PhotoPlus The Canon Magazine - July 2017 PDF

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Issue 128 • July 2017
best dslr for enthusiasts
new canon eos 77D

77 reasons why Canon’s new camera is better than yours!
best
summer for tips,
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scenes
How to take great
& tests
landscape photos
canon school
l Become a supertest
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l We answer your
Canon queries
l Master manual 8 all-in-one
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pro advice
To be a good
photographer, you family
need to see the shot
in your mind’s eye
photos
Capture artistic
Marc Aspland – Sports Photographer portraits on location
Summer
Scenic shots
Learn how to take
great landscape shots
this summer – like this
beauty by Francesco
Riccardo! – by following
our ten-step plan on
Page 28
Our Guarantee
Welcome
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S
ummer, summer, summertime… Summer lovin’, had me a blast…
In the summer time, when the weather is hot… there are lots of • We’re 100% independent which
songs celebrating summer as it’s such an stimulating and exciting means we’re free to publish what we
time of year. When the days are brighter, warmer and longer, it’s also feel is best for every Canon DSLR
an inspirational time for landscape photography. As the light is much photographer from beginners to
more evocative, from sunrise to sunset, it creates so many colourful enthusiasts to professionals.
Peter Travers scenes worth capturing. To help you improve your summer landscape
Editor photography skills, we’ve put together a tip-packed ten-step plan, • We’re Canon enthusiasts and,
backed up with amazing landscape photography. From page 28. with our contributors, we can offer
This issue we fully test Canon’s new EOS 77D. Aimed at enthusiasts years of expert photography
but with features and specs to rival recent semi-pro DSLRs, we reveal experience. We’re always excited
77 reasons why this new Canon camera is better than yours! See page 96 to pass on what we’ve learned.
for all the facts and stats, and our final test verdict.
Also inside, our Apprentice heads to some beautiful botanical gardens • We’re more than just a print mag;
with award-winning family photographer Nina Mace to learn how to you can buy PhotoPlus for
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3
CONTENTS
28 88
Top 10 tips
SUMMER
SCENES
Learn how to take your best-ever
landscape photos this summer
96
Essentials Canon pros New tests

20 Inspirations
More fantastic winning Canon
imagery, this time with the theme of ‘shapes’
8 The Apprentice 94 Gear Update
Award-winning pro Nina Mace teaches
our reader how to take great family portraits
New gear and upgrades to spruce
up your camera and photography arsenal
28 Summer scenes
With long and dreamy days, the
summer season is perfect for landscape
40 David Noton On Location 96 Canon EOS 77D test
He just can’t sit still, this bloke! This
time David heads to rolling hills of Exmoor Find out what we think of Canon’s
64 The Pro Interview

new enthusiast camera in our big eight-
photography – follow our ten-step plan! page test, plus 77 reasons why this new
42
Pro sports photographer Marc Aspland DSLR is better than yours!
Great subscriptions offer on the highs and lows of his career to date
Don’t miss our exclusive deal where
we’re offering you a Manfrotto monopod
worth £29.95 when you sign up 76 My Kit 104 Mini Test
Mountain man Markus Rohrbacher
talks about his top gear for Alpine action
Is your sensor
absolutely filthy? We check
72 Photo Stories
out six cleaning kits to
Canon School
make it sparkle
This month, a four-page special on
Chris Porsz’s unique Reunions project that
has been over three decades in the making
80 Cash with your Canon 106 Super Test:
Superzooms
125
How to make money from your Eight all-in-one wide-angle
Next Issue
106
photos – this month, become a portrait pro to telephoto zooms get our
Find out what new tips, tutorials real-world and lab test
and techniques you can expect next month
84 Digital SLR Essentials treatment – which is best?
130 Focus Point 118

Struggling to focus manually? Learn
Buyers’ Guide
the easy way to master manual focus
Have your say on all things Every current Canon EOS
PhotoPlus – or anything else, really. Send
us a letter for the chance of winning a prize 88 EOS S.O.S
We answer your tough techie questions
DSLR, plus every conceivable lenses
from Sigma, Tamron, Tokina and more
4 www.digitalcameraworld.com
Issue 128 July 2017
8
64 7 ways to improve your photography today
46 50
Project 1 Fake hazy Project 2 Learn how to
landscapes with a little capture cute portraits of
help from a mist filter your little furry friends
Photoshop elements
56 58 52
Project 4 Transform passing Tutorial 1 How to remove an Project 3 Generate circular
vehicles at night into bold unwanted photobomber from lens flare with direct sunlight
streaks of colour and blur those special photographs and a bit of copper pipe
Photoshop CC Lightroom
60
Tutorial 2 Edit summer 62
portraits to create a fresh Tutorial 3 Produce panoramas with Lightroom’s Merge
and sun-kissed look Panorama command – in just four simple steps
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expert guidance. Page 8 golden light. Page 40 lights into trails. Page 56 sports shot. Page 64
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dude, Markus reveals several more of your freak Ben likes
ISSN 1754836
reveals six bits of top gear easy ways to master manual technical problems and his kit spick and span – so
he takes on his epic sports focus in this month’s queries with his incredibly was ideal to test six sensor
and scenic shoots. Page 76 in-depth guide. Page 84 detailed answers. Page 88 cleaning kits. Page 104
Our contributors Ben Andrews, Marc Aspland, Joe Branston, David Clark, Ollie Curtis, Peter Gray,
Phil Hall, Marcus Hawkins, Paul Lapham, Rod Lawton, Nina Mace, David Noton, James Paterson,
Matthew Richards, Markus Rohrbacher, Brian Worley
TheApprentice
Modern
Family
Award-winning family photographer Nina Mace helps
our Apprentice improve his family portrait techniques
SHOOT WITH A PRO
APPRENTICE
Canon PRO Name:
Paul Lapham
Name: Camera:
Nina Mace Canon EOS 70D
Camera: Paul, 60, is a law lecturer at
Canon EOS 5D Mk III Kingston College, and lives in
Richmond. Three years ago he
began taking photography evening
Nina, 40, is a professional family
classes once a week. He started
portrait photographer based in Hemel
out with a Canon PowerShot
Hempstead. She won the 2014 Children,
compact but wanted more from his
Family & Lifestyle Photographer of the
camera, so he upgraded to a
Year award with the Guild of Professional
Canon EOS 70D and hasn’t looked
Photographers, and runs Masterclasses
back. Paul’s into all types of
for the Society of Wedding and Portrait
photography, but wanted our help
Photographers (SWPP). She offers 1-2-1
to take better family portraits.
mentoring and photography workshops,
details and her stunning portfolio are at:
www.ninamacephotography.com

TheApprentice
TECHNIQUE Paul’s comment
ASSESSMENT After trying a few
shots of the family’s
two boys together, we got
Nina helped PhotoPlus Apprentice Paul set up each one to separately lean
his camera ready to capture family portraits over the back of a park bench
that was perfectly placed for some shaded
light, with a large expanse of sky to look into to
light up their faces and eyes. Nina helped me to
compose the shot so the blurred background
behind is darker to contrast with the boy’s
skin tones and light blue clothing she’d
asked his parents to dress him in.
Av to Manual mode
“Paul was used to shooting in Av mode, only going
to Manual mode when using lights,” says Nina, HOT
SHOT
“However, I was keen for him to use Manual so he
could take charge of his aperture, shutter speed and
ISO for more control over his results. I asked him to
set a minimum shutter speed of 1/500 sec to freeze
fidgety kids and avoid motion blur in limbs, and a
wide aperture, such as f/4, to blur the backgrounds,
#1
then adjust ISO to expose for skin tones; on our Lens Canon EF 70-200mm f/4L IS USM
overcast day in the shade, this was 400 to 640.”
Exposure 1/640 sec, f/4, ISO400
EXPERT INSIGHT
What is the best natural light?
Nina likes to keep things
simple on location shoots, and
she never uses a reflector, let
alone flashguns. “Avoid direct
sunlight, otherwise you’ll get
harsh shadows and squinty faces,
also avoid top lighting – when the
Warmer whites sun is directly overhead – as it is
“When it comes to portraits, photographers need during the day in summer,” says
to find a white balance to suit their image style. For Nina. “The best spots are under
me, I set my white balance on my Canon 5D Mark III trees in shade, but with diffused
to 6400 K – warmer skin tones are my preference, – not dappled! – light. You don’t
whether indoors or outdoors. This also means the want too much shadow though;
white balance stays consistent so images look good you need to find the sweet spot
together for client’s galleries. I sometimes even go under overhanging foliage with a
up to 8000 K in the golden hour! For Paul’s 70D, clear section of sky lighting the
however, we found that 5500 K was much better for face. You want soft light on faces
accurate colours that still had warmth, so see what and so the eyes are bright.”
works best for your camera,” advises Nina.
SHOOT WITH A PRO
Ride the
shutter
“When shooting,
I tend to leave the
aperture wide open
at f/2.8 and ISO on
100-800, depending
on light levels, then
ride my shutter speed
if the sun is dipping in
and out,” says Nina.
“This can be up to
fours stops difference,
starting at 1/500 sec
and up to 1/4000 sec.
I constantly check
images on the LCD,
adjusting the shutter
speed if I need to.”
Top gear #1
Luxury lenses
Nina uses a range of fast telephoto lenses
to capture her dreamy, atmospheric portraits.
“I carry three main Canon EF lenses: the 200mm
f/2.8L and 135mm f/2L primes, and 70-200mm
f/2.8L zoom – which I keep almost permanently
on 200mm for lovely background separation for
my subjects to stand out clearly,” she says.

TheApprentice
Top gear #2 HOT
Full-frame DSLRs SHOT
“The EOS 5D Mark
III is fantastic for
portraiture,” says
#2
Nina: “It’s full-frame,
which helps with beautiful background blur when
I use my telephotos lenses wide open; the image
quality is great, with lovely natural colours; and I
have no trouble with noise, even when shooting at
high ISO settings. I carry two bodies in case my
main camera fails me – it hasn’t yet!” Paul’s comment
The little girl
was quite shy
so we got her to pick
Autofocus mode flowers and she was
much happier. The
shade under the tree has created a lovely
“I prefer to use the AI Servo AF mode
diffused light. The flowers add some
as my family subjects are always moving
lovely colour to both the foreground and
around, so use I this focus tracking
background, as well as adding depth,
method for a better hit rate. I set
without distracting the eye from our
back-button focus, then constantly hold
pretty little subject. I shot this at 150mm,
down the (AF-On) button so my camera
so knelt down from afar to include some
is continuously adjusting the focus for
of the surroundings, and, at f/4, it’s
sharp shots,” says Nina.
blurred the background artistically.
HOT
SHOT
#3
Paul’s comment
With the kids
happy, we
brought in mum and dad
for a group shot. We got
them to squeeze in nice
and close, and Nina engaged with them
brilliantly so they have great expressions.
The only thing I’d want to improve on is
the position of the little boy with his body
Lens Canon EF 135mm f/2L USM
covered by a flower in the foreground,
but I still think it’s a great shot. Exposure 1/500 sec, f/2.8, ISO400
SHOOT WITH A PRO
Top Ten
PORTRAIT TIPS
1 Fast telephoto lens
Use a combination of a wide
aperture and long lens to blur the
background – eg f/2.8 at 200mm.
2 Paparazzi mode!
Use High-speed Continuous
mode to increase your chances
of capturing great portraits.
3 Overcast is okay
On an overcast day, the sky works
like a giant softbox – you still
need to avoid top light, though,
so head under tree canopies.
4 Background checks
Get to know the local countryside,
and where the best photo ops are
– under overhanging trees, with
darker, contrasting backgrounds.
5 Engaging with subjects

Chat to, encourage, and make
subjects laugh so they’re relaxed
and having fun. Offer direction
on body and hand positions, too.
6 Read the seasons

Each season, from spring to
late summer, offers different
colourful blossom backgrounds;
Lens Canon EF 70-200mm f/4L IS USM
from bluebells and wild garlic to
cowslips, rapeseed and poppies.
7 AI Servo AF
Subjects constantly move so use
this focus-tracking method for
a better hit rate of sharp shots.
EXPERT INSIGHT
8 Reduce AF points
Nina sets up her 5D Mark III so
Paparazzi mode! only the cross-type AF points are
active; so she can access them
Most Canon cameras have two quicker than using all 61 points.
burst modes; Continuous and
High-speed Continuous, which,
on Paul’s enthusiast-level EOS 70D
DSLR, offers seven frames per
9 Green grass of home
Sunlight reflecting off green grass
can make people look like the
second – ideal for family portraits. Incredible Hulk! Move people to a
“I encouraged Paul to use the high- different spot so their skin tones
speed burst mode – or paparazzi don’t have a green cast.
mode as I call it! By firing off multiple
shots, it gives you more choice for
successful shots, and means that,
even if somebody blinks or pulls a
10 Removing colour casts
But if you do get colour casts, use
Photoshop to fix them selectively
face, you’ll likely have a few winners in with layers and masks, so
each set up,” smiles Nina. people’s skin looks natural while
the surroundings remain green.
13
TheApprentice
Paul’s comment
For our next set of
family photos, we
moved into the main part of
the park, where we utilized
these lovely long paths lined
with huge horse-chestnut trees. With the
three children huddled together on the
middle of the path, I composed so the path Nina entertains the kids to
disappears behind them. The tree created obtain good expressions for
nicely shaded top light, with sunlight better portrait shots
reflecting off the path just in front of them.
Shooting at 135mm at f/4 has blurred the
background nicely, but not so much
that it’s completely unrecognizable.
HOT
SHOT
#4
SHOOT WITH A PRO
Top gear #3 Make the most

Camera bag of group shots
“When photographing
“I got this Lowepro
the family as a group, get
Off-Road LP 106 camera bag
them to squeeze tightly
for £10 from a charity shop.
together for a better pose
I prefer this shape of bag,
and shape that’s not so
and it’s easy to access all my
spread out. Get the family
kit – with two big lenses in
to mess about – dad
each end, and a spare body
tickling the kids works
in the middle. It’s not too
well, rather than posed,”
huge, and I can wear it as a
says Nina. “When in a pile
giant bumbag if I want to
together, it’s a good
commit a massive fashion
opportunity to grab some
faux pas!” laughs Nina.
close-up headshots of
each subject, especially
if the kids look more
comfortable sat with the
AF point display family so you get better

facial expressions. These
can look nice in black-
Nina set up Paul’s and-white, as the faces
camera so he was stand out against
using Single-point everybody else’s clothes.”
AF mode, and got
him to compose
with his AF point
over the subject’s
eyes. “This ensures
sharper shots than
if you focus with the
central AF point
then recompose,
which at f/2.8 can throw your focusing off after the slight
movement as you reposition the camera. I also switched
on AF Point Display, so when you’re reviewing images on
your LCD, you can check to see what you’ve focused on.”
EXPERT INSIGHT Top gear #4

Memory
Back-button cards
focus “I keep my
“I use the back-button memory cards
focusing method as I find it’s in this trusty
faster and more accurate as blue box. As
I’m constantly refocusing as my 5D Mark III cameras have dual slots,
families move around and I use the CF card to record Raws, and
kids fidget,” says Nina. “In the the SD card to record JPEGS as backup.
Custom Function menu on Paul’s 70D, we set up his camera so the AF-On I rarely look at the JPEGS, but they’re
button is exclusively used to focus – you need to disengage focusing from available should I never need them.
half-pressing the shutter button, so that it’s only used for metering. Once you And if a card ever lets me down I’ll bin
get used to back-button focusing, I guarantee that you’ll never go back!” it straight way,” advises Nina.
15
TheApprentice
Nina’s
beautiful
portraits
Brilliant professional family
photographer Nina Mace
shares three of her top photos
Bluebells
“One of the biggest challenges
of shooting in bluebells is the
light, so this was shot as late
as possible. I allowed some
movement into the dress by
slowing down the shutter speed.”
Blossom
“Taken on my 5D Mark III
with the EF 135mm f/2L, I was
experimenting with how much
bokeh I could create at f/2 by
moving my subject away from the
HOT
pink blossom tree. To get height
I had her stand on a park bench.”
SHOT
#5
Lens Canon EF 70-200mm f/2.8L IS USM
Exposure 1/500 sec, f/2.8, ISO400
Spring Paul’s comment

“I love spring flowers but the This shot was one Nina had been waiting to get all day – with our subject backlit
light was very bright on this by the sun that’s now lower in the sky, while her face is in diffused top light. It’s
session, so I placed my subject so simple, yet so effective, as the rim light around long hair makes her really stand out
into the tree line to ensure that from the contrasting background. It was shot on Nina’s 70-200mm lens at the long end
she wasn’t squinting. I shot on and wide open at f/2.8. Nina suggested a black-and-white conversion; she explained
the EF 135mm f/2L at f/2.5.” that by removing any colour the eye is drawn straight to the girl’s face and happy expression.
HOT SHOOT WITH A PRO
SHOT
#6 EXPERT INSIGHT
Colour wheel &
clothing choices
Ahead of our shoot, Nina supplied the
families with a Pinterest board for inspiration
on what to wear (https://uk.pinterest.com/
ninamace/what-to-wear-spring-shoots).
She explained to Paul that, ideally, her family
would be dressed using complementary colours.
“Analogous colour schemes use colours that are
next to each other on the colour wheel. They
usually match well, are often found in nature,
and are harmonious and pleasing to the eye,”
she explained, “Ideally, I choose one colour to
dominate, a second that supports, and a third
colour is then added (along with black, white or
grey) as an accent. The dominant colour is that
of the backgrounds we intended to use outdoors,
so at this time of year it’s green, which means that
blues and yellows work especially well, alongside
neutrals like greys and whites.”

Paul’s comment
Nina found a great spot where a pool of light was falling
in amongst some birch trees. Shooting at f/2.8 here
has blurred the trees nicely. By getting dad to lift up his son, both
of their faces are on the same level so I could get in closer for
a more pleasing composition. Nina was great at having
Dress your subjects in shades that sit next to the
fun with them, and her encouragement has resulted in the relaxed poses.
dominant background colour on a colour wheel
Posing and expressions

People often worry if
their subjects aren’t
looking directly towards
them, however you can
sometimes capture more
evocative shots by doing
the opposite, as Nina
explains: “Here, you can
see that you don’t always
need people to be looking
down your lens – it works
well when they’re looking
at each other instead, as
if it’s a shared moment,
caught on camera.”

TheApprentice
Paul’s comment
The sun was much
lower in the sky by
now, and Nina explained this
meant it was softer and more
flattering for portraits. We still
had our family under the shade of trees, and we
sat them on a blanket in front of a patch of yellow
buttercups. The long focal length and wide
aperture has blurred these nicely, as well as
the dark, contrasting green background behind.
As Nina gave them direction and got them
to smile in unison, I captured this winner!
Nina’s verdict
Paul had a good
understanding of his
Canon camera and just need a
little help with finding the best
spots for the best light, and
building up a rapport with people to get good
portraits. He’s put everything he’s learned
together here for a deserved Shot of the Day.
Shooting at f/2.8 for group shots like this is fine
if, as we’ve done here, the family are all positioned
together on same focal plane. The flowers in the
foreground add some colour, and a hint of birch in
the background adds to the scene. Getting the
family in tight together and in a triangle
shape really makes this shot. Well done!

Next Month sports
SHOT
of the
day!
Be our next
apprentice
Do you need some help to take
your Canon photography to the
next level? Let us know what you’d
like help with and we could pair
you up with a top pro for the day!
Email photoplus@futurenet.com
with ‘PhotoPlus Apprentice’ as the
subject, and include your phone
number and address.

Stunning imagery from the world of Canon photography
Fantastic CANON photography
01 Spiral staircase to heaven

by Marco Tagliarino
“A canopy located above provided
the necessary light to illuminate this
double helix staircase. Having two
staircases allows people to ascend
without meeting people descending.
It’s located at the end of the Vatican
museum and all visitors leave by this
route,” explains Marco.
Lens Tokina AT-X PRO 11-16mm f/2.8 DX
Exposure 1/13, f/5.6, ISO640

INSPIRATIONS
02
02 Grater by Richard Sayles 03 Dry Land by Sigal Cohen

“This is a shot of the Cheese Grater The composition, with these fish breeding
car park in Sheffield, UK,” says Richard. pools stretching into the distance as far
“It sits in the middle of the city centre. as the eye can see, combined with the fact
I decided to get right up to the building that the shot is sharp from front to back
to try and accentuate the shapes and to thanks to the depth of field afforded by the
capture the building differently.” By getting narrow aperture, shows good technical
close and shooting upwards he has created ability. But what intrigued us most about
a wonderfully abstract image that has the this image was that these strange circular
viewer questioning the sense of scale. shapes were naturally formed.
Lens Tamron AF 18-270mm f/3.5-6.3 Di II VC LD [IF] Macro Lens Canon EF 24-105mm f/4L IS USM
Exposure 1/1000 sec, f/4, ISO400 Exposure 1/250 sec, f/13, ISO250
All the images in this gallery

were entrants to the
PhotoPlus ‘Shapes’
competition hosted on
Photocrowd – a website
where a public vote on the
best-liked images is pitted
against expert opinion.
To enter our current contest,
and vote on your favourite
photos, simply visit 03 04
www.photocrowd.com
04 Power by Mark Chamberlain

“I’d had a vision of this image for months,
but trying to get the symmetry right was
the most difficult,” Mark says. “The cloudy,
windy day gave the perfect chance for a
long-exposure shot.” Mark converted his
power pylon shot to black and white using
Silver Efex Pro.
Lens Canon EF-S 10-22mm f/3.5-4.5 USM
Exposure 31 secs, f/11, ISO100

INSPIRATIONS
05
06
05 Sphere collection by Paul Nash

“I shot this group of spherical objects
combined, as I wanted to make a single
image that fascinates and reminds you of
the old Victorian collectors,” says Paul.
“This still life stimulates the imagination
and makes you wonder about such an odd
combination of objects.”
Lens Canon EF 100mm f/2.8 Macro USM
06 Denkmal by Stefan Nielsen

This shot is a great example of how
effective repetitive architectural
patterns can be when they’re used as a
compositional tool. Stefan took the image
at the Holocaust Memorial in Berlin,
Germany, and used a focal length of
105mm to compress the perspective.
07 Lens Canon EF 24-105mm f/4L IS USM
07 Frozen bubble by Zeltner Evelyne

“I shot this soap bubble resting on a frozen
surface at sunrise,” Zeltner says. “The
most difficult part was to deposit a bubble
on the frozen surface without it bursting.
The walls froze in seconds to create
beautiful patterns.”
Lens Canon EF 100mm f/2.8L Macro IS USM
All the images in this gallery were entrants to the
PhotoPlus ‘Shapes’ competition hosted on Photocrowd – a
website where a public vote on the best-liked images is pitted
against expert opinion. To enter our current contest, and vote
on your favourite photos, simply visit
www.photocrowd.com

INSPIRATIONS
08
08 Lines and Repetition by Humphrey

We loved Harvey’s front-on capture of
the NYC Fashion Institute of Technology.
Filling the whole frame with repetitive
patterns makes for an abstract result, and
enhances the striking tones. Parallel lines
are comforting to the eyes, and Harvey has
recognized this with his composition.
Each issue, our favourite Lens Canon EF 16-35mm f/4L IS USM
image wins a Manfrotto Pro
Light RedBee-210 backpack Exposure 1/640 sec, f/4, ISO100
(worth £140), and a
09 La Pyramide Inversée
selection from our top ten
choices will be printed in by Mark Krutiak
these gallery pages. “I had to use a long exposure – with no
www.manfrotto.co.uk tripod – to make the afternoon crowds
disappear,” says Mark. “My camera was
placed on the floor and a 10-stop ND filter
was used.” By blurring out tourists, our eye
focuses entirely on the haunting shape of
the Louvre’s skylight.
Lens Canon EF 17-40mm f/4L USM
09
Exposure 30 secs, f/10, ISO100
seasonalphotoskills
10
steps to
stunning
summer
landscapes
With long and dreamy days, summer is a fantastic season for
photography – follow our 10-step plan for your best captures ever!
30 Gear up! 32 Use the whole day 34 Embrace bad weather 36 Nail your exposure 38 Be different
Get kitted out and make Shoot from dawn till dusk Keep at it, even during Capture high-contrast Change your perspective
a plan of action and tackle tricky lighting stormy conditions scenes with success for a new view
Summer landscapes
Shutterstock

seasonalphotoskills
1 The right kit

For the best chance of success you
need to look, feel and dress the part
Donning the trendiest outdoor clothing won’t elevate your
photography, however it does pay to invest in some practical
outdoor garments. The right clothing will protect you against
the elements and enable you to shoot for longer in comfort.
Summer isn’t always sunny, so think about dressing for wet and
Camera kit
The equipment you’ll
need to get started
• Canon DSLR
• Wide-angle lens
• Comfortable bag
• Waterproof bag cover
• Sturdy tripod
Handy extras
stormy weather, as well as heat and humidity. Whatever your
budget, opt for versatile, water-resistant and lightweight clothes. • UV filter
Look at how well ventilated they are and whether they can be • Polarizing filter
packed away in a camera bag. Pockets are a great asset too, • Lens cloth
providing easy access to filters, cards and smaller lenses.
Bright 01 05
Dark&
& sunny stormy
01 02 05
A standard baseball You might want a
hat will keep the sun off warm hat for early
your head at midday. morning shoots,
or to give protection
02 in strong winds.
A good waistcoat or
gilet will protect you 06
from sun and wind, and There’s no point in
provides easy access keeping kit dry if you’re
to kit. This Páramo so wet and miserable
Halcon Waistcoat is you can’t concentrate.
ideal for warm weather A waterproof jacket
shooting, and has 12 or coat is essential
pockets to stash stuff. for rainy conditions.
03 This Páramo Velez
03 Adventure Light
Base layers should be Smock is waterproof
stretchy, fast-drying and breathable in
06
and lightweight. humid weather, but
Opt for breathable only weighs 575g.
materials, such as
cotton, or technical Some companies,
fabrics with sweat- such as Páramo
wicking properties. (www.paramo-
clothing.com), design
04 outdoor garments
Bottoms should help specifically with
you stay cool but photographers in
provide protection mind. They’re often
from UV and insects. 04 worth paying a bit
These Atca trousers more for, as they’ll
can be worn cropped last you for years
or full length. and make shoots
more comfortable.
Summer landscapes
2 Seek
inspiration
Where can you look for new shooting locations?
Be inspired, but try to be original too… It’s easy to get carried
away with wanderlust.
Scale back shoots to suit
The world is a big place, so it’s best to have a rough shooting
your budget and time
area in mind when you start your research (whether this is a
holiday destination, or somewhere closer to home). Your local
area might seem dull and familiar, so try looking at it from
another point of view. What spots would you recommend to a
fellow photographer if they were visiting? If you’re able and
willing to head somewhere more exotic, you can glean location
ideas from travel brochures and guides. Make use of online
photo communities for inspiration too. The Flickr World Map
(www.flickr.com/map) allows you to scroll around and find
photos that have been uploaded and geotagged, and you can
enter your own location to narrow the results down. 500px
(www.500px.com) is a stunning inspiration source, but don’t
feel like you have to travel to far-flung places for great results!
3
The Photographer’s Ephemeris is
Do your
available as a desktop or mobile Traditional maps, such as Ordnance
app (www.photoephemeris.com) Survey, provide a helpful overview of
an area and highlight other picturesque
spots that might be nearby
homework
Make use of popular apps as well as traditional
maps to make your pre-shoot preparation count
Forward planning is key for landscape photography, as
you’re reliant on the weather and light direction being just right.
By researching locations thoroughly at home, you’re more likely to be
rewarded with favourable conditions when you arrive with your camera.
The Photographer’s Ephemeris (TPE) and The Photographer’s Transit
(TPT) are two apps that are ideal planning companions. TPE displays
how the light will fall on the land at any time of day in any location, so
why not use it to work out the time and direction of sunrise and sunset
in your chosen spot? TPT also provides a great way to check if your
Francesco Richardo
planned focal length will capture your scene effectively. Don’t neglect
paper maps – as well as Google maps – in your logistical quest. Although
they’re not as pocketable as a phone, they can be spread out on a table
to really help you visualize a landscape in more detail.

seasonalphotoskills
4 Use the
whole day
There’s more to shooting in the summer
than getting up early and staying out late
The great thing about shooting in the summer
months is the long days and amount of daylight
available for you to take advantage of. During the day,
however, metering can become tricky. Have you ever
looked onto a glimmering ocean view, gone to capture
it with your camera, and been disappointed by the
result? This is because the human eye can see the
equivalent of about 14 f-stops of dynamic range, while
Canon DSLRs are limited to around eight. Don’t be
disheartened though. As long as you choose the right
subject to photograph (under the right conditions), the
season can be just as rewarding as any other. Here,
Shooting summer scenes
we’ll encourage you to use the whole of the day
with a longer focal length
– including in the harsh, high and bright midday light.
simplifies the composition.
You could try to shake up your composition to avoid
Excluding a bright sky can
contrast completely, or use shade to your advantage.
make exposure easier, too
It’s time to make friends with midday…
Sunrise Midday Sunset
Early-morning light tends to be cooler. Arrive at Light in the middle of the day often makes Late evening light leans toward pleasingly
least 30 minutes before actual sunrise to set up landscapes look a bit flat and two-dimensional warm colour casts of orange and red
TOP
TIP
How to shoot a sunrise

The reward of capturing the sun rising over the
horizon almost always makes up for the lack of sleep.
Research carefully to check the direction of sunrise,
and scout your location beforehand so you can set up
a good composition without faff. Arrive in plenty of Morning light is cooler
time, and mount your camera onto a tripod. Opt for in tone, so you might
a low ISO, an aperture of around f/8-f/11 and a longer want to set the white
shutter speed to compensate. balance to Shade
Summer landscapes
TOP
TIP
The Sunny 16 rule

The Sunny 16 rule is a way to meter for a
correct exposure during the middle of the day
without using your Canon’s light meter. The
basic idea is that, in daylight at an aperture of
f/16, the correct exposure can be achieved with
a reciprocal shutter speed to the ISO speed
you’re using. For example, ISO200 would
require 1/200 sec. As the conditions change,
you simply alter the aperture. Use this table as
a guide and try it out on your next shoot. Even
the most sophisticated camera meters can be
fooled in certain conditions, so this is a handy
concept to keep at the back of your mind.
Aperture Light
f/16
Francesco Richardo
Sunny
Be patient. A passing cloud

f/11
Atmidday
can be enough to soften the
light hitting the landscape
Slightly Overcast
On a lovely sunny day, shooting at noon can be a photographer’s worst
nightmare. It’s the time when the sun is highest in the sky, and this generates
high contrast between the foreground and the sky. If you meter for the land,
you’ll usually find the sky is completely blown out, whereas exposing for the sky
leaves the land too dark. If you have to shoot at midday, try ditching the wide- f/8
angle lens and zoom in on the scene with a telephoto lens. This way, you’ll
eliminate the large amount of contrast that’s evident in broader shots, meter Overcast
more effectively, and give the viewer’s eye something to focus on.
f/5.6
Useshade Heavily Overcast
If the midday sun is too high for your
DSLR to handle, move to a spot of shade.
This could be under a palm tree (if you’re
lucky!) or building. Try not to worry f/4
about how ridiculous you might look
crouching down in bushes. Shaded light is Open Shade/
softer, shadows are weaker and the Sunset
contrast is lower. If you’re completely in the
open and can’t get around it, make use of your Your ISO and shutter speed should be
lens hood to avoid flare and glare. reciprocal for the correct exposure

seasonalphotoskills
5
Framing an image with summer
flowers in the foreground will
draw the eye into a murky scene
Embrace bad weather

Too inclement to go out shooting? Change your outlook for moody results
There’s no such thing as bad weather quintessential summer blooms, which day and your location, but as a general
(for landscape photography, at least). will add a bold splash of colour. Despite rule, set your lens to manual focus and
Even in the rain, it’s possible to capture its sunny disposition, the summer season focus it at infinity. In Bulb mode, start
stunning images that still have a hint also has a darker side – thunderstorms. with an aperture of around f/8 and ISO
of summer about them. Try to include Lightning presents dynamic photo of 100. Then, keep the shutter open long
seasonal clues in the foreground of opportunities, but only if you can capture enough to capture the strike!
your images, such as floral details or it quickly enough. The specific camera
vegetation. Poppies and sunflowers are settings needed depend on the time of
TOP
TIP
I’m shootin’ in the rain

When you get caught up in a rainstorm, start shooting immediately after the
rain stops. As the sun emerges and peeks through darker storm clouds, you’ll be
presented with stunning photo opportunities. Clouds after rain are very dramatic,
and the still air will give way to pristine reflections in puddles. In torrential weather,
though, don’t get carried away and damage your kit in the process. Many camera Dress you
bags come with a waterproof cover, so use them if it really starts to pour down. – and your
You can protect your lenses to a certain degree with a lens hood, but it’s worth camera – for
investing in a basic rain cover so that you can carry on shooting, even in storms. the weather
34
Summer landscapes
Cliff-sides are striking on a sunny day, when summerscenes

tophotograph
foliage contrasts with the sea beyond
We couldn’t tackle the season

without exploring the coast, but we will
try to take you beyond stereotypical
seaside scenes of hot beaches…
Waves are great fun to dive into with a camera

(inside a waterproof housing, of course!)
Francesco Richardo
Francesco Richardo
Coastal fishing villages perched on the edge
of the water have a quaint, summery charm
6
Francesco Richardo
Hit the coast

Go beyond traditional beach images Piers and groynes make striking subjects. Try
a central composition for an abstract result
next time you’re beside the seaside

Summer days can seem endless and dreamy,
reminiscent of childhoods spent roaming the beach
under a hot sky. A wide-angle lens is the go-to choice for
photographing coastal scenes, and even a kit lens can be
put to good use here. Don’t feel limited to these expansive
views of sand and sea, though. Why not use a telephoto
lens to hone in on footprints in the sand, or boats bobbing
about on a sparkling ocean? The light quality can indicate
to a viewer where and when an image was shot, so you Wider scenes, with the sea in the background,
don’t always have to include obvious visual clues. look punchy when shot with a polarizer

seasonalphotoskills
7 Nail your
exposure
Heed these hints and tips to really get
the most from tricky lighting situations
It would seem as if everything is on your side in summer:
fair weather, clear skies and long days. However, as soon as the
sun does rise, it rises high and fast in the sky. The morning
shadows quickly retreat, and this diminishes any sense of depth
in the landscape. At the same time, contrast can be a big
challenge for accurate exposure. There’s nothing inherently
wrong with photographing in high-contrast
conditions, but they can be very hard to
meter for. In an Evaluative metering
mode your Canon’s meter will
measure the light intensity across
the whole frame, then come
up with an average value.
In bright, contrasty conditions,
this often renders your actual
subject too bright or dark. If
you switch to Spot or Partial
metering mode, bear in mind
that you’ll need to be able to judge
Francesco Richardo
tones accurately to get the most

from them. Follow the three step
tutorial, below, to take back control of
the way you expose such scenes.
High-contrast scenes
Try taking several readings then shoot with the average
01 camera settings 01 take the readings 01 find the average

Switch to Manual mode for full control of Use a manual AF point selection, and Find the middle shutter speed between
your exposure and Spot metering. Dial in start by positioning the focus point over the two readings. For example, between
your desired ISO and aperture. These an area of shadow. Note the given 1/160 sec and 1/640 sec would be
values will depend on the scene, but shutter speed. Repeat this step to meter 1/320 sec. Shoot at this exposure and
start at around f/10 and ISO200. the brightest point of the scene. then review the image histogram.
8
Summer landscapes
Filters
Know your ND from your UV? Here’s
our quick guide to using filters
High-quality filters are a must-have accessory
for improving your landscapes in-camera. When used
properly, a filter not only enhances scenes, but saves
you time editing your shots later, and is also useful for
protecting your expensive lens’s front element from
accidental damage. We’ve listed the most important
filters for photographing summer landscapes below,
explaining the conditions where you’ll want to use each
one. Companies like Lee Filters (www.leefilters.com) offer
premium options – at premium prices – but choose a filter
system that matches your budget.
Ultraviolet filter
A UV filter is often overlooked, but as ultraviolet
radiation can create haziness in photographic
images it’s a handy accessory to keep on your lens
in summer. UV radiation increases with altitude, so
use a filter if you’re going to be climbing. A UV filter
also protects the front of a lens – it’s a lot cheaper
to replace a filter than a scratched front lens element…
High-contrast scenes can play Neutral-density filter

havoc with your metering when Neutral-density filters, such as the Lee Big Stopper,
using Evaluative mode reduce the amount of light entering the lens across
the whole frame. This means you can use much
slower shutter speeds than normal. Attach a 10-stop
ND filter if you want to use a wide aperture, or really
long exposure for creative effect on a bright
summer’s day, such as blurring moving water.
TOP
TIP
Graduated neutral density filter

Avoid dust spots Graduated neutral density filters have a dark or grey
coating at the top, and blend to clear at the bottom.
Dust spots become very obvious when By placing the dark part over the sky, you can bring
you’ve stopped down to narrow apertures its exposure value closer to that of the landscape
(higher f-numbers) and are shooting a bright below. This filter therefore becomes very useful
sky. Make sure that your lens, filters and sensor when you’re shooting very bright skies against a
are clean. This way you won’t spend hours darker foreground, and you need to balance the two.
removing dust spots in post-processing.
Circular polarizer
A polarizer is highly effective on sunny days, adding a
rich and velvety quality to blue skies. Once attached
to your lens, simply rotate the front section to
increase or decrease the effect. A polarizer will also
boost contrast on damp, overcast days. On a shoot,
you can judge the strength of the effect by rotating
the filter slowly as you look through the viewfinder.

seasonalphotoskills
9
mrtotophotos
Be different
TOP
TIP
Try infrared
Take an alternative approach
The easiest and cheapest way to get
to your seasonal image-making started is to attach an infrared filter
to the front of your lens.
You won’t be able to
While a warming summer landscape is pleasing to the eye, there’s see anything through
always scope to try something more dynamic. We’ve already touched the viewfinder once
upon using a telephoto lens to compress the perspective of the it’s screwed on,
landscape, but bear in mind how your shooting angle also effects the so it’s best to
result. Crouching down low in foliage or flowers gives a much more compose the scene
intimate feel. So, too, does widening the aperture and throwing the first. Where
background out of focus. For a really drastic feel, give infrared a go. possible, look to
Blue skies and fluffy white clouds look great with this effect, as the include plenty of
harsh and contrasting sunlight creates a surreal, bleached look. greenery in the frame.
Get abstract Include people

Don’t be scared to Photographing
fill the frame with figures in the
land and ignore the landscape works
sky completely. to add depth and
With a longer lens, interest. In vast
use repetitive lines expansive scenes,
to lead the eye into it also adds a much-
Francesco Richardo
Francesco Richardo
the composition. needed sense of

scale to the view.
Summer landscapes
10 Edit to
perfection
Follow these quick tweaks to really polish off your shots
WHEN you find yourself shooting in
bright sunlight, a good technique is to
underexpose slightly so that you retain
Before
TOP
TIP
Camera Raw methods

Shooting your landscapes in Raw mode
gives you a fully uncompressed file or ‘digital
negative’ to work with when it comes to the
editing stage, and any changes you make can
be tweaked again later. Photoshop’s Adobe
Camera Raw plug-in is a good place to start…
FIRST TWEAKS
highlight detail in the skies. As you can
see from our starting shot, however, this
approach often renders the overall shot
very dark, drab and dull. The good news
is that it’s easy to liven up the final photo
when editing, even just with a few quick
tweaks to the highlight and shadow
levels, to recreate the gorgeous summery
scene that your eye saw in a jiffy!
After
Open the image up in Adobe Camera Raw and
begin with general changes. To start with, we
brightened up the exposure and shadows
BOOST THE SKY
Make use of gradient filters to boost selected

portions of the image. Here, a filter was
dragged across the sky to add saturation
TONE CURVES
Use a Tone Curve and add points for a more

targeted edit. We lightened the highlights and
We transformed this flat landscape shot by shadows again slightly to liven up the shot
boosting the shadows and vibrancy levels

DAVIDNOTONonlocation
Exmoor Gold
Bossington Hill, Exmoor National Park, Somerset, England. 20:52 local time. 19 August 2013
On the rolling hills of Exmoor in late summer, and

David Noton is wondering: How low can I go? What
degree of motion blur? And why is my back killing me?
T
he rolling hills and moorland of Exmoor National heather and make the blue in the sky pop. The problem is,
Park come alive with colour in late summer. The however, with such a wide angle of view its effect on the sky
purple and mauves of the heather and the bright will not be even, producing an unsightly donut effect. I think
yellow of the western gorse mix with the gold of though there’s just enough cloud in the sky to mask the effect;
the long dry grass in an explosion of colour that it’s got to be worth a go. Now I need to consider additional
defies belief, especially when bathed in the low filtration; having decided to let the grass sway while my shutter
warm light of a summer’s evening. Contrast all languishes open I could opt for an exposure stretching into the
that with the lush green of the valleys below and it’s a scene minutes if I deploy my Lee Filters 10x Big Stopper, or I could use
that pulls me back time and again. the 6x Little Stopper, or a more modest 0.9 (3x) neutral density.
I’m crouched by the low tripod, straining with a protesting Which to go for?
spine to see the camera back. With such a low viewpoint It’s easy to fall into the trap when considering motion blur
composing is tricky, I wish my 5D Mark III had a flip-out screen. to assume that the longer the exposure and the more blur the
I know why it doesn’t of course; too flimsy for a pro-spec body, better. Breaking waves, bending trees, babbling brooks, swaying
it wouldn’t last a month on the road in grass, streaking clouds all take on a
Australia. Except I’m not in Karajini, I’m dreamy look with long exposures. But
in Somerset, and my back is killing me. here on Bossington Hill I’m looking at
Well, we have to suffer for our art those traces of high altitude cirrus in
I suppose, and we all know the an otherwise unbroken blue sky. They
advantages of getting low; a whole new are artful; I want them in my shot.
world of compositions opens up. Here the Skies make landscapes, it’s as simple as
front element of my tilt-shift lens is just that. I know if I now fit the Big Stopper
millimetres from the bell heather, I’ve and leave my shutter open for some
a little bit of droop tilt dialed in to 90 seconds they’d be rendered as
optimize my depth of field, and the indistinct streaks, barely visible. No,
light is just getting better and better. I want motion in my foreground, but
After much grunting I’m happy with not in the sky, meaning an exposure of
my composition. It will be one of those just a few seconds is called for. I reach
images with almost infinite depth made
by the strong foreground interest, but the
DAVID NOTON for my 0.9 ND; combined with the
polarizer and an aperture of f/16 it’ll
patchwork of fields below and the interest Pro travel & landscape photographer do the job. I shoot a test frame, adjust
in the sky are also key. A strong breeze my exposure using the histogram
David is an award-winning Canon
is blowing; rendering the swaying grass display, double check-focus and depth
photographer with more than 30 years’
sharp will be nigh-on impossible, so as of field again, and press the button on
professional experience. During his career
I can’t fight Mother Nature I might as well my remote release. The light will only
David has travelled to just about every
join her and go for some motion blur. continue to get better, but that cloud
corner of the globe. In 2012, Canon invited
The big question is how much? will soon drift out of frame. Now is
him into its Ambassador Program by
I reach for my polarizer; with the angle my decisive moment.
designating him an Official Canon Explorer.
of the light as it is sidelighting the scene
Info and photos at www.davidnoton.com
it will really saturate the colours of the
Next month Canada
DAVID NOTON COLUMN
As I can’t fight
Coastal heath on Bossington Hill in late
Mother Nature I might as
summer, with Dunkery Beacon beyond
Lens Canon TS-E 17mm f/4L
well join her and go for
Exposure 5 secs, f/16, ISO100 some motion blur
get a free
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canon skills
Sharpen up your photography skills with

our all-new photo projects and expert guides
Lauren Scott
Staff Writer
New projects with video guides
lauren.scott@futurenet.com
Follow our Canon DSLR walkthrough guides and Photoshop editing videos
Welcome...
hello! Photography, as
you’ll have heard a million
times, is all about light. The
best pros can enhance
lighting conditions with their
46 Misty minimalism 50 Cute pet portraits 52 Ring of fire faces

own special tips and kit, and
as usual we’ll be showing
Fake hazy landscapes and Use a Speedlite to capture Want to make better use
you how to do the same.
add mood and atmosphere with cute and colourful portraits of your of bright sunlight? Grab a metal pipe
First up we’ll be at the
some help from a special mist filter favourite little furry friends and introduce creative lens flare
beach, using mist filters to
add mood to early morning
scenes. For something
closer to home, why not
work with a Speedlite and
focus on your furry friends
in our pet portrait project?
Later in the day, discover
how to add romantic rings
56 Play with traffic 58 Remove distractions 60 Edit sunny portraits

of flare to your portraits.
Then, once the sun has truly
Transform passing vehicles Unwanted people driving you We show you how to boost
set, there’s a project for
into bold streaks of colour with this to distraction? Remove a photo- your summer portraits and come
turning passing cars into
simple long-exposure technique bomber from your special shots up with a fresh sun-kissed look
terrific traffic trails.
We haven’t neglected the
editing tutorials this month: View the videos
’tis the sunny season, so
learn to edit your daylit Whenever you see
this icon you’ll find
portraits with ease; remove an accompanying
unwanted people from video – tap the
ideo
friends and family groups;
plus, use Lightroom to
link and the video
will ‘pop-out’ of View the v
the page (as long
merge shots for stunning as you have an
62 Produce a panorama
panoramas. Get out (or stay internet connection).
in) and work that light! You can also download
Discover how to create truly epic landscapes by stitching images project files to your computer.
together into a panorama with Lightroom’s Merge Panorama command

ideo
Video also online view the v
http://bit.ly/pp_128_1
Project 1
Misty minimalism
The Mission
Use a mist filter and
blend the sea into
the sky for
minimalist images
Lauren Scott simplifies the frame by using specialized filters
S
Time needed
hooting in foggy and wanting. Here, we’ll show you and there are three different
1 hour
murky conditions can how you can use specialist filters options you can choose from.
help to isolate subjects to achieve a sense of space and We started off with the Mist stripe
Skill level
and add atmosphere to simplicity in your frame. filter – this one is excellent for
Intermediate
landscape shots. Mist lends It’s possible to add misty effects placing on the horizon and
itself perfectly to fine art, abstract in post-production, but the results blending the sea into the sky for
Kit needed
scenes where the composition is are rarely as convincing as if you’d subtle, abstract landscapes. Pop in
Lee Mist Filter Set
purposely pared down to create a shot them in-camera. Mist filters a filter, follow our easy shooting
• Tripod
simple and soothing frame. That may sound like a gimmick, but and editing tips, and mystify
being said, you can meticulously they’re professional accessories yourself with these gorgeous
plan a landscape shoot for mist, that you use in the same way as a abstract results. Then, when the
only to find out that the weather polarizer or neutral density filter mist you had hoped for doesn’t
has other plans. Don’t despair if to enhance scenes while shooting. materialize, you won’t be left
you turn up to your chosen The set we’ve tried came from feeling gloomy (or without any
location and find the conditions Lee Filters (www.leefilters.com), decent shots)…
Mist filters
Quick Tip!
Filter options to get misty-eyed These filters
aren’t limited to
Looking for special effects that still look natural? Check out these glassy accessories landscapes. Try
using the Clear
There are three different types of it makes sense to scout out a shooting horizon lines found at the beach also suit Spot Filter to add
filters in this particular set, and they can spot. Waterside locations, such as lakes the stripe across the filter. For our shoot,
be used either alone or stacked upon one or beaches, make a great choice, as you we headed out to the seafront in the early
a vignette to
another. Of course, the setup you choose want to avoid making your photos look morning. It doesn’t matter if the skies are portraits
will depend on the desired density and gimmicky. These areas are where mist clear or cloudy – great results can be
the scene in front of you. To get started, and fog would naturally gather, and the found in both conditions.
01 Mist Clear Spot 02 Mist Graduated 03 Mist Stripe

The clear spot on this filter is great for In the same way as a graduated ND filter, There’s a band in the centre of the filter.
directing the viewer’s eye to the most this option gives a mist effect to either the When it’s positioned in the foreground,
important part of the frame. top or bottom of the frame. it gives a sense of the depth of fog.
Kit, tips and

Essential tricks
Camera forTop
Skills thetips
bestfor
results
HDR
01 tripod 02 Steady on 03 filter system 04 manual focus 05 composition

For sharp shots, a sturdy If you’re shooting in early The filters we were using It’s best to focus manually, Take time to put together
tripod is vital. If it’s morning low light, the fit into the 100mm system as autofocus will be a dynamic frame. Turn on
particularly windy, bury chances are you’ll be using from Lee Filters. This thrown off by the mist the grid display, as this will
the legs in the sand or a relatively slow shutter meant we also needed coating on the filter. Zoom help you to compose the
weigh it down. A built-in speed. Avoid camera a lens adaptor ring of the in to a portion of the scene shot when using Live View.
spirit measure is handy shake by using a remote right size and a holder. in Live View mode, then Change the aspect ratio,
(but not vital) for checking release or timer delay Make sure you’ve got the rotate the focus ring and too, if you’re in the mood
if the horizon is straight. to fire off the shutter. right extras for your filters. judge sharpness visually. to experiment.

Project
Project????
1
Step by step on location

Here’s how to get started with mist filters on the Great British seaside
EDITING TIPS
You’ll probably find that
your misty landscapes
look a little dark straight
out of the camera. While
some gloom can add to
the mood, avoid ending
up with exposures that
appear ‘muddy’. Open
01 the arrival 02 find a frame
When you arrive at your location, start by mounting Move about until you’re happy with the frame,
up your images in Adobe
your camera on a sturdy tripod. You can perfect the zooming in a little so that you’ve got both water and
Camera Raw, and boost
composition once you’ve attached the filters, but sky in the scene. We choose to use an 18-200mm
the Exposure, Whites and
think about focal points you might want to include. lens, so that it was easy to readjust our composition.
Contrast. You might want
to desaturate shots by a
small amount, too.
03 slide the filters 04 set up your camera

Next, screw on the attachment ring to your lens and In Aperture Priority mode, set your camera to a low
add on the holder. Position the filter in the holder so ISO, such as 100, and an aperture of around f/8. Then
that the stripe sits just over the horizon line. You can switch to manual focus. Using Live View, zoom in and
use the viewfinder to do this, but Live View is easier. focus with precision on your main point of interest.
05 start shooting 06 layer up

Fire the shutter with a remote or cable release or Add in a graduated mist filter on top of the stripe filter
timer delay. Review the exposure and composition of for an even hazier result. You might need to dial in
Next month your first images. We narrowed the aperture, moved some more positive exposure compensation here,
on safari away from the sea and lowered the tripod height. as you start to block out the light reaching the sensor.
Mist filters
Idea 2 monochrome
Go greyscale
Removing colour is another way to simplify
compositions and add mood. Here, we used
Adobe Camera Raw to create a greyscale
conversion of the shot, also adding in a
vignette to draw the eye into the frame.
A square crop suited this symmetrical
structure best.
Filter used: Mist stripe and mist
graduated
Exposure: 1/8 sec, f/13, ISO100
Edit: Exposure -0.45, Blacks -20,
Contrast +18, Shadows -65
Idea 3 timing it right

Out at midday
Morning light might be lovely and soft,
but you can’t always get out first thing.
Fog and mist can appear at any time of
day, so don’t be afraid to use a filter in
the middle of the day. Here, overcast
light and a central composition creates
an incredibly simple shot that’s calming
to behold. We used a focal length of
28mm to compress the scene. The
final effect looks slightly surreal, but
it still illustrates the effect well.
Filter used: Mist stripe
Exposure: 1/160 sec, f/14,
ISO100
Edit: Exposure +0.45, Highlights
+38, Contrast +90, Shadows -78

ideo
Video also online View the v
Project 2
The Mission
Take great pet
photos at home
Time needed
One hour
Cute pet pictures
Hamster whisperer Peter Travers on how to photograph pets
N
Skill level ever work with main one being able to get a using her play tube to keep her
Intermediate children or animals, decent shot before she scurried stationary for a couple of seconds
they say – and they are off. Hamsters move very quickly, before escaping.
Kit needed often right! However, and aren’t in the habit of staying We set up a small home studio
Background paper that didn’t stop us trying our best still and posing in your direction, using a piece of blue background
• Two flashguns to grab some great pet portraits but with a few key techniques, paper stuck to the wall and on
• Radio triggers (or for this project. and being ready and in position, the top of Cloudy’s cage, plus two
use pop-up flash) We decided to photograph our with our lights tested and set up, off-camera flashguns set on low
little pet hamster, Cloudy, and it we were finally able to get a power so as not to scare the little
instantly threw up challenges, the winning shot (see right) after rodent. Read on to learn more.
STEP BY STEP How to capture animal magic

Learn the Canon camera and flash settings to take great pet pictures in your home
01 home studio setup 02 flashgun settings 03 Standard lens

We set up a simple mini-studio by taping To light our hamster, we set two flashguns We used a Canon EF 24-70mm f/2.8L
a piece of blue background roll to a wall to a low 1/128 power, one positioned at the USM standard zoom on our full-frame
and allowing it to curve gently onto our front at 28mm zoom, the other to the side camera, at 70mm so we could focus close
hamster’s cage to create a smooth and at 50mm zoom, fired via wireless triggers enough for a frame-filling composition as
seamless backdrop. We then let the (if your camera has a pop-up flash, the hamster is so small. For a crop-sensor
hamster crawl around on top of the paper. trigger your flashguns optically instead). Canon, an 18-55mm kit lens will be fine.
04 depth of field 05 do feed the animals 06 add some colour

It might be tempting to use your widest The best way to attract animals of all To inject some colour we tried using a
aperture for creative blur, but when shapes and sizes is to bribe them with plastic green tub that also stopped the
focusing closely on small subjects, depth their favourite food; Cloudy loves nuts. hamster escaping! We also tried various
of field is extremely shallow at f/2.8, so we An assistant comes in very handy here, as items for our hamster to clamber over and
shot at f/5.6. Our shutter speed was they can entice the pet to (a) stay still, and pose on, and found a cardboard tube was
1/200 sec to meet the flash sync speed, (b) balance on their hind legs for a better perfect to keep her facing the camera for
and we set ISO640 to boost the exposure. pose. Patience goes a long way here… the few seconds it took to take our shot.
Quick Tip!
Using off-camera
flashguns not only
lights animals
evenly, they also
create a catchlight
in otherwise-black
eyes to add a little
extra sparkle

ideo
Project 3
The Mission
Learn how to shoot
lens flare rings
using a metal pipe
Time needed
Ring of fire
Lauren Scott explains how to introduce sizzling circular lens flare
M
One hour
any modern lenses is unpredictable, not to mention a in-camera flare. The pipe shape,
Skill level are so well designed pain to remove in post-processing. colour, position and texture will
Intermediate that they all-but- But what if you could make and all affect how your flare looks,
eliminate lens flare. control camera flare on command, and every result will be unique.
Kit needed Specially coated glass elements with the ability to move and shape This creative effect is best used
Prime, wide stand up against even the it to suit your subject? Well, you in moderation, but play around,
aperture lens brightest, harshest sunlight, and can, and we’ll show you how… and with a little practice you’ll
• Copper pipe for everyday use, this is a good Shooting through a piece of soon get the hang of it. Read on
thing. Unwanted flare, caused by metal pipe in direct light – for our take on introducing
light bouncing off lens elements, sunlight is ideal – creates instant deliberate lens flare…
Shooting skills flare with flair

Use a piece of pipe to add a glowing golden ring to your portraits
01 what you’ll need 02 subject choice 03 camera settings

The best lens to use here is a prime with As we’re demonstrating a technique here, There’s not an ideal setting for all scenarios,
a focal length of 50-100mm and a wide the subject isn’t so important. That being but we used Aperture Priority mode, so
maximum aperture, such as f/1.8. You’ll said, portraits look gorgeous with added we didn’t have to worry about constantly
also need a piece of metal pipe that’s lens flare. Shoot your subjects with the sun changing the exposure at the same time
around an inch in length and diameter. Cut (or light source you’re using) behind them, as moving the pipe. Most of our shots
it to size with a pipe cutter if you need to. as this is when flare will appear. were taken at ISO100 and around f/2.8.
04 see the light 05 use live view 06 pipe dreams need practice
You can utilize any light source for this, Switch to Live View so you can easily assess You won’t magically get a flare as soon as
including the sun, street lamps, bulbs how shots (and flare) will look. Rotate the you hold the ring in front of your lens.
or flash. Bright sunlight is easy, effective, pipe back and forth in front of the lens and Consider where the sun is in the sky, and
and free to boot. It also creates particularly move around your subject to reposition the position of your subject in relation to it.
good-looking flare when low in the sky yourself in relation to the light source. Fire Practice makes perfect, so keep tweaking
during the afternoon and early evening. the shutter when you’re ready. Flare-tastic! until all the elements line up.
Lens flare
CUT TO SIZE
Copper piping usually
comes in lengths of a
minimum of a couple of
metres, so we cut a
longer piece down using
a tube cutter. This nifty
tool was only a couple of
quid, but could cut piping
up to 28mm in diameter.
Plus, it meant we could
create a few rings of
different lengths – all the
better for experimenting
with! Using both chrome
and copper versions for
experimentation, we
cut down our 25mm-
diameter piping to about
an inch in length.
Quick Tip!
A clear acrylic or
Perspex tube could
also be used. Hit
the internet, order a
tube, then cut
it to the right
size yourself

Project 3
Take it further with a quick edit

Use a few quick Photoshop sliders to set your shots alight
01 start in camera raw 02 Local ADJUSTMENTS 03 Finishing touches

It doesn’t take much tweaking to enhance Next, we opened up our image in the The last step was to add a few subtle
these portraits. Because direct sunlight main Photoshop editor. First, we used the adjustment layers to our shot. We ramped
can often result in images that are slightly Dodge tool to selectively brighten up areas up the Brightness and Contrast ever so
underexposed, your main aim is to of the face, with the Range set to Midtones slightly for a punchier result, as this suited
brighten up the face without blowing out and the Exposure to 50%. Then, we set the high-contrast shooting conditions. In
the definition of the ring itself. To begin, the Range to Highlights and brightened up some situations, you might find that you
we took down the Whites and Highlights. the rim lighting outlining our model’s head. actually want a flatter, more subtle result.
Final inspiration TO Get the glow GOING

Try out different pipes, lighting and shooting situations
left look up
If the sun is still very
high in the sky, find an
open space to shoot
in, crouch down low
and position it behind
your model’s head.
right forget
the ring
This technique creates
gorgeous flare effect,
but you don’t have to
make them circular.
Next month
catch a wave
ideo
Project 4
After
Before
The Mission
Capture vehicle
light trails at night
with a long
exposure
Play with traffic
James Paterson explains how to capture and combine images
Time needed that transform passing vehicles into glorious streaks of colour
30 minutes
W
e photographers creates wonderful streaks of recent shoot in Norway we found
Skill level
have a bit of a love/ colour through the frame. these mountains and winding
Intermediate
hate relationship This is one of those camera roads that worked perfectly, but
with movement. skills that reveals the magic of why not try a busy motorway,
Kit needed
Sometimes it’s a real pain and we photography – and anyone with a city street, or a knotty junction?
Tripod
strive to keep it to a minimum. At DSLR and tripod can do it. As Another challenge is timing – we
• Photoshop CC
other times, we want to celebrate such, it’s a great way to get started want a decent array of lights but
it in all its blurry glory. The with long-exposure photography at night, especially, traffic can be
motion of traffic at night falls into as there’s no need for extra filters rather sparse. However, you can
the latter category. By using a long or even a cable release. The always shoot several frames then
exposure in the low evening light, challenge is finding an interesting combine them with simple editing
the smooth motion of their lights composition for your shot. On a skills, as we’ll explain...
Traffic Trails
STEP BY STEP Be a trailblazer

How to set up your DSLR for a series of long-exposure light trails
Using
Manual
exposure
If you find you usually
stick to the auto exposure
modes, a project like
this offers a gentle
introduction to Manual
exposure mode. In order
to get the long shutter
speeds we need, we
01 Get set up 02 Switch to manual have to adjust our other
Fix your DSLR to a tripod. Look for an angle where the Rather than shooting in pitch dark, try just after sunset exposure settings to
winding road begins close up then recedes into the so there’s still detail in the sky. Even so, autofocus can compensate. Firstly
distance, as this’ll make more interesting lines than, struggle to lock on in low light, so focus on a point a we can use a high
say, a side-on view. Try a low-down or high-up view, and third of the way into the scene, then switch to manual f-number like f/16. This
frame loosely to account for different-height vehicles. focus to lock it. This’ll prevent hunting between frames. decreases the size of the
opening in the lens and
restricts the flow of light.
Secondly, we can use a
low sensitivity, such as
ISO100, so the sensor
requires more light for a
correct exposure. Both
factors help to restrict
the amount of light,
which means we can use
a longer shutter speed
that will blur any motion.
03 Set your exposure 04 Time it right

Switch your DSLR to Manual exposure mode. All Shoot lots of frames as vehicles zoom by. Differences
scenes are different, but here’s a good starting point in height make the trails more varied (as will flashing
for exposure: set the aperture to f/16, shutter speed lights, which appear as dashes). Take care not to nudge
30 secs and ISO100. If the image is too bright or the camera between shots, as we need all the frames
dark, try adjusting the aperture until you’re happy. to be in alignment if we intend to blend them together.
Quick Tip!
Use a 2-sec self-
timer drive mode
if you don’t have a
remote control so
you can start the
exposure without
nudging the
camera
05 Combine several images 06 Blend the layers

Open the images you want to use (we blended seven) in Go to the Layers panel (Window>Layers) then change
Photoshop. Choose one frame as the base image, then the blending mode of all layers to Lighten, which
go to another image, Select All (Cmd/Ctrl+A), Copy effectively overlays the trails on top of one another.
(Cmd/Ctrl+C) then go back to the base image and If any other areas, like the sky, look messy, use a layer
Paste (Cmd/Ctrl+V). Repeat for all the other images. mask or the eraser to remove them from the mix.

ideo
Photoshop Elements
Before
After Before
The Mission
Remove people in
the background of
your photos
Time needed
Editing portraits
An unwanted ‘photo bomber’ needn’t spoil your cherished photos,
20 minutes allow James Paterson to explain how to remove pesky intruders
I
Skill level
t’s happened to the best displays of emotion – shedding a removing an unwanted photo
Intermediate
of us; we think we’ve few quiet tears. It was the moment bomber depends on what lies
captured the perfect of the day. Then, to my horror, I elsewhere in the frame – or in the
Kit needed
moment only to discover saw the woman in the background frames taken either side. To cover
Photoshop
later on that someone has – the ultimate photo bomber. something up, we need to find a
Elements
unintentionally muscled in Everything in the composition piece of image that looks natural
on the action and spoiled leads towards her. She’s not even in its place. We can then replace
the composition. a guest, just an interested gawper the offending area and tidy up it
In this case I was at a wedding that chanced upon the wedding for seamless results. Thankfully
and there came a split-second party as they left the church. I’d fired another frame where the
moment where everything gelled Upon showing the photos to the hapless intruder was offset just
perfectly. The just-married couple couple, they loved this one above enough to be less of an eyesore.
were sharing a loving look, all others. But, they asked, could Photoshop Elements – with
framed perfectly on either side by anything be done about the its layer controls and retouching
Download project files
the bride’s onlooking mother and random person? tools – has everything you need,
to your computer from: sister. I’d even managed to catch The answer is usually yes, but even when faced with tidying up
http://downloads.
photoplusmag.com/pp128.zip the groom – not known for his with a few caveats. Successfully cluttered backdrops like this...
Remove distractions
Step by step Delete distractions

Learn how to get rid of people in the background to improve your composition
Clone tool
or Layers?
The Clone tool lets us
copy pixels from one area
to another, so it’s useful
for removing unwanted
people from otherwise-
clean backdrops. But
things get more tricky
with a cluttered backdrop
like this. Here’s where
01 Find replacement pixels 02 Position the copy Layers prove more
In Expert mode, open bomber_before01 and 02. Go to Hit Cmd/Ctrl+C to copy the selection, then go to the useful. We can copy part
the second image. We’ll use the middle section to hide other image and hit Cmd/Ctrl+V to paste it over. Go to of an image to a new
the distracting lady. Grab the Rectangular Marquee the Layers panel and drop the opacity to about 50%. layer, then reposition it
tool from the toolbar and drag a box over the middle Grab the Move tool and drag the layer into position, elsewhere. This gives us
portion of the frame, top to bottom. lining up the people in the background. greater control, as we
can fine-tune exactly
what’s visible or not by
adding a layer mask to
the copied pixels. So in
effect, layers can be used
to perform exactly the
same task as the Clone
tool, but with greater
control and finesse.
03 Select the people 04 Improve the selection

Quick Tip!
Set layer opacity to 100%. Highlight the ‘Background’ Hit Refine Edge in the tool options. Increase Radius to
It’s easier to get rid
layer and hit Cmd/Ctrl+J to make a copy. Drag it to improve the selection. Paint over messy areas along of photo bombers
the top of the stack then grab the Quick Selection tool. the edge with the Refine Radius tool. Set Output: in-camera! Shift
Paint to select the figures between the couple. Hold Layer Mask. Next highlight the layer mask thumbnail your perspective
Alt and paint to subtract if the tool goes wrong. in the Layers panel and hit Cmd/Ctrl+I to invert it.
slightly or open up
your aperture
to blur them out
05 Perfect the mask 06 Clone to tidy

Grab the Brush tool, with a soft-edged brush tip, and Make a new layer then grab the Clone tool and check
zoom in close. With the mask thumbnail highlighted ‘Sample All Layers’ in the tool options. Sample a
we can paint white or black to reveal or hide parts of source area then paint to clone over messy parts. Next month
the layer until the mask perfectly isolates the faces. Don’t worry about cloning precisely; add a layer mask Repair your
Hit X to flip between black and white as you paint. and paint white or black to fine-tune what’s visible. old photos

ideo
Photoshop CC
The Mission
Learn how to liven
up your sunlight
portraits
Time needed
Give me sunshine
Are your sunlit shots getting you hot and bothered? Lauren Scott
10 minutes shows you how to liven things up without going overboard
W
Skill level
hatever the genre, sunlit lifestyle shots with a few tweaks to the white balance and
Easy
we all start to feel tweaks. We’ll start in Adobe contrast can really make all the
inspired and snappy Camera Raw and then finish off in difference to the final result. As
Kit needed
when the sun is out. Photoshop CC. There’s nothing too with all good editing, the key is
Photoshop CC
Unfortunately, photos taken in complex here. For example, to keep things subtle...
bright daylight can end up looking adding a vignette can lead the
either flat and dull or too bright viewer’s eye toward your subject,
and harsh. This is because when deepen the background tones and Before
the sun is higher in the sky, it add a natural frame. As for your
throws areas – such as sides of the subjects themselves, brightening
face or under the eyes – into deep the eyes and highlights in the hair
shadow. That isn’t to say that will inject energy into any
whipping out your camera on a portrait. More often than not,
summer’s day is inherently wrong. you’ll be trying to fill in shadows.
Perhaps you’ve been tasked to Although our starting portrait
shoot a summer clothing straight out of the camera wasn’t
catalogue, or you just want to too unbalanced, there were still
photograph friends and family at a few adjustments we could make
the beach. Either way, sometimes to give it a professional sun-kissed
you have to work with the look and bring our model to life.
conditions that you’ve been given. The aim here isn’t to recreate a
to your computer from: In this tutorial we’ll show you Caribbean scene, but to enhance
http://downloads.
photoplusmag.com/pp128.zip how to make the best of your portraits in natural light. Quick
Step by step for a sun-kissed look

Play around with this technique next time you’re editing a sunlit shot
Adjustment
brushes
It’s possible to edit your
images completely in
Adobe Camera Raw. To
adjust a specific area of
a photo (the face or eyes,
for example) select the
Adjustment Brush tool
from the toolbar, choose
to adjust the exposure or
brightness, specify brush
options, then paint with 01 use camera raw 02 add a vignette
the Adjustment Brush Open up the image in ACR. Start by taking the Head to the Lens Correction tab, go to Manual and
tool over the chosen area. Exposure up to +0.10, the Contrast to +15, the take the Lens Vignetting Amount down to -40, with
shadows to +10 and the Whites down to -10. The the midpoint at 50. In images where the subject is
Vibrance levels should also be boosted to +20. The larger in the frame, you might find that a smaller
values are specific to this image, but sunlit shots vignette is more effective. Drag the sliders around
generally benefit from added contrast and vibrance. to suit different scenes and compositions.
Sunny portraits
After
Quick Tip!
Brighten up
shadowy faces on
a shoot by using
a reflector. Look
for pocket-sized
versions that can
fit in a bag
03 add some warmth 04 Brighten the face

Camera meters can often render scenes on the cool The final stage is to selectively lighten the image.
side, so the next stage is to warm up the shot from the Open it up in Photoshop and select the Dodge tool.
Basic tab. Camera Raw usually defaults the white Set it to Highlights and 30% exposure, then use a
balance to ‘As Shot’ or ‘Auto’, but we’ll set it to soft brush to paint over the face once or twice. Use Next month
Custom. Take the Color Temperature up to around a smaller brush to paint over the eyes. You might textural
6200. If you go any higher, the eyes start to yellow. want to carry out this step on a duplicate layer. portraits

ideo
Lightroom
Produce
The Mission After
Stitch a scene with
panoramas
Lightroom’s Merge
Panorama tool
Time needed
15 minutes
Skill level
Easy James Paterson uses Lightroom’s
Kit needed
Merge Panorama command to
Lightroom 5 or later combine several frames
L
ightroom’s Merge Panorama command
stitches several horizontal or vertical frames
together to create a panoramic Raw file
– perfect for those times when your lens
can’t fit the whole landscape in, or if you want
to pack in extra detail.
The Merge Panorama command offers three Projection
modes, and as you’d expect these stitch the frames in
slightly different ways. Spherical maps the frames as if on
the inside of a sphere. It’s ideal for very wide panoramas, or
ones that have several rows to them. Perspective maps the
segments as if they were on a flat surface, and this keeps
lines straight. For this reason, it’s great for architectural or Before Before
city scenes, but can lead to extreme distortion and warping
at the edges when used in the wrong way. Cylindrical maps
the frames as if they are on the inside of a cylinder. It’s ideal
to your computer from: for wide panoramic landscapes because distortion is
http://downloads.
photoplusmag.com/pp128.zip minimal and vertical lines stay straight.
Step by step start the merge

Discover Lightroom’s Radial Filter tool and edit images with subtlety
Shooting
skills
When shooting the
frames for a panorama,
use a tripod to keep the
camera position fixed
and make sure that
the panning motion
remains perfectly level
by checking the horizon
as you pan (a spirit level
comes in handy here).
Shoot with your camera 01 start merge panorama 02 choose a projection
in vertical orientation First, use Cmd/Ctrl-click to select all the frames to There are three projection modes to choose from:
to record the maximum stitch into your panorama, then go to the Develop Spherical, Cylindrical and Perspective. Each maps out
amount of detail and module, scroll down to the Lens Correction panel, the frames in a different way. Spherical places them
allow for a generous click Profile and Enable Profile Corrections. Next, to as if on the inside of a sphere, Cylindrical as if on the
overlap between each begin the merge, select Photo>Photo Merge> inside of a cylinder, and Perspective as if placed flat.
segment. Panorama, or right-click the images and choose Experiment with each mode depending on your shot.
Photomerge, or simply press Cmd/Ctrl+M. We’ve used Cylindrical mode here.
Create panoramas
Before Before Before Before Before
Quick Tip!
To create an HDR
panorama, merge
three frames for
each segment into
one HDR shot, then
combine the HDRs
into a panorama
03 auto crop messy edges 04 enhance the panorama

Tick the Auto Crop check box to automatically remove When you’re happy with the settings, click Merge.
any messy edges to give you a tidy rectangular image. The panorama will show up alongside the originals
It’s non-destructive and can be changed later with with the suffix ‘pano’. It’s a DNG Raw file, so you can
Lightroom’s Crop tool. Try unchecking the box just to process it like any other Raw file. Take it into the
see what’s being cropped off. With Perspective Develop module to make any changes you like. Here Next month
Projection mode here, you can see the extreme we’ve boosted the colours and added a gradient to graduated
distortion at the edges. darken the sky a little. filter tool

Theprointerview
All images ©Marc Aspland/The Times
MARC ASPLAND
Marc Aspland is a
multi-award-winning
photographer who
loves the challenge of
summing up an entire
sporting event in one
image. He talks to
David Clark about his
memorable career
hen Marc Aspland was

awarded an Honorary
Fellowship of the Royal
Photographic Society in
2014, it was a public
recognition of what most
people in the business
already knew: that he’s
one of the best sports
photographers around.
Three years after surviving a life-
threatening accident, he’s still taking the
creative, eye-catching and distinctively
off-kilter sports images that have defined
his career. In this interview he talks
about his style, what it’s really like
photographing major sporting events and
how there’s nothing he loves more than
being pushed out of his comfort zone…
How did you get into photography?

I grew up in Newbold-on-Avon, a village
near Rugby in the Midlands. There was
no artistic bent in my family at all, but a
chap who lived two doors down from my
Marc
parents, Bob Ingram, was a keen amateur
photographer. He loved Formula One and
motorsports and, when I was about 13, he
took me and my brother to the Le Mans
24 Hour race. For me, it was just an
unbelievable world of glamour. He gave
me a camera and encouraged me to take
pictures, then later taught me to process
Aspland
01 GEORGE FORD
The England rugby fly-half celebrates his
try against South Africa in 2016. Marc only
noticed the arc of water afterwards
Lens Canon EF 400mm f/2.8 IS II USM

Theprointerview
02
02 COOK’S CATCH
and print. From nowhere at all, I found a another mentor, Mike Dellow. I was doing
medium where I could capture what was 10 or 15 assignments a day, everything
Marc focuses on the fans as England’s
in front of me and which utterly captured from photographing couples having their
Alastair Cook catches Australia’s Mike
my imagination. Photography found me, wedding anniversaries to taking pictures
Hussey out in the First Ashes Test in 2010
not the other way around. of the mayor of Watford. Mike taught me
Lens Canon EF 500mm f/4L IS USM that when you go into a room, you have
Exposure 1/2000 sec, f/5, ISO250 Did you do a formal course? to impose your personality and your ideas
Yes, after doing my A levels, which on those people, and you have to make
03 BILLY MORGAN
included photography, I was lucky enough those people work for you. I’ve carried
A multi-image of Billy Morgan of Great to go on a one-year National Council for that thought with me ever since.
Britain, competing in the Men’s Slopestyle Training of Journalists (NCTJ)
at the Sochi Winter Olympics in 2014 photojournalism course in Sheffield. When did you start photographing
Lens Canon EF 16-35mm f/2.8L II USM One of the tutors, Paul Delmar, had great sport professionally?
Exposure 1/4000 sec, f/4.5, ISO125 enthusiasm for picking up this group of I’d always been into sport, and it was part
very raw kids and literally just shoving us of my newspaper life to photograph
04 RIO SUNSET
out of the door. I was there just at the end Watford Football Club, as well as school
The opening day of the Rio 2016 Olympics, of the Miners’ Strike in the 1980s, which sports. After I’d been on the paper a few
Netherlands vs Russia in Beach Volleyball caused huge upheaval in the city. For me years, Mike Dellow phoned a friend at
Lens Canon EF 16-35mm f/2.8 II USM there weren’t enough hours in the day to The Times and said, “We’ve got a young
go out and take photojournalistic pictures lad here who has completely outgrown
of picket lines or miners on their hands us, can he show you his pictures?” I went
and knees looking for lumps of coal to along, feeling totally overawed, and they
I like the fact that heat their houses. From a learning point sent me on a couple of jobs, then I started
of view it was just the most fabulous year. freelancing for them. This was in 1988.
I’ve got no control over I worked there for two years without
Did it lead directly to a job? a day off, just to get my foot in the door.
what’s happening in I went to the Watford Observer. There was If they sent me to shoot a businessman’s
a photographic team of six at that time, portrait, or a Millwall match in the
front of me with me as the junior. There I met evening, I always jumped at the chance.
MARC ASPLAND
03
How did you become Chief Sports

Photographer at The Times?
I did my fair share of the big news stories
of the day, such as the Kegworth Air
Disaster in 1989 and Royal weddings and
births. But I’d always be the first one to
put my hand up and say I’d do football 04
matches. I suppose my style of
photography set me slightly apart. It
wasn’t obvious or like stock photography particular way, which is the off-kilter, and the light was really poor. I think they
and it suited the then-sports editor. When sometimes slightly quirky way. are the very best cameras available.
the sports photographer job came up, I
went for it. I’m still doing it 24 years later. What do you like about Canon kit? Which lenses are in your kit bag?
My first serious camera was a Canon F1, My lenses range from a 15mm fisheye all
What is it that appeals so much which I got when I was doing my NCTJ the way to a 500mm f/4, but I particularly
to you about shooting sport? course, and I’ve never changed use the 16-35mm f/2.8, 24-70mm f/2.8
I particularly like the fact that I’ve got no manufacturer since. Many of my and 70-200mm f/2.8. My main ‘standard’
control over what’s happening in front of colleagues have flitted between Canon lens is my 400mm f/2.8 II, then I’ll use
me. I can’t say to a sportsperson, the and Nikon, but I’ve just stuck with Canon. 1.4x or 2x convertors. I’ll also use the
light’s not very good here, can you just I’m very comfortable with knowing 200-400mm f/4 with the built-in 1.4x
turn towards the daylight? I can’t ask everything about the way the cameras converter, which is a magnificent
Jonny Wilkinson to re-drop that goal in work, and with their high quality. I now creation. It’s very light and goes all the
2003 in Sydney because I happened to use the EOS-1D X Mark II and have three way from 200mm to 560mm; it’s perfect
be looking somewhere else. I like the fact of them. That camera really is the peak of for golf, for example.
that, when I’m at a football match for 90 the evolution. When I photographed the
minutes, my sports editor expects me to Anthony Joshua fight in April, I pushed How have technical advances in
sum up that whole match in one image. the ISO to 8000. There’s hardly any noise equipment affected your work?
That might not be a shot of the winning in those images, even though I was on the Cameras are so advanced today that I’m
goal, but it sums it up in my own balcony, shooting on a 500mm f/4 lens able to make them work for the picture

Theprointerview
05
05 RONALDO CELEBRATES
Cristiano Ronaldo scores for Portugal in
the Euro 2016 semi-final vs Wales, as Real
Madrid team-mate Gareth Bale looks on
Lens Canon EF 300mm f/2.8 IS II USM
06 JESSICA LONG
In 2007, when American Paralympic
swimmer Jessica Long was 15, she already
held 12 World Records and 12 Gold Medals
06
07 WHITE TURF I have in my head. They’re so Which sports do you most enjoy
Taken in 2008 at the 101st running of sophisticated that you almost don’t photographing?
White Turf, a race that takes place on the have to be a photographer to take good You’d expect me to be able to photograph
frozen lake at St. Moritz in Switzerland pictures. When I’m at football matches, a football or rugby match with my eyes
Lens Canon EF 400mm f/5.6L USM the freelance photographers alongside me closed, because it’s the staple diet of a
Exposure 1/3200, f/7.1, ISO250
at the side of the pitch are using pretty Times sports photographer. I particularly
much the same cameras as me. They can like sports that take me out of my comfort
press an autofocus button and the zone, like those in the Winter Olympics
I particularly like pictures are super sharp, and use – sports like speed skating, curling,
Program mode and the exposure is snowboarding and half pipe skiing. First
sports that take me out perfect. You don’t have to have any I have to find out what they are all about.
education or grounding because the Once I’m there, I’m looking at where the
of my comfort zone. First cameras are so good. But to be a really light is and I’m thinking that I need to
good photographer, you need the ability record it, but also to step back and get a
I have to find out what to see something in your mind’s eye. It’s good picture out of it. For the superfast
all about seeing; that’s what sets great downhill, I literally walked up the course
they are all about photographers apart from all the others. twice three or four days before, just to
MARC ASPLAND
07
find a spot through the trees that would photographing an ice hockey match I 9.69 seconds at the Beijing Olympics, he
give a beautiful clear background. might use a super-long lens that would was running straight towards me because
just capture the eyes of a player, or a I’d stood in the photographer’s stand for
What do you aim to achieve massive wide-angle view taken above the three hours before the race so I had the
when shooting those sports? pitch on a remote camera. I’m there to position. But I made sure I didn’t do a
Sports photography for me is not about make an interesting picture out of these stock picture of a man running towards
shooting action at 16 frames a second and situations. That’s the challenge. me – I took a wider view with all the
just capturing a stock image. It’s about other runners in the shot. Afterwards, the
finding, seeing and then taking a creative Can you give an example of when sports editor said, “Where’s the picture of
image. That could be done using a slow you’ve deliberately avoided Bolt beating his chest as he crosses the
shutter speed, a pan blur or a mega-fast taking the obvious image? line?” and I said, “I didn’t want to do that,
shutter speed. For example, if I was When Usain Bolt ran the 100 metres in boss, that wasn’t the point!”
Story BEHIND THE SHOT
It’s a knockout
Marc Aspland on one of his most memorable sporting shots
“After spending a great deal of time charting the career path of
boxer Ricky Hatton, we had become great friends. His career led to
a huge fight against Floyd Mayweather Jr. in Las Vegas, late in 2007.
I was crammed under the neutral corner in my ringside photo
position. In Round 10, Mayweather felled Ricky like an oak tree. The
back of his head bounced off the canvas about 12 inches from my
camera. I was screaming at the top of my voice, ‘Get up Ricky, just
get up!’ During the mayhem, I shoved my camera through the ropes
at arm’s length, directly above Ricky’s face. I must have pressed the
shutter release and this single frame of referee Joe Cortez removing
Ricky’s gum-shield was captured. Ricky’s life took a different
direction after this moment. Thankfully we are still friends.”

Theprointerview
08
08 BOLT’S RECORD RUN

A few years ago, you were injured Putting aside the four Sports
in a road accident. What happened Photographer of the Year awards,
Jamaica’s Usain Bolt takes the Gold Medal
and have you fully recovered? becoming an Honorary Fellow of the
in the Men’s 100m final in 9.69 seconds at
In 2014 I was cycling home after playing Royal Photographic Society was a real
the Beijing Olympics – a World Record time
five-a-side football in Harpenden on a shock, more than anything. So many
Lens Canon EF 70-200mm f/2.8L IS USM Thursday night. I have no memory of the amazing photographers have been given
Exposure 1/1000 sec, f/2.8, ISO800 accident at all, but I had a serious brain Honorary Fellowships and I never
trauma and broken collarbones. I was in thought an editorial sports photographer
09 FALL AT BECHER’S
hospital for quite some time and my from The Times would receive one. Even
This dramatic remote shot was taken when memories of the three or four months now I have to pinch myself when I think
jockey MJP Kendrick fell on Sam Cavallaro after the accident are very vague. about it, because it was a great honour.
in the 2017 Foxhunters’ Steeple Chase Because of the severity of the trauma, it’s
Lens Canon EF 16-35mm f/2.8L II USM a four-year process to find out how much Have you ever missed a great shot?
Exposure 1/2500 sec, f/3.2, ISO800 of the old Marc I’m going to get back. My Good God, honestly, I’ve missed ‘the
memory still isn’t particularly great, but moment’ hundreds of times, usually
10 McILROY’S MOMENT I’ve learned to live with the differences. because I’m slightly looking sideways at
A victorious Rory McIlroy holds a hand to something else. Sometimes I also miss the
his ear after sinking a crucial putt at the How did you feel about the get moment because something unexpected
Ryder Cup in Minnesota in October 2016 well messages on Twitter from happens. For example, at the 2003 Rugby
Lens Canon EF 200-400mm f/4L IS USM people like Rafael Nadal, Jonny World Cup Final, I had no control over
Wilkinson and Elton John? the big Australian prop forward who ran
At the time, I didn’t know what day of the across my frame just as Jonny Wilkinson
week it was and had no memory of those caught the ball and kicked the winning
Honestly, I’ve people. My wife and children loved the drop goal. For one reason or another,
messages and took great comfort from I’ve missed too many pictures to mention.
missed ‘the moment’ them, but when I looked at these people
holding up a card with ‘get well soon’ on What are the best and worst things
hundreds of times, it, I didn’t really know what it meant. It about photographing sports?
was only afterwards, when I looked back, One of the best things is being at
usually because I’m that I could appreciate those messages. memorable sporting events, such as the
Anthony Joshua-Wladimir Klitschko
looking sideways at You’ve won many awards during heavyweight title fight. Afterwards,
your career. Which one gave people said to me, “It was the most
something else you the biggest thrill? amazing fight, you’re so lucky you were
MARC ASPLAND
Profile
09
Marc Aspland
Sports Photographer
52-year-old Marc was born and brought
up in the West Midlands. After leaving
school he took an NCTJ course in
photojournalism. His first job was working
for the Watford Observer before joining
The Times as a freelancer in 1988. He has
been the newspaper’s Chief Sports
Photographer since 1993.
He has covered most of the major

sporting events of the past 30 years,
including six summer Olympic Games and
four FIFA World Cup Finals, plus every FA
Cup Final and Wimbledon final since 1988.
He has been awarded Sports

Photographer of the Year four times and
he published a book of his best work, The
Art of Sports Photography, in 2014. In the
same year he was awarded an Honorary
Fellowship of the Royal Photographic
Society. He is member of the Canon
10 Ambassadors Programme.
there.” But my abiding memory is that I I would offer this advice: believe in Next issue: Liquid motion specialist
didn’t particularly enjoy any of it, because yourself. Believe in your own ability. David Lund splashes his secrets
I was concentrating so hard, every single Don’t look at everybody else’s pictures of
round. You’ve got to anticipate everything an event and think, “Oh no, I’ve missed
and you can come away from those 11 the winning goal.” It’s not about that.
rounds absolutely exhausted because you Just have faith that you’re seeing things The worst thing is
cannot take your eye off it for one minute. differently to anybody else. Aim to
So the worst thing about it is that you capture the image on the back of the you can’t enjoy these
can’t enjoy these events as a fan, you camera that you have already seen in
have to be absolutely in the zone. your mind’s eye. Go out and practice and events as a fan, you
if you get it wrong, find out why and try
What advice would you offer again. As long as you believe in your own have to be absolutely
someone who wants to be a ability, sure enough, that style, your own
pro sports photographer? individuality, will come through. in the zone
PHOTOSTORIES Photo essays from PhotoPlus readers
and professional photographers alike
Join in
the fun!
One of the great things

about photography is
being able to share your
view of the world. This
issue we reveal the story
behind a project to recreate
street images taken
decades ago by reuniting
the original subjects.
We want your photos

and stories! For your PROJECT INFO
chance to show off your
images in PhotoPlus, send
three to five high-resolution
JPEGs, along with a brief
synopsis – explain why you 01
took the shots, the location,
Reunions
whether they’re part of an
ongoing project or a one-off
shoot, and anything else
unusual or interesting. Also
include Canon DSLR, lens Name: Chris Porsz
and exposure details.
Location: Peterborough
Chris Porsz’s unique project has been
Email
over three decades in the making
Mission: To find characters and
I
photoplus@futurenet.com recreate the images I took so
long ago n the early ’80s new career as a paramedic,
I wandered the I hardly picked a camera up
Online Kit: Original pictures taken on
Canon AE-1, Canon 50mm f/1.8 streets and turned for the following 25 years.
www.facebook.com/photoplusmag my camera on society. My passion was rekindled in
and Canon 28mm f/2.8. Reunion
www.twitter.com/photoplusmag pictures taken on Canon EOS I found it quite magical, 2009 when the Peterborough
1000D, EOS 60D and EOS 5D Mk as I still do now. Completely Evening Telegraph gave me a
III with EF-S 17-55mm f/2.8 IS self-taught, I was inspired by column Paramedic Paparazzo.
Post USM and Canon EF 24-70mm
PhotoPlus: The Canon Mag f/2.8L II USM the work of Bert Hardy and Incredibly, some readers
Future, The Ambury Bill Brandt in Picture Post, and recognized themselves, and
www.chrisporsz.com Harold Evan’s seminal book so I began my mission to
Bath BA1 1UA, UK
Pictures on a Page. Because recreate the images. I had
I was busy with family and my lots of setbacks with people
Your Photo stories
01 John Lewis toy department

Original shot in 1985. Reunion in July 2016
Lens Canon EF 24-70mm f/2.8L USM Exposure 1/50 sec, f/5, ISO1000
02 Cathedral cloisters archaeology

Original shot in 1982. Reunion in July 2016 02
Feedback
everance, and it’s
Chris’s project shows real determination and pers
have changed all these
fascinating to see how people and environments
and settings behind
years on. This story is less about the techniques
s you need to
the images, and more about the mental challenge
overcome to create strong street images.

PhotoStories
03
04
not replying, refusing or no it was a massive challenge to impossible, and if they were hugs and kisses, and although
longer friends. Others had self-publish and distribute mediocre, I wanted to bring these people were once
moved away and some had my book Reunions. them up to date and alive. strangers to me, some have
sadly departed. Despite many Street photography puts It was fantastic to see old become good friends. I would
failures, the successes drove many off but I’m lucky as a big friends who had not seen each love to do a Reunions
me on. Having no contact part of my job is gaining the other for over three decades exhibition and I am now busy
details, I never dreamed I’d trust of strangers. Being ready, united again. It was often very on a third book featuring my
reunite 134 sets of people. thinking on your feet and emotional with some tears, latest street work.
It was difficult fitting in my responding quickly to the
day job at the same time, and unexpected complements
I once drove a 200-mile round my street photography well.
trip to be told I had got the Amazingly, a couple of 999 05
wrong person. I was really calls led to reunions! I wanted
surprised by the national and to do the original images
international media attention justice by faithfully recreating
and, rejected by publishers, them, but that was often
Being ready, thinking on your feet

and responding quickly to the unexpected
complements my street photography
74
Your Photo stories
03 World pizza-eating competition

Original shot in 1985. Reunion in July 2016
04 Gladstone Street boys

Original shot in 1980. Reunion in October 2010.
Lens Canon EF 17-55mm f/2.8 IS USM Exposure 1/400 sec, f/4, ISO400
05 Out from behind the curtains

Original shot in 1980. Reunion in January 2013.
Lens Canon EF 17-55mm f/2.8 IS USM Exposure 1/160 sec, f/5, ISO400
Feedback
. Chris didn’t know
T he book Reunions took almost 40 years to make
s all thos e years ago, but having
that he was going to create this serie
tackling many social
foresight and planning ahead is key to now.
ions is on sale
documentary photographic projects. Reun

My Kit
Professional photographers reveal their top six
tools of the trade they couldn’t shoot without
I need to minimize weight

and take kit that’s reliable in
any conditions
What do I do?
Markus Rohrbacher
Outdoor pro Markus needs kit to be hardy and reliable when shooting epic
sports and landscapes. Discover the gear he uses for scaling mountains
Markus
Rohrbacher
A
s an outdoor take a Fisheye 10-17mm from Last year, I also jumped
I’m a self-taught freelancer
photographer, Tokina with me as well. It’s onto the drone game with the
based in the Austrian Alps. After
I can’t avoid long affordable, produces a decent DJI Phantom 4. It offers so
graduating as an architect, I took
hikes and climbs quality and fits on crop and many possibilities for new
a year off and focused on action
to get to locations. full-frame cameras. I have perspectives, and now there’s
photography. The mountains near
This makes me consider which a couple of other lenses for no need to rent a helicopter
my house became my playground
gear is really necessary and low-light situations, a wide- or a plane. I also use it for
and resulted in a quick
what can stay at home. I need angle, converters, and a scouting tricky areas. In the
progression of my skills. In 2011
to minimize weight and take backup camera, but I only add winter, it’s hard to move
I turned my interest into a career
kit that’s reliable in any this equipment when I’ve got around in deep snow; I can
as a staff photographer at Nitro
conditions. My main workhorse easy, short access to locations. use a drone to have a look
Snowboards and was a finalist in
is a Canon EOS 5D Mark III, I still carry some Lee Filters around the next mountain
the Red Bull Illume contest.
combined with the Canon EF with me. Obviously you can ridge. Beside this hi-tech gear,
Photography gives me the chance
24-70mm f/2.8L II USM and edit in graduations, but by I still carry my old Polaroid
to travel the globe, discover new
EF 70-200mm f/2.8L IS USM using a real filter your Raw file SX-70 (it’s just fun to play
genres and keep life challenging.
lenses. I shoot 80% of my becomes richer. A grey full ND around with). The F-Stop
www.markusrohrbacher.com
photos with this combination. filter is powerful for shooting backpack is just the best for
When it comes to sport, I often water or moving clouds. any outdoor photographer.
Canon pros & their kit
IN MARKUS’s BAG
03
06
01
05
04
02
01 02 03 04 05 06
F-Stop Ajna Canon EOS LEE Filters Canon DJI Phantom 4 Polaroid SX 70
backpack 5D Mark III 100mm EF 24-70mm Web: www.dji.com Web: www.polaroid.com
Web: www.fstopgear.com Web: www.canon.co.uk

System f/2.8L II USM I was thinking about My grandpa’s
Web: www.leefilters.com Web: www.canon.co.uk getting one of these Polaroid was lying
My most prized The 5D is a real
drones for a long time around for a long time
piece of gear is not workhorse and I’ve
These are definitely If I could only bring and definitely don’t and couldn’t be used
my camera, it’s my been shooting with
not cheap, but they’re one lens with me it regret it. Beside it being anymore since they
backpack. Often, it for four years. No
a great investment. would be the 24-70mm. a fun toy to play with, it stopped producing film
it takes me longer to matter how bad the
I always take a ND 0.6 Even if you need a wider gives you so many new for it. In 2010, the
get to locations than conditions are, I can
hard grad, a ND 0.9 soft angle, you can easily possibilities and you Impossible Project
I actually spend always count on it.
grad and a 10-stop full make a panorama in discover familiar places started to sell film
shooting. Therefore There are smaller and
ND filter with me. With post-production. When from a new angle. It again, and that’s when
it’s important that lighter cameras on the
this set I’m prepared I look at my best or is definitely a game I reactivated this old
I have a properly fitting market, but no matter
for any circumstances, favourite photos, they changer in my work. camera. It’s fun to play
backpack, which is if it rains or you have
no matter if I have to mostly where shot with around with. I don’t
perfectly designed for to shoot with big gloves
darken the clouds, or this focal length range. take it too seriously,
mountaineers, while on at -30ºC, it’s always
if I want to get some but it’s cool to have
fulfilling all a great to work with.
blur into a waterfall your photo in your
photographer’s wishes
during the day. hands right away.
at the same time.

Your ultimate photographic reference guide
to the complete Canon EOS DSLR system
DIGITAL SLR ESSENTIALS PAGE 80 WITH
How to earn some extra cash

on the side by moonlighting Peter travers
as a portrait photographer
Canon expert
Peter’s been a passionate
photographer for well over
20 years. He’s worked on
PhotoPlus since the very
first issue, back in 2007,
and has been the magazine’s
editor for the past six years.
SOFTWARE SOLUTIONS PAGE 84 WITH
Slide the autofocus switch on your lens to the off position

and master the art of focusing manually. Go on, be brave! Marcus Hawkins
Photo expert
Marcus has been passionate
about photography for more
ISO than 25 years. A former editor
of our sister publication Digital
WB
Camera, he has written about
SET AF
photography for Canon
and Jessops, and uses
a Canon EOS 5D Mk III.
EOS S.O.S PAGE 88 WITH
Another sackful of your prickly

photography problems solved BRIAN WORLEY
by our resident Canon know-all
Camera expert
Brian has unrivalled EOS
DSLR knowledge after
working for Canon for over
15 years. He now works as a
freelance photographer
and photo tutor
in Oxfordshire.

CANONSCHOOL
MAKE CASH with Peter travers

Canon expert
YOUR canon
Peter’s been a passionate
photographer for well over
20 years. He’s worked on
PhotoPlus since the very
first issue, back in 2007,
and has been the magazine’s
In this latest instalment of the series, we reveal all you need editor for the past six years.
to know to get started as a pro portrait photographer
Shoot portraits part-time

Portraits are a great way to earn money from your photography – we help you get started
I
f you enjoy shooting wider-aperture standard to A3. When it comes to lenses
subjects that talk zoom, such as the 17-55mm the 50mm is a good starting
back, maybe it’s time f/2.8, will allow you to point, but the focal length is
you started making achieve shallower depth of a little too short for head-and-
cash from your portraits. field than the f/5.6 maximum shoulders shots. An 85mm
You don’t need much aperture at the longest f/1.8 gives more flattering
equipment if you start by end of most standard zooms. results, or if you can live
taking outdoor portraits in Another lens worth investing with the smaller maximum
natural light. in is a 50mm f/1.8, as this will aperture, a 24-70mm f/2.8
Any Canon DSLR will be up give you even shallower depth or 70-200mm f/2.8 are
to the job, although the higher of field and allow you to shoot versatile (if pricey) options.
resolution of the latest models in low light without having to
will give you the option of increase the ISO. People skills
producing larger prints than Stepping up to full-frame, Along with your photographic
some of the older models. again any Canon is capable skills, taking successful
You also need to think of professional results with the portraits relies on your ability
about your lenses. While a right lens. The high-resolution to get the best from the people
18-55mm f/3.5-5.6 kit lens models will give the option you are shooting. There are
that typically comes with of huge prints, but even shots many ways to do this, from You don’t need masses of kit if
crop-sensor Canons can from an older camera, such as cracking jokes to simply you’re shooting outside with
produce great results, a the original 5D, will print up chatting with the subject to available light
find out what their interests
are. But the key skill is being if you’re going to make it as a
able to put subjects at ease portrait photographer.
at the same time as you are Getting the best out of your
shooting amazing images. subject is only part of your job,
This means that you need to though. If you’re going it alone
be completely confident in as a portrait photographer
your photographic technique, you’ll also need to be able to
so you can concentrate on the sell yourself and your services
person and not have to think before you can get the work
about your composition or and, depending on your
camera settings. business model, you may also
This ability comes naturally need to sell the prints to the
to some, but if your people customer after the shoot in
skills don’t quite match your order to make money.
photographic ones then you’ll
need to spend plenty of time Find a style
Take promoting yourself online – if people can see how good your photos practising this on any willing From using available light and
are, they’ll know that a session with you will be worth the asking price subjects (try friends or family) wide apertures to give a soft,
Cash with your canon
For outdoor portraiture, you don’t

even need a studio (though pretty
nearby fields are handy)
dream-like appearance, the light and using flare, be it’s still worth having some
to underexposing the for example, won’t suit made, particularly cards, as dos and don’ts
background and using a customer looking for a they are a great way of getting
Do
off-camera flash to light the more serious, business-style your name and details into the
• Practise your skills on friends
subject for a harsher, high- portrait, while the strong look hands of potential customers.
and family, as the less you need
contrast look, the style of your of overpowering daylight with These traditional methods
to think about the mechanics of
images will have a huge off-camera flash won’t appeal can work well, but they will
shooting portraits, the more you
influence on the success or to many families or those work much better if they are
can interact with your subject.
failure of your business. Take looking for a brighter, lighter backed up with a professional-
• Get insurance for both your kit
a look at the images by many portrait to hang up at home. looking website and presence
and public liability, particularly if
successful portrait on social media. When it
you are shooting in public areas.
photographers and you’ll Marketing matters comes to using social media,
notice that they will often You’ve got the photography such as Facebook or Twitter,
Don’t
have a particular style of skills, and you’re great at if you already have a personal
• Underestimate the time it will
shooting that is immediately getting the best from your account then it’s possible to
take to edit your pictures, and
recognizable. This models, but these alone won’t use this. But if this account is
take this into account when
recognizable style helps them turn your portrait full of unprofessional images
deciding how much to charge.
attract clients who want that photography into a business and comments you’ll need
• Expect to get loads of bookings
‘look’, and also makes their if nobody knows about you. to set up separate accounts
immediately, it can take time for
images stand out from those of So you’ll also need to spend specifically for your business.
customers to hear about you.
other portrait photographers. plenty of time promoting and
• Forget that you will need to
So look at your images and see marketing your services to Pet photography declare any earnings, and pay
if they share any particular make it successful. You can Along with traditional portrait
the relevant taxes.
style or technique, and try to start by word of mouth, as photography, there’s also a
make this a feature of your even in this digital age there’s
portfolio and business.
Identifying your style of
nothing like a personal
recommendation to help get
You need to be completely confident
portrait photography will also
help you market and promote
you clients. Then there are the
traditional marketing tools
in your photographic technique, so you
your services to the right type such as business cards and can concentrate on the person and not
of customer. The light, leaflets. Although these aren’t
informal look of shooting into as essential as they used to have to think about your settings
CANONSCHOOL
Portraits part-time
get for this fee, with an option

to buy more on top of the basic
fee. This approach is much
simpler if you’re more
interested in photography
than selling, particularly if you
are a ‘one-man band’.
The lower (or zero) fee plus
charging for prints option is
ideal if you are prepared to do
a bit more selling to your
customers. With this approach
you’ll need to be confident of
selling enough prints to make
up the value of the time that
you take for the shoot and any
post-production. Not having to
pay up front will appeal to
many potential customers, so
it’s a good way to get this type
of client. But this can be
time-consuming and not every
If you’re building your photographer is happy with
portfolio, it’s worth seeing this more ‘high street’
if a model will trade time for approach to selling their
shots – you get experience, images and time.
they get good images
How much time will it take?
Setting up the initial elements
growing market for pet How to charge The single-fee model is best of a portrait photography
portraits, from cats and There are two typical business for those who like a consistent business will only take a few
dogs to larger beasts such as models when it comes to income from each portrait weeks in your spare time,
horses. Along with a love for charging for portrait shoots. shoot. You’ll know beforehand but building it up to become
photographing animals, you’ll You can either charge a set how much money you will genuinely successful and
also need similar people skills rate for the sitting, which will make, approximately how profitable will take much
to shooting normal portraits include a set number of prints much time it will take, and longer. It will usually take
when dealing with the owner and digital files, depending on don’t have to spend as much anywhere between six months
of the pet. This can often take how long it will take, or you time ‘selling’ the prints to the and a year to get all of the
a lot of patience, as you’ll have can charge a small (or zero) client afterwards. You should elements in place to get
to be ready to deal with both a fee for the sitting and then have an agreement with the regular bookings and for your
potentially unwilling subject charge extra for prints or client about how many prints marketing to have time to
and their owner! digital files afterwards. or digital images they would reach a good range of people.
In the know: Take better portraits

Our ten top tips to help you capture better portraits
01 Use a long focal length as the compression 06 Position your subject against a background
effect is more flattering; a 70-300mm at the that contrasts with their skin tone (pale
long end is perfect. subject/dark background and vice versa).
02 Use Av mode and set a wide aperture (low 07 For the best results, shoot on an overcast
f-number) for a shallow depth of field to day (but avoid getting the sky in the shot)
isolate the subject from the background. or during the golden hour, just before
03 For more dramatic full-length shots when sunset, when the light is softer and warmer.
using a long focal length, shoot from a low 08 Don’t ask the subject to smile; make them
viewpoint (in other words, lie on the ground). smile by saying something funny and you
04 Avoid shooting in midday sun as the harsh, will capture their true personality.
overhead light is unflattering and causes 09 Use Partial metering rather than the default
dark eyes (but if you must, use a reflector). Evaluative to read the light on the subject.
05 Focus on the closest eye to the camera. 10 Avoid distractions in the frame, like signs.
Cash with your canon
we buy any
camera .com
Pets don’t know how to pose for photographs and can behave erratically,
which can make them rather trickier subjects to pose than people!
transform your un-used

or un-wanted
photographic gear in
to hard cash.it’s quick,
Work out what your style and specialism is – are you great with children?
Or perhaps more formal photos for business use will be your forte?
easy and safe.
Subject to terms and conditions and item evaluation.
Once you start taking market, skills and
bookings, most portrait shoots expectations when deciding
will take between two and on a reasonable rate. If you are
four hours, plus travelling charging for your time, rather
time if you go to them rather than just the prints, then you
than having your own studio. should be able to charge
On top of the shoot you’ll also around £100 to £150 for
need to factor in around the a half-day at the lower end
same time to sort through and
process the images, and then
of the market. If you target
higher-end customers then
webuyanycamera.com
finally some time to produce you’ll be able to charge more
prints and package them. So, like £200 and upwards for
remember to take this extra
time into account when you
a half-day rate.
There’s a similar range Wilkinson
decide on your pricing of prices when it comes to Cameras
structure, as for a simple charging for prints, rather www.wilkinson.co.uk
two-hour shoot you could than a higher up-front fee.
easily end up working an To cover your costs you should
extra half a day or more. be looking at making at least
100 per cent on top of the
How much can you make? material costs, so for a high
The prices charged for portrait
photography can vary hugely,
quality 10x8-inch print you
could charge around the £40
FREE COLLECTION SERVICE
so you will need to assess your to £60 mark. for equipment worth £500.00 or more
ASK FOR DETAILS.
The Canon Magazine

CANONSCHOOL
DIGITAL SLR Marcus Hawkins

Photo expert
ESSENTIALS
Marcus has been passionate about
photography for more than 25
years. A former editor of our sister
publication Digital Camera, he has
written about photography and
cameras for a wide range of clients,
In this instalment of Digital SLR Essentials, we look at including Canon and Jessops, and
uses a Canon EOS 5D Mk III.
techniques for faster and more accurate manual focus
Master focusing manually

There are times to roll up your sleeves and get stuck in to manual focus
A
though you’re able when there’s not enough of
to set one of three a contrast between the subject
different autofocus and the rest of the scene.
modes on a Canon Shooting through
DSLR – One-Shot, AI obstacles, such as long grass
Servo or AI Focus – you or branches, can also prove
won’t find a Manual frustrating with autofocus Focus first
Focus option. Instead, you as the camera will tend to For the largest
have to use the AF/MF slider latch onto the object closest magnification,
on the lens: set it to MF to it; when you photograph manually focus
(Manual Focus) and you’ll see at the zoo you may find that at the closest
MF appear on the Quick it’s the wire of a cage or your distance, then
Control screen. If your camera reflection on a glass tank that move the position
has a top-plate LCD, you’ll see pops into focus, rather than of the camera to
‘M Focus’ in the readout. the critter beyond. change the point
Despite the advances in Speed is another challenge. of focus.
EOS autofocus systems, there Maybe the subject arrives too
are plenty of reasons why quickly or is moving too fast
you’d choose to go manual. for the autofocus system to
For instance, there are some pick it up. In this case,
situations in which an pre-focusing the lens on the
autofocus lens will spot where you anticipate the
continuously ‘hunt’ backwards action happening – such as the
and forwards for the subject racing line on a Formula 1
without ever detecting it. This racetrack – and switching to
typically happens when there’s manual focus leaves you to
not enough light available or concentrate on composition.
Macro focus technique

Get ready for your close-up
Macro photography is one area where manual focusing shines. With autofocus,
one of the camera’s small AF points might cover a relatively large area of a tiny
subject and be unable to pick out the precise detail you want to be sharp. Manual Move the camera
focusing enables you to place the focus exactly where you want it to be. A macro The closer you focus, the narrower
lens is capable of capturing 1:1 life-size images when it’s focused as close as the depth of field becomes. To make
possible, but the magnification changes as you change the focus distance. The more of a subject appear sharp,
trick here is to turn the focus ring to roughly set the magnification you want, then move the camera further away and
nudge the camera back and forth to position the sweet spot of sharpness. refocus, then crop the photo later.
Digital SLR Essentials
Viewfinder focusing
Manual focus through

the viewfinder
You’re not on your own when focusing manually – the
camera will still tell you whether an object is in focus
T
rying to manually single AF point so that you can
focus through the target areas more precisely.
viewfinder can be If there’s not enough light or
challenging – if your eyes contrast for the AF sensor to
are anything like mine, at detect focus, the viewfinder
any rate. It can be hard to indicators won’t appear.
discern where the sweet spot A lens’s ‘focus throw’ – the
of sharpness is as you turn the extent to which its focus ring
focus ring, especially if you’re has to be rotated to shift the
shooting with a wide-angle lens focus from its minimum
The solid focus indicator will appear in the bottom of the viewfinder
where pretty much everything distance to infinity – is
when the area covered by the active AF point is in focus
looks sharp most of the time! something to consider when
The trick here is to use the focusing manually. Lenses that
focus indicator in the bottom have a short focus throw can
This is the one
of the viewfinder; this becomes make manual focusing quicker,
time that I’d
a solid green dot when the but those with a long focus
recommend
camera detects that the object throw – typically macro lenses
activating the
covered by the active AF point and telephotos – enable you to
in-focus beep,
in the viewfinder is in focus. adjust the focus distance in
as it can be
The AF point that detects focus smaller increments. This is
easier to react
will also blip red. certainly of more use when
to a sound
There are a few things to it comes to close-up
rather than
bear in mind: to activate the photography, where even tiny
looking for a
function, you’ll need to keep changes in the focus distance
green dot
the shutter release half- can have a huge impact on
pressed as you focus. It makes which sliver of the subject
sense to manually select a pops into focus.
Full-time manual focus Ring USM

Change the focus distance without leaving AF mode You can use full-time manual focus
override with all Canon’s L-series
Many lenses offer what’s known back-button focusing so that autofocus lenses as well as some
as ‘full-time manual focus’. This
means that you can twist the focus
pressing the shutter release to take
a photo won’t trigger the autofocus
‘consumer’ models.
ring even when the lens is set to AF
and fine-tune the point of focus. You
system. The Custom Controls option
in the Custom Functions menu STM
can do this at any point before, enables you to set up your DSLR so These lenses also offer full-time
during or after the camera’s that holding one of the buttons on
autofocus routine. Not all lenses offer the rear of the camera will either
manual focus override, although the
this feature, and you risk damaging activate the autofocus or deactivate shutter release has to remain
these if you manually focus while the it. Either way, it means that you can half-pressed to make it work.
lens slider is set to AF. suspend the camera’s continuous
Micro USM
It only makes sense to do this autofocus and tweak focus manually.
when the camera is set to One Shot There is a compromise to
AF mode; in AI Servo or AI Focus focusing manually without sliding the
Lenses with this type of motor
don’t offer manual focus override,
mode the camera will simply try and switch on the lens to MF: the focus
refocus the lens if it detects that the indicator in the viewfinder won’t
area under the active AF point isn’t indicate when the manually focused with the exception of a few that
sharp. One way around this is to use image is sharp.
use a clutch mechanism.
CANONSCHOOL
Live View
Going MF in Live View ISO
Activate the rear display and blow up the most

important details for super-accurate focus WB
SET AF
ive View and manual exposure error if you don’t
L focusing go together
like coffee and
remember to return the Live
View screen to the full image
cream. Not only does the once you’ve finished focusing
larger illuminated screen make
manual focus much more
in magnified view – although
the aperture and shutter speed 5x
practical in low light when you will be highlighted in orange
can barely make out anything as a warning.
through the optical viewfinder, Finally, in low light the image
but being able to magnify the on the Live View screen will
image means that you can look decidedly choppy. This
ensure that the focus is noise won’t be recorded in the
positioned correctly on the final picture, but it can make it
smallest details. hard to judge whether details
To magnify a detail, first are in focus or not. Our tip is
position the Live View focus to shoot in Raw and set
point over it, then tap the Monochrome as the Picture
button with a magnifying glass Style; this removes the ugly
icon to cycle through the colour noise on the screen
options. Pressing it once
magnifies the area covered
without affecting the image. 10x
by the focus point five times.
Pressing it again magnifies the
area ten times, while a third
press returns the full image
to the screen again.
It’s not all plain sailing: unlike
shooting with the viewfinder,
it’s harder to keep the camera
still when you’re shooting in
Live View mode without a
tripod, and any nudge
backwards or forwards will
change the point of focus. You
may also end up with the odd
Creative ideas
Manual focusing opens up a range of creative opportunities
There will be times when you’ll MF effectively locks the focus
want to switch to manual focus for distance for the entire sequence
creative reasons. If you’re looking – as long as you don’t inadvertently
to produce an image that requires jog the lens’s focus ring.
several shots to be stitched or When you’re trying to get the
sandwiched together, such as when ‘model village’ effect with a tilt-shift
building a panorama or a high lens or a Lensbaby, then you’ll have
dynamic range (HDR) shot, then no option but to use manual focusing
you’ll be looking for consistency as they don’t have an autofocus
between each frame so that they can motor. There may be times when you accidentally blurred! – in which case,
be blended seamlessly. In these want to take intentionally out-of- manual focus gives you the control
instances, setting the lens slider to focus shots – as opposed to you need.
Digital SLR Essentials
Hyperfocal focusing
To infinity and back a bit

Use this technique to make more of a scene appear sharply focused
A
lthough you can only subject to stand out from a help to determine the distance
focus a lens at a background, such as when you need to focus at – although
single distance, that you’re shooting a portrait. But working with a lens that has a
doesn’t mean that when you’re photographing a distance scale on the barrel is
everything in front of and landscape or any other general going to make life much easier.
beyond this point is blurred. scene, you’re more likely to The distance markings on
Sharpness appears to drop off want to squeeze as much as modern lenses aren’t typically
gradually, with the depth of possible into the depth of field. very detailed, but at least you
apparent sharpness – aka the The trick here is to manually can place the focus point Infinity
depth of field – being focus the lens at the somewhere in the ballpark
determined by the aperture ‘hyperfocal’ distance; of the hyperfocal distance. 200mm lens
setting and focus distance, everything from half the at f/16
amongst other things. hyperfocal distance to infinity Hyperfocal
Approximately one third of will then appear acceptably distance: 83.53m
the depth of field falls in front of sharp. There are plenty of
the point of focus, with depth of field apps that can
two-thirds extending behind it. calculate the hyperfocal Acceptable
This means that if you focus on distance for you once you’ve sharpness from: 41.8m
the closest part of a scene then input your camera, lens and
you’ll essentially be wasting the aperture details – all three will
depth of field available in front 70mm lens at f/16
of it and losing some behind. Hyperfocal distance: 10.28m
That’s not necessarily a
problem when you want a START/
STOP
AF-ON
RATE
Acceptable sharpness from: 5.1m
Check the depth LOCK

SET
Press your camera’s

depth of field button to 20mm lens at f/16
Hyperfocal distance: 0.85m
view the scene at the
aperture you’ve set, and Acceptable sharpness from: 0.4m
check if the background
is sharp enough.
Camera: 0m
School tip Get in the zone

Zone focusing can speed up your reaction time for
shooting from the hip for candid street photography
An alternative take on your choice of focal length and
hyperfocal focusing, zone focusing is aperture, and you can grab shots as
a technique that’s more suited to the subject enters this zone and gets
candid street photography than close to the preset distance – or
landscapes. The principle’s the same: when you manoeuvre the camera
switch to manual focusing and close enough to it. Using a prime
pre-focus the lens at a certain lens, rather than a zoom, means that
distance. Based on what you know the depth of field is consistent for a
about hyperfocal focusing, you’ll given aperture, and you can shoot
have an understanding for how large from the hip, without even looking Try using a moderately wide lens – 28mm to 35mm – and set a
the depth of field ‘zone’ will be for through the viewfinder. mid-range aperture of f/8 or f/11, pre-focusing around 3m to 5m away

CANONSCHOOL
EOSS.O.S
BRIAN WORLEY
Canon Pro
Brian is a freelance photographer
and photo tutor, based in
Oxfordshire. He has unrivalled
EOS DSLR knowledge, after
working for Canon for over
Our technical guru is here to help. No Canon conundrum is too 15 years, and is on hand to
answer all your EOS and
big or small. Get in touch today at EOSSOS@futurenet.com photographic queries
www.p4pictures.com
Why is my 77D ‘forgetting’ how much

exposure compensation I’ve set?
Andrew McCully, Wilmslow
Brian says… Congratulations on the new camera. I have

been working with the EOS 77D for a few weeks myself and
found the same behaviour. If you shoot with exposure
compensation, then switch off the camera, it is reset to stop
photographers who use a camera infrequently from getting
unexpected exposures the next time they use their camera.
To retain exposure compensation, you’ll need to set C.Fn 3
Exposure Compensation Auto Cancel to Disable. The EOS
800D also has this same new behaviour.
Wildlife and sports photography needs a lens with longer reach. This
bird was photographed with a 70-300mm lens on an APS-C camera
Can you suggest a reasonably priced

telephoto zoom for my 6D and 100D?
Mike Gosling, Northamptonshire
Brian says… You’ll need to have a

lens that fits both APS-C and full-
frame cameras. My suggestion is
something that covers a 70-300mm
range, which has the reach of a
480mm lens on the EOS 100D. With
such a reach, it will be important to
have a lens that has an optical image
stabilizer to allow you to use the
camera handheld.
Given the small size and weight of
the EOS 100D I would avoid the bigger
and heavier models as the camera can
feel unbalanced. It shouldn’t be such
an issue with the EOS 6D though.
From Canon’s lineup, I suggest the recently launched EF
70-300mm f/4-5.6 IS II USM, priced around £500/$550. This
latest version has good optical performance and a 4-stop
stabilizer too. From the independent makers, the Tamron SP
AF 70-300mm f/4-5.6 Di VC USD at £300/$450 picked up This landscape needed underexposure to saturate colours, the 77D
Best on Test and Best Value awards in PhotoPlus 125. would automatically reset exposure compensation when switched off
EOS S.O.S
Speed up AF setup
Ask Brian!
Confused with
your Canon DSLR?
Email EOSSOS@
futurenet.com
You need to be able to move AF points

around the frame when capturing fast
action using AI Servo tracking focus
Faster focusing
Tweak your camera focus settings for quicker performance
OS camera focusing systems means that your thumb on the back of
E are highly developed tools with
a myriad of options to suit them
the camera can change the AF points
whilst the camera is in front of your If there are too many AF area selections to
to a huge range of subjects. All this face. If you’ve got an EOS 7D Mark II or choose from it can be slow to move between
flexible capability means that you might EOS 5D Mark IV you can also have the the ones that you prefer to use
not be working with the focus system AF Area Selection lever set to change
as efficiently as possible and missing between the different AF areas easily. times, instead of seven, to get around
pictures as a result. These two settings speed up the way all the AF area selections that I use.
When your subject is unpredictable, I take pictures with my cameras. First seen on the Canon EOS 7D,
fast-moving and only appears briefly, With so many choices of AF area orientation-linked AF points can be
you need to have the camera ready and it can be a lot of taps on the AF Area another incredible timesaver. Simply
set up properly. If not then you’ll take a Selection lever to get between the AF change the camera from landscape to
while to get the right settings and miss areas that you want to work with. Of portrait orientation and the AF points
the photo opportunity. For me this course, this is faster if you disable any move automatically. There are three
means I can readily change the location AF areas that you don’t use. On the different orientations: level, grip-up and
of my AF point, and on the right 5D Mark IV there are seven different grip-down. One some cameras you can
cameras change the AF area too. arrangements of the AF points. I mostly also have different AF areas for each
One of the best configurations is to use just three of them. I turn off the orientation too.
change the multi-controller to provide ones I don’t use, which means I’m I continue to be amazed at the
direct selection of the AF points. You’ll faster at changing the AF area. With number of photographers I meet who
usually find it in the camera’s custom only three areas active I must press the have never optimized their camera for
controls. Direct selection of AF points AF area selection button just three their kind of photography!

CANONSCHOOL
Can I use the

Canon Extender The 800D has a new style of displays, but you
1.4x with my EF can go back to a more familiar look
100-400mm
Capturing clearer sound for your movies requires an external
f/4.5-5.6L IS II I’m considering an EOS
USM and 70D?
microphone that is positioned closer to the source of the sound Stephen Phillips, Devon 800D, but I’m worried the
new-style display will take
The sound when shooting video on my Brian says… Adding a
Extender 1.4x to any lens some getting used to…
70D is poor, would a microphone help? will reduce the maximum
aperture by 1-stop. This
Sheila Watson, Lincoln
Alan Wilson, Edinburgh makes your 100-400mm
Brian says… It is possible to switch
lens a 140-640mm lens
Brian says… You’ve just discovered two of the most with an f/6.3-8 aperture. both the shooting displays and the
important things for movies: first, sound is often more Your EOS 70D’s AF system menu navigation to the old style. I like
important than the actual video; and secondly the camera’s needs at least f/5.6 to the new shooting screens, but prefer
built-in mic is not the right tool for the job. The built-in mic operate so autofocus the old menu displays. To make the
usually picks up any noise you create by changing controls or won’t work properly. switch press Menu, and then use the
holding the camera while filming to add to the trouble. touchscreen to access Display Level
To capture much better sound you need to position a mic What is the point Settings. Change the Shooting Screen
closer to the subject. The type of mic you use will depend on of the lock switch and Menu displays from Guided to
the kind of sound you need to record. For a person speaking on the back of Standard to look like your older EOS.
on camera the common choice is a tie-clip mic, usually the EOS 80D?
called a lavalier mic. Because it’s near to the sound source Sarah Higgins, Bristol
the voice will be much clearer. Think of a mic a bit like a lens
Brian says… The lock
and don’t skimp on the quality; top brands like Røde and switch will stop the rear
Sennheiser are worth looking at. control dial from
inadvertently changing
camera settings. If the dial
Can I apply the latest firmware is accidentally nudged
there could be a change in
update for my EOS 7D Mark II if my exposure settings that
would affect your next
camera is many versions behind? shot without you realizing.
Francois Malherbe, South Africa Panning at 1/320 sec, 100mm focal length,
Why don’t my motorbike travelling at approximately 60mph
BRIAN SAYS… Virtually all EOS cameras have radio-triggered
a firmware update at some point. It’s best to keep studio lights flash What shutter speed
your camera up to date with the current firmware as using Live View? should I use for panning
frequently they improve the performance of the camera, William Coulton
or correct unexpected behaviour. For most updates you
Brian says… The first
shots of motorbikes?
can just install the latest version regardless of the John Mears, Hull
shutter curtain is already
version on your camera. open to uncover the
So if you have v1.0.2, then sensor for Live View. This Brian says… The shutter speed
you can install the latest makes it not normally depends on several factors including
v1.1.1 without doing all possible to trigger any focal length, the speed of the bike and
the versions in-between. non-dedicated flashes on the distance. In the picture 1/320 sec
You can find your the hotshoe. However, the was used and this will limit the blur of
current firmware here: Silent LV shooting setting the rider on a rough motocross track.
http://bit.ly/eosfirmware changes how the shutter Racers on a tarmac track will be faster,
curtains work and should but smoother. My approach is to start
be set to Disable. Once
Upgrading your firmware is from 1/250 sec with a 200mm lens
this is done your radio
straightforward and only
trigger will be able to work
then make a 2-stop change in shutter
takes a few minutes with your studio flashes. speed between shots as this is enough
to see a change on the camera screen.
EOS S.O.S
Flash compatibility
My ST-E3-RT transmitter triggers my A Speedlite in the

600EX-RT flashes, but not my Mecablitz lampshade couldn’t be
58 AF-2 flash, is it possible? triggered optically, but
radio triggering worked
Graham Hobbs, Peterborough
Brian says… The ST-E3-RT AF-2 flash doesn’t have a

communicates with the radio receiver built in.
Speedlite 600EX-RT using This leaves a couple of
radio wireless. Radio has the options, you can stop using
advantage that it doesn’t the ST-E3-RT to control the
need line of sight between the other flashes, and use one of
flash and transmitter, or care the Speedlite 600EX-RT
how bright the ambient light flashes as a master using
is. However, your Mecablitz 58 optical wireless. Optical
wireless is less reliable in
bright light and over longer
distances, and is much less
reliable if the Speedlites are
fitted inside a softbox.
Another possibility is to
trigger your Mecablitz with
an additional radio receiver.
I have used Yongnuo YNE3-RX
and Phottix Laso receivers to
trigger Speedlite 580EX II
flashes with the ST-E3-RT
transmitter. However, due to Mecablitz in manual mode, Yongnuo YN600EX-RT. For
the age of your Mecablitz flash though you’ll need a cable to relatively little money these
I suspect that these radio link the receiver and flash. make handy additional flashes
receivers will not work fully As an alternative, you might and I have successfully used
Optical wireless can be unreliable with your unit and give E-TTL try one of the independent them in conjunction with
in daylight, but radio wireless can automatic flash. The Yongnuo radio wireless compatible Canon radio wireless
trigger the flash, even in a softbox receiver can just trigger the flashguns, such as the Speedlites and transmitters.
Rate my photo
Get
critiqued!
Email photos to
EOSSOS@
Paddle Boarding by futurenet.com

with the subject
Roger Willoughby
‘Rate My Photo’
Roger says… I visited Hunstanton in

Norfolk and had gone out to try and take
a photo of the sunset. I was planning on
using my Lee Little Stopper for really long
exposures, so had my EOS 6D on a tripod
and used a hard graduated 2-stop ND
Lens Canon EF 24-105mm f/4L IS USM
filter to hold some of the brightness back
in the sky. When I saw the paddle boarder Exposure 1/13 sec, f/22, ISO100
come into view I decided to take photos
without the Little Stopper. Even though
this was captured at 1/13 sec there’s no
real effect on the boarder’s sharpness. to the arrival of the paddle boarder corner. There are also two people in the
in the frame. The colours feel realistic, shadows on the shore that would be
Brian says… Sunsets are a difficult yet warm and peaceful. eliminated with a tighter crop, and the
subject to photograph; the range or I like the letterbox crop; it works well, paddle boarder will appear larger in the
brightness often means filters are though I think it can be cropped a little frame. As an alternative, you could crop
needed but, even then, it’s just another more to remove some of the darkest the bottom 25% off the height to make
sunset. This picture is a bit different due parts of the frame in the lower-left a panoramic image.

94 G ear Update 118 B
uyers’ Guide
Dispose of your Every EOS and
disposable income Canon-fit lens
The latest Canon DSLR and photo gear tested.

Independent advice to help you buy smarter
PAGE 106 Superzoom lenses

Rod Lawton
Head of testing
rod.lawton@futurenet.com
Welcome...
Superzooms are popular
because they cover such a
wide focal range. It’s tricky
to get the right balance
between optical quality,
autofocus performance,
handling and value for
money, though. I won’t spoil
it by naming the winner, but
I did use Canon’s 18-135mm
STM while testing the EOS
77D, and was impressed; it’s
fast, quiet, compact, and PAGE 96 Canon EOS 77D PAGE 104 Sensor cleaners
makes a versatile kit lens.
How we test
Lens tests are carried out with

Imatest suite, with specially
designed charts and data
analysis to test lens performance
We test cameras in laboratory Tests & awards

conditions using DxO Analyzer When IT comes to testing Canon DSLRs, lenses, photo gear
hardware and software to check and services in PhotoPlus, we tell it like it is. We’re 100%
dynamic range and image noise independent and we use our in-depth lab tests to find out how Buy for the best combination Only the best of best win
kit really performs and compares. Here are our main awards… of quality and value our coveted award

Update
03
02
Our round-up of the latest digital photography must-haves

05
01
New CANON-FIT KIT
01Lastolite Joe McNally 04 Vanguard Alta Pro 2+ 264CT

Ezybox Speed-Lite 2 Plus Design maximizes rigidity and convenience
Flashgun modifier gets a pro makeover £300/$340
www.vanguardworld.com
£60/$79
www.manfrotto.com Vanguard has gone back to the drawing
board for its new Alta Pro 2 Plus tripods.
This development of Lastolite’s Ezybox
This 264CT model tops the range and will
Speed-Lite 2 has been designed in
top out at 1.5m tall, yet weighs just 1.7kg,
conjunction with world-renowned
thanks to carbon construction that’ll stand
photographer Joe McNally and features
strong under a 7kg payload. Vanguard’s
his preferred white interior for even softer
Multi-Angle Center Column can be pivoted
illumination. The 22x22cm outer diffuser
from vertical to lock horizontally – or
has also been tweaked, now recessed by
at any 15-degree increment in-between
45mm to help control light spill. Thankfully
– helping you to nail the perfect
the original pop-up design remains, with
composition every time. New twist-lock leg
its ingenious mechanism that enables the
extension clamps make for quicker, more
softbox to fold flat in seconds. It’s just as
streamlined setup, and you can chose
easy to attach to your flashgun, with a
from four leg angle settings.
silicone strap and twist-lock clamp combo
ensuring a secure fit.
05 WhiteWall Acrylic Minis
02 Manfrotto Manhattan Collection Shrunken acrylics for expanded appeal
Bags that’ll cut it in the urban jungle From £13/$20
www.whitewall.com
04 From £80/$100
www.manfrotto.com Forget the idea that acrylic prints need
to be big; WhiteWall’s new Acrylic Minis
Designed for city slickers and
are a mere 18x13cm, or 13cm-square.
commuters, Manhattan bags put flexibility
They’re designed to be wall-hung from
centre-stage. A Flexy Camera Shell divider
an integrated hook, placed on a table or
system will wrap snugly around your gear,
shelf using the included plexiglass stand,
and the entire camera insert is easily
or stuck to your fridge with a built-in
removable for when you need a regular
magnet. Great as gifts, or for displaying
bag. The range includes the Mover
multiple themed images in a small space,
50 backpack designed for a 5DS with
Acrylic Minis are ideal for showing off your
attached 70-200mm f/2.8, plus five extra
shots without worrying about framing
lenses and a 15in laptop. The Speedy 10
or mounting, and they’re backed by
messenger bag is best suited to a small
WhiteWall’s award-winning print quality.
APS-C DSLR setup, while the Changer
20 shoulder bag can convert between
a shoulder bag, tote bag or backpack. 06 Wireloose Pix camera straps
Traditional handcrafted quality accessories
03 ONA bags & accessories From £50
www.wireloose.co.uk
Uncompromising quality, timeless style
From £139/$149 In a world of mass production and
www.onabags.eu synthetic man-made materials, these offer
06 a refreshing take on the humble camera
Based out of New York City, ONA bags
strap. 100% hand-made in England from
can be had in backpack, messenger and
real leather, these slim 10-15mm wide
shoulder bag flavours, with the latter
straps are an ideal complement for an EOS
designed with female photographers
M. Several strap, stitching and split ring
in mind. All come with reassuringly
colours are available, or for an even more
substantial price tags, reflecting quality
eye-catching look, opt for the version that
exterior materials like full-grain leather and
attaches to your Canon with decorative
waxed canvas. Inside most models you’ll
woven knots. While no two straps will be
find practical interiors with customizable
completely identical, you can always spec
padded dividers, while larger bags have
your own colour and fixing combo for
slots for a laptop or tablet. ONA also offers
ultimate exclusivity.
premium accessories, like the Beacon
Lens Case that echoes vintage lens
cases of yesteryear.

dslrTEST
Canon EOS 77D The EOS 77D is the

grown-up version
of the EOS 800D.
If you look under the skin of the
EOS 77D it’s pretty much identical
to the EOS 800D. That means it gets
Canon’s new enthusiast DSLR offers the technology of the The technology is the new 24.2Mp APS-C CMOS
EOS 80D in a smaller, cheaper body. Phil Hall gives it a test the same, but the
77D’s controls are
sensor, which uses Canon’s latest
sensor technology based on the
A
designed for same on-chip analogue-to-digital
couple of years ago, Fast-forward two years and enthusiasts conversion tech as seen on the likes
Canon launched the EOS Canon has done the same thing of the EOS 5D Mark IV, thus
750D and 760D at the again, launching the EOS 77D producing cleaner images at higher
same time. While the two alongside the more beginner- ISOs compared to the older sensor
cameras were virtually identical to orientated 800D. Things are a little in the 750D and 760D.
look at, and sported pretty much the different this time, though. The EOS Even without this, the EOS 77D
same internal feature set, the 760D 77D may share the same internal promises to handle noise better at
offered more body-mounted features as the 800D, but Canon has higher sensitivities, thanks to the
controls and a small LCD display on opted for a more distinctive and arrival of a new DIGIC 7 image
the top, designed to appeal to more slightly larger design for the 77D to processor with a native ISO range
experienced users. differentiate the two models. of 100-25,600 that can be pushed
77 reasons
01 03 05 07
24Mp resolution Guided mode Always-on Bluetooth 6fps shooting
to upgrade...
Enough for a print 20 Now your gran can take the Facebook your holiday pics Capture the kids in their
inches wide at a print pictures at the kids party; while you’re taking them soapbox race – the 77D can
resolution of 300dpi, and the optional Guided mode – the 77D can send them keep shooting JPEGs until
lots of leeway for cropping. makes settings simple. straight to your phone. the card is full.
If you have an older EOS camera, 02 04 06 08
find out how far Canon DSLR Shoot a slo-mo Wi-Fi remote control Remote flash Pick your focus point
Shoot Full HD video at Take pictures of that cheeky The built-in flash can fire Need to focus off-centre?
technology has moved on… 60/50p for top-quality 2x squirrel in the garden Speedlites wirelessly – use Press a button, turn the
slo-mo, and with an STM without scaring it off via it for fast fashion shoots or control dial or tap the LCD
lens you’ll get smooth AF. the Camera Connect app. slow-sync sports. to choose the AF point.
Full test EOS 77D
The EOS 77D

promises to handle
noise better thanks
to a new DIGIC 7
processor
image stabilization system, but
IS optics will be able to work in
tandem with the in-camera system
for video if you want.
The EOS 77D supports Wi-Fi and
NFC connectivity, while there’s also
the option to set up a low-energy
Bluetooth connection so you can
always be connected to the camera.
This enables you to remotely wake
the camera from its sleep mode
(provided you haven’t turned the
camera fully off), as well as browse
photos and operate the camera
remotely from your smart device.
Build and handling

If the EOS 800D and more
enthusiast-orientated EOS 80D
had a baby, the EOS 77D would be
it, sitting neatly in between the two
in the range. The build and finish of
the EOS 77D is most closely related
another stop further to an ISO on the EOS 77D, especially given This was taken to that of the 800D, though, with a
equivalent of 51,200 (you’ll have Canon’s heritage in this area – and with Canon’s similar combination of aluminium
to dive into the menu to access this considering 4K video is becoming 18-135mm STM alloy and polycarbonate resin – in
setting). In addition, the DIGIC 7 an increasingly standard feature at lens, showing just fact, it only weighs 8g more than
processor also offers improved this level from other brands. how close you can the 800D.
autofocus performance when Instead, you get Full HD capture get at its minimum It shares the 800D’s ultra-smooth
compared to the DIGIC 6 chip. up to 60p, while the EOS 77D also focus distance finish on the majority of the
Like the EOS 800D, the EOS 77D sports Canon’s new five-axis image exterior, which feels quite plasticky
uses a three-inch, vari-angle stabilization system for shooting to the touch and at odds with the
touchscreen display with a handheld footage. This in-camera camera’s price. That said, the grip is
resolution of 1,040,000 dots. It’s system is designed for videos only comfortable and the textured finish
disappointing not to see 4K video – Canon isn’t ditching its lens-based has a nice tactile feel. The number
09 11 13 15 17 19
Vari-angle display Focus track movies Time-lapse movies Pack your bags Creative blur Custom WB
Shoot from ground level or Keep your subjects in focus Capture speeded up The 77D and its kit lens are Use a slow shutter speed Not sure of the lighting?
above head height for an even when they’re moving cloudscapes or rush-hour super-compact – so you and pan with your subject Measure a neutral scene
unusual perspective or just – perfect for subjects that in the city. You can choose can fit more into your bag, – the lens image stabilizer and store a Custom white
to get above the crowds. won’t stay still! the speed and duration. or use a smaller bag! helps keep subjects sharp. balance setting.
10 12 14 16 18 20
Pinpoint focus 5-axis stabilisation Top-plate LCD Back-button focus Pick a Picture Style Use the self-timer
Get pixel-perfect focus for Keeps your movies steady, Check your settings, Lets you shoot like a sports Choose the perfect ‘look’ or It’s not just for selfies. Set a
macro shots with Live View even when you’re shooting including battery level, pro by separating the make your own by adjusting shorter delay for hands-free
– just tap the screen where action in a Hollywood run- shots remaining and EV autofocus activation from sharpness, contrast, tripod shots when you don’t
you want to focus. and-gun style. compensation. the shutter release. saturation and colour tone. have a remote control.

dslrTEST
BEFORE AFTER
of body-mounted controls is where You can reveal

the real differences between the plenty of highlight
EOS 77D and 800D become and shadow detail
noticeable, starting with the from the 77D’s
top-plate LCD display, which Raw files: straight
the cheaper camera lacks. out of camera shot
It’s smaller than the top-plate on the left, the
LCD on the EOS 80D, but still image with detail
provides a handy quick reference recovered in
point for a host of key shooting Adobe Camera
information, including ISO setting, Raw on the right
The Dual Pixel CMOS
aperture and shutter speed,
sensor offers fast Live
exposure compensation, battery
View autofocus as well
level, Wi-Fi activation and the
as the convenience of
number of shots remaining.
touch control
In front of this display are
dedicated controls for ISO and AF,
as well as a button to illuminate the it features a locking mechanism; and it’s handy when the camera is
LCD in poor light. The positioning you’ll need to press and hold the raised to your eye.
of the LCD display means the central button to spin the Mode dial Then there’s the EOS 77D’s
Mode dial moves to the left of the around to the desired setting. touchscreen interface. We may have
viewfinder, and unlike on the 800D Moving round the back, there’s a liked to have seen something a bit
dedicated AF-On button for back- larger, and/or with more resolution,
button focusing, which can be really but there’s no quibbling about its
The touchscreen interface handy if you regularly shoot using
continuous focusing. Rather than
functionality. It’s nicely integrated
into the camera’s interface, works
is nicely integrated, works well the 800D’s four-way control pad,
the EOS 77D features a multi-
really well and is one of the most
polished examples we’ve seen.
and is one of the most polished directional control pad encircled by
a scroll wheel; this mirrors some
There’s also an optical viewfinder
with 95% coverage; this is typical
examples we’ve seen higher-end EOS DSLRs, enabling
you to quickly toggle key settings,
for an entry-level DSLR, but with
the EOS 77D having loftier
77 reasons
23 25 27 29
Spot the difference Change the program ISO25,600 Second-curtain sync
to upgrade...
If your subject is in different Use Program Shift to get Don’t be scared of high The flash fires at the end of
lighting to the rest of the the aperture or shutter ISOs – they allow handheld a slow exposure to produce
scene, use Spot metering speed you want without photography in lighting you realistic blur trails with
to get the exposure right. having to leave P mode. just wouldn’t believe. moving subjects.
21 22 24 26 28 30
Zone AF Manual focus Old-school exposure EV compensation HDR Backlight Light painting at night
Choose a zone, and the For best depth of field focus Switch to Centre-weighted Some subjects are light- It’s a simple scene mode Use a low ISO, set the shutter
camera focuses on the between two subjects, not or Partial metering, swap to toned, some are dark that merges three different speed to 30 sec then use
nearest thing in it – very on one or the other – use Manual mode and use the – that’s when you need exposures to produce an a flashlight to ’paint’ the
useful for moving subjects. Live View for precision. exposure indicator. exposure compensation. HDR image in-camera. scene with light.
Full test EOS 77D
FEATURES 77D vs 760D

01 Raw* signal-to-noise ratio
Battery life is 600 01
Signal-to-noise ratio (dB)

shots with the
viewfinder, 270
shots with Live View
02
This handy LCD
status panel is
missing on the The 77D produces slightly better noise
cheaper 800D 02 figures than the 760D, but the difference
03 is so small as to be insignificant
03
The main Mode dial Raw* dynamic range
has a locking button
in the centre
Dynamic range (EV)

04 03
The viewfinder uses
a pentamirror rather
than a pentaprism
05
Dynamic range is where the EOS 77D’s
The AF-On button
sensor shows its superiority, with much
should be popular
better results at lower ISO settings
with sports fans
06
04
Raw* resolution (at iso200)
The articulating
screen is also 05
touch-sensitive
06
The older 760D appears a fraction
sharper but the difference is very small
Colour error
The 77D’s colour rendition is much

more neutral than its predecessor’s
31 33 35 37 39 41
No Flash mode Multi-Shot NR Tilt-shift effect Interval timer No wonky horizons Make your mark
Taking pictures in a Shoots four high-ISO Use the Miniature effect Use the 77D’s interval timer The 77D can display an Add your copyright data to
theatre? Don’t use Full images in succession and to create the illusion to take shots automatically electronic level in Live View each image you shoot. That
Auto, switch to the No Flash merges them in-camera to of a miniature scene at set intervals even when mode that warns you when way, people can check who
option on the Mode dial. produce a low-noise shot. photographed from above. you’re not there. the camera's not level. owns the picture.
32 34 36 38 40 42
Protect highlights Improve your lens Freaky fish-eyes Exposure histogram Set your aspect ratio Watch a slide show
You can use Highlight Tone Kit lenses suffer distortion, Shoot with an eerie fish-eye You could rely on old-school The 77D’s native ratio is 3:2, Why swipe through
Priority mode to reduce the chromatic aberration and effect, without a fish-eye methods for an exposure, but you can also shoot 4:3 pics when your 77D can
risk of blown highlights in vignetting, but you can lens, thanks to the built-in or use the live histogram in or 16:9 images – useful for play them back for you
high-contrast scenes. correct these in-camera. Fish-eye creative filter. Live View mode instead. different print formats. automatically… with music.

dslrTEST
aspirations it’s a little disappointing, The Mode dial

especially with similarly priced offers a variety
rivals offering 100% coverage. of scene modes
While it might not seem that much for beginners,
of a difference, you’ll be surprised but the EOS 77D
at how unwanted elements can is really aimed at
encroach on the edges of the frame more advanced
when you review your images. photographers
Autofocus
Like the 800D, the EOS 77D takes
advantage of a 45-point AF system
with all cross-type sensors, which
are sensitive in both the horizontal
and vertical planes to deliver more
accurate focusing. The setup here
is a welcome boost over the EOS Using the Landscape picture style setting in camera enhances the greens naturally
760D’s modest 19 AF points.
The EOS 77D’s autofocus system while it might not be a key selling even in poor light with the new
is also sensitive down to -3EV, so point for a lot of photographers, 18-55mm STM lens fitted.
when light levels drop you should this can be handy if you’re shooting When it comes to shooting in
still be able to lock focus on poorly with a lens that has a maximum continuous (AI Servo) AF mode and
lit subjects. Of those 45 focus points, aperture of f/4 and you’ve paired it tracking a moving subject, there’s
27 are sensitive down to f/8, and with a 2x teleconverter, as you’ll still a noticeable boost in performance
be able to take advantage of those over the 760D’s 19-point
27 points. arrangement. It’s more reliable than
Focusing was very prompt, As we’ve found with the 800D,
which uses the same phase-detect
the older 19-point system, and the
EOS 77D also uses its 7560-pixel
locking on briskly to our AF system, this array does a very
good job. Focusing speed was very
RGB+IR metering sensor to help
track subjects across the frame.
target, even in poor light prompt, locking on briskly to our
desired target in One Shot AF mode,
It will still mis-focus the odd shot
in a sequence, though, and there’s
77 reasons
45 47 49 51
Who needs Adobe? Where did you shoot? Remote Controller Perfect portraits
to upgrade...
You can use Canon’s own Your phone knows where Announced at the same Set a long focal length and
Digital Photo Professional you took each picture, and time as the 77D, the BR-E1 wide aperture, move your
4 software to process your with the add-on GP-E2 GPS remote needs no line of model from the background
Raw files, and it’s free! adaptor, so will your 77D. sight and works 5m away. and focus on the eyes.
43 44 46 48 50 52
DON’T DELETE shots! Make your own menu Mic me up Manual control Optical space-saver Mirror lockup
Lock individual pictures so You know which settings You can make a massive In Manual mode the top dial The 18-55mm f/4-5.6 IS For best sharpness, mount
they can’t be deleted from you change most, so bring difference to your video controls the shutter speed, STM isn’t just smoother the 77D on a tripod and use
the memory card – useful if them together in My Menu. sound quality by plugging while the rear dial controls and faster than the old 18- its Mirror Lockup mode to
culling pictures in-camera. It can be real time-saver. in an external microphone. the lens aperture. 55mm lens, it’s smaller too. reduce vibration.
Full test EOS 77D
Let the Canon 77D be your guide

Beginner-friendly cameras the screen displays a slider for the aperture
are always popular with first-time DSLR setting and visual representations of the
users, and the EOS 77D goes the extra mile depth of field at the opposite ends of the
with its Guided mode. This graphical aperture range. Below this are other settings,
interface is also found on the cheaper EOS including focus point, shooting mode and
800D, but the difference is that while it’s the EV compensation, which you might want to
default control system on the 800D, on the change as well. In Shutter Priority (Tv) mode,
77D you need to activate it, if required, from the screen shows the effect of different
the menus. It’s the most helpful settings shutter speeds. Owners of the EOS 77D
guide we’ve seen yet, with interactive sliders might not need this level of simplicity, but
and icons that explain the effect that it could be useful to have it there if you need
different settings will have on your pictures. to share the camera with another family The EOS 77D’s optional ‘Guided’ interface makes
For example, in Aperture Priority (Av) mode, member, for example. technical camera settings easier for novices to grasp
no real customization on offer – for camera treading on the toes of the controls. Where the cameras differ
instance, it’s not possible to tell the EOS 80D’s 7fps. Battery life is good is that you have to turn this feature
EOS 77D’s AF system that you want at 600 shots, although you’ll want on in the display settings of the EOS
the bias to be towards the front or to keep a spare handy if you plan to 77D, whereas it’s the default mode
rear of the frame. While models shoot predominantly with the rear of the 800D.
higher up the EOS food chain display activated, as this will see The EOS 77D sports Canon’s
feature a dedicated joystick for AF battery life drop to 270 shots. tried-and-tested 7560-pixel RGB+IR
point selection, the EOS 77D relies Also like the 800D, the EOS 77D metering sensor, which we’ve seen
on the multi-directional control takes advantages of Canon’s new in numerous Canon DSLRs (it’s also
pad and scroll wheel to do this. clean-looking graphical interface, in the EOS 800D), with 63-zone
For Live View and video which is designed to help Evaluative, Partial, Centre-weighted
recording the EOS 77D uses Canon’s inexperienced users get to grips and Spot metering options.
proven Dual Pixel AF technology, with some of the camera’s key For the most part the Evaluative
which offers 80% coverage of the
frame. We’ve seen this system in ISO100 ISO100 ISO800 ISO6400
a host of recent Canon cameras,
such as the EOS 5D Mark IV and
EOS M5, and we’ve never failed to
be impressed by how well it works.
It’s easily the best system in a DSLR,
delivering snappy focusing, even if
you want to track a (moderately
fast) moving subject.
Performance
Like the EOS 800D, the EOS 77D
can rattle off shots at 6fps – To check the EOS 77D’s noise performance, we shot At low ISOs, noise is hardly visible, but even at ISO
anything faster would risk the new the same subject across a range of ISO settings 6400 it’s tightly controlled, and detail remains good
53 55 57 59 61 63
A nice touch Show pictures on TV Lock your settings Interface choice Grid display Fly-by-wire focus
Fine-tune the touchscreen’s The camera’s screen is a Use the Lock lever on the The 77D displays a regular Can’t get your verticals Found on some STM lenses,
responsiveness – or disable bit small for showcasing back to prevent accidental interface by default, but vertical? The 77D can manual focus is controlled
it altogether – in the Touch photos, so why not hook it adjustments with the dials you can swap to the Guided display a helpful grid in electronically – and you can
Control menu. up to your TV set via HDMI? or the touch-screen. interface seen on the 800D. its viewfinder. override autofocus mode.
54 56 58 60 62 64
Quiet now Selfies made simple Light up the LCD Quick Control screen Set your Ambience Self-timer sequences
Turn off the sound to shoot We all love a selfie. It’s easy Shooting in the dark? Press You can view and change The Ambience options are Make sure of a great group
in quiet environments – you with the 77D because you a button for a few seconds most settings easily with designed to preserve a shot! You aren’t limited to
can find the Beep settings can simply flip the screen of LCD backlighting so that the Q screen, either with mood, and include Vivid, one shot with the self-timer,
in the Settings menu. around to face the front. you can see your settings. the dials or touch control. Soft, Warm and Intense. you can shoot up to 10.

dslrTEST
mode will be the one you’ll be using, The EOS 77D’s

and it does a good job. As we’ve pop-up flash offers
found with other EOS cameras a Guide Number of
though, because the system is 12 at ISO100 and
weighted to the active AF point you works as an
can run into issues in high-contrast Integrated
situations, as simply shifting the AF Speedlite
point can throw up two different Transmitter
exposures – some of our shots were
a little overexposed for our liking.
The white balance system performs
very well, while the option of an welcome, while the default White Adobe Camera Raw, our test images
Ambient Auto White Balance mode Priority can deliver clean, neutral looked very pleasing to the eye,
has its uses, delivering slightly results even under artificial lighting. even at ISO6400. Granted, there’s
warmer results that can be Canon’s new 24Mp APS-C CMOS some luminance (grain-like) noise
sensor, as we’ve seen with the present, but it’s well controlled and
800D, performs very well. has a fine structure. There’s hardly
DUAL PIXELS DELIVER! Resolution is pretty much identical any chroma (colour) noise present,
to the results from the older 760D and while saturation suffers a touch
DUAL PIXEL autofocus technology makes a big – which is hardly a surprise when at this sensitivity, the overall result
difference to the EOS 77D’s Live View performance. It’s you consider that they share the is very good.
Canon’s most advanced sensor design and effectively same pixel count – but it’s elsewhere Knock the sensitivity up another
splits each photosite in two. These two halves can then be that the new sensor design shines, couple of notches, to ISO25,600,
used to provide much faster phase detection autofocus particularly the way the camera and saturation and detail
than the contrast autofocus traditionally used by DSLRs handles noise. deteriorate, while noise becomes
in Live View. The older EOS 760D also offered phase At lower sensitivities shots very noticeable. We’d avoid
detection autofocus in Live View mode, but via Canon’s appeared very clean with good using this setting where possible,
less advanced Hybrid CMOS AF III technology. Thanks to levels of saturation, but it’s when although images will still be just
Dual Pixel CMOS AF, the EOS 77D is almost as fast in Live you start increasing the ISO that the about usable if you have to shoot in
View mode as it is in regular viewfinder photography. EOS 77D’s sensor really impresses. poor light and it’s your only option.
Looking at Raw files edited in Dynamic range is better than we’ve
77 reasons
67 69 71 73
sRGB or Adobe RGB? Partial metering Face-tracking AF Digital zoom
to upgrade...
sRGB is best for sharing, This metering mode is more You don’t just get face- If you run out of zoom
Adobe RGB might be best precise than the Evaluative detection AF, you get face- range in movie mode, this
for print or publication – mode but less pernickety tracking too – for subjects will give you a 3x or 10x
the 77D can shoot both. than Spot metering. that won’t stay still! magnification boost.
65 66 68 70 72 74
Optimize Lighting Anti-flicker option DoF preview button Final Image Simulation Video Snapshots Image review
In dull lighting, pictures Some artificial light sources For an idea of what will Live View offers Final Image These are a great way to Briefly displays the photo
can look flat. The Auto flicker and cause uneven be in focus at different Simulation to show how the capture moments, and they you’ve just taken, and you
Lighting Optimizer corrects exposure – the 77D’s anti- apertures, use the Depth shot will look with all your can be combined in a video can change a setting to
brightness and contrast. flicker option can fix this. of Field Preview button. camera settings applied. snapshot album later. make them display longer.
Full test EOS 77D
The verdict
The EOS 77D is a good camera, but is there really a gap for it?
he EOS 77D is a very capable DSLR. It does a lot of things well:
T image quality is very good, while the Live View performance is the
best we’ve seen in a DSLR. There’s also the polished touchscreen
controls, helpful interface and decent 45-point AF system. However,
there’s no 4K video capture, the viewfinder offers only 95% coverage
(and it’s a cheaper pentamirror design as opposed to pentaprism) and the
plasticky finish doesn’t quite chime with the price right now. The EOS 77D
risks being caught in a kind of no man’s land – if you want an entry-level
DSLR the Canon EOS 800D – or even one of Canon’s older but still current
models – might be the one to go for, while those looking for something
more advanced should spend the extra to get the EOS 80D.
760D Specifications 77D Specifications
seen from the older 760D, and the Sensor 24.2Mp APS-C (22.3x14.9mm) Sensor 24.2Mp APS-C (22.3x14.9mm)
With 24 million
Hybrid CMOS AF III Dual Pixel CMOS AF
EOS 77D delivers pleasing JPEG pixels, the EOS 77D
Image processor DIGIC 6 Image processor DIGIC 7
colours, though they can perhaps offers the most
AF points 19, all cross-type AF points 45, all cross-type
look a little muted when up against resolution you can
rivals with punchier colour output. get from a Canon ISO range 100-12,800 (25,600 exp) ISO range 100-25,600 (51,200 exp)
If you want to give your JPEGs a DSLR without Max image size 6000x4000 pixels Max image size 6000x4000 pixels
little more ‘bite’, opt for one of the going full frame Metering zones 63 Metering zones 63
picture styles, or shoot Raw for HD video 1920x1080 up to 30fps HD video 1920x1080 up to 60fps
complete control. Viewfinder Pentamirror, 95% coverage Viewfinder Pentamirror, 95% coverage
Memory card SD/SDHC/SDXC, UHS I Memory card SD/SDHC/SDXC, UHS I
LCD 3-inch vari-angle touchscreen LCD 3-inch vari-angle touchscreen
Top-plate LCD Yes Top-plate LCD Yes
At lower sensitivities shots Max burst 5fps Max burst 6fps
Connectivity Wi-Fi, NFC Connectivity Wi-Fi, NFC, Bluetooth
appeared very clean, but when Shutter speeds 30-1/4000 sec, Bulb Shutter speeds 30-1/4000 sec, Bulb
Size 131.9x100.9x77.8mm (body only) Size 131x99.9x76.2mm (body only)
you start increasing the ISO the Weight 565g (with battery and card) Weight 540g (with battery and card)
EOS 77D really impresses

Web www.canon.co.uk Web www.canon.co.uk
Price (street) £559/$699 (body only) Price (RRP) £829/$849 (body only)
View mode, where it feels as fast and

75
VERDICT responsive as the latest generation of
Customize your 77D Pros: Excellent image quality, 45-point mirrorless cameras. However, it does feel
Make it work how you want autofocus system, great Live View AF like a range-filler rather than a genuinely
it to with custom functions performance, touchscreen interface new camera, using tech already available
– you’ll be amazed what Cons: A little plasticky for its price, in the EOS 80D. It’s not cheap, either.
you can change.
no 4K video, good but not stellar
76 77
continuous shooting speed Features
We say: Make no mistake, the EOS 77D is Build & handling
In-camera processing Start again!
a great camera. The picture quality is first
The 77D can apply a whole Now that you’ve changed so many settings Performance
range of Creative Filter you’ve forgotten what you’ve done, you can rate and it has all the features and controls
effects to photos you’ve use the Reset command to restore the 77D needed to satisfy photo enthusiasts. We Value
already taken. to its default settings. Phew! particularly love its performance in Live Overall

MINiTEST
Sensor cleaners
Sensor cleaning can be daunting, but there
are plenty of products that’ll make it painless
ou’d be forgiven former glory. DSLRs are
Y for thinking that
modern
slightly trickier to clean than
mirrorless cameras, as you’ll
interchangeable lens need to first lock the mirror
cameras can keep dust up to access the sensor, and
at bay using their don’t forget to fully charge
LensPen VisibleDust
integrated sensor your camera’s battery
cleaning systems. But beforehand. Then it’s just
shoot in dusty environments
or change lenses frequently
a matter of using a squeezy
blower, brush, or a sticky pad SensorKlear Arctic Butterfly
and it’s only a matter of time
before your sensor will need
to remove loose dust, while
more stubborn dirt can be
Loupe Kit 724 Super Bright
to be cleaned manually. dislodged using swabs and £50/$60 £100/$100
www.lenspen.com www.visibledust.com
You’ll know when to break cleaning solution.
out the cleaning products as Of course it helps to have
LensPen proudly asserts that Here’s an electric brush
images of clear blue skies or a decent view of what you’re
its cleaning equipment is used designed to attract dust away
plain backdrops will begin to doing, and though a good old
by NASA on the International from your sensor via the
feature unwelcome dark head torch and magnifying
Space Station. This kit includes wonders of static charge.
spots, especially obvious at glass will do the job, a a range of gadgets for The brush’s ultra-fine bristles
narrow apertures. But don’t cleaning kit with a dedicated performing a dry sensor clean. are attached to a rotating shaft
despair, as with a steady hand LED magnification loupe will Identifying any dust is a cinch driven by a pair of AAA batteries
and the right cleaning kit you reveal even the smallest speck thank to the SensorKlear Loupe in the handle. Ten seconds of
can restore your sensor to its or stain. with LED illumination. Its focus is spinning prior to cleaning
adjustable to cover different causes a centrifugal force that
FIVE THINGS TO LOOK OUT For sensor sizes and it rests

securely on the lens mount.
both ejects dust from the brush,
and, with the help of the fibres’
There’s also a very useful nano-coating, recharges the
Keep these tips in mind and you’ll be able to banish that opening on the side so you can bristles’ static attraction. Then
pesky dust from your sensor quickly, effectively and safely clean with the loupe in place. with the brush stationary again,
But while you get a great view, lightly drag it across your sensor
01 Wet or dry? cleaning performance is hardly to pick up any loose particles.
If carefully used, specially designed swabs and solution will remove out of this world. The included A pair of LEDs light your way,
most gunk from your sensor, whilst a simple air blower puffs dust Hurricane Blower will dislodge which is especially important as
and debris away for a quick clean. loose particles, however simply you don’t want the bristles to
blasting air like this can result in contact areas surrounding the
02 The perfect view dust being blown onto the sensor, due to the risk of debris
A kit with a magnifying loupe and light will really help you see where sensor. A better tactic is to use or mirror lubricant getting
needs cleaning. Some ingenious designs also allow you to clean while the SensorKlear II cleaning pen. dragged onto the sensor.
the loupe rests on the lens mount. Its hinged tip ensures a good Loose dust is picked up pretty
contact with the sensor, though well, but the brush doesn’t hold
03 Plan ahead it doesn’t attract debris quite as on to particles as reliably as the
A basic blower will never run out of puff, but if you plump for a wet effectively as the SpeckGrabber SpeckGrabber, making the high
cleaning kit, the included swabs and solution will only go so far. Make or Dust-Aid Platinum tools. price hard to justify.
sure replacements are readily available and don’t cost a fortune.
04 Fit for purpose VERDICT VERDICT

Camera sensors are delicate, so only use swabs and solution designed Pros: Decent loupe gives a perfect Pros: Easy and fun to use; fairly
specifically for cleaning imaging sensors, not just optical glass. view for cleaning effective for removing dust
Cons: Blower isn’t always effective; Cons: Premium price, yet will only
05 Less is more won’t remove oil or stains clean dry debris; no loupe included
Squeezy blowers may be safe for a sensor, but don’t be tempted to up We say: A reasonable kit for the We say: It’s a novel concept, but
the ante with a compressed air canister. Their high pressure and money, but you can do better the cost is high for limited versatility
freezing propellant can cause serious damage.
Overall Overall
Sensor cleaners
Dust-Aid Delkin Kinetronics VisibleDust

Platinum & SensorScope SpeckGrabber SwabLight Kit
Dust-Wand Combo Travel Kit Pro
£47.50/$70 £80/$90 £7.50/$7 £38/$40
www.cameraclean.co.uk www.delkindevices.com www.cameraclean.co.uk www.visibledust.com
The Dust-Aid Platinum slips Delkin’s kit is equipped to Often the only dirt that ever There isn’t much to this kit; just
easily into a kit bag and has its remove loose particles and reaches your sensor is a few four swabs, a tiny 1.15ml phial of
own compact travel case. It’s more stubborn contaminants. specks of dust, making a full-on cleaning liquid, and the
a simple device consisting of The SensorBulb blower puffs wet clean overkill. For a quick SwabLight. This tiny torch slots
a wand with a silicone pad on dust away, albeit in the same touch-up, the SpeckGrabber onto a swab and shines down,
the end measuring roughly uncontrolled manner as any is ideal. This is simply a plastic so wherever you clean, the light
10x15mm, plus six adhesive blower, meaning dust can just stick with a small 2mm-square follows. The SwabLight’s grippy
cleaning strips. Press the pad be blown around the sensor, soft pad on the end. It works like casing is much easier to hold
onto one of the cleaning strips to not necessarily off it. the Dust-Aid Platinum, but than a spindly swab handle. A
remove any contaminants, then Should this happen, you can instead of pressing the pad proper magnifying loupe would
dab your sensor to pick up loose always switch to the included against a large portion of the give a better view, and though
dirt. No residue is left, but you cleaning swabs and solution. sensor, you dab precisely on VisibleDust sells a Quasar Plus
can get a sticky outline if you You get 15 double-ended wands each particle to remove it. Two Sensor Loupe, this isn’t cheap.
rock or twist the pad while it’s and a decent supply of streak- cleaning wipes are included so You can spec the kit with one
in contact with the sensor. free fluid, but the results are you can ensure the grabber is of three formulations of cleaning
For stickier stains, there’s the mixed. The wands have a spotless before use, although solution, designed to shift water
Dust-Wand kit. This is a liquid tendency to simply move some Kinetronics maintains it can be or oil-based stains, or a
and swab combo, but unlike particles across the sensor, cleaned with soap and water. combination. We went for the
most, you make your own swabs rather than picking them up. We weren’t expecting much multi-purpose fluid – VDust Plus
by wrapping a small cloth An LED loupe is included and for a device so basic and cheap, – applied to super-soft Orange
around a plastic handle. This can shines brightly into the chamber, but the SpeckGrabber actually Vswabs that are available to suit
be a faff, but you do get 50 cloths however we found the sensor works. Particles stick effectively full-frame or APS-C sensors.
and replacement packs don’t surface to be slightly out of to the cleaning tip, and it doesn’t The result? A flawless clean with
cost a fortune. What’s more, the focus and there’s no focus leave any residue on the sensor. no streaks, no stains, and no
bundled cleaning liquid doesn’t adjustment. It doesn’t have a The SpeckGrabber provides dust left behind.
leave streaks. But with no loupe cutout, either, so you can’t clean much better dust removal than It’s a pity there are only
and all that folded cloth creating with the loupe in place. A lens a similarly-priced blower, just enough swabs and fluid for four
a relatively bulky swab, it’s not cloth and travel bag rounds off don’t expect it to deal with more cleans, and a dozen extra swabs
the easiest cleaning experience. the cleaning collection. stubborn grime and stains. will set you back around £/$35.
VERDICT VERDICT VERDICT VERDICT

Pros: Compact, cost-effective and Pros: Contains wet and dry Pros: Great at removing individual Pros: Unrivalled performance;
removes all types of dirt. cleaning tools, plus a loupe… dust particles; small and cheap useful SwabLight illumination
Cons: Dust-Wands are a bit fiddly Cons: …but none work particularly Cons: Not suitable for heavy-duty Cons: High price per clean; extra
to make and use; no loupe well and the kit isn’t cheap cleaning; you’ll also need a loupe consumables aren’t cheap; no loupe
We say: This kit gives a We say: Stacks up well on paper, We say: A handy tool that performs We say It’s not perfect, but a stellar
comprehensive clean at a fair price but misses the mark in practice better than its price suggests clean gives this kit the win
Overall Overall Overall Overall

Canon EF-S Canon EF-S Canon EF-S Sigma 18-200mm
18-135mm 18-135mm 18-200mm f/3.5-6.3 DC
f/3.5-5.6 IS STM f/3.5-5.6 IS USM f/3.5-5.6 IS Macro OS HSM C
£380/$400 £430/$600 £470/$700 £290/$400
Sigma 18-300mm Tamron Tamron 18-270mm Tamron 16-300mm

f/3.5-6.3 DC 18-200mm f/3.5-6.3 Di II f/3.5-6.3 Di II VC
Macro OS HSM C f/3.5-6.3 Di II VC VC PZD PZD Macro
£370/$500 £190/$200 £300/$450 £430/$500
superzoom
Lenses
Not just for holidays, a wide-angle to telephoto
superzoom lens can turn its hand to anything.
Matthew Richards picks the top performers
O
ften referred to as ‘travel lenses’,
superzooms are ideal for holidays
and for going on trips near and far.
They can stretch from generously
wide-angle viewing to serious
telephoto reach, and cover
everything in between. Without the need to
carry multiple lenses, you can save on space
and weight, but that’s not the only advantage.
For general shooting, you might find you
often need to swap between wide-angle and
telephoto shooting. It’s naturally much more
convenient to apply a quick twist of a zoom
ring with the flick of a wrist, rather than
rummaging around in a bag for another lens,
then waste time swapping the lens on the
camera before you’re ready to shoot. In
some situations, the time saved by using
a superzoom lens could potentially make
the difference between getting the shot
and missing it altogether.
Superzoom lenses for APS-C format
cameras have grown in popularity over
the past few years, while research and
development from major manufacturers,
like Canon, Sigma and Tamron, has seen
an increase in performance, often with a
reduction in size and weight. The relative
compactness of some of the latest designs
further adds to the attraction. So, let’s take
a closer look at what the current contenders
have to offer, and pick out the best buys.

SUPERTest
Canon EF-S 18-135mm

01
FEATURES
f/3.5-5.6 IS STM £380/$400

01
The filter thread is
larger than in some
competing lenses,
A relatively modest zoom range for a superzoom at 67mm.
A
05 02
popular kit option sold telephoto reach. The Tamron 02
The EW-73B hood is
with the likes of the 18-200mm is about the same
sold separately at
750D and 80D, this lens size as the Canon, but nearly
around £26/$30.
represents a significant 20 per cent lighter in weight.
upgrade over Canon’s original 03
18-135mm, with more refined Performance The manual focus
handling, mainly due to it The inclusion of a UD
ring is electronically
having an STM (Stepping (Ultra-low Dispersion)
coupled, Like in
Motor) autofocus system element helps to increase
other STM lenses.
rather than a basic electric sharpness and contrast while
motor. Advantages include keeping colour fringing at bay. 04
the focus ring remaining fixed A plus point of the relatively 03 The ‘dynamic’
rather than rotating during limited zoom range is that
image stabilizer has
autofocus, and the addition of wide-angle barrel distortion
auto-detection for
manual focus override without at 18mm is less noticeable
panning and works
having to switch from auto to than in some of the other
well for movies.
manual focusing mode. lenses on test, even though
Autofocus transitions when it’s telephoto reach that you’re 05
shooting movies are also much really missing out on.
04 Like in many EF-S
smoother, and the AF system
lenses, there’s no
is almost silent in operation.
The lens feels well Sharpness focus distance scale.
engineered but, typical of this
class of Canon lens, it lacks VERDICT
Centre
weather-seals and you have

to buy the hood separately, Features
as an optional extra. There’s
no focus distance scale, either. Build & handling
Despite having the joint
smallest zoom range among Performance
the lenses on test, along with
Edge
Canon’s revised ‘USM’ edition, Value

it’s actually bigger and heavier
than the Sigma 18-200mm, Overall
which boasts rather greater
How we test
o test real-world performance, we use lenses in all sorts
T of lighting conditions, both indoors and outdoors. We
check for good build quality and handling, smooth and
To evaluate performance, we combine precise operation of all controls, and we test the speed and
accuracy of autofocus. We typically test full-frame compatible
real-world shooting with technical lab lenses on a range of full-frame and APS-C format bodies,
tests to get the full picture whereas lenses that are designed specifically for APS-C format
bodies are only tested on cameras like the 80D and 7D Mark II.
In-camera corrections for chromatic aberrations and
peripheral illumination are disabled throughout all testing, to
better reveal the true performance of each lens. We also run a full
range of lab tests under controlled conditions, using the Imatest
Master and DxO Analyzer suites. Photos of test charts are taken
across the range of apertures and zoom settings, then analysed
for sharpness, distortion and chromatic aberrations.
Superzoom Lenses
Canon EF-S 18-135mm

02
FEATURES
f/3.5-5.6 IS USM £430/$600

01
Even the lens hood is
updated, the EW-73D
costing around
The latest EF-S 18-135mm has upgraded autofocus £40/$35.
01
B
02
oth Canon 18-135mm remotely, when used with a
The filter thread of
lenses on test have very Wi-Fi compliant camera body.
67mm is the same
similar styling, from
as in the previous
their metal mounting Performance 04
edition of the lens.
plates to the configuration of The STM edition of this lens
zoom and focus rings, and the is no slouch when it comes to 03
lack of a focus distance scale. autofocus speed but the new
Autofocus for stills is
They’re identical in size, both Nano USM version is
lightning-fast, thanks
have 16 elements arranged in incredibly fast for stills, while
to the new Nano
12 groups, and apertures with still maintaining smooth
USM system.
seven-blade diaphragms. The transitions when shooting
main difference is in the movies. The image stabilizer is 04
autofocus system. equally effective in both lenses
‘Fly-by-wire’ manual
Whereas the previous and image quality is very
focusing is retained,
edition of the lens has STM similar. However, sharpness at
via an electronically
autofocus, this one has a the centre of the image frame
coupled focus ring.
newly developed Nano USM proved slightly less impressive 05
system. The aim is to combine from the new lens, at both 05
the super-fast performance of ends of the zoom range.
Connections on the
ring-type USM autofocus for 03 barrel enable fitment
stills photography, while also
enabling smooth focus Sharpness of a power zoom.
transitions and silent
operation for movie capture. VERDICT
Centre
As in the previous lens, the

image stabilizer is optimized Features
for shooting movies as well
as stills, but the new lens also Build & handling
enables the fitment of an
optional PZ-E1 Power Zoom Performance
Adaptor (£100/$150). In
Edge
addition to movie-friendly Value

power zoom functions via a
rocker switch, it also enables Overall
you to control zooming
Distortion
Levels of distortion vary between the contending lenses on test
uperzoom lenses are notorious for distortion, ranging from barrel
S at the short end of the zoom range to pincushion at mid to long
zoom settings. For barrel distortion, the worst offenders are the
Canon 18-200mm and all three Tamron lenses. However, we can easily
forgive the Tamron 16-300mm lens’s greater barrel distortion, as it gives
greater wide-angle viewing than any other lens. The amount of pincushion
distortion at medium and long zoom settings is very similar from all of the
lenses, although the Sigma 18-200mm is technically the worst.
Negative results of higher values indicate greater barrel distortion

SUPERTest
Canon EF-S 18-200mm

01
FEATURES
f/3.5-5.6 IS £470/$700
01
The 72mm filter
thread is the joint
largest in the group.
Unlike Canon’s 18-135mm lenses, this looks outdated 02
W
02 Canon sells the lens
hereas the Canon UD elements, this lens using
hood separately, the
18-135mm has two of each whereas the
EW-78D costing
undergone two major Canon 18-135mm lenses only
around £30/$35.
revamps, this lens have one of each type. Again,
remains unaltered, with a the image stabilizer is rated 03
comparatively old-fashioned at four stops and includes
The focus ring
autofocus system. Based on automatic panning detection.
rotates and full-time
an electric motor, autofocus
manual override is
is relatively slow and noisy Performance unavailable during
in operation. The focus ring By today’s standards, the
autofocus.
rotates during autofocus, zoom range isn’t extravagant,
which impairs handling as you yet the lens’s image quality is 04
have to be careful to keep your unimpressive. Sharpness 03 Image stabilization is
fingers clear of the focus ring, towards the edges and corners
worth four stops and
and there’s no full-time of the frame are particularly
includes automatic
manual override. Unlike with poor in wide-angle shooting,
panning detection.
Canon’s STM and Nano USM where barrel distortion is very
systems, autofocus transitions noticeable. All in all, the lens 05
when shooting movies are is overdue for a revamp.
The mounting plate
comparatively jerky, as they
doesn’t have a
are with all of the Sigma and 05
Tamron lenses on test. Sharpness 04
weather-seal ring.
Naturally, the 18-200mm
beats the 18-135mm lenses for VERDICT
Centre
outright zoom range. But the

Canon lens is less travel- Features
friendly than the latest Sigma
and Tamron 18-200mm Build & handling
designs, as it’s noticeably
bigger and heavier. The Performance
aperture is based on six rather
Edge
than seven diaphragm blades, Value

and is less well-rounded as
a result. The optical path Overall
doubles up on aspheric and
Zoom zoom!
How much zoom range is enough?
hile a large zoom range is nice to
W have, it can have a detrimental
effect on image quality, degrading
sharpness and exaggerating distortions.
Lenses with bigger zoom ranges are often
physically bigger and heavier too, making
them less desirable as ‘walkabout’ lenses.
This series of shots shows how the
16mm 18mm
extremes of the zoom ranges compare, for
both wide-angle and telephoto shooting.
Superzoom Lenses
Sigma 18-200mm f/3.5-

01
FEATURES
6.3 DC Macro OS HSM C $400

01
£290/ At 71mm diameter,
it’s the slimmest
lens on test.
Small and light, but with a respectable zoom range 02
T
The focus ring is
ypical of the Sigma’s formed from a tough, high-
small but rotates
Contemporary lenses, grade plastic that’s resistant
during autofocus.
this 18-200mm is to size fluctuations during
designed to be small, temperature changes. 02 03
lightweight and stylish.
A focus distance
Despite matching Canon’s Performance scale is printed on
much heftier lens for zoom Autofocus is fairly quiet but
the focus ring, and
range, the Sigma measures clearly audible, as well as
there’s a macro scale
a mere 71x86mm, making it being slower than the virtually
on the inner barrel.
the smallest in the group, and silent systems featured in the
the second lightest at 430g. Canon 18-135mm lenses. 04
Despite the lightness in Optical image stabilization
There are switches
weight, the lens features a is as effective as in the Canon
03 for auto/manual
metal mounting plate, unlike lenses and, again, features
focus, stabilization
the plastic mount of the automatic panning detection.
and zoom lock.
directly competing Tamron, Sharpness is less impressive
although the Sigma omits than in Sigma’s 18-300mm, 05
a weather-seal ring. As in but other attributes of image 04 The mount is metal
the larger Sigma lens on test, quality are impressive overall.
rather than plastic,
the focus ring rotates during
but has no
autofocus, but the ring is small
and positioned right at the Sharpness weather-seal ring.
05
forward end of the barrel,
so handling isn’t impaired VERDICT
Centre
too drastically. As usual
with ultrasonic motor-driven Features
autofocus systems, there’s
no full-time manual override. Build & handling
The Sigma is based on
16 optical elements, with Performance
multiple aspherical and SLD
Edge
(Special Low Dispersion) Value

elements, all wrapped up
in TSC (Thermally Stable Overall
Composite) barrel sections,
135mm 200mm 300mm

SUPERTest
Sigma 18-300mm f/3.5-

01
FEATURES
6.3 DC Macro OS HSM C $500

01
£370/ Compared with the
Sigma 18-200mm,
the filter thread
The bigger Sigma lens offers extended reach diameter rises from
62mm to 72mm.
O
utclassing every other FLD (Fluorite-grade Low 02
02
lens in the group, apart Dispersion) elements with
An optional ‘AML
from the Tamron the aim of further boosting
72-01’ close-up lens
16-300mm, this Sigma sharpness and contrast, while
can screw into the
goes all out for telephoto driving down colour fringing.
filter thread.
reach, equivalent to a mighty
focal length of 480mm on Performance 03
a full-frame camera. The As in the Sigma 18-200mm
The manual focus
trade-off is that it’s noticeably lens, the motor-based rather
03 ring rotates during
bigger and heavier than than ring-type ultrasonic
autofocus.
Sigma’s 18-200mm lens on system helps with downsizing
test, at 79x102mm and 585g. but is a little sluggish and 04
In style and build, this audible in operation. Living 04
Focus distance and
‘Contemporary’ class lens up to its claims, however,
macro magnification
is very similar to its smaller the addition of FLD elements
scales are printed.
18-200mm Sigma sibling. really does help to boost
Again, it’s based on TSC sharpness, which only drops 05
barrels and a metal mounting at the longest extremity
An optional USB
plate, has a seven-blade of the zoom range.
Dock attaches to the
diaphragm, and is compatible
mounting plate for
with Sigma’s optional USB
Dock for applying firmware Sharpness firmware updates.
updates and fine-tuning. Both
lenses also have a 0.33x macro
05 VERDICT
Centre
rating, available at the closest

focus distance of 0.39m. Features
Sigma also offers an optional
‘close-up lens’, which screws Build & handling
into the filter attachment
thread for increasing macro Performance
magnification to 0.5x.
Edge
As well as aspherical and Value

SLD elements, also employed
in the Sigma 18-200mm, Overall
this lens adds top-grade
Full-frame options
Superzooms for full-frame cameras are much less
popular, but a couple of notable options are available
uperzooms for full-frame cameras are big and bulky, as
S the image circle they need to produce is comparatively
large. They’re therefore less popular as travel lenses, as
it can literally be a pain walking around for hours on end with a
heavy body and lens hanging from your neck. The two full-frame
superzooms on the market are the Tamron 28-300mm f/3.5-6.3 The Canon 28-300mm weighs
Di VC PZD at £600/$600 and the relatively huge and expensive a whopping 1.67kg and has
Canon EF 28-300mm f/3.5-5.6L IS USM at £2250/$2450. an equally heavyweight price
Superzoom Lenses
Tamron 18-200mm
01
FEATURES
f/3.5-6.3 Di II VC £190/$200
01
Downsizing includes
a 62mm filter thread.
This Tamron is a lightweight with a price tag to match 02

The manual focus
N
ring rotates during
ot to be confused ring, which helps reduce the
autofocus.
with Tamron’s ingress of dust and moisture. 02
original 18-200mm, 03
this recent edition adds Performance Minimum focus
VC (Vibration Compensation) Autofocus speed is a little
distance stretches
stabilization and a redesigned pedestrian. Sharpness is
from 0.49-0.77m as
autofocus system. Tamron’s generally better than from
you extend through
proprietary stabilization the older Tamron 18-270mm
the zoom range.
system works well and, that’s also on test, at all
while still based on an electric equivalent zoom settings, 04
motor, the new ‘DC motor-gear although corner-sharpness
The Vibration
train integration’ autofocus suffers noticeably when using
Compensation
system is much quieter than in the widest aperture in the
system works best
the previous lens. Even so, the middle sector of the zoom
for static rather than
manual focus ring still rotates range. On the plus side, colour
panning shots.
during autofocus, which does fringing at mid-zoom settings
hamper handling a little, is very negligible. Overall, 03 05
considering the fairly small the lightweight Tamron is
The mounting plate
build of the lens. unbeatable value at the price.
is plastic but is
Despite being 4mm wider
04 durable and features
and 11mm longer than the
directly competing Sigma Sharpness 05 a weather-seal ring.
18-200mm lens, the Tamron
is 30g lighter in weight and, VERDICT
Centre
at just 400g, is actually the

lightest lens in the group. The Features
most significant factor in the
weight reduction is that the Build & handling
mounting plate is made from
plastic rather than metal. Even Performance
so, it’s still very durable and,
Edge
unlike the metal mounting Value

plates in all but the Tamron
16-300mm lens, this one Overall
features a rubber weather-seal
Colour fringing
Fringing can be noticeable around high-contrast edges
ith superzoom lenses, fringing (coloured lines around
W high-contrast edges, especially towards the corners of
the frame) is typically worst at both ends of the zoom
range, but less of an issue at mid-sector zoom settings. The
amount of short-zoom colour fringing is very similar from all
the lenses in the group, apart from the Tamron 16-300mm in
which fringing is rather more evident. This lens is also worst for
fringing at the long end, with the Tamron 18-270mm performing
only slightly better. Automatic in-camera corrections are
available in recent DSLRs, when using own-brand Canon lenses.

SUPERTest
Tamron 18-270mm
01
FEATURES
f/3.5-6.3 Di II VC PZD £300/

01
Given the generous
$450 zoom, the 62mm
filter thread is small.
A veteran superzoom that goes large on zoom range 02
U
Rotating during
pdated back in 2010, Canon lenses) it’s supplied
autofocus, the focus
this newer version of complete with a hood.
ring includes a
Tamron’s 18-270mm 03 02
distance scale.
boasts a downsized Performance
design with fewer optical Capable of good results, 03
elements, an upgraded VC boosted by the stabilizer,
The optics include
stabilization system, and the Tamron 18-270mm
LD (Low Dispersion)
launched as the first Tamron nevertheless runs out of steam
and XR (Extra
lens to incorporate PZD (Piezo a bit towards the long end of
Refractive Index)
Drive) autofocus. Like in the the zoom range. Compared
elements.
two Sigma lenses on test, with the newer 16-300mm
autofocus is based on an lens, wide-aperture sharpness 04
ultrasonic motor-driven rather is poor near the 270mm mark,
This was Tamron’s
than ring-type actuator. The where it’s soft in the centre
first lens to include a
advantage is that the system of the frame and downright
‘PZD’ ultrasonic
can be smaller and lighter, but disappointing towards the
autofocus motor.
it tends to be slower and less edges. On the upside, colour
quiet, and the focus ring fringing and distortions are 04 03 05
rotates during autofocus. slightly better controlled.
The metal mounting
The lens is remarkably
plate lacks a rubber
compact and lightweight,
considering its 15x zoom Sharpness sealing ring.
range. At 74x88mm and 450g,
it’s actually smaller than the VERDICT
Centre
Tamron 18-200mm lens on

test, and only 50g heavier, Features
mostly due to having a metal
rather than plastic mounting Build & handling
plate. The weather-seal ring
featured on the two other Performance
Tamron lenses in the group
Edge
is absent from this lens. Like Value

all of the other Sigma and
Tamron lenses in this test Overall
group (but not the three 05
Added stability
Image Stabilization is a ‘must’ in superzooms IS off IS on
uperzooms can deliver powerful telephoto
S reach of up to 300mm (equivalent to
480mm on a full-frame body). This is often
combined with a relatively narrow maximum
aperture of f/6.3, resulting in pedestrian shutter
speeds in anything other than very bright lighting.
To avoid blurred images from camera shake, all
current superzoom lenses feature stabilization that
typically enables you to shoot at shutter speeds Stabilization can be a huge help in getting sharp handheld shots, especially at telephoto
that are four stops slower than usual. zoom settings, enabling you to shoot at up to four stops slower than you normally could
Superzoom Lenses
Tamron 16-300mm f/3.5

01
FEATURES
-6.3 Di II VC PZD Macro £430/

01
The big zoom range
$500 is packed into a fairly
slim build, with a
Tamron’s superzoom goes extra-large in a new way 67mm filter thread.
T
02
amron has a history complete with a weather-seal
The focus ring at the
of ‘world firsts’ for the ring. Other weather-seals built
rear is more typical
outright zoom range into the lens complete the
05 of up-market lenses.
of its superzoom lenses, ‘splash-proof’ design.
and this is a case in point, with 03
an unparalleled 18.75x zoom Performance Multiple weather-
range. While matching the The optical path includes
seals in the design
Sigma 18-300mm for LD, XR and hybrid aspherical
enable a ‘splash-
maximum telephoto reach, elements, which help to boost
proof’ construction.
it also goes extra-large in sharpness and contrast while
wide-angle viewing, with keeping the size and weight 04
a 16mm focal length. This to manageable proportions. In
The focus distance
is equivalent to 25.6mm in this case, however, sharpness
scale beneath a
full-frame terms, compared is better throughout the entire
viewing panel is
with the 28.8mm of the other zoom range, although colour 04 unique in the group.
lenses. There’s a noticeable fringing is a bit worse at either
difference in how much you end. As you’d expect, barrel 05
can squeeze into the frame. distortion is slightly worse at
With its 16mm focal
The PZD autofocus is much the wide 16mm focal length.
distance, the
more refined than in the older
Tamron reigns for
Tamron 18-270mm. It’s still 02
a motor-driven ultrasonic Sharpness wide-angle viewing.
mechanism but the manual
focus ring remains stationery 03 VERDICT
Centre
during autofocus, which

greatly improves handling. Features
Equally unusual is that
full-time manual focus Build & handling
override is available, and
there’s an up-market focus Performance
distance scale beneath a
Edge
viewing panel. The high-class Value

feel of the lens is further
enhanced by quality plastics Overall
and a metal mounting plate,
Autofocus technology
There’s a variety of autofocus systems in the latest lenses. Which is best?
ost older superzooms use a fairly shafts and gearwheels. Operation tends to
M basic ‘micro motor’, which are
typically a bit sluggish and rather
be less than quick and clearly audible, and
the manual focus ring usually rotates
noisy, though the revamped motor in the during autofocus. This time, the Tamron
Tamron 18-200mm is an exception to the 16-300mm is an exception.
rule, being faster and quieter. Canon’s 18-135mm lenses use either
Some superzooms use ultrasonic STM (Stepping Motor) or Nano USM
motors but, unlike ‘ring-type’ ultrasonic systems. Both give smooth autofocus The Nano USM in Canon’s latest 18-135mm lens
systems based on large electromagnetic transitions when shooting movies, but is great for movies as well as stills, and there’s
rings, they still rely on motors with drive Nano USM gives faster performance. also an optional Power Zoom Adapter PZ-E1

SUPERTest
Comparison table
Name Canon EF-S Canon EF-S Canon EF-S Sigma 18-200mm Sigma 18-300mm Tamron 18-200mm Tamron 18-270mm Tamron 16-300mm
18-135mm f/3.5-5.6 18-135mm f/3.5-5.6 18-200mm f/3.5-5.6 f/3.5-6.3 DC Macro f/3.5-6.3 DC Macro f/3.5-6.3 Di II VC f/3.5-6.3 Di II VC f/3.5-6.3 Di II VC
IS STM IS USM IS OS HSM C OS HSM C PZD PZD Macro
www.sigma-imaging-uk. www.sigma-imaging-uk.
Contact www.canon.co.uk www.canon.co.uk www.canon.co.uk com com www.tamron.co.uk www.tamron.co.uk www.tamron.co.uk
Street price £380/$400 £430/$600 £470/$700 £290/$400 £370/$500 £190/$200 £300/$450 £430/$500
(UK/USA)
Effective zoom range 28.8-216mm 28.8-216mm 28.8-320mm 28.8-320mm 28.8-480mm 28.8-320mm 28.8-432mm 25.6-480mm
(APS-C)
Elements/groups 16/12 16/12 16/12 16/13 17/13 16/14 16/13 16/12
Mounting plate Metal Metal Metal Metal Metal Plastic, weather-sealed Metal Metal, weather-sealed
Diaphragm 7 blades 7 blades 6 blades 7 blades 7 blades 7 blades 7 blades 7 blades
Optical stabilizer Yes Yes Yes Yes Yes Yes Yes Yes
Focus type Stepping motor Ultrasonic (Nano) Electric (motor) Ultrasonic (motor) Ultrasonic (motor) Electric (motor) Ultrasonic (motor) Ultrasonic (motor)
Focus ring during AF Stationary/manual Stationary/manual Rotates Rotates Rotates Rotates Rotates Stationary/manual
override override override
Front element Fixed Fixed Fixed Fixed Fixed Fixed Fixed Fixed
during focusing
Min focus distance 0.39m 0.39m 0.45m 0.39m 0.39m 0.49-0.77m 0.49m 0.39m
Max reproduction 0.28x 0.28x 0.24x 0.33x 0.33x 0.25x 0.26x 0.34x
ratio
Filter size 67mm 67mm 72mm 62mm 72mm 62mm 62mm 67mm
Included accessories None None None Hood Hood Hood Hood Hood
Dimensions 77x96mm 77x96mm 79x102mm 71x86mm 79x102mm 75x97mm 74x88mm 75x100mm
(dia x length)
Weight 480g 515g 595g 430g 585g 400g 450g 540g
Features
Build & handling
Performance
Value
Overall
The winner is... Sigma 18-300mm f/3.5-6.3 DC Macro OS HSM C

The Sigma 18-300mm delivers epic zoom range and best all-round performance
remarkable superzoom, the Sigma construction. It’s also the only lens to feature a
A 18-300mm delivers an enormous zoom
range with surprisingly little
focus distance scale under a viewing panel.
For compactness and value for money, the
compromise in image quality. It’s impressively Sigma and Tamron 18-200mm lenses are both
sharp, only really dropping off at the very good buys. The Sigma is slightly smaller,
longest zoom setting, while keeping distortions whereas the Tamron is a little lighter in weight,
and colour fringing down to relatively low levels. and there’s no beating the Tamron for value.
The Tamron 16-300mm also has a lot going If you’d rather stick to a Canon lens, the latest
for it, with superior handling and the bonus of 18-135mm IS USM is the best performer, while
weather-seals that enable a splash-proof the 18-200mm is the least impressive.
BUYERS’
GUIDE
What to look for
Canon EOS DSLRs
Canon splits its EOS lineup into
entry-level, enthusiast and professional ranges, and the fewer digits
the more upmarket the camera; so the 1300D is the most basic,
quid to the 800D for intermediates, while the 80D is for more advanced
With prices ranging from a couple of hundred enthusiasts, and the 7D/6D/5D and 1D lines for pros. Expect greater
ryone,
several thousand, Canon has a DSLR to suit eve
ease of use (with thumb-operated scrollwheels replacing cursor
keys), more robust build quality (with weather-sealing and tough
pro…
from the complete beginner to most demanding magnesium-alloy shells), more advanced functionality, and full-frame
(rather than APS-C) image sensors with more expensive models.
DSLR/CSC prices quoted are body-only unless stated
Canon EOS 1300D (Rebel T6) Tested In ISSUE 120 Price: £289/$449 (US price with kit lens)
Canon’s entry-level, budget-friendly EOS DSLR Sensor 18Mp, APS-C (5184x3456 pixels)
gets up a minor upgrade over its predecessor Viewfinder Pentamirror, 0.8x, 95%
with added Wi-Fi and NFC to make it easy to ISO 100-6400 (12,800 expanded)
instantly share images online. A basic 18Mp AF 9-point (1 cross-type)
sensor, ISO6400 and 3fps are all specs ideal LCD Fixed, 3-inch, 920k-dot TFT
for a beginner’s first ‘proper’ camera. Max burst (buffer) 3fps (6 Raw/1100 JPEG)
Memory card SD/SDHC/SDXC
Canon EOS 100D (Rebel SL1) Tested In ISSUE 120 Price: £379/$549
It’s smaller than any other Canon DSLR but Sensor 18Mp, APS-C (5184x3456 pixels)
is big on features and is something of a step up in Viewfinder Pentamirror, 0.87x, 95%
sophistication from the 1200D, with a newer- ISO 100-12,800 (25,600 expanded)
generation image processor, high-res touchscreen AF 9-point (1 cross-type)
Entry level
and ‘hybrid CMOS AF’ for effective continuous LCD 3in touchscreen, 1040K dots
autofocus during movie capture. Max burst (buffer) 4fps (7 Raw/28 JPEG)
EOS 750D (Rebel T6i) Tested: 120 Price: £549/$749 EOS 760D (Rebel T6s) Tested: 108 Price: £579/$849
Headline attractions include a Building on the features of the
24.2Mp high-resolution image sensor 750D, the 760D adds a secondary info
and DIGIC 6 processor, plus a 19-point LCD on the top and Quick Control Dial
autofocus system, along with Wi-Fi on the rear. This improves handling
and NFC connectivity for easy image and makes it feel more like an
sharing and printing. ‘enthusiast’ model.
Canon EOS 800D (Rebel T7i) Tested In ISSUE 126 Price: £779/$749
Canon has shoehorned much of the tech of the Sensor 24.2Mp, APS-C (6000x4000 pixels)
enthusiast-level 80D into a beginner body. The Viewfinder Pentamirror, 0.82x, 95%
800D inherits its bigger brother’s 24Mp Dual Pixel ISO 100-25,600 (51,200 expanded)
sensor for superior Live View autofocus, uses the AF 45-point (all cross-type)
same 45-point module for viewfinder autofocus, LCD 3in touchscreen vari-angle, 1040K dots
and betters its ISO performance. Max burst (buffer) 6fps (27 Raw/unlimited JPEG)
Canon EOS M3 Tested: 102 Price: £359/$429 Canon EOS M5 Tested: 122 Price: £999/$929
A 24.2Mp sensor, DIGIC 6 chip and The EOS M5 really opens up the
1,040,000-dot touchscreen LCD are DSLR vs CSC debate. It shares much
CSC
inside this diminutive compact system of the tech as the 80D, but swaps the
camera, but the electronic viewfinder optical viewfinder for an electronic
is an optional add-on and Live View version, making this compact system
focusing is hit-and-miss. camera a pocket rocket.
Buyers’ Guide CAMERAS
Canon EOS 77D Tested In ISSUE 128 Price: £829/$849
the key specs are identical to the 800D, but the Sensor 24.2Mp, APS-C (6000x4000 pixels)
extra top-plate LCD gives at-a-glance access to Viewfinder Pentamirror, 0.82x, 95%
vital shooting info, while a rear control wheel ISO 100-25,600 (51,200 expanded)
makes dialing in exposure settings much quicker, AF 45-point (all cross-type)
promoting it to Canon’s ‘enthusiast’ range. Great LCD 3in touchscreen vari-angle, 1040K dots
image quality – even at high ISOs. Max burst (buffer) 6fps (27 Raw/unlimited JPEG)

The 80D builds upon its 70D predecessor with Sensor 24.2Mp, APS-C (6000x4000 pixels)
25% more pixels, 45 cross-type AF points, Viewfinder Pentaprism, 0.95x, 100%
improved ISO performance and retains the ability ISO 100-16,000 (25,600 expanded)
to capture 7fps bursts. It can record movies at AF 45-point (all cross-type)
Enthusiast
double-speed 50/60fps for slow-motion, and has LCD 3in touchscreen vari-angle, 1040K dots
NFC data transfer in addition to Wi-Fi. Max burst (buffer) 7fps (25 Raw/110 JPEG)
Canon EOS 7D Mk II Tested In ISSUE 108 Price: £1449/$1349

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

Amazingly good value for a full-frame EOS Sensor 20.2Mp, full-frame (5472x3648 pixels)
DSLR in a medium-sized body, the 6D combines Viewfinder Pentaprism, 0.71x, 97%
a respectable 20.2Mp sensor with super-high ISO 100-25,600 (50-102,400 expanded)
sensitivities of up to ISO102,400. Image quality is AF 11-point (1 cross-type)
excellent and there’s built-in Wi-Fi and GPS, but LCD 3in, 1040K dots
the 6D has a fairly basic AF system. Max burst (buffer) 4.5fps (17 Raw/1250 JPEG)
Canon EOS 5D Mk IV Tested In ISSUE 124 Price: £3349/$3499

A Superb all-rounder, the pro-level weather- Sensor 30.4Mp, full-frame (6720x4480 pixels)
sealed full-frame 5D Mk IV combines a stunning Viewfinder Pentaprism, 0.71x, 100%
hi-res 30Mp sensor with a swift 7fps frame rate. ISO 100-32,000 (50-102,400 expanded)
Its impressive specs list includes 4K video, a AF 61-point (41 cross-type, 5 dual-cross)
touchscreen LCD, Wi-Fi and NFC connectivity, and LCD 3.2in touchscreen, 1620K dots
GPS to automatically geotag images. Max burst (buffer) 7fps (21 Raw/unlimited JPEG)
Canon EOS 5DS (5DS R) Tested In ISSUE 124 Prices: £3099/$3499 (£3299/$3699)
Professional
The world’s first 50Mp full-frame DSLR delivers Sensor 50.6Mp, full-frame (8688x5792 pixels)
huge and amazingly detailed hi-res images. The Viewfinder Pentaprism, 0.71x, 100%
higher-cost 5DS R adds a ‘low-pass cancellation ISO 100-6400 (50-12,800 expanded)
filter’ for marginally sharper shots. As expected AF 61-point (41 cross-type, 5 dual-cross)
with such a high-res sensor, max ISO and drive LCD 3.2in, 1040K dots
rate are lower than with the 5D Mk IV. Max burst (buffer) 5fps (14 Raw/510 JPEG)
Canon EOS-1D X Mark II Tested In ISSUE 124 Price: £4799/$5999

Canon’s Mark II flagship full-frame pro-level EOS Sensor 20.2Mp, full-frame (5472x3648 pixels)
boasts ultra-fast 14fps shooting (16fps in Live View) Viewfinder Pentaprism, 0.76x, 100%
and super-high ISO, along with sublime handling. ISO 100-51,200 (50-409,600 expanded)
It sports 4K video, body build quality is rock-solid, AF 61-point (41 cross-type, 5 dual-cross)
yet its 20Mp image resolution is relatively modest LCD 3.2in, 1620K dots
when compared to the 50Mp 5DS/R. Max burst (buffer) 14-16fps (170 Raw/Unlimited JPEG)
Memory card CompactFlash + CFast

BUYERS’
GUIDE
Choosing lenses
Key factors to watch out for
The main factors to consider in a lens are its focal length,
maximum aperture, and whether or not it’s full-frame compatible.
We’ve categorized lenses by focal length range – from wide-angle
to telephoto. The larger a lens’s maximum aperture, the ‘faster’
Rs,
With over 150 lenses available for Canon DSL it’s considered to be – allowing you to control depth of field more,
Here’s
picking the best for the job can be a minefield.
and offering better options in low light. Zooms are more flexible
than primes, but tend not to have such fast maximum apertures.
glass
the lowdown on all currently available EOS-fit Full-frame lenses will also work with ‘crop-sensor’ EOS D-SLRs,
but crop-sensor lenses aren’t compatible with full-frame cameras.
KEY: ● BEST VALUE AWARD ● BEST ON TEST AWARD
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WIDE-angle zooms
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Iri
Canon EF 8-15mm f/4L Fisheye USM £1120/$1250 Yes 1.9x No f/4 540g 0.15m 0.34x None 7 90 HHHH
Canon EF-S 10-18mm f/4.5-5.6 IS STM £215/$280 No 1.8x Yes f/4.5-5.6 240g 0.22m 0.15x 67mm 7 113 HHHH ●
Canon EF-S 10-22mm f/3.5-4.5 USM £470/$650 No 2.2x No f/3.5-4.5 385g 0.24m 0.17x 77mm 6 113 HHH
WIDE-ANGLE ZOOMs
Canon EF 11-24mm f/4L USM £2700/$2800 Yes 2.2x No f/4 1180g 0.28m 0.16x None 9 116 HHHH
Canon EF 16-35mm f/2.8L III USM £2100/$2200 Yes 2.2x No f/2.8 790g 0.28m 0.22x 82mm 9 120 HHHH
Canon EF 16-35mm f/4L IS USM £880/$1000 Yes 2.2x Yes f/4 615g 0.28m 0.23x 77mm 9 116 HHHHH ●●
Canon EF 17-40mm f/4L USM £720/$750 Yes 2.4x No f/4 500g 0.28m 0.24x 77mm 7 113 HHHH
Sigma 8-16mm f/4.5-5.6 DC HSM £600/$700 No 2.0x No f/4.5-5.6 555g 0.24m 0.13x None 7 113 HHHH
Sigma 10-20mm f/3.5 EX DC HSM £330/$450 No 2.0x No f/3.5 520g 0.24m 0.15x 82mm 7 113 HHHH
Sigma 12-24mm f/4 DG HSM A £1400/$1600 Yes 2.0x No f/4 1150g 0.24m 0.2x None 9 122 HHHH
Sigma 12-24mm f/4.5-5.6 II DG HSM £650/$950 Yes 2.0x No f/4.5-5.6 670g 0.28m 0.16x 82mm 9 113 HHHHH
Sigma 24-35mm f/2 DG HSM A £760/$900 Yes 1.5x No f/2 940g 0.28m 0.23x 77mm 7 113 HHH
Tamron SP AF 10-24mm f/3.5-4.5 Di II LD £460/$500 No 2.4x No f/3.5-4.5 406g 0.24m 0.2x None 9 113 HHHHH
Tamron SP 15-30mm f/2.8 Di VC USD £930/$1200 Yes 2.0x Yes f/2.8 1100g 0.28m 0.2x None 6 87 HHH
Tokina 10-17mm f/3.5-4.5 AT-X DX Fisheye £430/$530 No 1.7x No f/3.5-4.5 350g 0.14m 0.39x 82mm 9
Tokina 11-16mm f/2.8 AT-X PRO DX II £480/$500 No 1.8x No f/2.8 560g 0.28m 0.12x 77mm 9 87 HHH
Tokina 12-28mm f/4 AT-X Pro DX £450/$400 No 2.3x No f/4 530g 0.25m 0.2x 82mm 9 116 HHHH
Tokina 14-20mm f/2 AT-X PRO DX £850/$800 No 1.43x No f/2 750g 0.28m 0.12x None 9
Tokina 16-28mm f/2.8 AT-X PRO FX £580/$690 Yes 1.8x No f/2.8 950g 0.28m 0.19x 82mm 9
Tokina 17-35mm f/4 AT-X PRO FX £570/$450 Yes 2.1x No f/4 600g 0.28m 0.21x 82mm 9
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TELEPHOTO zooms
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Canon EF-S 55-250mm f/4-5.6 IS STM £270/$300 No 4.5x Yes f/4-5.6 375g 0.85m 0.29x 58mm 7 123 HHHH
Canon EF 70-200mm f/2.8L IS II USM £2000/$1950 Yes 2.9x Yes f/2.8 1490g 1.2m 0.21x 77mm 8 116 HHHHH
Canon EF 70-200mm f/2.8L USM £1330/$1250 Yes 2.9x No f/2.8 1310g 1.5m 0.16x 77mm 8 64 HHHH
Canon EF 70-200mm f/4L IS USM £1050/$1100 Yes 2.9x Yes f/4 760g 1.2m 0.21x 67mm 8 107 HHHH
Canon EF 70-200mm f/4L USM £670/$650 Yes 2.9x No f/4 705g 1.2m 0.21x 67mm 8 123 HHHH
Canon EF 70-300mm f/4-5.6 IS USM £400/$650 Yes 4.3x Yes f/4-5.6 630g 1.5m 0.26x 58mm 8 123 HHH
Canon EF 70-300mm f/4-5.6 IS II USM £500/$550 Yes 4.3x Yes f/4-5.6 710g 1.2m 0.25x 67mm 9 125 HHHH
TELEPHOTO ZOOMs
Canon EF 70-300mm f/4-5.6L IS USM £1030/$1350 Yes 4.3x Yes f/4-5.6 1050g 1.2m 0.21x 67mm 8 117 HHHH
Canon EF 70-300mm f/4.5-5.6 DO IS USM £1380/$1400 Yes 4.3x Yes f/4.5-5.6 720g 1.4m 0.19x 58mm 6 90 HHH
Canon EF 75-300mm f/4-5.6 III £210/$200 Yes 4.0x No f/4-5.6 480g 1.5m 0.25x 58mm 7 15 HHH
Canon EF 75-300mm f/4-5.6 III USM £260/$190 Yes 4.0x No f/4-5.6 480g 1.5m 0.25x 58mm 7 70 HHH
Canon EF 100-400mm f/4.5-5.6L IS II USM £1880/$2000 Yes 4.0x Yes f/4.5-5.6 1640g 0.98m 0.31x 77mm 9 117 HHHH
Canon EF 200-400mm f/4L IS USM Extender 1.4x £10,500/$11,000 Yes 2.8x Yes f/4 3620g 2.0m 0.15x 52mm 9 77 HHHHH
Sigma 50-500mm f4.5-6.3 DG OS HSM £1100/$1660 Yes 10.0x Yes f/4.5-6.3 1970g 0.5-1.8m 0.32x 95mm 9 117 HHH
Sigma 70-200mm f/2.8 EX DG OS HSM £900/$1150 Yes 2.9x Yes f/2.8 1430g 1.4m 0.13x 77mm 9 107 HHHH
Sigma 70-300mm f/4-5.6 DG Macro £130/$140 Yes 4.3x No f/4-5.6 545g 0.95m 0.5x 58mm 9 123 HHH
Sigma APO 70-300mm f/4-5.6 DG Macro £180/$180 Yes 4.3x No f/4-5.6 550g 0.95m 0.5x 58mm 9 123 HH
Sigma 120-300mm f/2.8 DG OS HSM S £2700/$3400 Yes 2.5x Yes f/2.8 3390g 1.5-2.5m 0.12x 105mm 9 98 HHHH
Sigma 150-600mm f/5-6.3 DG OS HSM C £800/$990 Yes 4.0x Yes f/5-6.3 1930g 2.8m 0.2x 95mm 9 117 HHHH ●
Sigma 150-600mm f/5-6.3 DG OS HSM S £1330/$2000 Yes 4.0x Yes f/5-6.3 2860g 2.6m 0.2x 105mm 9 117 HHHHH ●
Sigma 200-500mm f/2.8 EX DG £15,000/$26,000 Yes 2.5x No f/2.8 15,700g 2.0-5.0m 0.13x 72mm 9
Sigma 300-800mm f/5.6 EX DG HSM £6500/$6800 Yes 2.7x No f/5.6 5880g 6.0m 0.14x 46mm 9
Tamron SP AF 70-200mm f/2.8 Di VC USD £1100/$1500 Yes 2.9x Yes f/2.8 1470g 1.3m 0.13x 77mm 9 107 HHHH
Tamron SP 70-200mm f/2.8 Di VC USD G2 £1350/$1300 Yes 2.9x Yes f/2.8 1500g 0.95m 0.16x 77mm 9 127 HHHHH
Tamron AF 70-300mm f/4-5.6 Di LD Macro £130/$160 Yes 4.3x No f/4-5.6 458g 0.95m 0.5x 62mm 9 123 HHH
Tamron SP AF 70-300mm f/4-5.6 Di VC USD £300/$450 Yes 4.3x Yes f/4-5.6 765g 1.5m 0.25x 62mm 9 123 HHHH ●●
Tamron SP 150-600mm f/5-6.3 Di VC USD £830/$1000 Yes 4.0x Yes f/5-6.3 1951g 2.7m 0.2x 95mm 9 117 HHHH
Tamron SP 150-600mm f/5-6.3 Di VC USD G2 £1340/$1400 Yes 4.0x Yes f/5-6.3 2010g 2.2m 0.26x 95mm 9 121 HHHH
Buyers’ Guide LENSES
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Standard zooms
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Canon EF-S 15-85mm f/3.5-5.6 IS USM £600/$800 No 5.7x Yes f/3.5-5.6 575g 0.35m 0.21x 72mm 7 84 HHHH
Canon EF-S 17-55mm f/2.8 IS USM £750/$800 No 3.2x Yes f/2.8 645g 0.35m 0.17x 77mm 7 127 HHHH ●
STANDARD ZOOMS
Canon EF-S 18-55mm f/3.5-5.6 IS II £170/$200 No 3.1x Yes f/3.5-5.6 200g 0.25m 0.34x 58mm 6 110 HHH
Canon EF-S 18-55mm f/3.5-5.6 IS STM £200/$250 No 3.1x Yes f/3.5-5.6 205g 0.25m 0.36x 58mm 7 110 HHHH
Canon EF 24-70mm f/2.8L II USM £1900/$1700 Yes 2.9x No f/2.8 805g 0.38m 0.21x 82mm 9 127 HHHH ●
Canon EF 24-70mm f/4L IS USM £800/$900 Yes 2.9x Yes f/4 600g 0.38m 0.7x 77mm 9 93 HHHHH
Canon EF 24-105mm f/3.5-5.6 IS STM £380/$600 Yes 4.4x Yes f/3.5-5.6 525g 0.4m 0.3x 77mm 7
Canon EF 24-105mm f/4L IS II USM £1065/$1000 Yes 4.4x Yes f/4 795g 0.45m 0.24x 77mm 10 127 HHHH
Sigma 17-50mm f/2.8 EX DC OS HSM £330/$370 No 2.9x Yes f/2.8 565g 0.28m 0.2x 77mm 7 127 HHH
Sigma 17-70mm f/2.8-4 DC Macro OS HSM C £350/$500 No 4.1x Yes f/2.8-4 465g 0.22m 0.36x 72mm 7 127 HHHH ●
Sigma 18-35mm f/1.8 DC HSM A £650/$800 No 1.9x No f/1.8 810g 0.28m 0.23x 72mm 9 90 HHHHH
Sigma 24-70mm f/2.8 IF EX DG HSM £590/$750 Yes 2.9x No f/2.8 790g 0.38m 0.19x 82mm 9 93 HHHH
Sigma 24-105mm f/4 DG OS HSM A £600/$900 Yes 4.4x Yes f/4 885g 0.45m 0.22x 82mm 9 127 HHHH
Tamron SP AF 17-50mm f/2.8 XR Di II VC £380/$650 No 2.9x Yes f/2.8 570g 0.29m 0.21x 72mm 7 127 HHH
Tamron SP AF 24-70mm f/2.8 Di VC USD £800/$1300 Yes 2.9x Yes f/2.8 825g 0.38m 0.2x 82mm 9 127 HHHH ●
Tamron SP AF 28-75mm f/2.8 XR Di £450/$500 Yes 2.7x No f/2.8 510g 0.33m 0.26x 67mm 7 57 HHH
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SUPERzooms
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Canon EF-S 18-135mm f/3.5-5.6 IS STM £380/$400 No 7.5x Yes f/3.5-5.6 480g 0.39m 0.28x 67mm 7 128 HHHH
SUPERZOOMS
Canon EF-S 18-135mm f/3.5-5.6 IS USM £430/$600 No 7.5x Yes f/3.5-5.6 515g 0.39m 0.28x 67mm 7 128 HHHH
Canon EF-S 18-200mm f/3.5-5.6 IS £470/$700 No 11.1x Yes f/3.5-5.6 595g 0.45m 0.24x 72mm 6 128 HHH
Canon EF 28-300mm f/3.5-5.6L IS USM £2250/$2450 Yes 10.7x Yes f/3.5-5.6 1760g 0.7m 0.30x 77mm 8 6 HHHH
Sigma 18-200mm f/3.5-6.3 DC Macro OS HSM C £290/$400 No 11.1x Yes f/3.5-6.3 430g 0.39m 0.33x 62mm 7 128 HHHH
Sigma 18-250mm f/3.5-6.3 DC Macro OS HSM £350/$350 No 13.9x Yes f/3.5-6.3 470g 0.35m 0.34x 62mm 7 92 HHHHH ●
Sigma 18-300mm f/3.5-6.3 DC Macro OS HSM C £370/$500 No 16.7x Yes f/3.5-6.3 585g 0.39m 0.33x 72mm 7 128 HHHH ●
Tamron 16-300mm f/3.5-6.3 Di II VC PZD Macro £430/$550 No 18.8x Yes f/3.5-6.3 540g 0.39m 0.34x 67mm 7 128 HHHH
Tamron 18-200mm f/3.5-6.3 Di II VC £190/$200 No 11.1x Yes f/3.5-6.3 400g 0.49m 0.25x 62mm 7 128 HHHH ●
Tamron AF 18-270mm f/3.5-6.3 Di II VC PZD £300/$450 No 15x Yes f/3.5-6.3 450g 0.49m 0.26x 62mm 7 128 HHH
Tamron 28-300mm f/3.5-6.3 Di VC PZD £600/$850 Yes 10.7x Yes f/3.5-6.3 540g 0.49m 0.29x 67mm 7
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Wide-angle primes
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Canon EF 14mm f/2.8L II USM £2000/$2100 Yes None No f/2.8 645g 0.2m 0.15x None 6
Canon TS-E 17mm f/4L (tilt & shift) £2000/$2150 Yes None No f/4 820g 0.25m 0.14x 77mm 8 90 HHHHH
Canon EF 20mm f/2.8 USM £450/$540 Yes None No f/2.8 405g 0.25m 0.14x 72mm 5 114 HHH
Canon EF 24mm f/1.4L II USM £1500/$1550 Yes None No f/1.4 650g 0.25m 0.17x 77mm 8
Canon EF 24mm f/2.8 IS USM £430/$550 Yes None Yes f/2.8 280g 0.2m 0.23x 58mm 7 114 HHHH
Canon EF-S 24mm f/2.8 STM £140/$150 No None No f/2.8 125g 0.16m 0.27x 52mm 7 110 HHHH
Canon TS-E 24mm f/3.5L II (tilt & shift) £1690/$1900 Yes None No f/3.5 780g 0.21m 0.34x 82mm 8
Canon EF 28mm f/1.8 USM £420/$510 Yes None No f/1.8 310g 0.25m 0.18x 58mm 7 67 HHH
Canon EF 28mm f/2.8 IS USM £390/$500 Yes None Yes f/2.8 260g 0.23m 0.2x 58mm 7 114 HHHH
Canon EF 35mm f/1.4L II USM £1800/$1700 Yes None No f/1.4 760g 0.28m 0.21x 72mm 9 116 HHHH
Canon EF 35mm f/2 IS USM £470/$600 Yes None Yes f/2 335g 0.24m 0.24x 67mm 8 114 HHHH ●
Peleng 8mm f/3.5 Fisheye £250/$215 Yes None No f/3.5 400g 0.22m 0.13x None
Peleng 17mm f/2.8 Fisheye £290/$290 Yes None No f/2.8 630g 0.3m None
WIDE-ANGLE PRIMES
Samyang 8mm f/3.5 IF MC CSII DH Circular £240/$260 No None No f/3.5 435g 0.3m N/S None 6
Samyang 10mm f/2.8 ED AS NCS CS £350/$400 No None No f/2.8 600g 0.25m N/S None 6
Samyang 12mm f/2.8 ED AS NCS Diagonal £360/$470 Yes None No f/2.8 530g 0.2m N/S None 7
Samyang 14mm f/2.8 IF ED UMC £300/$330 Yes None No f/2.8 560g 0.28m N/S None 6 74 HHH
Samyang 16mm f/2 ED AS UMC CS £330/$360 No None No f/2 590g 0.2m N/S 77mm 8
Samyang 24mm f/1.4 ED AS UMC £480/$470 Yes None No f/1.4 680g 0.25m N/S 77mm 8
Samyang T-S 24mm f/3.5 ED AS UMC (tilt & shift) £680/$760 Yes None No f/3.5 680g 0.2m N/S 82mm 8 90 HHHH
Samyang 35mm f/1.4 AS UMC AE £430/$480 Yes None No f/1.4 660g 0.3m N/S 77mm 8 100 HHHH
Schneider 28mm f/4.5 PC-TS (tilt & shift) £4980/$6000 Yes None No f/4.5 1560g 0.15m 0.16x 122mm
Sigma 4.5mm f/2.8 EX DC HSM Circular Fisheye £700/$900 No None No f/2.8 470g 0.14m 0.17x None 6 87 HHHH
Sigma 8mm f/3.5 EX DG Circular Fisheye £700/$900 Yes None No f/3.5 400g 0.14m 0.22x None 6 87 HHHH ●
Sigma 10mm f/2.8 EX DC HSM Diagonal Fisheye £600/$600 No None No f/2.8 475g 0.14m 0.11x None 7 87 HHHH
Sigma 15mm f/2.8 EX DG Diagonal Fisheye £600/$610 Yes None No f/2.8 370g 0.15m 0.26x None 7 44 HHHH
Sigma 20mm f/1.4 DG HSM A £700/$900 Yes None No f/1.4 950g 0.28m 0.14x 77mm 9 114 HHHHH
Sigma 24mm f/1.4 DG HSM A £650/$850 Yes None No f/1.4 665g 0.25m 0.19x 77mm 9 114 HHHHH ●
Sigma 35mm f/1.4 DG HSM A £650/$900 Yes None No f/1.4 665g 0.3m 0.19x 67mm 9 100 HHHHH ●
Tamron SP 35mm f/1.8 Di VC USD £600/$600 Yes None Yes f/1.8 480g 0.2m 0.4x 67mm 9 114 HHHH
Voigtlander 20mm f/3.5 Color-Skopar SL II £505/$500 Yes None No f/3.5 240g 0.2m N/S 52mm 9
Voigtlander 28mm f/2.8 Color-Skopar £440/$480 Yes None No f/2.8 230g 0.22m N/S 52mm 9
Zeiss Milvus 15mm f/2.8 ZE £2330/$2700 Yes None No f/2.8 947g 0.25m 0.11x 95mm 9
Zeiss Distagon T* 18mm f/3.5 ZE £1090/$1395 Yes None No f/3.5 510g 0.3m 0.08x 82mm 9 44 HHHHH ●
Zeiss Distagon T* 25mm f/2 ZE £1270/$1700 Yes None No f/2 600g 0.25m 0.17x 67mm 9
Zeiss Distagon T* 28mm f/2 ZE £980/$1285 Yes None No f/2 580g 0.24m 0.21x 58mm 9
Zeiss Otus 28mm f/1.4 ZE £3500/$5000 Yes None No f/1.4 1350g 0.3m 0.2x 95mm 9
Zeiss Distagon T* 35mm f/1.4 ZE £1300/$1845 Yes None No f/1.4 850g 0.3m 0.2x 72mm 9
Zeiss Milvus f2/35 ZE £830/$1120 Yes None No f/2 702g 0.3m 0.19x 58mm 9 114 HHHH

BUYERS’ Contacts
GUIDE
Sigma www.sigma-imaging-uk.com
Canon www.canon.co.uk
Tamron www.tamron.co.uk
Peleng www.digitaltoyshop.co.uk
Tokina www.tokinalens.com
Samyang www.samyang-lens.co.uk
Voigtlander www.robertwhite.co.uk
Schneider www.linhofstudio.com
Zeiss www.zeiss.co.uk
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Standard primes
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STANDARD PRIMES
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Canon EF 40mm f/2.8 STM £200/$180 Yes None No f/2.8 130g 0.3m 0.18x 52mm 7 126 HHH
Canon TS-E 45mm f/2.8 (tilt & shift) £1200/$1400 Yes None No f/2.8 645g 0.4m 0.16x 72mm 8
Canon EF 50mm f/1.2L USM £1370/$1350 Yes None No f/1.2 580g 0.45m 0.15x 72mm 8 103 HHHH
Canon EF 50mm f/1.4 USM £350/$330 Yes None No f/1.4 290g 0.45m 0.15x 58mm 8 126 HHHH
Canon EF 50mm f/1.8 STM £105/$125 Yes None No f/1.8 160g 0.35m 0.21x 49mm 7 126 HHHH ●
Samyang 50mm f/1.4 AS UMC £310/$350 Yes None No f/1.4 575g 0.45m N/S 77mm 8
Sigma 30mm f/1.4 DC HSM A £360/$500 No None No f/1.4 435g 0.3m 0.15x 62mm 9 100 HHHH ●
Sigma 50mm f/1.4 DG HSM A £600/$950 Yes None No f/1.4 815g 0.4m 0.18x 77mm 9 126 HHHH
Tamron SP 45mm f/1.8 Di VC USD £600/$600 Yes None Yes f/1.8 540g 0.29m 0.29x 67mm 9 126 HHHH
Zeiss Milvus 50mm f/1.4 ZF.2 £950/$1200 Yes None No f/1.4 922g 0.45m 0.15x 67mm 9
Zeiss Planar T* 50mm f/1.4 ZE £560/$725 Yes None No f/1.4 380g 0.45m 0.15x 58mm 9
Zeiss Otus 55mm f/1.4 £2700/$3990 Yes None No f/1.4 1030g 0.5m 0.15x 77mm 9
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Telephoto primes
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Canon EF 85mm f/1.2L II USM £1770/$1900 Yes None No f/1.2 1025g 0.95m 0.11x 72mm 8 116 HHHH
Canon EF 85mm f/1.8 USM £340/$350 Yes None No f/1.8 425g 0.85m 0.13x 58mm 8 126 HHHH
Canon TS-E 90mm f/2.8 (tilt & shift) £1240/$1400 Yes None No f/2.8 565g 0.5m 0.29x 58mm 8
Canon EF 100mm f/2 USM £410/$500 Yes None No f/2 460g 0.9m 0.14x 58mm 8 46 HHHHH
Canon EF 135mm f/2L USM £940/$1000 Yes None No f/2 750g 0.9m 0.19x 72mm 8
Canon EF 200mm f/2L IS USM £5400/$5700 Yes None Yes f/2 2520g 1.9m 0.12x 52mm 8 98 HHHHH
Canon EF 200mm f/2.8L II USM HHHH
TELEPHOTO PRIMES
£700/$750 Yes None No f/2.8 765g 1.5m 0.16x 72mm 8 98

Canon EF 300mm f/2.8L IS II USM £5800/$6100 Yes None Yes f/2.8 2400g 2.0m 0.18x 52mm 9 54 HHHHH
Canon EF 300mm f/4L IS USM £1140/$1350 Yes None Yes f/4 1190g 1.5m 0.24x 77mm 8 117 HHHH
Canon EF 400mm f/2.8L IS II USM £9900/$10,000 Yes None Yes f/2.8 3850g 2.7m 0.17x 52mm 9 54 HHHHH
Canon EF 400mm f/4 DO IS II USM £7000/$6900 Yes None Yes f/4 2100g 3.3m 0.13x 52mm 9
Canon EF 400mm f/5.6L USM £1180/$1180 Yes None No f/5.6 1250g 3.5m 0.12x 77mm 8 117 HHH
Canon EF 500mm f/4L IS II USM £8400/$9000 Yes None Yes f/4 3190g 3.7m 0.15x 52mm 9
Canon EF 600mm f/4L IS II USM £11,350/$11,500 Yes None Yes f/4 3920g 4.5m 0.15x 52mm 9
Canon EF 800mm f/5.6L IS USM £11,900/$13,000 Yes None Yes f/5.6 4500g 6.0m 0.14x 52mm 8
Samyang 85mm f/1.4 IF MC £300/$270 Yes None No f/1.4 513g 1.0m N/S 72mm 8
Samyang 135mm f/2 ED UMC £370/$530 Yes None No f/2 830g 0.8m N/S 77mm 9
Samyang 500mm MC IF f/6.3 Mirror £125/$150 Yes None No f/6.3 705g 2.0m N/S 95mm 0
Samyang 800mm MC IF f/8 Mirror £170/$190 Yes None No f/8 870g 3.5m N/S 30mm 0
Sigma 85mm f/1.4 DG HSM A £1000/$1200 Yes None No f/1.4 TBA 0.85m 0.12x 86mm 9 126 HHHH
Sigma APO 300mm f/2.8 EX DG HSM £2600/$3400 Yes None No f/2.8 2400g 2.5m 0.13x 46mm 9 98 HHHH
Sigma APO 500mm f/4.5 EX DG HSM £3600/$4400 Yes None No f/4.5 3150g 4.0m 0.13x 46mm 9
Sigma 500mm f/4 DG OS HSM S £5000/$6000 Yes None Yes f/4 TBA 3.5m 0.15x 46mm 9 9
Sigma APO 800mm f/5.6 EX DG HSM £5000/$6600 Yes None No f/5.6 4.9kg 7.0m 0.11x 46mm 9 21 HHHH
Tamron SP 85mm f/1.8 Di VC USD £750/$750 Yes None Yes f/1.8 700g 0.8m 0.14x 67mm 9 126 HHHHH ●
Zeiss Milvus 135mm f/2 ZE £1900/$2200 Yes None No f/2 1123g 0.8m 0.28x 77mm 9
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MACRO
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Canon EF-S 60mm f/2.8 Macro USM £400/$400 No None No f/2.8 335g 0.20m 1.0x 52mm 7 118 HHH
Canon MP-E65mm f/2.8 1-5x Macro £980/$1050 Yes None No f/2.8 710g 0.24m 5.0x 58mm 6 50 HHHH
Canon EF 100mm f/2.8 Macro USM £460/$600 Yes None No f/2.8 600g 0.31m 1.0x 58mm 8 118 HHHH
Canon EF 100mm f/2.8L Macro IS USM £860/$800 Yes None Yes f/2.8 625g 0.3m 1.0x 67mm 9 118 HHHH
Canon EF 180mm f/3.5L Macro USM £1330/$1400 Yes None No f/3.5 1090g 0.48m 1.0x 72mm 8 69 HHHH
MACRO
Sigma Macro 105mm f/2.8 EX DG OS HSM £320/$620 Yes None Yes f/2.8 725g 0.31m 1.0x 62mm 9 118 HHHH ●
Sigma APO Macro 150mm f/2.8 EX DG OS HSM £780/$1100 Yes None Yes f/2.8 1150g 0.38m 1.0x 72mm 9 118 HHHH
Sigma APO Macro 180mm f/2.8 EX DG OS HSM £1250/$1700 Yes None Yes f/2.8 1640g 0.47m 1.0x 86mm 9 102 HHHH
Tamron SP AF 60mm f/2 Di II LD (IF) Macro £350/$525 No None No f/2 350g 0.23m 1.0x 55mm 7 118 HHH
Tamron SP AF 90mm f/2.8 Di Macro £350/$500 Yes None No f/2.8 400g 0.29m 1.0x 55mm 9 102 HHH
Tamron SP AF 90mm f/2.8 Di VC USD Macro £600/$650 Yes None Yes f/2.8 610g 0.3m 1.0x 62mm 9 118 HHHHH ●
Tamron SP AF 180mm f/3.5 Di Macro £800/$740 Yes None No f/3.5 985g 0.47m 1.0x 72mm 7 69 HHH
Tokina 100mm f/2.8 AT-X PRO Macro £350/$410 Yes None No f/2.8 540g 0.3m 1.0x 55mm 9 118 HHHH
Zeiss Makro Planar T* 50mm f/2 ZE £950/$1285 Yes None No f/2 570g 0.24m 0.5x 67mm 9
Zeiss Milvus Makro Planar 100mm f/2 ZE £1300/$1840 Yes None No f/2 843g 0.44m 0.5x 67mm 9 50 HHHH
Zeiss Makro Planar 100mm f/2 T* ZE £1400/$1545 Yes None No f/2 680g 0.44m 0.5x 67mm 9
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POP-UP VIDEOS!

best dslr for enthusiasts

new canon eos 77D

• We’re proud to use the World’s

Subscribe & get a free monopod + become a member! Page 42

Essentials Canon pros New tests

64 The Pro Interview

130 Focus Point 118

Look out FOR THIS ICON!

THE INFORMATION PROVIDED IN THESE VIDEO TUTORIALS ARE 100% INDEPENDENT

The Canon Magazine 5

Staff writer • 7D Mark II Art editor • 600D

This issue’s contributors…

The Canon Magazine 9

The Canon Magazine 11

5 Engaging with subjects

6 Read the seasons

Top gear #3 Make the most

AF point display family so you get better

EXPERT INSIGHT Top gear #4

Spring Paul’s comment

Lens Canon EF 135mm f/2L USM

Posing and expressions

The Canon Magazine 17

Lens Canon EF 70-200mm f/2.8L IS USM

The Canon Magazine 19

01 Spiral staircase to heaven

The Canon Magazine 21

02 Grater by Richard Sayles 03 Dry Land by Sigal Cohen

All the images in this gallery

04 Power by Mark Chamberlain

The Canon Magazine 23

05 Sphere collection by Paul Nash

06 Denkmal by Stefan Nielsen

07 Frozen bubble by Zeltner Evelyne

The Canon Magazine 25

08 Lines and Repetition by Humphrey

The Canon Magazine 29

1 The right kit

The Canon Magazine 31

Sunrise Midday Sunset

How to shoot a sunrise

The Sunny 16 rule

Be patient. A passing cloud

The Canon Magazine 33

Embrace bad weather

I’m shootin’ in the rain

Cliff-sides are striking on a sunny day, when summerscenes

We couldn’t tackle the season

Waves are great fun to dive into with a camera

Hit the coast

next time you’re beside the seaside

The Canon Magazine 35

tones accurately to get the most

01 camera settings 01 take the readings 01 find the average

High-contrast scenes can play Neutral-density filter

Graduated neutral density filter

The Canon Magazine 37

Get abstract Include people

• We’re proud to use the World’s

The Canon Magazine 5

The Canon Magazine 9

The Canon Magazine 11

The Canon Magazine 17

The Canon Magazine 19

01 Spiral staircase to heaven

The Canon Magazine 21

02 Grater by Richard Sayles 03 Dry Land by Sigal Cohen

04 Power by Mark Chamberlain

The Canon Magazine 23

05 Sphere collection by Paul Nash

06 Denkmal by Stefan Nielsen

07 Frozen bubble by Zeltner Evelyne

The Canon Magazine 25

08 Lines and Repetition by Humphrey

The Canon Magazine 29

The Canon Magazine 31

The Canon Magazine 33

The Canon Magazine 35

The Canon Magazine 37

The Canon Magazine 39

The Canon Magazine 45

The Canon Magazine 47

The Canon Magazine 49

The Canon Magazine 51

The Canon Magazine 53

The Canon Magazine 57

The Canon Magazine 59

The Canon Magazine 61

The Canon Magazine 63

The Canon Magazine 65

The Canon Magazine 67

The Canon Magazine 69

08 BOLT’S RECORD RUN

01 John Lewis toy department

02 Cathedral cloisters archaeology

The Canon Magazine 73

03 World pizza-eating competition

04 Gladstone Street boys

05 Out from behind the curtains

The Canon Magazine 75