EOS
magazine to avoid confusion. 72 EOS Training Academy
An expanding programme of events at our training
centre in Tackley, Oxfordshire and elsewhere
EOS Extra!
77 Q&A
EOS magazine subscribers have their own special area We answer your photographic questions.
on our website where there is a variety of offers and
articles. Click the EOS Extra! link at: 80 EOS equipment data
www.eos-magazine.com and enter the password: An overview of EOS cameras, current lenses and
extraeos accessories.
82 Forum
A review of EOS magazine forum threads.
4 | EOS magazine July-September 2015

,
Techniques
48 Speedlite guide
Improve your understanding of Canon Speedlites
with our compilation of tips and techniques.
54 How was it shot

Multiple dance moves captured in a single
exposure and without Photoshop.
56 Take a tablet
28 Lens aperture We look at some of the issues you might face
The aperture does much more than just regulating when using a tablet for viewing stills and video.
the amount of light passing through the lens.
60 EOS Movie Utility
36 Tonal tweaks EOS Movie Utility is a free application from Canon
What are Auto Lighting Optimiser and Highlight for playing, merging and saving movies.
Tone Priority and when should you use them?
40 Two-minute technique
Try these techniques to lift your portrait
photography and produce eye-popping results.
62 Filters for digital cameras

Do we still need screw-on lens lters or can we
achieve the same results digitally?
42 Zoom or prime 70 Mains power

Comparing the new EF 11-24mm f4L USM zoom The ability to plug an EOS camera into a mains
lens to its prime counterparts. power socket can be a distinct advantage.
EOS
EOSmagazine
magazineJuly-September
July-September2015
2015 || 5
NEWS FROM THE WORLD OF EOS
Canon cashbacks
Take advantage of a range of Canon offers available to EOS users this summer
Another of Canons summer promotions means you can

receive up to up to 50/60 cashback on selected products in
the UK and Ireland. The offer runs from 20 May to 19 August
2015 for eligible products purchased from UK or Republic of
Ireland retailers (terms and conditions apply). EOS products
included in the promotion are:
EOS 1200D - 20/25

EOS 100D (excl DC kits) - 30/35
EOS 700D - 50/60
EOS M3 18-55mm - 50/60
EF S 10-18mm f4.5-5.6 IS STM - 25/30
One of Canons current offers will reward you with up to EF-S 10-22mm f3.5-4.5 USM = 50/60
250 cashback on selected lenses when you buy one of the EF-S 17-55mm f2.8 IS USM - 50/60
following cameras: EOS 5DS, 5DS R, 5D Mark III, 7D Mark II, EF-S 18-135mm f3.5-5.6 IS STM - 25/30
750D, 760D or M3. For example, if you were to buy an EOS EF-S 55-250mm f4-5.6 IS STM - 25/30
7D Mark II, you could use the cashback deal to get money off EF 70-300mm f4-5.6 IS USM - 50/60
nine different Canon lenses, such as 250 off an EF 70-200mm EF 40mm f2.8 STM - 25/30
f2.8L IS II USM lens. The promotional period and selected EF-S 24mm f2.8 STM - 25/30
lenses vary from camera to camera. The cashback varies from Speedlite 430EXII - 40/45
30 to 250. Speedlite 270EXII - 25/30
Read the terms and conditions for each camera with full
details at www.canon.co.uk/lens-promo For full details visit www.canon.co.uk/summercashback
New SELPHY printer New PowerShot G3 X Latest 4K products

Portable printing Superzoom compact camera Camcorders and display
The new SELPHY CP1000 compact Canon has announced its next
photo printer allows you to print, generation of product for 4K
lab-quality photos at home and on production. The range includes two
the move. It takes just 47 seconds to new 4K camcorders the EOS C300
print directly from your camera, USB Mark II (below) and the XC10 plus the
or memory card and an optional DP-V2410, a 24-inch 4K display.
battery pack accessory makes it a The EOS C300 Mark II is an update
great portable photo printer. to the EOS C300, which was announced
The SELPHY CP1000 includes in 2011, while the XC10 is a compact,
an Auto Image Optimize feature to Canon has just launched its most lightweight video and digital stills
enhance blue skies and sunsets, powerful superzoom compact camera camera. Inheriting many of the Cinema
correct colour cast, and remove yet the PowerShot G3 X. The new EOS ranges features, the XC10
red-eye and noise. The Smooth Skin camera features a 20.2 megapixel HS offers incredible recording versatility
mode removes facial imperfections. System with a 1.0-type CMOS sensor and is the ideal solution as a small,
The SELPHY CP1000 offers four and DIGIC 6 processor for stunning stand-alone camera for independent
print nishes and you can print a low-light results up to ISO 12,800. The lmmakers.
standard postcard-sized image or a 25x optical zoom 24-600mm f2.8-5.6 The DP-V2410 reference display is
more unusual lens helps you get closer to subjects designed for use on-set or on-location
shape, such without compromising image quality. to provide accurate output, facilitating
as a 50x50mm An extensive range of manual controls live shooting
Instagram delivers advanced performance for for quality
style. The shooting stunning stills and Full HD control, focusing
SELPHY movies. Excellent connectivity includes and exposure
CP1000 is WiFi with Dynamic NFC and remote conrmation,
available now shooting via smartphone or tablet. as well as
with an RRP of The PowerShot G3 X is available on-set colour
89.99/109.99. now, RRP 799.99/999.99. management.
For the latest news visit our newsblog at http://www.eos-magazine-news.blogspot.co.uk

12 years as market leader Canon launches city guide series

Canon is top of global DSLR sales again Explore European cities from new angles
Canon Europes city guides offer unique perspectives of six
cities across Europe London, Paris, Madrid, Berlin, Milan and
Amsterdam. The downloadable and app-based guides are
curated by local personalities who invite you to explore.
The city guides are part of Canons continuing Come and
See campaign, the latest iteration of which features two
freeclimbers, Vadim Makhorov and Vitaliy Raskalov, who
explore cities around the world from unique perspectives and
breathtaking vantage points (below). The city guide series
offers a more everyday look at cities, inviting people to take a
fresh look at familiar landscapes from unexpected angles.
Nigel Taylor, Consumer Imaging Marketing
Communications Director, Canon Europe, commented, At
Canon is celebrating a 12th year as the global number one in Canon, we want to help consumers enjoy cities across Europe
terms of volume within the DSLR market. in all their unique glory. We hope that people will relish the
Canons run as market leader began in 2003, a time when opportunity to seek out new perspectives and in turn capture
DSLR cameras were still very much in their infancy, and was that beauty on camera or video to cherish forever.
cemented by the launch of the EOS 300D the rst sub- City guide users are encouraged to share their
1000 DSLR which set the stage for Canons growth in the favourite travel photos and experiences with the hashtag
DSLR market. Since then, Canon has continued to challenge #comeandsee.
and innovate and has launched a host of industry dening All six city guides are available to download from
products, including the EOS-1D series for professional users, http://bit.ly/1JSodRM
and the EOS 5D series, which paved the way for DSLR movie
CANON
recording thanks to its full-frame sensor employing a movie-
capture function.
In October 2014 Canon launched the EOS 7D Mark II for
advanced-amateur users, boasting a continuous shooting
speed of 10 frames per second, and the range was further
bolstered in February of this year with the introduction of ve
new camera models, including the EOS 5DS and 5DS R which,
with a 50.6MP sensor, boast the worlds highest pixel count
among full-frame sensor DSLR cameras.
From the EOS 300D right up to the EOS 7D Mark II and
recent 2015 unveilings, it is Canons impressive camera line-
up and dedication to progression that has kept the company
ahead of the game over the last 12 years reafrming it as an
industry dening company which shapes trends and meets
consumer needs.
Pink Lady Food Photographer of the Year

This year almost 6500 images were
entered into The Pink Lady Food
Photographer of the Year competition,
which was judged by a distinguished
panel including Michel Roux Jr, food
critic Jay Rayner and Jamie Olivers
photographer David Loftus.
Jake Eastham won the Food in the
Field category with his image of a
gaggle of geese (left). Jake used an EOS
5D Mark II with an EF 85mm f1.8 USM
lens, 1/3200 second at f3.5, ISO 320.
The Pink Lady Food Photographer of
the Year competition was launched in
2011 to celebrate the cultural diversity
of food imagery and its numerous
applications in books, magazines,
blogs and advertising.
More winning images at www.
pinkladyfoodphotographeroftheyear.com

A decade of 5D cameras Eradicating reections

Canon celebrates 10th anniversary of EOS 5D New algorithm removes window reections
Researchers at the Massachusetts Institute of Technology
(MIT) have created a new algorithm that can automatically
remove reections from digital photos.
Its hard to take a photo through a window without
picking up reections of the objects behind you. To solve the
problem, you can wrap camera lenses in a dark cloth afxed
to windows by tape or suction cups. However, thats often
not a practical option. At the Computer Vision and Pattern
Recognition conference in June, MIT researchers presented
a new algorithm that, in a broad range of cases, can
automatically remove such reections from digital photos.
The algorithm exploits the fact that photos taken through
windows often feature two nearly identical reections, slightly
offset from each other.
In Boston, the windows are usually double-paned
windows for heat isolation during the winter, says YiChang
This year Canon celebrates the 10th Shih, who completed his PhD in computer science at MIT
anniversary of its iconic EOS 5D series this spring and is rst author on the paper. With that kind of
camera. Launched in September 2005, window, theres one reection coming from the inner pane
the EOS 5D transformed the DSLR market, and another reection from the outer pane. But thick windows
being the rst advanced amateur DSLR to are usually enough to produce a double reection, too. The
incorporate a full-frame CMOS sensor. The inner side will give a reection, and the outer side will give a
camera enabled enthusiast photographers to utilise the reection as well.
creative photographic tools that traditionally had been Without the extra information provided by the duplicate
unique to professional full-frame DSLR cameras. reection, the problem of reection removal is virtually
In November 2008, Canon launched the second insoluble. The researchers tested 197 images, 96 of which
generation model in the series the EOS 5D Mark II, exhibited double reections that were offset far enough for
which paved the way for movie-making. The camera their algorithm to work.
revolutionised Full HD video capture and facilitated the Yoav Schechner, a professor of electrical engineering at
widespread adoption of DSLRs as a tool for capturing Israels Technion Institute of Technology says, The ideas
movies. The EOS 5D Mark II made big waves in the here can progress into routine photography, if the algorithm
motion picture and video production industries by is further robustied and becomes part of toolboxes used in
again delivering large sensor video performance at digital photography.
a competitive price. Coupled with exceptional image
quality and greater control over depth of eld, it also
allowed lmmakers to take advantage of Canons diverse Scottish Nature Photography
interchangeable EF lens line-up (spanning over 64 Scottish Nature Photography Festival
models at the time), enabling a wide spectrum of imaging
possibilities. An inspiring line up of top photographers from the UK and
In March 2012, Canon introduced the EOS 5D Mark Europe has been announced for this years Scottish Nature
III, which boasted signicant improvements over its Photography Festival, which will return to The Battleby
predecessors still and video capabilities, as well as Centre, Perth on 12-13 September 2015.
enhanced AF precision and a faster maximum continuous The annual Scottish Nature Photography Festival features
shooting speed. Since its launch, the EOS 5D Mark III has inspiring presentations, stunning imagery, informative
garnered high acclaim in the market and, as one of the workshops and trade stands, as well as the chance to meet
companys agship DSLRs, has come to serve as a driving and mingle with like-minded photography enthusiasts.
force for the continued innovation of the EOS series. For information and tickets visit www.snpf.co.uk
Most recently, in February 2015, Canon launched the
EUROPEAN LYNX, SWITZERLAND LAURENT GESLIN
EOS 5DS and EOS 5DS R transforming the EOS system,

with a new breed of ultra-high resolution full-frame
DSLRs. Breaking the boundaries of 35mm sensors, the
new cameras offer the greatest number of megapixels
ever seen in a full-frame sensor, an astonishing 50.6 MP.
Through the in-house production of all key parts for its
EOS series digital cameras, Canon has created a highly
robust line-up. Each and every model within the series,
including EOS 5D models, is equipped to deliver the
very best image performance, thanks to the evolution of
innovative technology. To support the diverse needs of
photographers, Canon will continue to strengthen its EOS
DSLR line-up, which enjoys support from professional
and consumer users alike.

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Canon acquires Lifecake Canon interview

Photo sharing website joins Canon YouTube EOS 5DS/R review
Canon Europe has acquired London-based digital start-up Lifecake, enhancing Staff from Clifton Cameras give their
its digital consumer services business. Lifecake is a photo-sharing app that lets insight into the EOS 5DS/R in a recent
parents see and share their childrens amazing progress. It gives you a fast and fun YouTube product review. Thoroughly
photo and video timeline that your family can access on any device, or even print as worth a few minutes of your time, the
a photobook. video includes an interview with David
With Lifecake, you can take control of your ever-increasing number of photos and Parry, Product Development Consultant
create an evolving digital journal of your childrens lives to relive key moments at at Canon UK: https://www.youtube.
the swipe of a nger. com/watch?v=jGxdr8qcbOc
Following on from the launch of
irista in 2014, Lifecake augments
Canons commitment to provide TIPA Awards 2015
not just the best equipment to take
photos, but also the tools to stay
Canon wins four TIPA awards
connected with them. Canon has been awarded four
You can get 10GB of free space honours by the Technical Image Press
just by signing at www.lifecake.com Association (TIPA) one of the worlds
leading photo imaging and press
associations. Every year, the TIPA
Environmental Photographer of the Year Awards commend the most outstanding
imaging products launched in the past
Over ten thousand images from 60 countries 12 months. In 2015 Canon has once
again been recognised for the technical
The Atkins CIWEM Environmental Photographer of the Year 2015 has been innovations across its diverse product
awarded to Uttam Kamati for his inspiring image Watering melon. Uttam, an portfolio. The following awards have
amateur photographer and lmmaker from India who photographs the work of been granted:
humanitarian projects, beat over ten thousand entries from 60 countries to win VBest DSLR Expert: EOS 7D Mark II
the award. His winning image depicts a husband and wife watering watermelon VBest Expert DSLR zoom lens:
saplings on the Teesta river bed in West Bengal, India. The river water is EF 100-400mm f4.5-5.6L IS II USM
gradually drying up each year, so the couple have resorted to watering their VBest Professional DSLR lens: EF 11-
crop by pumping river water through a long exible pipe. Uttam used an EOS 24mm f4L USM
550D, EF 50mm f1.8 II lens, 1/125 second at f7.1, ISO 100. VBest easy compact camera: IXUS
The Atkins CIWEM Environmental Photographer of the Year competition is 160, IXUS 165 and IXUS 170.
an international showcase for the best in environmental photography and lm. The TIPA panel comprises editors
It provides an opportunity for photographers to share images of environmental from 27 of the worlds leading
and social issues with international audiences, and to enhance our photography and imaging magazines
understanding of the causes, consequences and solutions to climate change and members span 16 countries. The
and social inequality. panel meets annually to discuss the
An exhibition of 111 short-listed images is on display at the Royal latest imaging products.
Geographical Society, London, until 10 July 2015. The exhibition will then tour
forest venues nationally, beginning at Grizedale Forest Visitor Centre, Cumbria
from 18 July to 7 September 2015. Canon prot falls
To view more winning images, visit http://bit.ly/1lExMar
Compact camera sales slump
In the face of declining compact camera
sales, Canon Inc. revealed that net
prot fell by 28.7% in the rst quarter
of this year. Prot was 33.93 billion yen
($285.27) in January-March 2015, some
20 billion yen short of analyst estimates.
Sales for low end models declined
due to the ongoing contraction of the
market in all regions from the previous
year, said Canon in its earnings release.
However, it conrmed that sales of
high-end cameras have increased.
Canon expects to sell 7 million
compact cameras in 2015, reduced from
a previous forecast of 7.8 million and
22.5% less than in 2014. The company
has also reduced its projected sales of
DSLR cameras from 6.4 million units to
5.8 million.
COURTESY OF ATKINS CIWEM ENVIRONMENTAL PHOTOGRAPHER OF THE YEAR 2015/ UTTAM KAMATI

Photofunday at EOS magazine HQ

Plenty to see and photograph at our busy open day
Over 300 EOS enthusiasts from across the country joined us at our headquarters
in Oxfordshire in June to take part in our two-day Photofunday event. There was
lots to see and photograph. As well as the return of the birds of prey and reptiles
from our 21st birthday celebration event last year, there was also a variety of
mini-seminars led by our team of EOS experts. RGBuk was kept busy producing
fabulous prints with a large format printer, and we had a range of Canon
equipment for photographers to try, including the EF 500mm f4L IS USM II and EF
8-15mm f1.4L Fisheye USM lenses. There was plenty for photographers to point
their cameras at as well as the raptors and reptiles there were classic cars and
several indoor mini-studio set-ups.
People were encouraged to print out images they had taken on the day and
add them to the photowall. Two of our favourites were taken by Isaac Barber, who
took a close-up of one of the birds of prey with his EOS 450D (below left) and
Laura Payne who arranged dried owers on a lightbox and photographed them
from above using her EOS 100D (below right).
EOS 5D mirror repair Model release form Canon domination

Free repair ends in September Free form for photographers EOS is stock library favourite
In January 2009, Canon acknowledged With increased public concerns over Stock library Shutterstock has over
that the main mirror of some EOS privacy and the need for photographers 50 million photos, vectors, videos,
5D cameras could detach due to to protect themselves and the and music tracks that, for a fee, you
deterioration in the strength of the people they photograph, The Royal can download and use. The company
adhesive. It offered a free repair service Photographic Society (RPS) has has released the data about the top
for affected products. Reinforcement produced a generic model release form, ten cameras used to shoot the images
parts are attached to the right and left which it has made freely available for all submitted to Shutterstock by their UK
sides of the mirror. photographers. contributors in 2014.
Canon has announced that the free The RPS has worked with a UK law Canon dominated, with the rst three
repair service will end on 30 September rm to produce a RPS Model Release rankings all taken by EOS cameras.
2015. If you have an EOS 5D with a Form template with supporting notes The most popular camera was the EOS
detached mirror, now is the time to get to guide photographers in using it. A 5D Mark II, which was used for taking
it repaired. Use the link to nd your model release forms species how 27,244 submissions. Second and third
nearest Canon repair centre. pictures can be used and is there to were the EOS 5D Mark III and EOS-1Ds
http://www.canon.co.uk/support/ protect both the photographer and Mark II with 18,541 and 13,860 images
consumer_ products/services_locator/ his/her subjects. Properly completed, respectively. A further three EOS
a signed form will protect the cameras were featured in the top ten
photographer in the event of any future the EOS-1D X, EOS 7D and EOS 6D. In
claim. fact, only a Nikon camera in fourth place
The rst photographer to use the prevented a Canon clean sweep in the
RPS Model Release Form was Rose top six rankings.
Teanby ARPS who photographed Peter Last year Shutterstock paid over
Lord CBE and David Sproxton CBE of 2.5 million pounds to UK-based
Aardman Animations for her Best of contributors.
Friends project.
You can download the model release
form for free from www.rps.org/MRF

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The latest updates for EOS digital camera rmware and Digital Photo Professional 4.2.10
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the following xes: EOS 7D, EOS 5D Mark II, EOS 700D / EOS RebelT5i / EOS
1. Fixes a phenomenon in which the cameras AF function KISS X7i, EOS 100D / EOS Rebel SL1, EOS KISS X7, EOS M3
may not operate properly at a focal length of approximately
100mm when used with the EF 70-200mm f2.8L IS II USM Digital Photo Professional version 4.2.31
lens. V?aawj #.y.^ #.y.-
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correct date and time. Canon has updated the rmware for the GPS receiver GP-E2
5. Fixes a phenomenon in which, in rare cases, image noise to make it compatible with the latest EOS cameras. Version
may appear in JPEG images when brightness or contrast is 2.0.0 also incorporates the following xes:
corrected by the Auto Lighting Optimizer function. 1. Fixes a phenomenon in which, in rare cases, the signal
acquisition indicator on the GPS Receiver GP-E2 displays
EOS 700D / Rebel T5i Slow blinking (Signal acquired) even if a signal is not yet
Firmware Version 1.1.4 for the EOS 700D / Rebel T5i / KISS acquired.
X7i incorporates the following xes and improvements: 2. Fixes a phenomenon in which new log les may not be
1. Fixes a phenomenon in which focus may not be adjusted saved correctly if the built-in memory of the GPS Receiver
with specic lenses when shooting remotely with EOS GP-E2 becomes full.
Utility software.
2. Fixes a phenomenon in which LCD brightness may not be EOS 750D and 760D and Sigma lenses
adjusted after pressing the SET button if Menu Display is Sigma has found that Live View Mode cannot be used on
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EOS Utility 2.14.20 For more information and a list of affected lenses visit:
V |w|2. http://bit.ly/1GYUK8e
EOS Utility 3.2.21 EOS 750D and 760D white spotting problem
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changed freely. repaired free of charge, regardless of the warranty status.

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INTERVIEW
ALL PHOTOGRAPHS: VINCENT LAFORET

Cities from the sky
Vincent Laforet had always wanted to see Above Las Vegas.
Inspired by his father, Vincent Laforet what the streets of New York City looked EOS-1D X, TS-E 45mm f2.8
started in photography at the age of 15. like from above and his latest project, AIR, lens, 1/200 second at f2.8,
After several internships, he became a allowed him to do just that. And not just ISO 3200.
staff photographer at the New York Times New York. Hanging out of a helicopter at Right San Francisco.
where, in 2002, along with two other 7,500 feet, Vincent has been capturing EOS-1D X, EF 200mm f2L
photographers, he was awarded the Pulitzer our urban footprint around the world all IS USM lens, 1/125 second
Prize for their overseas coverage of 9/11. under cover of darkness. Now the AIR at f2, ISO 12800.
Now freelance, he works for magazines project has come to Europe, with Vincents
across the globe, and as a commercial latest images of London taken just a few
photographer for major companies. months ago.
In 2008 Vincent directed Reverie, the
rst widely available short lm shot using The aim of the AIR project is to show people that
the EOS 5D Mark II. In 2011 he was chosen the world is not such a big place and we are all a
by Canon to shoot with its rst cinema lot more connected than we realise.
camera, the C300. He directed the lm When youre on the street and look up at the
Mobius, which premiered at Paramount tall skyscrapers that ll our cities, you tend to feel
Studios. He is working on his rst feature pretty small and sometimes quite insignicant,
length lm. says Vincent. However, when you look at the
same environment from above, it paints a totally
different picture. Youre able to see the entire
scale of a city and see just how connected we all
are. Altitude gives you a different perspective on
our relationship with one another and with our
environment.
For his AIR project, Vincent photographs
major cities around the world from an
altitude at which they have never before been
photographed at night. As a result of advanced
technology, what wouldnt have been possible a

INTERVIEW Vincent Laforet
few years ago is now achievable.

Thanks to sponsors G-Technology, Vincent is
expanding the AIR project globally with London,
Barcelona, Paris, Venice and Berlin the rst
locations to be given the aerial treatment outside
of the US. Having G-Technology believe in and
sponsor this project has made it go from a dream
to a reality, said Vincent.
Planning for these shoots can take anywhere
from a couple of days to a couple of months.
Vincent and his team rst need to get permission
from each city to be ying in a helicopter at
this altitude and this often means involving
law enforcement ofcials and the military. The
unreliable element, and one you are powerless to
change, is the weather.
The shoot
When all the necessary clearance has been given,
15 to 20 minutes prior to sunset Vincent heads
up in the helicopter to start photographing. He
Vincents AIR project kit bag continues to shoot for 90 minutes after sunset.
The helicopter needs to have a sliding door or no
Canon equipment Memory cards Hard drives door at all, so that Vincent can hang out and get
the overhead images. Vincent is harnessed into
2x EOS-1D X 6x SanDisk 128GB 5x G-DRIVE ev ATC the helicopter and another team member is in the
2x EOS 5D Mark III SD cards with Thunderbolt (1TB) helicopter to help with lens swaps and to ensure
1x EOS 5DS 5x G-DRIVE ev SSD everyones safety.
10x SanDisk 64GB (512GB) Hanging out of the helicopter, Vincent tries
TS-E 17mm f4L CF cards 1x G-RAID with to nd exactly what makes a city tick. With
TS-E 24mm f3.5L II Thunderbolt each shoot comes a very different, but equally
TS-E 45mm f2.8 6x SanDisk 64GB 1x G-DOCK with amazing, view.
TS-E 90mm f2.8 Micro SD cards Thunderbolt Some cities he shoots twice at sunrise and
G-SPEED Studio XL sunset. Vincent shoots about 5,000 images
on each ight, collecting about half-a-terabyte

(500GB) of data in each location, which includes Top left London.
still photos and movie footage. EOS-1D X, Zeiss Otus
1.4/55 ZE lens, 1/400 EOS 5D Mark III
In the rst ight over New York City, Vincent second at f1.4, ISO 800.
quickly discovered that the vibrations from
the helicopter impacted on the images, so he Bottom left London.
increased the shutter speed. EOS 5DS, Zeiss Otus 1.4/85
ZE lens, 1/100 second at
Vincent and his team need to work quickly
f1.4, ISO 1600.
there is no time for mistakes or re-shoots. To
assist them they have a detailed workow. For Above London.
example, when the memory cards are put in the EOS-1D X, 28mm lens,
card wallet, if they are facing up they are ready 1/125 second at f1.4, ISO
5000.
to be used, if they are facing backwards then
they have been shot but not copied. Once back
on the ground and they have been copied, they
are placed vertically in the wallet and form the
original backup. Vincent says: The EOS 5D Mark III is still, in
my opinion, the best DSLR in the world for
Back up both video and stills in terms of price/value
As soon as they land the memory cards are and feature ratios. This is the camera I shoot
copied immediately, often at the heliport itself. with for my still and High Denition DSLR
Years ago, this would have taken several hours, video work (notably my time-lapse).
but with the speed of the memory cards and the If you have an EOS 5D Mark II the
hard drives today it takes only 30-45 minutes to autofocus and motor speed make this the
copy half-a-terabyte of data. simplest upgrade choice, and the video
The photos are copied to two G-Technology is signicantly cleaner and without moire
G-DRIVE ev ATC (1TB) units and once they are issues. The EOS 5D Mark III is Canons
copied, the drives are then separated. As should update to the wildly popular full-frame EOS
always be the case with large amounts of data, 5D Mark II, which changed the industry
the drives never go into the same bag or travel in with its full HD video capabilities. The Mark
the same car in case something happens and all III improves upon the Mark II with a range
content is lost. of mechanical upgrades, including a dual
Once the team, the memory cards and the CF card slot, and an improved ISO of up to
hard drives arrive back at the ofce, the drives 25600, making this one of the best low-light
are loaded into the G-DOCK ev and are copied performing cameras on the market.
via Thunderbolt to a 64GB G-RAID drive and a

INTERVIEW Vincent Laforet
Above Los Angeles. selection of images are uploaded to the cloud.

Vincents lenses EOS-1D X, Zeiss Distagon
T* 2/25 ZE lens, 1/125
At this stage in the workow, there are now
second at f2, ISO 6400. the originals on the memory cards, two copies
Some of the lenses I most commonly use: on the ATC drives, another copy on the larger
Top right San Francisco. G-RAID drive and a select copy on the cloud.
TS-E 24mm f3.5L This, along with the EOS-1D X, 135mm lens, As a nal step, the images on the cloud are
1/160 second at f2, ISO
TS-E 45mm f2.8 lens, is one of my favourite 6400.
automatically downloaded back onto a 64TB
tilt-shift lenses. I use it to obtain a miniature Studio XL in both Los Angeles and New York.
effect. I love this lens. No autofocus though! Bottom right San Finally, the entire shoot is sent back to Vincents
Francisco. team in New York or Los Angeles to copy onto
EOS-1D X, EF 200mm f2L
EF 85mm f1.2L USM This is a jewel, not the Studio XLs.
IS USM lens, 1/125 second
a lens. Used wide open or at f2.0 it leads to at f2, ISO 12800.
stunning portraits. Workow
It is easy to forget about workow, or leave it to
EF 500mm f4 IS USM If I had to pick one the last minute to plan, but with so much at stake
long lens, this would be it. The EF 400mm you need to be organised and follow procedure.
f2.8 is a bit too heavy to hand-hold, while You need to have a very specic way of
the 500mm is the perfect size and weight to doing things in terms of using memory cards and
shoot and travel with. Dont worry about the copying data, says Vincent. Once you have a
1-stop loss relative to the 400mm f2.8 given workow set out, stick to it, as it is in place for a
how well the new Canon cameras perform in reason and will help you get through your shoot
low light. and editing as easily as possible.
Vincent then turns his attention to editing.
EF 24-70mm f2.8L II USM If you need For every hour of shooting, he spends ten hours
to buy ONE lens to start your still or lm editing. He uses Lightroom to edit the images
career, this is it. Perfect for sports, travel, and post-production software includes DxO
photojournalism, full length portraits... Optics Pro. Once the shoot has taken place,
the copies have been made and the edits are
EF 200-400mm f4 IS USM with internal nalised, Vincent then has 30-40 incredible
1.4x Extender The dream zoom lens with pictures of each city to share online.
built-in converter. My go-to long lens after
years of lugging around a 200mm, 300mm, For more information, visit
400mm and 500mm on certain jobs. www.laforetvisuals.com

Vincents viewpoint
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ME & MY CAMERA Reader prole
Me & my camera
Ian Theobald was given a subscription to EOS magazine by his wifes parents
when they learned that he was getting back into photography.
Name Ian Theobald In the last two years I have taken up photography again
as a way to relax and get away from the computer. I work
Subscriber since 2014 for myself as website designer, so was working long hours
made worse by working from home. I still have to sit at my
Day job Im a website designer desk processing images, but its enjoyable and still offers a
and internet marketeer and, together break from coding.
with my wife, work from our home My rst recent camera was an EOS 7D. I didnt want to
ofce in Javea, Spain. I enjoy my spend too much until I knew my interest in photography was
work and it offers me the freedom to rekindled. While I liked the camera, my interest in landscape
talk online with friends on the EOS forum, which has some and buildings soon revealed its limitations, especially when
great members and is the most friendly Ive used. using high ISO settings, so six months ago I moved to an EOS
5D Mark III.
Photographic background Ive been interested in Photography plays a big role in my life. Although my time
photography for over 30 years. When I was at school I wanted is limited, every so often I try to have a weekend visiting
to be a photographer, so I found a local studio that would take a location or travelling around Spain, nding interesting
me on as a trainee. During my time there I shot weddings and villages or things to shoot. My wife has also recently taken
studio work with a twin-lens Rolleiex camera, and did hours up photography as she enjoys coming out with me, although
of black-and-white printing. Sadly, the draw of money meant I her choice was to start with a bridge camera and often we
left the studio and was no longer involved in the profession. compete to get the best shots!
Some years later I got back into photography when digital
cameras were just coming out. By then I was involved with Favourite subjects Ive lived in Spain for eight
websites and bought what I thought at the time was a decent years, but taking up photography has given me an excuse to
camera (an early Kodak digital camera). However, the results explore. My interest is wide, although I enjoy landscape work,
were so poor that I lost interest. especially old Spanish villages transforming them back in

Spanish architecture
I particularly enjoy photographing architecture. These Above Panorama of Toledo, Spain. EOS 5D Mark III, EF 24-105mm f4L
buildings are shot from very different perspectives. IS USM lens (at 24mm), 1/500 second at f8, ISO 100.
Below Altea, Spain. EOS 5D Mark III, EF 24-105mm f4L IS USM lens (at Below The Alczar of Toledo. EOS 5D Mark III, EF 70-200mm f2.8L IS II
24mm), 1/750 second at f8, ISO 125. USM lens (at 170mm), 1/45 second at f4, ISO 640.

time with a little Photoshop work, losing the ugly modern Inspiration My current inspiration is the need to get
structures and objects that can spoil a photo, such as aerials, out! I nd some members of the EOS forum inspirational,
wires and cars. I also enjoy macro work and, having just especially DaveS and AndyA for their landscape work.
bought the new EF 100-400mm f4.5-5.6 IS II USM lens, Im
hoping to explore sports photography further. I enjoy visiting Image of which you are most proud Picking
zoos as well as trying to get non-captive photos. Im sure the a single image isnt easy, especially when I look back over
new lens will come in very handy for that. some of the amazing locations that Ive visited in Spain. If I
had to pick a single image it would be Gatehouse, Toledo,
HDR High dynamic range now theres a term that can which sums up everything good about High Dynamic Range
start a heated discussion on any photo forum! I do enjoy HDR, (HDR), in content and composition (see page 26). By using
especially when taking photos of buildings, although recently HDR I was able to pull detail from the shadows while still
I have explored it with sunsets and have been very pleased having an interesting sky and enhancing the details within
with the outcomes. the building. However, I could have added another 30 photos
Its a shame that HDR has a bad press as its a fantastic from around Toledo as it is a beautiful medieval Spanish town.
process. While Im not a fan of the grungy-looking photos,
when HDR is done well it can offer so much more. Its too Your workow I use Transcend 32GB CF cards with
often used by people who assume a dull photo can be a backup 64GB SD card inserted. I dont like to use larger
made good with HDR. Initially I started using HDR Efex cards for fear of them failing. I only shoot RAW as it gives
Pro, although I am now working with Photoshop CC as I far more control over the end image. Personally I feel the
understand better now how to use it. only time to use JPEG is if shooting sports and you need the
high burst rate that JPEG can offer. I download using a card
Black-and-white When processing an image, out of reader. Why bother using a 2K camera to download images
curiosity I might see what the black-and-white version looks when a 20 reader will do the job! Ive had a hard drive fail, so
like. Often I prefer it and Im left struggling with which to leave Im paranoid about backing up. I do so daily with a Western
as the nal image. Black-and-white can turn a dull, at sky Digital 3TB My Cloud Personal Storage and monthly with a
into a dramatic sky, and for me, that is often the difference another drive as you never know when a backup might fail.
between colour or black-and-white. I use Silver Efex Pro as it I never delete images as space isnt an issue. When storage
gives far better control than either Photoshop or Lightroom. does become a problem I will look back over my early images

Left Jardin LAlbarda, Javea. EOS 7D, EF 24-105mm f4L IS USM lens
(at 24mm), 1/40 second at f11, ISO 100.
Clockwise from top left

Flags ying on Xtiva Castle, Valencia. EOS 5D Mark III, EF 24-105mm My kit
f4L IS USM lens (at 55mm), 1/750 second at f10, ISO 200.
EOS 5D Mark III
White building with blue shutters on Javea Beach. EOS 5D Mark III, EF 16-35mm f4L IS ISM lens
EF 16-35mm f4L IS USM lens (at 31mm), 1/500 second at f8, ISO 800. EF 24-105mm f4L IS USM lens (my walkabout lens)
EF 70-200mm f2.8L IS II USM lens
Doorway inside Santuario de Santa Mara Magdalena, Novelda. EOS
5D Mark III, EF 16-35mm f4L IS USM lens (at 16mm), 1/125 second at EF 100-400mm f4.5-5.6L
f4, ISO 8000. IS USM lens
EF 100mm f2.8L Macro
The ornate ceiling of Toledo Cathedral. EOS 5D Mark III, EF 16-35mm IS USM lens
f4L IS USM lens (at 16mm), 1/160 second at f20, ISO 200.
EF Extender 1.4x EOS magazine July-September 2015 | 25
Modern architecture of University Campus, Ganda. EOS 5D Mark EF Extender 2x
III, EF 16-35mm f4L IS USM lens (at 16mm), 1/160 second at f20, ISO Ring ash
200. Various lters

and probably delete a lot. Having acquired more skills and

techniques it is interesting to look back over old images and
wonder why you ever rated them! I use Lightroom for 80%
of my workow, along with Photoshop CC and HDR Efex and
Silver Efex. Im not of the school that thinks what comes out
of the camera is the end result. For me it is the start. I will use
any software to achieve something Im happy with, whether
thats cloning in Photoshop or Silver Efex to pull the hidden
shadows in a black-and-white photo.
What you would like to achieve

(photographically) To get out and see the world.
Hopefully this year Im off to shoot sunsets in Ibiza and camels
in Morocco, plus some other locations. Photography offers a
chance to really look at the world around you.
Photo equipment you would like to own

I would like a TS-E 17mm f4L, but its a big investment for a
lens that would only be used for buildings. I currently use
the poor mans TS go as wide as possible then process the
image in Photoshop CC to correct the uprights but if I won
the lottery I would buy a tilt-and-shift in a ash.
For more of Ians images visit www.ickr.com/photos/
fotosespana and www.fotosespana.es
Above right Decorative sign on a bar in Javea. EOS 5D Mark III, EF

24-105mm f4L IS USM lens (at 105mm), 1/160 second at f6.3, ISO 100.
Right Sunset in Altea. EOS 5D Mark III, EF 16-35mm f4L IS USM lens
(at 16mm), 1/500 second at f10, ISO 400.
Below Gatehouse, Toledo. EOS 5D Mark III, EF 16-35mm f4L IS USM

lens (at 16mm), 1/60 second at f9, ISO 1600, using HDR.

26 |27
Black-and-white conversion
These two images of an apartment block in Altea were Below left Shooting in colour emphasises the different materials of
the foliage, glass and stone. EOS 5D Mark III, EF 16-35mm f4L IS USM
taken within a few seconds of each other. I shot the images
lens (at 16mm), 1/500 second at f10, ISO 400.
in RAW format and then processed the black-and-white
image using Silver Efex Pro. I often prefer black-and-white Below right But the same building lends itself equally to a black-
because it emphasises texture, shape and, in particular, and-white rendition. EOS 5D Mark III, EF 16-35mm f4L IS USM lens (at
cloud formation. 16mm), 1/500 second at f10, ISO 400.

TECHNIQUE
Lens aperture
LEE BEEL
Aperture is one of the factors that control exposure
in your camera. But it does much more than just
regulating the amount of light passing through the
lens. We look at the effects of aperture on images.
When you take a photograph with your EOS

ISO and Understanding apertures
digital camera, the sensor needs to receive just
the right amount of light to capture as much exposure When you switch the camera on, the aperture is
detail as possible in the image. at its largest known as the maximum aperture.
There are two factors which control this Is ISO a factor in This lets lots of light into the camera, giving a
exposure? Strictly
exposure shutter speed and aperture. Shutter bright image in the viewnder. When you press
speaking, no.
speed determines the length of time the light The sensor has a the shutter button, the diaphragm blades move
is allowed to fall on the sensor. Aperture xed sensitivity. ISO to the aperture size selected for the exposure.
determines the brightness of this light. refers to the degree of Each aperture size is given a value which
amplication applied to indicates the amount of light it allows to pass.
the signals created by
Iris diaphragm light hitting the millions
This is related both to the actual diameter of the
In Canon lenses the aperture is formed by a of pixels (picture aperture and the focal length of the lens, which
series of overlapping metal blades. As the blades elements) which make is why it is called a relative aperture though it is
move, the size of the up the surface of the usually referred to simply as the aperture.
sensor.
aperture changes.
Increasing the
The mechanism which amplication means Metal plate with a hole
forms the aperture that you can reduce Apertures are also called stops, or f-stops. This
is called the iris the amount of light term dates back to the early days of photography,
diaphragm (left). reaching the sensor when an interchangeable metal plate with a hole
and still produce an
The human eye also image with a good tonal
punched into it was used to control the amount
has an iris, though range. This is invaluable of light passing through the lens. This plate was
here it is formed when shooting in low given the name stop, because it stopped some of
from circular and light. the light.
However, it is
radial muscles. In the Each lens came with a series of metal
the combination of
centre of the human shutter speed and plates with holes of different sizes, giving the
iris is the pupil (left), aperture which controls photographer control over the brightness of the
the equivalent of the the amount of light light reaching the lm.
lens aperture. The reaching the sensor. The sizes of the holes in a series of plates were
The ISO value is
human iris operates applied as the image
designed so that each larger hole let through
automatically, getting is processed in the twice as much light as the hole in the preceding
smaller in bright light to reduce the amount of camera and so, strictly plate.
light entering your eye. In low light the iris opens speaking, is not part This pattern continues with modern lenses.
of the exposure even
up so that you can see detail indoors. When we talk of underexposed by one stop,
though it is integral
The aperture in your camera lens, on the to obtaining correct we mean that twice as much light is needed for
other hand, can be set automatically or manually, exposure. correct exposure.
depending in your needs.
Aperture scale
Today, although a variable lens aperture can be
Wheres the aperture ring? adjusted to any opening between its maximum
The iris diaphragm is positioned inside the and minimum sizes, the aperture scale is
lens, between two groups of optical elements. calibrated using values from the following range:
Logically, you might expect to see a ring for f1, f1.4, f2, f2.8, f4, f5.6, f8, f11, f16, f22, f32. In this
setting the aperture around the lens barrel. This range, the largest aperture is f1 and the smallest
was indeed the situation with Canon FD lenses, f32. As with the metal stops, each aperture value
designed for pre-EOS single-lens reex models in the range lets through twice as much light as
(top right). the next smaller aperture. If you switch from f4 to
With EF, EF-S and EF-M lenses, however, you f2.8, the amount of light passing through the lens
will look in vain for an aperture ring (bottom is doubled. On the other hand, if you move from
right). That is because the electronic connection f5.6 to f8, you are reducing the amount of light
between camera and lens allows the aperture passing through the lens by half.
to be set from the camera. A small electric
Right Knowing which aperture to use for maximum effect
motor inside each lens responds to signals from
is the mark of a good photographer. Here a fairly wide lens
the camera to adjust the iris diaphragm to the aperture has been set to make the dog stand out against
selected aperture. an out-of-focus background. EOS 5D Mark II, EF 70-200mm
f2.8L IS USM lens at 190mm, 1/320 second at f5.6, ISO 400.

TECHNIQUE Lens aperture
Lens apertures and the art of compromise
ROBERT BIRKBY
Below A telephoto lens was used to get the sun to appear A wide aperture gives a narrow depth-of-eld, Above The pastel hues
as large as possible during a partial solar eclipse. The but also shows up the effects of less-than- in this scene, shot on an
foreground was only about 10 metres away so the aperture early summer evening, are
perfect lens design and construction.
was set to its smallest value to give an acceptably sharp enhanced by the narrow
silhouette. EOS 7D Mk II, EF 70-200mm f4 IS USM lens with Selecting a smaller aperture (stopping down)
depth-of-eld given by a
2x converter (at 277mm), 1/320 second at f40, ISO 400. helps to produce sharper, higher quality images, wide lens aperture. In our
but if you go too far by making the aperture search for super-sharp
DAVE BAXTER
very small the image quality begins to reduce pictures, we often overlook
the relaxing effect of soft,
again due to an effect called diffraction. This is
pastoral images. EOS 5D
where light is bent not by passing through a lens Mark III, EF 100mm f2.8
but by passing through a narrow hole or slit. As Macro USM lens, 1/250
some light begins to spill into unwanted areas, second at f2.8, ISO 400.
the image can take on a softer appearance and
exhibit a slight reduction in contrast.
The sweet spot Below A starburst effect

Somewhere in the centre is a range of aperture is often created when the
settings that give optimal results. This optimum lens aperture is very small
varies from one lens to another and is often and a bright light is in the
eld-of-view. EOS 50D, EF
referred to as the sweet spot. 24-105mm f4L IS USM lens
The desire to remain in the sweet spot for (at 24mm), 1/50 second at
optimal quality can become a problem as some f22, ISO 400.
photographers fear venturing into the extremes
DAVE BAXTER
of the f-number sequence. However, diffraction

that results from using very small apertures
can be used to good effect to create a classic
starburst when the camera is directed toward a
bright light source (right).
Sometimes the need to maximise the depth-
of-eld has to take priority over concerns about
leaving the sweet spot. In the eclipse image
(left), it was necessary to use f40 in order to
obtain a wide depth-of-eld, so the silhouette of
the bird in the tree was acceptably sharp while
still being able to focus the zoom lens on innity.

Setting the aperture Three apertures
The non-professional range of EOS cameras The aperture is the size of the opening in the
have a mode dial that is split into two zones iris diaphragm through which light passes.
basic and creative. But this size, or diameter, can be measured in
The basic zone is designed to take many of different ways.
the decisions regarding exposure away from
Lens
novice photographers. The modes in this section
of the dial are useful when you rst get started,
but eventually you will want to be more in
Above The creative zone
settings of P, Tv, Av and M control. This is when the creative zone settings
are grouped together. are used. Effective Limiting
Aperture aperture
Av
Av is short for aperture value. When you set this shooting
mode you select an aperture by turning the main dial of the
camera. The camera automatically chooses the shutter speed.
M
Iris diaphragm
M is for manual. In this mode you set both the aperture and
the shutter speed, guided by the cameras built-in exposure Limiting aperture This is the actual
meter. Turning the main dial sets the shutter speed. The diameter of the hole formed at the centre of
aperture is set by turning the Quick Control Dial on the back the iris diaphragm. If you could get at it, you
of the camera. If the camera does not have a Quick Control Dial hold down could measure this aperture with a ruler.
the AV button and turn the main dial. The shutter speed and aperture
selected can be seen in the viewnder display, on the LCD panel on top of Effective aperture This is the diameter
the camera or the LCD screen on the back of the camera, where available. of a light beam reaching the lens from a
distant subject, before the rays converge
Below The camera has a built-in exposure meter for use in manual mode. Set the aperture to pass through the limiting aperture. The
you want and then adjust the shutter speed until the index mark is in the centre of the effective aperture can be larger or smaller
meter scale. You can meter from one area of the subject and then recompose the image than the limiting aperture, depending on
without risk of the values changing. The scale can be seen in the viewnder display and, the construction of the lens. In the diagram
where available, the LCD panel on the top of the camera or the LCD screen on the back.
above, the limiting aperture is smaller than
the effective aperture.
Relative aperture It is not convenient

to use either the limiting aperture nor the
Shutter Aperture Index Meter ISO Maximum effective aperture as an exposure factor. Two
speed mark scale value burst lenses with identical effective apertures can
let different amounts of light through to the
Different cameras, different layouts sensor at any given shutter speed. Thats
because the focal length plays an important
part in the brightness of the light getting
through the lens. For a given effective
aperture, a lens with a short focal length,
such as 50mm, will give a brighter image
than a lens with a longer focal length, such as
100mm. Fortunately, dividing the focal length
by the effective aperture gives a usable
number.
For example, if the focal length is 50mm
Mid-range models offer a mode dial and and the effective diameter is 12.5mm
If there is just a mode dial you see the
aperture and shutter speed values in the an LCD panel. You can see the mode and (left), the relative aperture
viewnder display. Some cameras also value selection in the viewnder display is 50/12.5, which is 4. This is
show information on the LCD monitor. and on the LCD panel. often written as f/4. Equally,
if the focal length is 100mm
and the effective diameter is
25mm (left), the result is also
f/4. The brightness of the light
passing through each lens will
be the same, even through the
effective apertures are different. It is this
relative aperture relationship that forms the
basis of the exposure system which has
Pro cameras do not have a mode dial. Recent models, including the EOS 100D,
been used by photographers since the late
Pressing the mode button on the left and 650D, 700D, 750D and 760D offer a touch
turning the main dial lets you select a screen. Select the function required and nineteenth century.
shooting mode, such as Av. turn the main dial to change the value.

Aperture and depth-of-eld

Left A wide aperture is
DAVE BAXTER
Setting a smaller aperture does more than just
very useful for blurring
background detail. This reduce the amount of light reaching the sensor.
rose is growing quite close One of the most important effects it has is
to the wall of a house. determining which parts of your image are in
At f22, the depth-of-eld sharp focus and which parts are blurred.
extends to the background,
which causes a distraction.
When you focus your lens, youre selecting
Shooting at f1.4 gives a objects at a specic distance from the camera to
very narrow depth-of-eld, be sharply focused. Objects that are not at this
concentrating attention of selected distance (either closer to the camera or
the foreground ower.
further away from it) will be blurred, but might
Below There are times appear acceptably sharp (see panel opposite).
when an extended depth- The range of distance over which objects in
of-eld given by a small the scene appear acceptably sharp is termed the
EOS 50D, EF 50mm f1.4 USM lens, 1/30 sec at f22, ISO 200. aperture is very effective. depth-of-eld. The smaller the aperture (that is,
Here, you can see detail
in all the houses from
the larger the f-number) the greater the depth-of-
the foreground to the eld will be.
background. EOS 5D Mark Generally, photographers use small apertures
II, EF 24-70mm f2.8L USM for a large depth-of-eld when taking landscapes
lens (at 42mm), 1/8 second
and a large aperture for a narrow depth-of-eld
at f16, ISO 400.
when taking portraits.
Below right The focus
is on the nearest tree in Sneak preview
this super-wide aperture You wont see the effects of a small aperture
image. You can see how
the other trees become
when youre composing your shot because the
more blurred the further camera keeps the aperture fully open to give
they are from the camera. you a bright image in the viewnder until the
EOS 5D Mark III, EF 85mm moment the photograph is taken. When you
f1.2L II USM lens, 1/250
press the shutter button, the aperture closes to
second at f1.2, ISO 100.
EOS 50D, EF 50mm f1.4 USM lens, 1/8000 sec at f1.4, ISO 200. the size the camera calculated it should be for
LEE BEEL

32 |33
What causes depth-of-eld?
Large circle
the correct exposure. Iris diaphragm Sensor of confusion
This means that the image you see through
the viewnder or in Live View may not be an Lens
accurate representation of the nal image. If you
want to see what depth-of-eld you will actually
capture before you take the photograph, press
the depth-of-eld preview button. The display
may become quite dark as the aperture closes,
but you should still be able to see which objects Focusing with a wide aperture
snap into focus. In the diagram above left, we show two objects a green one further
from the camera and a red one closer to the camera. The lens has been
Right The depth-of-eld positioned so that the light from the green object is brought into a
preview button is usually
perfectly focused dot on the sensor. In other words, the lens has been
located where it can be
operated by the left hand. focused on the green object. Light from the red object, which is closer
Almost all EOS cameras to the camera, would only form a pin-sharp image if it were allowed to
have the button at this travel to a plane behind the sensor. Instead, it falls on the sensor as a
position. The EOS 6D, 60D circular blob known as a circle of confusion (above right). If this blob is
and 70D cameras have
not too big, the object will look roughly in focus rather than pin-sharp.
the depth-of-eld preview
button on the right side
of the camera, but it is
Iris diaphragm Sensor Smaller circle
difcult to operate with the
of confusion
right hand. The button has Lens
been moved and modied
for the EOS 5D Mk III and
the 7D Mk II to make it
easier to use. On some
cameras, the depth-of-eld
button can be assigned
other camera functions
using custom control
menu options. Focusing with a small aperture
Here, the aperture has been closed down to severely limit the angle of
ROBERT BIRKBY
the light admitted into the camera. Light from the green object is still
perfectly focused as a small dot on the sensor since the lens-to-sensor
distance (focus) hasnt changed. Now consider the light from the red
object. It will still want to form an image behind the sensor, but with a
smaller aperture, the size of the circle of confusion that is formed on
the sensor is much smaller. This will make the red object appear to be
almost as well focused as the green one. A greater range of distances
in the scene will be acceptably sharp. Closing down the aperture
effectively creates only the smaller circles of confusion.
Extent of the depth-of-eld

The size of the circles of confusion and the rate at which they change as
focus is adjusted depends on the angle at which light passes through
the centre of the lens. This angle changes rapidly as objects move
closer to the camera and at a much slower rate as objects recede into
the distance. This means that the total depth-of-eld does not extend
equally in front and behind the subject thats in focus. Instead, the
depth-of-eld will extend roughly one-third in front of the subject and
two-thirds behind it. This is most obvious in landscape photography
where there are signicant distances between the camera and the
scene. For macro photography, where the depth-of-eld is always very
small, the asymmetry in the depth-of-eld is difcult to distinguish
and depth-of-eld appears to extend equally in front of and behind the
focused subject.
Factors which change depth-of-eld

Depth-of-eld is subjective it depends on where you see acceptable
sharpness end and unacceptable blur begin. In practical terms, you will
see depth-of-eld increase when you use a smaller aperture, a shorter
focal length lens and a greater subject distance. Sensor size plays a
part, only because you tend to enlarge an image from a smaller sensor
more. Sharp areas at small magnication become more blurred at
larger magnication, which reduces the effective depth-of-eld.

Bokeh and other aperture effects
IRENE ABDOU
DAVE BAXTER
The term bokeh derives from a Japanese word Above A wide lens
meaning blur. It is used to describe the quality aperture is perfect for
portraits, giving attractive
of those parts of the image that are out-of-focus. out-of-focus highlights in
Most photographs have areas of sharp focus the background. EOS 5D
to which the eye is naturally drawn, and areas Mark III, EF 70-200mm f2.8
of softer focus that often form a back-drop IS USM lens (8 blades) at
195mm, 1/200 second at
particularly in portraits.
f2.8, ISO 250.
A wide maximum aperture gives a brighter
viewnder image and shooting at a wide
Right Out-of-focus
aperture minimises the depth-of-eld and makes highlights can be used
accurate focusing essential. As the lens focus for artistic effect. In this
is adjusted, previously sharp points of light image, a set of fairy lights
quickly become circles of confusion at least was hung against a black
background far enough
they would if the iris were circular and the cones behind the subject to be
of light were perpendicular to the image plane. blurred. Each highlight
In practice, the shape of the iris is not a perfect has been rendered as a
circle since its made by a number of over- tiny octagon. EOS 6D, EF
50mm f1.4 lens (8 blades),
lapping blades.
2 seconds at f8, ISO 100.
Canon lenses have between ve and nine
curved iris blades. When the aperture is set to
fully open, the iris shape is very close to being
circular. This means that ares of the image that
are out-of-focus are formed by soft overlapping
circular patches of light that combine to form a
very smooth and pleasing effect. As the aperture
size is decreased, the shape becomes a polygon
Above Canon lenses are designed with 5, 6, 7, 8 or 9 aperture blades. As a general rule,
whose number of sides is determined by the the lenses with 8 or 9 blades provide the best bokeh as the wide-open aperture is closest
number of blades in the iris. to a circle. However, keep in mind that bokeh is a subjective characteristic.
Create a custom bokeh shape

If youve ever used a mirror lens (otherwise
known as a cat), youll know that they have
a xed aperture with a secondary mirror
that blocks the centre section of the lens.
This means that instead of creating circles
of confusion, they actually forms doughnuts
of confusion turning every out-of-focus
highlight into a tiny ring.
If youd like to experiment, you can make
your own custom aperture shape. Simply cut Above Mirror lenses Above These heart shapes were made using the same
produce doughnut-shaped fairy lighting set-up as above, but with a custom made
your desired shape into a piece of black card
out-of-focus highlights. cardboard heart-shaped aperture. EOS 6D, EF 70-200mm
and tape it to the front of your lens. The cut-out EOS 6D, 500mm f8 reex f4L IS USM lens (8 blades), 4 seconds at f8, ISO 100,
works best if its about 1cm across. lens, 4 seconds, ISO 100. black cardboard and Sellotape.

Colour fringing
When light enters the camera lens it is bent
DREW BUCKLEY
(or refracted) by an amount determined
by the angle at which the light enters the
lens, where it enters the lens, the optical
properties of the lens and the colour of the
light. If the light strikes the lens square-on in
the centre (that is, along the optical axis), it
will not be refracted at all but will continue
in a straight line. Further from the optical
axis, the light rays need to be refracted by a
greater angle to bring them to focus.
The lens is shaped to refract different rays
by different amounts in an attempt to focus
each one at the proper point, but it can only
work perfectly for one colour.
White light is made up from a spectrum
of colours, each of which gets refracted by
a slightly different amount. This means that
what should ideally be focused as a point of
white light is, in fact, a cluster of coloured
halos. If the error is small, these halos will be
tiny and the effect will not be noticeable.
If the lens doesnt manage to refract all
the colours by a similar amount, the image
will display fringes of false colour (known as
chromatic aberration).
Canon lenses comprise a number of
individual lenses grouped together and
designed to minimise optical distortions,
including chromatic aberration, but no lens
is perfect. Light entering from around the
edges of the lens is refracted more than
light entering near the centre so the effects
of differential refraction are at their worst
near the edges of the lens. By reducing the
aperture, were selecting only the rays that
dont exhibit such large errors in refraction.
Above The smooth, even tones of this out-of-focus background are characteristic of
lenses offering beautiful bokeh. EOS 5D Mark III, EF 300mm f2.8L IS USM lens (8 blades), Above Light rays that pass through the lens near its
1/800 second at f4 ISO 1600. edges will exhibit more chromatic aberration than
those that travel through the central area of the lens.
Reducing the lens aperture selects only those rays
that pass through the central portion of the lens and
so reduces the effects of chromatic aberration.
Right An illustration of the

range of sizes and shapes
formed by the iris on an EF
50mm f1.4 lens which has
eight aperture blades.
At the widest aperture, the
shape is a perfect circle,
which creates a pleasing
blur quality for out-of-
focus areas of the image.
As the aperture is reduced Above When this tree branch was photographed
in size it becomes more against the light at f1.4 (left), severe purple fringing
obviously polygonal (in was visible in the foreground with some green
this case, an octagon). This fringing visible in the background. When the lens
shape becomes visible in was stopped down to its smallest aperture of f22
out-of-focus highlights at (right), the chromatic aberration is no longer visible.
small apertures.

TECHNIQUE
Tonal tweaks
NINA BAILEY
Making sure you capture the most detail from Above Years ago we used to see a lot of complaints about
ll-in ash giving dark faces in backlit conditions. Auto
shadows to highlights is a basic function of Lighting Optimiser (ALO) has mostly solved the problem.
good exposure. Canon provides two menu The inset image is with ll-in ash and ALO disabled.
The main image is the ll-in ash and ALO enabled.
settings that affect the way your camera The increase in the brightness of the face is subtle, but
deals with the dynamic range of the images it signicant. If you have shot RAW images without ALO you
can simulate the effect on Digital Photo Professional (DPP)
sees Auto Lighting Optimiser and Highlight using the ALO tab in the Tool palette (not available for
JPEG images).
Tone Priority.
Although the Auto Lighting Optimiser (ALO) and the Highlight Tone
Priority (HTP) camera settings have been available for a considerable
time on EOS cameras, there is still some confusion over what they do.
How do they differ? Do you need to use them both? If these settings
produce better images why would you ever need to disable them? Are
Above An image of a grey card test strip to show the
they useful if you only shoot RAW? effects of applying the ALO at its strongest setting. The
lower row shows the percentage brightness in each
Tonal tools square without any ALO applied. The upper row shows
The purpose of the ALO and HTP settings is to help you create images the brightness percentage after applying the ALO at the
strong setting. Mid-tones and shadows are all brightened
that contain sufcient detail in the highlights and shadows. If there is not
while highlights are hardly affected.
a great deal of difference between the brightest and darkest area of your
image, or if its acceptable for some areas of your image to burn out or
reduce to black, you dont need either of these tools.
The challenge comes when your scene contains areas of interest in both
the shadow and highlight regions. In extreme cases it might be necessary
to bracket your exposures, but not every photographer is willing or able to
spend time at their computer blending high dynamic range (HDR) images. Right The strong ALO
setting is equivalent to
This is where the ALO and HTP tools can be useful. They are designed applying this tone curve
to help you get the most out of the tonal range in one shot without post- to the RAW data before
processing. making the JPEG image.

Auto Lighting Optimiser
Left ALO is a menu item on some EOS cameras and a

Custom Function on others (see table on page 39). These
screens from the EOS 700D show ALO as a menu item.
If ALO is set when exposure compensation is selected, in
manual mode, for example, the recorded image might be
too bright. Pressing the INFO button to put a tick in the
tick box next to Disable during man exposure will help to
avoid this.
The rst thing you need to know about Auto to pull too much information from the shadow
Lighting Optimiser is that it only applies to JPEG regions. An over-amplication of shadow detail
and movie les. If you shoot RAW, ALO can be will ultimately only serve to accentuate the noise
applied using Canons Digital Photo Professional in the image.
(DPP) software so it doesnt matter what its set
to in-camera. When to use it
The ALO function rst appeared when Generally speaking, if you only shoot in JPEG,
the EOS 450D was launched in March 2008. you will want the camera to make the best job
The evaluative metering system on this and of producing the JPEG image as it converts
subsequent cameras is designed to recognise the RAW data from the sensor. Under these
and accommodate many different lighting circumstances its a good idea to switch to
conditions to help ensure that even difcult ALO at full strength and only turn it off if noise
situations, such as back-lighting, can be properly becomes a problem. It is also helpful to turn it on
exposed. for video.
However, no system is perfect and in some If you shoot RAW, you can select ALO
situations the presence of bright highlights can strength in-camera and this will be applied
sometimes cause a slight underexposure. This to the image when opened in Digital Photo
can result in some loss of detail in shadow areas Professional (DPP), but can be adjusted, if
and make the whole image appear dull. Although required. If you attempt to process a RAW le
its possible to lighten shadows in post- from an earlier camera that doesnt support
processing on a JPEG image, there is limited ALO, (for example, an EOS 20D) this option will
scope for doing so because a JPEG image only be greyed out in DPP. If you cant apply the ALO
has 256 possible brightness levels. tool to your RAW le, the same effect can be
Any compensation for overly dark shadows achieved using a tone curve adjustment.
is best applied before the JPEG image is made ALO can be set to OFF, Low, Standard and
from the RAW data (which has far greater High settings (or Strong on some models). The
dynamic range) rather than afterwards. This is default on most cameras is Standard, but you
exactly what the Auto Lighting Optimiser in- can change this if you like, or disable the feature.
camera processing does. The examples shown here are all based on
the Strong setting since this best demonstrates
The effects of ALO the effect the Low and Standard settings are
When tested on a grey card, the effects of more subtle and are sometimes difcult to see.
applying ALO even at full strength were still In the Basic Zone shooting modes ALO is
rather subtle so you may nd yourself either automatically set to Standard and cannot be
switching it off altogether or setting it to strong. changed (the item disappears from the menu
It is equivalent to making a curves adjustment and Custom Functions are not available). ALO is
that boosts mid and shadow tones while leaving only available in creative zone shooting modes
the blacks and highlights unaltered. The effect (P, Tv, AV and M).
of ALO appears to have been limited to fairly If HTP is selected, the ALO option will be
conservative values to ensure against trying greyed out or will not respond to changes.
ROBERT SCOTT
Above and left If you

open a RAW le in Canons
Digital Photo Professional
software, the NR/ALO
tab in the tool palette
(above) can be selected.
Apply ALO by ticking the
checkbox and moving the
slider to Low, Standard or
Strong. The image far left
is with ALO disabled. The
image near left is with ALO
set to Strong.

TECHNIQUE Auto Lighting Optimiser and Highlight Tone Priority
Highlight Tone Priority

The launch of the EOS-1D in December 2001 introduced corrective action. If you forget to check the image after
a new highlight alert feature that has been included on taking the photograph you may accidentally clip some
every subsequent model. When you view the shooting highlights that, with a little exposure adjustment, could have
information display, overexposed areas of the image been recorded properly. To help minimise the probability
will blink on and off. Although this feature detects that this will happen, Canon introduced the Highlight Tone
clipped highlights, it relies on you to take the appropriate Priority (HTP) function in the EOS-1D Mk III in 2007.
Right Press the playback
button on the rear of the
camera and then press
the DISP. button a couple
of times. You will see a
screen similar to these.
Look closely and you will
notice that the sky is white
in one and black in the
other. There is also some
black in the foreground of
the second image. These
two images alternated on
the back of the camera,
indicating overexposure
a Highlight alert.
Unlike ALO, which is just tweaking the tone camera was correct). HTP does not increase
curve when making JPEG images, HTP is When you enable HTP, the camera will still the dynamic range of
your camera. Nor does it
designed to half the numerical values of the meter the scene at ISO 400 and still select the
underexpose the sensor.
RAW le and then apply a special curves same shutter speed and aperture as before. The aperture and shutter
adjustment. Since it affects the values of the Exactly the same signal will be recorded on speed will not change
RAW le itself, it also changes JPEG images. To the sensor. The difference is that this time the when HTP is enabled.
see whats going on, its important to understand amplier will be set one stop less sensitive (ISO It actually reduces all
the levels by one stop
what the ISO setting does. Its commonly taught 200 instead of ISO 400). This means that the in the RAW le and then
that the combination of shutter speed, aperture RAW le thats generated will have numerical re-distributes the tones
and ISO (often referred to as the exposure values that are one half of the corresponding for more detail and
triangle) determines the exposure. Although this values that would have been produced without smoother gradients in
the highlight regions. It is
is true for a lm camera, it isnt, strictly speaking, HTP enabled. If you could view the image at
not a substitute for HDR.
true of a digital camera. The total accumulation this stage, you would see it as being one stop HTP can increase noise
of light on the sensor (the exposure value or EV) underexposed and hopefully without any blown- in shadow areas shoot
is determined solely by the aperture and the out highlights. some test shots to see if
shutter speed the ISO part happens after the However, the camera marks the le as being this is an issue for you.
exposure has been made. taken using HTP and applies a tone curve that When you observe a
histogram on the back of
Instead of the ISO being analogous to lm brightens shadows and mid-tones, but which
your camera or in DPP,
sensitivity, its more accurate to think of it as a holds back the highlights. It is this modied Lightroom or Photoshop,
volume control on an amplier. A digital sensor adjustment that you see on the back of the remember that youre
has a xed sensitivity but we can apply different camera. Since the le is tagged as being taken looking at the histogram
degrees of amplication to the signal we read with HTP enabled, the same adjustment is of a JPEG nal image. You
are not viewing the RAW
from it. This translates simply as the ability to applied if you open the RAW le in Canons data. Thats why highlight
boost the brightness of the image we read from Digital Photo Professional. recovery is possible when
the sensor. Other RAW editing software, such the histogram appears
When HTP is turned on, the cameras as Lightroom, can read the HTP tag and to have lost information
on the right hand side.
metering system works out the exposure needed compensate to give a normal image, but you
Highlight recovery is all
based on the currently selected ISO value, but may still need to adjust the highlight recovery about how the tones are
when it reads the signal from the sensor it sets slider. If you intend to post-process the image nally read from the RAW
the amplier gain corresponding to the ISO in Lightroom there is little point in using HTP as le and distributed in the
setting one stop below it. It then tags the image post-processing will give you greater control. JPEG image.
in the metadata to indicate it was shot with HTP
enabled.
Right Once the image has been recorded
As an example, if you photographed a scene
on the sensor, the signal is amplied to
without HTP at ISO 400, the cameras metering achieve the correct brightness levels. The
system might suggest 1/400 second at f8. When amount of amplication is determined
the signal is read from the sensor, the amplier by the ISO setting. ISO 400 is twice the
(ISO) will be set to 400 and the resulting gain of ISO 200 and half the gain of ISO
800. An image metered at an ISO value
signal will be converted to brightness values of x will set the ISO amplier to x/2 when
corresponding to the full range of tones in the reading the data. This is why the lowest SENSOR AMPLIFIER (ISO)
original scene (assuming the metering in the ISO available when using HTP is 200.

Cameras with ALO and HTP
ALO HTP
EOS-1D Mark III C.Fn II-3
EOS-1D Mark IV C.Fn II-4 C.Fn II-3
EOS-1D X menu menu
EOS-1Ds Mark III C.Fn II-3
EOS 5D Mark II C.FN II-4 C.Fn II-3
EOS 5D Mark III menu menu
EOS 5DS / 5DS R menu menu
EOS 6D menu menu
EOS 7D menu C.Fn II-3
EOS 7D Mark II menu menu
EOS 40D C.Fn II-3
EOS 50D C.Fn II-4 C.Fn II-3
EOS 60D menu C.Fn II-3
EOS 70D menu menu
EOS 100D/Rebel SL1 menu C.Fn-3
EOS 450D/Rebel XSi C.Fn-6 C.Fn-5
EOS 500D/Rebel T1i C.Fn-7 C.Fn-6
EOS 550D/Rebel T2i menu C.Fn -6
Above HTP on some EOS camera is set as EOS 600D/Rebel T3i menu C.Fn-6
a Custom Function (these are screens from
EOS 650D/Rebel T4i menu C.Fn-3
the EOS 700D). Find the Custom Function
menu to enable HTP. EOS 700D/Rebel T5i menu C.Fn-3
When you select Highlight Tone EOS 750D/Rebel T6i menu C.Fn-3
Priority, the symbol D+ will appear in the EOS 760D/Rebel T6s menu C.Fn-3
viewnder. The D+ stands for Dynamic
EOS 1000D/Rebel XS C.Fn-5
range adjust. This is achieved by using a
lower ISO value to take the photograph EOS 1100D/Rebel T3 menu C.Fn-5
than that used to calculate the exposure. EOS 1200D/Rebel T5 menu C.Fn-6
On earlier cameras such as the EOS EOS M, M2 menu C.Fn-3
40D, Highlight Tone Priority was a Custom
EOS M3 menu
Function and, when selected, displayed
the zeroes in the ISO display in lower case Above HTP is a menu item on some EOS Above This table lists EOS cameras with ALO and/or HTP
(for example 2oo). cameras (these are screens from the EOS (cameras without either feature are not listed). menu
5D Mark III). Enable HTP to switch it on. indicates that the feature can be enabled/disabled on one
Here, pressing the INFO button warns you of the camera menu screens. C.Fn shows that the feature
that noise might increase in shadow areas. is controlled using a Custom Function.
DAVE BAXTER
Left Without HTP, the

highlights in this image are
beginning to lose detail.
EOS 70D, 1/400 second at
f8, ISO 400.
Right The histogram

shows a spike on the right
hand side, which indicates
that some highlights are
very close to clipping and
some details may have
been lost.
Left When HTP is enabled,

the highlights inside the
boat are brought back into
range and are no longer
blown out. EOS 70D, 1/400
second at f8, ISO 400.
Right This histogram

shows a re-distribution of
the brightest pixels. The
highlights are no longer
saturated and the shadows
and mid-tones have been
boosted to give a similar
tonal distribution to the
image above.

TWO MINUTE TECHNIQUE
Perfect portrait
Yes, you can take great portraits without complicated equipment! Try these
techniques to lift your portrait photography and produce eye-popping results.
Portraiture is a particularly challenging area of a lens focal length around 50mm. Shooting from
photography. Theres a lot to get right. Apart Cloudy days this unconventional viewpoint will automatically
from the camera settings and lighting, you need give you a clean, uncluttered background and
to think about the models location and pose. Overcast or cloudy your model will be in a relaxed pose.
days can produce more
If you have ever felt that taking pictures of
people is just too complicated, take a tip or two
attering portraits than
sunny days, which 2 Use a reector
from photographer Maja Topcagic, who uses have strong directional Use a silver reector to bounce light into your
some simple techniques to produce striking light. The downside is models eyes. Ideally you need an assistant to
that on dull days the
portraits. hold the reector in position. Shooting in the
eyes can lack sparkle
warm light of late afternoon (the golden hour)
1 Supine position this is where you need
a reector to put light or even on an overcast day, using a reector
Photograph your model lying at on the ground, back into the eyes. in this way will make your models eyes really
looking up and shoot down onto them. You need sparkle, adding that all-important catchlight.
Shooting from above By contrast
Maja Topcagic, who prefers to shoot with natural light, particularly enjoys
photographing blue-eyed red-headed models, capturing the contrast in colours.
I really love to shoot from above. I nd that perspective attractive. The model
looks thinner and the eyes are more interesting. Due to reections in the models
eyes I am careful about what I wear, but I worry more about the reections around
the model, from the green grass or a red wall, for example. When the sun shines
the reections are very unpleasant. I prefer diffuse lighting. Sometimes I know
what the weather will be, but sometimes I dont even bother to check the forecast.
Because I have worked in the rain, snow, wind and sun, both the models and I are
used to it. Whatever the weather, we can produce something good!
For more of Majas images, visit www.majatopcagic.com
Left Shooting from above with the

ALL PHOTOGRAPHS: MAJA TOPCAGIC
model lying on the grass. Maja spread

out the models hair, so that her blue
eyes and red hair become the prime
elements in the portrait. EOS 5D Mark II,
EF 50mm f1.4 USM lens, 1/250 second
at f4, ISO 160. Though not taken on the same
day, this image uses the same
Far left A closer portrait from the same
shoot. Using a reector enhances the camera and lens, the same
vibrant blue of the eyes. EOS 5D Mark II, model and similar overhead
EF 50mm f1.4 USM lens, 1/250 second shooting position. However, the
at f4, ISO 160.
lighting is very different. The
Below Majas set up. Despite light directional sunlight together
cloud cover, the sunlight was directional with no use of reector has
enough that it could be bounced produced a portrait with more
towards the models face using a silver shadows and contrast.
reector held by an assistant.
This image was taken
during the warm light of early
evening. I didnt use a reector
because I wanted to achieve
a more dramatic look, with
deeper shadows on one side
of her face. The time of the day
was perfect for that.
Above EOS 5D Mark II, EF 50mm f1.4

USM lens, 1/250 second at f4, ISO 100.

TECHNIQUE
Zoom or prime? Tim Dodd puts the EF 11-24mm f4L USM

through its paces and compares this L-series
zoom lens to its prime counterparts.
Additional images by Loc Lagarde.
EF 11-24mm f4L USM EF 14mm f2.8L II USM EF 24mm f1.4L II USM
As a professional photographer Ive been lucky
Quality comparison
enough to shoot with some of the best lenses
in the world. I recently took delivery of the EF
11-24mm f4L USM and naturally I wanted to
see what it was capable of, particularly when Comparing the new EF 11-24mm f4L USM with my current workhorse,
compared to two lenses already in my kit bag, the EF 24mm f1.4L II USM (below) and the EF 14mm f2.8L II USM (right).
the EF 14mm f2.8L II USM and EF 24mm f1.4L II Can the zoom lens hold up against Canons sharpest prime lenses?
USM lenses.
Immediately, I was stunned by the sheer EF 24mm f1.4L at f4 EF 11-24mm f4L at f4 and 24mm
size of the box. Theres no way a lens with a
maximum focal length of 24mm could possibly
require such an enormous box, surely? But this
lens is a beast. It dwarfs other L-series lenses of
similar focal length in both weight and overall
size. Weighing in at 1180g it is almost double
the weight of the EF 14mm f2.8L II USM, which
weighs 645g. In fact, it weighs nearly the same
as the two lenses I was hoping to replace in my
bag for travel photography, the EF 14mm f2.8L II Above left Taken with one of my favourite lenses, the EF 24mm f1.4L II USM.
USM and the EF 24mm f1.4L II USM. Above right Surprisingly, the EF 11-24mm f4L USM shows a little less barrel distortion
Despite this, it feels great. My EOS 5D Mark compared to the EF 24mm f1.4L II USM. Canon has tamed the zooms distortion well.
III feels well-balanced and the lens ts nicely
in my hands. Its slightly front-heavy, but thats Left and right The
probably due to that massive front element. exposures appear slightly
The zoom ring and focus ring are tight, which different (although they
I love. Knowing how the tightness wears out werent) the lighting could
have changed between
after a few years of good use, the tighter it is on shots as the clouds were
day one, the better. It leads to easy Live View moving quickly. The EF
focusing when youre on the move trying to 11-24mm f4L USM (right)
focus accurately. shows a little more
contrast although detail
Autofocus is fast as you would expect from
is on par. Considering the
an ultrasonic motor. Nothing extra spectacular, EF 11-24mm f4L USM is
but my rst impressions are that it seems to nail wide open at f4, this is
focus more accurately than the EF 14mm f2.8L, impressive.
which youll see in the following images.

LOIC LAGARDE
Above The main staircase inside the Palais Garnier opera house, Paris. EOS 5D Mark III, EF 11-24mm f4L USM lens (at 11mm), 10 seconds at f9, ISO 100.
EF 14mm f2.8L at f4 EF 11-24mm f4L at f4 at 11mm Size and structure
Above left Taken with my previous go-to ultra-wide lens, the EF 14mm f2.8L USM.
Above right With the EF 11-24mm f4L USM this looks like a large patio area, but in
reality it is not at all. There is a little extra lens vignetting compared to the 14mm lens.
Left and right A crop of

the top left corner. The EF Above The EF 14mm f2.8L II USM used to seem
14mm f2.8L (left) appears huge on the EOS 5D Mark III, but it now looks
to out-resolve the EF 11- comically small (left). The EF 11-24mm f4L USM feels
24mm f4L USM (right) in proportional on the EOS 5D Mark III, but it looks
the corners, but this could downright silly on the EOS M (right).
be due to my manual focus
abilities using Live View.
The EF 14mm f2.8L USM
seems sharper, but the EF
11-24mm f4L USM displays
less pink fringing.
Left and right Both

lenses are excellent in the
centre. The EF 11-24mm
f4L USM (right) does a
great job of controlling
fringing and chromatic
aberration. In the railings
against the white sky
Above The rear element of the EF 11-24mm f4L USM
you cannot detect any
lens supports drop-in gel lters. This is due to the
additional colour at the
large and unusual shape of the front element.
edges.

The perfect travel companion
My images show that the EF 11-24mm f4L USM fares very well against two of Canons best wide-
angle primes, the EF 24mm f1.4L II USM and the EF 14mm f2.8L II USM. This is important when I
consider packing a bag for two weeks of travel photography in Europe. My biggest fear would be
compromising image quality for an all-in-one solution. When Im shooting travel photos, the aperture
is less relevant than in portrait or event photography. I often use a tripod, so a long shutter speed at
the widest aperture of f4 doesnt faze me. The extra focal length is worth the drop in aperture.
Right Notice the EF 11- Right Eiffel Tower and

24mm f4L USM is so wide reection at night, Paris.
that it has included the EOS 5D Mark III, EF 11-
edge of the building Im 24mm f4L USM lens (at
standing next to. I did not 11mm), 13 seconds at f9,
expect to see that building ISO 100.
in my shot! The lens is so
wide that it can be difcult
to avoid getting undesired
subjects, such as people,
in your shot. Due to the
cloud movement, we need
to ignore exposure, but the
EF 11-24mm f4L USM at f4
has signicant vignetting
at 11mm.
Luckily, vignetting F-stops
is easy to x and
sometimes even a little Reducing your
desirable. Once Canon has cameras aperture
a lens prole for this lens, from f1.4 to f2 lets in
it will be able to x the EF 11-24mm f4L at f4 and 11mm half as much light.
inherent vignette, so you Going from f2 to f2.8
dont even have to worry again lets through half
about dealing with it in as much light, and
post-production. again going from f2.8
All three images were to f4. So I wont be
shot using autofocus on replacing my EF 24mm
the same point (just above f1.4L II USM lens with
the centre). This is to the EF 11-24mm f4L
illustrate how accurate the USM any time soon.
autofocus is straight out of But a focal length of
the box. In my experience, 11mm is amazing and,
it appears that the EF 11- because of that, the
24mm f4L USM hits focus EF 11-24mm f4L lens
more accurately than the will have a place in my
EF 14mm f2.8L II USM. camera bag.
Lens proles My kit bag

EF 11-24mm f4L at f4 and 14mm
Modern lenses are Ill be using this
capable of exceptional lens primarily for
optical performance, architectural and
but theyre not perfect. property shoots. It
If we use a certain will also be a travel
lens to photograph companion, although
a test chart, we can I tend not to use wide-
measure the degree of angle lenses for my
distortion, chromatic landscape shots. It
aberration and wont replace my EF
vignetting it exhibits. 24mm f1.4L II USM for
Using this information weddings and events
we can produce a because I need the
mathematical model extra brightness of
of the lens that can be this prime lens. There
used to compensate are already too many
for its imperfections. times that Im hand-
This is called a lens holding at 1/50 second
prole, and when at f1.4, ISO 3200, and
applied in post- I have no room for
processing software, a slower f-stop let
it can greatly improve alone with a lens that
the nal image. lets in 8x less light.
EF 14mm f2.8L at f4

LOIC LAGARDE
Use an ultra wide-angle lens with care
This table is
perfectly square,
but photographing
it at an angle makes
it appear to be a
strange polygon.
To avoid unwanted
distortion, be careful
when lining up your
shots and keep lines
square with each
other. Shooting
with an ultra wide-
angle lens can be
challenging.
The set-up for the image right EF 11-24mm f4L at f5.6 and 11mm

LOIC LAGARDE
Size matters
MARK PINK
Photographing interiors
I shoot a fair amount of property images for
estate agents. Every estate agent and their
clients want the inside of the houses to look
as large as possible. Look how big this room
appears when we go from 14mm (top) to
11mm (bottom). It doesnt look much wider,
but it appears much longer. The EF 11-24mm
f4L USM lens is the ultimate for indoor spaces.
Top The Arc de Triomphe

at dawn, Paris. EOS 5D
Mark III, EF 11-24mm f4L
Summary
USM lens (at 11mm), 5
EF 14mm f2.8L at f5.6
Despite the fact that the EF 11-24mm f4L USM
seconds at f9, ISO 100.
lens is not as fast, Canon has produced a lens
Above The new ultra that is as sharp or sharper than its prime
wide-angle lens shows counterparts. It has chromatic aberration
what it can do in tight and distortion well under control. Vignetting
spaces. With the camera
placed on the oor
is probably its biggest fault, but thats the
pointing upwards, this easiest thing to x in post-production so it is
photograph was taken not a problem.
inside an iconic red Its a big, heavy lens that some might nd
telephone box, which
intimidating. Its very front-heavy so heavy
measures approximately
251 x 91 x 91cm. EOS-1Ds in fact it has already fallen out of my shoulder
Mark III, EF 11-24mm f4L bag! Luckily the replacement lens cap is not
USM lens (at 12mm), 1/13 expensive (but currently unavailable!).
EF 11-24mm f4L at f5.6
EOS magazine at 11mm
July-September 2015 | 46 second at f10, ISO 400.

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Flash Centre
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TECHNIQUE
BRIAN WORLEY
Flash tips
and tricks
How much do you
really know about flash
photography with EOS
cameras and Canon
Speedlites? Check
your understanding of
the system with this
compilation of tips, tricks
and techniques compiled by
Brian Worley.
Right Bounced high-speed sync ash provides gentle

ll-in lighting (see page 53). EOS 5D Mark III, EF 85mm
f1.8 USM lens, 1/650 second at f2, ISO 400.
1 Off-camera cord OC-E3 2 Use several Speedlites in bright

Canon has a short light to improve E-TTL consistency
off-camera ash cable E-TTL automatic ash uses a pre-ash to
that connects between determine the power level needed to correctly
the camera hot shoe illuminate the subject. The pre-ash is at
and the ash. The 1/32 of the power of the Speedlite. In bright
cable is coiled and conditions outdoors the pre-ash may be too
can be stretched out dim to effectively allow the camera to determine
to a maximum of 60cm. The Off-camera cord the correct exposure. In such situations using
OC-E3 (above) retains complete communication multiple Speedlites in the same group will
between the camera and the Speedlite as if the increase the brightness of the pre-ash and this
ash unit were mounted on the camera hot shoe. often results in more consistent and accurate
The OC-E3 is also included in the Speedlite automatic ash exposures in bright light.
Bracket E2 kit (below) to allow a Speedlite to be
securely mounted away from the camera hot
shoe. The Speedlite bracket has an additional
screw that ts in to a mounting point on the side 3 Flash power of Speedlites and built-in ash
of the Speedlite 430EX, 430EX II, 580EX, 580EX The model number of a Speedlite describes the power output
II and 600EX-RT. measurement known as the guide number. For example, the Speedlite
320EX has a maximum guide number of 32 metres at ISO 100 and the
Speedlite 600EX-RT has a maximum guide number of 60 metres at ISO
100. The guide number will reduce as the ash head is zoomed to a wide-
angle setting.
Using the guide number you can calculate the necessary aperture for
a specic subject distance simply by dividing the guide number by the
distance. For example, if the subject is 10 metres away then f6 can be used
with the Speedlite 600EX-RT, while f3.2 would be needed for the same
exposure with the Speedlite 320EX.
Fortunately, you rarely need to make these calculations. In most
situations the camera will control the duration of the ash emitted by the
Speedlite to give correct exposure.
The guide number of the built-in ash on most EOS cameras ranges
from 9 to 13 (metres, ISO 100). You can increase the ISO value to extend
the effective range of your ash.

Master ash, battery pack, Speedlite transmitter
4 Individual slave, optical/radio 5 Improving the ash
When using optical wireless ash to trigger recycle time with an
slave units it is possible to put a slave ash in external battery pack
individual slave mode and set the power level The top of the range Speedlite
of the Speedlite in manual mode directly on the models have an external battery
slave. The slave is no longer part of a group, so pack connector that accepts the
on the older Speedlites the group letter is not Compact Battery Pack CP-E4.
shown. On the Speedlite 600EX-RT the display The Speedlites with an external
shows Individual Slave. In this mode the slave battery pack connection include the
will simply re in sync with other Speedlites at Speedlite 550EX, 580EX, 580EX
the power level set on the ashgun. This can II, 600EX, 600EX-RT, Macro Ring
be helpful to allow a mix of manual ash for a Lite MR-14EX, MR-14EX II and the
background light and E-TTL automatic controlled Macro Twin Lite MT-24EX.
groups. This function is not available with the The CP-E4 holds eight AA
radio controlled Speedlite 600EX-RT, but it is batteries to deliver signicantly faster recycle times. A Custom Function
not required so much since up to ve groups of of each of the Speedlites (below) determines how the additional power is
slaves can be controlled using group mode. used. The default setting is for the combination of the eight AA batteries in
the CP-E4 and the four AA batteries in the Speedlite to charge the ash for
the fastest possible recycle times. Setting the Custom Function (C.Fn) to 1
causes the Speedlite to charge only from the eight AA batteries in the
6 Using the CP-E4, and use the four AA batteries in the Speedlite to run the electronics
Macro Ring Lite and display on the Speedlite. Although this slows the recharge rate slightly,
and Macro Twin it means that when the CP-E4 batteries are at they can be changed out
Lite as a master and the Speedlite still has a set of fresh batteries inside if a picture needs to
ash be taken.
The MR-14EX, MR- V.jjajyo 9r

14EX II and MT24-EX V.jjajyo 9^ 9-0r

Macro Ring Lites V -| 9 0| 9r

can be congured V -| 9r

as optical masters
to control other
Speedlites. Since A
and B groups are normally used for the left and 7 Flash wont zoom
right side ashguns, then by default only group Several Speedlites have a panel that is pulled
C is controlled using optical wireless mode. A out to increase the wide-angle coverage. It is
Custom Function of the Speedlite changes this important that this panel is pushed back fully
so that ashguns in Group A, B and C can be into the retracted position or the ash will not
controlled just like other master ashes. For the automatically zoom to match the lens focal
MR-14EX and MT-24EX it is Custom Function length, nor will it be possible to manually change
C.Fn 5, MR-14EX II it is Custom Function C.Fn 15. the zoom setting of the ash.
8 Use Speedlite Transmitter ST-E2 for AF assist in dark environments

JOHN PYLE
The Speedlite Transmitter ST-E2 not only

controls two groups of Speedlites with
ratio control, but also includes a powerful
AF illuminator to help autofocus in dark
conditions. Some theatre and concert
photographers use the ST-E2 on its own to
improve the ability of their cameras to focus in
the dark. Since the
ST-E2 has no ash,
it can be used in
environments where
ash is prohibited.
Right Randy Owen

performs live at the
Chumash Casino in Santa
Ynez, CA.

TECHNIQUE Flash tips and tricks
Modelling light, camera and computer control
BRIAN WORLEY
9 Modelling light
Some models of
Speedlite include
a modelling light
function. This is
where the Speedlite
res a series of
low-power pulses
for a few seconds
and allows a
photographer to see
where the light will
fall. It can be used
with on-camera and
off-camera ash. Pressing the depth-of-
eld button next to the lens mount (above)
activates the modelling light feature.
In the case of the image to the left, a
single Speedlite was positioned as high as
the light stand would allow. The Speedlite
was zoomed to 200mm to give a small
spot of intense light on the oor and a tight
honeycomb grid gave a fast fall-off of light.
Using the modelling light, it was possible
to see where the spot of light would be
and so could the model.
Note that the modelling light function
does not work with built-in ash you
need a Speedlite master ash in the
camera hot-shoe or attached with an
Off-camera shoe cord.
10 Change your ash settings from a camera or computer

With the introduction of the EOS-1D Mark III and the Speedlite 580EX II,
EOS cameras added the ability for the camera and ash to share much
more data. In practice this means that you can set the functions of the
ash, exposure mode, wireless settings and Custom Functions all from
the camera LCD menu. It is certainly a simpler way to nd out what a ash
Custom Function does.
The Speedlite 270EX II (right) and the Speedlite 90EX lack any controls
apart from a power switch so they are controlled exclusively using the
camera menus.
This capability is compatible with camera models launched since the
spring of 2007, including the EOS-1D Mark III, 40D, 450D, EOS 5D Mark II
and later cameras.
The following Speedlites support the extended data communication to
interact with the camera menu: Speedlite 90EX, 270EX II, 320EX, 430EX II,
580EX II, 600EX-RT, Speedlite Transmitter ST-E3-RT and Macro Ring Lite
MR-14EX II.
To access all the extended features of the radio ash system requires
a camera launched in 2012 or later. EOS 7D Mark II and 750D/760D have
shortcut buttons that allow quick access to the ash settings menus. Press
the ash release button on the EOS 7D Mark II or use a Custom Function to
congure the SET button on the EOS 750D/760D.
Combined with this ability to change settings from the camera menu is
the option to change the settings of a ash when the camera is connected
to a computer running EOS Utility.

Built-in master ash, ash white balance
11 Remote control from the radio 12 EOS
ash test, modelling and shutter cameras with a
release built-in master
The Speedlite 600EX-RT and Speedlite ash
Transmitter ST-E3-RT make use of the two-way The EOS 7D was the
radio communications to provide functions on rst Canon DSLR
the slave units that can control the camera. From camera to add the
a radio slave it is possible to test re all the slave ability to use the
units, trigger the modelling ash or release the built-in ash to control
shutter of the camera connected to the master off-camera slave units
device. To trigger the shutter of the camera the optically. Since then
camera needs to be a 2012 or later model or be the EOS 600D, 650D,
using the Speedlite Release Cable SR-N3, which 700D, 750D, 760D,
connects between the Speedlite 600EX-RT or 60D and 70D also
ST-E3-RT and the N3 remote release connection include the capability
on the camera. to optically trigger up
to two groups of off-
camera Speedlites.
The EOS 7D and
13 Optical master ash always res, EOS 7D Mark II can
even when set as non-ring master control up to three
When using a Speedlite 550EX, 580EX, 580EX II groups of Speedlites.
or 600EX-RT as an optical master ash the ash Full control in E-TTL
can be set as a non-ring master. This means or manual mode
it will only send commands to the slave ashes is available and
prior to the actual exposure, but not emit light the settings are
during the exposure. The time gap between the congured via the
command pulses and the main exposure is very camera LCD screen.
short causing people to think that the master Easy Wireless mode is found on the EOS 600D, 650D, 700D, 750D and
ash is contributing the exposure when in fact it 760D to simplify the control of one or more off-camera ashguns working
is not. together automatically in E-TTL as one powerful ash.
14 White balance and ash used and modies the colour temperature information being
The camera white balance system receives information communicated to the camera.
from the Speedlite about the exact colour temperature of
the ash. Depending on the power output, the colour of the Below left and right The rst shot (left) is taken with a Speedlite close
ash changes slightly and the Speedlite sends the colour to the model and lighting her face. The ash illumination is falling off as it
temperature information to the camera for the white balance travels further back in to the scene and the ambient exposure of the room
and window is underexposed, making the models face look brighter.
system to further improve the colour consistency. The For the second shot (right) an orange lter was placed in front of the
Speedlite white balance information is used when the camera Speedlite to make the ash shift colour from daylight balanced to tungsten
is set to automatic white balance or ash white balance and balanced. The camera was then set to tungsten white balance. This means
ignored for other white balance settings. that the model, illuminated by the ash, is recorded with the correct
colours. Behind the model, however, the ambient daylight with tungsten
Speedlite 600EX-RT includes a pair of coloured orange
white balance records with a blue cast. EOS 5D Mark III, EF 70-200mm f4L
gels to shift the colour of the ash towards tungsten light. IS USM lens (at 89mm), 1/200 second at f7, ISO 400 (right image similar,
It also has a sensor that detects which of the two lters is but at 1/160 second).
BRIAN WORLEY

TECHNIQUE Flash tips and tricks
Fill-in ash, ash exposure compensation

15 Disable auto sleep with pocket 16 Infrared shutter release
wizards or slave cells Speedlite 320EX and 270EX II have a built-in infrared remote feature similar
If you want to re Speedlites in manual mode to the RC remote releases. The Speedlite can release the shutter on the
using a simple trigger then it is advised to camera with a 2-second delay, allowing the ashgun to trigger the camera
disable the auto power off function. Simple then be moved to a position where it can be triggered by a master ash or
triggers include an optical slave cell tted to the built-in Speedlite master on the camera, making it ideal for self-portraits.
the Speedlites hot shoe or a ash trigger like
the Pocket Wizard Plus III connected to the
Speedlites PC port. These triggers are not 17 How many masters and slaves can be in use?
able to wake the ashguns up to re, so it is The optical wireless system allows an unlimited number of master and
necessary to disable the auto power off function slave ashguns. There is a practical limit, as each slave needs to be able to
by changing a Custom Function on the Speedlite. see the control signals from the master to operate.
The radio wireless system can only include 16 devices. This can be a
single master and fteen slaves or any combination of slaves and masters
as long as the number of devices is 16 or less.
18 Point the optical sensor towards the master ash

When using optical wireless mode to trigger slave ashes it helps the
reliability of triggering if the sensor on the slave ashes is positioned so
that it faces the master ash. Typically the receiving sensor on a ash is on
the front of the ash and pointed in the same direction as the ash tube. If
the ash head can be swivelled to allow the receiver to point towards the
camera increased reliability and range can be realised.
19 Fill-in ash 20 Flash exposure compensation

Fill-in ash is the process of adding light to the shadows of a subject in Canon cameras and Speedlies separate ambient
daylight. EOS cameras are designed to maintain a neutral balance of the exposure compensation and ash exposure
ash and ambient light. Set your camera to program (P) shooting mode for compensation to make it
good ll-in ash results with a Speedlite or built-in ash. simple to automatically
adjust the brightness of
BILLY STOCK
without ll-in ash Left and below Fill-in

ash is invaluable when either ambient or ash
photographing people in your pictures. Flash
outdoors, especially exposure compensation
when the subject has their can be set on the camera
back to the sun. The ash
adds light to ll-in the
or the Speedlite. If it
shadow details on the face. is set directly on the
Simply set the camera to Speedlite then it will
program (P) mode and override the setting
shoot with built-in ash or
on the camera body.
a Speedlite. The camera
will automatically balance When using off-camera
the ash and daylight ash controlled either
exposures. optically or with radio you can set exposure
compensation on each slave ash. This can
with ll-in ash allow you to create a specic offset in the power
output between one ash and another in the
same group.
When using radio controlled off-camera ash
and the group mode, each group can have its
own ash exposure compensation in addition to
an overall exposure compensation.

52 |53
High-speed synchronisation, distance information
BRIAN WORLEY
21 High-speed sync (HSS)
High-speed sync allows photographs to be taken
using a shutter speed faster than the normal
camera sync speed. High-speed sync works
by pulsing the ash tube with power so that it
emits light all the time that the shutter curtains
are traversing the image sensor. As the shutter
speed increases the effective power of the ash
falls. A Speedlite can be set for high-speed sync
operation, but if the shutter speed chosen is less
than the cameras sync speed it is not used.
22 Disabled high speed sync

C.Fn / ash setting with Av
There is a camera setting that changes how
the camera works with a Speedlite in aperture-
priority exposure (Av) mode and only for
Av mode. Older cameras have two options: a
default and to manually limit the shutter speed
to the sync speed of the camera. More recent
Above High-speed sync
BRIAN WORLEY
cameras added an option to let the shutter speed gives a low power ash
range from 1/60 second to the sync speed of the at fast shutter speeds,
camera. providing a subtle effect.
The default setting ensures that when a EOS 5D Mark III, EF 50mm
f1.2L USM lens, 1/1250
Speedlite is used the shutter speed can be second at f1.2, ISO 800.
anything that the camera determines will give a
correct ambient exposure. So from 30 seconds Right High-speed ash
in dark places, up to the sync speed and if is useful in daylight when
you need a fast shutter
the Speedlite has high speed sync then the
speed to freeze action.
shutter speed can go up to the fastest speed the EOS 5D Mark III, EF 70-
camera offers. If either of the other two options 200mm f2.8L IS II USM
is chosen then the camera will be limited to its lens at 102mm, 1/1000
sync speed or 1/60 second to the sync speed and second at f4, ISO 400.
it is not possible to use high-speed sync ash.
23 Flash and lens distance information 24 Thyristor mode EXT Auto and
When E-TTL II ash metering was introduced with the EOS-1D Mark II EXT Manual
in 2005 it used subject distance information to help stabilise the ash Speedlite 580EX II introduced an old-style
metering calculation. By considering the distance to the subject, the ash thyristor ash capability under the name
calculation becomes more consistent. External metered ash. The same function
Over the years since E-TTL II was introduced different camera models is also included on the Speedlite 600EX and
have placed more emphasis on the distance information when calculating 600EX-RT.
the required automatic ash power. External metered ash mode uses a sensor
All the current EF lenses introduced since 2005 and many older lenses on the front of the Speedlite body to measure
with USM focus motors provide distance information. the light reected from the subject and the
When using off-camera ash or bounce ash the distance information is Speedlite will switch off the light when the
completely ignored since the path of the ash light cannot be relied upon subject has been correctly lit. The sensor on the
to be the same distance to the subject as the camera. Speedlite has a narrow angle-of-view, equivalent
to a 135mm lens on a full-frame camera.
External metered auto (EXT. A) mode receives
25 When will automatic ash be less reliable? the current ISO and aperture settings from the
Bright ambient light levels make it harder for the camera to evaluate the camera to enable it to determine the correct
result of the pre-ash and can lead to variable ash exposures. exposure. External metered manual (EXT. M)
Subjects that are small in the frame pose particular problems. Most mode requires the ISO and aperture settings to
cameras use a 63-segment ash-metering pattern, so if the subject be entered on the Speedlite itself.
illuminated by the ash is smaller than 1/63 of the frame it is difcult to External metered auto can be used with a
evaluate the exposure. Speedlite on the camera, or in the case of the
The EOS-1D X, 7D Mark II, 5DS and 5DS R have much more advanced radio ash system it can be used in Group mode.
ash metering sensors that make them better able to evaluate the ash External metered manual is sometimes helpful
exposure for a scene, even where the subject lit by the ash is relatively for light painting where the Speedlite is held in
small in the frame. your hand.

HOW WAS IT SHOT?
All in one shot

JON GRAY CAPTURES MULTIPLE DANCE MOVES IN ONE EXPOSURE
These images were shot at one of Jon Grays
JON GRAY
lighting workshops, and feature ballet dancer
Katy Cee. The aim of the workshop was to
show how to use creative lighting and camera
techniques to produce a multi-image dance shot
in a single exposure.
The studio set had black velvet curtains as a
background, with black Lastolite vinyl as a oor
covering. Bowens studio ash units with 12 x
30cm softbox attachments were positioned
to the left and right. Two Lastolite ash heads
on ground stands towards the rear of the
set provided light on the dancers legs. Grid
attachments on the these ash heads prevented
the light from spilling over onto the black
background.
Jon rehearsed the dance movements from
beginning to end with Katy. With the camera
on a tripod and the lens set to manual focus,
he focused on Katy and checked that she was
within the image frame. Black tape was stuck
to the oor to provide distance and framing
PAUL LOCKWOOD
guidance. A Sekonic ash meter was used to
check the lens aperture required.
Preparation complete
With everything in place and Katy in her
starting position, the ash modelling lights were
switched off, putting the studio into complete
darkness.
The camera, set to bulb mode, was red using
a remote switch with lock. This activated the
shutter and held it open. In the darkness, no light
reached the sensor.
The ash units were red using a Pocket
Wizard transmitter. The receiver was attached to
one of the ash units and the others were tted
with slave cells so that they all red together.
After this exposure, with the camera shutter
still open, the dancer moved to her second
position and the ash units were red again. This
procedure was repeated several times before the Top All done in-camera,
remote switch was released to allow the shutter without Photoshop, this Further information
multiple exposure image is
to close. The result was multiple images of the
shot on one frame. EOS 5D
dancer in a single frame. Mark II, EF 24-105mm f4L Jon Gray has over 25 years of experience working
And what of the light trails? If you look closely, IS USM lens, 13 seconds at mostly in the fashion and advertising industry for clients
you will see that the dancer is holding a small f11, ISO 100. including Gucci, Ferrari, and Getty Images. He believes
in getting it right in the camera and not always relying
LED torch in her right hand. She switched this on
Above The set up showing on Photoshop to save you!
as the camera shutter opened. The interrupted the large expanse of black Jon enjoys teaching fellow photographers and
trails are the result of the torch being pointed background material and photographic students. He has published two books on
away from the camera as her hand moves from two Bowens studio ash fashion, beauty and glamour photography and produced
one position to another. units with softboxes. two DVDs about fashion and beauty lighting techniques.
For more of Jons images visit
And the blue light? This was created by a blue www.jongrayphotographer.co.uk. For further
Right EOS 5D Mark II, EF
lter placed over one of the ash softboxes. The 24-105mm f4L IS USM information about Jons lighting workshops and photo
effect became more pronounced as the dancer lens, 13 seconds at f11, training visit www.jongrayphototraining.co.uk
moved forward into the light. ISO 100.

JON GRAY

TECHNIQUE
Take a tablet How do you move images from your

camera to a tablet? Can you use
a tablet to back-up your images?
Do you need to use a computer to
transfer images? We look at some of
the issues you might face when using
a tablet with stills and video.
tablet using a special cable.

The method you choose will be determined
by the camera, tablet, computer and software
you have available.
Using Wi-Fi
The Wi-Fi option is particularly convenient if you
are using an EOS 70D, 6D, 750D or 760D as these
cameras have built-in Wi-Fi capability. Canon has
produced software to make a Wi-Fi connection
directly from one of these cameras to a mobile
phone or tablet. This free software is called EOS
Many of our photographs are only ever viewed Remote.
on a computer screen or the back of a camera. The main purpose of this app is to allow you
Sometimes an exceptional image will make its to control your camera remotely and see the
way to paper, but in general they remain in the Live View screen, but it also has the ability to
digital domain. Showing your latest creations remotely view images stored on the cameras
to others used to require a physical photo media card and to transfer selected images to
album, but now mobile phones and tablets the tablet. The main limitation as far as image
provide a much more convenient platform to transfers are concerned is that the app will only
A tablet is a mobile display our images, especially if they happen to allow you to transfer JPEG images. Furthermore,
computer one you can be videos. A tablet computer can also serve as the images copied to the tablet will be S2 JPEG
carry around with ease a back-up for a selection of images, but actually a lower resolution of 1920 x 1280 pixels. This is
and which connects to the getting them from your camera to the tablet done to minimise le transfer time and to better
internet via Wi-Fi, rather
than by cables.
can be a bit confusing, so weve examined the match the resolution of the tablet.
Apple had been process of moving stills and video onto an EOS Remote can be installed on your tablet
experimenting with the Android tablet or iPad. by visiting the Google Play store (Android) or the
concept for many years iTunes store (Apple).
its rst commercial
Transferring your images If you dont have a camera with built-in Wi-Fi,
version was the Newton
MessagePad 100, The process of getting the images from your you can still transfer images using CamRanger
introduced in 1993. Data camera to your main computer will be very (below). This device attaches to just about any
was input by writing on the familiar to most people who have a digital EOS camera and works in conjunction with its
screen with a scribing pen. camera. Just connect the camera to a USB associated app to provide extensive remote
This was converted, not
always successfully, into
port on the main computer using the cable camera control and the ability to transfer both
computer text. that came with the camera. If youve installed JPEG and RAW les at full resolution to your
The project was any photo software, for example EOS Utility, chosen tablet. Full details for using EOS Remote
dropped in 1998 and it Image Browser EX or Adobes Lightroom, your and CamRanger are available in EOS magazine
was not until 2007 that
computer will recognise the connected camera October-December 2013, pages 60-65.
the next mobile device
arrived. This was the and copy the image les to its hard drive (or any
highly-successful iPhone. other destination youve congured). Thats all
Three years later, in April well and good, but how do you get those images
2010, the rst iPad was onto your tablet?
introduced and this quickly
led other manufacturers
to introduce their versions Specic examples
under the generic name of There are three main ways to get images from
tablet computers. These your camera onto your tablet:
devices generally use
1 Use a Wi-Fi link to move the images directly
the worlds most popular
mobile operating system, from the camera to the tablet.
Above The CamRanger provides remote control and full
Android, and can be 2 Copy them to your main computer rst and
resolution image transfer in JPEG or RAW formats from
purchased for under 100, then connect your tablet to the main computer a wide range of EOS cameras to a tablet using its own
making them an attractive and transfer them. Wi-Fi transceiver. CamRanger is available from the EOS
alternative to the iPad.
3 Copy the les directly from the camera to your magazine shop for 269.99.

Copying images from your main computer to a tablet
If you already have images on your main If youre away from home and want to be able to
computer that you want to copy to your tablet back-up your RAW image les and view images
and you dont have any Wi-Fi capability, a direct What format for on a tablet computer, what are your options?
connection is required between devices. images? If youre prepared to carry a laptop computer
To start the process, connect your tablet What you see regarding around with you (or a smaller palm-top
to your main computer using the USB cable the images you copy to computer), you can use it as the hub to move
your tablet will depend
supplied with the tablet. on the app you have
les between your camera and an external hard
installed on your tablet drive. This is really no different to a typical
Mac to iPad for viewing images. home set-up. You can upload images from the
If youre using a Mac computer and iPad tablet, Regardless of whether camera to the laptop computer using drag-and-
youre using an iPad or
you will be able to copy the les across via drop, EOS Utility, Lightroom or other software
Android tablet, its not
the iTunes application by simply dragging and possible to say that every of your choice. Once youve copied the image
dropping. image le you transfer les to your laptop you can then back them up to
will be visible. Most photo an external hard-drive. However, if you want to
Windows PC to iPad viewing applications can travel light, then carrying a laptop computer may
make sense of RAW les
If youre using a Windows PC, you will need the provided that they have
not be very practical. If this is the case, then you
iTunes software to communicate with an iPad. been updated, but its should consider the Direct to tablet option.
Again, just open iTunes and drag and drop the likely that RAW les from
les. some of Canons most Direct to tablet
recent cameras may not be
When you use your main computer or laptop to
viewable on your particular
Windows PC to Android tablet photo viewing application. move les around between other devices, such
If you connect a Windows PC to an Android However, there is little as cameras, card readers, external hard drives
tablet, the PC will recognise your tablet as point in using RAW les or memory sticks, the computer is automatically
external USB storage and it will appear like any just to allow you to show considered the master device and it controls
your photos to other
other connected drive. Simply drag the JPEG people using your tablet
the peripheral slave devices attached to it.
les you want to see on your tablet across to the because RAW les take up If you try to connect a camera directly to a
Pictures folder on your tablet. much more space than the tablet, both devices are considered slaves
equivalent resolution JPEG and so neither of them initiate any action. To
le. For simple viewing on
Mac to Android tablet circumvent this impasse, the tablet has to be
a tablet, its best to copy
If youre using a Mac computer and you want to JPEG images as these will made to behave as the master device.
transfer some JPEG images to an Android tablet, always be visible on any On an Android phone or tablet, this is done
things are not quite as simple because your photo gallery software. by using a cheap and simple adapter known as a
connected Android tablet will not just appear USB OTG (Universal Serial Bus On The Go) cable
as a simple external drive. For this particular (pictured below). These cables cost around 2.
situation, you will need to visit the iTunes store
and download the free Android File Transfer
Right A USB OTG adapter
software to your Mac computer. When you run
will enable you to connect
this application with your tablet connected, your camera, ash drive,
youll see a display of the le structure on the external hard drive or a
tablet similar to that shown below. card reader to your tablet. Micro USB
(Master)
Standard USB socket
Left The Android File
(Slave)
Transfer software needs to
be installed on a Mac if you Nexus Media Importer
want to be able to move
You might think that the Android OS would
or copy images between
a Mac and an Android support moving a le from a camera to the
tablet. When you run the tablet automatically, but this is not the case. To
software it will display a move les from your camera or card reader to
nder window showing an Android tablet, you rst need to download
the folders on the attached
tablet. You can then simply
the Nexus Media Importer from the Google Play
drag and drop the les you Store. This is not a free app, but it wont break
want to move or copy. the bank at around 2.
Once youve installed the app, connect the
USB OTG cable to the tablet and plug your
camera or card reader into the USB socket
(slave) end using the same cable you would
normally use to connect directly to your main
computer. The media importer app will detect
that youve connected a USB device, then all you
You can then open a Finder window and need to do is select the All photos button and
drag the JPG images onto one of the folders the tablet will display the contents of the media
displayed in the Android window. The photo card. You can then opt to just view an image
Above install the Nexus
viewing application you use with Android should Media Importer onto your or select it for downloading and storage on the
then be able to display the images. Android tablet for 1.99. tablet itself.

TECHNIQUE Using a tablet computer
iPad connectors Import space considerations

Apple iPads dont need any extra software to
import les all you need are some connectors.
With the Apple iPad Camera Connection Kit you
can download photos and videos from your
Left When you connect an
digital camera to your iPad. external device using the
The kit includes two connectors, each with a USB OTG cable, the Nexus
different interface: Media Importer will display
Camera Connector features a USB interface. thumbnails of the images
on the connected device.
Just plug it into the dock connector port on your
You can tap an image to
iPad, then attach your digital camera using a view full-screen or select
USB cable (supplied with your EOS camera). images for transfer to the
SD Card Reader lets you import photos and tablets own storage media
for viewing later.
videos directly from your cameras SD card. Plug
the card reader into your iPad, then insert your
SD card into the slot.
After you make the connection, your iPad
automatically opens the Photos app, which lets
you choose which photos and videos to import,
then organises them into albums. When you
sync the iPad to your PC or Mac, the photos Rooting / Jailbreaking
Rooting (Android) or
and videos on your iPad are added to your
Jailbreaking (Apple) is
computers photo library. a software modication
iPad and the Camera Connection Kit support you can carry out to
standard photo formats, including JPEG and your tablet to give you
RAW, along with SD and HD video formats, full control of all its
functions. The internet is
including H.264 and MPEG-4. full of instructions for this
procedure, but it may void
Connection problems your warranty.
Search for iPad Camera Connection Kit on the
internet and you will nd complaints from users
who say that the connectors do not work, or
no longer work, with their iPad. There are also One way
many users who say that the connectors work Its worth mentioning that the Nexus Media Importer only transfers les
perfectly. onto the tablet it does not allow you to transfer les from the device to
It seems that the latest iOS software updates external drives. Part of the problem is that connecting an external hard
are the problem. We use the connectors with an drive to a tablet requires that the tablet provides the power to the hard
iPad Air (late 2013 model) which is not actually drive. This can place an excessive load on the tablet and therefore many
listed as compatible with the connectors on the external drives cannot be used (although some more recent SSD drives
Apple website. The iPad is using iOS version can be powered from the tablet). A further complication is that you may
7.1.1 we are resisting the option of updating to need to root your tablet to gain this functionality and this will void your
iOS version 8.3. warranty.
Lightning adapter
Storage space
The iPad Air uses the new
Lightning connector. This The amount of space available for storing
replaces the 30-pin socket images on a tablet computer (either Android or
on earlier iPads. The iPad iPad) is fairly limited compared to that available
Camera Connectors have on your main computer or an external hard
the old-style 30-pin plugs.
Fortunately, you can buy
drive. It is therefore inadvisable to load too many
Above Apples Camera
Connection Kit. an Apple Lightning to images onto a tablet computer.
30-pin Adaptor (left) to The storage space available on an Android
overcome the problem. tablet may be signicant or it may be mostly
We used the adaptor with
taken up with various apps, videos and photos.
the iPad Air and camera
connectors and it worked If you dont allow it to become too cluttered, a
ne with the SD card tablet can be used as short-term storage. To see
connector. Apple says how much space you have, select the Settings
Above Apples Lightning that video output is not icon from the main screen and then select the
connector. supported.
Storage option (left).
Above The storage display On an iPad, go to Settings > General >
The PoundWorld adaptor
on an Android tablet. If you Usage. This will show you the amount of space
Here at EOS magazine we are not great fans of shopping
are not able to increase the
around for the cheapest possible price experience has used and the amount available. You will also
capacity, it is surprising
taught us that there is often a catch. So when we saw be able to see the amount of space taken up by
how much space can be
a Lightning Adapter in PoundWorld we had no great
recovered by deleting every le and app loaded on the device. You
expectations when we bought one. To our surprise it
worked ne and saved 24 over the Apple item.
items and apps you no might be surprised by the space taken up by
longer use. items you no longer use.

Viewing your video les on a tablet
Video les
If you like to shoot the odd movie a tablet
provides a very convenient platform on which to
view it. There are a number of different video le
types and not every device is able to read all the
different variants with ease. Left An MOV le will often
When Canon rst endowed its DSLR play directly on an Android
cameras with the ability to shoot video (with the tablet but, depending on
the app you use, you may
introduction of the EOS 5D Mark II), it chose a
need to convert to MP4 if
format that is used by Apples QuickTime movie the sound and video dont
player (MOV) which is a proprietary rather than sync together.
an industry standard.
The MP4 format was later developed as an
industry standard largely based on Apples Converting from MOV
original MOV format. When MP4 was introduced, If your camera only permits the use of MOV,
it was almost identical to MOV so much so you may want to consider converting your MOV
that its still possible to convert between MOV video les to the more widely accepted MP4
and MP4 without re-encoding the video. MP4 format. You may also nd it useful to be able to
now has a much wider support in non-Apple produce a number of video les from the original
environments than MOV. high denition le. You might, for example, want
a high quality MP4 version for playing on an HD
EOS supported video formats TV and a smaller version suited for playing on a
The introduction of the EOS 7D Mark II in mobile phone or tablet computer. Below The user-friendly
September 2014 saw the inclusion of both MOV There are a number of free video conversion Movavi Video Converter
and MP4 video modes. Subsequent cameras applications available but be aware that many will enable you to convert
such as the EOS 750D, 760D and M3 only have limited conversion options, poor user a given video le to play on
just about any device on
offer the MP4 format. Unless your images are interfaces or are prone to crashing. They can the market. It also allows
destined to oat about in Apple-only space, you also be quite slow. In our experience, the video you to make brightness,
should select MP4 whenever possible as this converter designed by Movavi is fast, reliable contrast, hue and
will be readable on a wider variety of devices and simple to use. Further details from saturation adjustments to
your video prior to output.
without having to load any special players. www.movavi.com
Movie rec quality

1920x1080 25.00fps 00:22
For editing (ALL-I)
MOV/MP4 MP4
Movie rec. size
24.00p Disable
Above If your camera gives you the option of recording

in MP4, this is often the best format to use. On the latest
Canon cameras, it is now the only option as this is an
industry standard supported across a wide range of
devices. If you want to play an MP4 video on an iPad, use
the iTunes software to transfer the le to your iPad. It
should then play normally.
Video on a tablet The ideal viewing platform for your movies?

Both Apple and Android tablets should be
Given that a movie is nothing more than a series of still images, we continue to be
able to play either MOV or MP4 les, but some
surprised when photographers tell us that movie mode has no place on an EOS camera.
people still experience problems when trying Little, if any, additional hardware is required by the camera for the movie functionality.
to play video on a tablet. This can vary between It is a feature which has been waiting for the in-camera processors to reach the stage
not playing at all to sound synchronisation where they can handle the large amount of data created by all the individual frames.
problems. If you experience problems, the Just because a movie mode is available, you do not have to use it. There are
probably many other features and functions on your camera which you never use and
best solution is to use a good video converter these do not spoil your use or enjoyment of the camera.
program such as Movavi to convert your video However, if you have a tablet and can transfer movie les from your camera for
le to the format best supported by the target playback, we recommend that you give it a go. You will be amazed by the quality of
device. The Movavi software will export your screen image given by many tablets.
video to a wide range of tablets and phones.

SOFTWARE
EOS Movie Utility

As more EOS cameras become capable of shooting high-quality video,
photographers need simple software for playing, merging and saving movies.
Enter the EMU, a free application from Canon.
EOS Movie Utility (EMU) is a recent application

Supported from Canon that provides a quick and simple 100EOSxx MVI_xxxx.MOV
cameras way to view your movie les. For those more
DCIM
or
interested in still images, it also provides a 100CANON
MVI_xxxx.MOV
Currently, EOS convenient way to grab video frames.
Movie Utility only
MVI_xxxx.MOV
supports the Getting started
following cameras: When you rst open EMU, youre presented
EOS-1D C with a blank screen and your rst impulse is to
EOS-1D X go to the menu and select File>Open and then MVI_xxxx.MOV
EOS 5DS navigate to one of your movie les. You will

EOS 5DS R nd that such intuitive behaviour is rewarded 100EOSxx MVI_xxxx.MOV
EOS 6D by complete inaction your les will be greyed or
EOS 70D out and inaccessible. This is because EMU only 100CANON
MVI_xxxx.MOV
EOS 5D Mark III works with a very specic folder structure to
EOS 7D Mark II which you must adhere before you can view the
MVI_xxxx.MOV
movie.
EMU is expecting to see a collection of video
clips within a folder that is itself within another
EOS Movie Utility folder called DCIM (right). This is the structure MVI_xxxx.MOV
is available for the thats written to your media card, so the rst
following computer thing you need to do is to copy the DCIM folder With EOS Movie Utility, if the above folder structure is
not maintained it will not be possible to play back the
operating systems: and its sub-folders to your computer using a
movie clips. It will not be possible to play back the clips
card reader (you cant use EMU with a direct if the name of the selected folder has been changed
Windows camera connection). Alternatively, just set up from DCIM.
8.1 (32-bit) the folder structure shown here and drag your The easiest way to maintain this structure is to
drag the DCIM folder from your CF or SD card to your
8.1 (64-bit) movie les into them. Each of the sub-folders
computer desktop using a card reader.
8 (32-bit) (shown yellow) will become a separate collection
8 (64-bit) of movie clips.
7 (32-bit)
7 (64-bit)
Capturing still images from a movie le
Macintosh
OS 10.10 (Yosemite) You can set the resolution of a video to various to select the point you wish to capture. The left
OS 10.9 (Mavericks) values, but a typical setting is 1920 x 1080 pixels. and right arrow keys on your keyboard can be
OS 10.8 (Mountain This is a lower resolution than you would obtain used to move one frame at a time.
Lion) from a normal still photograph (the EOS 7D Mark The range button will capture and save every
II, for example, will give an image 5472 x 3648 frame between the IN and OUT points. This can
You can download the pixels). However, its more than big enough to be useful for capturing dynamic movements for
free EOS Movie Utility e-mail to friends or to display on a web page later combining in Digital Photo Professional
and ImageBrowser EX (where only a few hundred pixels are often (DPP) or Photoshop.
(see panel on opposite adequate). The marker button saves a still image for each
page) from: If you want to print a frame from a video at marker youve set (up to ve).
http://bit.ly/1IFQSWQ the normal print resolution of 300dpi, you could
DAVE BAXTER
and produce a print 6.4 inches wide.

http://bit.ly/1cscIdP The ability to grab a specic frame from a
movie and save it as a still image has some merit
and EMU makes this process very simple. You
rst need to tell EMU where you want to save
the images and whether you want them saved
as high quality JPEGs or as 8-bit TIFFs. These
and other preferences are set from the menu
Still image capture settings. Three buttons are
provided for still capture (see opposite page).
The single image button will capture the Above Single image of guitarist Gordon Giltrap captured
current frame. Drag the playback position cursor from an EOS 6D movie le using EOS Movie Utility.

IRENE ABDOU
Guide Mute Volume IN and OUT Previous Play/ Adjust Next Time marker Still image Merge split
area button control time range frame stop playback frame controls capture les
controls speed
Basic features of EOS Movie Utility Movie

The user interface (above) provides the basic 60p (59.94p) playback speeds of x1.0, x0.5 and
software
control over the chosen video. It features an x0.4 are possible. If the movie clip frame rate is EOS Movie Utility is
intuitive slider to allow you to select a particular 50p, x1.0 and x0.5 are possible. No adjustment is essentially a playback
point in the movie. possible for other movie clip frame rates. Sound viewer. If you want to
First go to the File menu, select the folder is not played at playback rates below x1.0. edit your movies, the
free ImageBrowser
where the movie clips are saved and choose the You can switch the movie display size
EX from Canon will
le you want to play. It is possible to select the between Fit to window, 100% mode and 200% get you started (see
le on memory card connected to the computer mode. When enlarged, the area of image viewed opposite page for
using a card reader. When you have chosen the can be changed by clicking and dragging the download details). For
le, an image will appear in the main window. image. The guide area, on the left below the more advanced editing
Adobe Premiere Pro
Click the Play button to view the movie. main image, shows the position of the image (Windows and Mac)
Two triangular IN and OUT points can be within the preview area. costs 17.15 per month
positioned to select a single time range and up If you shoot long movie les, they will from Adobe Creative
to ve markers can be positioned to tag specic automatically split into 4GB les, even if you Cloud creative.adobe.
com/plans
points of interest. Once the markers have been are shooting a single, continuous take (which is
We like Movavi Video
set, various buttons are provided to enable you generally not advised). If you are shooting with Editor which can be
to jump to each marker or play only the portion the EOS-1D C or EOS 7D Mark II you can merge bought for a one-time
of the video between the IN and OUT points. these les and save them as a single le using fee of 30.95 (or less
You can adjust the volume of any sound track, the Merge split les option. when on offer). Movavi
has a range of movie
or turn the sound off with a Mute button. Video snapshot albums and video les in MP4 processing software to
The playback speed can be adjusted by format are not supported. suit your needs.
clicking the Adjust playback speed button A manual for EOS Movie Utility can be www.movavi.com
during playback. If the movie clip frame rate is downloaded from the link on the opposite page.

TECHNIQUE
Filters
for digital cameras
Now that we can process images
on a computer, do we still need to
use screw-on lens filters for artistic
effect, or can the same results be
created digitally?
BILLY STOCK
In the days of lm, the opportunity to modify which attempts to superimpose a particularly Top left Many lters
your images was severely limited by todays unconvincing and incorrect spectrum of from the days of lm are
no longer necessary, but
standards. If you had a darkroom you could colour over whatever the camera is viewing.
some are still extremely
manage some basic exposure adjustments The usefulness of many other lters largely useful. From left to right,
(if the negative had sufcient latitude), depends on whether you intend to produce all 80A colour correction
some overall colour correction and a little you nal images in-camera as JPEGs or whether lter, circular polariser,
basic geometric distortion correction. If you you shoot RAW and post-process them on a neutral density lter, linear
polariser and 85C colour
were prepared to spend the time, it was computer. correction lter.
even possible to perform procedures such
as unsharp masking (an image sharpening Essential lters Above One of the uses
technique), but a great deal of the image Whatever your intended workow, there are of polarising lters is to
darken blue skies. The
modication was much easier to achieve using still some lters that no photographer should
small inset image was shot
lters attached to the camera lens. Today, be without. This class of lters is distinguished without a lter. EOS 5D
many of the effects previously obtained using by the fact that their effects cannot easily be Mark II, EF 24-105mm f4L
lters are performed digitally in-camera or on a applied in post-processing. IS USM lens (at 24mm),
separate computer. Generally speaking, if you can apply a 1/250 second at f5.6,
ISO 160.
particular lter effect with little or no effort on a
Which lters are still useful? computer, you no longer need the lter. It makes
Despite the digital revolution, its still possible far more sense to take the photograph with the
to buy a bewildering array of lters. It is easy to minimum of on-camera or in-camera processing
think that they must all be necessary, but this is as this gives you a master photograph from
not always the case. Some of the lters available which to derive variations at your leisure.
today have only ever been novelty attachments. Our list of essential lters include a polariser,
One good example of this is the rainbow lter a neutral density and a graduate.

Circular polariser
Polarising lters fall into the extremely useful Rule-of-thumb
category of accessories as their effects cannot Polarising lters come in rotating mounts. Once the rear
section of the lter is attached to the front of the lens, the
be simulated convincingly on a computer.
front section of the lter can be rotated through 360. This
There are two types of polarising lter is because the effectiveness of the lter varies with its
available for cameras linear and circular. This angle of rotation, which in turn is affected by the position
has nothing to do with the shape of the lter. of the sun.
Linear lters were popular years ago, before There is, quite literally, a rule-of-thumb for this. Hold
your hand (left or right) out with the thumb extended at
cameras offered autofocus and autoexposure right-angles to the ngers. Point your ngers at the sun.
metering systems. Today, the semi-silvered Now rotate your wrist. The arc drawn by your thumb is the
mirrors which reect light towards the focusing area of sky which will be most affected by the lter.
and metering sensors in your EOS camera block For example, if the sun is overhead, you thumb will
draw an arc around the horizon every point on the
light from a linear polarising lter. This gives
horizon will be equally affected by the lter. If you shoot shortly after sunrise or before
focusing errors and incorrect exposure. sunset, your thumb draws an arc over your head from north to south only the horizon at
Circular polarising lters are linear lters the north and south will be affected by the lter.
with an extra element (a quarter wave plate)
cemented to the rear. This allows the polarised See what you get
light to be reected from shiny surfaces, such With the polarising lter attached to your lens, what you see is what you get. This is
the advantage of using a polarising lter with your EOS camera looking through the
as mirrors. The downside is a slight loss of light
viewnder you will see the effect change as you rotate the front of the lter, allowing you
passing through the circular lter compared to to decide exactly how much polarisation you want for your image.
the linear lter, but this is insignicant when
set against the improvement in focusing and
metering accuracy.
Circular polarising lters are generally more
expensive than their linear counterparts, but are
essential for EOS cameras.
When to use a polarisier

Use a circular polarising lter to cut down
reections from water, glass and foliage (right).
Colour saturation can also increase because
DAVE BAXTER
reducing reections allows you to see the
true colour of the subject. A polarising lter
can also darken blue skies (left). This makes
them invaluable for landscapes and situations
involving lots of sun and water. Polarising lters
are not effective with metallic surfaces.
When not to use a polariser

A polariser will cut down the general light level
by about one to two stops. This will affect your Above Without a polariser (inset image),
shutter speed, aperture or ISO setting. This in glare on the foliage and water hides a great Computer simulation
turn might compromise your depth-of-eld, deal of the detail and colour. EOS 7D Mark
II, EF 40mm f2.8 STM lens, 1/180 second at It is possible to darken the sky and
ability to freeze movement or introduce some f 8, ISO 100. boost contrast to an extent with
noise into your image if used in low light. Fitting a polariser reduces the glare computer processing, but the results
Polarisers are generally not recommended on from the foliage and water (main image). are rarely as good as when a polarising
very wide angle lenses when taking landscape This allows you to see the true colours lter is used when actually shooting the
and what lies beneath the surface. EOS image. Glare reduction is not possible.
photographs since they can introduce noticeable
7D Mark II, EF 40mm f2.8 STM lens, 1/45 No matter how powerful image
gradients in the sky. second at f8, ISO 100. editing software becomes, there will
The amount of glare reduction depends never be a polarise button available
Below If you attempt to use a polarising lter on a very on the angle of the lter to the reective because there is no way the computer
wide-angle shot, such as this 180 panorama, the variance surface. Best results are obtained with can know how the original light in the
in the polarisation angle with bearing can give rise to the lter at an angle of about 35 to water, scene was polarised.
obvious dark and light areas of blue sky. glass or other non-metallic surface.
DAVE BAXTER

TECHNIQUE Filters for digital cameras |64
The neutral density (ND) lter
BILLY STOCK
Left ND lters let you use
a slower shutter speed
than would otherwise
be possible for a given
lighting level. Here, a
Vario lter was used to
achieve a light reduction of
around seven stops, giving
a shutter speed of eight
seconds.
Below Without an ND
lter, the slowest shutter
speed obtainable was 1/20
second which is not slow
enough to achieve the
classic misty effect.
The sole function of a neutral density (ND)

lter is to reduce the amount of light reaching
the camera sensor without affecting any
other property, such as colour balance or
polarisation. Above A variable neutral
assembly cant be rotated once its screwed
At rst sight this might appear to be the job density lter means that onto your lens. Rotating the ring on the lter will
of the lens aperture, but changing the aperture you do not have to carry a cause the transmitted light level to drop until its
affects more than just the transmitted light level. selection of xed neutral almost totally blocked. While it is a useful device
density lters.
Cutting down the light using a neutral density for achieving several stops of adjustment, it is
lter wont affect the depth-of-eld, but it will inadvisable to use it when fully cross-polarised
give you combinations of shutter speeds and Computer as the resulting image can show uneven light
apertures that would not otherwise have been simulation reduction and a distinct colour shift.
available.
Most photographers
ND lters are graded according to the number When to use a neutral density lter
attach a neutral density
of stops of light reduction they introduce. lter so that they can Use an ND lter when you need to increase the
There are different numbering systems in use. use a slow shutter shutter speed to several seconds in order to blur
The most common is NDx where x is the speed. This creates blur moving water into a swirling mist effect.
denominator of the fraction of light the lter in moving subjects. Long exposures in broad daylight can often
While it is possible to
transmits. An ND2 lter will reduce the light level add blur effects with
be used to reduce the impact of people walking
to 1/2 (one stop), an ND4 to 1/4 (two stops) and computer processing, about in front of a building whose facade you
an ND8 to 1/8 (three stops). Another numbering it is difcult to do this want to capture without the tourists. They are
system (written as r ND) is also widely used. selectively. Results also useful if you want to photograph a street by
from an ND lter will
This is based on a logarithmic scale and is day and want any moving cars to blur away into
always be better.
included in the table (below right) for reference. ghostly streaks.
Variable ND lters Left There are two

Neutral density lter numbering ways in common use to
An alternative to buying several ND lters of designate neutral density
NDx r ND Light passed % Number of stops
different strengths is to buy a single variable lter strengths. They
No lter 0 ND 100 0
ND lter. Unlike dedicated xed-value ND lters are either written as ND
ND 2 0.3 ND 50 1 with a number following
(which dont modify the light in any way other
ND 4 0.6 ND 25 2 or a number with ND
than to reduce its intensity), variable lters
ND 8 0.9 ND 12.5 3 afterwards. The former is
control the light level by polarising it. A variable based on the fraction of
ND 16 1.2 ND 6.25 4
ND lter is actually two polarising lters that can light transmitted, while
ND 32 1.5 ND 3.12 5 the latter is based on the
be rotated with respect to each other.
ND 64 1.8 ND 1.56 6 logarithm (base ten) of
When they are both aligned in the same
ND 128 2.1 ND 0.78 7 the ratio of incident to
direction, light passes through with between transmitted light.
one to two stops of reduction in strength (as in ND 256 2.4 ND 0.39 8
a standard polarising lter). However, its not a ND 512 2.7 ND 0.19 9
substitute for a normal polariser since the whole ND 1024 3.0 ND 0.09 10

TECHNIQUE Filters for digital cameras
BILLY STOCK

Soft focus lter
The classic soft focus effect is caused by an
optical lens defect called spherical aberration.
This is most prominent when the lens is set at
full aperture. This type of aberration causes a
Above Canon made two
blurred effect on highlights while preserving soft focus lters Softmat
Computer simulation
some sharp edges. It is not the same as simply No.1 and Softmat No.2
Soft focus effects are possible in most image
de-focusing the lens. (both now discontinued).
processing software. Canons Digital Photo
The effect has been widely used in portrait Soft focus lters are
Professional allows you to adjust the sharpness of
still available from other
photography as it is effective at hiding skin both RAW and JPEG images suitable for portraits
manufacturers. Each give
blemishes. Its most easily achieved by using a slightly different effects.
but other software offers even greater control.
diffusion lter, which has a smoothly undulating Here is how you can apply soft focus to an image in
Photoshop.
surface that disturbs the path of the light rays to
create a hazy dream-like effect. 1 Open the image in Photoshop and select Image >
Much the same type of optical effect can be Mode > Lab Color from the menu. This will make a
achieved by smearing a thin lm of Vaseline on a lightness channel.
UV lter or stretching a nylon stocking over the
lens. However, neither option is very practical.
2 Open the Channels palette and duplicate
the lightness channel. Rename the new channel
Above The Canon EF
(A Vaseline-smeared lter can be a rather messy highlights.
135mm f2.8 Soft Focus
accessory and a particularly difcult thing to
clean.)
lens has a extra focus ring
that controls the degree of
3 With the new highlights channel selected, go to
the menu and choose Image > Adjustments > Curves.
Photographers wanting to take soft focus spherical aberration.
Adjust the curve to darken the shadow regions and
portraits can search for the only lens designed to boost the highlights. If you want to remove any areas
produce the effect Canons EF 135mm f2.8 Soft of the image from the soft focus effect you can paint
Focus lens (long discontinued, but occasionally them out with black at this stage.
available second-hand). This unique lens has a
special soft focus ring in addition to the normal
4 Go to Image > Mode and select RGB. Then click
the Layers palette. From the menu, choose Select >
focus ring (and maintains autofocus). The soft Load selection and select the highlights channel.
focus ring controls the degree of spherical With the selection active, select Layer > New > Layer
aberration from none (giving a normal, sharp via copy from the menu.
5
image) to a full soft focus effect. Above If your camera
offers Creative Filters you With the new layer selected, go to Filters > Blur >
can apply soft focus in Gaussian blur and select a radius of around 15 pixels.
Post-processing
6
camera without the need
If you want to produce the soft focus effect for a soft focus lter. (See Set the new layer blending mode to screen and
adjust the opacity for the desired effect.
directly in-camera without any work on your EOS magazine, October-
computer, then a soft focus lter is still the best December 2011, page 60.)
way. The obvious downside is that once youve If all this is a little beyond your Photoshop skills, you
Below left and right
taken a photograph with a soft focus lter, The soft focus effect is
could simply open the image and go to Filter > Blur
theres no way to get back to a pin sharp image > Gaussian Blur and move the slider to increase the
not a simple blur. It can be
radius by a small number of pixels the effect is
should you wish to do so. This is one reason produced by a diffusion
shown on screen as you move the slider. The effect is
why soft focus lters, or even soft focus lenses, lter or, as in this case,
not quite the same as the highlight soft focus applied
using Photoshop. The dark
are not used much in the digital photographic below (it softens the entire image), but it can be
areas of the image are still
workow. Also, you have more control over the effective with some subjects.
sharp but highlights take
effect when you apply it after the exposure. on a soft glow. DAVE BAXTER
Left The easiest technique

for creating a soft focus
effect is to use a soft focus
lter. Various types and
strengths are available.
Some photographers buy
several and experiment
to see which gives the
most pleasing results.
One downside to shooting
with a soft focus lter is
that you cant remove the
softness from the image.
However, this is easily
overcome by shooting
images with and without
the lter. EOS 5D Mark II,
EF 24-105mm f4L IS USM
lens (at 97mm), 1/320
second at f5.6, ISO 200,
taken using a Cokin soft Before Photoshop After Photoshop
focus lter.

Colour correction lters
Left Colour correction
When photographic images were recorded
lters used on lm
chemically, the lm had to be colour balanced cameras. The amber lter
to produce realistic colours when the scene (85C) is used to correct
was illuminated by either the yellow tint from the daylight that would
a typical domestic tungsten lamp or the more otherwise be too blue if
tungsten balanced lm was
blueish light of natural daylight but not used in normal daylight.
both. Film tended to be daylight balanced or The blue lter (80A) is
tungsten balanced. used to make tungsten
If you used the wrong lm for the prevailing lighting look white (instead
of amber) when shot with
lighting conditions you would end up with an
daylight balanced lm.
image sporting a strong colour cast. Daylight
balanced lm used with tungsten lighting
produces a strong orange/yellow colour cast
and tungsten balanced lm used in natural light
DAVE BAXTER
exhibits a strong blue colour cast.
Since it wasnt practical to remove one
lm from the camera to exchange it for an
appropriately balanced one every time the
lighting conditions changed, photographers
instead added a lter to correct the colour cast
that would otherwise have resulted.
Even when lm was properly balanced for
the prevailing lighting conditions, it was still
common for photographers to attach a lter
to warm up the colours slightly effectively
making a subtle shift in the colour temperature.
This was often used to enhance skin tones to
produce more attering portraits.
Are they still needed?

For digital cameras, colour correction lters
are no longer necessary. If youre shooting
JPEG images or movies, the selection of the
correct white balance and the application of an
appropriate Picture Style will do everything that Above The auto white balance setting is not foolproof. Here, the camera did not correct
the old colour adjustment lters did and more. for the strong articial light source so a strong amber colour cast resulted (left). However,
If you shoot RAW, the Picture Style and white even this JPEG image can be colour corrected in a few seconds using tone curves in DPP
or the white balance tool in Adobe Lightroom.
balance will have no effect on your recorded
ROBERT SCOTT
image, but they will affect how that image is

displayed on the cameras rear LCD screen.
In Digital Photo Professional (DPP) RAW les
are opened with both the white balance and
Picture Style that were set in the camera. When
you open a RAW image using Adobe Lightroom,
it will initially apply the white balance that was
set in the camera and ignore the Picture Style.
Both processing programs offer extensive
colour modication, so on-camera colour
correction lters which attach to the front of the
lens can be considered obsolete. (Many of the
colour correction lters still sold are designed
to be used on lighting systems rather than the
camera lens.)
Special colour adjustment lters

A colour lter is not restricted to just
compensating for colour temperature. Some
just add a subtle warming effect, which is
actually equivalent to reducing the colour
temperature. Other lters can reduce the level
of a more specic range of colours, for example,
to accentuate autumn hues in a landscape. Above The colour temperature tool in Canons Digital Photo Professional software
Even these more sophisticated lters can be allows very subtle changes to the hues in a RAW image, with the advantage that you can
experiment with different values to nd the effect you want.
replicated using custom Picture Styles.

Is Your Sensor Spotless?
Enjoy clear blue summer skies with a dust free sensor!

Bring your camera to our London showroom.
APS-C sensors cleaned while you wait. 020-7582-3294
Full frame sensors done same-day LQIR#[DWLRQXNFRP
when bought in before 9am. ZZZ[DWLRQXNFRP
TECHNIQUE
Mains
power
Modern batteries serve us
very well, but there are
times when the ability to
plug an EOS camera into a
mains power socket can be a
Above When you run your camera from the mains, you
distinct advantage. can disable the auto power-off feature.
Are you planning to shoot a lot of time supply is fairly reliable and we dont suffer
exposures? Do you use Live View for indoor protracted black-outs, but we do sometimes
Safety note
macro photography? Rather than relying on experience a very brief interruption in the supply Canon issues the
your camera battery, you can use the Canon (called brown-outs). To us, these interruptions following advice in
connection with AC
AC Kit (ACK) that is available for every EOS may just appear to make the lights icker, but
adapters:
camera. This enables you to run your camera they are often long enough to reset computers,
from a mains power supply. timers and other equipment, including a mains- When using the
powered camera. As they have no back-up ACK kits there is one
Some warnings battery like a laptop computer, the camera is precaution you should
take in connecting
If you plan to set up your camera outside, likely to reset in response to a brown-out.
them make sure the
perhaps in your garden to photograph some If youre shooting a time-lapse sequence camera is turned off.
wildlife automatically, you will need to follow with a camera that has a built-in intervalometer, If the camera is turned
some basic safety precautions when using mains such as the EOS 7D Mark II or the EOS 5DS, the on and you connect the
ACK kit to the mains,
power. Firstly, if the mains unit is to be situated timer function will terminate and not re-start
a power spike could
outside, make sure its plugged into a suitable automatically when power is restored. damage the camera.
socket with an earth leakage circuit breaker (also Another situation where you cant afford a To avoid this, make all
called a residual current device, or RCD). brown-out is when youre updating rmware or your connections, insert
Secondly, bear in mind that the Canon power manually cleaning your cameras sensor. Dont the ACK pack (dummy
battery) into the camera
adapter is not designed to be exposed to the risk powering your camera from the mains if
and then switch the
elements and should be protected from any youre planning to do either of these tasks. camera on.
moisture, just like the camera. Instead, make sure you t a fully-charged reliable
Thirdly, take into account the consequences battery to ensure the camera will not suddenly
of a sudden power failure. In the UK, our mains switch off during the procedure.
Connecting the AC kit to your EOS camera

1 Switch off the camera. This is very important (see Safety note panel
above right).
2 Connect the DC coupler cord to the DC outlet socket on the AC
adapter. With some kits, the other end of the connecting cord is already
attached to the DC coupler. With other kits, the cord needs to be plugged
into the DC coupler.
3 Connect one end of the AC power cord to the adapter. Plug the other
end into a mains power socket and switch on the supply.
4 With the camera switched off, insert the DC coupler rmly into the
battery compartment in the body. It should click into place.
DC cable
5 Feed the cable from the coupler through a trap door in the battery coming from
compartment cover (see right) and then close the cover. the battery
6 Finally, turn on the camera. Find the Auto Power Off menu (usually compartment
under a spanner tab). Set it to Never, Disable or Off (varies with
Above When using a mains adapter, the DC cable enters
camera). The Live View display will now remain active until you switch the battery compartment through a normally closed trap
the camera off. door. The position of this trap door varies from camera
7 Switch the camera off before removing the DC coupler (dummy to camera see the camera instruction manual if you
battery). cant locate it (try AC adapter kit in the index).

When to use mains power
If youre using functions such as Live View, or shooting video, positions. It can be frustrating to have to swap batteries after
the power drain on your batteries will increase signicantly. getting the shot framed perfectly especially if the set-up
As an example, an EOS 600D draws a current of around 60mA precludes easy access to the battery compartment. Another
when its rear screen is inactive. This current drain increases situation where mains power comes in handy is when playing
by over 500% to 340mA when the rear screen is being used in back stills or movies on a monitor.
Live View. Obviously, the heavier the current drain, the faster However, one of the most compelling reasons to buy a
your batteries will become exhausted. power adapter is to keep the camera running unattended for
This isnt normally a serious problem provided you a long period. Suppose you wanted to capture an event using
have spare batteries to hand, but frequent swapping of a remote trigger. Your camera might have to be waiting for
batteries can be irksome. If your type of photography is done many hours or days before taking a photograph, by which
indoors, perhaps in a studio or on a kitchen table, changing time the battery may be nearly exhausted.
your battery for an AC mains adapter is denitely worth Time-lapse photography is another good example. In this
considering. case, the camera needs to be able to take a single photograph
Macro photographers often make extensive use of Live at regular intervals over many hours or days. If you have to
View for framing and focusing, and this work is frequently replace the camera battery, you may lose valuable shots and
done indoors where the camera and subject are in xed ruin the whole sequence.
Left The ACK-E2 power AC Adapter Kits for EOS cameras

adapter kit comprises KIT DC coupler AC adapter
a DC coupler with lead,
EOS-1D DCK-E1
a universal AC adapter
(centre) and a mains lead EOS-1D Mark II DCK-E1
(not shown). The mains EOS-1D Mark II N DCK-E1
lead plugs into one end of EOS-1D Mark III ACK-E4 129.99 DR-E4 AC-E4
the AC adapter, the cable
EOS-1D Mark IV ACK-E4 129.99 DR-E4 AC-E4
from the DC coupler into
the other end. EOS-1D X ACK-E4 129.99 DR-E4 AC-E4
EOS-1Ds DCK-E1
EOS-1Ds Mark II DCK-E1
Finding the correct kit for your EOS EOS-1Ds Mark III ACK-E4 129.99 DR-E4 AC-E4
A mains power kit is available for every EOS camera. EOS 5D ACK-E2 DR-400 AC-E2
However, unusually for Canon, there is no clear consistency in EOS 5D Mark II ACK-E6 139.99 DR-E6 59.99 AC-E6
the supply or naming of the parts. EOS 5D Mark III ACK-E6 139.99 DR-E6 59.99 AC-E6
Most of the kits consist of a mains power cord, an AC EOS 5DS / 5DS R ACK-E6 139.99 DR-E6 59.99 AC-E6
adapter and a DC coupler. The coupler is a small unit that EOS 6D ACK-E6 139.99 DR-E6 59.99 AC-E6
ts the camera battery compartment. Often referred to as a EOS 7D ACK-E6 139.99 DR-E6 59.99 AC-E6
dummy battery, the coupler provides the camera with a low EOS 10D ACK-E2 DR-400 AC-E2
voltage DC supply from the AC adapter. EOS 20D ACK-E2 DR-400 AC-E2
The earliest EOS cameras, the D30 and D60, came EOS 30D ACK-E2 DR-400 AC-E2
supplied with the DC Coupler DR-400. This plugged in to the EOS 40D ACK-E2 DR-400 AC-E2
supplied Compact Power Adapter CA-PS400, which was also EOS 50D ACK-E2 DR-400 AC-E2
the battery charger with slots to charge up to two BP-511 EOS 60D ACK-E6 DR-E6 59.99 AC-E6
battery packs at a time (left). EOS 70D ACK-E6 DR-E6 59.99 AC-E6
The EOS-1D, 1D Mark II, 1D EOS 100D/Rebel SL1 ACK-E15 84.99 DR-E15 24.99 CA-PS700
Mark II N, 1D Mark III, 1Ds, 1Ds EOS 300D/Rebel ACK-E2 DR-400 AC-E2
Mark II and 1Ds Mark III were EOS 350D/Rebel XT ACK700 DR-700 CA-PS700
also supplied with an adapter EOS 400D/Rebel XTi ACK700 DR-700 CA-PS700
kit (DCK-E1 or ACK-E4)) as EOS 450D/Rebel XSi ACK-E5 79.99 DR-E5 19.99 CA-PS700
standard. Here, the AC adapter
EOS 500D/Rebel T1i ACK-E5 79.99 DR-E5 19.99 CA-PS700
is a separate unit to the battery charger.
With the EOS-1D Mark IV, 1D X and all other EOS cameras
the AC kit is an optional extra. At least from the ACK-E6
onwards, the sufx relates to the camera battery in this case
the LP-E6.
EOS 750D/Rebel T6i ACK-E18 tbc DR-E18 tbc AC-E6
EOS 760D/Rebel T6s ACK-E18 tbc DR-E18 tbc AC-E6
Vw?jja?
#.W?j?^ja
EOS 1000D/Rebel XS ACK-E5 79.99 DR-E5 19.99 CA-PS700
the details and some photos for possible publication.
EOS 1100D/Rebel T3 ACK-E10 84.99 DR-E10 24.99 CA-PS700
EOS 1200D/Rebel T5 ACK-E10 84.99 DR-E10 24.99 CA-PS700
Right This table shows the units you need to operate your EOS camera EOS D30 DR400 CA-PS400
from an AC mains power supply. Kits shown in BOLD are still available EOS D60 DR400 CA-PS400
(the suggested retail price is given). The names of the DC coupler and AC
EOS M ACK-E12 84.99 DR-E12 CA-PS700
adapter which make up the kit are listed. The DC couplers which are still
available are shown in BOLD, together with the suggested retail price. EOS M2 ACK-E12 84.99
E&OE EOS M3 ACK-E17 tbc

TRAINING
ACADEMY
EOS magazine has joined forces with
the EOS Training Academy to bring
WORKSHOPS
Our classroom-style workshops are a fun, interactive and
you a wider range of courses at our informal way to learn more about EOS photography. All
Oxfordshire training centre, around our workshops involve practical elements, and the informal
the UK and online. approach means you can ask questions and tailor your
learning experience. These one-day courses are currently
held at our training centre in Tackley, Oxfordshire, but we
YOUR TUTORS
have plans to extend these to other parts of the UK.
Registration is from 9.30am, with the course running from
10am until 4.30pm. Please do not book train tickets or
NINA BAILEY Nina is the author
accommodation until you receive conrmation that the
of over 20 eBooks written for EOS
course is taking place all events are subject to a minimum
photographers. She has also written
number of bookings. Maximum of 12 students per course.
and directed a range of DVDs on EOS
cameras, as well as being involved in Coffee/tea is available when you arrive and during the day.
training EOS photographers for over A light lunch is included in the cost. Please let us know if
25 years. Nina worked at Canon UK you have any special dietary requirements.
for almost ten years where she was
The training centre does not currently have disabled
responsible for training.
facilities, but we are working on it. If you have limited
mobility please call on 01869 331741 to discuss this further.
DAVE BAXTER is the technical writer
for EOS magazine. He has a degree in
electronic engineering and is equally
at home taking a camera to pieces as
he is behind the lens shooting pictures.
DAYS OUT
Dave has been a keen photographer for Enjoy a practical day out with your camera. We choose
decades and has extensive skills with locations which lend themselves to a great day of
image processing software, as well as photography so you can see the results of your tuition
traditional darkroom techniques. immediately. Groups sizes are small to maximise the time
spent with your tutor. Full details about the meeting point
BRIAN HALL has a wealth of will be sent before the event. You will need to have a fully
experience with Canon products working charged battery (ideally with a spare) and a media card of
rst for Canons UK distributor and then at least 8GB.
being instrumental in setting up and
running Canon UKs photo division in After you book you will be sent details of an online tutorial
1982. Brian joined with Nina in 2000 and which lasts about 45 minutes. This gives you the basic
together they have developed the EOS grounding for the topics and controls that we will be
Training Academy. He has been a keen looking at on the day.
photographer from an early age. Timings for London events are arranged so you can take
advantage of cheap train fares. Please do not book train
BRIAN WORLEY joined Canon Europe tickets or accommodation until you receive conrmation
in 1995 to lead the introduction of new that the course is taking place all events are subject to a
digital cameras and imaging products. minimum number of bookings.
For most of his time at Canon he was the Any car parking, entry fees and refreshments are not
European Product Manager for photo included in the course cost.
products. Brian left Canon in 2010 and
now devotes his energies to sharing his
ONLINE
knowledge and training professional and
non-professional photographers.
Cant get to any of our training events or prefer to

With effect from 1 July 2015 the EOS Training learn from the comfort of your own home? Try our
Academy is owned by Robert Scott Publishing
comprehensive online training programme a resource of
Limited, the publisher of EOS magazine. All existing
over 300 bite-size video tutorials which can be accessed
bookings will be transferred and courses will take
via a PC, Mac or tablet using an internet connection. The
place as before (subject to sufficient bookings).
annual subscription is less than the cost of most one-day
Please phone the EOS Training Academy on
courses. Visit the dedicated site and watch the free sample
01869 331741 if you have any queries.
tutorials at: https://moodle.eostrainingacademy.co.uk

EOSTRAININGACADEMY.CO.UK
WORKSHOPS
EOS FOR BEGINNERS

with Dave Baxter
During this workshop you will learn how
your EOS camera works, what functions
and settings are available and how to use
the versatile features to improve your
photography. Suitable for all EOS digital
models, current and discontinued. MAKING PANORAMAS
Friday 10 July 2015. 99 with Dave Baxter
Friday 9 October 2015. 99 Break out of the standard aspect ratios
and learn how to take and make truly
eye-catching panoramic vistas. Crop an
COLOUR MANAGEMENT image for a narrow horizontal or vertical
EOS 5D MARK III with Dave Baxter view, or use Canons PhotoStitch software
with Brian Worley Discover how colour is to merge two or more images. This
The EOS 5D Mark III is a powerhouse represented and manipulated workshop will show you how to shoot
of a camera, packed with features and in the photographic images for stitching and how to edit and
functions. This course is for users seeking workow. Learn how to improve the resulting vista. Did you know
to make the camera work more smartly for set your camera, monitor that you can use 594 x 210mm paper
their photography. The cameras options and image editing software to give (3:1 aspect ratio) with a normal A4 ink-jet
and exibility can be confusing, so we you the best possible results, and how printer? We will show you how. You can
explain the features, and when and how to to optimise your colour for printing. also buy boxes of panorama paper from
make the most of them. You will learn how Common problems are addressed and the EOS magazine Shop during the event.
to optimise the AF system, switch quickly demonstrated with examples using Panoramic prints are perfect for displaying
between settings and congure the Lightroom, Photoshop and other software. on your walls at home.
camera for studio, movies, stills and more. Wednesday 19 August 2015. 99 Wednesday 12 August 2015. 99
Throughout the day we will demonstrate Wednesday 28 October 2015. 99
practical uses of these functions.
Wednesday 5 August 2015. 99
Wednesday 7 October 2015. 99
ADOBE LIGHTROOM
with Dave Baxter
EOS 7D MARK II Lightroom is designed specically
for photographers and is arguably
with Dave Baxter
the most useful software application
Building on the performance of the iconic
any photographer can own. In these
EOS 7D and harnessing technologies
workshops, planned with EOS users in
found in the professional EOS-1D X, this
mind, we explain what Lightroom can do
camera is made for speed, with extreme
for you and how it differs from Adobe
power and performance for action and
Photoshop and Canons Digital Photo
wildlife photography. Whether you have
Professional software. The beginners
bought the camera, or would like to see it DIGITAL PHOTO course tells you everything you need
before making a decision, this workshop PROFESSIONAL to know to start using Lightroom with
will show you all its new features and how
with Dave Baxter condence. The advanced course takes
to use them to improve your photography.
All you need to know to start using DPP, you deeper into editing, managing
Friday 24 July 2015. 99
Canons free RAW editing software. This multiple catalogues, printing, geo-tagging,
Friday 23 October 2015. 99
course is ideal if you have previously shot making a gallery and working with
mainly JPEG images and are keen to take Photoshop.
EOS 7D greater control of your photography. You
with Brian Worley will learn about different le formats, the LIGHTROOM FOR BEGINNERS
For EOS 7D owners who want to delve RAW image workow, organising your Friday 7 August 2015. 99
deep into their camera to nd out how to images and image editing using DPP. Friday 6 November 2015. 99
make the most of every bit of functionality Covers DPP versions 3.x and 4.x ADVANCED LIGHTROOM
and performance. You will learn how to Friday 31 July 2015. 99 Saturday 8 August 2015. 99
optimise the AF system, switch quickly Wednesday 11 November 2015. 99 Saturday 7 November 2015. 99
between settings and congure the
camera for studio, movies, stills and more.
Throughout the day we will demonstrate
and explain practical uses of all these
SPEEDLITES FOR CREATIVE SPEEDLITE
functions and will guide you in making the BEGINNERS FLASH
most of your camera. with Brian Worley with Brian Worley
Friday 21 August 2015. 99 This workshop will explain how the Push your creativity with ash. Using
Speedlite ash system works and how to one or more Speedlites off-camera you
use it in daylight and indoors. If you are will learn how to control ash units both
EOS 70D confused or bafed by your Speedlite, automatically and manually. In addition,
with Dave Baxter this course will give you information you you will learn about shaping the light from
The EOS 70D combines new imaging need to improve your ash pictures. Built- Speedlite ashes. There will be a portrait
technology with creative features. It is in ash and Speedlites will be covered. model for you to photograph, plus some
a responsive, all-purpose camera for Includes a practical session with model. table-top subjects.
capturing the moment with stunning Thursday 29 October 2015. 109 Friday 30 October 2015. 109
images and Full HD video. Whether you
own the camera, or are thinking of buying
one, this workshop will answer all your Visit our website www.eostrainingacademy.co.uk for more details and
questions about its features and functions. more courses. Phone 01869 331741 to book an EOS Training Academy
Wednesday 29 July 2015. 99 course. If you had previously booked any of these courses under our
Photoworkshops banner, the booking will be transferred.

TECHNIQUE Convert to digital
DAYS OUT
UNDERSTANDING
FOCUSING ON EOS 5D
MARK III AND 7D MARK II
with Nina Bailey
A full day at Penthorpe Natural Park, with
a maximum of three students. The park
is a fantastic location for shooting water
birds and looking at how the focusing
system works and is best congured on
the EOS 5D Mark III and the EOS 7D Mark
II. We are including both cameras on this
event as the focusing systems and set-ups telephoto lens that goes up to at least
are virtually identical. 300mm (longer if you have it). If you have
In addition to looking at the focusing extenders then please bring them.
system we will also look at the settings
that are needed to capture action, such Location Pensthorpe Natural Park,
as birds in ight. The small group size will Fakenham, Norfolk. 10am to 4pm.
EOS CAMERA allow the maximum amount of time for
personal attention. Thursday 30 July 2015. 149
PRACTICAL DAYS For this event you will need a Tuesday 8 September 2015. 149
with Brian Hall or Nina Bailey
A full day with a maximum of just three
students learning how to make the very
best of the features on your EOS camera. BLACK-AND-WHITE
Different events target different models
(see schedule below). PHOTOGRAPHY
This is an intermediate level event, with Nina Bailey
which is ideal for those that have We base ourselves around central London,
upgraded to their current camera and meeting up near Trafalgar Square and
want to quickly get up to speed using working our way through London and its
the camera. We will assume you are parks, nishing up near to the Houses of
comfortable with the basic terms used Parliament, though the exact route might
in photography and the basic controls vary according to the weather conditions
on your camera, such as when to use the on the day. This course has a maximum of
various exposure modes. The event looks ve students.
at a many of the more advanced camera The day looks at a diverse range of
features that can enable you to get better topics from how to set your EOS camera standard kit lens tted. A telephoto lens
results in a wide range of conditions and to produce great black-and-white images can be useful if you have one, though the
minimise post-production. through to understanding framing for standard kit lens would sufce for all the
You will need your camera with a monochrome images. We take a look photography if you want to keep the outt
standard kit lens tted. It will be useful at why contrast is so important within small and light. If you have a polarising
to have a telephoto lens, and for some black-and-white photography and how lter also bring it with you as it can be
subjects an ultra wide-angle lens can be it can be controlled on the camera. We useful if we have good weather.
useful if you have one. also take a look at why the photographic
elements of line, shape, texture and form Location Meeting point in Trafalgar
are so important within black-and-white Square, London. 11:15am to 5pm.
Location South Bank Meeting point photography.
at Southwark Cathedral, London (10 You will need your camera with a Thursday 10 September 2015. 99
mins walk from London Bridge Station).
11:15am to 5pm.
EOS 5D MARK III DAY OUT capture them at their very best. Youll also
Monday 3 August 2015 (Nina). 149 learn about exposure settings, how they
Tuesday 20 October 2015 (Nina). 149 combine and how to control the contrast
and exposure that are frequently seen in
EOS 6D MARK II DAY OUT this type of photography.
Wednesday 14 October 2015 (Brian). 149 We take a mini bus up to the top of the
falls, which cuts out a lot of the uphill walk
EOS 7D MARK II DAY OUT (the cost of this is included) and then walk
Wednesday 30 September 2015 (Brian). 149 back down to the cafe where we start the
event. This is our most strenuous event,
EOS 70D DAY OUT so you need good mobility and tness.
Thursday 16 July 2015 (Brian). 149 A sturdy tripod is essential as are good
Tuesday 22 September 2015 (Nina). 149 walking shoes/boots and waterproofs.
Thursday 22 October 2015 (Nina). 149 You will need a camera with a standard
EOS 650D/700D DAY OUT

WATERFALL kit lens tted. A telephoto lens can be
Tuesday 11 August 2015 (Brian). 149 PHOTOGRAPHY useful. We strongly recommend a neutral
density lter (not a ND graduate), ideally
Thursday 1 October 2015 (Brian). 149 with Nina Bailey ND 8x (3 stops light reduction) to get the
Spend a day in a group of a maximum of slow shutter speeds which produce the
eight students learning how to photograph feathery effect.
Location Chester city centre. 11:15am water and waterfalls in the beautiful
to 5pm. scenery of the Ingleton waterfalls walk in Location Ingleton waterfall trail, North
North Yorkshire. This location allows us to Yorkshire. 10.30am to 4pm.
EOS 7D MARK II DAY OUT photograph many different waterfalls and
Thursday 17 September 2015 (Nina). 149 learn the techniques that are needed to Tuesday 15 September 2015. 99

TECHNIQUE Convert to digital
ONLINE
UNDERSTANDING YOUR EOS
with Brian Hall We will be in locations that give plenty of
This is an intermediate level event that subjects to photograph. This event runs
requires a basic familiarity with your regardless of the weather and lighting
camera and assumes that you can conditions, therefore what we include will
take images in the Auto+ and Scene vary slightly from one event to another.
modes and navigate the menu system This event is applicable to any camera
successfully. This is a totally practical in the EOS range. You will need your
event in a small group (maximum ve camera with a standard kit lens tted. It
delegates) and allows learning in a hands- will be useful to have a telephoto lens for
on style. some subjects.
We look at taking control of the key
modes and overrides on your EOS Location Meeting point in Trafalgar
camera. The day concentrates on the use Square, London. 11:15am to 5pm.
of the different modes and how to cope
as the light levels and conditions change. Thursday 8 October 2015. 99
FILL-IN FLASH FOR

PORTRAITS
with Nina Bailey
As a group of ve students (maximum)
youll spend the day in the splendid
grounds and magnicent conservatory of
Syon House, learning about getting the
very best ll-in ash images in different
light levels. We will have a model to
photograph throughout the day and, with Our online EOS Training Academy is a
such a small group, you will get some unique resource designed exclusively for
great images as well as learning all about EOS photographers.
the EOS ash system.
You will need your camera and your Canon ash units and what we talk about This is a training programme made up
normal standard kit lens. A telephoto on this event may not work with anything of video tutorials, which are available
zoom lens can also be useful on this event other than Canon Speedlites. to be streamed online 24 hours a day,
to get better background blur. You will seven days a week. This allows you to t
need your own ashgun which can be Location Syon House, London (easy your training into your busy schedule in
any Speedlite EX unit. The built-in ash free parking only 10 minutes from M4, small bite-size pieces. The tutorials last
can also be used, but is not as exible as Chiswick). 10am to 4pm. between 5 and 25 minutes, and deal with
having an external ash. Third-party ash very specic topics within photography,
units do not operate in the same way as Thursday 24 September 2015. 159 camera usage or techniques.
The system is designed to be accessed

via your PC, Mac or tablet and requires an
TRAVEL AND CITY WILDLIFE AND MACRO internet connection. The programme is
PHOTOGRAPHY PHOTOGRAPHY split into 13 specic modules so you can
with Brian Hall with Nina Bailey easily nd the topic you want to view.
This course runs with a maximum of ve A totally practical event with a maximum
students. We base ourselves along the of ten students. It combines mostly There are modules on understanding
banks of the Thames in London, starting wildlife photography tuition with some photography, the modes on your camera,
by the Houses of Parliament and ending training on macro photography, which your camera settings and overrides, the
up by Tower Bridge, covering a distance of allows you to cover a broader spectrum of creative side of photography and lenses,
about 3.5 to 4 miles during the day. Along natural history subjects. the ash system, specic techniques plus
the route youll be able to photograph Pensthorpe has a wide range of workow and software tutorials.
some of Londons most iconic sights, waterfowl to photograph and at the time
meaning youll end up with a pleasing set of year that we run the event there is a If you have one of the more advanced
of images by the end of the course. fantastic herbaceous garden with lots of cameras, such as the EOS-1D X, 5D Mark
The days content is varied and covers owers and insects to photograph. The III, 7D or 70D there are also modules
how to plan your outings, how to shoot event allow us to cover a wide range of available which look in-depth at the
successful travel images and all of the subjects and techniques applicable to focusing settings and some of the custom
techniques that you need to understand these fascinating areas. features of these more advanced and
to get the best shots. You will also learn For this event you will need a telephoto complex models.
how to look for unusual viewpoints and lens that goes up to at least 300mm
angles, as well as making the best use (longer if you have it). A macro lens will Every month we add new and exciting
for the lenses that you have. Youll pick also be useful, but is not essential. If you tutorials so that the system continues
up techniques for coping with shooting have Extenders or Extension tubes then to expand and grow to be even more
conditions that are less than ideal, plus please bring them. comprehensive.
why the detail shots can often convey far
more than the general scenes. Location Pensthorpe Natural Park, The annual subscription to the
This event is applicable to any of the Fakenham, Norfolk. 10am to 4pm. programme is only 79 less than the
Canon EOS range. You will need your cost of most one-day seminars. Check
camera with a standard kit lens tted, Tuesday 21 July 2015. 79 out the contents and get access to a few
though a telephoto lens is useful. free tutorials at:
Visit www.eostrainingacademy.
Location Meeting point Southbank, co.uk for more courses. Phone https://moodle.
London. 11:15am to 5pm. 01869 331741 to book your EOS eostrainingacademy.co.uk/
Training Academy course.
Sunday 13 September 2015. 99

A. J. Johnstone & Co Ltd
Authorised Canon Service Centre
395-399 Central Chambers

93 Hope Street, Glasgow G2 6LD
Camera Repair Technicians based in Glasgow, Scotland,

providing a Specialist Repair Service throughout the UK.
Welcome to one of the UKs leading Photographic Equipment

9LWHPY:WLJPHSPZ[Z,Z[HISPZOLKV]LY-VY[`@LHYZHUKVLYPUN
to service your needs not only in Scotland but Nationwide
throughout the UK
Hours of business:
Mon-Fri 9am-5.15pm
Thurs 9am-7pm
Sat 10am-12pm
Tel: 0141 221 2106
Fax: 0141 221 9166
www.ajjohnstone.co.uk
Email: enquiries@ajjohnstone.co.uk
COLCHESTER
CAMERA
REPAIR CENTRE
6 Kings Court, Newcomen Way, Severalls Business Park, Colchester, Essex CO4 9RA
Authorised Service Facility

Canon warranty and chargeable repairs undertaken
Most other makes repaired. Full postal service
Tel: 01206 843322 Fax: 01206 843323

website: www.camera-repair.co.uk email: enquiries@camera-repair.co.uk


A SELECTION OF YOUR PHOTOGRAPHIC QUERIES
Q&A
Clever remote timer
In the article about
time-lapse in the April-
June 2015, page 54, you
mention that the auto
power-off setting needs
consideration. I have not
experienced any issues
using a Timer Remote Controller TC-80N3 and
EOS 5D Mark III, so I investigated this further.
edited by Robert Scott
The TC-80N3 is a bit more intelligent than
many realise. For long interval settings of more
Send queries to: than a minute the TC-80N3 will send a wake
advice@eos-magazine.com, phone 01869 331741 or write to up pulse to the camera 60 seconds before the
EOS magazine, The Old Barn, Ball Lane, Tackley, Kidlington OX5 3AG. shutter is due to be released. This is to link with
the save-energy feature of the older Speedlites
and give them a chance to recharge before the
exposure happens. Then ve seconds before the
exposure is due to be made the TC-80N3 again
wakes up the metering and AF on the camera to
ensure that the picture is captured on the right
interval.
Some of the later generations of EOS cameras
can be set to an auto power off interval of 30
seconds, in which case if using a ve-minute
interval the camera would be woken up after
four minutes, go back to sleep and then woken
Holiday with no mains power up at ve seconds before the exposure.
Im going on holiday soon to a location where there is no mains power so Brian Worley
I will have to rely on batteries. The opportunities to use a solar charger
will be very limited so what would you advise?
Card conundrum
Unless you have a good few hours per day of strong sunlight you may not My UDMA7 32GB CF cards when formatted in
be able to charge a battery fast enough with a solar charger. my EOS 5D Mark II give me around 1000 images
If you are travelling by car you can buy an inverter which takes a 12 (RAW+JPEG). When formatted in my EOS
volt input from the car battery and outputs 240 volts. This should run a 20D the same card only gives me 685 images
Canon battery charger. Check that you can use the device with the car (RAW+JPEG). However when formatted in my
engine running so that you do not exhaust the car battery. Prices start at EOS 5D Mark II, but then used in my EOS 20D
around 30. Just search for inverter on the web. EOS magazine bought the cards seem to give me over 2500 images.
an inverter some years ago and we have used it successfully with battery I cant see any image degradation so what
chargers, smartphones and tablets. problems might I experience when using the
Alternatively, you could take a number of fully-charged camera 32GB CF cards?
batteries with you to cover the period of your expedition. An important
consideration is the efciency of the battery. All batteries will deteriorate The EOS 20D was designed at a time when 32GB
with age, so if your batteries are a few years old, now would be a good CF cards were not available and its not therefore
time to buy some new ones. going to be able to address the full space on the
If your camera uses an LP-E6 battery you can check how well your card. If you format a 32GB card on a 20D camera,
Canon batteries are working by looking in the spanner menu and selecting its only going to see it as an 8GB card.
battery info (above left). This feature not only shows you the charge If you format a 32GB card on a later camera
remaining, but also how well the battery is charging. Each battery has a that can recognise the full working space
unique serial number and you can register multiple battery packs with available on the card and then insert that card
the camera. You should see three green rectangles next to the Recharge into the EOS 20D, you will confuse the camera
performance this indicates optimum performance. As the battery and it will not correctly report the number of
degrades, fewer green rectangles will be shown. If you see any red remaining shots.
rectangles, its time to get a new battery. The basic rule is to always format a card in
You can also take measures to minimise the current drain on the the camera in which it will be used (or another
battery. Check the auto power off feature and set it to a short interval, camera of the identical model) never format in
such as one minute. One of the greatest consumers of battery power is one model for use in another.
the LCD monitor. The spanner menu will have a setting to control the LCD It is also recommended that you do not
brightness and you should check that this is not set to full brightness if its format the card on a computer, via a card reader,
not required (above right). The image review time can also be set from the as this can also confuse the camera.
menu under the camera tab where you might opt to display the image just You should be able to use a 32GB card in a
taken for only two seconds or possibly disable this feature altogether. Be 20D as long as you format it in that camera, but
aware that shooting video also makes a signicant drain on the batteries. you will only have 8GB of usable space.

Q&A
LEE BEEL
Left St. James Church,
Louth, Lincolnshire. The
church is a medieval
building. At 295 feet
(90 metres) tall, it has
...continued the tallest spire of any
medieval parish church in
England. EOS 5D Mark II,
Shooting stained glass EF 100-400mm f4.5-5.6L IS
USM lens (at 130mm), 1/80
My local church features some beautiful stained
second at f16, ISO 400.
glass windows but does not allow the use of
ash. How can I capture the vibrant colours?
Stained glass comes to life only when light is

shining through it. To prove this, look at your
chosen window from outside the building
it is dull and lifeless because there is little
illumination coming through from inside you
are only seeing light reected from the surface
of the glass. Now move inside and just look
at the difference during the day, light pours
through the glass and makes the window glow
with colour.
It should be obvious that you need to
photograph a stained glass window from inside
Left A detail from the
the building, so rst you must check that this
above window. This can
is allowed. Some churches and cathedrals do have greater impact than
not allow photography as they feel that is might the complete view and
disturb other visitors, especially those who are eliminate any issues with
converging verticals.
there for prayer or reection. Some require that
you pay for a permit, especially if you want to
use a tripod. There will usually be notices near
the entrance if photography is prohibited or
restricted, but if in doubt, ask.
Choose your time carefully. Usually, you
want a bright but overcast day that will give
even, diffuse lighting. Direct sunlight streaming Converging
through the window may cause unwanted hot- verticals
Stained glass windows
spots on the glass, or even lens are. are often set high in the
Unless the light is very bright you will have walls of the building, which
to mount the camera on a tripod, or nd some means that you have to
other support, to avoid camera shake. point the camera upwards
to take a photograph.
Dont use ash to photograph a stained glass In the photograph, the
window the rich hues are only visible when window will appear to be
light comes through the window. Flash bouncing falling away.
This can be effective so
back from the window will kill the colours and
long as you ensure that the
give bright reections on the glass. use Auto Exposure Bracketing (set to 1.5 verticals are converging
stops) to ensure a correct exposure. If your EOS to the extent that it looks
Exposure does not have this facility, set the exposure intentional. However, if
you are intending to record
Theres nothing difcult about photographing compensation to +1.5 for clear glass, or 1.5 for
it accurately you really
stained glass. In fact, the simplest way is to set dark surrounds. need to avoid converging
your EOS camera to Program (P) mode and let it Another potential problem with an area of verticals. To do this, make
set a suitable aperture and shutter speed. clear glass is that it may show unwanted detail sure that the camera
back is parallel to the
Dont use Full Auto or a PIC modes. On many from outside the window. If so, switch your
window have a look to
EOS cameras these will activate the built-in ash camera to aperture-priority (Av) mode and set a see if there is access to a
in low light, which you dont want. wide aperture to throw the exterior out of focus. balcony which will bring
The range of colours on most stained glass Most stained glass windows are full of you level to the window.
Alternatively, employ a
windows even out to give a mid-tone, so the intriguing details. Using a telephoto lens to
Canon TS-E lens to shift
camera will have little trouble giving a correct home in on a small part of a window can create the lens upwards.
exposure if you ll the frame with the glass. a more interesting image than if you try to However, perhaps
However, if the window has large clear areas, photograph the whole window. In fact, wed say the easiest solution is to
photograph just part of
or you are including a lot of the dark framework that the best pictures are almost certain to come
the window so that the
surrounding the glass, this may confuse the from zooming in on a small area of the window converging verticals are
metering system. In such situations you should to capture detail which is lost in the overall view. less noticeable.

Is mirrorless an appropriate
photographic term?
Seeking a small master ash
Having graduated from the EOS 7D to a 5D Mark III there is no built in
master ash trigger. Im investigating what off-camera ashgun system Mention the term mirrorless today and
would best suit my needs. Im just a keen amateur and need something most photographers will assume that you
which isnt too expensive, but is reliable and I think (but not sure how are talking about a camera that accepts
necessary it is) full E-TTL rather than manual. interchangeable lenses, but lacks the mirror
Some Speedlites work with optical pulses while the Speedlite 600EX- found in single-lens reex (SLR) cameras.
RT uses radio pulses. Can a set-up handle both types as I move up from The word reex is an archaic use of the
my Speedlite 430EX II to the 600EX-RT? word, meaning a reected source of light.
In SLR cameras a hinged mirror positioned
Take a look at the Speedlite 90EX (right). This behind the lens reects light up to a focusing
diminutive ashgun was designed for the EOS screen which forms part of an optical
M, but works equally well with any EOS digital viewnder.
camera and is ideal for EOS cameras which You see the screen image when you look
do not feature built-in ash. It offers E-TTL II through the camera eyepiece. When the
autoash photography. The guide number is modest at 9 (metres, ISO 100) shutter button is pressed, the mirror ips
the guide number of most built-in ash units on EOS cameras is around up to let light through to the sensor (or lm)
11 to 13. However, it is ideal for those times when you wish you had a built- at the back of the camera, at the same time
in ash on your EOS 5D Mark III. giving a brief viewnder blackout.
The remarkable feature of this tiny ash unit is that it is also a wireless Doing away with the mirror eliminates the
ash master, triggering up to three groups of compatible off-camera noise you hear as it moves up or down. It
Speedlites (which includes your Speedlite 430EX II) at up to 7 metres. can also shorten the time between pressing
The wireless feature of the Speedlite 90EX works using optical pulses the shutter button and the actual exposure,
rather than radio frequencies. We have not yet seen any device which will which can lead to faster shooting speeds.
output both types of signal. However, it loses the advantage of the optical
At a street price of around 120, the Speedlite 90EX appears to meet viewnder.
most of your requirements at a reasonable cost. Previewing the image on some mirrorless
cameras (such as the EOS M) has to be done
using the rear screen, which means holding
Corrections the camera at arms length (an action known
In the Interval Time article in the I very much enjoyed reading the as chimping). Some mirrorless cameras have
last issue you say that the EOS 7D latest April-June 2015 issue with its a viewnder which has an eyepiece similar to
Mark II is the rst Canon camera varied and interesting articles. an optical viewnder, but shows the image on
with a built-in intervalometer. In A small correction is needed a small electronic screen. The recent EOS M3
2004 I bought a Canon PowerShot regarding the Freelance Diary offers an optional electronic viewnder which
S70 digital camera with this article on page 81. The photograph attaches to the cameras accessory shoe. The
function built-in. The interval can of the moth at the bottom of the disadvantage of electronic viewnders is that
be adjusted from 1 to 60 minutes page under Something New is a the image is not continuous. It needs to be
and the number of shots from 1 Broad-bordered Bee-hawk moth refreshed many times a second. This is ne
to 100, depending on the space and not a Hummingbird Hawk- with a static camera, but moving the camera
remaining on the CF card. moth! will often create a slight delay while the image
Tony Hardy Val Perrin catches up.
Calling such devices mirrorless, while
correct, ignores the history of cameras.
Canons rst SLR was introduced in
CANON 1959. During the previous 20 years they
INSTRUCTION manufactured a number of rangender
DIGITAL CAMERA & models, none of which featured a reex
MANUALS CAMCORDER mirror. Today, IXUS and PowerShot compact
REPAIR CENTRE cameras from Canon are also mirrorless, but
are not described as such.
EOS magazine supplies
V
?j?jWj?~ The Consumer Electronics Association
instruction manuals and Vjjj?jj
manual kits (including V.?? (CEA) describes mirrorless as a subset of
software CDs) for EOS V?^?aj?MjjWj interchangeable lens cameras that does not
V#j?W~wj?
cameras and over 700 other V
?j??j?F?WWjj include a mirror mechanism but this also
Canon consumer products covers the early Canon rangender models,
(compact cameras, printers, Tel: 0208 904 0900 all of which had interchangeable lenses.
camcorders, desktop E-mail: enquiries@eurohitech.co.uk
Visit: www.eurohitech.com Perhaps this explains why Canon avoids the
copiers, fax machines www.londoncamerarepairs.com term mirrorless and uses Compact System
and more) www.camcorder-repairs.com Camera (CSC) to describe its EOS M series,
www.instructionbooks.co.uk ,?a-?a^ ??j j+?^ now in its third generation.
??j^8jMj!

EQUIPMENT DATA
EOS digital cameras

EOS camera names worldwide Latest rmware Camera chronology
Some EOS cameras are sold under different names in different Firmware is an interface between the camera 50 different EOS digital camera models have
parts of the world mostly for marketing reasons. The three features and the camera hardware. Firmware been introduced since July 1995. The rst
main market areas are Europe, the USA and Japan, though India is complex and not always perfect when four models were collaborations with Kodak.
and China are becoming increasingly important. The enthusiast it is installed by Canon. Despite rigorous The rst Canon exclusive model was the EOS
and professional models have the same names across the testing, there can be aws. Canon provides D30 in 2000. For the most part, the dates
world. It is with the entry-level models that the names differ. rmware updates for different cameras from indicated the time at which the cameras were
Europe favours a numerical approach. North America and Japan time to time to correct these issues. They are announced availability might have been
go for a name Rebel and KISS respectively. If you plan to buy available from: a month or two later. The EOS 100D was
abroad, in person or online, you need to make a note of these http://software.canon-europe.com introduced with a white nish in November
names. The cameras are generally the same, though with minor The updates are designed so that they can be 2013 (Japan), May 2014 (Europe) and June
differences in a few cases. installed by the user. 2014 (North America).
Europe USA Japan Camera rmware last updated Camera introduced
EOS-1D EOS-1D EOS-1D EOS-1D 1.4.0 30 Jul 2002 EOS DCS 3 JULY 1995
EOS-1D Mark II EOS-1D Mark II EOS-1D Mark II EOS-1D Mark II 1.2.6 20 Dec 2006 EOS DCS 1 DECEMBER 1995
EOS-1D Mark II N EOS-1D Mark II N EOS-1D Mark II N EOS-1D Mark II N 1.1.2 20 Dec 2006 EOS D2000 MARCH 1998
EOS-1D Mark III EOS-1D Mark III EOS-1D Mark III EOS-1D Mark III 1.3.2 30 Jul 2013 EOS D6000 DECEMBER 1998
EOS-1D Mark IV EOS-1D Mark IV EOS-1D Mark IV EOS-1D Mark IV 1.1.4 30 Jul 2013 EOS D30 OCTOBER 2000
EOS-1D X EOS-1D X EOS-1D X EOS-1D X 2.0.7 19 Jan 2015 EOS-1D DECEMBER 2001
EOS-1Ds EOS-1Ds EOS-1Ds EOS-1Ds 1.0.3 6 Apr 2004 EOS D60 MARCH 2002
EOS-1Ds Mark II EOS-1Ds Mark II EOS-1Ds Mark II EOS-1Ds Mark II 1.1.6 20 Dec 2006 EOS-1Ds NOVEMBER 2002
EOS-1Ds Mark III EOS-1Ds Mark III EOS-1Ds Mark III EOS-1Ds Mark III 1.2.3 30 Jul 2013 EOS 10D MARCH 2003
EOS 5D EOS 5D EOS 5D EOS 5D 1.1.1 18 Mar 2008 EOS 300D SEPTEMBER 2003
EOS 5D Mark II EOS 5D Mark II EOS 5D Mark II EOS 5D Mark II 2.1.2 29 Feb2012 EOS-1D Mark II APRIL 2004
EOS 5D Mark III EOS 5D Mark III EOS 5D Mark III EOS 5D Mark III 1.3.3 27 Jan 2015 EOS 20D SEPTEMBER 2004
EOS 5DS EOS 5DS EOS 5DS EOS 5DS tbc EOS-1Ds Mark II NOVEMBER 2004
EOS 5DS R EOS 5DS R EOS 5DS R EOS 5DS R tbc EOS 20Da FEBRUARY 2005
EOS 6D EOS 6D EOS 6D EOS 6D 1.1.6 1 Dec 2014 EOS 350D MARCH 2005
EOS 7D EOS 7D EOS 7D EOS 7D 2.0.5 2 Dec 2013 EOS-1D Mark II N OCTOBER 2005
EOS 7D Mark II EOS 7D Mark II EOS 7D Mark II EOS 7D Mark II 1.0.4 23 Apr 2015 EOS 5D OCTOBER 2005
EOS 10D EOS 10D EOS 10D EOS 10D 2.0.1 20 Jan 2004 EOS 30D MARCH 2006
EOS 20D EOS 20D EOS 20D EOS 20D 2.0.3 26 Oct 2005 EOS 400D SEPTEMBER 2006
EOS 20Da EOS 20Da EOS 20Da EOS 20Da 2.0.3 26 Oct 2005 EOS-1D Mark III MAY 2007
EOS 30D EOS 30D EOS 30D EOS 30D 1.0.6 18 Mar 2008 EOS-1Ds Mark III NOVEMBER 2007
EOS 40D EOS 40D EOS 40D EOS 40D 1.1.1 20 Jan 2009 EOS 40D SEPTEMBER 2007
EOS 50D EOS 50D EOS 50D EOS 50D 1.0.8 20 Jun 2012 EOS 450D MARCH 2008
EOS 60D EOS 60D EOS 60D EOS 60D 1.1.1 8 Jun 2012 EOS 1000D JUNE 2008
EOS 60Da EOS 60Da EOS 60Da EOS 60Da 1.1.1 8 Jun 2012 EOS 50D SEPTEMBER 2008
EOS 70D EOS 70D EOS 70D EOS 70D tbc EOS 5D Mark II NOVEMBER 2008
EOS 100D EOS Rebel SL1 EOS KISS X7 EOS 100D 1.0.9 EOS 500D MAY 2009
EOS 300D EOS Rebel EOS KISS Digital EOS 300D 1.1.1 23 Oct 2003 EOS 7D OCTOBER 2009
EOS 350D EOS Rebel XT EOS KISS Digital N EOS 350D 1.0.3 26 Oct 2005 EOS-1D Mark IV DECEMBER 2009
EOS 400D EOS Rebel XTi EOS KISS Digital X EOS 400D 1.1.1 19 Sep 2007 EOS 550D FEBRUARY 2010
EOS 450D EOS Rebel XSi EOS KISS X2 EOS 450D 1.1.0 23 Apr 2009 EOS 60D SEPTEMBER 2010
EOS 500D EOS Rebel T1i EOS KISS X3 EOS 500D 1.1.1 20 Jun 2012 EOS 600D MARCH 2011
EOS 550D EOS Rebel T2i EOS KISS X4 EOS 550D 1.0.9 25 Nov 2010 EOS 1100D MARCH 2011
EOS 600D EOS Rebel T3i EOS KISS X5 EOS 600D 1.0.2 19 Jan 2012 EOS 5D Mark III MARCH 2012
EOS 650D EOS Rebel T4i EOS KISS X6i EOS 650D 1.0.4 3 Jun 2013 EOS-1D X APRIL 2012
EOS 700D EOS Rebel T5i EOS KISS X7i EOS 700D 1.1.4 31 Mar 2015 EOS 60Da JUNE 2012
EOS 750D EOS Rebel T6i EOS KISS X8i EOS 750D tbc EOS 650D JUNE 2012
EOS 760D EOS Rebel T6s EOS 8000D EOS 760D tbc EOS M OCTOBER 2012
EOS 1000D EOS Rebel XS EOS KISS F EOS 1000D 1.0.7 13 Oct 2010 EOS 6D DECEMBER 2012
EOS 1100D EOS Rebel T3 EOS KISS X50 EOS 1100D 1.0.5 19 Jan 2012 EOS 100D APRIL 2013
EOS 1200D EOS Rebel T5 EOS KISS X70 EOS 1200D tbc EOS 700D APRIL 2013
EOS D30 EOS D30 EOS D30 EOS D30 1.0.3.0 22 Apr 2002 EOS 70D AUGUST 2013
Cameras in BOLD are current
EOS D60 EOS D60 EOS D60 EOS D60 1.0.4 11 Nov 2002 EOS M2 DECEMBER 2013
EOS D2000 EOS D2000 EOS D2000 EOS D2000 3.2.3 5 Dec 2008 EOS 1200D MARCH 2014
not sold not sold EOS D6000 EOS D6000 3.2.3 5 Dec 2008 EOS 7D Mark II SEPTEMBER 2014
EOS DCS 1 EOS DCS 1 EOS DCS 1 EOS DCS 1 5.0.1 Feb 1999 EOS 5DS FEBRUARY 2015
EOS DCS 3 EOS DCS 3 EOS DCS 3 EOS DCS 3 5.0.1 Feb 1999 EOS 5DS R FEBRUARY 2015
EOS M EOS M EOS M EOS M 2.0.2 27 Jun 2013 EOS 750D FEBRUARY 2015
not available not available EOS M2 EOS M2 tbc EOS 760D FEBRUARY 2015
EOS M3 not available EOS M3 EOS M3 tbc EOS M3 FEBRUARY 2015

Lenses and accessories
EF zoom lenses EF prime lenses Speedlites Intro.
Guide
number
Wireless
master/slave
Zooms give a range of focal lengths in a single lens, The following lenses are among the best you can buy
replacing a number of non-zoom lenses. The EF for your EOS camera. At the very least, you should SPEEDLITE EX series
24-70mm and EF 70-300mm lenses, for example, consider the nifty fty EF 50mm f1.8 STM one of Speedlite 90EX 2012 9 master
might cover all your needs. IS lenses have built-in the least expensive lenses in the system. Speedlite 270EX 2009 27
gyros which control a group of elements. These shift EF 14mm f2.8L II USM Speedlite 270EX II 2011 27 slave
in response to movement and reduce the effects of Speedlite 320EX 2011 32 slave
camera shake. EF 20mm f2.8 USM
Speedlite 430EX II 2008 43 slave
EF 8-15mm f4L Fisheye USM EF 24mm f1.4L II USM Speedlite 580EX II 2007 58 both
EF 11-24mm f4L USM EF 24mm f2.8 IS USM Speedlite 600EX-RT 2012 60 both
EF 28mm f1.8 USM Speedlite 600EX 2012 60 both
EF 16-35mm f2.8L II USM
EF 16-35mm f4L IS USM EF 28mm f2.8 IS USM
MACRO FLASH UNITS
EF 17-40mm f4L USM EF 35mm f1.4L USM Macro Ring Lite MR-14EX 2000 14 master
EF 24-70mm f2.8L II USM EF 35mm f2 Macro Ring Lite MR-14EX II 2014 10.5 master
EF 35mm f2 IS USM Macro Twin Lite MT-24EX 2001 24 master
EF 24-70mm f4L IS USM
EF 24-105mm f3.5-5.6 IS STM EF 40mm f2.8 STM
EF 24-105mm f4L IS USM EF 50mm f1.2L USM Batteries and battery grips
EF 28-135mm f3.5-5.6 IS USM EF 50mm f1.4 USM Camera Battery pack Battery grip
EF 28-300mm f3.5-5.6L IS USM EF 50mm f1.8 STM EOS-1D, 1D Mark II,
NP-E3
EF 70-200mm f2.8L USM EF 50mm f1.8 II 1D Mark II N
EF 70-200mm f2.8L IS II USM EF 85mm f1.2L II USM EOS-1Ds, 1Ds Mark II NP-E3
Built-in
EF 70-200mm f4L USM EF 85mm f1.8 USM EOS-1D Mark III,
LP-E4
EF 70-200mm f4L IS USM EF 100mm f2 USM 1Ds Mark III, IV
EF 70-300mm f4.5-5.6 DO IS USM EF 135mm f2L USM EOS-1D X LP-E4N
EF 75-300mm f4-5.6 III EF 200mm f2L IS USM EOS 5D BP-511A BG-E4
EF 75-300mm f4-5.6 III USM EF 200mm f2.8L II USM EOS 5D Mk II LP-E6 BG-E6
EF 70-300mm f4-5.6 IS USM EF 300mm f2.8L IS II USM EOS 5D Mk III
LP-E6 BG-E11
EF 70-300mm f4-5.6L IS USM EF 300mm f4L IS USM EOS 5DS / 5DS R
EF 100-400mm f4.5-5.6L IS II USM EF 400mm f2.8L IS II USM EOS 6D LP-E6 BG-E13
EF 200-400mm f4L IS USM Ext. 1.4x EF 400mm f4 DO IS USM EOS 7D LP-E6 BG-E7
EF 400mm f5.6L USM EOS 10D, D30, D60 BP-511 BG-ED3
EF 500mm f4L IS II USM EOS 20D/20Da, 30D,
EF-S lenses EF 600mm f4L IS II USM
BP-511A BG-E2/N*
40D, 50D
These lenses are designed for the lens mount of the
EOS 7D, 7D Mark II, 20D, 30D, 40D, 50D, 60D, 70D, EF 800mm f5.6L IS USM EOS 60D, 60Da LP-E6 BG-E9
100D, 300D, 350D, 400D, 450D, 500D, 550D, 600D, EOS 70D LP-E6 BG-E14
650D, 700D, 750D, 760D, 1000D, 1100D and 1200D
digital cameras. EF lenses also t these cameras, but
Macro lenses EOS 100D LP-E12 Not available
EF-S lenses will not t other EOS cameras. Macro lenses provide life-size or greater EOS 300D BP-511 BG-E1
magnications, but also focus to innity for general EOS 350D, 400D NB-2LH BG-E3
EF-S 10-18mm f4.5-5.6 IS STM
photography (except MP-E65mm f2.8 lens).
EF-S 10-22mm f3.5-4.5 USM EOS 450D, 500D, 1000D LP-E5 BG-E5
EF 50mm f2.5 Macro
EF-S 15-85mm f3.5-5.6 IS USM EOS 550D, 600D,
Life-size Converter (for 50mm Macro) LP-E8 BG-E8
EF-S 17-55mm f2.8 IS USM 650D, 700D
EF-S 60mm f2.8 Macro USM EOS 750D, 760D LP-E17 BG-E18
EF-S 17-85mm f4-5.6 IS USM
EF 100mm f2.8 Macro USM EOS 1100D, 1200D LP-E10 Not available**
EF-S 18-55mm f3.5-5.6 IS II
EF 100mm f2.8L Macro IS USM EOS M, M2 LP-E12 Not available
EF-S 18-55mm f3.5-5.6 IS STM*
EF 180mm f3.5L Macro USM EOS M3 LP-E17 Not available
EF-S 18-135mm f3.5-5.6 IS STM
MP-E65mm f2.8 1-5x Macro
EF-S 18-200mm f3.5-5.6 IS * The BG-E2 and BG-E2N are both compatible with the EOS 20D, 30D,
Extension Tube EF12 II 40D and 50D. The BG-E2N was introduced with the EOS 40D and adds a
EF-S 24mm f2.8 STM weatherproof seal to the battery compartment.
Extension Tube EF25 II
EF-S 55-250mm f4-5.6 IS II ** There is a Battery Grip BG-E9, and a BG-E11, but no BG-E10. Logically,
EF-S 55-250mm f4-5.6 IS STM this would be the grip for the EOS 1100D and 1200D, but there is no grip
* also available in white to match the
Tilt-and-shift for these cameras mentioned in the instruction manual, nor in any Canon
These lenses can be tilted at an angle to the camera listing. If you do an internet search for BG-E10 you will nd quite a few
EOS 100D (WHITE) camera compatible from third-party manufacturers, but so far we have not seen
body and the lens axis can be shifted away from the
a genuine Canon BG-E10 grip. Our guess is that Canon feels there will be
centre of the frame. This allows you to correct the
insufcient demand for a grip to t these entry-level models, but has left
EF-M lenses converging vertical lines of buildings and manipulate its options open.
EF-M lenses will only t the EOS M, M2 and M3 depth-of-eld independently of the lens aperture.
cameras. However, EF and EF-S lenses can be used TS-E 17mm f4L
on the EOS M and M2 cameras via Mount Adaptor
TS-E 24mm f3.5L II EF Extenders
EF-EOS M (129.99).
TS-E 45mm f2.8 Extenders multiply the effective focal length of the lens to which they
EF-M 11-22mm f4-5.6 IS STM are attached by 2x or 1.4x. At the same time they reduce the effective
TS-E 90mm f2.8
EF-M 18-55mm f3.5-5.6 IS STM aperture of the lens by 2 stops or 1 stop respectively. Extenders are
only compatible with certain lenses (see Everything EOS below).
EF-M 55-200mm f4-6.3 IS STM Only current lenses and accessories are listed on
EF-M 22mm f2 STM this page. For everything since the EOS system was Extender EF 2x Mk III
introduced in 1987, see Everything EOS (below). Extender EF 1.4x Mk III
For the full picture see Everything EOS at www.eos-magazine.com/extraeos.html

Forum
www.eos-magazine-forum.com
Statistics (at 23 June 2015)
Members 9.191 (+930)
Threads 28,175 (+1677)
Posts 268,145 (+19070)
Most popular forum Birds
(Figures in brackets show the increase since last issue)
Left This picture has
PAUL ELLIOTT
attracted a lot of attention!
says Paul. It has been used
inside the RAF Typhoon
Display yearbook, the RAF
Association asked to use it
on a poster for a childrens
activity book, and I am
told it will feature in RAF
Coningsbys own in-house
magazine.
It was taken during a
practice session for the
new Typhoon Spitre
Synchro 75 Display to
commemorate the 75th
Anniversary of the Battle
of Britain. The jet has been
specially painted in RAF
camouage of 1940. Having
sent the photograph to
the Typhoon team I was
contacted by the pilot, Flt
Lt Ben Westoby-Brooks,
whom I have now met as he
came to my home to sign a
mounted copy for me. EOS
7D Mark II, EF 70-200mm
f2.8L IS II USM lens plus EF
1.4x Extender (at 265mm),
1/1600 at f4, ISO 100.
Paul Elliott (pelliott1954) posted on the forum his to nd one I was happy with, and with a lot of
image of a Typhoon jet, which he photographed reviewing and deleting as I went. IS was set to Batteries
recently during the display teams practice No 3, autofocus on back button focus and off we
session at RAF Coningsby. Lincolnshire. go. I know the body goes into standby after a on test
I recently shot some pics of the rst outing minute but, that aside, the camera wasnt turned Look out for our
of the new display Typhoon jet painted to off completely until 6.30pm. How did the set up article comparing
commemorate the 75th Anniversary of the do? I am more than impressed 2065 saved to Canon batteries
Battle of Britain. I was contacted by the Editor the card (379 deleted while reviewing) with 8% with third-party
of Combat Aircraft for permission to use my pic, left on the battery. alternatives in a
which I granted. Paul Linton replies, I cant say Ive ever really future issue.
While Paul was credited for his image, he checked on the EOS 5D Mark III, but can shoot
was not paid for its publication. Paul Linton was most of the day (with 400mm) without worry and
one forum member to offer his congratulations, still upload hundreds of RAW images through
Well done, Paul, and congratulations are well the camera and cable with no need to recharge.
deserved. But shame on the Combat Aircraft It always seems to have plenty of power left.
editor for asking to use your image for free. Not (Although I did buy an extra battery for Tour de
good business. Nobody is going to turn down Yorkshire just to be on the safe side!)
the chance to be published and they know it. Parsen66 responded, I didnt fair too well
Happily, as you would expect from a on my EOS 7D Mark II with EF 300mm and 1.4x
publication dedicated to photographers, EOS Extender. I shot RAW and JPEG all day (around
Sign up to
magazines policy is to pay for every image 1400 shots) and got through two batteries. the forum
published (unless it is provided free, such as Obviously it depends on how the camera was set
some competition images). So at least Paul can up. I used AF Servo all day with moving targets, Follow these and many
expect payment this time around! which really drains things. other threads at
Paul Linton is also active in a discussion about Andy Mulhearn, who also owns a similar www.eos-magazine-
forum.com
battery consumption. David Stallard started the model, expresses some concern, My last You can read posts
thread by saying that he thought his EOS-1D X charge on my EOS 7D Mark II yielded 480 shots, without registering,
and EF 200-400mm f4L IS USM with built-in 1.4 down about 200 from usual. Slightly worrying. but you will need to
Extender would be a power-hungry combination, Battery life is dependent on a number of register and log in
if you want to ask
but he was pleasantly surprised. factors, such as whether you are using autofocus
questions or contribute
I turned up at a race meet at 8.30am, turned or image stabilisation, both of which increase to discussions.
the camera on and set it to Large JPG. I knew it power consumption, especially in low light or Registration is free to
was going to be a photo-heavy day with a lot of with macro subjects when the camera might all photographers.
chopping and changing between case settings struggle to nd focus.

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a PDF, which has been
optimised for reading on A Beginners Guide to
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Ninas third eBook in the Upgrading series will help Canons rst affordable full-frame camera has
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Incorporating many of the features found in the 25% when you and 1D X within reach of enthusiast photographers.
professional 1D-series cameras, this feature-rich The EOS 6D offers a valuable step between the
camera will appeal to many enthusiasts. Nina buy two or simpler introductory models and the professional
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that will be new to most photographers, and therefore stepping up to the EOS 6D from an entry-level model
assumes a grasp of the basics of photography. This Baileys eBooks. like the EOS 600D, theres a big learning curve ahead.
comprehensive eBook picks out the key elements you Choose from her This eBook explains the cameras layout changes,
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Upgrading to the EOS 7D Mark II Upgrading to the EOS 6D
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Dierences in camera layout Dierences in camera layout
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Conguring the camera
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Conguring the camera
placing your
The focusing system The focusing system
The image processing options The image processing options
The custom modes The custom modes
The custom buttons
The live view options
The movie options
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before setting up her own training a popular blog to help EOS users
company in 2003 to teach EOS improve their photography and
photographers how to get the best post-processing skills. Andrew
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Her main photographic passion is He particularly enjoys portraiture
travel photography, an area in which and loves black-and-white
she still shoots commercially. photography as a ne-art medium.
Buy these eBooks and more: www.eos-magazine.com/ebooks

Eos Magazine July September 2015

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Information and inspirational images to improve your photography

+,+0*(;,+;6*(565,6:*(4,9(: July-September 2015

5L^Z[HUKHYKSLUZMVYZ[PSSZHUKTV]PLZ EF 11-24mm lens

your knowledgeable friends in photography

Need help or advice? 01772 252 188

Robert Scott, Editor

EOS magazine July-September 2015 | 3

06 Canon news and current offers

12 Firmware and software updates

see page 42 14 Cities from the sky

4 | EOS magazine July-September 2015

54 How was it shot

62 Filters for digital cameras

42 Zoom or prime 70 Mains power

Another of Canons summer promotions means you can

EOS 1200D - 20/25

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

6 | EOS magazine July-September 2015

12 years as market leader Canon launches city guide series

Pink Lady Food Photographer of the Year

EOS magazine July-September 2015 | 7

A decade of 5D cameras Eradicating reections

EOS 5DS and EOS 5DS R transforming the EOS system,

8 | EOS magazine July-September 2015

Trade up to the new

Canon acquires Lifecake Canon interview

10 | EOS magazine July-September 2015

Photofunday at EOS magazine HQ

EOS 5D mirror repair Model release form Canon domination

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EOS magazine July-September 2015 | 21

22 | EOS magazine July-September 2015

EOS magazine July-September 2015 | 23

24 | EOS magazine July-September 2015

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EOS magazine July-September 2015 | 25

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