PhotoPlus The Canon Magazine - December 2023

TheCanonMagazine 51 PERFECTPANNING 04 TRACK AND SHOOT Now you’re ready to start taking some test shots. A good place to set up is safely on a pavement next to a road, where cars or bikes regularly go past. Use continuous or tracking AF to focus on your subject as it comes past, and take a group of shots as you turn to follow them through the lens. 05 REFINE THE SHUTTER SPEED Inspect the images on the rear LCD. You know the shutter speed is too fast if the background is sharp. If your whole scene is blurry, your shutter speed is eithertoo slow or your panning movement needs to be smoother. Tweak your shutter speed to make it faster or slower accordingly. 06 SHARPEN IN PHOTOSHOP Hit Ctrl/Cmd+J to duplicate the layer, go to Filter>Other>High Pass and set the Radius to 4px and hit OK. Now set the Blending mode in the layers panel to Overlay. Add a Layer Mask and hit Ctrl/Cmd+I to invert it, then use a soft white brush to paint over your subject to sharpen it. Set your Canon to its High Speed Continuous Burst mode to boost your chances of catching the perfect panning moment QUICK TIP!

52 www.digitalcameraworld.com WATCHVIDEOONLINE http://bit.ly/pp_211_3 VIEWTHE VIDEO PROJECT 3 THE MISSION 01 CANON EOS CAMERA Any APS-C or full-frame Canon EOS DSLR or mirrorless camera is great for paintingwith-light images. You don’t need a fast frame rate and images are usually shot at a low ISO. A wide-angle f/2.8 or f/4 lens will, however, be more beneficial at night. 02 TRIPOD FOR LONG EXPOSURES A sturdy tripod is essential because it enables all of the various long exposures to be stacked together in Photoshop and line up correctly. We used a professional tripod with leg-angle adjustments so we could get closer to the ground for a lower view. 03 LIGHT-PAINTING TOOLS Any device that emits a light can be used to paint with light. We had a variety of hand torches, a flashgun with colour gels to add vibrancy, LED panels and L-wire (also called string wire), which was used to create the electric blue ‘mist’. THE SETUP LIGHT UP YOUR NIGHT SCENES Discoverthecorekitfor professional painting-with-light photography s the nights draw in and the days become shorter, your window for shooting in daylight will, of course, be diminished, but that doesn’t mean you can’t still get creative with your camera after sundown. The trick is to add your own lighting. Painting with light is a fun and popular technique in which you add your own lighting to a low-light scene, bringing it to life. Anything from a simple hand WRUFK WR D ÁDVKJXQ RU /(' SDQHO works. In this project, we used a combination of the natural light, D ÁDVKJXQ ZLWK D UHG FRORXU JHO attached and some string wire to create the ethereal blue ‘fog’; more on those over the page. Therefore, with the longer evenings to play with over winter, the only thing stopping you getting out with your camera is your imagination. So be sure to get creative after dark! Follow our project for inspiration and see how you can get started. A To bring night scenes to life by paintingwith light Time needed One hour Skill level Intermediate Kit needed • Canon EOS • Lights & flash • Tripod 01 02 03 Ghosttown Bringnight scenes to lifewiththis funpainting-with-lightproject as ourDan Mold shows youhowwith some basicphoto equipment 03

Shoot in RAW to retain the maximum image detail from your Canon EOS camera – handy when shooting in low light QUICK TIP! PHONE A FRIEND When you’re heading outtotake photos after dark,tryto pair upwith a friend orfamilymember – tomakeitsafer when taking photos at night plusitwill bemoreenjoyable! Perhapsyou knowa photographyenthusiastfromyourlocal camera club you canmeet, and takeit in turnsto alternate between taking photos and paintingwith light. SPOOKYSEASON

54 www.digitalcameraworld.com PROJECT 3 WATCHVIDEOONLINE http://bit.ly/pp_211_3 01 SET UP ON A TRIPOD For this technique, you’re taking plenty of longexposure images, and then blending them together in software to build up the final result. This means that setting up on a sturdy tripod is vital to help all of the different merged images line up perfectly in post. 03 CAMERA SETTINGS Go into the Manual (M) mode on your Canon EOS camera and open the aperture to its widest setting – this was f/4 on our Canon EF 24-105mm f/4L IS lens. We then set the shutter speed to 15 seconds and boosted the ISO to 1600. 05 FLASH WITH COLOUR GEL To bring the church to life, we used a flash off-camera and aimed it at the architecture, then pressed the test button on the flash to fire it. We also fitted a red gel to add some colour. Check your images afterwards and see whether your flash power needs to go up or down. 02 NAIL THE FOCUS The easiest way to focus in the dark is for you or a friend to shine a bright torch on the area that you’d like to be sharp, so your camera can autofocus on it. We focused on this gravestone to make it the focal point and then switched the focus to MF to lock it off. 04 TAKE A TEST SHOT Take a test shot and check on the rear LCD screen to make sure there’s good detail in the sky. We went for a shutter speed of 15 secs, which was slow enough to not turn the stars into trails, but long enough for us to walk around the scene painting with light. 06 CREATE ‘FOG’ WITH L-WIRE L-wire, also called string wire, is a long fibre optic light connected to a battery pack. Bunching the wire together and moving it through the scene close to the ground creates a spooky fog. We went for a blue colour to contrast with the red flash painting. QUICK TIPS GETTING STARTED Becausethe nightwasmadefor paintingwith light HEADTORCH Unsurprisingly, itcan be trickytoseewhereyou’re walking in the dark, and camera buttons and dials can be difficulttoset when you can’tseethem. A headtorch is a cheap and vital accessoryfor shooting at night and keepsyour handsfree. Lookfor a headtorch with a red filter because thisismuchmoresubtle and doesn’t affectyour nightvision asmuch as a brightwhiteLED. VIEWTHE VIDEO

TheCanonMagazine 55 SPOOKYSEASON TOP TIPS EXTRA EDITING IN PHOTOSHOP HOWTO BUILD UP YOUR LIGHT PAINTING Shootseparateframeseach timeyou changethelighting at night 01 BASE EXPOSURE Once you’ve set up on a tripod and nailed the focus, it’s a good idea to take a base shot without any light painting. This is useful because you can blend the light painting layers into your base photo in Photoshop and change their opacity to make them more or less vivid. 02 PAINT THE TOWN RED To stop the church appearing too dark in the image, we attached a red filter to a flashgun and fired a few blips of flash into the scene to light it up. You could instead paint your scene with a hand torch – tape a semi-transparent sweet wrapper over the bulb to change its colour. 03 ADD SOME SPOOKY BLUE FOG It took longer than our 15 secs shutter speed to paint the entire foreground with our L-wire to create the blue mist effect. We set our Canon to its Continuous Burst mode and over several frames we covered the whole frame with the fog and then merged them together in Photoshop. TO COMPLETE the classic Halloween haunted house vibe, we added a full moon and a few bats. Open the Moon.png start image and hit Ctrl/ Cmd+A to select it and Ctrl/Cmd+C to copy. Then in your main shot, hit Ctrl/Cmd+V to paste it in. Hit Ctrl/ Cmd+T to put it into Free Transform mode to reposition and resize it. Create a new layer and paint with a soft white Brush tool with a low Opacity over the moon to give it a diffused glow. Now open up the Bats.png start image and, just as before, select them with Ctrl/Cmd+A, copy with Ctrl/Cmd+C, then in your haunted house image, hit Ctrl/ Cmd+V to paste them in. Use Free Transform again with Ctrl/Cmd+T to resize and position the bats. You may need to repeat this step a few times to build up the effect until there are enough bats in your sky to your liking. Add some flying bats asthe finishing touch tocreate a scaryeffect

56 www.digitalcameraworld.com LIGHTROOM THE MISSION Enhance tone and colours in your landscapes to give them a boost Time needed 30 minutes Skill level Beginner Kit needed Lightroom WATCHVIDEOONLINE http://bit.ly/pp_211_4 VIEWTHE VIDEO ou’re out with your Canon camera. You’ve remembered a tripod, so fading light isn’t bothering you. In fact, you’re loving that the longer exposures are smoothing RXW ÁRZLQJ ZDWHU The sun has gone, leaving a gorgeous afterglow on the sky and distant water. But all is not perfect. The shutter speeds are too long for HDR, and there’s a big difference between the brightest and darkest parts of the sky. You’ve run with Auto White Balance. You know it’s not giving the right colour, EXW \RX·UH VKRRWLQJ 5$: ÀOHV so you know you have leeway in the colour and exposure still. But where do you take the image now, from that seen in camera? That’s why you’re shooting RAW. It may take up more space, but drives are affordable and so are cards. Better to use that space than regret having to rescue an 8-bit JPEG down the line. You can ÀW RYHU  0% FRPSUHVVHG 5$: ÀOHV RQ D fl*% FDUG ² WKDW·V SOHQW\ RXW LQ WKH ÀHOG ,I \RX·UH QRW using RAW, hopefully this will VKRZ \RX VRPH RI WKH EHQHÀWV DQG encourage you to go down that path, and see where you can go when editing a photo. Liven up yourscenic shotsin seconds Do yourlandscapes look a little flat?Sean McCormack explains how to use Lightroom andAdobeCameraRawtobring your visionto life Y DOWNLOAD PROJECT FILES TO YOUR COMPUTER FROM: http://downloads. photoplusmag.com/pp211.zip

TheCanonMagazine 57 LIVENUPSCENIC SHOTS HOWTO BRING YOUR LANDSCAPES TO LIFE Tweakthetone and perk up thecolourin yourscenicshotsfor an instant boost 01 CHOOSE A PROFILE The Adobe Color profile that is set by default often gives a good colourrendition, but sometimes the camera has a Landscape mode or style. Click on the fourrectangle icons to bring up the Profile browser. Hover on a thumbnailto see the effect. Click to select,then Close. 03 ENHANCE THE TONE You can work on your image’s tone next. Set Highlights to -100 to enhance the sky, and increase Shadows to +70 to reveal the foreground a bit more. It’s too light, but adding Dehaze of 25 increases the contrast and saturation. Finally for this step, boost Exposure subtly to 0.25. 02 ADJUST THE SUN While the profile has helped the contrast and saturation, it has also exacerbated the white balance from the Auto setting that was set on the camera. Taking Temperature to 5700 brings back the yellow of the set sun, while still leaving hints of blue as a complementary colour. Taking Tint to -2 removes the purple shading. 04 ADD A COLOUR BOOST For your final step, add a subtle colour boost. Vibrance protects the reddish-yellow tones in an image, so ittends to enhance blues in a landscape, which are initially less saturated – setitto 11. Saturation, on the other hand, increases all colours, so for a subtle increase,try it at 11. HIGHLIGHTING WITH A MASK You could also highlight theforeground rock a littlemore. Pressthe Masking icon and choose Radial Gradient(above). Then drag itoutoverthe rock and set Shadowsto +100 (below).

58 www.digitalcameraworld.com LIGHTROOM THE MISSION Explore Adobe’s newAI-powered masking tools to improve portraits Time needed One hour Skill level Intermediate Kit needed Lightroom or Camera Raw WATCHVIDEOONLINE http://bit.ly/pp_211_5 VIEWTHE VIDEO ntroduced in 2021, the Masking panel is one of the best improvements to Lightroom and Camera Raw in recent years. Now, in the latest major release of Photoshop and Lightroom, the Masking panel is even better. Intelligent AI-powered tools enable us to isolate intricate objects or backgrounds with a couple of clicks, without any need to spend time painstakingly masking out areas by hand. In particular, portrait lovers have been treated to an array of masking features that let us target parts of a face or body with ease. Enhancing portraits is often about making delicate changes to different parts of a face, perhaps to lift the whites of the eyes, boost the iris or soften the skin. Previously, these kind of local adjustments would require manual masking with a brush, but now we’re offered a list of attributes that can be targeted automatically, such as hair, skin or eyes. Once targeted, we can make changes to the relevant area using an array of tonal tools that now include Curves. As such, we can make a series of powerful local adjustments to our RAW portraits, and like all RAW edits that are made in Camera Raw or Lightroom, these changes remain non-destructive and endlessly editable. Automaticmasking JamesPatersonexplains howthe clever newface masking tools in CameraRawand Lightroommake it easy to improve your shots I DOWNLOAD PROJECT FILES TO YOUR COMPUTER FROM: http://downloads. photoplusmag.com/pp211.zip ADAPTIVE Presetsworklike normal presetsin thattheyletyou apply a saved setof adjustments, butratherthan working overthewholeimage,they use the powerof AImasking to automatically target and adjustspecific partsof an image.Tocoincidewith the newPeople Masking tools,you’ll find a newsetof Adaptive Presetsthat automatically applycommon portrait adjustmentssuch asteethwhitening and hairsmoothing. Clickthe Preseticon in thetoolbar,then scroll down tothe Adaptive Portraitsetto experiment. Ofcourse,you can also use the newmasking toolstocreateyourown customAdaptive Presets. NEW ADAPTIVE PRESETS Part 25 of a series

TheCanonMagazine 59 AUTOPORTRAIT MASKING STEP BY STEP AUTOMATIC FOR THE PEOPLE Mastermasksin LightroomandCameraRawto add finessetofacesin portraits 02 MAKE YOUR CHANGES Once you’ve defined an area for your mask, you can alterit using the tonal sliders. We can apply a softening effect by reducing the Texture slider, and target and alter other areas in the same way. Click the Create mask icon to go back to the People mask options. We’ve chosen Lips,then reduced the saturation ofthe lips slightly. Next, we lifted the sclera (the whites ofthe eyes). 03 TARGET PEOPLE Right-click a portraitin Adobe Bridge and choose EditIn Camera Raw, or importthe image into Lightroom and head to the Develop module. Click the circular masking icon in the toolbar on the rightto open the Masking panel,then go to the People panel. You’ll find a list of all the people in the image. If yourimage has several people in it, you can target and adjust each one individually. 05 ADJUST LOCAL CURVES New in the latest update to Camera Raw is the option to tone your masks with Curves, so you can utilise them in specific areas. Simply make a mask,then scroll down to the Curve section. Dragging up on the curve line lightens, while dragging down darkens. You can also make an S-shaped curve to boost contrast, or targetthe red, green and blue channels for creative colour shifts. 06 SELECT AN ATTRIBUTE Click on the thumbnail ofthe person you wantto target. This opens masking options thattarget different parts ofthe face or body. Hover over each to see a preview overlay. You can choose a single attribute ortick several boxes to combine them into a single mask. Alternatively,to create several individual masks at once, tick Create Separate Masks. Once done, click Create to generate your masks. 04 ALTER THE BACKGROUND A Background button in the Masking panel enables us to targetthe background. Here, it’s too bland, so we’ve reduced saturation. Like all masks, we can combine it with othertools. We’ve also made a vignette – to do so, click the Create Mask button, choose Select Background, click the Subtract button and choose Radial Filter. Drag a circle overthe image,then drag down on Exposure to darken the edges. 01 COMBINE YOUR MASKS With the Masking panel, we can combine ourlocal adjustments with othertools, so after making a people mask, we can alterit. Here,the skin softening mask has affected a mole on the face, so we can click the Subtract button nextto the mask, choose Brush, and then paint overit. Alternatively, you can use Alt+K to paint a subtract mask, and Shift+K to paint an Add mask. 01 06 04 03 02 05

60 www.digitalcameraworld.com THE MISSION Use Affinity Photo tools to change a colour photo to mimic the look of an infrared capture Time needed 15 minutes Skill level Beginner Kit needed Affinity Photo DOWNLOAD PROJECT FILES TO YOUR COMPUTER FROM: http://downloads. photoplusmag.com/pp211.zip AFTER BEFORE nfrared light is all around us, yet we can’t see it. That’s because the visible spectrum is only a very narrow band of the entire range of electromagnetic radiation we know as light. If you think of the colours of the rainbow – violet, indigo, blue, green, yellow, orange, red – each colour has a slightly different wavelength, and therefore a different speed. Red visible light has the longest wavelength and is the fastest. But just beyond visible red light is infrared, which is faster still. While not visible to the human eye, there are cameras and sensors that can detect and capture infrared light. If you have an old EOS camera, you can get it converted to capture infrared – an irreversible process – for a few hundred pounds. But if you’d rather not make permanent changes to your camera, it is possible to add an infrared look to any photo with a combination of tonal adjustments DQG ÀOWHUV :H FDQ GR VR LQ $IÀQLW\ 3KRWR ZLWK HDVH &RORXU infrared photography creates a certain look in which green and yellow foliage becomes reddish and appears to glow, while blue skies become very dark. We can mimic the look by changing the brightness of different colour UDQJHV WKHQ XVH D JORZ ÀOWHU WR enhance the effect. We’ll walk you through the simple process here, and along the way encounter key $IÀQLW\ 3KRWR WRROV OLNH &KDQQHO Mixer controls, Adjustment Layers and Live Filters. I Colourinfrared made easy Love the infrared look, but don’t fancy converting your camera? You can recreate the ethereal colourswith JamesPaterson andAffinityPhoto

TheCanonMagazine 61 COLOURINFRARED AFFINITY PHOTO WATCHVIDEOONLINE http://bit.ly/pp_211_6 VIEWTHE VIDEO STEP BY STEP GETTHE COLOUR INFRARED LOOK Usesimple AdjustmentLayereffects, blendmodetricks and colourchangestoyour photos 01 ADJUST COLOUR BRIGHTNESS Open the image into Affinity Photo (photos of trees and foliage work well, or use our free image). Go to the Layers Panel, click the Adjustment icon at the bottom and choose Black And White. Change the Blend Mode of the Layer to Luminosity, then use the sliders to darken the blues and lighten the greens and yellows. 03 SWAP RED AND BLUE Click the Adjustment Layer icon once again and choose Channel Mixer. We need to swap the red and blue channels (which is what we would also do when processing a true infrared image). Select the Red channel and set Red 0%, Blue 100%. Next select the Blue channel and set Red 100%, Blue 0%. 05 TWEAK THE BLUES Add an HSL Adjustment Layer. Click the Cyan button to target the colours, then increase Saturation and decrease Luminosity to make the blues more intense. You might also want to expand the range of affected colours by increasing the spread of the dots around the colour wheel, as shown. 02 INVERT THE COLOURS Click the Adjustment Layer icon again and then choose Invert to invert the image to a negative. Next, go to the Layer Blend Mode drop-down and change it from Normal to Color. This gives you the beginnings of the colour change that you see when you use an infrared camera. 04 GIVE IT A GLOW Go to Filter>New Live Filter Layer>Blur>Diffuse Glow. Experiment with the settings to make the highlights glow slightly. We’ve used Radius 8px, Intensity 15%, Threshold 50%, Opacity 50%. Close the dialog. Because it’s a Live Filter, you can adjust the settings at any time by double-clicking the layer. 06 INTENSIFY THE REDS We can tweak different colours with a Selective Colour Layer. Target Reds and reduce Cyan, as shown, to make the reds more intense. We finished here by adding a vignette, which suits the central composition. To add one yourself, go to Layer>New Live Filter Layer >Colours>Vignette. If darkening blue skies, you might see a halo on edges. Correct chromatic aberration first to fix fringing on highcontrast details QUICK TIP! BLACK AND WHITE INFRARED The glowing foliage and intensely blueskies you getwith infrared photographycan look stunningwhen converted tomonochrome.Just aswe’vereplicated the lookofcolourinfrared here,you can alsomimic black andwhiteinfrared. Thetechniqueisvery easy. Simply add a black andwhite adjustment layer,then increasethe brightnesslevelsof greens and yellows, and decreasethe brightness of blues and cyans. Of course,you could also followthetechnique shown here,then simply converttheresulting imageto black andwhite attheend ofthe process.

01 ELLESSE X TOMORROWLAND WINTER Shot for Ellesse, the sponsor of Tomorrowland Winter 2022. I sat at the base of the rail as athletes performed theirtricks, narrowly avoiding me as they passed. I shot this as wide as I could, so I was as close as possible to the action, to give the image a dynamic feel. It was shot at a high shutter speed to ensure the whole image was sharp as well as capturing the flying snow particles. Lens Canon EF 16-35mmf/2.8LIII USM Exposure 1/2500 sec, f/5.6, ISO160 THEPROINTERVIEW 62 www.digitalcameraworld.com

ONTENT creation has gradually been revolutionizing the world of commercial photography and marketing. Over the last 10 years or so, it’s transformed from a pool of images on platforms like Instagram and 500px into a dynamic and multifaceted art form. Having started out directing social media campaigns, photographer and videographer Chris Priestley is now a full-time creator himself and harnesses the power of Canon cameras to craft stunning visuals and bring his ideas to life. He always uses Canon gear, thanks to its hybrid ability to shoot both photo and video assets at the same time. You need energy, passion and a multi-skilled approach to succeed online in the crowded digital era, but Chris is careful with what he posts, usually opting for quality over quantity. Selftaught and seemingly self-driven, he now shoots white-label campaigns for massive global brands and has already worked with (and for) Starbucks, Red Bull and Aston Martin. Blending a mixture of editorial and commercial genres, Chris’s luxury lifestyle content often receives millions of views, but his approach and budgets can be impressively low-key. Read on to Photographer, videographer and director Chris Priestley is no stranger to creating content that engages. Discover what pushes his own buttons, and why Canon cameras have always clicked with his approach CHRISPRIESTLEY TheCanonMagazine 63

discover the evolution of Chris’s career, and how the switch from EOS DSLR to mirrorless has been pivotal in helping him to create dramatic and compelling narratives that keep drawing audiences and clients back for more. So, Chris, can you introduce yourself in three words? Patient, resilient and dedicated. If we’d never seen your work before (and we have) how would you describe it? I would describe my work as creative. ,W·V JHDUHG PRUH WRZDUGV VRFLDOÀUVW platforms, so my work needs to capture the eye of an audience who wouldn’t necessarily be searching for it. On a more basic level, I like my images to be dynamic and fun, with dramatic elements in both the foreground and the background. People also feature heavily in your work… I love shooting portraits, focusing on the lights and shadows that fall in the foreground and background, and combining or matching colours to create a pleasing image. My portraits are more soft and colourful, where the foreground elements don’t contrast so heavily with the background. I also produce content for my Instagram and TikTok, where I get to play around with different creative styles and try out new techniques. That could be learning how to light a portrait by photographing myself in my living room or challenging myself to shoot ‘spec ads’ for well-known brands. What drew you towards luxury travel, lifestyle and fashion? I almost fell into the world of luxury WUDYHO OLIHVW\OH DQG IDVKLRQ :KHQ , ÀUVW moved to London, I had a full-time job for a social media company, and in my spare time (like on the weekends or when I would take a holiday), I started VKRRWLQJ ZLWK OLIHVW\OH LQÁXHQFHUV )URP there, I had the opportunity to shoot for big brands in the industry. This included hotels around the world, and while I was out there, I would offer these hotels content on top of the content I was VKRRWLQJ IRU WKH LQÁXHQFHU The social media company that I was working for saw what I was doing and asked if I’d like to create viral content for some of the most unique hotels and travel companies around the world. And I started creating viral content as a director/shooter. Some of these videos would garner up to 70 million views on )DFHERRN EDFN LQ WKH GD\ Have you ever had formal photography training? 02 SLALOM SHOOTING I met up with an Olympic slalom skierin Alp d’Huez. I wanted the mountains to look huge, so I made sure I was a good distance from him, and used a long focal length to compress the foreground and background Lens Canon RF 70-200mmF2.8LIS USM Exposure 1/1250 sec, f/7.1, ISO125 03 ZANNA BY THE LODGE I noticed a patch of light peeking through the trees and asked my friend Zanna to stand where the light illuminated herface. I love this shot as the shallow depth of field turns the leaves into a sparkly backdrop Lens Canon RF 70-200mmF2.8LIS USM Exposure 1/100 sec, f/2.8, ISO3200 04 SWISS COWS I was on a hiking holiday in Switzerland, and we would always come across these cows. You could always hearthem before you saw them, due to their huge cowbells Lens Canon EF 24-70mmf/2.8LII USM Exposure 1/320 sec, f/2.8, ISO100 64 www.digitalcameraworld.com THEPROINTERVIEW “My work needsto capture the eye of an audience who wouldn’t necessarily be searching forit” 02

I haven’t had any form of photography training. I studied economics at XQLYHUVLW\ ZKLFK , GLGQ·W ÀQG SDUWLFXODUO\ LQVSLULQJ VR , ERXJKW P\VHOI P\ ÀUVW camera while in my second year. I started learning from the best through YouTube WXWRULDOV DQG WULDO DQG HUURU , ÀQG WKDW , OHDUQ EHVW ZKHQ , KDYH WR ÀJXUH WKLQJV out on my own and, in many cases, this has given me a better understanding of the fundamentals from which my FUHDWLYLW\ FDQ ÁRZ :KDW &DQRQ JHDU ZRXOG ZH ÀQG LQ your bag, and how has it evolved over the years? In my camera bag, I would always have my Canon EOS R5 as my main body and a Canon EOS R as a second shooter. I would pack my wide-angle lens, the &DQRQ 5) PP )fl/ ,6 860 P\ PLGVKRW OHQV WKH 5) PP )/ 860 DQG P\ WHOHSKRWR 5) PP )fl/ ,6 860 $SDUW IURP WKDW QRWKLQJ more than a few spare batteries and &) ([SUHVV FDUGV 7KH IXQGDPHQWDOV LQ my camera bag haven’t changed much RYHU WKH \HDUV , XVHG WR KDYH WKH (26' ; 0DUN ,, DQG WKH HTXLYDOHQW () OHQVHV They cover the full range of focal points that I use on a daily basis. Has moving to the Canon EOS R mirrorless system made a difference to you? The EOS R systems came with a newer UDQJH RI 5) OHQVHV ² ZKLFK KDG JUHDWHU continuous shooting capacities, better DXWRIRFXV DQG LPDJH VWDELOL]DWLRQ ² DQ additional upgrade on the previous systems I was using. Moving over to the EOS R mirrorless system has made a world of difference to how and what I can create, and generally made my life easier as a photographer. A lot of the shoots that I work on can be very fast paced and require a run-and-gun setup, and most of the time, I don’t have the luxury of perfectly framing my image. The higher megapixel count on the EOS R5 means I can reframe my images in post-production while keeping their KLJK TXDOLW\ 7KH RWKHU KXJH EHQHÀW LV the incredible autofocus. The different subject tracking modes for people, animals and cars mean that I only have to worry about getting the subject in the IUDPH 7KH 5 FDQ VKRRW XS WR fl. 5$: S QRW WKDW , QHHG WR XVH WKDW MXVW \HW but it’s great to know that it’s there for ZKHQ , GR EXW , XVH WKH IXOOIUDPH . S UHJXODUO\ Do you do a lot of post-production work, then? Editing is a really big part of my work. I like to get creative with composites. I started using composites in product photography to ensure that the product looked perfect before I could worry about the rest of the elements in the image. So, I started shooting each element separately. This gives me full control over the way the image is built in post, and this technique has given me the ability to create images that I could never do in-camera. I also tend to shoot mostly on my own. The technique also gives me the freedom to work on one thing at a time. When you work with the bigger brands, do you have strict briefs TheCanonMagazine 65 CHRISPRIESTLEY “Moving overto the EOS R systemhasmade a world of difference to how and what I can create” 03 04

or some creative freedom to SURGXFH DV \RX VHH ÀW" The brands that I work with have very different approaches when it comes to the briefs. Some can be incredibly strict, with strong brand guidelines, while others trust my creative process. I ÀQG SURV DQG FRQV LQ ERWK 2Q WKH RQH KDQG , FDQ ÀQG WKDW , DP PRVW FUHDWLYH when bound by strict constraints, while RQ WKH RWKHU KDQG , PLJKW ÀQG WKDW WKH client may follow my creativity in a completely different direction. In terms of my shooting styles, I would say that I specialize in low-budget productions and try to make low-budget productions look large-scale. This is where composite-style photography is essential in making that possible. I have taken some images on a budget of less than £50. What inspires you? Not just visually, but in your career and your values? What do you want to achieve as a photographer? I’m inspired and motivated by one day seeing my work on billboards, or on television. And being recognized in more traditional forms of marketing. I would also like to build a production company with like-minded, passionate people, who are excited by the same opportunities that I am. You previously had a role at the forefront of social media content. Tell us about that… 0\ ÀUVW MRE ZDV ZRUNLQJ IRU RQH RI WKH largest social media production houses LQ WKH 8. , VWDUWHG DV DQ HGLWRU repurposing videos on the internet into a more virally optimized format. I did this for three years, across many different W\SHV RI FRQWHQW ² IRRG WUDYHO IDVKLRQ HFRPPHUFH ² DQG , OHDUQHG DQG SHUIHFWHG the fundamentals of viral video making. I was working for this company at the beginning of the boom of viral videos, at a time when companies began to UHDOL]H WKHLU PDUNHWLQJ SRWHQWLDO )RU D literal fraction of the price of traditional marketing platforms, companies could get their products seen by millions, and I was the in-house director for many of these projects. Has that experience helped you in your career? What I learned at that company has stayed with me ever since. I have managed to grow my personal channels WR RYHU  PLOOLRQ IROORZHUV XVLQJ WKH same techniques, and I now get to create content directly for some of the biggest brands in the world. 05 A TOURIST IN NEW YORK CITY I had a few free days to explore NYC and wanted to go to the top of the Rockefeller Center and see the incredible views. I actually asked anothertourist whether they could take this photo Lens Canon EF 16-35mmf/2.8LIII USM Exposure 1/125 sec, f/8, ISO125 06 ARABIAN RESTAURANT I was travelling through Saudi Arabia and having lunch in a traditionalrestaurant. One of the waiters was pouring tea when I saw the light glisten off the tea and pot. I placed him so most of him was in shadow, but the pot and tea were illuminated Lens Canon EF 16-35mmf/2.8LIII USM Exposure 1/640 sec, f/2.8, ISO1250 07 ZANNA IN MYKONOS Greece’s clean white walls offerthe perfect backdrop for portraits. My friend was wearing a red dress that helped her stand out from the white walls and blue door Lens Canon EF 16-35mmf/2.8LIII USM Exposure 1/250 sec, f/3.5, ISO200 05 66 www.digitalcameraworld.com THEPROINTERVIEW “Ispecialize in low-budget productions and trytomake low-budget productions look large-scale”

When did you decide to go solo? , OHIW P\ IXOOWLPH MRE DW WKH HQG RI  My freelance jobs on the side were becoming a lot bigger and more frequent. It got to the point where I was working a full-time job, working over the weekends, and taking holidays from my full-time job to work, too. I was starting to burn out. I was also really enjoying the variety of work coming in through my freelance side. No two shoots were the same, and that keeps things fresh and exciting. Speaking of fresh and exciting, what’s the key to keeping up with posting and platform trends? That’s a good question. I don’t tend to post very often or follow trends. I like to put a lot of thought and work into each post, and before you know it, the trend has passed. I like to create content that WKH PDMRULW\ RI YLHZHUV ÀQG UHODWDEOH This can range from teaching the fundamentals of photography to making a how-to-style video about shooting a hyperlapse, for example. In the same way that I started in photography by watching tutorials on YouTube, I know that many people are scrolling through their social media, eager to learn more as well. I do know that if you are a creative in any form, an easy way to keep 07 TheCanonMagazine 67 CHRISPRIESTLEY 06 Edge of the world Chris photographs a dramatic portrait on a rocky precipice While in Saudi Arabia with friends, we were exploring the ‘edge of the world’, what I can only describe as a cliff edge that continues as far as the eye can see, overlooking a bone-dry valley that had once been underwater. It was then that I took this portrait of my friend Lesley. She was wearing traditional Arabian clothing. I asked her to raise the blue cloth, to frame her eyes. STORY BEHIND THE SHOT

up with posting is to document your process. People love to see behind the scenes and the work that goes into your craft and the end results. How has the photography industry DV ZKROH FKDQJHG VLQFH \RX ÀUVW started shooting? The industry has become a lot more saturated with companies wanting to create content for social media, as well as people wanting to create. This is great for smaller production companies like my own, as larger brands, which I thought were once unattainable, are constantly looking for creatives with the ability to bring a project to life on a smaller budget. The technology within the industry has also improved to a point where even entry-level cameras can shoot content for the biggest campaigns. Do any major campaigns or locations stick in your mind? 2QH RI WKH ÀUVW WUDYHO VKRRWV WKDW , GLG was for an ice igloo hotel out in Lapland. I was no more than a couple of months LQWR P\ ÀUVW MRE ZKHQ P\ ERVV DVNHG PH if I was up to it. Of course, I said yes, even though I was incredibly unprepared. Two days later, I was on a plane to QRUWKHUQ )LQODQG ZLWK RQO\ D SDLU RI ripped jeans, a fake jacket from a market and Top Man boots, ready to take on the -40-degree temperatures out there. I did, however, see the Northern Lights through my bedroom’s glass ceiling while lying in my bed. I’ve also directed an underwater wedding shoot for a hotel out in Thailand, hiked alongside elephants ZKLOH ÀOPLQJ VRPH FRQWHQW IRU D VDQFWXDU\ DOVR LQ 7KDLODQG ÀOPHG ZLWK the Red Bull skydiving team in Croatia , ZHQW XS LQ WKH SODQH DQG ÀOPHG DV they jumped out), been in an acrobatic SODQH LQ 9HJDV ZKLOH ÀOPLQJ FRQWHQW IRU 9LUJLQ +ROLGD\V DQG ÁRZQ WKURXJK WKH deserts of Saudi Arabia at low altitude in royal helicopters. Quite the ride. Apart from a sense of adventure, what would you say is the most important skill for any photographer or creator in 2023 who wants to turn pro? I would say that budding photographers shouldn’t be afraid to jump out of their comfort zone. They won’t end up shooting the style of photography they ZDQW DOO WKH WLPH :KHQ , ÀUW VWDUWHG RXW I said yes to everything that came my 08 SAUDI ARABIA On a separate trip to Saudi, Julie and I were walking overthe dunes. She has this black abaya with a black scarf that she had made herself. We tried to capture this dynamic portrait by dancing on the dunes, letting the scarf flow in the wind Lens Canon RF 50mmF1.2L USM Exposure 1/3200 sec, f/1.8, ISO125 09 ICELAND KIRKJUFELLSFOSS This was taken at one of the iconic waterfalls in the west of Iceland, shot with a long exposure to create that silky, glass-like look of the water Lens Canon EF 16-35mmf/2.8LIII USM Exposure 25 seconds, f/13, ISO100 10 MOTORBIKE PANNING This was a roller shoot I did with my friend, where both of us were moving. This made for a sharp subject but a blurred background Lens Canon EF 16-35mmf/2.8LIII USM Exposure 1/160 sec, f/5, ISO400 68 www.digitalcameraworld.com THEPROINTERVIEW “The technology within the industry hasimproved to a point where even entry-level cameras can shoot content forthe biggest campaigns” 08

way. This meant I learned new camera and photographic skills, through trial and error, that have led to me developing a more well-rounded skill set. If you could have any other job, what would it be, and why? ,W ZRXOG EH YHU\ GLIÀFXOW IRU PH WR choose any other job over the one that I currently have, but if I had to, I’d love to work with or study marine life in some way. So maybe a marine biologist, as I ÀQG RFHDQ OLIH IDVFLQDWLQJ ,W·V DQRWKHU world under the surface, and being able to learn more about it would be incredible. This would also be a dream MRE IRU PH ZLWKLQ SKRWRJUDSK\ ² WR ZRUN on something like the BBC’s Blue Planet or Planet Earth programmes would be the pinnacle! What’s coming up next for you and your work? I never know what’s around the next corner. I’ve just started my own production company with my co-founder, Ellie. So for now, I’m focused on building that up, working with more clients, and building up to working on larger productions. I started as a solo shooter, working RQ VPDOOHU SURGXFWLRQV ² DFWLQJ DV DQ art director, photographer, stylist, editor and lighting technician, but as I have progressed along the years, the productions have started to get bigger, allowing the opportunity to work with more specialized creatives collaboratively. I’m excited for these productions and teams to get bigger as I work with larger clients. Chris Priestley Director, photographer, videographer and editor Based in London, Chris Priestley creates high-end commercial contentforthe social channels ofmajorlifestyle, luxury travel and fashion brands.Having studied economics, Chris is entirely self-taught andwatched YouTube videos to teach himselfthe fundamentals of photography, before deciding to turn itinto a full-time job. Hewas previously the in-house director and cinematographer at British digitalmedia company Jungle Creations,where he directed viral videos and print stills for household names such as Red Bull.One of his social-first video for AnantaraGolden Triangle Elephant Camp and Resortin Thailand received an impressive 3.6million organic views. Today, Chris strives tomake images and videos thatwork for both his client and the audience, and oftenworkswith lower-end production budgetswhile stilltrying to achieve big-budgetresults. Thatmeans workingwith a limited crew, short production times and even appearing in some ofthe content himself.He regularly features on the Canon Europewebsite,where he shares tips,techniques and insights into his Canon gear and impressive portfolio. Instagram @chrispriestley__ www.cpriestley.com 09 10 PROFILE TheCanonMagazine 69 CHRISPRIESTLEY Next issue: Sam Hazell, Canon professional bird and wildlife photographer from Devon

70 www.digitalcameraworld.com Photo essays from PhotoPlus readers and professional photographers alike NAME:Jen Rogers LOCATION: North Devon MISSION:Tocapture a collection ofstunning astroimages KIT: Canon EOS 5D MkIV, EOS R, Samyang 24mmf/1.4 ED AS UMC, Canon EF 17-40mmf/4L USM www.jenrogersphotography.co.uk PROJECT INFO JOIN IN THE FUN! One of the great things about photography is being able to share your view of the world. This month, both of our photographers have been shooting stars – one the celestial sort, while the other has been taking portraits of musicians. We want your photos and stories! For your chance to show off your images in PhotoPlus, email three to five high-resolution JPEGs, along with a brief synopsis – explain why you took the shots, the location, whether they’re part of an ongoing project or a one-off shoot, and anything else unusual or interesting. Also include Canon EOS camera, lens and exposure details. Email images and info to [email protected] Catch us online at www.facebook.com/ photoplusmag www.instagram.com/ PhotoPlusCanonMag www.twitter.com/ photoplusmag Shooting for the stars Canon photographer Jen points to the sky to capture spectacular celestial events one before. Comets follow an elliptical orbit around the sun, and can spend thousands of years in the depths of the solar system, only passing the sun for a short period, termed their perihelion. The orbital period of Neowise is about 6700 years. As a landscape and astrophotographer, I like ne of the few good things to happen in 2020 was a naked-eye-visible comet, C2020/F3 Neowise, which could be seen in the night sky in July and August. As an astrophotographer, this was very exciting, as it is very rare to get a nakedeye-visible comet, and I had never photographed O 01

Jen’s determination and forward planning have paid dividends with her brilliant collection of astro images. Her shots are beautifully composed, well exposed and masterfully focused. Jen’s images have reminded us not only to go out at night to try to take top astro photographs, but to be on the lookout all year round for special celestial events, such as passing comets, meteor showers and moon eclipses. Be on the watch for the Geminid meteor shower between the 4th and 20th December, peaking on the 14th and 15th. FEEDBACK 01 COMET NEOWISE OVER THE ST HELEN’S ORATORY A cracking shot of Comet Neowise shot with a wide angle to include the St Helen’s Oratory Lens Samyang 24mmf/1.4 ED AS UMC Exposure 2mins, f/2.8, ISO800 02 COMET NEOWISE OVER THE COMPRESSOR BUILDING Jen’s brilliant shot of the Comet Neowise was Commended in the Historic Britain category of the Landscape POTY in 2022 Lens Samyang 24mmf/1.4 ED AS UMC Exposure 2mins, f/2.8, ISO800 03 METEOR AND MILKY WAY OVER LAC TUCKETT Jen’s super-long exposure reveals incredible detail in the Milky Way Lens Samyang 24mmf/1.4 ED AS UMC Exposure 360 secs, f/4, ISO3200 “Although a telephoto lensmade the comet verylarge in shot, I could getverylittle foreground in” TheCanonMagazine 71 02 to photograph the Milky Way in the context of the sea or the land, so the overall composition is very important. , WKHUHIRUH KDG WR ÀJXUH RXW where Neowise was in the night sky, as well as how to FDSWXUH LW LQ DQ LQWHUHVWLQJ composition. Both the comet and the Earth are also moving, VR WR XVH D ORQJ HQRXJK H[SRVXUH WR FDSWXUH GHWDLO LQ WKH FRPHW , QHHGHG WR XVH D star tracker, which is aligned with the Earth’s axis of URWDWLRQ )RU WKH SXUSRVHV RI star photography, it stops stars from moving across the plane RI WKH VHQVRU IRU ORQJ HQRXJK WR WDNH D ORQJHU H[SRVXUH RI XS WR D IHZ PLQXWHV , XVHG WKH DSS 6WHOODULXP WR YLVXDOL]H ZKHUH 1HRZLVH ZDV in the night sky, and knew WKDW LQ ODWH -XO\ LW ZDV QHDU WKH constellation Ursa Major close to dawn. I had a few false attempts before I got my best shot. I started with a telephoto OHQV EXW UHDOL]HG WKDW DOWKRXJK this made the comet very large LQ VKRW , FRXOG JHW YHU\ OLWWOH IRUHJURXQG LQ , VHWWOHG RQ P\ 6DP\DQJ PP ZKLFK allowed Neowise to be VLJQLÀFDQW LQ WKH VKRW DQG OHW PH LQFOXGH DQ LQWHUHVWLQJ IRUHJURXQG ,·P D UHJXODU visitor to the far west of Cornwall and have a SDUWLFXODU OLNLQJ IRU WKH ROG &RPSUHVVRU +RXVH DW /HYDQW ZKLFK KDV D JUHDW VLOKRXHWWH DW night. I discovered that in the SUHGDZQ KRXUV WKHUH ZDV a good composition facing north-east with the Compressor and Neowise. I took two shots, one tracked for the sky and another longer non-tracked H[SRVXUH IRU WKH IRUHJURXQG and merged the best bits together in Photoshop. 03 YOURPHOTO STORIES

72 www.digitalcameraworld.com PHOTOSTORIES 01 NAME: Steven Christie LOCATION: Manchester, Newcastle upon Tyne, York, County Durham MISSION:To build a portfolioof band promo photos KIT: Canon EOS R6, Canon EOS 5D MarkIII, Canon EF 15mm f/2.8, EF 16-35mmf/2.8LII USM and RF 24-105mmF4LIS USM www.darklightdevice.com PROJECT INFO One-man band Live musicphotographer Steven hasbeen taking promo shots for some ofhis favouritebands andartists he photographs here are all typical of overcoming one particular problem – how to make a mundane environment interesting and work in concert with the subject. The photograph of Carl from We Are Awakened was taken in the corridor of the band’s rehearsal room. This was on a VXQQ\ 6XQGD\ PRUQLQJ ZLWK OLJKW VWUHDPLQJ LQ WKURXJK WKH windows. However, with my PD[LPXP ÁDVKV\QF VKXWWHU VSHHG RI  VHF DW I , ZDV DEOH WR FXW RXW PRVW RI WKH QDWXUDO OLJKW VR , FRXOG DGG P\ RZQ ÁDVK WR EDFNOLJKW KLP XVLQJ D JUHHQ JHO WR DGG D ELW RI HHULH FRORXU The shot of Norwegian singer-songwriter Issa was WDNHQ LQ DQ DEDQGRQHG EXV WKDW ZDV LQ D ÀHOG QH[W WR WKH UHFRUGLQJ VWXGLR LQ <RUNVKLUH , VXJJHVWHG WKDW IDEULF ZDV XVHG WR H[WHQG WKH dress to give added interest. 7KH FKLIIRQ PDWHULDO ÁRZHG brilliantly when thrown by my assistant, and allowed a OLWWOH OLJKW WKURXJK IURP WKH VPDOO EOXHJHOOHG ÁDVK WKDW was hidden behind her. The key light was a speedlite with a small soft box. ,WDOLDQ EDQG 6LFN 1· %HDXWLIXO ZHUH RQ D 8. WRXU and I arranged to meet at the YHQXH LQ 1HZFDVWOH IRU D TXLFN photo shoot. Herma, singer with the band, had already VFRXWHG RXW WKH SODFH DQG VKH was very taken with the ladies toilets… The room had a very FRORXUIXO VFLÀ ORRN ZKLFK VXLWHG WKH EDQG SHUIHFWO\ (they are aliens from another planet, crash-landing on Earth WR JLYH XV WKHLU WDNH RQ URFN PHWDO :LWK RQO\ PLQXWHV XQWLO GRRUV RSHQHG WR WKH T

Steven is clearly making a name for himself as a top band photographer in the Newcastle upon Tyne area. His photos show a great level of creativity and skills using off-camera flash for interesting lighting effects. His images are atmospheric, vibrant and certainly eye-catching - just what the artists will be looking for in their promo shots. He must also have top people skills to get the best out of his models, whether that’s a singular artist or a group shot for a band consisting of multiple people. Great job! FEEDBACK 01 WINTER IN EDEN I love the juxtaposition of the band being dressed in suits and gowns while standing in a nettle field in the rain. Them, not so much! Lens Canon RF 24-105mmF4LIS USM Exposure 1/200 sec, f/4, ISO100 02 ISSA Album shoot forIssa’s Queen of Broken Hearts, which took place inside an abandoned bus in the Yorkshire countryside! Lens Canon EF 16-35mmf/2.8LII USM Exposure 1/200 sec, f/3.5, ISO100 03 SICK N’ BEAUTIFUL Backstage shoot forItalian alternative metal/rock band Sick N’ Beautiful just priorto them going on stage Lens Canon EF 15mmf/2.8 Fisheye Exposure 1/200 sec, f/5.6, ISO100 04 AWAKENED Carl Whittle, bass player of We Are Awakened, in the corridorto their rehearsalroom; lighting gave it a dark and mysterious atmosphere Lens Canon RF 24-105mmF4LIS USM Exposure 1/200 sec, f/5.6, ISO100 TheCanonMagazine 73 YOURPHOTO STORIES 02 04 03 SXEOLF , JRW WKLV ÀVKH\H VKRW RI the band in all the glory of the ladies toilets at a Newcastle FOXE :RXOG \RX KDYH NQRZQ" The shot of Winter in Eden LQ D ÀHOG ZDV VFKHGXOHG WR WDNH SODFH LQ DQ LQGXVWULDO XQLW EXW , FKDQJHG WDFWLFV ZKHQ , QRWLFHG WKLV EXV VKHOWHU LQ D ÀHOG RI QHWWOHV , OLW WKH VKHOWHU with a green-gelled speedlite, XVLQJ DQRWKHU EDUH ÁDVK WR WKH IURQW 2XWSXW ZDV EDODQFHG with the ambient light in order WR FDSWXUH WKH LPSRVLQJ VN\ Using a transmitter from FDPHUD WR WKH ÁDVK ZDV UHDOO\ EHQHÀFLDO EHFDXVH , FRXOG DGMXVW P\ OLJKWLQJ ZLWKRXW risking nettle stings!

CANON SCHOOL In part 33 of ourseries: Shooting insidecanmean slower shutterspeeds but avoiding camera shakeis possible 74 www.digitalcameraworld.com t’s the perfect time of WKH \HDU WR ÁH[ \RXU photography skills indoors. From still-life to pet portraits, there are lots of creative photo RSSRUWXQLWLHV %XW WKH lower light levels mean \RX·OO KDYH WR FDUHIXOO\ FRQVLGHU \RXU H[SRVXUH Indoor photography typically requires much longer exposure times. It’s easy to fail to spot the shutter speed has become too slow to take sharp shots, but there are options to avoid blurred results. First, you can choose a larger aperture to allow you to use a faster shutter speed. This UHGXFHV WKH GHSWK RI ÀHOG VR less of your picture will appear sharply focused. Second, you can increase the ISO. This is a good option when you don’t want to open up the aperture to the widest setting – or those situations where even doing so doesn’t give you a fast enough shutter speed. You will see a drop off in image quality as you push the ISO higher, but if it means you can freeze a family moment or capture a candid pet portrait, it’s worth putting up with some picture noise (and there’s a fair amount you can do to control noise – see last issue). You can also set the camera to Auto ISO and allow it to increase and decrease the ISO according to the lighting and aperture. Setting a maximum ISO in the camera menu will ensure that the camera doesn’t push the sensitivity an excessive amount. THE SHALLOW depth of field that you get from larger apertures such as f/2.8 or f/1.8 means that any focusing errors you make will stand out. That being said, a shallow depth of field can help to soften annoying background details, of which there are often plenty when you’re shooting indoors. Magnifying the image and focusing manually enables you to position the point of focus precisely. You might find that stopping down the aperture 1/3- to 1-stop gives you slightly sharper details while still giving lots of soft blur in out-of-focus areas. Use your camera’s depth-of-field preview to judge the effect. Newcreative indoorphotos Howtosetupyourcamerafor shotsathome I Judging the depth of field MARCUS HAWKINS PHOTO EXPERT Marcus has been passionate about photographyformorethan 25 years. A formereditorofoursister publication Digital Camera, he has written about photography and camerasfor a widerangeofclients, including Canon and Jessops, and uses a Canon EOS 5D MkIV. NEWSERIES Most EOS cameras have a depth-of-field preview button, but you can assign the function to a different button f/16 f/2.8

STAY SHARP TheCanonMagazine 75 INDOORPHOTOS tripod is just as handy for taking pictures indoors as it is when shooting landscapes from a windswept hill. While a tripod isn’t as convenient as shooting handheld – if not downright frustrating when you’re working in a confined space and trying to set the legs at the perfect angle – it’s worth persevering with a tripod for a number of reasons. For a start, it gives you more freedom to use the optimum camera settings. You can choose a low ISO for the best image quality and experiment with smaller apertures should you wish to do so. As long as the tripod or subject don’t move during the exposure, you’re pretty much guaranteed a sharp image. A tripod also provides an opportunity to consider the composition more closely. With the frame locked off, it’s much easier to adjust the position of a subject. By setting the camera to its self-timer, you’ll also have both hands free to hold a Speedlite or two, a reflector or other accessories. There are practical reasons to lock the camera in position too. It’s much easier to use manual focus, or at least use autofocus and then switch the lens to ‘MF’ in order to retain that focus distance. Having the focus preset gives you consistency from shot to shot, which can be important if you’re going to be doing any kind of editing work to combine shots. Prefocusing (with the lights on) is also useful when you want to shoot in the dark, such as using flash. If you’re shooting a ‘flat lay’ image from above, the camera might need to be in an elevated position that makes it awkward to frame your shot and focus – even with a Vari-angle display. Connecting your phone to your camera and using Canon’s Camera Connect app gives you the control you need – you can even review images on the memory card and magnify the details, all without touching your camera. n image stabilised (IS) lens can buy you a few extra stops of sharpness. Take the Canon EF-S 18-135mm f/3.5-5.6 IS STM, which offers up to 4-stops of IS. This means you can avoid blur caused by camera shake at shutter speeds up to four stops slower than normal. You’d typicallyexpecttotakesharp handheldshotsat 1/100sec whenthelens is setto100mm, butwithISyoumaybeableto get similarresultsat 1/6sec. If you’re using a Canon EOS R System camera that has in-body image stabiliser (IBIS) then it’s possible to take sharper shots at even slower shutter speeds when handheld. You get up to eight stops of shake reduction with the EOS R6 Mark II and a compatible RF lens, for example. There are a few factors that can impact the success of IS though. If your handholding technique is a bit rusty and the camera and lens aren’t supported well during the exposure, then you’re unlikely to reach the stabilised extremes listed in the lens and camera specifications. When you’re shooting close-ups, which is often the case with indoor photography, IS is less effective too; the Canon EF 100mm f/2.8L Macro IS USM has 4-stop of IS, but this drops to 2-stops when the lens is used at 1.0x magnification. IS can’t help you freeze a moving subject. To do that, you’ll need to shoot with faster shutter speeds or use flash. You also combine IS with a wider aperture or a higher ISO – for a faster shutter speed in order to reduce motion blur caused by both camera shake and subject movement. Take yourtime with a tripod Sharpershots with IS and IBIS Getsharp results and frameyourshots beforeshooting in the dark Overcomecamera shakewhen shooting handheld Firm footing If you’re setting up a tripod on soft carpet, put something heavy under each foot to provide a solid foundation A A Ready and steady With some setups, a tripod is essential – including smoke photography, where you can frame up, focus and then fire away using a remote release

S Y 76 www.digitalcameraworld.com CANONSCHOOL A low-power flash in a short snoot held above the subject produced this rim-lit effect etting up next to a window allows you to make the most of natural light which can be flattering for food shots, close-ups and portraits. Bright but overcast days provide a soft, diffuse illumination that’s going to allow you to record delicate detail, whereas direct, unfiltered light will give you punchier, higher-contrast results. If you want to reduce the intensity of the light, tape some tracing paper or other diffusing material to the glass. Light coming from one side of the subject will create shadows on the opposite side. These can add definition, but a reflector placed on the shadow side can create more balanced results. This is where having a tripod is beneficial, as you’ll be able to hold a reflector where you need it. You don’t need to use a commercial reflector – a sheet of white card or paper work just as well. If the reflector isn’t white, you may end up with a colour cast across the image. Sometimes this is unwanted, but intentionally using gold card will create more warmth. If you want to add more contrast and deepen the shadows, use something black instead. A crisper, fresher look can be achieved with a piece of kitchen foil that’s been crumpled and then spread out again in order to provide a bright but less mirror-like hit of reflected light than a flat sheet of foil. Modifying natural light Usecheap accessoriestoliftwindow-litshots Lighting a subject indoors Takecontrolofthe direction and powerofyourlight ou have a number of creative options available when it comes to lighting a subject with a man-made light source. Continuous LED lights are widely available and easy to position; what you see is what you get, so you can make sure the shadows fall where you want them to before you shoot. Manyoftheselightsallows youtoadjustthecolour temperatureandtheRGB colourtoo,makingiteasyto blendthelightinwithany existingambientlightsor batheasubjectincolour. Step up to a Speedlite though, and you get more power to play with and the opportunity to use that power in creative ways – such as a brief burst of flash to freeze a falling water drop. There are a vast number of light modifiers too, including diffusers to soften the light so that it doesn’t look as if flash was used, or a snoot to spotlight a small area. If you’re using bare flash, consider bouncing the light off a white wall or card onto the subject to soften and spread the light. Painting a still-life with the light from a small torch is another satisfying technique. Work in darkness and keep the torch moving to avoid hotspots. Using Bulb mode, and hold the shutter open for 30 seconds while you ‘paint’. TIME TO REFLECT The flash power was too strong in the first shot. The second shot was painted with a torch – but the bulb was pointing at the camera No reflector Reflector

TheCanonMagazine 77 INDOORPHOTOS Use clear subjects that will be backlit by the screen – or illuminate them with flash, LED lights or torches School tip Laptop backdrop Instantlychangethe background of a close-up BACKGROUNDS can be just as distracting in photos taken indoors as they when you’re shooting outside. It’s easy enough to source a more suitable backdrop when you’re working in close up though. I keep a stack of coloured A1 card to hand which I can quickly prop against a chair or stick to a wall, far enough from the subject so that its texture isn’t visible. A laptop, loaded with background images is another DIY solution that can add vibrancy and light to a compact setup. Use a close-focusing, slightly longer focal length such as a 100mm macro lens or a 70-200mm zoom that allows to frame the subject against the screen. Use depth-of-field preview to make sure you aren’t bringing the pixels of the screen into focus when you set the aperture, and turn off room lights that might be reflected in the glass. aking pictures indoors often means that you’ll have to deal with different colour temperatures of light. Room lighting can vary wildly in terms of its output, from cool blue to warm white. There might also be colourchanging ambient lighting to contend with, as well as the stark difference in colour temperature between a flash-lit subject or the natural light coming through windows (generally blue) and the artificial light indoors (generally amber). Your camera’s Auto White Balance (AWB) might strike a decent balance between all the different light sources to give you an image where the colours appear natural. Canon bodies now include Ambience priority and White priority settings under Auto White Balance, so you can choose whether to keep some of the warm ambience of the light, or neutralise it completely. Sometimes the results can be a little off though. You can set a custom white balance in the camera and use that for subsequent shots, but you’ll need to make sure that you take your custom white balance reading from a white or grey subject in precisely the same mix of light that your subject will be in. Set your camera to shoot RAW instead of JPEG, and you’ll have more freedom to fix colour problems when you process your images. Take a test shot with a piece of white or neutral grey paper in the frame, as later you’ll be able to click on this with the white balance eyedropper tool in your editing software, in order to get a neutral result. Neutralising the character of the light can rob a scene of some of its interest though, so experiment with the tint and temperature sliders in your software to fine-tune the colour balance. Use the Hue, Saturation and Luminance (HSL) sliders in your software too, as you’ll be able to tweak the individual colours to taste. T Improving colours of photos Usewhite balance andHSL adjustmentstospice up colourson dreary days COLOUR CONTROL Warm up the white balance White balance is a creative tool as well as a corrective one. Try punching up the warmth of a shot with additional amber The Neutral Picture Style gave a flat original image (inset) but this can be changed to something more vivid when you process your RAW PART 34 Next issue: Canon’s lens line-up

78 www.digitalcameraworld.com CANONSCHOOL SOFTWARE SOLUTIONS Canon expertBrian explains howto harnessthe power ofthefree-to-downloadCanon EOSUtilitysoftware BRIAN WORLEY CANON PRO Brian is a freelance photographer and phototutor, based in Oxfordshire. He has unrivalled EOS camera knowledge as he’s been working for Canon forover 15 years, and can help you master all EOS products. www.p4pictures.com CHECK THE PREFERENCES FOR FASTER WAYS TO WORK EOS Utility preferences change how the application works atstartup, and can beset to alwaysselect oneof thefunctions.For example, if you mostly use remoteshooting, then EOS Utilitycan beconfigured tostart directly in that function.The preferences are used toconfigure a structured folder and filenamesfor any images you download orcapture. ou can download EOS Utility from the Canon support website. It’s free to use but that doesn’t mean it’s of limited value. What’s surprising is that many photographers have never even tried it. Firstly, it works with USB or wireless connections, though the cable is usually a little quicker. Set your computer to start EOS Utility when you connect the camera and you can be downloading images without even touching the computer keyboard, sorting WKHP LQWR WKH ÀOLQJ V\VWHP that works for you. EOS Utility is the tool to update and set several camera settings, some only accessible when using the app. You can store your name in the camera and, unlike the copyright notice, it cannot be removed except by using EOS Utility. It can also synchronize the camera clock every time you connect, ensuring that the time of any and all of your cameras are in sync. The most extensive capabilities are available when you use the remote control or tethered shooting. The software and camera operate together, enabling you to remote-control camera settings, or check them as you change them on the camera. You can trigger the shutter and focus from the computer or camera, and images can be transferred as you shoot. EOS Utility gives you control over where images are saved: on a card, your computer or both. Howto useCanon EOSUtility EOSUtilitymaximizeswhatyoucandobyconnectingyourcameratoyourcomputer Y STEP BY STEP EXPLORE EOS UTILITY Discover howCanon’s EOSUtility app canmakeyourlifeeasier 01 DOWNLOADING IMAGES The first function of Canon’s EOS Utility is to download images from your camera. It can be set to automatically download only new images or all the images on the card. The alternative is to browse all the images on your card. If you create folders on your cards for different shoots, you can select to only view a specific folder. 02 REMOTE SHOOTING Selectremote shooting to tether your camera to your computer, such as for a studio shoot when you want to see images on the computer while shooting. EOS Utility can change the main camera settings from the computer, and respond to changes made on the camera. When taking a photo, images can be transferred straight to the computer.

TheCanonMagazine 79 03 REMOTE LIVE VIEW SHOOTING Remote shooting makes it possible to switch on a live view display to preview the shot before you take it. If needed, you can reposition the AF point, perform a custom white balance by clicking on the photo, and even check depth of field. This is helpful for still-life and product photography, to preview how the image looks before the shot is captured. 04 CHANGE CAMERA SETTINGS EOS Utility is used to update and refresh time, date, and time zone, and configure some of the camera’s internal information settings. It is easy to start the firmware update process using EOS Utility to transferthe firmware to the camera even if you don’t have a card reader. If you have multiple cameras, EOS Utility can sync them to your computer’s time. EOSUTILITY

Ourtechnical guru is hereto help.NoCanon conundrumistoo big orsmall.Getin touch today at [email protected] CANONSCHOOL 80 www.digitalcameraworld.com BRIAN WORLEY CANON PRO Brian is a freelance photographer and phototutor, based in Oxfordshire. He has unrivalled EOS camera knowledge, after working for Canon forover 15 years, and ison hand to answer allyour EOS and photographic queries Howcan you take photos of animals at the zoowithout the bars andwires obscuring them? Max Butler, Ipswich BRIAN SAYS… It can be quite difficult, butthere are some tips that help reduce the visibility ofthe bars and wires. Ideally, shoot with your lens as close to the wire as possible and with the animal some distance away from the wire or bars. Then use the widest aperture value possible on yourlens to limitthe depth of field. By positioning the lens very close to the cage, you reduce the likelihood ofthe camera focusing on the cage instead ofthe animal. If possible, frame your shotto avoid bars in the background of the image, too. The repeating pattern of fine wires can be quite difficultto reduce, but you can reduce the contrast in post-processing, and apply softening to the background to minimize them. BRIAN SAYS… Autofocus Eye Detection is very useful when taking photos of people and certain animals. The camera identifies the eyes of the subject and moves the AF pointto focus on them. Not all animals are easy to detect where the head or eye is located, and some creatures have markings to make them look like they have the eyes of a much larger creature. Also, ifthe animal is in a strange orientation, it can be hard for Eye Detection. Flamingos feeding on a lake can be a challenge as the camera expects the head of a bird to be above orin front ofthe body,rarely below it. If you are photographing a landscape or architecture, Eye Detection may make the camera struggle to achieve focus as it hunts to find the expected subject and eyes. As you may know, it’s much betterto choose the appropriate subjectto detect. The EOS R6 Mark II and EOS R8 have an auto subject setting, butthis makes the camera try to identify people, then animals, vehicles, and finally, no subject. I’ve read aboutthemarvels ofAF Eye Detection, but are there situationswhere itwould fail or need to be switched off? Rick Vaughan, Stoke-on-Trent This great grey owl was inside an enclosure that had fine wire. Shooting at f/2.8 close to the wire reduces the visibility of the wires in the shot The patterns on the butterfly’s wings were identified as animal eyes, which caused the camera to focus on the wings rather than the head

CANON EF vs RF LENSES TheCanonMagazine 81 EOSS.O.S DoEFlenseslimit mirrorlesscameras? Should you ignoreorswap outyourold lenseswhen goingmirrorless? I t is clear that no more DSLR models are coming from Canon, and the EOS R series mirrorless cameras are now the mainstay of the Canon’s line-up. One of the commonly asked questions is about Canon lenses; specifically, is it necessary to swap out older lenses for new RF versions? The short answer is no, you can use DSLR lenses on the mount adapter as EOS R cameras are fully able to communicate with EF and RF lenses natively. There are some additional benefits of RF lenses that may make them appeal. They are often smaller and lighter than the direct equivalents from the EF range. The EF version of the 70-200mm f/2.8L IS USM is a case in point; the RF version is much shorter and lighter, but it can’t be used with an extender while the older EF lens can. The Canon RF 100-500mm F4.5-7.1L lens is smaller, lighter and has extra reach over the older EF 100-400mm f/4.5-5.6L lens, yet the new lens has a slower aperture at many focal lengths and can only be fitted with an extender once it is zoomed to 300mm or more. This makes it harder to pack in a bag, as the extender may need removing first. The RF lens range is continually expanding, with some interesting new models not available in the EF range, so it’s worth watching and comparing lenses to see what best suits you and your photographic subjects. Remember that the RF lenses include additional processors that the camera can use to aid image quality while achieving the fastest continuous shooting rates. A large number of lightly used EF lenses have made their way into the second-hand market, where they are often excellent value. I have purchased a couple of EF lenses at good prices and use them regularly on my EOS R series cameras. I like the control ring mount adapter, as it adds a control ring in the same location for all my EF lenses. Perhaps the best way to look at this is to remember that all EF lenses fit on a mirrorless EOS camera with the adapter, plus you can pick and choose from any of the RF lenses, giving you the choice of more lenses than ever. Some RF lenses are unique. This portrait was captured with the RF 28-70mm F2L lens, which does not exist in the EF lens line-up There’s no restrictions with autofocus, which makes the EF 100-400mm lens a great partner for sports and action with mirrorless cameras Ask Brian! Confused with your Canon camera? Send your questions to EOSSOS@ futurenet.com

CANONSCHOOL 82 www.digitalcameraworld.com Which mount adapter is best for using EF lenses on the EOS R100? Suzanne Briant, Hayes BRIAN SAYS… Unless you want to use the polarizer or variable ND mount adapters, it’s best to use the standard mount adapter. The control ring mount adapter can be used, but the EOS R100 doesn’t respond to the control ring on it. Does the EOS R6 Mark II allow different custom buttons in each custom mode? Robin Carter, Bristol BRIAN SAYS… Yes, you can configure a different set of custom buttons for each custom shooting mode. What does the circle with a line through it on my camera mean? John Rose,Tring BRIAN SAYS… It’s called the film, sensor or focal plane indicator, and it indicates the position of the film or image sensor plane. It is the point at which distance to subjectismeasured. Iwant to continue to improvemy photography, sowant to knowwhat camera should I getto replacemy EOSM50? Gary Amos, Cumbria BRIAN SAYS… There’s no upgrade path where lenses from the M series can be used with R series cameras, so it’s like starting from new. Depending on budget and what you want to shoot, you could get a used EOS RP, but that’s relatively old technology and it’s not a great camera for action or wildlife. There’s good value in the EOS R10 as it has an advanced and capable AF system, plus it’s relatively small and compact. If full-frame is your choice, a used EOS R6 would be worth considering. If more budget is available, the EOS R8 is a great small-sized full-frame model, packed with functionality. The EOS R8 is the newest compact full-frame EOS R series camera, delivering a quality and performance update from the EOS M50 Whenwould you use the AF/MF switch on the EOSR10 next to the lensmount? Clive Dixon, Kent BRIAN SAYS… Canon’s EOS R10 and R7 both have this additional AF/MF switch around the depth of field preview button. It’s used to toggle between manual and autofocus when using RF lenses that don’t have a focus mode switch. If the lens on your camera has an AF/MF switch, it takes priority. You can deactivate the AF/MF switch on the camera in the setup menu, and then AF/MF can be selected in the AF menu for lenses that have no AF mode switch. The AF/MF switch is activated when EF lenses that have no AF/MF mode switch are mounted The EOS 800D doesn’t have an AF-ON button, but AE-lock can be configured to activate AF WithAuto WhiteBalance,whatis the difference between ambience and thewhite priority options? Andrew Rolffsen, Kendal BRIAN SAYS… The difference between Ambience and White priority is most obvious when shooting scenes or subjects indoors under warm toned, tungsten light. AWB Ambience priority retains the warmer orange tones, while White priority applies more correction to the warm tones for a technically more accurate result. It’s up to you which you prefer. If you shoot in RAW, Canon’s DPP can show you the effect of both Ambient and White priority settings. My camera doesn’t have anAF-ONbutton, so howcan I use back-button AF? Ether Jenkins, Cambridge BRIAN SAYS… The AF-ON button is a relatively recent addition and not on all models, particularly entry-level cameras and very compact EOS bodies. For these it is usually possible to configure backbutton AF by using the AE-lock or star button. A custom function in the camera typically gives four options for the combination of shutter button half-press and AE-lock. Two of the options switch control of focus to the star button on the back of the camera. AWB in warm toned indoor lighting. Top shot with Ambience priority, and bottom with White priority

IF THE HOTSHOE FITS… TheCanonMagazine 83 EOSS.O.S Quainton Windmill RACHEL WATTS, AYLESBURY, SAYS… Quainton is a beautiful, privately owned windmill with a green in front ofit, making for an easy view point. I’ve visited it severaltimes and this is one of my favourite pictures ofit. From this angle, I have to shoot uphill butit’s quite easy to correctthe verticals in Lightroom. There was a thick telephone cable through the middle ofthe shot, so I used Lightroom to remove it. To me, this is a great summery scene. BRIAN SAYS… Indeed, this is a good shot of the windmill. Well done for exploring the different angles to find this view. The light and shadows indicate the photo was taken around the middle of the day, and this can create harsh shadows and bright whites, but they have been well controlled from this viewpoint. My attention is drawn to the white garage door on the right, and I would try cropping the image to remove it and also some of the grass in the foreground, to make the windmill larger in the frame. The cloning of the telephone cable has been largely successful, but on close inspection there are some areas where it was not perfect, particularly the wires descending at the rear of the windmill. I would also remove the white signs by the hedge. BRIAN SAYS… The short answeris no,the adapteris notrequired and, in fact, it can’t be fitted to the EOS RP. There is a confusing array of four styles of hotshoes found on EOS digital cameras. Since the original EOS 650 film SLR, the hotshoe featured a central main firing connector and four communication pins, and is found on film, most DSLRs, EOS M and some EOS R series cameras. Three models,the EOS 250D, EOS 2000D, EOS 4000D, have a similar-looking hotshoe butthe central pin is missing, as Canon uses the communication pins to triggerits Speedlites. These three are popularin education establishments, butrequire workarounds to trigger studio lighting as most studio triggers have a central pin. With the introduction ofthe EOS R3 mirrorless cameras came the new multifunction accessory shoe. This is also found on several otherrecent EOS R cameras. This longer hotshoe has 21 pins atthe front, plus the central pin and four communication pins of the older style. The 21 pins provide more communication channels and powerfrom the camera to enable mics and communication adapters to be used without wires. This new style hotshoe is longerto accommodate the 21 pins. To retain the weather sealing of Speedlites 600EX-RT, 600EX II-RT, EL-1 and the Speedlite Transmitter ST-E3-RT,the multifunction shoe adapter AD-E1 is required. For non-weather-sealed Speedlites, itis not needed. The EOS R50 has a version ofthe multifunction shoe withoutthe additional five pins to work with older flash accessories, so it has to be fitted with the AD-E1 to use any Speedlite exceptthe EL-5 and the ST-E10 transmitter. Do I need to use themultifunction shoe adapter AD-E1withmy EOS RP and Speedlite 600EX-RT? Graham Simmons, West Malling RATE MY PHOTO Four different kinds of Canon EOS camera hotshoes, from top-left to bottom-right: the EOS R5, EOS 4000D, EOS R8 and EOS R50 Lens Canon RF 24-105mmF4LIS USM Exposure 1/400 sec, f/8, ISO100 Get critiqued! Email your best photos to EOSSOS@ futurenet.com with the subject‘Rate My Photo’ The multifunction accessory shoe adapter AD-E1 is required to maintain weather sealing with pro Speedlites when fitted to cameras

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86 www.digitalcameraworld.com FULL-FRAME COMPATIBLE Yes EFFECTIVE FOCALLENGTH 10-20mm (16-32mmAPS-C) IMAGE STABILIZER Yes(fivestops, or up tosixstops with IBIS) AUTOFOCUS Yes MINIMUM FOCUS DISTANCE 0.25m MANUAL FOCUS OVERRIDE Yes CUSTOM BUTTON Yes APERTURE BLADES Nine OPTICAL CONSTRUCTION 16 elementsin five groups FILTER TYPE Rear gelatine WEATHER SEALS Yes SUPPLIED ACCESSORIES Softcase DIMENSIONS 83.7x111mm WEIGHT 570g PRICE £2,579/$2,299 SPECIFICATIONS LENSTEST CANONRF 10-20mm F4L IS STM DanMold gets hands-onwith a pre-productionmodelofthe world’swidestfull-framerectilinearlenswith autofocus he new Canon RF 10-20mm F4L IS STM is the full-frame Canon EOS R mirrorless lens successor to 2015’s Canon EF 11-24mm f/4L USM for DSLRs. Far from just a quick mirrorless update, the Canon RF 10-20mm F4L IS STM makes full use of the RF mount – which opens up a whole realm of innovation in optical engineering. Indeed, this is WKH ZRUOG·V ÀUVW UHFWLOLQHDU ]RRP lens with a 10mm focal length and autofocus – making it, on paper at least, one of the best ultra-wideangle lenses for those who like to shoot at the extreme end. We were able to compare our beta sample with the EF 11-24mm that it replaces, and looking at them side by side, the new lens is considerably more compact and as the EF 11-24mm, topping out at ‘only’ 20mm, although it does go slightly wider to 10mm. This is a welcome trade-off, as most people looking to buy this optic will likely have access to a 24mm focal length (with a 24-105mm lens or similar). Thanks to the advantages afforded by Canon’s RF mount, it’s been made much lighter and more FRPSDFW ZKLOH DOVR VTXHH]LQJ LQ WKH ODWHVW WHFK VXFK DV LWV ÀYHVWRS 3HULSKHUDO &RQWURO ,PDJH 6WDELOL]HU technology, a Control Ring and a custom button. That said, the focus distance window found on its EF predecessor has gone. ,W·V DOVR &DQRQ·V ÀUVW /VHULHV OHQV to feature a stepping motor (STM), known for its smooth and quiet operation, making it ideal for YLGHR ,W·V &DQRQ·V ÀUVW RSWLF WR XVH an STM positioning sensor, too, which makes it faster to get up and running with little delay. Features The new lens has 16 elements in ÀYH JURXSV ZLWK WKUHH JODVV moulded aspherical (GMo) elements, one of which is UD, as well as a Super UD element to boot. It also boasts Super Spectra, Air Sphere (ASC) and Sub Wavelength T The RF 10-20mm is over 50% lighter and 35% smallerthan the previous EF 11-24mm f/4L portable, with a much neater cylindrical footprint. It’s also considerably lighter, yet packs in new features such as a Control Ring, custom button and all-new tech like Peripheral Control ,PDJH 6WDELOL]DWLRQ ² LPSUHVVLYH 7KH QHZ OHQV GRHVQ·W ]RRP LQ DV IDU This lightweight, super-wide zoom lens is a perfect optic to keep on all day fortravelling

TheCanonMagazine 87 10mm 20mm EARLYVERDICT Thisworld firstis no gimmick! anon’s RF 10-20mm F4L IS STM is a cutting-edge lens that reveals the benefits of the RF mount and pushes the envelope for ultra-wide-angle zooms. Compared to its EF 11-24mm f/4 predecessor, the new lens is lighter, more portable, less expensive and boasts a handful of genuinely useful upgrades (stabilization, Control Ring, custom button, STM), making it a no-brainer. Plus, while the £2579 price might seem pretty steep, it’s actually £500 less than the Canon EF 11-24mm’s RRP. PROS: Portable and light; perfectly balanced for gimbal and video; Control Ring and custom button; powerful stabilization; super-wide rectilinear angle of view. CONS: Pricey (but cheaperthan EF predecessor); vignetting in RAWs at10mm; no focus distancewindow; currently limited to using gelatine filters in rear filter holder. C notably smoother and quieter during operation. Performance We used the Canon RF 10-20mm F4L IS STM with a Canon EOS R5, making use of the full six stops of compensation available. Note: only WKH 5 UXQQLQJ WKH ODWHVW ÀUPZDUH will be able to make full use of the new Peripheral Control Image 6WDELOL]DWLRQ IXQFWLRQ This is a clever bit of algorithmic tech that promises to eradicate the jelly-like wobble at the corners of frame, which is often the result of using ultra-wides with IBIS. We found the autofocus and STM impressive, as focusing was quick, smooth and quiet, making it ideal for both stills photography and video. As you’d expect from one RI &DQRQ·V WRSÁLJKW /VHULHV RSWLFV all the rings on the lens barrel felt smooth and the switches clicked nicely into place – and they were DOVR HDV\ WR ÀQG DQG HQJDJH ZKHQ \RX KDYH DQ H\H WR WKH YLHZÀQGHU The Canon RF 10-20mm F4L IS STM boasts an advanced rectilinear RSWLFDO GHVLJQ <RX·OO XVXDOO\ ÀQG lenses with an ultra-wide focal length of 10mm (full-frame) to be D ÀVKH\H EULQJLQJ EDJV RI EDUUHO distortion with them. The rectilinear design, however, makes this optic special, because the vertical lines of buildings should remain straight, making it a good choice for architecture and landscape photography. Of course, you do pay a premium for this, at over £2500. (SWC) coatings, which Canon claims help combat ghosting and ÁDUH IRU UD]RUVKDUS UHVXOWV $ ÀOWHU KROGHU RQ WKH UHDU element is available for mounting [PP JHODWLQH ÀOWHUV WKRXJK it’s fairly basic and limiting. The lens also has a built-in plastic hood, and comes with front and rear lens caps and a soft case. 2Q WKH OHQV EDUUHO \RX·OO ÀQG the large focus ring for full-time manual focusing, a Control Ring that can be set to adjust a number of key settings, an AF/MF switch, and a custom button. There’s also a switch to engage the optical image VWDELOL]DWLRQ ,6 ZKLFK RIIHUV ÀYH VWRSV RI VWDELOL]DWLRQ RQ LWV RZQ RU six stops when used with a compatible EOS R body with LQERG\ LPDJH VWDELOL]DWLRQ ,%,6 It has a very portable and compact design; weighing just 570g, it is 610g lighter than the old EF 11-24mm – that’s a weight reduction of over 50%. And with dimensions of 83.7x111mm, it’s also about 35% smaller. This all makes it PXFK HDVLHU WR ÀW LQWR D FDPHUD EDJ compared to other chunky ultraZLGHDQJOH ]RRPV When shooting handheld, you can take advantage of the new Peripheral Control IS, which corrects for wobble at the corners of the frame caused by the IBIS system when capturing video. In short, Canon has created an algorithm that calculates the amount of distortion occurring at the sensor level; the lens IS is then employed to compensate for it. The STM should be a boost for video use, too, as these motors are One issue we found with our beta sample was strong distortion and vignetting in the corners of RAWs at 10mm, although this was corrected with the in-camera JPEGs It’s clearto see just how much wider shooting at 10mm on a full-frame camera is compared to 20mm CANONRF 10-20mm F4L IS STM RAWat 10mm JPEG at 10mm

THE CONTENDERS Canon Speedlite EL-100 £179/$149 Godox VING V860III £190/$229 Canon Speedlite 430EX III-RT £279/$299 HahnelModus 360RT £179/$200 Canon Speedlite 600EX II-RT £619/$599 HahnelModus 600RTMk IIWK £299/$329 Canon Speedlite EL-1 £1199/$1099 Nissin i60A £249/$299 SUPERTEST 88

89 SUPERSPEEDLITES Let there be light! Here are the best-buy ÁDVKJXQV IRU &DQRQ FDPHUDV ODUJH DQG VPDOO WR VXLW D UDQJH RI UHTXLUHPHQWV DQG EXGJHWV ften referred to as ‘the most available light’, a decent flashgun is amazingly versatile. It’s supremely portable and can make a huge difference to the quality of lighting in almost any scenario, from night-time and gloomy interiors to portraits on a sunny day. Indeed, filling in shadows under direct sun is one of the things flashguns do best. With TTL (through-the-lens) flash metering, dedicated flashguns can team up with your camera to enable correct exposures in all sorts of conditions. It works by using a pulse of light, fired by the flashgun prior to the exposure. This is reflected from the subject and passes through the lens, after which it’s measured by the camera’s metering system. The camera then communicates the correct setting to the flashgun, and the duration of the flash during the exposure is adjusted. All of the flashguns here have bounce and swivel heads. These enable you to bounce the light output off walls and ceilings, instead of firing directly at the subject. This can give a much softer quality of light that’s more flattering for portraits. The softness of the light increases with the size of the light source, so if you bounce the light from a small flashgun off a large surface like a white wall or ceiling, it becomes much bigger. The trade-off is that the light has to travel further, and some intensity is lost when bouncing, so greater maximum power ratings become preferable.

90 www.digitalcameraworld.com SUPERTEST 24mm 50mm 105mm 5 0 10 15 20 25 30 35 40 P o w er (G n) 1/128 1/64 1/32 1/16 1/8 1/4 1/2 Full CANON SPEEDLITE EL-100 £179/$149 Compactyetcapable, and hassomeinteresting trickmodes up itssleeve ust about small enough to slip into a pocket, Canon’s baby EL-100 is still far more powerful WKDQ D SRSXS ÁDVK $QG IRU full-frame cameras without D SRSXS ÁDVK LW·V D KDQG\ VSDFHVDYLQJ DGGRQ ZHLJKLQJ MXVW ffiJ $OWKRXJK FRPSDFW WKH ÁDVKJXQ IHDWXUHV D ERXQFH KHDG ZLWK ffi GHJUHHV RI YHUWLFDO PRYHPHQW DQG fl GHJUHHV RI VZLYHO WR WKH OHIW DQG ULJKW %XW WKHUH·V QR PRWRUL]HG ]RRP ,QVWHDG D UXGLPHQWDU\ SXVKSXOO PDQXDO DGMXVWPHQW JLYHV alternatives to match focal lengths of 24mm or 50mm flPP RU flPP IRU $36& 7KHUH·V QR ZLGHDQJOH GLIIXVHU RU UHÁHFWRU FDUG EXW LW GRHV FRPH ZLWK D FDUU\LQJ SRXFK DQG VWDQG :LUHOHVV FRQQHFWLYLW\ LQFOXGHV PDVWHU DQG VODYH LQIUDUHG PRGHV but no RF connectivity, like LQ WKH (; ,,,57 2QERDUG FRQWUROV RQO\ UHDOO\ FDWHU WR FKDQQHO DQG group assignments for ZLUHOHVV PRGHV DQG WKHUH·V QR /&' VFUHHQ <RX QHHG WR PDNH DOO DGMXVWPHQWV YLD in-camera menus, which can EH ORQJZLQGHG 2Q WKH SOXV VLGH KLJKVSHHG V\QF DQG UHDU FXUWDLQ V\QF DUH VXSSRUWHG DQG WKHUH·V D SURJUDPPDEOH VWURERVFRSLF PRGH Performance Maximum power output is a OLWWOH GRZQ RQ RWKHU ÁDVKJXQV LQ WKLV WHVW &RQVLGHULQJ WKDW the EL-100 only runs on two $$ EDWWHULHV UHF\FOLQJ LVQ·W RYHUO\ VORZ DW WKUHH VHFRQGV DIWHU D IXOOSRZHU ÁDVK ZKHQ XVLQJ 1L0+ EDWWHULHV  VHFRQGV IRU DONDOLQH 77/ ÁDVK PHWHULQJ LV VSRW RQ FEATURES VERDICT 01 The head is quite small butfeatures tilt and swivel. 02 There’s no wide-angle diffuser screen nor pull-out catchlight card. 03 On-board controls are only really any use for assigning wireless channels and groups. 04 The rotary control dial includes full Auto and adjustmentfriendlyOn positions. 05 Hasmetalmounting foot and quickrelease locking lever. FEATURES BUILD & HANDLING PERFORMANCE VALUE OVERALL J e test all available features for each flashgun, including flash exposure compensation and manual power settings, motorized zoom heads and advanced flash modes such as high-speed sync, rear curtain and, in some cases, strobe flash. To test power output, we use a Sekonic flash meter placed one metre from each flashgun. We check the complete range of manual power settings, in one-stop increments. Based on a sensitivity of ISO100, the figures correlate directly with the Gn (Guide number). The results are double-checked by taking shots with the appropriate lens apertures and using the camera’s histogram display in playback mode. This is done for flash zoom settings of 24mm, 50mm and 105mm (in full-frame terms), where available. We also check the accuracy and consistency of E-TTL (electronicthrough-the-tens) flash metering (see opposite), and the speed each flashgun can recycle to a state of readiness after a full-power flash. HOWWE TEST Ourtwo-stage procedure combinesextensive real-world shootingwith rigorouslab tests W

TheCanonMagazine 91 SUPERSPEEDLITES 24mm 50mm 105mm 5 0 10 15 20 25 30 35 40 P o w er (G n) 1/128 1/64 1/32 1/16 1/8 1/4 1/2 Full CANON SPEEDLITE 430EX III-RT £279/$299 Mid-range butfeature-rich,completewith a built-in wirelessRFtransceiver KH PLGUDQJH (; ,, was a top-seller, packing powerful performance into a compact yet UREXVW EXLOG DW DQ DWWUDFWLYH SULFH 7KH KHDGOLQH XSJUDGH LQ WKH ,,,57 LV WKDW OLNH Canon’s more up-market EL-1 DQG  57 VHULHV LW DGGV D EXLOWLQ 5) UDGLR IUHTXHQF\ WUDQVFHLYHU 6R ZKHUHDV WKH SUHYLRXV PRGHO FRXOG RQO\ DFW as a wireless slave with an LQIUDUHG UDQJH RI ÀYH WR HLJKW PHWUHV WKH QHZ PRGHO FDQ DFW as an RF master or slave with a transmission range of 30 PHWUHV LQ PDVWHU PRGH 7KDW·V when using it in the camera’s hotshoe to trigger other RT FRPSDWLEOH ÁDVKJXQV $QRWKHU NH\ LPSURYHPHQW LV WKDW WKH FRQWURO SDQHO DQG PHQX DUH UHGHVLJQHG DQG IDU PRUH LQWXLWLYH 6LPLODULWLHV WR WKH 0N ,, LQFOXGH D PRWRUL]HG PP ]RRP KHDG ZLWK ffi GHJUHH ERXQFH DQG fl GHJUHHV RI VZLYHO WR WKH OHIW DQG ULJKW 7KH UDQJH RI VXSSOLHG DFFHVVRULHV LQFOXGHV WKH XVXDO FDUU\LQJ SRXFK DQG VWDQG EXW DGGV D KLJKTXDOLW\ GLIIXVLRQ GRPH DQG WXQJVWHQ FRORXUPDWFKLQJ ÀOWHU 8QOLNH WKH (/ (; ,,57 DQG (/ WKHUH·V QR VWURERVFRSLF ÁDVK PRGH Performance :H·UH XVHG WR VHHLQJ H[FHOOHQW TTL accuracy with Canon 6SHHGOLWHV DQG WKH (; ,,,57 LV QR H[FHSWLRQ :LWK IRXU EDWWHULHV LQVWHDG RI WZR UHF\FOLQJ VSHHG LV EHWWHU WKDQ IURP WKH (/ GHVSLWH WKH greater maximum power UDWLQJ (YHQ VR RXU PHDVXUHG maximum output at the long HQG RI WKH ]RRP UDQJH LV D OLWWOH GRZQ RQ PRVW RWKHU ÁDVKJXQV RQ WHVW FEATURES VERDICT 01 Catchlight panel and wide-angle diffuser builtinto flash head. 02 Unlike themore basic EL-100,this features amotorized zoommechanism. 03 Can automatically detectwhen the diffusion dome or colour filteris fitted. 04 The redesigned rear control panel is a joy. 05 With a built-in RF transceiver, it can operate as amaster or slavewith other compatible RT flashguns. FEATURES BUILD & HANDLING PERFORMANCE VALUE OVERALL T TTL ACCURACY Here’s howaccuratethe flashguns are during TTLmetering TL flash metering is available with virtually all dedicated flashguns that are designed for Canon cameras. Before the exposure, the flashgun fires short pulses of light that are reflected back from the subject, passed through the lens and measured by the camera. The system then calculates the duration of flash required for a ‘correct’ exposure and communicates this to the flashgun. This chart shows how accurately TTL flash metering works when using the flashguns on test – seven out of eight scored a perfect zero! Positive values mean overexposure, negative for underexposure. T Results closestto zero indicate the greatest accuracy in TTL flash metering -0.2 0 0.2 0.4 0.6 0.8 -0.4 -0.6 -0.8 0 0 0 0 0 0 -0.33 0 Canon Speedlite EL-100 Canon Speedlite 430EXIII-RT Canon 600EX II-RT Canon EL-1 GodoxVING V860III Hahnel Modus 360RT Hahnel Modus 600RT Nissin i60A

92 www.digitalcameraworld.com SUPERTEST 24mm 50mm 105mm 5 0 10 15 20 25 30 35 40 45 P o w er (G n) 1/128 1/64 1/32 1/16 1/8 1/4 1/2 Full CANON SPEEDLITE 600EX II-RT £619/$599 There’s noshortageof power butit’s now a datedCanon Speedlitethat’s had its day KH SURJUDGH (; ,,57 LV ELJJHU WRXJKHU DQG PRUH SRZHUIXO WKDQ DQ\ &DQRQ 6SHHGOLWH DSDUW IURP WKH (/ ,W KDV D ZHDWKHUVHDOHG FRQVWUXFWLRQ complete with a weatherVHDOHG PRXQWLQJ IRRW DQG LV GHVLJQHG WR PHHW WKH expectations of professional SKRWRJUDSKHUV ,W·V RIÀFLDOO\ GLVFRQWLQXHG EXW VWLOO DYDLODEOH LI \RX VKRS DURXQG DQG PDNHV D VPDUW VHFRQGKDQG EX\ &RPSDUHG ZLWK WKH (; ,,,57 WKHUH·V D PRUH SRZHUIXO *Q  UDWLQJ 8SZDUG WLOW H[WHQGV IURP  GHJUHHV WR D fully upright 90, though that’s still less than the 120 of the EL-1, while all three enable a IXOO fl GHJUHHV RI ODWHUDO VZLYHO ERWK OHIW DQG ULJKW There’s also a bigger zoom range of 20-200mm, in full-frame terms, beating that RI WKH RWKHU WKUHH $V ZLWK WKH (; ,,,57 WKH (; ,,57 KDV EXLOWLQ wireless RF connectivity for PDVWHU DQG VODYH PRGHV RYHU D UDQJH RI XS WR P 5) linking gives the bonus of EHLQJ DEOH WR ZRUN DURXQG FRUQHUV DQG WKURXJK REVWDFOHV ,W DOVR IHDWXUHV PDVWHU DV ZHOO DV VODYH PRGH GXULQJ LQIUDUHG OLQNLQJ 6WURERVFRSLF RXWSXW LV available with programmable RSWLRQV IRU IUHTXHQF\ DQG WRWDO ÁDVK FRXQW +RZHYHU WKH  PRGHO·V LQWHUIDFH IHHOV D OLWWOH GDWHG DQG XQLQWXLWLYH Performance There’s marginal power boost DW VKRUW WR PHGLXP ]RRP settings, but the power ramps XS DW WKH ORQJHU HQG RI WKH ]RRP UDQJH 5HF\FOLQJ VSHHG LVQ·W H[DFWO\ IDVW GXH WR WKH JUHDWHU RXWSXW SRZHU FEATURES VERDICT 01 The 20-200mm zoomrange is boosted atthe short end by a flip-down diffusion panel. 02 Sockets for a PC sync terminal and external power pack. 03 Wirelessmaster and slavemodes are includedwith RF and infrared linking. 04 Robust – includes weather-seals and a shrouded hotshoemounting foot. 05 Traditional context-sensitive control buttons. FEATURES BUILD & HANDLING PERFORMANCE VALUE OVERALL T GETCREATIVE Makemoreoftheoptions irect flash can give a harsh, twodimensional look. Bouncing the flash off the ceiling softens the effect, because the illumination source becomes much larger, but you can lose detail in shadows. A diffusion dome creates both direct and bounced light for a better balance. Av shooting mode enables slow-sync flash, making more of ambient light, and you can use creative off-camera positioning of the flashgun for more dramatic lighting effects. D DIRECT FLASH BOUNCE FLASH

TheCanonMagazine 93 SUPERSPEEDLITES 24mm 50mm 105mm 5 0 10 15 20 25 30 35 40 50 P o w er (G n) 1/128 1/256 1/64 1/32 1/16 1/8 1/4 1/2 Full CANON SPEEDLITE EL-1 £1199/$1099 ThismonsterCanon pro flashgun hasstunning performance butcomes at a steep price ustifying its eye-watering price tag, no expense has EHHQ VSDUHG LQ FUHDWLQJ &DQRQ·V ODWHVW DQG JUHDWHVW ÁDVKJXQ DLPHG DW SUR photographers capturing unrepeatable moments when WKHUH·V QR RSSRUWXQLW\ WR ´GR LW RQH PRUH WLPHµ $V VXFK LW runs on a rechargeable Li-ion battery with enough juice for  IXOOSRZHU ÁDVKHV :LWK D PRUH W\SLFDO VSUHDG RI ÁDVK power outputs, you can expect DURXQG  ÁDVKHV IURP D IXOO\ FKDUJHG EDWWHU\ ZLWK blisteringly fast recycle times RI  WR ffi VHFRQGV :KDW·V more, it features an active cooling system that enables \RX WR NHHS ÀULQJ LQ EXUVWV RI XS WR  IXOOSRZHU ÁDVKHV 6LPLODULWLHV WR &DQRQ·V (; ,,57 LQFOXGH D EXLOWLQ RF transceiver with the same P UDQJH DQG ERWK 5) DQG LQIUDUHG PDVWHUVODYH PRGHV 7KH *Q  SRZHU UDWLQJ LV WKH same as well, at the 200mm HQG RI WKH ]RRP UDQJH although the EL-1 only zooms RXW WR PP LQVWHDG RI PP 0LQLPXP SRZHU LV impressively low for subtle or extreme close-up lighting, DGMXVWDEOH GRZQ WR flffi RI IXOO SRZHU 1R PHDQ IHDW Performance The EL-1 lives up to all of LWV FODLPV IRU KLJKHQG SHUIRUPDQFH DQG QHYHU PLVVHG D EHDW LQ RXU WHVWLQJ $QG GHVSLWH KDYLQJ WKH VDPH SRZHU UDWLQJ DV WKH (; ,,57 ZH IRXQG WKH PD[LPXP output was rather greater in the 24-105mm sector of the ]RRP UDQJH 7KH RQO\ UHDO FDWFK LV WKH SULFH DQG LI \RX IHHO WKH QHHG IRU D VSDUH /3(/ battery, that’ll set you back DQRWKHU …ffi FEATURES VERDICT 01 Bounce head has a generous range of movementfrom-7 to 120 degrees. 02 Two front-facing LEDs act as a modelling light. 03 Theweather-sealed build includes a rubber shroud over the hotshoe plate. 04 Stamina is excellent, thanks to the Li-ion battery pack and active cooling. 05 Around the back,the interface is farmore intuitive than that of the 600EX II-RT. FEATURES BUILD & HANDLING PERFORMANCE VALUE OVERALL J DIFFUSION DOME SLOWSYNC OFF-CAMERA FLASH

SUPERTEST 94 www.digitalcameraworld.com 24mm 50mm 105mm 5 0 10 15 20 25 30 35 40 45 P o w er (G n) 1/128 1/258 1/64 1/32 1/16 1/8 1/4 1/2 Full GODOX VING V860III £190/$229 Powerful,feature-packed andwith high-end performance,thisis brilliant and greatvalue,too his goes toe to toe with WKH +DKQHO 0RGXV 57 0N ,, ZLWK D ZHDOWK RI IHDWXUHV DQG WULFN PRGHV DOO SRZHUHG E\ D high-capacity Li-ion battery pack, but it only costs about WZRWKLUGV RI WKH SULFH WR EX\ 7KH KHDG KDV IXOO ERXQFH DQG ]RRP FDSDELOLWLHV ZLWK D GRZQZDUG  WR UHDUUDFLQJ  GHJUHHV RI YHUWLFDO PRYHPHQW D IXOO fl GHJUHHV RI VZLYHO WR WKH ULJKW DQG  WR WKH OHIW 7KH PRWRUL]HG zoom range is also generous, HTXDWLQJ WR PP LQ IXOOIUDPH WHUPV DQG D SXOORXW GLIIXVLRQ SDQHO DQG FDWFKOLJKW FDUG DUH LQFOXGHG $GYDQFHG PRGHV LQFOXGH KLJKVSHHG V\QF UHDUFXUWDLQ ÁDVK DQG SURJUDPPDEOH VWUREH ,WV 5) WUDQVFHLYHU enables full wireless master/ slave connectivity over a UDQJH RI XS WR P DQG VKRUWUDQJH LQIUDUHG ZLUHOHVV RSWLRQV DUH DOVR IHDWXUHG ,W works well off-camera, using D *RGR[ ;3UR 77/ :LUHOHVV )ODVK 7ULJJHU *+] VROG VHSDUDWHO\ IRU …ffi 8SJUDGHV RYHU WKH SUHYLRXV PRGHO LQFOXGH D EULJKW /(' lamp, with two operating PRGHV VR \RX FDQ XVH LW DV D constant lamp for close-ups DQG YLGHR RU DV D PRGHOOLQJ $)DVVLVW ODPS ERWK D VWHS SRZHU UDQJH $ 77/0 VZLWFK HQDEOHV TXLFN PRGH VZDSSLQJ Performance The power range is immense, VWUHWFKLQJ IURP WK WR LWV JHQHURXV IXOO SRZHU 77/ ÁDVK PHWHULQJ SURYHG FRQVLVWHQWO\ DFFXUDWH LQ RXU WHVWV DQG UHF\FOLQJ VSHHGV DUH DOPRVW instantaneous up to 1/4 SRZHU DQG  VHFRQGV DIWHU KDOIIXOOSRZHU ÁDVKHV FEATURES VERDICT 01 The 7.2V, 2600mAh rechargeable Li-ion battery lasts for around 500 flashes. 02 Inwireless slave mode,the display screen swaps from blue to orange. 03 Controls are conventional, based on context-sensitive buttons and a dial. 04 Asmirrorless cameras can’t use red AF-assistlamps, the LEDis useful. 05 Comeswith aUSB charging dock, but nomains charger. FEATURES BUILD & HANDLING PERFORMANCE VALUE OVERALL T s mentioned on the previous pages, if you slot a flashgun into your camera’s hotshoe and fire it directly at the subject, you’re likely to create a harsh lighting effect with a hard quality of light. This is because the size of the illumination source is relatively small, considering the distance between flashgun and subject. A larger light source gives a softer quality of light, more flattering for portraiture as it tends to smooth out wrinkles and blemishes in the skin. All of the flashguns in our test group feature a bounce and swivel head. With the camera in landscape orientation, you can angle the head upwards in bounce mode to reflect the light off a white ceiling when shooting indoors. This effectively creates a much larger light source and a much softer lighting technique. For portrait orientation (upright) shooting, you can swivel the head instead of raising it to create the same effect. BOUNCE& SWIVEL Giveyour photos a bitof bounce and soften thelight A Use the click steps to adjust bounce and swivel, corresponding to the height ofthe ceiling and distance from the subject

TheCanonMagazine 95 SUPERSPEEDLITES 24mm 50mm 105mm 5 0 10 15 20 25 30 35 40 50 P o w er (G n) 1/128 1/256 1/64 1/32 1/16 1/8 1/4 1/2 Full Here’s how long ittakes each flashgun to recycle after a full-power flash – lower scores are better S p e e d (s e c o n d s) 4 5 6 7 8 9 3 2 1 NiMH Alkaline HAHNEL MODUS 360RT £179/$200 This downsized delightinheritsthesameDNA and featuresofthefully grown 600RTMkII HDWXUHULFK ÁDVKJXQV WHQG WR EH KHIW\ DIIDLUV that make for a topheavy combination in the hotshoe of a fairly small PLUURUOHVV FDPHUD 7KH 0RGXV 57 UHGUHVVHV WKH EDODQFH with its compact, lightweight EXLOG (YHQ VR WKHUH·V D ORW ÀWWHG LQ LQFOXGLQJ 5) DQG optical wireless master/slave PRGHV KLJKVSHHG V\QF DQG programmable stroboscopic PRGHV DOO SRZHUHG E\ D KLJK FDSDFLW\ /LLRQ EDWWHU\ SDFN :KLOH WKH ODUJHU DQG SULFLHU +DKQHO 0RGXV 57 0N ,, KDV D FRQYHQWLRQDO UHG $) DVVLVW ODPS WKH 57 KDV D VHFRQGDU\ /(' ODPS LQVWHDG *RRG QHZV LI \RX·UH XVLQJ D PLUURUOHVV FDPHUD WKDW GRHVQ·W ZRUN ZLWK UHG $)DVVLVW ODPSV <RX FDQ DOVR XVH WKH /(' DV D PRGHOOLQJ ODPS DQG HYHQ LQ LWV RZQ ULJKW IRU FORVHXS VWLOOV DQG YLGHR ZLWK D UDQJH RI SRZHU OHYHOV RQ WDS )RU ERXQFH DQG VZLYHO \RX JHW  WR ffi GHJUHHV YHUWLFDO PRYHPHQW +RUL]RQWDO VZLYHO LV MXVW ffi GHJUHHV WR WKH OHIW EXW D IXOO fl WR WKH ULJKW 7KH FRQWURO LQWHUIDFH LV EDVHG RQ D classic combo of push buttons DQG D URWDU\ GLDO 7KH EDFNOLW PRQR GLVSOD\ FKDQJHV IURP green to orange in wireless PDVWHUVODYH PRGHV Performance The maximum output is a bit better than from most lowEXGJHW ÁDVKJXQV EXW D OLWWOH OHVV WKDQ PLGUDQJH PRGHOV OLNH WKH &DQRQ (; ,,,57 ,W VKRXOG EH ÀQH IRU GLUHFW ÁDVK LQ PRVW VFHQDULRV EXW you may struggle with bounce XQGHU KLJK FHLOLQJV 77/ ÁDVK PHWHULQJ LV FRQVLVWHQWO\ DFFXUDWH DQG UHF\FOLQJ VSHHG LV MXVW  VHFRQGV FEATURES VERDICT 01 Rechargeable Li-ion battery has stamina for 400 flashes. 02 The battery can also powerthe LEDlamp for11 hours. 03 Manual power adjustments have the usualrange of 1/128th to full. 04 AUSB socket enables firmware updates to be done. 05 Motorized zoom head has 24-105mm range in full-frame terms, and includes a diffusion panel and catchlight card. FEATURES BUILD & HANDLING PERFORMANCE VALUE OVERALL F RECYCLE SPEED Nobodylikesto bekeptwaiting t low-power settings, most flashguns recycle pretty much instantaneously. This means that you can fire shot after shot when trying to capture fleeting expressions or a definitive moment in a sequence of events. As you approach the maximum power setting, recycling takes longer and you might need to wait for a few seconds between shots. Here’s how long each flashgun will keep you waiting, when using NiMH and alkaline batteries, or supplied Li-ion batteries. A Canon EL-100 NA NA NA Canon 430EX III-RT Canon 600EX II-RT Canon EL-1 GodoxVING V860III HahnelModus 360RT Hahnel Modus 600RT Nissin i60A

96 www.digitalcameraworld.com SUPERTEST 24mm 50mm 105mm 5 0 10 15 20 25 30 35 40 P o w er (G n) 1/128 1/64 1/32 1/16 1/8 1/4 1/2 Full HAHNEL MODUS 600RT MK II WIRELESS KIT An improvementon theoriginal,theMarkIIedition of theModus 600RTisevenmore appealing DFNHG ZLWK KLJKHQG IHDWXUHV DQG D EXLOWLQ RF transceiver, the 0RGXV 57 ERDVWV ERWK 5) DQG LQIUDUHG PDVWHU DQG VODYH FRQQHFWLYLW\ ZLWK D SRZHUIXO *Q  PD[LPXP UDWLQJ 2Q LWV RZQ WKH 57 LV JUHDW YDOXH EXW WKH :LUHOHVV .LW LV HYHQ EHWWHU DV LW LQFOXGHV a hotshoe-mounting Hahnel Viper RF trigger with a 100m UDQJH 7KHUH·V DOVR D 3UR .LW ZKLFK LQFOXGHV WZR ÁDVKJXQV SOXV WKH VDPH KRWVKRH WULJJHU Like a growing number of ÁDVKJXQV LW LV SRZHUHG E\ D rechargeable Li-ion battery SDFN ,W KDV PLJKW\ VWDPLQD HQDEOLQJ XS WR  IXOOSRZHU ÁDVKHV DQG  DW KDOI SRZHU 5HF\FOLQJ VSHHGV DUH about twice as fast as from PRVW ÁDVKJXQV WKDW XVH $$ EDWWHULHV DW  VHFRQGV DIWHU D IXOOSRZHU ÁDVK DQG  VHFRQGV DIWHU KDOI SRZHU EXW LW VWLOO ODJV EHKLQG WKH (/ ,Q RWKHU DUHDV WKH +DKQHO goes toe to toe with competing WRSHQG ÁDVKJXQV ,W KDV D PRWRUL]HG ]RRP KHDG ZLWK D PP UDQJH D ÁLSGRZQ PP ZLGHDQJOH GLIIXVHU DQG D SXOORXW FDWFKOLJKW FDUG $GYDQFHG PRGHV LQFOXGH KLJKVSHHG V\QF UHDU FXUWDLQ DQG SURJUDPPDEOH VWURERVFRSLF RXWSXW 0DUN ,, LPSURYHPHQWV LQFOXGH D TXLFNUHOHDVH KRWVKRH ORFNLQJ OHYHU DQG D EDWWHU\ FKDUJHU ZLWK D 86% VRFNHW Performance 3HUIRUPDQFH LV VXSHUE IURP powerful max output to superIDVW UHF\FOLQJ DQG UHOLDEOH 77/ PHWHULQJ 5) WULJJHULQJ QHYHU PLVVHV D EHDW DQG \RX FDQ OLQN RWKHU PDNHV RI ÁDVKJXQ WR DQ RF group with optional Viper UHFHLYHUV DW …ffiffi HDFK FEATURES VERDICT 01 A 20-200mm motorized zoom range,14mm wide-angle diffuser and reflector card. 02 Context-sensitive control buttons. 03 An additionalHahnel HLX-MD1 Extreme Li-ion battery costs around £49/$89. 04 USB portfor firmware upgrades, plus PCsync socket. 05 Infrared and RF master/slave transmission has a range of15mand 100mrespectively. FEATURES BUILD & HANDLING PERFORMANCE VALUE OVERALL P £299/ $329 CARDTRICK t’s mostly great being able to soften a flashgun’s light quality by bouncing it off the ceiling, but with the light effectively pointing down from above, areas of the subject can be cast into shadow. In portraiture, for example, you can find that eyes look dull and lifeless because they’re in the shadow of the brow, and you might also spot shadows under the nose and chin. A common feature in all of the flashguns on test (except the EL-100) is a reflector card, or catchlight card, which can be extended from the top of the head. It works a treat for portraiture or any other time when you need to fill in shadows, by reflecting some of the light from the flashgun forwards. It’s particularly effective for creating a bit of sparkle or catchlights in the eyes. I Extend the reflector card to fill in the shadows when using bounce flash Solvetheshadowy problemof bounce flash

TheCanonMagazine 97 SUPERSPEEDLITES 24mm 50mm 105mm 5 0 10 15 20 25 30 35 40 45 P o w er (G n) 1/128 1/64 1/32 1/16 1/8 1/4 1/2 Full NISSIN I60A £249/$299 Something of a smallwonder,theNissin punches well aboveits diminutivesize andweight here are a few small, OLJKWZHLJKW ÁDVKJXQV RQ the market that look HTXDOO\ DW KRPH RQ mirrorless compact cameras DV RQ IXOOEORZQ 6/5V %XW most only have a meagre maximum power output DQG UXGLPHQWDU\ RQERDUG FRQWUROV DQG RIWHQ ODFN DQ /&' VFUHHQ 7KLV 1LVVLQ proves you can pack a lot into D VPDOO EXLOG ZLWK D SRZHUIXO *Q  UDWLQJ PP PRWRUL]HG ]RRP KHDG DQG DQ HOHJDQW LQWHUIDFH EDVHG DURXQG D FRORXU VFUHHQ %RXQFH KDV ffiGHJUHH WLOW DQG D IXOO flGHJUHH VZLYHO ERWK OHIW DQG ULJKW 'HVSLWH LWV VPDOO EXLOG WKH 1LVVLQ HYHQ VKRHKRUQV LQ DQ /(' OLJKW ,W·V not particularly powerful but comes in useful for close-up VKRRWLQJ DQG YLGHR FDSWXUH %RWK LQIUDUHG DQG 5) wireless slave triggering are available, the latter working well with Nissin’s optional &RPPDQGHU $LU  RU PRUH XSPDUNHW &RPPDQGHU $LU V 5) WULJJHUV <RX FDQ purchase these separately IRU DURXQG …ffiffi RU …ffiffi UHVSHFWLYHO\ Performance ,W PDWFKHG WKH PD[ SRZHU output of the pro-spec Canon (; ,,57 WKURXJKRXW WKH zoom range, making it one of WKH PRVW SRZHUIXO ÁDVKJXQV LQ WKH JURXS :H H[SHULHQFHG D VOLJKW DQG IDLUO\ FRQVLVWHQW DPRXQW RI XQGHUH[SRVXUH GXULQJ 77/ ÁDVK VKRRWLQJ ² DERXW D WKLUG RI DQ IVWRS 5HF\FOLQJ LV TXLFN ZKHQ XVLQJ 1L0+ EDWWHULHV DQG GRHVQ·W VORZ GRZQ PXFK RQ IUHVK DONDOLQH FHOOV ,W·V DPD]LQJO\ SRZHUIXO DQG YHUVDWLOH IRU VXFK D FRPSDFW ÁDVKJXQ FEATURES VERDICT 01 Monster 24-200mm motorized zoomrange. 02 Additional LEDlamp, ideal for video and extreme close-ups. 03 Nicely built,the Nissin feels solid and sturdy despite its relatively lightweight. 04 RF and infrared slave modes are available, aswell as a basic optical slave option. 05 Stylish and intuitive, the rear panel features a graphical colourinterface. FEATURES BUILD & HANDLING PERFORMANCE VALUE OVERALL T CANONSPEEDLITE EL-5 Canon’s first Speedlite designed formirrorless EOS R systemcameras The new Canon Speedlite EL-5 is designed with mirrorless R system cameras in mind and is priced at £499/$399 adly, Canon was unable to supply a review sample of its new Speedlite EL-5 in time for this Super Test, but we’ll be bringing you a full review as soon as possible. Following the current trend, it runs on a rechargeable Li-ion battery pack, rather than AA cells, and in fact uses the same LP-EL battery as the range-topping Speedlite EL-1. It has a powerful Gn 60 rating (ISO100, metres) at its longest zoom setting, which itself is generous at 20-200mm in full-frame terms. Further attractions include a secondary LED modelling lamp, wireless RF master/ slave modes with a 30m range, and adjustable power settings right down to 1/1024. It can also take advantage of Canon’s new Multi-Function Shoe, featured on some of the latest EOS R system cameras. S

98 www.digitalcameraworld.com SUPERTEST FEATURES BUILD & HANDLING PERFORMANCE VALUE OVERALL NAME CANON SPEEDLITE EL-100 CANON SPEEDLITE 430EX III-RT CANON SPEEDLITE 600EX II-RT CANON SPEEDLITE EL-1 GODOX VING V860III HAHNEL MODUS 360RT HAHNEL MODUS 600RT MK II WK NISSIN I60A www.canon.co.uk www.canon.co.uk www.canon.co.uk www.canon.co.uk https://godox.com www.hahnel.ie www.hahnel.ie www.nissindigital.com Max claimed Gn (ISO100, metres) Gn 26 Gn 43 Gn 60 Gn 60 Gn 60 Gn 36 Gn 60 Gn 60 Bounce (degrees) 0 to 90 0 to 90 -7to 90 -7to 120 -7to 120 -7to 90 0 to 90 0 to 90 degrees Swivel (left/right) 150/180 150/180 180/180 180/180 180/180 90/180 180/180 180/180 Zoom range 24-50mm(manual) 24-105mm(auto) 20-200mm(auto) 24-200mm(auto) 20-200mm(auto) 24-105mm(auto) 20-200mm(auto) 24-200mm(auto) Wide-angle diffuser No 14mm 14mm 14mm 14mm 14mm 14mm 16mm Reflector card No Yes Yes Yes Yes Yes Yes Yes Auto metering E-TTL/E-TTLII E-TTL/E-TTLII E-TTL/E-TTLII E-TTL/E-TTLII E-TTL/E-TTLII E-TTL/E-TTLII E-TTL/E-TTLII E-TTL/E-TTLII Flash exposure compensation Viacameramenu +/-3EV +/-3EV +/-3EV +/-3EV +/-3EV +/-3EV +/-2EV Manual power settings 1/1to 1/128 1/1to 1/128 1/1to 1/128 1/1to 1/8192 1/1to 1/256 1/1to 1/128 1/1to 1/128 1/1to 1/256 AF-assist beam Red lamp Red lamp Red lamp Red lamp Red lamp LED Red lamp Red lamp Secondary lamp No No No LED lamp LED lamp LED lamp No LED Wireless master/slave Master/slaveIR SlaveIR/RF Master/slaveIR/RF Master/slaveIR/RF Master/slaveIR/RF Master/slaveIR Master/slaveIR/RF SlaveIR (optional RF) Additional flash modes HSS, RC, Strobe HSS, RC HSS, RC, Strobe HSS, RC, Strobe HSS, RC, Strobe HSS, RC, Strobe HSS, RC, Strobe HSS, RC TTL flash exp error 0EV 0EV 0EV 0EV 0EV 0EV 0EV -0.33EV Full power recycle (NiMH/alkaline) 3.0/5.2 seconds 2.4/3.4 seconds 3.2/3.4 seconds 0.9 seconds(Li-ion) 1.5 seconds(Li-ion) 1.5 seconds(Li-ion) 1.5 seconds(Li-ion) 3.5/3.9 seconds Flash info LCD No Yes Yes Yes Yes Yes Yes Yes(colour) Supplied accessories Pouch,stand Pouch,stand, dome, filter Pouch,stand, dome, filters Pouch,stand, dome, filters Pouch,stand,charger Pouch,stand,charger Pouch,stand,charger Pouch,stand, dome Batteries 2xAA 4xAA 4xAA 1xLi-ion 1xLi-ion 1xLi-ion 1xLi-ion 4xAA Dimensions (WxHxD) 65x92x71mm 71x114x98mm 79x143x123mm 84x149x136mm 75x195x59mm 64x150x50mm 64x190x76mm 73x112x98mm Weight (excl batts) 190g 295g 435g 572g 530g 300g 430g 300g Target price £179/$149 £279/$299 £619/$599 £1199/$1099 £190/$229 £179/$200 £299/$329 £249/$299 COMPARISON TABLE THEWINNERIS...GODOXVINGV860IIITTL The performance and versatilityofthe Godoxmakesitourtop gun on test he Li-ion powered Godox VING V860III TTL gives you everything you might want from a top-end flashgun and more besides. It boasts a comprehensive feature set with a full complement of advanced operating modes, RF connectivity and a mighty power range, all at a very affordable price. Although pricier, the similarly feature-rich Hahnel Modus 600RT II is another great-value flashgun with pro-grade handling and features to match, although it lacks a secondary LED lamp, as featured in the more compact and lightweight Modus 360RT, which is a bit lacking in maximum flash power. The Nissin i60A is more powerful if you’re in the market for a compact flashgun. Of Canon’s models, the 430EX III-RT is our favourite. The EL-100 is lacking in on-board controls and power, while the discontinued 600EX II-RT was always pricey. The EL-1 is probably the best in the world but costs more than most of us would want to pay. T

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100 www.digitalcameraworld.com CANON EOS 4000D TESTED IN ISSUE 140 PRICE: £370/$N/A CANON has stripped everything down to its bare essentials for the 4000D, and it’s a great if basic DSLR for beginners. And at only £370 (body), it’s the cheapest EOS DSLR. Sadly, it’s let down by a cheap kit lens that’s tough to tolerate, so we suggest buying the better IS lens. Sensor 18MP APS-C CMOS Viewfinder Pentamirror, 0.8x, 95% ISO 100-6400 (12,800 exp) AF 9-point (1 cross-type) LCD 2.7-inch 230K dots Max burst (buffer) 3fps Memory card SD/SDHC/SDXC CANON EOS 2000D (REBEL T7) TESTED IN ISSUE 194 PRICE: £349/$479 THE 2000D is a better-spec Canon camera than the 4000D, but comes with a modest step up in price. It’s arguably worth the extra, but that puts it in a difficult spot, where another step up in outlay will get you an EOS 200D, which is a far better overall DSLR camera. Sensor 24.1MP APS-C CMOS Viewfinder Pentamirror, 0.8x, 95% ISO 100-6400 (12,800 exp) AF 9-point (1 cross-type) LCD 3-inch 920K dots Max burst (buffer) 3fps Memory card SD/SDHC/SDXC CANON EOS 250D (REBEL SL3) TESTED IN ISSUE 194 PRICE: £549/$649 THE EOS 250D/Rebel SL3 is not Canon’s cheapest entry-level DSLR, but we think it’s the best budget/beginner DSLR with the perfect blend of power and value. This is the body that will take people from snapping on their smartphones to getting into the hobby. Sensor 24.1MP APS-C CMOS Viewfinder Pentamirror, 0.87x, 95% ISO 100-25,600 (51,200 exp) AF 9-point (1 cross-type) LCD 3-inch vari-angle touchscreen 1040K Max burst (buffer) 5fps Memory card SD/SDHC/SDXC CANON EOS 850D (REBEL T8i) TESTED IN ISSUE 194 PRICE: £919/$749 FOR ENTHUSIASTS looking to take the next step, the Canon EOS 850D is an impressive, lightweight yet powerful DSLR that captures detailed, colourful and sharper images, as well as 4K movies. Featuring iTR Face and Eye Detection AF, and accurate Auto AF via optical viewfinder, the 850D is sure to satisfy. Sensor 24.1MP Dual Pixel APS-C CMOS Viewfinder Pentamirror, 95% coverage, 0.82x ISO 100-25,600 AF 45 cross-type AF point system LCD 3-inch vari-angle touchscreen 1040K Max burst (buffer) 7fps Memory card SD/SDHC/SDXC B E GIN N E R D S L R s PRICES QUOTEDAREBODY-ONLYUNLESS STATED With pricesranging froma coupleof hundred to a few thousand, Canon has an EOS camera tosuiteveryone, fromthecomplete beginnertomost demanding pro… What to look for Canon EOS camera ranges Canon splits its EOS range intomirrorless cameras andDSLRs. Its olderDSLR line-up includes beginner, enthusiast and pro ranges;the EOS 4000Dis the most basic,the 850Dforintermediates,the 90Dand full-frame 6DMk IIfor advanced enthusiasts, and the full-frame pro-level 5Dand 1Dlines.Overthe page are the two EOSmirrorless ranges: Canon’s smaller, older APS-C EOSMcameras, and Canon’s EOS R System APS-C and full-frame cameras that offerthe very latest digitaltechnology. The APS-C crop-sensor EOS R50, R10 and R7 are smaller, affordable entry-level options.While the EOS R8 up to the R6 Mark II, R5 and flagship R3 are full-frame for serious enthusiasts to professionals. Canon’s EOS R cameras are packed with intelligentfeatures andmost have IBIS, newAF tracking for anymoving subject you shoot, and 20fps to 40fps continuous shooting bursts are common place using the speedy electronic shuttermodes. DSLRCAMERAS