2020-11-01 PhotoPlus

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PROJECT 2

Prime time

Find out how to get the best from simple
50mm prime lenses with Peter Travers

THE MISSION C ompact and with an ability to
produce high-quality images in
Learn how to use a different lighting, a 50mm prime
50mm prime lens lens is one of the most useful optics
for indoor portraits you can own. From cheaper and lightweight
models to more expensive but solidly built Canon
Time needed EF and RF options, there’s always a 50mm to Àt
1-2 hours your budget and needs. All 50mm lenses offer you
the ability to shoot in lower light conditions, such
Skill level as indoors, thanks to their wide ‘fast’ apertures of
Beginner f/1.2 to f/1.8. These apertures also produce
beautiful background blur (or bokeh – see right).
Kit needed A 50mm prime also simpliÀes the way you shoot,
50mm prime lens as you are forced to work with one focal length.

To shoot indoor environmental portraits, such
as a metalworker in action, a 50mm lens is a great
choice. You want to handhold your Canon camera
to be able to focus and Àre at the perfect moment,
yet be a safe distance from the subject.

To work out the best composition Àrst, we did a
dry run before the welding started, to ensure we
included enough of the surroundings to add
context to the shot. Taking the shot can be tricky
because you need to protect your eyes when the
welding starts. Use Live View if you can, or focus
with a small group of AF points, then ask your
subject to start working. We used some negative
exposure compensation as well.

STEP BY STEP FAST LENS TIPS

Set up your Canon and 50mm prime for indoor shots

01 SET UP YOUR CAMERA 02 FRAME UP AND START SHOOTING 03 SET A WIDE APERTURE

We used an aperture of f/5.6 to help We kept a safe distance from the sparks For other low-light shots indoors, like our
control the intensity of light from and used AF to lock on to the welder. Don’t guitarist under stage lights, fast primes are
the welding. Plus, to avoid overexposing look directly at welding light – get set up ideal. Using Av mode, dial in your widest
the highlights, we set the exposure and focused, then close your eyes and aperture, such as f/1.8 on an EF 50mm
compensation to -2 stops. We also used shoot as they start welding. Live View is a f/1.8 lens. For a sharp shot at 50mm you
Auto White Balance and shot in Raw. good option to avoid damaging your eyes. need a shutter speed of at least 1/100 sec.

48 www.digitalcameraworld.com

USING FAST PRIMES

ALL ABOUT
BOKEH

The Japanese word
‘bokeh’ means
‘fuzziness’; in
photography, it’s used to
describe the quality of
the blur in areas that
are out of focus when
using wide apertures,
available on lenses such
as 50mm f/1.4 primes.
It’s often reserved for
bright highlights like
pinpoints of light, and the
character and shape of
these defines whether
the bokeh in your shot is
described as ‘good’ or
‘bad’ – see more below
in Steps 5 and 6.

04 TRY SHOOTING INTO THE LIGHT 05 ‘GOOD’ BOKEH 06 ‘BAD’ BOKEH

Check your shutter speed and increase Although it’s entirely subjective, ‘good’ Out-of-focus areas reveal the shape of the
your ISO as necessary for a good shutter bokeh refers to smooth-edged or circular hole created by the aperture blades, and
speed and exposure. With wide apertures, blurred shapes that echo the shape made anything angular – such as the pentagons
you need to focus precisely on the area by the diaphragm (the aperture blades) above – is considered ‘bad’. But it’s really
you want to be sharp; check on screen within the lens. The rounder, the better as in the eye of the beholder. Have fun and
to ensure the focal point is pin-sharp. you can see in the highlights behind here! experiment with your 50mm lens.

The Canon Magazine 49

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PROJECT 3

THE MISSION Embrace romance
Louise Carey shares how to get prepared for a wedding photoshoot
Take wedding
photography for a T here’s nothing more Let’s face it, at some point you Due to lockdown and social
test run exciting and nerve- could be called upon to take on distancing measures, weddings
wracking than being such a task if you’re known for have been on hold for much of
Time needed asked to photograph being the photographer in your 2020, but we’re now starting to
1-2 hours someone’s wedding. On one circle of friends, but fear not, I’m see these social gatherings take
hand, it’s a great boost for your here to run you through the basic place, albeit with less guests, but
Skill level portfolio and a bit of extra pocket equipment you’ll need as well as it’s often smaller weddings that
Advanced money. But on the other, it may take you through some of the key feel more relaxed and can be a
leave you fretting as it’s such a shots you’ll need to take on the great opportunity to get in the
Kit needed huge responsibility. couple’s big day. experience with less pressure.
• Flashgun
• Wide aperture

zoom

SET UP TO CAPTURE COUPLES ON THEIR MAGICAL DAY

Wedding gear can be pricey, but simple kit, like a DSLR or EOS M and a flashgun will all work well

03 01 CANON
01 CAMERA BODY

02 We’d recommend using a
full-frame camera for
weddings, such as the
Canon EOS 5D Mark IV. The
larger full-frame sensors
provide better depth of field,
tend to handle noise better
at high ISOs and are more
forgiving when cropped in
post-processing.

02 CHOOSE THE
RIGHT LENS

On a full-frame camera a
24-70mm f/2.8 lens would
be a great choice, as you
have the ability to zoom and
also have a wide maximum
aperture of f/2.8. Prime
lenses, such as a fast 35mm
or 50mm, are also great
options as they have
super-wide apertures.

03 BRING A FLASHGUN

It’s best to assume the light
at your venue is going to be
challenging, so injecting
your own lighting by way of
a hotshoe flash can be a real
lifesaver. It’s best to bounce
the flash off the ceiling, or
wall. Alternatively, you can
use a diffuser to stop the
light looking too harsh.

50 www.digitalcameraworld.com

PHOTOGRAPH A WEDDING

QUICK TIP!

Shoot in the Raw
file format so that
you can tweak your
exposure in editing if
you get back to your
computer and it’s

not quite right

COVID-19
GOVERNMENT
GUIDELINES

Advice around
coronavirus and social
distancing is ever
changing, so be sure to
check the government
website (www.gov.uk) to
stay up to date. There’s
a whole page dedicated
to COVID-19 guidance
for small marriages and
civil partnerships. At
the time of going to print
you’re currently allowed
to have up to 15 guests,
and that includes the
photographer. It states
that guests should
maintain 2m social
distancing or 1m with
risk mitigation such as
face masks, so bear this
in mind when attempting
shots like a group photo.

51

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PROJECT 3

SETUP 1 USE OUTDOOR
SPACE AND NATURAL LIGHT

A lens like Canon’s 24-70mm f/2.8L IS USM
is super flexible and will be able to cope in
most situations throughout the day, with a
brilliant 24mm end for wide-angles and
group shots, and the short telephoto 70mm
end that’s ideal for tighter portraits and
detailed close-ups. Shooting outside as
much as possible is a good idea with the
current coronavirus guidelines. After the
ceremony you can steal the couple away for
a 20-30 minutes to go on a walk around the
venue and get some great intimate shots
outdoors. We like using a wide aperture like
f/2.8 to blur the background, leaving the
focus on the couple.

SETUP 2 STILL-LIFE SCENES

Couples spend months planning their
wedding decor, so while weddings are about
the people, these little details need to be
captured too! You can shoot some of these
details as they are, but don’t be afraid to
reposition them if it will make a better shot,
just be sure you sanitize your hands before
and after. Staff at the venue should be on
hand to offer help moving larger pieces like
the cake. Use the 70mm end of 24-70mm or
using a 50mm f/1.4 prime for a cleaner
composition and a wide aperture for a
dreamy, shallow depth-of-field. Be sure to
focus on an important part of the shot, such
as the head of a flower, or cake decoration,
and check images on the LCD by zooming in
to make sure it’s sharp – it’s here for one day
only so make sure it’s sharp!

52 www.digitalcameraworld.com

SETUP 3 FREEZE MAGICAL PHOTOGRAPH A WEDDING
MOMENTS WITH FLASH
PRACTICE
Even if the forecast has promised sunny DIRECTING
skies, you might still be met with non-stop SHOOTS
rain. This is where external lighting can help.
Bring along at least one flashgun, (though Even if you’re a dab hand
pros will carry spares of everything for worse at portraiture, directing
case scenarios). Add the Speedlite to your two people is different to
Canon hotshoe and either tilt it up to bounce directing one – especially
it off the ceiling, or add a diffuser to create when you want to
soft, flattering lighting. Go into the Manual emphasize romance.
mode and dial in an aperture of f/8 and an Focus on creating a
ISO of 100, then set the shutter speed to genuine connection
1/160 sec. Now put the flashgun into Manual between the couple and
mode and set the flash power to 1/16 and translate that into your
take a test shot. If it’s too dark boost the shots, even if they’re
power, and if it’s too bright lower it. just models acting the
part. Research couple
direction tips online and
have a list of fun prompts
to pull out of your hat if
your mind goes blank.
Make them laugh, help
them have fun and don’t
be afraid to experiment.

SETUP 4 BACKLIGHT THE 53
FIRST DANCE FOR DRAMA

The first dance can be a tricky one to get
right, as it’s often very dark so difficult to get
good shots. If you’re good with flash, you
could position a couple of Speedlites at the
back of the dancefloor and trigger these with
flash triggers. Alternatively, with this scene
here we had a bright ‘Mr & Mrs’ sign that was
illuminated and did a similar job at providing
beautiful backlighting. It’s up to you which
you prefer to go with, though we’d take the
flash, triggers and lightstands just in case.
Either way, you’ll want to test out your
settings in advance on a family member, or
perhaps ask the best man to pose on the
dance floor, so your settings are correct
when the music starts.

The Canon Magazine

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PROJECT 4

THE MISSION Everyone’s gone
to the moon
Get great cracking
close-ups of the
moon that show all
of its lovely detail

Time needed
30 minutes

Skill level Learn to take fantastic frame-filling photos of the moon on the
Beginner next clear night as Dan Mold reveals the techniques you need

Kit needed W hile the moon is a that will make the moon appear and you’ll Ànd plenty of resources
• Tripod staggering quarter bigger in the frame. This is a crop online, such as clearoutside.com
• DSLR, mirrorless or of a million miles factor of 1.6x, so a 400mm lens and metofÀce.gov.uk to check for
away, it’d be easy to will have an effective focal length a clear night to shoot on.
bridge camera with think that it’s far too distant of 640mm, making the moon
a telephoto lens to be able to photograph, appear much bigger in the frame. You’ll also need to consider the
especially without specialist This crop factor only magniÀes as moon phase for your shot too.
kit anyway! But this month the sensor size gets smaller, so it’s There’s no right or wrong answer
we’re going to show you that even easier to get decent shots of here, so be creative and
it is entirely possible to get the moon with bridge cameras experiment. For example, the
shots of the moon, even such as Canon’s SX70 HS waxing crescent and waxing
when you’re at home, using PowerShot model, which boasts a gibbous phases (when the moon is
anything from a compact, or ridiculous 65x optical zoom and a becoming lighter), or the waning
bridge camera, to a Canon top end focal length equivalent to gibbous and waning crescent
EOS DSLR or mirrorless 2470mm! So don’t worry if you phases (when the moon gets
model with a zoom lens. don’t have a decent telephoto lens darker), can give you extra
for your DSLR or CSC, these other deÀnition to help it look less Áat.
A Canon DSLR or mirrorless cameras can work brilliantly too.
camera with a zoom lens of Of course, you can also just
300mm or above would be ideal, Like all forms of shoot a classic full moon. The next
though having a camera with an astrophotography, a shoot’s two are on 31 October (Blue
APS-C sensor can be beneÀcial success hinges primarily on Moon) and 30 November 2020
here, as they have a crop factor planning. Clear nights are a must (Beaver Moon). So, grab your
camera and let’s get shooting!

STEP BY STEP SHOOTING THE MOON

Zoom in to get frame-filling images of a subject 240,000 miles away!

01 CHECK FOR CLOUD COVER 02 SET UP ON A TRIPOD 03 SPOT THE DIFFERENCE

For a clear shot of the moon, you’ll need a Movement is ramped up when zooming in, Evaluative metering is great for balancing
clear night. The Clear Outside app is on so set up on a sturdy tripod. We shot exposure across the frame, but by
iOS and Android, and is an excellent tool to through an open window. Shooting inside switching to Spot metering you can
find out when that might be. It contains a takes more planning to ensure the moon is expose specifically where your focus point
wealth of info including the moon phase, in a suitable position, but it offers some is set. This really helps when shooting such
forecast and the moon’s overall visibility. protection from the wind. a bright object in a sea of darkness.

54 www.digitalcameraworld.com

SHOOT THE MOON

QUICK TIP!

As the moon is
orbiting the spinning

earth, ensure your
shutter speed is

at least 1/200 sec
for a sharp shot

04 ZOOM IN 05 DIAL IN THE RIGHT SETTINGS 06 THE EAGLE HAS LANDED

Loosen your tripod head and target the Lenses produce softer images at wider Switch off any image stabilization and
moon through the viewfinder. Slowly zoom apertures and suffer from diffraction at focus on the moon, then go into MF mode
in while adjusting your frame accordingly very narrow apertures. Aim to shoot at your to lock the focus in place. Now set your
to ensure you don’t lose your subject. For lens’s sweet spot (roughly f/8 or f/11). The camera’s drive mode to 5 or 10 secs to
best image quality stick to optical zoom, bright moon will allow you to use a low ISO remove camera shake from pressing the
as digital zoom is just a digital crop and you and a fast shutter speed for a sharp shot. shutter button, or use a remote shutter
can do this in Photoshop if needed. We shot at 1/200 sec, f/8, ISO200. release cable and take the picture.

The Canon Magazine 55

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PHOTOSHOP ELEMENTS

THE MISSION Vintage vibes

Use our free frame Dan Mold shows you how to frame your photographs to make
image to give your them look like an old Polaroid image packed full of retro charm
pictures a cool retro
twist in Elements P hoto frames are an All sorts of photos work well Part of the fun of using Àlm was
easy way to show off with this technique, from holiday that sometimes the colours would
Time needed your best photos and snaps, pictures of your kids look strange, or Áare might appear.
15 minutes they can be a great playing, or a nice landscape. You We’re going to show you how to
way of giving your old could even print your Ànished replicate this in Elements in a few
Skill level forgotten gems a new lease pictures out on some glossy photo short steps and unlike the Àlm
Beginner of life. So this month we’ve card and cut them out to hang up. version, you have total control.
created a bespoke vintage frame You’ll learn about mixing shots
Kit needed designed to look like an old OfÀcial Polaroid Àlm, can be together using blending modes,
Photoshop 4.2x3.5-inch Polaroid that you can expensive, costing around £2 per how to add text to your pictures
Elements 2020 add to your images to complete photo, so this could be a brilliant and more! You can download the
the retro look. We’ll also show you way of achieving retro themed start image (link on the left) and
DOWNLOAD PROJECT FILES how to add some aged Áare effects prints on a budget, or just to add a read the steps or follow the video
TO YOUR COMPUTER FROM: and your own text as well. fun Áourish to images you want to to see how it’s done.
http://downloads. share on social media.
photoplusmag.com/pp171.zip

56 www.digitalcameraworld.com

VINTAGE FRAMES

STEP BY STEP USE YOUR FREE PHOTO FRAME

Recreate that retro-look using our frame image some Photoshop Elements tricks

01 OPEN UP YOUR PICTURES 02 PASTE YOUR IMAGE IN QUICK TIP!

Go into Photoshop Elements and open the Frame.jpg In the frame image, grab the Magic Wand Tool, click Try experimenting
start image (see the download link bottom left) by on the black part of the frame and hit Cmd/Ctrl+J to with different
going to File>Open. Now go back up to File>Open and duplicate. Go to your main image and select it with
find an image that you’d like to insert into it, we’ve Ctrl/Cmd+A, hit Ctrl/Cmd+C to copy it, then go back colours in your text
used a colour shot of beach huts, and open it up. to the frame and press Ctrl/Cmd+V to paste it in. to give each of your

framed images
a bespoke and

custom feel

03 RESIZE AND CLIP YOUR IMAGE 04 ADD SOME RETRO FLARE EFFECTS

Right-click on your image layer in the Layers panel and Go to Layer>New>Layer and set your foreground
choose Create clipping mask, so it only appears colour to a bright red colour using the Color Picker
through the black part of the frame. Resize your and hit OK. Then with a soft-edged low opacity brush,
image to fit with Free Transform Mode by pressing paint over any areas you want the flare to appear.
Ctrl/Cmd+T. Hit Return when you’re done. Repeat this with yellows and oranges to build it up.

05 BLEND IT IN TO MAKE IT LOOK REALISTIC 06 INSERT PERSONALIZED TEXT FREE FRAME
START IMAGE
To make the flare look realistic go to the Layers panel It’s easy to add some custom text to the bottom strip
and right-click on your flare layer, then choose Create of your frame by grabbing the Type Tool and drawing This month you’ll find a
Clipping Mask so it only effects the image layer. Now over that area, then type in your text. You can change free start image called
change the Blending Mode to Screen to blend it in and the font size and type – we think a handwritten font Frame.jpg which can be
lower the layer opacity until it looks good. looks great. Drag the font into position beneath. downloaded (see web link
bottom left). It’s inspired
by old vintage Polaroid
frames and works great
for this little project.

The Canon Magazine 57

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ADOBE CC

THE MISSION Bold beautiful B&W

Create a punchy James Paterson demonstrates how to use the best monochrome
black and white tools and settings for your portraits in Lightroom and Photoshop CC
portrait in
Lightroom and
Photoshop

Time needed Black and white ‘effect’, there should be a reason colour. We know what colour skin
10 minutes treatments and behind the change. Perhaps the tones and hair are without
Skill level portraiture go hand in monochrome tones enhance the needing to be shown, so we don’t
Beginner hand. But what’s the subject, or emphasize the necessarily need them to be
Kit needed best way to strip out the composition, or draw attention present in an image.
Photoshop CC colour, and what other edits to textures and form. Or perhaps
can we make to enhance the the colour is a distraction, and As such, a bold monochrome
DOWNLOAD PROJECT FILES monochrome image? In this removing it ensures the viewer effect can really elevate a portrait.
TO YOUR COMPUTER FROM: tutorial, we’ll explore a few focuses on the main aspects of the Here, for example, it emphasizes
http://downloads. techniques you can use to create photo. With portraits in particular, the strong pose, brings out the
photoplusmag.com/pp171.zip stunning black and white colour is sometimes an contrast in the patterned clothing,
portraits, from the best conversion unnecessary addition. By stripping and strengthens the play of light
tools to essential enhancements it away, we can draw the focus to and shade across the face.
like dodging and burning. things like the expression and
shape. Besides, we’re all very We’ll begin with our workÁow
Converting a photo to black accustomed to seeing people in in Lightroom, then eventually
and white shouldn’t just be an head into Photoshop to Ànish off
the portrait...

58 www.digitalcameraworld.com

BEAUTIFUL B&W

STEP BY STEP MONOCHROME PORTRAIT TIPS

Learn how to convert to bold monochrome in Lightroom, enhance the tones and finish off in Photoshop

01 CHOOSE A B&W PROFILE 02 BOOST THE CONTRAST WHERE TO
DODGE AND
Import the image into Lightroom, then go to the Use the Basic panel sliders to tweak the exposure. BURN YOUR
Develop Module. Go to the Profile Browser at the top Hold Alt while dragging the blacks and whites sliders, PORTRAITS
of the panels on the right, click the grid icon and this shows clipped pixels. Drag to a point just before
choose a black and white profile – use the Adobe B&W they start to show. Next, go to the Tone Curve panel. It’s all very well knowing
or experiment with the BW profile set. We used BW10. Plot an S-shaped curve line like this to boost contrast. how to use the Dodge and
Burn tools, but where
03 FINE-TUNE THE CONVERSION 04 DARKEN THE FACE exactly should you use
them over a portrait? In
Go to the B&W panel on the right. We can use the To make selective adjustments with the Adjustment general, it’s best to use
colour sliders to tune the conversion by altering the Brush, get it from the toolbar and paint over the face. the Burn tool set to either
brightness of these colour ranges. We can also click Reduce the Shadows slider to darken the face. Click Shadows or Midtones,
the target icon and drag over the image. Drag up over New to make another adjustment. Paint over the and the Dodge tool set
the skin a bit to lift it, and down over the backdrop. clothes and increase Contrast to boost the patterns. to Highlights, using a
low Exposure strength
to gradually build up the
effect. With faces, it can
work well to darken down
the underside of the
cheekbones, underneath
the chin and under the
nose, then lighten the
tops of the cheeks, the
ridge of the nose, the
forehead and the lips.
This helps to emphasize
the depth of the face
and accentuate the
cheekbones.

QUICK TIP!

Try adding a split-tone
effect to your portrait

using Lightroom’s
Split Tone Panel. Just

add separate tints
to the highlights
and shadows

05 SOFTEN SKIN 06 DODGE AND BURN NEXT MONTH
RECOLOUR
Black and white can emphasise blotchiness in skin. Right-click the image and Edit in>Photoshop. Once BACKDROPS
To soften it, paint over the area with the Adjustment open, duplicate the background layer with Cmd/
Brush (press O to toggle a mask overlay to see where Ctrl+J, then grab the Burn tool from the toolbar. Set it
you’ve painted). After, reduce the Texture slider to -50. to Shadows, then paint to darken any areas you like.
This reduces blotchiness while retaining fine texture. Use the Dodge tool to lift areas.

The Canon Magazine 59

AFTER

THE MISSION

Liquify facesGettogripswiththe
Liquify Persona in

Affinity Photo and

reshape a portrait BEFORE
Time needed

with Affinity20minutes
Skill level
Beginner James Paterson loosens up and shows you how to use the Liquify
Kit needed Persona to transform a portrait into an exaggerated caricature
Affinity Photo
When it comes to AfÀnity Photo’s Liquify Persona backdrop, so that the backdrop
DOWNLOAD PROJECT FILES editing photos there offers the tools we need for this. won’t warp as you reshape the
TO YOUR COMPUTER FROM: are many different It enables us to push, pull, expand, head. We’ll use the Liquify tools to
http://downloads. directions you can contract and reshape pixels in enlarge the eyes, bulge the
photoplusmag.com/pp171.zip take. There are those almost any way we like. Whether forehead, slope the shoulders and
serious photo edits, like you need to make a subtle stretch the nose. We’ll also make
white balance tweaks and adjustment to the shape of a use of the Freeze and Thaw tools,
sharpening. Then there are person or object, or you want to which allow us to protect parts of
those edits that are just for completely transform a portrait the face while reshaping other
the fun of it, like this. like this, the Liquify Persona is the areas. Once done, we’ll add a
tool for the job. vibrant backdrop and boost the
Here, we’ll look at how to colours to Ànish off our completely
transform a portrait by tweaking We’ve supplied a portrait for over-the-top portrait, perfect for
features, enlarging eyes and you to use, but if you’d like to sharing on social media, or as a
reshaping the face to form a shoot your own then it’s best to joke with your friends.
humorous caricature. place your subject against a plain

60 www.digitalcameraworld.com

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AFFINITY PHOTO

STEP BY STEP FUNNY FACES WITH LIQUIFY

Discover how to push pixels into amusing new shapes with Affinity Photo

01 ENLARGE THE EYES 02 SHRINK THE PUPILS QUICK TIP!

Open the portrait in Affinity and duplicate the bottom To shrink the pupils, grab the Freeze tool from the If you need to redo
layer with Cmd/Ctrl+J, then click on the Liquify toolbar and paint around the edges of the irises, then a liquified area of
Persona at the top left. Next, get the Liquify Pinch tool use the Pinch tool to make the pupils smaller without
from the toolbar. Using a large brush, click over the affecting the rest of the eye. Use the Thaw tool to your image you can
eyes and nose a few times to enlarge them. remove the ‘frozen’ area. brush over with the
Reconstruct tool to

revert it back
to the start

CARICATURES

03 PUSH AND PULL 04 RESHAPE THE SHOULDERS Often used for images
of politicians and movie
Paint over the eyes and mouth with the Freeze tool, Next, we can reshape the body. Use the Push Forward stars, a caricature is a
then use the Push Forward tool to reshape the head. tool to slope the shoulders and make the neck smaller depiction of a person in
Pull the forehead up and out to make it bigger, (freeze the chin). Use a large brush tip and nudge the which their most striking
squeeze in the chin to narrow it, then enlarge the ears pixels gradually in short increments, rather than trying features are exaggerated
and cheekbones. Reshape until it all comes together. to push them too far in one go. Once done, hit Apply. for comedic effect. So
before you begin take a
moment to think about
which features you want
to exaggerate. Here, for
example, our subject has
striking blue eyes and a
strong jaw, so it makes
sense to enlarge those
eyes and accentuate the
jawline. Reshaping the
body also has the effect
of making the head seem
much larger.

05 SELECT THE FACE 06 RECOLOUR THE BACKDROP NEXT MONTH
CREATIVE
Grab the Selection Brush tool and check ‘Snap to Edges’ Click the Adjustment Button in the Layers panel and COMPOSITES
in the tool options and paint over the subject to select. pick Recolour. Use the sliders to colour the backdrop,
Click the Refine button, then increase the Border Width then hit Cmd/Ctrl+D to deselect. Add final touches. We
to include the edges of the hair. Set Output: Selection dodged and burned the face to boost the details and
and hit Apply. Go to Select>Invert Pixel Selection. added a HDR effect using the Tone-Mapping Persona.

The Canon Magazine 61

THEPROINTERVIEW

62 www.digitalcameraworld.com

STUART DUNN

We talk to the Canon
photographer who’s
built twin passions
into an award-winning
globetrotting career

STUART N THE foreword to his new
DUNN book, the Àlmmaker and
photographer Stuart Dunn
The Canon Magazine argues that humankind’s
hopes, fears, Áaws and
desires are common to all.
)or him, ¶8s’ and ¶Them’
doesn’t exist ² there is
¶Only 8s’, and those last
two words form the title of
the book. Chronicling Dunn’s years
spent travelling the world, this is
an epic photographic portrait of
humanity featuring a diverse cast of
characters. :e caught up with him
to discuss his fantastic photography
and his career to date«

How did you get into photography?
Shortly after I left art college, I had a chance
to travel South Africa with a friend. I took
what little money I had and, while I was
there, I took photos of the people and
animals I encountered – none of which were
any good. Then one evening, while driving
through Durban, I was involved in a car
accident, and my friends and I had to go to
the police station to give statements.
While I was sat in the station, a huge South
African police ofÀcer lumbered through the
door with a local man in handcuffs. Luckily,
I had my little 35mm camera in hand and
asked the police ofÀcer if he’d mind if I took
his photograph. He answered: “No problem,
but wait: I’ll get him to smile for you.µ By
“himµ, he meant the man in handcuffs. He
proceeded to twist the man’s arms behind
his back causing the man to scream in pain.
I raised the camera to my eye and took the
shot. That was the Àrst time I realized that
the camera was more than just a device for
taking holiday snaps. Photography was a
tool for something much more profound.

01 THE EMPTY QUARTER
The hottest, driest and most inhospitable
place on the planet, yet among the barren
landscape there is incredible beauty

Lens Canon EF 100-400mm f/4.5-5.6L IS II USM
Exposure 1/800 sec, f/5.6, ISO100

63

02

02 OLIVER AND ONYX 03
A young Native American trains his horses
in the foothills of the Rocky Mountains :hat attracted you to travel Are we the same? Ultimately, I want my
for the ‘Indian Relay,’ America’s oldest photography, and why do you photography to convey that same sense of
competition. A high shutter speed was concentrate on the people? curiosity and wonder, which I feel when I
used to freeze the moment of impact A simple answer would be to say that I love Àrst meet a person.
to travel and I love photography: why not Do you ever shoot landscapes while
Lens Canon EF 24-70mm f/2.8L II USM combine the two? you’re in these amazing places?
I’m quite fond of shooting panoramas
Exposure 1/1000 sec, f/5, ISO800 I guess the truth is much more complex. while I’m on location. In some ways, they
The two for me are inextricably linked, are more for me personally. They help
03 THE ONLY WAY TO TRAVEL and can’t really be separated. My love, document the landscape in a way that is
It was around -20 degrees celsius, but curiosity and fascination with people is more akin to the way we view and soak in
despite the hostile conditions, my 5D Mk II deep-rooted. I can’t help but look at a an environment. But even with my
and EF 24-70mm never let me down person and think: “What is their life like? landscapes, I’ll try to sneak in a person in
What would it be like to be them?µ And I’m as a focal point or to give it scale.
Lens Canon EF 24-70mm f/2.8L II USM not just talking about indigenous people :ho are your inÁuences?
I’ve met in the Amazon, for example: the I’m a huge photography fan, with many
Exposure 1/800 sec, f/5, ISO100 same is true of a businessman on the Tube inÁuences old and new. The most inspiring
at 9pm coming home from work. What
04 MEET THE RANGERS makes a person tick? What are their hopes,
In 2014, the first women joined the their fears, dreams and aspirations?
paramilitary organization in Virunga, to
help defend some of the last remaining
mountain gorillas in the wild

Lens Zeiss Planar T 1.4/85 ZE

Exposure 1/2500 sec, f/1.4, ISO200

“That was the first time I
realised that the camera
was more than just a device
for taking holiday snaps”

64 www.digitalcameraworld.com

STUART DUNN

me at the time. I imagine the shop
assistant had a lot to do with it.
Now I choose Canon because I believe it to
be the best. I not only use Canon stills
lenses, I also use the Canon Cine range for
my Àlm and television work. The image
quality has a beautiful aesthetic that
compliments my photography. I’ve used
Canon for so long now I don’t need to
think while using their cameras or lenses.
It has become an extension of myself, and
the focus is on the content of the
photography, not the tools – the way it
should be. I know exactly how certain
lenses will behave in any particular
lighting situation, to the point where the
whole experience become intuitive. I love
the fact that I can have that kind of
relationship with my equipment.

:hy do you use Canon lenses?
All of my lenses are Canon L series, for
obvious reasons. They are fast, very sharp
and incredibly robust. I’ve taken these
lenses to the Arctic, the Amazon and the
Sahara many times over, and they have
never failed me. I’ve done terrible things to
my kit, things that no lens should have to
go through, and they just keep working.

My standard setup I take on every trip
would be: the EF 16-35mm f/2.8L, the EF
24-70mm f/2.8L and the EF 100-400mm
f/4.5-5.6L. I also have a 100mm L-series
macro lens and a 24mm tilt-and-shift for
more specialist work.

Àgures for me would have to be Robert 04 $ny advice for our readers who
Frank, Fan Ho and Steve McCurry. Robert want to take better travel portraits?
Frank for his rawness and honesty. Ho :hat was your Àrst camera? Don’t get bogged down with kit. Too many
Fan, if you haven’t seen his photography in A little Hanimex 35mm compact my lenses, tripods and Áashes can drag you
Hong Kong from the 1950s and 1960s, you parents bought me. My Àrst proper down. The amount of kit you carry is
have to look him up. His work is incredible! camera, in my mind, was a Canon 500N directly linked to the number of miles you
Beautiful black-and-white compositions, SLR. I’d saved up for months and bought it can hike, and the energy you can put in
back-lit portraits, shafts of light, second-hand from a local camera shop. For when something interesting does actually
minimalist silhouettes, smoky back streets. many years, I took some great shots using present itself. You don’t need half of it. Try
this camera, some of which still stand up heading out with a small discreet bag, with
If I’m honest, it took me a little while to and are in my latest book, Only Us. nothing more than a 24-70mm attached.
really appreciate Steve McCurry’s work. I There’s not much you can’t do with that
always respected him as a photographer, My Àrst digital camera was a Canon lens, and you’ll be amazed how much more
but it has been over time, looking at his 20D. I remember thinking how clean the you will get out of your day. Be brave, don’t
more intimate photography, I really learnt image was. I was so used to seeing grain in be scared to talk to people. Strike up a
what a fantastically talented photographer my images; to then have this camera with conversation, show some interest. Don’t just
he is. The things he achieved on the format such incredible resolution and lack of noise ‘take’ their photograph, let them give it.
he used are unbelievable – and to maintain was a revelation. You’d be surprised how many incredibly
that standard for as long as he has is :hy did you choose Canon? interesting situations I’ve gotten myself into
nothing short of genius. My Àrst Canon setup seemed like the best just through talking to people.
and most affordable system out there for How did you make the transition
from moving to stills photography?
In many ways, I don’t believe a transition
ever took place. The two genres have
always gone hand in hand, and I’ve always
danced between the two. There was never

The Canon Magazine 65

THEPROINTERVIEW

05

06

05 UOLUPE a decision to move from one form to we had around 60 cases of camera
In 1954 the Yawalapiti population stood at another. I love both disciplines for equipment! We are using the same tech as
25 individuals. While still seriously under different reasons. Film-making has Hollywood feature Àlms these days to
threat, in 2014 the Yawalapiti population allowed me to travel to some shoot a documentary. Drones, gimbals,
was estimated to be 262 individuals extraordinary parts of the world. While sliders and lights all play a vital role.
my main focus was to shoot a beautiful <ou’ve been to some pretty
Lens Sigma 50mm documentary, in the back of my mind I’m challenging places. :hat would be
always looking for an opportunity to shoot some top tips for photographing
Exposure 1/3200 sec, f/1.4, ISO100 stills and tell a different kind of story. people in difÀcult environments?
Do your research. What are the operating
06 CHRISTINE Over the years, I guess I’ve developed a limitations of your equipment? How do I
A softer approach was required for this reputation as a cameraman who can also keep everything working? What are my
portrait of Christine, so I opted for a Zeiss shoot beautiful stills, which has options if a piece of equipment fails? What
50mm at f/1.4, a classic portrait lens to subsequently led me to be offered more is the plan if I get injured? Whether I’m
blur the background behind nicely work in both disciplines. heading to the Arctic or the Amazon, these
:hat would you say are the main are all questions I ask myself before setting
Lens Zeiss ZE 50mm differences between shooting off. Having the right protective gear, not
video and photographs? only for your equipment but for yourself, is
Exposure 1/160 sec, f/1.8, ISO100 A documentary Àlm is made up of a absolutely paramount when you travel to
collection of sequences or scenes, and I am remote and hostile environments.
07 NIGHT ON THE LAKE always thinking about ‘the sequence’. How
A fisherman returning home after a night will a collection of moving images Áow to Creatively, I’m looking to evoke a
on a lake in Madagascar. His face hardened tell a story and inform the viewer on how feeling or an emotion, through the person
and full of character, reminding me more they should be feeling? There are a I am going to photograph, but I also want
of a coal miner emerging from the pit, than thousand ways to do this, none of them to show off that person within their
of a fisherman right or wrong. The important thing for natural environment, and that often
me is to represent my subject truthfully. involves a great deal of patience. Watch,
Lens Zeiss Planar T 1.4/50 ZE In that sense, my still photography and my learn and be ready: you never know when
Àlm-making are grounded together by the that perfect scenario will present itself.
Exposure 1/400 sec, f/1.8, ISO400 same foundations. :hat would you say to anyone
travelling to any new places?
08 A LIFE LIVED Obviously, there are physical Travelling to a new part of the world can
One of the most interesting faces I have differences between cinematography and be a daunting experience. You never quite
had the pleasure to photograph. I kept his photography. The equipment used to make know how people will react to your
weather-beaten face filling the frame and a documentary has gotten completely out
avoiding anything in the background that of hand. On a recent shoot in the Congo,
would distract from his portrait

Lens Zeiss Milvus 50mm

Exposure 1/2500 sec, f/1.4, ISO100

66 www.digitalcameraworld.com

STUART DUNN

“The amount of kit you 07
carry is directly linked to
the number of miles you 67
can hike”

camera and presence. Some parts of the 08
world are a photographer’s dream, while
others remain quite perilous at the mere
sight of a camera being pulled from a bag.

The chaos of being somewhere new can
be quite overwhelming: your senses are
overloaded, and often you don’t know
where to begin. Unexpected encounters
can be incredibly special, but I like to have
an idea of what I’m trying to achieve
beforehand. It sounds ridiculous, but I
have a collection of beautiful compositions
taken in perfect light, Áoating around my
head, that I haven’t actually taken yet.
$re there any places you always
particularly look forward to
travelling back to?
The Arctic will always hold a special place
in my heart. It’s a harsh, hostile, barren
place that is incredibly difÀcult to operate
in, but the rewards are worth it. The light
quality there is unparalleled. It has
a clarity and crispness I don’t think I’ve

The Canon Magazine

THEPROINTERVIEW

09 WIGGO 09
Wiggo Antonsen is one of the many
colourful characters on the archipelago
of Svalbard in the Arctic Ocean, halfway
between Norway and the North Pole

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

Exposure 1/160 sec, f/2.8, ISO800

10 MUSALIM OLD RED
My guide during an expedition in Oman.
Musalim had a grace and charisma as if he
was of royal blood

Lens Zeiss ZE 50mm

Exposure 1/650 sec, f/1.4, ISO100

11 APPOINTMENT WITH A GEISHA
This was a difficult handheld shot as my
shutter speed was on the edge. I only just
managed to make it work at 1/80 sec

Lens Zeiss ZE 50mm

Exposure 1/80 sec, f/1.4, ISO1250

seen anywhere else in the world. However,
during the dark season it can also be a
dark and foreboding place, requiring very
long exposures to get anything out of your
camera. I also love the minimalist
landscape and the ever-changing shades of
grey you are presented with. On some
days, it’s like nature has given you no
choice but to photograph in monochrome.

:hat is the essential kit you take lenses are quite heavy, manual-focus and 10
for your travel photography? generally quite difÀcult to work with; but
I can travel very light. Most of my gear the results they deliver are beautiful. They Àlm-making as the equipment was very
Àts in a small carry-on hardcase and are not the sharpest lenses on the market, expensive, not to mention post-production
backpack. I use a Peli IM2500 case, but they have a gorgeous aesthetic and costs. Now, most stills cameras can take
although other brands are available. They a softness that feels very natural to me. very good video footage, so it’s never been
are safe and secure, and are the perfect easier to cross genres, given the
carry-on size for most airlines, helping to The world of photography is very technology available.
avoid any excess baggage charges. saturated: imagery is everywhere, and it’s
becoming harder to make your Most importantly, what do you want to
The Áip side of that is when I’m working photography stand out from the crowd. I’m Àlm? If you want to be a wildlife Àlm-
on a Àlm-making project, where there is always looking for ways to do things a maker, you need to get out there and start
no way to avoid the dreaded excess little differently; if that involves using Àlming animals. Nobody is going to send
baggage, which can often add up to several lenses that make me work harder, so be it. you an expedition to Africa to Àlm
thousand pounds. When it comes to :hat advice would you give elephants if you haven’t done it before. The
particularly remote assignments, I always someone who is looking to make client or broadcaster want to know their
have a GPS and a satellite phone with the jump from shooting stills budget is in safe hands, and that you can
emergency contacts. I’ve been involved in to becoming a Àlm-maker? deliver the project you have been assigned.
a surprising amount of casualty When I Àrst started out, it was incredibly And therein lies the problem. How do you
evacuations, where a member of the crew difÀcult to transition from stills to gain the opportunity to Àlm if you have no
has had to be airlifted out of a jungle or off previous experience? Get creative, save up
the side of a mountain; without those two and self-fund a Àlming trip to build a
items, you’d be in big trouble. showreel and earn potential client’s trust.
Do you have a go-to lens, one that’s
on the camera most of the time?
I’ve always been a fan of =eiss primes.
While zoom lenses will always have their
place, I tend to gravitate towards a 50mm
or an 85mm for my portrait work. My
camera will usually sit in the bag with a
50mm =eiss Milvus f/1.4 attached. =eiss

68 www.digitalcameraworld.com

STUART DUNN

PROFILE

Stuart Dunn

Travel photographer

Stuart was born in 1977
in Newcastle. He studied at the Northern
Media School, where he gained a Masters in
Screen Arts. During his time there, Stuart
embarked on his first filming expedition
with fellow student Pandula Godawatta. On
a shoestring budget, they travelled to the
Tamil Tiger-controlled regions of Sri Lanka,
in an attempt to tell the story of the civil war
that had raged for over 20 years.

Since then Stuart has become a multi
award-winning photographer
and filmmaker. His assignments have taken
him across the globe, photographing a wide
range of topics, from critically endangered
animals, to remote tribes.

He regularly works for the BBC Natural
History Unit, National Geographic and
Discovery Channel, filming internationally
acclaimed documentaries that are screened
to audiences around the world.
www.stuartdunnphotography.com

Next issue: Doug Allan, the fearless BBC
11 wildlife cameraman and photographer.

:hat are your post-production so I can constantly skip back and forth to capitalize on and carry forward through
workÁow techniques? make sure I haven’t lost what made the the rest of the assignment. Once you’ve set
They are embarrassingly simple. I’m not image special in the Àrst place. I want my the style, it’s all about sticking to it.
into HDR or preset Instagram-style Àlters. images to look natural and atmospheric.
While that kind of photography deÀnitely If you do too much work on a photograph, Inevitably things can and will go wrong
has its place, I’m not sure they will stand you can lose the very thing you set from time to time, but if you have
the test of time. out to achieve. established your set of rules from the start,
<ou always come back with great it’s much easier to adapt and thrive when
I use Curves in Photoshop to balance photographs, tell us, how are you these situations occur.
the overall image, setting the contrast so consistent? Only Us: A
ratios to suit the image. Occasionally, Consistency is the hard part. For me there Photographic
I may warm up or cool down an image have to be rules: a set of guidelines and a Celebration of
ever so slightly using the blue channel. standard I set myself. For a body of work to Humanity by Stuart
This is more of an intuitive process and have weight and substance, you have to Dunn, with a
very subjective, rather than a set of rules. maintain a certain level of continuity. It’s foreword by Sir
I sometime use Levels to tweak an image not easy, but it certainly makes a project Ranulph )iennes, is
more precisely if Curves isn’t quite giving more interesting. Often a portfolio or a published by 8nicorn,
me what I’m looking for. If needed, I may collection of images will start with an idea, … 5. www.unicorn
individually adjust the black levels and a style or a theme, which I can then publishing.org
highlights. While I’m doing this, I will keep
the original image as a layer at the back,

The Canon Magazine 69

PHOTOSTORIES

Photo essays from PhotoPlus readers
and professional photographers alike

PROJECT INFO

JOIN IN
THE FUN!

One of the great things NAME: Alexander Sviridov 01
about photography is
being able to share your LOCATION: Ontario, Canada
view of the world. This
month we shoot amazing MISSION: Create a series of
comet photos and reveal spooky composite images using a
some scary story shots large book as a prop
before bedtime – spooky!
KIT: Canon EOS 6D, Canon EF
We want your photos 85mm f/1.8 USM, Canon EF
and stories! For your 100mm f/2.8L Macro IS USM and
chance to show off your LS Photo PRO Studio and Visico
images in PhotoPlus, send VT-300 lights
three to five high-resolution
JPEGs, along with a brief Instagram: @alexander_sviri-
synopsis – explain why you dov_photoart
took the shots, the location,
whether they’re part of an Scary stories
ongoing project or a one-off
shoot, and anything else Using his knowledge of in-camera and Photoshop effects,
unusual or interesting. Also Alexander has created a brilliant series of scary stories
include Canon DSLR, lens
and exposure details. In the past I have produce my Scary Story series, I would then show my
created multiple where the idea is that a person models so they could see what
Email artworks in the Live is reading a horror book, and exactly I was aiming for.
[email protected] Paintings series, an entity from that book Working with the models to
where I crafted a manifests itself in reality. come to fruition with my
Online series of composites to vision was the most
www.facebook.com/photoplusmag create the illusion that The images that I ended up interesting aspect, as I had to
www.twitter.com/photoplusmag my paintings were with were difÀcult to create bring them into my mind to
coming to life. I wanted and took multiple stages. I understand and truly immerse
Post to extend this idea further would start by getting the idea them into the scene. I took all
PhotoPlus: The Canon Mag by creating a series of images in my head and sketching it of the photographs in my very
Future, The Ambury that share a similar theme. out roughly to Àgure out how I own home studio.
Bath BA1 1UA, UK I was inspired by Halloween could make it work, using my
and horror, so I decided to knowledge of both in-camera, I would take several
and editing, techniques. pictures of the models

70 www.digitalcameraworld.com

PHOTO STORIES

04

03

02

according to my sketches and bare lightbulb to light all of 01 SCARY STORY 1
then, once I was satisÀed with the photographs and then Alexander modelled alongside his daughter to create this image
the photographs, I would replaced this with a candle
blend the pictures seamlessly when editing to create a subtle Lens Canon EF 100mm f/2.8L Macro IS USM Exposure 1/40 sec, f/9, ISO800
together in Photoshop, candlelight effect.
matching the lighting and 02 SCARY STORY 2
position of the models as best Although I love to play Alexander poses as the hands choking model Drew Catherine
I could. It took roughly Àve around with Photoshop and
hours to shoot and edit each of post-processing effects, Lens Canon EF 100mm f/2.8L Macro IS USM Exposure 1/100 sec, f/6.3, ISO800
my Scary Story images, though in-camera practical effects are
it takes much longer to come a huge part of the images too. 03 SCARY STORY 3
up with the unique ideas that For Scary Story 4, which is a Alexander took one image of model Kirra Zomby fully clothed and
haven’t been done before. gory self-portrait, I pressed a
piece of wire against different another nude while he posed as a vampire biting her neck
I usually use Áash for each parts of my face to make an
of the images in my impression in my skin and Lens Canon EF 85mm f/1.8 USM Exposure 1/100 sec, f/7.1, ISO800
composites, this makes the create the illusion that it is
lighting more consistent and being pierced, I could then 04 SCARY STORY 4
easier to stitch them together remove the part of the wire Alexander used mostly practical in-camera effects and makeup here
in Photoshop for a Áawless where my hand is holding it
look. However, for the Scary when editing, so that just the Lens Canon EF 100mm f/2.8L Macro IS USM Exposure 1/40 sec, f/7.1, ISO100
Story 2 shot I actually used a wire is left.
FEEDBACK
Waeaqnneudyattaflhokminreegoaaullssikruoerheitma.htIpisstle’osmbfeenffnootttrioneo,gAfbtlheuexitnsaAnwpldheeexorgtaoenftgdorteraorp’hsshaaivccyoinamtgnhpdsaotuspciwhtheoestaoha-carervdeeeainttt’iontivtgaesleslvyekisnuiliolnsniqinue.
Working with the models to come and he’s done this to a
to fruition with my vision was the most Ihcwtaigi’ptshhtitvsehataetacinnehddgsa.itreiInrdtgi’eststhhgaoartftemaipmtauatkllogseessshetisehheehimiuimllanugdspeeiusorsntthaoakingpegespte!thaherer both super realistic and
interesting aspect, as I had to bring them boundaries even further
into my mind to understand

The Canon Magazine 71

PHOTOSTORIES

01

PROJECT INFO Shooting stars

NAME: Clive Greenland Clive Greenland made the most of this once in a lifetime chance to
photograph comet NEOWISE at different spots around the UK
LOCATION: Wiltshire, UK
MISSION: Photograph the comet A fter working as a luck with the weather, a clear visible from early July into
NEOWISE at night from multiple consultant sky and a new moon too. August 2020 and we were
locations across the UK engineer, I retired However, this was different as blessed with some of the
KIT: Canon EOS 5D Mark IV, in 2014 to allow it was a “once in a lifetime clearest skies I’ve ever seen in
Canon EF 24mm f/1.4L II USM, myself to focus on opportunity,” so there wasn’t the UK, all coinciding with a
and Canon EF 70-200mm f/2.8L photography. My passion much room for error. Lacock new moon to achieve the
IS II USM is nature and aviation, Abbey is just a ten minute darkest sky. NEOWISE orbit is
http://clivegreenland. but astrophotography drive from my home and a going to the outer solar system
photography has always inspired me. one-hour drive to Stonehenge and will not return to the Sun
and Glastonbury Tor, so I was for nearly 6800 years.
The plan for this project up for the challenge!
was to photograph the comet Access to Lacock Abbey to
NEOWISE at three iconic Comet C/2020 F3 align the comet was
locations. Having previously (NEOWISE) was only reasonably easy. Stonehenge
travelled to Iceland on Àve discovered early 2020 and is alongside the A303 with a
occasions to capture the considered the brightest comet narrow verge had its own
Aurora Borealis and La Palma visible from the Northern challenges. Glastonbury Tor
to shoot the Milky Way, I knew hemisphere since 1997’s was the most challenging to
that I was going to need good Hale-Bopp. NEOWISE was Ànd a suitable vantage point

72 www.digitalcameraworld.com

YOUR PHOTO STORIES

03

02 04

to set-up. I did my research that the photographers weren’t 01 GLASTONBURY TOR
with Google Maps, but the interfering with the highway. I’ve included one for the Glastonbury Tor because it’s been so popular
position of NEOWISE wasn’t Their Áashing blue lights lit up
anywhere near the Tor when I Stonehenge and whilst not one on social media. Note the small figure to the right of the Tor, one
arrived. I ended up driving for the album, it still made a
around Glastonbury trying to truly inspiring sight with the lonely person viewing the comet!
Ànd a better location, which comet overhead. Whilst taking
was difÀcult given the light an image at Stonehenge a Lens Canon EF 70-200mm f/2.8L IS II USM Exposure 5 secs, f/2.8, ISO3200
pollution from the town. security guard lit up the stones
with his Áashlight and it made 02 STONEHENGE
Whilst at Stonehenge on for a great photo – sometimes Comet NEOWISE has an orbit of almost 6800 years, meaning that
the A303 we had a visit from a you just need a bit of luck! the last generation of people to see it would have lived during the fifth
police trafÀc patrol checking millennium BC. Stonehenge’s age of 4500 years old is insignificant
compared to the age of comet NEOWISE. Hence a one in a lifetime
opportunity capturing comet NEOWISE over Stonehenge!

FEEDBACK Lens Canon EF 70-200mm f/2.8L IS II USM Exposure 5 secs, f/2.8, ISO1600

WdoWoneenell,e,cbotauhmtmismtaehisrnrvdeceeellhrositumiatsienfsjlooybracaogrfoeotnsctcsainepgtitnhuterhaiUenlKigfmetdothisumisrteinouogunptiJqpouuofleryttcuwhenleheitsecyntoimaaitlneedtcv’oseCunlplidtvaesabtsheainnssogete!n. 03 COMET NEOWISE
The comet has a spectacular fan-shaped tail. The dust tail contrasts

well with a blue gas (ion) tail and splits 15 degrees from the main

comet tail. A small meteor entered the earth’s atmosphere at very

high speed as the image was taken

Lens Canon EF 70-200mm f/2.8L IS II USM Exposure 5 secs, f/2.8, ISO1250

If we were being buprpicinktghyeowusetc’desnosemuignegofefsutttuhrreaeisfnoinigrghegttrhsoecuesnnhdeasdd.eotwaisl, of the a 04 LACOCK ABBEY
Raws a touch to or using What a privilege to photograph the comet over the Abbey, as it’s
flashgun to light
the birthplace of photography on paper near to where I live!

Lens Canon EF 24mm f/1.4L II USM Exposure 15 secs, f/2, ISO400 (sky) 60 secs, f/2,
ISO1000 (foreground)

The Canon Magazine 73

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

During lockdown I
was able to double my
wildlife portfolio!

WHAT DO I DO?

James Manning

Self-described semi-pro photographer, James Manning, shows how he’s used James Manning
lockdown to his advantage, and he lets us have a look inside his kit bag…
www.jamesmanning.co.uk
I’ve been taking drives my enthusiasm, and me to get pretty decent
photos for over 10 makes days of waiting worth exposures, even after sunset. JAMES IS an 18-year-old
years now, and have it. I typically set myself certain photographer based in the UK.
acquired almost all of animals to photograph, which Lockdown showed me how He specializes in wildlife and
my dream kit. Initially helps to keep my photography beneÀcial photography has photojournalism and has had his
my parents helped me to current, and gives me a goal to been for my mental health, as work featured on major news
carry on my passion by work towards out in the Àeld. it’s kept me busy during these outlets and in his local
funding my kit, but now challenging times, and also community. James’s style is to
that I’m in the position to This became evident during enabled me to double my capture the light, emotion and
save up and get my own lockdown, where I spent portfolio of work! atmosphere of his subject, and
gear I’ve certainly gone a months chasing wildlife for show what otherwise might be
bit Canon mad! these moments and I often I also enjoy taking overlooked. He’d love to pursue
I’ve always had a passion found myself shooting into the photojournalistic style images, wildlife photography as a career
for the outdoors and animals, dark, for owls and other this stemmed from GCSEs and and is looking forward to what the
so wildlife photography really nocturnal creatures. This being forced to look at topics future brings. You can see more
puts me in my element. The wouldn’t have been possible from alternative angles. My of his work on Instagram
thrill and excitement of not without lenses like my 50mm, aim is to display a unique @_thatcanonguy_
knowing what you might see which has a super wide insight and story to any topic,
aperture of f/1.2 and allows letting the photographs do the
talking for me.

74 www.digitalcameraworld.com

CANON PROS & THEIR KIT

IN JAMES’S BAG

02
01

05 06 03
04

01 02 03 04 05 06

Canon Canon EF Canon Canon EF Canon EF Tamron 70-
EOS-1D X 500mm f/4L IS EOS 5D 50mm f/1.2L 16-35mm f/4L 200mm f/2.8
USM USM IS USM VC USD
WEB: www.canon.co.uk WEB: www.canon.co.uk
WEB: www.canon.co.uk WEB: www.canon.co.uk WEB: www.canon.co.uk WEB: www.tamron.eu
NO MATTER where I IF I had to have one
am this Canon camera THIS IS the lens I camera, it would be my MY MOST recent FROM THE A MUST have for any
never fails to impress used to dream about trusty Canon 5D Mark I. addition to the beginning of my photographer, the
me, with its fast 12fps, owning, and one day I As it’s almost as old as collection and slowly journey until now I’ve 70-200mm is one of
61 focus points and found a deal online too me it’s fair to say I’ve growing to be one of my always had a wide- my most used lenses.
stunning ISO good to turn down and been through a few of favourite lenses. Wide angle lens and this one This lens takes
performance. Wildlife that was the end of these, but nothing open at f/1.2 is not only ticks all of the boxes for extremely sharp
is never easy to that! It took time to get beats the simplicity and pin-sharp, but delivers me. It’s super sharp, so images at a good value
photograph, however used to the size and fun of this camera. stunning background I can shoot wide open for money, however this
this camera does a weight of the lens. When using it, I am bokeh and means I can without worrying about lens, to me, is more
sublime job of making Whatever the weather completely focused on shoot at night with distortion. It’s also light, than just glass and
it much easier. Its this lens always delivers my subject, as it’s a ease. Unlike the 85mm so I can travel with no metal. I have taken this
surprisingly simple with its lighting fast AF breeze to operate and version, I can shoot issues. Going to this lens on countless
ergonomics also allow and unrivalled puts a smile on my face fairly close up which from my heavy 500mm adventures and she
me to be fast while sharpness. The every time I pick it up. can be a deal-breaker. is like a breath of fresh now even boasts a
adjusting settings, stabilization also It’s small and light, Shooting primes forces air, and feels like bracelet from Sierra
which helps me be enables me to shoot compared to the 1D X, me to find the collapsing into bed at Leone, which also often
ready to capture any late into the evening for so I have no issues compositions which the end of a long day. helps to get your
moment life throws at those unique captures. taking it anywhere with improves my skills and subject smiling. I could
me. I wouldn’t swap me on my trips. makes it a joy to use. never let go of this lens.
this for anything.

The Canon Magazine 75

CANONSCHOOL BRIAN WORLEY

CANON EOS CANON PRO
SOLUTIONS
Brian is a freelance photographer
In this episode, we show you how to pull still images and photo tutor, based in
from video using Canon’s Digital Photo Professional Oxfordshire. He has unrivalled
EOS camera knowledge as he’s
been working for Canon for over
15 years, and will help you
master all EOS products.
www.p4pictures.com

Extracting still images from movies

Discover how to use Digital Photo Professional tools to easily extract a frame from a movie

W ith EOS camera clips and then selecting the choose to shoot this way, to a single frame, effectively
movie resolution perfect still frame later. The remember that you need to editing by not shooting
increasing, some reality is that it is possible, but optimize the camera settings unnecessary subjects.
photographers you do need to consider the differently to shooting movies.
are considering camera settings carefully when If your camera supports
extracting a still image you shoot the movie. The most When you extract a still C-log recording for movies, it
from a movie clip. important choice is to record image, DPP creates a single will give enhanced dynamic
the movies at the highest JPEG from the selected frame, range to your shots, but you do
After all, movies are just a resolution on your camera. Full if you shoot a lot it can be a need to pay more attention to
series of still images recorded HD movies are just 1920x1080 long process to Ànd the perfect the processing of your clips to
at 25fps or more. Many times pixels, so each still frame is shot. You’ll quickly discover realise good colours and
I’ve heard photographers around 2Mp. Secondly if you that, as stills photographers, contrast. Otherwise you might
talking about shooting movie we try to condense the shoot in miss the mark somewhat…

STEP BY STEP YOU’VE BEEN FRAMED!

Use Canon’s DPP to extract and edit a single frame from a movie clip

EXTRA TIPS 01 REVIEW MOVIE IN DPP 02 SAVE A STILL IMAGE FROM YOUR MOVIE

Still images can be DPP can playback and even trim movie clips. Just To locate the exact frame is challenging just using
extracted from movies put the movie files in a folder and you can start just the play and pause button. It’s easier to select a
using DPP and then like a still. Select your movie clip and select edit specific frame from the slider control to the right
processed with the image, or press Ctrl/Cmd and <RIGHT ARROW>. of the play button. From the file menu, select Save
standard tools in the At the bottom of the screen are the controls to still image from movie and choose the file format
tone curve and colour playback and find the frame you need. to save, select from TIFF, JPEG or both.
adjustment panels.
It is better to shoot the
movie clips with camera
settings better suited to
still images than movies,
but you can shoot at fast
frame rates.

76 www.digitalcameraworld.com

SOFTWARE SOLUTIONS

CANON SOLUTIONS

STILL IMAGE FROM MOVIE

03 EDIT THE SAVED STILL IMAGE 04 CAMERA SETTINGS

The image can now be edited like any other. But Movies are captured with slower shutter speeds, if
you cannot use the Raw processing tools. Most you want to extract stills use faster shutter speeds.
effective is the tone curve adjustment. If your Faster shutter speeds compromise the smoothness
camera was configured primarily for filming when of the movie. If you have a low contrast, low
the movie was captured you will need to add saturation and low sharpness Picture Style
sharpening, contrast and saturation. selected, the extracted still will need more work.

The Canon Magazine 77

CANONSCHOOL MARCUS HAWKINS

DIGITAL EOS PHOTO EXPERT
ESSENTIALS
Marcus has been passionate about
In this edition of Digital SLR Essentials we explain all you photography for more than 25
need to know about capturing and creating time-lapses 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 IV.

Get set up for time-lapse

Use your eye for a great photo to create unique video clips

T ime-lapse is a record in the time-lapse you to set the number of shots Wide screen
creative technique occurs over a short time and the interval between
that enables you to period. It’s a tedious way of them without touching the The standard video aspect
show how a subject doing it, but it does at least camera. Canon even has one ratio is 16:9, so make sure
or scene changes over give you control over the of its own, the TC-80N3 you compose your shot with
time. You can compress process, allowing you to alter Remote Control, designed to this crop in mind
minutes, hours and even the image settings while you work with older EOS bodies.
days into just a few shoot, and or increase or
seconds, and reveal a decrease the number of
world of movement frames you take in order
and motion that might to selectively slow down
otherwise be too slow or speed up the action at
to see in real-time. The SRLQWV LQ \RXU ÀQDO ÀOP
concept is easy to grasp – take
photos at regular intervals and Fortunately, newer
then combine them in a video EOS cameras now
clip – but there are a few tricks feature a built-in Interval
to setting up your camera so timer or a Time-lapse
that you end up with Movie shooting mode
professional-looking results. that can automate the
whole process for you
You can, of course, go back – including the EOS
to basics and take the time- 250D, EOS 850D and
lapse images yourself, EOS 5D Mark IV. There
manually timing the interval are also a number of
between each shot. This wired and wireless
obviously only suits a subject intervalometers
where the change you want to available, which allow

Get creative with lenses

TIME-LAPSE IS a technique that If the lens has an Image Stabilizer, A Lensbaby creates a toy town
isn’t limited by lenses – you can get that won’t operate during Time-lapse look that can suit this technique
great results with everything from a Movie shooting. It’s also worth
macro lens to a super-telephoto. setting the lens to manual focus so
Shooting a time-lapse with a tilt-shift you know what will be in focus
lens or a Lensbaby can work throughout the sequence. I’d suggest
particularly well, as the stop-motion doing some test shots first, to be
effect is enhanced by the ‘model sure of your focus and settings
village’ look these lenses can achieve. before you start shooting properly.

78 www.digitalcameraworld.com

TIME-LAPSE PHOTOGRAPHY

ONE OR THE OTHER

Interval timer vs Time-lapse movie

What you need to know about the Canon camera two time-lapse shooting modes

W hile the EOS 250D difference is that the camera something creative with the Time-lapse Movie mode
and EOS M50 just automatically creates a video stills – such as combining a few keeps it simple. The image is
have a Time-lapse clip for you in Time-lapse Movie of them in a single image to automatically cropped to the
Movie mode, a number of mode, with the Intervalometer illustrate the passage of time. standard aspect ratio for video
other EOS cameras also saves each individual picture to You can also choose to shoot playback and you end up with a
have an additional the memory card – you create Raw files, use flash, playback movie you can share instantly.
Intervalometer option for the movie in software later. your images and make The downside is that you don’t
shooting stills. Both of these adjustments between each get as much flexibility when it
functions work in basically the There are advantages and picture, such as tweaking the comes to shooting. You can’t
same way, allowing you to disadvantages to each option. focus, exposure, white balance use flash for example, and you
choose how many pictures to You get more flexibility with the and Picture Style. But you will can’t change your mind about
take and the gap you want Intervalometer, as you can be sit in front of a computer for the camera settings once
between each one. The main choose to turn the images into a lot longer… you’ve started recording.
a time-lapse film or do

tIinmteerrval Tmimovei-elapse

You can shoot In Time-lapse
JPEGs or Raw Movie mode, only
files, but JPEGs the final video clip
will be easier to is saved to the
manage and combine memory card. It is
into a final video file automatically
cropped to 16:9

Canon camera Movie settings

How to customize the Time-lapse Movie options

FOR SHOT-TO-SHOT consistency, to their automated Time-lapse Movie film – 4K or Full HD WB
it’s best to lock as many of the modes. You’ll be presented with a – and whether the SET AF
camera settings down as you can choice of three ‘Scenes’ in the screen is on or off
before you start shooting. For Time-lapse Movie sub-menu. These as the images are sure it’s still working – and whether
example, it’s usually better to are essentially different pre-set recorded (you can the exposure is fixed on the first
manually choose a preset for the combinations of interval and shot always press the frame that you shoot or adjusted
Picture Style and White Balance, count optimized for different types INFO button to for subsequent frames.
rather than relying on the Auto of subjects. There’s also a Custom activate or
settings, to prevent the camera from option which lets you set the interval deactivate the
changing the look of your images and shot count yourself. screen anyway).
part-way through a sequence. Other useful features include
Once you select Custom or whether or not the camera beeps as
Some cameras, including the Scene, you’re presented with an an image is taken – handy if you’ve
EOS 250D and EOS RP have a more additional menu of options. You can set up a still-life and want to make
detailed set of options when it comes choose the resolution of your final

The Canon Magazine 79

CANONSCHOOL

THE RIGHT NUMBER

How many shots?

Adjust the interval and shot count to suit the subject

R ecording time and Time-lapse Movie shooting in SHORTER INTERVAL MORE SHOTS ALL THE TIME!
playback time are the camera’s menu, you can
two crucial aspects see the recording time change Reducing the interval Increasing the number With the 5D Mark IV’s
to consider when you’re when you adjust the interval. from 30 secs to 10 of shots from 250 to interval and shot count
setting up your camera to secs means this movie 500 increases the maxed out, it’s going to
shoot a time-lapse. The The number of shots you will take a third of the recording time and take 41 years to record a
speed of the movement you choose to record will affect time to shoot doubles playback time 2 min 24 sec movie!
want to capture will determine both the recording time and
the interval you should use the playback time. Again, you
between each picture. If you’re can monitor this when you set
photographing a slow-moving up the Time-lapse Movie mode
subject, such as a flower in the camera’s menu. As you
blooming or wilting, then you’ll increase both the interval and
need to leave a gap of multiple the number of shots, the
minutes between each shot. recording time can jump.
But if you’re shooting a
landscape on a windy day, then The playback time is based
you may need to work in much on how many frames it takes to
smaller increments of just a few fill one second of footage at
seconds so that the motion of standard playback speed. If
fast-moving clouds plays back your camera is set to PAL video
smoothly in the final movie. system in the yellow Set-up
The interval you choose will menu, then it’s 25 frames per
also have an impact on how second, and if it’s set to NTSC
long the time-lapse will take to it’s 30 frames per second. So
record. When you enable to create a ten second time-
lapse movie, you’ll need to
shoot 250 or 300 frames!

Problems to avoid

Be fully powered up and card capacity

TIME-LAPSE CAN trash a camera’s displayed in red if the memory card If the interval between shots is long enough, you may be able to (gently)
battery, especially if you’re shooting doesn’t have enough free space to change the battery and restart the time-lapse – as long as your tripod
outdoors on a cool night or during record the required number of shots. doesn’t block the battery compartment
the sub-zero winter months. If you’re
recording a long time-lapse, then you Time-lapse enthusiasts often use
could use a battery grip to hold a motorized sliders to move the
second battery and double your camera in small increments along
recording time. You could also use a rails as the shots are being recorded.
compatible Canon power adaptor to It’s an effective way to add an extra
plug the camera into a household layer of interest, especially if the
socket, should you be shooting near camera is moving in the opposite
one. If you’re using the Interval timer, direction of the moving elements of
make sure the Auto Power Off isn’t the image. But when you’re starting
disabled in the yellow Set-up menu, out, a sturdy tripod is all you need.
as then the camera will automatically Make sure you set it up on a base that
power on and off as needed. will remain stable for the entire
duration of the shoot, and resist the
You’ll need plenty of memory card temptation to touch the camera just
capacity too, especially if you’re in case you nudge it, as this will
using the Interval timer to take create a ‘jump’ in the final movie. Of
hundreds of full-resolution Raw files. course, you may need to check the
If you’re shooting in Time-lapse Movie battery life and the number of shots
mode, then the playback time will be you have remaining, just be gentle…

80 www.digitalcameraworld.com

TIME-LAPSE PHOTOGRAPHY

THE BEST SUBJECTS

Subjects that show the passing of time

Learn the ropes by starting off close to home and focusing on simple subjects for time-lapses

T he world really is family and pets around your open, so that you can leave quantity of lighting is just as
your time-lapse kitchen, or a plastic model being enough room in the image. The important as it is when you
oyster, and there are built are good starting points. same goes for sunrise or shoot a regular photo. If the
a host of diverse subjects moonrise – where will the sun lighting changes from shot to
that suit this technique. I’d Regardless of the subject, or moon end up at end of the shot, then you’ll end up with
suggest starting close to home it’s a good idea to try and film? It can help to start and some flickering in the final
with quite short sequences, so envisage the start and end stop filming beyond the point movie. While this might look
that you can find your feet and points for your time-lapse at which you want the time- natural in an outdoor shoot,
get a feel for how your choice of sequence, as this will lapse to start and finish, as this it can be distracting if you’re
interval and shots affect the determine how you frame the gives you a little headroom if shooting a still-life set up. You
smooth playback of the end shot initially. If you’re shooting you want to edit your video in may want to consider setting
result. Something simple like a flower coming into bloom, for software later. up in a darkened room and
ice cubes or ice cream melting, instance, then try and picture using artificial light to provide
the comings and goings of your where the petals will be Whether you shoot indoors more consistent illumination.
positioned when they are fully or outdoors, the quality and

Plan ahead 01 02

Try and picture the
position of the subject
the final frame, so you in
compose accordingly can

03 04 05

School tip Grading and editing

Fine-tune your time-lapses – or give them a new look

YOU CAN process a time-lapse in the you can use the ‘Capture Frame’ option
same way you would any video clip. Your under the video to extract a still frame.
favourite photo-editing software may It’ll appear next to the video in the
support it, but you may need to use a Library module. You can then process
workaround. For example, in Lightroom that image in the Develop module to get
Classic you can’t open a video in the the look you want. Go back to the
Develop module, but you can in the Library module, right-click the frame
Library module. You can make some and select Develop Settings>Copy
tweaks here, but you can do more. When Settings. Next, select the video and
you play the video in the Library module, use Develop Settings>Paste Settings.

The Canon Magazine 81

CANONSCHOOL BRIAN WORLEY

EOSS.O.S CANON PRO

Our technical guru is here to help. No Canon conundrum is too Brian is a freelance photographer
big or small. Get in touch today at [email protected] and photo tutor, based in
Oxfordshire. He has unrivalled
EOS camera knowledge as he’s
been working for Canon for over
15 years, and will help you
master all EOS products.
www.p4pictures.com

Under a bridge, the Spot meter was directed to the model’s face for
accurate exposure, allowing the bright background to overexpose

When my camera is set to Spot
metering it keeps on changing the
exposure as a I move the camera, can Spot
metering be linked to the AF point?

Kate Carter, Edinburgh

Adjust face lighting is only available for EOS R5 Dual Pixel Raw images BRIAN SAYS… When Spot take photos all with the same
metering is used, Canon EOS exposure as the first shot.
What does the Adj face lighting setting cameras don’t automatically
do in DPP, and how do you use it? lock the exposure. Only EOS cameras set to Spot
Evaluative metering locks the metering only measure from
Phil Simpson, Slough exposure when the focus locks the centre of the frame. Except
in One Shot AF. You’ll need to the EOS-1D series, which can
BRIAN SAYS… The ability to adjust face lighting is a feature use the camera’s exposure be tweaked to meter from the
found only when processing EOS R5 Raw images. DPP shows lock button. location of the active AF point.
the option regardless of the images and the model of the
camera you are working with. However it is greyed out, Cameras, including EOS 6D The Spot meter was pointed at
unless you have activated auto lighting optimizer, ALO, and it Mark II, EOS R and EOS RP the owl’s darker feathers, then
was captured whilst the camera was configured with Dual have a custom function that locked with the AE-lock button
Pixel Raw enabled. changes this behaviour, and
you can choose which method
82 automatically locks the
exposure with the focus. Also,
consider using exposure lock
with hold, if your camera has it.
This would let you lock
exposure from your subject
initially, then recompose and

www.digitalcameraworld.com

EOS S.O.S

THE FUTURE OF AF

Next generation focus Ask Brian!

Canon’s EOS R5 and EOS R6 AF simplify autofocus setup for many kinds of photos Confused with
your Canon DSLR?
Email EOSSOS@

futurenet.com

T he word game-changer is used Even with wildflower stems
too flippantly, but the autofocus obscuring the model’s eye
system in EOS R5 and EOS R6 the R5 camera located the
really has changed the way I focus and eye and focused accurately!
shoot. Firstly, face detection with eye-AF
just works if you shoot portraits and
most wildlife subjects. If you previously
used back button AF, then you might
find it’s no longer necessary, I have.
For portraits, especially of a single
subject it’s all but impossible to confuse
the AF, I’ve switched to using Servo AF
with face and eye tracking, for all my
portraits. Even with grasses, branches
and leaves partly obscuring the face eye
AF locks on for sharp shots. I just let if
find the face and shoot, once it finds the
eye you can even recompose the shot
and the camera moves the AF points to
keep the eye sharp in Servo AF.

Almost feels like cheating

For animals and birds, the cameras have
an uncanny ability to locate the subject
and focus on its eye anywhere in the
frame. I tried both the R5 and R6 on a
tripod and aimed towards some
branches where the birds land. I used
a 10m cable release and sat in the
conservatory. I took photos when a bird
appeared in the scene. The cameras
found the birds head and eye and
focused accurately over 90% of the time!

On the EOS R I really missed the
multi-controller of my EOS 5D Mark IV,
but it’s back on EOS R5 and R6, yet I’ve
hardly touched it. If you are having
trouble with automatic eye detection, or
it seems to select the wrong part of the
frame there’s a setting in the AF5 menu
to choose an initial AF point for the
camera to focus with, but once it finds
the subject you can just recompose and
the AF points move with the subject.
I know some photographers have found
that very helpful.

For me, setting the camera to Servo
AF, eye detection active, I almost only
need to choose animal or people
priority. If you look at AF cases, then
choosing Case A for wildlife and action
seems to be all but perfect, even using
older EF lenses. I configured custom
modes for portraits and animals making
it simple to switch subject.

The Canon Magazine 83

CANONSCHOOL

The block of 27 AF points inside the red frame provide AF with certain What do I need Exposure simulation should be disabled if you
f/8 lens and extender combinations to connect my use manual exposure and work in the dark
EOS 250D to
Will my Canon EOS 90D autofocus a computer? Why does my EOS R
with an EF 100-400mm f/4.5-5.6L IS II LCD and viewfinder go
USM lens and EF Extender 1.4x? Adriana Fenwick, dark when I shoot in
Hertfordshire manual at night?
Chris Waymouth, Beaconsfield
BRIAN SAYS… The Charles Cole, Edgware
BRIAN SAYS… In Live View, yes, but if you are using the Canon IFC-600PCU is the
viewfinder then it’s more complicated, and depends on the cable for your camera. You BRIAN SAYS… When you use an auto
version of extender you’re using. Info can be found in the can get them from dealers exposure mode, the camera is in
supplemental guide, available to from the Canon website. If and Canon’s store, but control and the displayed exposure
you have an older 1.4x Extender, Mk I or Mk II, then only the good quality USB 2.0 male looks fine. When you use Manual, with
centre point is usable. If you have the latest EF Extender 1.4x to Micro B unbranded a fixed ISO then you have determined
III, then a block of nine points at the centre will be cross type cables are available online. the exposure and the camera will show
AF points. A block of nine AF points to both left and right a simulation of the result. At night you
sides are also sensitive to horizontal lines of contrast. Is the EOS RP should disable exposure simulation in
with the lens the SHOOT3 menu to see the subject
I am considering an Extender for my mount adapter in the LCD and EVF.
EF 24-70mm f/2.8L, EF 70-200mm f/4L able to work with
and EF 100-400mm f/4.5-5.6L lenses, an EF extender Use EOS Utility for tethered shooting, make
but are they are compatible? fitted to an EF sure the quick preview window is enabled
70-200mm f/2.8L
Alan Slater, Reading IS USM lens? I saw the remote
shooting article by Natasha
BRIAN SAYS… The ideal placement of the extender Danny Walker, St David’s Bella, but I don’t have the
element is partially inside the lens being extended. So, same screens she does?
the Canon extender has a protruding element that fits BRIAN SAYS… Yes you
in the rear of the lens it’s used with. Few lenses, outside can use the EF extenders Brian Brooks, Doncaster
the L-series telephotos have a design that allows the with EF lenses on the
mount adapter for R-series BRIAN SAYS… She appears to be using
extender to fit. Two of cameras. In fact, the EOS a high res screen, so she can arrange the
your three lenses are R models can successfully windows over one display that can then
compatible with an focus, even when the be seen by the remote photographer. So,
extender, the EF aperture is below f/8, such ensure that EOS Utility starts in remote
70-200mm f/4L and the as with the 2x Extender on shooting mode, and that the quick
EF 100-400mm f/4.5- an EF 100-400mm preview screen is enabled. You’ll need to
5.6L. But with the EF f/4.5-5.6L IS lens. activate Live View yourself each time. If
100-400mm your body you don’t want DPP to start set the linked
may not be able to AF as How do you make software to none, and then use DPP with
a time-lapse with the quick check tool to review images.
some DSLR AF systems EOS 200D, when
usually need a minimum it doesn’t have
of f/5.6 aperture. the interval
function?

Toby Green, Pickering

BRIAN SAYS… You need
to select the interval
between the frames, then
the camera captures the
still images and creates a
movie file for you. You
have to have the camera
set to movie mode, then
select the SHOOT5 menu
tab to enable the
time-lapse capability.

84 www.digitalcameraworld.com

RATE MY PHOTO EOS S.O.S

Lens Canon EF 24-105mm f/4L IS USM Get
Exposure 1/80 sec, f/4, ISO100 critiqued!

Email photos to
EOSSOS@

futurenet.com
with the subject
‘Rate My Photo’

The Handheld Night shooting scene mode on the Canon EOS 90D
takes four frames and combines them for the sharpest handheld shot

I’d like to know more about the modes
on my Canon EOS 90D, can you help?

Harry Wilson, Romsey

BRIAN SAYS… All Canon and full automatic scene Charlotte
EOS cameras include the intelligent auto mode.
regular P/Tv/Av/M exposure GEORGE GOTT, MARLOW location with dappled light
modes, so using them in mag The best pictures come SAYS… This shot of on the wall. Shooting
articles makes them more from a planned approach, Charlotte is from a photo portraits in the shade is a
applicable to a range of choosing the right settings is shoot we did in Marlow one good start, but composition
different cameras from entry part of that. If you are starting evening. We had walked could be improved by
level to pro models. Yet there out in photography, selecting around the town, and as we adding more space in front
is a place for the programmed the right scene mode is your entered this street I noticed of the subject, as she’s a
scene modes, as they help to first creative decision that the sun-dappled pattern on little bit too close to the
optimize camera settings for affects your results. the wall and thought it would centre. While the dappled
specific subjects. The work for a photograph. light drew you to the
landscape photo typically A camera like the EOS 90D I asked Charlotte to stand location, I don’t see how it
calls for more depth of field, has twelve scene modes to fit between the planters, and as interacts with your model,
and sports require faster a range of situations, so it’s it was quite dark already I had I would’ve tried to position
shutter speeds to freeze worth a read of that section of to have a slower shutter her to get bathed in some of
action. The scene modes the manual. There’s three speed than usual. Despite the the dappled light. Also I
tailor the camera standard modes for people pictures, low light I absolutely loved the would brighten her face just
program for better results. Group photo, Portraits and golden tones. The a bit, it really should be the
Kids that are all subtly photograph did not need key focal point, but it’s
The number of scene different. These modes much processing, a small slightly overpowered by her
modes has increased in change more than the amount of colour correction back, and the brighter light
recent years, so why not let exposure, they change how in Lightroom was required. on the wall on the left. If you
the Canon photo expertise focus reacts, depth of field, moved half a step to the left
help you out when tackling a continuous shooting and BRIAN SAYS… It’s a lovely she would be able to pose
new genre of photography? much more. Close up and shot of the model, and I see more naturally and maintain
The key is to learn from the Food might seem the same, what attracted you to the eye contact with you.
settings that the scene modes but Food is better for great
use, and maybe compare looking food, ideal for social
images from the scene mode media sharing, whereas
close-up suits natural

subjects like flowers and
insects. So while advanced
photographers often
discount the scene modes,
I think they are a great way
to get off auto.

Using the Food scene mode
enhances the look of the food to
make it more appealing with
vibrant colours and clean whites

The Canon Magazine 85

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LENSTEST

02

01
05

CANON RF 600mm & Super compact Another space-saver is the use of
RF 800mm F11 IS STM and lightweight Canon’s ‘Diffractive Optics’. This
build help make relies on Fresnel technology in
This pair of revolutionary Canon super-telephoto prime these fixed f/11 which optical elements incorporate
mirrorless lenses come in a very different shade of grey primes a very a number of concentric circular
affordable option ridges. They’re historically used to
focus the beams from lighthouses
W e’ve all seen the Áawlessly with the Dual Pixel AF and stage lighting, but also enable
massed ranks of sensor-based systems of EOS downsizing in telephoto lenses.
off-white Canon R-series cameras. As the aperture is
super-telephoto Àxed at f/11, there’s no diaphragm For compact stowage, the lenses
L-series lenses at sporting or its associated electromagnetic feature a retractable design.
events around the world. control system. With telephotos with A simple locking ring at the rear
Primes like the EF 600mm a widest available aperture of f/11, enables you to unlock the
and EF 800mm are hulking you’re not likely to want to stop
beasts, weighing in at around down anyway, and at f/11 and SPECIFICATIONS
3kg and 4.5kg. By stark contrast, 600mm/800mm, you can capture
the new brace of RF 600mm and distance wildlife sharp while still LENS RF 600mm F11 RF 800mm F11
800mm primes for EOS R-series blurring backgrounds nicely. FULL-FRAME COMPATIBLE Yes Yes
mirrorless cameras offer a very ELEMENTS/GROUPS 10/7 11/8
different experience. Relative “Autofocus works IMAGE STABILIZER 5-stop 4-stop
lightweights at 930g and 1260g, flawlessly with the Dual MINIMUM FOCUS DISTANCE 4.5m 6m
they’re ideal for handheld shooting Pixel AF sensor-based MAX MAGNIFICATION FACTOR 0.14x 0.14x
and much easier to live with. systems of EOS MANUAL FOCUS OVERRIDE Electronic Electronic
R-series cameras” FOCUS RANGE LIMIT SWITCH Yes Yes
Unlike many of Canon’s RF ANGLE OF VIEW 4.2 degrees 3.1 degrees
lenses, these super-telephoto primes INTERNAL FOCUS Yes Yes
are designed to be compact and FILTER SIZE 82mm 95mm
lightweight. They have a relatively IRIS BLADES None None
narrow Àxed f/11 aperture rating, WEATHER SEALS None None
but that’s not such a limiting factor SUPPLIED ACCESSORIES None None
as you might think. Autofocus works DIMENSIONS (DIA X LENGTH) 93x200/270mm 102x282/352mm
WEIGHT 930g 1260g
PRICE £749/$699 £979/$899

88 www.digitalcameraworld.com

CANON RF 600mm & 800mm

03

FEATURES Centre SHARPNESS

01 2500
2000
Gapless dual-layer
diffractive optics 1500
help to enable a 1000
lightweight design.

02 500 800mm f/11 Edge
600mm f/11 Middle
The control ring can
be assigned to f/11 Centre
functions like shutter
speed or ISO setting. Sharpness values are very similar from
both lenses, being good rather than
03 completely great

The electronically FRINGING (AT EDGE)
coupled manual
04 focus ring operates 1.42
07 with precision.
06 1.52
mechanism, pull the barrel out to its 04
operating position, then lock it in need to buy the lens hoods 0 0.5 1 1.5 2 2.5 3 3.5 4 4.5 5 5.5
place. Autofocus is courtesy of a fast separately, at around £58/ 50. The 600mm and
and virtually silent lead-screw type 800mm lenses have 600mm 800mm
STM (Stepping Motor) system. Performance built-in 5-stop and
Camera-shake is an ever-present 4-stop optical Colour fringing is fairly minimal, even
danger with super-telephoto lenses, We tested the lenses on Canon EOS stabilizers towards the extreme corners of the
but the RF 600mm and 800mm RP and top-Áight EOS R5 cameras. respectively. image frame, but can be slightly visible
lenses have 5-stop and 4-stop Autofocus proved to be quick and with in-camera correction turned off
optical image stabilizers that work a unerringly accurate, as well as being 05
treat on EOS R and RP cameras, able to make good use of the R5’s DISTORTION
and are further enhanced when advanced AF tracking capabilities. The barrel features a
working with the in-body stabilizers The image stabilizers live up to their tripod/monopod 0.76
(IBIS) of R5 and R6 cameras. billing, giving a good hit rate at mounting socket 0.74
shutter speeds as slow as 1/30 or
Build quality is deÀnitely 1/60 sec for the RF 600mm and 06 -6 –5 –4 -3 -2 -1 0 1 2 3
‘consumer’ rather than ‘professional’ 800mm lenses respectively. Image
grade, reÁected in the price of the quality isn’t as sharp as with the Switches are on
lenses. As such, there are no very best RF lenses, but is still hand for AF/MF, AF
weather-seals and, typical of impressive considering the huge range limiter and
Canon’s non-L-series lenses, you telephoto reach, while colour stabilization on/off.
fringing and distortion are minimal.
600mm at f/11 07 600mm 800mm
800mm at f/11
The locking ring As with fringing, pincushion distortion is
enables the lenses only slight and in-camera correction is
to be locked in their available with EOS R-series bodies
retracted or
elongated shooting VERDICT
positions.

Compared with conventional 600mm and
800mm prime lenses for DSLRs, these
new super-telephotos are amazingly
compact and lightweight, and only cost a
fraction of the price as well. Sure, the f/11
fixed aperture rating makes them quite
‘slow’, but they’re great fun to use and
can deliver very impressive results.

Sharpness and contrast are pretty good but This shot shows the relative telephoto reach of the FEATURES
fine-detail is lost if you need to bump up your ISO 800mm lens compared with the smaller 600mm BUILD & HANDLING
IMAGE QUALITY
VALUE
OVERALL

The Canon Magazine 89

MINITEST

Versatile
ball heads

Our top picks for the most versatile tripod 3 Legged BenroG2
heads that offer stability and smoothness Thing Low Profile
AirHed Pro Ballhead
W HILE YOU may be breaking your camera and or
aware you need a lens! Cheaper ball heads may £140/$160 £160/$225
decent tripod in have Àddly or unreliable
your kit, you may not know controls and mechanisms that www.3leggedthing.com www.benroeu.com
just how much you can slow you down as well.
improve your shooting with ALTHOUGH THEY tend not THE MAIN attraction of the G2
the addition of a high- So you want something to come as cheap as other Low Profile Ballhead is its
quality ball head, rather with decent reliability and options, 3 Legged Thing’s ball compactness. It measures just
than sticking with the basic functionality, but also not to heads and tripods have 88mm from base to mounting
head that probably came be weighed down too much. a reputation for exceptional plate, and the head’s 530g
with your tripod. We’d say the trick is to pick a carrying capacity and stability. mass maintains this portability.
head with a larger ball As the firm’s flagship ball head,
What do you need in a ball diameter: around 40-50mm is the AirHed Pro is able to handle a Rather than using a dedicated
head? While compactness and a sweet spot for providing huge 40kg of kit (which is more friction control dial, Benro has
lightweight build are deÀnite extra stability while still than you’re ever likely to need). opted to incorporate it into the
key considerations, if you’re maintaining portability. large, grippy locking knob for the
planning to support a Canon Fancy ball heads also tend to It’s milled from aircraft-grade ball. To adjust the drag, first
EOS DSLR or EOS R offer smoother panning magnesium alloy, meaning it’s clamp the ball, then loosen the
mirrorless camera with a movement, and will likely not only strong but also light, friction dial on the end of the
sizeable lens attached, using a also have better quick-release weighing just 408g. Two colour locking knob to release the ball
ball head that’s too small will mechanisms on their tops, options are available: blue and and set optimal friction.
see your whole setup come often based on the universal grey. The AirHed Pro comes with Whenever the ball is clamped,
tumbling down and risk Arca-Swiss mount standard. an integrated detachable this degree of drag is maintained.
360-degree clamp that allows for
FIVE THINGS TO LOOK OUT FOR smooth panning, even on rough With low friction, the relatively
terrain, and its quick-release plate large, polished blue ball moves
Get your head in the game and ensure that you’re picking up is Arca-Swiss compatible. The smoothly, but up the friction
the ball head you need for your tripod legs and Canon gear standard AirHed Pro uses a knob setting and the ball’s glossy
to tighten and release the surface can cause it to stick when
01 Variable head friction quick-release plate, but you attempting to make small
can opt for a lever-based design. compositional adjustments.
Need to frequently swap between heavy and light setups? Variable head There are no such complaints
friction caters for all loads. This head is an extraordinary with the silky pan base, and we
piece of kit that does everything like the well-positioned bubble
02 Quality lining you need from a ball head and level alongside the Arca-
more. While it’s more expensive compatible mounting plate. The
Increased head friction can cause jerky movement. A quality ball than some other heads on test, pull-and-twist quick-release
coating and socket lining should help. the AirHed Pro represents top system also strikes a balance
value for money. between speed and safety.
03 Coatings, levers and stability
VERDICT VERDICT
Knobs with rubber coatings, or even a head with levers, rather than just
knobs, will keep your camera in place and sturdy. PROS: Amazing build; smooth PROS: Compact; large ball is
panning; massive load capacity good with longer lenses
04 Arca-Swiss mounting CONS: Ball diameter is on the CONS: Not immediately intuitive;
smaller side high friction could be smoother
The Arca-Swiss mounting standard is great for maintaining WE SAY: Pricey, but in this case WE SAY: A great portable head,
compatibility with other tripod heads. you pay for what you get that can be just a bit awkward

05 Travel tripod quirks

Travel tripods that close with their legs flipped back to surround the
head will require a slimline ball housing.

90 www.digitalcameraworld.com

BALL HEADS

Gitzo Manfrotto Neewer Vanguard
GH5750QR XPro Professional Alta BH-300
Series 5 Off Magnesium Metal Ball
Centre Ball Head with Head £89/$100
Ball Head Top Lock plate
From £24/$33 www.vanguardworld.co.uk
£399/$418 £139/$170
www.amazon.co.uk WHILE IT’S inexpensive for a
www.gitzo.com/global www.manfrotto.co.uk big-brand tripod head, the Alta
THE AMOUNT of tech you get BH-300 is still rated to support a
AT 14.2CM in height and AT FIRST glance, this head for such a small outlay here is whopping 30kg of kit. The build
weighing in at a hefty 1kg, this is doesn’t look special – but there’s impressive: this is a well- quality also feels robust, although
by far the largest head here. It’s more than meets the eye. The constructed and durable ball on close inspection we did
to be expected, though, as the magnesium construction is rated head, able to handle a spot the grey paint finish wearing
head comes from Gitzo’s to support 10kg: enough respectable payload of up to 8kg. slightly thin around the friction
pro-orientated Series 5 range, for almost any full-frame set-up, That’s more than enough for knob of our test sample.
and is rated to support 12kg. yet the head tips the scales at a most serious setups, and
reasonable 520g. advanced photographers and Such a hefty payload capacity
What you lose in portability, videographers may find inevitably means that this isn’t
though, you gain in usability. The At its heart is a large ball for themselves surprised by how well the most portable option here.
oversized quick-release mounting good stability; its grease-free this head works. It tips the scales at 600g and
plate and release lever offer polymer housing enables very measures 119mm in height, but
unmatched ease of use, as do the smooth movement, even with You’ve got three adjustment the overall shape is slim and
large-diameter pan-and-tilt lots of friction applied. The knobs that independently control should sit comfortably within
locking knobs. The size of the tilt friction is set using a tactile, clicky ball movement, a separate pan a tripod with flip-up legs.
knob also helps you to dial in just wheel that’s better than most base, and the level of ball friction. The relatively compact quick-
the right amount of friction. systems for dialling in a precise There’s also a quick-release plate release top plate helps with this,
level of drag. The ball-and-pan (not Arca-compatible) and you yet it still sports two useful,
The unusual off-centre ball movement is tightened using even get vertical/horizontal spirit easily visible bubble levels, and
positioning allows for a greater levers, which lock securely. levels for accurate setup. maintains Arca-Swiss compatibility.
range of movement than usual,
especially if you want to shoot The head can be specced with The head feels strong for the The chunky, rubber covered
straight up or down. The separate several mounting plate designs. price – far better than you’d ever locking knobs Vanguard has used
fore-aft tilt motion also adds a We got the Top Lock system, imagine for this kind of money. are all easy to grip, although the
degree of stability not present on which is Arca-Swiss compatible, It’s not the strongest head here, conventional friction adjustment
a typical ball head. Although the with the QR plate released using nor the most sophisticated, but in dial isn’t as tactile as Manfrotto’s
tilt knob releases both the tilt an effective button. The top plate terms of sheer value for money, clicky design on the XPro.
mechanism and the ball, you can is surrounded by three bubble the Neewer Professional Metal We’ve got no complaints when it
tilt without releasing the ball, as levels for levelling, and they’re all Ball Head is pretty much comes to smoothness, however:
the locking knob disengages the viewable with your camera unbeaten. If you just need a spare the decent-sized ball with its
tilt element first. mounted on the head. head, or a simple one to throw oxidized anodized finish operates
into a travel bag and take on your as smoothly as you could want,
VERDICT VERDICT adventures, this is a great buy. at any friction setting.

PROS: Signature supreme Gitzo PROS: Smooth; ergonomic VERDICT VERDICT
build; great freedom of movement locking levers and friction dial;
CONS: Not as intuitive as a usual CONS: Not quite as compact as PROS: Versatile max payload; PROS: Very smooth; accessible
ball head; bulky; expensive the Benro head unbeatable value for money; price; solid build; slim form factor
WE SAY: The big one, but that’s WE SAY: Built to last with lots of CONS: The QR plate is not CONS: The friction system is not
backed up with top-tier build clever design choices Arca-compatible as finessed as Manfrotto’s XPro
WE SAY: For the price, you can’t WE SAY: Another option that’s
go too far wrong at all better than its price tag suggests

The Canon Magazine 91

SUPERTEST

THE CONTENDERS

SIRUI Benro Slim Kenro Karoo Manfrotto
T-005 Travel Ultimate Travel Befree 2N1
£117/$119 £149/$219
£119/$156 £145/$179

Manfrotto Benro Mach3 Novo Vanguard ALTA
190XPRO4 TMA28A Explora T5 PRO 2+ 263CB
£189/$339 £219/$286
£213/$260 £289/$299

92 www.digitalcameraworld.com

AFFORDABLE TRIPODS

AFFORDABLE

TRIPODS
Get some solid support for your Canon gear
without spending over the odds. We pick out
the best budget-friendly tripod options

Flimsy tripods from manufacturers
you’ve never heard of can cost next to
nothing, while range-topping models
from premium brands like Gitzo can
come with four-figure price tags. So
how much do you need to spend for a
tripod that’s fit for purpose? The first question
is what ‘purpose’ you have in mind.

Most of us want a tripod that we can carry
around easily, whether we’re in town, strolling
through the countryside, or travelling to
far-flung destinations. As such, ‘travel tripods’
have become increasingly popular over recent
years. Current models almost exclusively
feature swing-up legs to minimize packing size.

Indeed, a couple of the tripods in this Super
Test fold down to just 32cm, so you can fit
them inside many photo bags and backpacks,
rather than strapping them precariously to the
outside. However, compact travel tripods
aren’t for everyone, and will struggle to
support your bigger Canon cameras and any
heavier lenses, so we’re covering a wider

range of options in this tripod round-up.

The Canon Magazine 93

SUPERTEST

Weigh up your options

Size and weight are prime factors in choosing the right tripod for you

T ravel tripods with swing-up legs and packing away. When you need to kilogram, although the Kenro is closer to
can reduce carrying size and swing the legs up and down as well, you the weight of a conventional tripod at just
some designs go further still can Ànd that wrestling your tripod into over two kilograms. For conventional
to keep stowage size to a minimum. position can be a time-consuming chore. tripods, the use of carbon Àbre instead of
Naturally, a greater number of extending By contrast, conventional tripods like the aluminium tends to reduce the weight by
sections in each leg enables a decent max Manfrotto 190XPRO4 are quite quick and about 20 per cent. Carbon Àbre can also
operating height while minimizing size. easy to set up, but their folded size is be more resistant to vibrations and less
As such, most travel tripods have four or large. Another drawback of more leg cold to the touch, but it is more prone to
even Àve sections per leg, whereas most sections is that the bottom leg sections shattering if it takes a sharp knock.
general purpose tripods have three. The can end up being thin, and more prone to Naturally, you’ll need a tripod that is
Benro, Kenro and SIRUI travel tripods Áexing. Each clamp is a potential weak sturdy to support the heaviest setup you
here also feature dual-section telescopic point as well, so a greater number of want to use. So it’s crucial to check the
centre columns, increasing the difference clamps can also reduce overall rigidity. max load rating. With most tripods, you
between max op height and folded size. can buy the legs and head separately, and
However, larger numbers of leg and Travel tripods tend to be lighter in even mix and match between different
centre column sections require the weight, so less of a burden to carry manufacturers for each. We’ve chosen
operation of more clamps for setting up around. The Benro and SIRUI travel kits that have both legs and head though.
tripods on test weigh barely more than a

FEATURES TO LOOK FOR…

Get the features you need for the way you shoot

SWING-UP LEGS LOW-ANGLE ADAPTER COLUMN PIVOT

The five ‘travel tripods’ featured in this test group all For ultra-low shooting, the Benro Mach3, Kenro and The centre columns of the Manfrotto 190 and Kenro
feature swing-up legs to reduce stowage size, so the Novo tripods are supplied with a low-angle adapter tripods have a 90-degree pivot facility. A full
feet surround the head when folded down. (LAA), which can be used in place of the centre column. 180-degree arc of movement is in the Vanguard.

TWIST OR FLIP BALL HEAD GOING SOLO

Twist-action locking clamps are generally more Ball heads are more popular for travel tripods as An increasingly common feature of the latest tripod
popular for locking the leg sections, but the Manfrotto they’re more compact. They’re often preferred for designs is that you can unscrew one leg and attach it to
190 bucks the trend with equally effective flip locks. other tripods as well, as they’re quicker to set up. the removable centre column, for use as a monopod.

94 www.digitalcameraworld.com

AFFORDABLE TRIPODS

FEATURES FEATURES

01 The ball head is small 01 Although small, the ball
and lightweight but has a head features an industry-
hefty 5kg load rating. standard Arca-Swiss
quick-release plate.
02 You can remove the
centre column and attach 02 The blue aluminium
the ball head to the spider, twist grips on the leg
for ultra-low level shots. sections add a touch of
design flair.
03 A bubble level on the
tripod spider helps to keep 03 There are only two
everything pleasingly even. locking leg angles instead of
the more usual three.
SIRUI
T-005 £117/$119 Benro
Slim Travel £119/$156
SIRUI serves up an off-beat travel tripod
What a price for a carbon fibre tripod

T rue to type, this SIRUI SPECIFICATIONS R emarkably inexpensive SPECIFICATIONS
travel tripod has for a carbon fibre kit that
swing-up legs that CONSTRUCTION MATERIAL comes with a ball head, CONSTRUCTION MATERIAL
reduce stowage size. Unlike pretty Aluminium this Benro is particularly travel- Carbon fibre
much all competitors, however, its ALTERNATIVE MATERIAL None friendly. It features five sections in ALTERNATIVE MATERIAL
centre column protrudes from the WEIGHT 1.1kg each leg and a two-section centre Aluminium
top of the tripod spider and can’t FOLDED HEIGHT 32cm column, folding down to just 32cm WEIGHT 1.07kg
slide down for a reduced shooting MAX, MIN OPERATING HEIGHT in height. As with an increasing FOLDED HEIGHT 32cm
height. But it can extend higher, 141cm, 8cm (w/o column) number of modern tripods, you MAX, MIN OPERATING HEIGHT
thanks to its dual-section MAX MONOPOD HEIGHT N/A can unscrew one of the legs and 130cm, 31cm
telescopic design. LOAD RATING 5kg couple it with the detachable MAX MONOPOD HEIGHT 133cm
With five leg sections and two BALL HEAD SIRUI B-00 centre column for monopod duty. LOAD RATING 4kg
centre column sections, the SIRUI QUICK-RELEASE PLATE The aluminium version of the kit BALL HEAD Benro N00
has a modest max operating height Arca-Swiss type sells for £99/$115, but the carbon QUICK-RELEASE PLATE
of 141cm, but has the joint shortest HEAD ADJUSTMENTS Lock, pan fibre edition on test isn’t much Arca-Swiss type
folded height on test, matching the more expensive, while shaving HEAD ADJUSTMENTS Lock
Benro Slim Travel at just 32cm. require minimal turning to loosen 130g off the weight. Indeed, at
Considering that the centre or tighten them. Despite the ball 1.07kg, it’s the most lightweight kit impressive as in the heavier
column is mounted on top of the head being similarly small, it’s nice in the group. The Benro’s 4kg load tripods. There tends to be more
spider, the minimum operating and steady and features a useful capacity is a kilogram less than for sag in the tripod head as well, after
height is still low at 36.5cm. If panning lock. the SIRUI, but both feel similarly tightening the clamp.
that’s not low enough, you can sturdy. However, the Benro’s max
remove the centre column and VERDICT operating height is more restrictive VERDICT
screw the ball head to the tripod at 130cm compared with the
spider. This enables the shortest Although it’s the most inexpensive SIRUI’s 141cm. For a compact carbon tripod, this Benro
regular-orientation shooting height tripod in here, the SIRUI has a unique The ball head is compact yet is impeccably finished but comes up
of any tripod in the group, at just design and packs a lot in its build. performs reasonably well, but it’s short in max operating height.
8cm, although the design the only one in the group to lack
precludes inverting the column for FEATURES both an adjustable friction damper FEATURES
ground-level shooting. There’s no BUILD & HANDLING and an independent panning lock. BUILD & HANDLING
facility to use the SIRUI as a PERFORMANCE Even so, it works well and is PERFORMANCE
monopod unfortunately. VALUE stylishly turned out. VALUE
OVERALL OVERALL
Performance Performance

Extending the five-section legs is Rigidity is good for such an
smooth and the twist clamps ultra-lightweight tripod, but not as

The Canon Magazine 95

SUPERTEST

FEATURES FEATURES

01 There’s a pan release 01 Although the quick-
lock but no independent release plate is Arca-Swiss
friction adjustment in the compatible, the ball head’s
ball head. platform isn’t.

02 The centre column 02 Sliders for selecting
enables both height locking leg angles are stylish
extension and a 90-degree and simple to operate.
pivot facility.

03 Retractable metal 03 The twist-action M-lock
spikes are fitted within the clamps work well and
rubber foot pads. flip-locks are also available if
they’re preferred.
Kenro Karoo
Ultimate Travel £145/$179 Manfrotto
Befree 2N1 £149/$219
Amazingly versatile for a travel tripod
A Befree tripod with a 2-in-1 bonus

K enro’s ‘Ultimate’ travel SPECIFICATIONS T here’s a wide range of SPECIFICATIONS
tripod lives up to its Befree travel tripods,
name, offering a wide CONSTRUCTION MATERIAL ranging from ‘basic’ to CONSTRUCTION MATERIAL
range of features more commonly Aluminium ‘advanced’ models. Unlike most, Aluminium
found on conventional kits. It has ALTERNATIVE MATERIAL the advanced 2N1 kit is only ALTERNATIVE MATERIAL None
the favoured swing-up legs for a Carbon fibre available in aluminium, but you can WEIGHT 1.6kg
reduced folded height of 48cm, yet WEIGHT 2.16kg choose between flip clamps and FOLDED HEIGHT 41cm
achieves a max operating height of FOLDED HEIGHT 48cm twist clamps for the four-section MAX, MIN OPERATING HEIGHT
190cm, towering above pretty MAX, MIN OPERATING HEIGHT legs. We prefer the ‘M-lock’ clamps 150cm, 40cm
much every other travel tripod out 190cm, 20.5cm (LAA) of the twist-action edition, which MAX MONOPOD HEIGHT 156cm
there. This is mostly thanks to its MAX MONOPOD HEIGHT 177cm have a very simple and speedy LOAD RATING 8kg
extending centre column. LOAD RATING 8kg action. One leg can be unscrewed BALL HEAD Manfrotto 494
The four-section legs are strong BALL HEAD BB2 and used as a monopod with the QUICK-RELEASE PLATE 200PL Pro
and beefy and you can unscrew QUICK-RELEASE PLATE detachable centre column. HEAD ADJUSTMENTS Lock, pan,
one of them for use as a monopod. Arca-Swiss type The specs don’t look overly friction
An additional trick, matched by the HEAD ADJUSTMENTS Lock, pan inspiring for a travel tripod at this
Manfrotto 190 tripod on test, is price, compared with some of the decent all-round performance and
that the centre column has a column vertically or horizontally. cheaper options. The 150cm max a greater maximum load rating
90-degree pivot facility, ideal for The aluminium kit is top value and operating height is a bit taller than than the SIRUI and Benro travel
ultra-wide-angle, macro and very the carbon version is also in the SIRUI and Benro Slim Travel tripods on test, so not a bad
low-level shooting. If you prefer to well-priced at £199/$247. tripods, but the folded height is choice, but not the cheapest.
ditch the centre column for ground also larger, at 41cm instead of
level shooting instead of pivoting it, VERDICT 32cm. The maximum monopod VERDICT
a low-angle adapter is also height is also meagre, at 156cm.
provided as part of the kit. Instead This Kenro has a great design and On the plus side, the 2N1 is well A mid-range travel tripod, the Befree
of interchangeable feet, retractable excellent versatility. It’s sturdy, and is finished and has good build quality, 2N1 is heavier than the SIRUI and
metal spikes are fitted within high and mighty for a travel tripod. along with a high-spec ball head Benro, but lighter than the Kenro.
screw-action rubber pads. with an adjustable friction damper.
FEATURES The legs also feature an Easy Link FEATURES
Performance BUILD & HANDLING socket for attaching accessories BUILD & HANDLING
PERFORMANCE and have a slick, quick-action PERFORMANCE
Minimal turning is required to VALUE locking mechanism for the three VALUE
release and lock the main leg OVERALL optional operating angles. OVERALL
section clamps, and operation of
the multi-angle leg facility is quick Performance
and easy. Rigidity is good at all
heights, when using the centre It’s quite a stylish travel tripod with

96 www.digitalcameraworld.com

AFFORDABLE TRIPODS

FEATURES FEATURES

01 The XPRO ball head 01 The three-way head
combines solid has rotation scales in
dependability with five-degree increments
smooth-action adjustment. for pan, tilt and swivel
movement.

02 There’s a bubble level 02 Aluminium leg sections
on the tripod and two on and magnesium castings
the head. are excellent quality.

03 The pivot facility has 03 Interchangeable rubber
been redesigned to make pads and metal spikes are
everything much quicker supplied for the feet.
and easier when operating.
Benro
Manfrotto Mach3 TMA28A £213/$260
190XPRO4 £189/$339
A very traditional tripod kit
An updated version of an old favourite

M anfrotto’s 190-series SPECIFICATIONS T he idea behind the SPECIFICATIONS
tripods are now split into Mach3 is to keep
190 and ‘190 Go!’ lines. CONSTRUCTION MATERIAL everything simple, CONSTRUCTION MATERIAL
The latter uses twist locks, Aluminium combining conventional features Aluminium
whereas the current 190 range has ALTERNATIVE MATERIAL with high-grade materials. As such, ALTERNATIVE MATERIAL
redesigned ‘Quick Power Lock’ Carbon fibre the legs don’t swing up for Carbon fibre
levers. Choices include three- WEIGHT 2.61kg compact storage. Unique in this WEIGHT 2.42kg
section and four-section aluminium FOLDED HEIGHT 57cm test group, the Mach3 FOLDED HEIGHT 60cm
legs, with XPRO heads of either MAX, MIN OPERATING HEIGHT TMA28AHD2A kit comes with a MAX, MIN OPERATING HEIGHT
three-way or ball design. 175cm, 20cm three-way head, but a TMA28AB2 155.5cm, 31.5cm
The four-section 190XPRO4 ball MAX MONOPOD HEIGHT N/A kit is also available, with Benro’s B2 MAX MONOPOD HEIGHT 172cm
head kit is a full-sized tripod that LOAD RATING 7kg ball head. Although very LOAD RATING 8kg
reaches an operating height of BALL HEAD XPRO ball head traditionally designed, the Mach3 BALL HEAD HD2 3-way head
175cm, yet shrinks to a modest QUICK-RELEASE PLATE Manfrotto isn’t devoid of clever tricks. One of QUICK-RELEASE PLATE
folded height of 57cm. That’s 200PL the legs can be unscrewed and Arca-Swiss type
despite a conventional build that HEAD ADJUSTMENTS Lock, pan, used in conjunction with the centre HEAD ADJUSTMENTS Tilt, pan, pivot
avoids swing-up legs. friction column as a monopod. Useful
The centre column’s 90-degree extras include interchangeable levelling is made possible by a
pivot facility is quicker and easier two bubble levels. Overall, it’s the rubber pads and metal spikes for bubble level on the tripod legs and
to use, enabling you to swap to best head in the group, and even the feet, and a low-level adapter. three spirit levels integrated into
horizontal boom mode quickly. The sturdier than the legs, with a 10kg As with heads in all but the the three-way head.
four-way, multi-angle leg lock is load rating. Manfrotto kits on test, the Benro
also improved, and new locking comes with an Arca-Swiss VERDICT
levers for the leg sections have a VERDICT compatible quick-release plate. It’s
useful design that lets you push a generously long one in this case, Solid build quality, refined handling
one side of the lever or pull the It’s a solid and lofty tripod with a providing a good platform for both and all-round performance make the
other to release them. good pivot facility for the centre camera bodies and the mounting Mach3 a good choice.
column, but is poor value in the USA. feet of big telephoto lenses.
Performance FEATURES
FEATURES Performance BUILD & HANDLING
The tripod legs remain rigid and BUILD & HANDLING PERFORMANCE
sturdy even at their max operating PERFORMANCE Thanks to having four rather than VALUE
height, with the centre column fully VALUE three leg sections, the Mach3 folds OVERALL
extended. The real star of the show OVERALL down to a compact 60cm, despite
is the XPRO ball head. It’s solid, lacking swing-up legs. Stability is
comes with an adjustable friction good, even at the max operating
damper and pan-only release, plus height of 155.5cm, and accurate

The Canon Magazine 97