The Canon Camera Book Volume-1

8/12/2019 The Canon Camera Book Volume-1

http://slidepdf.com/reader/full/the-canon-camera-book-volume-1 1/196Get started • Master the mode dial • Essential Canon k

G u i d e s

f o r D S L R s

,

C S C s a n d

c o m p a c t s

The ultimate guide to getting the most from your Canon

Volum

Canon

The

Camera


http://slidepdf.com/reader/full/the-canon-camera-book-volume-1 2/196

W o r l d M a g s . n e t W o r l d M a g s . n e t

W o r l d M a g s . n e t

http://worldmags.net/




Welcome to

Photography is one of the most popular hobbies in the world, and one of the

leading manufacturers in that field is Canon. With its wide selection of cameras

– ranging from point-and-shoot entry-level IXUS compacts to £12,000 EOS

DSLRs – all boasting exceptional build quality and features, it’s easy to see why

Canon is the brand of choice for many amateur and professional photographers.

The Canon Camera Book is the ultimate guide to getting the most from your

camera. We cover everything from basic photography skills and what your

Canon’s mode dial can offer to advanced techniques and how to edit your

images to perfection after your shoot. Each in-depth feature is packed full of

expert tips, tricks and advice to help you achieve the incredible images that your

Canon camera is capable of.

Canon

The

Camera W o r l d M a g s . n e t W o r l d M a g s . n e t






Imagine Publishing LtdRichmond House33 Richmond Hill

BournemouthDorset BH2 6EZ

+44 (0) 1202 586200Website: www.imagine-publishing.co.uk

Twitter: @Books_ImagineFacebook: www.facebook.com/ImagineBookazines

Head of PublishingAaron Asadi

Head of DesignRoss Andrews

Production EditorDan Collins

Senior Art EditorGreg Whitaker

Senior DesignerSarah Bellman

Photographer

James Sheppard

Printed byWilliam Gibbons, 26 Planetary Road, Willenhall, West Midlands, WV13 3XT

Distributed in the UK & Eire by Imagine Publishing Ltd, www.imagineshop.co.uk. Tel 01202 586200

Distributed in Australia by Gordon & Gotch, Equinox Centre, 18 Rodborough Road, Frenchs Forest,

NSW 2086. Tel + 61 2 9972 8800

Distributed in the Rest of the World by Marketforce, Blue Fin Building, 110 Southwark Street, London, SE1 0SU

Disclaimer

The publisher cannot accept responsibility for any unsolicited material lost or damaged in thepost. All text and layout is the copyright of Imagine Publishing Ltd. Nothing in this bookazine maybe reproduced in whole or part without the written permission of the publisher. All copyrights are

recognised and used specifically for the purpose of criticism and review. Although the bookazine hasendeavoured to ensure all information is correct at time of print, prices and availability may change.

This bookazine is fully independent and not affiliated in any way with the companies mentioned herein.

The Canon Camera Book © 2013 Imagine Publishing Ltd

ISBN 978-1909758230

bookazine series

Part of the

Canon The

Camera W o r l d M a g s . n e t W o r l d M a g s . n e t






Contents

Guide to Canon

08 Your Canon cameraWe get to grips with the brand’s top-selling models

18 Guide to Canon lensesWhatever the scene, let us help you capture the

full picture

26 Essential kit for CanonGear and gadgets to help you take better images

34 Guide to Canon modesDiscover how your Canon’s mode dial can help you to

develop your skills

A guide to your Canon cameraLearn more about your camera with our handy guide

“Whatever thescene, let us helpyou capture it”

Using your Canon

46 Use your Canon to composeComposition rules and how to apply them

52 Work with lightingTake advantage of different types of light

60 Metering with CanonOpen the door to accurate images

66 Canon exposure exposedControl the exchange of light between your subject

and your sensor

74 Shutter speedsCreate special effects and more

78 Master HDR on your CanonSet up and shoot perfect HDR images

86Portraits

26 Essential kit

6 THE CANON CAMERA BOOK







Advancedtechniques86 Shoot better portraits

with CanonUse your Canon to improve your portraits

98 Creative landscapeswith CanonThe mindset, potential and elation

110 Working with WildlifeAdvice on how to capture wildlife

120 Shoot for sport on CanonImprove your action-packed portfolio

130 Urban landscapesFrom skyscrapers to street life

140 Use Canon to shoot inblack & whiteCreate contrast and elegance

148 Travel the world with your CanonCapture shots of people and places

156 Capture architectureExplore your options for shooting buildings

Editing yourCanon images166 The essential guide to editing

Transform images from average to awesome

174 Fix your photosVital edits and how to achieve them

180 Smooth skinHow to get perfect skin in your snaps

182 Master RAW conversionGet the most out of your file processing

184 Fix photos in Camera RawTransform your photos instantly

187Create an actionReduce your editing time

188 Restore your old photosBring fading photos back to life with these

Photoshop techniques

“Canon has long been a brandthat photographers from allover the world could trust”

140Shoot for monochrome

148Master travel photography

156 Shootarchitecture

THE CANON CAMERA BOOK

Edit yourimages 166








Your Canon camera

We get to grips with the big brand’s top-selling models tohelp you learn more about your camera

A guide to your

Canon camera








Your Canon camera

Canon has long been a brand that photographers

from all walks of life, from all over the world,

could trust. Regardless of brand persuasion

most photographers will acknowledge that Canon has

a reputation for crafting cameras that present cutting-

edge technology in durable bodies, capable of capturing

industry-leading image quality.The brand divides its product line into two main

portfolios: compacts and CSC/DSLRs. Its compact

collection consists of two styles of camera: PowerShot

and IXUS, and these fall into six different genres to target

various demographics: expert, bridge, superzoom, Wi-Fi,

point-and shoot, and rugged. The compact range is also

sectioned into series for a more defined approach for

penetrating each market sector. So the PowerShot G and

S series offer high-end features with full manual control,

whereas the main boast of the PowerShot SX-series

is powerful optical zooms. The PowerShot N-series

presents creative shooting in an ‘Any Way Up’ camera

design, while the PowerShot A-series gets back to basics

for beginners, and the waterproof PowerShot D-Series istough enough to appease the most demanding outdoor

enthusiast. Completing Canon’s compact line-up is the

fashion-savvy IXUS range; presenting style in conjunction

with substance.

The EOS product catalogue of CSCs and DSLRs

is separated into three sections: beginner, enthusiast

and professional. The cameras residing in the beginner

arena are intended to support novice shooters as they

make the step up from compacts to cameras that use

interchangeable lenses. Here we find Canon’s first and

only CSC – the EOS M – plus DSLRs: EOS 1000D, 100D,

600D and 700D, all of which combine helpful automatic

features with creative tools and manual modes for when

the shooter is ready for more control. The enthusiastbranch includes the EOS 60D, 70D, 7D and 6D. The remit

of the professional range is to provide an exceptional

standard of image quality for the most demanding users

and stocks the EOS 5D Mark III, EOS-1D X and EOS-1D C.

Over the next ten pages we’ll explain what some of

the brand’s models have to offer, helping you to find the

perfect shooting partner for your photography.

“Canon has a reputation for craftingcameras that present cutting-edge

technology in durable bodies” W o r l d M a g s . n e t W o r l d M a g s . n e t






10THE CANON CAMERA BOOK

For many, the EOS 5D Mark III represents an ideal

compromise between high-resolution digital

capture and ease of workflow. The magnesium

alloy body of the Canon EOS 5D Mark III feels solid and

substantial, though its weight is by no means excessive,

while the ergonomics are good overall and the camera’s

grip is very comfortable and pleasant to use.

As you would expect from a camera at this price point,

all the controls have a reliable and solid feel to them.

The Quick Control dial, which allows instant access to

Exposure Compensation in Aperture and Shutter Prioritymodes, can be locked to prevent unwanted adjustments.

The 100 per cent viewfinder is big and bright, which

is one of the key advantages of full-frame shooting

and one of the first things that you will notice if you are

used to using a crop-sensor camera. The camera’s

autofocus system is top notch, and represents a massive

improvement on the nine focus points available in the

Canon EOS 5D Mark II, with 61 autofocus points – 41 of

which are cross-type. These figures do vary slightly with

some lenses but with the EF 24-70mm L II USM lens that

we were using for our test, we had full access to the entire

AF range and simply couldn’t fault the speed, accuracy

and overall reliability of the autofocus, with even the outer

AF points performing highly responsively.

Canon EOS 5DMark III

One of Canon’s most popular modelsis a great choice for pros

Technical dataModel Canon EOS 5D Mark III

Price £3,000/$3,500 (body)

Web www.canon.co.uk

Megapixels (effective) 22.3MP

Max resolution (pixels) 5,760 x 3,840

Sensor information 36 x 24mm CMOS

Shutter speed 1/8000sec

ISO sensitivity Auto, 100-25600 in 1/3

stops, can be extended to

50-102400

Lens data/Zoom By lens

Exposure modes Auto+, Program, Shutter

priority, Aperture priority,

Manual, Bulb

Metering options CW, S, M

Flash modes No built-in flash

Connectivity USB 2.0, HDMI

Weight 950g

Dimensions 152 x 116 x 76mm

Batteries Rechargeable Li-ion

Storage Compact Flash and SD

LCD 3.2 inches

Viewfinder Optical pentaprism,

100% coverage and 0.71x

magnification

The latest in a line of popular cameras, it’s agreat upgrade on the Mark II for the AFperformance alone. The image quality isexcellent; it’s easy to use, and it’s built withprofessional protographers in mind

The image quality is absolutely superb and we were

suitably impressed by the detail and colour in all our test

images. Canon has included the new DIGIC 5+ processo

in the 5D Mark III and the camera’s general performance

is fantastic. Even difficult scenes are rendered successfu

and for the most awkward subjects with extreme contra

the built-in HDR feature is extremely useful.

Canon’s recommended retail price has the EOS 5D

Mark III at £3,000. This is where it starts to look rather

expensive next to rival models, which offer significantly

higher resolution with a slightly lighter price tag.However, it really isn’t easy to fault the EOS 5D Mark

III, and Canon has clearly listened to photographers and

focused its attention quite specifically on improving area

of concern with the Mark II. The only thing that really

seems to be missing from the camera is a built-in flash

but this camera, otherwise, is a flawless beauty.

The 100 per cent viewfinderis big and bright and the

camera’s autofocus systemis among the best in its class

SRP: £3,000/$3,500

Your Canon camera: Professional

Summary








Your Canon camera: Professional

Strictly targeting professional photographers,

the new 1 series camera combines speed with

image quality, delivering a stronger shooting

performance than ever witnessed before. The Canon

EOS-1D X teams a full frame 18.1 MP sensor with the

Dual DIGIC 5+ processor that hands the users greater

flexibility over depth of field and produces pictures that

exhibit rich, crisp details even when printed as large as A2.

Sports, action and wildlife pros will rejoice at its shooting

speed of 12fps, or 14fps in High Speed mode with mirror

lock up, which can run to a maximum of 180 large JPEGs

or 38 RAW files, and at ISO 32000 low-light enthusiasts

can power out a phenomenal 10fps. Add to that a native

gamut of ISO 100-51200 that can then be extended to a

colossal ISO 204800, and the 1D X looks set to succeed in

a very competitive market place.

Amassing a muscle-straining bulk of 1340g, the 1D X is

not for the faint hearted. Combine this with its large price

tag and the camera falls perfectly in line with its target

demographic. There’s no question that it is a heavy (and

expensive) piece of kit, but it absolutely feels as well-made

as it looks with vertical and horizontal grip on offer for

easier handling. On the rear sits a larger than average

3.2” LCD outputting a relatively high resolution of 1,040k

dots. A self cleaning sensor unit resides inside the camera,

ridding the full-frame sensor of dirt and build up.

Precision-engineered for professional

filmographers, the Canon EOS-1D C shares

many of the specifications enjoyed by the

Canon EOS-1D X such as the 18.1-megapixel full-frame

CMOS sensor but adds video recording at a cinematic

4k (4096 x 2160 pixels) as well as Full HD resolution

Canon EOS-1D XThe first of the next generation of elite shooters

Technical dataModel Canon EOS-1D X

Price £5,299/$6,799

Web www.canon.co.uk


Max resolution (pixels) 5184 x 3456

Sensor information 36 x 24mm full-frame

18.1MP CMOS sensor

Lens data/Zoom/Focus Lens dependent

Shutter speed 30-1/8000sec

ISO sensitivity 100-51200, expanded to

204800

Exposure modes P, S, A, M, Auto

Metering options CW, E, P, S

Flash modes E-TTL II Auto Flash,

Metered Manual

Weight 1340gDimensions 158 x 163.6 x 82.7mm

Technical dataModel Canon EOS-1D C

Price £12,000/$15,000

Web www.canon.co.uk



Sensor information 36 x 24mm full-frame

18.1MP CMOS sensor


Shutter speed 30-1/8000 sec


204800


Metering options CW, E, P, S

Flash modes E-TTL II Auto Flash,

Metered Manual

Weight 1355g

Dimensions 158 x 163.6 x 82.7mm

An equally viable option for semi-professionalsmoving up the DSLR ladder or for thoseupgrading from older shooters in theprofessional range, such as the brand’s stalwartcamera – the 5D

The 1D C’s versatility means that it’s both aportable camera for high-quality movie-capturefor film pros, as well as providing professionalphotographers with the means to sample high-end film production

(1920 x 1080 pixels) making the DSLR an ideal choice

for those working in motion picture and television

production. What’s more users can vary the capture rate

from 24p to 60p for fast-moving or slow motion scenes

and can enjoy complete control over exposure, audio

capture and compression.

The enviable native sensitivity extends from ISO 100 to

25600 for movies and ISO 51200 for stills, expanding to

ISO 204800 making high-quality handheld night shooting

a realistic possibility. Most impressive here perhaps, is the

built-in Canon Log Gamma that captures footage with rich

graduation expression that is synonymous with industry-standard cinematography, maximising both highlight and

shadow detail retention.

As the professionally-tailored 1D C matches the majority

of the 1D X’s high-end feature arsenal, it isn’t surprising

that the two cameras’ weight is nearly identical with the

former weighing in at 1355g.

There’s no question that it’s a solid piece of kit, but it feelsas well-made as it looks with vertical and horizontal grip onoffer for easier handling

Users can vary the capture rate from 24p to 60p forfast-moving or slow motion scenes

Canon EOS-1D CFitting high-end recording technology into the form of a DSLR

SRP: £12,000/$15,000

SRP: £5,299/$6,799

Summary

Summary W o r l d M a g s . n e t W o r l d M a g s . n e t







The EOS 6D is currently Canon’s smallest and

lightest full-frame DSLR, which makes it the

perfect companion on longer shoots and

excursions. The controls are easy to navigate so you can

change your exposure settings effortlessly during a shoot,

and there’s even a handy locking button around the mode

dial that’ll ensure that the mode you’re working in doesn’t

change. The camera is pretty quick to focus and it offers

an 11-point AF array; this is noticeably a lot less than the

DX-format EOS 7D. However, you’ve got to expect somecompromise for an affordable full-frame model.

The EOS 6D does a great job at accurately metering

the light for the best exposure results, even when

faced with challenging light conditions. There’s also a

multiple exposure mode so you can make the most

of the shadows, midtones and highlights in the scene.

Landscape shooters will also appreciate the in-built Live

View mode and single-axis electronic level, which helps

to ensure all of your horizons appear perfectly straight in-

camera. Wildlife photographers will also value the added

silent-shutter mode, which enables you to shoot discreetly.

Studio shooters, on the other hand, may find that the

EOS 6D isn’t as well prepared for flash photography. If you

don’t have a wireless studio setup, you’ll be let down by

Canon EOS 6DCanon’s affordable full-frame ticks all the boxes on paperbut how does it fare in the ever-expanding market?

Technical dataModel Canon EOS 6D

Price £1,799/$2,099 (body only)

Web www.canon.co.uk

Megapixels (effective) 20.2 MP


Sensor information 36 x 24mm CMOS

Lens data By lens

Zoom By lensFocus/macro By lens


ISO sensitivity A, 100-25600 (expandable

50-102,400)

Exposure modes P, A, S, M, Scene

Metering options CW, S, Evaluative, Partial

Flash modes N/A

Connectivity HDMI mini, USB

Weight 755g (including battery)

Dimensions 144.5 x 110.5 x 71.2mm

Batteries Li-ion

Storage SD / SDHC / SDXC

LCD 3”

Viewfinder: Optical pentaprism

The EOS 6D is an impressive mid-range full-frame DSLR that’s suitable for a wide range ofphotographers. It’s aimed at the price-consciouconsumer who wants pro-level kit and highimage quality without it costing them the earth

the absent flash sync port on the camera’s body, which

present in all of Canon’s other full-frame models. You can

still buy an adapter for the hotshoe of course.

The camera’s lower-than-expected megapixel amoun

has no bearing on the 6D’s image quality. We noted

fantastic detail and warm, rich colour reproduction – bo

reputable Canon traits. Shots also appeared perfectly

sharp and well balanced in terms of exposure. Overall, th

EOS 6D offers fantastic image quality and then some. In

addition to great stills, the camera also records high-quality video footage.

Keen videographers can switch seamlessly between

stills and video via the dedicated dial on the back of the

camera body. In this mode users can set their desired

recording quality and frame rate, which includes full

1080p HD at 25 and 30fps, and 720p HD at 50 and 60fp

Summary

The EOS 6D does a great job ataccurately metering the lightfor the best exposure results

SRP: £1,799/$2,099

Your Canon camera: Semi-pro








Your Canon camera: Semi-pro

Launched in 2010, the Canon EOS 60D is getting

on a bit, and as such isn’t able to bring to the

table the same high-calibre specifications as

more recent models. That said, it brings more than

enough for the avid photographer, including: 18MP

APS-C CMOS sensor, 3” vari-angle LCD, a wide sensitivity

range that is able to extend to ISO 12800 and a 63-zone

metering system. Although the camera’s somewhat

dated body lacks the moisture and dust protection of

its peers and feels immediately more plastic, it doesn’t

feel cheap. The slightly lowered and curved accent of the

shutter button makes for more comfortable shooting and

its enjoyable audible release evokes a nostalgic sense of

purpose. Surprisingly, the 60D only offers a 9-point cross

type AF system, but in true David and Goliath style it is

able to meet and in some cases exceed the reliability and

pace of its peers. Its vari-angle LCD is a boon for shooting

overhead or down low, and goes a long way in allowing

photographers to more accurately perfect compositions.

Image quality in most areas of critique is resoundingly

impressive. Colour interpretation is accurate, with bright,

rich and honest hues provided throughout the camera’s

settings. The only area of weakness here, which is a

tell-tale sign of the camera’s age, is its noise performance,

with evidence creeping in as low as ISO 800 and by ISO

6400 results are fairly distorted.

Take a look at the Canon 7D’s spec sheet and

you’d be forgiven for thinking it was a recent

launch. In fact the prosumer shooter was

introduced way back in 2009 and yet because its

high-end feature set was so cutting edge it effortlessly

outshines cameras half its age.

Topping the bill is an 18MP cropped CMOS sensor

that provides photographers with plenty of scope for

Canon EOS 60DDespite being upstaged by newer models, the 60D is still an affordable and safe bet


Price £890/$899

Web www.canon.co.uk

Megapixels (effective) 18MP

Max resolution (pixels) 5,184 × 3,456

Sensor information 22.3mm x 14.9mm CMOS

Lens data EF/EF-S

Zoom Lens dependent

Focus/macro Lens dependent


ISO sensitivity A, 100, 200, 400, 800,

1600, 3200, 6400

Exposure modes Auto P, A, S, M


Flash modes A, M, RE

Weight 775gDimensions 144.5 x 105.8 x 78.6mm


Price £1,700/$2,600

Web www.canon.co.uk

Megapixels (effective) 18.MP


Sensor information 22.3 x 14.9mm APS-C

18MP CMOS sensor




12800


Metering options Evaluative, Partial, Spot,

Centre weighted

Flash modes A, M, MF, IST

Weight 820g


It may be showing its age, especially with newermodels releasing every year, but the EOS 60D isstill a more than capable DSLR with great imageand build quality. Another great thing about thiscamera is its affordable price point

blowing up high resolution pictures into large, wall-

adorning prints. Next up is an ISO range that travels from

ISO 100 to 6400, and yet can be extended to 12,800

which is more than adequate for the needs of most

photographers, even those with a penchant for nocturnal

shooting. The 7D also provides an 8fps burst mode, Full

HD movie-capturing, a 19-point AF system, 63-zone

metering, an electronic level for straighter compositions

and an integrated Speedlite transmitter for controlling

the camera remotely.

Build quality, as with many Canon products, is superb.

Its appearance and form follow the brand’s tradition oflogically positioning controls at streamlined and intuitive

places for easy access while shooting. Its magnesium

alloy construction feels well-made and tough. However

its battery and memory card doors are fashioned from

plastic, yet like the rest of the device these areas easily

convey a sense of durability.

Its vari-angle LCD is a boon for shooting overheard or downlow, and goes a long way in allowing photographers to moreaccurately perfect compositions

Because its high-end feature set was so cutting edge, theCanon 7D effortlessly outshines cameras half its age

Canon EOS 7DLaunched nearly half a decade ago, the 7D is still favoured by semi-professionalsSRP: £1,700/$2,600

SRP: £890/$899

Summary

Summary

The Canon EOS 7D boasts a super build quality.Its appearance and form factor follow thebrand’s tradition of logically positioning controlsat streamlined and intuitive places for easyaccess while shooting








The EOS 700D is a well-designed camera with

a very logical control layout. There are plenty of

external controls, which make accessing the main

features simple and efficient. The menu system is also

clear and logical, though once you’ve set the camera up

to your way of shooting, you won’t need to access it very

often, thanks to the plethora of dials and buttons.

However, the EOS 700D’s standout feature has to be

the 3” articulated touchscreen, which makes the camera

a real joy to use. Its use will be familiar to anyone who has

used a smartphone. In Live View mode, you can move thefocusing point around the screen, then use gestures to

zoom in to either focus manually or via the highly

accurate AF. In review mode, you can use gestures to

zoom in, and then scroll around the picture to check

sharpness and detail.

In short, the performance of the 700D is excellent.

The 18MP sensor captures images that have excellent

detail and very pleasing colour. RAW files were just a little

softer and had a touch more noise than expected, but

responded very well to post-processing. One slight area

of concern with image quality is with long exposures,

where exposures of longer than a minute or two showed

an unacceptable level of noise. This is easily remedied,

however, by setting the in-camera long exposure noise

Canon EOS700D

The EOS 700D crams a lot offeatures into a compact body

Technical dataModel Canon EOS 700D/

Canon Rebel T5i

Price £620/$649

Web www.canon.co.uk



Sensor information 22.3 x 14.9mm CMOS

Lens data 18-55mm f3.5-5

Focus/macro 0.25m - infini

Metering options Evaluative, centre-

weighted, partial, spot

Shutter speed 30-1/4000sec + Bulb

ISO sensitivity 100-12800, plus expansion

to 25600

Exposure modes P, A, S, M, Special Scene

Flash modes Auto, On, Off, Red-eye

Connectivity USB, HDMI mini, Eye-Fi

Weight 580g


Batteries Li-ion

Storage SD/SDHC/SDXC

LCD 3”, 1,040,000 dots

Viewfinder Optical 100% coverage and

0.71x magnification

There are a surprising number of features, likethe zoom in and scroll option, which broadensthe appeal of EOS 700D. It’s a great option forbeginners who are interested in learning thecraft and for professionals seeking quality

reduction. It doesn’t have as many focusing points as

some of the competition – only nine – but they are all

cross-type, making the autofocus quick and accurate. T

responsive autofocus and a frame rate of 5fps could give

some appeal to action shooters.

The 700D is a feature-packed camera, but it certainly

doesn’t forget its target market. It offers a number of

‘scene modes’, such as Landscape, Sports and Close-up

together with handy on-screen guidance to the different

settings. There are also several ‘creative filters’ that can

be applied when shooting) or post-capture, and includeGrainy Black and White, Toy Camera, and Miniature.

Priced at around £850 (including the 18-55mm kit

lens) the Canon EOS 700D offers very good value for

money. Although it’s branded as an entry-level DSLR, it

has more than enough features to keep more advanced

users happy.

With its touch-screeninterface, it offers at least

one very useful feature notfound on higher-end models

SRP: £620/$649

Your Canon camera: Enthusiast

Summary








Your Canon camera: Enthusiast

Four years after the first CSC hit the market,

Canon finally offered up a contender in 2012 in

the shape of the EOS M. As expected from

Canon, the EOS M is packed full of consumer-friendly

features, including an impressive 18-megapixel APS-C

CMOS sensor, full-HD video, an extensive ISO sensitivity

range for both stills and video capture as well as an

intuitive touch screen.

On test we found the EOS M was a lot like using a

compact camera. Once accustomed to the touch-screen

technology, it was easy to adjust exposure settings and

switch between the available auto and manual shooting

modes, as well as video. The camera, in general, proved

a great option for everyday shooting scenarios and video

opportunities. However, we found the Hybrid CMOS AF

system to be a little slow, particularly when photographing

fast-moving subjects. On the plus side, however, image

quality is superb.

True to Canon’s great reputation, all test shots appear

detailed, sharp and full of rich and vibrant colour tones.

We were also impressed by the EOS M’s ability to shoot in

low light, as images appeared of a good quality with low

noise levels even at high ISO settings above ISO 1600. The

camera also sports a hotshoe at the top of the body. This

is a great option for those who want to experiment with

external flash and accessories.

The PowerShot G series has a long tradition

of superb image quality in a small package,

catering to a market that may primarily shoot

with a DSLR but doesn’t always want to carry one.

This is a heavyweight camera, both literally and figuratively,

with a rock-solid body made from both metal and strong

plastic. Reassuringly tough, it should be able to brush off

the odd knock and scrape. Everything here points to a

well-built piece of kit, as is to be expected from Canon.

Canon EOS MA great camera for everyday use, the EOS M is an all-round masterpiece

Technical dataModel Canon EOS M

Price £449/$599

Web www.canon.co.uk

Megapixels (effective) 18MP



Lens data Lens dependent

Zoom Lens dependent

Focus/macro Lens dependent


ISO sensitivity Auto, 100-12800 (up to ISO

25600)

Exposure modes Auto, P, A, S, M, Scene


Flash modes N/A

Weight 298g (including battery)Dimensions 108.6 x 66.5 x 32.3mm

Technical dataModel Canon PowerShot G1 X

Price £700/$800

Web www.canon.co.uk

Megapixels (effective) 14.3 MP


Sensor information 1.5in CMOS

Lens data f2.8-5.8; 28-112mm

(equivalent)

Zoom 4x optical

Focus/macro 20cm (macro), 35cm

(standard)

Shutter speed 60-1/4000 sec

ISO sensitivity A, 100, 200, 400, 800,

1600, 3200, 6400, 12800

Exposure modes Auto, P, AP, SP, M

Metering options CW, S, MS, Flash

Flash modes A, M, Fon, Foff

Weight 534g (without battery)


A great compact system camera that’s perfectas either a back-up to your DSLR or for streetphotography. Its few minor drawbacks are faroutweighed by its impressive results, such asthe ability to produce great images in low light

Not classed as a system camera and not really acompact, that high ISO performance puts theG1 X at the top of its own field. Given its greatoverall performance and stunning low-lightperformance, its price is justifiable

Image quality is great although there was a slight

tendency to overexpose which can be easily rectified. The

lens is really excellent as is the built-in image stabilisation,

which allows for a good four stops of steady shooting. The

biggest revelation, though, is the high ISO performance.

This is where that large sensor really shines – with utterly

superb, noise-free performance right up to around ISO

3200. Even at such a high setting there was still plenty of

shadow detail and even ISOs 6400 and 12800 produced

perfectly acceptable shots that could be happily printed at

smaller sizes. It’s one of the few compacts where you may

never need to employ the built-in pop-up flash.Canon has stuck to the basics here – great build and

picture quality, top-end glass, a killer sensor and ISO

performance to die for in such a small package. It may not

be for everyone, but those who do fall for its charms will

no doubt be absolutely smitten.

The EOS M’s ability to shoot in low light is great with lownoise levels even at a high ISO setting of 1600

Canon has stuck to the basics here – great build and picturequality, top-end glass, a killer sensor and ISO performanceto die for in such a small package

Canon PowerShot G1 XOne of Canon’s best high-end compacts where you may not require the pop-up flash

SRP: £700/$800

SRP: £449/$599

Summary

Summary

There are currently two dedicated lenses available

for the EOS M. However, it’s possible to shoot with all of

Canon’s existing EF and EF-S SLR lenses too. W o r l d M a g s . n e t W o r l d M a g s . n e t







Known as the EOS Rebel SL1 in the USA, the

100D shares many features with the 700D,

including the 18MP sensor, a nine-point AF

system and DIGIC 5 processor, but in a much smaller

package. The body also contains the same hybrid

AF system (combining phase-detection and contrast-

detection systems), which improves the accuracy and

speed of autofocus in Video and Live View modes.

Apart from the size, the main difference between the

100D and 700D is the screen. The fixed 3-inch Clearview(1,040K dot) screen is large enough, bright and has

decent clarity for critical work in most lighting conditions.

Overall, the 100D handles well. The form factor and

minimal weight will appeal to those moving up from

compacts, who are put off by the thought of lugging

around a bulky DSLR. A small camera body is pointless

unless you have small lenses to put on it and with some

of Canon’s better lenses, the camera doesn’t balance

that well. That said, the target market for the camera is

obviously first-time SLR users, who are more likely to use

it with one of the lighter lenses.

The 100D is aimed at the less experienced user, so as

well as the usual PSAM modes, there are scene modes

such as Landscape and Sports, as well as special scene

Canon EOS100DIt’s the world’s smallest and lightest DSLR, but is this at theexpense of handling and features?

Technical dataModel Canon EOS 100D/

Rebel SL1

Price £570/$649

Web www.canon.co.uk

Megapixels (effective) 18.2



Zoom By lens

Focus/macro By lens

Shutter speed 30-1/4,000 sec

ISO sensitivity 100-12800

Exposure modes P, A, S, M, Scene, Special

Metering options Evaluative, centre-

weighted, partial, spot

Flash modes Auto, On, Off, Red-eye

Connectivity USB, HDMI mini, Eye-Fi,

remote (RC-6)

Weight 407g


Batteries Li-ion

Storage SD / SDHC / SDXC

LCD 3”

Viewfinder: Optical viewfinder,

95 percent coverage

For a beginner’s camera, the 100D boasts anincredible number of features, all contained inan extremely compact and light body. It’s a grestep up for those graduating to DSLR fromcompacts as it allows room for experimentatio

modes including Kids, Night Portrait and Food. There are

also creative filters available as one of the many custom

functions. These include grainy black and white, soft foc

toy camera and fisheye effects. New shooters will enjoy

playing with these, but experienced users may prefer th

greater control they get using Photoshop.

The 100D records full HD video at 25fps with other

quality options available. It works well with the new STM

lenses, which are designed for quiet focusing when

shooting in Movie mode. It wouldn’t be your first choice a video camera, but the Movie function is a good additio

The Canon EOS 100D packs an awful lot of features in

a very small body and at £570 it provides excellent value

for money. It’s clearly a beginner’s camera, but one that

those new to SLR photography will take quite a while to

grow out of.

Summary

Aimed at the less experienced,the 100D has the usual PSAMmodes, with scene modes like

Landscape and Sports

SRP: £570/$649 (body only)

Your Canon camera: Amateur








Your Canon camera: Amateur

The G15 has plenty of positives on offer. The most

instantly appealing feature is the new f1.8-2.8 lens,

which improves quite significantly on the f2.8-f4.5

lens that was found on the G12. The 5x optical zoom

capability offers a focal length range equivalent to 28-

140mm. The camera’s dials and buttons are all right on

the money for a camera at this price point, with nothing

that feels loose or overtly cheap.

A comprehensive mode dial, traditional exposure

compensation dial and well laid-out buttons are the

order of the day, resulting in an uncluttered camera that’s

beautifully simple and pleasurable to use. The camera’s

menu system is equally to the point, and you can

essentially just pick the G15 up and start shooting without

any problem – which is precisely as it should be with a

camera at this level.

The 12.1MP 1/1.7” Canon CMOS sensor produces

excellent results, admirably supported by the much-

improved lens that Canon has included. Colours are

reproduced very well and the high ISO noise reduction

(which can’t be switched off, only adjusted) in the G15

is capable of controlling both colour and luminance

noise most impressively. The close focusing is also a real

plus point, allowing you to focus as close as 1cm to your

subject. Focusing, incidentally, is fast and reliable, quick to

find focus with hunting rarely an issue.

Enthusiastic photographers seeking a cost-

effective alternative to a traditional DSLR should

take a look at the Canon PowerShot SX50 HS,

with 50x wide-angle zoom and an equivalent focal

length of 24-1,200mm. There’s also an onboard 12.1MP

HS system with powerful DIGIC 5 image sensor.

As with most PowerShots, the Canon shooter sports

a hardy grip, flash hotshoe, electronic viewfinder, pull-

out and flip-over vari-angle 2.8” LCD, one-touch movie

Canon PowerShot G15The successor of the G12 improves on its every spec to be a great point-and-shoot

Technical dataModel Canon PowerShot G15

Price £550/$500

Web www.canon.co.uk



Sensor information 1/1.7-inch CMOS, 7.44 x

5.58mm

Lens data EF/EF-S

Zoom 5x optical zoom

Focus/macro 1cm


ISO sensitivity Auto, 80 - 12800

Exposure modes Auto, P, A, S, M, Scene

Selection, Movie, Sweep

PanoramaMetering options M, CW

Flash modes A, Fon, Foff, RE, SS, Second

Curtain

Weight 352g (with battery)


(4.21 x 2.99 x 1.57”)

Technical dataModel Canon PowerShot SX50 HS

Price £450/$480

Web www.canon.co.uk



Sensor information 1/2.3 type back-illuminated

CMOS

Zoom 50x optical zoom, 4x digital

Focus/macro 0 cm


ISO sensitivity Auto, 80 - 6400

Exposure modes Prog AE, SP AE, AP AE, M

Metering options CW, S, E

Flash modes A, Fon, Foff, SS

Weight 595g with battery


It’s hard to fault the PowerShot G15 – it feels likeit’s truly built to go the distance, with no loosedials or dodgy buttons in sight. It’s a camera that

you can start shooting with pretty much straightout of the box and be pleased with its results

Image quality isn’t quite as on-point as otherPowerShots, but this Canon superzoom is stillan excellent investment, especially if you’relooking for a camera that can satisfy yourwildlife and sports photography needs

record button and rotating selection wheel around

the D-pad. As well as an Auto mode, 58 scene modes

complete the shooting setup. For the skilled user there’s

the full range of manual and semi-manual modes, as well

as the ability to shoot in RAW.

Handling is a mixed affair; while shooting well-lit

stationary subjects was easy, composing and shooting

more-challenging subjects in less favourable conditions

was a struggle for the SX50 HS. Despite offering

shooters Intelligent IS to counteract shake and Zoom

Framing Assist to help keep subjects in-frame, the

camera used for this review did not reflect these featuresin a favourable light. The AF struggled to lock focus a lot

of the time and it was incredibly hard to keep the subject

within the frame over long distances.

On the whole the camera metered well, but there is

an argument to say that the camera does lean slightly

towards overexposing, in order to retain shadow details.

A comprehensive mode dial, traditional exposure

compensation dial and well laid-out buttons are the orderof the day, resulting in an uncluttered and simple camera

On the whole the camera meters well, but it does leanslightly towards overexposing

Canon PowerShot SX50 HSA camera with a stunning 50x ultra wide-angle zoom lens SRP: £450/$400

SRP: £550/$500

Summary

Summary W o r l d M a g s . n e t W o r l d M a g s . n e t






Whatever the scene, let us helpyou capture the full picture withour guide to lenses

S

electing the right lens for the correct subject matter is crucial. Yourlens is the eye of your camera and records or captures what it sees. Interms of cost and performance, it usually comes down to the moreyou spend, the better your results; however, if you’re just starting

out there is no point in splashing out on lots of expensive equipmentstraight away as you first need to learn the basics of photography. A good lens ispricey; there’s no getting around that fact. The cheaper kit lenses will produce goodenough results for beginners, but when you need to take your photography to thenext step you will have to invest in a couple of decent lenses.

A lens’s angle of view is measured in millimetres. An ultra-wide-angle lens willhave a measurement that is less than 24mm, a wide-angle lens ranges from 25-35mm, and a normal or standard lens is 36mm-60mm. Past this number the lensbecomes a long focus lens or telephoto. Another thing to consider when looking forthe right lens is the construction. There are prime lenses, which have fixed focallengths (ie the lens does not zoom in or out), and there are zoom lenses, where thefocal point can be adjusted.

The type of camera you have will also affect what lens you should shoot with. Ifyou have a full-frame sensor then the angle of view is the equivalent to how it readson the lens (a 35mm will be 35mm, for example). However, if you have a camera witha crop factor then the focal length will be different. If the camera has a crop factor of

1.6x then a 35mm will be equivalent to a 56mm angle.

Canon

Ultimate guide to...

lenses

Guide to Canon lenses









“Some lenses areso wide that theytake on a fisheyeeffect and the imagebecomes distorted”

M ost photographers will opt for awide-angle lens when capturinga landscape image, as they will

want to include as much of thevista as possible.For most, a wide-angle lens is anything that

is lower than 35mm. But remember that if yourcamera has a crop factor of 1.6x then you need alens measuring 22mm to have a 35mm equivalent.

When shooting a landscape scene there are sometechnical aspects to be aware of. If you want finedetail from the front to the back of the image then

you will need to set a narrow aperture, ie anythinghigher than f16. This is when the lens is letting inthe least amount of light, so to balance the exposure

with the shutter speed you will most likely needto support the camera on a tripod. You should alsocompose your shot in thirds and look for leadinglines in the landscape to pull the viewer’s eyethrough the image.

On a landscape shoot it is best practice to usethe focus on manual mode, as your eyesight is farmore accurate than the camera lens and you shouldbe aware of where you want the focal point. With

landscape photography you have time to considerand control all these aspects, so you should use thcamera and lens manually.

Some lenses are so wide that they take on afisheye effect and the image becomes distorted in spherical manner. For the 35mm format, a typicalfocal length of a fisheye lens is between 8-10mmfor cameras with a crop factor, and 15-16mm fora full-frame sensor. Whether or not you shoulduse a fisheye lens in your landscapes is down toindividual taste – some embrace this effect whereaothers aren’t too keen on it.

Take a lookThey may not be the cheapest ones available to buy, but these are thebest Canon lenses for landscape photography

Canon EF 14mmf2.8L II USM

This lens goesbeyond humanperspective,offering amassive114-degreesfield of view. Its

ultra-wide nature not onlypacks plenty into the frame,but also gives a strongseparation betweenforeground and backgroundelements. A maximumaperture of f2.8 enablessharp handheld shots.

Price: £2,809/$2,359

Contact: 0870 514 3723

Web: www.canon.co.uk

Canon EF-S18-55mm f3.5-5.6 IS II

This 18-55mmultra-wide-

angle zoomlens fromCanon has adecent focal

range and works superblywell at its widest setting of18mm. It comes withIntelligent four-stop ImageStabilisation, whichautomatically detects panningin order to deliver the bestresults possible.

Price: £199/$249

Contact: 0870 514 3723


Canon EF 16-35mm f2.8L IIUSM

The retail price ofthis lens is pretty

expensive, butCanon users willnot bedisappointed with

the results of its 16-35mm.The zoom range is highlyadaptable to anylandscape scene, and thefact that it’s teamedwith a wide f2.8 aperturemakes this lens perfect inlow light.

Price: £761.99/$999.95

Contact: 0870 514 3723


Canon lenses for landscapes

FOCAL POINTA manual focus is always bestwhen it comes to landscapephotography as your eye is more

reliable and there are manyelements in a composition toconsider as the main focal point

LEAD-IN LINESLook for lead-in linesin the composition to

produce superior results.Make sure you have a

point of interest

WIDE ANGLEThe wide angle helpsaccentuate the sweeping viewof the landscape image

RULE OF THIRDSIn landscape photographythe rule of thirds isgenerally a good one tofollow as the image restseasier on the eye









“Zoom lenses aren’t as fast as primes, soyou may need to up the ISO”

Canon lenses for outdoor portraits

CHARACTER

Try to photograph peoplewith lots of character. Oldpeople and babies workparticularly well for this typeof photography

DEPTH OF FIELD

If you’re using a shallow depthof field, make sure you keepfocus on one part of the image.In portraiture photography the

eyes are a key part

POSITIONCome in close to your subject and standslightly above to produce more flatteringresults. If you position yourself underneaththe subject the chin will look bigger

MONOCHROMEBlack and white is much more

flattering and portraits generallylook superior in this medium

Take a lookThese lenses willdeliver greatoutdoor portraitsevery time

Canon EF 40mmf2.8 STM

The ultra-wide f2.8aperturemeans thislens from

Canon will cope well in lowlight and with streetphotography. The ultra-slimdesign helps thephotographer from scaringtheir subjects with a largelens, putting models at easewhile also producingstunning results. The newly

developed stopping motor issmooth and quiet, too.

Price: £229.99/$199

Contact: 0870 514 3723


Canon EF 35mmf2 IS USM

For thosewanting awider angle,this 35mmprime lensfrom Canon

is popular with street andportrait photographers. Like

the EF 40mm lens, the35mm option has a wideaperture, but this one goesas shallow as f2. Make sureyou keep the eyes in focus toget the best results.

Price: £799/$649.99

Contact: 0870 514 3723


Canon EF 24-70mm f2.8L IIUSM

This standardzoom lens is amulti-purpose

option thatdelivers top

image quality from the wide-angle 24mm to the telephoto70mm. A nine-bladedcircular aperture producesbeautiful bokeh, creatingthe coveted blurredbackground in portraiture.It’s also well-suited to lowlight conditions with its fastf2.8 maximum aperture.

Price: £1,499.99/$1,499.99

Contact: 0870 514 3723


F or portrait photography you want to shootthe head and the shoulders. Prime lenses willproduce perfect results and Canon has plenty ofoptions. However, some find these hard to use asthey’re fixed in their focal range, which means

any zooming you do will have to be with your feet. Despitethis, the unique style that this type of lens produces is highlypopular with industry professionals.

Many prime lenses are able to open to a wide aperture andthis can create a dreamy effect where the subject is sharpand the background is blurred, which puts the focus onyour subject. On some lenses the aperture will go as wide asf1.4, meaning it’s effective to use in low light and for street/documentary photography. Prime lenses are also generally a

lot lighter than zoom lenses, so if you’re out and about theycan make a considerable difference to your comfort.

Again, your camera’s sensor will make a difference towhich lens you should go for, and some people may prefershooting portraits with a zoom lens. Something like a 15-85mm can be most useful, as the versatile focal range is perfectfor close-up portraits or if you want to get a wider angle. Butremember that zoom lenses are not as fast as prime lenses, soyou may need to up the ISO to compensate for the lack of light.It’s best to set your camera to anything above 1/125sec if youwant crisp results.

Zoom lenses will also struggle to create the unique effectsthat prime lenses are capable of; however, they make up forany shortcomings with their versatile focal lengths.









“The biggest thing to consider is the weightof your photographic equipment”

Canon lenses for travel

VERSATILITYA versatile focal range isimportant for travel, as

you’ll want to shoot avariety of subjects

INSURANCEMake sure you protect

your equipment bytaking out a separateinsurance policy on it

GET CLOSEIntimate portraits make forexcellent images when travelling.Having a zoom lens allows you toget in close

BACK UPBack up your images whenever

possible. There are many storagedevices designed specially for

photographers on the go

Take a lookTravel light with thesethree lenses

Canon EF 18-135mm f3.5-5.6IS STM

DynamicImageStabilisertechnologysmooths outvibrationsand cameramovements

so that whether you’reshooting hand-held orrecording a video, the resultsare sharper and betterquality. High speed autofocus locks onto subjectsquickly and accurately.

Price: £239.99/$249.99Contact: 0870 514 3723


Canon EF 70-200f2.8L IS II USM

This compactlens is idealshootingsports, wildlifeand portraits,making itperfect for thewide variety ofsubjects that atravel

photographer faces. Itboasts rugged durability anda four-stop Image Stabiliser.

Price: £2,799.99/$2,499

Contact: 0870 514 3723


Canon EF-S55-250mmf4-5.6 IS II

Light,compact andgreat for

thoseon the go,this55-250mm lensfrom Canonweighs just308g. It hasbeen

designed to be an affordableversatile lens for general-purpose photography and itis a must-have item for anyCanon user’s kit bag.

Price: £329.99/$299

Contact: 0870 514 3723


If you’re the adventurous type, then you may find

yourself on many big trips to some remote places. Ifyou’re a travelling photographer then the biggestthing to consider in your kit bag is the weight of yourphotographic equipment. You may have to compromise

on image quality due to practical reasons, as if you’retravelling alone you will soon get annoyed with lugging

around two or three heavy lenses. This weight issue will mostlikely affect photographers with heavy professional DSLRcamera bodies.

For travellers, having the lightest but most versatile lenspossible is important, so a large focal range is essential. Thebest option to consider to take on a trip is just one zoom lenswith a focal range from around 18-200mm – in 35mm termsthis will equal 27-300mm. This means you have everythingcovered from landscapes to portraits.

At the full zoom of a zoom lens you will need to considertechnical issues such as lens shake, so always check to seewhether the lens comes with Intelligent Image Stabilisation tohelp combat blurry pictures. Also, if you have a good cameramodel you can always up the ISO and shoot in RAW to try tocorrect as much as possible in the post-production process.This also means that you need to take plenty of memory cards

and a portable external hard drive to back up your imageswhenever possible.

When you’re travelling as a photographer you may findyour expensive equipment could make you a key target forpickpockets, but don’t let this put you off. Take out a fullycomprehensive insurance policy and try not to show you havelots of flashy equipment. Some photographers deliberatelymake their gear look worn out by putting tape or plasters ontheir camera body and lenses.









“A macro lens could

measure any focallength, but a 30-60mm range istypically used forproduct photographyand small objects”

In close-up photography, a macro lensproduces consistently great results. There is ofcourse a variety of matter that can be shot inmacro form, but macro lenses are most oftenused for product photography, while bright

colours, flowers and insects generally make excellentsubjects too.

A macro lens could measure any focal length, buta 30-60mm range is typically used for productphotography and smal l objects. A 90-105mm rangeis the standard focal range used for flowers andsmall objects, and a 150-200mm range gives moreworking distance and is typically used for shootinginsects and other small animals.

There are a few zoom lenses out there that provide amacro option, but they generally do not allow a one-to-one magnification.

In macro photography, if you want detailed resultsthen it’s best to use a narrow aperture, ie anythingabove f16. This ensures that the whole image remainssharp and in focus. But if you want to blur thebackground and have just one focal point in the image,then you’ll need to use a shallow depth of field. Mostmacro lenses aren’t as fast as primes, and usually onlyopen as wide as f2.8, but this should be enough. If youwant to use macro lenses with a shallow depth of field,it’s unlikely you’ll need anything much wider than f2.8.

But those who don’t want to take the plunge ona macro lens need not fear, as extension tubes areavailable as an alternative. Extension tubes are a fairbit cheaper than a macro lens and can be attached inbetween the camera and standard lens. Tubes vary inlength and can be stacked, decreasing lens-to-subject

distance and increasing magnification. Less light willreach the sensor with an extension tube, so a longerexposure time will be needed to compensate and atripod will have to be used.

Take a lookGet up close and personal to your subject with some of our favouritemoderately priced macro lenses from Canon

Canon EF100mm f2.8Macro IS USM

This lens’s100mm focallengthenables acomfortabledistancebetweenphotographerand subject,

meaning that there’s lesschance of scaring insectsand small creatures away.There is also less chance ofcasting a shadow andspoiling your image.

Price: £749/$1,049

Contact: 0870 514 3723


Canon EF50mm f2.5Compact Macro

Light andcompact,thisgeneral-purposemacro lenscan alsofunction as

a flexible standard lens. Thelarge f2.5 aperture enablesfast, flash-free shooting inlow light settings, andcreates gorgeous blurredbackgrounds for portraits aswell as close-up captures.

Price: £247.74/$269

Contact: 0870 514 3723


Canon EF-S60mm f2.8Macro USM

The EF-S60mm f2.8MacroUSM is thefirst trueMacro lensin the EF-Sseries fromCanon.

With its ability to focus crispand sharp life-size imagesonto the sensor, the EF-S60mm f2.8 Macro USMoffers true macrophotography performance.

Price: £539.99/$469.99

Contact: 0870 514 3723


Canon lensesfor macro

1:1 RATIOA macro lens isanything that producesan image at a ratio of 1:1or larger

COLOURSBright colours are goodfor macro photography

and subject matterbecomes more

abstract the closer you get

SUBJECTSFlowers and insects make excellentsubject matter. Set your camera upnext to a pollinating flower to let theinsects come to you

MANUALA manual focus is always more

reliable, and in macro photography you have time to control this









“Be aware that the more you zoom in, themore you will have to compensate with

the shutter speed”

ACTIONDon’t miss anymoment and get intothe heart of the actionwith a zoom lens

COMPENSATEMake sure your shutter speed

is set to compensate for thelength of the lens. You may

need to up the ISO to make upfor this

EXPERIMENTCreative angles can workwell with sports and actionphotography, so try toexperiment

STABILITYMany lenses have the option toturn on the image stabilisation

setting. This is recommended foraction photography

Take a lookGet in close to theaction with a longzoom lens

Canon EF 70-300mm f4-5.6LIS USM

This telephotozoom lensfrom Canonhas a decentfocal rangeand supportsan eight-bladecircularaperture,which creates

a beautiful background blurand makes your subjectstand out. It’s an ideal lensfor zooming in close towhatever action you’re tryingto capture.

Price: £1,600/$ 1,599

Contact: 0870 514 3723


Canon EF200mm f2LIS USM

Fixed focallength lensessuch as thisone generallyoffer a widermaximumaperture.Canon offer

a fixed lensfor everyshooting scenario, and thisone is geared towards thewildlife, sports and newsphotographers that crave atelephoto lens to bring themclose r to the action. The lensalso comes with a dedicated,detachable hood.

Price: £959.99/$819

Contact: 0870 514 3723


Canon EF135mm f2L USM

Canon’sL-series of

lensespromise tocombinessuperiorperformancewithsuperlativehandling, and

they are resistant to dust andmoisture to boot. This theideal optic for indoor sports.

Price: £1,359.99/$1,089.99

Contact: 0870 514 3723


F or action and wildlife photography it is essentialto be at the heart of the action. But this is notalways physically possible, so a zoom or telephotolens is the next best thing. Most photographerswanting to get up close will use a camera with a

crop factor as it makes a difference to the length of the lens; forexample, a 200mm lens on a 1.6x crop becomes 320mm.

There are other aspects to be aware of with a longer lens, asthe more you zoom in the more you will have to compensatewith the shutter speed. A monopod can be a good accessory tohave to hand as it provides the user with flexibility, yet it stilladds that extra bit of support. Most zoom lenses also comewith some type of image stabilisation feature. We recommend

you keep it on, but it could affect the continuous burst mode,so check to see how your camera model handles this. Youmay also find that this feature uses up the battery life on yourcamera faster than normal.

There are many lenses on the market to choose from andwith long lenses they do become pricier the longer they get.This is because they are complex in their design as there aremany elements that make up the construction. You want to becareful not to bash the lens when out on location – if one of theelements gets knocked out of place, it can be expensive tofix. You may not notice that it’s broken until you get backto upload your images onto your computer and realise thatthey’re all out of focus.

Canon lenses for action and wildlife









“Professionals are using creative lenses for

their advertising and editorial work”

C reative photography has become increasinglypopular as the digital medium has developed.Effects such as fisheye and lenses like tilt-and-

shifts are at the forefront of this advancement.It’s not only the high-street consumer that hasbecome fascinated by the alternative effects, as industryprofessionals are using them for their advertising and editorialwork to try to produce something unique for their clients.

Tilt-and-shift lenses work by adjusting the lens’s optical axisand controlling the depth of field. They can be tricky to use,and even professionals have admitted they can have problemswith them. Architecture and fine art photographers are themost likely to use this type of lens as it can help correct barreldistortion, which is a common problem with architecturalimages shot from the ground. It can also be useful in the

Canon lenses for creativity

WIDE ANGLESAs the angle of the lens becomeswider, the image begins to look moredistorted and curves the edges of theimage around

POPULARITYIndustry professionals

are using these creativelenses as they try to

produce unique styles

FISHEYEThe fisheye effect can work wellwith landscape, sport/action oreven people photography

TILT-AND-SHIFTAnother creative effect,

the tilt-and-shift lens hasbecome highly popular

in recent times

Take a lookIf you want toproduce creativeimages then checkout these lenses

Canon TS-E90mm f2.8

This is a shorttelephoto lensthat comeswithperspectiveand depth-of-field control,

which enables you toproduce images not possiblewith normal lenses. It isperfect for architecture,portraits and productphotography. You can alsofocus down to 0.5cm,boosting its versatility.

Price: £1,669.99/$1,399

Contact: 0870 514 3723


Canon EF 8-15mm f4LFisheye USM

This robustCanon8-15mmlens hasbeenspeciallymade for

rough weather conditions,while the all-important frontglass has been treated with a

distinct fluorine coating thatmakes it much easier tokeep clean. For users with acrop factor this lens will equal12-24mm.

Price: £1500/$1499

Contact: 0870 514 3723


Canon TS-E17mm f4L

The tilt-and-shiftlens effecthas provedto be very

popular inrecenttimes;

however, special tilt-shiftlenses can be notoriouslytricky to use. Optically, thisCanon lens is one of the beston the market and is used bymany architecturalphotographers, but, likemost pro-grade lenses, theprice is steep.

Price: £2919.99/$2499

Contact: 0870 514 3723


city where the distance between the photographer andbuilding can be restricted and a wide enough angle cannot becomposed. The tilt-and-shift lens can also make subject matter

appear as if it’s miniature by blurring the top and bottom of theimage. This type of effect is appearing in most cameras as acreative filter, so anyone thinking of investing in one of theseexpensive special ist lenses should first consider how much usethey will get out of it.

Fisheye lenses are not as tricky to operate as the tilt-and-shifts and can simply be used like a normal lens. Fisheyelenses can be good for interior photography or where thephotographer needs to get an extreme wide-angle view. Thereare some fisheye lenses that are subtler and some that aremore extreme; the one you should buy depends on the kind ofimpact that you’re after.








Gear and gadgets to help you take better imagesBuying a Canon camera is an investment –whether it’s a small compact camera for snappingholidays and events, or a bigger DSLR modelfor professional purposes or for pleasure. Whenit comes to adding accessories, the choices are sovast and stretch from gizmos and gadgets that arefun play with, to more serious pieces of kit suchas tripods and cleaning equipment. Chances are

that, if you’re passionate about photography, yourkit wish will never end as you aim to build as manyoptions as possible to help you shoot better imagesusing different techniques. We’ve compiled a list ofessential accessories that perfectly complement yourCanon camera and explain briefly about how they’llhelp you. We start by looking at tripods, often themost bulky piece of equipment after your camera

itself. We then move on to bags and cases to keepyour camera safe, as well as ones that are easy tocarry from one adventure to the next. Next, we delvinto Flashes and Speedlights and explain what thetwo terms mean and which model will offer you besresults for your camera and level of skill. Finally, welook at remotes, SD Cards and the cleaning productyou need to keep your gear in top condition.

Essential kitfor your Canon

Essential kit








One of the biggest enemies of good photography is theinevitable camera shake that comes along with capturingeverything by hand. Mounting your camera to a tripodmeans that you can be sure the unit remains absolutelystill as you snap a shot. This allows you to start being abit more creative with shutter speeds and manual settings.Many of Canon’s compact range come with a built-in anti-

shake function but this can only get you so far if you’rehoping to push your artistic boundaries. There are manyoptions, such as the Gorilla Pod, that are small enoughto complement your compact gear but still allow you tofind interesting angles to shoot from and, above all, keepit steady as you go. We look through some top options onthe market that’ll be a perfect match with your Canon.

Tripods

MANFROTTO 055 CARBON FIBRE 3-SECTION

TRIPOD £339.95/$549.90Made with the professional photographer in mind, Manfrotto offers up alightweight yet durable tripod which forms part of its 055 series. The body is madefrom 100% carbon fibre and the centre column is constructed from aluminium.Though it is on the expensive side, it is a worthy investment for any seriousphotographer and will become an indispensable item in your photography kit. Thetripod includes a low-angle adapter which can be used as a short column. It cansafely take up to 8kg making it ideal for DSLRs. At its maximum height, it reaches177cm, which is good enough for great landscapes and portraits.

Flexible anglesAngle the legs of thetripod at varyingdegrees between 23and 89 to fit yourterrain and requiredcamera positioning

“Mounting yourcamera to atripod providesstability whencapturingan image”

Chic in blackThe tripod comes ina smart black finishand has a closedlength of 61.5cm

Lightweight and durableThe carbon fibre build can take up to 8kg ofcamera weight while weighing only 1.78kg itself

BENRO TRAVEL FLAT A0180TTRIPOD£109.99/$177.92

If you traveloften forshoots, you’llneed a tripodthat’s easyto carry andthe Benro ismade withthis in mind.Save yourselfthe hassleof luggingaround a fullsize tripodby investingin this modelthat foldsup neatly foreasy storage.

This Benro model goes from 17.3 inches whenfolded to between 49.6 – 61.4 inches when youneed to use it. The model also offers stainlesssteel spike or rubber feet and a removable two-section centre column.

GIOTTOS SILK ROADYTL9253 VERTICAL COLUMN -ALUMINIUM£100/$161.76

The Y-tubecentrecolumn ofGiottos’ SilkRoad seriesmakesthe unit30% morecompactwhen foldedcompared toa similar sizetripods. Italso featuresusefuladditionssuch as quickeasy leverleg locking

systems and graduated leg markings. TheYTL9253 kicks off the series at an affordableprice tag while still offering a weight capacityof 5kg and a max height with a centre columnof 166cm.

GORILLAPOD ORIGINAL£19.99/£32.33

Mount yourCanon pointand shoot onthis bendyleggedmini-tripod

that can beused on anysurface orwrappedaroundrailings ortrees forvery creativephotographs.The customstainlesssteel screwfits right

into the bottom of your camera while therubberised ring and foot grips provide stabilityon smooth or rough terrain. If you’re a compactcamera user, then check out the GorillaPodHybrid model.

Keep it stableTop picks in tripods and collars


Essential kit







Change the angleTripod heads to reposition shots

VELBON PH-157Q 3-WAY PAN/TILT HEAD£39.77/$63.92This 3-way head gives you independent andsmooth movement with its long panhandles.The panhandle is useful as it also locks thehead’s pan and tilt movement. The Velbon isconstructed from die-cast aluminium whichmakes it strong and robust without adding anexcessive amount of weight to the top of yourtripod. It comes in at an affordable price andmakes a good option for photographers whoare just getting started with kit essentials.

GITZO SERIES 1 MAGCENTRE BALL HEAD GH1780

£184.95/$298.98At a basic level the design of ball heads arebased on a large ball that sits inside a socketwhich is locked by a clamping screw. Thismodel by Gitzo features the same basic designbut with an added emphasis on balanceand smoothness for the photographer. Thehead features all the standard measures andfeatures you need to get your compositionsperfectly straight and includes a 360 degreepanoramic rotation.

MANFROTTO 055MAGNESIUM BALL HEAD£169.95/$274.73Built to work best with the 055 Tripod series,this head is extremely precise and offersextra smooth movements, which is especiallyimportant if you use your Canon for the dualpurpose of filming and photography. Its mostuseful features include the 90-100 degreeportrait angle selector and an independent

pan lock. It’s constructed from light-weightmagnesium and it comes with a traditionaldisk attachment.

When shooting with a tripod the legs do the bulk ofthe heavy lifting but it’s the tripod head that providesthe functionality. Entry-level tripods often come as akit with both the legs and the head included but asyou move up, these two ranges of gear are often soldseparately. Some manufacturers, such as Manfrotto,offer kits that include both components but it’s notuncommon for photographers to mix and matchaccording to their immediate shooting needs. As withall camera equipment, the price of tripod heads range

dramatically from the very highly priced top rangeto offerings aimed at amateur photographers. Themost important aspect to keep in mind is how muchflexibility you will need while you’re shooting. High-end models aim to give photographers a seamlessexperience when moving their cameras from one anglto another and try to reach as many angles as possiblewith minimum effort. Look for a head that is sturdy,compatible with your camera and that lets you movearound as much as you need to for your level.

Tripod heads

GIOTTOS MH5001 3-WAY HEAD £53/$85.67This reasonably priced three-way model from Giottos offerssomething to suit every photographer with precision anglesand usability at the core of its design. Each axis of movementon the unit is controlled independently so you can adjust oneangle without disturbing the other two. This means that you canachieve the perfect shot even without aligning all your axes. Thetwo bubble levels ensure that your camera is sitting perfectlystraight, which helps level out the camera and the X axis; andfinally the large locking handles help you position it properlyfor that perfect shot.

Quick releaseIf you work with multiple camera setups, you’llneed a tripod head that enables you to quicklyinterchange between setups without wasting time.Two safety catches allow you to quickly attach andremove your camera as you change shots, whichmakes for effortless interchanging

“Look for a head that iscompatible with yourcamera and that letsyou move around asmuch as you need”

Independent movementThe three-way system hasthe added advantage ofsetting up anglesindependently using thelocking handles

Aluminum buildThe unit is constructedfrom die cast aluminumand has a durable and

attractive enameled finish

Monop ods hav e some sig nific ant adv ant ag es ov er t r ip ods b ec ause t he y ’r e lig ht w eig ht and less hassle t o set up t han t r ip ods. If y ou’r e using one, t hen a head t o mat c h w ill g iv e y ou g r eat er flex ib ilit y . Manf r ot t o’s 2 34 CR t ilt head w it h quic k r eleases g iv es y ou t he op t ion t o t ur n y our c amer a t o 9 0 deg r ees and shoot in b ot h landsc ap e and p or t r ait mode.

Monopod

head at t achment s

Essential kit








A good sturdy camera bag serves the dual function ofmaking your gear easy to transport and protecting itwherever you go. When you choose a camera bag takeinto account the type of camera you have as well as theamount of gear and accessories you have to go along withit. There are plenty of options on the market and Canonproduces its own range of bags too. Whether you’re a

compact camera lover or you shoot with a DSLR, there’sa bag made for your model and some options to makesure your bag fits your shooting style too. Be sure anybackpack you try out has sufficient padding to keep youcomfortable too. Shoulder bags are good options for aDSLR body with one or two lenses andsmall accessories.

Canon bags

xxxxxxxxxxxxxxxxxxxx

Easy organisationFit your equipmentsnuggly into themain compartmentby adjusting theinternal padding

Protect your kitRobust but stylish Canon bags

CANON SOFT CASEFOR POWERSHOT G15£59.95/$96.88Protect your PowerShot camera with acase designed and made by Canon to fit theunique body shape of the unit. The customcase features a smart textured material inchic black which keeps the whole thing smallenough to slip into a handbag or travel bag.The case also comes in a leather version togive your camera some extra protection in theevent that you need it.

CANON DCC-1200 SOFT CASE£34/$54.88If you own a compact Canon camera, then

your main aim should be a case that keeps itsecure and one that will allow you to access your camera quickly. Keep your compactsafe with this neat soft pouch that’s designedto fit snugly across a range of Canon’s IXUSmodels. The inner lining protects your unitfrom scratches and the magnetic clasp makesit functional and easy to grab quickly. Keep

your camera just a quick reach away by loopingit onto your belt with the built-in belt loop.

CANON 100EG PADDEDCAMERA AND GADGET BAG£34.95/$56.41Protect your gear from bumps as well asmoisture and dust with an attractive shoulderbag that’s built to fit either one or two DSLRbodies and up to four lenses (depending ontheir size). The internal padding serves a dualpurpose of offering protection and making itcomfortable to carry around. The Velcro inside

the bag is adjustable to fit your particular gear.There’s also enough space for memory cards,batteries and other peripheral accessories.

Shoulder fitSling the bag

over yourshoulder foreasytransport

Extra spaceFit your smalleraccessories, such asmemory cards andcleaning cloths, in thedetachable outsidepouch for easy access

CANON 300GCUSTOM GADGETBAG £49.95/$80.62Save some space for extra goodiesand gadgets you might need withthis over the shoulder bag designedto fit a digital SLR body, two orthree lenses, as well as smalleraccessories such as memorycards and batteries. Thebag is made from water-repellent nylon giving youextra protection if youshoot outside a lot andencounter the odd showeror two.

P ac k ing a b ag c or r ec t l y is just as imp or t ant as b u y ing t he c or r ec t b ag f or y our g ear . Y ou t hink t hat a host of zip s look imp r essiv e, b ut w hen it c omes t o g et t ing

y our g ear out w hen y ou need it , it all b oils dow n t o ease of ac c ess. W hen y ou p ac k , mak e sur e t hat y ou c an g et t o memor y c ar ds and b at t er ies quic k l y as t hese t w o ar e t he most lik el y p iec es of k it y ou’ll need in a hur r y .

P ack mindf ull y

Essential kit








Learning to use a flash properly is a big step in anyphotographer’s career and one that will take your imagesto a whole new, well-lit, level. Many Canon DSLR modelscome with a built-in flash, but as these are attached tothe camera they offer little flexibility for how they’reangled and the intensity of flash they transmit. Investingin a flash means opening yourself up to new creativepossibilities as you learn how light works and how to

manipulate it to achieve evenly-lit and radiant results.Canon offers a range of speedlights from small and basicoptions to those that include flash to work alongsideconstant LED light, for video work. If you buy flash unitsnot manufactured by Canon be sure to check that theone you buy will fit with your camera. Most units comewith fittings for specific brands such as Canon. Be sure tocheck you have the right one or ask before you buy.

Canonspeedlights

CANON SPEEDLIGHT 320EX

FLASHGUN £187.88/$303.24An ideal lighting solution for both photographerslooking for flash and videographers that need aconstant light source, the 320EX has a featureline up worth taking note of. The system is light-weight and portable but has enough power tolight up a fair-sized area and distant subjects. Forvideographers the built in LED light means enoughillumination to evenly light a scene.

xxxxxxxxxxxxxxxxxxxxFlexible lightingIlluminate your images

CANON MACRO RING LITEMR-14EX £459/$740.70If you’re a macro photography enthusiastthen a flash to fit your forte is a great wayto enhance your images and open up newcreative opportunities. The Canon Macro RingLite MR-14EX mounts to the front of macrolenses and provide flash and exposure as youshoot. The two flash tubes on the front of yourcamera can be fired as one or independentlyfrom each other, and you can also use the unitas a wireless master flash.

CANON SPEEDLIGHT 270EX II£136.99/$221.07For use with EOS models this flashgun hasa lightweight and compact design while stilloffering a range of functions. One of its usefulattributes is the ability to use the speedlightboth on and off the hotshoe of your camera.The bounce flash head allows for variableangles of cover and, like other similar models, you can expect quick recycling times betweenflashes and accurate exposure even when you’re bouncing light off objects to get thecorrect exposure for your shot.

CANON SPEEDLIGHT 90EX£143.99/$232.36Simplicity is the main quality of the Canon90EX. This no-nonsense unit is perfect forregular, everyday shots and is an ideal fit foran amateur’s kit. It is an apt speedlight forportraits and does wonders to evenly lightup indoor scenes. Its slim design means itcan slip into any size camera bag and it’squick, discreet and fully automated, ready to

be pulled out a moments notice. The unit ispowered by AAA batteries so be sure to carrysome spares with you.

Aimed a t pro fessional p

ho tograp hers,

Canon’s c hoice o f Speed

lig h t Transmi t ters

suc h as t he S T-E 3-R T ar

e designed to fire

compa ti ble flas hguns o

ver dis tances o f

up to 30m. T he radio freq

uenc y means

you can trigger a flas h wi

t hou t ha ving to

be in sig h t o f i t and a mo

ns ter model

suc h as t his one can con

trol up

to 15 flas hguns. Uni ts are

sealed agains t dus t and

mois ture.

Con trol

remo tel y

“Learning touse a flashproperly is abig step in anyphotographer’scareer”

Off cameraUse the wirelessslave for TTL flashwhen you want tochange thingsaround and liventhings up

Quick and quietThe speedlight offersfast and silentrecycling so you don’thave to wait andwaste time beforetaking your next shot

Bounce the lightUse the bounce-and-swivel flash headto direct and diffuse light as you shoot

Essential kit








Fit your camera with a nifty strap to keep it safe fromfalling while you shoot and make it easy to carry as youscout new angles to shoot from. Hand straps are a goodoption for smaller cameras as they can be easily wrappedaround the wrist as you point and shoot. For bigger DSLRmodels, and even for PowerShot cameras, a neck strapgives you the freedom to go hands free when you needto. Thicker or padded straps are preferable if you’re outon a long day’s shoot or taking your camera along as

you explore a new location. The wideness of the strapmaterial will help distribute the weight while the paddingwill offer you some additional comfort. Straps are largelyinterchangeable between camera makes and models andmost are threaded through a small opening on either sideof the body of the camera. Care for your strap by keepingit away from harsh chemicals and strong sunlight. Themost common damage to straps is fraying and weakeningof the fabric due to excessive use and sweat.

Canon straps

CANON WIDE MODEL STRAPS£23.99/$38.61Canon’s wide straps are designed to spread theweight of your camera as you rest it around yourneck. The durable fabric is embroidered with theCanon name as well as the name and make of yourmodel. Look out when purchasing which modelname you buy. If you don’t fancy shouting aboutthe make you have, keep an eye out for the plainCanon camera straps that will complement yourshooting setup.

Secure itKeep you camera by your side

JJC QUICK RELEASE NECKSTRAP £11/$17.68The JJC Quick Release is padded and offersadded functionality by including a zippedpouch to hold SD cards or spare batteries.A tripod socket connects your camera to thetripod without removing the plate meaningquick transition time between shooting fixedand handheld. The strap is built to be worndiagonally across your body and the extrapadding comes in handy if you’re carrying aweighty unit.

OP/TECH CAM STRAP QD£12/$19.29Get more grip with this neoprene wrist strapthat’s ideal to keep smaller cameras securelyaround your wrist while being able to detachthem if needed. The strap can take up to 1.13kg,while the thick and wide strip of materialmakes sure it’s a comfortable fit. Attachand detach your camera to the strap with aplastic clip that loops through the body of

your camera. Wrist straps are ideal to securesmaller cameras, ensuring you don’t let gowhile taking that adventurous shot.

CANON LEATHERNECKSTRAP FORPOWERSHOT CAMERAS£12.49/$20.09Keep your PowerShot camera safely around your neck with this smart and stylish leatherstrap. The nylon ends feed easily into theeyelets on the body of your camera and youcan use the clips on the side to adjust thestrap to suit you. The style of the strap fits

perfectly with both Canon’s soft and leathercase for PowerShot cameras, which makes thisa nice all-rounder.

If y ou’r e liv ing lar g e and w or k ing w it h t elep hot o lenses, y ou’ll k now b y t heir sheer size t hat t he y c ould do w it h some ex t r a sup p or t w hen c ar r y ing t hem ar ound. Inv est in a lens st r ap suc h as t he Canon Lens W ide St r ap , w hic h c omes in p lain b lac k and, w hic h is c omp at ib le w it h lenses suc h as t he E F 30 0 mm f / 2 .8L IS

II USM.

St r aps f or y our lenses

Get your modelChoose the strap that goeswith the model of yourcamera or pick a plain one,to be on the safe side

Wide fitThe wide strap fabric offerscomfort as you hold yourcamera around your neckor over your shoulder

Brand CanonWear the Canon nameproudly with the logostitched into the fabric ofthe strap

Essential kit








It’s all about numbers when it comes to selecting amemory card. There’s the size, the speed and, of course,the price. There are so many memory cards in themarket it can be tricky to know where to start and whatto invest in – especially as large cards can set you backa fair amount. Compatibility is the first thing to checkwhile selecting a card. Point and shoot models such asCanon’s IXUS cameras will only take micro cards, while

some PowerShot and most DSLR models take full-sizecards. There are also many manufacturers offeringsimilar products, but, as your images are so precious itworth going with a reputable name recommended foruse with Canon gear. The size and speed of the card yobuy depend largely on the type and level of photograpyou do. Professionals, of course, need larger cards but you’re a casual shooter an 8GB card will serve you well

Memory cards

SANDISK 8GB EXTREMESDHC CARD £16/$25.70For everyday shooting the Extreme rangeby SanDisk is a good choice. Availablefrom 4GB upwards the card offers plentyof storage with the 8GB card also allowingfor HD video recording. The Extremeis quicker than the entry-level cards onoffer and if you felt the specs are higherthan you need, then there are otherSanDisk ranges to consider, but for amarginally higher price it’s worth the extrainvestment. This card is perfect for bothamateurs and semi-pro photographers.

Canon approvedSanDisk memory cards arecompatible to be used withCanon products that requireSD sized cards

Memor y car ds ar e small and f r ag ile but cost l y pieces of equipment . A car d case is a g ood w a y t o k eep t hem saf e, especiall y if y ou use a lot of car ds and sw it ch bet w een t hem. If y ou’r e out on a shoot and filling up car ds quick l y , a g ood t ip is t o mar k used car ds w it h a small piece of t ape t o av oid shoot ing ov er t hem, especiall y if y ou’r e unable t o back t hem up immediat el y .

Keep it saf e

“The card you need depends

on the level of photographythat you do”

Quick downloadsBackup your

images and videofaster with writespeeds of up to

20MB/sec

Mix and matchKeep the same card in as youswitch between shooting HDvideo and images

Store the memoryThe bank vault of your camera

SANDISK EXTREME PRO64GB £93.99/$151.06For professional photographers the SanDiskPro SD card is a rugged choice which will doall the hard processing and transferring workfor you. The card offers a 90MB/s write and95MB/s read rate and it’s available from 8GBall the way up to 64GB. Each card has built inprotection which offers some peace of mind if you drop your card or accidentally get it wet.These cards are ideal for images of highresolution and also for HD video footage.

SANDISK EXTREMEPRO COMPACT FLASH

£120.99/$194.59The main difference between CF and SD cardsis the speed and the size. CF cards are muchquicker but don’t fit into all cameras, andthey’re costlier. This high speed SanDisk cardis available from 16GB to 128GB and offerswrite speeds up to 90MB for the smaller cardsand up to 100MB for the 128GB card. Theprice of these make them an investment inthemselves but one that’s well worth it if speedmatters to your photography.

TOSHIBA EXCERIA 32GBMICROSD £169.95/$274.73This high capacity and high performancemicroSD is perfect for any Canon camera thatrequires the smaller sized SD card. The cardoffers quick transfer to your computer andis built to absorb shock so that minor bumpsdon’t compromise your images. While somecomputers have slots to read an SD card, youmay have to invest in a card reader to take

images. If you have more than one SD card(phone and camera, for example), you can geta card reader that reads multiple cards.

Essential kit








In the last few pages, we’ve featured the peripheralsthat will increase the functionality of your camera,but keeping the main body clean and dust-free is justas important. Your camera represents a significantinvestment and keeping it clean and in working order is

important not only to make it last longer but also to getthe best everyday results from it. Dust is the commonenemy of every camera - from the smallest point andshoot to the biggest, professional model DSLRs. Dustand grit around the moving parts of the camera is just as

harmful as dust around the lens and delicate sensor anlenses. A good basis for a cleaning kit is a blower and asoft cloth. Getting into the habit of giving your camerabody and lenses a quick once over after use will go a loway and it’s always preferable to keep gear clean as you

go than let dirt build up and then attempt to remove it ain one go. Always be very gentle when cleaning and avtouching the sensor of your camera. Don’t use harshchemicals when wiping the body either; a soft anti-statcloth is all that’s needed.

Cleaningproducts

“Getting into the habit of giving yourcamera and lenses a quick once overafter use will go a long way”

LENSPEN ORIGINAL £11.99/$19.26Dust off weary lenses with the Original LensPen thatmerges a retractable soft tip pin with a non-liquidcleaning element designed to never dry out. The pencan be used on all lenses including binoculars and eyepieces which makes it perfect for all types of Canonlenses too. The LensPen comes in different varietiesbut the original model is a good place to start.

CANON OPTICAL CLEANING KIT£5.25/$7.80A good alternative to buying every componentof your cleaning kit individually (which youcan do) is to purchase an all-in-one kit like thisCanon Optical Cleaning Kit. It comes with a softretractable brush, lens cleaning fluid, microfibercloth and lens tissues.

RetractableRetract the pen tipwhen you’re done.Remember to clean thepen tip to keep it dustfree until next time. Thisis also good practice

Keep it softThe advantage of the soft pentip is that it cleans the lens but itis also gentle enough so as notto damage the camera lens

Clip it onThe pen design means you canclip the unit onto your camerabag and never be afraid of losingit or being caught without it

Keep it cleanKeep your camera dust-free

KENRO HURRICANE BLOWER£6.99/$11.23Whoosh away dust with this powerful blowerthat has a double valve system able to producea powerful jet of air. Blowers are especiallyadvantageous as you have no contact withthe camera unit and so avoid risking addingsmudges as you clean. Try it out between thecreases of your bag after a day shooting onthe beach - it works wonders on any remainingsand and specs of dust that may have found itsway on to your lens.

CANON LENS CLOTH£4.96/$7.99Keep your EF lenses sparkling with this neatCanon Lens cloth made from fabric softenough to wipe away dirt and dust but notscratch or damage the lens. Always makesure to store the cloth away and keep it cleanso you don’t introduce additional dust as youclean. Don’t wash the cloth with your clothesand keep it free from dust or dirt. Never use aregular cloth for cleaning your lens as it’s themost sensitive part of your camera and needsto be treated with special care.

KINETRONICSSPECKGRABBER£3/$4.82Use the SpeckGrabber pen to get rid of peskybits of dust or debris on your camera. The unithas an adhesive surface to simply pick up thedirt and remove it. The pen works best withspots, hairs or dust you’ve identified as being aproblem. It’s especially handy to tackle debrison the sensor where you might not want to

take the risk wiping over the entire surface.This is a handy way to clean your lens withoutrisking it being accidentally damaged. Alwaysbe careful when handling the lens.

If y ou don’t ow n a cleaning k it y et , but ar e t hink ing of pur chasing y our fir st one, t hen pick up a cleaning k it t hat has ev er y t hing t hat y ou need included. In most k it s y ou’ll find a lens cleaner w it h a clot h as w ell as a br ush and lens t issues t hat can be used once and t hen t hr ow n aw a y . Canon does t heir ow n k it t hat ’s usef ul t o g et new camer a ow ner s of f t o a g ood st ar t . Y ou g et all-in-one cleaning k it s t hat ar e cheaper t han indiv idual par t s.

All in one

Lens cleaning fluidThe Canon lens cleaning fluidcan be used on all types ofcamera and surface lenses.Don’t use too much of it

Essential kit









Guide to Canon modes

Your Canon’s mode dial has something for every

photographer whether you’re an expert or just starting

out. There’s a variety of modes available, which range

from basic auto to full-blown manual control over exposure

settings. Whether you’re working with a high-end Canon

compact, CSC or DSLR, most mode dials feature the same

essential selection of options, which means you can follow alongwith us as we explore what’s really on offer here.

Most mode dials are positioned on top of the camera,

although some may be found within the camera’s menu

interface. Your mode dial has an important role to play in the

photo-taking process, and can essentially determine how well

your shot turns out.

To use your mode dial, simply rotate it around to a mode that

you’re comfortable shooting in. If you are just starting out, you

should select auto, while step-up shooters should move into a

scene mode by selecting an icon that reflects the subject they’re

shooting. More experienced photographers, on the other hand,

are likely to explore the more advanced P, Av, Tv, M modes,

which offer you more control over your exposure settings and

ultimately, the creative outcome of your captures.

You’ll find there is a fantastic selection of modes to choose

from, but understanding what each one does is essential to

ensuring you get the results you’re after in camera. To help

you get to grips with your mode dial and discover the secrets

behind each setting, join us over the following pages. We’ll start

by taking you through the advantages of Auto before exploring

some of the most popular scene modes that are available. You’llnot only learn what each one does but we’ll also share some

practical advice and tips on how best to use them.

Enthusiast-level photographers will also learn more about the

semi-manual and manual modes that are available to them, as

we cover how to control exposure using P, Av, Tv or M. Join us

as we work through the useful Programmed Auto setting first,

before exploring creative effects you can achieve in Aperture

Priority and Shutter Priority (also known as Time Value). Once

you’re more confident with adjusting exposure settings, you can

join us in Manual and discover how to use your shutter speed

and aperture settings to get a well-balanced exposure every time

you shoot. So grab your camera and follow along as we give you

the knowledge to help take you from a beginner-level shooter to

confident photographer.

Get toknowCanonmodes

Explore your Canon camera’s mode dialwith us and discover how it can help you todevelop your skills









The Auto mode is the most noticeable icon on the

mode dial and it’s also the most basic option.

Regardless of whether you’re shooting with a

high-end compact camera, CSC or DSLR, the Auto mode

is really no more advanced than the one you would

find in a basic compact camera. Designed for complete

beginners, the Auto mode doesn’t require any input

from the photographer when it comes to selecting your

exposure settings, meaning your only role in the processof producing a picture is to point your Canon at the scene

and press the shutter.

Many mistake the Auto mode for being the best option

when it comes to taking a quick capture. Although it’s

probably the most familiar, there are much better modes

to select, including specific scene mode options that

will change your camera’s settings to suit the specific

scene you’re shooting, whether it’s Fireworks or Pets,

for example. Another great option to explore is the

Programmed Auto mode that enables you to make little

tweaks, but we’ll cover this a little later on.

Using Auto mode, however, means you don’t have

to worry about understanding exposure. The Auto

mode works by evaluating the lighting in a scene and

Auto modeDiscover the benefits of shooting in Auto mode and get inspired to stepup to your Canon’s scene modes or manual settings

determining what shutter speed, aperture setting and ISO

you will need to shoot at. The camera will even consider

the automatic use of flash. Auto cannot recognise what

subject you are shooting, however, so although you’ll

often get a good, even exposure, the settings may not

offer the most professional results possible. Portraits for

example are unlikely to include a artistic shallow depth of

field effect (blurred background), as the camera will have

used larger f-numbers for the best even exposure.As you’re without control over the exposure, use

your Auto mode in other ways. Use it to concentrate on

developing your eye for composition, as you don’t have

to worry about settings. Focus on framing well-balanced

landscape scenes and positioning models effectively in

portraits. Advancing your skills in this area as a beginner

will come in useful when you begin to explore more

advanced modes. Knowing what makes a good image is

essential; the right exposure settings can come next.

Alongside the Auto mode, your mode dial may feature

a ‘Flash off’ mode. This is essentially the same as the

full Auto mode but it instead prevents the camera from

selecting the flash automatically during an exposure

when you may not want it. Use this mode when you wan

automatic results but want to avoid flash illumination on

your subjects.Although it’s the least creative mode on your camera,

you’ll find the Auto mode useful for improving your

framing skills. Once you’re ready to move out of the Aut

mode, explore the fantastic array of scene modes that ar

on offer before advancing to the step-up Programmed

Auto mode and then further to Aperture Priority, Shutte

Priority (Time Value) and full Manual control.

“Using Auto mode, you don’t have to worry aboutunderstanding exposure. Use it to concentrateon developing your eye for angles and framing”

The Auto mode usually does a prettygood job at getting the right settingsfor you, especially on scenes withsimple lighting

Using Auto mode, you don’t have toworry about understanding exposure









Scene modes are a lot more advanced than your

standard Auto mode setting. They are programmed

to automatically capture your chosen subject using

the best possible settings for the scene. The selected

exposure settings are based on those that are traditionally

used by photographers, in order to get creative results

when shooting the likes of portraits, landscapes, sports

and still life.

The Landscape scene mode, for example, ensures

more of the picture appears in focus by selecting smaller

aperture settings to increase depth of field. Other scene

modes make similar adjustments to optimise images,

including blurring the background in portraits.

To select a scene mode, simply rotate the mode dial to

one of the icons, depending on what you’re planning to

shoot. In some Canon cameras, you may need to select the

scene symbol and then choose a specific mode from the

menu options on the LCD screen.

Scene modes are a great starting point for those who

want to step out of Auto mode and begin getting creative

results. Using scene modes, you’ll be able take more

control over the outcome of your images, which should in

time build your confidence towards exploring the more

advanced modes available to you.

Scene modes

Portrait mode

Night mode

Discover the potential in your scene mode settings to take a little bitmore control and start getting great shots from your Canon

Q Select the Portrait scene mode to

shoot flattering photos of your family

members and friends. You can use this

mode to frame one or more people in

the photograph too, provided they are

stationary – you’ll need to switch to

the Sport or Child scene mode if you’re

photographing fast-moving people,

however, to avoid blurred results.

Using the Portrait scene mode, your

camera will automatically determine the

correct exposure settings for the shot. The

Portrait scene mode is designed to softly

blur out the background of your image

by using wider aperture settings, which

creates an artistic shallow depth of field

effect. This is a great way to isolate theperson within the photograph, making

them the main focus in the frame. The

Portrait scene mode also takes care of

skin tones, as the camera automatically

adjusts how certain colours are recorded,

resulting in a much smoother and more

natural finish.

Although the Portrait scene mode

takes control over your exposure, you

can still adjust your in-built flash settings.

Opt to turn the flash on, off or select a

red-eye reduction mode, depending on

the conditions that you’re working under.

Your camera will then take the flash into

account with the exposure before you take

the shot.

You can use the Portrait scene mode to

photograph people on location or inside.

If it is possible, select the face-detectionfocusing mode to ensure sharp and

professional shots.

Q You don’t have to put your camera

away after the sun has gone down; using

your Night scene mode, it’s still possible

to capture some great low-light images.

Some Canon camera models will featurea standard Night scene mode on the dial;

however, others can offer much more

specific night modes, including Night

Portrait and Night Landscape.

You can use the Night Portrait mode to

photograph your subject in low light using

the camera’s built-in flash. To ensure that

you get professional and flattering results,

the Night Portrait mode will slow down

your shutter speed so that once the flash

has illuminated the model’s face, the

camera can still record ambient light in

the background. You’ll need to make sure

your model is stationary throughout the

duration of the exposure though, in order

to get blur-free shots.

The Night Landscape mode, on

the other hand, is ideal for capturing

nighttime city scenes. It works by makingthe camera let in more light, which

involves using slower shutter speeds. For

the best results, set your camera up on a

tripod to avoid capturing any unwanted

camera shake which could ruin the

end result.

A general Night scene mode works in

a similar way to the more specific Night

Landscape mode in that it makes the most

of limited light by using the best possible

settings. You can use it not only when

you’re shooting in a low-light location, but

also when you’re shooting indoors under

dimly lit conditions.

Capture professional-

looking portraits withouthaving to adjust yourexposure settingsusing the Portrait

scene mode

Use your Night scene mode tocapture impressive low-light

shots using wider apertures and your on-camera flash









Close-up mode

Landscape mode

Q Use the Close-up scene mode to

capture abstract and detailed still life

shots. It’s an ideal mode for

photographing flowers, food, jewellery

and many other interesting items. It works

by selecting a wide aperture, which in

turn creates a shallow depth of field effect

that’s perfect for isolating a subject from a

busy background.

For the best results in camera, work

in well-lit areas on location or by soft

window light indoors. You can opt to use

flash in this setting too, which is usefulif you want to illuminate subjects that

are backlit. Remember when shooting

up close, you’ll want to capture as much

detail as you can, so pay attention to how

the light falls onto your subject. There

should be enough contrast in the scene to

add a sense of depth to the final photo.

It’s important that you use the correct

focusing mode too. Close-up captures that

are out of focus are noticeable. Use your

autofocus mode and select a specific area

on your subject for the camera to focus

on. Alternatively, use your manual focus

setting, which offers more control over

where in the frame the shot will appear in

focus. You may find that some standard

kit lenses are limited when it comes to

focusing, as all optics have a minimum

focusing distance. Specialist macro

lenses, however, are designed to focusincredibly close to subjects, which is ideal

if you want to capture true macro shots or

abstract images. Don’t forget to use your

tripod when photographing close-ups

too to stabilise your camera, ensuring

clear and crisp results that are free from

devastating camera shake.

Q Capture vibrant vistas using the Landscape scene

mode. Ideal for those who love to explore the outdoors,

this setting wi ll make the most of the scene by increasing

overall image contrast and colour saturation. You’ll notice

in particular that blue and green hues really stand out

when shooting in this mode, which helps to create a bold,

picture-perfect shot.

To ensure you get the best possible exposure in camera,

the Landscape scene mode will also select a much smaller

aperture setting to shoot with, which increases depth of

field. This will result in the landscape appearing much

sharper in the foreground, remaining sharp right through

to the background.

Provided you’re shooting in bright conditions, you’ll

be able photograph with the camera handheld. Low-

light landscape scenes that are taken during the golden

hours (sunrise and sunset) may require a tripod support,

however. Supporting your camera avoids capturing

camera shake, which is a result of the camera selecting

slower shutter speeds for an even exposure.

In Landscape scene mode you won’t have to worry

about getting a good exposure, which means you can

focus more on framing. Follow traditional photographic

rules such as positioning the horizon a third of the

way up to get balanced compositions. Don’t forget to

experiment with perspective either; changing your

vantage point can often completely transform a scene.

“Close-up mode is ideal forphotographing flowers, food, jewelleryand many other interesting items”

Shoot with your Landscascene mode selected and yo

can capture vibrant vistas thare full of colour and lig

Get some great closeup shots of your subjectusing the specialistClose-up mode and amacro lens









Kids mode

Sports mode

Q It can be difficult to get sharp and

focused shots of children while they’re

playing, but by using the specialist Kids

scene mode, it’s not impossible. Unlikethe commonly used Portrait mode, the

Kids scene mode is designed to freeze

action but still promises to deliver

flattering portrait results at the same time.

Using this mode, your Canon will

automatically select faster shutter speeds,

which are ideal for capturing energetic

children and even adults. Switch over to

the Kids scene mode icon to photograph

children’s parties or play dates at the park.

Activities that involve a lot of movement,

however, such as cycling, roller-skating

and sports will require the use of the

Sports scene mode, as it’s capable of

setting much higher shutter speeds, which

are necessary for part icularly fast-paced

action shots.

As the Kids scene mode is an extension

of the Portrait mode, you’ll find it also has

a flattering effect on your young model’s

face. You’ll notice that skin appears softerin pictures with clearer colour tones too

just as it does in Portrait mode.

Although the Kids scene mode can

produce great results in a lot of situations,

you don’t always have to use it when

photographing your offspring. Provided

they are sat relatively still, you can shoot

some great close-ups with the standard

Portrait scene mode, which will creates

an artistical ly blurred background effect

too – a result of the camera selecting wide

aperture settings. As a rule, you should

only need to use the Kids scene mode

when there’s unfolding action and you’re

afraid to miss a priceless moment and

great shot. In those situations it is a very

useful mode indeed.

Q Avoid capturing blurry action shots

by freezing it as it unfolds using the

dedicated Sports scene mode on your

mode dial. You don’t have to shoot just

sport with it either; in fact, it’s useful

for other action-packed activities too,

and can even come in handy if you’re

photographing wildlife or energetic pets.

Switch over to the Sports mode if you’re

shooting your local football team, surfers

on the beach or kids riding their bikes,

and you’re in a better position to be able to

capture all the action as it happens.In fact, the Sports scene mode works in

a similar way to the Kids scene mode, but

uses much faster shutter speed settings

and disables the use of flash. With faster

shutter speeds assured in this mode, you’ll

be able to shoot handheld and get up

close to the action for more dynamic shots,

which are able to be taken from a more

unique perspective.

To ensure your subject appears sharp

and in focus within the final photo,

always check that you’re using the correct

autofocus setting too. Continuous AF or

Tracking AF are ideal for use with your

Sports scene mode setting, as they will

keep your subject in focus as they move.

Action-lovers can use Sports scene

modes while they are learning, butstepping up to Shutter Priority (Tv) will

let you take even more control over your

action captures. Until then, Sports scene

mode can help you get some stunningly

sharp photos of movement, though.

This scene mode hasa flattering effect on

skin tones so you’llget fantastic action-

packed portraits

“Your Canon will automatically selectfaster shutter speeds, which are idealfor capturing energetic children”

Work in the Sports mode tofreeze any action on the pitch.

Using faster shutter speeds, you’ll get clear crisp results

“With faster shutter speeds assuredin Sports scene mode, you’ll be able toshoot handheld and get up close to theaction for more dynamic shots”

Use the Kids scenemode to photograph

your kids at play. Withfast shutter speeds

you won’t miss aminute of the action

The Sports mode is idealfor wildlife and pet photography

too as you’ll be able to freezeunpredictable movement









Av modeDiscover some of the fantastic creative effects you can achieve using yoCanon’s Aperture Priority mode, which lets you control the depth of fiel

Aperture Priority mode is marked simply as ‘Av’

on your Canon’s mode dial and is known as a

manual-enabled mode. Using this setting, you’ll

be able to select a suitable aperture for the shot you’re

taking, while the camera is responsible for determining

the ideal shutter speed for the best possible exposure of

your shot. Aperture Priority is particularly useful for step-

up users who are keen to explore the creative possibilities

manual control has to offer, without having to grasp the

balancing act of exposure just yet – which is something

you need a good understanding of if you’re working in

full Manual mode.

Most photographers use Aperture Priority to

control depth of field in their photos. Depth of fielddetermines how much of your frame is in focus. A shallow

depth of field creates an artistically blurred background,

which is popular in professional portrait photography

and still life. The effect is created using a wide aperture

setting, or what’s known as a small f-number (between

f1.4-f5.6). The wider the aperture the more light is let

through the lens, which is why faster shutter speeds are

generally set with them so as to avoid overexposing the

image – something that’s difficult to rescue in the post-

production stages. Although wide apertures provide

more creative results, you need to be wary of extreme

settings. By using small f-numbers, such as f1.4, you

will be limiting your focus range considerably, which

may result in only parts of a model’s face appearing in

focus when shooting portraiture, for instance, which is

obviously not desirable.

When you’re exploring the Aperture Priority mode,

it’s important to remember how f-numbers relate to

settings. The smaller the f-number, the wider the aperture

and so the shallower the depth of field. The larger the

f-number (f8-f22) however, the smaller the aperture is,

which results in more depth of field – the image appears

in focus from front to back. Large f-numbers are popular

with landscape photographers as they can ensure the

scene appears sharp in the foreground, right through

to the background. For clear landscapes shots, start

in f-numbers around f11; the camera may opt to select

slower shutter speeds as a result so don’t forget to haveyour tripod at hand to stop camera shake being an issue.

The lens you’re shooting with essentially determines

the aperture settings that are available to you. Check the

top of your lens to find out what aperture range it offers.

Top-quality lenses generally offer much wider aperture

settings but are also more expensive than standard

optics. Experiment with your Aperture Priority mode,

to determine how essential wide apertures are to you

shooting and whether it’s worth investing in a new lens.

There are so many creative uses aperture has to offer,

which is why it is one of the most popular modes toexplore when you are first starting to experiment out of

the comfort of auto. Using the sweet spot, or focused are

which is created by wide apertures you’ll be able to take

great artistic images. Another advantage is that by using

a wide aperture, you can let in a lot more light, which

is great for shooting in low-light conditions such as at

indoor parties or for night portraits. Start exploring you

aperture range and discover how it can really affect the

outcome of your images.

“There are so many creative uses aperture has tooffer, allowing you to take some artistic images”

Setting a wide aperture in your Aperture Priority mode

will result in an artisticshallow depth of field effect

Using a narrowaperture will causethe image to be sharp

from front to back

Use a wide aperture whenshooting portraits to softlyblur out the background and

add focus to the model









P modeGive yourself a better understanding of exposure by experimenting withyour Programmed Auto mode, a much more flexible setting than Auto

The Programmed Auto mode is marked as ‘P’ on

your mode dial. It’s all too often overlooked as

being a straightforward auto setting but, in fact, it

offers a lot more flexibility than you might at first think,

which makes it one of the best modes to explore after you

get out of shooting in Auto and the available scene modes.

Using Programmed Auto, the camera will determine

the best combination of aperture and shutter speed for

an exposure. There’s still room to be creative though, as

you can take some control over the final image results by

adjusting settings as you shoot, which makes it a more

flexible exposure mode. By changing one of the settings

during a shoot, the camera will take care of the other,

ensuring you still get an even exposure every time. It’s a

lot more advanced than your standard Auto mode too, as

Programmed Auto is capable of roughly determining what

it is you’re photographing so that you get the best settings

for the shot, this makes it a great mode to explore if you’re

ready to take the next step with your photography.

Unlike the standard Auto mode you’ll also be able

to adjust other camera settings, including flash and

ISO among others. You can set your flash to illuminate

low-light scenes or fill-in shadow areas on a backlit

shot, but if you want to work without flash, experiment

with adjusting your ISO. ISO is an important part of the

exposure puzzle, as it essentially increases the camera’s

sensitivity to light. This means that if your ideal shutter

speed and aperture won’t expose the image well enough,

you can up your ISO to help lighten it up. Be wary of high

ISOs settings, however, as they can produce noise within

the image. If you’re unsure, always revert back to auto ISO

and let the camera take care of it.

Once you’ve selected the Programmed Auto mode

on your mode dial, the camera will meter the light

through the lens; it will then determine exactly what

settings you’ll need to shoot. From this, you can make

further adjustments depending on what it is you want to

incorporate into the scene. You may notice, for example,

that the aperture setting is narrower than you would

like. To adjust it and get a shallower depth of field effect,

simply rotate the command dial to set a smaller f-number.

The same can be done to adjust shutter speeds too if you

want to freeze action or add some motion blur.

As Programmed Auto can produce endless exposure

combinations, you can use it to shoot absolutely anything

that you could want to. However, if it’s really creative

effects you’re after, you will have to progress to your

full Manual mode or the Aperture and Shutter Priority

settings. In the meantime, however, use Programmed

Auto to help improve your understanding of exposure.

Spend time experimenting with different aperture

and shutter speed combinations, which you can then

compare to see what really works for you. When you’re

ready to work in Manual mode, take the same settings

from Programmed Auto and see first-hand how slight

alterations can affect the outcome of your shots. This

really is a great mode for beginners looking to progress

their skills.

“Spend time experimenting with different apertureand shutter speed combinations, which you can thencompare to see what really works for you”

In Programmed Auto youcan experiment with setting

combinations without havingto fully understand exposure

Programmed Auto is a

more flexible shootingmode for beginners







Tv modeLearn how to freeze action and incorporate motion blur in your shots

using your Canon’s Shutter Priority mode, a great setting for action sho

Now it’s time to rotate the mode dial around to Tv

(Time value) to select the Shutter Priority mode.

It works in the exact opposite way to the Aperture

Priority mode, in that while you select your ideal shutter

speed, the camera takes care of the aperture to ensure

a balanced exposure of your image. Using the Shutter

Priority mode, you’ll be able to experiment with much

shorter or longer exposure times, depending on what

you’re shooting and the effects you want to capture

on camera.

Using this mode on your Canon camera, you’ll

essentially be able to determine how much light reaches

the sensor from the lens. Faster shutter speeds, that are

only a fraction of a second, will let in the least amount oflight, so to avoid underexposing your image, the camera

will compensate by using wider aperture settings, to

let in a larger volume of light. Fast shutter speeds are

ideal if you’re shooting action-packed images, as they’re

quick enough to freeze movement, preventing blurry

shots. Always work with faster shutter speeds if you’re

photographing children, wildlife, sports or pets.

Slow shutter speeds on the other hand, can range

between 1/60sec to a full 30 seconds. An increase in

exposure time means you’ll need to use a tripod to ensure

you get a steady shot. As a general rule, it’s still possible

to shoot handheld with the camera, provided you’re

working with shutter speed settings that are no slower

than 1/60sec, depending how stable your handling of

the camera is. To avoid overexposing an image that has

a longer exposure time, the camera will set a smaller

aperture, which will reduce the amount of light that’s

let in through the lens to the sensor. If you’re working

with extreme long exposures, however, you’ll need to

use an ND filter to further reduce the amount of light

that passes through the lens. ND filters are commonly

used by landscape photographers who want to capture

cloud movement or misty water effects in their scenes, by

extending shutter speeds and using smaller apertures for

increased depth of field. Generally, long exposures are

ideal if you’re shooting stationary subjects under low-light

conditions or at night. Some cameras even offer what’s

known as a Bulb mode, which means you can open theshutter for as long as you like, until you opt to press the

shutter release button again to close it. This is great for

creative effects and is often used to capture scenes such

as star trails across the night sky.

There are plenty of other creative shooting techniques

you can explore in your Shutter Priority mode. Panning,

for example, is a fantastic way to illustrate speed in a

sport or energetic subject. Simply set a slow shutter speed

of around 1/50sec and focus on your subject. Once you

open the shutter, you’ll need to pan with them until itcloses ensuring that you minimise shake as much as

possible. The results should allow your subject appear

nice and sharp while the background is softly blurred.

You can also create a zoom burst by zooming out quickl

while the shutter is open for a creative, directional blur.

You’ll find some fantastic shooting techniques are

possible in Shutter Priority mode, which makes it worth

experimenting with a bit before you’re ready to step up t

full Manual mode.

“Using Shutter Priority, you’ll be able to experimentwith much shorter or longer exposure times”



Use your Shutter Prioritymode to incorporate a sense of

speed in your shots. The camera willdetermine the aperture for an even exposure

A fast shutter speedhas been used here

to freeze movementand capture everydrop of water

Use a slow shutter speedto blur moving water,creating an artistic effect

that really stands out W o r l d M a g s . n e t W o r l d M a g s . n e t






THE NIKON CAMERA BOOK


M modeIt’s finally time to take complete control over your Canon in Manualmode and discover all of the creative possibilities available

The Manual mode is the most advanced option on

the mode dial, as it can offer complete control of

your exposure settings. Rotate the dial round to

M to select the manual mode on your Canon camera and

then program in your ideal shutter speed and aperture

setting for the shot. Using the Manual mode, it’s possible

to experiment with different photographic effects and

techniques, offering you complete creative control over

the outcome of your images, although this will take a bit

of trial and error until you are fully comfortable using it.

Before you get ahead of yourself in this mode, however,

it’s a good idea to get a basic understanding of what

makes a balanced exposure. You can find this out

exploring the Programmed Auto, Aperture and Shutter

Priority modes first. Using these modes you’ll be able to

select either your shutter speed or aperture setting while

the camera takes care of the rest, to ensure you get a

well-exposed image as a result. When you’re working in

these modes, you should pay attention to how the camera

compensates for the setting you select as this will help

you when you move to manual. If you’re working with

a wide aperture for example, notice the shutter speed

setting that the camera opts for. You can then dial in the

same settings as a starting point using the Manual mode,

A wide aperture will cause the areassurrounding your focus point to blur out

and begin exploring different combinations of shutter

speeds and apertures.

When you’re working in Manual mode, select a shutter

speed, remembering that faster speeds freeze movement,

while slower ones capture motion. You can then select

your aperture, remembering that the smaller the f-number

the wider the aperture. Don’t forget that wider apertures

create a shallower depth of field, which is fantastic for

close-ups and portrait captures, while a narrow aperture

(high f-number) keeps the focus sharp from front to back.

As you’re setting your exposure, always preview the

light meter, which is visible inside the viewfinder. This

will give you a clear indication as to whether your settings

will under-, over- or correctly expose the scene. Based

on this, you can adjust your exposure settings until

you’re ready to shoot. Ideally, the marker should appear

below O. If it’s too far to the right, your shot will appear

underexposed; if the marker is too far to the left it will

be overexposed.

After you’ve taken your shot, preview it on the back

LCD screen. Check the histogram, which will let you

know how much detail you’ve managed to capture in

the shadow and highlight areas. A histogram of a well-

exposed photo should show a mountainous range in the

middle; it shouldn’t spike up at either end as this means

you may need to re-adjust your settings.

Once you’ve got a good grasp on how to achieve a

balanced exposure, you can begin exploring all of the

other creative photographic possibilities. Using a tripod,

for example, you can extend the shutter speed when

photographing a seascape and water will appear as mist.

You can also discover the potential in wide apertures

by embracing the shallow depth of field effect when

photographing portraits. Don’t be afraid to experiment.

“Using the Manual mode, it’s possible to experimentwith different photographic effects and techniques,offering you complete creative control over images”

Use a narrow aperture to keepit sharp from front to back








Compose with your Canon

Master metering with your Canon

Using your CanonEssential techniques for taking great photos with a Canon camer


46 Use your Canon tocomposeComposition rules and how to apply them

52 Work with lightingTake advantage of different types of light

60 Metering with CanonOpen the door to accurate images

66 Canon exposure exposedControl the exchange of light between

your subject and your sensor

74 Shutter speedsCreate special effects and more

78 Master HDR on yourCanonSet up and shoot perfect HDR images

Using your Canon







Control your shutter speed

Master exposure on your Canon


Using your Canon

66 W o r l d M a g s . n e t W o r l d M a g s . n e t







ComposeUnderstanding the principles of composition can helpto complement your natural eye for an image. Here isa guide to the rules and how they’re best applied

Using your Canon

Use your Canon to







SPACDennis Reddick’s image of Sels

Lifeboat Station shows that empty spacan be a strong compositional element

itself. Note how the converging diagolines of the jetty lead your eye into t

smooth, still expanse of the s© Dennis Redd

Using your Canon

Canon EOS

5D Mark

III

Works best with









Composition is the way youorganise the different elementson the scene in front of the

camera. It’s tempting to imagine that theworld is just the way it is, and all you cando is just turn up, point the camera andtake the picture, but there’s a lot more to it

than that.In the real world it’s usually not possible

to move objects around to fit your ideas– but you generally don’t need to. Justby changing your own viewpoint, andsometimes the focal length of the lensyou’re using, you can completely changethe appearance of the photo and theobjects within it.

Composition in photography is likethe rules of grammar in writing. If youdon’t put what you think in the rightorder, using the right words, with the rightpunctuation, no one’s going to understandwhat you’re trying to say. It’s the same in

photography. If you just shoot at random,your pictures are going to look visuallyincoherent with no clear point of focus ormeaning. But with a little compositionalawareness, it’s possible to draw the viewers’attention to your subject, create interestingjuxtapositions between objects and get

them to see and feel exactly what it is thatyou want them to.

Composition isn’t just about makingthe meaning of your pictures clearer,though. Photographs can also be satisfying,challenging or intriguing on a purelygraphic level, and this is down to thearrangement of the shapes, tones and linesin the picture.

The best-known ‘rule’ for creatinggraphically pleasing pictures is the ‘ruleof thirds’. This says that you should neverput your subject in the centre of the frame,but a third of the way from the top or thebottom, or from the sides. In fact, many

“Just by changing your own viewpoint, you cancompletely change the appearance of the photo”

Canon cameras can display grid overlayson the LCD or in the viewfinder, whichshow you exactly where these ‘thirds’are. If you were shooting a landscape,for example, you might position thehorizon on the lower horizontal ‘third’and a solitary tree on the left or right

vertical ‘third’. This is a pretty weak kindof rule, though. It’s a good fallback if youcan’t think of a more interesting way ofcomposing the picture, but that’s about aIf you see an arrangement which you thinlooks better, you should use it.

There are other ‘rules’ to follow. Forexample, you must make sure that yoursubject is looking into the frame ratherthan out of it, and you should avoid anycomposition that leads your viewer’s eyeout of the frame. But maybe you wantto emphasise the symmetry betweenthe landscape and the sky, or the central,isolated position of a lone tree? Maybe yo

© Rod Lawton

ANGLES The jagged, angular feel of

this picture was deliberate andhas been emphasised by thezig-zag arrangement of lines

SHAPESShapes are one of the simplestcompositional elementsand work especially well assilhouettes. Here, a long focallength has isolated this boysitting on a rock against theglow of a setting sun

Using your Canon








© R o d L a w t o n

© Rod Lawton

CANON EOS 5D MARK IIIWith a 100% viewfinder and excellent 3.2-inch LCD, the Canon EOS 5D Mark III is agreat camera to compose images with

MOVEMENTThis is the classic example of the perspectiveand ‘movement’ of lines converging in thedistance. These lines can go both ways, though!Because the train is pointing forwards, the

‘movement’ is from top left to bottom right

Using your Canon








like having your portrait subject lookingout of the edge of the picture, because ithints at some unseen event and introduca note of tension or unease? Rules arethere to be broken, especially rules ofcomposition, but this only works if you

know what they are in the first place, andyou break them clearly and deliberatelyand for a reason.

The arrangement of objects and shapeaffects the meaning and mood of thepicture, and they also affect the sense of

‘movement’ in the image. The eye doesn’tabsorb the whole photograph in a singleinstant as a static image. Your eye movesfrom one object to another, sometimesin curves, sometimes in zigzags. Thismovement is a key part of the photographappeal, or at least the extent to which itholds your attention. It’s perhaps why youcan quickly get bored with a photo thatinitially looks great, but become more anmore fascinated by one which doesn’t haa big initial impact but does have a lot ofcompositional complexity.

The most obvious way to create this‘movement’ is with lines. These can be veliteral, such as railway lines convergingin the distance, or ‘implied’, such as thedirection of the subject’s gaze in a portraiPictures can have a single, dominant lineor they can have a number of lines whichdirect your gaze in a certain direction,following a certain route around thepicture, or form a more complicatedinterlocking structure.

Shapes are very important inphotography, too. They might be easily-recognised shapes such as human figures

or silhouetted trees, for example, whichgain extra power when they stand outstarkly against a contrasting background,or they could just be areas of tone ratherthan specific objects. These are justas important in terms of composition,however, because they contribute towardany picture’s feeling of ‘balance’.

Shapes can be used as natural framesto draw attention to your subject and toprevent the viewer’s gaze from wanderingout of the picture. Look out for archwaysoverhanging branches, gates, hedges... yocan find natural frames almost anywhere

Composition is part-science, part-instinct. The science is the way elements

of the picture work together and affect thway you see it. The instinct is the way youas a photographer combine those elemenin your own unique way.

Dennis Reddick

Web: www.dennisreddickphotography.com

Dennis Reddick is a professional photographer who spends his time shooting stunning landscapeshots of Britain’s South Coast using a selection of lenses and polarising and graduated filters. Here hetalks to us about his views on composition.

Composition clearly plays a big part in your photography. Do you believe in ‘rules’of composition?

‘Rules’ are simply guidelines to help individuals think about composition. They are not cast in concrete or anything like that. If you didmanage to make up a viewfinder with the lines embedded in the viewing screen and followed that consistently, you would more thanlikely ultimately wind up with some unexciting images. You can think about the ‘rule of thirds’ when preparing to make an image andsee if it works for the given situation, but don’t let it get your imagination stuck in the mud.

Do you plan the composition of a shot as you take it, or trust experience and instinct? Experience and instinct, mostly, which can only be enhanced by going out with your camera on a regular basis. There are occasionswhen I’ve seen an image by a fellow photographer and I’ve added a slightly different angle which, to my mind, may add a bit morecharacter to the whole scene.

How long do you spend composing photographs, and do you aim for one single ‘right’ one or take a variety? Believe it or not, with about 90 per cent of the photographs from my website I have intentionally gone for that one ‘right’ shot. I tend tostay with the camera fixed in one position for composition and shoot various exposures, especially at sunrise and sunset.

What do you think is the single most important thing to get right when you frame a shot? Making sure there is no unwanted object or empty space which distracts you from the main subject. If I shoot an individual object Itend to compose it so that approximately two thirds of the area is filled. I have taken images with space as the main concept, but you

have to be careful that it doesn’t detract from the whole image.Do you have a favourite editing technique for enhancing your shots later, such as burning in, for example, and why? If I want to add a bit more depth or clarity, I tend to duplicate the image and add a slightly darker exposure and erase the unwantedbright areas. I then add a duplicated ‘bright’ exposure to the unwanted dark areas. I find on some images this gives me more punchthroughout the photograph than when using the levels or curves.

EXPERT ADVICE

© Rod Lawton

CHANGESThere are many different ways you can shootthe same subject. The spider’s web in theshot on the far left has been used as a framingdevice to focus attention on the spider itself.With a very small change in viewpoint, theshot on the left shows that you can produce atotally different result. Here the spider’s beensilhouetted against the early morning sky toemphasise its shape

You can find natural frames all around you– here the archway to a churchyard hasbeen used to frame the church itself© Rod Lawton

Using your Canon








Focal length and perspectiveWe normally think of zoom lenses simply as a tool to ‘get more in’ or bringdistant objects closer, but in terms of composition there’s a lot more to it than

that. Instead of using the zoom to change the size of the subject, try movingcloser or further away and then adjust the zoom to keep the subject the samesize. What you discover then is that the focal length you use has a big impact onthe relationship between your subject and its background. A short focal lengthmakes you get closer to the subject and makes the background look smallerand further away. A longer focal length means you move further away, and thismakes the background look larger (it’s simple geometry really, but the effectsbecome obvious when you try them out). Telephoto lenses effectively ‘enlarge’the background, making it easier to find neutral areas to act as a backdrop foryour subject, or to emphasise the scale of a landscape. It’s often said thatwide-angle lenses exaggerate perspective and that telephotos flatten it, whichis another way of saying the same thing. Stop thinking of your zoom lens as asubstitute for walking, and start using it as an aid to composition!

PERFECTPOSITIONINGDennis’s eye for strongcomposition is obvious here.The horizon has been placedon the top section, and thestrong lines of the partiallysubmerged tree trunk in theforeground lead your eyestraight to the distant treeon the horizon© Dennis Reddick

Using your Canon








Photography is all about light; the worditself means ‘drawing with light’. Thetype of lighting that photographerslook for, or try to create, is often thecornerstone of the images that they

produce. This is because it directly informs theother chief fundamental of photography, exposure.Lighting even influences the choice of lens, filtrationand composition that photographers select.

It’s worth remembering that good lighting won’tautomatically result in a successful image. You don’talways need dramatic, striking light to take a greatphoto either – not every image is entirely dependenton the lighting involved in order to work.

But it’s vital to understand the key ingredients oflighting – and the way it affects the mood and feel of

your images – or else you are leaving a lot to chancein your imagery.

There are three types of lighting to make the mostof in your photography: natural lighting, lighting thatyou create yourself and lighting that combines bothnatural and artificial light. Over the next few pages,we’ll cover all three scenarios.

The lighting that you use will depend largelyon the type of scene or subject that you arephotographing. Landscape photographers workalmost exclusively with entirely natural light – rarelyif ever modifying the lighting, other than by usingfilters to control the way the light enters the lens.Portrait photographers, on the other hand, frequentlywork without any recourse to natural lighting butcreate the light that they use from scratch usingstudio flash heads and modifiers like softboxes.

In this masterclass we’ll cover both approaches

and give you plenty of practical tips and advice tohelp you improve your understanding of lighting.

Take advantage of different types of lighting toproduce your best-ever images on your Canon

Work with

lighting

Using your Canon








LIGHT THE WAYLearning to manipulate the lighis a key skill to master and willgreatly improve your images

Using your Canon

Canon EOS

60D

Works best with








High-keylighting

Create bright and airy shots forfresh portraits with Canon

Top 3 studio lighting products

Lastolite 1.8m x 2.15mCollapsible BackgroundPrice: £220/$400Web: www.lastolite.com

This reversible white/black background isideal for high-key work in the studio. It’s also

washable, which is rather handy as whitebackdrops are prone to getting scuffed anddirty, resulting in a lot of retouching work.

Interfit RSBR1014100 x 140cm SoftboxPrice: £159/$258Web: www.interfitphotographic.com

A softbox is one of the cornerstones of anystudio lighting kit. It allows you to produce a

diffuse and flattering light. They come invarious sizes and shapes, so think aboutwhat you need before purchasing.

Bowens Streamlite330 KitPrice: £527/$693Web: www.bowensdirect.com

Two Streamlite 330 lights, two three-section stands and two lights with daylight-

balanced fluorescent bulbs, plus Cocoon70 light tent and stand makes this kit fromBowens ideal for studio product shooting.

A favourite type of lighting among many studiophotographers is high-key. As with many terms inphotography, there are different ways to interpret thisstyle. For some people, high-key lighting means verybright images with limited shadows, while for othersit simply means very bright images with overexposedhighlights. White backgrounds are a key componentand punchy, saturated colours are often incorporatedin order to add to their impact. High-key lightingsometimes knowingly obscures some details throughsheer brightness and deliberate overexposure, whichoften results in a slight softening effect.

In order to achieve the effect in a studio, at leastthree lights are generally used and reasonablypowerful flash heads are required. The effect is oftenassociated most closely with modern portraits andproduct photography.

High-key lighting lends itself well to portraits inwhich the aim is to create an impression of fun and

SOFTBOXLIGHT

SUBJECT

LIGHT WITHRED GEL

CAMERA

WHITE BACKGROUND

EXPERIMENT WITH GELUsing gels is an accessible way of producing differe

looks in the studio and adding something extra to portr

SCRUMPTIOUS SHOTSHigh-key lighting is ideal for producing bothmodern portraits and product shots. Imagesof food often work particularly well whencaptured using a high-key lighting setup

vitality. Studio portrait photographers who like tocapture a sense of movement and spontaneity intheir work tend to favour this type of lighting as itcomplements this aim perfectly. High-key lightingalso works well for portraits of young children for thesame reason.

Product photography also makes use of high-keylighting, as the overall brightness and bold colourpalette creates a sense of vibrancy and sparkle. Thismakes high-key lighting a popular choice for foodphotography, as the brightness helps to convey

freshness where the colours of the food can come tothe fore to imply a full flavour. This style allows theproduct to be put on full display, with nothing hiddor obscured.

Always be careful when shooting high-key imagethat you don’t lose important details in your subject

due to overexposure. If you find yourself in any douit’s best to err on the side of caution. You can alwaysbrighten the results up slightly in post-productionlater on, whereas retrieving lost detail from a shot ismuch harder task.

SOFTBOXLIGHT

SUBJECT

LIGHT

CAMERA

WHITE BACKGROUND

Using your Canon








BRIGHTEN IT UP High-key imagery is easy to create ina studio environment with just a fewbits of equipment

Using your Canon







Low-key lighting

4 portrait lighting setups

Discover how to capture atmospheric, brooding images withjust one light in the studio in this guide to low-key lighting

A quick-reference guide to the key setups to try for sultry images

Low-key lighting is, as you might well guess, theopposite of high-key lighting, and has long been apopular choice for studio portraits. Unlike high-keyimages, there are plenty of shadows present in theshot and black or very-dark backgrounds are used.

The key element of low-key lighting is a tightcontrol of the spread of the light. In order to achievethis, it’s very common for just a key light to be used.If a second light is to be incorporated as a fill light,this will be dialled right down and used extremelysparingly, so as not to eliminate shadows created bythe key light.

In low-key portraits, a hair light might be used, buta snoot or honeycomb grid will be used to ensure thatthis light source doesn’t spill beyond a very specific,limited area on the subject.

Low-key lighting endows a subject with a senseof intrigue and mystique, and is the premise ofthe classic Hollywood style of portraits. Low-keyportraiture is usually combined with ‘moody’posing and expression in order to create a senseof seriousness and a degree of formality, with darkclothing usually used as well.

The most important thing to remember withlow-key portraits is that it’s the shadows that reallymake the images; in other words, low-key lightingis often more about what you can’t see than whatyou can. Showing your subject seemingly emergingfrom the shadows makes him, her – or it – lookelusive, enigmatic and important. Although we often

associate low-key lighting with portraits, it worksreally well for still-life studies too.

One of the best things about low-key lighting isthat, as a general rule of thumb, it doesn’t requirea large number of lights – or particularly powerfullights – to achieve. In fact, one hotshoe flash unitplaced off-camera and triggered wirelessly isabsolutely all you need in order to achieve the kindof lighting required; your main challenge will bein limiting the spread of the light and preventing itfrom bouncing back off ceilings or walls which aregenerally white, reflective surfaces. One quick fix forthis problem is to strategically position pieces of blackcard to absorb stray lighting. Black card will also workperfectly well as a background.

Beautiful low-key portraits can also be capturedusing only window light. Brighter sunlight willproduce a higher-contrast effect, but a diffuserpanel can be used to reduce the intensity of thelight. Alternatively you can simply move yoursubject slightly further away from the window andexperiment with different levels of light.

Low-key lighting lends itself very well to blackand white, and if you search online for images withlow-key lighting you’ll be presented with far moremonochrome images than colour ones. However,there’s no rule that says you can’t shoot low-keyimages in full colour, so experiment with differentsettings in your editing software and see what youcan come up with.

DARK AND MOODYFor low-key portraits, often only one main light source – akey light – is required. How you position and pose yoursubject in relation to the light will affect where the light faand the shadows are produced

SOFTBOXLIGHT

SUBJECT

CAMERA

BLACK BACKGROUND

01 Narrow lightingIn narrow lighting conditions the

subject’s head is turned slightly towards

the shoulder nearest the key light,

increasing the amount of shadow visible

from the camera’s perspective. This will

generally slim the subject’s face.

02 Split lightingIn many portrait lighting setups,

the key light is positioned at about 45° to

the subject. To create split lighting, the

key light is moved to a 90° angle relative

to the subject, with no fill light, so that

only half of the subject is illuminated.

03 Mid-key lightingMid-key sits halfway between

low-key and high-key lighting. One light

is required to produce the effect and the

key element is that the overall tonality of

the image equates to a midtone. However

a grey background isn’t essential.

04 Broad lightingBroad lighting means that th

subject’s head is turned away from the

shoulder nearest the key light, reducing

visibility of the shadow side of the face.

This can make the subject’s face look

broader, so it won’t suit everyone.

Using your Canon









VERSATILE LIGHTLow-key portraits look elegant,timeless and sophisticated.They suit subjects of all agesbut are particularly fitting when

you want to create a sense ofauthority or mystery

Using your Canon








There are times when you have to work with naturallight on a shoot. However, often the light does notquite deliver what you what you need and you haveto find a way to control, modify or add something toit, one way or another. Often, you’ll want to retain theintegrity of the natural light rather than overpoweringit, and fortunately there are some handy bits of kitthat make it relatively easy to do just that.

Two of the most popular and useful ways ofcontrolling natural light on a shoot are to employ fill-in flash or a reflector. The great thing about both ofthese techniques is that they can be used incrediblysubtly, to the extent that many viewers of your imagewould not realise that anything other than naturallight was present.

When the optimum subtlety is required, a reflectorwill work wonders, but you may not be able to fillin darker shadows with this approach. Fill-in flashis so-called because its purpose is to simply ‘fill-in’underexposed areas.

In theory, modern DSLRs that feature complexTTL (‘through the lens’) metering systems makefill-flash simple for photographers. The camera willtell the flash unit how much power to output inorder to produce an exposure in which the flash issuitably balanced against the natural light. However,there may be times when you will need to use your

Controlling natural light 10 tips for working with

natural light01 SEEK THE SHADE Look for a shaded areas outdoors for

the advantage of softer, more even light, and a

reduced dynamic range to work with.

02 USE A REFLECTOR A reflector is incredibly useful for

throwing a touch of light back into a scene and

brightening up shadow areas.

03 FILL-FLASHWhat a reflector can’t handle, fill-

flash will. TTL metering will tell your flash how

much power to output, and use exposure

compensation to dial the flash down a touch.

04 USE THEGOLDEN HOURS

This doesn’t just apply to landscape shoots.

Make use of natural light at the beginning and

end of the day, when the sun is low in the sky

and a beautifully soft, warm and golden light

often fills the air.

05 USE A DIFFUSER

A diffuser can serve as a softbox and

allow you to create a softer type of lighting.

06 PREVENT SQUINTINGPhotographers often avoid shooting

into the sun. But if you need to, it’s much better

to deal with the issues than to have subjectssquinting and looking uncomfortable .

07 FLAREMany photographers actually seek to

make a virtue of lens flare caused by shooting

into the sun. It won’t suit every type of subject

and you have to make sure it isn’t ruining the

image – but lens flare can often make an

image look modern and engaging.

08 USE PATTERNSLook out for the way the light is

falling though leaves, branches or window

blinds indoors as this can result in the

formation of interesting patterns.

09 DISTANCE MATTERSIf you’re working with window light,

you can reduce the contrast by simply moving

your subject further away from the window.

Your subject will be less bright and the shadows

won’t be as deep.

10 OVERCAST WEATHERWILL WORK

Don’t be afraid of overcast conditions. The

clouds will act as a giant softbox, ensuring that

the light is even and easy to work with. You

could consider using a gold reflector to throw

warmer light back onto the subject.

Quick gear guide The kit you need to succeed

Canon Speedlite600EX-RTPrice: £470/$550Web: www.canon.co.uk

This professional Canon

speedlite can be used on

and off the camera. It offers

plenty of power for fill-in

flash techniques with natural

light and can be controlledremotely using a built-in radio

trigger from up to 30 metres.

camera’s exposure compensation and/or flashexposure compensation to create the desired effect.You can also take advantage of the myriad of

wireless flash options that are now available, givingyou the freedom to position the flash off-camerawhile still utilising the benefits offered by TTLmetering. The only potential disadvantage of usingfill-in flash is that, by its very nature, it’s often fairlyobvious when flash is present in an image, which iswhere reflectors come in.

Reflectors are a vital piece of kit when you wantto work with natural light. They are available invarious configurations, with white, silver and goldall commonly used for adding around one extra EVstop’s worth of light into the scene. White reflectorsprovide the most natural and subtle results, whilesilver reflectors will produce a slightly harsher (butnot necessarily less attractive) feel to an image. A goldreflector is more dramatic, as it inherently throws adistinctly warm glow back onto the subject. Becauseof this, the presence of a gold reflector is much morelikely to show in the final photo.

One more thing to remember is that you can useanything you want as a reflector – it doesn’t have tobe a purpose-made product. A piece of white card ora white shirt stretched taut will both do the job wellenough to control the natural light.

How to get the best out of the light you already have

“When optimum subtlety is required,a reflector will work wonders”

Mixed lighting outdoors

can throw your camera’s

exposure metering and

white balance off course so

having one of these compact,

collapsible cards with you isthe ideal solution for getting

your settings right quickly.

LastoliteEzyBalance CardPrice: from£20/$40Web: www.lastolite.com

Ideal for those situations

where the light is just too

harsh and decent shade

can’t be found. Reach for this

diffuser from Lastolite and

you can quickly and easilycalm the intensity of the light

down by a full 2 stops.

LastoliteDiffuserPrice: £90/$112Web: www.lastolite.com

Using your Canon








KEEP IT NATURALUsing a spot of fill-flash is an idealsolution when you want to throwsome light into shadow areas whileworking predominantly with naturallight, as it’s just enough to lift theimage without taking over

USE FLASHOff-camera flashtriggered using amodern wirelesssystem allows you tolift awkward shadowwhen working withnatural light

Using your Canon







CENTRE-WEIGHTED AVERAGE METERINGAll of the action is in the centre of the image, so with the cameraset to centre- weighted metering, the edges of the frame play nopart in the calculation© David Clapp


Using your Canon

Canon EOS

6D

Works best with







Metering

with CanonMastering metering can open the door toaccurate images and creative control of your

Canon. This section uncovers the principle,technology and application of metering


Using your Canon







With Canon camera technology breaking boundariesas the digital revolution

advances, photography is looking likea complicated ship to steer. Cameracontrols are becoming so sophisticatedthat as the manuals get thicker, thetechnological soup seems harderand harder to wade through. Camerametering, its modes, functions andsubjectivity can be just as confusing, sojust how do you learn to read the light?

Everything we see contains varyinglevels of light intensity. From bright lightstreaming through a window to the darkshadow tones in a room corner, a goodphotograph renders the scene balanced,as it appears to the eye. All moderncameras, from an everyday mobile phoneto a professional Canon DSLR, havemetering capabilities to assess theselevels of light correctly for the ideal shot.

“Everything we see contains varying levels oflight intensity... A good photograph renders the

scene balanced, as it appears to the eye”Prior to digital technology, the only way

to measure light was by using a separatehandheld light meter. Before cameratechnology advanced and in-camerametering became more commerciallyviable in the Sixties, there was simply noother option. Imagine it – no histograms,not even a viewfinder needle to assist;just a handheld meter and some goodunderstanding. Despite feeling somewhatunderpowered, many photographersstill use handheld meters as a preference.Portrait photographers can’t work withoutthem and these feelings are still alive inthe word of landscape photography, too.

Remember, also, that film is farfrom dead. As large-format landscapephotography is making a popularresurgence, many photographers areenjoying the slower pace and discoveringthe accuracy of handheld metering. It’sthe only form of measurement available

to them, as the camera is electronic-free.The first concept to fully understand isthe two distinctly different ways that lightcan be measured using handheld metersand cameras alike. Reflected metering iswhere, like all ‘through the lens’in-camera metering systems, the cameratakes measurements based upon thelight reflected from the subject surfacetowards the camera. The second method,incidental metering, is the measurementof light falling onto the subject from alight source, using a handheld light meter.Reflected light from the subject’s surfaceis not measured in the reading.

Unfortunately, reflected light can causeproblems. Different surfaces and texturesreflect light in different intensities,varying greatly from subject to subject.In-camera metering tries to combat thisproblem by basing its calculations onlight reflected from a tone in the middle

EXPOSURECOMPENSATION

Spot metering this eideduck’s plumage and exposure

compensating by overexposing by+1.5 stop keeps those whites brigh

© D a v i d C l a p p

© David Clapp

USING SPOTMETERINGSpot metering from the greylamppost stopped the camefrom metering the confusinbackground incorrectly


Using your Canon







DIFFERENT METERING MODES: Most cameras areequipped with a number of different in-camera meteringmodes, but understanding how they work and when touse them will only add greater creativity to yourphotographic approach. Let’s examine the five main stylesof metering systems:

CENTRE-WEIGHTED AVERAGE METERING: Whenpointed at a scene, the camera biases the light readingtowards a central zone and pays less attention to lightvalues at the extreme outer edges.

PARTIAL METERING: Similar to centre-weightedmetering, but the light-gathering area is rapidly reduced to

a smaller zone (10-15%) in the centre of the frame.

SPOT METERING/MULTI SPOT METERING: Themetering area is concentrated in a small spot (3%),ignoring all light levels outside this greatly reduced zone.Cameras that have multi-spot metering let thephotographer use this small zone to take spot readingsfrom key points around the composition. The camera thenaverages these readings.

AVERAGE METERING: The camera does not add anyspecific weight to any zone when measuring the lightacross the frame. Instead, it averages the light reading fromedge to edge without bias to any particular tonal area.

MATRIX/EVALUATIVE METERING: By far the most

technical metering system and one that photographers

love. The screen is divided into small segments andindividual readings are taken. The camera thenevaluates the light in each segment and evaluates thecorrect exposure.

AF POINTS: It is also important to remember that as youchange the AF point, so the camera can bias the exposure.This is particularly useful when autofocus is tracking anobject, or when a static subject is not positioned in themiddle of the frame. Some cameras also give the option tolink or unlink this facility.

Expert adviceLearn how to choose the correct Metering mode for the scene and set the appropriate focus points on your Canon

Spot metering (A), centre-weighted average metering (B) and matrix/evaluative metering (C) as they appear in theviewfinder. The difference between these three popular metering modes is based on biasing the results. Althoughcentre-weighted average and spot metering are essentially reacting in the same way, the spot metering zone is muchsmaller. Evaluative approaches metering in an entirely different way, taking readings from each of the segments

This scene is ideal for evaluative metering. It containsa wide range of tonal values from dark to light. Thesezones are not uniform across the frame, so the camerasegments the readings to achieve an accurate exposure

A B C

© David Clapp

© D a v i d C l a p p


Using your Canon







Your Canon camera can offer you a choice of four metering modes.Each one is useful for certain kinds of shot under certain kinds oflighting conditions. The metering sensor inside your Canon camerameasures and responds to light to help you balance your exposuresand compose creatively. Set your metering options to one of thefollowing depending on the kind of shot you’re taking.

Evaluative metering is used to get an all-round even exposure. Itmeters the light within the entire scene and balances the highlightsand shadows for clear unbiased results. This is perfect for well-litscenarios such as daytime landscapes, but less suitable if you’re

working with directional light such as a sunbeam or spotlight, or ifyou’re trying to capture dramatic contrast.

Centre-weighted average metering is designed to meter themajority of light in the centre of your photograph. It will still take thesurrounding edges into account but to a lesser degree. Centre-weighted average metering is great for face-on portraits as you canbalance the lighting on the subject’s face, making it into a focal point.

Partial metering and Spot metering are similiar to Centre-weighted average metering, however, the central focus area that thecamera meters the light from will be much smaller. Partial metering isalso more precise, and won’t take the surrounding light into account,just the central region. Spot metering focuses on an even smallercentral area and like Partial, it will not take into account the edgesaround this region. Although limited, these options are great forshooting more dramatic and creative captures such as low-keystudio lighting effects and heavily contrasted scenes.

Canon metering optionsHow your Canon camera controls metering

COLOUR CONUNDRUM

A problem some photographers can face whenmetering a scene is colour. Most cameras’metering systems, unlike our eyes, don’t seethe world in colour; they measure light inluminance. Colours that appear extremelyvivid to the human eye, are interpreted simplyas tonal shades by the camera, without theintensity we attribute. It can therefore bedifficult to predict exactly how metering willbe affected, which can cause problems withsetting the correct exposure settings. In recent years however, Canon has resolved this issueand all of its current DSLRs now feature an iFCL(intelligent Focus Colour Luminance) meteringsystem. This smart technology takes intoaccount both colour and brightness informationwhen metering, as well as the focus settingthat’s selected, so you’re sure to get accurateexposure results.

EVALUATIVE METERINGWith an even spread of blacks and whites, thecamera makes easy work of this situation usingevaluative metering

© David Clapp

© David Clapp


Using your Canon







“Metering systems are very sophisticated,but still get confused with tricky conditions” of the luminance range, a ‘midtone’ or‘middle grey’.

Incidental metering doesn’t sufferfrom this miscalculation, as it is basedon a measurement of light falling ontothe subject. The subject can be any tone,

reflective or not, and the light readingwill remain consistent. Portrait or productphotographers, in particular, base theirmetering calculations on handheldincident metering, rather than reflectedin-camera metering to get a more realisticreading. Despite this however, if theimage has a wide range of reflectedlight and tones, in-camera metering stillworks well. Metering systems are verysophisticated, but still get confused withtricky conditions.

The biggest issues occur when asingle luminescence fills the scene, likea blanket of snow. As the camera tr ies

to evenly measure, it is bombardedwith reflected light. It tries to positionthe white in the middle of the tonalrange, as it is convinced this is wherethe correct exposure should be. Thisresults in a shot that is significantly

underexposed. The same thing occurswhen shooting excessively dark subjects;the camera will lift the blacks towards themidtone leaving you with a shot that isoverexposed. With modes like aperturepriority (Av) and shutter priority (Tv),in-camera metering can be difficult toget right. As the camera bases the shutterspeed or the aperture on the in-camerameter reading, the image can be proneto over- or underexposure. This is wherethe Exposure Compensation mode comesinto its own.

Let’s consider the snow scene onceagain. With so much reflected light, the

camera will consistently underexposeunless the camera is set to compensate.By setting the camera to overexpose byaround one and a half stops, the whiteswill remain bright and clean. The sameapproach in the opposite direction works

with darker subjects, too.For film photographers, both amateur

and professional, understanding meteringand gauging correct exposure is vital.Getting to understand photography inthis intimate way is a true art form.Digital photographers must also payheed to these rules, but there is a hugesafety net to fall back on – the histogram.With instant exposure feedback at thefingertips, a quick test shot can sortout any problems and let thephotographer make any necessaryadjustments accordingly. Get it rightin-camera to avoid time editing.

KEEP THE WHITES BRIGHTThe histogram bunches to the right as itrecognises the amount of light tones in shot

UNDEREXPOSURE ISSUESIn-camera metering will try to push reflectedwhites of this cotton grass towards middle grey,underexposing the shot and making it murky

© David Clapp © David Clapp

© David Clapp


Using your Canon








Using your Canon

exposedCanon exposure








Using your Canon

Controlling theexchange of lightbetween yoursubject and yoursensor is ultimatelywhat photographyis all about

T

here’s nothing more fundamental totaking a photo than exposure. In fact,by taking a photo all you are actuallydoing is exposing the light-sensitive

sensor in your camera to light.The two big factors involved are how much light

is falling on your subject and how much of thislight is recorded by the sensor – the latter being adirect response to the former. In some situationsit’s possible to modify the exposure by reducingor increasing the amount of light on your subject,whereas in landscape photography, for instance,it’s necessary to adjust the exposure purely bychanging various factors on the camera itself.

Perhaps the most important thing to keep inmind with exposure is that it’s actually entirely

subjective. As with how a Shakespeare play or aMozart symphony is interpreted, there are oftenmany different valid options as to how a sceneshould be exposed.

Though there is such a thing as a badly exposedimage, absolutely correct exposure is difficult todefine and is very often a matter of opinion. It alsofrequently depends on the effect you are tryingto achieve. This is particularly true in the digitalworld, as photographers now often shoot imageswith imperfect or unbalanced exposure propertieswith specific purposes in mind for the subsequentimage-editing process.

Exposure is the principle that underpinsphotography as a science, but it’s also one of themain things that makes it a creative artform.

Canon EOS7D

Works best with W o r l d M a g s . n e t W o r l d M a g s . n e t







Using your Canon

There are three main variables that can bemodified by photographers to control exposurein-camera. The first of these is the aperture, whichcontrols how much light can get through the lensand reach the sensor. A wide aperture, indicated bya lower f-number, will result in a brighter exposure

than a narrow aperture, which is indicated by ahigher f-number.The second is the camera’s shutter speed, which

determines the length of time that the camera’ssensor is exposed to the light for. Slower, longershutter speeds enable more light to reach the sensorand create a more brightly exposed image.

Third, you can adjust the camera’s ISO setting. Thisalters the light sensitivity of the sensor, so by raisingthe ISO value away from its base setting, which is

Hello tohistogramsWhat they do and why they’reso essential to editingOne of the best things about digital photography is

that you now have the ability to see – at the time of

capture – how your images have turned out, by

pressing a review button on the back of your camera.

Before digital, photographers had to wait until the

film was developed to discover if their images were

over- or underexposed. By that time, it was too late to

change anything and also difficult to know just what it

was that you did wrong – which made it harder for

beginners to learn from their mistakes.

However, rather than just looking at the image

itself on the camera’s LCD, it’s important to pay

attention to the histogram, as this tells you precisely

how the scene has been recorded. The centre of the

histogram represents the mid-point, sometimes

described as 18% grey, between pure black at the

far-left and pure white at the far-right. How high the

peaks in your histogram ascend to indicates how

many pixels of that tone there are.

If everything in your photo is bunched up to the

right, particularly if the peaks are reaching up to

the top of the histogram display area, then you

probably have an overexposed image. Equally, if

everything is grouped at the left of the histogram,

with peaks reaching up to the top, your image is

likely to be underexposed.

most commonly ISO 100, you can make the exposurebrighter without the need to open up the aperture orlengthen the shutter speed.

As with everything in photography, there’s a finebalancing act at play, as each and every one of theseadjustments affects your images in a different way

and there is always a trade-off of some kind. Forexample, if you open up the aperture from f5.6 tof2.8, you’ve gained two extra stops’ worth of light,but you’ll lose depth of field in the process. Thismeans that important areas of your image are not insufficiently sharp focus.

Similarly, extending your shutter speed will grantyou a brighter exposure in low light, but go beyond acertain point (depending on the focal length you areshooting with and how steady your hands are) andyou’ll introduce the risk of camera shake, making atripod necessary.

Thankfully, the high ISO capability of moderndigital sensors means that raising it to the dizzyheights of 1,600, 3,200 and even 6,400 is not theautomatic image-quality disaster that it once was.Nonetheless, you are still trading quality for theconvenience of working in low light and/or avoidinga tripod.

Of course, you can retain the same exposure value(EV) between images, even if you choose to adjustone of these variables. Opening up the aperture fromf11 to f8 increases the light that’s able to reach thesensor and so will create an image that’s one f-stopbrighter, but if you also switch to a faster shutterspeed – 1/125sec to 1/250sec – you have effectivelycounterbalanced the change in aperture and theexposure value (EV) will stay the same.

BACKLIT EXPOSUREIn this image, the subject is backlit, withmore light coming from behind themthan falling onto their front. Exposingwith the subject in mind is obviouslyrequired, but the best option is to makethe lighting slightly more balanced

“As with everythingin photography,there’s a finebalancing act atplay, as each andevery one of theseadjustments affectsyour images in adifferent way”







Using your Canon


DEFINITIONSimply going to alighter and brighterexposure for the subjectwill also overexposethe light behind thesubject, which leadsto a softening effectaround the image. Usinga reflector instead solvesthis problem

EYE LIGHTINGThe subject’s eyeslooked rather flat anddull, as simply goingfor a brighter exposuredoesn’t compensatefor an absence of light.Using a reflector gives amuch better result

SKIN TONESThe correct skin toneswill be achieved if theexposure is correctlybalanced. Again, a silverreflector produces muchbetter results on themodel’s skin

BALANCEBy introducing a silvereflector, we can throsome light back ontosubject and make theoverall exposure morbalanced and even








Using your Canon

One of the things that thrilled our ancestors aboutphotography when it was first invented was the abilityto freeze a moment in time and preserve it forever.Back then, actually freezing a moment in time wasdifficult, as the plates used lacked the light sensitivityrequired to avoid long exposures of up to several

seconds or even minutes for an ordinary photo.Fast-forward to the photography of today and manycameras feature fast shutter speeds of 1/4,000secor even 1/8,000sec. So it’s ironic that one of themost popular techniques in modern photography isto purposefully shoot with very long exposures tocapture movement and a sense of the passage of time.Whether the goal is to create beautifully smooth water,or to convey the journey of clouds across the sky – oreven to capture human activity – long exposures are apowerful creative tool. For the earliest photographers,whose goal was to be able to capture images withoutthe need for long exposure times, this would probablyseem baffling.

There are still times when long exposuretimes are forced upon photographers. Landscapephotographers, for example, often can’t avoid longexposures, unless they are willing to sacrifice a degreeof image quality by using a higher ISO setting. Asmost photographers want the best quality, offered bythe sensor’s base ISO (usually 100), shooting in lowlight at the beginning and end of the day will demandan exposure of several seconds.

However, there are times when photographerswant to capture movement in their images whenthe light levels aren’t low. Simply setting the camerato Manual mode and dialling in an exposure of 20seconds isn’t an option, as even at a narrow apertureand a low ISO, overexposure will inevitably result.

In recent years, the use of Neutral Density (ND)filters has caught on, as these effectively solve theproblem with overexposure when shooting longexposures. In a way, ND filters take us back to the

Ghostly portraitsLong-exposure shots don’thave to be confined tolandscape photography

During a long exposure, if a person is only in a

particular position for a limited amount of time, there’s a

fair chance that, depending on the amount of time

relative to the length of the exposure, they won’t appear

in the final image at all.

This is useful if you want to take a photo of a popular

tourist spot, but don’t want to capture all the tourists

milling around! Use a tripod and a Neutral Density filter

and, provided no one stands still for too long, there’s a

good chance that you’ll be able to make the scene appear

as if no one was there at all.

You can experiment with this approach when taking

portraits, then if you keep the light low you may not need

to use any filters.

early days of photography, but instead of making thesensor less light-sensitive they limit the amount oflight that’s able to reach the sensor in the first placevia the lens.

There are various densities are available, withten-stop ND filters with a density of 3.0 such as the

Lee Big Stopper or Hitech 4x4 ProStop IRND GlassFilter 3.0 at the most extreme end of the spectrum.Ten-stop ND filters are ideal for situations where thelight levels are quite high, but they’re less useful inlow light. This is because the shutter speed requiredto achieve the correct exposure can go up to a minuteor more, presenting a case of diminishing returns. Inalmost all situations, a 30sec exposure is plenty longenough and waiting around for a 60sec or 120secexposure simply means that you’ll be able to takefewer images and have greater problems with long-exposure noise.

“Whether the goal ito create beautifullysmooth water, or toconvey the journeyof clouds across thesky, long exposuresare a powerfulcreative tool”

LONG EXPOSUREBy simply using a tripod and a NeutralDensity (ND) filter, you’ll be able tocapture long exposures of severalseconds or more








Using your Canon

MOVING CLOUDSUsing a long exposureenables you to capturethe movement of theclouds across the sky,

which adds atmosphereto your shots

SMOOTH WATERSThough there aretimes when it’s best tocapture the turbulenceof crashing waves, longexposures can be used

to capture smooth andtranquil water, creating avery restful effect

LONELYLOCATIONSYou won’t always be on your own when takinglandscape images,but a long exposurewill ensure that anymembers of the publicstrolling along a beachor hilltop won’t spoil your shot








Using your Canon

EXPOSE HIGHLIGHTSAn exposure of 1/4sec at f16 and ISO100 ensured that the brightest parts ofthe image – the highlights – were notdramatically overexposed. However, as you can see in this frame, the shadedareas are far too underexposed

EXPOSE MIDTONESThis exposure – at 1/2sec, f16 andISO 100 – is the best compromise, butneither the shadows nor the highlightsare correctly exposed in this image.However, this exposure is still useful forthe blending process

MIDTONE DETAILElements of themidtone exposure havebeen used for some

of the surfaces on theforeground rocks, whichwere too dark in thehighlights exposure andslightly too bright in theshadows exposure

HIGHLIGHT DETAILPlenty of detail has beenretained in the sky byvirtue of the shortestexposure of 1/4sec atf16. The only other optionwould be to use a two-stop ND filter positionedover the sky








Using your Canon

Compromises very often have to be madewith photography and you may have no choiceother than to decide which area of the sceneis most important. You can then base yourexposure on the need to make that part of theimage look good.

However, in extreme situations where thedifference between the darkest and brightestareas of a scene is particularly significant, it’ssimply not possible to get good results, nomatter what you do.

The problem this presents is that thehighlight areas of your image will beoverexposed, or the shadow areas will beunderexposed. In a landscape scene, neither ofthese scenarios is acceptable, although thereare occasions when a photographer mightchoose to accept a degree of underexposure ofshadow detail – for example when shooting asilhouetted subject.

With sunrise and sunset being such populartimes for shooting landscape scenes, dealingwith very bright skies – frequently with a settingSun – and significantly darker foregrounds is analmost constant challenge.

Over the years photographers haveattempted to combat this problem by usinggraduated ND filters. These are typicallypositioned so that a longer exposure canbe used, enabling foreground shadow to becorrectly exposed, without overexposing themuch brighter sky.

Digital photography has made it far easierto use these filters, whereas in the days of filmit was relatively easy to misjudge the positionof the filter and end up with the darker NDhalf-cutting into the lighter foreground. Digitalcapture enables you to see precisely what sortof results you’ve achieved with filters like these,

affording you the opportunity to correct anymistakes immediately.

However, digital imaging goes a step further,negating the need for photographers to carryand use ND filters if they prefer not to. Thedownside is that this comes at the expense ofmore time on the computer. However, this timespent in your imaging software can result inpowerful and precise exposure blends, whichwould be impossible to produce with filters.

EVEasily find the perfect balancebetween shutter speed andaperture valueExposure value – or EV – simply refers to the

effective combination of any shutter speed, any

aperture and how different combinations relate to

one another.

There’s a rather confusing equation that can be

used to calculate the EV based on any given

shutter speed and aperture combination, but

fortunately there are plenty of tables online – andof course apps – that negate the need to be an

advanced mathematician.

Assuming that ISO 100 is being used, a

landscape scene at sunset will often have an EV of

around 8 or 9. In other words, there’s a good

chance that you’ll be shooting at something like

1sec at f16, or 2sec at f22.

This EV table is the origin of the sunny 16 rule. As

a sunny day generally equates to EV 15, assuming

ISO 100, you can shoot at around 1/125sec and

f16 knowing that your exposure will probably be

close to correct. 1/250sec and f8 also equates to

EV 15, so will also be applicable for a sunny day.

EXPOSE SHADOWSThis exposure, at 1sec, f16 and ISO 100,is the brightest of the three exposures

– two stops brighter than the exposurefor the highlights. This ensures that theshadows are correctly exposed

CANON EOS 7DAn fantastic exposure system – including63-zone Evaluative, Center-weightedAverage, Partial, and Spot options –means the EOS 7D is a great Canoncamera to master exposure with

“It’s vital to keep theaperture constantso as not to affectthe depth of field”

SHADOW DETAILThanks to the brightestexposure, the final blendshows good detail in theforeground rocks andacross the backlit fieldson the horizon

Instead of using filters, the only thing that needsto be done in the field is to shoot two or three imageswith different exposure values, covering the differentareas of the scene. In a situation like this, it’s vitalto keep the aperture constant so as not to affect thedepth of field. You might shoot an image to correctlyexpose the highlights at 1/4sec and f16, as well asone to expose the shadows correctly at 1sec and f16.You could also shoot an image that averages the two,thereby covering the midtones at 1/2sec and f16. Thedifference between your longest, brightest exposureand the shortest, darkest exposure is two EV stops, soto achieve a similar result with a graduated ND filteryou’d shoot at 1/15sec and f16 with a two-stop NDgrad filter positioned over the sky.








Using your Canon

Shutter speedsControl your Canon’s shutter speed to create special effects

Shutter speed – one simple phrase that everyphotographer knows and one that describessomething utilised by your camera every

time a photo is taken to help get a ‘correct’exposure. So, why take control of shutter speeds?

Whether you want to photograph stunning startrails at night-time using very long exposures, orfreeze the fleeting motion of a bird in flight to reveal

the detail of its beating wings, learning how tocontrol your shutter speeds is key.

There are other aspects of shutter speed controlyou can take advantage of, such as the relationshipbetween focal length and shutter speed, which canhelp to reduce camera shake. Plus, there are ways ofusing shutter speeds for specific effects using ‘rulesthat apply across every type of photographic style.

NIGHT-TIME AND LONGEREXPOSURESThis shot of Tower Bridge was taken using a very longexposure of around 25 seconds. A low sensitivity (tokeep noise to a minimum) and use of a tripod andremote camera release helps prevent camera shake.If your camera has it, use its mirror lock-up functionto stop that from vibrating as well

© Doug Harma

Canon EOS-

1D X

Works best with








Using your Canon

On a basic level, the most important element ofshutter speed control is simply to help ensure animage is correctly exposed. If the shutter speed is toofast, you risk underexposing the picture and viceversa. Also, if you have a more creative bent,

controlling shutter speeds will help you freeze thatfast-moving action to crisply render every detail or,conversely, you might want to allow the very samemotion to be revealed within a shot to deliberatelyadd blur. The slow shutter speed conveys the feelingof the true speed and power of a subject or event.

Most high-end Canon digital cameras, andcertainly their DSLRs, will provide control over theshutter speeds at their disposal. The exact range ofcontrol on offer will vary from camera type andmodel, but expect to find a range of shutter speedsstarting at around 30 seconds to 1/4,000sec.

Some cameras may have a Bulb mode where theshutter can be set to remain open for as long as theshutter button is pressed; some may not and otherswill offer even faster shutter speeds too. But of those

that offer shutter speed control, all will provide agood level of control.

If you have a Canon that provides full shuttercontrol, be it via the shutter priority setting (whereyou control the shutter speeds and the cameraautomatically picks an aperture to get a properlyexposed shot) or through full manual control (whereyou can change both the apertures and shutterspeeds as needed), then you have total power overhow motion – or the lack of it – in your composition isrecorded within your images.

In essence, the faster the shutter speed you use, theless motion will be evident in any shot; the more theimage will appear to be frozen and, bear in mind, the

faster the action being snapped, the faster the shutterspeed you’ll need to use in order to freeze it. Thisusually involves a lot of trial and error.

However, as shutter speeds get faster, less light isallowed to reach the camera’s sensor, so larger

apertures will need to be employed – or increasingthe camera’s sensitivity (the ISO setting) will becomenecessary – in order to ensure enough light iscaptured for a properly exposed shot.

The intuitive response to using very slow shutterspeeds in bright daylight is that the shots willoverexpose. If you have control over apertures onyour Canon, then you can close the aperture down to,say, f22, reducing the amount of light entering thecamera and ensuring the shot is not overexposed.

This technique lets you include motion blur forcreative effects, such as capturing passers-by asghostly blurs, making waves on the seashore becomesmooth velvet blankets or rendering creativelyblurred waterfalls.

However, if employing this technique, watch out

for brighter backgrounds, which can lose detail bybecoming too bright. To help prevent this leachingof detail, use an accessory filter called a neutral

DELIBERATE BLURFreezing action can be great where detail is paramountand you want everything to be sharply rendered in a shot.However, by using a slower shutter speed, you can helpemphasise the power and grace of fast-moving subjects

“As shutter speeds get faster, less lightis allowed to reach the sensor, solarger apertures will be needed inorder for enough light to be captured”

© Doug Harman

Cameras have within them a device called a shutter thatallows a timed and finely controlled amount of light toenter the camera. It can take the form of a focal planeshutter, such as that found in DSLRs, or a more simpleleaf shutter, as found in most compact digital cameras.

The shutter is usually positioned in the camera bodybehind the lens and in front of the sensor as with DSLRs,where it can be clearly seen when you swap a lens. This isa focal plane shutter. Or it can be inside the lens (the leafshutter type) as with compact digital cameras. Whateverthe case, as the shutter travels it reveals an open slit tothe outside world that allows focused light to enter andhit the sensor. The velocity this swath of light crosses thesensor is the shutter speed.

Shutters andshutter speeds

Including a puff of flash at any shutter speed yourcamera is capable of using (the flash synchronisationspeed) can add greatly to an image’s impact. Using aburst of flash by forcing it to fire – even if it is not neededin daylight – can lift shadows, help add sparkle to a shotor freeze an action due to the fleeting duration of theburst of flashlight. It can also make your subject stand outagainst the background to add emphasis.

When combined with slower shutter speeds, flash canhelp you create impressive blurring effects combinedwith sharply defined action, such as when you combine aslow shutter speed (and, so, very shaky) with a lowambient light exposure, but include flash to help producea motion-freezing burst of flash. By doing this, you’ll get a

funky, fill-in flash effect, where the main subject of thephotograph is frozen and is sharply rendered by thebrevity of the flash, but seemingly pinned against ablurred and fuzzy background of ambient lighting.

Flash andshutter speeds

There is a direct relationship between the shutter speedand focal length you use when taking pictures and, onceyou get a grasp of it, it means you can reduce the risk ofcamera shake. Simply put, always use a shutter speedthat is the reciprocal of the focal length in use. If you shootusing a zoom lens set at 100mm, then also ensure youuse a shutter speed of 1/100sec. If you use a lens focallength of 200mm, then a shutter speed of 1/200sec isrequired, and so on. This will help you get sharp shotseven if the camera is not supported on a tripod, though,

of course, a tripod is preferred in order to help withcamera stabilisation.

Shutter speedsand focal length







Using your Canon


density filter; it will help even out the range ofbrighter and darker areas without affecting the colourtemperature or white balance of the shot.

Another tip is to use lower sensitivities, say ISO 50

or ISO 64, in order to reduce the light processed bythe camera and get even slower shutter speeds on tap.On the upside, you’ll be able to retain slightly morecontrol over the apertures used – depending on thesophistication of your camera and the flexibility of itsISO settings; you’ll also get less image noise too. Onthe downside, you’ll probably have to support thecamera on a tripod to stop unwanted blur fromcamera shake.

A camera with aperture priority control only(typically most mid- to high-end compact digitalcameras), where you control the aperture values andthe camera automatically chooses the ‘correct’ shutterspeed for a properly exposed picture, is going to bemuch less flexible than being able to employ direct

© D o u g H a r m a n

© Doug Harman

DELIBERATE BLURSlow shutter speeds can offer upsome very neat creative effects suchas this ‘zoom burst’ technique. Thiswas shot with a slow shutter speed of1/3sec, but combined with zoomingthe lens during the exposure to createthis dramatic effect

shutter speed control. However, you can deliberatelyuse a specific aperture in order to get a slower orfaster shutter speed.

For instance, use a small aperture to force the

camera to pick a slower shutter speed, and vice versa.It is worth bearing in mind, however, that thistechnique has an impact on the depth of field; thesmaller the aperture the greater the depth of field willbecome. Moreover, using slower shutter speeds onany camera may mean you need to support thecamera using a tripod or monopod to help minimisethe risk of camera shake.

So, what happens if you have a camera that lacksshutter speed control? The more basic digitalcameras, like point and shoot compacts such as thelower end of the IXUS range, provide little or nocontrol over their shutter speeds; often, point-and-shoot models will have an all-auto program settingwhere the camera does everything for you.







Using your Canon


SLOW SHUTTERFOR CREATIVE EFFECTSThis shot uses a burst of flash, long-ish focal length and aslow shutter speed. Flash has kept the happy couple sharplydefined while the slow shutter speed used helps convey theemotion and atmosphere of the happy moment

These cameras usually have a set of subject (orscene) modes and while these predefine the way thecamera behaves for specific subjects, such asportraits, night scenes or sports subjects, you cantake advantage of them too, as there will be anelement of automatic shutter speed control you canturn to your advantage. For example, in brightdaylight, where you want to use slower shutterspeeds, use the camera’s night scene mode (crucially,without flash) to force the camera to use a slower-than-normal shutter speed. This could be ideal whensnapping fast action, particularly if you want toinclude some creative motion blur.

Obviously, this mode is usually used in low light orat night with or without flash, and used in its ‘proper’fashion, it enables you to shoot an ambient lightexposure using a slow shutter speed and the burst of

flash will help illuminate any foreground subjectgiving you the desired effect.

Used during daylight, the night scene mode with aburst of flash or the camera’s fill-in flash mode – if ithas that setting – can help create a fill-in effect,lightening the shadow areas. The short duration of aburst of flash can also help freeze motion, so it can beworth turning your flash on wherever you want anextra crisp result.

Alternatively, use the camera’s landscape mode toforce the camera to bring into play a smaller aperture(smaller apertures ensure greater depth of field, idealfor landscape photography) and this will then drivethe camera to use a slower shutter speed. Conversely,try using the camera’s sports mode – here theaperture used will be much bigger to get at those

faster shutter speeds – and use the sensitivity (ISO)to your advantage by increasing the ISO to help freezethe action.

In essence, however, because there’s no directcontrol over the shutter speed and you’re subvertingthe camera’s mechanisms to help get an effect, trialand error is the key.

Try practising using the ‘wrong’ setting for specialeffects and see what happens. But watch out forunwanted or odd effects, such as the wrong whitebalance setting being used, which could skewcolours in a shot. It’s best to experiment with yoursettings to see what gets the best result. Once you’vean idea of how the camera behaves (or misbehaves),you’ll be able to predict what mode to use.

Shutter speed tips• Use a fast shutter speed to freeze a fast-moving subject.

The faster the action, the faster the shutter speedneeded to freeze it.

• Use slow shutter speeds to creatively blur your subject,

be it a waterfall or waves on a beach, to convey thefeeling of motion in a subject.

• Using flash can help freeze motion as well as a fastshutter speed.

• Use a neutral density filter if you have problems withdetail bleaching out when using longer exposuresin daylight.

• Always use a shutter speed the reciprocal of the focallength in use to help reduce problems from things likecamera shake.

• Bump up the camera’s ISO sensitivity to help get fastershutter speeds at your disposal.

• If using slow shutter speeds, always support thecamera with a tripod or monopod.

“Try using the night scene mode toforce the camera to use a slower-than-

normal shutter speed” © Doug Harman

FASTER SHUTTERSPEEDS TO FREEZE ACTIONThis shot was taken using a relatively fast1/420sec shutter speed to help freeze themotion of the backlit fountain’s water dropletsto help create this quite dramatic effect








Using your Canon

Master HDRon your Canon








Using your Canon

H

ave you ever looked through your viewfinderto see a stunning scene and been excitedabout the prospect of capturing an award-winning image, only to depress the shutterand be dismayed by the image on your LCD?

Even the most expensive medium-format cameras have arelatively low dynamic range compared to the human eye, sothe amount of data the camera can collect is limited. Manyhigh-end cameras will allow you to purposefully underexposea shot and pull a large amount of detail from shadows in post-production, but this will often result in noisy images with a lackof accurate colour representation.

This is where HDR comes into its own. High Dynamic Rangeimaging is the process of combining several exposures intoa composite image to capture a wider dynamic range of lightthan is possible from a single photograph. It is a techniquethat has been used for many years and is regularly the subjectof controversial debate over its ‘validity’ as a photographictechnique. However, when used sensitively HDR can producestunning images that accurately represent the original scene.

Over the next few pages you will learn how to set up andcorrectly capture the shots you need and then take those shotsinto HDR software to create a stunning image. We will alsolook at the best kit for the job and compare HDR imaging tohyperreal photography.

Gear guide

Nodal Ninja 4 with RD16 RotatorWeb: www.nodalninja.com Price: £402/$440

Take your HDR photography a step further and

shoot HDR panoramas. Simply bracket each partof the panoramic image using the pano head toprevent parallax error, and then combine the

panoramas together in HDR software forstunning results.

HDR Efex Pro 2Web: www.niksoftware.com Price: £62/$100

Nik Software has been developing this programfor a number of years and it really shows in thislatest release of HDR Efex Pro 2. Upgradedalgorithms and improved control give the user a

powerful tool for creating stunning HDR images.

Pixel TC-252 remote timerWeb: www.pixelhk.com Price: £40/$50

A good remote release will allow you to minimisevibration when shooting multiple photographs ona tripod. The Pixel TC-252 timer is a wired shutter

release (a wireless version is available) and can beset to automatically take multiple exposures.

Manfrotto 055XPROB TripodWeb: www.manfrotto.com Price: £170/$223

To take multiple exposures with a range of shutterspeeds for HDR, you need a good sturdy tripod.The Manfrotto 055XPROB tripod has an incrediblerange of adjustment combined with good stability

to ensure that your camera will remain steady inany position.

I m a g e s © C h r i s H um ph r e y s

Follow our detailed guide on setting up andshooting perfect HDR images, the right gear to

buy and the best way to process your shots

Canon EOS5D MarkIII







Using your Canon


Taking the shots for an HDR scene is just the startingpoint, as you won’t see the final result until you’reback at your computer. It’s good to make afew notes or a mental picture of the scene while you

are shooting. Does it have warm light, cool light,how much detail can you see in the shadows, howvibrant is the colour? This is important if you wantthe final shot to be an accurate representation of theoriginal scene.

You will need a sturdy tripod and a remoterelease to ensure that the shots properly align andto eliminate the possibility of camera shake onlonger exposures. The basic camera settings are thesame for any landscape or cityscape shot you mightcapture. You will need the ISO set at the camera’snative lowest setting (around ISO 100-200) and to usea narrow aperture to ensure front-to-back sharpness(between f11 and f16). Shoot in RAW to collect thebest possible data for the software to work from.

Before you put the camera on the tripod, useaperture priority mode (Av on the mode dial) andspot metering to aim the camera at the darkest partof the scene and make a note of the shutter speed,then do the same for the brightest part of the scene(making sure you don’t aim directly at the sun). Makea note of the shutter speed once again.

Then place your camera on the tripod and switchto manual mode, set your aperture to the same asyou had it previously and adjust your shutter speed

How to set up & shoot an HDR imageto expose for the shadows first. If the differencebetween your shadow shutter speed and highlightshutter speed is 10 stops, then start taking shotsat 2 stops apart, increasing your shutter speed

incrementally until you have reached your highlightsshutter speed (six shots). If you are short on time,meter once for an average well-exposed shot and setyour camera to bracket two stops either side of thisand fire off three or five bracketed shots.

There is no hard-and-fast rule as to the numberof shots you should take for a good HDR image asit depends on the scene; just try to keep it betweenthree and nine. At the lower end of the scale you arelimiting your amount of dynamic range available towork from and at the higher end you will increase thechance of images not aligning or ghosting becomingan issue.

However you take your shots, make sure youkeep your camera steady throughout and allowa second or two between shots to let any cameravibration subside. Finally check the shadow andhighlight exposures to ensure the histograms arereading correctly. (See the box on the right aboutunderstanding your camera’s histograms).

You can now transfer the images to your computerand into your favoured HDR editing program. Youshould aim to create your HDR image as soon aspossible after taking it, while the memory of the real-life scene is still fresh in your mind.

“There is no rule as to the number of shots you shouldtake for a good HDR image, it depends on the scene”

Using the histogramThe histogram displays a visual representation of howthe luminance and colour data is spread across therange of the image. The left-hand side of the chartrepresents the shadows and the right-hand side thehighlights. The graph shows peaks where most of the

data sits. A classic smooth curve up to the midtones andback down to the highlights is generally what you willachieve for an HDR shot. But this isn’t always the case. A

bright-white room forinstance should beexposed so that thehistogram is showingmost of the databunched up towardthe right-hand side ofthe chart.

For HDR shots,use your histogramto check that theshadow exposure isnudging the left-hand edge of thechart and highlightsexposure is at the

right-hand edge, butwith no clipping (thismeans data falling offthe chart).

This is thehistogram from abright-white roomwith a dark floor;notice how the datais distributed

SHOOTING HDR Standing on a cold bridge in Edinburgh,tripod firmly wedged against the barrierand using the LCD display to check thehistogram for each set of shots







Using your Canon


Expose for highlightsThis shot has been underexposed at -2EV to retain detail in the sky.Notice how the main bump to the right-hand side of the histogram(the sky) is wholly within the chart and shows no clipping. This willlater allow us to extract some nice detail and colours from the sky.

Expose for midtonesThis shot has been exposed correctly at 0EV. The aim of this shot isto retain details in the midtones. We are less concerned with the sky,which is now pushing off the right-hand edge of the histogram andshowing some clipping. The shadows are still deep and lacking detail.

Expose for shadowsThis shot has been exposed at +2EV to bring out shadow detail. The

‘sky’ bump of the histogram has fallen off the right-hand side, so thisarea is now clipped and contains no data. The ‘shadow’ bump hasmoved to the right and now occupies more of the midtone area.

UNDEREXPOSED

CORRECTLY EXPOSED

OVEREXPOSED








Using your Canon

1 Load source images The first step is to load your sourceimages onto your computer and into the software.

Depending on the program you may be able to load RAWfiles. With HDR Efex Pro you need to covert to TIFF first. Doso in 16-bit format to retain as much detail as possible.

2Ghost reduction In the Merge Image dialog box wehave the option to set ghost reduction, to eliminate

artefacts when combining images with moving objects.Here we select the overexposed image as it containsmovement of the big wheel which we want to retain.

3Chromatic aberration You may have chosen toreduce or eliminate chromatic aberration in your RAW

conversion software, but it can also be done here by usingthe close-up loupe. Use this to see areas of the image thamay be affected and adjust the sliders accordingly.

“HDR software works by extracting data from thehighlights, midtones and shadow areas of each photo”

There is a range of software available to edit your photographs and combinethem into a single HDR image. Some of the more commonly used programs arePhotomatix, Photoshop and HDR Efex. They all have similar functions but process

the shots with different algorithms, meaning the end results will vary. Each piece ofHDR software works by extracting the best data from the highlights, midtones andshadow areas of each photo and combining them in different ways to produce thedesired effect. Here we take a closer look at Nik Software’s HDR Efex Pro 2.

How to create your HDR image Other usesof HDR imaging

HDR imaging can be used in any situationwhere a wide dynamic range is needed to createimpact. Certain genres such as portraiture don’t

work well with HDR unless deliberately tryingto create a surreal effect. HDR will often be

seen in advertising situations where combiningexposures and different parts of images iscommonplace to sell products. Forms of

HDR will also be seen on interiorarchitecture shots, but

this will be in a very subtle way.








Using your Canon

10 Control points Control points are particularly usefulas they allow us to adjust specific parts of the image

without affecting others. Nearly all of the same optionsas the global adjustments are available. This allows us tolocally adjust the temperature and detail of the foreground.

11 Fine control With a control point selected you canincrease and decrease the size of the area affected

and the control point will try to find areas of tone and colourof a similar nature within the defined circle. Selections canbe shown and hidden to fine tune.

6 Tone compression The tone compression setting isthe one which will have the most impact on how natural

or surreal your HDR image ends up looking. Start with thedefault or one of the Realistic presets and slide the tonecompression slider up to around 20%.

4 Presets HDR Efex will take a short time to process theimages and apply all of the settings that you’ve made

so far. You will then see this interface, which has presetsalong the left-hand side to choose from. These are a goodstarting point to work from.

12 Finishing touches The last section of options coversgrad filters and curves to add those finishing touches.

Generally speaking though, final adjustment will still beneeded in Photoshop to make a crop, clone out dust spots,adjust final levels and sharpen.

9Colour adjustment The next section allows globaladjustment of colour temperature and tint to the image.

We have a problem with this image however, as warming upthe foreground also warms up the sky which we don’t wantto do. This is where we introduce control points.

7Tonal adjustment Under the Tonality section you canadjust the image’s general exposure, boost shadows,

increase or decrease the amount of highlights and addcontrast. Generally you should be fairly familiar with all ofthe settings from normal photo editing.

5 Don’t overcook it Some of the presets in the Artisticor Surreal section will produce some striking but

unrealistic images like this one. Generally you will want touse one of the presets from the Realistic section as a basefor your edits.

THE FINISHED PHOTOGRAPH With our finished HDR image we have retained a naturallook with a good tonal range throughout the image to aiddepth perception. Details have also been subtly boostedalong with the colour range

8Add structure The Structure slider adds micro contrastto your image. Again this is a slider that is best used

sparingly if you are going for a natural look. Use the zoomfeature to close in on a section of the image and see thedetail as you adjust it.







Take great portrait shots

Shoot speed and sport

Working with wildlife

Advancedtechniques

We help you to take yourphotography further

Advanced techniques


86 Shoot better portraitswith CanonUse your Canon to improve your portraits

98 Creative landscapeswith CanonThe mindset, potential and elation

110 Working with WildlifeAdvice on how to capture wildlife

120 Shoot for sport on CanonImprove your action-packed portfolio

130 Urban landscapesFrom skyscrapers to street life

140 Use Canon to shootin black & whiteCreate contrast and elegance

148 Travel the world with your CanonCapture shots of people and places

156 Capture architectureExplore options for shooting buildings







Expressing urban scenes

Master monochrome

Creative landscapes98

Advanced techniques









Advanced techniques

PORTRAIT POWERPortraits can be incrediblyengaging to look at and aregreat fun to create. There are somany different ways of shootinga portrait, and no two faces arethe same


Canon EOS

6D

Works best with








Advanced techniques

We humans have created imagesof each other in some wayor another throughout ourentire history and fully fledged,detailed portraits of human

faces have been produced for thousands of years. Unsurprisingly then, it didn’t take long for

photographers in the 1800s to exploit the newmedium available to them for capturing portraits.Back then, the combination of long exposure times,

lack of familiarity and the general belief that a portraitwas a ‘formal’ document meant that most imagestaken during that time featured what, to our moderneyes, look like rather dour subjects.

Perhaps because we are now so used to portraitsadorned with natural, relaxed poses and big smiles,moody portraits with serious-looking subjects arenow often considered the most fashionable. The edgyportraits of today often have plenty in common withthe work of 19th Century photography pioneer JuliaMargaret Cameron.

In fact, in the 21st Century, anything goes in theworld of portraits, with arguably fewer hard-and-fastrules than in other fields of photography – whichperhaps goes some way towards explaining the

magnetic appeal of portraiture. But it is perhapsour very condition as human beings, as social andinquisitive creatures, which draws photographers toportraits so prolifically. Over the next few pages, we’lltake a look at the many different styles of portraitsthat photographers take today and reveal the thoughtprocesses and techniques behind them. You’lldiscover how to pose your model, work with propsand shoot great street portraiture.

Portraiture has long been popular withphotographers, but there’s a lot more to it than

meets the eye. Find out how you can use yourCanon camera to improve your portraits

Shoot better

portraitswith Canon

• Selecting models• Creative captures• Using your props• Street portraits

TOP PHOTO

TIPS & ADVICE







Advanced techniques


Very often, we tend to associate portrait photographywith women, and young women particularly –probably because these are the images that we’re

bombarded with the most frequently by the media.We’re subliminally told that to be worth looking at, tobe beautiful, is to be young and female. As a result,budding photographers often put their energies intobuilding a portfolio based around young, attractivewomen, ignoring the potential of other subjects.

In fact, for those who are looking to get trulycreative, capturing older, male subjects can workvery well indeed. This is an idea that evidently wasn’tlost on Julia Margaret Cameron, if her well-knownportrait of Sir John Herschel is anything to go by.

In the 1860s, Cameron had no choice otherthan to shoot in black and white but a touch ofmonochrome magic still works wonders with oldersubjects – especially older men. Black and white issimply great at drawing out textures and patternsin weathered skin and it seems to allow the storiesthat older faces have to tell to come to the fore andhit home with the viewer. If you don’t want to go for

Choose a conceptthe full monochrome look, youcan experiment with a judiciallydesaturated effect, which can

also work really well with lessconventional models.At the other end of the age

spectrum, children make greatsubjects for portraits full of characterand life, but they can be challengingmodels. Keeping children happy and engaged duringa portrait session isn’t always straightforward, andyou may even need to design the lighting itselfdifferently to accommodate the very young, as prophotographer Adrian Dewey explains. “Babies tendto pretty much stay where they are put, but toddlersand smaller children will run around a lot more sothe lighting has to be less fancy and more aboutflooding the total area.”

A great portrait image doesn’t necessarily need tofeature just one person, either. Getting a group offriends or a family together for a photo shoot has thehuge advantage of making people look relaxed and

COLOUR

CONTROLBlack and white is a popularstyle for many portraits,but colour can be used veryeffectively too, particularlywith well-judged post-capture work in Photoshop

happy, as no oneindividual feelslike the spotlight

on them. You canof course, moveon to taking some

individual shots latafter the group imag

has been completed.For pro portrait and wedding photographers,

group shots are a central component of what theydo – and vital to their success in terms of sales.Though many people will be inspired to book aphotographer because of the creative prowess thattheir portfolio demonstrates, when it comes to groushots, people will often err towards the conventionaand favour images where everyone looks happy –and everyone is looking at the camera. “One of thebiggest challenges in shooting groups and familiesis the fact that with a number of people there isalways someone not looking, or laughing or blockinthe light of someone else, thus creating unwantedshadows and dark areas,” explains Adrian Dewey.

“The trick is to make sure everyone is lit evenly and tget everyone to look at the camera at the same timenot always an easy task!”

Professional portrait photographer KatrinaChrist knows more than a thing or two aboutcapturing groups successfully and has built herreputation on photographing people of all ages. “group portrait is a whole lot more fun if everyonis ‘into’ it,” she says. “It’s also important to haveeveryone looking into the camera and smiling – iyou can’t get that then you may end up with an

unhappy customer.”Katrina’s biggest tip for capturing great

group shots is to be well prepared and shoofast. “You need to be organised and knoweveryone’s name. Make it quick – as soonas you know you’ve got it, move on to thenext composition or the next group. Lastly

be fun and be positive.”

Working with children

Photographing children is one of the keychallenges that portrait photographers faceon a regular basis. You can’t always predicthow they will be on the day, but making theshoot fun and building a rapport with themis vital. Katrina Christ offers this advice. “I

always try to ensure that we work aroundthe youngest child’s best time, and makessure the shoot is never going to interfere

with anyone’s sleep times.”

Katrina Christkatrinachrist.com.au

Katrina Christ is a pro photographerand her speciality is monochromeimages of children and families. In2011 she was made a Master of

Photography by the AustralianInstitute of Professional

Photography (AIPP).

CAPTURING BIG GROUPSEspecially when there are lots of young children involved,large groups can be one of the biggest challenges for portraitphotographers, but have great sales potential when done well

© Adrian Dewey

© Katrina Christ

Pick your model and the type of portrait you want







Advanced techniques


“Create lots of banter to helpcapture great expressions aswell as real character”

richardmayfield.co.uk

Richard Mayfield is a

professional portrait,

fashion and beauty

photographer, as well as

being the creative director

of Venture Photography. In

2012, he was named

Photographer of the Year

by the British Institute of

Professional Photography.

What differences do you

notice when photographing older subjects?

Photographing somebody with more life experience

than me is always fascinating. They have more stories totell and strong opinions on what they believe in. This

always makes it easier to build rapport quickly and

create lots of banter to help capture great expressions as

well as real character.

Do you have any particular techniques or

approaches that you normally use for older models?

We all have different levels of confidence, different

anxieties and different experiences. I am always genuine

with my sitters – but I also have to be very adaptable. As

a professional photographer, I have to be acutely aware

of how models are feeling. With older subjects, I always

try to find something that they are passionate about,

because as they talk about themselves and their

passions, they relax and that’s when we can capture the

best shots.

What lighting techniques do you use when working

with older models?

I consider my lighting techniques very carefully when

shooting older models. When shooting females, I use

lighting that will flatter the subject. When shooting men, I

often take the opposite approach and choose a harder

light source to exaggerate marks and blemishes, and to

bring out the character in their features.

What tips do you have for working with reluctant or

camera-shy subjects?

As professionals, we need to be technical and lighting

masters but we also need to have the interpersonal skills

to direct sitters and generate the right level of energy inthe shots. I see it as my responsibility to help my subjects

relax, reduce their inhibitions and enable them to build

confidence in me.

What would your top three pieces of advice be for

portrait photography?

Firstly, be yourself. Secondly, be genuinely interested in

the sitter. Listen to them and get to know them. Thirdly,

practise, practise and practise!

Is there anything that aspiring portrait

photographers need to avoid?

Don’t think that the session is about you, your lighting or

the technical side of what we do. Also, portrait

photographers should avoid ‘chimping’ – looking at the

TEXTURE TIME Black-and-white images with plenty oftexture are ideal for older male subjects,bringing a grit and edge to the portrait thatcreates a fitting sense of gravitas

DON’T RELY ON RULES The subject is laughing with her eyes closed,her mouth open and her head back. Somewould claim that this breaks the rules, but asense of character counts for much more

Working with older subjectsPro photographer Richard Mayfield spoke to us

about working successfully with models of all ages

back of the camera when they could be connecting

with the sitter. Lastly, never blame the client if

something goes wrong. Whether it’s a tired child, a

hormonal teenager or a grumpy dad, it is our job to get

the best possible portrait of them.

TONING UP Great portraits can be made even more impressive withexpert toning and selective saturation adjustments.Many pro portrait photographers are very skilled at this

© Richard Mayfield

© Richard Mayfield

©R i ch ar d M a yf i el d







Advanced techniques

Manage your pose

THE RIGHT LIGHTGetting the light set up theway you want it to look is thefirst the objective when takingportraits, and you can thenworry about the model’s posesand clothing as you work

LOOK FOR THE EYESDirect eye contact with thecamera draws the viewerinto the scene. Your subjectdoesn’t need to be lookinginto the lens but the model’seye-line always needs beconsidered as it has a big

impact on the photos

PLACE THE HANDSThe shape created by theplacement of the model’s armsand hands adds interesting curvesthat mirror the curves of her hairand the shape of her face. Subjectsusually need to be given somethingspecific to do with their hands asthis affects their entire posture

CHOOSE YOUR BACKGROUNDThe warmth of the subject’s skin an

hair colour provides a visually pleasancounterpoint to the blue-grey shad

of the background. As in all colouphotography, portrait shooters need

to consider the use of complementarcolour tones within the image

A QUESTION OFCOMPOSITION

How much of themodel is included

within the frameis entirely a matteof choice for every

single photographehowever this is

often at least partlydictated by the poseHere, it makes senseto focus on the head

and shoulders only

Create an engagingcomposition with

pose, lighting andbackground









Advanced techniques

No form of photography is easy but, rather liketeachers, portrait photographers often face challengesthat would make many people shudder. Put simply,

portrait photographers often find themselvesattempting to capture a subject that doesn’t want tobe photographed.

Children and babies are the most immediatelyobvious culprits, but it’s not only the very youngwho can create problems for portrait photographers.When photographing family groups, many dadsare prone towards showing at least a little bit ofreluctance towards the idea of having their phototaken, and many people are simply anxious abouthow they will look on camera.

Different photographers have numerous tried-and-tested techniques that they use to break the ice andhelp subjects to relax during the shoot.One approach taken by many portraitphotographers and studios is tomake use of props. While propsare also used in order to addinterest to the finishedimage, their ability to helpsubjects to relax and feelat ease is also a majorbenefit to the shoot.

A camera-shy childcan suddenly become anenthusiastic subject whengiven the opportunityto have photos with afavourite toy and, on shootswith a whole family, makingjust one person laugh and smile can have a similareffect on everyone else.

Some portrait studios will have a stock of their

own props that they can reuse as and when required.

Work with props

PROP SHOTSIncluding props within your portraits can bring severalbenefits, including helping your subjects feel comfortableand providing a means of incorporating babies and young

children more successfully

Professional photographerAdrian Dewey revealshis top tips for using props in your portraits

How to use props effectively

adriandewey.com

Adrian is a highly

accomplished and

diverse freelancephotographer, illustrator

and designer. His work

has been published in

numerous publications

including Vogue Italia,

ZOO magazine and

Totally Modified.

What are the advantages of using props for

portrait shoots?

Using props in group portraits and family portraits can

often help to balance the image, creating interesting or

uniform shapes. With a group of people, usually

everyone is a different shape or size and using props

and furniture can help tie all this together. I often find

that the use of props can help to keep children

entertained, as they get bored very easily. Not only will

things like large building blocks or coloured balls keepchildren interested but they can also add something

extra, more colour and shape to the final image.

What do photographers need to consider before

including props in their images?

Props need to be used intelligently. If you flood an

image with props you can lose the subject and take

away from what you are trying to achieve. Also, the

props need to be consistent with the image. It is no

good adding props for the sake of it. Consider if they

will really work, if the colours match and fit the overall

shape you are trying to achieve with the image. You

also need to make sure that props are sized correctly,

although sometimes it can be fun to play with scale.

Try a

triflectorA triflector is a fairly simple piece ofequipment that allows pro-style portraits

to be captured with relatively minimalequipment. As their name suggests, theyconsist of three reflective panels that are

arranged slightly beneath and either side ofthe model. With a flash positioned above and

slightly in front of the model, an appealingtype of lighting that’s often referred to as

‘butterfly lighting’ can be created.

“There is absolutely no limit to the kindof props that you can use during a shoot”

The advantage of this is that the photographer getsto know what sort of shots work with each particularprop, which increases the chances of getting a good

result with relatively minimal effort or consideration –which can be a big advantage if a portrait session isn’tgoing entirely as planned.

However, this can equally be a disadvantage, asthe use of the same few props repeatedly can stiflecreativity and make the portraits you produce toouniform, as Richard Mayfield notes. “I have seen thesame props brought out of the props cupboard in lotsof people’s work and for me that takes away all of thepersonalisation of portraits and creates a ‘cookie-cutter’ approach to photography.”

Instead, Richard recommends the use ofpersonalised objects. “Personal items that arebrought to the session by the sitters themselves canbe fantastic, and we use these to great effect in thestudio at Venture. They are a great way to start a

conversation flowing about their passions, and I findthat having some of their own things around themhelps people relax. Most importantly, it ensures thatthe shots that are produced are personal to them.”

Technically, there is absolutely no limit on thekind of props that you can use to your best advantageduring a portrait shoot. The more unusual the props,the more creative potential there is for interesting andcompelling portraits to be taken. The only possibledrawback that you might need to consider whenusing props is that young children may be reluctantto discontinue using a prop if it is something thatthey really love, so it might be necessary to structurethe session around this, allowing for the potential forthis issue to arise.

© Adrian Dewey

Bring out your subject’s characterand interests using props








Advanced techniques

cropping a candid photo can destroy the originalintegrity of the image.

Many people avoid taking candid portraits andstreet photography in general as they are concernedthat an unpleasant situation could arise, but DavidGibson believes that there is no real need for this.

“In 25 years, I have had just two or three negativeencounters. I do not go looking for uncomfortableencounters and I honestly believe that, when I am inthe right frame of mind, I am half-invisible.”

Not all portrait shoots need to involve studios and

prearranged models. A bold breed of photographerfavours taking to the streets and capturing theirsubjects unawares. Provided you use a bit ofcommon sense and know where to draw the line,there is nothing illegal about photographing peoplewhile out and about, as we cannot expect privacywhen we are in an obviously public place.

You will run in to trouble, however, if you chooseto follow someone around in pursuit of a photo orinvade someone’s personal space in a way that theycould interpret as threatening. If you do, they willthen have every right to state that you are harassingthem and any nearby police officers may take theview that you are causing a public nuisance, at whichpoint you will have stumbled into less legal territory.It’s also a very bad idea to photograph

children or law-enforcement officers,both for obvious reasons.

Remember, of course, thathow you use the photos onceyou have taken them alsomatters. Essentially, youcan only use the imagesfor non-commercial use

– so if you are intendingto make money fromthe images in some formor another then youcannot do so without asigned model release formfrom your subject. You’ll

also create potential difficulty for

yourself if you upload obviouslyunflattering pictures of someone to apublic website.

However, having taken all of theseconsiderations into account, street photography andcandid portraits can still be incredibly compellingforms of photography, simply because the rangeof subjects is endless; there is always something orsomeone new or different to capture.

There is also the undeniable buzz of trying tocapture the people around you without them takingany notice of you. “My whole ethos is not to be seen”,explains street-photography expert David Gibson. “Ireally don’t want any kind of interaction with thepeople in my photographs. That’s the whole point of

street photography – that it’s real.”

Street photographers adopt manydifferent techniques when

capturing candid portraits,with some swearing by‘shooting from the hip’ and

others preferring to taketheir photos with thecamera up to their eyeto compose and shoot.Photographers also tendto disagree over whethercandid portraits and

street photography imagesshould ever be cropped, as

some image-makers feel that

Capture candid shots

Prime timePrime lenses offer a few select

advantages over zoom lenses, andmany photographers swear by them.

First of all, their physical design lets morelight reach the sensor than a zoom lens

at the same settings. A number of primelenses, such as the classic 50mm f1.8,are small and light, yet still deliver greatoptical quality. Lastly, prime lenses offerultra-wide apertures for creating images

with incredibly shallow depth of field.

MAY THE FORCBE WITH YOUYou need to be bold, brave –

and a little lucky – to captugreat candid portraits, andready to pounce on anopportunity quickly beforethe moment is lost

David Gibson gibsonstreet.com

Based in east London, David Gibsonhas been taking street photographs

for over 20 years and leads workshopsin London. Throughout 2012, he has

also led three-day workshopsin Athens, Amsterdam,

Warsaw, Singapore andStockholm.

WALKTHIS WAY

Although images like

this may look like pureserendipity, streetphotographers oftenlook out for interestinginstances of synchronicity

© D a v i d G i b s o n

© David Gibson

Snap spontaneous moments and expressions








Advanced techniques

CANONEOS 6D

With the right lens, the EOS6D is the perfect partner forany enthusiast who wishesto shoot portraits

MANY PATHS Street photographersadopt a number ofdifferent approaches, andit’s ultimately all aboutwhat each individualphotographer feels worksbest for them

Loïc Brohard shares some advice onhow to capture great candid portraits

Publicportraits

brohardphotography.blogspot.com

A prolific Flickr contributor and

enthusiastic blogger, Loïc knows a

thing or two about capturing great

candid portraits in public places. He is

the administrator for the Flickr group

Street Photography & Candid Street

Portrait (The Very Best).

Where do you prefer to shoot your

candid portraits?

I tend to go to public events and

famous tourist locations, as they are both places where everyone

has a camera! I find them to ideal environments to take pictures of

street scenes or candid portraits, because no one really cares ortakes any notice of exactly what or who you are taking photos of.

What techniques do you use?

I never shoot from the hip or by holding the camera up and above, as

I don’t much like these techniques. Usually, I quickly point, compose,

focus and shoot. You may miss some opportunities, but this gives

the best chance to get a good outcome. If the background is an

important element of the composition, I set up the camera with the

focus in the right place and wait for somebody to walk into the frame.

Are there any problems that you encounter?

Counter-terrorism measures have sometimes been a burden for

photographers, although it’s not at all illegal to photograph in a

public place. The weather is an important constraint, as you can

only really work outside using natural light. It’s crucial to find the

right places to avoid bad conditions like harsh sunlight.

What kind of faces do you look for in a candid portrait?

All street photographers try to concentrate on a single humanmoment – the ‘decisive moment’. I try to create a beautiful strong

image that the subject would be proud of if they were to see it. It can

be anything at all. A strong face, a smile, a nice or interesting

expression; an old man or woman, a strong character and so on.

What do you say if anyone asks you what you are doing?

I’ve never experienced negative or violent reactions. Generally, it

doesn’t even matter too much if some [people] notice you, as most

will instantly think they have ruined your photo – and may even

apologise. For the ones of them who do realise, usually they won’t

mind, you can even get some interesting reactions when they do.

Well-composedand exposed candidportraits have anatural charm aboutthem that is hard torecreate in a posed,

studio portrait

© Loïc Brohard







Advanced techniques


BENEATHTHE SURFACE There is no real limit to how – andwhere – a portrait can be created.Napie Moksin liked a challenge, soopted to pursue underwater portraits,which require both careful planningand specialist equipment© Napie Moksin







Advanced techniques


Portrait photographer Napie Moksin shares his underwater portrait secretsCreative ways to work with portraiture

blog.napiemoksin.com

Napie first contemplated the

idea of photographing

underwater portraits five years

ago. After some scuba diving

training he began

experimenting with shooting

underwater images in 2009.

He attributes his decision to

pursue this genre of

photography to his love of a challenge.

How do you go about creating your amazing

underwater portraits?

It starts with the planning of the desired concept and

the selection of a suitable date and time for the shoot.

The swimming pool must be booked in advance so that

no other parties can use it at the same time. Model

selection will be made and there will be training on at

least two occasions, usually a week or two before the

shoot. Normally, this training is only required if the photo

shoot involves a depth of more than two metres. The

makeup used should be able to survive at least for a

period of 40 minutes and I use bright colours for my

underwater work. The clothing should have a space that

is capable of letting air out. Then of course there is the

technical side in terms of the backdrop and lighting that

should be there.

What sort of lighting equipment and setup do you

use for this type of shoot?

I use outdoor swimming pools and shoot with two

different types of light. There’s natural light from the sun,

and I also use three Lowel DP 1000-watt video lights just

outside the water. In the water itself, I use an Inon Z-240

strobe (a dedicated underwater unit) underwater to fill

in any shadows.

What do you enjoy about setting up and

photographing underwater portraits?

Underwater photography is very challenging – and

more fun than photography on land! Every time [I shoot]

there’s something new to learn.

How long does it take to produce a portrait?

It chiefly depends on the model’s ability and experience.

If they have experience [underwater] it will take around

one to two hours.

What instructions do you give to your models?

Before the photo shoot starts, I show them pictures of

underwater photography as a reference so that they

know what I am hoping to achieve. I also give them a

briefing and teach them how to pose in the water and

how to take care of facial expression. I often tell them

that when they are in the water they need to be able to

handle many tasks at once – and in a short time.

What are the main challenges and problems

presented by underwater photography?

Underwater equipment is very expensive and it’s

sometimes difficult to get a swimming pool. You can

count with your fingers how many photographers

have done underwater portrait photography like this

and I believe that I am among the earliest

photographers to do so.

BUBBLING UNDER Underwater portraits push aphotographer’s skills to the limit,but a successful shot has anintrigue and wonder about it thatmakes for truly compelling viewing

© Napie Moksin







Advanced techniques


15 foolproof portrait tipsWe’ve selected our favourite portrait photographytips and tricks to help you make the most of a shoot

01 Pickup a prop

If you are working with anuncomfortable or reticent subject,try incorporating a prop into the

shoot. Most people will feel muchmore relaxed and a lot less awkwardwhen they have something specific

to do – such as holding an objectof some kind, particularly if it

is something personalto them.

05 Negativespace works

Negative space in a portrait canlook incredibly effective. The only

point to remember is that yoursubject must not be looking away

from the negative space, andnegative space usually works bettertowards the left of the frame, with

the subject on the right,rather than the other

way around.

Keep theenergy upPortrait photographersneed to be enthusiasticand inspire the samesort of enthusiasm intheir subjects. If yoursubjects feel inspiredby you and yourenergy levels thenthey will try harderthemselves, which in

turn will help you tokeep coming up withdifferent ideas.

02

03Safety in numbers Where possible, start portrait

sessions with a group shot – especially

with uneasy models. Camera-shy people

will feel far less threatened and nervous

when they are not the only one being

photographed, and they will probably be

quite happy to pose after a warm-up.

AperturemattersA wideaperture,

like f2 or f1.4, will produce

extremely shallow depthof field that can look veryattractive in portraits. Butbe extra careful with yourfocusing to ensure that theeyes are sharp. The eye that’snearest to the lens should bethe main focal point whenyou’re using shallow depthof field.

04

© N a p i e M o k s i n

“Don’t assumethat you needlots of differentlights to createa pro-lookingportrait”







Advanced techniques


07Simple light Don’t assume that you need lots

of different lights to create a pro-looking

portrait. Many of the best portraits are

taken using just one carefully positioned

light. Using several lights often only serves

to make everything more complex and

doesn’t necessarily improve the shots.

09

Consider the cropCreative or unusual crops can

make a massive difference to a portrait.

Don’t be afraid to crop in really tight

on your subject’s face, perhaps even

cropping out some of your subject’s face.

Try breaking the conventional portraiture

rules for dynamic images.

08Get gritty Whereas some subjects suit

soft, flattering light that suppresses

imperfections and blemishes, other

subjects – including older men – often

work well with processing that really

highlights every nuance and detail of their

face and skin.

10

Go beyondportrait lenses

You often hear photographers describing

an 85mm lens as a great portrait lens.

However, that doesn’t mean that you

can’t shoot great portraits with a wide-

angle lens. Never be afraid to experiment

and go for creative compositions.

Work quickly Keeping things moving duringthe shoot will prevent yoursubject from getting restless

and it also helps them to have more confidencein your abilities. Spending too long on somethingmakes you look less purposeful and will makethe client think that things aren’t working.

06

11The eyes have it Pay close attention to your

subject’s eyes. What expression do

they have? Where are they looking?

How sharp are they? Ask yourself these

questions when you are posing your

models and composing your portraits,

and you’ll see the difference in your shots.

12Edit your shots The work you do in Lightroom

and Photoshop can make a difference to

the quality of your portraits. Experiment

with different crops and different contrast

levels. If you shoot RAW, you can also

tweak the white balance.

Black and whiteSome portraits simplywork better in black andwhite. Shadowy low-

key images are a classic example, butdon’t overlook the potential of high-keyconversions. Always try out an image inmono before committing to colour.

13

Avoid direct on-camera flashUsing just an on-camera flash as your main light sourcewill rarely result in top-quality portrait images, so avoidusing it. Without bouncing your flash or modifying it with

a small softbox, the light produced by the on-camera flash is very likelyto be harsh and unflattering.

15

14 Have aplan ready

It’s very important to have a planfor your shoot so that you have

something to go on once thesubject is there and the session

has begun. When you don’t haveto think of ideas during the shoot,because you’ve already planned

them, you’ll find that plenty ofideas will come to you

as you work.

© David Gibson

© Katrina Christ








QUIRAING, ISLE OF SKYEMoments where light bursts through theclouds can illuminate the landscape in waysthat are unimaginable. This side-lit scene fromthe Quiraing, Isle of Skye, is testament to this

W o r d s a n d i m a g e s © D a v i d C l a p p

Advanced techniques

Canon EF

24-70mm

f/2.8 II

USM

Works best with








There are, of course, many different genresof photography. However, landscapephotography is without a doubt one of the

most rewarding forms of the medium. It’s fair tosay that there is nothing simpler, or more excitingthan capturing the great outdoors. Forget finickystudio lighting, props and equipment complexities;let’s embrace the beauty of the natural world andexperience a whole new creative understanding.

Landscape shooting is popular because of itssynergy of high-spirited adventure, technical

mastery and creative expression. What isremarkable is the broad overlap within its core. Areyou a technical person that finds art unfathomable?Then there’s room for you within this medium. Areyou artistic but far from a painter? There are somany creative doorways opening, you don’t have tobe either. As technology simplifies a once-bafflingart form, there has never been a better time to startexploring the genre of creative landscapes.

So all this sounds exciting and ratherstraightforward – visit a beauty spot, stay until

sunset and snap? The scatter-gun approach willsatisfy photographers who are just starting outat first, but don’t expect the buzz to last toolong. Intrigue will ultimately lead to confusion,then perhaps to what we can term the ‘runnerswall’. Many view this as a spiritual journey andenlightenment is not easy to find. It takes myriadelements to capture that beautiful crescendo. So ifyou’re confident that you want a piece of the glory,get tuned in and be willing to do everything in yourpower to make it happen.

We explore the mindset, potential and elationbehind looking for the perfect creative landscapeand photographing it with your Canon

Creative

landscapeswith Canon

Advanced techniques








Although location-based vistas make up a largepercentage of landscape photography, there aremany ways of interpreting the natural world aroundyou. Landscapes don’t have to be shot from the topof a treacherous mountain or while risking it all ata stormy coast. They can be minimalist, intimate,

simplified, abstract, diffused or even patterned.Shooting a landscape image is fun and exciting. Justa little research, some minimal camera gear and aspring in your step can lead to some exciting times.

Once your kit bag is packed, remember thatcapturing a gorgeous vista doesn’t have to becomplicated. By sticking to a number of importantprinciples it can be very simple. Firstly choosea cliché, an over-photographed icon and do thiswithout concern.

Photographing a cliché removes the need to assesscomposition, which can often be unfathomable atthe start. Let’s take a classic Scottish castle scene. Itsvery shape and context makes it a joy to behold. Thephotographic experience is about waiting for great orunusual light, while the technical experience is aboutcamera technique and timing. The composition andframing of the picture are gifts handed down fromphotographer to photographer, and there is nothingwrong with that. Don’t worry about standing in thesame place where an admired photograph was oncetaken. It’s a bit like learning to play a cover song ona new guitar. It’s too early to scrutinise integrity, it’sall about getting a feel for ‘the rhythm’. The lessonslearned from capturing a successful photograph canbe carried forwards to new locations, cliché or not.

Full of newfound confidence, consider repeatingthe same idea in different locations. This creates theone thing all artists desire – style. Then take a leapof faith into new and uncharted locations. Use yourskills to interpret the landscape and match techniquewith new creative understanding at the coast, inwoodlands, national parks and beyond. Build a

portfolio of classics and be proud of them.It’s fair to say that many landscapes often contain

lots of complication and clutter. But when you’reshooting, remember that they don’t always have tobe filled with texture, density and dimension. Themind enjoys a simplified view, with space to breathe.Where do we find such subjects? This depends onhow far you wish to go with a fine-art approach.

Start with natural subjects like single trees. A fewclouds and a single tree atop a hill can be all that isneeded to create a great landscape. It could be from adistance, photographed with a telephoto lens. It couldbe entirely isolated, but don’t stop there. As winterrolls in and covers the landscape in a blanket ofsnow, nature simplifies our vision even further. Soft,sculpted shapes from windblown snow can make

remarkable photographs. Even simple man-madestructures like fencing or telegraph poles can createreally interesting compositions.

Other simple scenes can be found at the coast.Divide the frame with differing percentiles of sand,sea and sky. Why not try some camera movement?Use a long exposure and move the camera smoothly.Experiment to discover if this style suits your style.

BLEA TARN, LAKE DISTRICTStill and tranquil lakes are hard to find, but although thisview has been photographed many times, the conditionsmake this worthy of repeating

Advanced techniques







THE CANON CAMERA BOOK 1

Creative use ofpolarising filtersIf you’re starting out in landscape photography,the use of creative filters can be rather confusing.The polarising filter in itself is probably one of themost powerful creative tools that you can use, asit has such a drastic effect on the landscape andsky in particular.

Photographers often misconstrue that thepolariser is actually increasing saturation, whenin fact it is cutting reflection and allowing the truecolour of the subjects to come through. Imaginewaxy leaves on a tree; they are reflecting so

much daytime light that the green becomes verywashed out. The polariser cuts this reflection andthe true colour of the leaves is visible.

This effect becomes very prominent in the sky.By reducing the reflective light emanating fromparticles of moisture in the atmosphere, the skyreduces in luminosity, which makes the cloudsstand out far more significantly. It’s effectivelydoing exactly the same job as on the tree, whichis often a little difficult to understand at first.

Creative use of polarisers is tricky, especiallywhen working with wide-angle lenses. However,with a little practice, working with these littlebits of kit will become second nature and you’lldiscover a wonderful world of colour that goesunseen. Polarisers can even work remarkablywell when shooting after sunset, in black-and-white and also in infrared.

Taken using a polarising filter, reflectionsare significantly reduced which reveals thevibrant, true colours of the scene

An image taken without the use of apolarising filter will appear more washed out,as the daylight is reflected by the subjects

VITTANGI FROST,SWEDENA simple roadside shot like this needs nofocal point, just a balance of lines and tones

that give it a sense of compositional rhythmand a stately elegance

Elements ofa great shot

Q The image comprises a simple setof colours – whites, soft greys anda very slight blue tint. They are all

complementary and balanced.

Q The tones in the image are simple;pale gradients of snow and sky againstthe slight texture of the hoar frost andsnow beneath.

QThe tree trunksallow visualexploration of the image without beingattention grabbing. There are fivebolder tree trunks that balance thecompositional rhythm.

Q Slight darkening to the upper andlower parts of the image create aceiling and base that generates interestat the centre of the frame, helping tobalance the overall image.

Advanced techniques








Advanced techniques








The use of simple colours in your landscapeimages can also be a powerful tool. Perhaps the firstthing that springs to mind when shooting imageswith simple palettes is macro and flower photography,but you can shoot beautiful landscapes in simplifiedtones. Remember the importance of harmoniousbalance in an image, with compositional elements

and also the placement of colours themselves.Take a cold winter scene. The colours aresomewhat monochrome, with whites and greysoffsetting each other. Yet sunsets and sunrises canalso contain a simple balance of colour. Ochre, redsand yellow sand can have a wonderful warm feel,without the need for complicated composition.Now think about a cloudless dusk sky, with simplebands of blue, orange and magenta. The balance ofcomplementary colour can make all the difference tothe way a landscape feels.

Spring landscapes in particular are a variety ofprimary colours. A bluebell woodland or a field fullof rapeseed or poppies all contain simple washes ofsoft colour, usually against distant green fields andfavourably blue skies. The eye loves to see simplifiedcolours working together in harmony, as they oftencreate a painterly feel in a photograph.

Another atmospheric and natural subject that canadd an extra element to your landscape portfolio ismist and fog. These meteorological wonders createfantastic possibilities for creative photography.

There is nothing more magical and ethereal thana dawn shoot overlooking mist and fog in the valley

Landscapes througha long lens

You might think that a DSLR is a requirementwhen it comes to serious landscape photography,but thanks to Canon you can save yourselfsome cash and get lightweight performancewith an incredible zoom. The Canon PowerShotSX50 HS is a bridge compact with superzoomcapabilities. This 12.1 megapixel shooter offers a50x ultra wide-angle zoom – great for capturingdistant horizons – at a good price: it costs just£449/$480. As a compact it’s also lighter inweight than even a DX-format DSLR which meansthat it’s great for extended treks in search ofperfect scenes to shoot – it weighs just 595g.

You don’t need a DSLR to deal withthe long distances involved inlandscape photography

HAYTOR VALE, DARTMOOR Get out early, as mist rarely lasts long. As thesun rises, the air currents warm and condensethe mist even further. This was taken secondsbefore being completely engulfed

Advanced techniques








below. And the possibilities don’t end there. It doesn’thave to be all about high-level vistas; fog and mist canbe some of the most useful conditions for shootinginside forests as well. It’s the diffusion that providesthe magic, softly losing detail with distance.

Mist is created by cold air condensing with warmerair above. Pockets of cold air sit in valleys, especiallyduring the spring and autumn months when night-time temperatures drop significantly lower than

daytime. You can get a good indicator of when mistand fog will occur by looking at the dew point, orhumidity. Websites like the Met Office or your localweather service provide good information on this.

One of the most exciting places to shoot mist andfog is to find an east-facing viewpoint that overlooksfields and hillsides. Using a telephoto lens rather thana wide angle allows you to pick out more intimatecompositions within the landscape. Mist and fogusually occur under clear skies, so the rising sun cancreate some wonderful golden light.

Sometimes when mist and fog is too thick, the vistacan be lost. With the landscape engulfed, it’s better toget away from the views and get into the forests andwoodlands. This is often where the tree magic can

happen, especially if the mist is so thick that there isno light penetrating through. Find a woodland thatfeels particularly creepy and let your imagination runriot. Shoot delicate details of trees trunks fading intothe white, or perhaps pick out a forest glade.

Remember, there are no shadows when shootingin fog, just midtones and highlights. Push yourexposures to the right of the histogram to capture theright tones correctly and make sure you get up early

enough, as a lot of the magic happens before dawn!The more often you head out to shoot in these

adverse weather conditions, you’ll notice that goodlandscape photography is not only about the magicof light but it can also be about the lack of it. Certainphotographs will work well with certain conditions,so don’t always assume the photography is aboutcapturing the spectacular. Magnificent lightingdoesn’t have to be colourful; it can be based aroundcontrast, something entirely different. Imagine ascenario where a torch is lit through a crack in thedoor. This is almost the same as heavy grey clouds,with the sun filtering through a crack on the horizon.Although it may be intense to look at, the side lightingcan turn the world into a very surreal place.

This sort of light occurs in places withunpredictable weather patterns, like mountains ormoorland scenes. Some of the best conditions forlandscape photography can be when the weather isat its absolute worst. Strange things happen in themountains in particular, and just when you think yohave light all sussed out, it will unfold and redefineyour understanding.

Another thing that the light is very good at creatin

is patterns, but you don’t have to stop there. Wehave all seen patterns and shapes in sand at the coaand there is great potential to find patterns withinthe landscape as well. Some of the most wonderfulpatterns occur from man’s interaction with the landfor example ploughed fields or stripes in mown gras

Alternatively, explore some of the places wherenature creates the most unusual and intricateof designs, such as the coast at low tide. Thereceding tide can often leave some very fascinatingimpressions as currents form and shapes lie withinthe sand. Often, as water runs underneath the sandit can collapse to leave some extremely interestingbranches – almost like the branches of a tree. Theseare definitely worth seeking out.

Advanced techniques








Thinking inblack and whiteMoonlight photography, astrophotography,infrared and black-and-white are allinterpretive mediums where the camerareveals a world that is otherwise unseen.

Black-and-white doesn’t require any expensiveequipment and is a great first step towardunderstanding how to interpret photographyin a different way.

Look for interesting textures and fill yourcoastal foregrounds with rock patternsalongside a lack of colour. Washed-outsunsets can often make compellingmonochrome images.

Try setting your camera’s picture style toblack-and-white and experiment with shootingmono imagery, attempting to translate thecolour tones you see around you before youpress the shutter.

In colour, this image of Westcombe inDevon looks a little flat. The colours aremuted and do no justice to the scene

In monochrome, the beautiful texturesin the sand are highlighted, as is themoody atmospheric sky

PORTHCURNO, CORNWALL Finding images with just two or three coloursmakes a harmony and simplicity that doesnot involve composition. Colours with similarhues, like the green sea and blue sky, cancomplement beautifully

Advanced techniques








images, portraying the world as the eye sees it. Thelonger-range zoom is ideal for exploring intimatedetails in the landscape. Ensure your framing isaccurate, tidy and well-policed before you hit theshutter. Let your eye flow over the scene for imageswith a natural harmony, using light, tonality and

obvious compositional elements.While you are composing your scene, allowcolour to play its part. There are three main types ofpalette or ‘colour harmony’ that you can use. Themost obvious to use is a natural colour harmony,which is based on the colour combinations that wesee in nature – lots of different hues and shades ofgreen, gradients of blue and pops of brighter colours.This makes the natural scheme perfect for strictlyrepresentational landscape images, when you’rephotographing an iconic place that you want theviewer to recognise.

Another colour harmony that most photographerswill have heard of is complementary colour, where

Canon gear guideCanon EOS 6DWeb: www.canon.co.uk Price: £2,519.99/$2,899.00 This fantastic full-frame DSLR is lighterthan other models, making it the idealcompanion for a landscape photographer. Itcomes with a 24-105mm kit lens for theprices above.

Canon EOS 700DWeb: www.canon.co.uk Price: £759.99/ $899.99 The affordable DX-format Canon EOS 700Dis a great camera for landscape enthusiasts.Offering 18-megapixels and an extensiveISO range, you can capture high-qualityimages in low-light with little noise.

Canon EF 16-35mmf/2.8L II USMWeb: www.canon.co.uk Price: £1319.99/$1699.00

This professional ultra wide-angle lensoffers a constant f/2.8 maximum aperture,which is great for low-light landscapes.

Canon PowerShot SX510 HSWeb: www.canon.co.uk Price:

£289.99/ $249.99

The new Canon PowerShot SX510 HS is agreat second shooter as it’s lightweight,compact and has a powerful 30x opticalzoom lens attached. It also comes equippedwith Wi-Fi so you can share shots instantly.

Canon EF 200-400mm f/4LIS USM Extender 1.4xWeb: www.canon.co.uk Price: £11,999.99 / $11,800

This high-end telephoto lens offers anextensive focal range, which is great forgetting in closer to your landscape scenes orphotographing wildlife from a safe distance.

On a much smaller scale, change your lens to amacro. You’ll soon find that this will open up hugepotential for patterns that can be found within nature.Frost, snow and ice can create some of the mostremarkable forms, especially when photographedclose-up. Rocks themselves make some of the most

fascinating macro possibilities. Is this truly landscapephotography? Perhaps not, but it is part of thelandscape portfolio.

Before you head out in search of photographicperfection, consider what you need for the job. Thereare three distinctive areas that must be conquered tocompose a great landscape image. There is the wide-angle with a focal length of 17-30mm, the mid-rangefocal length of 30-70mm and finally the longer-rangezoom, between 70-300mm. Each has a differentdiscipline that will excel in different scenarios.

Wide-angle lenses are excellent for creating a senseof dimension and density to your landscapes. Themid-range zoom provides a sense of reality in your

filters or post-production are used to create a visualjuxtaposition between colours that are opposite eacother on a colour wheel. The opposing colours makeach other pop. The most common complementarycolour combination is a primary with a secondarycolour. However, tertiary colours such as blue-

green and red-orange can often create a richercomplementary colour harmony.This brings us on to analogous colours – those tha

sit next to each other on the colour wheel. A colourfilter or a monochrome post-production treatmentcan help you to achieve this effect. You can create itwith three shades of the same colour, like purple-retrue red and orange-red, or combine a primary andsecondary like true red, orange-red and true orange

Whatever your level of photography, thereis always room to expand and explore. Creativelandscape shooting is about developing an eyealongside an understanding of the landscape andweather. Above all, get your camera and get out ther

LANDMANNALUAGAR, ICELANDA volcanic landscape in the south of Iceland, rich incolour and texture

© L e e P e n g e l l y

© L e e P e n g e l l y

Advanced techniques





http://www.canon.co.uk/








Advanced techniques








COYOTE BUTTES, UTAHThe wave formations of the orange-toned desertrocks against a bright-blue sky provide a greatexample of complementary colours in landscapes© Corbis

Advanced techniques








Top 10 creativelandscape tips

02 QUIRKY ANGLES Don’t be afraid to shoot at strange angles. If you

are shooting close-up with no horizon, a quirky angle cancreate an unusual take on a common subject. Look fornatural lines and try to make them run diagonally.

03 COMPRESS PERSPECTIVESBy using longer focal lengths on a telephoto

lens, you can crop in on landscape details and section offinteresting patterns within the landscape.

04 USING REFLECTORS Getting enough light can be tricky when

shooting macro studies. Use a hand-held reflector to

bounce light back into the shaded side of the subject.

05 THREE LEGGED FRIENDS There’s no denying that tripods are useful for

keeping the camera steady and freeing up your hands.Once you have framed the shot, lock the tripod up to

concentrate on the lighting, composition and timing.

06 SWITCH TO MANUAL MODE Focusing manually will ensure the camera

focuses where you want it to, and by setting exposuremanually you can be more creative. Use the spot-

metering mode to measure the light for the best results.

07 CLAMPS AND PODS Gorillapods, miniature tripods and clamps are

all handy gadgets. If you find a great landscape-within-a-landscape, get in close to shoot. Small clamps can be

used to hold back vegetation or even to clasp a reflector.

08 WIDER APERTURES Shoot within the ranges of f2.8-5.6 to throw

distracting backgrounds out of focus and direct theeye to your subject. Wider apertures give faster shutter

speeds, so you can shoot without worrying about shake.

09 USING LIVE VIEW Live View is a handy function to aid

composition. Some cameras even offer live histograms.

10 ZOOM-BURSTING With the camera on a tripod, zoom in on your

subject. Use a shutter speed of 1/8-1/30sec and just asyou trip the shutter, twist the zoom lens back out. Thisproduces a zoomed effect, which is very eye-catching.Try the technique with any static subject.

Midday shadowsShooting at midday is frownedupon by many, but overheadlight can create dramaticshadows, especially in thelandscape. Look out forunusual shapes and patterns

thrown by buildings etc

01

Advanced techniques







Working with

W e share our planet with Mother Nature’smost fascinating subjects. Wildlifehas the ability to captivate all of us, and

so it seems only natural that we would want tocapture our experiences with it on camera to sharewith the rest of the world. In this feature, we’ll beexploring the photographic genre in detail andunearthing the practicalities of working in the wildwith unpredictable, and often elusive animals. You’ll

discover what it means to be a wildlife photographer,and learn how to use your skills to documentthe natural world and help raise awareness ofconservation efforts. You’ll also learn that wildlifephotography is not all about safaris and the exoticspecies that roam the savannah; it’s also on yourdoorstep and can be just as enthralling to photograph.

We’ll cover expert shooting techniques, idealcamera settings and all the equipment you’ll need toget the shots. The professionals will also be talkingwith us, keen to share their experiences and adviceon working in the wild.

Uncover practical advice and pro insight on how tocapture nature’s intriguing creatures with your CanonWildlife

Advanced techniques








Shah RogersPhotographyshahrogersphotography.com

Photographers Anup Shah andFiona Rogers specialise in

close-up wildlife photography.They frequently shoot fantasticclose-ups of African wildlife inTanzania. Here, they share theiradvice for those who’d like to folloin their footsteps.

“There is no date at whichwe became full-time wildlifephotographers. It was a gradualtransition, an evolution. Theapproach we take is to spend a loof time with our animal subjects,get to know them, and photograpthem on their terms.

A location we return to timeand time again is the GombeNational Park in Tanzania. When

you photograph animals on theirterms, you get good close-upswhen they come to you, drivenby curiosity. On their terms you’ll

[capture] relaxed animals thatbehave naturally”

CLOSE ENCOUNTERSNever put yourself at risk when wowith wild animals. Take appropriateprecautions and use your zoom len

Advanced techniques


Canon EF70-200mmf/2.8L IS II

USM

Works best with





http://shahrogersphotography.com/



Advanced techniqu

Having a passion for wildlife is integral to thisarea of photography, as is patience and persistence.It’s a demanding genre and working outdoorsagainst the elements can quickly take its toll onyou and your kit. However, investing in the rightequipment will help to maximise your time out ona shoot. You’ll need to be willing to part with a fairfew pennies, as what is considered essential doesn’talways come cheap. A standard kit lens might be

great for the back-garden variety of wildlife butif you’re intending to venture into the wilderness,you’re going to need some special ist optics thatcan keep up. A good-quality telephoto lens such asCanon’s own 70-200mm is indispensable, as it willoffer far-reaching focal lengths that’ll enable youto crop-in closer. In some situations, these lenseswill also ensure your safety, as it’s possible to workfrom a distance. Although you’re guaranteed betterquality optics with prime telephoto lenses, you willbe restricted in focal range. A telephoto zoom lensis a much more versatile option and you have theflexibility to frame both wide and tight.

In addition to selecting your ideal optics, you’llalso need to invest in some serious accessories

that are able to withstand the sort of terrain andelements you’ll be working in. A good-qualitytripod will offer support and can save your shotsfrom camera shake, particularly when workingwith long telephoto lenses. A durable camera bagis also essential as well to keep your kit safe anddry when it’s not in use. Spending more money upfront for better-quality kit will save you in the longrun, as you won’t have to pay out for pricey repairs

or replacements as quickly. But don’t rush intopurchasing every gadget that promises improvedphotos, work with the essentials first and build upyour kit bag as your shooting skills develop.

Preparation is fundamental to any shoot butfor wildlife photographers, research is imperative.Particularly if you’re working with rare orendangered species. As a wildlife photographer it’your responsibility to have a good understandingand appreciation for the animals you’re workingwith. The right knowledge will also help you tomake informed decisions that can ensure both yosafety and that of the animals. Use research as atool to help you take better photos by uncoveringinteresting facts that detail a particular

EYE CONTACTDirect eye contact is essentialfor animal portraits. Be sure tokeep the focus sharp too

Gear guideCanon EF 70-200mm f/2.8LIS II USMWeb: www.canon.com Price: £1,1722/$1,449

It’s not the farthest-reaching telephoto out therebut the Canon 70-200mm offers fantastic-qualityoptics that are ideal for wildlife photography. Thisprofessional lens includes a fantastic f2.8 wide

aperture setting, which is constant through theentire zoom range, and it can also focus almostsilently at a minimum distance of 1.5 metres.

Canon 18x50 IS All WeatherWeb: www.canon.com Price: £1,089/$1,449

The Canon 18x50 IS All Weather binoculars arefantastic for wildlife photographers andenthusiasts. Offering a clear 18x magnification

view with image stabilization built in, they are greatfor surveying a scene before you shoot, which isperfect if you’re photographing the moreaggressive kinds of wildlife such as big cats. You

also have a wide field-of-view of 67 degrees.

Gitzo Mountaineer 6X tripodWeb: www.gitzo.co.uk Price: £610/$500

If you’re working with largelenses you need serioussupport. A tripod like the

Gitzo Mountaineer will saveyour wrists and shots fromcamera shake. Made fromcrossed layers of carbon

fibre, this Gitzo tripod islightweight and absorbsvibration. It also comes witha simple leg-locking system.

Lowepro Flipside 500 AWWeb: www.lowepro.com Price: £150/$250

It’s important to ensureyour kit is safe on a wildlifeshoot. A hard-wearing bag

like the Lowepro Flipside500 AW is ideal and canhold pro-sized camera gearincluding a 500mm lens.

There’s even a tripodmount, all-weather coverand storage space forpersonal items.






http://www.lowepro.com/

http://www.gitzo.co.uk/

http://www.canon.com/




DIGITAL PHOTOGRAPHER 1

Working with wildlife

ANIMAL ACTIONWatch out for speedy subjects and animalaction. Capture motion using faster shutterspeeds and selecting your camera’s trackingautofocus function to keep subjects sharp

ESSENTIAL OPTICSWildlife photography requires the use of far-

reaching focal lengths. You can zoom in to youranimal subjects from a distance, which is great

for both your safety and shooting close crops

Name: Victoria Hillman

Bio: After studying a degree

in zoology with marine

zoology, Victoria undertook a

masters degree in wildlife

biology and conservation.

She says, “My focus is not

just to photograph wildlife but

to use my knowledge to

acquire a deeper understanding of interactions and

behaviours.” She was recently appointed research

director of the Transylvanian Wildlife Project and her

work has received a number of awards.

www.vikspics.com

Is research important in wildlife photography?

Researching your subject is vital, not only for capturing

Wild insightsProfessional wildlife photographer Victoria Hillman shares her adviceand top tips for capturing successful wildlife shots at home and away

images but also for the welfare of both your subject and

yourself. My first port of call is researching my target

species, its behaviour and any patterns it may follow, and

also its habitat. The welfare of that species comes first

even if it means missing ‘the shot’.

What’s your most memorable animal encounter?

It has to be seeing a greater bamboo lemur in the wild in

Madagascar. I had spent some time with one individual

watching him sleep, just as I left he woke up and started to

eat. At that moment he looked straight into my eyes and

feeling his stare brought tears to my eyes.

In your opinion what makes a great image?

A good wildlife image for me has to show an emotional

connection with the subject. There has to be something

striking about an image that is both thought-provoking

and tells a story.

What are your top tips for wildlife photography?

Research your subject and its habitat, and concentrate

on just one species or habitat at a time. Always put the

welfare of your subject first and remember that

patience really does pay off! Know your equipment

inside and out – I can’t emphasise this enough, the

better you know your equipment, the better the results.

Victoria’s images are available for use in publications

and to buy as fine-art prints from her website vikspics.

com. Canvases are also available on request. Contact

Victoria for details on tailor-made talks and

photographic tuition too. She is also a UK local hero of

the Manfrotto School of Xcellence and runs webinars

through their website throughout the year; Victoria’s

previous webinars are available through the webinar

archive section at manfrottoschoolofxcellence.com .

© V i c t o r i a H i l l m a n

© P a u l J o y n s o n - H i c k s

Advanced techniques






http://manfrottoschoolofxcellence.com/

http://vikspics.com/

http://vikspics.com/

http://www.vikspics.com/



creature’s habitat, life span and behaviouraltraits. With this information you’ll know moreabout where to find the animal, the best time of dayor year to photograph them and what characteristicsare distinctive to the species. Knowing more aboutthe animal will not only ensure that your workstands out, but also help towards building ourunderstanding of the natural world, which in turncan help aid conservation efforts.

Of course no two animals are the same, so don’texpect the research you’ve unearthed on onesubject to apply as easi ly to another. Photographingwildlife in the Sahara for example, is entirelydifferent to photographing those that are native tothe British Isles. It’s important to bear in mind thatan animal’s habitat can also have a considerable

effect on the outcome of your shoot. It goes withoutsaying that you should always look into the weatherconditions leading up to your shoot and prior tosetting off so that you’re adequately prepared. Inaddition, don’t forget to research how the seasongenerally affects the wildlife in the area you’reworking in. This is an easy way to establish whatother species may be around.

Fortunately, wildlife photography really is ayear-round genre and you’re certain to discoverplenty of intriguing critters throughout the seasons.Photographing during the spring and summermonths will guarantee you a lot more natural lightand improved weather conditions; early morningstarts and later evenings will enable you to fit in

much more shooting time. The warmer weatherwill also bring out hibernating species that havebeen tucked away over the cooler autumn andwinter months. Animals in general are a lot moreactive this time of year and you’ll find greateropportunities to capture their new offspring oncamera too. Always do research into this area firstthough and be wary of nervous mothers, you don’twant to be responsible for scaring off a mother whoin turn abandons her young or attacks you. Keep asafe distance at all times and remember to remainrespectful when working in their environment.

Springtime will welcome back migratingbirds. Venture out to local wetland areas forbetter sightings of much rarer species. Capturingthese fleeting subjects on camera though can

be challenging so you’ll need to stay alert. A fastshutter speed is essential and wil l enable youto freeze motion and ensure your shots appearsharp. When working with a telephoto lens, in anysituation, always remember to ensure your shutterspeed is set higher than the focal length you’reworking at.

For example, shooting at 300mm means yourshutter speed should be set to at least 1/350sec orabove. This will help to eliminate the possibilityof camera shake. When working with speedy orskittish subjects such as birds or elusive mammals,make your subject the priority. Focus on freezingthe action first and exposing the image second. Insome scenarios, it’s unlikely that you’ll find time

to manually adjust all of your exposure settings,in these situations, switch over to using shutterpriority (Tv mode). This lets you decide the shuttespeed setting, while the camera determines the beaperture for a balanced exposure. Don’t worry ifyour camera underexposes the image as a result ba stop or two. It’s easier to work up a slightly darkeimage than it is to rescue blown-out highlights.

If the animal you’re photographing is knownfor speed, don’t be afraid to incorporate thischaracteristic into the frame too. Use your cameracontinuous autofocus setting (AL Servo AF) and sea slightly slower shutter speed of around 1/80sec.Start by focusing the camera on the animal andthen pan with them as they move, while yourelease the shutter. For seamless results, tuck in

your elbows and move your whole body at the hipsThe subject appear sharp while the background isblurred, representative of movement.

During the autumn and winter months, thelandscape will transform. Take advantage of thenatural warm colour tones during autumn, whichcan make for incredible backdrops in your wildlifecaptures. Early risers should set off at sunrise toreally make the most of the light quality and coloutones. At this time of the day, a lot of animalsremain relatively relaxed and are often focused onfinding food. But don’t be fooled into thinking thisdistraction means you won’t be seen. All species abuilt for survival and as a result have extraordinarinstincts. Consequently, bounding across the

PERSISTENCE PAYSRemember the three Ps: practice, patienceand persistence. And it also comes down tobeing in the right place at the right time

BE DISCREETAvoid detection by shooting discreetly. Thisis the best way to capture natural animalbehaviour in your photographs

GET KIT SAVVYYou won’t have control over the light so usea lens hood to help prevent glare and keep you from worrying about the sun

Advanced techniques








Top tipsfor looking

after kit01

GET INSUREDAlways take out appropriate

insurance that covers you and your kit. Thisway you’ll have peace of mind no matterwhat happens on when you’re on an

unpredictable wildlife shoot.

02KEEP IT DRYInvest in waterproof covers that wil

protect the camera and lens from extremeweather conditions. Don’t forget to use yourlens hood too, it’ll help shield the glass from

ugly water spots.

03BANISH MOISTUREIf you’re working in wet, damp or

humid conditions, place loose rice grainsinside your camera bag to help absorb

moisture that can have an adverse affect onyour equipment over time.

04DUST DOWNUse a blower brush to remove

loose particles from your camera after an

outdoor shoot. If you changed lenses, youmay also want to clean the sensor to keepthings in top condition.

Advanced techniques








116 DIGITAL PHOTOGRAPHER

Where inthe world?A global roundup of theplanet’s most amazingcreatures and the proimaging courses to helpyou photograph them

UKContact:

Andy Rouse Web: bit.ly/143Bl11

This workshop offers a

truly unique one-to-oneimaging experience fortaking stunning shots ofhares, owls and otters.

GamCo

Going Web: bit.ly/Z9

Explore Gambgain expert adv

framing hyenas,

and crocodname but

AmazonContact: Norfolk

Wildlife PhotographyWeb: bit.ly/W5eU3w

Take on the rainforest to

frame some capuchinmonkeys, parrots, sloths

and exotic frogs.

Alaska, USAContact:Wild Life

Photo Tours Web: bit.ly/15i9NBg

Book onto one of these

great courses to capture

shots of whales, bears,salmon and eagles.

USAContact:

Aperture Academy Web: bit.ly/15W8ZEp This tour guides you

through the YellowstoneNational Park for images

of wolves, elk, bison

and moose.

Galápagos& Ecuador

Contact: Tatra PhotographyWeb: bit.ly/147kCdJ

Book a place and drink in thebeautiful wildlife with giant

tortoise, sea turtles, sea lions

and albatross are allat home here.

Advanced techniques








FinlandContact: Wild Arena Web: bit.ly/ZVgmYJ

Grasp the opportunity of alifetime to observe and

photograph Finland’senigmatic population

of brown bears.

FranceContact: Create Away Web: bit.ly/SGvvJx

Wild white horses are

beautiful subjects, sobook a place and head toCamargue for inspiring

equine imagery.India

Contact: Steppes DiscoveryWeb: bit.ly/ZnwenN

Spend an exciting sevendays in India’s premier tigerreserve and photograph

these wonderful catswith expert tips.

KenyaContact: Capture Safaris Web: bit.ly/XV0kCA

Take a true walk on the

wild side and let the proshelp you photograph

lions, cheetahs, rhinosand elephants.

South AfricaContact: Nature’s ImagesWeb: bit.ly/15W9Rsw

Not many people comeface to face with the

terrifying majesty of great

white sharks, but you cangrab a close-up here.

AustraliaContact: Trekabout

Photography Workshops Web: bit.ly/15Wa8vP Venture down under to

capture the animals of Oz,such as bandicoots,

pythons and geckos.

Advanced techniques








savannah or a meadow with your camera in

hand won’t get you the shots you’re after; you’llneed to take a much more considered approach.

If you can, try to position yourself downwindof the animal and move slowly. Natural-colouredclothing that blends in with the surroundings willhelp you to remain undetected. You can take it astep further if necessary by waiting it out in a hideOnce you’ve set up your kit, it’s really all aboutpatience, but provided you’ve done your research,you should be able to locate a good spot. To avoidblowing your cover at the last minute, rememberto set your camera to its silent mode settings. Moreadvanced Canon lenses offer an in-built ultrasonicmotor (USM) that makes autofocus adjustmentsundetectable. High-end camera models will

PACK IN MOTIONDon’t be afraid to experiment with camera settings to getmore artistic images. Slow down your shutter to illustratemotion in fast-moving subjects and add emphasis theaction taking place in the scene

SUBJECT FOCUSUse wide apertures to embrace a shallow depth of fieldeffect. The artistic blurred background will also drawthe attention to your subject, which is great for majesticcreatures such as big cats

Advanced techniques








Name: Paul Joynson-Hicks MBE

Bio: UK born and bred, Paul has spent the last 20 years

as a professional photographer in East and Central

Africa. He has published many photography books, isan Associate member of the Royal Photographic

Society and is fluent in Swahili. In addition to his

photography, Paul has also set up a number of very

successful charitable organisations. In Uganda, Paul

worked with street children and set up the Tigers

Football Club (retrak.org). In Tanzania he created the

Goat Races (goatraces.com), and in 2004 he

established Wonder Workshop (wonderwelders.org),

which enables handicapped men and women to

produce highly commercial creative metal artwork,

wooden toys, recycled paper products, and handmade

soap, which are now taking commissions from around

the world.

pauljoynson-hicks.com

How did you first get into wildlife photography?

Being a photographer and living in London, I came to

Uganda 20 years ago to spend six months producing aphotographic book on the country. I loved it and stayed.

Since then I have spent much of my time shooting

wildlife – it’s the perfect place to be!

What’s the best time of year to photograph

African wildlife?

All year round! In the rainy season you can get some

great shots of beautiful green grass and happy animals,

dramatic skies and so on. In the dry season animals

congregate around water so it’s a bit easier. Shooting at

either time is equally enjoyable.

How important is it to research the animals that

you intend to photograph?

This is crucial; the more you know about an animal, the

more you will be able to interpret their behavior or

predict what’s going to happen next, where they might

be or when they are calving, for example. Also, if it’s10am, and very hot, and you see some lions lying in the

shade panting you know not to bother (well, usually!)

hanging around waiting for any action. There won’t be

any. You can come back later that day and still find

them there!

Is there a preferred time of day to photograph

African wildlife?

Early morning and late evening – with the sun low to the

horizon the quality of light is so beautiful, flooding the

land and the wildlife with a stunning golden light. Also,

perhaps more crucially with wildlife, the low light brings

catchlights into the eyes and fills the face with light. At

midday the eyes would be in shadow.

African adventuresPhotographer and African-wildlife expert PaulJoynson-Hicks shares some pro shooting advice

also offer a silent shutter mode that’s great forminimising noise.

Once winter takes hold you’ll notice a change inthe weather, scenery and active wildlife. This canapply to photographing wildlife at home and onsafari. If you’re shooting in cooler climates, don’tbe put off by adverse weather conditions. Frost andsnow won’t stop the animals from foraging for foodso there’s still plenty to see and shoot. With lessfoliage around though it can be more of a challengeto remain unseen and fewer daylight hours willalso be restr ictive so you’ll need to work around thehours of the day that the animals are most active.

Although some landscapes look a lot bleakerduring the winter, it’s still worth framing wide toadd context to wildlife captures. Use the rule ofthirds or negative space to keep the compositionengaging and work with wider aperture settingsin order to draw focus to your subject. Alwaysremember to ensure that the animal’s eyes appearsharp too, as this is where the viewer will be drawnto first within the frame.

Wildlife photography on the whole requires a lotof patience, practice and persistence. If you can stayundetected, you’re guaranteed some great shots.Never forget that you’re working in an animal’shabitat and always be mindful of what impact itcould have on the wildlife of the local area.

What is your most memorable animal encounter

to date?

Holy mackerel – there have been many. I was charged

by a humongous silverback gorilla in Uganda in 1993, it

was a mock charge (probably) but still hugely alarming.

Thankfully he was also dragging a tree and couldn’t

decide whether to drop the tree or try hitting us with it.

In the end he thought better of both...

Ultimately though, my most extraordinary wildlife

experience was spending two days in the Serengeti

ecosystem, in a place called Piyaya watching one pack

of wild dogs hunting. It was mind blowing to the

extreme. They are the most beautiful and amazing

creatures on this planet. Lions pale into insignificance

next to their brilliance – if there was a Top Trumps for

African predators, wild dogs (alternatively known as

hunting dogs, Lycaon pictus) would win. They areapproximately 80 per cent successful in their hunts.

They are highly sociable, they look after other females’

puppies, they can run faster and further then any other

predator (except the cheetah on a sprint) and tragically

they are extremely vulnerable to human predation.

Have you ever been in any particularly dangerous

situations when out photographing?

The gorilla charge was pretty hairy! That aside, we were

once in a vehicle and charged by a stroppy and very sick

elephant. Thankfully the reverse gear of our old Pajero

was just faster than his charge. Another time I was

about to jump into a hollow baobab tree to shoot some

bats when we thought we had better check first. I found

a large black-necked spitting cobra curled up right

where my feet would have landed – close shave that

one! I’ve been lucky, but also, as long as you follow a few

simple rules to the bush you can avoid getting injured.Just be sensible and you can still get incredible photos.

What’s your most important piece of kit when

working out in the field?

Apart from the cameras and lenses, of course, you

aren’t going to get far without a good vehicle and I am

very lucky to have an old land cruiser which takes me

up mountains, through gullies, across rivers and only

rarely gets stuck. So, that and my big tripod!

Do you have any top tips for photographing

animals in the wild?

Take the time to get to know the animal and the area

you’re capturing and understand about light – early AM

and PM. Always look to the animal’s eyes first. Be bold

and brave when you’re photographing – don’t always

follow the rules – use light and composition to change

the way you think about your images. Always enjoy

where you are, have fun, respect nature and the wild

and you will come away with a richly fulfilling experience.

©Paul Joynson-Hicks

© P a u l J o

y n s o n - H i c k s

Advanced techniques


“I was chargedby a humongoussilverback gorillain Uganda”





http://wonderwelders.org/

http://goatraces.com/

http://retrak.org/



Advanced techniques


Improve youraction-packed

portfolio by

keeping pacewith all thelatest Canon

techniquesand speedy-

shooting tricks

Sport is often considered

one of the mostdifficult and expensivephotographic genres toget into. Many

photographers shy away from it,thanks to the misconceptionthat in order to photographsports well, you need pro-access,an extremely long lens and abumper kit bag full of expensiveaccessories. What really matters,however, is your skill level as aphotographer – it’s not what kityou have that counts; it’s whatyou can do with it.

In the action-packed world of

photographing sports, there’s noinstant replay. If you miss a shot,the moment’s gone, so thepressure is really on to get itright first time. Join us as wereveal some of the pro shootingtips, tricks and techniques toensure you never miss amoment of the action. To helpyou master all of the keyshooting methods, we speak tosome of the industry’s topsporting photographers touncover their secrets behindshooting the game…

Shootsport

for

on Canon

Canon EF70-200mmf/2.8L IS II

USM

Works best with







Advanced techniques

HYDRATJust like the athletes youcapturing, prepare and stfocused. Plan out what y

want to shoot first, so you ckeep your eyes on the acti

© John H








Advanced techniques


Jordan Weeks says itall began for him withsurfing and a stormWeb: www.jordanweeks.co.uk

“I have been photographing sports eversince I picked up my first SLR at age 18and I found myself at my local beach, afew days after a storm – the surf wasperfect. I grabbed my camera, andstarted to take pictures. I sent these off toa local surf magazine and, to my surprise,they were published on the magazine’sintroduction page. I was so proud, and Ihaven’t looked back since. Over the years,my passion for sports photography hasgrown to include various other sports,including surfing, cycling, running, andtriathlon. Essentially, any sport oradventure lifestyle that involves beingoutdoors and exploring the world.”

1

Be prepared to stand around for hours,waiting to capture that killer shot – It’ll

be worth it!

2 Understand the sports that youphotograph in order to predict when

and where the action will take place.

3Don’t get caught up thinking that youneed better camera equipment. You

can get great results with a basic DSLR.

4Make sure you understand yourcamera in-depth. You’ll need to be

familiar with every single one of thesettings, so that you can quickly adapt tothe changing situations.

5Plan your photo shoots. Go out with agood idea of what you want to achieve,

and concentrate on capturing thatparticular photo or series of photos duringthe session.

You can keep up-to-date with Jordan’slatest sports photography by subscribingto his blog at www.jordanweeks.com.You can also follow Jordan’s latestendeavours on Twitter and Facebook withdetails available via his website.

Top tipVisit your local athletics

or sports club and find outwhat activities they offer. Ask ifit’s okay for you to come downand shoot – this is a great wayto get in some practice beforeyou head off to shoot any big

sporting events.

RUNNER“Working with the athlete and explaining

the type of image that I wanted tocapture enabled me to get this cool,

low-angle view”

Panning techniques

© A l l I m a g e s b y J o r d a n W e e k s

Sports that involve a level of speed are some of

the hardest to shoot. As the photographer, it’sup to you to determine the best way to capturethe action, whether it’s to emphasise motionwith a panning technique or simply freeze it as

it unfolds. Professional sports photographer JordanWeeks (www.jordanweeks.com) says, “Sometimes it’sgreat to freeze motion when you’re capturing sports.With a surf photo, for example, if you were to capturethe action at just the right moment using a fast shutterspeed, you can freeze all of the water as it sprays fromthe bottom of the surf board. The surfer is pin sharp,and the results can be really impressive. However, thereare times when capturing movement can really changethe mood of your photo. Take the same scene asdescribed, but now shoot it with a slower shutter speed.This time you’ll create an image that is smooth andcalming, the spray becomes an elegant fan of water, andthe motion of the surfer is blurred and ghostly.”

A panning technique is often popular whenshooting sports that require speed to win, such ascycling, motor racing and even running. It’s an ideal wayto illustrate motion, as although your moving subjectremains sharp, the background will become artistical lyblurred. As a technique, panning takes patience andplenty of practice so its unlikely that you’ll get right firsttime around.

Typically, a successful panning shot requires a shutt

speed that is slower than 1/60sec. Switching yourcamera settings over to shutter priority mode ispreferable, as this way you can select a suitable shutterspeed, while the camera determines the best aperturesetting for a balanced exposure. Working in burst modwill also open up a lot more shot opportunities shouldyou miss on your first attempt. To ensure your subject sharp, you’ll also need to work in Al Servo AF mode, thwill enable you to concentrate on your shootingtechnique while the camera takes care of focus.

To pan effectively, you need to get physically involvewith the action, moving your body in-line with yoursubject while you release the shutter. Jordan says, “It’llusually take a few shots until you get the effect that yowant. It’s really important that you maintain a smoothpanning action, moving your camera with the subject,to make sure that it remains sharp, while blurring thebackground only. I typically rotate my whole body fromthe hips when panning. I find that this helps to achievesmooth panning effect.”

It’s important to be aware, however, that panningwon’t always be possible, particularly if your subjectsare well-lit indoors or out, as longer shutter speeds inbright conditions will result in overexposed images.Situations such as these lend themselves well to fastershutter speeds that can freeze the motion as a result.

EXPERT ADVICE






http://www.jordanweeks.com/

http://www.jordanweeks.com/

http://www.jordanweeks.co.uk/



Advanced techniques

Put panning into practice Use this technique to incorporate speed into your shots

1Camera setup Select shutter priority (Tv) and set yourshutter speed to 1/60sec. Keep your ISO low and opt to

shoot in burst mode. You will also need to switch your AFsettings over to Al Servo for sharp shots.

2Get ready Focus on your subject as they come intoposition. When you’re ready, hold down the shutter

release and pan. Remember to rotate your whole body andhips to keep the action smooth for the best results.

3The result There are different degrees of panning toexperiment with. Capturing extreme motion is possible

with slower shutter speeds but slightly faster settings canstill provide great action-infused results.

Where toapply panning

Panning is fantastic for shootingsubjects at speed. Try it out on

activities such as, cycling, motorracing, horse racing, running

ice-skating and football

“There are timeswhen capturing

movement canchange the moodof your photo”

SILHOUETTESURFER

“This photo was takenfrom the cliffs, lookingdirectly into the sunlight. Iremember struggling to getthe exposure correct, asthe glare from the sea wasso strong. However, after afew attempts, I managed tocapture a true gem”

SPEEDINGCYCLIST

“I wanted to capture a simple,

minimalist photo of a cyclist,which captured the movementfrom a unique angle. For thisshot, I climbed onto the roofof my car, and photographedthe cyclist as they passedunderneath me. A slow shutterspeed allowed me to capturethe motion”








Advanced techniques

Freezing motion is fantastic for action-packedsports. This technique is ideal if you want tocapture facial expressions or poignant momentsthat can determine the winners of a sport.

In the same way that shutter priority mode isgreat for panning, it’s also works for freezing motion as itenables you to set much faster shutter speeds withoutcompromising the exposure. This is very important ifyou’re shooting sports handheld, as your shutter speedsetting will be directly affected by the focal length of yourlens. If, for example, you are photographing your subjectwith your lens at 300mm, your shutter speed will need tobe 1/300sec or higher to counteract shake and preventmotion blur. Investing in a monopod can help. These aregreat for adding in slight motion blur with slower shutterspeeds and without having to pan.

When working with fast shutter speeds in shutterpriority mode, your camera will automatically select awide aperture setting to ensure enough light is let throughthe lens. This is great for creating a shallow depth-of-fieldeffect, which will help to isolate your subject from anysurroundings, just ensure your subject is sharp by workingin Al Servo AF mode too. When selecting a lens for sportsphotography, always look out for a wide aperture setting,ideally around f2.8, as this will mean it’s quick enough tokeep up.

Unlike with panning techniques where you canillustrate motion and speed, freezing action shots relyheavily on what’s going on in the frame. This not onlyinvolves capturing the right moment but can also affect thecomposition. In order to keep your images original, shootfrom unique perspectives or get creative with angles. You’llfind that some sporting subjects really benefit from being

photographed at slight angles as it can help to infuseenergy into the frame.

Visualising what you want to get from a shoot beforesetting off is a great way to prepare. Adam Pretty (www.adampretty.com) is an award-winning sportsphotographer who shoots for Getty Images. He says, “Ialmost always have a plan; however due to theunpredictable nature of sports and photography, usuallythe plan falls apart and you need to adapt, which can begreat because you often get something surprising.”

When setting up to shoot, get yourself in the bestposition around the track or field, ensuring it’s somewhereyou know a lot of the action might take place. Adam says,

“I try to be prepared as much as possible and positionmyself in the place where I think I might be able to get thebest-possible picture. I also try and avoid following the

crowd, as if you are stationed next to a bunch of otherphotographers your chances of getting something differentdecrease.” He adds, “The athlete is not the only onecompeting – the photographers are also trying to get thebest image from the same situation, most of the time withthe same equipment.”

Sports is all about timing and being in the right place atthe right time. Doing your research prior to the event isimportant – this way you will get to know the sport and beable to predict possible events before they unfold. JordanWeeks says, “If you’re familiar with the subject that you’rephotographing, then you are better able to predict whenand where the action will take place. This in turn willenable you to press the shutter button at the precisemoment, which captures the action in all its glory.”

“It’s all about timing and being in

the right place at the right time.Doing your research is important

DIVING DAY TWO: FOURTEENTHFINA WORLD CHAMPIONSHIPS

“Vadim Kaptur and Timofei Hordeichik of Belaruscompete in the men’s synchronised 10m platformpreliminary round on 17 July 2011 in Shanghai, China”© Adam Pretty/Getty Images

KITE SURFER POV“This shot shows the importance of POV. I wanted tocreate the feeling just before the kite surfer steps ontothe board, so I placed the camera over his shoulders”

Where toapply freezing

Sports such as boxing,swimming, gymnastics,

athletics, tennis andall kinds of team sports

© John Hicks

Freezing motion






http://www.adampretty.com/




Advanced techniques


Adam Pretty discussestravelling the world tobring the action homeWeb: www.adampretty.com

Adam joined Getty Images in 1998 afterworking as a news photographer at theSydney Morning Herald, with the desire towork as a sports photographer. Sincejoining the Getty Images team, Adam hasbeen based in many locations, includingLos Angeles, Sydney, Beijing and Tokyo,where he continues to work today.

Having photographed five OlympicGames, he has covered assignmentsaround the globe for high-profilemagazines including Sports Illustrated ,Life Magazine , Time Magazine , Harper’sBazaar and Marie Claire .

Alongside his award-winning sports

photography, Adam also shootsadvertising for big clients including Adidas,Nike, Acer, L’Oreal, BMW and Coca Cola.

What advice would you give tosomeone who is looking to get intosports photography? Keep taking pictures, making mistakes,and showing your work to otherphotographers, editors and friends. Lookat books, exhibitions and just really have apassion for your work. If you viewphotography as just a job I don’t think youwill achieve too much. It is a passion and,in my opinion, to be successful you need toview it this way. It is a competitive industryand you have to want it really badly. Don’tstop doing what you love as eventually youwill break through, and editors andagencies really respect photographerswho never give up. If someone tells you no,ask why? Make sure you learn frommistakes and then go back and try again

– be persistent, and keep experimenting.

1 Look for a clean background. Alwayskeep an eye out for where to shoot.

2 Don’t recycle old ideas – look for new,surprising images.

3 Arrive early and leave last – for the bestshots you need to be dedicated.

4 Shoot sports and then shoot moresports – you need loads of practice.

5 Don’t get hung up on big events, youcan take great pictures anywhere.

2Get ready If you’re shooting from a distance, extend thefocal length of your lens to get in close. Set your camera to

burst mode and follow your subject through the viewfinder whilekeeping your other eye open to see what’s coming up ahead.

1Camera setup Adjust your settings so your camera is readyto freeze the action by selecting shutter priority mode (Tv).

Set your shutter speed upwards of 1/200sec and ensure your AFmode is on Al Servo to keep your subjects sharp and in focus.

Top TipSports photography doesn’t

have to just be about capturingthe athletes. Turn your camera

to the faces in the crowd, oreven on the coach, to capturethe emotions and passion of

everyone involved.

3The results Provided you’re working with the right shutterspeed for the sport, you should be able to capture all of

the action effortlessly. Don’t be afraid to crop in during post-production – if you have a high-resolution camera, it shouldn’taffect the quality or outcome of your images.

Put freezing the motion into actionCapture some intricate details to make your shots really stand out

EXPERT ADVICE









Advanced techniques


SURREAL GOLFER“I used a wide-angle lens set at 22mm. I was very close

to the subject and he fired the balls over my head. All ofthe flying dust was caught in camera”

“Flash can create a three-dimensionalfeel by adding layers of lighting in thefront, side and back of the image”

© John Hic

Using flash is a great way to freeze motion

and light your subjects for a morecommercial and stylised shot. John Hicks(www.johnhicks.co.uk) is an award-winning advertising sports photographer

who embraces the use of flash in his work. He says,“Flash is great for freezing movement and can also beused to add a creative edge to your shots too. Personally, Ilike to shoot sport portraits at twilight, wide open[aperture] and on slow shutter speeds to create bluraround the edges, I then use a very small amount of flashto fill in and freeze the motion.”

Understanding how light works and what it can do foryour images is important, as John points out, “You needto develop a real knowledge of light and learn how to useboth natural and artificial light together to enhance yourshots. It takes time and practice, but light – like thecamera – is a tool that you have to get skilled at using.”Knowing what works best for the sport and theenvironment you’re working in is also important. Johnsuggests, “Learn how to master shooting sports at fastand slow sync speeds – depending on the conditions. Inhigh ambient-light levels you’ll need a lot of flash in orderto overpower the ambient light. You also need high-speed flash syncs to successfully freeze action.However, a litt le flash combined with slow sync speeds attwilight can create very effective ‘flash-and-blur’ sportsportraits too.”

Of course, flash isn’t suited to all sports and there aresome situations where it can be more of a hindrance than

a help. John says, “Although I have photographed horse

riders with flash, it can be tricky if the animals reactbadly to the flashlights popping off in their faces.”Flash may not always be able to keep up with the pac

of the sport either, as John points out, “You need to knohow long it takes your flashgun to recycle, particularly you’re shooting fast-paced action. This is the case whenphotographing water sports without a battery pack forexample, in situations l ike this it’s always best to workwith the elements rather than against them.” Flash willalso be restricted by distance so some sports may limityou to work only with the available ambient light.

However, shooting sport for stock or advertisingmeans you can embrace more complicated lightingsetups. John explains, “Flash can create a three-dimensional feel by adding layers of lighting in the fronside and/or back of the image that will help separate yosubject from the background and give your shot a highgloss, highly stylised advertising look.” He continues,

“On commercial jobs, you have to produce on the day – nmatter what the weather throws at you. Without goodnatural light, your pictures may look flat anduninteresting so a basic three-light flash setup, canproduce an amazing light that will recreate sunlight ankeep your clients happy.”

Most importantly, keep your shots uniform in theirlighting style. As John says, “If you build a signaturestyle within your photography, stay true to it. Ideally yowant to get to the point where people can see your shotand recognise that you took them.”

Lighting techniques

Seasoned sports pro with15 years in the biz, JohnHicks offer his adviceWeb: www.johnhicks.co.uk

How long have you been shootingsports photography?I’ve always liked style and moving imagesand have a natural instinct for ‘the decisivemoment’, so shooting sports photographywas a natural progression for me in mycommercial career. I started inphotojournalism, moved into fashion andgot paid to shoot sports advertising so I’vebeen doing it for over 15 years now.

What equipment would yourecommend to someone who is lookingto get into shooting sport? A good-quality DSLR and the best fastlenses you can afford. In my camera bag Ihave a Canon EF 16-35mm, 24-70mm and70-200mm – all zoom lenses and all at f2.8.Zooms are ideal because there’s nofiddling about changing primes whenyou’re tight on time and the action ispassing fast in front of you. I like fast lensesbecause I can shoot wide open at f2.8without having to bump up my ISO beyond100 – which is great for quality. If you’reshooting watersports you’ll also need awaterproof housing such as Liquid Eye orEwa Marine.

What type of lighting equipment would you recommend for an aspiring sportsphotographer and why?It really depends on the type of sportsphotography you’re looking to shoot andthe conditions you have to shoot in. I workmostly on location and have a full kit ofProfoto battery-operated flash lights and

lighting accessories. This setup isdesigned as a portable lighting studio. Forhigh-end portraits and celebrity sportsimages it instantly adds that glossy edge toyour work.

For a more lightweight option that fits in arucksack and allows for morespontaneous photography, I also use flashsystems like the Canon Speedlite 580EX IIand Qflash, both of which are powered byportable Quantum Turbo batteries.

John runs regular photographic workshopsand courses throughout the year. For morein-depth expert advice, check outwww.avisuali.co.uk.

EXPERT ADVICE






http://www.avisuali.co.uk/

http://www.johnhicks.co.uk/

http://www.johnhicks.co.uk/



Advanced techniques

Web: www.istockphoto.com /www.michaelsvoboda.com

Blog: www.lightpimp.com

How long have you been shooting sports photography?

I have been shooting sports photography for over ten years.

The first couple of years were just for fun, getting shots of

friends rock climbing in Yosemite National Park, but I soon

started submitting images to climbing publications and

catalogues and realised that my hobby could make me money.

What encouraged you to join iStockphoto? I was encouraged by a friend who had already signed up and

was starting to sell images. I was always interested in stock

photography but it seemed impossible to get involved with

stock photo sites, until my friend told me that it was actually a

relatively simple process. It seemed like a great opportunity to

expand my career and my portfolio.

What are the benefits of joining stock sites?

There is a tremendous benefit in joining stock sites. Firstly, your

images are inspected closely, which is a great way to learn

quickly how to meet industry standards. Through submitting

(and getting rejected!) you start improving your photography

and learn what it is that the industry wants to see. I have

watched my acceptance percentage increase throughout my

years of being an iStockphoto photographer. The submersion

into the world of good photographers really started the creative

snowball for me. I spent time studying what other

photographers were doing and, most importantly, not doing!

Do you create sports-related imagery specifically for

stock purpose?

I do create imagery specifically for stock now, but this wasn’t

my original intention when I got involved in photography. I have

always had an interest in sports, from playing college basketballmyself to rock climbing, mountain biking and surfing. I found

that photographing what I enjoyed was a natural extension of

my sporting hobbies. I am an advocate of shooting what you are

interested in. The photos I capture are part of what I do in my

spare time and I feel it gives me an understanding of

photographing it and most importantly knowing the best

people and locations to capture.

What advice would you give to someone who is looking to

get into stock photography?

I would advise budding stock photographers to be open to

improving and be patient. It takes years to grow it, improve it

and understand it. Sales can be slow at first when you have a

very small portfolio.

Shooting sport for stock We speak to Michael Svoboda, an established sports and iStockphotophotographer, to find out the benefits of working for both sport and stock

Michael’stop tips

•Find a good athletic model

•Find an enthusiastic assistant

•Devise a comprehensive shot list

•Research your ideas in detail

•Aim to create a simple andclean composition

Shot for stock, I wanted to show the extremeflexibility and mechanical form of a golf swing

VOLLEYBALL“I wanted to capture this athlete witha prosthetic leg at a peak momentshowing that his disability does nothinder his performance”

© Michael Svoboda

© Michael Svoboda

© Michael Svoboda






http://www.lightpimp.com/

http://www.istockphoto.com/



Advanced techniques


20 tips for action shots

01 High ISOWhen shooting sports, the

lighting can very often be out ofyour control. Up your camera’sISO settings to ensure that you

capture enough light while usingfast shutter speeds

03WIDE-ANGLES

A telephoto lens is great for getting yo

in close, but don’t be put off using wid

angles as well – they can also capture

great results, particularly in sports

where there’s a lot going on.

04 NO ON-CAMERA FLASYour camera’s built-in flash is not

powerful enough to illuminate your

subject at a distance. Ensure it’s turne

off to avoid bad exposures.

02 Increase yourframe rates Stay on top of the action by switchingyour camera over to burst mode. Setup to shoot in the highest-possibleframe rate without reducing imagequality or size

© Jordan Week








Advanced techniques

12 CAPTURE DECISIVEMOMENTS

Research and get to know the sport you’re

shooting, this way you can predict moments

that are well worth capturing.

13 FOCUS FAST It goes without saying that your sport shots

need to be sharp. Switch your autofocus

setting over to Al Servo to keep up with your

subject in among the action.

14 CAPTURE ENERGYWITH ANGLES

When freezing action, avoid static shot

results by shooting at an angle. This will help

to add energy into the frame.

15 FIND FACES Strong sport photography shots feature

sharp faces. Remember if you want to sell

your images on as stock, your subjects need

to be clear.

16SHOOT THE ENTIRE SCENE

It’s easy to get caught up in just the sport,

but try to be aware of what else is going on

around you. Shots of the crowd or coaches

help add a narrative to the event.

17KEEP IT RAW

Always shoot in RAW for the best results. It’ll

give you more flexibility when it comes to

editing. You can also correct white balance

later if you’ve been shooting indoors under

bad lighting.

18 KEEP SHOOTING

Don’t get distracted by your back LCD screen,

now’s not the time to review what you’vealready taken, keep shooting until the action’s

over otherwise you might miss a great shot.

19FREEZING THE ACTION

To get crystal-clear sport shots, you’ll need to

hike up your shutter speed settings. Switch

over to shutter priority mode (Tv on the mode

dial) and work in settings above 1/200sec.

05 Pan for speed There’s so much energy in sport it would be a shame

to miss it! Set your shutter speed to around 1/60secor lower, focus on your subject and then release the

shutter while you pan for great motion shots

20 Zoom inFor any sports

photographer, a longtelephoto lens isessential as you neverknow where you’ll bepositioned to watchthe games unfold. Forflexibility, use a zoomthat offers around 300-400mm in focal range

08 GET IN POSITIONSeek out the best location that gets you

close to your subject. This way you’re

guaranteed to never miss a moment of

the excitement.

09 IF YOU MISS IT, FAKE ITAfter your sports shoot, don’t be afraid

to sharpen up your shots in Photoshop

or even add a little motion blur in post-

production that will help to enhance the

look of speed.

06DEPTH OF FIELD For dramatic results, use a shallow

depth of field to isolate your subject

and remove distracting elements from

the background.

07 CROP IN

If you’re shooting high-res RAW images

with a good-quality camera and your

lens just can’t seem to reach, you can

crop into your image later on. This won’t

affect your image quality too much.

10 STICK TO THE RULES

The rule of thirds isn’t just great for

landscapes, use it when photographing

sports too, it can really help to

strengthen your composition.

11 THE RIGHT SPORT

There are so many types of sport

out there, don’t limit yourself to

shooting the popular ones. Consider

photographing something a little

different for more original results.








Advanced techniques


PERSPECTIVESShoot from fresh anglesto capture powerful urbanlandscape images like this one

What you will need Essential kit for city shootingCanon EF-S10-22mmf3.5-4.5 USMPrice: £990/$860Tel: 0844 369 0100Web: www.canon.co.uk

This fantastic wide-anglezoom lens will help to ensureyou can fit everything in theframe. Whether you want tocreate a panorama or shoot

structures from the groundor at a height, there’s enoughroom to get it all in.

Canon EF 35mmf/2 IS USM fixedlensPrice: £799.99/$849.99Tel: 0844 369 0100Web:www.canon.co.uk

Canon’s fantastic 35mmprime lens will ensure youcapture superb qualityimages on the go. Offering awide f2 aperture, it’s ideal for

shooting the urbanenvironment in low-lightconditions.

Canon TS-E 17mmf/4L tilt-and-shiftlensPrice: £1,959/$2,499Tel: 0844 369 0100Web:www.canon.co.uk

This 17mm wide-angle tilt-and-shift lens ensures yourshots are all correctly inperspective. Adjust the lensangle to remove distortions

such as converging verticalsor use it to create a miniatureeffect on the city.

Manfrotto055XPROBTripodPrice: £170/$223Tel: 0129 358 3330Web: www.manfrotto.co.uk

This durable and relativelylightweight aluminium tripodis fantastic for shooting onlocation. Great for shootinginteriors or low light, you can

even attach a pano head forseamless panoramas of theurban landscape.

CanonEOS M





http://www.manfrotto.co.uk/




Advanced techniques

L

A N D S C A P E S

U R B A N

F r o m

s k y s c r a

p e r s t o b r i d g

e s, g r a f f i t i a

n d

s t r e e t l i f e

, y o u

c a n u

s e y o u r

C a n o n

t o s h o o t…

The urban landscape is a minefield of fantastic

photo opportunities. Once you’re caught up in thebuzz of these dynamic environments, you rarely geta moment to really take in what’s going on aroundyou. As a photographer, it’s your job to slow down

and compose captures that reflect not only the environmentin which you’re shooting but also your own artistic style.Sharing your perspective on the world with the viewer is whatphotography is all about, but being original in spaces that havebeen photographed multiple times can be challenging.

Join us over the following ten pages as we take you throughthe reality of shooting the urban environment. Along theway, we’ve included plenty of practical projects and lots of

professional advice from photographers who specialise in thisstyle of photography. This type of shooting comes under somany different genres; it’s really up to you as the photographerhow you perceive the metropolitan landscape theme.

Many professionals approach it in a documentary style,while others angle their images more towards architecture.Professional urban landscape photographer Billy Bye (www.

billybye.com) says, “To me, an urban landscape is anywhereman has influenced the landscape beyond the naturalenvironment – the culmination of this is manifested in thecity, I find suburbs fascinating, the places we simply ignorephotographically or dismiss through familiarity are often themost interesting.”






http://www.billybye.com/

http://www.billybye.com/



Advanced techniques

THE CANON CAMERA BOOK THE CANON CAMERA BOOK 1

DISTANCE ANDDISTORTIONShoot from a distance, theconverging verticals will look alot more dramatic

www.formidablephotography.comWhat’s your definition of an urban landscape?

My definition of an urban landscape is one that focuses

on the city or town that people live in, showing the

structures and details that surround them including

buildings, bridges, subways etc.

What aspects do you look out for when shooting

an urban environment?

I particularly like to include reflections, textures and

leading lines, all of which I feel can add to a shot. I think in

every location it’s important to try and find a shot or

angle or detail that I’ve not seen before.

Do you use compositional rules when framing your

cityscape photographs?

I try not to stick to the compositional rules and prefer to

look at each shot on an individual basis to ensure that

the uniqueness of the location is captured.

What are your top equipment recommendationsfor this type of photography?

I think a wide lens is essential – I mostly use a Sigma

10-20mm when shooting urban landscapes as it gives

such a unique perspective. I also use a vintage 24mm

lens that requires manual focusing and metering but it

still very sharp. I will also use Cokin gradual density filte

to match or darken the skies.

How important is post-production?

Processing is massively important to the way I approa

my photography – I use HDR for a lot of shots as I feel it

adds a dimension of realism when used in the right way

and it can emphasise details that make a shot stand ou

such as texture and shadow. When I find a scene that I

feel would make a good image, I often consider what

processing I want to do in order to maximize its impact

use a combination of Aperture, Photoshop, PhotomatPro and the Efex suite of programs to process my shot

We speak with proMark McGowan for theinside scoop on capturing a sprawling city

Life in the big smokeIf, of course, converging verticals don’t work for you,they can be easily corrected in Photoshop. Alternatively,prevent them entirely in-camera using a tilt-and-shift

lens which can counteract the effect.For flawless shots of cityscape structures, you’ll needto shoot from a height. This will not only ensure yourphotographs are free from obstructions but also giveyou the opportunity to encompass more of the urbanenvironment within the frame. Planning these detailsof your shoot before you leave is therefore essential inorder to locate high-rise public buildings that will permityou to photograph from their roof terraces or restaurants.This way, you’ll be able to shoot the skyline from setpositions around the town or city at specific times ofday or night. Be warned though, some buildings andlandmarks have strict security rules that prevent youfrom photographing their exteriors or interiors withoutpermission. It’s worthwhile spending some time doingyour research on a few specific areas or structures beforeyou set off. This way, you’ll be able to avoid any problemsyou might have with your portfolio when it comes tocommercial image usage.

FIND DETAILSDon’t forget to look down as

well as up when exploring theurban environment

© Mark McGowan

PLAY WITHPERSPECTIVEChanging the angles youshoot from will result in moreabstract and engaging images





http://www.formidablephotography.com/



42 THE CANON CAMERA BOOK134 THE CANON CAMERA BOOK

Advanced techniques

In order to get the best out of any urban landscapelocation, you’ll need to consider all of the possible angles,light options, structures and shapes. Pro Mark McGowan(www.formidablephotography.co.uk) says, “If you finda location that is interesting, try and think of a way to geta series of images out of it, not just one – maximise thereturn of images from your time in each location.”

Exploring man-made metropolises wil l not only testyour camera skills but also your eye for framing a greatphoto. Looking beyond the facade of the skyscrapersis key to discovering other fantastic photographic

opportunities. Billy Bye says, “Try to look beyond theobvious, the backs of buildings, the dark alleys andthe remnants of society; I look for textures, contrasts,silhouettes. I love reflections and the play of soft light onharsh unforgiving surfaces and always, great skies. I lovethe contrast of the natural sky against the harsh qualitiesof the man-made concrete, bricks, glass and steel.”Embracing an abstract approach to framing can resultin more artistic and original images. By paying closerattention to what’s around you, you’ll be able to find andframe unique shapes and structures that will result instronger compositions.

Unlike a standard landscape shoot, which is balancedby a foreground, focal point and sky, an urban landscapecan be composed more creatively. Disregarding the

compositional rules in photography is a great way tofree up the frame and strengthen your own eye forcomposing. Billy says, “I think the rule of thirds isimprinted into my mind for ever as is the need to find astrong focal point, but rules are there to be ignored. Forme, lead-in and lead-out lines are the most importantelements within the frame. The balance of the image isalso very important, as is the relationship between colour,shape, tonal qualities and form, all of which can affectthe overall unity of the image. As a rule, you shouldshoot for impact to make a clear statement. I always

look for elements that will create the ‘wow’ factor in myphotos.” Pro Mark McGowan says, “I prefer to keep mycompositions simple and not too distracting. Shootingat sunrise or sunset is ideal as the city is quieter and thesmall number of people that are around can be used toadd scale and contrast to a shot.”

Working with the available light is important,particularly when you’re composing abstract-styleimages of structures or shapes. Learning how to handlechanging weather conditions in the city can be tricky,but don’t let it put you off. Billy says, “You can’t beatthe warmth and directional qualities of evening lightthat make an urban landscape come alive. Bad weather,especially rain storms, can be great to shoot in and whenthey break, will bring out superb light.”

Landmarksand the lawIn some cities, there are landmarks andbuildings that are illegal to photograph andsell commercially without prior permission.Always do your research to ensure you don’tneed a building-release form to photographthe interior or exterior of some structures.All of the following landmarks do not permitisolated shots for commercial use but will beconsidered as part of a cityscape providedthey are not the main subject in the frameand you’ve obtained written permission.

• The London Eye, London, UK

• The Gherkin, London, UK

• Beijing National Stadium, Beijing, China

• Burj Al Arab Hotel, Dubai, UAE

• Chrysler Building, New York City, USA

• Empire State Building, New York City, USA

• Sydney Opera House, Sydney, Australia

Some landmarks have specialist restrictions.The Eiffel Tower in Paris, France, for example,has copyright restrictions at night. Thelighting display is owned by a privatecompany, so you need permission beforeyou can use your shots commercially.Visit the shutter buzz website atshutr.bz/veefyQ for lots more on image restrictions.

Commanding composition

LEAD IN WITH LINESConsider the compositional ruleswhen framing. Lead-in lines workreally well and help draw the viewer’seye into the photograph

Convert tomonochrome

Convert your urban landscapecaptures to black and white if

there are conflicting colours inthe frame. This will help to ensurefocus is back on the light, subject,

shape and form. To enhancethis, adjust the tonal range and

contrast in Photoshop whenconverting the shot.

Before you shoot, walk aro your subject to see how the

and perspective chan





http://www.formidablephotography.co.uk/



Advanced techniques


KEEP IT SIMPLEYou can get people-free urban

landscape shots like thisby using a filter and slower

shutter speed settings


Remove people from the

frame with filters During the day if you want to remove orblur people out of an image you’ll needto use a filter with slower shutter speedsin order to avoid overexposing your shot.A Lee Big Stopper or strong ND (neutraldensity) filter is essential.

To avoid capturing camera shake in your shots when you’re using slowershutters, set your camera up on a steadytripod. If your camera has one, makesure to check the spirit level to ensureit’s straight before you shoot. Use asmall aperture and set a shutter speed ofaround 1sec; you can slow it down furtheror increase the time if you need to. Keep your ISO low, focus manually and use aremote shutter release.







Advanced techniques


An urban landscape can change dramaticallythroughout the course a day. The shots you’ll get early in

the morning in comparison to those taken at midday orlate afternoon will be dramatically different, so getting toknow where the sun rises, sets and falls in the landscapeis important to the success of your shoot.

A great way to illustrate the natural progression of lightfrom day to night is to capture it in a series of panoramas.This is not only a great practical shooting project but it’salso a fantastic way to offset the beauty of the naturalworld against an urban environment. With carefulblending using all of the final shots, you’ll be able tocreate a seamless and striking day-to-night panorama…

AM: Before shooting you need to think about yourorientation, and most importantly where the sun pathwill be throughout the day. If you want to include the sun,decide if it will feature in the image once, many times or

not at all. The easiest orientation is due north as this wil lgive a fairly even light distribution across the scene.

Early morning shots will result in long, deep shadowsand high contrast among buildings. Fix your ISO andaperture and use the shutter speed as the variable tocontrol exposure. It’s best to avoid using polarising filtersfor this type of shot, as these will often result in blendingdifficulties across the panorama.

Try to also pick a day that is forecast to have fairlyconsistent weather, otherwise you’ll find great difficultyin blending the final panorama. Colour temperature willvary throughout the day from cooler in the morning towarmer in the late afternoon to cool again at night. Shootin RAW to allow white balance adjustment in post-processing should you need to adjust or correct this.

MIDDAY: The middle portion of the day (andthe panorama) presents its own challenges.

With the sun at its highest, the light will befairly flat but with bright spots off reflective surfaces.Exposure control is critical here, so check the histogramto ensure an even exposure that wil l be consistent withthe other panoramas, which form the final image.

If there are moving subjects in the scene such as traffic,consider using a three or six-stop ND filter to create somemovement. This will give a more seamless transition intothe dusk shot which will require longer shutter speeds.

When you plan your day-to-night panorama, thinkabout the time of year and the different times of day youwant to blend across the scene. Shooting in winter hasthe advantage of shorter days, but this is countered bylower sun angles which produce high-contrast shots.

PM: Late afternoon and dusk shots are probably the

most difficult to blend into a day-to-night panorama, asthe light is so different. It’s best to shoot the last nightshot when there is still a little light left in the sky, as thetransition will appear more seamless.

Pay close attention to colour temperature as the coolerafternoon sun transitions into late evening warm sunand finally cooler dusk colours. There is no easy way todeal with this and every image will be different, so tryexperimenting with different blending points to see whatworks best for you.

Another point to think about is how to blend in anylight trails and movement in the evening scene into yourdaytime shots. Shoot the final shot for your panoramawhen there is still a little light on the foregroundbuildings, as it is good to be able to see some detail.

Leading with light

Stitch it alltogether

Once you’ve taken all of yourday-to-night panoramas, you’llneed to stitch them together in

Photoshop. Use the Photomergetool to do this for each one. You

can then use layers and theEraser brush to blend them all

together seamlessly.

MORNINGThink very carefully aboutthe first shot of the day, you’llbe setting up your tripod foran entire day so make sure you think about sun path andorientation. The sky will bedeeper blue and the shadowslonger, creating more contrast

MIDDAYWhen the sun is at its highest,

the light will be fairly flat and thesky lighter, make sure you don’t

blow highlights off reflectivesurfaces. Use the histogram to

ensure a consistent exposurewith the morning shot








Advanced techniques


1General setup In thesummer months you may

need to leave your camera

and tripod in one place for upto 15 hours, so think about asensible place to shoot. Thisshot was set up from an officewindow. Mark the tripodposition so if you need tomove it you can put it back inthe same place.

2 Pano head A goodpanoramic tripod head is

important to prevent parallaxerror and give a consistentoverlap between shots. Thisshot was created from five fullpanoramas blended together.This gives the best control overwhere the blend occurs.

3 Levelling tripod Tosimplify the creation of the

individual panoramas and givethe best chance of matchingthem up in Photoshop, try tolevel the tripod head so that itrotates at the same angle. Youcan use a levelling tripod suchas this or a levelling base.

4SettingsUse a low ISOand fix the aperture

somewhere around f11-14to give optimum depth offield. Vary shutter speedthroughout the day and keepan eye on the histogram fora consistent exposure. Thinkabout where in the final panothe particular shot will featureand expose well for that area.

Set up your panorama

EVENINGThe late evening and dusk shots

are the most difficult to blendsuccessfully into the pano,

shoot when there is still somelight in the sky and you can see

the detail on buildings

© Chris Humphreys

“You can usea levellingtripod suchas this or alevelling base”








Advanced techniques


An urban landscape doesn’t have to be your typicalwide-angle shot of a skyscraper or skyline. Pro MikeSeaborne says, “For me, urban landscape photography

is all about documenting the ongoing process of changewithin the urban environment. It’s a kind of archaeology,revealing the layers of time and the relationshipsbetween past and present.” Finding details that areunique to your surroundings is not only a great wayin which to illustrate the history of a location but willalso give your urban landscape images some context.Mike adds, “I tend to look for details that make a visualconnection with a particular time or place. In my

‘Facades’ series, for example, I sought out shop frontswith signs whose style and/or content made a link witha particular time in the past (eg Victorian or 1960s).I’m personally not really interested in photographingsomething derelict just for its own sake.”

Photographing subjects that generally interest youis a great way to engage with the urban landscape andexplore it in more detail. Pro Nick Delaney says, “I tendto shoot exclusively in colour so I look for colourfulenvironments, graffiti is quite a prominent part of myurban landscapes, but I don’t really seek it out, it’s morethe colours that I look for. I also hunt down symmetryand lines to give a powerful aspect to the image.”

Urban landscapes don’t just have to be takenoutside either; you can incorporate interiors intoyour project too. Of course, shooting indoors meansyou’ll need to consider your exposure settings morecarefully. Remember to keep your ISO up high if lightis limited and use wide aperture settings, particularlyif you’re shooting details up close as you can throw

Discovering details

BANKSY IN BRISTOLYou’ll find lots of graffiti in urban environments.Do a bit of research to locate the best spots

DERELICT LOCATIONSRun-down buildings make great subjects on aurban landscape shoot. Look out for locations

that are off the beaten track, but don’t illegallytrespass on private land

the background out of focus for an artistic shallow-depth-of-field effect. If you’re shooting inside cathedrals,churches or museums, look up – detailed ceilings make

great subjects. Generally, these man-made structuresoffer plenty of shape, detail, texture and form. Havinga fisheye lens can come in handy here, as the distortioncreated by the lens will enable you to fit more in theframe. The results are also a lot more engaging andartistically abstract.

Shooting urban cityscapes and details on locationdoesn’t always require a kitbag full of equipment. Thegreat thing about this type of photography is its flexibil ity.A lot of fantastic urban landscapes have been capturedon compacts and even camera phones. It’s how youcompose your captures that really matters. Seasoned proBilly Bye points out, “I will often shoot urban landscapesusing a micro-four-thirds camera. These smaller cameraformats are great; as you don’t stick out like a sore thumb,which can be important, if like me, you want to blendinto the environment you’re shooting. Plus, they canpack a punch photographically.”

Things tolook out for…

When you’re exploring, you’ll findcountless interesting subjects toshoot. Here’s a few things to lookout for… Graffiti, signage, derelict

buildings, broken windows,lamp posts, post boxes, locks,

brickwork, facades, gates,bikes, statues, bridges,reflections, subways

© Nick Delaney








www.mikeseaborne.com

www.urbanlandscape.org.uk

Bio: Mike trained as a historian

and curator. He has spent most of

his working life with the Museum of

London, undertaking urban

landscape projects such as

Docklands, housing estates,

shopping centres and suburban

high streets. Now working

freelance, Mike has recently completed a project on the

Thames Estuary.

What do you look out for when photographing

urban landscapes?

I generally work on specific projects defined by location

and/or subject matter and adopt a consistent approachacross all the shots. I might be looking for examples of a

particular subject (eg empty shop fronts) or for visual

relationships between entirely different things (eg an old

road sign and a modern supermarket). My approach is

documentary and I generally avoid the purely abstract.

How do you ensure consistency in your Facades

project shots?

I take a standard approach when it comes to positioning

the subject, framing the shot and to the lighting so that it

gives a consistent look to the Facades series. I took all

the photographs with the same fixed-lens camera and

shot in diffused light or when the shop front was in

shadow. I wanted to avoid harsh contrast and overly

saturated colours to maximise subject detail and to give

a feeling of the shop fronts fading into the past.

What are your top equipment recommendations

for urban landscape photography?

I think you can use any camera or lens provided you us

it intelligently and know its capabilities and limitations.

My advice is to keep it simple and really get to know yo

equipment. I don’t have a ‘best’ camera or lens as each

piece of equipment I use has its own particular strengt

and weaknesses. I do like sharp, detailed pictures,

though, so I do pay particular attention to lens quality

and my most important accessory is a good tripod, for

the same reason. This was an absolutely essential piec

of equipment in the days when I shot 5 x 4” film and I

continue to use one with my DSLR, partly because it

makes the picture-taking process more deliberate and

prevents me from becoming too snap-happy, which is

too easy with digital.

What’s your advice for aspiring urban landscape

photographers?

Look at the work of established urban landscape

photographers and other image-makers both for

inspiration and technical guidance but seek your own

path rather than simply copying. With millions of digita

cameras being sold each year, all capable of taking

technically perfect photographs without much input

from the photographer, you need to develop a persona

style to stand out from the crowd.

An exhibition of Mike’s recent work will be at the Foto8

gallery in London between the 15-27 October 2012.

‘London: A Landscape in Transition’ charts the evolving

urban landscape of London and the Thames Estuary.

For more information on the exhibition location and

opening times, visit www.foto8.com.

We speak toMike Seaborne about his urbanlandscapes, projects and upcoming exhibition

Project metropolis

WORK WITH THE LIGHTWhen you’re working on location, the

light is changeable so always be preparedto adjust your exposure settings

© Mike Seaborne


Advanced techniques





http://www.foto8.com/

http://www.urbanlandscape.org.uk/

http://www.mikeseaborne.com/




© I a n R o l f e

RAW ELEMENTSBlack and white is a wonderfulmedium for capturing ruggedlandscapes, like this classicscene of the Old Man of Storr

Advanced techniques


Canon EOS

100D

Works best with








Create contrast and elegance with your Canon

Some things in life seem to have a resilience thatdefies expectation. Just as vinyl records havesurvived the arrival of both the CD and digitaldownloads among music fans, black-and-whitephotography has never gone away.

In the early days of photography, black and white was thesimpler option, with reliable, faithful and durable colourphotography proving a significant challenge to achieve.Naturally, while monochrome was the only option, the desireto produce practical colour film was inextinguishable. By the

end of the Thirties, colour was no longer merely a dream forgeneral photography.

However, if anyone expected colour to subjugate black-and-white photography or render it moribund, they were wrong.Despite the availability of colour, black and white remainedat least as widely used and, even in the digital age, it’s stillpopular among novice and pro photographers alike.

Over the next few pages, you’ll discover how to make themost of black and white with your Canon camera and how totake your best monochrome images yet.

Advanced techniques

Use Canonto shoot in

Black

& whiteTHE CANON CAMERA BOOK 1







“Black and white simplifies and redacts ascene down to its core elements of shape,texture, pattern and contrast”

A great many of the very best monochromeimages are the direct result of a photographer veryconsciously and deliberately setting out to produce aquality black-and-white result. While luck may factorin some cases, rigorous planning is often essential.

It’s not unusual to hear photographers referringto black and white as a go-to means of recoveringan image that’s been deemed to have gone wrongin colour. Though it’s true to say that the formatcan, at times, have a healing influence on errantcolour photos, brilliant monochrome images are onlysometimes stumbled upon by accident during thepost-production and photo-salvaging process.

If you really want to master monochrome, andare seeking to build a portfolio of bold and beautifulblack-and-white images, attempting to see in blackand white is the best starting point. Instead ofheading out with your camera – capturing severalhundred frames and then peering through them in

Lightroom wondering if any, perhaps, will look betterin black and white – try going out with the conscious,deliberate intention of shooting in monochrome.

This simple switch alone will make a surprisingand pleasingly quick difference to the way you shootand you could be startled by the extent to which youreye will shift towards seeking out potential black-and-white images.

But what does all this mean exactly? As black andwhite simplifies and redacts a scene down to its coreelements of shape, texture, pattern and contrast, it’soften the case that many of the best black-and-whiteimages depict scenes in which these facets areinherently vital. It’s also important to remember that,although monochrome has a purifying influence, it’soften best to look for scenes that are naturally fairlyclutter-free, so that the viewer’s eye can focus in onthe shape, texture, pattern or contrast that you wantthem to appreciate.

SEPIA TONINA popular way

presenting black-and-whimages is to add a subtone to them, often se

One way of controlling the appearance of

black-and-white images that photographers

could use in the field was coloured filters

over the lens. This is often replicated in digital

cameras, with these filter options built into the

Monochrome shooting mode. A yellow filter

slightly lightens tones – such as reds, oranges

Create and enhance contrast with filters

How you canuse colour tocontrol blackand white

Blue Green

Red Yellow

Black and white is also brilliant for capturingmoments in time; reportage-style freeze-frames. Onagain, this is due to the way that the format simplifian image and enables its core elements to comecloser to the surface.

The use of monochrome also endows the subject

with a sense of reverence, which again makes itideal for documenting serious subject matter andfor producing portraits in which creating a sense ofcharacter or intensity is important. One of the greatthings about black and white is that you don’t needto be shooting under any specific set of conditionsin order to achieve great results, because it’s anincredibly flexible format.

However, it’s vital to be aware of how things willactually appear in black and white, so that you canmake decisions with this in mind. For example, blacand white’s simplifying impact, discussed previouslycan work against you at times. If an area of a scene ifairly blank and uneventful, with relatively little goinon, stripping it of colour can potentially make it rathdull and uninteresting, for instance.

and yellows – while a red filter produces

dramatic results, greatly brightening red tones

and sending blue skies nearly black. A green

filter is used for making foliage stand out in

monochrome images and a blue filter can be

used for creating interesting portraits, as they

darken down skin tones significantly.

Advanced techniques








© I a n R o l f e

reasons toshoot black& white

A black-and-white image has a timeless look

to it that’s hard to conjure in colour.

Black and white is ideal when shooting aseries of images, as issues of distractingly

inconsistent colour are negated.

By removing colour from the equation, black

and white simplifies a scene, de-cluttering italmost instantly.

Black and white enables you to emphasise

shape, form and texture.

The format means you can deal with trickymixed lighting conditions, such as inside a

church during a wedding ceremony, withrelative ease.

5

Advanced techniques








Black-and-white portraits can be captured

brilliantly with either high- or low-key lighting.

Black and white is all about simplicity, so

restricting the tonality of a shot is a logical move.

High key’s use of high levels of bright, white tones,

and low key’s use of high levels of dark, black

tones can provide something of a head-start

when it comes to creating black-and-white studio

portraits with impact.

Mono studioHigh- and low-key lighting andexposure styles can all work wellin black and white

Perhaps the best example of this is a blue,cloudless sky. This may or may not work in colourimages, depending on factors such as the time ofday and the colour temperature of the light. Whenworking in black and white, however, there is agood chance that this area of sky will look deeplyuninteresting and lifeless, as its colour is arguably thechief redeeming feature. For this reason, landscapephotographers often seek out stormy and dramaticskies for black-and-white photos, as the contrastingshades, and apparent textures created by the clouds,work fantastically well in monochrome.

Scenes that contain a truly comprehensivespectrum of tones, ranging from deep, dark blacks topure, bright whites, are ideally suited to monochrome,although lower-contrast scenes can sometimes workwell too. Remember to also keep a close eye out forinteresting or striking patterns, textures and shapes.

Although ensuring that elements work welltogether and complement each other successfullyis important in all photography, in black and whitethis is particularly vital. When you can’t enchant

the viewer’s eye with rich colour and the warmglow of early morning or late afternoon light, it’sdoubly necessary to create images in which issues offraming, composition and exposure are well judged.Far from providing an extra layer of protection, as isoften believed, monochrome can actually lay yourphotography even more bare. A misjudged black-and-white image can end up having less impact thana colour photo and it’s on these occasions that it canappear to the viewer as if black and white has merelybeen used to paper over the cracks of a generallyweak image.

Accordingly, if you’re serious about black andwhite, it’s best to try to purposefully shoot in theformat from the off. To help with this, set yourCanon’s picture style setting to Monochrome and

capture RAW files. This quickly and easily takes alot of the guesswork out of seeing in black and white,as your camera will preview the images you shootin black and white while preserving the full colourinformation, enabling you to convert to black andwhite with more precise care and attention later on,using your image-editing software of choice.

One of the things that makes the RAW file formatso useful is the fact that it doesn’t matter what picturesettings you were using when you captured theimage – all the original data is still there, enabling youto process the file from scratch. Additionally, whenyou shoot using your camera’s Monochrome mode,the previews you see on the back of the camera aremerely that – previews.

Perhaps one of the best things about the digitalera is the fact that, where once upon a time it wasonly a minority who could experiment with theirown image-processing and printing, as a traditionaldarkroom was an expensive – and space-hungry –endeavour, it’s now possible for pretty much all

photographers to work on a negative and turn it intoa print that represents their vision.Indeed, this is probably the best way to think

of Photoshop: as a significantly less inconvenientdarkroom. The biggest bonus is the fact thateverything is reversible and can be perfected in a verynuanced fashion.

From a sheer quality perspective, working on aRAW file in RAW conversion software such as AdobeCamera Raw or Lightroom is perhaps ideal, as it’sat this point that you have the maximum degree ofcontrol over the widest amount of image parameters.

The ability to make quite dramatic adjustmentsto exposure, both globally and locally, as well asfine-tuning the nuances of both the highlights andshadows, rescuing detail as required or desired isa massive bonus offered by RAW. If you want toproduce great black-and-white images, in whichprecise tonality is key, your RAW converter ispowerful enough to get you there.

This is now particularly true as converters suchas Adobe Camera Raw and Lightroom containadjustment gradients and brushes that enable veryprecise localised adjustments. You can now dodge,burn and contrast-grade in extreme detail without theneed to go to the main Photoshop interface at all.

That said, there are plenty of great black-and-whiteconversion options within Photoshop itself. Althoughconverting to black and white can just be a matter

of dragging the Saturation slider in Hue/Saturationall the way to -100, this isn’t the best way of doingthings. Simplistic conversions like this don’t offermuch more than your camera’s in-built Monochromconversion mode, so negate the point of leavingyour black-and-white conversion until you get to the

computer. In this regard a simplistic conversion islittle better than a crude Grayscale conversion, whicshould be avoided at all costs.

Fortunately, Photoshop offers more finessed wayof taking a colour image and converting it to blackand white and which one you choose often comesdown to a matter of personal preference.

If you are really a fan of the Hue/Saturation dialogthere’s a way of using this adjustment that offersa little bit more control. Make a Hue/Saturationadjustment layer and then drag the Saturation sliderall the way to -100. Then, click back on your mainimage layer in the Layers palette and create a secondHue/Saturation adjustment layer to sit in the middleof the stack. Change the blend mode of this layer toColor and double-click on the layer’s icon to recall thdialogue box. Here you’ll now be able to use the thrsliders to fine-tune the look of your black-and-whiteimage until finished.

Recent versions of Photoshop have included adedicated Black & White adjustment option, whichoffers six colour sliders for you to experiment with,as well as a good range of presets. However, manyphotographers are in the habit of using the ChannelMixer in Photoshop to convert to mono and this doestill offer precise control.

More advice on using the Channel Mixer toproduce brilliant monochrome conversions can befound on the following pages.

“Far from providing an extra layer ofprotection… monochrome can actually layyour shots even more bare”

Advanced techniques








Advanced techniques









TECHNIQUES

IN-CAMERA MONOBy setting the camera to Monochrome mode and shootingboth RAW and JPEG simultaneously, it’s possible to comparethe camera’s own black-and-white processing with what’spossible in Photoshop. The in-camera version is rather flatcompared to the version as processed from a RAW file

PHOTOSHOPPROCESSED

Processed from RAW, the imagehas greater contrast and is more

tonally interesting

5 tips foshootingblack& white

Tap into textureAlways keep an eye out for

interesting surface textures when you’re shooting black-and-whiteimages. Weathered wood is a gooexample, but you’ll find an endlessupply if you explore the world ofmono in macro.

Hiding in the shadowsBlack-and-white shots are

often at their best when they’re amuch about what you can’t see awhat you can. Including plenty ofshadows can create a fitting mooand atmosphere.

Contrast controlSuccess when handling

monochrome often owes much to your ability to judge and controlcontrast. Black and white canwork well with stark, hard or softcontrast, but in every case it needto suit the subject and the scene.

See in shapesPay close attention to the

shape and forms present in yourmonochrome images. With coloutaken away from the equation,these things will become muchmore noticeable and help to makeor break your photos.

Play with patterns Like texture and shape, pattern

often become noticeable when yoare shooting in black and white.

Advanced techniques









There are many different ways to

convert your photos into black and

white, from using your RAW

converter through to dedicated

plug-ins. One of Photoshop’s most

popular options is the Channel Mixer,

which functions as both astraightforward adjustment option

(go to Image>Adjustments>Channel

Mixer) or as an adjustment layer.

The format has long been popular

with photographers, as it’s very easy

to use. Simply check the

Monochrome box and then slide the

Red, Green and Blue sliders until you

are happy with how the image looks in

black and white. The basic rule of

thumb is that the percentages of the

three sliders should add up to 100%.

To get you started with the

Channel Mixer, here are some recipes

for re-creating a few of the most

appealing traditional black-and-white

films. Keep in mind, of course, thatthe unique appearance of grain was

also a key component in the look of

these films, as was the amount of

contrast they tended to produce.

MimickingmonochromeApproximate the lookof classic black-and-white film stock withthese handy ChannelMixer settings

“Black andwhite can workwell with stark,hard or softcontrast, butin every caseit needs to suitthe subject”

Advanced techniques








Travelthe world with

your Canon

Advanced techniques


Discover the inside secrets of travel photographyand learn how to capture memorable shots ofpeople, places and cultures around the world

Canon EOS

1100D

Works best with







Most people return from holidaywith a memory card full ofimages, but what elevates thembeyond straightforward ‘snaps’ isthe approach. Of the professional

travel photographers featured here, every single one

emphasised the importance of research.These can be the most expensive photographsyou’ve ever taken, so you need to plan your timecarefully and bring the necessary equipment. Itcan be tempting to cram in as much kit as you can,especially since travel opens up a vast scope of genres.Take a look at our gear guide to get some ideas ofwhat to bring, but try to stick to the essentials, andyour back will thank you later.

You’re unlikely to grow bored when you’recomposing vistas one moment and food the next.

These images should conjure up sights, soundsand smells, and every place is unique. Set out tocapture what it was that made you want to visit andwrite down thoughts and feelings to help you adddescriptions to your photos later.

Gaining inspiration is easy, as the local tourist

information centre will point you in the direction ofpopular photo hotspots. Even browsing postcards willreveal the must-see areas. If the primary purpose ofyour visit is a holiday, however, be content to take iteasy in a café or lounging on a beach. You’ll soak upthe atmosphere this way and familiarise yourself withthe surroundings. Alternatively, if you want to taketravel photography further, there are dedicated toursavailable, such as FR Vision (www.frvision.net). Geta taster in this article, and stow away insider tips foryour next journey.

EXOTIC CAPTURESOstriches silhouetted by the setting sun, nearJack’s Camp, Makgadikgadi Pan, Botswana.Look out for shots you can’t get at home

Advanced techniques






http://www.frvision.net/



Gear guideCanon EF 16-35mm f/2.8l II USMWeb: www.canon.co.uk Price: £1,320/$1,700

Wide-angle lenses such as this one enables

you to pack a lot more into the frame. They’reperfect for landscapes and portraits, which aretwo of the biggest genres within travelphotography.

Canon EF 70-200mmf/2.8 IS USMWeb: www.canon.co.uk Price: £1,250/$1,700

A telephoto lens is incredibly versatile, reachingsubjects such as wildlife and landmarks from adistance. The wider the focal range, the heavier thelens will tend to be, so a lighter second lens is useful.

Joby Gorillapod Flexible TripodWeb: www.joby.com Price: £20/$20

Tripods can becumbersome whenyou’re trekking all day, soinvest in a portablelightweight option suchas this. Its flexible legs canbe wrapped aroundrailings and branches forsteady shots.

Lowepro Photo Traveler 150Web: www.lowepro.com Price: £42/$55

It’s important to choose apurpose-built kit bag inorder to get the protectionyou need. Customisable

padding compartments area bonus, and comfortablestraps will ease the strain ofheavy kit.

Silicon Power Armor A70Web: www.silicon-power.com Price: £130/$109

Avoid losing photos bybacking them up to aportable hard driveregularly. There arecheaper options, but thisone is ideal for travelling,as it’s waterproofand shockproof.

Advanced techniques






http://www.silicon-power.com/

http://www.lowepro.com/

http://www.joby.com/






It is human nature to be nosey about otherpeople’s lives, and portraits convey bags ofinformation. We want to know what daily life islike, what the dress code is and what people eat,and a good portrait will tell us something aboutthese things. However, unlike monuments andlandscapes, people have feelings, and it’s onlynatural to want to avoid potential conflict. Takingtime to swot up on the traditions and customs of aplace will help you to avoid offending anyone.

Travel photographer Kimberley Coole emphasisesthe need to never ‘take’ a photo, but to ask permissionfirst instead. “On more than one occasion I havewalked into a village to find other tourists andphotographers standing over the people, not talkingor interacting, not getting to know about their livesand customs, but simply turning the people into

objects and getting as many photos as possible,” shesays. “Interaction is the key, and I often find that afterspending time with people, either chatting, usinghand signs or having a cup of tea, they are muchhappier to be photographed. After getting to knowthe person a little more they relax, smile and laugh –making a much better photograph.”

In some tourist destinations, people ask formoney in exchange for a photo, and it’s completelyup to you whether you wish to delve into yourpockets. It’s worth remembering, though, thatsome of these places are very poor, and what seemslike a little to us could bring a big smile to theirface in the photograph. Asking permission is notalways possible if you’re shooting a street scene, forexample, but be sensitive and move on if someone

looks uncomfortable. One way of appearing lessintimidating is to ditch bulky equipment in favourof a lighter load and Kimberley only packs a CanonEOS 5D Mark II, a 24-105mm lens, a 16-35mm lensand a HOYA Pro1 Digital Filter for protection.

So rather than rely on long lenses to pickpeople off like a sniper, build up the confidence toapproach people instead. “This is often the hardestpart, whether you speak the same language or not,”agrees Kimberley. “By simply having the courage togo over and say hello, people will generally attemptto interact with you. The best way of becomingfriends is to try and make people laugh, which canbe done easily if you don’t speak the same language,as they wil l find whatever you say amusing!”

LOCAL CULTUREA young girl carrying sticks on herhead along the banks of the YamunaRiver, located next to the MehtabBagh, which is also known as theMoonlight Garden, India

UnforgettableexperiencesFour of the best cultural events

caught on cameraRIO DE JANEIRO CARNIVALBrazil

This loud and vibrant parade isheld in February every year, andis famous worldwide. Street

parties and band processionsin downtown (Centro) andSouth Rio (the Zona Sul)

provide ample opportunitiesto get candid portrait shotsthat are full of character. Try

using a long exposure to capture the energy and

movement of the samba dancers. If you want toget close to the action you will need tickets. Formore info, visit www.rio-carnival.net.

CHINESE NEW YEARChina

Chinese New Year is the mostsignificant day on the Chinese

calendar. It runs from the firstday of the lunar month untilthe 15th, and is celebrated withfireworks, temple visits and

street festivals. The fire is meantto drive away evil spirits, andpeople dress from head to toe

in red for the same reason. These vibrant colours

make for dynamic photos, and make sure youmaster the panning technique in preparation forthe dragon dance.

NEW YEAR’S EVESydney Harbour

The firework display over theiconic landmark is second tonone, so practice shooting inlow light in advance. Secure

your camera to something,whether it’s a nearby wall or amonopod (as it will be busy)and ensure your horizon is

straight. Shoot in bulb modeand keep your finger on the shutter button for aslong as it takes for the firework to explode.

RUNNING OF THE BULLSPamplona, Spain

The Pamplona Bull Run is one

of the most tense and excitingtraditions around. At 8amevery morning from 7-15 July, arocket is fired to signal to the

runners to pray, followed by asecond one to announce thatthe bulls have been released.Switch on the continuous

burst mode to capture the action, and bookaccommodation months in advance so you don’tmiss it.

“Immerse yourselfin the culturesimply by sitting

and watching orjoining in with

a localtraditionor activity”

© K i m b e r l e y C o o l e

Kimberley Coolewww.coolephotography.co.uk

© T o o m a s J ä r v e t

Advanced techniques






http://www.coolephotography.co.uk/

http://www.rio-carnival.net/



Name: Steve Davey

Bio: Steve leads his own range

of travel photography tours to

some of the most exotic and

photogenic parts of the world,

where land arrangements are

provided by some of the

biggest names in the

adventure travel industry.

www.stevedavey.com

Can you describe a typical day?

It depends; sometimes the days are taken up with

self-promotion and marketing, and at other times there

is a lot of post-processing and captioning. I also run my

own photography tours, so there is a lot of work getting

those together and dealing with people. The best days,

Is it really a dream job?Photographer and workshop leader Steve Davey explains exactly what being aprofessional travel photographer is really like

though, are the ones when you are actually out taking

pictures, although there are far more of the other days

than most people imagine.

How do you manage to stand out in such a

competitive industry?

It is damn hard, but you need good quality work and

good ideas. For editorial photographers the ideas are

more important than the images in many ways, as they

are what get people interested in you in the first place. I

also write pretty well, which makes me stand out, as I

can research, write and shoot a story. Then, you just

have to be good at business. Contact a lot of different

outlets from magazines to agencies, and sell them on

using you.

What are your top tips for capturing landscapes?

Light and locations are the key factors to bear in mind. It

doesn’t have to be perfect sunlight, but it definitely

needs to be atmospheric and dramatic. Rain and storm

clouds can be perfect for some subjects as long as it

isn’t bland and dull.

You wrote the book Unforgettable Places To See

Before You Die , but which one location would you

tell people to visit and why?

India is a great location for photography, and if you

are into festivals then there are too many to

mention – and all exist on a grand scale. Even a

relatively small festival might have 100,000 people

turning up. I have travelled a bit recently in the

mountain area of Ladakh. Here, the culture and

religion are Tibetan Buddhism, and in many ways

the culture is more untouched than Tibet, as it

doesn’t have the Chinese influence.

© Steve Davey

ICONIC LANDSCAPESRuined kasbah of Ait Benhaddou at sunset,with snow-capped mountains behind, Morocco.A familiar scene from photos and movies

Advanced techniques






http://www.stevedavey.com/



You can also use shots of people to show asense of scale and context in wide-angle outdoorimages. Tourist spots, however, can sometimes beso busy that the composition becomes cluttered, soit’s best to use the early bird approach and arrivebefore sunrise.

This is when you’ll find photographer SteveDavey setting up for a landscape shoot, but healways stays long past the golden hour. “There are

never the budgets to only shoot in the first or lastfew hours of light: you have to make the most ofthe light throughout the whole day,” he reveals.

“What you have to do is temper your expectations,style and subject matter to the light conditions.Indoor markets, interiors and portraits out of directsunlight can be shot throughout the day, as canfood shots and just about anything not in directsunlight. Obviously, for the great landscapes andcityscapes you need the best light, but you can –and probably should – shoot all through the day.”

Landscapes can vary from mountains to deserts,and forests to lakes, so you’ll have to adapt yourapproach. Aim to capture the essence of a place byfocusing on what makes it unique. Prior research

helps, as Google Maps will enable you to visualisebeing there, while browsing galleries such as Flickrwill give you an idea of the vistas a location has tooffer. Look for lead-in lines to guide the viewer’seyes through the image, positioning them either atthe corner or the centre of the frame, and use therule of thirds to aid composition.

During your research, you will be likely tocome across the must-see monuments, which

make for popular photographic subjects that aredifficult to create unique images around. So onceyou’ve taken the obligatory wide-angle shot, getcreative by shooting straight into the sun to createa silhouette. If it’s a statue, for example, use an NDfilter and a long exposure to blur the movementof the people to give context and narrative to yourpicture. Think about what the landmark representsand convey information about it. A commemoratedwar hero will look far more dramatic at sunrise orwith stormy clouds looming, for instance. Mostimportantly it comes down to lighting, as Steveadds, “The main challenge is getting in the rightplace for good or atmospheric light, so be preparedto revisit. Persistence pays off.”

Wonders of the worldThe globally famous landmarks that look even better througha viewfinder

MACHU PICCHUPeru

This 15th CenturyInca site is absolutely

loaded with history,and has the capacityto instil any imagewith a sense of wonder.

Use the golden hours(dawn and dusk), wherethe light will be at itsbest, and don’t be

deterred if it startsraining, as bad weather

will mean that the odds of tourists creepinginto your shots is greatly reduced, and stormy

clouds are notably renowned for stirring drama inlandscape images.

THE PYRAMIDSEgypt

The Great Pyramid ofGiza is the only one of

the Seven Wondersof the Ancient Worldstill standing today. Bycapturing this symbol

of dynastic Egypt oncamera, you are in theprocess preserving apiece of history that

still incites mystery andwonder today, despite

having been built circa 2560 BC. In order toreduce the glare of the sun, attach a polarised filter

to your lens. This will also protect it from sandand dust.

EMPIRE STATE BUILDINGNew York City, USA

We’ve seen King Kongclimb it and Godzillademolish it, and though

its breathtaking heighthas long been surpassedby other structures,

it remains the mostpopular viewpoint in NewYork. You can capturesome stunning Art Deco

architecture shots, and a

ride to the top reveals anamazing cityscape. Buy a ticket before sunset andbump your ISO for a sky awash with colour and a

city illuminated by a million bulbs.

COLOSSEUMRome, Italy

Rome is brimmingwith classicstructures, but the

former Amphitheatreepitomises Italianarchitecture. Expect

to queue for a ticketunless you purchaseone beforehand. If youvisit in summer, bring

bottled water and

sunscreen with you, asthere is no protection from the burning sun. It cancreate some beautiful silhouette pictures, though,

so try shooting with the sun behind the structure.

© S t e v e D a v e y


LOCAL CULTURECham dancer performing the Black Hat Dance(shana) with a drum in the courtyard of KorzokGompa at the Korzok Gustor, Lake Tsomoriri,(Ladakh) Jammu & Kashmir, India

Advanced techniques









Patience is especially rewarded when it comesto wildlife photography. You can boost your chancof capturing exotic beasts on camera by visiting asanctuary or heading on safari, but you can’t makthem perform on demand. On the positive side, thtime spent peering through the viewfinder is farfrom wasted, as you’ll become familiar with ananimal’s habits and possibly be able to predict theibehaviour. In any case, you need to keep a safe

distance and avoid making any sudden movementPhotographer Dan Hartwright found out the hardway. “Probably my most memorable shot was whean elephant attacked us in Kafue National Park inZambia,” he recalls. “The guy driving was seriouslpanicked, so I talked him through reversing awayfrom the onrushing angry bull elephant. Whatmade it worse for him was when I took the wheeland insisted on driving back up to the beast to takphotos of it charging at us – several times!”

Preparation counts for a lot in this challenging genas Dan points out. “Don’t turn up in the rainy seasonwith a 15mm lens and look for leopards! Plan aheadfor migrations, seasons, locations, types of wildlife inthe region, access times, transport, etc. Unless you ar

Wild locationsThe best places to ‘hunt’ with your camera

KENYAEast Africa

Kenya is a popular

destination for capturingthe ‘big five’ on camera:

lions, elephants, buffalo,rhinos and leopards.

It’s also pretty easyto get to, with plentyof major airlines flyingthere, and there are a

number of photographer-friendly safari tripsthat you can go on.

This way, you know that the driver will take his

foot off the gas long enough for you to takeyour photos. A telephoto lens of 300mm or moreis essential.

ANDAMAN SEA ISLANDSSouth-east Asia

If you prefer marine life

photographed from anidyllic-looking island,

then book a flight to theAndaman Sea islands

immediately. To thesouth lies the Mu KohLanta National MarinePark, with rainforests,

mangroves and coralreefs. Over 500 speciesof fish can be found

here, as well as endangered sea turtles. Invest

in underwater housing for your camera in orderto make the most of the numerous shootingopportunities that are available.

MADAGASCARIndian Ocean

This isolated island isfull of variety, with over

200,000 known speciesand about 150,000 thatcan be found nowhere

else. You will find plentyof lemurs, frogs, birdsand chameleons (if youcan spot them). There

are organised toursaround the mountainousparks, or alternatively

you can hire a vehicle. When framing your shot, go

wide and capture the beautiful setting as well asthe animals on offer.

GALÁPAGOS ISLANDSWest of Ecuador

It was on theseislands where animals

thrived without fear ofpredators that CharlesDarwin came up with

the theory of evolution.There are huge tortoises,blue-footed boobysand large land iguanas

among the weird andwonderful wildlife, andyou can get away with

using a smaller lens since you can get really close.

Book early, as peak season (between June andSeptember) fills up fast.

© D a n H a r t w r i g h t




LOCAL LIFELook out for shots that give

you a flavour of everyday life

Advanced techniques








lucky enough to live close to game reserves, you willhave to make an expensive trip with limited time.” Herecommends recruiting a local photographer to beyour guide, as they will know the best locations andwhat creatures you’re likely to meet.

A fast zoom lens is a must-have for wildlife shoots,and pack plenty of memory cards and spare chargedbatteries, since you’ll probably be far from anelectricity port. “If you can afford it, multiple bodies

with different lengths,” adds Dan. “Consider using acropped sensor body for the focal length multiplier,and invest in a bean bag to rest the camera on fromthe side of a vehicle for steady shooting in lower light.”

As for settings, your camera’s burst mode canbe really useful for rattling off multiple shots persecond. Dan keeps his camera in program mode ona suitable ISO for both the lighting levels and high-speed shooting, and uses servo auto-focus to tracka subject. “But always be ready for the unexpected;like zebras running across the road behind you witha storm rolling in,” he says. By being spontaneousand willing to experiment with every sub-genreof travel photography, you’ll return home with aslideshow that no one will groan at.

Name: Dan HartwrightBio: With experience ofwildlife photography inover 40 countries, Dan hasworked with a largecross-section ofphotographers and clientsacross Africa, Asia and Europe.

www.hartwright.me

What is the secret of a powerful wildlife image?

Luck plays a large part, as I’ve been out all day and seenvery little to shoot, and other times it’s been amazing.When making a composition, think about thebackground. Too often I see what would be amazingphotos of game if only the person had zoomed out orchanged their elevation or depth of field.

Secrets of successDan Hartwright explains what photographersshould expect in the wild

How does the wildlife genre compare to other

aspects of travel photography?

It’s frustrating, expensive and time consuming,but very rewarding when you successfully get

‘that’ shot. The biggest pro is that you are also outseeing game in amazing places, but don’t expectto compete with the National Geographic guysand their $100,000 worth of kit and supportvehicles on day one!

What advice would you give to a budding

travel photographer?

Go and try it out for a few weeks. Hire a locally basedphotographer to plan your trip and take you around toget the best value. If you want to go full time then find away to relocate close to the wildlife. It takes time on theground to capture good images – and patience.

© Dan Hartwright

ON THE ROAD Zebras crossing the road in LakeNakuru National Park in Kenya

Advanced techniques






http://www.hartwright.me/




Advanced techniques

I m a g e © C h r i s H u m p h r e y s

CapturearchitectureWe guide you through the kit, techniques and tips you’llneed to photograph stunning architectural images

Canon TS-E24mm

f/3.5L II








Advanced techniques

Photographing architectural formssuccessfully can be challenging. It canoften be a frustrating process, involving

changing light conditions, messy spaces,street clutter, stray signage, unpredictablepeople and all manner of factors that are outside ofour control. But when it all comes together there isnothing more satisfying than knowing you’re aboutto capture a beautifully designed piece of architecturein the best way possible.

Photography can bring a building or space to lifeand show the true design intent behind a space in away that no other media can. It can capture light and

motion, accentuate materials, enhance reflections,and make a space feel bigger and brighter. But withgeometry, proportion and perspective being critical

to successful architectural photographs, you needmore than just a basic grasp of composition to besuccessful. You also need to understand how to makethe most of your kit and have one eye on how youwant the final image to turn out.

Having an awareness of architectural styles willalso stand you in good stead. A boxy Bauhaustowerblock will require a completely differentcompositional treatment to a soaring Gothiccathedral spire, for example. Books and city guides

can help you develop an understanding of keyarchitectural styles or ‘vernaculars’ so you can planyour approach.

Over the next few pages we guide you through theway the professionals go about shooting architecture.You’ll learn about composition, good-practicetechniques and how to set up your kit to optimiseyour captures. We will touch on the lenses thatwork well in different scenarios and how to dealwith difficult lighting situations. We also talk totwo working professionals about two very differentaspects of architectural photography and how they goabout producing striking images.

EMBRACE THE SPACEIncorporate the surrounding space into

the image to help lead the eye up into thestructure you’re shooting









Advanced techniques

BRING IT TOGETHERIncluding the outside scenery within the framis a great way to add in more visual impact

© C h r i s H u m p h r e y s

© C h r i s H u m p h r e y s

elements ofa great shot4

The window to the right, structur

to the left and textured decking le

the eye into the shot and beyond.

The framed view is placed in the

top third of the frame for a pleasin

composition. This is also reinforc

by the reflection in the window.

The white swing chair has been

included in the corner of the

frame to anchor this side of the

photograph. Its tone contrasts

nicely with the decking.

The tonality of this image works a

it is largely dark, but balanced out

by the focal point (the view) and

the anchor (the chair).

01

02

03

04








Advanced techniques

We speak with Andrew Lee about photographingstunning images as the light begins to fade

Captures at dusk

Name: Andrew Lee

Bio: Andrew has worked almost

exclusively as an architectural

photographer since 1996 after

studying Fine Art Photography,

following several years of being a

keen amateur. He uses Phase

One medium-format digitalbacks (IQ160) with a Linhof 679CS monorail and

Rodenstock lenses.

www.andrewleephotographer.com

Your dusk shots have a wonderful sense of drama,

what makes a good dusk shot for you?

It may sound obvious, but for a shot to work, there

usually needs to be a high proportion of the building that

is either window or that is lit by its own external lights.

Often the justification for a dusk shot is to allow the

viewer to see into the building from the outside.

Therefore, the appearance of the interior is as important

as the exterior. It is also important that a dusk shot

doesn’t turn into a night shot with no detail in unlit areas.

How do you go about achieving the perfect balance

of interior artificial light and external ambient light?

Dusk is a very brief moment. It can sometimes only last

for ten minutes. However, except in very rare cases, the

camera cannot capture the human eye’s perception of

dusk in a single exposure. I set up my camera well before

sunset and continue taking exposures until it is dark. The

first exposures are for foreground or background areas.Next, I record the building exterior followed by the interior.

Finally, I expose for the sky once the sun has fully set and

combine the shots manually in Photoshop.

Tell us some key tips for dusk captures?

In modern public buildings, many lights are controlled by

light sensors, movement sensors and timers. You might

need an assistant inside the building to reactivate lights

that turn off automatically. It is also important to

anticipate how street lighting might impact the shot: will

some exposures need to be made before it comes on?

What has your most challenging shoot been to date?

A shot of the flats in Golspie St, Glasgow. I had to knock

on about 40 doors to get lights on and curtains open.

Essential kit forarchitectural shoots

CANON EOS 5DMARK III CAMERA

BODY

Website: www.canon.com Price: £2,999/$3,499.95 Canon’s incredibly popularfull-frame DSLR, the 5D MarkIII features a 22.3-megapixelfull-frame image sensor,61-point AF and an extensive ISO range, which is ideal foshooting high-quality low-light interiors.

The best tools of the trade forshooting structures inside and out

CANON 16-35MM

F/2.8 II USM LENS

Website: www.canon.com Price: £1,319.99/$16,99.00 When you are backed into

a corner trying to make thesmallest of interior spacesfeel bigger, only a wide-anglelens will do. This lens producessuperbly sharp images right tothe edges of the frame and atits widest setting.

MANFROTTO 405 GEARED HEAD Website: www.manfrotto.co.uk

Price: £410/$556A geared head is a mustfor any architecturalphotographer, cameras woften need to be levelledparticularly when usedwith a tilt-and-shift lens.The precision controls onthe Manfrotto 405 headcombined with its quick-release feature make it idefor quick set-up times.

MANFROTTO

055XPROB TRIPOD

Website: www.manfrotto.co.uk Price: £170/$223 Stability is critical for longexposures and the aluminium055XPROB tripod is a goodcompromise between stabilityand lightweight. It also has aremovable main stem whichcan be rotated to a horizontal

position, very useful for shootingover balustrades.

CANON TS-E 24MM

F3.5L II TILT AND

SHIFT LENS

Website: www.canon.com Price: £2,399.99/$2,199.00 Canon’s specialist tilt and shiftlens is the favoured lens of manyarchitectural photographers.The shift mechanism enablesvertical lines to be correctedwithout post-processing andthe rotating bezel also enablesflawlessly stitched panoramas tobe taken easily.

There are many factors that go into making a pleasingarchitectural photograph, and one of the mostsignificant is composition. Building structures bytheir very nature are geometric forms, so using thisgeometry to give the photograph a good sense ofbalance and proportion will help to create a pleasing

image. Conversely, a poorly balanced shot with oddproportions will result in a very weak photo, nomatter how interesting the subject and lighting.

There are many methods of creating pleasingcompositions which can be used individually andin combination. Making the conscious decision tothink about these as you are framing a shot will seemlaborious at first, but will soon become second natureas you learn to recognise certain elements in a scene.

When shooting a large building and trying to giveit some context, look for lead-in lines within thelandscape that will draw the viewer’s eye into theshot. These might be trees, hedges, footpaths, railingsand so on. You might also find lead-in lines in a largeinternal space; look around for aspects such as stairsleading up to a focal point, strong patterns in theflooring material or pick up on strong geometry inexposed structural elements.

However, the use of lead-in lines is not alwayscompletely necessary. If the focal point itself is strongenough, the viewer’s eye will be drawn there anyway.Something as simple as a brightly coloured pieceof furniture or a well-lit entrance can be appealing.Think about where in the shot to place the focal pointto make the composition work. Dead centre might bea bold statement and works well with symmetricalshots, but it is often better to place it off-centre usingthe rule of thirds as a guide.

With symmetrical shots it is a case of all or nothing,if you are going to do it then make sure every elementof the shot is perfectly balanced. The camera needsto be levelled and parallel to the target so the shotreads well in both the vertical and horizontal planes.

Usually the shot would be based around a strongfeature that would work well being centred.

COMPOSITIONSeek out simple ways to ensurea structure stands out, such asturning on the inside lights










http://www.andrewleephotographer.com/




Advanced techniques

Level the camera The most important step is tolevel the camera to give true verticals. It helps if

you have spirit levels on the tripod head and fineadjustment makes things easier and quicker.

Making the shift Shift the lens up or downdepending on where you need the framemoved to in the image circle. To do thisunscrew the locking nut on the side and windthe shift screw.

Manual focus and exposure Manually focus thelens, use Live View and zoom in to the area youwant to focus on. Set exposure before shifting anuse the live histogram if you have this available.

Rotate and stitch If you need to create a widershot but with some vertical shift, you can do thisby shifting more than you need. Rotate the lensbezel left and right and then stitch the two imagetogether in post-production.

Learn to shift

You can eliminate converging verticals on any lens by levelling the camera,

however in most cases this means missing off the top of a building. Most

architectural photographers only use the shift mechanism which allows

the image frame to be moved vertically or laterally to capture a different

part of the image circle. Tilt-and-shift lenses also feature a rotating bezel

which allows two different frames from the same image circle to be

captured and stitched to create a panorama.

Familiarise yourself with the architecturalshooter’s key imaging tool: a tilt-shift lens








Advanced techniques

PERSPECTIVESConsider the perspective

that you shoot boldstructures from to show

them in the best light

Big spaces can be quite daunting to shoot as thereis often too much visual information to capture. Inthese cases try breaking down the shot into smallerelements which work as their own mini compositions.The same applies for larger compositions, just thinkon a smaller scale. For instance; patterns in a floor,fixed furniture or rooms with a view where the viewthrough the window is the main element.

Big external scenes also need to be well balanced.

A large building set in a wide space can look isolatedwithout something to anchor it. In these cases, lookfor strong elements to include at the edges of theframe to balance the composition. You might includesome foliage in one corner of the shot to balance abuilding which is off to the side for example.

Light and shade also has a big impact on thecomposition of a shot, this can be as basic as howmuch or little sky to include, or detailed as whetherto boost the shadows in one portion of a room witha little fill flash. The key is to recognise how deepshade or strong light can help to balance a shot todraw the eye to a certain portion of the scene.

As well as good composition, you do of courseneed to employ good technique to ensure you

capture the best-possible data for post-processing. Ifyou consider the many different types of shot youmight come across on a shoot; external, internal,dusk, detail, wide, panorama to name a few, they allrequire a slightly different approach, but some simplebase settings will give you a sound starting point.

Assuming you have the minimum kit necessary toget started (tripod, camera and wide lens), start bylevelling your camera (particularly if using a tilt-and-

shift lens). A tripod head with a spirit level that hasplenty of fine adjustment is useful. Failing this youcan buy a hotshoe-mounted level for around £10 thatdoes the job nicely. With your camera levelled youknow that any shot you take will have true verticals.

For tripod work with wide lenses, set your camerato its lowest native ISO setting. Do some researchon your lenses and find out at what aperture thehigh-res sweet spot is, it is likely to be around f11 tof16 after which diffraction starts to come into play. Setyour aperture accordingly for maximum front-to-back sharpness, it is a good idea to use a hyperfocaldistance calculator and memorise the focus distancefor you widest lens setting. On a 14mm lens at f14 forinstance the hyperfocal distance is 0.75m.

Set up your shot using the ground rules for goodcomposition and take a look at it through Live View.This is a particularly useful tool and from here youare better equipped to make your final tweaks. Don’tforget to check if your camera is level again.

If your camera has Live View with a histogram,use it to adjust shutter speed accordingly. If not, youmay need to make a test shot first to ensure correctexposure. Using Live View, set your focus to an object

in the foreground, preferably at or just beyond thehyperfocal point. Take a test shot and check thesharpness. For shutter speeds over 1/60sec it is goodpractice to use mirror lockup and a remote release.

For longer-focal-length shots and hand shooting ‘onthe fly’ the camera setup is slightly different. Thesetypes of shot are good for shallow-depth-of-fieldimages for focusing on a detailed part of the scene. Ifyou are shooting indoors you may need a higher ISO,so to make things easy on yourself set your camerato ‘auto ISO’ mode and set the maximum to aroundISO 3200. Use aperture priority mode and set youraperture to something around f2.8. You can thenconcentrate your attention on selecting the right partof the scene to focus on.








Advanced techniques

Shooting exteriors in good light is really all aboutwaiting for the sun to move around to the rightposition and employing good composition andshooting techniques to capture the shot. Interiorshots however require a little more considerationand can present more challenges. This is largely dueto high-contrast lighting between the inside spaceand outside views through windows and the addedcomplication of artificial lighting. You will also facechallenges from small spaces, reflective surfaces,furniture and clutter.

Your instinct may be to reach for your widest lensto capture as much of the scene as possible, but you

should consider how this will make furniture andobjects in the foreground appear. Wide-angle lensescan distort objects in the foreground and detract fromthe final image. It is sometimes better to shoot witha slightly longer lens, around 24mm, to give a morenatural look to the shot.

If you are taking a general wide shot of an interior,set up your shot and take a look at the Live Viewscreen to adjust for composition. At this pointyou may want to move furniture slightly, removeunwanted objects from the scene and turn on orswitch off lights. Don’t be afraid to make the shotwork for you rather than accepting what is in front

of you. Consider using people in the shot to createmovement and interest – it may take more than oneattempt to get the placement right.

For very large interiors, consider shooting with twdifferent focal lengths for alternate final images. Thehuman eye has an equivalent focal length of roughly45mm so a good 50mm lens is useful here.

You will most likely need to deal with extremedynamic range at some stage, shooting from a darkinside space to a very bright exterior through a viewcan be problematic. HDR is the obvious solutionbut it rarely works well for clean architectural shots.The best option is to expose one shot for the interior








Advanced techniques

We speak with David Thrower of Redshift Photography aboutcapturing striking interiors

Prointerior

shoots

Name: David Thrower

Bio: David started Redshift

Photography ten years ago

with a view to providing

high-quality interior and

architectural photography

aimed specifically at

lighting manufacturers

who produce fittings for

offices and shops. He now

produces work for a large client base and also has a

small product and portrait studio.

www.redshift-photography.co.uk

When shooting interiors do you use any additional

lighting or just what’s available?

If I’m shooting small hotel rooms I will take along some

flash to provide some fill if needed, but for the vast

majority I use available light. I try to keep post-

production to a minimum for the sake of my assistant

Toni. I use an expo disc and a colour temperature meter

to ensure the white balance is correct (especially

important in mixed lighting conditions), and also use a

light meter to check the exposure is right too.

How do you deal with extreme contrast shots?

If the room is small then fill flash is great (especially for

rooms with dark finishes and large windows) but for

larger interiors HDR is the answer. Straight out of the

software (Photomatix) HDR images look unnatural sowe do extra work to make them look more realistic.

What are your thoughts on using super-wide-

angle lenses for interiors given the distortion,

and do you have a favoured lens for interiors?

I love my Canon 24mm tilt-and-shift lens and my

17-40mm lens for interiors. I always work with a tripod

and use a bubble level to make sure the camera is

totally level to avoid any difficult distortion. Lightroom

and DXO both offer very good autocorrection for the

17-40mm lens which is a great help. If I need a wider

view than the 17mm will allow. I like to take a series of

shots with my tilt-shift lens and stitch them together to

create a large super-wide pano with minimal distortion.

What essential piece of kit would you recommend?

Sorry to be boring with this one but a sturdy tripod is

very important. If you can afford a tilt-shift lens when

starting out I would strongly recommend one.

How do you go about pinning down a brief with aclient that doesn’t know exactly what they want?

We have brief form on our website that our clients can

download and we do encourage them to fill this in. Just

make sure you talk the project through fully to get a feel

for the type of pictures they like.

What interior space do you find challenging toshoot and how do you approach this?

Dark moody restaurant interiors. I do rely on HDR

techniques quite a lot. Take a good series of exposures

and aim to get an accurate colour-temperature reading

too. Interior designers don’t like to see their hard work

look a funny colour when they get the shots back.

INTERIOR INSPIRATION Think carefully about how the light, camera angles andsettings will affect the way the space is recorded in-camera

© D a v i d T h r o w e r

scene and one for the exterior view through thewindow (though expose this slightly over-metered togive a more natural appearance), then blend theseshots manually in post-production. It isn’t an easytechnique to master but is worth the effort as it givesyou ultimate control over the balance of exposures.

When shooting from an artificially lit internalspace to and external view you will also need todeal with the differing colour temperatures. If youset your white balance for the interior space it willmake the light coming through the window and theview outside look very cold. You can deal with thisin one of two ways. Assuming that you have RAW

files, you can either create two exported shots, onewith an interior white balance and one exterior andthen blend manually. Or you can use a selectiveadjustment tool in Lightroom or Adobe Camera Rawand take out the colour shift in the RAW file.

As for external shots, look out for nice internaldetails to shoot. These work well with shallow depthsof field to place emphasis on the part of the image insharp focus.





http://www.redshift-photography.co.uk/



Editing your

Canon imagesMaking your photos the best they can be

Editing your Canon images


166 The essential guide to editingTransform images from average to awesome

174 Fix your photosVital edits and how to achieve them

180 Smooth skinHow to get perfect skin in your snaps

182 Master RAW conversionGet the most out of your file processing

184 Fix photos in Camera RawTransform your photos instantly

187 Create an action Reduce your editing time

188 Restore your old photosBring fading photos back to life

184Fix photos in Raw

Master RAW conversion W o r l d M a g s . n e t W o r l d M a g s . n e t






The essentialguide toPhotoshop

Fix yourphotos



Dodge and bur









Use Photoshop to edit and transformyour images from average toawesome in the post-productionphase of your project

EditingO

ver the years, Photoshophas become a hugelyimportant part of the

photographic process. More andmore photographers now rely onthis software instead of using thetraditional on-camera settings,even though Canon offers itsusers all the control they couldwant. This is because in the post-production phase you can pushyour images to the next level andachieve fantastic creative results

that just couldn’t be captured onyour camera alone.

Many factors can let down aphoto-shoot, be it the weather,poor equipment or a shakyhand, but all of these flaws canbe edited out and corrected.When using Photoshop youonly need to master a fewkey techniques to ensurethat every editing projectlooks professional and yourimages perfect. Once youhave these skills mastered,you can really start todevelop and learn to hone

your creative skills.Over the next few pages

we’ll run through all of thekey Photoshop tools andfeatures that you’ll soonfind yourself unable tolive without. Follow along tolearn how to achieve the best photographic-style effectssuch as retro and cross processing, high-key summerlighting, textured overlays and even how to createpolished high-end advertising pieces.

We’ll also cover all of the key features and toolsyou’ll need to get started. Read on, whet your appetiteand get inspired to delve further into the creativepossibilities that Photoshop can offer.

CREATIVE EDITINWe’ll show you everything you need to g

creative in Photoshop for expert resu

The essential guide to








IN-DEPTHEDITING GUIDE

You willlearn how to...Q Develop your style

Q Enhance portraits Q Create composites

Q Cross process

BeforeThis image looksdull and flat, andin need of someediting attention

AfterThis shot is now

hugely improved,after just a few

easy tweaks










Getting your photography work recognised isvitally important as a photographer. Your imagesneed to stand out from the overwhelming amount

of photographers who are now displaying theirwork on the web and on social networking sites.Developing a unique and easily recognisable stylewill ensure that you get the coverage you trulydeserve, and mastering Photoshop will ensure thatthis is the case.

On this page we’ll be covering a selectionof current styles that are hugely popular bothcreatively and commercially. Building on yourPhotoshop skills and then transferring what you’velearnt into your work will allow you to develop astyle that you can easily apply across your entireportfolio. The style you choose to work with wil lneed to suit the theme of your images, so don’t beafraid to experiment with some different effects but

also keep in mind what message you’re trying to getacross to the viewer.

The effects applied to your photos can be as

wacky as you choose, but your images don’t needto look overly Photoshopped to get great end results.Even small subtle tweaks like the high-key lightingeffect can really make your portfolio stand outagainst the competition.

The key to finding a style is experimentation.Don’t be too constrained, have fun and reallyexplore what Photoshop has to offer. CombiningAdjustment Layers and Layer Blend modes canproduce stunning end results without hours spentstaring at your computer screen. Get to grips withthe few essential Photoshop functions exploredhere and you will realise how many amazing effectscan be created quickly and easily – regardless ofyour image-editing skill level.

Finding a style

Cross processing is a simple technique to master,involving increasing the image contrast anddramatically altering the colour balance.

To do this we wil l use a Curves AdjustmentLayer (Window>Adjustment>Curves). Click ontothe RGB drop-down menu and choose Red. Clickonto the line adding two anchor points.

Now move these to create an S shape. Repeatthis for the Green channel then swap to theBlue channel. Don’t add any anchor points; justmove the top-end downwards. The bottom leftanchor must point up to enhance the blues in theshadows. Play around with these settings. Oncehappy, set this layer’s blend mode to Color.

Creative cross-processing

CURVES ADJUSTMENT A simple curves adjustment for the red,green and blue channels work excellentlyto achieve the cross-processing effect

RED, GREEN AND BLUE For the red and green colour channels,move the curve into an S shape. For theblue channel, move the top end of the linedownwards, as shown here

BICYCLE BEFORE One photo, four distinctly different styles.Experiment with them all and see whatsuits your style of working best. Who knows, you may discover a Photoshop trick thattransforms your entire portfolio!

1PLAY WITH HIGHLIGHTSCreating high-key lighting

effects is all about increasingthe highlights in your photosand enhancing the foreground.Duplicate the Background layer,then hide the top layer. Click backonto the original backgroundlayer and add a subtle GaussianBlur effect. Make both layersvisible once more. Now add aMask to the top layer. With a low-opacity, soft-edged brush,paint away the area around the foreground object showing thblurred underneath layer, adding a sense of depth. Now add aCurves Adjustment Layer (set to Lighter) in the top drop-dowmenu. If you want to strengthen the effect, continue to pushthe line upwards.

Boost highlights and addblur for a high-key effect

Curves









2MIX UP YOUR TEXTURES Creating striking images withdepth is very simple. To begin, duplicate your Background

Layer and go to the Layer Blend modes at the top of theLayers palette. Experiment with the options – Multiply andVivid Light produce exceptional results, but for this image wehave chosen to use Color Burn. Double-clickon the top layer once the Blend Mode hasbeen applied and checkthe Texture option fromthe Layer Styles dialogbox. We used a Stuccotexture. Then on top ofthe Layers we added aCurves Adjustment Layer,bringing back somehighlights and enrichingthe texture effect.

3

CUT AND

POLISHFor this effect,first isolate theobject and thenplace it onto awhite backdropwith a naturalshadow. Sharpenand then brightenwith a Curves Adjustment Layer.

If you have a simple object to cut out, try the QuickSelection and Refine Edge tools. If, however, your objectis more complex, then use the Pen tool.

Trace your object and save the Path. Make it an activeselection and lift it from the Background layer. Make thePath an active selection once more, add a transparentlayer underneath and fill the selection with black. Flipand position the layer and blur it. Finally use theGradient tool on a Mask to soften.

Add texture and Layerblends for more depth

Create clean and sleekadvertising effects

Pen tool

Blend modes

Web: www.bigbouquet.co.uk

Bio: Emma Davenport works

alongside her husband Ian,

shooting weddings and portrait

shoots on location. They use pro

camera bodies and a wealth of

prime lenses. Big Bouquet is now

in its fifth year of business.

How important is Photoshop to you in your

professional career and how much do you use it?

Because of the volume of shots I have to process on a week

basis, and the quick turnaround time I need for my clients,

I now do a lot of my basic image tweaking in Lightroom.

However, when I turn on Lightroom for work, Photoshop is

always powered up too. It’s become second nature! For

those feature shots, or images that need a little bit more

editing work, Photoshop gives me a far more polished finis

What tools and techniques do you rely upon the mos

I’m a big fan of Actions - both those I’ve created myself and

have bought off the shelf. I’ve got my own subtle ‘S Curve’

treatments saved, which I use to give my images a boost.

How did you develop your recognisable style,

or was it a natural progression?

The way I process my shots has changed a lot over the pas

few years and I owe this to some of the great, commercial

Actions available. I see no shame in using these to help

shortcut to a certain look. The Photoshop Actions I regular

use come from Totally Rad (gettotallyrad.com), Kubota

Image Tools (kubotaimagetools.com) but my absolute

favourite are the limited-edition Vintage Film sets from Red

Leaf Boutique (redleafboutique.ca). I always use most of

these Actions as primers though. The beauty of most ofthem is that they’re layered so you can manually tweak the

It’s really important to remember that you can’t get good

results unless your straight-out-of-camera image is

interesting and technically competent in the first place.

Did any other artists or Photographers inspire you

to stylise your work?

There’s such a friendly network of photographers out

there for those looking to perfect their image editing. For

example, Totally Rad has its own Recipe site where other

photographers share their own work and give guidance on

how they achieved their ‘look’ (gettotallyrad.com/recipes

Standoutstyle

PRO-LEVEL EDITSEmma at Big Bouquet relies on Lightroom and Photoshop tachieve these stunning results. Capturing the perfect shot the hard part but then adding on a effect that complementthe style perfectly finishes it all off to a high standard

© Big Bouquet





http://kubotaimagetools.com/

http://gettotallyrad.com/

http://www.bigbouquet.co.uk/




The success of every enhanced image lies in itsattention to detail. In photography, retouchingportraits has become a crucial step in the process,

with the ability to completely transform a shot.However it’s all too easy to over-do it. The bestattitude to have when retouching an image is thatless is more – lots of small adjustments add up tomake a big difference!

Professional image retouchers use a carefulcombination of Masking, Transforming andBlending modes in Photoshop to achieve flawless-yet-authentic results. When you begin to tackle thiskind of task, you’ll soon find yourself becomingvery familiar with the Selection, Warp and LayerMask tools.

The first things to focus on are the skin and hairregions – once you’ve perfected these key areas,you’ll have the ultimate foundation to work from.The skin is especially important, but syntheticeffects can strangle all realism in your image, andso excessive skin smoothing isn’t encouraged.Instead, using Channels and a litt le patience, youcan easily work out those blemishes manually. Thehair region can cause similar headaches, but onceyou’ve mastered the techniques, it’s easy to smoothout the strays.

If your shot is still in need of a lift, you canthen start to manually apply some cosmeticenhancements. Using existing make-up as a marker,the grafting of eyelashes, face-shape changes andeye-colour alterations are just a few clicks away.

The real key to making realistic enhancementsin your image is to be honest about what you haveto work with. Here, we’ll take you through the bestways to piece your portrait together and help youto fine-tune your application routine, for expertly

retouched portraits in minutes.

EnhancementsAmateur retouching is littered with clumsy, synthetic-lookingportraits with over-smoothed skin. The real trick isn’t to try andcover up blemishes, but take them out completely, which takes just a little bit more time and attention.

One way of achieving this is to use the Channels palette. Openup the palette and pick the channel that shows the greatestcontrast in light value – which is Blue, in this example. Duplicate your Channel then apply levels to increase the contrast andenhance skin texture. Now copy and paste this duplicate channelinto your layers palette; then activate your model layer and usethe new Channel layer as a visual guide for editing blemishes.Using the Clone stamp zoomed in at 200% works well. Switchthe visibility of your Channel on and off to preview the results.

Skin cleaning with Channels

To get rid of stray hairs, make a selection aroundthe edge of the model using the Pen tool. ChooseSelect>Modify>Feather>5px, then hit Cmd/Ctrl+J toduplicate your selection into a new layer. Now make anew selection that extends beyond the fringes of themodel’s loose hairs, then activate your original modellayer and press Shift+F5, applyingContent-Aware Fill. This methodis not always foolproof, so use theclone tool to clean up any strays.

You can further improve thelook of hair with ‘hair grafting’.Using the Lasso tool, select anarea of hair then click Copy, Pasteand place over the blemish. HitTransform>Warp to reshape thenew hair, and then integrate theedges with a Layer Mask to keepit looking natural.

Hair fixing withContent-Aware

If your portrait needs a little more impact, you even create your own subtle make-up using Photoshop brushes.

To enhance modest eye and facial make-up, create anew layer and set it to Darken Blend mode. Select a colourby sampling the existing make-up on your model, thenactivate the Brush tool. In the menu, apply a 10% Opacitywith Multiply Blend mode; then begin painting on top togently enrich the tones. You can also use this technique toenhance the lips.

Finally, add in a healthier complexion by applying aSelective Color Adjustment Layer. Tweak Magenta andYellow sliders in the Reds preset for a natural glow.

Apply cosmeticenhancements

BeforeSee how to cleanup and modifyimages withPhotoshop









“The key to makingrealistic enhancements is

to be honest about whatyou have to work with”

Adjusting the colour and sharpness of theeyes is important for creating a unified image.This can easily be achieved using the EllipticalMarquee tool. Make a selection and then tweakthe Hue/Saturation sliders. Now use Sharpen>Smart Sharpen to enhance the eyes.

Cleaning and shaping the eye region is also just as important. The eyelashes and eyebrowsare essential areas in a head shot, so fillingthese will make for an immaculate final image.Simply copy and paste eyelashes, repositionand apply a Darken Blend mode. You can thenedit any noticeable edges using a Layer Mask.

Enhancing the eyes

To remedy any stray hairs lurkingin your image, carefully apply the

Clone Stamp tool, with the Blendmode set to Darken Blend. Zoomin to 200% and sample from even

areas to even out the strands.However, this is a time-consumingprocess. Always remember that

you can only do so much.

Fixinghair strands

Making subtle changes to the contour of amodel’s face is relatively simple and can makea big difference to a portrait. Start by makingselections of the face edges; then modifyusing either the Warp option, or Filter>Liquify>Forward Warp tool. It’s best to stick to smalladjustments here, otherwise you might end upwith some blurring.

The new Photoshop CS6 Liquify tool brushsizes are much larger and can manipulate morepixels, for sharper warping. You can also trystraightening the jaw by copying and pasting aselection of this into a new layer, then modifyingwith the Warp option. Finish up by carefullyintegrating all edges with an applied Layer Mask.

Modify face shape










BeforeThis image is pleasant, but lackscreativity and punch. However, bycombining it with elements fromother shots, we can transform thebland into the beautiful

“The key to seamless photoblending is to match up thenoise, sharpness levels, thecolour and the lighting toneusing as many AdjustmenLayers as necessary”








1OPEN YOUR IMAGES With your main image selected,source all other elements. In this example we want to add in

a new sky. Open all of the images into Photoshop and select theRectangular Marquee tool, draw over the area of sky you wantto place into your main shot.

2CUT OUT AND POSITION Drag and drop the selectioninto your main image. Resize and then hide this layer for

now. Use the Pen tool to trace along the horizon line and landarea. Save the Path and then make it an active selection. Nowlift the selection onto its own layer.

3MATCH SETTINGS Make all layers visible and place aLevels Adjustment Layer on each one. Clip it so it only

affects the layer below. Tweak the settings to match the twolayers’ colours and brightness. Finally match noise settings andadd a Curves Adjustment to the top.

Swap in a sky with these simple steps

When you’re out on a photoshoot, it’s all too

easy to make a mistake. Horizons may be wonky,lighting not set up efficiently, or the rule of thirds

may be forgotten resulting in a distinctly averagephoto. But, all of this can be corrected afterwardsin Photoshop. You can even merge and compositeseveral photos together to get the ultimate seamlessimage for your portfolio.

In the mini step-by-step below, we wil l show youhow you can take the best parts of several photosand comp them together to achieve a brilliant,polished final image. No more dull skies, blurredforegrounds or poor conditions. We’ll show youhow to take specific sections within your photosand replace them with new and improved areasfrom another photo. Once the composition has beenfinalised, and the best parts of several photos piecedtogether, we’ll show you how to blend the differentlayers, match up colour and lighting effects beforeflattening and saving the final image.

The key to seamless photo blending is to matchup the noise and sharpness levels and the colourand lighting tones using as many AdjustmentLayers as necessary. The procedure soundscomplex but once you have mastered it, you will beproducing fantastically creative compositions inno time. For the best results, start building up yourimage stock library. You never know when a sunnyholiday sky or model shot can be used to fix orcreate a completely new scene.

CompositesAfterWhen combining images, ensure that the sharpness

and noise levels match up. If they don’t, try addingan overall effect on top of all the layers to match them

up a bit more and make the blend less noticeable

You may not want to replace theentire sky, just add in a bit moreinterest. To do this, simply dragthe new areas onto the canvas,

position and alter the layer’s blendmodes to suit and then mask away

the layers edges to blendthe images together.

Add in

some interest











Learning how to edit your photos inpost-production is a vital skill thatall photographers should master,regardless of skill level.

Very few shots require zero editing,there is always something that can be done toimprove the overall quality of the image and we arehere to show you just a taster of what is possible, andhow to do it in Photoshop.

Photoshop has some very powerful editingfeatures that once explored you will not be ableto live without. Above, we will show you how theprofessionals retouch their images, concentrating onportraits, the toughest type of image to edit perfectlyand seamlessly. We will then move on to correctingsome of the most common photographic flaws,poor exposure, colour casts and sharpening blurredimages. We will show you all of the options available

to you in Photoshop for correcting these areas sothat you can work to your skill level confidently. Tofinish off we will take you through how to prepareyour images for sharing, both in print and on theweb, including correct resizing processes that manypeople get wrong.

So sit back and delve into our fantastic editingguide, and be prepared to expertly transform yourimages in every project you take on.

As a photographer, Photoshop is vital – we show you why you needto learn these editing skills and how to use them

Before

Learn the essentialPhotoshop skillsto make yourcaptures shine

Pixel-perfect portraits with a helping hand

CONTENT AWARE FILLA quick way to fill an area or coverup a flaw is to first select the area,press Shift+F5 for the Fill options,and select Content-Aware. Theselection is filled seamlessly withpixels from the surrounding area.

ADJUSTMENT LAYERSDiscover how Adjustment Layersallow you precise control when editing your shots. Dramatically improve your images with improvements to

colour, contrast, light or add in Filtereffects in this palette.

DODGE AND BURNUse these tools to brightenand darken areas in need.Great on landscape images

but very useful on portraits. Use the Dodge toolto add in a little sparkle to teeth and eyes.

EDITING TOOLSWhen retouching you can usea soft-edged Brush set at a lowopacity, or try experimentingwith the Clone Stamp andHealing Brush tools, both are

excellent at removing flaws.

LIQUIFY FILTERUse this Photoshop featureto slim down areas withina photo. Use the ForwardWarp tool to thin outnoses or try adding moredefinition into the cheeks.

Fix your photos









Achieving perfect exposure within your photos is vitallyimportant if you want an image to be proud of. Incorrectexposure is often beyond our control when out on a shootand will leave your image either too dark and bland or fartoo bleached-out with a distinct lack of definition.

If any of your photos are suffering from over or underexposure thendo not fear, as Photoshop has all of the necessary tools you will need tocorrect any flaws. You’ll be left with stunning end results. In the stepsbelow we will run through several Photoshop features that can help torescue any images in need.

1 Get ready to edit Our start photo asshown here is slightly underexposed in

some areas, however the light is just right inothers. To fix up our photo, firstly bring upthe Adjustment Layers palette, Window>Adjustments and click onto Curves. A dialogbox containing an angled line will appear.

3 Try out other features Instead of theCurves tool, try a Levels Adjustment

Layer, where you can alter the strengthof the shadows, midtones and highlightsin one go, or by individual colour channels(also in Curves). Or try the easiest option byadding an Exposure Adjustment Layer.

2 Tweak tones Click onto the middleof the line placing an Anchor point,

now to suit your exposure settings movethe line upwards to lighten your image,or downwards to darken. Add two moreAnchor points and move these to boost orreduce light in the highlights and shadows.

4 Mask away areas If you just want theAdjustment Layer to affect certain

areas, use the Mask tool on the Adjustmentlayer. Click on the Layer Mask, select theBrush tool, soft-edged, 80% Opacity,foreground/background colours set black/white then paint to mask away areas.

Before

This image is slightlyunderexposed in someareas, but fine in others

After

After just a few tweaks,this shot now boasts a

balanced exposure

Four steps to ensure better exposures

Use the Dodge or Burn tool setat a low exposure and paired with

a soft-edged brush to lift or darkenspecific areas within your photos.It’s the perfect tool to use when

your image doesn’t need an,all-over exposure fix.

Dodgeand Burn tool









Colour and tone are key to making a greatphoto. Too much colour and your photo willhave an all-over colour cast, but conversely,too little colour and you’re left with animage lacking definition and contrast.

Within Photoshop sits a palette filled with wonderfulAdjustment Layers that allow you to edit your photos in a

nondestructive way. Adjustment Layers are addedas a Layer in the Layers palette so you can easily goback and re-edit the settings at a later date. If youhave changed your mind and want to tweak anysettings, simply double-click onto the layer. Read onto discover all of the professionals’ key colour-editingsecrets and start applying them to your shots.

1 Select your Adjustment Layer Ourexample image is a little tricky and will

require us to work in two halves. We need toremove the blue from the sand, however wealso want to retain the colour in the sky. Tobegin with select a Levels Adjustment Layerfrom the Adjustment palette.

3 Reveal with a Mask Click the MagentaChannel and reduce the levels for

more neutral tones. Click the Levels LayerMask thumbnail, select the Brush toolat soft edge, 70% Opacity, foreground/background set black/white. Paint over thesea and sky area to reveal cyan shades.

2 Tweak individual channels To viewthe image’s individual channels, click

the CMYK drop-down menu in the Layerspalette, select Cyan. To reduce the levels ofcyan, move the middle midtone slider andright white slider left. Switch to the YellowChannel and move the middle slider right.

4 Reveal and tweak If you want to Masan area again, press X on the keyboa

to switch the foreground/backgroundcolours, painting in white reveals and blacmasks. Click onto the main Levels Layer, gback to the Levels palette and tweak thechannel layers until satisfied.

Correct colour balance

Before

This image was sufferingfrom a blue colour cast

and looked drab and dull

Afte

The photo now has trich, warm tones o

beautiful seasca

ADJUSTMENT LAYER PALETTEThese are nondestructive Photoshoptools that allow you to edit your images

professionally. As long as you save as a Pfile (layered) you can go back and re-editthe Adjustments made at a later time.

COLOUR CORRECT BY CHANNELUse a Curves or Levels Adjustment Layer to

get rid of a colour cast. With either of thesetwo features you can tweak colour levels byindividual colour channels, allowing you toedit precisely.

MASKSIf you want to edit a specific partwithin a photo, use the Maskfeature that appears on every

Adjustment layer. Apply the all-over effect, and then simply paintaway the unwanted areas.

LAYERS PALETTEYou can add as many Adjustmentlayers as you want, great if you have atroublesome image that needs differenteffects applied to several areas.Experiment with the Layer Blends too,some great effects can be achieved!









4 Experimentation Experiment with allof the sliders, seeing how the effects

can alter dramatically with just a smallmovement of the sliders. If you feel certainareas need more affect applied than othersthen simply duplicate the layer, add theeffect then Mask away any unwanted areas.

2 Understand the sliders Amount is theoverall strength of the effect, if it’s too

high, your photo will become grainy. Radius,is the size of the area of pixels you wish toenhance and halos will appear is this is settoo high. Threshold affects the brightnesslevels, and is useful to help avoid noise.

3 Begin to sharpen Zoom in close to your image then set the Amount slider

to 100%. Now increase the Radius, forportraits with fine detail keep the valuesmall to avoid sharpening skin pores andflaws. Now increase the Threshold slider,this will soften the overall effect.

1 Locate the tools Click onto the Filtermenu in the top tool bar, select Sharpen.

You will see several different options here,some that apply simple automatic fixes,others where more controls can be found.Choose Unsharp Mask and its editing panelwill appear with three key sliders.

T

he are two key points to remember whensharpening an image: you can’t add indetails that don’t already exist, and less isalways more. You can keep building up the

effect but adding too much can leave yourphotos looking pixelated and worse than when you started.If it’s done correctly though, you can enhance an image.

Remember that before adding any effect to yourstarting shot that is not an Adjustment Layer, you mustfirst duplicate the layer in question to make a copy of theoriginal image. Applying a Sharpening Filter onto a layer is a

destructive edit and once you’ve applied it, the only way toerase the effect is to click back through your history paletteand start again.

Sharpen your photos the right way

Before

A little soft around theedges, this portrait coulduse a gentle lift

After

A few quick tweaksleave this photograph

perfectly sharp

If your image is noisy or youhave over sharpened then to fixit, add a Surface Blur. Sounds

weird we know, but go throughthe Channels Palette, select the

Channel that’s showing the mostnoise, now add a small Surface

Blur to this Channel layer,smoothing out your image.

Surface blur







Y

ou may wonder why you would needto re-size your photos if they have beenshot at high resolution. If you wish toprint your images, chances are you will

need to enlarge them. On the other hand,if you want to share your photos on the web for all tosee, then you will need to downsize them.

Learning how to correctly resize images inPhotoshop is tricky as there are many differentmethods for both print and web. Read our two minitutorials to see how to treat your images correctly and

get the most from them however you wish to displaythem. Remember if you’re unsure about resizing, thenalways make a duplicate first!

Preparing your photos correctly for print or web

1 Edit then bring up Image Size Once you have edited your images to perfection, including removing any

traces of noise as mentioned in the previous step-by-step,then convert to RGB, if it isn’t in this mode already. Go to thetop tool bar and select Image> Image Size.

2 Set up your image The place where you intend todisplay your shots on the web will determine the exact

image size. Check all three boxes at the base of the palette,then add your Width, set to Pixels, the height value willupdate. Choose a resolution of 72-150 pixels/inch.

3 Save settings Select Bicubic Sharper from the drop-down menu. Go to File> Save for Web & Devices, selec

JPEG, set quality to High, check the Optimized and EmbedColor Profile boxes. In the bottom-left corner the file sizeand download time is shown, if too large, reduce the file.

3 Save settings From the drop-down menu at the baseof the palette, select Bicubic, which is best to ensure

smooth gradients when enlarging an image. To Save, go toFile> Save and choose PSD as your file option. This leaves

you with a large layered file suitable for print.

2 Set up your Image Check that all three boxes at thebase of the Image Size palette are checked. Make sur

your Resolution is at least 300 pixels/inch, then add in your desired Width, the Height will update accordingly ifConstrain Proportions is checked.

1 Edit then bring up Image Size Increasing an image toa large format for print will show up any tiny blemishes

already present in your photo, so it’s important to eradicaas much Noise as possible (Filter> Noise> Reduce Noise, oby individual Colour Channel as described previously), andto Sharpen your image, then make all other edits required

If you are resizing andexporting multiple files then

save valuable time by creatinga swift and effective Photoshop

Action. Record what tweaks youmake to one image and then

drop and run your other photosthrough the Action for instant

resized results

Actions

W E B

P R I N









1 Prepare the layers Once you’ve converted your imageto black and white, duplicate the background layer via,

Layer> Duplicate Layer. Now select the Burn tool from theTools palette and adjust the Brush size at the top of thescreen to a small/medium diameter with a soft round edge.

2 Darken with Burn Select Midtones from the rangedrop-down menu. Build on the effect gradually by

keeping your exposure below 15% and brush over areas youwant to darken. You can change the range as you work toaffect highlights and shadows too.

3 Highlight with Dodge To bring out the newly shadedareas in your shot, enhance the highlights. Select the

Dodge tool from the Tools palette and select your brush size.Stick to working in the Highlights and Midtones range withthe exposure no more than 10% and lighten up select areas.

Photoshop’s Dodge and Burn tools arethe digital equivalent to the darkroom

techniques that share the same name. These tools are much easier to masterand don’t involve the same level of skill

that was required in the days of the darkroom. Forthose who are unfamiliar with these tools, Dodge isused to lighten select areas of your image while Burnis for darkening areas.

Dodge and burn techniques are commonlyused when developing or converting images tomonochrome. Use them to successfully increasecontrast in select areas, which will help to enhancethe appearance of depth.

To help you get started we’ve put together a simplethree-step tutorial. Join in using your own start imageor work with the same one that we are, which can bedownloaded from http://bit.ly/18BxUR7.

Dodging and burningUse Photoshop’s Dodge and Burn tools to

add controlled contrast to yourmonochrome captures

Discover how to getpunchier black-and-white shots using theDodge and Burn toolsin Photoshop

After

Before

Once you’ve dodgedand burned yourimage, you can goback to correctmistakes or removeparts of the effectfrom areas using alayer mask. Add alayer mask to yourdodge-and-burn layervia the Add Layer Mask tab at the bottom of the Layerspalette. Click on the white box to activate it and select theBrush tool. Set a brush size and high Opacity with theforeground colour set to black. You can now paint overareas of the image you want to remove the effect from.

Layer mask control







http://bit.ly/18BxUR7



You’ll find a huge selection of skin-

smoothing techniques online, but many

of these will leave you with an undesirable

final outcome. If you want a professional

final look for your images, then there’s no cutting

corners – you’ll have to roll up your sleeves and clear away

unwanted artefacts before you start smoothing.

The best way to tackle this type of retouching is to start

by simply flagging the artefacts that you want amended.

This is as simple as creating a new layer and adding

1 Add annotations Start by creating a new layer and selectthe Pencil tool from the Tool Bar. Use this to mark out

any discreet as well as noticable blemishes that you needto address. This is an important step as it will serve as areminder of what needs fixing.

3 Channel map Activate the Rectangle Marquee tool aselect the duplicate Blue channel. Now copy and past

(Cmd/Ctrl+C; Cmd/Ctrl+V) into your Layer stack, placingthis beneath the anno layer. You can use this along with yoannotations to pinpoint blemishes for editing.

5 What to target Activate the model layer, using theChannel map layer as a guide. Make sure to match

application with the direction of the blemishes to match theskin. This can take a while, so turn the Channel map layer onand off to check that you’re making good progress.

9 Paint out contour Activate the Curves Layer Maskand press Shift+F5. Fill it with black then select a soft

30% Opacity white brush. Apply this to the mask to showthrough effects and soften contours. This smoothes theskin and creates a natural look that still shows pores.

Smooth skinWe show you how to perfect skin in your snaps, by combining threeeasy techniques using some of Photoshop’s standard tool sets

annotations, much like you might do when sketching

using a pen and paper. In this tutorial you’ll learn how to

double-confirm areas using your Photoshop Channels as

blemish maps.

Only once this is complete can you begin to apply your

healing tools. The skin-smoothing is still a long way off, but

you just can’t just hide blemishes and this is what leads to

overly fake looks. Instead, use the prompts first to target

and lift all of the imperfections. Discover how to do this

using the Spot Healing Brush and Patch tools. You’ll notice

2 Channels panel Hide the anno layer. Activate theChannels panel and duplicate the Blue Channel

(Ctrl+click). Press Cmd/Ctrl+L to activate the Levels dialogbox. Pull the Shadow and Highlight sliders closer to themidtone (middle) slider to create an increase in exposure.

6 Noticeable directions Duplicate the model layer and grid of eye bags and any glaring texture mismatches w

the Patch tool. Now decrease the Opacity of the duplicatemodel layer to show through a little eye-bag detail. Thiscreates a realistic, believable look.

that there’s not a Clone Stamp tool in sight, as our final

aim is to make singular and not frequent re-samples of

skin areas.

Once the healing is complete, we can then start

softening the skin. This is a case of removing contour

and contour is an effect of hard lighting. So here you’ll

finish with editing lighting effects that will effectively

even and smoothen the skin. Small measures have a

big impact on believable looks, which is what you’re

aiming for in this tutorial.

4 Spot Healing Brush Now it’s time for the close-upwork, so zoom in at 200%. Select the Spot Healing

Brush and activate the Brush picker menu from the optionsoverhead. Set brush Hardness to 50%. Now you can startto amend the blemishes.

7 Add Curves The annotations are there as a finalreference, serving as a reminder for you to fix all the

key areas. Make a selection like in our example, using theRectangle Marquee tool. After you have done this, apply aCurves adjustment layer.

8 Blend If option Your selection acts as a visual guide.Raise your Curve to blow out highlights, then activate

Layer>Layer Style>Blending Options. Hold Alt and split theBlend If>This Layer highlights slider, dragging it into themiddle of the slide bar.









AfterThe skin has been cleanedand image lighting has beenedited to create smooth,clear and perfect skin

Before











When it comes to the post-production

phase after a successful shoot, many

photographers share the same

objective. And that is to optimise a photo

for editing in Photoshop using Adobe Camera Raw

software. To maximise your RAW image’s potential,

Photoshop offers up many robust image-manipulation

options. You may not want to perform too many edits

using Camera Raw and use the versatile plug-in to

simply prime your shot for the Photoshop treatment.

However, if you are most comfortable using Camera Raw

exclusively, then that’s fine with us. The techniques we

share here can easily be modified for either workflow, so

the choice is yours.

In this tutorial we’ll run through a roster of essential

tools that will modify your exposure, light colour, texture

detail and sharpness. These are applied to beautify your

digital photographs, but the reason for application isn’t

merely aesthetic. The techniques that we’ll cover here will

also ensure that your photos are as suitable as possible

for display on screen and in print. Essentially these steps

will bring your images up to a picture-perfect standard

from a production point of view.

But before we get hands-on in the tutorial steps, it’salso really helpful to learn about the Workflow options,

which give you a head start in your editing projects.

Activate this by clicking the text at the foot of your

interface. Set Space to Adobe RGB (1998) as it’s the

default gamut space used by all professionals in digital

and print. A 16 Bit Depth is always a better choice if your

computer can handle large files. Use this setting and

you’ll appreciate more fluid edits in return. Refrain from

activating ‘Open in Photoshop as Smart Object’ though –

you will find out why later.

You’ll explore a few more hidden gems and useful

nuggets of editing know-how like this throughout our

steps. Now it’s time to grab your photographs, open up

Adobe Camera Raw and get stuck in.

2 Bring back texture Adjusting the Exposure slider caneradicate texture detail in your photo. Remedy this by

simply applying the Fill Light tool. Be warned, though – thismay cause haloing to appear. Luckily this is an easy fix byselecting Lens Correction>Remove Chromatic Aberration.

3 Set light temperature Specify colour temperaturewith one-click functionality. Simply select the White

Balance tool and click the midtones in an image. ACR willgive you what it believes to be the right settings, but thesecan easily fine-tuned using the Temperature and Tint slide

Master RAW

conversion Get the most out of your file processing andcreate stunning looks for print and screen

Camera Raw 8

Adobe Camera RAW version 8 is compatible only withPhotoshop CS6 and Photoshop CC. For those of youwho own this, there are a few cool new functions foryou to add to your editing arsenal. The relevance of day-to-day use of these is subjective, which means they areeasily avoided if instances for use fail to arise. However,there are those that you will have to adapt to if you wantto process your imagery successfully.

The new features in Camera Raw 8 include aninteractive histogram, workflow presets andrefinements to the Spot Healing Tool and LocalAdjustment Brush. It also supports 19 new camerasand 21 new lenses. Explore the new editing options inthe software and start transforming your shots.

Discover what’s differentin the latest version of ACR

1 Use the Histogram For a balanced exposure, activateboth Clipping Warning icons in the Histogram. Slide to

negative and positive values to show blue (underexposedshadow) and red (overexposed highlight) previews. Set yourexposure bar to minimise both selections.









4 Advanced sharpening Photoshop has powerfulsharpening tools, so boosting micro-contrast with the

Clarity slider will be enough in ACR. The Detail>Sharpeningtools are very intuitive. Hit Shift+Opt/Alt and pull yoursliders to target affected surfaces and edges.

5 Tackle noise Once you’ve started sharpening, noisecan become an unwanted knock-on effect. It’s best to

fix it now using Detail> Noise Reduction. Set lower valuesin the Luminance sliders for smoother effects, but don’toverdo it as this can create unwanted synthetic effects.

6 Open as an Object All settings give you the best-possible base image to work with in Photoshop. Hold

Shift and press Open Object. Your RAW file is opened in thePhotoshop layers panel as a Smart Object. Double click thisany time to reactivate the ACR interface and adjust settings.

AfterWork with RAW for higher

image quality and master light,colour and detail to create your

own stunning visions

Before









Camera Raw allows you to access and edit your photos in an easy-to-use interface without ever using the Photoshop tools. Camera Rawhas all of the main photo editing tools that you would need to fix

common image problems, ranging from lens imperfections to correctingcolours, removing noise and sharpening. We will show you how to openup a RAW image and then correct it to Photoshop standard to give it a moreprofessional finish.

RAW is a generic term used to describe a type of file digital cameras cantake which is completely unedited by the camera and holds all original imagedata within it. If your camera comes with a RAW option, it’s recommended touse it whenever possible.

Each camera brand has its own file extension, so don’t get confused if yourcamera files end differently to ours on the disc – all of them can be opened and

fixed in the same way.

Canon’s RAW file extension is CR2 or CRW and most Canon camera modelswhich offer RAW shooting, are supported by Photoshop’s Camera Raw plug-inIf you’re upgrading your camera, however, be sure to update your softwareso that newer files are recognised and can be opened to edit. A full list ofcompatible Canon cameras can be found at helpx.adobe.com/creative-suite/kb/camera-raw-plug-supported-cameras.html .

Camera Raw comes with Adobe Photoshop, and is constantly being updateto feature all of the newest camera models on the market. If the one you ownisn’t shown as a saved preset, you can add and save your make and model.We are using the Photoshop CS5 creative suite in this example, with CameraRaw 6.2. Newer and older versions of Photoshop and Camera Raw work in thesame way, but some file types may not be compatible. To combat this issue,additional free plug-ins are available from the Adobe website though so you

can still convert your files.

Fix photos in

Camera RawTransform your photosinstantly with Camera Raw

Afte

Before W o r l d M a g s . n e t W o r l d M a g s . n e t




http://helpx.adobe.com/creative-suite/kb/camera-raw-plug-supported-cameras.html

http://helpx.adobe.com/creative-suite/kb/camera-raw-plug-supported-cameras.html





Fix and tweak photosCamera Raw

1 OPEN THOSE RAW FILES Double-clicking theRAW files won’t open them up – you’ll need to

drag and drop them onto the Photoshop icon. They’llautomatically open up into the Camera Raw interface,which is clean and easy to navigate.

2 LAYOUT If you’ve opened upmultiple images, they will be

displayed on the left-hand side. SomePhotoshop-inspired tools sit at thetop of this window, but the bulk of theediting tools sit on the right-hand side.Click an icon and a panel of sliders willappear for each.

7 MORE SLIDER TWEAKS This Fill light sliderincreases the lights in the shadowed area, leaving

highlights alone. Exact amounts will vary with image andpersonal taste. Move the Black slider a small amount toincrease the darks in the image, improving contrast andlifting your image.

8 BRIGHTNESS AND

CONTRAST

These sliders will doexactly what they say,boosting the image’smidtones andpixel contrast. Zoom inwhen you’re working andstart with the Contrastslider, moving it rightto boost the image. Ifyou need to, move theBrightness slider right by avery small amount.

5 EXPOSURE

Switch on theHighlight clippingwarning, which is thesmall triangle foundin the top-right ofthe interface box,which will warn whenimage detail is beinglost. Some damagewill occur (turn red),but we will repair inthe next step. Movethe Exposure sliderright slightly inorder to brightenyour image.

6 REPAIR ANY DAMAGE The red area in the shot is the loss-of-detailwarning, caused when using the Exposure slider. To repair this, move

the Recovery slider right and the red will vanish. We’re now going to liftthe shadows with the Fill Light slider.

4 TWEAK THE

WHITE BALANCE

Clicking onto an areawhich should be whitewill lighten your imageslightly – for more

improvement, go to theright-hand palette. Movethe Temperature slideraway from the coolblue end and the Tinttowards the pink end alittle if your image is stilltoo blue.

3 WHITE BALANCE Start work on the Basic panelof tools on the right-hand side, the first tab available.

Select the White Balance tool from the top bar (I) andclick on an area which should be a white or light grey, butisn’t currently.









9 COLOUR

BOOST Thenext three sliderswill improve thecolour quality inyour image. Movethe Clarity sliderto the far right –this will improvethe colours in allimages, making fora stronger image.If the red warningmarks appearagain, move theRecovery slideruntil they vanish.

10 VIBRANCE AND SATURATION The Vibrance slider onlyreally improves already brighter colours – you may see no

difference in this example image. Moving the Saturation slider rightwill make a difference, especially in the sea, but don’t overdo it or thegreens will be too much.

12 REDUCE

NOISE

Zoom in and movethe Luminanceslider to around25% – the pixels wblur/smooth out.Also available is theLuminance Detailslider, which allows

you to preserve theimage’s detail whensmoothing out – notoo high, or moreflaws could thenbe revealed.

11 WORK BACK THROUGH Our image looks a littleyellow. To fix this, we’ve moved the Temperature

slider back towards the centre. Click onto the Detailtab. Within this tab we can Sharpen, but remember toreduce the noise in the image first.

13 MAKE IT STRAIGHT The horizon in this image is a bit wonky, but this can be fixed reallyeasily. Select the Straighten tool in the top bar and draw a line along the wonky horizon.

You will get a crop box appear around the image, set to the correct angle. Hit Enter and yourimage will straighten out.

Adjustment brushThis is the paintbrush tool at thetop of the screen, and works like thePhotoshop Brush tool. Choosingthis will make new sliders appear onthe right-hand side of the interface.With this tool you use the sliderson the right to adjust settings, thenpaint over precise areas within your

image. To show where you havepainted, check the Show Maskbox under the sliders. Once youhave painted an area you can keepaltering the levels by pressing the+ and - tools, at either end of thesliders. To return to the other tools,press the hand icon in the top bar.









1 Record an Action Open an image you want to edit inPhotoshop. Now expand the Actions tab on the right-

hand side of the screen and click ‘create a new action’ alonthe bottom of the palette. Name your action and click OK start recording the editing process.

2 Create a style Select various adjustment tools from t‘create a fill or adjustment layer’ menu at the bottom of

the layers palette. Avoid making adjustments that are toospecific to the image you’re editing so that the action can bapplied successfully to other images later on.

3 Apply the action Try to focus on creating an action thalters an image’s colour palette and lighting. Press Sto

when you’ve finished to halt recording. To apply the actionto another shot, simply open the image, select the actionand press play to apply the effect.

There are endless possibilities to explore inPhotoshop. An image can be transformedin a multitude of ways using some of the

software’s fantastic editing tools and filter effects. Experimenting in Photoshop can be a lot of fun,but it’s frustrating if you can’t replicate a successfulresult again.

Learning how to record an action however,will take all the worry away from this, as it enablesyou to track and save all of the editing steps you

make in order to re-create the same effect onother images.

Join us in this quick, three-step tutorial as weshow you how to create your own actions andultimately, cement your signature photographicstyle. In just few easy steps, you’ll be able to recordand save your editing process and start creating amore coherent portfolio. Follow along and discoverhow creating and applying actions can cut yourimage-editing times in half.

Create an actionDiscover how to create your own actions inPhotoshop and reduce your editing time

Learn how to create andsave a style action thatcan be applied again toother images

After

Before

Creating an action is agreat way to ensure allof your images share asimilar style. Onceyou’ve started torecord your action, youcan select adjustmenttools from the menu atthe bottom of theLayers palette. Getcreative and experiment here; you can use layer masks,the Opacity slider and various different blending modesto control the adjustment effect. As a rule, try to avoidflattening the editing layers while you’re recording. Thiswill enable you to make refinements to the layers onceyou’ve applied the action to a different shot.

Signature styles









Restore your old photosDon’t let treasured images from the past fade away –apply some Photoshop medicine and bring them back to life

“Using a variety of Photoshop’s tools, you can patchup and repair even the most badly affected image”









Basic image improvementsRestore damaged areas and correct tones

This tutorial will help you get to grips with

using Photoshop to restore, repair andrecover old photos that have seen betterdays. The image that we are using here is almosta hopeless case, but it demonstrates that, usinga wide variety of Photoshop’s tools and filters,you can patch up and repair even the most badlyaffected image.

At the end of the process images can even bebetter than the source photo, but it is importantto realise that in many cases the original imagemay not have a lot of detail, and there are limitsto what you can bring back without turning thephoto into a painting. All the standard colour,contrast and brightness tools can be used, such asLevels and Curves, but we’ll also be using some

helpful features such as the Spot Healing Brush,

Clone Stamp tool, Hue/Saturation and even a littlepainting to try to restore the damaged areas.The starting point with all prints, though, is

the scanner to get them into digital format. Theoriginal print of this image was very small – onlyaround 3 inches by 2 inches. It’s also over 40 yearsold, so combine the two and you’ve got quite arestoration challenge. When scanning you shouldalways set it at a larger size than the original fortwo reasons. One is that you can then make a largerprint when finished, and the other is that it givesyou a bit more room when doing close-up editing.So, the scanning resolution was set to 1200ppi,which gave an image size of 3391 x 2306. That’slarge enough for an 11 by 8-inch print.

Key tools for common defectsClose-up detail on specific problem areas

Writing on a photoIf there’s writing on a photo it can befiddly to get off. However, the SpotHealing Brush is designed to remove

different shades of tone from asingular or patterned background.If the writing covers two differentbackgrounds then it needs to bedone in two stages. For the first,use the tool to mark the text on thepatterned background.

Water damageIf you get water damage on anarea, it can be fixed with the Patchtool, provided there’s a similar

area nearby that isn’t affected.The Patch tool is designed for that,patching large areas in one go. Markthe part affected then grab andmove the preview box to an area topatch from. Check the effect to seewhether it matches and release.

Missing areasWhen there are missing areas ofemulsion, but still some patches ofdetail near to it, the Clone Stamp

tool is invaluable for restoring detail.Simply set the mode to Darken andsample from a source that has thesame tone and pattern as where thedetail is required. Set the Opacityto 100% so the new detail is sharp,then clone it in.

If you have lots of old film photos, you can learn to repair themusing our simple step-by-step guides

4 REMOVE WRITING You can remove any writing withthe Clone tool, but the Spot Healing Brush will also do

a good job. Select the Working layer and the Spot HealingBrush tool. A Size of 100px and Hardness of 100% is fine.Now mark all the text where it rests.

1 CHECK THE DAMAGE Duplicate the Background andrename it ‘Working layer’. All restoration can take place

here. Now add a Solid Color Fill adjustment layer, selectingpure red and changing the layer blend mode to Color Burn.This shows where there’s no emulsion at all.

2 COLOUR ISSUES A black-and-white image can displaycolour defects. To remove these, create a Black and

White adjustment layer. Enter the values of Reds 40 andYellows 60, leaving the rest at 0. If the original photo wassepia, tick the Tint box and add a similar colour.

3 TRIM AND CROP If the photo isn’t square, you need totrim the edge. You could use the Transform tools, but

you want to avoid any further loss of quality. Using the Croptool means a little of the damaged area on the far right ofour image can be removed completely.









Patch upMan the Healing Brush and Clone Stamp tools

Final

Curves

Faces

Color Fill

Black and white

Working layer

Background

Layer structure

CurvesUse curves to add more contrast

Lack of contrast

Old photos tend to lack contrast, and the ageingprocess only makes it worse, as the longer a photois exposed to light the more it fades. Fortunately, aquick application of a Curves adjustment layer can addcontrast. Create an S-shaped curve in the Curves boxand you can tweak it towards the end of the restoration.

9 CLONE OUT REMNANTS Any marks that haven’tbeen successfully removed with the Spot Healing

Brush tool can be tackled with the Clone brush. Select itand change the blend mode to Lighten. Now sample fromareas close by and paint over spots.

10 RESTORE EMULSION Set the Clone brush toDarken to tackle missing emulsion. Toggle the

Color Fill layer on and reduce Opacity to 26%. Select thWorking layer and clone in areas of clothing and wallsinto the parts that are lacking detail.

7 RUB OUT THE CREASES The next crack – or crease,in this case – in our image is between the little girl and

the boy with glasses’s legs. Use the same Clone brushas you did in step 6 to clone in over the bricks, on thetrousers and the foot of the girl.

8 REMOVE DIRT There are dirt spots on our image. Tget rid of them, select the Spot Healing Brush and

reduce the Size to 23%. Go over each figure, dabbingon any spots. If the tool leaves a pattern or a hard edge,press Cmd/Ctrl+Z to undo it.

5 PATCH THE REST The letter K is straddling twoareas in our image. Select the Patch tool with Source

ticked, draw a square around the letter and release.Now grab the marquee and move it down. This createsa preview of the patch based on where you move thesample box to.

6 TACKLE THE CRACKS There are lots of cracks inour image, so let’s start with the one on the tall girl’s

head. Select the Clone Stamp tool and zoom in to 200%Change the brush blend mode to Darken and set theOpacity to 100%. Sample from the sides of the crack anpaint over.







Try3 issuesfor just

£5*

* This offer entitles new UK Direct Debit subscribers to receive their first three issues for £5. After these issues, subscribers will then pay £21 every six issueSubscribers can cancel this subscription at any time. New subscriptions will start from the next available issue. Offer code ZGGZIN must be quoted toreceive this special subscription price. Direct Debit guarantee available on request.

** This is a US subscription offer. The USA issue rate is based on an annual subscription price of £65 for 13 issues, which is equivalent to $102 at the timeof writing compared with the newsstand price of $12.99 for 13 issues, being $168.87. Your subscription will start from the next available issue.

S p e c i a l

t r i a l o

f f e r

Exclusive offer for new

Enjoyedthis book?







For amazing offers please visitwww.imaginesubs.co.uk/dph Quote code ZGGZIN

Try three issues for £5 in the UK* or just $7.85 per issue in the USA** (saving 40% off the newsstand price)

Digital Photographercan help you!Professional techniquesLearn expert techniques direct from the leadingpros in the photographic industry

In-depth featuresImprove your skills with shooting guides, kitrecommendations and top shooting tips

Join the communityShare images online in your free web gallery

Aboutthemag

Or telephone UK 0844 848 8407 overseas +44 (0) 1795 592 86

subscribers to… W o r l d M a g s . n e t W o r l d M a g s . n e t




http://www.imaginesubs.co.uk/dph



✓iPad✓iPhone✓Android phone✓Android tablet✓Apple Mac✓Windows







To get the most out of your digital

editions, be sure to enjoy all of ourfantastic features, including:

• Zoomable text and pictures

• In-app browsing

• Searchable text

• Take your collection with yo

• Read offline

Imagine digital editionsare a new and excitingway to experience our

world-leading magazinesand bookazines.

No Disc. No ProblemMany of the fi les you’re looking for can be

found on the magazine’s website

buy more Imagine digital editions and for thelatest issues and best offers, please go to www.GreatDigitalMags.co





http://www.greatdigitalmags.com/



The ultimate guide to yourCanon camera, covering

everything from buying kit to

advanced techniques

Canon The

Camera



The Canon Camera Book Volume-1

Documents

Transcript of The Canon Camera Book Volume-1