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No.1 for canon dslr users

Issue 128July 2017

best dslr for enthusiasts

new canon eos 77D

77 reasons why Canon’s new camera is better than yours!



How to take great

landscape photos


for tips,


& tests

canon school

l Become a

portrait pro

l We answer your

Canon queries

l Master manual

focus easily

To be a good

photographer, you

need to see the shot

in your mind’s eye

Marc Aspland – Sports Photographer




8 all-in-one

travel lenses

pro advice



Capture artistic

portraits on location


Scenic shots

Learn how to take

great landscape shots

this summer – like this

beauty by Francesco

Riccardo! – by following

our ten-step plan on

Page 28

Peter Travers



Summer, summer, summertime… Summer lovin’, had me a blast…

In the summer time, when the weather is hot… there are lots of

songs celebrating summer as it’s such an stimulating and exciting

time of year. When the days are brighter, warmer and longer, it’s also

an inspirational time for landscape photography. As the light is much

more evocative, from sunrise to sunset, it creates so many colourful

scenes worth capturing. To help you improve your summer landscape

photography skills, we’ve put together a tip-packed ten-step plan,

backed up with amazing landscape photography. From page 28.

This issue we fully test Canon’s new EOS 77D. Aimed at enthusiasts

but with features and specs to rival recent semi-pro DSLRs, we reveal

77 reasons why this new Canon camera is better than yours! See page 96

for all the facts and stats, and our final test verdict.

Also inside, our Apprentice heads to some beautiful botanical gardens

with award-winning family photographer Nina Mace to learn how to

improve his portrait techniques (page 8). We have some great and varied

photo projects to try out, from colourful close-ups of tiny pets and using

misty filters for atmospheric seascapes to long-exposure traffic light trails

and ‘ring of fire’ lens flare effects, from page 45.

We also chat to the creative talent that is Marc Aspland, chief sports

photographer for The Times. His eye for an original sports shot has won

him Sports Photographer of the Year award four times (page 64).

Our Guarantee

• We’re the only photo magazine in the

newsagent that’s 100% dedicated

to Canon EOS DSLR Owners so

we’re 100% relevant to your needs.

• We’re 100% independent which

means we’re free to publish what we

feel is best for every Canon DSLR

photographer from beginners to

enthusiasts to professionals.

• We’re Canon enthusiasts and,

with our contributors, we can offer

years of expert photography

experience. We’re always excited

to pass on what we’ve learned.

• We’re more than just a print mag;

you can buy PhotoPlus for

any digital device worldwide

via Apple iTunes, Google Play, Zinio,

Magzter, Amazon Kindle, B&N Nook,

PocketMags or PressReader.

• Our Video Disc has the very best

DSLR technique & Photoshop

video guideS, which can also be

viewed via our digital editions.

• We’re proud to use the World’s

top Canon photographers

and experts. Meet them on page 6.

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




Top 10 tips



Learn how to take your best-ever

landscape photos this summer



20 Inspirations

More fantastic winning Canon

imagery, this time with the theme of ‘shapes’



Summer scenes

With long and dreamy days, the

summer season is perfect for landscape

photography – follow our ten-step plan!


Great subscriptions offer

Don’t miss our exclusive deal where

we’re offering you a Manfrotto monopod

worth £29.95 when you sign up


Photo Stories

This month, a four-page special on

Chris Porsz’s unique Reunions project that

has been over three decades in the making



Next Issue

Find out what new tips, tutorials

and techniques you can expect next month

Focus Point

Have your say on all things

PhotoPlus – or anything else, really. Send

us a letter for the chance of winning a prize

Canon pros

The Apprentice



Award-winning pro Nina Mace teaches

our reader how to take great family portraits

David Noton On Location

He just can’t sit still, this bloke! This

time David heads to rolling hills of Exmoor


The Pro Interview

Pro sports photographer Marc Aspland

on the highs and lows of his career to date


My Kit

Mountain man Markus Rohrbacher

talks about his top gear for Alpine action

Canon SchOOl

Cash with your Canon

80 How to make money from your

Digital SLR Essentials


the easy way to master manual focus



photos – this month, become a portrait pro

Struggling to focus manually? Learn

We answer your tough techie questions

New tests

Gear Update



New gear and upgrades to spruce

up your camera and photography arsenal

Canon EOS 77D test

Find out what we think of Canon’s

new enthusiast camera in our big eightpage

test, plus 77 reasons why this new

DSLR is better than yours!


Mini Test

Is your sensor

absolutely filthy? We check

out six cleaning kits to

make it sparkle


Super Test:


Eight all-in-one wide-angle

to telephoto zooms get our

real-world and lab test

treatment – which is best?


Buyers’ Guide


Every current Canon EOS

DSLR, plus every conceivable lenses

from Sigma, Tamron, Tokina and more



Issue 128 July 2017



7 ways to improve your photography today


Project 1 Fake hazy

landscapes with a little

help from a mist filter

Photoshop elEMEnts


Project 2 Learn how to

capture cute portraits of

your little furry friends


Project 4 Transform passing

vehicles at night into bold

streaks of colour and blur

Photoshop CC


Tutorial 1 How to remove an

unwanted photobomber from

those special photographs



Project 3 Generate circular

lens flare with direct sunlight

and a bit of copper pipe



Tutorial 2 Edit summer

portraits to create a fresh

and sun-kissed look


Tutorial 3 Produce panoramas with Lightroom’s Merge

Panorama command – in just four simple steps


View the viDEO


To view our ‘pop-out’ videos, tap these

badges that appear alongside the tutorials

inside the magazine, or type the link that

appears alongside into your web browser.



The Canon Magazine 5

Meet the team...

Print 18,468

Digital 3,985

The ABC combined print and digital

publication circulation for Jan-Dec 2016 is


A member of the Audited Bureau of Circulations

Who we are, what we do, and our choice content from this issue…

This issue’s contributors…




pro Nina helps

our reader to take better

family portraits with her

expert guidance. Page 8



Not just a cool

dude, Markus

reveals six bits of top gear

he takes on his epic sports

and scenic shoots. Page 76

Peter Travers

Editor • 5D Mark III


“As a dedicated family man, it was

a pleasure to spend a day with

Nina Mace and our Apprentice

taking great portraits on location

using only natural light.” Page 8

Lauren Scott

Staff writer • 7D Mark II


“It was a joy to share my advice in

this month’s summer landscapes

feature, even if I didn’t quite

make it on that exotic trip to the

Caribbean…” Page 28

Rod Lawton

Head of testing • 6D


“Of the two new DSLRs launched by

Canon recently, it’s the EOS 77D

that gets my vote – it’s like

getting the power of the 80D in

a pint-sized package.” Page 96



Staying closer

to home for

once, David pops to Exmoor

in search of rolling hills and

golden light. Page 40



Magic Marcus

reveals several

easy ways to master manual

focus in this month’s

in-depth guide. Page 84




genius James

explains how to take long

exposures to turn traffic

lights into trails. Page 56



Brian solves

more of your

technical problems and

queries with his incredibly

detailed answers. Page 88

Adam Waring

Operations editor • 7D


“As a Bath Rugby fan, it was ace to

see hunky England and Bath fly-half

George Ford grace the opening shot

of our interview with pro sports

shooter Marc Aspland.” Page 64

Martin Parfitt

Art editor • 600D


“I like Chris Porsz’s Reunion photos.

The John Lewis shot is great, but

I remember being asked to move

on if I looked at any toys for too

long when aged 10.” Page 72

Matthew Richards

Technical writer • 760D


“When it comes to convenience and

compact lenses, reviewing do-it-all

superzooms on my trusty 70D for

this month’s Super Test has been

a real eye-opener.” Page 106



The incredibly

talented Marc

reveals how he always

strives to get a unique

sports shot. Page 64



Bonafide clean

freak Ben likes

his kit spick and span – so

was ideal to test six sensor

cleaning kits. Page 104

PhotoPlus: The Canon Magazine

Future Publishing Limited

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Art Editor Martin Parfitt

Staff Writer Lauren Scott

Operations Editor Adam Waring

Head of testing Rod Lawton

Imaging labs manager Ben Andrews

Group editor-in-chief Chris George

Senior art editor Rebecca Shaw


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ISSN 1754836

Our contributors Ben Andrews, Marc Aspland, Joe Branston, David Clark, Ollie Curtis, Peter Gray,

Phil Hall, Marcus Hawkins, Paul Lapham, Rod Lawton, Nina Mace, David Noton, James Paterson,

Matthew Richards, Markus Rohrbacher, Brian Worley






Award-winning family photographer Nina Mace helps

our Apprentice improve his family portrait techniques




Canon pro


Nina Mace


Canon EOS 5D Mk iii

Nina, 40, is a professional family

portrait photographer based in Hemel

Hempstead. She won the 2014 Children,

Family & Lifestyle Photographer of the

Year award with the Guild of Professional

Photographers, and runs Masterclasses

for the Society of Wedding and Portrait

Photographers (SWPP). She offers 1-2-1

mentoring and photography workshops,

details and her stunning portfolio are at:




Paul Lapham


Canon EOS 70D

Paul, 60, is a law lecturer at

Kingston College, and lives in

Richmond. Three years ago he

began taking photography evening

classes once a week. He started

out with a Canon PowerShot

compact but wanted more from his

camera, so he upgraded to a

Canon EOS 70D and hasn’t looked

back. Paul’s into all types of

photography, but wanted our help

to take better family portraits.

The Canon Magazine 9




Nina helped PhotoPlus Apprentice Paul set up

his camera ready to capture family portraits

Paul’s comment

After trying a few

shots of the family’s

two boys together, we got

each one to separately lean

over the back of a park bench

that was perfectly placed for some shaded

light, with a large expanse of sky to look into to

light up their faces and eyes. Nina helped me to

compose the shot so the blurred background

behind is darker to contrast with the boy’s

skin tones and light blue clothing she’d

asked his parents to dress him in.

Av to mAnual mode

“Paul was used to shooting in Av mode, only going

to Manual mode when using lights,” says Nina,

“However, I was keen for him to use Manual so he

could take charge of his aperture, shutter speed and

ISO for more control over his results. I asked him to

set a minimum shutter speed of 1/500 sec to freeze

fidgety kids and avoid motion blur in limbs, and a

wide aperture, such as f/4, to blur the backgrounds,

then adjust ISO to expose for skin tones; on our

overcast day in the shade, this was 400 to 640.”






Canon EF 70-200mm f/4L IS USM

1/640 sec, f/4, ISO400

Warmer whites

“When it comes to portraits, photographers need

to find a white balance to suit their image style. For

me, I set my white balance on my Canon 5D Mark III

to 6400 K – warmer skin tones are my preference,

whether indoors or outdoors. This also means the

white balance stays consistent so images look good

together for client’s galleries. I sometimes even go

up to 8000 K in the golden hour! For Paul’s 70D,

however, we found that 5500 K was much better for

accurate colours that still had warmth, so see what

works best for your camera,” advises Nina.



What is the best natural light?

Nina likes to keep things

simple on location shoots, and

she never uses a reflector, let

alone flashguns. “Avoid direct

sunlight, otherwise you’ll get

harsh shadows and squinty faces,

also avoid top lighting – when the

sun is directly overhead – as it is

during the day in summer,” says

Nina. “The best spots are under

trees in shade, but with diffused

– not dappled! – light. You don’t

want too much shadow though;

you need to find the sweet spot

under overhanging foliage with a

clear section of sky lighting the

face. You want soft light on faces

and so the eyes are bright.”



Ride the


“When shooting,

I tend to leave the

aperture wide open

at f/2.8 and ISO on

100-800, depending

on light levels, then

ride my shutter speed

if the sun is dipping in

and out,” says Nina.

“This can be up to

fours stops difference,

starting at 1/500 sec

and up to 1/4000 sec.

I constantly check

images on the LCD,

adjusting the shutter

speed if I need to.”

Top gear #1

Luxury lenses

Nina uses a range of fast telephoto lenses

to capture her dreamy, atmospheric portraits.

“I carry three main Canon EF lenses: the 200mm

f/2.8L and 135mm f/2L primes, and 70-200mm

f/2.8L zoom – which I keep almost permanently

on 200mm for lovely background separation for

my subjects to stand out clearly,” she says.

The Canon Magazine 11


Top gear #2

Full-frame DSLRs

“The EOS 5D Mark

III is fantastic for

portraiture,” says

Nina: “It’s full-frame,

which helps with beautiful background blur when

I use my telephotos lenses wide open; the image

quality is great, with lovely natural colours; and I

have no trouble with noise, even when shooting at

high ISO settings. I carry two bodies in case my

main camera fails me – it hasn’t yet!”

Autofocus mode

“I prefer to use the AI Servo AF mode

as my family subjects are always moving

around, so use I this focus tracking

method for a better hit rate. I set

back-button focus, then constantly hold

down the (AF-On) button so my camera

is continuously adjusting the focus for

sharp shots,” says Nina.




Paul’s comment

The little girl

was quite shy

so we got her to pick

flowers and she was

much happier. The

shade under the tree has created a lovely

diffused light. The flowers add some

lovely colour to both the foreground and

background, as well as adding depth,

without distracting the eye from our

pretty little subject. I shot this at 150mm,

so knelt down from afar to include some

of the surroundings, and, at f/4, it’s

blurred the background artistically.




Paul’s comment

With the kids

happy, we

brought in mum and dad

for a group shot. We got

them to squeeze in nice

and close, and Nina engaged with them

brilliantly so they have great expressions.

The only thing I’d want to improve on is

the position of the little boy with his body

covered by a flower in the foreground,

but I still think it’s a great shot.



Canon EF 135mm f/2L USM

1/500 sec, f/2.8, ISO400





Paparazzi mode!

Most Canon cameras have two

burst modes; Continuous and

High-speed Continuous, which,

on Paul’s enthusiast-level EOS 70D

DSLR, offers seven frames per

second – ideal for family portraits.

“I encouraged Paul to use the highspeed

burst mode – or paparazzi

mode as I call it! By firing off multiple

shots, it gives you more choice for

successful shots, and means that,

even if somebody blinks or pulls a

face, you’ll likely have a few winners in

each set up,” smiles Nina.



Canon EF 70-200mm f/4L IS USM

1/640 sec, f/4, ISO640

Top Ten




telephoto lens

Use a combination of a wide

aperture and long lens to blur the

background – eg f/2.8 at 200mm.


Paparazzi mode!

Use High-speed Continuous

mode to increase your chances

of capturing great portraits.


Overcast is okay

On an overcast day, the sky works

like a giant softbox – you still

need to avoid top light, though,

so head under tree canopies.


Background checks

Get to know the local countryside,

and where the best photo ops are

– under overhanging trees, with

darker, contrasting backgrounds.


Engaging with subjects

Chat to, encourage, and make

subjects laugh so they’re relaxed

and having fun. Offer direction

on body and hand positions, too.


Read the seasons

Each season, from spring to

late summer, offers different

colourful blossom backgrounds;

from bluebells and wild garlic to

cowslips, rapeseed and poppies.


AI Servo AF

Subjects constantly move so use

this focus-tracking method for

a better hit rate of sharp shots.


Reduce AF points

Nina sets up her 5D Mark iii so

only the cross-type AF points are

active; so she can access them

quicker than using all 61 points.


Green grass of home

Sunlight reflecting off green grass

can make people look like the

Incredible Hulk! Move people to a

different spot so their skin tones

don’t have a green cast.

Removing colour casts

10 But if you do get colour casts, use

Photoshop to fix them selectively

with layers and masks, so

people’s skin looks natural while

the surroundings remain green.



Paul’s comment

For our next set of

family photos, we

moved into the main part of

the park, where we utilized

these lovely long paths lined

with huge horse-chestnut trees. With the

three children huddled together on the

middle of the path, I composed so the path

disappears behind them. The tree created

nicely shaded top light, with sunlight

reflecting off the path just in front of them.

Shooting at 135mm at f/4 has blurred the

background nicely, but not so much

that it’s completely unrecognizable.

Nina entertains the kids to

obtain good expressions for

better portrait shots






Canon EF 135mm f/2L USM

1/500 sec, f/4, ISO400




Top gear #3

Camera bag

“I got this Lowepro

Off-Road LP 106 camera bag

for £10 from a charity shop.

I prefer this shape of bag,

and it’s easy to access all my

kit – with two big lenses in

each end, and a spare body

in the middle. It’s not too

huge, and I can wear it as a

giant bumbag if I want to

commit a massive fashion

faux pas!” laughs Nina.

AF point display

Nina set up Paul’s

camera so he was

using Single-point

AF mode, and got

him to compose

with his AF point

over the subject’s

eyes. “This ensures

sharper shots than

if you focus with the

central AF point

then recompose,

which at f/2.8 can throw your focusing off after the slight

movement as you reposition the camera. I also switched

on AF Point Display, so when you’re reviewing images on

your LCD, you can check to see what you’ve focused on.”

Make the most

of group shots

“When photographing

the family as a group, get

them to squeeze tightly

together for a better pose

and shape that’s not so

spread out. Get the family

to mess about – dad

tickling the kids works

well, rather than posed,”

says Nina. “When in a pile

together, it’s a good

opportunity to grab some

close-up headshots of

each subject, especially

if the kids look more

comfortable sat with the

family so you get better

facial expressions. These

can look nice in blackand-white,

as the faces

stand out against

everybody else’s clothes.”




“I use the back-button

focusing method as I find it’s

faster and more accurate as

I’m constantly refocusing as

families move around and

kids fidget,” says Nina. “In the

Custom Function menu on Paul’s 70D, we set up his camera so the AF-On

button is exclusively used to focus – you need to disengage focusing from

half-pressing the shutter button, so that it’s only used for metering. Once you

get used to back-button focusing, I guarantee that you’ll never go back!”

Top gear #4



“I keep my

memory cards

in this trusty

blue box. As

my 5D Mark III cameras have dual slots,

I use the CF card to record Raws, and

the SD card to record JPEGS as backup.

I rarely look at the JPEGS, but they’re

available should I never need them.

And if a card ever lets me down I’ll bin

it straight way,” advises Nina.






Brilliant professional family

photographer Nina Mace

shares three of her top photos


“One of the biggest challenges

of shooting in bluebells is the

light, so this was shot as late

as possible. I allowed some

movement into the dress by

slowing down the shutter speed.”


“Taken on my 5D Mark III

with the EF 135mm f/2L, I was

experimenting with how much

bokeh I could create at f/2 by

moving my subject away from the

pink blossom tree. To get height

I had her stand on a park bench.”


“I love spring flowers but the

light was very bright on this

session, so I placed my subject

into the tree line to ensure that

she wasn’t squinting. I shot on

the EF 135mm f/2L at f/2.5.”





Paul’s comment

This shot was one Nina had been waiting to get all day – with our subject backlit

by the sun that’s now lower in the sky, while her face is in diffused top light. It’s

so simple, yet so effective, as the rim light around long hair makes her really stand out

from the contrasting background. It was shot on Nina’s 70-200mm lens at the long end

and wide open at f/2.8. Nina suggested a black-and-white conversion; she explained

that by removing any colour the eye is drawn straight to the girl’s face and happy expression.



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

1/500 sec, f/2.8, ISO400







Colour wheel &

clothing choices

Ahead of our shoot, Nina supplied the

families with a Pinterest board for inspiration

on what to wear (https://uk.pinterest.com/


She explained to Paul that, ideally, her family

would be dressed using complementary colours.

“Analogous colour schemes use colours that are

next to each other on the colour wheel. They

usually match well, are often found in nature,

and are harmonious and pleasing to the eye,”

she explained, “Ideally, I choose one colour to

dominate, a second that supports, and a third

colour is then added (along with black, white or

grey) as an accent. The dominant colour is that

of the backgrounds we intended to use outdoors,

so at this time of year it’s green, which means that

blues and yellows work especially well, alongside

neutrals like greys and whites.”



Canon EF 135mm f/2L USM

1/320 sec, f/2.8, ISO400

Paul’s comment

Nina found a great spot where a pool of light was falling

in amongst some birch trees. Shooting at f/2.8 here

has blurred the trees nicely. By getting dad to lift up his son, both

of their faces are on the same level so I could get in closer for

a more pleasing composition. Nina was great at having

fun with them, and her encouragement has resulted in the relaxed poses.

Dress your subjects in shades that sit next to the

dominant background colour on a colour wheel

Posing and expressions

People often worry if

their subjects aren’t

looking directly towards

them, however you can

sometimes capture more

evocative shots by doing

the opposite, as Nina

explains: “Here, you can

see that you don’t always

need people to be looking

down your lens – it works

well when they’re looking

at each other instead, as

if it’s a shared moment,

caught on camera.”

The Canon Magazine 17


Paul’s comment

The sun was much

lower in the sky by

now, and Nina explained this

meant it was softer and more

flattering for portraits. We still

had our family under the shade of trees, and we

sat them on a blanket in front of a patch of yellow

buttercups. The long focal length and wide

aperture has blurred these nicely, as well as

the dark, contrasting green background behind.

As Nina gave them direction and got them

to smile in unison, I captured this winner!

Nina’s verdict

Paul had a good

understanding of his

Canon camera and just need a

little help with finding the best

spots for the best light, and

building up a rapport with people to get good

portraits. He’s put everything he’s learned

together here for a deserved Shot of the Day.

Shooting at f/2.8 for group shots like this is fine

if, as we’ve done here, the family are all positioned

together on same focal plane. The flowers in the

foreground add some colour, and a hint of birch in

the background adds to the scene. Getting the

family in tight together and in a triangle

shape really makes this shot. Well done!



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

1/500 sec, f/2.8, ISO400



Next Month SPORTS


of the


Be our next


Do you need some help to take

your Canon photography to the

next level? Let us know what you’d

like help with and we could pair

you up with a top pro for the day!

Email photoplus@futurenet.com

with ‘PhotoPlus Apprentice’ as the

subject, and include your phone

number and address.

The Canon Magazine 19

Stunning imagery from the world of Canon photography



Fantastic canON photography

01 Spiral staircase to heaven

by Marco Tagliarino

“A canopy located above provided

the necessary light to illuminate this

double helix staircase. Having two

staircases allows people to ascend

without meeting people descending.

It’s located at the end of the Vatican

museum and all visitors leave by this

route,” explains Marco.



Tokina AT-X PRO 11-16mm f/2.8 DX

1/13, f/5.6, ISO640

The Canon Magazine 21



02 Grater by Richard Sayles

“This is a shot of the Cheese Grater

car park in Sheffield, UK,” says Richard.

“It sits in the middle of the city centre.

I decided to get right up to the building

to try and accentuate the shapes and to

capture the building differently.” By getting

close and shooting upwards he has created

a wonderfully abstract image that has the

viewer questioning the sense of scale.



Tamron af 18-270mm f/3.5-6.3 Di ii VC ld [IF] Macro

1/1000 sec, f/4, ISO400

03 dry Land by Sigal Cohen

The composition, with these fish breeding

pools stretching into the distance as far

as the eye can see, combined with the fact

that the shot is sharp from front to back

thanks to the depth of field afforded by the

narrow aperture, shows good technical

ability. But what intrigued us most about

this image was that these strange circular

shapes were naturally formed.



Canon ef 24-105mm f/4L IS USM

1/250 sec, f/13, ISO250

All the images in this gallery

were entrants to the

PhotoPlus ‘Shapes’

competition hosted on

Photocrowd – a website

where a public vote on the

best-liked images is pitted

against expert opinion.

To enter our current contest,

and vote on your favourite

photos, simply visit


03 04



Fantastic canON photography

04 Power by Mark Chamberlain

“I’d had a vision of this image for months,

but trying to get the symmetry right was

the most difficult,” Mark says. “The cloudy,

windy day gave the perfect chance for a

long-exposure shot.” Mark converted his

power pylon shot to black and white using

Silver Efex Pro.



Canon ef-S 10-22mm f/3.5-4.5 USM

31 secs, f/11, ISO100

The Canon Magazine 23





Fantastic canON photography


05 Sphere collection by Paul Nash

“I shot this group of spherical objects

combined, as I wanted to make a single

image that fascinates and reminds you of

the old Victorian collectors,” says Paul.

“This still life stimulates the imagination

and makes you wonder about such an odd

combination of objects.”



Canon ef 100mm f/2.8 Macro USM

1/250 sec, f/25, ISO100

06 denkmal by Stefan Nielsen

This shot is a great example of how

effective repetitive architectural

patterns can be when they’re used as a

compositional tool. Stefan took the image

at the Holocaust Memorial in Berlin,

Germany, and used a focal length of

105mm to compress the perspective.




Canon ef 24-105mm f/4L IS USM

1/500 sec, f/7.1, ISO200

07 frozen bubble by Zeltner Evelyne

“I shot this soap bubble resting on a frozen

surface at sunrise,” Zeltner says. “The

most difficult part was to deposit a bubble

on the frozen surface without it bursting.

The walls froze in seconds to create

beautiful patterns.”

All the images in this gallery were entrants to the

PhotoPlus ‘Shapes’ competition hosted on Photocrowd – a

website where a public vote on the best-liked images is pitted

against expert opinion. To enter our current contest, and vote

on your favourite photos, simply visit




Canon ef 100mm f/2.8L Macro IS USM

1/400 sec, f/7.1, ISO100

The Canon Magazine 25



08 lines and Repetition by Humphrey

We loved Harvey’s front-on capture of

the NYC Fashion Institute of Technology.

Filling the whole frame with repetitive

patterns makes for an abstract result, and

enhances the striking tones. Parallel lines

are comforting to the eyes, and Harvey has

recognized this with his composition.

Each issue, our favourite

image wins a Manfrotto Pro

Light RedBee-210 backpack

(worth £140), and a

selection from our top ten

choices will be printed in

these gallery pages.




Canon ef 16-35mm f/4L IS USM

1/640 sec, f/4, ISO100

09 la Pyramide Inversée

by Mark Krutiak

“I had to use a long exposure – with no

tripod – to make the afternoon crowds

disappear,” says Mark. “My camera was

placed on the floor and a 10-stop ND filter

was used.” By blurring out tourists, our eye

focuses entirely on the haunting shape of

the Louvre’s skylight.



Canon ef 17-40mm f/4L USM

30 secs, f/10, ISO100






steps to




With long and dreamy days, summer is a fantastic season for

photography – follow our 10-step plan for your best captures ever!

30 Gear up!

Get kitted out and make

a plan of action

32 Use the whole day

Shoot from dawn till dusk

and tackle tricky lighting

34 Embrace bad weather

Keep at it, even during

stormy conditions

36 Nail your exposure

Capture high-contrast

scenes with success

38 Be different

Change your perspective

for a new view



Summer landscapes


The Canon Magazine 29




right kit

For the best chance of success you

need to look, feel and dress the part

Donning the trendiest outdoor clothing won’t elevate your

photography, however it does pay to invest in some practical

outdoor garments. The right clothing will protect you against

the elements and enable you to shoot for longer in comfort.

Summer isn’t always sunny, so think about dressing for wet and

stormy weather, as well as heat and humidity. Whatever your

budget, opt for versatile, water-resistant and lightweight clothes.

Look at how well ventilated they are and whether they can be

packed away in a camera bag. Pockets are a great asset too,

providing easy access to filters, cards and smaller lenses.


& sunny


A standard baseball

hat will keep the sun off

your head at midday.


A good waistcoat or

gilet will protect you

from sun and wind, and

provides easy access

to kit. This Páramo

Halcon Waistcoat is

ideal for warm weather

shooting, and has 12

pockets to stash stuff.


Base layers should be

stretchy, fast-drying

and lightweight.

Opt for breathable

materials, such as

cotton, or technical

fabrics with sweatwicking



Bottoms should help

you stay cool but

provide protection

from UV and insects.

These Atca trousers

can be worn cropped

or full length.





Camera kit



The equipment you’ll

need to get started

• Canon DSLR

• Wide-angle lens

• Comfortable bag

• Waterproof bag cover

• Sturdy tripod

Handy extras

• UV filter

• Polarizing filter

• Lens cloth

Dark &



You might want a

warm hat for early

morning shoots,

or to give protection

in strong winds.


There’s no point in

keeping kit dry if you’re

so wet and miserable

you can’t concentrate.

A waterproof jacket

or coat is essential

for rainy conditions.

This Páramo Velez

Adventure Light

Smock is waterproof

and breathable in

humid weather, but

only weighs 575g.

Some companies,

such as Páramo



outdoor garments

specifically with

photographers in

mind. They’re often

worth paying a bit

more for, as they’ll

last you for years

and make shoots

more comfortable.



Summer landscapes




Where can you look for new shooting locations?

Be inspired, but try to be original too…

The world is a big place, so it’s best to have a rough shooting

area in mind when you start your research (whether this is a

holiday destination, or somewhere closer to home). Your local

area might seem dull and familiar, so try looking at it from

another point of view. What spots would you recommend to a

fellow photographer if they were visiting? If you’re able and

willing to head somewhere more exotic, you can glean location

ideas from travel brochures and guides. Make use of online

photo communities for inspiration too. The Flickr World Map

(www.flickr.com/map) allows you to scroll around and find

photos that have been uploaded and geotagged, and you can

enter your own location to narrow the results down. 500px

(www.500px.com) is a stunning inspiration source, but don’t

feel like you have to travel to far-flung places for great results!

It’s easy to get carried

away with wanderlust.

Scale back shoots to suit

your budget and time


Do your


The Photographer’s Ephemeris is

available as a desktop or mobile

app (www.photoephemeris.com)

Traditional maps, such as Ordnance

Survey, provide a helpful overview of

an area and highlight other picturesque

spots that might be nearby

Francesco Richardo

Make use of popular apps as well as traditional

maps to make your pre-shoot preparation count

Forward planning is key for landscape photography, as

you’re reliant on the weather and light direction being just right.

By researching locations thoroughly at home, you’re more likely to be

rewarded with favourable conditions when you arrive with your camera.

The Photographer’s Ephemeris (TPE) and The Photographer’s Transit

(TPT) are two apps that are ideal planning companions. TPE displays

how the light will fall on the land at any time of day in any location, so

why not use it to work out the time and direction of sunrise and sunset

in your chosen spot? TPT also provides a great way to check if your

planned focal length will capture your scene effectively. Don’t neglect

paper maps – as well as Google maps – in your logistical quest. Although

they’re not as pocketable as a phone, they can be spread out on a table

to really help you visualize a landscape in more detail.

The Canon Magazine 31



Use the

whole day

There’s more to shooting in the summer

than getting up early and staying out late

The great thing about shooting in the summer

months is the long days and amount of daylight

available for you to take advantage of. During the day,

however, metering can become tricky. Have you ever

looked onto a glimmering ocean view, gone to capture

it with your camera, and been disappointed by the

result? This is because the human eye can see the

equivalent of about 14 f-stops of dynamic range, while

Canon DSLRs are limited to around eight. Don’t be

disheartened though. As long as you choose the right

subject to photograph (under the right conditions), the

season can be just as rewarding as any other. Here,

we’ll encourage you to use the whole of the day

– including in the harsh, high and bright midday light.

You could try to shake up your composition to avoid

contrast completely, or use shade to your advantage.

It’s time to make friends with midday…

Shooting summer scenes

with a longer focal length

simplifies the composition.

Excluding a bright sky can

make exposure easier, too

Sunrise Midday Sunset

Early-morning light tends to be cooler. Arrive at

least 30 minutes before actual sunrise to set up

Light in the middle of the day often makes

landscapes look a bit flat and two-dimensional

Late evening light leans toward pleasingly

warm colour casts of orange and red



How to shoot a sunrise

The reward of capturing the sun rising over the

horizon almost always makes up for the lack of sleep.

Research carefully to check the direction of sunrise,

and scout your location beforehand so you can set up

a good composition without faff. Arrive in plenty of

time, and mount your camera onto a tripod. Opt for

a low ISO, an aperture of around f/8-f/11 and a longer

shutter speed to compensate.


Morning light is cooler

in tone, so you might

want to set the white

balance to Shade


Summer landscapes



The Sunny 16 rule

The Sunny 16 rule is a way to meter for a

correct exposure during the middle of the day

without using your Canon’s light meter. The

basic idea is that, in daylight at an aperture of

f/16, the correct exposure can be achieved with

a reciprocal shutter speed to the ISO speed

you’re using. For example, ISO200 would

require 1/200 sec. As the conditions change,

you simply alter the aperture. Use this table as

a guide and try it out on your next shoot. Even

the most sophisticated camera meters can be

fooled in certain conditions, so this is a handy

concept to keep at the back of your mind.



Francesco Richardo



At midday

Be patient. A passing cloud

can be enough to soften the

light hitting the landscape

On a lovely sunny day, shooting at noon can be a photographer’s worst

nightmare. It’s the time when the sun is highest in the sky, and this generates

high contrast between the foreground and the sky. If you meter for the land,

you’ll usually find the sky is completely blown out, whereas exposing for the sky

leaves the land too dark. If you have to shoot at midday, try ditching the wideangle

lens and zoom in on the scene with a telephoto lens. This way, you’ll

eliminate the large amount of contrast that’s evident in broader shots, meter

more effectively, and give the viewer’s eye something to focus on.



Slightly Overcast


Use shade

If the midday sun is too high for your

DSLR to handle, move to a spot of shade.

This could be under a palm tree (if you’re

lucky!) or building. Try not to worry

about how ridiculous you might look

crouching down in bushes. Shaded light is

softer, shadows are weaker and the

contrast is lower. If you’re completely in the

open and can’t get around it, make use of your

lens hood to avoid flare and glare.



Heavily Overcast

Open Shade/


Your ISO and shutter speed should be

reciprocal for the correct exposure

The Canon Magazine 33




bad weather

Too inclement to go out shooting? Change your outlook for moody results

Framing an image with summer

flowers in the foreground will

draw the eye into a murky scene

There’s no such thing as bad weather

(for landscape photography, at least).

Even in the rain, it’s possible to capture

stunning images that still have a hint

of summer about them. Try to include

seasonal clues in the foreground of

your images, such as floral details or

vegetation. Poppies and sunflowers are

quintessential summer blooms, which

will add a bold splash of colour. Despite

its sunny disposition, the summer season

also has a darker side – thunderstorms.

Lightning presents dynamic photo

opportunities, but only if you can capture

it quickly enough. The specific camera

settings needed depend on the time of

day and your location, but as a general

rule, set your lens to manual focus and

focus it at infinity. In Bulb mode, start

with an aperture of around f/8 and ISO

of 100. Then, keep the shutter open long

enough to capture the strike!



I’m shootin’ in the rain

When yOU get caught up in a rainstorm, start shooting immediately after the

rain stops. As the sun emerges and peeks through darker storm clouds, you’ll be

presented with stunning photo opportunities. Clouds after rain are very dramatic,

and the still air will give way to pristine reflections in puddles. In torrential weather,

though, don’t get carried away and damage your kit in the process. Many camera

bags come with a waterproof cover, so use them if it really starts to pour down.

You can protect your lenses to a certain degree with a lens hood, but it’s worth

investing in a basic rain cover so that you can carry on shooting, even in storms.

Dress you

– and your

camera – for

the weather


Summer landscapes

Cliff-sides are striking on a sunny day, when

foliage contrasts with the sea beyond

summer scenes

to photograph

We couldn’t tackle the season

without exploring the coast, but we will

try to take you beyond stereotypical

seaside scenes of hot beaches…

Waves are great fun to dive into with a camera

(inside a waterproof housing, of course!)

Coastal fishing villages perched on the edge

of the water have a quaint, summery charm

Francesco Richardo

Francesco Richardo

Francesco Richardo

Hit the coast

Go beyond traditional beach images

6next time you’re beside the seaside

Piers and groynes make striking subjects. Try

a central composition for an abstract result

Summer days can seem endless and dreamy,

reminiscent of childhoods spent roaming the beach

under a hot sky. A wide-angle lens is the go-to choice for

photographing coastal scenes, and even a kit lens can be

put to good use here. Don’t feel limited to these expansive

views of sand and sea, though. Why not use a telephoto

lens to hone in on footprints in the sand, or boats bobbing

about on a sparkling ocean? The light quality can indicate

to a viewer where and when an image was shot, so you

don’t always have to include obvious visual clues.

Wider scenes, with the sea in the background,

look punchy when shot with a polarizer

The Canon Magazine 35


7Nail your


Heed these hints and tips to really get

the most from tricky lighting situations

It would seem as if everything is on your side in summer:

fair weather, clear skies and long days. However, as soon as the

sun does rise, it rises high and fast in the sky. The morning

shadows quickly retreat, and this diminishes any sense of depth

in the landscape. At the same time, contrast can be a big

challenge for accurate exposure. There’s nothing inherently

wrong with photographing in high-contrast

conditions, but they can be very hard to

meter for. In an Evaluative metering

mode your Canon’s meter will

measure the light intensity across

the whole frame, then come

up with an average value.

In bright, contrasty conditions,

this often renders your actual

subject too bright or dark. If

you switch to Spot or Partial

metering mode, bear in mind

that you’ll need to be able to judge

tones accurately to get the most

from them. Follow the three step

tutorial, below, to take back control of

the way you expose such scenes.

Francesco Richardo

High-contrast scenes

Try taking several readings then shoot with the average

01 camera settings

Switch to Manual mode for full control of

your exposure and Spot metering. Dial in

your desired ISO and aperture. These

values will depend on the scene, but

start at around f/10 and ISO200.


01 take the readings

Use a manual AF point selection, and

start by positioning the focus point over

an area of shadow. Note the given

shutter speed. Repeat this step to meter

the brightest point of the scene.

01 find the average

Find the middle shutter speed between

the two readings. For example, between

1/160 sec and 1/640 sec would be

1/320 sec. Shoot at this exposure and

then review the image histogram.


8 Filters

High-quality filters are a must-have accessory

for improving your landscapes in-camera. When used

properly, a filter not only enhances scenes, but saves

you time editing your shots later, and is also useful for

protecting your expensive lens’s front element from

accidental damage. We’ve listed the most important

filters for photographing summer landscapes below,

explaining the conditions where you’ll want to use each

one. Companies like Lee Filters (www.leefilters.com) offer

premium options – at premium prices – but choose a filter

system that matches your budget.

Summer landscapes

Know your ND from your UV? Here’s

our quick guide to using filters

Ultraviolet filter

A UV filter is often overlooked, but as ultraviolet

radiation can create haziness in photographic

images it’s a handy accessory to keep on your lens

in summer. UV radiation increases with altitude, so

use a filter if you’re going to be climbing. A UV filter

also protects the front of a lens – it’s a lot cheaper

to replace a filter than a scratched front lens element…



High-contrast scenes can play

havoc with your metering when

using Evaluative mode

Avoid dust spots

Dust spots become very obvious when

you’ve stopped down to narrow apertures

(higher f-numbers) and are shooting a bright

sky. Make sure that your lens, filters and sensor

are clean. This way you won’t spend hours

removing dust spots in post-processing.

Neutral-density filter

Neutral-density filters, such as the Lee Big Stopper,

reduce the amount of light entering the lens across

the whole frame. This means you can use much

slower shutter speeds than normal. Attach a 10-stop

ND filter if you want to use a wide aperture, or really

long exposure for creative effect on a bright

summer’s day, such as blurring moving water.

Graduated neutral density filter

Graduated neutral density filters have a dark or grey

coating at the top, and blend to clear at the bottom.

By placing the dark part over the sky, you can bring

its exposure value closer to that of the landscape

below. This filter therefore becomes very useful

when you’re shooting very bright skies against a

darker foreground, and you need to balance the two.

Circular polarizer

A polarizer is highly effective on sunny days, adding a

rich and velvety quality to blue skies. Once attached

to your lens, simply rotate the front section to

increase or decrease the effect. A polarizer will also

boost contrast on damp, overcast days. On a shoot,

you can judge the strength of the effect by rotating

the filter slowly as you look through the viewfinder.

The Canon Magazine 37


9Be While a warming summer landscape is pleasing to the eye, there’s

always scope to try something more dynamic. We’ve already touched

upon using a telephoto lens to compress the perspective of the

landscape, but bear in mind how your shooting angle also effects the

result. Crouching down low in foliage or flowers gives a much more

intimate feel. So, too, does widening the aperture and throwing the

background out of focus. For a really drastic feel, give infrared a go.

Blue skies and fluffy white clouds look great with this effect, as the

harsh and contrasting sunlight creates a surreal, bleached look.


Take an alternative approach

to your seasonal image-making



Try infrared

The easiest and cheapest way to get

started is to attach an infrared filter

to the front of your lens.

You won’t be able to

see anything through

the viewfinder once

it’s screwed on,

so it’s best to

compose the scene

first. Where

possible, look to

include plenty of

greenery in the frame.


Francesco Richardo

Get abstract

Don’t be scared to

fill the frame with

land and ignore the

sky completely.

With a longer lens,

use repetitive lines

to lead the eye into

the composition.

Francesco Richardo

Include people


figures in the

landscape works

to add depth and

interest. In vast

expansive scenes,

it also adds a muchneeded

sense of

scale to the view.



Summer landscapes


Follow these quick tweaks to really polish off your shots

WHEN you find yourself shooting in

bright sunlight, a good technique is to

underexpose slightly so that you retain

highlight detail in the skies. As you can

see from our starting shot, however, this

approach often renders the overall shot

very dark, drab and dull. The good news

is that it’s easy to liven up the final photo

when editing, even just with a few quick

tweaks to the highlight and shadow

levels, to recreate the gorgeous summery

scene that your eye saw in a jiffy!


Edit to





Camera Raw methods

Shooting your landscapes in Raw mode

gives you a fully uncompressed file or ‘digital

negative’ to work with when it comes to the

editing stage, and any changes you make can

be tweaked again later. Photoshop’s Adobe

Camera Raw plug-in is a good place to start…

FIRST tweaks

Open the image up in Adobe Camera Raw and

begin with general changes. To start with, we

brightened up the exposure and shadows

BOOST the sky

Make use of gradient filters to boost selected

portions of the image. Here, a filter was

dragged across the sky to add saturation


We transformed this flat landscape shot by

boosting the shadows and vibrancy levels

Use a Tone Curve and add points for a more

targeted edit. We lightened the highlights and

shadows again slightly to liven up the shot

The Canon Magazine 39


Exmoor Gold

Bossington Hill, Exmoor National Park, Somerset, England. 20:52 local time. 19 August 2013

On the rolling hills of Exmoor in late summer, and

David Noton is wondering: How low can I go? What

degree of motion blur? And why is my back killing me?

The rolling hills and moorland of Exmoor National

Park come alive with colour in late summer. The

purple and mauves of the heather and the bright

yellow of the western gorse mix with the gold of

the long dry grass in an explosion of colour that

defies belief, especially when bathed in the low

warm light of a summer’s evening. Contrast all

that with the lush green of the valleys below and it’s a scene

that pulls me back time and again.

I’m crouched by the low tripod, straining with a protesting

spine to see the camera back. With such a low viewpoint

composing is tricky, I wish my 5D Mark III had a flip-out screen.

I know why it doesn’t of course; too flimsy for a pro-spec body,

it wouldn’t last a month on the road in

Australia. Except I’m not in Karajini, I’m

in Somerset, and my back is killing me.

Well, we have to suffer for our art

I suppose, and we all know the

advantages of getting low; a whole new

world of compositions opens up. Here the

front element of my tilt-shift lens is just

millimetres from the bell heather, I’ve

a little bit of droop tilt dialed in to

optimize my depth of field, and the

light is just getting better and better.

After much grunting I’m happy with

my composition. It will be one of those

images with almost infinite depth made

by the strong foreground interest, but the

patchwork of fields below and the interest

in the sky are also key. A strong breeze

is blowing; rendering the swaying grass

sharp will be nigh-on impossible, so as

I can’t fight Mother Nature I might as well

join her and go for some motion blur.

The big question is how much?

I reach for my polarizer; with the angle

of the light as it is sidelighting the scene

it will really saturate the colours of the


Pro travel & landscape photographer

David is an award-winning Canon

photographer with more than 30 years’

professional experience. During his career

David has travelled to just about every

corner of the globe. In 2012, Canon invited

him into its Ambassador Program by

designating him an Official Canon Explorer.

Info and photos at www.davidnoton.com

heather and make the blue in the sky pop. The problem is,

however, with such a wide angle of view its effect on the sky

will not be even, producing an unsightly donut effect. I think

though there’s just enough cloud in the sky to mask the effect;

it’s got to be worth a go. Now I need to consider additional

filtration; having decided to let the grass sway while my shutter

languishes open I could opt for an exposure stretching into the

minutes if I deploy my Lee Filters 10x Big Stopper, or I could use

the 6x Little Stopper, or a more modest 0.9 (3x) neutral density.

Which to go for?

It’s easy to fall into the trap when considering motion blur

to assume that the longer the exposure and the more blur the

better. Breaking waves, bending trees, babbling brooks, swaying

grass, streaking clouds all take on a

dreamy look with long exposures. But

here on Bossington Hill I’m looking at

those traces of high altitude cirrus in

an otherwise unbroken blue sky. They

are artful; I want them in my shot.

Skies make landscapes, it’s as simple as

that. I know if I now fit the Big Stopper

and leave my shutter open for some

90 seconds they’d be rendered as

indistinct streaks, barely visible. No,

I want motion in my foreground, but

not in the sky, meaning an exposure of

just a few seconds is called for. I reach

for my 0.9 ND; combined with the

polarizer and an aperture of f/16 it’ll

do the job. I shoot a test frame, adjust

my exposure using the histogram

display, double check-focus and depth

of field again, and press the button on

my remote release. The light will only

continue to get better, but that cloud

will soon drift out of frame. Now is

my decisive moment.

Next month Canada




Coastal heath on Bossington Hill in late

summer, with Dunkery Beacon beyond



Canon TS-E 17mm f/4L

5 secs, f/16, ISO100

As I can’t fight

Mother Nature I might as

well join her and go for

some motion blur



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The Canon Magazine 43

canon skills

Sharpen up your photography skills with

our all-new photo projects and expert guides

Lauren Scott

Staff Writer



hello! Photography, as

you’ll have heard a million

times, is all about light. The

best pros can enhance

lighting conditions with their

own special tips and kit, and

as usual we’ll be showing

you how to do the same.

First up we’ll be at the

beach, using mist filters to

add mood to early morning

scenes. For something

closer to home, why not

work with a Speedlite and

focus on your furry friends

in our pet portrait project?

Later in the day, discover

how to add romantic rings

of flare to your portraits.

Then, once the sun has truly

set, there’s a project for

turning passing cars into

terrific traffic trails.

We haven’t neglected the

editing tutorials this month:

’tis the sunny season, so

learn to edit your daylit

portraits with ease; remove

unwanted people from

friends and family groups;

plus, use Lightroom to

merge shots for stunning

panoramas. Get out (or stay

in) and work that light!

New projects with video guides

Follow our Canon DSLR walkthrough guides and Photoshop editing videos

Misty minimalism

46 Fake hazy landscapes and

add mood and atmosphere with

some help from a special mist filter

Play with traffic

56 Transform passing vehicles

into bold streaks of colour with this

simple long-exposure technique

Cute pet portraits

50 Use a Speedlite to capture

cute and colourful portraits of your

favourite little furry friends

Remove distractions

58 Unwanted people driving you

to distraction? Remove a photobomber

from your special shots

Produce a panorama

62 Discover how to create truly epic landscapes by stitching images

together into a panorama with Lightroom’s Merge Panorama command

Ring of fire faces

52 Want to make better use

of bright sunlight? Grab a metal pipe

and introduce creative lens flare

Edit sunny portraits

60 We show you how to boost

your summer portraits and come

up with a fresh sun-kissed look

View the videos

Whenever you see

this icon you’ll find

an accompanying

video – tap the

link and the video

will ‘pop-out’ of

the page (as long

as you have an

internet connection).

You can also download

project files to your computer.

View the video

The Canon Magazine 45

Video also online


view the video

Project 1

The Mission

Use a mist filter and

blend the sea into

the sky for

minimalist images

Misty minimalism

Lauren Scott simplifies the frame by using specialized filters

Time needed

1 hour

Skill level


Kit needed

Lee Mist Filter Set

• Tripod

Shooting in foggy and

murky conditions can

help to isolate subjects

and add atmosphere to

landscape shots. Mist lends

itself perfectly to fine art, abstract

scenes where the composition is

purposely pared down to create a

simple and soothing frame. That

being said, you can meticulously

plan a landscape shoot for mist,

only to find out that the weather

has other plans. Don’t despair if

you turn up to your chosen

location and find the conditions

wanting. Here, we’ll show you

how you can use specialist filters

to achieve a sense of space and

simplicity in your frame.

It’s possible to add misty effects

in post-production, but the results

are rarely as convincing as if you’d

shot them in-camera. Mist filters

may sound like a gimmick, but

they’re professional accessories

that you use in the same way as a

polarizer or neutral density filter

to enhance scenes while shooting.

The set we’ve tried came from

Lee Filters (www.leefilters.com),

and there are three different

options you can choose from.

We started off with the Mist stripe

filter – this one is excellent for

placing on the horizon and

blending the sea into the sky for

subtle, abstract landscapes. Pop in

a filter, follow our easy shooting

and editing tips, and mystify

yourself with these gorgeous

abstract results. Then, when the

mist you had hoped for doesn’t

materialize, you won’t be left

feeling gloomy (or without any

decent shots)…



Mist filters

Filter options to get misty-eyed

Looking for special effects that still look natural? Check out these glassy accessories

There are three different types of

filters in this particular set, and they can

be used either alone or stacked upon one

another. Of course, the setup you choose

will depend on the desired density and

the scene in front of you. To get started,

it makes sense to scout out a shooting

spot. Waterside locations, such as lakes

or beaches, make a great choice, as you

want to avoid making your photos look

gimmicky. These areas are where mist

and fog would naturally gather, and the

horizon lines found at the beach also suit

the stripe across the filter. For our shoot,

we headed out to the seafront in the early

morning. It doesn’t matter if the skies are

clear or cloudy – great results can be

found in both conditions.

Quick Tip!

These filters

aren’t limited to

landscapes. Try

using the Clear

Spot Filter to add

a vignette to


01 Mist Clear Spot

The clear spot on this filter is great for

directing the viewer’s eye to the most

important part of the frame.

02 Mist Graduated

In the same way as a graduated ND filter,

this option gives a mist effect to either the

top or bottom of the frame.

03 Mist Stripe

There’s a band in the centre of the filter.

When it’s positioned in the foreground,

it gives a sense of the depth of fog.

Essential Kit, tips and Camera tricks Skills for Top the tips best for results HDR

01 tripod

For sharp shots, a sturdy

tripod is vital. If it’s

particularly windy, bury

the legs in the sand or

weigh it down. A built-in

spirit measure is handy

(but not vital) for checking

if the horizon is straight.

02 Steady on

If you’re shooting in early

morning low light, the

chances are you’ll be using

a relatively slow shutter

speed. Avoid camera

shake by using a remote

release or timer delay

to fire off the shutter.

03 filter system

The filters we were using

fit into the 100mm system

from Lee Filters. This

meant we also needed

a lens adaptor ring of the

right size and a holder.

Make sure you’ve got the

right extras for your filters.

04 manual focus

It’s best to focus manually,

as autofocus will be

thrown off by the mist

coating on the filter. Zoom

in to a portion of the scene

in Live View mode, then

rotate the focus ring and

judge sharpness visually.

05 composition

Take time to put together

a dynamic frame. Turn on

the grid display, as this will

help you to compose the

shot when using Live View.

Change the aspect ratio,

too, if you’re in the mood

to experiment.

The Canon Magazine 47

Project ????


Step by step on location

Here’s how to get started with mist filters on the Great British seaside


You’ll probably find that

your misty landscapes

look a little dark straight

out of the camera. While

some gloom can add to

the mood, avoid ending

up with exposures that

appear ‘muddy’. Open

up your images in Adobe

Camera Raw, and boost

the Exposure, Whites and

Contrast. You might want

to desaturate shots by a

small amount, too.

01 the arrival

When you arrive at your location, start by mounting

your camera on a sturdy tripod. You can perfect the

composition once you’ve attached the filters, but

think about focal points you might want to include.

02 find a frame

Move about until you’re happy with the frame,

zooming in a little so that you’ve got both water and

sky in the scene. We choose to use an 18-200mm

lens, so that it was easy to readjust our composition.

03 slide the filters

Next, screw on the attachment ring to your lens and

add on the holder. Position the filter in the holder so

that the stripe sits just over the horizon line. You can

use the viewfinder to do this, but Live View is easier.

04 set up your camera

In Aperture Priority mode, set your camera to a low

ISO, such as 100, and an aperture of around f/8. Then

switch to manual focus. Using Live View, zoom in and

focus with precision on your main point of interest.

Next month

on safari


05 start shooting

Fire the shutter with a remote or cable release or

timer delay. Review the exposure and composition of

your first images. We narrowed the aperture, moved

away from the sea and lowered the tripod height.

06 layer up

Add in a graduated mist filter on top of the stripe filter

for an even hazier result. You might need to dial in

some more positive exposure compensation here,

as you start to block out the light reaching the sensor.


Mist filters

Idea 2 monochrome

Go greyscale

Removing colour is another way to simplify

compositions and add mood. Here, we used

Adobe Camera Raw to create a greyscale

conversion of the shot, also adding in a

vignette to draw the eye into the frame.

A square crop suited this symmetrical

structure best.

Filter used: Mist stripe and mist


Exposure: 1/8 sec, f/13, ISO100

Edit: Exposure -0.45, Blacks -20,

Contrast +18, Shadows -65

Idea 3 timing it right

Out at midday

Morning light might be lovely and soft,

but you can’t always get out first thing.

Fog and mist can appear at any time of

day, so don’t be afraid to use a filter in

the middle of the day. Here, overcast

light and a central composition creates

an incredibly simple shot that’s calming

to behold. We used a focal length of

28mm to compress the scene. The

final effect looks slightly surreal, but

it still illustrates the effect well.

Filter used: Mist stripe

Exposure: 1/160 sec, f/14,


Edit: Exposure +0.45, Highlights

+38, Contrast +90, Shadows -78

The Canon Magazine 49

Video also online


View the video

Project 2

The Mission

Take great pet

photos at home

Time needed

One hour

Cute pet pictures

Hamster whisperer Peter Travers on how to photograph pets

Skill level


Kit needed

Background paper

• Two flashguns

• Radio triggers (or

use pop-up flash)

Never work with

children or animals,

they say – and they are

often right! However,

that didn’t stop us trying our best

to grab some great pet portraits

for this project.

We decided to photograph our

little pet hamster, Cloudy, and it

instantly threw up challenges, the

main one being able to get a

decent shot before she scurried

off. Hamsters move very quickly,

and aren’t in the habit of staying

still and posing in your direction,

but with a few key techniques,

and being ready and in position,

with our lights tested and set up,

we were finally able to get a

winning shot (see right) after

using her play tube to keep her

stationary for a couple of seconds

before escaping.

We set up a small home studio

using a piece of blue background

paper stuck to the wall and on

the top of Cloudy’s cage, plus two

off-camera flashguns set on low

power so as not to scare the little

rodent. Read on to learn more.

STEP BY STEP How to capture animal magic

Learn the Canon camera and flash settings to take great pet pictures in your home

01 home studio setup

We set up a simple mini-studio by taping

a piece of blue background roll to a wall

and allowing it to curve gently onto our

hamster’s cage to create a smooth and

seamless backdrop. We then let the

hamster crawl around on top of the paper.

02 flashgun settings

To light our hamster, we set two flashguns

to a low 1/128 power, one positioned at the

front at 28mm zoom, the other to the side

at 50mm zoom, fired via wireless triggers

(if your camera has a pop-up flash,

trigger your flashguns optically instead).

03 Standard lens

We used a Canon EF 24-70mm f/2.8L

USM standard zoom on our full-frame

camera, at 70mm so we could focus close

enough for a frame-filling composition as

the hamster is so small. For a crop-sensor

Canon, an 18-55mm kit lens will be fine.

04 dePTh of field

It might be tempting to use your widest

aperture for creative blur, but when

focusing closely on small subjects, depth

of field is extremely shallow at f/2.8, so we

shot at f/5.6. Our shutter speed was

1/200 sec to meet the flash sync speed,

and we set ISO640 to boost the exposure.

05 do feed the animals

The best way to attract animals of all

shapes and sizes is to bribe them with

their favourite food; Cloudy loves nuts.

An assistant comes in very handy here, as

they can entice the pet to (a) stay still, and

(b) balance on their hind legs for a better

pose. Patience goes a long way here…

06 add some colour

To inject some colour we tried using a

plastic green tub that also stopped the

hamster escaping! We also tried various

items for our hamster to clamber over and

pose on, and found a cardboard tube was

perfect to keep her facing the camera for

the few seconds it took to take our shot.



Quick Tip!

Using off-camera

flashguns not only

lights animals

evenly, they also

create a catchlight

in otherwise-black

eyes to add a little

extra sparkle

The Canon Magazine 51

Video also online


view the video

Project 3

The Mission

Learn how to shoot

lens flare rings

using a metal pipe

Time needed

One hour

Skill level


Kit needed

Prime, wide

aperture lens

• Copper pipe

Ring of fire

Lauren Scott explains how to introduce sizzling circular lens flare

Many modern lenses

are so well designed

that they all-buteliminate

lens flare.

Specially coated glass elements

stand up against even the

brightest, harshest sunlight, and

for everyday use, this is a good

thing. Unwanted flare, caused by

light bouncing off lens elements,

is unpredictable, not to mention a

pain to remove in post-processing.

But what if you could make and

control camera flare on command,

with the ability to move and shape

it to suit your subject? Well, you

can, and we’ll show you how…

Shooting through a piece of

metal pipe in direct light –

sunlight is ideal – creates instant

in-camera flare. The pipe shape,

colour, position and texture will

all affect how your flare looks,

and every result will be unique.

This creative effect is best used

in moderation, but play around,

and with a little practice you’ll

soon get the hang of it. Read on

for our take on introducing

deliberate lens flare…

Shooting skills flare with flair

Use a piece of pipe to add a glowing golden ring to your portraits

01 what you’ll need

The best lens to use here is a prime with

a focal length of 50-100mm and a wide

maximum aperture, such as f/1.8. You’ll

also need a piece of metal pipe that’s

around an inch in length and diameter. Cut

it to size with a pipe cutter if you need to.

02 subject choice

As we’re demonstrating a technique here,

the subject isn’t so important. That being

said, portraits look gorgeous with added

lens flare. Shoot your subjects with the sun

(or light source you’re using) behind them,

as this is when flare will appear.

03 camera settings

There’s not an ideal setting for all scenarios,

but we used Aperture Priority mode, so

we didn’t have to worry about constantly

changing the exposure at the same time

as moving the pipe. Most of our shots

were taken at ISO100 and around f/2.8.

04 see the light

You can utilize any light source for this,

including the sun, street lamps, bulbs

or flash. Bright sunlight is easy, effective,

and free to boot. It also creates particularly

good-looking flare when low in the sky

during the afternoon and early evening.

05 use live view

Switch to Live View so you can easily assess

how shots (and flare) will look. Rotate the

pipe back and forth in front of the lens and

move around your subject to reposition

yourself in relation to the light source. Fire

the shutter when you’re ready. Flare-tastic!

06 pipe dreams need practice

You won’t magically get a flare as soon as

you hold the ring in front of your lens.

Consider where the sun is in the sky, and

the position of your subject in relation to it.

Practice makes perfect, so keep tweaking

until all the elements line up.



Lens flare


Copper piping usually

comes in lengths of a

minimum of a couple of

metres, so we cut a

longer piece down using

a tube cutter. This nifty

tool was only a couple of

quid, but could cut piping

up to 28mm in diameter.

Plus, it meant we could

create a few rings of

different lengths – all the

better for experimenting

with! Using both chrome

and copper versions for

experimentation, we

cut down our 25mmdiameter

piping to about

an inch in length.

Quick Tip!

A clear acrylic or

Perspex tube could

also be used. Hit

the internet, order a

tube, then cut

it to the right

size yourself

The Canon Magazine 53

Project 3

Take it further with a QUick edit

Use a few quick Photoshop sliders to set your shots alight

01 start in camera raw

It doesn’t take much tweaking to enhance

these portraits. Because direct sunlight

can often result in images that are slightly

underexposed, your main aim is to

brighten up the face without blowing out

the definition of the ring itself. To begin,

we took down the Whites and Highlights.

02 Local adjuStmentS

Next, we opened up our image in the

main Photoshop editor. First, we used the

Dodge tool to selectively brighten up areas

of the face, with the Range set to Midtones

and the Exposure to 50%. Then, we set

the Range to Highlights and brightened up

the rim lighting outlining our model’s head.

03 Finishing touches

The last step was to add a few subtle

adjustment layers to our shot. We ramped

up the Brightness and Contrast ever so

slightly for a punchier result, as this suited

the high-contrast shooting conditions. In

some situations, you might find that you

actually want a flatter, more subtle result.

Final inspiration TO Get the glow GOING

Try out different pipes, lighting and shooting situations

left look up

If the sun is still very

high in the sky, find an

open space to shoot

in, crouch down low

and position it behind

your model’s head.

right forget

the ring

This technique creates

gorgeous flare effect,

but you don’t have to

make them circular.

Next month

catch a wave



Video also online


view the video

Project 4




The Mission

Capture vehicle

light trails at night

with a long


Time needed

30 minutes

Skill level


Kit needed


• Photoshop CC

Play with traffic

James Paterson explains how to capture and combine images

that transform passing vehicles into glorious streaks of colour

We photographers

have a bit of a love/

hate relationship

with movement.

Sometimes it’s a real pain and we

strive to keep it to a minimum. At

other times, we want to celebrate

it in all its blurry glory. The

motion of traffic at night falls into

the latter category. By using a long

exposure in the low evening light,

the smooth motion of their lights

creates wonderful streaks of

colour through the frame.

This is one of those camera

skills that reveals the magic of

photography – and anyone with a

DSLR and tripod can do it. As

such, it’s a great way to get started

with long-exposure photography

as there’s no need for extra filters

or even a cable release. The

challenge is finding an interesting

composition for your shot. On a

recent shoot in Norway we found

these mountains and winding

roads that worked perfectly, but

why not try a busy motorway,

city street, or a knotty junction?

Another challenge is timing – we

want a decent array of lights but

at night, especially, traffic can be

rather sparse. However, you can

always shoot several frames then

combine them with simple editing

skills, as we’ll explain...


Traffic Trails

STEP BY STEP Be a trailblazer

How to set up your DSLR for a series of long-exposure light trails

01 Get set up

Fix your DSLR to a tripod. Look for an angle where the

winding road begins close up then recedes into the

distance, as this’ll make more interesting lines than,

say, a side-on view. Try a low-down or high-up view, and

frame loosely to account for different-height vehicles.

02 Switch to manual

Rather than shooting in pitch dark, try just after sunset

so there’s still detail in the sky. Even so, autofocus can

struggle to lock on in low light, so focus on a point a

third of the way into the scene, then switch to manual

focus to lock it. This’ll prevent hunting between frames.




If you find you usually

stick to the auto exposure

modes, a project like

this offers a gentle

introduction to Manual

exposure mode. In order

to get the long shutter

speeds we need, we

have to adjust our other

exposure settings to

compensate. Firstly

we can use a high

f-number like f/16. This

decreases the size of the

opening in the lens and

restricts the flow of light.

Secondly, we can use a

low sensitivity, such as

ISO100, so the sensor

requires more light for a

correct exposure. Both

factors help to restrict

the amount of light,

which means we can use

a longer shutter speed

that will blur any motion.

03 Set your exposure

Switch your DSLR to Manual exposure mode. All

scenes are different, but here’s a good starting point

for exposure: set the aperture to f/16, shutter speed

30 secs and ISO100. If the image is too bright or

dark, try adjusting the aperture until you’re happy.

05 Combine several images

Open the images you want to use (we blended seven) in

Photoshop. Choose one frame as the base image, then

go to another image, Select All (Cmd/Ctrl+A), Copy

(Cmd/Ctrl+C) then go back to the base image and

Paste (Cmd/Ctrl+V). Repeat for all the other images.

04 Time it right

Shoot lots of frames as vehicles zoom by. Differences

in height make the trails more varied (as will flashing

lights, which appear as dashes). Take care not to nudge

the camera between shots, as we need all the frames

to be in alignment if we intend to blend them together.

06 Blend the layers

Go to the Layers panel (Window>Layers) then change

the blending mode of all layers to Lighten, which

effectively overlays the trails on top of one another.

If any other areas, like the sky, look messy, use a layer

mask or the eraser to remove them from the mix.

Quick Tip!

Use a 2-sec selftimer

drive mode

if you don’t have a

remote control so

you can start the

exposure without

nudging the


The Canon Magazine 57

Video also online


view the video

Photoshop Elements



The Mission

Remove people in

the background of

your photos

Time needed

20 minutes


Editing portraits

An unwanted ‘photo bomber’ needn’t spoil your cherished photos,

allow James Paterson to explain how to remove pesky intruders

Skill level


Kit needed



Download project files

to your computer from:



It’s happened to the best

of us; we think we’ve

captured the perfect

moment only to discover

later on that someone has

unintentionally muscled in

on the action and spoiled

the composition.

In this case I was at a wedding

and there came a split-second

moment where everything gelled

perfectly. The just-married couple

were sharing a loving look,

framed perfectly on either side by

the bride’s onlooking mother and

sister. I’d even managed to catch

the groom – not known for his

displays of emotion – shedding a

few quiet tears. It was the moment

of the day. Then, to my horror, I

saw the woman in the background

– the ultimate photo bomber.

Everything in the composition

leads towards her. She’s not even

a guest, just an interested gawper

that chanced upon the wedding

party as they left the church.

Upon showing the photos to the

couple, they loved this one above

all others. But, they asked, could

anything be done about the

random person?

The answer is usually yes, but

with a few caveats. Successfully

removing an unwanted photo

bomber depends on what lies

elsewhere in the frame – or in the

frames taken either side. To cover

something up, we need to find a

piece of image that looks natural

in its place. We can then replace

the offending area and tidy up it

for seamless results. Thankfully

I’d fired another frame where the

hapless intruder was offset just

enough to be less of an eyesore.

Photoshop Elements – with

its layer controls and retouching

tools – has everything you need,

even when faced with tidying up

cluttered backdrops like this...



Remove distractions

Step by step Delete distractions

Learn how to get rid of people in the background to improve your composition

01 Find replacement pixels

In Expert mode, open bomber_before01 and 02. Go to

the second image. We’ll use the middle section to hide

the distracting lady. Grab the Rectangular Marquee

tool from the toolbar and drag a box over the middle

portion of the frame, top to bottom.

02 Position the copy

Hit Cmd/Ctrl+C to copy the selection, then go to the

other image and hit Cmd/Ctrl+V to paste it over. Go to

the Layers panel and drop the opacity to about 50%.

Grab the Move tool and drag the layer into position,

lining up the people in the background.

Clone tool

or lAyers?

The Clone tool lets us

copy pixels from one area

to another, so it’s useful

for removing unwanted

people from otherwiseclean

backdrops. But

things get more tricky

with a cluttered backdrop

like this. Here’s where

Layers prove more

useful. We can copy part

of an image to a new

layer, then reposition it

elsewhere. This gives us

greater control, as we

can fine-tune exactly

what’s visible or not by

adding a layer mask to

the copied pixels. So in

effect, layers can be used

to perform exactly the

same task as the Clone

tool, but with greater

control and finesse.

03 Select the people

Set layer opacity to 100%. Highlight the ‘Background’

layer and hit Cmd/Ctrl+J to make a copy. Drag it to

the top of the stack then grab the Quick Selection tool.

Paint to select the figures between the couple. Hold

Alt and paint to subtract if the tool goes wrong.

04 Improve the selection

Hit Refine Edge in the tool options. Increase Radius to

improve the selection. Paint over messy areas along

the edge with the Refine Radius tool. Set Output:

Layer Mask. Next highlight the layer mask thumbnail

in the Layers panel and hit Cmd/Ctrl+I to invert it.

Quick Tip!

It’s easier to get rid

of photo bombers

in-camera! Shift

your perspective

slightly or open up

your aperture

to blur them out

05 Perfect the mask

Grab the Brush tool, with a soft-edged brush tip, and

zoom in close. With the mask thumbnail highlighted

we can paint white or black to reveal or hide parts of

the layer until the mask perfectly isolates the faces.

Hit X to flip between black and white as you paint.

06 Clone to tidy

Make a new layer then grab the Clone tool and check

‘Sample All Layers’ in the tool options. Sample a

source area then paint to clone over messy parts.

Don’t worry about cloning precisely; add a layer mask

and paint white or black to fine-tune what’s visible.

Next month

Repair your

old photos

The Canon Magazine 59

Video also online


View the video

Photoshop CC

The Mission

Learn how to liven

up your sunlight


Time needed

10 minutes

Give me sunshine

Are your sunlit shots getting you hot and bothered? Lauren Scott

shows you how to liven things up without going overboard

Skill level


Kit needed

Photoshop CC

Download project files

to your computer from:



Whatever the genre,

we all start to feel

inspired and snappy

when the sun is out.

Unfortunately, photos taken in

bright daylight can end up looking

either flat and dull or too bright

and harsh. This is because when

the sun is higher in the sky, it

throws areas – such as sides of the

face or under the eyes – into deep

shadow. That isn’t to say that

whipping out your camera on a

summer’s day is inherently wrong.

Perhaps you’ve been tasked to

shoot a summer clothing

catalogue, or you just want to

photograph friends and family at

the beach. Either way, sometimes

you have to work with the

conditions that you’ve been given.

In this tutorial we’ll show you

how to make the best of your

sunlit lifestyle shots with a few

tweaks. We’ll start in Adobe

Camera Raw and then finish off in

Photoshop CC. There’s nothing too

complex here. For example,

adding a vignette can lead the

viewer’s eye toward your subject,

deepen the background tones and

add a natural frame. As for your

subjects themselves, brightening

the eyes and highlights in the hair

will inject energy into any

portrait. More often than not,

you’ll be trying to fill in shadows.

Although our starting portrait

straight out of the camera wasn’t

too unbalanced, there were still

a few adjustments we could make

to give it a professional sun-kissed

look and bring our model to life.

The aim here isn’t to recreate a

Caribbean scene, but to enhance

portraits in natural light. Quick

tweaks to the white balance and

contrast can really make all the

difference to the final result. As

with all good editing, the key is

to keep things subtle...


Step by step for a sun-kissed look

Play around with this technique next time you’re editing a sunlit shot



It’s possible to edit your

images completely in

Adobe Camera Raw. To

adjust a specific area of

a photo (the face or eyes,

for example) select the

Adjustment Brush tool

from the toolbar, choose

to adjust the exposure or

brightness, specify brush

options, then paint with

the Adjustment Brush

tool over the chosen area.


01 use camera raw

Open up the image in ACR. Start by taking the

Exposure up to +0.10, the Contrast to +15, the

shadows to +10 and the Whites down to -10. The

Vibrance levels should also be boosted to +20. The

values are specific to this image, but sunlit shots

generally benefit from added contrast and vibrance.

02 add a vignette

Head to the Lens Correction tab, go to Manual and

take the Lens Vignetting Amount down to -40, with

the midpoint at 50. In images where the subject is

larger in the frame, you might find that a smaller

vignette is more effective. Drag the sliders around

to suit different scenes and compositions.


Sunny portraits


Quick Tip!

Brighten up

shadowy faces on

a shoot by using

a reflector. Look

for pocket-sized

versions that can

fit in a bag

03 add some warmth

Camera meters can often render scenes on the cool

side, so the next stage is to warm up the shot from the

Basic tab. Camera Raw usually defaults the white

balance to ‘As Shot’ or ‘Auto’, but we’ll set it to

Custom. Take the Color Temperature up to around

6200. If you go any higher, the eyes start to yellow.

04 Brighten the face

The final stage is to selectively lighten the image.

Open it up in Photoshop and select the Dodge tool.

Set it to Highlights and 30% exposure, then use a

soft brush to paint over the face once or twice. Use

a smaller brush to paint over the eyes. You might

want to carry out this step on a duplicate layer.

Next month



The Canon Magazine 61

Video also online


View the video


The Mission

Stitch a scene with

Lightroom’s Merge

Panorama tool

Time needed

15 minutes

Skill level


Kit needed

Lightroom 5 or later



James Paterson uses Lightroom’s

Merge Panorama command to

combine several frames


Download project files

to your computer from:



Lightroom’s Merge Panorama command

stitches several horizontal or vertical frames

together to create a panoramic Raw file

– perfect for those times when your lens

can’t fit the whole landscape in, or if you want

to pack in extra detail.

The Merge Panorama command offers three Projection

modes, and as you’d expect these stitch the frames in

slightly different ways. Spherical maps the frames as if on

the inside of a sphere. It’s ideal for very wide panoramas, or

ones that have several rows to them. Perspective maps the

segments as if they were on a flat surface, and this keeps

lines straight. For this reason, it’s great for architectural or

city scenes, but can lead to extreme distortion and warping

at the edges when used in the wrong way. Cylindrical maps

the frames as if they are on the inside of a cylinder. It’s ideal

for wide panoramic landscapes because distortion is

minimal and vertical lines stay straight.



Step by step start the merge

Discover Lightroom’s Radial Filter tool and edit images with subtlety



When shooting the

frames for a panorama,

use a tripod to keep the

camera position fixed

and make sure that

the panning motion

remains perfectly level

by checking the horizon

as you pan (a spirit level

comes in handy here).

Shoot with your camera

in vertical orientation

to record the maximum

amount of detail and

allow for a generous

overlap between each


01 start merge panorama

First, use Cmd/Ctrl-click to select all the frames to

stitch into your panorama, then go to the Develop

module, scroll down to the Lens Correction panel,

click Profile and Enable Profile Corrections. Next, to

begin the merge, select Photo>Photo Merge>

Panorama, or right-click the images and choose

Photomerge, or simply press Cmd/Ctrl+M.

02 choose a projection

There are three projection modes to choose from:

Spherical, Cylindrical and Perspective. Each maps out

the frames in a different way. Spherical places them

as if on the inside of a sphere, Cylindrical as if on the

inside of a cylinder, and Perspective as if placed flat.

Experiment with each mode depending on your shot.

We’ve used Cylindrical mode here.



Create panoramas






Quick Tip!

To create an HDR

panorama, merge

three frames for

each segment into

one HDR shot, then

combine the HDRs

into a panorama

03 auto crop messy edges

Tick the Auto Crop check box to automatically remove

any messy edges to give you a tidy rectangular image.

It’s non-destructive and can be changed later with

Lightroom’s Crop tool. Try unchecking the box just to

see what’s being cropped off. With Perspective

Projection mode here, you can see the extreme

distortion at the edges.

04 enhance the panorama

When you’re happy with the settings, click Merge.

The panorama will show up alongside the originals

with the suffix ‘pano’. It’s a DNG Raw file, so you can

process it like any other Raw file. Take it into the

Develop module to make any changes you like. Here

we’ve boosted the colours and added a gradient to

darken the sky a little.

Next month


filter tool

The Canon Magazine 63


All images ©Marc Aspland/The Times




Marc Aspland is a


photographer who

loves the challenge of

summing up an entire

sporting event in one

image. He talks to

David Clark about his

memorable career

hen Marc Aspland was

awarded an Honorary

Fellowship of the Royal

Photographic Society in

2014, it was a public

recognition of what most

people in the business

already knew: that he’s

one of the best sports

photographers around.

Three years after surviving a lifethreatening

accident, he’s still taking the

creative, eye-catching and distinctively

off-kilter sports images that have defined

his career. In this interview he talks

about his style, what it’s really like

photographing major sporting events and

how there’s nothing he loves more than

being pushed out of his comfort zone…



How did you get into photography?

I grew up in Newbold-on-Avon, a village

near Rugby in the Midlands. There was

no artistic bent in my family at all, but a

chap who lived two doors down from my

parents, Bob Ingram, was a keen amateur

photographer. He loved Formula One and

motorsports and, when I was about 13, he

took me and my brother to the Le Mans

24 Hour race. For me, it was just an

unbelievable world of glamour. He gave

me a camera and encouraged me to take

pictures, then later taught me to process


The England rugby fly-half celebrates his

try against South Africa in 2016. Marc only

noticed the arc of water afterwards



Canon EF 400mm f/2.8 IS II USM

1/1600 sec, f/2.8, ISO2000

The Canon Magazine 65



I like the fact that

I’ve got no control over

what’s happening in

front of me



Marc focuses on the fans as England’s

Alastair Cook catches Australia’s Mike

Hussey out in the First Ashes Test in 2010



Canon EF 500mm f/4L IS USM

1/2000 sec, f/5, ISO250


A multi-image of Billy Morgan of Great

Britain, competing in the Men’s Slopestyle

at the Sochi Winter Olympics in 2014



Canon EF 16-35mm f/2.8L II USM

1/4000 sec, f/4.5, ISO125


The opening day of the Rio 2016 Olympics,

Netherlands vs Russia in Beach Volleyball



Canon EF 16-35mm f/2.8 II USM

1/400 sec, f/4.5, ISO1600

and print. From nowhere at all, I found a

medium where I could capture what was

in front of me and which utterly captured

my imagination. Photography found me,

not the other way around.

Did you do a formal course?

Yes, after doing my A levels, which

included photography, I was lucky enough

to go on a one-year National Council for

Training of Journalists (NCTJ)

photojournalism course in Sheffield.

One of the tutors, Paul Delmar, had great

enthusiasm for picking up this group of

very raw kids and literally just shoving us

out of the door. I was there just at the end

of the Miners’ Strike in the 1980s, which

caused huge upheaval in the city. For me

there weren’t enough hours in the day to

go out and take photojournalistic pictures

of picket lines or miners on their hands

and knees looking for lumps of coal to

heat their houses. From a learning point

of view it was just the most fabulous year.

Did it lead directly to a job?

I went to the Watford Observer. There was

a photographic team of six at that time,

with me as the junior. There I met

another mentor, Mike Dellow. I was doing

10 or 15 assignments a day, everything

from photographing couples having their

wedding anniversaries to taking pictures

of the mayor of Watford. Mike taught me

that when you go into a room, you have

to impose your personality and your ideas

on those people, and you have to make

those people work for you. I’ve carried

that thought with me ever since.

When did you start photographing

sport professionally?

I’d always been into sport, and it was part

of my newspaper life to photograph

Watford Football Club, as well as school

sports. After I’d been on the paper a few

years, Mike Dellow phoned a friend at

The Times and said, “We’ve got a young

lad here who has completely outgrown

us, can he show you his pictures?” I went

along, feeling totally overawed, and they

sent me on a couple of jobs, then I started

freelancing for them. This was in 1988.

I worked there for two years without

a day off, just to get my foot in the door.

If they sent me to shoot a businessman’s

portrait, or a Millwall match in the

evening, I always jumped at the chance.




How did you become Chief Sports

Photographer at The Times?

I did my fair share of the big news stories

of the day, such as the Kegworth Air

Disaster in 1989 and Royal weddings and

births. But I’d always be the first one to

put my hand up and say I’d do football

matches. I suppose my style of

photography set me slightly apart. It

wasn’t obvious or like stock photography

and it suited the then-sports editor. When

the sports photographer job came up, I

went for it. I’m still doing it 24 years later.

What is it that appeals so much

to you about shooting sport?

I particularly like the fact that I’ve got no

control over what’s happening in front of

me. I can’t say to a sportsperson, the

light’s not very good here, can you just

turn towards the daylight? I can’t ask

Jonny Wilkinson to re-drop that goal in

2003 in Sydney because I happened to

be looking somewhere else. I like the fact

that, when I’m at a football match for 90

minutes, my sports editor expects me to

sum up that whole match in one image.

That might not be a shot of the winning

goal, but it sums it up in my own

particular way, which is the off-kilter,

sometimes slightly quirky way.

What do you like about Canon kit?

My first serious camera was a Canon F1,

which I got when I was doing my NCTJ

course, and I’ve never changed

manufacturer since. Many of my

colleagues have flitted between Canon

and Nikon, but I’ve just stuck with Canon.

I’m very comfortable with knowing

everything about the way the cameras

work, and with their high quality. I now

use the EOS-1D X Mark II and have three

of them. That camera really is the peak of

the evolution. When I photographed the

Anthony Joshua fight in April, I pushed

the ISO to 8000. There’s hardly any noise

in those images, even though I was on the

balcony, shooting on a 500mm f/4 lens


and the light was really poor. I think they

are the very best cameras available.

Which lenses are in your kit bag?

My lenses range from a 15mm fisheye all

the way to a 500mm f/4, but I particularly

use the 16-35mm f/2.8, 24-70mm f/2.8

and 70-200mm f/2.8. My main ‘standard’

lens is my 400mm f/2.8 II, then I’ll use

1.4x or 2x convertors. I’ll also use the

200-400mm f/4 with the built-in 1.4x

converter, which is a magnificent

creation. It’s very light and goes all the

way from 200mm to 560mm; it’s perfect

for golf, for example.

How have technical advances in

equipment affected your work?

Cameras are so advanced today that I’m

able to make them work for the picture

The Canon Magazine 67




Cristiano Ronaldo scores for Portugal in

the Euro 2016 semi-final vs Wales, as Real

Madrid team-mate Gareth Bale looks on



Canon EF 300mm f/2.8 IS II USM

1/1250 sec, f/2.8, ISO2000


In 2007, when American Paralympic

swimmer Jessica Long was 15, she already

held 12 World Records and 12 Gold Medals



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

1/500 sec, f/3.5, ISO800



Taken in 2008 at the 101st running of

White Turf, a race that takes place on the

frozen lake at St. Moritz in Switzerland



Canon EF 400mm f/5.6L USM

1/3200, f/7.1, ISO250

I particularly like

sports that take me out

of my comfort zone. First

I have to find out what

they are all about


I have in my head. They’re so

sophisticated that you almost don’t

have to be a photographer to take good

pictures. When I’m at football matches,

the freelance photographers alongside me

at the side of the pitch are using pretty

much the same cameras as me. They can

press an autofocus button and the

pictures are super sharp, and use

Program mode and the exposure is

perfect. You don’t have to have any

education or grounding because the

cameras are so good. But to be a really

good photographer, you need the ability

to see something in your mind’s eye. It’s

all about seeing; that’s what sets great

photographers apart from all the others.

Which sports do you most enjoy


You’d expect me to be able to photograph

a football or rugby match with my eyes

closed, because it’s the staple diet of a

Times sports photographer. I particularly

like sports that take me out of my comfort

zone, like those in the Winter Olympics

– sports like speed skating, curling,

snowboarding and half pipe skiing. First

I have to find out what they are all about.

Once I’m there, I’m looking at where the

light is and I’m thinking that I need to

record it, but also to step back and get a

good picture out of it. For the superfast

downhill, I literally walked up the course

twice three or four days before, just to




find a spot through the trees that would

give a beautiful clear background.

What do you aim to achieve

when shooting those sports?

Sports photography for me is not about

shooting action at 16 frames a second and

just capturing a stock image. It’s about

finding, seeing and then taking a creative

image. That could be done using a slow

shutter speed, a pan blur or a mega-fast

shutter speed. For example, if I was

photographing an ice hockey match I

might use a super-long lens that would

just capture the eyes of a player, or a

massive wide-angle view taken above the

pitch on a remote camera. I’m there to

make an interesting picture out of these

situations. That’s the challenge.

Can you give an example of when

you’ve deliberately avoided

taking the obvious image?

When Usain Bolt ran the 100 metres in

9.69 seconds at the Beijing Olympics, he

was running straight towards me because

I’d stood in the photographer’s stand for

three hours before the race so I had the

position. But I made sure I didn’t do a

stock picture of a man running towards

me – I took a wider view with all the

other runners in the shot. Afterwards, the

sports editor said, “Where’s the picture of

Bolt beating his chest as he crosses the

line?” and I said, “I didn’t want to do that,

boss, that wasn’t the point!”

It’s a knockout

Marc Aspland on one of his most memorable sporting shots

“After spending a great deal of time charting the career path of

boxer Ricky Hatton, we had become great friends. His career led to

a huge fight against Floyd Mayweather Jr. in Las Vegas, late in 2007.

I was crammed under the neutral corner in my ringside photo

position. In Round 10, Mayweather felled Ricky like an oak tree. The

back of his head bounced off the canvas about 12 inches from my

camera. I was screaming at the top of my voice, ‘Get up Ricky, just

get up!’ During the mayhem, I shoved my camera through the ropes

at arm’s length, directly above Ricky’s face. I must have pressed the

shutter release and this single frame of referee Joe Cortez removing

Ricky’s gum-shield was captured. Ricky’s life took a different

direction after this moment. Thankfully we are still friends.”


The Canon Magazine 69




Jamaica’s Usain Bolt takes the Gold Medal

in the Men’s 100m final in 9.69 seconds at

the Beijing Olympics – a World Record time



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

1/1000 sec, f/2.8, ISO800


This dramatic remote shot was taken when

jockey MJP Kendrick fell on Sam Cavallaro

in the 2017 Foxhunters’ Steeple Chase



Canon EF 16-35mm f/2.8L II USM

1/2500 sec, f/3.2, ISO800


A victorious Rory McIlroy holds a hand to

his ear after sinking a crucial putt at the

Ryder Cup in Minnesota in October 2016



Canon EF 200-400mm f/4L IS USM

1/1600 sec, f/5, ISO400

Honestly, I’ve

missed ‘the moment’

hundreds of times,

usually because I’m

looking sideways at

something else


A few years ago, you were injured

in a road accident. What happened

and have you fully recovered?

In 2014 I was cycling home after playing

five-a-side football in Harpenden on a

Thursday night. I have no memory of the

accident at all, but I had a serious brain

trauma and broken collarbones. I was in

hospital for quite some time and my

memories of the three or four months

after the accident are very vague.

Because of the severity of the trauma, it’s

a four-year process to find out how much

of the old Marc I’m going to get back. My

memory still isn’t particularly great, but

I’ve learned to live with the differences.

How did you feel about the get

well messages on Twitter from

people like Rafael Nadal, Jonny

Wilkinson and Elton John?

At the time, I didn’t know what day of the

week it was and had no memory of those

people. My wife and children loved the

messages and took great comfort from

them, but when I looked at these people

holding up a card with ‘get well soon’ on

it, I didn’t really know what it meant. It

was only afterwards, when I looked back,

that I could appreciate those messages.

You’ve won many awards during

your career. Which one gave

you the biggest thrill?

Putting aside the four Sports

Photographer of the Year awards,

becoming an Honorary Fellow of the

Royal Photographic Society was a real

shock, more than anything. So many

amazing photographers have been given

Honorary Fellowships and I never

thought an editorial sports photographer

from The Times would receive one. Even

now I have to pinch myself when I think

about it, because it was a great honour.

Have you ever missed a great shot?

Good God, honestly, I’ve missed ‘the

moment’ hundreds of times, usually

because I’m slightly looking sideways at

something else. Sometimes I also miss the

moment because something unexpected

happens. For example, at the 2003 Rugby

World Cup Final, I had no control over

the big Australian prop forward who ran

across my frame just as Jonny Wilkinson

caught the ball and kicked the winning

drop goal. For one reason or another,

I’ve missed too many pictures to mention.

What are the best and worst things

about photographing sports?

One of the best things is being at

memorable sporting events, such as the

Anthony Joshua-Wladimir Klitschko

heavyweight title fight. Afterwards,

people said to me, “It was the most

amazing fight, you’re so lucky you were





Marc Aspland

Sports Photographer

52-year-old Marc was born and brought

up in the West Midlands. After leaving

school he took an NCTJ course in

photojournalism. His first job was working

for the Watford Observer before joining

The Times as a freelancer in 1988. He has

been the newspaper’s Chief Sports

Photographer since 1993.

He has covered most of the major

sporting events of the past 30 years,

including six summer Olympic Games and

four FIFA World Cup Finals, plus every FA

Cup Final and Wimbledon final since 1988.


He has been awarded Sports

Photographer of the Year four times and

he published a book of his best work, The

Art of Sports Photography, in 2014. In the

same year he was awarded an Honorary

Fellowship of the Royal Photographic

Society. He is member of the Canon

Ambassadors Programme.

there.” But my abiding memory is that I

didn’t particularly enjoy any of it, because

I was concentrating so hard, every single

round. You’ve got to anticipate everything

and you can come away from those 11

rounds absolutely exhausted because you

cannot take your eye off it for one minute.

So the worst thing about it is that you

can’t enjoy these events as a fan, you

have to be absolutely in the zone.

What advice would you offer

someone who wants to be a

pro sports photographer?

I would offer this advice: believe in

yourself. Believe in your own ability.

Don’t look at everybody else’s pictures of

an event and think, “Oh no, I’ve missed

the winning goal.” It’s not about that.

Just have faith that you’re seeing things

differently to anybody else. Aim to

capture the image on the back of the

camera that you have already seen in

your mind’s eye. Go out and practice and

if you get it wrong, find out why and try

again. As long as you believe in your own

ability, sure enough, that style, your own

individuality, will come through.

Next issue: Liquid motion specialist

David Lund splashes his secrets

The worst thing is

you can’t enjoy these

events as a fan, you

have to be absolutely

in the zone

The Canon Magazine 71


Photo essays from PhotoPlus readers

and professional photographers alike

Join in

the fun!

One of the great things

about photography is

being able to share your

view of the world. This

issue we reveal the story

behind a project to recreate

street images taken

decades ago by reuniting

the original subjects.

We want your photos

and stories! For your

chance to show off your

images in PhotoPlus, send

three to five high-resolution

JPEGs, along with a brief

synopsis – explain why you

took the shots, the location,

whether they’re part of an

ongoing project or a one-off

shoot, and anything else

unusual or interesting. Also

include Canon DSLR, lens

and exposure details.







PhotoPlus: The Canon Mag

Future, The Ambury

Bath BA1 1UA, UK


Name: Chris Porsz

Location: Peterborough

Mission: To find characters and

recreate the images I took so

long ago

Kit: Original pictures taken on

Canon AE-1, Canon 50mm f/1.8

and Canon 28mm f/2.8. Reunion

pictures taken on Canon EOS

1000D, EOS 60D and EOS 5D Mk

III with EF-S 17-55mm f/2.8 IS

USM and Canon EF 24-70mm

f/2.8L II USM



Chris Porsz’s unique project has been

over three decades in the making


n the early ’80s

I wandered the

streets and turned

my camera on society.

I found it quite magical,

as I still do now. Completely

self-taught, I was inspired by

the work of Bert Hardy and

Bill Brandt in Picture Post, and

Harold Evan’s seminal book

Pictures on a Page. Because

I was busy with family and my

new career as a paramedic,

I hardly picked a camera up

for the following 25 years.

My passion was rekindled in

2009 when the Peterborough

Evening Telegraph gave me a

column Paramedic Paparazzo.

Incredibly, some readers

recognized themselves, and

so I began my mission to

recreate the images. I had

lots of setbacks with people




Your Photo stories

01 John Lewis TOy department

Original shot in 1985. Reunion in July 2016

Lens Canon ef 24-70mm f/2.8L USM Exposure 1/50 sec, f/5, ISO1000

02 Cathedral CLOISTERS aRCHaEOLOgy

Original shot in 1982. Reunion in July 2016

Lens Canon ef 24-70mm f/2.8L USM Exposure 1/200 sec, f/10, ISO500



Chris’s project shows real determination and perseverance, and it’s

fascinating to see how people and environments have changed all these

years on. This story is less about the techniques and settings behind

the images, and more about the mental challenges you need to

overcome to create strong street images.

The Canon Magazine 73




not replying, refusing or no

longer friends. Others had

moved away and some had

sadly departed. Despite many

failures, the successes drove

me on. Having no contact

details, I never dreamed I’d

reunite 134 sets of people.

It was difficult fitting in my

day job at the same time, and

I once drove a 200-mile round

trip to be told I had got the

wrong person. I was really

surprised by the national and

international media attention

and, rejected by publishers,


it was a massive challenge to

self-publish and distribute

my book Reunions.

Street photography puts

many off but I’m lucky as a big

part of my job is gaining the

trust of strangers. Being ready,

thinking on your feet and

responding quickly to the

unexpected complements

my street photography well.

Amazingly, a couple of 999

calls led to reunions! I wanted

to do the original images

justice by faithfully recreating

them, but that was often

Being ready, thinking on your feet

and responding quickly to the unexpected

complements my street photography

impossible, and if they were

mediocre, I wanted to bring

them up to date and alive.

It was fantastic to see old

friends who had not seen each

other for over three decades

united again. It was often very

emotional with some tears,

hugs and kisses, and although

these people were once

strangers to me, some have

become good friends. I would

love to do a Reunions

exhibition and I am now busy

on a third book featuring my

latest street work.


Your Photo stories

03 wORLd PIzza-eating COmPETITIOn

Original shot in 1985. Reunion in July 2016

Lens Canon ef 24-70mm f/2.8L USM Exposure 1/500 sec, f/8, ISO800

04 gLadstone STREET BOys

Original shot in 1980. Reunion in October 2010.

Lens Canon ef 17-55mm f/2.8 IS USM Exposure 1/400 sec, f/4, ISO400

05 Out from BEHInd THE curtains

Original shot in 1980. Reunion in January 2013.

Lens Canon ef 17-55mm f/2.8 IS USM Exposure 1/160 sec, f/5, ISO400


The book Reunions took almost 40 years to make. Chris didn’t know

that he was going to create this series all those years ago, but having

foresight and planning ahead is key to tackling many social

documentary photographic projects. Reunions is on sale now.

The Canon Magazine 75

My Kit

Professional photographers reveal their top six

tools of the trade they couldn’t shoot without

I need to minimize weight

and take kit that’s reliable in

any conditions

What do I do?

Markus Rohrbacher

Outdoor pro Markus needs kit to be hardy and reliable when shooting epic

sports and landscapes. Discover the gear he uses for scaling mountains

As an outdoor


I can’t avoid long

hikes and climbs

to get to locations.

This makes me consider which

gear is really necessary and

what can stay at home. I need

to minimize weight and take

kit that’s reliable in any

conditions. My main workhorse

is a Canon EOS 5D Mark III,

combined with the Canon EF

24-70mm f/2.8L II USM and

EF 70-200mm f/2.8L IS USM

lenses. I shoot 80% of my

photos with this combination.

When it comes to sport, I often


take a Fisheye 10-17mm from

Tokina with me as well. It’s

affordable, produces a decent

quality and fits on crop and

full-frame cameras. I have

a couple of other lenses for

low-light situations, a wideangle,

converters, and a

backup camera, but I only add

this equipment when I’ve got

easy, short access to locations.

I still carry some Lee Filters

with me. Obviously you can

edit in graduations, but by

using a real filter your Raw file

becomes richer. A grey full ND

filter is powerful for shooting

water or moving clouds.

Last year, I also jumped

onto the drone game with the

DJI Phantom 4. It offers so

many possibilities for new

perspectives, and now there’s

no need to rent a helicopter

or a plane. I also use it for

scouting tricky areas. In the

winter, it’s hard to move

around in deep snow; I can

use a drone to have a look

around the next mountain

ridge. Beside this hi-tech gear,

I still carry my old Polaroid

SX-70 (it’s just fun to play

around with). The F-Stop

backpack is just the best for

any outdoor photographer.



I’m a self-taught freelancer

based in the Austrian Alps. After

graduating as an architect, I took

a year off and focused on action

photography. The mountains near

my house became my playground

and resulted in a quick

progression of my skills. In 2011

I turned my interest into a career

as a staff photographer at Nitro

Snowboards and was a finalist in

the Red Bull Illume contest.

Photography gives me the chance

to travel the globe, discover new

genres and keep life challenging.



Canon pros & their kit








01 02 03 04 05 06

F-Stop Ajna


Web: www.fstopgear.com

My most prized

piece of gear is not

my camera, it’s my

backpack. Often,

it takes me longer to

get to locations than

I actually spend

shooting. Therefore

it’s important that

I have a properly fitting

backpack, which is

perfectly designed for

mountaineers, while

fulfilling all a

photographer’s wishes

at the same time.

Canon EOS

5D Mark III

Web: www.canon.co.uk

The 5D is a real

workhorse and I’ve

been shooting with

it for four years. No

matter how bad the

conditions are, I can

always count on it.

There are smaller and

lighter cameras on the

market, but no matter

if it rains or you have

to shoot with big gloves

on at -30ºC, it’s always

great to work with.

LEE Filters



Web: www.leefilters.com

These are definitely

not cheap, but they’re

a great investment.

I always take a ND 0.6

hard grad, a ND 0.9 soft

grad and a 10-stop full

ND filter with me. With

this set I’m prepared

for any circumstances,

no matter if I have to

darken the clouds, or

if I want to get some

blur into a waterfall

during the day.


EF 24-70mm

f/2.8L II USM

Web: www.canon.co.uk

If I could only bring

one lens with me it

would be the 24-70mm.

Even if you need a wider

angle, you can easily

make a panorama in

post-production. When

I look at my best or

favourite photos, they

mostly where shot with

this focal length range.

DJI Phantom 4

Web: www.dji.com

I was thinking about

getting one of these

drones for a long time

and definitely don’t

regret it. Beside it being

a fun toy to play with, it

gives you so many new

possibilities and you

discover familiar places

from a new angle. It

is definitely a game

changer in my work.

Polaroid SX 70

Web: www.polaroid.com

My grandpa’s

Polaroid was lying

around for a long time

and couldn’t be used

anymore since they

stopped producing film

for it. In 2010, the

Impossible Project

started to sell film

again, and that’s when

I reactivated this old

camera. It’s fun to play

around with. I don’t

take it too seriously,

but it’s cool to have

your photo in your

hands right away.

The Canon Magazine 77

Your ultimate photographic reference guide

to the complete Canon EOS DSLR system


How to earn some extra cash

on the side by moonlighting

as a portrait photographer


Peter travers

Canon expert

Peter’s been a passionate

photographer for well over

20 years. He’s worked on

PhotoPlus since the very

first issue, back in 2007,

and has been the magazine’s

editor for the past six years.


Slide the autofocus switch on your lens to the off position

and master the art of focusing manually. Go on, be brave!


Marcus Hawkins

Photo expert





Marcus has been passionate

about photography for more

than 25 years. A former editor

of our sister publication Digital

Camera, he has written about

photography for Canon

and Jessops, and uses

a Canon EOS 5D Mk III.


Another sackful of your prickly

photography problems solved

by our resident Canon know-all



Camera expert

Brian has unrivalled EOS

DSLR knowledge after

working for Canon for over

15 years. He now works as a

freelance photographer

and photo tutor

in Oxfordshire.

The Canon Magazine 79



YOUR canon

In this latest instalment of the series, we reveal all you need

to know to get started as a pro portrait photographer

Peter travers

Canon expert

Peter’s been a passionate

photographer for well over

20 years. He’s worked on

PhotoPlus since the very

first issue, back in 2007,

and has been the magazine’s

editor for the past six years.

Shoot portraits part-time

Portraits are a great way to earn money from your photography – we help you get started

If you enjoy shooting

subjects that talk

back, maybe it’s time

you started making

cash from your portraits.

You don’t need much

equipment if you start by

taking outdoor portraits in

natural light.

Any Canon DSLR will be up

to the job, although the higher

resolution of the latest models

will give you the option of

producing larger prints than

some of the older models.

You also need to think

about your lenses. While a

18-55mm f/3.5-5.6 kit lens

that typically comes with

crop-sensor Canons can

produce great results, a

wider-aperture standard

zoom, such as the 17-55mm

f/2.8, will allow you to

achieve shallower depth of

field than the f/5.6 maximum

aperture at the longest

end of most standard zooms.

Another lens worth investing

in is a 50mm f/1.8, as this will

give you even shallower depth

of field and allow you to shoot

in low light without having to

increase the ISO.

Stepping up to full-frame,

again any Canon is capable

of professional results with the

right lens. The high-resolution

models will give the option

of huge prints, but even shots

from an older camera, such as

the original 5D, will print up

Take promoting yourself online – if people can see how good your photos

are, they’ll know that a session with you will be worth the asking price

to A3. When it comes to lenses

the 50mm is a good starting

point, but the focal length is

a little too short for head-andshoulders

shots. An 85mm

f/1.8 gives more flattering

results, or if you can live

with the smaller maximum

aperture, a 24-70mm f/2.8

or 70-200mm f/2.8 are

versatile (if pricey) options.

People skills

Along with your photographic

skills, taking successful

portraits relies on your ability

to get the best from the people

you are shooting. There are

many ways to do this, from

cracking jokes to simply

chatting with the subject to

find out what their interests

are. But the key skill is being

able to put subjects at ease

at the same time as you are

shooting amazing images.

This means that you need to

be completely confident in

your photographic technique,

so you can concentrate on the

person and not have to think

about your composition or

camera settings.

This ability comes naturally

to some, but if your people

skills don’t quite match your

photographic ones then you’ll

need to spend plenty of time

practising this on any willing

subjects (try friends or family)

You don’t need masses of kit if

you’re shooting outside with

available light

if you’re going to make it as a

portrait photographer.

Getting the best out of your

subject is only part of your job,

though. If you’re going it alone

as a portrait photographer

you’ll also need to be able to

sell yourself and your services

before you can get the work

and, depending on your

business model, you may also

need to sell the prints to the

customer after the shoot in

order to make money.

Find a style

From using available light and

wide apertures to give a soft,

80 www.digitalcameraworld.com

Cash with your canon

For outdoor portraiture, you don’t

even need a studio (though pretty

nearby fields are handy)

dream-like appearance,

to underexposing the

background and using

off-camera flash to light the

subject for a harsher, highcontrast

look, the style of your

images will have a huge

influence on the success or

failure of your business. Take

a look at the images by many

successful portrait

photographers and you’ll

notice that they will often

have a particular style of

shooting that is immediately

recognizable. This

recognizable style helps them

attract clients who want that

‘look’, and also makes their

images stand out from those of

other portrait photographers.

So look at your images and see

if they share any particular

style or technique, and try to

make this a feature of your

portfolio and business.

Identifying your style of

portrait photography will also

help you market and promote

your services to the right type

of customer. The light,

informal look of shooting into

the light and using flare,

for example, won’t suit

a customer looking for a

more serious, business-style

portrait, while the strong look

of overpowering daylight with

off-camera flash won’t appeal

to many families or those

looking for a brighter, lighter

portrait to hang up at home.

Marketing matters

You’ve got the photography

skills, and you’re great at

getting the best from your

models, but these alone won’t

turn your portrait

photography into a business

if nobody knows about you.

So you’ll also need to spend

plenty of time promoting and

marketing your services to

make it successful. You can

start by word of mouth, as

even in this digital age there’s

nothing like a personal

recommendation to help get

you clients. Then there are the

traditional marketing tools

such as business cards and

leaflets. Although these aren’t

as essential as they used to

be it’s still worth having some

made, particularly cards, as

they are a great way of getting

your name and details into the

hands of potential customers.

These traditional methods

can work well, but they will

work much better if they are

backed up with a professionallooking

website and presence

on social media. When it

comes to using social media,

such as Facebook or Twitter,

if you already have a personal

account then it’s possible to

use this. But if this account is

full of unprofessional images

and comments you’ll need

to set up separate accounts

specifically for your business.

Pet photography

Along with traditional portrait

photography, there’s also a

dos and don’ts


• Practise your skills on friends

and family, as the less you need

to think about the mechanics of

shooting portraits, the more you

can interact with your subject.

• Get insurance for both your kit

and public liability, particularly if

you are shooting in public areas.


• Underestimate the time it will

take to edit your pictures, and

take this into account when

deciding how much to charge.

• Expect to get loads of bookings

immediately, it can take time for

customers to hear about you.

• Forget that you will need to

declare any earnings, and pay

the relevant taxes.

You need to be completely confident

in your photographic technique, so you

can concentrate on the person and not

have to think about your settings

The Canon Magazine 81


Portraits part-time

If you’re building your

portfolio, it’s worth seeing

if a model will trade time for

shots – you get experience,

they get good images

growing market for pet

portraits, from cats and

dogs to larger beasts such as

horses. Along with a love for

photographing animals, you’ll

also need similar people skills

to shooting normal portraits

when dealing with the owner

of the pet. This can often take

a lot of patience, as you’ll have

to be ready to deal with both a

potentially unwilling subject

and their owner!

How to charge

There are two typical business

models when it comes to

charging for portrait shoots.

You can either charge a set

rate for the sitting, which will

include a set number of prints

and digital files, depending on

how long it will take, or you

can charge a small (or zero)

fee for the sitting and then

charge extra for prints or

digital files afterwards.

The single-fee model is best

for those who like a consistent

income from each portrait

shoot. You’ll know beforehand

how much money you will

make, approximately how

much time it will take, and

don’t have to spend as much

time ‘selling’ the prints to the

client afterwards. You should

have an agreement with the

client about how many prints

or digital images they would

get for this fee, with an option

to buy more on top of the basic

fee. This approach is much

simpler if you’re more

interested in photography

than selling, particularly if you

are a ‘one-man band’.

The lower (or zero) fee plus

charging for prints option is

ideal if you are prepared to do

a bit more selling to your

customers. With this approach

you’ll need to be confident of

selling enough prints to make

up the value of the time that

you take for the shoot and any

post-production. Not having to

pay up front will appeal to

many potential customers, so

it’s a good way to get this type

of client. But this can be

time-consuming and not every

photographer is happy with

this more ‘high street’

approach to selling their

images and time.

How much time will it take?

Setting up the initial elements

of a portrait photography

business will only take a few

weeks in your spare time,

but building it up to become

genuinely successful and

profitable will take much

longer. It will usually take

anywhere between six months

and a year to get all of the

elements in place to get

regular bookings and for your

marketing to have time to

reach a good range of people.

In the know: Take better portraits

Our ten top tips to help you capture better portraits

01 Use a long focal length as the compression

effect is more flattering; a 70-300mm at the

long end is perfect.

02 Use Av mode and set a wide aperture (low

f-number) for a shallow depth of field to

isolate the subject from the background.

03 For more dramatic full-length shots when

using a long focal length, shoot from a low

viewpoint (in other words, lie on the ground).

04 Avoid shooting in midday sun as the harsh,

overhead light is unflattering and causes

dark eyes (but if you must, use a reflector).

05 Focus on the closest eye to the camera.

06 Position your subject against a background

that contrasts with their skin tone (pale

subject/dark background and vice versa).

07 For the best results, shoot on an overcast

day (but avoid getting the sky in the shot)

or during the golden hour, just before

sunset, when the light is softer and warmer.

08 Don’t ask the subject to smile; make them

smile by saying something funny and you

will capture their true personality.

09 Use Partial metering rather than the default

Evaluative to read the light on the subject.

10 Avoid distractions in the frame, like signs.

82 www.digitalcameraworld.com

Cash with your canon

we buy any


Pets don’t know how to pose for photographs and can behave erratically,

which can make them rather trickier subjects to pose than people!

Work out what your style and specialism is – are you great with children?

Or perhaps more formal photos for business use will be your forte?

Once you start taking

bookings, most portrait shoots

will take between two and

four hours, plus travelling

time if you go to them rather

than having your own studio.

On top of the shoot you’ll also

need to factor in around the

same time to sort through and

process the images, and then

finally some time to produce

prints and package them. So,

remember to take this extra

time into account when you

decide on your pricing

structure, as for a simple

two-hour shoot you could

easily end up working an

extra half a day or more.

How much can you make?

The prices charged for portrait

photography can vary hugely,

so you will need to assess your

market, skills and

expectations when deciding

on a reasonable rate. If you are

charging for your time, rather

than just the prints, then you

should be able to charge

around £100 to £150 for

a half-day at the lower end

of the market. If you target

higher-end customers then

you’ll be able to charge more

like £200 and upwards for

a half-day rate.

There’s a similar range

of prices when it comes to

charging for prints, rather

than a higher up-front fee.

To cover your costs you should

be looking at making at least

100 per cent on top of the

material costs, so for a high

quality 10x8-inch print you

could charge around the £40

to £60 mark.

transform your un-used

or un-wanted

photographic gear in

to hard cash.it’s quick,

easy and safe.

Subject toterms and conditions and item evaluation.






for equipment worth £500.00 or more


The Canon Magazine




In this instalment of Digital SLR Essentials, we look at

techniques for faster and more accurate manual focus

Marcus Hawkins

Photo expert

Marcus has been passionate about

photography for more than 25

years. A former editor of our sister

publication Digital Camera, he has

written about photography and

cameras for a wide range of clients,

including Canon and Jessops, and

uses a Canon EOS 5D Mk III.

Master focusing manually

There are times to roll up your sleeves and get stuck in to manual focus


though you’re able

to set one of three

different autofocus

modes on a Canon

DSLR – One-Shot, AI

Servo or AI Focus – you

won’t find a Manual

Focus option. Instead, you

have to use the AF/MF slider

on the lens: set it to MF

(Manual Focus) and you’ll see

MF appear on the Quick

Control screen. If your camera

has a top-plate LCD, you’ll see

‘M Focus’ in the readout.

Despite the advances in

EOS autofocus systems, there

are plenty of reasons why

you’d choose to go manual.

For instance, there are some

situations in which an

autofocus lens will

continuously ‘hunt’ backwards

and forwards for the subject

without ever detecting it. This

typically happens when there’s

not enough light available or

when there’s not enough of

a contrast between the subject

and the rest of the scene.

Shooting through

obstacles, such as long grass

or branches, can also prove

frustrating with autofocus

as the camera will tend to

latch onto the object closest

to it; when you photograph

at the zoo you may find that

it’s the wire of a cage or your

reflection on a glass tank that

pops into focus, rather than

the critter beyond.

Speed is another challenge.

Maybe the subject arrives too

quickly or is moving too fast

for the autofocus system to

pick it up. In this case,

pre-focusing the lens on the

spot where you anticipate the

action happening – such as the

racing line on a Formula 1

racetrack – and switching to

manual focus leaves you to

concentrate on composition.

Focus first

For the largest


manually focus

at the closest

distance, then

move the position

of the camera to

change the point

of focus.

Macro focus technique

Get ready for your close-up

Macro photography is one area where manual focusing shines. With autofocus,

one of the camera’s small AF points might cover a relatively large area of a tiny

subject and be unable to pick out the precise detail you want to be sharp. Manual

focusing enables you to place the focus exactly where you want it to be. A macro

lens is capable of capturing 1:1 life-size images when it’s focused as close as

possible, but the magnification changes as you change the focus distance. The

trick here is to turn the focus ring to roughly set the magnification you want, then

nudge the camera back and forth to position the sweet spot of sharpness.


Move the camera

The closer you focus, the narrower

the depth of field becomes. To make

more of a subject appear sharp,

move the camera further away and

refocus, then crop the photo later.


Digital SLR Essentials

Viewfinder focusing

Manual focus through

the viewfinder

You’re not on your own when focusing manually – the

camera will still tell you whether an object is in focus


rying to manually

focus through the

viewfinder can be

challenging – if your eyes

are anything like mine, at

any rate. It can be hard to

discern where the sweet spot

of sharpness is as you turn the

focus ring, especially if you’re

shooting with a wide-angle lens

where pretty much everything

looks sharp most of the time!

The trick here is to use the

focus indicator in the bottom

of the viewfinder; this becomes

a solid green dot when the

camera detects that the object

covered by the active AF point

in the viewfinder is in focus.

The AF point that detects focus

will also blip red.

There are a few things to

bear in mind: to activate the

function, you’ll need to keep

the shutter release halfpressed

as you focus. It makes

sense to manually select a

single AF point so that you can

target areas more precisely.

If there’s not enough light or

contrast for the AF sensor to

detect focus, the viewfinder

indicators won’t appear.

A lens’s ‘focus throw’ – the

extent to which its focus ring

has to be rotated to shift the

focus from its minimum

distance to infinity – is

something to consider when

focusing manually. Lenses that

have a short focus throw can

make manual focusing quicker,

but those with a long focus

throw – typically macro lenses

and telephotos – enable you to

adjust the focus distance in

smaller increments. This is

certainly of more use when

it comes to close-up

photography, where even tiny

changes in the focus distance

can have a huge impact on

which sliver of the subject

pops into focus.

The solid focus indicator will appear in the bottom of the viewfinder

when the area covered by the active AF point is in focus

This is the one

time that I’d


activating the

in-focus beep,

as it can be

easier to react

to a sound

rather than

looking for a

green dot

Full-time manual focus

Change the focus distance without leaving AF mode

Many lenses offer what’s known

as ‘full-time manual focus’. This

means that you can twist the focus

ring even when the lens is set to AF

and fine-tune the point of focus. You

can do this at any point before,

during or after the camera’s

autofocus routine. Not all lenses offer

this feature, and you risk damaging

these if you manually focus while the

lens slider is set to AF.

It only makes sense to do this

when the camera is set to One Shot

AF mode; in AI Servo or AI Focus

mode the camera will simply try and

refocus the lens if it detects that the

area under the active AF point isn’t

sharp. One way around this is to use

back-button focusing so that

pressing the shutter release to take

a photo won’t trigger the autofocus

system. The Custom Controls option

in the Custom Functions menu

enables you to set up your DSLR so

that holding one of the buttons on

the rear of the camera will either

activate the autofocus or deactivate

it. Either way, it means that you can

suspend the camera’s continuous

autofocus and tweak focus manually.

There is a compromise to

focusing manually without sliding the

switch on the lens to MF: the focus

indicator in the viewfinder won’t

indicate when the manually focused

image is sharp.

Ring USM

You can use full-time manual focus

override with all Canon’s L-series

autofocus lenses as well as some

‘consumer’ models.


These lenses also offer full-time

manual focus override, although the

shutter release has to remain

half-pressed to make it work.

Micro USM

Lenses with this type of motor

don’t offer manual focus override,

with the exception of a few that

use a clutch mechanism.

The Canon Magazine 85


Live View

Going MF in Live View

Activate the rear display and blow up the most

important details for super-accurate focus


ive View and manual

focusing go together

like coffee and

cream. Not only does the

larger illuminated screen make

manual focus much more

practical in low light when you

can barely make out anything

through the optical viewfinder,

but being able to magnify the

image means that you can

ensure that the focus is

positioned correctly on the

smallest details.

To magnify a detail, first

position the Live View focus

point over it, then tap the

button with a magnifying glass

icon to cycle through the

options. Pressing it once

magnifies the area covered

by the focus point five times.

Pressing it again magnifies the

area ten times, while a third

press returns the full image

to the screen again.

It’s not all plain sailing: unlike

shooting with the viewfinder,

it’s harder to keep the camera

still when you’re shooting in

Live View mode without a

tripod, and any nudge

backwards or forwards will

change the point of focus. You

may also end up with the odd

exposure error if you don’t

remember to return the Live

View screen to the full image

once you’ve finished focusing

in magnified view – although

the aperture and shutter speed

will be highlighted in orange

as a warning.

Finally, in low light the image

on the Live View screen will

look decidedly choppy. This

noise won’t be recorded in the

final picture, but it can make it

hard to judge whether details

are in focus or not. Our tip is

to shoot in Raw and set

Monochrome as the Picture

Style; this removes the ugly

colour noise on the screen

without affecting the image.







Creative ideas

Manual focusing opens up a range of creative opportunities

There will be times when you’ll

want to switch to manual focus for

creative reasons. If you’re looking

to produce an image that requires

several shots to be stitched or

sandwiched together, such as when

building a panorama or a high

dynamic range (HDR) shot, then

you’ll be looking for consistency

between each frame so that they can

be blended seamlessly. In these

instances, setting the lens slider to

MF effectively locks the focus

distance for the entire sequence

– as long as you don’t inadvertently

jog the lens’s focus ring.

When you’re trying to get the

‘model village’ effect with a tilt-shift

lens or a Lensbaby, then you’ll have

no option but to use manual focusing

as they don’t have an autofocus

motor. There may be times when you

want to take intentionally out-offocus

shots – as opposed to

accidentally blurred! – in which case,

manual focus gives you the control

you need.









Digital SLR Essentials

Hyperfocal focusing

To infinity and back a bit

Use this technique to make more of a scene appear sharply focused


lthough you can only

focus a lens at a

single distance, that

doesn’t mean that

everything in front of and

beyond this point is blurred.

Sharpness appears to drop off

gradually, with the depth of

apparent sharpness – aka the

depth of field – being

determined by the aperture

setting and focus distance,

amongst other things.

Approximately one third of

the depth of field falls in front of

the point of focus, with

two-thirds extending behind it.

This means that if you focus on

the closest part of a scene then

you’ll essentially be wasting the

depth of field available in front

of it and losing some behind.

That’s not necessarily a

problem when you want a

Check the depth

Press your camera’s

depth of field button to

view the scene at the

aperture you’ve set, and

check if the background

is sharp enough.

subject to stand out from a

background, such as when

you’re shooting a portrait. But

when you’re photographing a

landscape or any other general

scene, you’re more likely to

want to squeeze as much as

possible into the depth of field.

The trick here is to manually

focus the lens at the

‘hyperfocal’ distance;

everything from half the

hyperfocal distance to infinity

will then appear acceptably

sharp. There are plenty of

depth of field apps that can

calculate the hyperfocal

distance for you once you’ve

input your camera, lens and

aperture details – all three will

help to determine the distance

you need to focus at – although

working with a lens that has a

distance scale on the barrel is

going to make life much easier.

The distance markings on

modern lenses aren’t typically

very detailed, but at least you

can place the focus point

somewhere in the ballpark

of the hyperfocal distance.


200mm lens

at f/16


distance: 83.53m


sharpness from: 41.8m

70mm lens at f/16

Hyperfocal distance: 10.28m

Acceptable sharpness from: 5.1m

20mm lens at f/16

Hyperfocal distance: 0.85m

Acceptable sharpness from: 0.4m

Camera: 0m

School tip Get in the zone

Zone focusing can speed up your reaction time for

shooting from the hip for candid street photography

An alternative take on

hyperfocal focusing, zone focusing is

a technique that’s more suited to

candid street photography than

landscapes. The principle’s the same:

switch to manual focusing and

pre-focus the lens at a certain

distance. Based on what you know

about hyperfocal focusing, you’ll

have an understanding for how large

the depth of field ‘zone’ will be for

your choice of focal length and

aperture, and you can grab shots as

the subject enters this zone and gets

close to the preset distance – or

when you manoeuvre the camera

close enough to it. Using a prime

lens, rather than a zoom, means that

the depth of field is consistent for a

given aperture, and you can shoot

from the hip, without even looking

through the viewfinder.

Try using a moderately wide lens – 28mm to 35mm – and set a

mid-range aperture of f/8 or f/11, pre-focusing around 3m to 5m away

The Canon Magazine 87



Our technical guru is here to help. No Canon conundrum is too

big or small. Get in touch today at EOSSOS@futurenet.com


Canon Pro

Brian is a freelance photographer

and photo tutor, based in

Oxfordshire. He has unrivalled

EOS DSLR knowledge, after

working for Canon for over

15 years, and is on hand to

answer all your EOS and

photographic queries


Why is my 77D ‘forgetting’ how much

exposure compensation I’ve set?

Andrew McCully, Wilmslow

Brian says… Congratulations on the new camera. I have

been working with the EOS 77D for a few weeks myself and

found the same behaviour. If you shoot with exposure

compensation, then switch off the camera, it is reset to stop

photographers who use a camera infrequently from getting

unexpected exposures the next time they use their camera.

To retain exposure compensation, you’ll need to set C.Fn 3

Exposure Compensation Auto Cancel to Disable. The EOS

800D also has this same new behaviour.

Wildlife and sports photography needs a lens with longer reach. This

bird was photographed with a 70-300mm lens on an APS-C camera

Can you suggest a reasonably priced

telephoto zoom for my 6D and 100D?

Mike Gosling, Northamptonshire

Brian says… You’ll need to have a

lens that fits both APS-C and fullframe

cameras. My suggestion is

something that covers a 70-300mm

range, which has the reach of a

480mm lens on the EOS 100D. With

such a reach, it will be important to

have a lens that has an optical image

stabilizer to allow you to use the

camera handheld.

Given the small size and weight of

the EOS 100D I would avoid the bigger

and heavier models as the camera can

feel unbalanced. It shouldn’t be such

an issue with the EOS 6D though.

From Canon’s lineup, I suggest the recently launched EF

70-300mm f/4-5.6 IS II USM, priced around £500/$550. This

latest version has good optical performance and a 4-stop

stabilizer too. From the independent makers, the Tamron SP

AF 70-300mm f/4-5.6 Di VC USD at £300/$450 picked up

Best on Test and Best Value awards in PhotoPlus 125.


This landscape needed underexposure to saturate colours, the 77D

would automatically reset exposure compensation when switched off



Speed up AF setup

Ask Brian!

Confused with

your Canon DSLR?



You need to be able to move AF points

around the frame when capturing fast

action using AI Servo tracking focus

Faster focusing

Tweak your camera focus settings for quicker performance


OS camera focusing systems

are highly developed tools with

a myriad of options to suit them

to a huge range of subjects. All this

flexible capability means that you might

not be working with the focus system

as efficiently as possible and missing

pictures as a result.

When your subject is unpredictable,

fast-moving and only appears briefly,

you need to have the camera ready and

set up properly. If not then you’ll take a

while to get the right settings and miss

the photo opportunity. For me this

means I can readily change the location

of my AF point, and on the right

cameras change the AF area too.

One of the best configurations is to

change the multi-controller to provide

direct selection of the AF points. You’ll

usually find it in the camera’s custom

controls. Direct selection of AF points

means that your thumb on the back of

the camera can change the AF points

whilst the camera is in front of your

face. If you’ve got an EOS 7D Mark II or

EOS 5D Mark IV you can also have the

AF Area Selection lever set to change

between the different AF areas easily.

These two settings speed up the way

I take pictures with my cameras.

With so many choices of AF area

it can be a lot of taps on the AF Area

Selection lever to get between the AF

areas that you want to work with. Of

course, this is faster if you disable any

AF areas that you don’t use. On the

5D Mark IV there are seven different

arrangements of the AF points. I mostly

use just three of them. I turn off the

ones I don’t use, which means I’m

faster at changing the AF area. With

only three areas active I must press the

AF area selection button just three

If there are too many AF area selections to

choose from it can be slow to move between

the ones that you prefer to use

times, instead of seven, to get around

all the AF area selections that I use.

First seen on the Canon EOS 7D,

orientation-linked AF points can be

another incredible timesaver. Simply

change the camera from landscape to

portrait orientation and the AF points

move automatically. There are three

different orientations: level, grip-up and

grip-down. One some cameras you can

also have different AF areas for each

orientation too.

I continue to be amazed at the

number of photographers I meet who

have never optimized their camera for

their kind of photography!

The Canon Magazine 89


Capturing clearer sound for your movies requires an external

microphone that is positioned closer to the source of the sound

The sound when shooting video on my

70D is poor, would a microphone help?

Alan Wilson, Edinburgh

Brian says… You’ve just discovered two of the most

important things for movies: first, sound is often more

important than the actual video; and secondly the camera’s

built-in mic is not the right tool for the job. The built-in mic

usually picks up any noise you create by changing controls or

holding the camera while filming to add to the trouble.

To capture much better sound you need to position a mic

closer to the subject. The type of mic you use will depend on

the kind of sound you need to record. For a person speaking

on camera the common choice is a tie-clip mic, usually

called a lavalier mic. Because it’s near to the sound source

the voice will be much clearer. Think of a mic a bit like a lens

and don’t skimp on the quality; top brands like Røde and

Sennheiser are worth looking at.

Can I apply the latest firmware

update for my EOS 7D Mark II if my

camera is many versions behind?

Francois Malherbe, South Africa

Brian SAYS… Virtually all EOS cameras have

a firmware update at some point. It’s best to keep

your camera up to date with the current firmware as

frequently they improve the performance of the camera,

or correct unexpected behaviour. For most updates you

can just install the latest version regardless of the

version on your camera.

So if you have v1.0.2, then

you can install the latest

v1.1.1 without doing all

the versions in-between.

You can find your

current firmware here:


Upgrading your firmware is

straightforward and only

takes a few minutes

Can I use the

Canon Extender

1.4x with my EF


f/4.5-5.6L IS II

USM and 70D?

Stephen Phillips, Devon

Brian says… Adding a

Extender 1.4x to any lens

will reduce the maximum

aperture by 1-stop. This

makes your 100-400mm

lens a 140-640mm lens

with an f/6.3-8 aperture.

Your EOS 70D’s AF system

needs at least f/5.6 to

operate so autofocus

won’t work properly.

What is the point

of the lock switch

on the back of

the EOS 80D?

Sarah Higgins, Bristol

Brian says… The lock

switch will stop the rear

control dial from

inadvertently changing

camera settings. If the dial

is accidentally nudged

there could be a change in

exposure settings that

would affect your next

shot without you realizing.

Why don’t my


studio lights flash

using Live View?

William Coulton

Brian says… The first

shutter curtain is already

open to uncover the

sensor for Live View. This

makes it not normally

possible to trigger any

non-dedicated flashes on

the hotshoe. However, the

Silent LV shooting setting

changes how the shutter

curtains work and should

be set to Disable. Once

this is done your radio

trigger will be able to work

with your studio flashes.

The 800D has a new style of displays, but you

can go back to a more familiar look

I’m considering an EOS

800D, but I’m worried the

new-style display will take

some getting used to…

Sheila Watson, Lincoln

Brian says… It is possible to switch

both the shooting displays and the

menu navigation to the old style. I like

the new shooting screens, but prefer

the old menu displays. To make the

switch press Menu, and then use the

touchscreen to access Display Level

Settings. Change the Shooting Screen

and Menu displays from Guided to

Standard to look like your older EOS.

Panning at 1/320 sec, 100mm focal length,

motorbike travelling at approximately 60mph

What shutter speed

should I use for panning

shots of motorbikes?

John Mears, Hull

Brian says… The shutter speed

depends on several factors including

focal length, the speed of the bike and

the distance. In the picture 1/320 sec

was used and this will limit the blur of

the rider on a rough motocross track.

Racers on a tarmac track will be faster,

but smoother. My approach is to start

from 1/250 sec with a 200mm lens

then make a 2-stop change in shutter

speed between shots as this is enough

to see a change on the camera screen.




Flash COMpatibILIty

My ST-E3-RT transmitter triggers my

600EX-RT flashes, but not my Mecablitz

58 AF-2 flash, is it possible?

Graham Hobbs, Peterborough

A Speedlite in the

lampshade couldn’t be

triggered optically, but

radio triggering worked

Brian says… The ST-E3-RT

communicates with the

Speedlite 600EX-RT using

radio wireless. Radio has the

advantage that it doesn’t

need line of sight between the

flash and transmitter, or care

how bright the ambient light

is. However, your Mecablitz 58

Optical wireless can be unreliable

in daylight, but radio wireless can

trigger the flash, even in a softbox

Rate my PHOto

Paddle Boarding by

Roger Willoughby

Roger says… I visited Hunstanton in

Norfolk and had gone out to try and take

a photo of the sunset. I was planning on

using my Lee Little Stopper for really long

exposures, so had my EOS 6D on a tripod

and used a hard graduated 2-stop ND

filter to hold some of the brightness back

in the sky. When I saw the paddle boarder

come into view I decided to take photos

without the Little Stopper. Even though

this was captured at 1/13 sec there’s no

real effect on the boarder’s sharpness.

Brian says… Sunsets are a difficult

subject to photograph; the range or

brightness often means filters are

needed but, even then, it’s just another

sunset. This picture is a bit different due

AF-2 flash doesn’t have a

radio receiver built in.

This leaves a couple of

options, you can stop using

the ST-E3-RT to control the

other flashes, and use one of

the Speedlite 600EX-RT

flashes as a master using

optical wireless. Optical

wireless is less reliable in

bright light and over longer

distances, and is much less

reliable if the Speedlites are

fitted inside a softbox.

Another possibility is to

trigger your Mecablitz with

an additional radio receiver.

I have used Yongnuo YNE3-RX

and Phottix Laso receivers to

trigger Speedlite 580EX II

flashes with the ST-E3-RT

transmitter. However, due to

the age of your Mecablitz flash

I suspect that these radio

receivers will not work fully

with your unit and give E-TTL

automatic flash. The Yongnuo

receiver can just trigger the



Canon EF 24-105mm f/4L IS USM

1/13 sec, f/22, ISO100

Mecablitz in manual mode,

though you’ll need a cable to

link the receiver and flash.

As an alternative, you might

try one of the independent

radio wireless compatible

flashguns, such as the

to the arrival of the paddle boarder

in the frame. The colours feel realistic,

yet warm and peaceful.

I like the letterbox crop; it works well,

though I think it can be cropped a little

more to remove some of the darkest

parts of the frame in the lower-left

Yongnuo YN600EX-RT. For

relatively little money these

make handy additional flashes

and I have successfully used

them in conjunction with

Canon radio wireless

Speedlites and transmitters.



Email photos to



with the subject

‘Rate My Photo’

corner. There are also two people in the

shadows on the shore that would be

eliminated with a tighter crop, and the

paddle boarder will appear larger in the

frame. As an alternative, you could crop

the bottom 25% off the height to make

a panoramic image.

The Canon Magazine 91

94 Gear Update

Dispose of your

disposable income

118 Buyers’ Guide

Every EOS and

Canon-fit lens

The latest Canon DSLR and photo gear tested.

Independent advice to help you buy smarter


Superzooms are popular

because they cover such a

wide focal range. It’s tricky

to get the right balance

between optical quality,

autofocus performance,

handling and value for

money, though. I won’t spoil

it by naming the winner, but

I did use Canon’s 18-135mm

STM while testing the EOS

77D, and was impressed; it’s

fast, quiet, compact, and

makes a versatile kit lens.

How we test

Rod Lawton

Head of testing


PAGE 106 Superzoom lenses

PAGE 96 Canon EOS 77D

PAGE 104

Sensor cleaners

Lens tests are carried out with

Imatest suite, with specially

designed charts and data

analysis to test lens performance

We test cameras in laboratory

conditions using DxO Analyzer

hardware and software to check

dynamic range and image noise

Tests & awards

When IT comes to testing Canon DSLRs, lenses, photo gear

and services in PhotoPlus, we tell it like it is. We’re 100%

independent and we use our in-depth lab tests to find out how

kit really performs and compares. Here are our main awards…

Buy for the best combination

of quality and value

Only the best of best win

our coveted award

The Canon Magazine 93




Our round-up of the latest digital photography must-haves








01 Lastolite Joe McNally

Ezybox Speed-Lite 2 Plus

Flashgun modifier gets a pro makeover



This development of Lastolite’s Ezybox

Speed-Lite 2 has been designed in

conjunction with world-renowned

photographer Joe McNally and features

his preferred white interior for even softer

illumination. The 22x22cm outer diffuser

has also been tweaked, now recessed by

45mm to help control light spill. Thankfully

the original pop-up design remains, with

its ingenious mechanism that enables the

softbox to fold flat in seconds. It’s just as

easy to attach to your flashgun, with a

silicone strap and twist-lock clamp combo

ensuring a secure fit.

02 Manfrotto Manhattan Collection

Bags that’ll cut it in the urban jungle

From £80/$100


Designed for city slickers and

commuters, Manhattan bags put flexibility

centre-stage. A Flexy Camera Shell divider

system will wrap snugly around your gear,

and the entire camera insert is easily

removable for when you need a regular

bag. The range includes the Mover

50 backpack designed for a 5DS with

attached 70-200mm f/2.8, plus five extra

lenses and a 15in laptop. The Speedy 10

messenger bag is best suited to a small

APS-C DSLR setup, while the Changer

20 shoulder bag can convert between

a shoulder bag, tote bag or backpack.

03 ONA bags & accessories

Uncompromising quality, timeless style

From £139/$149


Based out of New York City, ONA bags

can be had in backpack, messenger and

shoulder bag flavours, with the latter

designed with female photographers

in mind. All come with reassuringly

substantial price tags, reflecting quality

exterior materials like full-grain leather and

waxed canvas. Inside most models you’ll

find practical interiors with customizable

padded dividers, while larger bags have

slots for a laptop or tablet. ONA also offers

premium accessories, like the Beacon

Lens Case that echoes vintage lens

cases of yesteryear.

04 Vanguard Alta Pro 2+ 264CT

Design maximizes rigidity and convenience



Vanguard has gone back to the drawing

board for its new Alta Pro 2 Plus tripods.

This 264CT model tops the range and will

top out at 1.5m tall, yet weighs just 1.7kg,

thanks to carbon construction that’ll stand

strong under a 7kg payload. Vanguard’s

Multi-Angle Center Column can be pivoted

from vertical to lock horizontally – or

at any 15-degree increment in-between

– helping you to nail the perfect

composition every time. New twist-lock leg

extension clamps make for quicker, more

streamlined setup, and you can chose

from four leg angle settings.

05 WhiteWall Acrylic Minis

Shrunken acrylics for expanded appeal

From £13/$20


Forget the idea that acrylic prints need

to be big; WhiteWall’s new Acrylic Minis

are a mere 18x13cm, or 13cm-square.

They’re designed to be wall-hung from

an integrated hook, placed on a table or

shelf using the included plexiglass stand,

or stuck to your fridge with a built-in

magnet. Great as gifts, or for displaying

multiple themed images in a small space,

Acrylic Minis are ideal for showing off your

shots without worrying about framing

or mounting, and they’re backed by

WhiteWall’s award-winning print quality.

06 Wireloose Pix camera straps

Traditional handcrafted quality accessories

From £50


In a world of mass production and

synthetic man-made materials, these offer

a refreshing take on the humble camera

strap. 100% hand-made in England from

real leather, these slim 10-15mm wide

straps are an ideal complement for an EOS

M. Several strap, stitching and split ring

colours are available, or for an even more

eye-catching look, opt for the version that

attaches to your Canon with decorative

woven knots. While no two straps will be

completely identical, you can always spec

your own colour and fixing combo for

ultimate exclusivity.

The Canon Magazine 95


Canon EOS 77D

Canon’s new enthusiast DSLR offers the technology of the

EOS 80D in a smaller, cheaper body. Phil Hall gives it a test

Acouple of years ago,

Canon launched the EOS

750D and 760D at the

same time. While the two

cameras were virtually identical to

look at, and sported pretty much the

same internal feature set, the 760D

offered more body-mounted

controls and a small LCD display on

the top, designed to appeal to more

experienced users.

Fast-forward two years and

Canon has done the same thing

again, launching the EOS 77D

alongside the more beginnerorientated

800D. Things are a little

different this time, though. The EOS

77D may share the same internal

features as the 800D, but Canon has

opted for a more distinctive and

slightly larger design for the 77D to

differentiate the two models.

The EOS 77D is the

grown-up version

of the EOS 800D.

The technology is

the same, but the

77D’s controls are

designed for


If you look under the skin of the

EOS 77D it’s pretty much identical

to the EOS 800D. That means it gets

the new 24.2Mp APS-C CMOS

sensor, which uses Canon’s latest

sensor technology based on the

same on-chip analogue-to-digital

conversion tech as seen on the likes

of the EOS 5D Mark IV, thus

producing cleaner images at higher

ISOs compared to the older sensor

in the 750D and 760D.

Even without this, the EOS 77D

promises to handle noise better at

higher sensitivities, thanks to the

arrival of a new DIGIC 7 image

processor with a native ISO range

of 100-25,600 that can be pushed

77 reasons

to upgrade...

If you have an older EOS camera,

find out how far Canon DSLR

technology has moved on…


24Mp resolution

Enough for a print 20

inches wide at a print

resolution of 300dpi, and

lots of leeway for cropping.


Shoot a slo-mo

Shoot Full HD video at

60/50p for top-quality 2x

slo-mo, and with an STM

lens you’ll get smooth AF.


Guided mode

Now your gran can take the

pictures at the kids party;

the optional Guided mode

makes settings simple.


Wi-Fi remote control

Take pictures of that cheeky

squirrel in the garden

without scaring it off via

the Camera Connect app.


Always-on Bluetooth

Facebook your holiday pics

while you’re taking them

– the 77D can send them

straight to your phone.


Remote flash

The built-in flash can fire

Speedlites wirelessly – use

it for fast fashion shoots or

slow-sync sports.


6fps shooting

Capture the kids in their

soapbox race – the 77D can

keep shooting JPEGs until

the card is full.


Pick your focus point

Need to focus off-centre?

Press a button, turn the

control dial or tap the LCD

to choose the AF point.



Full test EOS 77D

The EOS 77D

promises to handle

noise better thanks

to a new DIGIC 7


image stabilization system, but

IS optics will be able to work in

tandem with the in-camera system

for video if you want.

The EOS 77D supports Wi-Fi and

NFC connectivity, while there’s also

the option to set up a low-energy

Bluetooth connection so you can

always be connected to the camera.

This enables you to remotely wake

the camera from its sleep mode

(provided you haven’t turned the

camera fully off), as well as browse

photos and operate the camera

remotely from your smart device.

another stop further to an ISO

equivalent of 51,200 (you’ll have

to dive into the menu to access this

setting). In addition, the DIGIC 7

processor also offers improved

autofocus performance when

compared to the DIGIC 6 chip.

Like the EOS 800D, the EOS 77D

uses a three-inch, vari-angle

touchscreen display with a

resolution of 1,040,000 dots. It’s

disappointing not to see 4K video

on the EOS 77D, especially given

Canon’s heritage in this area – and

considering 4K video is becoming

an increasingly standard feature at

this level from other brands.

Instead, you get Full HD capture

up to 60p, while the EOS 77D also

sports Canon’s new five-axis image

stabilization system for shooting

handheld footage. This in-camera

system is designed for videos only

– Canon isn’t ditching its lens-based

This was taken

with Canon’s

18-135mm stM

lens, showing just

how close you can

get at its minimum

focus distance

Build and handling

If the EOS 800D and more

enthusiast-orientated EOS 80D

had a baby, the EOS 77D would be

it, sitting neatly in between the two

in the range. The build and finish of

the EOS 77D is most closely related

to that of the 800D, though, with a

similar combination of aluminium

alloy and polycarbonate resin – in

fact, it only weighs 8g more than

the 800D.

It shares the 800D’s ultra-smooth

finish on the majority of the

exterior, which feels quite plasticky

to the touch and at odds with the

camera’s price. That said, the grip is

comfortable and the textured finish

has a nice tactile feel. The number







Vari-angle display

Shoot from ground level or

above head height for an

unusual perspective or just

to get above the crowds.

Focus track movies

Keep your subjects in focus

even when they’re moving

– perfect for subjects that

won’t stay still!

Time-lapse movies

Capture speeded up

cloudscapes or rush-hour

in the city. You can choose

the speed and duration.

Pack your BAGs

The 77D and its kit lens are

super-compact – so you

can fit more into your bag,

or use a smaller bag!

Creative blur

Use a slow shutter speed

and pan with your subject

– the lens image stabilizer

helps keep subjects sharp.

Custom WB

Not sure of the lighting?

Measure a neutral scene

and store a Custom white

balance setting.







Pinpoint focus

Get pixel-perfect focus for

macro shots with Live View

– just tap the screen where

you want to focus.

5-axis stabilisation

Keeps your movies steady,

even when you’re shooting

action in a Hollywood runand-gun


Top-plate lcd

Check your settings,

including battery level,

shots remaining and EV


Back-button focus

Lets you shoot like a sports

pro by separating the

autofocus activation from

the shutter release.

Pick a Picture Style

Choose the perfect ‘look’ or

make your own by adjusting

sharpness, contrast,

saturation and colour tone.

Use the self-timer

It’s not just for selfies. Set a

shorter delay for hands-free

tripod shots when you don’t

have a remote control.

The Canon Magazine 97




of body-mounted controls is where

the real differences between the

EOS 77D and 800D become

noticeable, starting with the

top-plate LCD display, which

the cheaper camera lacks.

It’s smaller than the top-plate

LCD on the EOS 80D, but still

provides a handy quick reference

point for a host of key shooting

information, including ISO setting,

aperture and shutter speed,

exposure compensation, battery

level, Wi-Fi activation and the

number of shots remaining.

In front of this display are

dedicated controls for ISO and AF,

as well as a button to illuminate the

LCD in poor light. The positioning

of the LCD display means the

Mode dial moves to the left of the

viewfinder, and unlike on the 800D

You can reveal

plenty of highlight

and shadow detail

from the 77D’s

Raw files: straight

out of camera shot

on the left, the

image with detail

recovered in

Adobe Camera

Raw on the right

The touchscreen interface

is nicely integrated, works well

and is one of the most polished

examples we’ve seen

it features a locking mechanism;

you’ll need to press and hold the

central button to spin the Mode dial

around to the desired setting.

Moving round the back, there’s a

dedicated AF-On button for backbutton

focusing, which can be really

handy if you regularly shoot using

continuous focusing. Rather than

the 800D’s four-way control pad,

the EOS 77D features a multidirectional

control pad encircled by

a scroll wheel; this mirrors some

higher-end EOS DSLRs, enabling

you to quickly toggle key settings,

The Dual Pixel CMOS

sensor offers fast Live

View autofocus as well

as the convenience of

touch control

and it’s handy when the camera is

raised to your eye.

Then there’s the EOS 77D’s

touchscreen interface. We may have

liked to have seen something a bit

larger, and/or with more resolution,

but there’s no quibbling about its

functionality. It’s nicely integrated

into the camera’s interface, works

really well and is one of the most

polished examples we’ve seen.

There’s also an optical viewfinder

with 95% coverage; this is typical

for an entry-level DSLR, but with

the EOS 77D having loftier

77 reasons

to upgrade...


Spot the difference

If your subject is in different

lighting to the rest of the

scene, use Spot metering

to get the exposure right.


Change the program

Use Program Shift to get

the aperture or shutter

speed you want without

having to leave P mode.



Don’t be scared of high

ISOs – they allow handheld

photography in lighting you

just wouldn’t believe.


Second-curtain sync

The flash fires at the end of

a slow exposure to produce

realistic blur trails with

moving subjects.







Zone AF

Choose a zone, and the

camera focuses on the

nearest thing in it – very

useful for moving subjects.

Manual focus

For best depth of field focus

between two subjects, not

on one or the other – use

Live View for precision.

Old-school exposure

Switch to Centre-weighted

or Partial metering, swap to

Manual mode and use the

exposure indicator.

EV compensation

Some subjects are lighttoned,

some are dark

– that’s when you need

exposure compensation.

HDR Backlight

It’s a simple scene mode

that merges three different

exposures to produce an

HDR image in-camera.

Light painting at night

Use a low ISO, set the shutter

speed to 30 sec then use

a flashlight to ’paint’ the

scene with light.



Full test EOS 77D


77D vs 760D


Battery life is 600

shots with the

viewfinder, 270

shots with Live View


This handy LCD

status panel is

missing on the

cheaper 800D


The main Mode dial

has a locking button

in the centre


The viewfinder uses

a pentamirror rather

than a pentaprism





Signal-to-noise ratio (dB)

Raw * signal-to-noise ratio

The 77D produces slightly better noise

figures than the 760D, but the difference

is so small as to be insignificant

Dynamic range (EV)

Raw * dynamic range


The AF-On button

should be popular

with sports fans

Dynamic range is where the EOS 77D’s

sensor shows its superiority, with much

better results at lower iso settings


The articulating

screen is also




Raw * resolution (at iso200)


The older 760D appears a fraction

sharper but the difference is very small

Colour error

The 77D’s colour rendition is much

more neutral than its predecessor’s







No Flash mode

Taking pictures in a

theatre? Don’t use Full

Auto, switch to the No Flash

option on the Mode dial.

Multi-Shot NR

Shoots four high-ISO

images in succession and

merges them in-camera to

produce a low-noise shot.

Tilt-shift effect

Use the Miniature effect

to create the illusion

of a miniature scene

photographed from above.

Interval timer

Use the 77D’s interval timer

to take shots automatically

at set intervals even when

you’re not there.

No wonky horizons

The 77D can display an

electronic level in Live View

mode that warns you when

the camera's not level.

Make your mark

Add your copyright data to

each image you shoot. That

way, people can check who

owns the picture.







Protect highlights

You can use Highlight Tone

Priority mode to reduce the

risk of blown highlights in

high-contrast scenes.

Improve your lens

Kit lenses suffer distortion,

chromatic aberration and

vignetting, but you can

correct these in-camera.

Freaky fish-eyes

Shoot with an eerie fish-eye

effect, without a fish-eye

lens, thanks to the built-in

Fish-eye creative filter.

Exposure histogram

You could rely on old-school

methods for an exposure,

or use the live histogram in

Live View mode instead.

Set your aspect ratio

The 77D’s native ratio is 3:2,

but you can also shoot 4:3

or 16:9 images – useful for

different print formats.

Watch a slide show

Why swipe through

pics when your 77D can

play them back for you

automatically… with music.

The Canon Magazine 99


aspirations it’s a little disappointing,

especially with similarly priced

rivals offering 100% coverage.

While it might not seem that much

of a difference, you’ll be surprised

at how unwanted elements can

encroach on the edges of the frame

when you review your images.

The Mode dial

offers a variety

of scene modes

for beginners,

but the EOS 77D

is really aimed at

more advanced



Like the 800D, the EOS 77D takes

advantage of a 45-point AF system

with all cross-type sensors, which

are sensitive in both the horizontal

and vertical planes to deliver more

accurate focusing. The setup here

is a welcome boost over the EOS

760D’s modest 19 AF points.

The EOS 77D’s autofocus system

is also sensitive down to -3EV, so

when light levels drop you should

still be able to lock focus on poorly

lit subjects. Of those 45 focus points,

27 are sensitive down to f/8, and

Focusing was very prompt,

locking on briskly to our

target, even in poor light

Using the Landscape picture style setting in camera enhances the greens naturally

while it might not be a key selling

point for a lot of photographers,

this can be handy if you’re shooting

with a lens that has a maximum

aperture of f/4 and you’ve paired it

with a 2x teleconverter, as you’ll still

be able to take advantage of those

27 points.

As we’ve found with the 800D,

which uses the same phase-detect

AF system, this array does a very

good job. Focusing speed was very

prompt, locking on briskly to our

desired target in One Shot AF mode,

even in poor light with the new

18-55mm STM lens fitted.

When it comes to shooting in

continuous (AI Servo) AF mode and

tracking a moving subject, there’s

a noticeable boost in performance

over the 760D’s 19-point

arrangement. It’s more reliable than

the older 19-point system, and the

EOS 77D also uses its 7560-pixel

RGB+IR metering sensor to help

track subjects across the frame.

It will still mis-focus the odd shot

in a sequence, though, and there’s

77 reasons

to upgrade...


Who needs Adobe?

You can use Canon’s own

Digital Photo Professional

4 software to process your

Raw files, and it’s free!


Where did you shoot?

Your phone knows where

you took each picture, and

with the add-on GP-E2 GPS

adaptor, so will your 77D.


Remote Controller

Announced at the same

time as the 77D, the BR-E1

remote needs no line of

sight and works 5m away.


Perfect portraits

Set a long focal length and

wide aperture, move your

model from the background

and focus on the eyes.








Lock individual pictures so

they can’t be deleted from

the memory card – useful if

culling pictures in-camera.

Make your own menu

You know which settings

you change most, so bring

them together in My Menu.

It can be real time-saver.

Mic me up

You can make a massive

difference to your video

sound quality by plugging

in an external microphone.

Manual control

In Manual mode the top dial

controls the shutter speed,

while the rear dial controls

the lens aperture.

Optical space-saver

The 18-55mm f/4-5.6 IS

STM isn’t just smoother

and faster than the old 18-

55mm lens, it’s smaller too.

Mirror lockup

For best sharpness, mount

the 77D on a tripod and use

its Mirror Lockup mode to

reduce vibration.



Full test EOS 77D

Let the Canon 77D be your guide

Beginner-friendly cameras

are always popular with first-time DSLR

users, and the EOS 77D goes the extra mile

with its Guided mode. This graphical

interface is also found on the cheaper EOS

800D, but the difference is that while it’s the

default control system on the 800D, on the

77D you need to activate it, if required, from

the menus. It’s the most helpful settings

guide we’ve seen yet, with interactive sliders

and icons that explain the effect that

different settings will have on your pictures.

For example, in Aperture Priority (Av) mode,

the screen displays a slider for the aperture

setting and visual representations of the

depth of field at the opposite ends of the

aperture range. Below this are other settings,

including focus point, shooting mode and

EV compensation, which you might want to

change as well. In Shutter Priority (Tv) mode,

the screen shows the effect of different

shutter speeds. Owners of the EOS 77D

might not need this level of simplicity, but

it could be useful to have it there if you need

to share the camera with another family

member, for example.

The EOS 77D’s optional ‘Guided’ interface makes

technical camera settings easier for novices to grasp

no real customization on offer – for

instance, it’s not possible to tell the

EOS 77D’s AF system that you want

the bias to be towards the front or

rear of the frame. While models

higher up the EOS food chain

feature a dedicated joystick for AF

point selection, the EOS 77D relies

on the multi-directional control

pad and scroll wheel to do this.

For Live View and video

recording the EOS 77D uses Canon’s

proven Dual Pixel AF technology,

which offers 80% coverage of the

frame. We’ve seen this system in

a host of recent Canon cameras,

such as the EOS 5D Mark IV and

EOS M5, and we’ve never failed to

be impressed by how well it works.

It’s easily the best system in a DSLR,

delivering snappy focusing, even if

you want to track a (moderately

fast) moving subject.

camera treading on the toes of the

EOS 80D’s 7fps. Battery life is good

at 600 shots, although you’ll want

to keep a spare handy if you plan to

shoot predominantly with the rear

display activated, as this will see

battery life drop to 270 shots.

Also like the 800D, the EOS 77D

takes advantages of Canon’s new

clean-looking graphical interface,

which is designed to help

inexperienced users get to grips

with some of the camera’s key

controls. Where the cameras differ

is that you have to turn this feature

on in the display settings of the EOS

77D, whereas it’s the default mode

of the 800D.

The EOS 77D sports Canon’s

tried-and-tested 7560-pixel RGB+IR

metering sensor, which we’ve seen

in numerous Canon DSLRs (it’s also

in the EOS 800D), with 63-zone

Evaluative, Partial, Centre-weighted

and Spot metering options.

For the most part the Evaluative

ISO100 ISO100 ISO800 ISO6400


Like the EOS 800D, the EOS 77D

can rattle off shots at 6fps –

anything faster would risk the new

To check the EOS 77D’s noise performance, we shot

the same subject across a range of iso settings

At low isos, noise is hardly visible, but even at iso

6400 it’s tightly controlled, and detail remains good







A nice touch

Fine-tune the touchscreen’s

responsiveness – or disable

it altogether – in the Touch

Control menu.

Show pictures on TV

The camera’s screen is a

bit small for showcasing

photos, so why not hook it

up to your TV set via HDMI?

Lock your settings

Use the Lock lever on the

back to prevent accidental

adjustments with the dials

or the touch-screen.

Interface choice

The 77D displays a regular

interface by default, but

you can swap to the Guided

interface seen on the 800D.

Grid display

Can’t get your verticals

vertical? The 77D can

display a helpful grid in

its viewfinder.

Fly-by-wire focus

Found on some STM lenses,

manual focus is controlled

electronically – and you can

override autofocus mode.







Quiet now

Turn off the sound to shoot

in quiet environments – you

can find the Beep settings

in the Settings menu.

Selfies made simple

We all love a selfie. It’s easy

with the 77D because you

can simply flip the screen

around to face the front.

Light up the LCD

Shooting in the dark? Press

a button for a few seconds

of LCD backlighting so that

you can see your settings.

Quick Control screen

You can view and change

most settings easily with

the Q screen, either with

the dials or touch control.

Set your Ambience

The Ambience options are

designed to preserve a

mood, and include Vivid,

Soft, Warm and Intense.

Self-timer sequences

Make sure of a great group

shot! You aren’t limited to

one shot with the self-timer,

you can shoot up to 10.

The Canon Magazine 101


mode will be the one you’ll be using,

and it does a good job. As we’ve

found with other EOS cameras

though, because the system is

weighted to the active AF point you

can run into issues in high-contrast

situations, as simply shifting the AF

point can throw up two different

exposures – some of our shots were

a little overexposed for our liking.

The white balance system performs

very well, while the option of an

Ambient Auto White Balance mode

has its uses, delivering slightly

warmer results that can be


The EOS 77D’s

pop-up flash offers

a Guide Number of

12 at iso100 and

works as an




DUAL PIXEL autofocus technology makes a big

difference to the EOS 77D’s Live View performance. It’s

Canon’s most advanced sensor design and effectively

splits each photosite in two. These two halves can then be

used to provide much faster phase detection autofocus

than the contrast autofocus traditionally used by DSLRs

in Live View. The older EOS 760D also offered phase

detection autofocus in Live View mode, but via Canon’s

less advanced Hybrid CMOS AF III technology. Thanks to

Dual Pixel CMOS AF, the EOS 77D is almost as fast in Live

View mode as it is in regular viewfinder photography.

welcome, while the default White

Priority can deliver clean, neutral

results even under artificial lighting.

Canon’s new 24Mp APS-C CMOS

sensor, as we’ve seen with the

800D, performs very well.

Resolution is pretty much identical

to the results from the older 760D

– which is hardly a surprise when

you consider that they share the

same pixel count – but it’s elsewhere

that the new sensor design shines,

particularly the way the camera

handles noise.

At lower sensitivities shots

appeared very clean with good

levels of saturation, but it’s when

you start increasing the ISO that the

EOS 77D’s sensor really impresses.

Looking at Raw files edited in

Adobe Camera Raw, our test images

looked very pleasing to the eye,

even at ISO6400. Granted, there’s

some luminance (grain-like) noise

present, but it’s well controlled and

has a fine structure. There’s hardly

any chroma (colour) noise present,

and while saturation suffers a touch

at this sensitivity, the overall result

is very good.

Knock the sensitivity up another

couple of notches, to ISO25,600,

and saturation and detail

deteriorate, while noise becomes

very noticeable. We’d avoid

using this setting where possible,

although images will still be just

about usable if you have to shoot in

poor light and it’s your only option.

Dynamic range is better than we’ve

77 reasons

to upgrade...


sRGB or Adobe RGB?

sRGB is best for sharing,

Adobe RGB might be best

for print or publication –

the 77D can shoot both.


Partial metering

This metering mode is more

precise than the Evaluative

mode but less pernickety

than Spot metering.


Face-tracking AF

You don’t just get facedetection

AF, you get facetracking

too – for subjects

that won’t stay still!


Digital zoom

If you run out of zoom

range in movie mode, this

will give you a 3x or 10x

magnification boost.







Optimize Lighting

In dull lighting, pictures

can look flat. The Auto

Lighting Optimizer corrects

brightness and contrast.

Anti-flicker option

Some artificial light sources

flicker and cause uneven

exposure – the 77D’s antiflicker

option can fix this.

DoF preview button

For an idea of what will

be in focus at different

apertures, use the Depth

of Field Preview button.

Final Image Simulation

Live View offers Final Image

Simulation to show how the

shot will look with all your

camera settings applied.

Video Snapshots

These are a great way to

capture moments, and they

can be combined in a video

snapshot album later.

Image review

Briefly displays the photo

you’ve just taken, and you

can change a setting to

make them display longer.



Full test EOS 77D

The VErdict

The EOS 77D is a good camera, but is there really a gap for it?


he EOS 77D is a very capable DSLR. It does a lot of things well:

image quality is very good, while the Live View performance is the

best we’ve seen in a DSLR. There’s also the polished touchscreen

controls, helpful interface and decent 45-point AF system. However,

there’s no 4K video capture, the viewfinder offers only 95% coverage

(and it’s a cheaper pentamirror design as opposed to pentaprism) and the

plasticky finish doesn’t quite chime with the price right now. The EOS 77D

risks being caught in a kind of no man’s land – if you want an entry-level

DSLR the Canon EOS 800D – or even one of Canon’s older but still current

models – might be the one to go for, while those looking for something

more advanced should spend the extra to get the EOS 80D.

seen from the older 760D, and the

EOS 77D delivers pleasing JPEG

colours, though they can perhaps

look a little muted when up against

rivals with punchier colour output.

If you want to give your JPEGs a

little more ‘bite’, opt for one of the

picture styles, or shoot Raw for

complete control.

With 24 million

pixels, the EOS 77D

offers the most

resolution you can

get from a Canon

dslr without

going full frame

At lower sensitivities shots

appeared very clean, but when

you start increasing the ISO the

EOS 77D really impresses

760D SpecificATions

Sensor 24.2Mp APS-C (22.3x14.9mm)


Image processor DIGIC 6

AF points 19, all cross-type

iso range 100-12,800 (25,600 exp)

mAX image size 6000x4000 pixels

mETEring zones 63

HD video 1920x1080 up to 30fps

Viewfinder Pentamirror, 95% coverage

Memory card SD/SDHC/SDXC, UHS I

LCD 3-inch vari-angle touchscreen

Top-plATE lcd Yes

mAX burst 5fps

Connectivity Wi-Fi, NFC

ShuTTEr speeds 30-1/4000 sec, Bulb

Size 131.9x100.9x77.8mm (body only)

Weight 565g (with battery and card)

Web www.canon.co.uk

Price (strEET) £559/$699 (body only)

77D SpecificATions

Sensor 24.2Mp APS-C (22.3x14.9mm)

Dual Pixel CMOS AF

Image processor DIGIC 7

AF points 45, all cross-type

iso range 100-25,600 (51,200 exp)

mAX image size 6000x4000 pixels

mETEring zones 63

HD video 1920x1080 up to 60fps

Viewfinder Pentamirror, 95% coverage

Memory card SD/SDHC/SDXC, UHS I

LCD 3-inch vari-angle touchscreen

Top-plATE lcd Yes

mAX burst 6fps

Connectivity Wi-Fi, NFC, Bluetooth

ShuTTEr speeds 30-1/4000 sec, Bulb

Size 131x99.9x76.2mm (body only)

Weight 540g (with battery and card)

Web www.canon.co.uk

Price (RRP) £829/$849 (body only)


Customize your 77D

Make it work how you want

it to with custom functions

– you’ll be amazed what

you can change.


In-camera processing

The 77D can apply a whole

range of Creative Filter

effects to photos you’ve

already taken.


Start again!

Now that you’ve changed so many settings

you’ve forgotten what you’ve done, you can

use the Reset command to restore the 77D

to its default settings. Phew!


Pros: Excellent image quality, 45-point

autofocus system, great Live View AF

performance, touchscreen interface

Cons: A little plasticky for its price,

no 4K video, good but not stellar

continuous shooting speed

We say: Make no mistake, the EOS 77D is

a great camera. The picture quality is first

rate and it has all the features and controls

needed to satisfy photo enthusiasts. We

particularly love its performance in Live

View mode, where it feels as fast and

responsive as the latest generation of

mirrorless cameras. However, it does feel

like a range-filler rather than a genuinely

new camera, using tech already available

in the EOS 80D. It’s not cheap, either.


Build & handling




The Canon Magazine 103


Sensor cleaners

Sensor cleaning can be daunting, but there

are plenty of products that’ll make it painless


ou’d be forgiven

for thinking that


interchangeable lens

cameras can keep dust

at bay using their

integrated sensor

cleaning systems. But

shoot in dusty environments

or change lenses frequently

and it’s only a matter of time

before your sensor will need

to be cleaned manually.

You’ll know when to break

out the cleaning products as

images of clear blue skies or

plain backdrops will begin to

feature unwelcome dark

spots, especially obvious at

narrow apertures. But don’t

despair, as with a steady hand

and the right cleaning kit you

can restore your sensor to its

former glory. DSLRs are

slightly trickier to clean than

mirrorless cameras, as you’ll

need to first lock the mirror

up to access the sensor, and

don’t forget to fully charge

your camera’s battery

beforehand. Then it’s just

a matter of using a squeezy

blower, brush, or a sticky pad

to remove loose dust, while

more stubborn dirt can be

dislodged using swabs and

cleaning solution.

Of course it helps to have

a decent view of what you’re

doing, and though a good old

head torch and magnifying

glass will do the job, a

cleaning kit with a dedicated

LED magnification loupe will

reveal even the smallest speck

or stain.


Keep these tips in mind and you’ll be able to banish that

pesky dust from your sensor quickly, effectively and safely

01 Wet or dry?

If carefully used, specially designed swabs and solution will remove

most gunk from your sensor, whilst a simple air blower puffs dust

and debris away for a quick clean.

02 The perfect view

A kit with a magnifying loupe and light will really help you see where

needs cleaning. Some ingenious designs also allow you to clean while

the loupe rests on the lens mount.

03 Plan ahead

A basic blower will never run out of puff, but if you plump for a wet

cleaning kit, the included swabs and solution will only go so far. Make

sure replacements are readily available and don’t cost a fortune.

04 Fit for purpose

Camera sensors are delicate, so only use swabs and solution designed

specifically for cleaning imaging sensors, not just optical glass.

05 Less is more

Squeezy blowers may be safe for a sensor, but don’t be tempted to up

the ante with a compressed air canister. Their high pressure and

freezing propellant can cause serious damage.



Loupe Kit



LensPen proudly asserts that

its cleaning equipment is used

by NASA on the International

Space Station. This kit includes

a range of gadgets for

performing a dry sensor clean.

Identifying any dust is a cinch

thank to the SensorKlear Loupe

with LED illumination. Its focus is

adjustable to cover different

sensor sizes and it rests

securely on the lens mount.

There’s also a very useful

opening on the side so you can

clean with the loupe in place.

But while you get a great view,

cleaning performance is hardly

out of this world. The included

Hurricane Blower will dislodge

loose particles, however simply

blasting air like this can result in

dust being blown onto the

sensor. A better tactic is to use

the SensorKlear II cleaning pen.

Its hinged tip ensures a good

contact with the sensor, though

it doesn’t attract debris quite as

effectively as the SpeckGrabber

or Dust-Aid Platinum tools.


Pros: Decent loupe gives a perfect

view for cleaning

Cons: Blower isn’t always effective;

won’t remove oil or stains

We say: A reasonable kit for the

money, but you can do better



Arctic Butterfly

724 Super Bright



Here’s an electric brush

designed to attract dust away

from your sensor via the

wonders of static charge.

The brush’s ultra-fine bristles

are attached to a rotating shaft

driven by a pair of AAA batteries

in the handle. Ten seconds of

spinning prior to cleaning

causes a centrifugal force that

both ejects dust from the brush,

and, with the help of the fibres’

nano-coating, recharges the

bristles’ static attraction. Then

with the brush stationary again,

lightly drag it across your sensor

to pick up any loose particles.

A pair of LEDs light your way,

which is especially important as

you don’t want the bristles to

contact areas surrounding the

sensor, due to the risk of debris

or mirror lubricant getting

dragged onto the sensor.

Loose dust is picked up pretty

well, but the brush doesn’t hold

on to particles as reliably as the

SpeckGrabber, making the high

price hard to justify.


Pros: Easy and fun to use; fairly

effective for removing dust

Cons: Premium price, yet will only

clean dry debris; no loupe included

We say: It’s a novel concept, but

the cost is high for limited versatility




Sensor cleaners


Platinum &

Dust-Wand Combo





Travel Kit









SwabLight Kit



The Dust-Aid Platinum slips

easily into a kit bag and has its

own compact travel case. It’s

a simple device consisting of

a wand with a silicone pad on

the end measuring roughly

10x15mm, plus six adhesive

cleaning strips. Press the pad

onto one of the cleaning strips to

remove any contaminants, then

dab your sensor to pick up loose

dirt. No residue is left, but you

can get a sticky outline if you

rock or twist the pad while it’s

in contact with the sensor.

For stickier stains, there’s the

Dust-Wand kit. This is a liquid

and swab combo, but unlike

most, you make your own swabs

by wrapping a small cloth

around a plastic handle. This can

be a faff, but you do get 50 cloths

and replacement packs don’t

cost a fortune. What’s more, the

bundled cleaning liquid doesn’t

leave streaks. But with no loupe

and all that folded cloth creating

a relatively bulky swab, it’s not

the easiest cleaning experience.

Delkin’s kit is equipped to

remove loose particles and

more stubborn contaminants.

The SensorBulb blower puffs

dust away, albeit in the same

uncontrolled manner as any

blower, meaning dust can just

be blown around the sensor,

not necessarily off it.

Should this happen, you can

always switch to the included

cleaning swabs and solution.

You get 15 double-ended wands

and a decent supply of streakfree

fluid, but the results are

mixed. The wands have a

tendency to simply move some

particles across the sensor,

rather than picking them up.

An LED loupe is included and

shines brightly into the chamber,

however we found the sensor

surface to be slightly out of

focus and there’s no focus

adjustment. It doesn’t have a

cutout, either, so you can’t clean

with the loupe in place. A lens

cloth and travel bag rounds off

the cleaning collection.

Often the only dirt that ever

reaches your sensor is a few

specks of dust, making a full-on

wet clean overkill. For a quick

touch-up, the SpeckGrabber

is ideal. This is simply a plastic

stick with a small 2mm-square

soft pad on the end. It works like

the Dust-Aid Platinum, but

instead of pressing the pad

against a large portion of the

sensor, you dab precisely on

each particle to remove it. Two

cleaning wipes are included so

you can ensure the grabber is

spotless before use, although

Kinetronics maintains it can be

cleaned with soap and water.

We weren’t expecting much

for a device so basic and cheap,

but the SpeckGrabber actually

works. Particles stick effectively

to the cleaning tip, and it doesn’t

leave any residue on the sensor.

The SpeckGrabber provides

much better dust removal than

a similarly-priced blower, just

don’t expect it to deal with more

stubborn grime and stains.

There isn’t much to this kit; just

four swabs, a tiny 1.15ml phial of

cleaning liquid, and the

SwabLight. This tiny torch slots

onto a swab and shines down,

so wherever you clean, the light

follows. The SwabLight’s grippy

casing is much easier to hold

than a spindly swab handle. A

proper magnifying loupe would

give a better view, and though

VisibleDust sells a Quasar Plus

Sensor Loupe, this isn’t cheap.

You can spec the kit with one

of three formulations of cleaning

solution, designed to shift water

or oil-based stains, or a

combination. We went for the

multi-purpose fluid – VDust Plus

– applied to super-soft Orange

Vswabs that are available to suit

full-frame or APS-C sensors.

The result? A flawless clean with

no streaks, no stains, and no

dust left behind.

It’s a pity there are only

enough swabs and fluid for four

cleans, and a dozen extra swabs

will set you back around £/$35.


Pros: Compact, cost-effective and

removes all types of dirt.

Cons: Dust-Wands are a bit fiddly

to make and use; no loupe

We say: This kit gives a

comprehensive clean at a fair price


Pros: Contains wet and dry

cleaning tools, plus a loupe…

Cons: …but none work particularly

well and the kit isn’t cheap

We say: Stacks up well on paper,

but misses the mark in practice

Overall Overall Overall


Pros: Great at removing individual

dust particles; small and cheap

Cons: Not suitable for heavy-duty

cleaning; you’ll also need a loupe

We say: A handy tool that performs

better than its price suggests


Pros: Unrivalled performance;

useful SwabLight illumination

Cons: High price per clean; extra

consumables aren’t cheap; no loupe

We say It’s not perfect, but a stellar

clean gives this kit the win


The Canon Magazine 105

Canon EF-S


f/3.5-5.6 IS STM


Canon EF-S


f/3.5-5.6 IS USM


Canon EF-S


f/3.5-5.6 IS


Sigma 18-200mm

f/3.5-6.3 DC

Macro OS HSM C


Sigma 18-300mm

f/3.5-6.3 DC

Macro OS HSM C




f/3.5-6.3 Di II VC


Tamron 18-270mm

f/3.5-6.3 Di II



Tamron 16-300mm

f/3.5-6.3 Di II VC

PZD Macro






Not just for holidays, a wide-angle to telephoto

superzoom lens can turn its hand to anything.

Matthew Richards picks the top performers

Often referred to as ‘travel lenses’,

superzooms are ideal for holidays

and for going on trips near and far.

They can stretch from generously

wide-angle viewing to serious

telephoto reach, and cover

everything in between. Without the need to

carry multiple lenses, you can save on space

and weight, but that’s not the only advantage.

For general shooting, you might find you

often need to swap between wide-angle and

telephoto shooting. It’s naturally much more

convenient to apply a quick twist of a zoom

ring with the flick of a wrist, rather than

rummaging around in a bag for another lens,

then waste time swapping the lens on the

camera before you’re ready to shoot. In

some situations, the time saved by using

a superzoom lens could potentially make

the difference between getting the shot

and missing it altogether.

Superzoom lenses for APS-C format

cameras have grown in popularity over

the past few years, while research and

development from major manufacturers,

like Canon, Sigma and Tamron, has seen

an increase in performance, often with a

reduction in size and weight. The relative

compactness of some of the latest designs

further adds to the attraction. So, let’s take

a closer look at what the current contenders

have to offer, and pick out the best buys.

The Canon Magazine 107


Canon EF-S 18-135mm

f/3.5-5.6 IS STM £380/$400

A relatively modest zoom range for a superzoom




The filter thread is

larger than in some

competing lenses,

at 67mm.

Apopular kit option sold

with the likes of the

750D and 80D, this lens

represents a significant

upgrade over Canon’s original

18-135mm, with more refined

handling, mainly due to it

having an STM (Stepping

Motor) autofocus system

rather than a basic electric

motor. Advantages include

the focus ring remaining fixed

rather than rotating during

autofocus, and the addition of

manual focus override without

having to switch from auto to

manual focusing mode.

Autofocus transitions when

shooting movies are also much

smoother, and the AF system

is almost silent in operation.

The lens feels well

engineered but, typical of this

class of Canon lens, it lacks

weather-seals and you have

to buy the hood separately,

as an optional extra. There’s

no focus distance scale, either.

Despite having the joint

smallest zoom range among

the lenses on test, along with

Canon’s revised ‘USM’ edition,

it’s actually bigger and heavier

than the Sigma 18-200mm,

which boasts rather greater

telephoto reach. The Tamron

18-200mm is about the same

size as the Canon, but nearly

20 per cent lighter in weight.


The inclusion of a UD

(Ultra-low Dispersion)

element helps to increase

sharpness and contrast while

keeping colour fringing at bay.

A plus point of the relatively

limited zoom range is that

wide-angle barrel distortion

at 18mm is less noticeable

than in some of the other

lenses on test, even though

it’s telephoto reach that you’re

really missing out on.









The EW-73B hood is

sold separately at

around £26/$30.


The manual focus

ring is electronically

coupled, Like in

other STM lenses.


The ‘dynamic’

image stabilizer has

auto-detection for

panning and works

well for movies.


Like in many EF-S

lenses, there’s no

focus distance scale.



Build & handling




How we TEST

To evaluate performance, we combine

real-world shooting with technical lab

tests to get the full picture



o test real-world performance, we use lenses in all sorts

of lighting conditions, both indoors and outdoors. We

check for good build quality and handling, smooth and

precise operation of all controls, and we test the speed and

accuracy of autofocus. We typically test full-frame compatible

lenses on a range of full-frame and APS-C format bodies,

whereas lenses that are designed specifically for APS-C format

bodies are only tested on cameras like the 80D and 7D Mark II.

In-camera corrections for chromatic aberrations and

peripheral illumination are disabled throughout all testing, to

better reveal the true performance of each lens. We also run a full

range of lab tests under controlled conditions, using the Imatest

Master and DxO Analyzer suites. Photos of test charts are taken

across the range of apertures and zoom settings, then analysed

for sharpness, distortion and chromatic aberrations.


Superzoom Lenses

Canon EF-S 18-135mm

f/3.5-5.6 IS USM £430/$600

The latest EF-S 18-135mm has upgraded autofocus

Both Canon 18-135mm

lenses on test have very

similar styling, from

their metal mounting

plates to the configuration of

zoom and focus rings, and the

lack of a focus distance scale.

They’re identical in size, both

have 16 elements arranged in

12 groups, and apertures with

seven-blade diaphragms. The

main difference is in the

autofocus system.

Whereas the previous

edition of the lens has STM

autofocus, this one has a

newly developed Nano USM

system. The aim is to combine

the super-fast performance of

ring-type USM autofocus for

stills photography, while also

enabling smooth focus

transitions and silent

operation for movie capture.

As in the previous lens, the

image stabilizer is optimized

for shooting movies as well

as stills, but the new lens also

enables the fitment of an

optional PZ-E1 Power Zoom

Adaptor (£100/$150). In

addition to movie-friendly

power zoom functions via a

rocker switch, it also enables

you to control zooming

remotely, when used with a

Wi-Fi compliant camera body.


The STM edition of this lens

is no slouch when it comes to

autofocus speed but the new

Nano USM version is

incredibly fast for stills, while

still maintaining smooth

transitions when shooting

movies. The image stabilizer is

equally effective in both lenses

and image quality is very

similar. However, sharpness at

the centre of the image frame

proved slightly less impressive

from the new lens, at both

ends of the zoom range.











Even the lens hood is

updated, the EW-73D

costing around



The filter thread of

67mm is the same

as in the previous

edition of the lens.


Autofocus for stills is

lightning-fast, thanks

to the new Nano

USM system.


‘Fly-by-wire’ manual

focusing is retained,

via an electronically

coupled focus ring.


Connections on the

barrel enable fitment

of a power zoom.



Build & handling





Levels of distortion vary between the contending lenses on test


uperzoom lenses are notorious for distortion, ranging from barrel

at the short end of the zoom range to pincushion at mid to long

zoom settings. For barrel distortion, the worst offenders are the

Canon 18-200mm and all three Tamron lenses. However, we can easily

forgive the Tamron 16-300mm lens’s greater barrel distortion, as it gives

greater wide-angle viewing than any other lens. The amount of pincushion

distortion at medium and long zoom settings is very similar from all of the

lenses, although the Sigma 18-200mm is technically the worst.

Negative results of higher values indicate greater barrel distortion

The Canon Magazine 109


Canon EF-S 18-200mm

f/3.5-5.6 IS £470/$700

Unlike Canon’s 18-135mm lenses, this looks outdated

Whereas the Canon

18-135mm has

undergone two major

revamps, this lens

remains unaltered, with a

comparatively old-fashioned

autofocus system. Based on

an electric motor, autofocus

is relatively slow and noisy

in operation. The focus ring

rotates during autofocus,

which impairs handling as you

have to be careful to keep your

fingers clear of the focus ring,

and there’s no full-time

manual override. Unlike with

Canon’s STM and Nano USM

systems, autofocus transitions

when shooting movies are

comparatively jerky, as they

are with all of the Sigma and

Tamron lenses on test.

Naturally, the 18-200mm

beats the 18-135mm lenses for

outright zoom range. But the

Canon lens is less travelfriendly

than the latest Sigma

and Tamron 18-200mm

designs, as it’s noticeably

bigger and heavier. The

aperture is based on six rather

than seven diaphragm blades,

and is less well-rounded as

a result. The optical path

doubles up on aspheric and

UD elements, this lens using

two of each whereas the

Canon 18-135mm lenses only

have one of each type. Again,

the image stabilizer is rated

at four stops and includes

automatic panning detection.


By today’s standards, the

zoom range isn’t extravagant,

yet the lens’s image quality is

unimpressive. Sharpness

towards the edges and corners

of the frame are particularly

poor in wide-angle shooting,

where barrel distortion is very

noticeable. All in all, the lens

is overdue for a revamp.











The 72mm filter

thread is the joint

largest in the group.


Canon sells the lens

hood separately, the

EW-78D costing

around £30/$35.


The focus ring

rotates and full-time

manual override is

unavailable during



Image stabilization is

worth four stops and

includes automatic

panning detection.


The mounting plate

doesn’t have a

weather-seal ring.



Build & handling




Zoom ZOOM!

How much zoom range is enough?

hile a large zoom range is nice to

have, it can have a detrimental


effect on image quality, degrading

sharpness and exaggerating distortions.

Lenses with bigger zoom ranges are often

physically bigger and heavier too, making

them less desirable as ‘walkabout’ lenses.

This series of shots shows how the

extremes of the zoom ranges compare, for

both wide-angle and telephoto shooting.





Superzoom Lenses

Sigma 18-200mm f/3.5-

6.3 DC Macro OS HSM C



Small and light, but with a respectable zoom range

Typical of the Sigma’s

Contemporary lenses,

this 18-200mm is

designed to be small,

lightweight and stylish.

Despite matching Canon’s

much heftier lens for zoom

range, the Sigma measures

a mere 71x86mm, making it

the smallest in the group, and

the second lightest at 430g.

Despite the lightness in

weight, the lens features a

metal mounting plate, unlike

the plastic mount of the

directly competing Tamron,

although the Sigma omits

a weather-seal ring. As in

the larger Sigma lens on test,

the focus ring rotates during

autofocus, but the ring is small

and positioned right at the

forward end of the barrel,

so handling isn’t impaired

too drastically. As usual

with ultrasonic motor-driven

autofocus systems, there’s

no full-time manual override.

The Sigma is based on

16 optical elements, with

multiple aspherical and SLD

(Special Low Dispersion)

elements, all wrapped up

in TSC (Thermally Stable

Composite) barrel sections,

formed from a tough, highgrade

plastic that’s resistant

to size fluctuations during

temperature changes.


Autofocus is fairly quiet but

clearly audible, as well as

being slower than the virtually

silent systems featured in the

Canon 18-135mm lenses.

Optical image stabilization

is as effective as in the Canon

lenses and, again, features

automatic panning detection.

Sharpness is less impressive

than in Sigma’s 18-300mm,

but other attributes of image

quality are impressive overall.











At 71mm diameter,

it’s the slimmest

lens on test.


The focus ring is

small but rotates

during autofocus.


A focus distance

scale is printed on

the focus ring, and

there’s a macro scale

on the inner barrel.


There are switches

for auto/manual

focus, stabilization

and zoom lock.


The mount is metal

rather than plastic,

but has no

weather-seal ring.



Build & handling







The Canon Magazine 111


Sigma 18-300mm f/3.5-



DC Macro OS HSM C $500

The bigger Sigma lens offers extended reach




Compared with the

Sigma 18-200mm,

the filter thread

diameter rises from

62mm to 72mm.

Outclassing every other

lens in the group, apart

from the Tamron

16-300mm, this Sigma

goes all out for telephoto

reach, equivalent to a mighty

focal length of 480mm on

a full-frame camera. The

trade-off is that it’s noticeably

bigger and heavier than

Sigma’s 18-200mm lens on

test, at 79x102mm and 585g.

In style and build, this

‘Contemporary’ class lens

is very similar to its smaller

18-200mm Sigma sibling.

Again, it’s based on TSC

barrels and a metal mounting

plate, has a seven-blade

diaphragm, and is compatible

with Sigma’s optional USB

Dock for applying firmware

updates and fine-tuning. Both

lenses also have a 0.33x macro

rating, available at the closest

focus distance of 0.39m.

Sigma also offers an optional

‘close-up lens’, which screws

into the filter attachment

thread for increasing macro

magnification to 0.5x.

As well as aspherical and

SLD elements, also employed

in the Sigma 18-200mm,

this lens adds top-grade

FLD (Fluorite-grade Low

Dispersion) elements with

the aim of further boosting

sharpness and contrast, while

driving down colour fringing.


As in the Sigma 18-200mm

lens, the motor-based rather

than ring-type ultrasonic

system helps with downsizing

but is a little sluggish and

audible in operation. Living

up to its claims, however,

the addition of FLD elements

really does help to boost

sharpness, which only drops

at the longest extremity

of the zoom range.









An optional ‘AML

72-01’ close-up lens

can screw into the

filter thread.


The manual focus

ring rotates during



Focus distance and

macro magnification

scales are printed.


An optional USB

Dock attaches to the

mounting plate for

firmware updates.



Build & handling




Full-frame OPTIOns

Superzooms for full-frame cameras are much less

popular, but a couple of notable options are available


uperzooms for full-frame cameras are big and bulky, as

the image circle they need to produce is comparatively

large. They’re therefore less popular as travel lenses, as

it can literally be a pain walking around for hours on end with a

heavy body and lens hanging from your neck. The two full-frame

superzooms on the market are the Tamron 28-300mm f/3.5-6.3

Di VC PZD at £600/$600 and the relatively huge and expensive

Canon EF 28-300mm f/3.5-5.6L IS USM at £2250/$2450.

The Canon 28-300mm weighs

a whopping 1.67kg and has

an equally heavyweight price



Superzoom Lenses

Tamron 18-200mm

f/3.5-6.3 Di II VC £190/$200

This Tamron is a lightweight with a price tag to match

Not to be confused

with Tamron’s

original 18-200mm,

this recent edition adds

VC (Vibration Compensation)

stabilization and a redesigned

autofocus system. Tamron’s

proprietary stabilization

system works well and,

while still based on an electric

motor, the new ‘DC motor-gear

train integration’ autofocus

system is much quieter than in

the previous lens. Even so, the

manual focus ring still rotates

during autofocus, which does

hamper handling a little,

considering the fairly small

build of the lens.

Despite being 4mm wider

and 11mm longer than the

directly competing Sigma

18-200mm lens, the Tamron

is 30g lighter in weight and,

at just 400g, is actually the

lightest lens in the group. The

most significant factor in the

weight reduction is that the

mounting plate is made from

plastic rather than metal. Even

so, it’s still very durable and,

unlike the metal mounting

plates in all but the Tamron

16-300mm lens, this one

features a rubber weather-seal

ring, which helps reduce the

ingress of dust and moisture.


Autofocus speed is a little

pedestrian. Sharpness is

generally better than from

the older Tamron 18-270mm

that’s also on test, at all

equivalent zoom settings,

although corner-sharpness

suffers noticeably when using

the widest aperture in the

middle sector of the zoom

range. On the plus side, colour

fringing at mid-zoom settings

is very negligible. Overall,

the lightweight Tamron is

unbeatable value at the price.











Downsizing includes

a 62mm filter thread.


The manual focus

ring rotates during



Minimum focus

distance stretches

from 0.49-0.77m as

you extend through

the zoom range.


The Vibration


system works best

for static rather than

panning shots.


The mounting plate

is plastic but is

durable and features

a weather-seal ring.



Build & handling




Colour fringing

Fringing can be noticeable around high-contrast edges

ith superzoom lenses, fringing (coloured lines around

high-contrast edges, especially towards the corners of


the frame) is typically worst at both ends of the zoom

range, but less of an issue at mid-sector zoom settings. The

amount of short-zoom colour fringing is very similar from all

the lenses in the group, apart from the Tamron 16-300mm in

which fringing is rather more evident. This lens is also worst for

fringing at the long end, with the Tamron 18-270mm performing

only slightly better. Automatic in-camera corrections are

available in recent DSLRs, when using own-brand Canon lenses.

The Canon Magazine 113


Tamron 18-270mm

f/3.5-6.3 Di II VC PZD



A veteran superzoom that goes large on zoom range

Updated back in 2010,

this newer version of

Tamron’s 18-270mm

boasts a downsized

design with fewer optical

elements, an upgraded VC

stabilization system, and

launched as the first Tamron

lens to incorporate PZD (Piezo

Drive) autofocus. Like in the

two Sigma lenses on test,

autofocus is based on an

ultrasonic motor-driven rather

than ring-type actuator. The

advantage is that the system

can be smaller and lighter, but

it tends to be slower and less

quiet, and the focus ring

rotates during autofocus.

The lens is remarkably

compact and lightweight,

considering its 15x zoom

range. At 74x88mm and 450g,

it’s actually smaller than the

Tamron 18-200mm lens on

test, and only 50g heavier,

mostly due to having a metal

rather than plastic mounting

plate. The weather-seal ring

featured on the two other

Tamron lenses in the group

is absent from this lens. Like

all of the other Sigma and

Tamron lenses in this test

group (but not the three

Canon lenses) it’s supplied

complete with a hood.


Capable of good results,

boosted by the stabilizer,

the Tamron 18-270mm

nevertheless runs out of steam

a bit towards the long end of

the zoom range. Compared

with the newer 16-300mm

lens, wide-aperture sharpness

is poor near the 270mm mark,

where it’s soft in the centre

of the frame and downright

disappointing towards the

edges. On the upside, colour

fringing and distortions are

slightly better controlled.












Given the generous

zoom, the 62mm

filter thread is small.


Rotating during

autofocus, the focus

ring includes a

distance scale.


The optics include

LD (Low Dispersion)

and XR (Extra

Refractive Index)



This was Tamron’s

first lens to include a

‘PZD’ ultrasonic

autofocus motor.


The metal mounting

plate lacks a rubber

sealing ring.



Build & handling




Added STability

Image Stabilization is a ‘must’ in superzooms

uperzooms can deliver powerful telephoto

reach of up to 300mm (equivalent to


480mm on a full-frame body). This is often

combined with a relatively narrow maximum

aperture of f/6.3, resulting in pedestrian shutter

speeds in anything other than very bright lighting.

To avoid blurred images from camera shake, all

current superzoom lenses feature stabilization that

typically enables you to shoot at shutter speeds

that are four stops slower than usual.



IS on

Stabilization can be a huge help in getting sharp handheld shots, especially at telephoto

zoom settings, enabling you to shoot at up to four stops slower than you normally could


Superzoom Lenses

Tamron 16-300mm f/3.5

-6.3 Di II VC PZD Macro



Tamron’s superzoom goes extra-large in a new way




The big zoom range

is packed into a fairly

slim build, with a

67mm filter thread.

Tamron has a history

of ‘world firsts’ for the

outright zoom range

of its superzoom lenses,

and this is a case in point, with

an unparalleled 18.75x zoom

range. While matching the

Sigma 18-300mm for

maximum telephoto reach,

it also goes extra-large in

wide-angle viewing, with

a 16mm focal length. This

is equivalent to 25.6mm in

full-frame terms, compared

with the 28.8mm of the other

lenses. There’s a noticeable

difference in how much you

can squeeze into the frame.

The PZD autofocus is much

more refined than in the older

Tamron 18-270mm. It’s still

a motor-driven ultrasonic

mechanism but the manual

focus ring remains stationery

during autofocus, which

greatly improves handling.

Equally unusual is that

full-time manual focus

override is available, and

there’s an up-market focus

distance scale beneath a

viewing panel. The high-class

feel of the lens is further

enhanced by quality plastics

and a metal mounting plate,

complete with a weather-seal

ring. Other weather-seals built

into the lens complete the

‘splash-proof’ design.


The optical path includes

LD, XR and hybrid aspherical

elements, which help to boost

sharpness and contrast while

keeping the size and weight

to manageable proportions. In

this case, however, sharpness

is better throughout the entire

zoom range, although colour

fringing is a bit worse at either

end. As you’d expect, barrel

distortion is slightly worse at

the wide 16mm focal length.









The focus ring at the

rear is more typical

of up-market lenses.


Multiple weatherseals

in the design

enable a ‘splashproof’



The focus distance

scale beneath a

viewing panel is

unique in the group.


With its 16mm focal

distance, the

Tamron reigns for

wide-angle viewing.



Build & handling




Autofocus TECHnOLOgy

There’s a variety of autofocus systems in the latest lenses. Which is best?


ost older superzooms use a fairly

basic ‘micro motor’, which are

typically a bit sluggish and rather

noisy, though the revamped motor in the

Tamron 18-200mm is an exception to the

rule, being faster and quieter.

Some superzooms use ultrasonic

motors but, unlike ‘ring-type’ ultrasonic

systems based on large electromagnetic

rings, they still rely on motors with drive

shafts and gearwheels. Operation tends to

be less than quick and clearly audible, and

the manual focus ring usually rotates

during autofocus. This time, the Tamron

16-300mm is an exception.

Canon’s 18-135mm lenses use either

STM (Stepping Motor) or Nano USM

systems. Both give smooth autofocus

transitions when shooting movies, but

Nano USM gives faster performance.

The Nano USM in Canon’s latest 18-135mm lens

is great for movies as well as stills, and there’s

also an optional Power Zoom Adapter PZ-E1

The Canon Magazine 115


Comparison taBLE


Canon EF-S

18-135mm f/3.5-5.6


Canon EF-S

18-135mm f/3.5-5.6


Canon EF-S

18-200mm f/3.5-5.6


Sigma 18-200mm

f/3.5-6.3 DC Macro


Sigma 18-300mm

f/3.5-6.3 DC Macro


Tamron 18-200mm

f/3.5-6.3 Di II VC

Tamron 18-270mm

f/3.5-6.3 Di II VC


Tamron 16-300mm

f/3.5-6.3 Di II VC

PZD Macro

Contact www.canon.co.uk www.canon.co.uk www.canon.co.uk

Street price


Effective zoom range






www.tamron.co.uk www.tamron.co.uk www.tamron.co.uk

£380/$400 £430/$600 £470/$700 £290/$400 £370/$500 £190/$200 £300/$450 £430/$500

28.8-216mm 28.8-216mm 28.8-320mm 28.8-320mm 28.8-480mm 28.8-320mm 28.8-432mm 25.6-480mm

Elements/groups 16/12 16/12 16/12 16/13 17/13 16/14 16/13 16/12

Mounting plate Metal Metal Metal Metal Metal Plastic, weather-sealed Metal Metal, weather-sealed

Diaphragm 7 blades 7 blades 6 blades 7 blades 7 blades 7 blades 7 blades 7 blades

Optical stabilizer Yes Yes Yes Yes Yes Yes Yes Yes

Focus type Stepping motor Ultrasonic (Nano) Electric (motor) Ultrasonic (motor) Ultrasonic (motor) Electric (motor) Ultrasonic (motor) Ultrasonic (motor)

Focus ring during AF

Front element

during focusing





Rotates Rotates Rotates Rotates Rotates

Fixed Fixed Fixed Fixed Fixed Fixed Fixed Fixed



Min focus distance 0.39m 0.39m 0.45m 0.39m 0.39m 0.49-0.77m 0.49m 0.39m

Max reproduction


0.28x 0.28x 0.24x 0.33x 0.33x 0.25x 0.26x 0.34x

Filter size 67mm 67mm 72mm 62mm 72mm 62mm 62mm 67mm

Included accessories None None None Hood Hood Hood Hood Hood


(dia x length)

77x96mm 77x96mm 79x102mm 71x86mm 79x102mm 75x97mm 74x88mm 75x100mm

Weight 480g 515g 595g 430g 585g 400g 450g 540g


Build & handling




The winner is... Sigma 18-300mm f/3.5-6.3 DC Macro OS HSM C

The Sigma 18-300mm delivers epic zoom range and best all-round performance


remarkable superzoom, the Sigma

18-300mm delivers an enormous zoom

range with surprisingly little

compromise in image quality. It’s impressively

sharp, only really dropping off at the very

longest zoom setting, while keeping distortions

and colour fringing down to relatively low levels.

The Tamron 16-300mm also has a lot going

for it, with superior handling and the bonus of

weather-seals that enable a splash-proof

construction. It’s also the only lens to feature a

focus distance scale under a viewing panel.

For compactness and value for money, the

Sigma and Tamron 18-200mm lenses are both

good buys. The Sigma is slightly smaller,

whereas the Tamron is a little lighter in weight,

and there’s no beating the Tamron for value.

If you’d rather stick to a Canon lens, the latest

18-135mm IS USM is the best performer, while

the 18-200mm is the least impressive.





With prices ranging from a couple of hundred quid to

several thousand, Canon has a DSLR to suit everyone,

from the complete beginner to most demanding pro…

What to look for


Canon splits its EOS lineup into

entry-level, enthusiast and professional ranges, and the fewer digits

the more upmarket the camera; so the 1300D is the most basic,

the 800D for intermediates, while the 80D is for more advanced

enthusiasts, and the 7D/6D/5D and 1D lines for pros. Expect greater

ease of use (with thumb-operated scrollwheels replacing cursor

keys), more robust build quality (with weather-sealing and tough

magnesium-alloy shells), more advanced functionality, and full-frame

(rather than APS-C) image sensors with more expensive models.

Canon EOS 1300D (Rebel T6)

Canon’s entry-level, budget-friendly EOS DSLR

gets up a minor upgrade over its predecessor

with added Wi-Fi and NFC to make it easy to

instantly share images online. A basic 18Mp

sensor, ISO6400 and 3fps are all specs ideal

for a beginner’s first ‘proper’ camera.

DSLR/CSC prices quoted are body-only unless stated

Tested In ISSUE 120 Price: £289/$449 (US price with kit lens)

Sensor 18Mp, APS-C (5184x3456 pixels)

Viewfinder Pentamirror, 0.8x, 95%

ISO 100-6400 (12,800 expanded)

AF 9-point (1 cross-type)

LCD Fixed, 3-inch, 920k-dot TFT

Max burst (buffer) 3fps (6 Raw/1100 JPEG)

Memory card SD/SDHC/SDXC

Entry level CSC

Canon EOS 100D (Rebel SL1) Tested In ISSUE 120 Price: £379/$549

It’s smaller than any other Canon DSLR but

Sensor 18Mp, APS-C (5184x3456 pixels)

is big on features and is something of a step up in

Viewfinder Pentamirror, 0.87x, 95%

sophistication from the 1200D, with a newergeneration

ISO 100-12,800 (25,600 expanded)

image processor, high-res touchscreen

AF 9-point (1 cross-type)

and ‘hybrid CMOS AF’ for effective continuous

LCD 3in touchscreen, 1040K dots

autofocus during movie capture.

Max burst (buffer) 4fps (7 Raw/28 JPEG)

Memory card SD/SDHC/SDXC

EOS 750D (Rebel T6i) Tested: 120 Price: £549/$749 EOS 760D (Rebel T6s) Tested: 108 Price: £579/$849

Headline attractions include a

24.2Mp high-resolution image sensor

and DIGIC 6 processor, plus a 19-point

autofocus system, along with Wi-Fi

and NFC connectivity for easy image

sharing and printing.

Canon EOS 800D (Rebel T7i) Tested In ISSUE 126 Price: £779/$749

Canon has shoehorned much of the tech of the

Sensor 24.2Mp, APS-C (6000x4000 pixels)

enthusiast-level 80D into a beginner body. The

Viewfinder Pentamirror, 0.82x, 95%

800D inherits its bigger brother’s 24Mp Dual Pixel

ISO 100-25,600 (51,200 expanded)

sensor for superior Live View autofocus, uses the

AF 45-point (all cross-type)

same 45-point module for viewfinder autofocus,

LCD 3in touchscreen vari-angle, 1040K dots

and betters its ISO performance.

Max burst (buffer) 6fps (27 Raw/unlimited JPEG)

Memory card SD/SDHC/SDXC

A 24.2Mp sensor, DIGIC 6 chip and

1,040,000-dot touchscreen LCD are

inside this diminutive compact system

camera, but the electronic viewfinder

is an optional add-on and Live View

focusing is hit-and-miss.

Building on the features of the

750D, the 760D adds a secondary info

LCD on the top and Quick Control Dial

on the rear. This improves handling

and makes it feel more like an

‘enthusiast’ model.

Canon EOS M3 Tested: 102 Price: £359/$429 Canon EOS M5 Tested: 122 Price: £999/$929

The EOS M5 really opens up the

DSLR vs CSC debate. It shares much

of the tech as the 80D, but swaps the

optical viewfinder for an electronic

version, making this compact system

camera a pocket rocket.



Buyers’ Guide CAMERAS

Canon EOS 77D Tested In ISSUE 128 Price: £829/$849

the key specs are identical to the 800D, but the

Sensor 24.2Mp, APS-C (6000x4000 pixels)

extra top-plate LCD gives at-a-glance access to

Viewfinder Pentamirror, 0.82x, 95%

vital shooting info, while a rear control wheel

ISO 100-25,600 (51,200 expanded)

makes dialing in exposure settings much quicker,

AF 45-point (all cross-type)

promoting it to Canon’s ‘enthusiast’ range. Great

LCD 3in touchscreen vari-angle, 1040K dots

image quality – even at high ISOs.

Max burst (buffer) 6fps (27 Raw/unlimited JPEG)

Memory card SD/SDHC/SDXC

Canon EOS 80D Tested In ISSUE 113 Price: £999/$1199

The 80D builds upon its 70D predecessor with

Sensor 24.2Mp, APS-C (6000x4000 pixels)

25% more pixels, 45 cross-type AF points,

Viewfinder Pentaprism, 0.95x, 100%

improved ISO performance and retains the ability

ISO 100-16,000 (25,600 expanded)

to capture 7fps bursts. It can record movies at

AF 45-point (all cross-type)

double-speed 50/60fps for slow-motion, and has

LCD 3in touchscreen vari-angle, 1040K dots

NFC data transfer in addition to Wi-Fi.

Max burst (buffer) 7fps (25 Raw/110 JPEG)

Memory card SD/SDHC/SDXC

Canon EOS 7D Mk II Tested In ISSUE 108 Price: £1449/$1349

Here’s the king of action-packed APS-C format

Sensor 20.2Mp, APS-C (5472x3648 pixels)

cameras. A long-overdue revamp of the original

Viewfinder Pentaprism, 1.0x, 100%

7D, it has 65-point AF with advanced tracking,

ISO 100-16,000 (51,200 expanded)

10fps continuous drive, dual DIGIC 6 processors

AF 65-point (all cross-type)

and GPS, all wrapped up in a tough, weathersealed

LCD 3in, 1040K dots

magnesium alloy shell.

Max burst (buffer) 10fps (31 Raw/unlimited JPEG)

Memory card CompactFlash + SD/SDHC/SDXC

Canon EOS 6D Tested In ISSUE 124 Price: £1399/$1269

Amazingly good value for a full-frame EOS

Sensor 20.2Mp, full-frame (5472x3648 pixels)

DSLR in a medium-sized body, the 6D combines

Viewfinder Pentaprism, 0.71x, 97%

a respectable 20.2Mp sensor with super-high

ISO 100-25,600 (50-102,400 expanded)

sensitivities of up to ISO102,400. Image quality is

AF 11-point (1 cross-type)

excellent and there’s built-in Wi-Fi and GPS, but

LCD 3in, 1040K dots

the 6D has a fairly basic AF system.

Max burst (buffer) 4.5fps (17 Raw/1250 JPEG)

Memory card SD/SDHC/SDXC

Canon EOS 5D Mk IV Tested In ISSUE 124 Price: £3349/$3499

A Superb all-rounder, the pro-level weathersealed

Sensor 30.4Mp, full-frame (6720x4480 pixels)

full-frame 5D Mk IV combines a stunning

Viewfinder Pentaprism, 0.71x, 100%

hi-res 30Mp sensor with a swift 7fps frame rate.

ISO 100-32,000 (50-102,400 expanded)

Its impressive specs list includes 4K video, a

AF 61-point (41 cross-type, 5 dual-cross)

touchscreen LCD, Wi-Fi and NFC connectivity, and

LCD 3.2in touchscreen, 1620K dots

GPS to automatically geotag images.

Max burst (buffer) 7fps (21 Raw/unlimited JPEG)

Memory card CompactFlash + SD/SDHC/SDXC

Canon EOS 5DS (5DS R) Tested In ISSUE 124 Prices: £3099/$3499 (£3299/$3699)

The world’s first 50Mp full-frame DSLR delivers

Sensor 50.6Mp, full-frame (8688x5792 pixels)

huge and amazingly detailed hi-res images. The

Viewfinder Pentaprism, 0.71x, 100%

higher-cost 5DS R adds a ‘low-pass cancellation

ISO 100-6400 (50-12,800 expanded)

filter’ for marginally sharper shots. As expected

AF 61-point (41 cross-type, 5 dual-cross)

with such a high-res sensor, max ISO and drive

LCD 3.2in, 1040K dots

rate are lower than with the 5D Mk IV.

Max burst (buffer) 5fps (14 Raw/510 JPEG)

Memory card CompactFlash + SD/SDHC/SDXC

Canon EOS-1D X Mark II Tested In ISSUE 124 Price: £4799/$5999

Canon’s Mark II flagship full-frame pro-level EOS

Sensor 20.2Mp, full-frame (5472x3648 pixels)

boasts ultra-fast 14fps shooting (16fps in Live View)

Viewfinder Pentaprism, 0.76x, 100%

and super-high ISO, along with sublime handling.

ISO 100-51,200 (50-409,600 expanded)

It sports 4K video, body build quality is rock-solid,

AF 61-point (41 cross-type, 5 dual-cross)

yet its 20Mp image resolution is relatively modest

LCD 3.2in, 1620K dots

when compared to the 50Mp 5DS/R.

Max burst (buffer) 14-16fps (170 Raw/Unlimited JPEG)

Memory card CompactFlash + CFast

EnthusiaST ProfESSIonal

The Canon Magazine 119



With over 150 lenses available for Canon DSLRs,

picking the best for the job can be a minefield. Here’s

the lowdown on all currently available EOS-fit glass

Choosing lenses

Key factors to watch out for

The main factors to consider in a lens are its focal length,

maximum aperture, and whether or not it’s full-frame compatible.

We’ve categorized lenses by focal length range – from wide-angle

to telephoto. The larger a lens’s maximum aperture, the ‘faster’

it’s considered to be – allowing you to control depth of field more,

and offering better options in low light. Zooms are more flexible

than primes, but tend not to have such fast maximum apertures.

Full-frame lenses will also work with ‘crop-sensor’ EOS D-SLRs,

but crop-sensor lenses aren’t compatible with full-frame cameras.



WIDE-angle zooms



Max zoom

Image stabilization

Canon EF 8-15mm f/4L Fisheye USM £1120/$1250 Yes 1.9x No f/4 540g 0.15m 0.34x None 7 90 HHHH

Canon EF-S 10-18mm f/4.5-5.6 IS STM £215/$280 No 1.8x Yes f/4.5-5.6 240g 0.22m 0.15x 67mm 7 113 HHHH ●

Canon EF-S 10-22mm f/3.5-4.5 USM £470/$650 No 2.2x No f/3.5-4.5 385g 0.24m 0.17x 77mm 6 113 HHH

Canon EF 11-24mm f/4L USM £2700/$2800 Yes 2.2x No f/4 1180g 0.28m 0.16x None 9 116 HHHH

Canon EF 16-35mm f/2.8L III USM £2100/$2200 Yes 2.2x No f/2.8 790g 0.28m 0.22x 82mm 9 120 HHHH

Canon EF 16-35mm f/4L IS USM £880/$1000 Yes 2.2x Yes f/4 615g 0.28m 0.23x 77mm 9 116 HHHHH ● ●

Canon EF 17-40mm f/4L USM £720/$750 Yes 2.4x No f/4 500g 0.28m 0.24x 77mm 7 113 HHHH

Sigma 8-16mm f/4.5-5.6 DC HSM £600/$700 No 2.0x No f/4.5-5.6 555g 0.24m 0.13x None 7 113 HHHH

Sigma 10-20mm f/3.5 EX DC HSM £330/$450 No 2.0x No f/3.5 520g 0.24m 0.15x 82mm 7 113 HHHH

Sigma 12-24mm f/4 DG HSM A £1400/$1600 Yes 2.0x No f/4 1150g 0.24m 0.2x None 9 122 HHHH

Sigma 12-24mm f/4.5-5.6 II DG HSM £650/$950 Yes 2.0x No f/4.5-5.6 670g 0.28m 0.16x 82mm 9 113 HHHHH

Sigma 24-35mm f/2 DG HSM A £760/$900 Yes 1.5x No f/2 940g 0.28m 0.23x 77mm 7 113 HHH

Tamron SP AF 10-24mm f/3.5-4.5 Di II LD £460/$500 No 2.4x No f/3.5-4.5 406g 0.24m 0.2x None 9 113 HHHHH

Tamron SP 15-30mm f/2.8 Di VC USD £930/$1200 Yes 2.0x Yes f/2.8 1100g 0.28m 0.2x None 6 87 HHH

Tokina 10-17mm f/3.5-4.5 AT-X DX Fisheye £430/$530 No 1.7x No f/3.5-4.5 350g 0.14m 0.39x 82mm 9

Tokina 11-16mm f/2.8 AT-X PRO DX II £480/$500 No 1.8x No f/2.8 560g 0.28m 0.12x 77mm 9 87 HHH

Tokina 12-28mm f/4 AT-X Pro DX £450/$400 No 2.3x No f/4 530g 0.25m 0.2x 82mm 9 116 HHHH

Tokina 14-20mm f/2 AT-X PRO DX £850/$800 No 1.43x No f/2 750g 0.28m 0.12x None 9

Tokina 16-28mm f/2.8 AT-X PRO FX £580/$690 Yes 1.8x No f/2.8 950g 0.28m 0.19x 82mm 9

Tokina 17-35mm f/4 AT-X PRO FX £570/$450 Yes 2.1x No f/4 600g 0.28m 0.21x 82mm 9




Max zoom

Image stabilization

Max aperture


Min focus distance

Max magnification

Canon EF-S 55-250mm f/4-5.6 IS STM £270/$300 No 4.5x Yes f/4-5.6 375g 0.85m 0.29x 58mm 7 123 HHHH

Canon EF 70-200mm f/2.8L IS II USM £2000/$1950 Yes 2.9x Yes f/2.8 1490g 1.2m 0.21x 77mm 8 116 HHHHH

Canon EF 70-200mm f/2.8L USM £1330/$1250 Yes 2.9x No f/2.8 1310g 1.5m 0.16x 77mm 8 64 HHHH

Canon EF 70-200mm f/4L IS USM £1050/$1100 Yes 2.9x Yes f/4 760g 1.2m 0.21x 67mm 8 107 HHHH

Canon EF 70-200mm f/4L USM £670/$650 Yes 2.9x No f/4 705g 1.2m 0.21x 67mm 8 123 HHHH

Canon EF 70-300mm f/4-5.6 IS USM £400/$650 Yes 4.3x Yes f/4-5.6 630g 1.5m 0.26x 58mm 8 123 HHH

Canon EF 70-300mm f/4-5.6 IS II USM £500/$550 Yes 4.3x Yes f/4-5.6 710g 1.2m 0.25x 67mm 9 125 HHHH

Canon EF 70-300mm f/4-5.6L IS USM £1030/$1350 Yes 4.3x Yes f/4-5.6 1050g 1.2m 0.21x 67mm 8 117 HHHH

Canon EF 70-300mm f/4.5-5.6 DO IS USM £1380/$1400 Yes 4.3x Yes f/4.5-5.6 720g 1.4m 0.19x 58mm 6 90 HHH

Canon EF 75-300mm f/4-5.6 III £210/$200 Yes 4.0x No f/4-5.6 480g 1.5m 0.25x 58mm 7 15 HHH

Canon EF 75-300mm f/4-5.6 III USM £260/$190 Yes 4.0x No f/4-5.6 480g 1.5m 0.25x 58mm 7 70 HHH

Canon EF 100-400mm f/4.5-5.6L IS II USM £1880/$2000 Yes 4.0x Yes f/4.5-5.6 1640g 0.98m 0.31x 77mm 9 117 HHHH

Canon EF 200-400mm f/4L IS USM Extender 1.4x £10,500/$11,000 Yes 2.8x Yes f/4 3620g 2.0m 0.15x 52mm 9 77 HHHHH

Sigma 50-500mm f4.5-6.3 DG OS HSM £1100/$1660 Yes 10.0x Yes f/4.5-6.3 1970g 0.5-1.8m 0.32x 95mm 9 117 HHH

Sigma 70-200mm f/2.8 EX DG OS HSM £900/$1150 Yes 2.9x Yes f/2.8 1430g 1.4m 0.13x 77mm 9 107 HHHH

Sigma 70-300mm f/4-5.6 DG Macro £130/$140 Yes 4.3x No f/4-5.6 545g 0.95m 0.5x 58mm 9 123 HHH

Sigma APO 70-300mm f/4-5.6 DG Macro £180/$180 Yes 4.3x No f/4-5.6 550g 0.95m 0.5x 58mm 9 123 HH

Sigma 120-300mm f/2.8 DG OS HSM S £2700/$3400 Yes 2.5x Yes f/2.8 3390g 1.5-2.5m 0.12x 105mm 9 98 HHHH

Sigma 150-600mm f/5-6.3 DG OS HSM C £800/$990 Yes 4.0x Yes f/5-6.3 1930g 2.8m 0.2x 95mm 9 117 HHHH ●

Sigma 150-600mm f/5-6.3 DG OS HSM S £1330/$2000 Yes 4.0x Yes f/5-6.3 2860g 2.6m 0.2x 105mm 9 117 HHHHH ●

Sigma 200-500mm f/2.8 EX DG £15,000/$26,000 Yes 2.5x No f/2.8 15,700g 2.0-5.0m 0.13x 72mm 9

Sigma 300-800mm f/5.6 EX DG HSM £6500/$6800 Yes 2.7x No f/5.6 5880g 6.0m 0.14x 46mm 9

Tamron SP AF 70-200mm f/2.8 Di VC USD £1100/$1500 Yes 2.9x Yes f/2.8 1470g 1.3m 0.13x 77mm 9 107 HHHH

Tamron SP 70-200mm f/2.8 Di VC USD G2 £1350/$1300 Yes 2.9x Yes f/2.8 1500g 0.95m 0.16x 77mm 9 127 HHHHH

Tamron AF 70-300mm f/4-5.6 Di LD Macro £130/$160 Yes 4.3x No f/4-5.6 458g 0.95m 0.5x 62mm 9 123 HHH

Tamron SP AF 70-300mm f/4-5.6 Di VC USD £300/$450 Yes 4.3x Yes f/4-5.6 765g 1.5m 0.25x 62mm 9 123 HHHH ● ●

Tamron SP 150-600mm f/5-6.3 Di VC USD £830/$1000 Yes 4.0x Yes f/5-6.3 1951g 2.7m 0.2x 95mm 9 117 HHHH

Tamron SP 150-600mm f/5-6.3 Di VC USD G2 £1340/$1400 Yes 4.0x Yes f/5-6.3 2010g 2.2m 0.26x 95mm 9 121 HHHH

Max aperture


Min focus distance

Max magnification

Filter size

Filter size

Iris blades

Iris blades

Issue reviewed

Issue reviewed








Standard zooms

Wide-angle primes



Canon EF 14mm f/2.8L II USM £2000/$2100 Yes None No f/2.8 645g 0.2m 0.15x None 6

Canon TS-E 17mm f/4L (tilt & shift) £2000/$2150 Yes None No f/4 820g 0.25m 0.14x 77mm 8 90 HHHHH

Canon EF 20mm f/2.8 USM £450/$540 Yes None No f/2.8 405g 0.25m 0.14x 72mm 5 114 HHH

Canon EF 24mm f/1.4L II USM £1500/$1550 Yes None No f/1.4 650g 0.25m 0.17x 77mm 8

Canon EF 24mm f/2.8 IS USM £430/$550 Yes None Yes f/2.8 280g 0.2m 0.23x 58mm 7 114 HHHH

Canon EF-S 24mm f/2.8 STM £140/$150 No None No f/2.8 125g 0.16m 0.27x 52mm 7 110 HHHH

Canon TS-E 24mm f/3.5L II (tilt & shift) £1690/$1900 Yes None No f/3.5 780g 0.21m 0.34x 82mm 8

Canon EF 28mm f/1.8 USM £420/$510 Yes None No f/1.8 310g 0.25m 0.18x 58mm 7 67 HHH

Canon EF 28mm f/2.8 IS USM £390/$500 Yes None Yes f/2.8 260g 0.23m 0.2x 58mm 7 114 HHHH

Canon EF 35mm f/1.4L II USM £1800/$1700 Yes None No f/1.4 760g 0.28m 0.21x 72mm 9 116 HHHH

Canon EF 35mm f/2 IS USM £470/$600 Yes None Yes f/2 335g 0.24m 0.24x 67mm 8 114 HHHH ●

Peleng 8mm f/3.5 Fisheye £250/$215 Yes None No f/3.5 400g 0.22m 0.13x None

Peleng 17mm f/2.8 Fisheye £290/$290 Yes None No f/2.8 630g 0.3m None

Samyang 8mm f/3.5 IF MC CSII DH Circular £240/$260 No None No f/3.5 435g 0.3m N/S None 6

Samyang 10mm f/2.8 ED AS NCS CS £350/$400 No None No f/2.8 600g 0.25m N/S None 6

Samyang 12mm f/2.8 ED AS NCS Diagonal £360/$470 Yes None No f/2.8 530g 0.2m N/S None 7

Samyang 14mm f/2.8 IF ED UMC £300/$330 Yes None No f/2.8 560g 0.28m N/S None 6 74 HHH

Samyang 16mm f/2 ED AS UMC CS £330/$360 No None No f/2 590g 0.2m N/S 77mm 8

Samyang 24mm f/1.4 ED AS UMC £480/$470 Yes None No f/1.4 680g 0.25m N/S 77mm 8

Samyang T-S 24mm f/3.5 ED AS UMC (tilt & shift) £680/$760 Yes None No f/3.5 680g 0.2m N/S 82mm 8 90 HHHH

Samyang 35mm f/1.4 AS UMC AE £430/$480 Yes None No f/1.4 660g 0.3m N/S 77mm 8 100 HHHH

Schneider 28mm f/4.5 PC-TS (tilt & shift) £4980/$6000 Yes None No f/4.5 1560g 0.15m 0.16x 122mm

Sigma 4.5mm f/2.8 EX DC HSM Circular Fisheye £700/$900 No None No f/2.8 470g 0.14m 0.17x None 6 87 HHHH

Sigma 8mm f/3.5 EX DG Circular Fisheye £700/$900 Yes None No f/3.5 400g 0.14m 0.22x None 6 87 HHHH ●

Sigma 10mm f/2.8 EX DC HSM Diagonal Fisheye £600/$600 No None No f/2.8 475g 0.14m 0.11x None 7 87 HHHH

Sigma 15mm f/2.8 EX DG Diagonal Fisheye £600/$610 Yes None No f/2.8 370g 0.15m 0.26x None 7 44 HHHH

Sigma 20mm f/1.4 DG HSM A £700/$900 Yes None No f/1.4 950g 0.28m 0.14x 77mm 9 114 HHHHH

Sigma 24mm f/1.4 DG HSM A £650/$850 Yes None No f/1.4 665g 0.25m 0.19x 77mm 9 114 HHHHH ●

Sigma 35mm f/1.4 DG HSM A £650/$900 Yes None No f/1.4 665g 0.3m 0.19x 67mm 9 100 HHHHH ●

Tamron SP 35mm f/1.8 Di VC USD £600/$600 Yes None Yes f/1.8 480g 0.2m 0.4x 67mm 9 114 HHHH

Voigtlander 20mm f/3.5 Color-Skopar SL II £505/$500 Yes None No f/3.5 240g 0.2m N/S 52mm 9

Voigtlander 28mm f/2.8 Color-Skopar £440/$480 Yes None No f/2.8 230g 0.22m N/S 52mm 9

Zeiss Milvus 15mm f/2.8 ZE £2330/$2700 Yes None No f/2.8 947g 0.25m 0.11x 95mm 9

Zeiss Distagon T* 18mm f/3.5 ZE £1090/$1395 Yes None No f/3.5 510g 0.3m 0.08x 82mm 9 44 HHHHH ●

Zeiss Milvus 18mm f/2.8 ZE £1850/$2300 Yes None No f/2.8 721g 0.25m 0.1x 77mm 9

Zeiss Milvus 21mm f/2.8 ZE £1400/$1850 Yes None No f/2.8 851g 0.22m 0.2x 82mm 9

Zeiss Distagon T* 25mm f/2 ZE £1270/$1700 Yes None No f/2 600g 0.25m 0.17x 67mm 9

Zeiss Distagon T* 28mm f/2 ZE £980/$1285 Yes None No f/2 580g 0.24m 0.21x 58mm 9

Zeiss Otus 28mm f/1.4 ZE £3500/$5000 Yes None No f/1.4 1350g 0.3m 0.2x 95mm 9

Max zoom

Image stabilisation

Zeiss Distagon T* 35mm f/1.4 ZE £1300/$1845 Yes None No f/1.4 850g 0.3m 0.2x 72mm 9

Zeiss Milvus f2/35 ZE £830/$1120 Yes None No f/2 702g 0.3m 0.19x 58mm 9 114 HHHH

Max aperture


Buyers’ Guide LENSES

Canon EF-S 15-85mm f/3.5-5.6 IS USM £600/$800 No 5.7x Yes f/3.5-5.6 575g 0.35m 0.21x 72mm 7 84 HHHH

Canon EF-S 17-55mm f/2.8 IS USM £750/$800 No 3.2x Yes f/2.8 645g 0.35m 0.17x 77mm 7 127 HHHH ●

Canon EF-S 18-55mm f/3.5-5.6 IS II £170/$200 No 3.1x Yes f/3.5-5.6 200g 0.25m 0.34x 58mm 6 110 HHH

Canon EF-S 18-55mm f/3.5-5.6 IS STM £200/$250 No 3.1x Yes f/3.5-5.6 205g 0.25m 0.36x 58mm 7 110 HHHH

Canon EF 24-70mm f/2.8L II USM £1900/$1700 Yes 2.9x No f/2.8 805g 0.38m 0.21x 82mm 9 127 HHHH ●

Canon EF 24-70mm f/4L IS USM £800/$900 Yes 2.9x Yes f/4 600g 0.38m 0.7x 77mm 9 93 HHHHH

Canon EF 24-105mm f/3.5-5.6 IS STM £380/$600 Yes 4.4x Yes f/3.5-5.6 525g 0.4m 0.3x 77mm 7

Canon EF 24-105mm f/4L IS II USM £1065/$1000 Yes 4.4x Yes f/4 795g 0.45m 0.24x 77mm 10 127 HHHH

Sigma 17-50mm f/2.8 EX DC OS HSM £330/$370 No 2.9x Yes f/2.8 565g 0.28m 0.2x 77mm 7 127 HHH

Sigma 17-70mm f/2.8-4 DC Macro OS HSM C £350/$500 No 4.1x Yes f/2.8-4 465g 0.22m 0.36x 72mm 7 127 HHHH ●

Sigma 18-35mm f/1.8 DC HSM A £650/$800 No 1.9x No f/1.8 810g 0.28m 0.23x 72mm 9 90 HHHHH

Sigma 24-70mm f/2.8 IF EX DG HSM £590/$750 Yes 2.9x No f/2.8 790g 0.38m 0.19x 82mm 9 93 HHHH

Sigma 24-105mm f/4 DG OS HSM A £600/$900 Yes 4.4x Yes f/4 885g 0.45m 0.22x 82mm 9 127 HHHH

Tamron SP AF 17-50mm f/2.8 XR Di II VC £380/$650 No 2.9x Yes f/2.8 570g 0.29m 0.21x 72mm 7 127 HHH

Tamron SP AF 24-70mm f/2.8 Di VC USD £800/$1300 Yes 2.9x Yes f/2.8 825g 0.38m 0.2x 82mm 9 127 HHHH ●

Tamron SP AF 28-75mm f/2.8 XR Di £450/$500 Yes 2.7x No f/2.8 510g 0.33m 0.26x 67mm 7 57 HHH






Max zoom

Max zoom

Image stabilization

Image stabilization

Canon EF-S 18-135mm f/3.5-5.6 IS STM £380/$400 No 7.5x Yes f/3.5-5.6 480g 0.39m 0.28x 67mm 7 128 HHHH

Canon EF-S 18-135mm f/3.5-5.6 IS USM £430/$600 No 7.5x Yes f/3.5-5.6 515g 0.39m 0.28x 67mm 7 128 HHHH

Canon EF-S 18-200mm f/3.5-5.6 IS £470/$700 No 11.1x Yes f/3.5-5.6 595g 0.45m 0.24x 72mm 6 128 HHH

Canon EF 28-300mm f/3.5-5.6L IS USM £2250/$2450 Yes 10.7x Yes f/3.5-5.6 1760g 0.7m 0.30x 77mm 8 6 HHHH

Sigma 18-200mm f/3.5-6.3 DC Macro OS HSM C £290/$400 No 11.1x Yes f/3.5-6.3 430g 0.39m 0.33x 62mm 7 128 HHHH

Sigma 18-250mm f/3.5-6.3 DC Macro OS HSM £350/$350 No 13.9x Yes f/3.5-6.3 470g 0.35m 0.34x 62mm 7 92 HHHHH ●

Sigma 18-300mm f/3.5-6.3 DC Macro OS HSM C £370/$500 No 16.7x Yes f/3.5-6.3 585g 0.39m 0.33x 72mm 7 128 HHHH ●

Tamron 16-300mm f/3.5-6.3 Di II VC PZD Macro £430/$550 No 18.8x Yes f/3.5-6.3 540g 0.39m 0.34x 67mm 7 128 HHHH

Tamron 18-200mm f/3.5-6.3 Di II VC £190/$200 No 11.1x Yes f/3.5-6.3 400g 0.49m 0.25x 62mm 7 128 HHHH ●

Tamron AF 18-270mm f/3.5-6.3 Di II VC PZD £300/$450 No 15x Yes f/3.5-6.3 450g 0.49m 0.26x 62mm 7 128 HHH

Tamron 28-300mm f/3.5-6.3 Di VC PZD £600/$850 Yes 10.7x Yes f/3.5-6.3 540g 0.49m 0.29x 67mm 7

Max aperture

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The Canon Magazine 121




Canon www.canon.co.uk

Peleng www.digitaltoyshop.co.uk

Samyang www.samyang-lens.co.uk

Schneider www.linhofstudio.com

Sigma www.sigma-imaging-uk.com

Tamron www.tamron.co.uk

Tokina www.tokinalens.com

Voigtlander www.robertwhite.co.uk

Zeiss www.zeiss.co.uk




Standard primes

Telephoto primes





Max zoom

Max zoom

Image stabilization

Canon EF 40mm f/2.8 STM £200/$180 Yes None No f/2.8 130g 0.3m 0.18x 52mm 7 126 HHH

Canon TS-E 45mm f/2.8 (tilt & shift) £1200/$1400 Yes None No f/2.8 645g 0.4m 0.16x 72mm 8

Canon EF 50mm f/1.2L USM £1370/$1350 Yes None No f/1.2 580g 0.45m 0.15x 72mm 8 103 HHHH

Canon EF 50mm f/1.4 USM £350/$330 Yes None No f/1.4 290g 0.45m 0.15x 58mm 8 126 HHHH

Canon EF 50mm f/1.8 STM £105/$125 Yes None No f/1.8 160g 0.35m 0.21x 49mm 7 126 HHHH ●

Samyang 50mm f/1.4 AS UMC £310/$350 Yes None No f/1.4 575g 0.45m N/S 77mm 8

Sigma 30mm f/1.4 DC HSM A £360/$500 No None No f/1.4 435g 0.3m 0.15x 62mm 9 100 HHHH ●

Sigma 50mm f/1.4 DG HSM A £600/$950 Yes None No f/1.4 815g 0.4m 0.18x 77mm 9 126 HHHH

Tamron SP 45mm f/1.8 Di VC USD £600/$600 Yes None Yes f/1.8 540g 0.29m 0.29x 67mm 9 126 HHHH

Zeiss Milvus 50mm f/1.4 ZF.2 £950/$1200 Yes None No f/1.4 922g 0.45m 0.15x 67mm 9

Zeiss Planar T* 50mm f/1.4 ZE £560/$725 Yes None No f/1.4 380g 0.45m 0.15x 58mm 9

Zeiss Otus 55mm f/1.4 £2700/$3990 Yes None No f/1.4 1030g 0.5m 0.15x 77mm 9

Image stabilization

Canon EF 85mm f/1.2L II USM £1770/$1900 Yes None No f/1.2 1025g 0.95m 0.11x 72mm 8 116 HHHH

Canon EF 85mm f/1.8 USM £340/$350 Yes None No f/1.8 425g 0.85m 0.13x 58mm 8 126 HHHH

Canon TS-E 90mm f/2.8 (tilt & shift) £1240/$1400 Yes None No f/2.8 565g 0.5m 0.29x 58mm 8

Canon EF 100mm f/2 USM £410/$500 Yes None No f/2 460g 0.9m 0.14x 58mm 8 46 HHHHH

Canon EF 135mm f/2L USM £940/$1000 Yes None No f/2 750g 0.9m 0.19x 72mm 8

Canon EF 200mm f/2L IS USM £5400/$5700 Yes None Yes f/2 2520g 1.9m 0.12x 52mm 8 98 HHHHH

Canon EF 200mm f/2.8L II USM £700/$750 Yes None No f/2.8 765g 1.5m 0.16x 72mm 8 98 HHHH

Canon EF 300mm f/2.8L IS II USM £5800/$6100 Yes None Yes f/2.8 2400g 2.0m 0.18x 52mm 9 54 HHHHH

Canon EF 300mm f/4L IS USM £1140/$1350 Yes None Yes f/4 1190g 1.5m 0.24x 77mm 8 117 HHHH

Canon EF 400mm f/2.8L IS II USM £9900/$10,000 Yes None Yes f/2.8 3850g 2.7m 0.17x 52mm 9 54 HHHHH

Canon EF 400mm f/4 DO IS II USM £7000/$6900 Yes None Yes f/4 2100g 3.3m 0.13x 52mm 9

Canon EF 400mm f/5.6L USM £1180/$1180 Yes None No f/5.6 1250g 3.5m 0.12x 77mm 8 117 HHH

Canon EF 500mm f/4L IS II USM £8400/$9000 Yes None Yes f/4 3190g 3.7m 0.15x 52mm 9

Canon EF 600mm f/4L IS II USM £11,350/$11,500 Yes None Yes f/4 3920g 4.5m 0.15x 52mm 9

Canon EF 800mm f/5.6L IS USM £11,900/$13,000 Yes None Yes f/5.6 4500g 6.0m 0.14x 52mm 8

Samyang 85mm f/1.4 IF MC £300/$270 Yes None No f/1.4 513g 1.0m N/S 72mm 8

Samyang 135mm f/2 ED UMC £370/$530 Yes None No f/2 830g 0.8m N/S 77mm 9

Samyang 500mm MC IF f/6.3 Mirror £125/$150 Yes None No f/6.3 705g 2.0m N/S 95mm 0

Samyang 800mm MC IF f/8 Mirror £170/$190 Yes None No f/8 870g 3.5m N/S 30mm 0

Sigma 85mm f/1.4 DG HSM A £1000/$1200 Yes None No f/1.4 TBA 0.85m 0.12x 86mm 9 126 HHHH

Sigma APO 300mm f/2.8 EX DG HSM £2600/$3400 Yes None No f/2.8 2400g 2.5m 0.13x 46mm 9 98 HHHH

Sigma APO 500mm f/4.5 EX DG HSM £3600/$4400 Yes None No f/4.5 3150g 4.0m 0.13x 46mm 9

Sigma 500mm f/4 DG OS HSM S £5000/$6000 Yes None Yes f/4 TBA 3.5m 0.15x 46mm 9 9

Sigma APO 800mm f/5.6 EX DG HSM £5000/$6600 Yes None No f/5.6 4.9kg 7.0m 0.11x 46mm 9 21 HHHH

Tamron SP 85mm f/1.8 Di VC USD £750/$750 Yes None Yes f/1.8 700g 0.8m 0.14x 67mm 9 126 HHHHH ●

Zeiss Milvus 85mm f/1.4 ZE £1380/$1800 Yes None No f/1.4 1280g 0.8m 0.14x 77mm 9

Zeiss Milvus 135mm f/2 ZE £1900/$2200 Yes None No f/2 1123g 0.8m 0.28x 77mm 9

Max aperture

Max aperture



Min focus distance

Min focus distance

Max magnification

Max magnification

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Filter size

Iris blades

Iris blades

Issue reviewed

Issue reviewed









Max zoom

Image stabilization

Canon EF-S 60mm f/2.8 Macro USM £400/$400 No None No f/2.8 335g 0.20m 1.0x 52mm 7 118 HHH

Canon MP-E65mm f/2.8 1-5x Macro £980/$1050 Yes None No f/2.8 710g 0.24m 5.0x 58mm 6 50 HHHH

Canon EF 100mm f/2.8 Macro USM £460/$600 Yes None No f/2.8 600g 0.31m 1.0x 58mm 8 118 HHHH

Canon EF 100mm f/2.8L Macro IS USM £860/$800 Yes None Yes f/2.8 625g 0.3m 1.0x 67mm 9 118 HHHH

Canon EF 180mm f/3.5L Macro USM £1330/$1400 Yes None No f/3.5 1090g 0.48m 1.0x 72mm 8 69 HHHH

Sigma Macro 105mm f/2.8 EX DG OS HSM £320/$620 Yes None Yes f/2.8 725g 0.31m 1.0x 62mm 9 118 HHHH ●

Sigma APO Macro 150mm f/2.8 EX DG OS HSM £780/$1100 Yes None Yes f/2.8 1150g 0.38m 1.0x 72mm 9 118 HHHH

Sigma APO Macro 180mm f/2.8 EX DG OS HSM £1250/$1700 Yes None Yes f/2.8 1640g 0.47m 1.0x 86mm 9 102 HHHH

Tamron SP AF 60mm f/2 Di II LD (IF) Macro £350/$525 No None No f/2 350g 0.23m 1.0x 55mm 7 118 HHH

Tamron SP AF 90mm f/2.8 Di Macro £350/$500 Yes None No f/2.8 400g 0.29m 1.0x 55mm 9 102 HHH

Tamron SP AF 90mm f/2.8 Di VC USD Macro £600/$650 Yes None Yes f/2.8 610g 0.3m 1.0x 62mm 9 118 HHHHH ●

Tamron SP AF 180mm f/3.5 Di Macro £800/$740 Yes None No f/3.5 985g 0.47m 1.0x 72mm 7 69 HHH

Tokina 100mm f/2.8 AT-X PRO Macro £350/$410 Yes None No f/2.8 540g 0.3m 1.0x 55mm 9 118 HHHH

Zeiss Makro Planar T* 50mm f/2 ZE £950/$1285 Yes None No f/2 570g 0.24m 0.5x 67mm 9

Zeiss Milvus Makro Planar 100mm f/2 ZE £1300/$1840 Yes None No f/2 843g 0.44m 0.5x 67mm 9 50 HHHH

Zeiss Makro Planar 100mm f/2 T* ZE £1400/$1545 Yes None No f/2 680g 0.44m 0.5x 67mm 9

Max aperture


Min focus distance

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Iris blades

Issue reviewed





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Canon DSLR skills



Great Canon photographers on how to capture

Africa’s best landscapes, wildlife and people

Marcus Hawkins (Future owns)

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In the next Canon Skills chapter…

■ Shooting a wave ■ Creative pier shots

■ DIY light table ■ Tilt-shift portraits

■ New Photoshop CC, Elements

& Lightroom tutorials

Plus all this...

■ The Apprentice: sports

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■ Profile: David Lund

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FocusPoint The

We’d love to hear your thoughts on the mag and all things

photographic! Email us at photoplus@futurenet.com

Inspired to improve

I have only just started reading

PhotoPlus after buying myself my

first Canon camera, an EOS 80D,

and wanted to say a big thanks

for finally giving me the confidence

to start shooting in Manual mode

after being an auto lazybones for

years! I shot this photo while on

a hiking trip to the northwest of

Scotland last week and climbed the

Stac Pollaidh to catch the sunset

(average results due to hazy light

conditions). I had just turned onto

the main road, and on the shores

of Loch Cul Dromannan I was met

with this view.

I shot this on Manual with 1/8

sec shutter speed, f/4 aperture and

ISO100, and only needed to slightly

tweak it in Lightroom.

I’ve just started seriously getting

into the intricacies of photography

and still have a lot to learn, but you

have put me on the path. Thank

you very much for the inspiration


secs – the perfect amount

of time for the right blur

for David Noton (p40)


shots to get a decent photo

of a hamster (p50)


steps to taking better reasons

summer scenic shots (p28)


grams weight of Sigma’s

winning superzoom (p106)


times winner of Sports

Photographer of the Year

Marc Aspland (p64)


why the EOS 77D is

better than your DSLR! (p96)

and I’m looking forward to keeping

up to date with Canon from now on.

Lindsay Brunton, Fife, Scotland

Great to hear we helped you improve

your photography – keep it up Lindsay!


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