You are on page 1of 28

The only magazine dedicated to your Canon EOS system

Free sampler 2013

THE ESSENTIAL EOS ACCESSORY Techniques with your EOS camera Practical help with camera settings Inspiration from stunning images Comparison shots to help you learn

Exclusive EOS Training Programme From Experience Seminars


Making The most of your digital EOS
To get the very best images from your digital EOS camera you need to understand how all its key features work, how to apply the settings and have a good understanding of all the photographic basics. This is the key aim behind our training programme, to get you producing the very best images by understanding what your camera allows you to do. Our making The Most Of Your Digital EOS Parts 1 & 2 are ideal for those who have had their digital EOS camera for a while and are comfortable with the basic operation and full auto modes and feel you are ready to take the next step into taking full control over the cameras creative modes and to understand how to fully utilise all the cameras settings and overrides. These are run as a classroom based events as that allows us to cover the most features in a day. For those that prefer a more hands on approach also see the taking control of your digital EOS events on our website.

Practical Workshops
Practical workshops are designed to combine a session in the classroom of between 2 and 2.5 hours learning the key theories of the topic that we are teaching. We follow that with a practical shooting session under the expert guidance of our two lecturers which allows you to put into practice the techniques learnt in the morning session.

Welcome
Publisher & Editor Robert Scott robert@eos-magazine.com Associate Editor Angela August angela@eos-magazine.com Design Consultant Anthony Viney Business Manager Claire Barrett claire@eos-magazine.com Magazine subscriptions Linda Gilman, Pam Bass subscriptions@eos-magazine.com Subscription renewals Jackie Allen renewals@eos-magazine.com EOS magazine shop Caron Harrison shop@eos-magazine.com Accounts Kate Middleton kate@eos-magazine.com Advertising Brian Hall brian@eos-magazine.com Write to: The Old Barn, Ball Lane, Tackley, Kidlington, Oxfordshire OX5 3AG, UK Tel: 01869 331741 (+44 1869 331741) Fax: 01869 331641 (+44 1869 331641) All information and advice in this magazine is offered in good faith. The publisher does not accept any liability for errors or omissions. All registered names and trade marks are acknowledged. The publisher acknowledges the help and support of Canon (UK) Ltd. EOS magazine is published by Robert Scott Publishing Limited, a company registered in England and Wales. Registration number 4663971. 2013 Robert Scott Publishing Limited ISSN 1748-5568

Taking control of your EOS flash


This event looks at how to use flash on your EOS camera to get the very best results. We spend the mornings theory session looking at the essential things that you have to understand to use flash successfully and then spend the afternoon shooting with our model. The afternoons shooting will be fully tutored with the lecturer explaining the location and how to get the best results and then time being given to shoot, before moving on to the next location.

Making The most of your digital EOS - Part 1


What you will learn All day theory course taking your photography to the next level Learn all about how you can take control in the creative modes Learn all about shutter speeds, apertures, ISO and depth of field How to control the focusing system to be creative How the key overrides can make a difference to your images

Interior photography
Mostly held at cathedrals around the country and we also have an event at Syon House where we have access to some of its magnificent state rooms. The theory part of the event looks at the challenges that face us when shooting interiors and then the afternoon practical shooting looks at putting those techniques into practice. This is a great event for learning how to use the camera manually, utilising the white balance controls to the fullest and understanding how to fully utilise the Live View systems that the cameras have, to allow you to get the very best results, in addition to learning all about interior photography.

Making The most of your digital EOS - Part 2


What you will learn All day theory course to understand the advanced overrides Covers the vast range of overrides and when to use them How to shoot in RAW and JPEG How to program your camera to best suit your photography Using metering, white balance, custom functions and much more As we run over 100 of these events per year there is bound to be a course within reach of you soon, see our website for details of where and when the events take place. The courses take place at hotels, run from 10am till 5pm approx and handouts, lunch and refreshments are all included. Courses are 119 at our Huntingdon training centre and 139 for all regional locations.

Close up and macro photography


Close up is a relatively easy area of photography to master, however macro is technically challenging and can be much more difficult. In the afternoons practical session we look at shooting in different situations and light levels and get you to put into practice the theory learnt in the morning. In the practical part of the course we also look at using flash to light the subject, both using the cameras built in flash or an external flash on camera, through to using the increasingly popular wireless flash system. We also have lots of other Practical Workshop events - see our website for more details, locations, dates and cost.

www.experience-seminars.co.uk
British Wildlife PhotoShoot Experience
Our PhotoShoot Experiences provide a memorable day in some very special locations. The most popular is our British Wildlife PhotoShoot Experience where you can get literally within inches of the Foxes, Otters, Red Squirrels and Scottish Wildcats that they have at the location. The photo opportunities at this event are simply stunning due the great access that we have to the enclosures. The also have specially designed enclosures where you can photograph Polecats, Minx, Badgers, Deer and many other animals and birds. Above - This is how close you get at the British Wildlife event to the animals - its a great experience! Right - Images taken at British Wildlife PhotoShoot Experience.

We have both all day and afternoon/evening events for 2013

So you want to take better pictures. Thats a given. You may have come across EOS magazine in your search to learn more about photography, in particular photography with your Canon EOS camera. So how will EOS magazine help you in your quest for better images? After all, photography is about having the eye for a good image and framing your subject. So it doesnt matter about the camera then? At EOS magazine we believe that understanding how your EOS camera works will make you better prepared to capture those sought-after images. In every issue of the magazine we look at the technology and functionality of the EOS system, whilst explaining the fundamental principles of photography. This is how we learn we examine an element of EOS cameras, investigate how it works and experiment with the settings to give us the best results. By doing this, and sharing the results with you, the magazine will give you the information you need to be one step closer to taking better pictures. But thats not all we do. We also gather together information from around the world, reporting on ground-breaking uses of Canon DSLRs, featuring interesting projects shot with EOS cameras and showcasing some of the most inspiring photos taken with EOS equipment. Every new Canon product launch for the EOS range is covered in the magazine, with an in-depth look at the features, technologies and advances in imaging. You may not have heard about EOS magazine before you came across the website. And its not on the shelves of your local bookstore or newsagent. So how do you know whether EOS magazine is right for you? This magazine sampler has been put together from several recent issues of EOS magazine. It will give you a taste of the usual content and articles of the magazine. You will also see that the technique articles, which start on page 18, are written specifically for the EOS system. So long as you own an EOS camera and are serious about developing your photography, we believe that EOS magazine will give you all the information you need to master your camera. Enjoy this mini edition of EOS magazine and we look forward to welcoming you as a subscriber. Theres a fantastic subscription offer at the back of the sampler when youre ready to join us. Better pictures are within your reach. Robert Scott, Editor robert@eos-magazine.com

Find us on facebook
For our latest catalogues call us on 01487 772804 Phone lines open Mon - Fri 9.00am to 5.00pm For more details about our events visit our website at www.experience-seminars.co.uk
www.facebook.com/EOSmag

About EOS magazine


My biggest regret is that I did not know about EOS magazine earlier. I have found it to be the most informative magazine with regards to the Canon brand and read it from cover to cover!
MG via Reader Survey, April 2012

Contents
World of EOS
06
Out with the old in with the new for 2013. Plus winter cashback.

Techniques
18
Andrew Gibson puts the EF 40mm f2.8 pancake lens through its paces.

Farewell to 5D Mark II

Standard lens

24 28

When and how to use custom white balance When shooting with flash you often need to take note of the ambient light as well. Heres how.

Custom colour Flash factors

EOS magazine is written for everyone with a Canon EOS camera. It explains in clear, easy-to-follow language how to use your EOS equipment and get the most out of it.

As a new owner of a Canon DLSR 1100D I subscribed to your magazine to see what was going-on in the world of digital photography and was not disappointed!! Have now read two issues and have found the content and photos superb; in fact much better than the instuction booklets and downloads from Canon!! My congratulations to you and the team at EOS magazine for a very well presented and easy to understand magazine and, I look forward to continuing my subscription.
AHJ via email, January 2013

08 09

Wildlife photographer Latest firmware Walking on water

The Veolia Environnement Wildlife Photographer of the Year 2012 competition.

For EOS 1D X users

10

3 Four issues a year 3 84-page high quality print 3 Dedicated EOS content 3 Subscription-only 3 Limited advertising 3 Money-back guarantee
I just want to take an opportunity to congratulate the author and editor of this editions article on creative control. This article is succinct, immensely readable but most importantly is a very effective teaching tool. In just seven pages you capture the essence of creative photography which in many other publications would take chapters and not as effectively. Whoever is responsible for this piece of writing should feel very pleased and proud of what is perhaps the most competent description of the relationships between aperture, speed, ISO with the inclusion of reciprocal rule, depth of field and manual control. Essential basics, irrespective of how good your EOS camera is.
CH via EOS magazine forum, October 2012

Kos Evans demands exceptional performance in extreme circumstances.

34 42 46 52

Remote access

A guide to accessories for shooting remotely.

Dont need to read other photo mags, EOS magazine provides plenty of information to help me get the best out of my photography.
GS via Reader Survey, May 2012

Latest Canon product


12
This camera is currently the lightest DSLR to feature a full-frame sensor. It creates a new entry point into Canons full-frame line-up. Features include built-in GPS and Wi-Fi.

Select and sort

EOS 6D

Exploring an often overlooked feature of Canons free DPP software.

A step-by-step guide to downloading and installing camera and lens firmware.

Firmware update Q&A

Our promise

Your no-quibble money-back guarantee


We aim to suit all EOS users, but understand that EOS magazine may not be right for you. So if you want to cancel in the first 28 days after receiving your first issue, just let us know and well refund your subscription in full. If you decide to cancel later on, we will refund you for any issues you havent received. And we wont be difficult about it, even though well be sorry to lose you. Thats our promise.

A selection of readers photographic queries

Exclusive to EOS cameras Essential for EOS users

Join us

This sampler offers you a taste of what you will get when you subscribe to EOS magazine. Turn to page 55 for a look at our fantastic subscription offer.

Come along for the EOS journey Four issues a year, delivered direct to your door

EOS magazine sampler 2013

EOS magazine sampler 2013

World of EOS photography

PhotoNews
End of line for 5D Mark II
Canon has quietly discontinued the EOS 5D Mark II. The camera was moved to the Old products archive on a Canon Japan website at the end of December 2012. Canon UK has confirmed the news. The camera will continue to be available at stores until supplies are exhausted but dont leave it too late if you have been thinking of buying. The EOS 5D Mark II, introduced in 2008, was the first EOS digital SLR with movie mode. This initially received a lukewarm response from EOS enthusiasts, but was quickly taken on board by professional movie-makers. One of the attractions of the camera is the depth-of-field, which can be much narrower than that of dedicated movie cameras. Cost was also a factor. Cameraman Mark Moreve made one of the first feature length films shot entirely using the EOS 5D Mark II and Canon lenses. You can buy an EOS 5D Mark II for the same price it costs to hire an HD movie camera for a week, he said, so using the Mark II cut our costs by a fortune. The Season Six finale of House (the television medical drama starring Hugh Laurie) was shot using only the EOS 5D Mark II camera, plus a range of fast EF lenses. The shallow depth-of-field and low-light capabilities of the camera were the main attractions for the director and cameraman. (The episode was first aired on 16 May 2010). The BBC, although initially doubtful that an SLR could produce broadcast quality video, soon relented and allowed use of the EOS 5D Mark II for programme making. The demise of the camera is not unexpected. The EOS 5D Mark III was introduced last April. Although this did not immediately replace the earlier model, it was only a matter of time before sales of the EOS 5D Mark II camera were affected. Then, late in 2012, came the EOS 6D (see right) Canons new entry-level full-frame digital camera.

Image Square

Out with the old in with the new for 2013


Now available

Canon Canada Inc. has opened Image Square in Calgary. This Canon Experience Store is a unique destination where visitors can interact with the latest Canon technology and benefit from photography expertise. The 6,600 square foot space located on the ground floor of Eighth Avenue Place in downtown Calgary features dynamic displays and demonstrations that give visitors a true look at how Canon products work. The customer experience is fully interactive with hands-on displays, touch-screen media for viewing and manipulating images, a professional photo studio, a classroom-style learning space and photo gallery. For more information visit www.canon.ca/imagesquare

Canon sponsorship deals

Canon will be an Official Partner of the IAAF World Athletics Series from 2013 to 2016. Canons sponsorship will include two IAAF World Championships the first in Moscow in 2013, the second in Beijing in 2015. Canon has also signed a three-year renewal of its worldwide partnership with the World Press Photo Foundation. The new contract marks the 20th anniversary for the two organisations working together to empower photojournalists. For more details about World Press Photo and to view galleries, visit www.worldpressphoto.org

Canon wins Emmy Award

Firmware update for EOS-1D X

The EOS M (above left) is now available at a range of retailers across the UK. It has an RRP of 769.99 including the EF-M 18-55mm f3.5-5.6 IS STM lens and Speedlite 90EX flash gun. The EOS 6D is also available across the UK with an RRP of 1799.99 (body only), 1959.99 with EF 40mm f2.8 STM lens or 2519.99 with EF 24-105mm f4L IS USM lens.

Two new image stabiliser lenses

Firmware version 1.2.1 is now available for the EOS-1D X. It incorporates the following improvements and fixes: 1. The function to disable the Image size selection button has been added. See the instructions EOS-1D X Firmware version 1.2.x Additional Function (PDF file) included in the downloaded firmware 1.2.1 folder for information on how to intentionally disable this button after the firmware update has been installed in the camera. 2. Fixes a phenomenon in which Err 70 and Err 80 may occur during certain shooting conditions. You can download firmware updates free of charge from the Canon Download Centre software.canon-europe.com

The year has started well for Canon with a Technology & Engineering Emmy Award from the National Academy of Television Arts & Sciences. The award is for work on improvements to large-format CMOS imagers for use in HD broadcast video cameras. The awards honour development and innovation in broadcast technology and recognise organisations and individuals for breakthroughs in technology that have a significant effect on television engineering. Canon debuted its award-winning large format CMOS image sensor in its EOS C300 digital cinema camera in November 2011. By exploring alternatives to the established Bayer colour filter array algorithms, Canon was able to achieve an overall image quality capture through its CMOS sensor that has helped to bring digital cinema closer to the superb aesthetics associated with 35mm motion picture film.

Canon has launched two new EF lenses designed for enthusiast and professional photographers the EF 24-70mm f4L IS USM and the EF 35mm f2 IS USM. Boasting Canons leading optical technologies in highly compact designs, the new lenses are perfect for a range of creative purposes, including reportage, landscape, portrait and travel photography. Both include aspherical lenses and Super Spectra Coatings optimised for each individual element, Canons image stabiliser (IS) technology and ultrasonic motors for superfast autofocus. The EF 24-70mm f4L IS USM is the latest lens to feature Hybrid IS, delivering shake-free shots at any distance, including macro focal lengths. The lenses also come with the newly-designed Mark II lens caps, which feature a centre-pinch mechanism. In September 2012, Canon launched the EOS 6D the first full-frame DSLR aimed at non-professionals. The lightweight, compact EF 24-70mm f4L IS USM lens will team up nicely with the EOS 6D, which does not have the weight and bulk of the other full-frame bodies. Both new lenses are available now. The EF 24-70mm f4L IS USM costs 1499.99 (RRP) while the EF 35mm f2 IS USM is 799.99 (RRP). Detailed information and specifications about these lenses are featured in the January-March 2013 issue.

Travel Photographer of the Year 2012


Professional and amateur photographers from 22 countries scooped individual Travel Photographer of the Year 2012 awards or special mentions this year. Many of the prizewinning entries, two of which are shown here, were shot using Canon EOS cameras. The images showcase the beauty and diversity of travel imagery and offer fascinating glimpses of different cultures. Andrew Newey (UK) won Best Single Image in the Portfolio Journeys category with his image of Mentawai Shaman resting against the roots of a tree in Siberut Island, Indonesia. The New Talent award went to Alessandra Meniconzi (Switzerland) with her series of images capturing life for Siberias Nenets, a nomadic people whose life is based around the reindeer herds. Alessandra is a graphic designer and teacher, and a self-taught
Below left Mentawai Shaman, Siberut Island, Indonesia. EOS 5D Mark II, 1/2656 second at f1.8, ISO 320, EF 50mm f1.8 II lens. Below Young Nenets girl in the snow, Siberia. EOS 1Ds Mark III, 1/200 second at f8, ISO 100, EF 16-35mm f2.8L USM lens.

photographer. I pedal, walk and move alone with my equipment for months on end in the most remote locations of the world. Photography is another way to express my personality. Pressing the shutter release of the camera materializes my feelings, my sensibilities, my character, and the way I see the world. To view the complete gallery of winning images, visit www.tpoty.com

ANDREW NEWEY/TRAVEL PHOTOGRAPHER OF THE YEAR 2012

ALESSANDRA MENICONZI/TRAVEL PHOTOGRAPHER OF THE YEAR 2012

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

Do you have any EOS-related news or photo stories? E-mail: editorial@eos-magazine.com


Reproduced from EOS magazine January-March 2013

Reproduced from EOS magazine January-March 2013

World of EOS photography

Wildlife Photographer of the Year 2012 competition


Paul Nicklen won the Veolia Environnement Wildlife Photographer of the Year 2012 competition with his underwater shot of bubble-jetting emperor penguins (right). You can see the winning entries on display at the Natural History Museum, London, until 3 March 2013. To book tickets to see the exhibition, find out when it is on tour near you, view the winning images online, or for information about how to enter this years competition (closing date 22 February 2013) visit www.nhm.ac.uk/wildphoto. Each of the 100 spectacular prize-winning photographs are presented in a new book, Wildlife Photographer of the Year Portfolio 22, priced 25, which is also available from the website. The Veolia Environnement Wildlife Photographer of the Year competition is owned by the Natural History Museum and BBC Wildlife Magazine.
PAUL NICKLEN/VEOLIA ENVIRONNEMENT WILDLIFE PHOTOGRAPHER OF THE YEAR 2012

Firmware updates
The latest updates for EOS digital cameras are available by following the Firmware Updates link on the EOS magazine home page at www.eos-magazine.com For further information on updating your firmware, see Firmware update on page 46. Cameras with 4 or 5 as the sixth digit from the left in the serial number are affected. Even if the sixth digit from the left in the serial number is 4 or 5, cameras with a white dot in the battery compartment are not affected (right). To overwrite the installed firmware and activate the autofocusing at f8, simply re-install firmware version 1.1.1. There is no change to the firmware version, as this is not an issue with the firmware itself.

EOS-1D X
Firmware version 1.1.1 offers new functionality and improved performance. Developed in response to photographer feedback, Firmware version 1.1.1 improves the scope and performance of the AF function and introduces minor fixes to offer professional photographers the ability to capture stunning images more easily in all conditions. During AI Servo AF shooting in low light, viewfinder information is now illuminated, with the AF points blinking intermittently in red, allowing them to be easily confirmed while shooting, without affecting the metering. Getting closer to the action is also even easier, with the firmware update allowing photographers to use Extenders to increase the focal length of their super-telephoto lenses, while maintaining the use of AF to capture a crisp, clear shot. The centre AF point (one cross-type with four supporting points) can now be used to autofocus at a maximum aperture of f8. Canon Extender EF 1.4x increases the effective focal length by 1.4x, so a 400mm lens becomes equivalent to a 560mm lens. There is loss of light equivalent to 1 stop, so a lens with a maximum aperture of f5.6 becomes the equivalent of an f8 lens and will still offer autofocus with the EOS-1D X with firmware version 1.1.1 installed. Canon Extender EF 2x increases the effective focal length by 2x, so a 400mm lens becomes equivalent to a 800mm lens. There is loss of light equivalent to 2 stops, so a lens with a maximum aperture of f4 becomes the equivalent of an f8 lens and will still offer autofocus with the EOS-1D X with firmware version 1.1.1 installed. New features Autofocus at f8 Illuminated AF points and viewfinder information in AI Servo AF mode. Fixes Corrects a phenomenon where the metering value of the AE sensor becomes abnormal, affecting the final image Corrects a phenomenon where Error 70 may occur during AEB shooting Corrects a phenomenon where the firmware of the lenses cannot be updated normally Minor corrections to Arabic menu

Heinrich van den Berg (South Africa) was Commended in The Gerald Durrell Award for Endangered Species (below) Verreauxs sifakas are found only in southern and southwestern Madagascar. They are not as endangered as many of the islands lemurs, but when Heinrich found a group feeding in trees in the Nahampoana Reserve what impressed him was the extraordinary way they leap from one tree to another. They spring off their back legs, then twist in the air to land perfectly on the next trunk, says Heinrich. The photographic conditions were ideal the sifakas in shadow and a bright background behind enabling him to use a slow shutter speed for the background effect of movement and a flash to freeze the leap. EOS 5D Mark II with an EF 16-35mm f1.4L USM lens at 27mm, 1/12 second at f9, ISO 100; two Quantum flashes.

Paul Nicklen (Canada) was judged overall 2012 Veolia Environnement Wildlife Photographer of the Year (above). This was the image Paul had been hoping to get: a sunlit mass of emperor penguins, leaving bubble trails in their wake. The location was near the emperor colony on the frozen area of the Ross Sea, Antarctica. Paul lowered himself into the only likely exit hole, then waited for the return of the penguins, with crops full of icefish for their chicks. Then it came: a blast of birds from the depths. They were so fast that, with frozen fingers, framing and focus had to be instinctive. It was a fantastic sight, says Paul, as hundreds launched themselves out of the water and onto the ice above me a moment that I felt fortunate to witness and one Ill never forget. EOS-1D Mark IV with an EF 8-15mm f4L USM lens, 1/1000 second at f7.1, ISO 500, Seacam housing.

Firmware update resolves EOS 6D video issue


Firmware Version 1.1.2 for the EOS 6D fixes a phenomenon which prevents movie files shot using EOS 6D cameras from being played back on YouTube. However, firmware version 1.1.2 may present some Video Snapshot limitations, as follows: 1 EOS 6D running Firmware Version 1.0.9 If a video snapshot captured when the camera was running firmware 1.0.9 is combined with a video snapshot created by a camera which was running firmware 1.1.2, the resulting video snapshot album will be corrupted. 2 EOS 6D running Firmware Version 1.1.2 If you try to add a video snapshot from a camera running firmware 1.1.2 to the video snapshot album created when the camera was running firmware 1.0.9, a warning message Cannot select this movie will appear and the video snapshot cannot be added. The following workaround addresses the two scenarios described above: 1 Shoot a video snapshot and create a video snapshot album. 2 Import the captured video snapshot album to your computer. 3 Start ImageBrowser EX (bundled with the EOS 6D). 4 Select the video snapshot album,and select [Edit Movie] in the [Edit] tab. 5 MovieEdit Task will start. 6 Select [Add Image] and select video snapshot album to add the movie snapshot. 7 Select [Save] and [Save image type] and then click [Save].

HEINRICH VAN DEN BERG/VEOLIA ENVIRONNEMENT WILDLIFE PHOTOGRAPHER OF THE YEAR 2012

Jordi Chias (Spain) was Commended in the Underwater Worlds category (right). Armeime, a small cove off the south coast of Tenerife, is a hotspot for green sea turtles. They forage there on the plentiful seagrass and are accustomed to divers. Jordi cruised in the company of this one in the shallow, gin-clear water over black volcanic sand. The dazzling colours, symmetry and textured patterns were mesmerising, says Jordi, and I was able to compose a picture to show just how beautiful this marine treasure is. Like the other seven species of sea turtles, the green sea turtle is endangered, with populations declining worldwide. The many threats include habitat degradation, building development on their breeding beaches, ingestion of rubbish such as plastics and entanglement in fishing gear. EOS 7D with a Tokina 10-17mm lens at 10mm, 1/80 second at f11; ISO 160; custom-made housing; two Inon flashes.
PAUL NICKLEN/VEOLIA ENVIRONNEMENT WILDLIFE PHOTOGRAPHER OF THE YEAR 2012

EOS-1D X and the f8 issue


Autofocusing may not function at f8 on some EOS-1D X cameras with firmware version 1.1.1. This version enabled the centre AF point to autofocus when the camera is used with lens/Extender combinations whose combined maximum aperture is f8 or wider. On some of the cameras with firmware version 1.1.1, autofocusing does not function at f8. This is not an issue with the firmware itself, but with its installation at the factory. The problem can be overcome by overwriting the firmware. This phenomenon does not occur with a camera whose firmware has been updated by a user or by a Canon service centre.

April 2013 update for EOS 5D Mark III


A firmware upgrade for the EOS 5D Mark III in April 2013 will add features for both still and video shooting. The new firmware offers improved AF performance and enhanced HDMI output. When the camera is fitted with a lens and Extender resulting in a maximum f8 aperture, the new firmware enables the camera to use the central dual cross-type focal points, currently only available up to an f5.6 aperture. The new firmware includes clean HDMI output, enhancing overall video editing and monitoring procedures.

Reproduced from EOS magazine January-March 2013

Reproduced from EOS magazine January-March 2013

World of EOS photography

|10

dont speak very good English. They know the aeronautical terms, but can struggle when it comes to shooting directions. Sometimes this has to be just hand signals. What do you think will be your next photographic purchase? Im looking at purchasing the EOS 5D Mark III. Clients are requiring more videography as well as stills, which is slightly frustrating as the two mediums have to be treated quite differently and a lot of clients dont understand this. So I have to go back to my roots the London College of Printing where I studied television and feature film making, as well as photography. Videography is about the editing and how the piece is cut together, but the versatility of the latest EOS cameras makes everything possible. Which water sport do you most enjoy photographing? Shooting superyacht regattas is truly amazing. The size of the yachts these days is ridiculous and just gets more impressive, as designers are given the freedom to push the envelope of design to James Bond levels. To shoot these yachts crashing around a racecourse makes for impressive imagery. The crew appear like ants as they clamber around the deck. The sculptural designs, reflective glass and metallic paint make futuristic imagery. How do you ensure you stay at the top of your profession? I have a passion for photography that drives me to find new ways to shoot and hopefully create evocative images. I am lucky that clients find this attractive and keep me at the forefront. I also have a very good understanding of what is either art and/or what is a great commercial image this almost crosses into marketing knowledge rather than photography. In the commercial world, theres no point taking a picture that no one either values or can use. I pinch myself everyday to think I get paid to do a job I adore, and that other people find pleasure in my work. For more of Kos images visit www.kospictures.com What special camera settings or lenses do you use when shooting from a helicopter? I like to work in Av mode and shoot at no less than 1/1000 second as there is usually vibration from the rotor blades. Explain the importance of the helicopter pilot for achieving some of your iconic shots. When working with a new helicopter pilot, I first find out if he had military training as these guys are usually the very best you can push them harder to do what you want them to do. I usually map out a storyboard of the shots I need to get. I try to always brief them fully before take off. Sometimes they

Walking on Water
Kos Evans demands exceptional performance in extreme circumstances.
From shooting Maxi yachts for a Rolex advertising campaign to chasing a boat through London for an action sequence in a Bond movie, Kos Evans together with her EOS cameras has been at the forefront of marine photography for 30 years. What are your biggest challenges? My biggest challenge photographically, unlike most photographers, is the conditions in which I work. Unlike shooting on land, working on the sea means you are dealing with an environment that doesnt suit cameras. The salt is extremely corrosive, the vibration from working on fast powerboats shakes camera screws loose and the lenses get bashed and also covered in seawater at times. Plus you are working from a moving platform shooting a moving subject. To protect my equipment as much as possible I use a large cool box as my camera bag the cameras and lenses remain much drier and protected even if the boat is awash with water. Its essential to know how to direct the driver of the powerboat to go where I need to go so we dont get in the way of the event, but position me to get a great picture. I dont have a fear of heights so I can shoot from a helicopter dangling out of the open door standing on the skids. The same goes for shooting from the masthead of a yacht. I can change lenses up there, or use a zoom to crop into events on deck, as well as shooting wide for an overview. How have advances in camera technology (e.g. faster lenses, increased frame rate, file size, etc) affected your photography? The improvements in technology have been so amazing it gives the photographer the freedom to shoot anything at any time. The increased ISO range gives the ability to shoot in more extreme conditions similarly the HDR facility. File size gives a longevity (we hope) to the quality of the image. Where will we be in 100 years from now? The fact that lenses are becoming lighter helps in my game too. Which are your favourite lenses, and why? My favourite lenses tend to be zooms. Working on wet boats I dont want to change lenses too often as there is a risk of getting a wave over my camera at the same time. How effective is the waterproofing on the EOS 1Ds Mark III and what precautions do you take? I love my EOS 1Ds Mark III. Its a really balanced camera when working with long lenses and I have never had a problem with corrosion the contacts are well sealed. The camera is like a tank almost bombproof. I am careful, however, to always clean my equipment after each shoot with surgical spirit. This takes off the salt without leaving any moisture.

Kos kit includes:


2x EOS-1Ds Mark III EF 300mm f2.8L USM EF 14mm f2.8L II USM EF 100mm f2.8L IS Macro EF 70-200mm f2.8L USM EF 28-70mm f2.8L USM Extender EF 1.4x EF 100-400mm f4.5-5.6L IS USM

For more information:


Kos new book, Walking on Water The Daredevil Acrobatics of a Pioneering Photographer is available to buy from good booksellers (Adlard Coles Nautical, hardback, 30). The book encapsulates Kos most dramatic photographs and offers thrilling anecdotes of her life. The book also includes a Foreword by Duran Duran singer and keen sailor Simon Le Bon.

10

Reproduced from EOS magazine January-March 2013

Reproduced from EOS magazine January-March 2013

11

New products EOS 6D full-frame DSLR

13 |13 Canon has unveiled its latest DSLR for serious photography enthusiasts the EOS 6D. A similar size and weight to the EOS 60D, the new camera is currently the worlds lightest DSLR to feature a full-frame CMOS sensor. The model creates a new entry point into Canons full-frame line-up. The camera combines full-frame imaging and extended lowlight performance with a compact, robust and lightweight design. For the first time in any EOS model, Wi-Fi and GPS connectivity are built-in, enabling photographers to tag images with location data and wirelessly transfer them to a computer, the cloud, or smartphone.

Newcamera EOS 6D
Key features
w Full-frame format (approx. 36 x 24mm) w 20.2 megapixel CMOS sensor w Accepts EF lenses (not EF-S or EF-M) w Worlds smallest DSLR with a full

Wi-Fi connectivity
The 6D is the first EOS camera to feature integrated wireless connectivity, allowing you to shoot and transfer data to the following devices: Canon Wi-Fi-enabled cameras and printers Compatible computers Cloud-based storage and services (including Canon Image Gateway, YouTube, Facebook, Twitter, etc.). A one-time registration is required to access Canon Image Gateway. Smartphones and tablets using the free EOS Remote Android and iOS application that will be available shortly (see below). DLNA-enabled HDTV. Digital Living Network Alliance is a group of organisations, including Canon, that has created a standard enabling all DLNA devices to share media over a home network.

frame CMOS sensor (at 17 Sep 2012)


w 11-point AF sensitive down to EV -3 w 3-inch TFT colour, liquid-crystal

monitor with 1,040,000 pixels


w Accepts SD cards (UHS-I compatible) w DIGIC 5+ image processor w Continuous shooting at up to 4.5fps w Live View for stills and movies w Built-in GPS logging w Built-in Wi-Fi connectivity w ISO range from 100 to 25600

An entry-level full-frame EOS


There is a new category of EOS fullframe digital cameras entry level. The EOS 6D sits alone in this group. It does not replace any existing cameras. In addition to a smaller size and lighter weight, it is also considerably less expensive than the mid-range EOS 5D Mark III. Entry level it might be, but the EOS 6D is full of features. HDR mode enables the capture of both highlights and shadows in tricky lighting conditions, while Multiple Exposure allows you to combine up to nine separate exposures into a single image in-camera. A silent drive mode keeps the noise down in quiet situations. A single-axis electronic level accessed through the viewfinder or via the LCD screen helps you to keep horizons level. The EOS 6D features a newlydesigned 20.2 megapixel full-frame CMOS sensor that allows you to produce poster-sized prints, or to crop into your shots without compromising the quality. An ISO range of 100 to 25600 (extendable to 50, 51200 and 102400) helps you to take photographs in near darkness. A new 11-point AF system also offers the strongest lowlight performance of any Canon AF system to date. Autofocusing operates down to EV -3 the equivalent of moonlight.

Built-in GPS
The 6D is the first EOS to feature an integrated GPS unit. This records location data within the image file. The data will be useful if you want to add a caption to the image at a later date and cant remember where the photograph was taken. GPS saves you having to make notes with paper and pencil. A GPS Logger function also periodically records the cameras GPS location over a pre-defined period. This information can be downloaded, allowing you to view your route on a computer map. The GPS can also be used for automatic accurate time setting, fetching the Coordinated Universal Time (UTC) time from a satellite to ensure the internal clock of the camera is as accurate as possible. UTC is determined using highly precise atomic clocks. When the GPS system and Wi-Fi connectivity are active, icons appear in the LCD display on the top of the camera (circled red above).

(expandable to 50 and 102400)


w High dynamic range (HDR) mode w Multiple exposure mode w Silent drive mode w Single-axis electronic level w Full HD video w Dust and drip-proof body

Accessories not needed

Left This is the Wireless File Transmitter WFT-E7 for the EOS 5D Mark III. It has an RRP of 789.99. The EOS 6D has a Wi-Fi transmitter built-in. Left GPS unit GPE2 for the EOS 5D Mark III has an RRP of 299.99. The EOS 6D has GPS built-in.

v A full specification for the EOS 6D is on

our website at: www.eos-magazine.com (follow the EOS SYSTEM link)

Pricing and availability


The EOS 6D will be available in December 2012. w EOS 6D (body only) 1,799.99 (RRP) w EOS 6D plus EF 24-105mm f4 L IS USM 2,519.99 (RRP) w BG-E13 battery grip 249.99 (RRP) A version of the EOS 6D without GPS and W-iFi will be sold in Asia to comply with restrictions on the use of Wi-Fi in the area. This version will not be available in Europe.

DIGIC 5+ image processor


Image information is processed by Canons DIGIC 5+ processor, which has been designed to complement the cameras CMOS sensor. The inclusion of a DIGIC 5+ processor enables the EOS 6D to achieve shooting speeds of up to 4.5fps at full resolution capturing maximum detail, accurate colours and low noise. Working in tandem with the CMOS sensor, the DIGIC 5+ processor allows you to shoot at high ISO speeds while maintaining the image quality. Multiple exposure is also supported as well as incamera HDR shooting. Additionally, in-camera correction of lens lateral and axial chromatic aberration can be applied to captured images, even when shooting at maximum speed.

EOS Remote
EOS Remote is an application for Apple iOS or Android smartphones and used with the built-in Wi-Fi of the EOS 6D. With EOS Remote you can control the EOS 6D over a wireless connection, change camera settings and shooting modes, adjust the focus on the Live View screen and capture the shot or start a movie. You can check photos in the camera using a smartphone. You can also transfer and save images to your smartphone and share them with friends. The app will be available for download shortly. Further details are given at: http://www.canon.co.uk/For_ Home/Product_ Finder/ Cameras/Digital_SLR/eos_ remote.aspx Reproduced from EOS magazine October-December 2012

Left The EOS 6D is the smallest EOS full-frame model. It is compared here with the EOS 5D Mark III. The actual sizes are in the comparison chart on page 15. The EOS 620 (755g) is almost 200g lighter than the EOS 5D Mark III (950g), a reduction of around 25%. In keeping with the smaller size, the EOS 6D accepts SD cards, rather than the larger CF cards.

12

Reproduced from EOS magazine October-December 2012

13

New products EOS 6D full-frame DSLR

14 |15

EOS 6D information
Internet inferno
Canon has caused much confusion among internet bloggers with its latest camera announcements. Some complained about the lack of a built-in flash and optical viewfinder on the EOS M (see page 30). Others used this mirrorless model to predict the end of the single-lens reflex camera. The full-frame EOS 6D was greeted with protests about the lack of built-in flash (again), the relatively low number of AF points, the low flash synchronisation speed (only 1/180 second) and even the inclusion of gimmicky features such as Wi-Fi and GPS. Some claimed that the EOS 6D was the beginning of the end for APC-S cameras and even started berating Canon for conning users into buying EF-S lenses which would be useless when upgrading to full-frame.
Left The layout on the back of the EOS 6D is simpler than that of the EOS 5D Mark III (below). Most of the buttons are now grouped around the Quick Control Dial. Two buttons are missing (circled below) these operate the creative display and the rating system. Neither feature is available on the EOS 6D. The multi-controller now surrounds the SET button.

comparison chart
Right Copy

EOS 6D

EOS 5D Mark III

Right Copy

EOS 60D

EOS 7D*

Announced Lens mount CMOS Sensor Viewfinder effective megapixels size (approx) type coverage/magnification dioptric correction Recording media Image processor

Autumn 2012 20.2

Spring 2012 22.3

Autumn 2010 18.0

October 2009 18.0

EF (not compatible with EF-S lenses) 36 x 24mm (full-frame)

compatible with EF and EF-S lenses 22.3 x 14.9mm (APS-C)

TTL pentaprism 97% / 0.71x SD/SDHC/SDXC UHS-1 compatible DIGIC 5+ 100% / 0.71x CF+SD/SDHC/SDXC (two card slots) DIGIC 5+ 96% / 0.95x 100% / 1.0x -3 to +1.0 dioptre built-in SD/SDHC/SDXC DIGIC 4 CF Dual DIGIC 4

The fuller picture


So what is really happening? Well, EOS magazine has no insider information of Canons plans, but we can offer a perspective based on experience and research. First, Canon is an international company producing products for a global market. Japan, USA and Europe are major outlets, but India and China, among others, are becoming increasingly important. A camera which enjoys modest sales in one country might be very popular in another. Second, Canon does not design a camera for a specific individual. This will come as a shock to some internet bloggers, who feel aggrieved if the latest model does not address a previous complaint they made, or fails to improve on the specification of a camera they already own. The EOS 6D is a case in point. It has been introduced as an entry level full-frame DSLR, so it is perverse to criticise it for not having the features of a mid-range full-frame camera or a top-of-the range APS-C model.

Above and right There is a new battery grip for the EOS 6D with the smaller body, the grip for the EOS 5D Mark III will not fit. BG-E13 provides additional power for extended shooting while also making it easier to shoot both vertically and horizontally. It can be used with two LP-E6 batteries to double the number of shots possible with a single battery. Six AA batteries can be used when it is not possible to recharge the main batteries. Left In keeping with the other EOS full-frame models, the 6D does not have built-in flash. This improves the weather protection there are fewer joints for water to seep through. Canon says that the EOS 6D body is dust and drip-proof. If you want to use flash, there is a range of EX-series Speedlites available. As a built-in flash replacement we recommend the Speedlite 270EX II. This has a guide number of 27 more than twice that of most built-in flash units. However, the high ISO values and the ability of the AF system to focus in low light might mean that you need flash less often than with some previous models. Canon says that the construction of the EOS 6D body is part-magnesium. It does not go into details, but it is likely that part of the body is non-metallic to allow operation of the GPS and Wi-Fi systems.

File type recording Exposure metering ISO settings type exposure compensation autoexposure bracketing standard range extended values AF points Autofocus AF working range AF microadjustment LCD monitor Shutter size pixels maximum speed maximum flash sync. built-in external Continuous shooting Live View Movie size Movie mode built-in microphone headphone terminal Custom functions (number/settings) Battery and approx. battery life Size and weight battery pack 23/0C - no live view 23/0C - with live view wxhxd body + card + battery battery grip GPS Other features Wireless file transmitter Remote switch Wireless controller Price (RRP) 1799.99 * EOS 7D with firmware upgrade 2.0.0 1090/980 220/190 144 x 110 x 71mm 755g BG-E13 built-in built-in RS-80N3 LC-5 / RC-6 none none 20/tba maximum speed max. burst (JPEG/raw) 4.5fps 1250/17 1/4000 second 1/180 second 11 EV -3 to +18 3.0-inches

raw, JPEG, raw+JPEG, MOV TTL full aperture with 63-zone SPC 5 stops in 1/3 or 1/2 stop increments 3 stops in 1/3 or 1/2 stop increments 100 to 25600 50, 51200, 102400 61 EV -2 to +18 available 3.2-inches 1,040,000 1/8000 second 1/200 second GN 13 1/250 second GN 12 built-in flash acts as wireless master 6fps 16,270/18 Full HD, HD, SD built-in mono provided 13/47 LP-E6 950/850 200/180 152 x 116 x 76mm 950g BG-E11 GP-E2 WFT-E7 1100/1000 320/280 144 x 106 x 77mm 755g BG-E9 RS-60E3 RC-6 2999.99 1049.99 800/750 220/210 148 x 111 x 73mm 900g BG-E7 GP-E2 WFT-E5 RS-80N3 LC-5 / RC-6 1699.99 E&OE 20/59 none 27/70 5.3fps 58/16 8fps 130/25 3.0-inches 920,000 9 EV -0.5 to +18 available 100 to 6400 12800 19

Flash

E-TTL II compatible with EX-series Speedlites

available for still photography and movie recording

Who will buy the EOS 6D?


Where is the market for the EOS 6D? The killer feature for some current EOS owners will be the built-in GPS. EXIF data freed us from recording technical data with notepad and pencil. GPS means that we will not need to write down where an image was taken either. But we think that the camera will also have a strong appeal to people looking to buy their first DSLR. The wireless connectivity and the promised EOS Remote app gives a two-way link to smartphones, which many will find hard to resist. Of course, these features are already available to some EOS users from wireless accessories, Eye-Fi SD cards and GPS units, but these do not have the appeal of a camera with everything built-in.

More choice
Neither the EOS M nor the EOS 6D replace previous models. They have been introduced to expand the market by offering more choice to consumers. It is a strategy which has worked well for Canon and many other manufacturers. Here at EOS magazine we have no concerns over the long-term viability of mirrorless cameras, APS-C format DSLRs and full-frame DSLRs.

14

Reproduced from EOS magazine October-December 2012

Reproduced from EOS magazine October-December 2012

15

New products EOS 6D full-frame DSLR

16 |17

EOS 6D briefing
Full-frame and APS-C
Full-frame and APS-C formats originated with film cameras. Full-frame is a format of 35mm film. It first appeared in the early 1900s and became popular with the launch of the Leica camera in 1925. The frame format is 36 x 24mm (35mm refers to the width of the film). Before digital, most Canon cameras SLR and compact used this 35mm format. The term full-frame was coined to differentiate it from the 24 x 18mm half-frame format, which gave twice as many frames as full-frame on the same length of 35mm film. The Canon Demi half-frame camera was introduced in 1963 and was followed by a number of similar models, including the popular Canon Dial 35.

The transition to digital


Some people believe that the Advanced Photo System was introduced to get photographers ready for the transition to digital photography. The first Canon digital single-lens reflex camera was the EOS D30 (see table below). It features a digital sensor with a size of 22.7 x 15.1mm similar to the APS-C film format (see left). This has the same 3:2 ratio as the 36 x 24mm full-frame format. Inevitably, models with the smaller sensor are now known as APS-C format cameras (see table below for a list of all EOS digital models). A year after the EOS D30, the EOS-1D was introduced. The sensor in this camera measured 28.7 x19.1mm, not too far removed from the original APS-H format, but adjusted to keep the 3:2 ratio. Canon would probably have preferred the EOS-1D to have a fullframe sensor, but larger sensors generate more data, all of which needs processing. Processors at the time were relatively slow and a full-frame format would not have allowed the 8fps continuous shooting provided by the APS-H format and required by the news and sports photographers adopting this camera. The first Canon full-frame digital camera was the EOS-1Ds. The maximum 3fps continuous shooting was adequate for the more sedate studio environment where many of these cameras were used. (It was said that the s was short for studio, though we are not sure that this has ever been confirmed by Canon.) Now that the full-frame EOS-1D X camera and its Dual DIGIC 5+ processors are offering up to 14fps, it is likely that the EOS-1D Mark IV will be the last of the APS-H models.

All you need to know about full-frame and APS-C formats


nina bailey

There is a lot of confusion about crop factors, extended reach and telephoto effects when using lenses on APS-C cameras. First, lets dispel the myth that the focal length of a lens changes when switched between a full-frame camera and an APS-C camera. It doesnt. Focal length is a characteristic of the lens and is not affected by the camera.

Above left to right These photographs show that an APS-C image is simply a cropped full-frame image. There is no change of focal length. See the main text on this page for more details.

Lenses and full-format cameras


EF lenses are ideal with full-frame cameras, in that you are using the maximum coverage of the lens. However, there is a downside. Some older EF lenses were designed for film cameras and their performance with full-frame digital cameras is less than perfect especially at the corners. To get the best from your digital EOS you need to use the more recent EF lenses these have been optimised for digital cameras. We will not cover the technical side here, but it has to do with the angles at which rays of light hit the sensor. If you were using EOS film cameras before moving on to digital, one advantage of a full-frame camera is that the coverage of EF lenses is unchanged.

Easier loading
Some camera owners found it difficult to load 35mm film. The Advanced Photo System (APS) was introduced in 1996 to overcome this problem. There was no need to thread the film manually across to a take-up spool in the camera the APS camera and cartridge system did this automatically. All the original Canon IXUS models were APS film cameras the IXUS name is now used for Canon digital compact cameras. There were also two EOS APS cameras the EOS IX and IX 7. There are three APS frame formats: APS-H 30.2 x 16.7mm (16:9 ratio) APS-C 25.1 x 16.7 (3:2 ratio) APS-P 30.2 x 9.5mm (3:1 ratio) In fact, all the images are captured at the APS-H format, but a camera setting determines the format used for printing.
YEAR ENTRY LEVEL 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010 2011 2012 EOS 1100D EOS 1000D EOS 450D EOS 500D EOS 550D EOS 600D EOS 650D EOS 60D EOS 350D EOS 400D EOS 30D EOS 40D EOS 50D EOS 300D EOS D60 EOS 10D EOS 20D APS-C FORMAT MID-RANGE EOS D30

Field-of-view
What does change is the field-of-view. Take a look at the image above left, shot with an EF 400mm lens. A full-frame camera captures the full image. An APS-C camera only records a part of the full image (as shown by the white box on the left hand image). There is no change to the image created by the lens its simply that the smaller sensor only captures the central area of the image. The rest of the image falls outside the area of the APS-C sensor.

The difference in price


Full-frame digital cameras are more expensive than their APS-C counterparts in part because the sensors cost a lot more to manufacture. Sensors are not produced individually, but on a large circular wafer which is then cut into rectangles of the required size. You can get many more APS-C sensors from the wafer than full-frame sensors. The cost of the full-frame sensor is a lot more than double that of the APS-C sensor.
APS-H FLAGSHIP ENTRY LEVEL

Below This chart shows the introductory date and format of every EOS digital camera (except the new EOS M, which needs its own category). The EOS 7D* refers to the EOS 7D with firmware update 2.0 (see page 66). Although not a new camera, the updated EOS 7D offers a range of new features. You can see that the new EOS 6D starts a new category.

Magnification effect
When you come to display the image to fill a computer screen or a print, the result from the full-frame sensor is shown above centre. The result from the APS-C sensor is shown above right and appears to show an increased telephoto effect. In fact, the APS-C image has been enlarged more than the full-frame image to match the display size. It is a magnification effect, not a change of focal length. You could get an identical result by enlarging and cropping the full-frame image.

Lenses and APS-C cameras


EF lenses can be used on APS-C cameras, though with the cropping effect shown above. This can be useful for older lenses as the reduced edge performance is cropped. The downside is that you lose wide-angle coverage. The ultrawide EF 14mm lens gives a field-of-view similar to that of a 22mm lens used on a full-frame camera. The EF-S 10-22mm lens has been introduced to restore the balance. A 10mm focal length on an APS-C camera gives the same field-ofview as a 16mm lens on a full-frame camera. EF-S lenses are generally smaller and lighter than EF equivalents, but the image they produce only covers an APS-C sensor, not the larger full-frame sensor. EF-S lenses will only fit APS-C cameras (excluding the early D30, D60 and 10D models). If you have an APS-C camera, but think you might move on to a full-frame camera in the future, it is worth staying with EF lenses. The higher-quality L-series lenses are only available in EF mounts. EF lenses fit full-frame and APS-C cameras.

FULL FRAME MID-RANGE FLAGSHIP

Crop factor
A crop factor of 1.6x often talked about with APS-C cameras can be explained like this: If you are using a 50mm lens on an APS-C camera and you want to shoot the same scene with the same field-of-view with a full-frame camera you need a focal length of 50 x 1.6, which is 80mm. But how often do you need this information? Our advice is to put a lens on the camera and get used to the field-of-view it gives. Forget about crop factors.

EOS-1D EOS-1Ds

EOS-1D Mark II EOS-1D Mark II N EOS 5D

EOS-1Ds Mark II

EOS-1D Mark III EOS 5D Mark II EOS 7D EOS-1D Mark IV

EOS-1Ds Mark III

Standard lenses
A standard focal length for a camera is usually taken as the diagonal of the image frame. On a full-frame camera this is 43mm. On an APS-C camera it is 26mm. A focal length greater than the standard is telephoto and a focal length less than the standard is wide-angle. This is much more useful than knowing the crop factor.

Format choice
Full-frame cameras give the best of both worlds wideangle coverage and the option to enlarge part of the image for a closer view of the subject. However, full-frame cameras are more expensive than APS-C cameras. In terms of image quality, you can get great results from both types the format used will not be obvious in the photographs. Reproduced from EOS magazine October-December 2012

EOS 7D*

EOS 6D

EOS 5D Mark III

EOS-1D X

16

Reproduced from EOS magazine October-December 2012

17

Technique EF 40mm f2.8 STM lens

Standard lens
A pancake lens is a bewitching object. Small, light and unobtrusive, it fits snugly in the palm of your hand or slips easily into your camera bag. Whats not to love? Ive been keeping a covetous eye on the pancake lenses made for mirrorless cameras for a while, so when Canon announced their EF 40mm f2.8 STM lens, I bought it. I wasnt the only purchaser the shop assistant said six of the new lenses had been received from Canon and they had sold fast mine was the last remaining. Why is this lens so popular? Its partly the price the retail price is under 230. The build quality is excellent, better than that of Canons least expensive lens, the EF 50mm f1.8 II (129.99 RRP). The optical quality is superb. But the appeal of this lens reaches beyond all those things. Its beautiful, simple and functional. Apple has been incorporating these aspects into its designs for years. Now Canon has done the same with the EF 40mm f2.8 STM pancake lens.

The EF 40mm f2.8 STM is the first Canon prime lens with stepper motor focusing technology. It is known as a pancake lens, because of the short lens barrel. And it is more standard than a 50mm lens. Andrew Gibson is impressed.
ALL PHOTOS ANDREW GIBSON

Stepper motor technology

Stepper motors date back to the 19th century. The technology has come a long way since then making the motors smaller, quieter and faster. Your flatbed scanner or inkjet printer probably use stepper motors. Canon is not the first manufacturer to bring the benefits of stepper motors to lens focusing, but it is the first to bring the technology to DSLR lenses. A stepper motor converts digital pulses into mechanical rotation. One complete rotation of the shaft is divided into a large number of small steps. Each pulse rotates the shaft by one step and the position of the motor shaft can be controlled without any feedback mechanism. A large number of digital pulses give a very smooth rotation of the shaft. All this contributes to fast and accurate autofocusing. There are no contact brushes in the motor, giving the device a long life. The motor is reliable, rugged and relatively inexpensive (though not the cheapest option for lens focusing). It is also very quiet, making it ideal when the lens is used on an EOS camera shooting movies as the built-in microphone is less likely to pick up noise.

Above The EF 40mm lens looks tiny on an EOS 5D Mark II, but provides an impressive performance. The EF 50mm lens is often called the nifty fifty. One internet user has dubbed this new lens the shorty forty. Right The EF 40mm lens is perfect for portraits (see page 15). The lens lets you get close enough to fill the frame, but without introducing perspective distortion. The f2.8 maximum aperture makes it easier to shoot indoors without flash and helps to throw distracting backgrounds out-of-focus. EOS 5D Mark II, 1/125 second at f2.8, ISO 200.

The ideal walk-around lens

Actual size

40mm is an interesting focal length. On the full-frame EOS 5D Mark II it is a moderate wideangle lens and barely that, considering a true standard lens would have a focal length of just over 43mm (based on the diagonal of the image format). It feels very natural and is ideal as a walk-around lens wide enough to provide an interesting perspective, yet not so wide that exaggerated perspective is a problem. A couple of factors piqued my curiosity. 1 On an APS-C camera a 40mm lens becomes a short telephoto (the equivalent of a 64mm lens on a 35mm camera) ideal for portraits. 2 The minimum focusing distance is only 30cm. Thats close, especially when used with an APS-C camera, and I wanted to see how the lens performed with a close-up filter or extension tubes.

Actual size

18

Reproduced from EOS magazine October-December 2012

Reproduced from EOS magazine October-December 2012

19

Technique EF 40mm f2.8 STM lens

Portraits with EF 40mm lens


The appeal of the 40mm pancake lens as a portrait lens, for me, is that its like having two lenses in one: a moderate wide-angle on my fullframe EOS 5D Mark II, and a short telephoto on my EOS 40D with its APS-C sensor. On the EOS 5D Mark II the focal length was wide enough to let me get close to my model and give the photos a sense of intimacy without the distortion that wider lenses would give. Using the lens on the EOS 40D allowed for a tighter crop that excluded more of the background. On the whole, the lens is a great portrait lens on both cameras. The maximum aperture is wide enough to get an appealing bokeh*, and the image quality is superb. I preferred to use it on my EOS 5D Mark II as it allowed me to include a little more of the background and create more dynamic compositions. * Bokeh describes background blur not how much the background is out-of-focus, but the quality and character of the blur.
Right The EF 40mm is a moderate wide-angle lens on a full-frame camera, allowing a close-viewpoint while still including some of the background. EOS 5D Mark II, 1/180 second at f2.8, ISO 800. Below The EF 40mm is a short telephoto lens on an APS-C format camera. EOS 40D, 1/125 second at f6.7, ISO 400.

Out and about with EF 40mm lens


The EF 40mm lens is not really a landscape lens. It doesnt match the versatility of my EF 1740mm f4L USM and the focal length isnt wide enough to create the really dramatic, sweeping landscapes you can make with something like a 21mm or 24mm lens. The lack of a distance scale is a hindrance when it comes to focusing, although you can work around it. I think of the EF 40mm lens as a moderate wide-angle, because I mostly use it on my EOS 5D Mark II. On an APS-C camera it becomes a short telephoto, potentially useful for isolating elements within the landscape. On the plus side, the sharpness of this lens is breathtaking and the fact that I can use a long lens hood helps reduce flare. I see this lens as a good all-rounder that happens to be suitable for scenic views as long as you are not trying to take in a wide expanse.

Long exposure photography


One of my favourite techniques is to use a nine stop neutral density filter on a lens to obtain shutter speeds of a minute or more. This blurs any moving elements, such as water, within the scene for a surreal effect. If you combine this with the beautiful light found after sunset, you can create some moody and dramatic images. I often convert my long exposure images to black-and-white (right). These photos become more effective with a minimalist composition. The 40mm pancake lens helps me here as the relatively narrow field-of-view forces me to crop the scene in front of me to the most interesting elements.

Intentional camera movement


Intentional camera movement (also known as ICM) is a technique where you take photos with a hand-held camera using slow shutter speeds up to around four seconds. The idea is to move the camera during the exposure to create an impressionistic style image that captures the feel of the scene. You can use this technique with any focal length, but for some reason the 40mm focal length works particularly well. I put it down to the same reasons that this lens works well for long exposure photography it fits just the right amount of the scene into the frame to make an interesting composition.

Build quality and autofocus


The EF 40mm pancake lens is built to last with a metal mount and metal body. Its a much more convincing lens than the plastic EF 50mm f1.8 II or EF-S 18-55mm kit lenses. It comes with gear type Stepper Motor (STM) drive autofocus, which promises near silent performance for movie servo autofocus (so far the EOS 650D is the only model with this feature) to avoid the cameras built-in microphone picking up noise from the autofocus motor. My first impressions of the STM autofocus are good. Its not as fast as the ring ultrasonic motor (USM) on my EF 17-40mm lens, but its a huge improvement on the micromotor autofocus used in lenses such as the EF 50mm f1.8 II. A curious feature about the STM autofocus is that, even in manual focus, it only works when the camera is switched on (and not asleep). Turn the focusing ring at the front of the lens when the camera is off and nothing happens. That means that even in manual focus mode, the autofocus motor is engaged when you turn the focusing ring. Despite Canons claims, the STM autofocus is not silent and if youre shooting in a quiet environment the cameras microphone will pick up the focusing noise. On the plus side, the focusing ring is incredibly smooth ideal for transferring focus smoothly and evenly from one point to the other. According to the Canon website, the EF-S 18-135mm IS STM lens, released at the same time as the 40mm pancake, has a lead-screw type STM motor that is quieter than that on the 40mm pancake lens (this type of motor is too large to fit inside a pancake lens). So if youre buying an STM lens specifically for shooting movies with the EOS 650D, the EF-S 18-135mm STM lens is the way to go. (Editors note: EOS magazine has just bought the EF-S 18-135mm STM lens and can confirm that the focusing is, to our ears, silent and amazingly fast.)

Above top The EF 40mm is a general-purpose lens, ready for any subject in its view. EOS 5D Mark II, 1/90 second at f4.5, ISO 400. Above centre A long exposure with an ND filter has smoothed out the water background. EOS 5D Mark II, 194 seconds at f11, ISO 50 Above bottom A long exposure at twilight gives characteristic car light trails. EOS 5D Mark II, 30 seconds at f16, ISO 200. Left A long exposure blurs the moving subject, with added effect from a hand-held camera. EOS 5D Mark II, 2 seconds at f8, ISO 400.

20

Reproduced from EOS magazine October-December 2012

Reproduced from EOS magazine October-December 2012

21

Technique EF 40mm f2.8 STM lens

22 |23

Close-ups with EF 40mm lens

EF 40mm lens information


There is something special about the feel of the EF 40mm lens on my EOS 5D Mark II. This is a big camera and the balance feels better to me with a light lens mounted on the front. My EF 1740mm f4L USM lens weighs nearly four times as much. Put the EF 40mm lens on an EOS 650D or 1100D and you nearly have a compact camera.

Lens comparisons
How does the EF 40mm f2.8 lens compare to other Canon lenses in a similar price range? Lets take a look.

EF 50mm f1.8 II
The nifty-fifty retails for less than half the price of the EF 40mm lens. In terms of image quality I doubt you would be able to tell the difference between the two (both are excellent), but you certainly will when it comes to build quality and autofocus performance. The metal body and mount of the 40mm lens is a world away from the plastic and somewhat flimsy 50mm. Another drawback of the 50mm lens is the micro-motor autofocus drive its noisy and can be slow to focus. Personally I dont like the autofocus on this lens, which is why I purchased the EF 50mm f1.4 USM lens instead. The main advantage of the EF 50mm 1.8 II lens it that the maximum aperture is nearly a stop-and-half wider, giving you more options in low light, or when using a wide aperture to blur the background. Its also Canons least expensive lens and cant be beaten in terms of value for money.

Optical quality
I pay less attention to MDF charts than I should, and I dont usually spend much time looking at the corners of my photos, but the image quality from this lens between f4 and f16 is amazing. Its similar to or better than the EF 17-40mm f4L USM and there is only minimal barrel distortion and chromatic aberration. I cant fault it. Why does an inexpensive lens have such good image quality? Its all down to the design. Pancake lenses are relatively simple to design and make. Unlike zooms, the lens only has to work at a single focal length, so there are less compromises in the design. The 40mm lens has six elements (only the discontinued EF 28mm f2.8 has less with five). Furthermore, they are tiny the front element has a diameter of only a couple of centimetres. All this keeps the manufacturing costs down.

EF 35mm f2
This lens retails for a little more than the 40mm lens. At only 5mm difference when it comes to focal length, I doubt you would notice much difference between the two. The 35mm lens is larger and has an arc-form autofocus drive which is slower and noisier than the stepper motor on the EF 40mm. Its also an older design and certainly not as cool as the 40mm lens. If they were the same focal length the 40mm lens would be a new, improved version of the 35mm lens. I dont see any reason for purchasing the 35mm lens over the 40mm, other than the wider maximum aperture.
35mm f2 40mm f2.8 50mm f1.8 II

Drawbacks
No lens is perfect and the EF 40mm pancake lens is no exception. These are the drawbacks. No lens data in Lightroom, Photoshop or Digital Photo Professional (DPP). This may have changed by the time this article is published, but at the moment there is no lens data (used to correct vignetting, chromatic aberration and barrel distortion) in Canons DPP or Adobe Camera Raw RAW conversion software. I use Lightroom to process the images, which lets me correct aberrations (such as they are) manually, so its not a big deal for me. However, it does mean that at the moment you cant use the Peripheral Illumination Correction or Chromatic Aberration Correction functions on your camera (where available), or correct these using in-camera RAW processing. This may matter if you shoot JPEG files. No distance scale on the lens barrel. I found this a bit disconcerting when shooting landscapes as the only way to tell where the camera is focused is to look through the viewfinder or use Live View. It also means that you cant use the hyperfocal distance focusing technique with any precision. The EF 35mm f2 or (if your pocket can handle it) EF 35mm f1.4L lenses may be better options if you cant do without a distance scale. Maximum aperture of f2.8. F2 or even f1.4 would have been nicer but I appreciate this might not be technically possible in a pancake lens. If you really need a fast aperture for low light shooting or creative use of depth-of-field you should look at the EF 50mm f1.8, EF 50mm f1.4, EF 35mm f2 or EF 35mm f1.4L lenses.

The EF 40mm lens didnt work well with my Canon 500D close-up lens it didnt reduce the minimum focusing distance enough to be worthwhile. But I got excellent results with Extension tubes EF 12 and EF 25. This wasnt a complete surprise as extension tubes are generally more effective with wide-angle lenses than close-up lenses. I preferred using the Extension tube EF 12 and got some very good photos with this combination. For most things, the Extension Tube EF 25 was a little too powerful. I enjoyed playing around with the maximum aperture of f2.8 with my close-up photos. I often find it essential to use a wide aperture when taking photos of flowers to blur the background at smaller apertures the background comes into focus and becomes a distraction. The EF 40mm lens, even with extension tubes, doesnt get you as close to the subject as a macro lens. You shouldnt expect it to match the image quality of a macro lens either. Macro lenses are optimised to give high quality images at close focusing distances. But it is an excellent way to experiment with close-up photography and extend the versatility of this lens.
Right I took this photo of my girlfriends eyelash extensions with the 40mm lens fitted to an Extension tube EF 25. This combination gets you remarkably close to your subject. EOS 5D Mark II, 1/125 second at f2.8, ISO 6400.

Above and right These two photos were taken with the EF 40mm lens fitted with Canon Extension tubes EF 12 (above) and EF 25 (right). I set f2.8 for both to give the limited depth-of-field and soft background. EOS 5D Mark II, 1/1000 second at f2.8, ISO 400 (above) and EOS 5D Mark II, 1/2000 second at f2.8, ISO 800 (right).

Introduced Angle-of-view Elements/groups Diaphragm blades minimum maximum Closest focusing (metres) Maximum magnification Distance info for E-TTL flash AF actuator Filter diameter Size (diameter x length) Weight lens cap lens hood Accessories lens pouch Magnification with EF 12 II Extension tubes EF 25 II EF Extenders Price RRP (inc. VAT) Aperture horizontal vertical diagonal

Oct 1990 54 38 63 7/5 5 f22 f2 0.25 x0.23 AFD 52mm 67 x 42mm 210g E-52 EW-65II LP-1011 x0.58-0.35 x1.00-0.77 319.99

Jun 2012 Dec 1990 49 40 34 27 57 46 6/4 6/5 7 5 f22 f22 f2.8 f1.8 0.30 0.45 x0.18 x0.15 returned STM micro-motor 52mm 52mm 68 x 23mm 68 x 41mm 130g 130g E-52 E-52 ES-52 ES-62 LP811 LP1014 x0.50-0.32 x0.39-0.24 x0.88-0.70 x0.68-0.53 not compatible 229.99 129.99

22

Reproduced from EOS magazine October-December 2012

Reproduced from EOS magazine October-December 2012

23

Technique Custom white balance


LEE BEEL

24

Custom white balance


The custom white balance setting exists for those situations where you need absolutely accurate white balance. An example of this could be product photography, where the client demands that the colours are accurate. Another example is if you are photographing a colourful subject such as a flower and want to capture the colour accurately.
If you leave it to the cameras auto white balance setting it could easily be fooled by a strong colour into a false reading. You could correct it in post-processing but how would you know when the colour was accurate? If you are photographing a red flower, were the petals a deep red, light red, or perhaps dark pink or light purple? If you use custom white balance at the time you take the photo you wont have to worry about how accurate your colours are the camera will capture them. Another situation where custom white balance comes in useful is when you are photographing a subject under fluorescent lighting. Fluorescent tubes are becoming more common as tungsten bulbs are phased out. While your camera has a white balance setting for fluorescent light, in practice this is not always accurate because the white balance of light emitted by fluorescent tubes varies widely depending on the type of tube used. Some fluorescent tubes produce light with a green colour cast which is what the white fluorescent light white balance setting is designed to correct but other tubes emit a white or warm light similar to tungsten bulbs. By using custom white balance, you can record colour accurately every time. Custom white balance also comes in handy when you use the JPEG format, as you cant easily adjust the white balance in postprocessing. You can adjust the colour balance,
These are the EOS colour balance settings.

Colour icons

Auto White Balance 3000 to 7000 K

Daylight 5200 K

Shade 7000 K

Above When a single colour dominates an image auto white balance struggles to produce the correct colour.

Cloudy 6000 K

Tungsten 3200 K

White fluorescent 4000 K

Custom colour
How do you know if the colours in your photos are accurate? One way is to switch from auto white balance (AWB) to custom white balance. Andrew Gibson shows you how to handle this useful feature of your digital camera.
One of the advantages of digital cameras is that you can set the white balance to control colour. With film, the white balance is determined by the type of film you use, which in most cases is daylight balanced. Digital cameras let you set the white balance yourself and change it from shot to shot if you wish. Film cameras lack this flexibility, forcing you to use coloured filters for fine colour correction. EOS cameras come with several white balance presets: daylight, shade, cloudy, tungsten light, white fluorescent light and flash. You can choose one of these according to the type of light that is illuminating your subject. You can also use the auto white balance (AWB) setting, and the camera will usually do a reasonable job of setting white balance to match the light. But there are times when more accuracy is required and thats when you need custom white balance.
Above and below How accurately do the colours in these photographs match original? Custom white balance helps you record colours faithfully, even when a dominant colour fills the frame.

Above Setting custom white balance, as described below, give colours much closer to those of the subject.
Electronic flash 6000 K

EOS 600D, EF 100mm f2.8 Macro, 1/160 second at f8, ISO 100, subject in photographic tent using studio flash.

Custom 2000 to 10000 K

Colour temperature 2500 to 10000 K (not available on all models)

but it is much better if the colour is accurate to start with. If you use the RAW format you can adjust white balance in post-processing, but that doesnt mean that custom white balance isnt useful. It saves you work to get the white balance correct at the time that you take the photo. It also removes any doubt that the colours are accurate.

Colour temperature
Colour balance is needed because the colour of light varies. Daylight is warmer in the early morning than in the middle of the day, while light from tungsten bulbs is yellow. These different types of light are assigned a colour temperature where yellowish light has a lower value than blue light (see panel on opposite page). When we look at a sheet of white paper it looks white under tungsten light or daylight. Thats because our brain processes the data before creating the image we see. Digital cameras can also balance the light using auto white balance (AWB) to make white paper look white, but cameras are not as good as our brains and sometimes need help.

Setting custom white balance


The only piece of extra equipment you need to obtain a custom white balance reading is a sheet of white card or paper (or you can use an 18% grey card). Place the card in the same light that is going to illuminate your subject. (This is very important, otherwise you wont get an accurate reading.) Move in close, so that the card fills at least the spot metering circle in the viewfinder. Focus manually, make sure the exposure is correct (set exposure compensation to +2 stops if the card fills the frame) and take a photo. This works with any Picture Style except Monochrome. Follow the instructions below to obtain a reading (screens from EOS 50D).

TONY TODD

1 Go to the Custom WB command on the menu and press Set.

2 Select the image that you took to test the white balance and press Set.

3 Select OK on the next screen to import the white balance data.

4 Go to the white balance command on the menu and press Set.

5 Select the icon for custom white balance and press Set.

24

Reproduced from EOS magazine April-June 2012

Reproduced from EOS magazine April-June 2012

25

Technique Custom white balance

Testing custom white balance

for your EOS


eBooks are a fast and inexpensive way of building your EOS knowledge. All featured eBooks 7.00

eBooks

Understanding DPP

Canons Digital Photo Professional (DPP) software is quite easy to use and has a lot of creative potential. Understanding DPP shows you how to use the DPP software and how to get the best out of your raw files. It includes details about functions within DPP to enhance your images and will appeal to EOS users who would like to use raw, but are put off by the complexity or expense of more advanced software.

Understanding EOS
If you are new to Canon DSLR photography or would benefit from a handy introductory guide to EOS photography, then this eBook, new for 2013, is right for you. With features galore and so much technology packed into your Canon EOS camera, it is bound to seem complicated. There are so many controls and buttons. How do you know which ones to use? The truth is that you dont have to know what every single function on your camera does in order to take great photos. You just need an understanding of the fundamentals, and an eye for a good photo. Its also a great companion to EOS magazine, offering an introduction to the key features found on todays EOS cameras.

Above left and right It is not just subjects with a dominant colour which can fool the auto white balance system. Here a strong background colour has produced

cool colours (left). Shooting with a custom white balance setting (right) has given colours which are much closer to those of the original subject.

Our current range of eBooks are written by EOS magazines former Technical Editor Andrew Gibson. eBooks are only available online. You place your order then receive an email from the publisher with a link to download your chosen eBook as a PDF, which has been optimised for reading on your computer screen or tablet.

Understanding Exposure
Understanding Exposure
Perfect exposure on your EOS camera Andrew S Gibson

Above left and right This flower was photographed using auto white balance (left) and then custom white balance (right). Because the flower does not fill the frame, AWB has got the colours very close.

Far right This balsa wood flower was shot with auto white balance (top), the cameras fluorescent setting (centre) and with a custom white balance setting (bottom), which has given the most accurate result.

Have you ever wondered why your EOS camera has so many exposure modes or why its so easy to underor overexpose your photos even in the most advanced metering modes? Your digital EOS camera has many clever tools to help you get exposure spot on. This eBook shows you how to use them and gives you practical steps to take to cope with any lighting situation.

White balance in Digital Photo Professional


You can use Click white balance in DPP to create a custom white balance setting. Click once on the eyedropper icon under the RAW tab in the Tools palette, then click on any white tone within the image. DPP then sets a white balance setting to make the white tone you clicked neutral in colour. This is a quick way of obtaining the correct white balance setting for RAW files. You can use this technique with any subject by placing a piece of white card in front of it, taking a test photo, then removing the card (it also works with an 18% grey card). In DPP, use the eyedropper to click on the white card, then click the Register button to register the white balance setting youve just obtained in one of three custom settings. To use this custom white balance setting on another image taken at the same time, click the appropriate number next to the Register button.
Below and right This photo was lit by a tungsten bulb in a desk lamp. Setting white balance to daylight gives an orange cast (top right). Using the Click white balance tool (circled bottom far right) to click on the white part of the ornament (circled right) gives a photo with a neutral colour cast (below).

Understanding Lenses Craft & Vision


You can find more photographyrelated eBooks from Andrew Gibson and other authors on the Craft & Vision website. Prices start from $5. Split into two parts, this mini series looks at how to get the best out of your lenses, explains the technologies behind Canons lens range and serves as a useful buyers guide for future lens purchases. Part I covers Canons wide-angle and kit lenses. Part II looks at the standard and telephoto lenses, plus some of the more specialist lenses in Canons range. Included with Part II is an excerpt from Everything EOS EOS magazines very own EOS system guide. It includes every lens in the Canon EOS range, past and present, particularly useful when considering a secondhand purchase.

26

Reproduced from EOS magazine April-June 2012

Available from www.eos-magazine.com/ebooks

Technique Flash factors


nina bailey

Shooting modes and flash


JENNIFER HERSCHBERG

Flash factors
When shooting with flash you are often taking two images at the same time. One is with ambient light, the second is with flash. This means that you need to remember all the basic rules of photography and then add the rules of flash photography.
Ambient light is the key to shooting great flash pictures. Ambient means relating to the immediate surrounds. In photographic terms, ambient light is the illumination which exists before you arrive on the scene. It can be daylight, tungsten or fluorescent room lighting even candlelight. If you take pictures by firelight, you are using ambient light. The Canon flash system is designed to take advantage of ambient light. It is only in extremely low light levels that the system reverts to using just flash. You can shoot with a mixture of flash and ambient light at virtually all light levels. This has been made possible by the advances in the noise reduction at the higher ISO settings that are now available. All current EOS cameras are able to shoot up to ISO 12800 some models go even higher than this. If you shoot in low light situations without taking advantage of the ambient light, then only the flash is lighting the subject. However, unless the background is at a similar distance as the subject, it will be underexposed. This is the cause of the black backgrounds often seen in flash pictures. Balancing the levels between the subject and the background is simply a matter of understanding the relationship between ambient and flash illumination.
Above Here is a good example of balancing daylight with flash illumination. The small inset image shows the result of exposing only for daylight. The main subject is in shadow and all you see is a silhouette. However, attaching a Speedlite to the camera and shooting with autoflash exposure has given an attractive result. The shutter speed and aperture were set in manual mode on the camera, so the only difference is the flash illumination. EOS 1D Mark III, 1/200 second at f8, ISO 100, focal length 105mm. Below left and right Ambient light is any light not provided by the photographer. Here it is the daylight coming through a window and the candlelight. The daylight is dull, so the ambient light is flat in the first picture (left). The second image (right) has been enhanced by a Speedlite attached to the camera, using autoflash exposure. The high ISO value has been left unchanged to retain the daylight detail and balance the levels with the flash exposure. EOS 1D Mark II, 1/60 second at f3.5, ISO 1600, focal length 85mm.
nina bailey

The worst possible place for a flash gun is on the camera unless you are balancing the flash with daylight or other ambient light. On-camera flash fires directly at the subject, giving flat, shadowless illumination. If the flash is the only light source, this is not ideal, especially for portraits. However, if you are combining flash with ambient light, on-camera flash is effective. If the two light sources are correctly balanced, the ambient light provides the light and shade, while the flash lightens some of the deeper shadows to give extra detail without adding a second set of shadows. Most of the images in the article were shot with on-camera flash.

Shooting mode
The built-in flash provides autoflash exposure metering either TTL or E-TTL, depending on the camera. It has no manual setting. Flash exposure is automatic, whatever the shooting mode. However, you need to select the shooting mode with care. Program mode (P) The camera sets the shutter speed and the aperture. With the flash activated, the slowest shutter speed that will be set is 1/60 second. Canon says this is to reduce the effects of camera shake photographers using flash do not expect slow shutter speeds and the need for a tripod. This limit on slow speeds with flash is one of the main reasons the background is dark when using built-in flash the exposure is not adequate to pick up ambient light from the background. However, despite this downside, program mode is generally simple and effective for flash photography. Shutter-priority (Tv) You select the shutter speed, leaving the camera to set the aperture. Unlike program mode, there is no restriction on the slowest shutter speed you can set, so better background exposure is possible in low light. Use a tripod for slower shutter speeds or camera shake will blur the ambient light exposure. Aperture-priority (Av) You select the aperture and the camera sets the shutter speed. This gives you more control over depth-of-field, but be careful if you set a small aperture. The camera will respond by setting a slow shutter speed. If you do not notice this your ambient light exposure might suffer the effects of camera shake. A tripod is recommended if you use this shooting mode with flash. Manual (Av) You set both the shutter speed and the aperture. This allows you to be creative by over- or underexposing the background in relation to the exposure given to the subject by the flash illumination.

Above Shooting with program mode is likely to give dark backgrounds. The flash exposure for the main subject is fine, but limits set for the shutter speed and ISO value mean that the exposure is unlikely to pick up much ambient light in the background, which will be underexposed. On the other hand, the result is more striking than if there was a lot of distracting background detail. EOS 300D, EF-S 18-55mm f3.5-5.6 at 55mm. 1/60 second at f4, ISO 400.

Below Program shooting mode works well for fill-in flash photography outdoors. The camera is usually able to expose for the ambient light, with the autoflash exposure giving a good balance. There is very little you need to do. Switch to program mode, activate the flash, compose and fire. This point-and-shoot style of photography is good when you want to concentrate on the subject and put them at their ease. EOS 20D, 1/60 second at f5.6, ISO 200, focal length of 42mm.
brian hall

28

Reproduced from EOS magazine October-December 2012

Reproduced from EOS magazine October-December 2012

29

Technique Flash factors

How the ISO setting affects flash exposure


nina bailey

Expanded ISO settings


Many EOS cameras have what is known as ISO expansion. Check the table below to see if this feature is available on your camera. It takes your standard ISO range and expands it a little in one or both directions. But the extra ISO values need to be unlocked before you can use them. Why? When light reaches the sensor the photosensitive pixels each generate a tiny electrical current. The level of current is proportional to the brightness of the light. In the standard range, ISO values are increased or decreased by changing the amplification of these tiny currents. At higher amplifications the sensor becomes more sensitive to light. Canon provides very little information on the subject, but we think that the expanded ISO values are not the result of increased (or reduced) amplification, but are created by algorithms in the DIGIC processor. If you salvage an under- or overexposed image in Photoshop, you are doing something similar. Look, Canon is saying, wed rather you did not go into the expanded ISO zone, so we have bolted the gate. If, despite this, if you decide to venture forth, please dont complain to us if your images are not as good as expected. We did warn you. Its not our fault.
Left Opening up the expanded range of ISO values varies between camera. On many models it is a Custom Function. Set to On and the expanded ISO value(s) will become available when you come to select the ISO. The display shown here is from the EOS 650D. EOS 20D, 30D: C.Fn-08 EOS 40D, 50D, 60D: C.Fn I-3 EOS 500D, 550D, 600D, 650D: C.Fn I-2 EOS 1D: C.Fn 03-1 EOS 1D III, 1D IV, 1Ds, 1Ds III: C.Fn I-3 If the ISO expansion is not tucked away inside the Custom Functions, it is a main menu item. For the EOS 10D, it is in the shooting menu (red). For the EOS 1D Mark II, 1D Mark II N and 1Ds Mark II, it is under the camera tab. The options are on or off. Left The ISO expansion for the EOS-1D X and the 5D Mark III is also a menu item under the camera tab, but offers more options. The first screen shows the menu for setting the ISO. This is done by turning the Quick Dial and pressing the SET button. The greyed out values cannot be selected. Opening up the ISO range is done by selecting ISO speed range from the ISO speed settings menu. This allows you set the minimum and maximum values for the range (second and third screens). You can also set a restricted range ISO 400 to 3200, for example.

ISO 100

ISO 800

ISO 6400

ISO ranges of EOS cameras (Standard range in BLUE; expanded range in RED)
ISO value EOS-1D EOS-1D Mark II EOS-1D Mark II N EOS-1D Mark III EOS-1D Mark IV EOS-1Ds EOS-1Ds Mark II EOS-1Ds Mark III EOS-1D X EOS 5D EOS 5D Mark II EOS 5D Mark III EOS 6D EOS 7D EOS 10D EOS 20D EOS 30D EOS 40D EOS 50D EOS 60D EOS 300D EOS 350D EOS 400D EOS 450D EOS 500D EOS 550D EOS 600D EOS 650D EOS 1000D EOS 1100D EOS D30 EOS D60 EOS M
50 100 200 400 800 1000 1250 1600 3200 6400 12800 25600 51200 120400 204800

There is a strange logic at work when photographers use flash. It goes like this. I do not want to use a tripod, so I will use flash. As I am using flash, I have plenty of light and can set a low ISO to get the best image quality. Years ago, this approach might have been valid, as the image quality from fast films was poor. Using a film with an ISO rating above 400 was considered adventurous. Even ISO 400 film was avoided, except for low-light work. The problem is that to make use of low ambient light with slow ISO speeds often requires long exposure times. Even with the lens aperture wide open, shutter speeds of 1/4 second or longer are not uncommon. This is not

ideal when shooting people subject movement during the exposure can blur the image. Digital cameras are optimised for ISO 100 or 200 and results from ISO values between 100 and 400 are virtually indistinguishable in image quality. If you are using the camera on a fully automatic mode, or with the ISO on Auto, the default setting when the flash is active, regardless of whether it is a built-in flash or an external unit, is ISO 400. Even going up to ISO 6400 gives acceptable quality on EOS models with a maximum ISO of 12800. This is providing you are shooting raw files, or JPEG files with the noise reduction function switched on.

Top left and right and above This sequence of images shows the difference that increasing the ISO can make, even when shooting in program mode. As the ISO gets higher we see more of the background. When the ISO is giving a good background exposure the flash illumination starts to reduce to give a better fill-in flash exposure. All images shot using EOS 7D, EF-S 18-55mm f3.5-5.6 IS USM lens at 50mm,1/60 second at f5.

30

Reproduced from EOS magazine October-December 2012

Reproduced from EOS magazine October-December 2012

31

Technique Flash factors


lee beel

Flash synchronisation and shutter speeds


The focal plane shutter has two main advantages. It is built into the camera body (the alternative leaf shutter is usually fitted into the lens, so each lens needs a shutter unit). Focal plane shutters are also capable of very fast shutter speeds.

This is the shutter unit from an EOS camera. The shutter blinds in the rectangle are formed from multiple metal blades so that each blind can retract into a relatively small space above and below the frame.

The ready position has the top blind retracted above the frame while the bottom blind is extended to cover the frame. When the shutter button is pressed, the bottom blind retracts, exposing the sensor as it goes (above).

EOS cameras (and most other SLR makes) use a focal plane shutter. This is situated just in front of the sensor at the back of the camera. The focal plane is the area where all the light from the lens is focused that is, the sensor. Hence the name of the shutter. The way in which the shutter works limits the range of shutter speeds which can be used when shooting with electronic flash (see panel at left). The fastest shutter speed that can be used with flash is called the synchronisation speed and varies with the camera (see list at right). Most of the time EOS cameras will not let you set a shutter speed faster than the synchronisation speed when a Speedlite is attached and switched on or the built-in flash activated.

Sync speeds (sec)


EOS 1D EOS 1D Mark II EOS 1D Mark II N EOS 1D Mark III EOS 1D Mark IV EOS 1D X EOS 1Ds EOS 1Ds Mark II EOS 1Ds Mark III EOS 5D EOS 5D Mark II EOS 5D Mark III EOS 6D EOS 7D EOS 10D EOS 20D EOS 30D EOS 40D EOS 50D EOS 60D EOS 300D EOS 350D EOS 400D EOS 450D EOS 500D EOS 550D EOS 600D EOS 650D EOS 1000D EOS 1100D EOS D30 EOS D60 EOS M

Flash duration
The shutter speed does not control the amount of flash illumination which reaches the sensor. This is because a typical flash burst from a Speedlite lasts for between about 1/1000 second and 1/10,000 second, depending mostly on subject distance. If flash is the only light source, you could shoot at 1/25 second or 1/125 second and still get the same exposure (assuming no change to the aperture or ISO).

The bottom blind continues to retract until the sensor is fully uncovered (above). At this point the Speedlite is triggered. The sensor remains fully uncovered for the brief duration of the flash.

If you shoot at or below the flash synchronisation speed, the full frame should be correctly exposed (above), providing that the coverage of the flash matches (or exceeds) the field-of-view of the lens.

High-speed sync (FP flash)


If you are shooting indoors, the synchronisation speed of the flash is probably not a problem you will need a slow shutter speed to capture ambient light, or you will be shooting just with the flash illumination. Outdoors, using flash as a fill-in light, it is a different story. Shooting portraits in bright daylight you might find that the ideal ambient light exposure is 1/500 second at f4. The wide aperture limits depth-of-field and throws the background out-of-focus. Setting a smaller aperture to bring the shutter speed down will give a distracting in-focus background. The answer is High-speed sync (HSS), sometimes called FP (focal plane) flash. In this mode the flash does not give a single burst it emits a lot of short bursts very quickly. The Speedlite, in effect, becomes a continuous light source, albeit for a very short period of time. This means that although the shutter blinds never fully uncover the sensor at fast shutter speeds (see left), the sensor is evenly illuminated during the exposure just as it is in daylight. The downside of HSS is that the power of the flash output is reduced, but it is usually more than adequate for portraits. Simply set HSS and shoot the flash exposure will adjust to suit the ambient light exposure, giving good fill-in light. EX-series Speedlites and EOS digital cameras can be used for HSS see right.
Right Despite the fast shutter speed, a Speedlite has been used to provide fill-in flash for this outdoor portrait. EOS 5D Mark II, EF 70-200mm f2.8L IS USM lens at 200mm, 1/800 second at f5.6, ISO 400.

1/500 1/250 1/250 1/300 1/300 1/250 1/250 1/250 1/250 1/200 1/200 1/200 1/180 1/250 1/200 1/250 1/250 1/250 1/250 1/250 1/200 1/200 1/200 1/200 1/200 1/200 1/200 1/200 1/200 1/200 1/200 1/200 1/200

After the flash has fired the top curtain starts to move, covering the sensor. You can set a shutter speed slower than the flash sync speed. This delays the travel of the top curtain, capturing more ambient light.

The top blind reaches the end of its travel, terminating the exposure. Both curtains then move back to their start positions, but with one overlapping the other so that no further light reaches the sensor.

At shutter speeds faster than the flash synchronisation speed the top curtain has started moving by the time the bottom curtain is fully retracted (above) part of the sensor is covered when the flash fires.

If the shutter is not in sync with the flash, part of the image will be unexposed (above). The lens creates an inverted image on the sensor and it is the top of this image which is affected the bottom of the image we see.

Above Set HSS on the Speedlite 430EX II by pressing the third button from the left (circled). The HSS icon will appear in the LCD panel if the selected shutter speed is faster than the normal flash synchronisation speed. The maximum working range of the Speedlite with this setting is indicated on the right of the LCD display (4 metres in this example). With Speedlites which do not have an HSS button, the function is set from the External Flash menu on the camera.

32

Reproduced from EOS magazine October-December 2012

Reproduced from EOS magazine October-December 2012

33

Technique Remote accessories

ANN AND STEVE TOON

Remote switches
Remote is a relative term. It usually means distant, or far away. However, Canon remote switches are connected to the camera by an electrical cable, which can be as short as 60cm. Here, remote simply means that you can fire the shutter without touching the camera. The release replicates the action of the camera shutter button. Partial pressure activates the cameras exposure metering and autofocusing systems. Full pressure fires the shutter.

Canon Remote Switches RS-60E3 ad RS-80N3

Remote sockets

These two switches are similar, except for the plug E3 (left) and N3 (right) and the length of cable (60cm and 80cm as indicated in the name). The release button on both units can be locked (push down and forward). This is useful if you want to use long exposure times in bulb mode or a long sequence of continuous exposures.

Extension cords
EOS digital cameras are fitted with one of two remote sockets E3 (left) or N3 (right). E3 is a 2.5mm mini jack plug which pushes in and pulls out of the cameras remote socket. N3 is a unique Canon plug. When pushed in to the camera socket it locks in place with a click. You have to pull the base of the plug to release it. In theory, the N3 plug has the more secure fitting, but we have never had any problems with the E3 plug.
Below This EOS 7D with EF 300mm f2.8L USM lens and EF Extender 1.4x on a tripod is a good example of when a remote switch is recommended. Touching the shutter button on the camera is likely to introduce movement into the setup. The camera is aimed at alligators in Corkscrew Swamp, Florida, USA. EOS 5D Mark II, EF 24-105mm f4L IS USM lens at 60mm, 1/50 second at f5.6, ISO 200.
CHRIS MATTISON

Remote access
Many years ago you could buy an air cable release squeezing a rubber bulb compresses air inside a thin plastic tube, tripping the camera shutter. Today, remote accessories do a similar job, but with a touch more sophistication.
How do you take a photograph? If you press the camera shutter button with your finger you are in good company but it is by no means to only way to shoot. There is a whole range of remote switches and wireless controllers which let you fire the shutter from a distance. All have slightly different uses. Some units keep you close to the camera, but allow you to shoot without touching it. This can help reduce camera shake. At the other extreme are motorised platforms which allow you to move the camera from a distance while still seeing the cameras view. There is even a set-up which will take the photograph for you as the subject breaks an invisible beam. And you might be familiar with the remote which takes pictures at fixed intervals. The next few pages introduce you to these remarkable remote accessories, showing that you do not need to be behind the camera to take interesting and inspiring images.
Above One way to get close to wildlife is by setting up a camera and placing bait in front of it. However, you cant stay with the camera as you are likely to frighten your subject away. The answer is to use a remote accessory so that you can fire the camera from a distance. The following pages look at the different options available.

The distance between a remote switch and the camera can be increased by fitting an extension cord. Canon supplies a 10 metre Extension Cord ET1000N3 for the RS-80N3 release. Two cords can be used together to give a 20 metre extension. If you have the RS-60E3 release, you will have to be more creative. Extension cords for stereo headphones are inexpensive, but usually come with 3.5mm plugs and sockets. The mini jack plug and socket for the Canon release is 2.5mm. However, an adapter which converts the 2.5m plug to a 3.5mm plug is available from electronic stores such as Maplin, along with an adaptor to convert the 3.5mm plug to a 2.5mm plug. By using more than one extension cord we have fired a shutter over 15 metres from the camera.

Camera compatibility
RS-60E3 EOS 60D, 300D, 350D, 400D, 450D, 500D, 550D, 1000D, 1100D RS-80N3/ET-1000N3 EOS 1D, 1D Mark II, 1D Mark II N, 1D Mark III, 1D Mark IV, 1Ds, 1Ds Mark II, 1Ds Mark III, 5D, 5D Mark II, 7D, 10D, 20D, 30D, 40D, 50D.

Mechanical vs. electronic


Until the early 1980s, Canon SLR cameras used a cable release for firing the shutter remotely. It was a mechanical device, constructed with a length of wire in a flexible casing. One end screwed into the cable release socket of the camera. When a plunger at the other end was depressed, the wire extended into the camera to activate the mechanical shutter release. In 1983 Canon introduced the T50 and with it the remote control socket. This socket accepted a range of remote accessories which fired the shutter electrically. The remote socket continues in the EOS series, offering many more options than the cable release.

Alternative choices

If you have two EOS cameras, each with a different remote socket fitting, there is an alternative to buying two Canon remote releases. The Hhnel Remote Shutter Release with Extension (left) provides one remote unit with two adapters. Simply fit the adapter to suit the camera you are using. As a bonus, the pack includes a 2 metre extension, taking the complete length to 2.8 metres. The Hama Remote Release (right) offers a similar solution, except that here you buy the N3 and E3 adaptors separately and an extension cable is an optional extra. The difference is that there are other remote accessories in the Hama system which can use the same adapters.

34

Reproduced from EOS magazine October-December 2011

Reproduced from EOS magazine October-December 2011

35

Technique Remote accessories

Remote Control RC-6


If you want a small, versatile, inexpensive remote shooting accessory, look no further than the Canon Remote Control RC-6. Despite its diminutive size (32 x 63.5 x 6.5mm), this device can be used for a number of different tasks.
Remote Control RC-6 Remote control sensor on camera If you do not have one of the cameras compatible with the RC-6, what choices do you have? Self-portraits For selfportraits you can use the self-timer mode, which is built into most models. When the self-timer is set (in the drive mode), pressing the shutter button starts the 2-second or 10-second timer (2-second delay not available on all models). This gives you time to move to the front of the camera. At the end of the period the shutter fires. The advantage of the RC-6 is that you can fire the shutter when you are ready rather than waiting for the fixed delay to end. Bulb exposures All EOS models have a remote socket, so you can use one of the Remote Switches (page 67) to lock the shutter open during a long exposure. Recording movies As far as we know, the RC-6 is the only device which will start and stop movie recording (currently only compatible with the EOS 60D).

Using the RC-6


The RC-6 is a very simple device, controlled by just a button and a switch. Make sure the drive mode is set to remote control. Aim the small black arrow in the silver circle at the camera and press the button to fire the shutter. A switch on the back gives the option of immediate firing (), or firing with a 2-second delay.

CLAUDINE RL CO

Bulb mode

Problems?
We regularly receive complaints about the RC-6 from photographers who say it is faulty. Generally it is not. Here are two things to check:

Other cameras

Line of sight
Infrared devices normally need to see each other often known as line-of-sight. Based on this, it would seem that you can only use the RC-6 from in front of the camera, and you will find this quoted in some reviews. But its not strictly true. If you hold the RC-6 a few inches above the shutter release, aiming down, the shutter will fire when you press the remote button useful as an alternative to a remote switch. It will even operate from behind the camera if the infrared beam is reflected back from a nearby surface. When aimed from the front of the camera the range is given as 5 metres, though this will vary with the surroundings. Infrared devices can be affected by fluorescent lighting, but we have not experienced any problems.

Drive mode

The RC-6 is a wireless transmitter (infrared rather than radio waves). To work, it needs a receiver. Unlike wireless controllers (see page 70), the receiver for the RC-6 is already built into a range of EOS models (see right). One reason the RC-6 is relatively inexpensive is that you are only buying half the system. You have already paid for the other half if you have a compatible camera. It is not possible to buy a separate receiver for the RC-6. If you do not have the right camera you will have to look at alternative methods for remote firing. As you can see above, the sensor for the RC-6 is on the front of the camera (EOS 550D shown, but the sensor is in a similar position on other compatible cameras). The RC-6 has a small hole in the bottom left corner for attaching a lanyard (not supplied).

Camera compatibility
EOS 5D Mark II, 7D, 60D, 300D, 350D, 400D, 450D, 500D, 550D, 600D

Earlier remote controls


Also compatible with the above cameras are earlier versions RC-1 and RC-5. The RC-1 offers the immediate and 2-second delay modes of the RC-6. The RC-5 only has the immediate firing mode.

If you shoot in bulb mode, pressing the camera shutter button opens the shutter. It stays open for as long as you hold the button down not very convenient for exposure times of more than a few seconds. A remote switch (see page 67) is better. You can press and lock the remote button so that you can move away from the camera while the exposure is in progress. But best of all is the RC-6. Press the button on the remote control unit to open the shutter, press it again to close the shutter. If you have the remote control set to 2-second delay, there will be a 2-second delay before the shutter first opens. During the exposure a timer displays the time elapsed on the LCD screen. If you have a camera compatible with the RC-6, using this technique is much easier than attaching a cable to the remote socket.

Above The Palace of Fine Art, San Francisco, California. EOS 20D, EF 17-40mm f4L USM lens at 31mm, 30 seconds at f11, ISO 100.

The camera must be in the Self-timer/ Remote Control mode for the RC-6 to operate. Some cameras have more than one self-timer mode you must use a mode with the symbol of a remote control unit. Pressing the shutter button in this mode gives you a 2 or 10-second self timer delay. Pressing the button on the RC-6 fires the shutter immediately (or with a 2-second delay).

Auto power

Above Elapsed time display during bulb exposure (shown on the top LCD of some models).

The RC-6 will only operate when the camera is switched on. If your camera automatically switches off after 30 seconds without use one of the settings on the Auto power off menu it does not give much time to move round to the front of the camera and fire. We set Auto power off to Off when using the RC-6 the camera stays on until we turn the camera off. Its a good idea to reset the Auto power off to 1 minute or similar at other times to avoid draining the battery.

Shooting self-portraits with the Remote Control RC-6


An obvious use for the RC-6 is for shooting self-portraits. Set One-shot mode. When you press to RC-6 button the camera will autofocus and then fire. However, if you do not want to include the RC-6 in the image, set the RC-6 switch to 2-second delay. Now when you fire the RC-6 at the camera you will have a couple of seconds to move the device out of the field-of-view before the picture is taken.
Left RC-6 used with immediate release. EOS 400D, 1/250 second at f4.5, ISO 400. Right Family group taken using the RC-6 set to 2-second delay. The RC-6 was activated by Helen (far right). EOS 500D, 1/125 second at f5.6, ISO 100.

HELEN COULL

Recording movies
You can use the RC-6 to start and stop movie recording on the EOS 60D. As with all uses of the RC-6, make sure that the drive mode is set to one of the remote shooting options (there are two options available in the EOS 60D it doesnt matter which you choose). Set the switch on the RC-6 to 2. When you press the RC-6 button the recording will start immediately. Pressing the button again will stop the recording. If the switch is set to , pressing the RC-6 button will take a still photo. This is a great little feature which we hope will be included in new EOS models.

INGRID DEON

36

Reproduced from EOS magazine October-December 2011

Reproduced from EOS magazine October-December 2011

37

Technique Remote accessories

38 |39

LC Wireless Controllers
There are two parts to a Canon wireless controller. The receiver is connected to the cameras remote socket. The second part is the transmitter, which is a hand-held unit. You aim the transmitter at the receiver and press a button to fire the camera shutter. The advantages over the Remote Control RC-6 (see page 68) are a much greater range (up to 100 metres) and the fact that the transmitter can be used from any angle. There have been five wireless controllers in the Canon range, from the LC-1 to the LC-5. All use infrared beams. Only the LC-5 is current.
Wireless Controller LC-1 This long-discontinued accessory was designed for the old Canon A and F series cameras, such as the A-1 and F-1. Although it can be used with some EOS cameras by using a cable adaptor, it is not recommended. Wireless Controller LC-2 One of the attractions of the LC-2 is its auto sensing mode. Here, the transmitter sends a continuous infrared beam to the receiver. When this beam is interrupted the receiver fires the camera shutter. The receiver can be positioned away from the camera, connected to it by an extension cable. No other LC unit offers auto sensing. The LC-2 can also act as a conventional wireless remote, but has a line-of-sight range of only about 5 metres, compared to around 60 metres for the LC-1. Requires adapter RA-N3 for N3 socket. Wireless Controller LC-3 The LC-3 is the first of the range to offer a delay setting 3.5 seconds. It has a range of 100 metres which can be extended by using additional LC-3 sets as relay stations. The LC-3 was also designed for the remote firing of Speedlites this was before the Speedlite wireless flash system was introduced. Requires adapter RA-N3 for N3 socket. Wireless controller LC-4 The features of the LC-4 are the same as those of the LC-3, but the unit is fitted with the N3 plug for direct connection to many EOS cameras.

Auto-sensing
Alternative choices
The extra features of the Canon Wireless Controller LC-5 come at a price. If all you want is to fire the shutter from a distance, there are third-party alternatives.
Compatibility The Hama IR Remote Trigger is part of their DCC Remote System. The receiver needs a connection cable to suit your camera. You can also add 5 metre extension cables. The connection and extension cable are also compatible with a remote switch, wireless remote and timer remote.

Auto-sensing was a feature of the Canon Wireless Controller LC-2, but was then forgotten. No Canon remote currently offers auto-sensing. However, accessory supplier Hama has filled this gap with the IR Remote Trigger.

Below Using the Hama IR Remote Trigger allows the subject to fire the shutter.

Auto-sensing allows the subject to fire the shutter. A transmitter is positioned to send a continuous infrared beam to a receiver. The receiver is connected to the remote control socket of the camera. When the infrared beam is interrupted, the camera shutter fires. The distance between the two units for auto-sensing can be around 5 metres (varies with ambient light conditions). One obvious use for auto-sensing is wildlife photography. Many animals are creatures of habit and follow similar paths at similar times of the day. The advantage of auto-sensing is that you can set the camera quite close to where you expect the subject to be and then move away so that the subject is not scared by your presence.

Wireless Controller LC-5


The LC-5 was introduced in 2005 and remains current. It uses the N3 plug for connecting to the camera remote socket (see RS-80N3 on page 67 for camera compatibility). The range is around 100 metres. The LC-5 has four firing modes. Single shot fires the shutter once each time the transmitter button is pressed. Continuous mode keeps the shutter firing until the button is pressed again. Test mode illuminates a red LED on the receiver so that you can see that the system is ready for use. Delay mode fires the shutter around 3.5 seconds after the transmitter button is pressed. The LC-5 is equipped with three channel settings (A, B and C) so that you can work with more than one camera and control which fires. Another feature is the improved oneshot release mode. This allows you to prefocus the camera and then lie in wait for the subject to come into range (below).

The Hhnel Combi TF consists of a receiver and transmitter (above). Connect the receiver to the remote control socket of the camera. The receiver can be attached to the camera accessory shoe for convenience, but this is not essential. Press the button on the transmitter to fire the camera shutter. Autofocus before shutter release is possible, along with continuous shooting, bulb mode and a 4-second delay. The system operates over a range of up to 100 metres. Combi TF is supplied with adaptors for N3 and E3 remote sockets, so is compatible with all EOS digital cameras.

Remote viewing and panning


One of the problems with remote shooting is that you need to be in view of the subject and there is the chance that the subject, while present, might not be in the field-ofview of the camera. Two new accessories overcome these difficulties. The Hhnel Inspire gives a camera view of the subject when you are some distance away, but it does not give any control over the camera position. For that you need a power panner. This is a motorised base, which sits between a tripod and the camera. It allows you to pan and tilt the camera remotely using a cable connection or wireless control. Used together with a remote viewing device, such as the Hhnel Inspire, you can move the camera and see the new view instantly. The panner motor is fairly quiet so this and the camera movement should not distract the subject you are photographing. We have used the MP-101 Power Panner and it works well. With this unit, the head is controlled by cables. These come in 6 metre lengths and several can be linked together to create a longer cable. The movement is controlled by a hand unit. A four-way rocker switch provides the pan and tilt action, while a slider switch adjusts the speed of the movement. The panner head also provides smooth movements for movie shooting.

Left Remote wireless controllers are good for wildlife photography of shy subjects. You can set up the camera, place bait and retire some distance to sit and wait. When the subject arrives, press the remote button to fire the camera shutter. EOS 5D Mark II, 1/60 second at f7, ISO 200.

The Hama Wireless Remote Release Base Unit offers much the same features as the Combi TF, but with a range of up to 150 metres and a 10-second delay. It is part of the Hama DCC Remote System you need to buy an N3 or E3 adaptor separately, but these adaptors can be used with other devices in the system.
Some of the accessories featured on these pages are available from the EOS magazine Shop phone 01869 331741 for details or visit the website at: www.eos-magazine.com/shop

The Hhnel Inspire is a remote viewing screen with transmitter. Set up your EOS close to where you expect the subject to appear and plug the Inspire transmitter into the cameras AV output and remote sockets, then move way with the Inspire preview unit. The 3.5 inch colour LCD screen displays the Live View image from your camera. A built-in shutter button on the preview unit lets you fire the camera when you want to capture the screen image. If your camera does not have AV output/Live View, a tiny camera built into the transmitter sends a view to the screen of the preview unit, but this will not match the actual view recorded by the camera. The system works over a distance of 60 metres using radio signals. Images can be saved to the preview screen for playback. Live View operates for up to 30 minutes before you need to reset the camera this is an EOS camera limitation.

Above Hhnel transmitter and preview screen.

JOHN LINWOOD

Camera compatibility
The Hhnel Inspire and MP-101 Power Panner are compatible with all EOS digital cameras.
Above MP-101 panner.

38

Reproduced from EOS magazine October-December 2011

Reproduced from EOS magazine October-December 2011

39

Technique Remote accessories

Technique Remote accessories

Which remote?
Accessory
REMOTE SWITCHES Canon RS-60E3 Canon RS-80N3 Hhnel Remote Shutter Release Hama Remote Release* REMOTE CONTROL Canon RC-6 WIRELESS CONTROLLERS Canon LC-5 Hhnel Combi TF Hama Wireless Remote* AUTO-SENSING Hama IR Remote Trigger * REMOTE VIEWING Hhnel Inspire REMOTE PANNING MP-101 TIMER REMOTES Canon TC-80N3 Hhnel Giga T Pro Hama Timer Remote* w w w w w 149.99 79.99 59.99 all EOS 95.99 w w 199.99 w w 79.99 w w w w w 449.99 59.99 59.99 see below 16.99 w w w w w w 24.99 49.99 19.99 14.99

Timer remote
E3 SRP The Canon TC-80N3 is a remote switch on steroids. Not only does it act as a remote release, it also has a built-in self-timer, interval timer and long exposure timer, all of which can be set in one second increments up to nearly 100 hours. There is also an exposure count setting. The feature which TC-80N3 attracts most photographers to the TC-80N3 is the interval timer. This can be set to shoot a picture every few seconds to show clouds moving across the sky, or every 10 to 15 minutes to show a flower opening, or even once a day to show a landscape changing with the seasons. Years ago, time lapse photography was all about getting half-a-dozen prints showing the changes to a subject over time. Digital photography has changed all that. Now the individual exposures are merged into a movie. Each second of movie needs 25 images, so hundreds or thousands of images are needed. We will be covering time lapse movies and how to make them in a future issue of EOS magazine. The camera must be set on a tripod or other fixed support during the sequence you cannot move it between exposures. If you set the timer to fire at long intervals, not only do you tie up your camera for the duration, but you need a secure viewpoint. If you leave the camera to get on with the shooting, you want it to be there when you get back.
Canon Remote Timer

EOS magazineshop
Accessories for your EOS camera
Accessor

N3

eshop agazin EOS m


ies for your EO S cam era Autum n/Winte r 2012

... , sound motion Light,


EMENT It mart T, SOUND OR MOV system. n-capture ent ways G LIGH TriggerS able, motio er of differ ing and GER USIN TRIG break e, afford a numb CAMERA art is a uniquimage s using infrared beam y of stills and re ras. erSm a variet , light,
came Trigg ned to captu ra: sound used with film SLR by an is desig r your came art can be and enhanced and digital to trigge . TriggerSming Canon olled and t sensitivity or adjus sure movement ras, includ rs are contr used to Single expo n. arts senso can be video came ra. chose can be normally the came TriggerSm unit, which control s in triggering time spans that would ve. For MCT-1 delay over given images the to achie introduce shooting s shooting very simple water using into ed beam art make to shoot continuous fruit falling the infrar intensity ssible TriggerSm lt or impo photograph g by using the light and be difficu you could animal feedin off by using new ss going a wild example, s up endle trigger, or fireworks m open sound graphy. art syste mode breakingThe TriggerSmfor your photo r. everything senso opportunities er, contains exciting kit which IR/LIS receiv s, two oller, art Kit suggest the tripod . contr 1 erSm we Trigg you started two mini and 2 baffle the MCTE3) sensor, going: To get to get r and sound cable (N3 and r you need transmitte ra trigge infrared cables, came control

ve Exclusi r! offe reader Free item you buy when mart TriggerS kit

EOS came to fit all .99 connection R457 237 REF: and E3 with N3 ssor y: Supplied art kit art acce 99 TriggerSm 14. TriggerSm worth 12.99 your free worth Choose r adapter rs AC powe roof cove Weatherp

ras

www.e

os-mag

azine

.com/

shop

At EOS magazine we know the EOS system inside out and find accessories to help you make the most of your Canon EOS camera. Take a look at the full collection online or order a free copy of our latest catalogue.

Expand your learning


These clear and comprehensive guides show you how to achieve the best possible results from your camera. In our opinion these are the best books around for your photography. Choose from modelspecific guides if you are looking to learn more about your EOS camera or from the Technique series if you want an in-depth guide to your chosen subject. Expanded Guides 14.99

www.eos-magazine.com/shop 01869 331741


The Old Barn, Ball Lane, Tackley, Kidlington OX5 3AG

* Hama E3 and N3 adapters are 9.99 each E3 cameras EOS 60D, 300D, 350D, 400D, 450D, 500D, 550D, 600D, 650D, 1000D, 1100D, D30, D60, 30, 33, 50, 300, 500; PowerShot G10, G11, G12, G15, G1 X N3 cameras EOS 1D, 1D Mark II, 1D Mark II N, 1D Mark III, 1D Mark IV, 1Ds, 1Ds Mark II, 1Ds Mark III, 1D X, 5D, 5D Mark II, 5D Mark III, 6D, 7D, 10D, 20D, 30D, 40D, 50D, 3, 1V RC-6 compatibility EOS 5D Mark II, 5D Mark III, 6D, 7D, 60D, 300D, 350D, 400D, 450D, 500D, 550D, 600D, 650D, M, 10, 100, 30, 30V, 33, 33V, 50, 50E, 1X

Mighty light
Macro arm light with twin LEDs on flexible stalks for versatile lighting for your macro and close-up shots. You can choose a setting of Off/Low/High for each arm. Each LED operates at a slightly different light level, so you can achieve eight different levels of brightness. The LEDs stay cool and are flicker-free for consistent lighting. The output is equivalent to daylight (cool white) at 5600K. The bulbs have a 50,000 hour life. Macro arm light 22.95

DALE SUTTON

Canon caps and more


Whether you need a replacement lens cap, spare eyecup or a lens hood, we can help. We stock genuine Canon accessories and, as we know the EOS system inside out, we will know which accessory fits your equipment. Lens caps from 3.15 Eyecups from 6.85 Lens hoods from 15.75 EOS software from 16.95

Compatible cameras
EOS 1D, 1D Mark II, 1D Mark II N, 1D Mark III, 1D Mark IV, 1Ds, 1Ds Mark II, 1Ds Mark III, 1D X, 5D, 5D Mark II, 5D Mark III, 6D, 7D, 10D, 20D, 30D, 40D, 50D. If you want to use a timer with a camera which uses the E3 remote socket, take a look at the Hhnel Wireless Timer Remote Giga T Pro. This combines the functionality of a wireless remote shutter release with a timer remote. It is supplied with N3 and E3 adaptors, so is compatible with all EOS digital cameras. Another option is the Hama Timer Remote Release. This is a wired device, but can be used with an extension lead. It offers a range of functions. N3 and E3 adaptors are available separately to give compatibility with all EOS digital cameras.

If you never use a tripod, you dont need a remote accessory. Remotes are only effective with a camera on a tripod. If you only photograph static subjects, you can use the cameras self-timer mode to delay the exposure this will give time for any movement caused by pressing the shutter button to die away. If your EOS works with the Canon Remote Control RC-6, buy it. This has to be the bestvalue accessory for your camera. Remote switches are useful where you are photographing moving subjects and need to shoot at exactly the right moment the LC-6 does the same job with compatible cameras. Wireless controllers are useful where you need to be some distance from the camera when shooting wildlife photography, for example, or sports photography where you are allowed to set up the camera, but not stay with it. In some cases a remote switch with extension lead(s) may be a cheaper option. Timer remotes are good for automatic interval timing. Most of their other functions can be done in other ways, but are useful additions to the remote. Auto-sensing is a specialised requirement, but the Hama IR Remote Trigger can also be used as a straightforward wireless remote. Remote viewing and panning is useful if you do closerange wildlife photography.

Balancing act
Take the guesswork out of manual white balance settings in difficult lighting conditions with a translucent white lens cap. White balance lens caps Sizes 52 - 77mm 6.45 7.95 each

Cap trap
Keep track of your lens cap with this neat Hufa holder. The holder can be clipped anywhere thats to hand strap, bag or belt. 9.99

Making the most of your EOS series training DVDs


These DVDs are camera-specific and offer a step-by-step guide on how to use the wide range of automatic modes provided by your camera models, from the basic use of exposure modes to the advanced features and customisable options. The disks are divided into chapters for bite-sized learning and easy navigation. Each set contains two disks and on average 5 hours running time. Available for: EOS 7D, 5D Mark II, 60D, 600D, 550D, 500D, 1100D 24.99 each

Below The camera was set to self-timer mode the flashing light on the front of the camera indicated when a picture would be taken. The remote timer was set to an interval of about 60 seconds. This meant that a series of self-timer images could be shot without returning to the camera. EOS 40D, 1/2000 second at f3.5, ISO 400.
AMANCAY MAAHS

Remote control
Reduce the risk of camera shake when using a tripod with a remote release. We have tethered, wireless, infrared and timer remotes to choose from. Remote shutter release Canon RC-6 Giga T-Pro IR remote ioShutter 20.45 16.99 69.99 79.95 59.99

Two-disk sets covering basic and advanced controls

40

Technique Digital Photo Professional

Select and sort

Finding your photos in DPP


One of the first things you will want to do when you open DPP is find your photos and look at them. If you predominantly use the raw format, this is a convenient way to look at, organise and select your favourite images before going on to convert and edit them in DPP. If you predominantly shoot JPEG files, you can use DPP to view and organise your files, but you will find the image editing side limited. You can also view any TIFF files that you have on your computer, although again, image editing capability is limited.

Digital Photo Professional is not just a raw converter. You can also use it to view, organise and select photos. Andrew Gibson explores the cataloguing features of this software that is supplied on a CD with every EOS camera.

The Main Window


When you open DPP you will see something like the layout illustrated top right (depending on how your preferences are set up more on those in a moment). You are in the Main Window. On the left, click on the Folder tab (circled) to see the contents of your computers hard drive plus any connected external drives.

Thumbnail with information

Viewing photos
To view photos, click on one of the folders displayed under the Folder tab. If there is a grey arrow located next to the folder name, that indicates there are more folders inside. Click on the arrow to reveal the internal folders. When you reach a folder containing images, DPP displays thumbnails of the photos on the right hand side of the Main window.

Above DPP lets you select and sort images into a Collection (see opposite page). This is just one of many features which are not obvious when you first open DPP, but which make the program more than just a raw file converter.

Organising folders and files


The key to organising your photos starts with the way you store them. My system is very simple, and I share it here so you can use it or adapt it to your needs. I shoot exclusively with the raw format and store my files on an external hard drive. This means they dont use valuable space on my computers internal drive. It also makes it easy for me to back them up. All I have to do is copy the folder containing my raw files (the Images folder below) to another hard drive. My files are organised by year, month and day. Within each day folder every shoot is individually labelled. I can find any photo I need right away, just by navigating through the chronological chain. A benefit of this system is that it is easy to extend. As each year passes I just add more folders. Earlier folders remain untouched. Backup is easy. I only need to copy over new folders to my backup drive earlier folders remain unchanged. This system does not provide the keyword and tag options of more sophisticated programs, but it works for me.

Above The thumbnail view is selected in the View menu.

Large thumbnails

Thumbnail size
You can change the size of the thumbnails displayed on the screen by going to the View menu (above right) and selecting the Large thumbnail (above far right) Medium thumbnail (right) or Small thumbnail (far right) options. A useful alternative is the Thumbnail with information option. It displays a large thumbnail along with a luminance histogram and the main camera settings used to take the photo (above top). This is handy when you want to evaluate exposure or verify the settings used when you shot the images.

You might be accustomed to thinking of Digital Photo Professional (DPP) as a raw file editing program and not much more. But look a little closer and you will find that it can also help you to organise and sort your photos. Organising photos has always been a bit of a problem for photographers, especially if your output tends to be on the prolific side. Whereas once this often meant finding a way of organising shoeboxes (or filing cabinets) full of negatives and slides, for most photographers it now means keeping track of digital files. In the days of film, shooting a couple of cassettes (72 exposures) at an event was considered extravagant. Today, with shooting costs measured in pence rather than pounds, its not unusual to come home with hundreds of images from a day out. A little effort now will help you keep track of your photos as your collection grows. DPP can help you do this. Dont get me wrong the software is not designed to be a fully-fledged image management tool. It is not as sophisticated as specialist programs such as Apple Aperture, Adobe Lightroom or Adobe Bridge. But since it comes free with your camera (updates are also free) it is a good place to begin if you are also just getting started with an EOS camera. You can always upgrade in the future if you outgrow DPPs capabilities.

Medium thumbnail

Small thumbnails

Above One of the attractions of DPP is its range of view options. You can use the medium or small thumbnails to home in on the image you want, and then switch to a large view to rate and check mark the image (see next page). It is a simple system, but has some powerful features.

Creating a collection
The Folder view system works well, especially if your image folders are well organised. However, there are times when you may wish to group images together that are stored across two or more folders. The Collection is an easy way to do so. To add an image to the Collection, select the thumbnail in the Main window, then go to the File menu and select the Add to collection option. Do the same with other images from any folder. When you are ready, click on the Collection tab to view the images. From here you can use the Quick check window to look at them full size or go to the Edit image window to process raw files.

Right Images are stored in nested folders by year, month and date. As long as you know when you shot the images, you can find them. Unlike some specialist image management programs, DPP does not save images within the application. You simply navigate to a folder on your hard drive (which can be an external drive) containing the image or images you want to view.

Above Create a collection with the Add to collection menu item.Remove from collection and Clear collection options are also available.

Above It is only possible to have one Collection at a time, but DPP remembers the Collection if you close the program down, then reopen it. Think of the Collection as a lightbox for making a shortlist from all your images. You can add and remove images as you increase or narrow down your search.

42

Reproduced from EOS magazine January-March 2013

Reproduced from EOS magazine January-March 2013

43

Technique Digital Photo Professional

Rating and Check marks


Its up to you how you use the Ratings and Check marks. There is no set way of doing it. Some photographers rate their images on scale of one to five, with five being the best. Others may use a simpler system, and work on the basis that an image is either good enough to process or it isnt. If you prefer to work this way you can assign a Check mark to images you intend to work on, and leave others alone. Heres a system that works for me. I assign a Check mark to any image that I feel is worth processing that weeds out the weaker images. Then I sort the images according to the Check mark and look through the selected images again. I give the strongest images the ones that I definitely want to process a rating of one star. Then I sort by rating, and look at the strongest images together. I remove the rating from any images that I change my mind about processing. The idea behind editing is to narrow your images down from the ones you took to the ones that are worth processing. The end figure depends exactly on what you were shooting and how many good images you took on the day, but my aim is to narrow the initial selection down to the best. I use the Rating and Check mark system to help me. There are many other uses for the marks perhaps to indicate images that have been published or those that are weak, but you want to keep. The marks are there to use as you wish.

The Quick Check window

Sorting
There is a sort option which works with image data. Go to the View menu and select Sort. You can sort by: Rating ascending or descending order File name alphabetical order Shooting date/time Useful if there are photos from more than one camera in a single folder as the images from each camera will have different file numbers and the order wont match the shooting sequence. Raw priority Displays raw files first if there are also JPEG or TIFF files in the folder. Check Mark Displays photos with a specific Check mark first. Other Check marked images are then displayed in numerical order, followed by images without Check marks.

DPP image preferences

c The Quick Check window is where DPP really

AF point
Another useful feature is revealed when you tick the AF point box. A map of your cameras autofocus points is displayed on the photo, with the active autofocus point (or points) coloured red. This indicates which autofocus point (or points) you used when the photo was taken. However, if you used autofocus lock and recomposed, it doesnt indicate where the camera focused.

comes into its own as a piece of software for viewing and sorting your photos. So far, weve just looked at different ways to display thumbnails. This is useful, but to really evaluate your images you need to see them at full size on your computer screen. The Quick Check window helps you to do this. Start by selecting the image or images you want to view (use the Select all button to view all the images in the folder) and clicking the Quick check button at the top of the Main window. DPP displays the entire image on the screen. You can navigate through the selected images using the Previous and Next buttons. This lets you look through the selected images and add Check marks or Ratings, if you wish, to help sort them. Use the Rotate left or Rotate left buttons if you need to change the orientation of the displayed image. If you want to see the image in more detail, click the 50% view button. You can now examine the image for critical factors such as focus, sharpness and detail. If you need to, you can also click the Full screen button to make full use of your monitors screen space. Come out of the full screen view by pressing the Escape key on your keyboard and the 50% view by clicking the 50% view button again.

Sorting images
The Quick Check window gives you two ways to organise your images. The first is to assign the image a Check mark. You can choose from five Check marks (values one to five) or press the Clear button to remove one. The other option is assign a Rating to the image. There are five Ratings to choose from (values one to five). Alternatively, if you dont like an image (perhaps it is out of focus or the exposure is completely wrong) you can press the Reject button. If you assigned a Rating to your images when you played them back on your camera, DPP will recognise that and display the rating just one of the ways in which the camera and the software work together. The Rating and Check mark (or the word Reject) are displayed around the thumbnail when you return to the Main window. You can also change the Check mark or Rating within the Main window they are displayed above the thumbnails.

Like many programs, you can modify the settings so that DPP works in a way that suits you. You do this by opening the Preferences window (Tools > Preferences on a PC or Digital Photo Professional > Preferences on a Mac). There are two tabs in the Preferences window that are useful to us when it comes to viewing files.

Settings for viewing raw files


It can take DPP a while to render an image generated from a raw file on the screen. This is more noticeable if you have a camera with a large megapixel count or if you are using an older computer. To speed up DPP go to the Viewing and

Image information
Click Image information to see the same EXIF window that comes up when you press the Info button in the Main window.

saving raw images setting. If running speed isnt an issue, select High quality and uncheck the View images at high speed box. This will give you the best possible quality screen image. You can speed up DPP a bit by ticking the View images at high speed box. This speeds up DPP and for most images you wont notice any difference in image quality. If DPP is still running slowly you can choose the High speed option. But you should only do this if its really necessary as it prevents you from using the noise reduction tool in the Edit image window.

Settings for viewing JPEG files


You have the option of ticking the Remove block noise and mosquito noise box to view JPEG images with some of the noise reduced. This may come in useful if you intend to save the JPEG file under a new name. In this case, the noise reduction will be applied to the new file. If you dont want this to happen, or just want DPP to run as quickly as possible when viewing JPEG files, leave this box unchecked.

Above When you select an image in Folder View and then select the Quick Check button, this window appears. Click on Check mark and Rating icons the results will appear in the top left of the image. Click the AF Point check box to see the active point in red over the image.

Above Clicking the 50% view button enlarges the image in the frame (it is 50% of the full screen view, not 50% of the current view). The full screen view fills the computer monitor press ESC to get back to the normal view. These larger views are good for checking the focus.

When you look at photos in the Main window you will see a set of buttons along the top of the screen. Folder view Click this button to hide the folder and collection lists from the main window. This gives you more space to view thumbnails, maximising the use of screen space. Info Brings up a window containing shooting data and metadata for the selected image. Useful for checking camera settings. The shooting information is very detailed and gives you details that you wont find in nonCanon raw processing software such as Picture Style, dust delete data and autofocus microadjustment settings. Select all and Clear all Press these buttons to select all the images within a folder or collection, or to clear the selection. Rotate left and Rotate right Lets you rotate a selected image or images.

View settings
There are a couple of options here that may be useful. Under raw and JPEG you can tick the Display only CR2 images for CR2 and JPEG files of the same name box if you only wish to see the raw file displayed when you have both raw and JPEG versions of each photo saved in the same folder. This happens if you have selected one of the RAW+JPEG settings in the camera menu. The other useful option is the Retain sort order box under Sort order in main window. Its a good idea to check this box so that the order in which photos are displayed in the Main window are retained when you leave the folder (or close down DPP) and then return to it. If the box is unchecked the sort order returns to the default of sorting by file name.

Above EXIF data in DPP is comprehensive.

44

Reproduced from EOS magazine January-March 2013

Reproduced from EOS magazine January-March 2013

45

Technique Updating camera and lens firmware

Firmware update

Downloading firmware from Canon FAQs


Do I need to upgrade? It is not essential to upgrade the firmware version in your camera. The camera will continue to operate as it did when you received it. However, it is worth checking out the firmware page for your camera from time to time. It not only lists the changes offered by the latest version, but also lists all the changes of the intermediate versions (if any). Among all this information you might find details of an improvement which will be of use to you. Also, keep watching for news of firmware updates even if you have recently upgraded. Firmware version 2.0.3 for the EOS 7D, for example, addresses errors introduced with version 2.0.0. Do I need to install intermediate versions? No. The latest version includes all the changes from the intermediate versions, as well. For example, there were at least ten firmware versions for the EOS 7D before version 2.0.3. Even if you have one of the earliest versions installed (as we did), you can go straight to 2.0.3 and not miss out on anything. Where can I find news of new firmware versions? Go to the EOS magazine newsblog at: www.eos-magazinenews.blogspot.co.uk/ Click on your camera name under the Categories list on the right. This will bring up all news items about your camera, including firmware updates. Can I go back to a previous firmware version? Not if you have installed firmware version 2.0 on the EOS 7D. We are not certain about other cameras, but we have never heard of it being done or needed.

4 You will now be presented with a fairly daunting page with lots of small print. It is essential to read all of this. It tells you about the fixes which will be implemented by the firmware, plus other important information. This can change with different EOS models, so dont assume that you know it all if you have updated the firmware on another model. 1 Your first port of call is the Canon Download Centre at http://software. canon-europe.com/ In the For you section, select your country from the Choose a country menu. From the Choose a product menu, select Cameras. The Choose a model menu will now give you a very long list of cameras. Scroll down and select the camera you want to update. Click Go.

The availability of a significant firmware upgrade for the EOS 7D has created a lot of interest. There are upgrades available for most EOS models. We show you how to download and install the file on your camera. And is it worthwhile?
Firmware is an interface between the camera controls and the camera hardware. When you press the menu button, for example, it is the firmware which tells the camera what to display on the LCD screen. If you select daylight white balance, it is the firmware that gives the relevant instructions to the DIGIC processor at the heart of the camera. Firmware is essentially a set of rules by which the camera operates. These rules are normally fixed, so that each action always produces the same reaction. However, the rules can be altered by changing and updating the firmware. This is useful. Firmware is complex and not always perfect when it is installed by Canon before you purchase the camera. Despite rigorous testing, there can be flaws. It might be minor, such as a spelling error in one of the 25 language options available with each camera. Or it might be major, such as the camera not working correctly with a particular and often obscure combination of commands. Canon provides firmware updates for different cameras from time to time. They are available from the Canon Software Centre (see opposite page). The updates are designed so that they can be installed by the user. The next few pages show you how. However, if you are nervous at the prospect, you can have the update done by a Canon Service Centre or some dealers. There will probably be a charge for this. Of course, first you need to decide if you want the update installed. We offer our thoughts on this, along with the advisability of using firmware hacks.
version Above The EOS 7D before and after a firmware upgrade. Notice the File name menu item after the upgrade. This is just one of a number of new features on the camera. However, this upgrade is unusual in offering additional functions. Upgrades for other cameras generally correct errors in existing features, rather than add new ones. CAMERAS EOS-1D EOS-1D Mark II EOS-1D Mark II N EOS-1D Mark III EOS-1D Mark IV EOS-1Ds EOS-1Ds Mark II EOS-1Ds Mark III EOS-1D X EOS 5D EOS 5D Mark II EOS 5D Mark III Right This table gives details of the most recent firmware version for every EOS digital camera at 30 September 2012. We have not included the new EOS 6D and EOS M cameras as they are not yet available and we do not know the firmware version they will ship with. As a rule, once a model is discontinued, no further firmware versions are released. EOS 7D EOS 10D EOS 20D EOS 30D EOS 40D EOS 50D EOS 60D EOS 300D EOS 350D EOS 400D EOS 450D EOS 500D EOS 550D EOS 600D EOS 650D EOS 1000D EOS 1100D EOS D30 EOS D60 LENSES EF 40mm f2.8 STM 1.2.0 24 August 2012 1.4.0 1.2.6 1.1.2 1.3.0 1.1.1 1.0.3 1.1.6 1.2.0 1.0.6 1.1.1 2.1.2 1.1.3 2.0.3 2.0.1 2.0.3 1.0.6 1.1.1 1.0.8 1.1.1 1.1.1 1.0.3 1.1.1 1.1.0 1.1.1 1.0.9 1.0.1 1.0.1 1.0.7 1.0.5 1.0.3.0 1.0.4 30 July 2002 20 December 2006 20 December 2006 17 December 2009 22 March 2012 6 April 2004 20 December 2006 17 December 2009 28 August 2012 18 March 2008 29 February 2012 8 June 2012 10 September 2012 20 January 2004 26 October 2005 18 March 2008 20 January 2009 20 June 2012 8 June 2012 23 October 2003 26 October 2005 19 September 2007 23 April 2009 20 June 2012 25 November 2010 16 May 2012 no upgrade released 13 October 2010 19 January 2012 22 April 2002 11 November 2002 released

5 When you finally reach the bottom of the page and are ready to proceed, click the Accept & Download button.

Above Mac Left Windows 6 You will be asked where you want to save the file. The desktop is as good a place as any. WINDOWS

2 The download page for the selected camera will appear. Notice that there are also tabs for FAQs and Important Information. These are worth checking. On the downloads page you have options for Software (updates to Canon applications including Digital Photo Professional and EOS Utility), Manuals (a PDF of the camera user guide) and Firmware. Click the circle to the left of Firmware.

7 The download will be saved to your computer as a compressed file (Windows far left; Mac second from right). To open (or extract) the file, right-click (Windows) or double-click (Mac) the icon. This will create a folder (Windows second from left; Mac far right)

8 When you open the folder you will find it contains a file and a folder (Windows screen shown here; the Mac screen is similar). The file has the extension .FIR this is the firmware update. Do not try to open it. The .FIR file can only be processed inside your camera (see pages 72 and 73). From the phone calls we receive, quite a few people seem to miss the folder, but it is important.

3 This will take you to the Available firmware page. As a rule, only the latest firmware is available but in versions for Mac and Windows operating systems. The procedures are similar for both. Click on the version to suit your computer.

9 Inside the update-procedure-pdf folder are five files. You only need the one ending -en. This gives you detailed installation instructions in English. The other files are in French, Japanese, Spanish and Simplified Chinese. We cover the general installation procedure in this article, but read the PDF file carefully for any additional information.

46

MAC

Reproduced from EOS magazine October-December 2012

Reproduced from EOS magazine October-December 2012

47

Technique Updating camera and lens firmware

Preparation

Using a card reader


There are two methods of updating the firmware in your EOS camera. One is with a card reader (below). The other is with the EOS Utility software from the CD supplied with your camera (right). Both are equally good and both activate the Firmware update program on the camera (see bottom of page). If you do not have a card reader, one will cost you around 10 to 20. You already have EOS Utility (unless you have lost the disk). However, your disk might not have the latest version of EOS Utility. Go to the Canon Download Centre (see previous page), select the software option for your camera and install the current version.

Using EOS Utility

And finally...

Camera battery Fully charge your camera battery before you begin. If you run out of power before the firmware update procedure is completed you might disable your camera which means it stops working and has to be returned to a Canon Service Centre to see if they can rectify the problem. Canon suggests running the camera from a mains power supply using an AC adapter kit. This is an expensive option (from 70 to 140 RRP) if it will only be used for firmware updates. In our part of Oxfordshire the mains power supply is so unreliable that we prefer to place our trust in a fully charged battery no problems so far.

Battery Once the firmware update process is complete, the camera needs to be reset. This involves nothing more than switching the camera off, removing the battery for a few seconds, then replacing the battery and turning the camera on again. The update is now complete. 1 Open EOS Utility on your computer. The above window will appear. Now connect your camera to the computer using the mini-USB cable supplied with the camera. The USB plug goes into the computer. The mini-USB plug goes into the A/V OUT Digital socket on the side of the camera. Switch the camera on. Click OK in the window which comes up asking you to confirm the camera model. Then click on Camera settings/Remote shooting.

Above Go to Start > Computer on Windows. Right The card icon on the MAC desktop.

1 Connect a card reader to your computer and insert the card you have just formatted (see left). The card will appear as a hard drive on your computer screen (above). Drag the .FIR file you downloaded on to the card icon. This will copy the file to the card. 2 The .FIR file must be at the root level of the card. This means it must not be inside any folder. Doubleclick the card to open it. The contents should look like this (left).

4 A window will open allowing you to find the .FIR file you downloaded earlier (see page 71). A Windows display is shown at the top; a Mac display above. We are updating an EOS 5D Mark III, so we are looking for the 5D300113.FIR downloaded from the Canon Download Centre.

5 A confirmation window will appear giving details of the current firmware version on the camera and the version of the firmware update that will be installed. If these are correct, click Yes.

Date and time The firmware update 2.0.0 for the EOS 7D zaps the date and time information. Go to the Date/Time/ Zone menu to enter this information again. We reset from the Speaking Clock which gives the time in hours, minutes and seconds see www.speaking-clock.com or telephone 123 in the UK.

3 Take the card out of the card reader and insert it into the camera. Turn the camera on and go to the settings menu. Find the Firmware Ver. item and press SET.

4 You will see a screen with details of the current firmware version and asking if you want to update. Select OK and press the SET button.

5 The firmware update will begin. You will see the screens below showing the progress. Formatting a media card Copy all the images you want to keep from a CF card (or SD card for cameras using the smaller card) or use a new card. Insert the card into the camera. Go to Format on the settings menu (above top). Press the SET button. The next screen (above) will show you the amount of storage used on the card and remind you that all data will be deleted if you continue. If you are sure all the images you want have been copied from the card, select OK and press the SET button. The card will be formatted and you will be returned to the Format menu. Check that the formatting has been successful by pressing the SET button. The screen should now show that very little storage has been used. Just a few kilobytes (KB) will have been reserved for the card directory. Always format the card in the camera you are going to update. Never format the card from a computer and never in a different EOS camera.

2 This panel will appear. Select the Set-up menu. Then click on Firmware.

3 The panel will change to Firmware update. Click on OK.

6 Another confirmation window will appear telling you to press the SET button on the back of the camera. This will start the firmware upgrade process and you will see the screens shown below.

PIC Lens correction data will need to be downloaded again after the EOS 7D firmware version 2.0.0 update. This is done using EOS Utility.

Firmware update in progress


These screen displays are common to upgrading with the card reader or EOS Utility.

1 You have reached the point where the camera begins to take over. Here, data is being loaded ready for the update process to begin.

2 We are updating the EOS 7D in this sequence, so the .FIR file the camera has found on the card is correct. Press the SET button on the camera to continue.

3 This is your final opportunity to abort the process. However, if the data for the current firmware and the firmware to be installed is correct, press the SET button.

4 You are now committed to the update. The screen shows you the progress it normally takes just a few minutes. Take heed of the warning!

5 At the end, a confirmation will appear to confirm that the update is complete. Press the SET button, turn the camera off and remove the battery for a few seconds.

48

Reproduced from EOS magazine October-December 2012

Reproduced from EOS magazine October-December 2012

49

Technique Updating camera and lens firmware

50 |51

Firmware for EF lenses


Canon has released a firmware update for the EF 40mm f2.8 STM the first Canon lens with user-installable firmware. The new firmware corrects a problem where pressure applied to the lens barrel while the lens is mounted to the camera (pressure can be applied even while attaching the lens cap or while carrying the camera with the lens attached in a bag), stops the autofocus function of the lens. You will need a card reader for the update process the lens firmware cannot be updated using EOS Utility software. The update is also limited to the lens on a compatible camera currently only the EOS-1D X, 5D Mark III and 650D. Make sure the camera firmware is up-to-date before updating the lens. If you have the lens with another EOS you need to contact a Canon Service Centre for the update. Go to the Canon Download Centre (page 71), find the EF 40mm f2.8 STM lens (it is under the camera menu), select the firmware option and download to your computer. Double-click the downloaded document to obtain the .lfu file the lens equivalent of the camera .FIR firmware and a folder of PDFs. Copy the file to a formatted media card. This procedure is described on page 71 just substitute the .lfu file for the .FIR file. Read the instructions in the PDF folder before proceeding. You do not need to update if your lens already has the latest firmware. Insert the media card into the camera and switch the camera on. The screens below are from the EOS 650D.

All-risk cover from only 50


Super-telephoto firmware updates
Canon has also released firmware update version 1.1.1 for the EF 300mm f2.8L IS II USM, EF 400mm f2.8L IS II USM, EF 500mm f4L IS II USM and EF 600mm f4L IS II USM lenses. However, this firmware cannot be installed by the user. The update needs to be carried out by a Canon Service Centre and will be done free of charge. Version 1.1.1 changes the control algorithm of the focus drive and enhances the drives responsiveness for more precise focus adjustments. In particular, the new firmware enhances the AI servo AF capability of the lenses to track objects that move irregularly in sports events, such as soccer or rugby. The new firmware is for lenses which currently have firmware version 1.0.0. The serial numbers (10 digits) of the lenses equipped with firmware version 1.0.0 are as follows: EF 300mm f2.8L IS II USM EF 400mm f2.8L IS II USM The third digit in the serial number is either 0, 1, 2, or 3 (xx0xxxxxxx; xx1xxxxxxx; xx2xxxxxxx; xx3xxxxxxx). EF 500mm f/4L IS II USM EF 600mm f/4L IS II USM The third digit in the serial number is 0 (xx0xxxxxxx).

www.eos-magazine.com/insurance

Photo insurance
All risk photographic equipment insurance for non-professional photographers

Need a replacement Canon instruction manual?


We can supply printed instruction manuals for most cameras and accessories manufactured since 1959

Add the power of digital to your print subscription


Over 1000 pages for only 12.95

www.instructionbooks.co.uk

1 Go to the camera settings menu and find the firmware ver. item. Press the camera SET button.

2 The next screen shows the camera and lens firmware versions. Select Lens and press the camera SET button.

Works on your PC, Mac, tablet & smartphone www.eos-magazine.com/options

Firmware hacks

3 This confirmation screen is asking if you want to proceed with the update. Select OK and press the camera SET button.

4 Check that the camera has found the update file. This is the last opportunity to cancel. Press the SET button to proceed.

Firmware updates offer a way for third-party software developers to modify the operation of an EOS camera. Most of the attention has been aimed at the movie functions, but there are hacks relating to still photography with EOS cameras. The hacked firmware is usually available for free download. Enter canon eos firmware hacks in a search engine for more information.

EOS magazine online


Your gateway for all things EOS

Is it legal and safe?


Magic Lantern (www.magiclantern.fm) is one of the best known suppliers of modified firmware for EOS cameras. They say that their software is reverse-engineered and contains no Canon code, so should be legal. Magic Lantern firmware runs from the media card and operates alongside Canons firmware, but it does change camera settings. No warranties or guarantees are provided. If the firmware damages the camera in any way that requires a repair, it will probably void the Canon warranty, though we have not heard of this happening. Use it at your own risk.

news
from Canon

shop

EOS accessories, gadgets, books & DVDs


For sale

system
Entire EOS system

classifieds

5 This screen shows the progress of the update. It only takes a few minutes. Take note of the warning!

6 The camera confirms that the update is complete. Press the SET button to return to the normal camera screen.

Buy and sell second-hand equipment, only for subscribers

forum

Join the conversation and meet EOS enthusiasts

7 Turn the camera off and remove the battery for a few seconds. The new firmware takes effect after the battery has been reloaded and the camera turned on again.

50

Reproduced from EOS magazine October-December 2012

www.eos-magazine.com

Questions and answers

Q&A
A selection of photographic questions submitted by our subscribers
As a subscriber you can access technical support by letter, phone or email. Ask a question and one of our EOS experts will answer your query.
NINA BAILEY

How to get published in EOS magazine


LEE BEEL

Above The Magnify button on the back of the EOS 1100D.

Zoom button

I recently bought an EOS 1100D. I have tried zooming with the zoom button on the camera, but when I shoot the picture is taken unzoomed. How do I set the camera so that the zoom stays zoomed? The EOS 1100D does not have a zoom feature. Neither does any other EOS camera. If you have a zoom lens fitted, you zoom by turning the zoom ring on the lens. You are probably using the Magnify button (top right of camera back). When you are shooting in Live View mode, the magnify button enlarges the image on the camera LCD monitor by 1.5x to 10x. However, this magnified image only allows you to check the detail and focus. It does not affect the size of the image recorded by the camera. Once you have downloaded an image file to a computer you can use an imaging program to crop and trim an image, giving the effect of an extended zoom.

Scanner driver

I am trying to get a Windows 7 driver for the Canoscan 9950F. I have phoned Canon and they tell me they dont do one. Is this correct? Yes. Our office scanner is an Canoscan 9950F and this stopped working when we updated our Macintosh operating system to OS X 10.6. Canon no longer supports this scanner, but we got it working again with VueScan. See: http://www. hamrick.com/

Left and above These two photographs show the effect of shooting with and without flash. The images are technically good, have a subject which fills the frame and the background is not distracting. They are just the type of comparison photographs we publish in EOS magazine.

Disk versions

Lens choice

If you could only own one lens, which would it be? Ask 20 photographers and you will receive 20 different answers. Here at EOS magazine one of the most-used lenses is the EF 100mm f2.8 Macro the latest version is the EF 100mm f2.8 Macro USM. It is a true macro lens, which means it focuses down to give life-size (1:1) magnification. It also focuses out to infinity, making it suitable for a wide range of outdoor subjects. As a short telephoto lens it is perfect for traditional portraiture. The wide f2.8 maximum aperture gives a narrow depth-offield, but you can stop down to f32 for a wide depth-of-field. A good all-round lens.
TREVOR PAYNE

The EOS 60D was introduced in autumn 2010 whereas EOS 7D was introduced a year earlier in autumn 2009. I purchased an EOS 60D in November 2010 it came with EOS Digital Solutions Disk version 23. I purchased an EOS 7D in February 2012 it came with EOS Digital Solutions Disk version 22.4. Are versions of the solution disks different for different models?Should I use version 23 or version 22.4 for the EOS 7D? If version 23 is the latest, why was version 22.4 provided with EOS 7D in 2012? The EOS 7D is the earlier camera, so it has the earlier EOS Digital Solutions Disk. The disks are packed with the camera as it leaves the factory, not as it is sold. The Canon software on the disks is compatible with the EOS camera it is supplied with, plus all preceding EOS models. So install the disk supplied with the EOS 60D and the software will be compatible with the EOS 7D as well. If you buy a later model, it might not be compatible with previous software new features of the camera might require updated software. However, there is no need to install the software from the new disc. You can download the latest updates from: http://software.canon-europe.com/ These updates might be later versions than the software on the disc supplied with the camera. Discs packed with the camera can be many months old by the time they reach you. It is worth checking the latest versions on the Canon site from time to time. Software is often updated with new features (see Software Review, page 64).

Copyright practice

How do I register copyright in the photographs I shoot? If you live in the UK, no action is needed. You automatically own the copyright to your images from the moment you shoot them. Some photographers use the copyright symbol to reinforce their ownership when images are printed or published, but this is not a legal requirement. If you upload images to websites or social media pages there is always a risk that someone will steal the pictures for their own sites, or even for commercial use. Some photographers place a watermark across the image to deter thieves. We use a program called iWatermark Pro which, despite the name, is available for Mac OS X and Windows. iWatermark Pro works as a standalone application or within iPhoto and Aperture using plug-ins. Find out more at: http://plumamazing.com/mac/iwatermark/ We have used a strong effect in the example above to make it stand out, but the results can be much more subtle, discouraging unauthorised use of the photograph without completely ruining the image. You have control over the wording, the size of the type, the style, transparency and the position. You can also batch process folders of images with watermarks, saving a lot of time. Watermarking is not for everyone, but it is a quick and simple way to provide some protection for your images in vulnerable situations.

Have you noticed how the same names keep appearing alongside photographs published in EOS magazine? Lee Beel, Trevor Payne and Billy Stock come to mind, but there are others. Do we have a special arrangement with them for supplying images? No, they submit work for our picture library just like any other photographer. The difference is that they have taken the time to study EOS magazine and worked out the type of photographs we use. It is quite simple, really. We like to see comparisons. Take a look through this issue and you will find them all over the place. How do you demonstrate the effect of a filter? By showing one photograph taken without the filter and one with the filter. With and without comparisons work with close-up lenses, flash, lens hoods and much more. Then there are the comparisons between different shutter speeds, apertures and white balance. Recent EOS models allow you to add creative filter effects in-camera, but we have received very few images showing the before and after results. The actual subject of a photograph is less important to us than the lens, accessory or technique use to create the image. You dont need to travel the world to impress us with your images. Many of the shots we use could have been taken locally to the photographer and probably were. Take a look at our current photo requirements posted on the forum at: www.eos-magazine-forum.com

LEE BEEL

Above Lee Beel appreciates that magazines might be looking for an image which will fill a particular space sometimes horizontal format, sometimes vertical. So he often submits the same subject in both formats. It takes very little time to shoot the extra image, and it can result in another sale.

Above An image shot with the EF 100mm f2.8 Macro lens

52

Reproduced from EOS magazine July-September 2012

Reproduced from EOS magazine July-September 2012

53

Comment and opinion

Forum
Join the conversation at www.eos-magazine-forum.com
ANDY LESLIE

static charge on the sensor when the camera is switched on. Removing the lens allows dust into the camera and this is attracted to the sensor. Again, at EOS magazine we change lenses with camera switched on and have not suffered any bad consequences. Mostly, though, we are changing lenses in areas which are relatively free of dust. We would be more careful outdoors in windy conditions. Another point thrown up by this thread is that some photographers turn their cameras off between exposures. This is not necessary and could lead to missed shots as the camera takes time to start up again when switched on. We try to remember to switch the camera off when it is put away, but that does not happen every time either. However, there is no need to change habits of a lifetime just because another photographer does things differently. If what you do works for you, carry on.

Enjoyed your free sampler? Join us for more


Subscribe and get: Five issues for four in your first year Free full-length Essential Guide training DVD on choosing and using Canon lenses Expert technical advice by phone and email Exclusive subscriber-only offers All for 21.95*
EOS magazine is dedicated to the Canon EOS system. You are guaranteed that every issue is relevant to your photography and will help you take better pictures with your EOS camera or your money back.

Photo thief
One forum member reported that an image he had posted on Flickr is now appearing all over the web without any credit or acknowledgement. Sadly, this is not uncommon. Some people appear to think that because a photograph is on the internet it is in the public domain and can be freely copied and used. Wrong. Laws of copyright apply equally to the web as elsewhere. The problem is that tracking down the culprits is much more difficult. And even if you get your pirated image removed from one site, it will probably reappear on several more. What can you do? One answer is never post online. If you sell your photos, check the security of a site before you post (can you download images from other photographers)? Never e-mail an image to a friend if you think they might post it on Facebook. Otherwise, treat piracy as a compliment someone likes your work!

Switched on?
There is a thread running on the forum which asks if it is necessary to switch your EOS camera off before changing the CF or SD card, battery or lens. Here at EOS magazine we hardly ever do. Thats because we long ago discovered that the camera powers down the moment you open the card or battery cover. Canon has added microswitches to the covers to stop people like us doing damage by forgetting to switch the camera off at the main switch. The important rule to follow is never open the card or battery covers while the red access lamp is flashing. This lamp, situated near the card cover, tells you that data is being written to or transferred from the card. Interrupting this flow can corrupt one or more image files. This is a bad thing. However, the access lamp mostly flashes for a second or less after you press the shutter button. For the rest of the time it is dark, so the risk of corruption is slight. Changing the lens is a different matter. There is a school of thought which says that there is a

Above Forum members have been running an End of Year Showcase 2012. This has been ably organised by one of the members. Voting is now closed, but you can still see entries for a short while at: http://bit.ly/WeEPVf The image above is one of the entries in the Landscape category. Andy Leslie shot it from one of his favourite viewpoints the Pillow Mounds overlooking Carreg Cennen Castle, a few miles from his home in Llandybie, South West Wales. The November sunlight was fading as the autumnal sun sank into the west and he caught this shot, with his favourite combination, an EOS 7D and EF 70-200mm f4L USM zoom with an Extender EF 1.4x attached. The exposure was 1/1000 second at f5.6, ISO 160.

Club directory
The forum is a great place to chat to fellow EOS enthusiasts online, but it can be even better to meet up from time to time. Forum members organise occasional events, but camera clubs are also a great place to get together. EOS magazine is looking for clubs which have a good number of experienced EOS owners among their membership who would will willing to share their knowledge with new EOS owners. If your camera club or society qualifies, send details to editorial@eos-magazine.com and we will add you to the camera clubs page which will shortly be published on our website. Many years ago we supported local groups run by readers. These were less formal than camera clubs, often meeting at a local pub or organising local photo shoots. If you would like to start a local EOS group, let us know (same e-mail address as above) and we will be in touch with further details.

www.eos-magazine.com/dvdoffer or call 01869 331741


Offer only available to new print subscribers. DVD offer not valid for digital edition or app purchases. Cannot be combined with other offers or discounts. Standard T&Cs apply. *Subscription rates - print edition: UK 21.95 Europe 26.95 Rest of world 31.95

Forum statistics
Members: Threads: Posts Top poster: Most replied to thread: Most viewed thread: Most popular category: 1 October 2012 4 January 2013 5893 6241 12,364 13,937 99,317 115,532 colinC with 5702 posts colinC with 6324 posts Family portraits Family portraits Sigma v. Tamron lenses Sigma v. Tamron lenses Landscape photography Landscape photography

54

Reproduced from EOS magazine January-March 2013