PhotoPlus The Canon Magazine - 2014

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Spring 2014 Issue 86
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Harbour scenes
Gear aDVice
canOn PrO tiPs
Take stunning shots of boats and bays on the Cornish coast
How to use an ND filter
Turn any movement into arty motion blur
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n Were the only magazine in the newsagent thats 100% dedicated to Canon D-SLRs making us 100% relevant to your needs. n Were 100% independent. We dont answer to Canon and dont rely on them for advertising if Canon brings out a new camera or lens and its rubbish, well say so! n Were all Canon D-SLR enthusiasts and between us weve got 200 years of photography experience. Were excited about passing on what weve learned even from our mistakes! n We dont assume youre a millionaire. We focus on the Canon D-SLRs most people buy, and feature software and accessories within the average persons budget. n Our Video Disc has an unrivalled collection of D-SLR technique and Photoshop videos which can be viewed via our digital editions too! n We are proud to feature some of the best writers and photographers in the business. Turn to page six to meet them all now!
his issue we embark on a photographic road trip around beautiful Wiltshires scenic hot spots. For our day out we start with the ight of canal gates at Caen Hill, then its onto Devizes to shoot its churches and medieval back streets, before we climb Roundway Hill for some sweeping landscapes while dodging, and capturing, the stormy/sunny skies! After aquick stop at Wilton Windmill, we nish off by shooting the standing stones at Avebury before sundown. Its amazing how many and varied our shots were, and we grabbed some nice wildlife and nature shots along the way too. Learn all about our shoot, and the D-SLR techniques we used, on page 28. Also this issue we test the current eet of EOS D-SLRs, from the 1100D and 100D, 700D and 70D to the 6D and 7D, 5D Mk III and 1D X. So if youre thinking of buying your rst D-SLR, or upgrading, see Super Test on page 94! We also help a reader buy a reector to brighten up his still life and product shots (page 88). Elsewhere, our Apprentice takes stunning shots of boats and bays in Cornwall (page 8), and we have new tutorials on sharpening Raw images and using Levels in Elements, plus projects on using an ND lter, and capturing a bugs eye view and fruity ash photos (page 39) all complete with videos. And if youre new to Canon cameras, dont miss part one of Your New Canon EOS D-SLR guide for some great beginners tips to getting started (page 55)!
Peter Travers Editor

peter.travers@futurenet.com
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PhotoPlus Spring 2014 | 3
Issue #86 Spring 2014
The Apprentice................ 8 Your Letters ................... 18

Share your thoughts with fellow readers Our gift to you: an Albelli photo book!
Cornish coastal photographer Andrew Ray helps our Apprentice capture harbour scenes
Our Apprentice learns to capture picturesque harbour scenes on the Cornish coastline
BAYs ANd BOAts!

Page 8
Subs Club ........................ 20 Inspirations .................... 22

We dedicate our gallery to amazing light painting pictures shot on Canon cameras
Photography Road Trip! . 28

Pack your map and sarnies as we show you how to turn a day off into a photo-expedition!
PhotoPlus Skills ............... 39

Better your photographic and Photoshop abilities with our tutorials and videos New to this photography lark? Master your EOS D-SLR with our free eight-page guide Get set for close-up spring flower photos Got a Canon conundrum? Dont be shy! Our team of experts is at your service
Canon Basics .....................55 PhotoPlus Workshop.....72 Dream Team .................. 76 Your Photos ................... 80
Could your photos do with improvement? The team will give you a few pointers
Help Me Buy .................. 88

We help a PhotoPlus reader pick the perfect reflector for them from five contenders Looking for a new Canon D-SLR or ready to upgrade? Weve tested entire EOS range!
SLR Super Test .............. 94 Next issue..................... 113

Theres even more Canon-related goodness coming your way in four short weeks Nature-lover Matt Cole on how he took a summery shot of a common blue butterfly 4 | PhotoPlus Spring 2014
Page 55
CANON D-SLR STARTEr GUIdE!
HElP ME BUY A... REFlEctOr

Page 88
How do I get better flash shots? p76
My Favourite Shot ...... 114

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A complimentary photo book for every subscriber! Page 20
PHOTOGRAPHY
OUTDOOR D-SLR SKILLS!
ROAD TRIP!
Improve your Canon D-SLR skills in a day trip aswe shoot Wiltshires hot spots Page 28
STEP-BY-STEP GUIDES!
Improve your Canon D-SLR skills and images with our photo projects!
Turn to page 39 now for ourSkills section
NEW PrOJEcts! UsING ND FIltErs

Page 40
SUPER TEST! cANON D-SLRs

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ONlINE VIdEO
To view our videos, click on the Watch the Video badges that appear alongside the tutorials. Click on the badge to the right to see what videos are in store this issue
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Should I upgrade to a 5D Mk III? p78
How do I digitize old negatives? p79
Why cant I open Raw files? p79

Meet the team
Meet the
Who we are, what we do, and our favourite photographic journeys Peter Travers Editor EOS 5D Mk III
peter.travers@futurenet.com
PhotoPlus, Future Publishing 30 Monmouth Street, Bath BA1 2BW Editorial +44 (0)1225 442244 photoplus@futurenet.com Subscriptions and back issues 0844 848 2852 Or go to www.myfavouritemagazines.co.uk The PhotoPlus team Peter Travers Editor Adam Waring Operations editor Hollie Latham Staff writer Martin Partt Art editor Angela Nicholson Head of testing Matt Richards Technical writer Drew Buckley Cover photo Our contributors Rob Bowen, George Cairns, Matt Cole, Adam Duckworth, James Cheadle, AdamGasson, Claire Gillo, Neil Godwin, MarcusHawkins, Richard Hood, MikeMcNally, James Paterson Without whom Dan Burden, Richard Hucker, David Norman, San Lewis, Alun Pughe, Andrew Ray, Dan Read Advertising Sasha McGregor Advertising sales manager photography 01225 788186 sasha.mcgregor@futurenet.com Matt Bailey Senior sales executive 01225 732345 matt.bailey@futurenet.com Clare Coleman-Straw Sales director Management Nial Ferguson Managing director tech, lm & games Matthew Pierce Head of photography group Paul Newman Senior editor Steve Gotobed Group art editor Circulation and marketing Samantha Book Marketing manager Dan Foley Trade marketing manager James Ryan Direct marketing executive Mark Constance Production manager Roberta Lealand Production controller Regina Erak Licensing & syndication director
Adam Waring Operations editor EOS 7D

adam.waring@futurenet.com
This issue, Adam and I hit the road in search of great photos around Wiltshire. See page 28 to see how many top photo ops you can nd on your doorstep if you plan ahead!
I was also behind the scenes on a road trip for this issues Apprentice (page 8). Our pro knows Cornwall like the back of his hand, and Isaw how a little local knowledge goes a long way.
Angela Nicholson
angela.nicholson@futurenet.com
Head of testing EOS 5D Mk III

While visiting Las Vegas I made a trip into the desert. The highlight was the one-horse town of Death Valley Junction, where I had fun shooting a long-abandoned gas station.
Matt Richards Technical writer EOS 70D

photoplus@futurenet.com
Last year I went on a driving holiday around Lake Garda and the Dolomite mountains in Italy. It was photo heaven but my poor wife said she felt likeshe was on a camera club outing!
Hollie Latham Staff writer EOS 60D

hollie.latham@futurenet.com
Martin Partt Art editor EOS 600D

martin.parfitt@futurenet.com
My best-ever road trip was from Melbourne to Cairns, in Australia. Onmy 2,000-mile journey I saw harsh outback, beautiful beaches, pristine rainforests and vibrant cities.
Every day is a photo road trip without leaving Frome! The jewel of Somerset has countless listed buildings, and the historic railway station has to be seen to be believed.
This issues contributors
Andrew Ray
Cornwall born-and-bred coastal photographer Andrew takes this issues Apprentice on a boats and bays shoot through his beloved home county (p8).
James Paterson
James shows how to get tasty shots of strawberries splashing into milk with lots of patience and a little help from Photoshop in Masterclass (p66).
Adam Duckworth
Motorsports shooter Adamcomments on a readers dramatic photo ofaerial motorbike-andsidecar action in this issues Your Photos (p80).
Matt Cole
Which do you like best wide-angle or macro? Wildlife photographer Mattloves both, as his wide-angle macro butterfly shot goes to prove (p114).
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Ive been an avid reader of PhotoPlus for about five years; its filled withtechnical advice and inspiration, and Ive been able to learn a lotvery quickly. I took this shot while I was on holiday in Scotland. I was driving on Skye when I came across the Skye Museum of Highland Life. As soon as I saw the thatched stone dwellings I knew there could be a possible mono shot, so I set about finding a scene that I liked and when I saw the boat, that was it! This is one of the first mono images Iproduced with my 40D, and its still one of my favourites I like the hazy sky, the contrast in the stones, and thelittle white daises, which add interest to the grass.
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The PhotoPlus Apprentice
8 | PhotoPlus Spring 2014
Your chance to shoot with a pro
Harbour photography
We take our Apprentice on a tour of western Cornwall to learn tocapture great photos by the seaside of boats and bays
Words: Adam Waring Location pictures: James Cheadle
really floats my boat!
THE APPRENTICE
Name: David Norman Camera: Canon EOS 7D
Originally from Suffolk, David rst picked up a camera when he joined his school photography club as a 12-year-old, and has been taking photographs ever since. He has lived in Cornwall for the past 14 years, and has recently retired, at 69, from running a company providing services to the pipeline industry. He wants to make the most of his newfound free time and the beautiful Cornish coast around him and came to PhotoPlus for help.
THE PRO...
Name: Andrew Ray Camera: Canon EOS 5D Mark II
Andrew is a 42-year-old professional landscape photographer based near Redruth, Cornwall, which enables him to regularly visit the most photogenic locations the county has to offer. His images appear in magazines, newspapers, calendars and books, and he sells prints through galleries throughout Cornwall and via his website, www.andrewrayphotography.com
Exposure: 1/2 sec at f/8; ISO100 Lens: Sigma 10-20mm f/4-5.6 EX DC HSM
DAVIDs tip
Fit a protective lter
I was worried that Andrew might shake his head at my use of UV lters to protect my lenses, as Ive heard that many landscape photographers are dead set against placing any unnecessary sheets of glass between the lens and the scene, reveals David, but if youre shooting the sea, then the spray gets everywhere and its far easier to clean a lter than it is to clean a lens! I was relieved that Andrew uses them too, though it pays to have good quality lters rather than cheap ones.
Towards sunset the cliffs at Mullion Cove were being pummelled by the sea, so Andrew suggested I use an ND lter to slow the shutter speed to 1/2 sec, and shoot just before the wave hit to capture the waves exploding dramatically!
Davids comment
Is David ready to shoot harbours?

Andrew looked over Davids camera settings to ensure they were shipshape and Bristol fashion
PhotoPlus Technique assessment
Save it to C!
I was impressed to see David dial in Av (Aperture Priority) mode with an f/13 aperture for a good depth of eld without diffraction. Shooting Raw at ISO100 gives the best image quality, while Evaluative metering and One-Shot AF are perfect for landscapes. However, I suggested he register this to one of the custom C settings, for instant access to this setup.
Mirror Lockup
I advised David to turn on the Mirror Lockup custom function via his cameras menu. The action of the mirror ipping up as the shutter opens can cause a tiny vibration that results in rubbish blurred images. By engaging Mirror Lockup you need to press the shutter button twice; once to ip up the mirror and asecond time to actually take the shot.
KILLER KIT OF THE PROS #1

Microbre cloth
Shoot near the coast for any length of time and your lters will soon collect droplets of sea spray, warns Andrew. A quick wipe with a microbre cloth will clean them up, without leaving uff on the lter.
EXPERT INSIGHT
Composing a scene
On arriving at Porthleven harbour, Andrew asked David to compose a shot, then offered his feedback: Davids done well to compose using the rule of thirds, with the cannon a third of the way into the scene, and the horizon and pier wall about a third from the top and bottom respectively, however the cannon is a bit lost against the wall, and by autofocusing on the cannon itself, hes losing a depth of eld. By adjusting our position we can still keep the cannon on the one-third line, but it looks far more dominating, pointing out to sea as if to protect the harbour, while the sea makes a much cleaner backdrop, too. Shooting at awider angle and manually focusing slightly beyond the cannon has enabled me to extend the depth of eld, and the large puddle of seawater reects the cannon, which adds interest.
AndreWs tip
Get close for abstracts
Theres more to harbours than boats and breakwaters this bench is built from old boat parts, and its weathered paintwork makes for wonderful textures, says Andrew. Igot David to try out many different compositions, but we liked his shot with the planks running diagonally across the frame and the hole bangon the thirds intersection the best.

ANDREWs Kit BAG
Andrew crams this into his LowePro Mini Trekker AW Photo Backpack
Canon EOS 5D Mark II Canon EF 17-40mm f/4L USM Canon EF 24-105mm f/4L IS USM Canon EF 70-300mm f/4-5.6L IS USM Tamron SP 90mm f/2.8 Macro Set of Lee ND and ND grad lters, plus holders B+W 105mm KSM Circular Polarising Filter Hoya Pro 1 Digital MC Protector Filters Canon Remote Switch RS-80N3 Hama Two-Axis Hotshoe Sprit Level GGS D-SLR Screen Protector Lee Microbre Lens Cleaning Cloth Blower brush An elastic band for removing stubborn lters Manfrotto 055XPROB tripod Manfrotto 322RC2 Heavy Duty Grip ball head
We were up at the crack of dawn to be at Mousehole for sunrise, but as the early morning light hit the quayside buildings, I saw why photographers are so obsessed with getting out of bed at such an ungodly hour! I love the way the boats lead you through the scene in a gentle arc, following the lines of the bay.
Davids comment

Filter holder and lters
I never go anywhere without my lters! enthuses Andrew. I use Lee lters as theyre brilliant quality, and wont introduce colour casts that you may nd with cheaper makes, and my kit consists of both soft and hard-edged 2-stop and 3-stop ND grads, plus 2-, 3-, 4-, and 10-stop ND lters. I complement this with a B+W polariser. At 100mm wide, these are bigger than the cheaper P-type lter kits available from Cokin and others, which limit how wide you can shoot without the lter holder becoming visible in the frame.

Bubble level
Keeping horizons level is vital! says Andrew. While many Canon D-SLRs have a built-in digital level, a hotshoemounted bubble level is easiest for checking that your horizon is level. When your scene contains buildings, its important to keep your camera pointing straight at them too, rather than angled up or down otherwise your buildings will appear unnaturally tapered towards the top or bottom.
ANDREWs tip
Clone it out!
Aside from landscape photographers, the only other people up at the crack of dawn are delivery drivers, and inevitably the moment the perfect light illuminates your vista, a van will park up in the middle of your scene! laughs Andrew. Take the shot when the light is at its best, then another shot when the van has moved on. Open both shots in Photoshop as layers, then rub through your main shot to reveal the van-free section from the layer below. Youll need to tweak its colours to match your main shot try a Warming Filter effect.
This owner had just pumped out his boat, leaving a puddle of water in the foreground. I composed the shot so this led from corner of the frame to the boat, which in turn points to the steps, guiding the eye through the shot.
Davids comment
Davids tip
Long shadows
A good rule of thumb is to stop shooting when your shadow is shorter than you are! So you can shoot for all day long in winter, when the sun is low in the sky, but at the height of summer youll need to shoot closer to sunrise and sunset, reveals David.

More often than not, landscapes are shot at slow shutter speeds especially seascapes, as this adds a desirable milky blur to the water in the scene. However, I learnt that youll need to restrict your shutter speed to faster settings when your scene includes boats on the water, as if its at all breezy, the boats bobbing around will be blurred. I tried to get as much separation between the boats as possible for an uncluttered shot, and think the moody sky really adds to the shot.
Davids comment
AndreWs tip
Tide time table

When photographing bays and harbours, you need to know whether the tide will be in our out. Im a little old-fashioned and still use tide booklets, confesses Andrew, though you could always use the myriad smartphone apps available to tell you such things!
Show some leg!
Andrew has this advice on looking after your three-legged friend: Tripods tend to sink into the sand, so even if youre shooting low down, extend the lower legs of your tripod by an inch or two to keep the leg-locking mechanism clear. Rinse the legs in fresh water at the earliest opportunity theres often a stream leading to the beach. A squirt of 3-In-One oil into the joints will keep things operating smoothly, too.
EXPERT INSIGHT
Finding photogenic locations

Andrew travels the length and breadth of the UK in search of photogenic locations. Here are his top tips for great shots of areas you dont know well. 1 Scour Ordnance Survey maps to identify points of interest and look for potential vantage points and the routes to access them. 2 Do plenty of internet research and look for images of local landmarks photo sites like Flickr are great for seeing whats worth photographing. 3 Know where and at what time the sun will rise and set it varies throughout the year. Use a sun compass or smartphone app. 4 Those 10 per person holidays found in newspaper deals offer an inexpensive way of staying right in the heart of scenic areas. 5 Go out of season its cheaper, there will be fewer tourists to spoil your shot, you can shoot for longer, and you wont have to get up so early for dawn shoots!

Remote release
A remote release enables you to re the shutter without the danger of jogging the camera. While you can use the 2-sec Self-timer mode to allow any vibration to subside, thats no good when youre timing your shots to coincide with the movement of the waves, warns Andrew.
Andrews scenic harbours

Andrew has amassed a huge collection of images of Cornish coves and quays. Here are three of his favourites
These boats lie on the harbour slipway at Priests Cove in the far west of Cornwall. Captured from the clifftop with Cape Cornwall and the Brisons in the distance, a 3-stop soft neutral density graduated lter was required to help balance the brightness differential between the sky and the foreground.
Cape Cornwall
A tripod was essential to capture this long exposure, captured about 30 minutes after sunset on a still winters evening. Foreground interest is always important; here Ive used a statue that commemorates the life of a local seal that used to frequent the harbour at Looe in southeast Cornwall.
Twilight at Looe
This beautiful sunset was captured using a wide-angle lens at Sennen Cove, just along from Englands most westerly point, Lands End. A 3-stop hard neutral density graduated lter was carefully positioned at a slight angle over the upper third of the image in order to balance the exposure.
Sunset at Sennen
The The PhotoPlus PhotoPlus Apprentice Apprentice
Exposure: 1/125 sec at f/13; ISO100 Lens: Canon EF 24-105mm f/4L IS USM
Andrews verdict
David has captured a cracking scene, with the skyline and harbour wall slotting neatly into the top and bottom horizontal thirds of the frame [1]. The clock tower is on the left-hand third, with one face illuminated by the afternoon sun, giving plenty of breathing space for the rest of the scene [2]. Davids timing has been impeccable, capturing the angry waves as they break, and mirroring the curvature of the coast [3]. Even the storm-watchers add interest to the scene [4]. This is one shot that Id be happy to add to my portfolio any day!
[2] [1] [3] [4]
Next issue
Architecture
David Clapp
Next issues Apprentice learns to take great shots of grand buildings with ace Canon pro David Clapp around the city of Liverpool
PhotoPlus issue 87 on sale 29 April
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Lens: Canon EF 50mm f/1.8 II Exposure: 1/160 sec at f/2; ISO800
Davids comment
Porthleven was still recovering from recent storms, and as a result the 100-plus boats normally found bobbing in the harbour were absent. So we headed up the hill, overlooking the harbour and its famous clock tower for this shot. It just goes to show how adaptable you have to be and always have a Plan B for when your original shot doesnt work out!
Your camera model ................................................................................... What you would like help with ................................................................. [1] ......................................................................................................................... ......................................................................................................................... ......................................................................................................................... Return to The PhotoPlus Apprentice, PhotoPlus, 30 Monmouth Street, Bath BA1 2BW PhotoPlus Spring 2014 | 2014 17 Spring
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Happy customer
Many thanks to all the PhotoPlus team for a great day out for the Help Me Buy Home studio lights article (issue 85). I havenow purchased the Elinchrom D-Lite RXOne Umbrella kit Iliked so much. Another bonus is that the wife has been busy on Amazon nding me some softboxes as well! Glenn Smith Bromsgrove
Help from my friends

I have you to thank for this picture, as if I hadnt subscribed to PhotoPlus I wouldnt have been inspired to take it! Iwanted to use my new 8-stop ND lter to create a milky waterfall. It took me an hour to trek through a national park to get to the location. Iset up my tripod, performed some shutter speed calculations and spent an enjoyable afternoon taking shots with my 6D. I work in a high-pressure environment, and focusing on preparing for a shot and the peacefulness I experienced out amongst nature goes a long way with alleviating strains and stresses. George Lianos Melbourne, Australia
Trolley dolly
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I have just downloaded the April digital edition to my iPad. On page 10 in the Apprentice article, in the top image there appears to be some form of photo trolley? Do you by any chance have any information available on this as it looks like what I am after? David Bannister Rutland
That is, in fact, our makeup artists wheeled case! The Zca Pro Travel has an aluminium frame and is small enough for carry-on luggage on ights. Its not made specically for camera gear but has lots of compartments (or packing pouches) that could be used for smaller kit. Its not cheap though, at $299/199. More details at www. zuca.com and for UK retailers go to www.londonbelleltd.co.uk
WIN NEW 16GB MeMORY CARDS AnD ReADeR!
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Wedding Apprentice
While enjoying The Photography Show at the NEC, I spoke to editor Peter Travers on the PhotoPlus (Future) stand. The reason being is Ive been asked by my nephew to take photographs for him when he gets married in May this year. While only being a hobbyist photographer, I want to do as good a job as is possible. In an endeavour to achieve this, I quickly looked through all of my editions of PhotoPlus, which date back to June
What rst catches your eye in this shot? The Zca Pro Travel, of course
Your Letters
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Dont miss our various Apprentice features on how to best shoot weddings 2008, to try and nd articles relating to weddings but I discovered Im missing issue 35, when you ran an Apprentice article on wedding photography. Help! Stewart Garton Stockport this something you will be covering, or is the day of the creative lter dead? Ian Coker Warwick
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Nice to meet you at The Photography Show, Stewart. We like to look after our subscribers, so as promised when we met, Ill post an issue 35 to you. We also did Apprentice articles on shooting weddings in issues 47 and 75, too. Good luck on the big day!
Filtered out?
Like several recent contributors to the letters page, I am returning to photography after many years away. The magazine has been a great help to me in picking up the pieces again. Whether its helping remind me of the techniques I used 20 years ago or highlighting all the new skills I now need to learn, PhotoPlus has all the answers and even sends me the new issues direct to my iPad! However, one element you dont seem to have covered is anything about the use of creative lters. When I was last into photography, lters offered me an opportunity to be experimental, especially as I never got as far as having my own darkroom! Now digital manipulation of the image seems to be the answer to everything. This was underlined when I visited The Photography Show: plenty of choice in different software packages to manipulate your images, but the few lters that were on sale were hidden away at the back of stands, as if their days were numbered. I still have a number of Cokin lters in my old camera storage box. Yet I cant remember seeing any articles on using lters in your magazine and how you can get the most out of them. Is
While many creative lters have indeed been superseded by the greater exibility of digital photo manipulation, the lter is certainly not dead, and we back this up with our three-part series on the most-used lters in our Skills section. Theres something very satisfying about capturing shots in camera, without the need for Photoshop. We looked at polarising lters last issue, show you how to use ND lters for long exposures on page 40 of this issue, and well look at ND grads next issue.
HDR guide location

I enjoyed your photo of the old Vadne ship in Forton Creek, Gosport (The Power of HDR Guide, issue 85). I have taken photos of it myself, but how did you get such a high-level shot? Which is what I wanted to try and do, too! Bryan Waterloo Hill Head, Gosport
PhotoPlus
Canons stand at the new Photography Show was big, red and full of every new Canon camera. Plus they had the lens bar. The Slo Mo video booth. And lots more cool new kit.
PhotoPlus
Woohoo! We now have 115,000 Facebook followers! Thats 115K Canon camera users in our special club. Thank you to every one of you for liking our PhotoPlus page. Have a great weekend and dont forget to share your latest Canon photos.
New Canon Cashback offer on selected new Canon purchases made between 1 March and 7 May 2014 for UK shoppers. Save 210 off a new EF 70-200mm f/2.8 lens, 150 off a 5D Mk III, and 50 off a 700D. More details at www.canon.co.uk/ springcashback
Our photographer extended his tripod to its highest point, with the central column fully extended to gain the height needed see capture the shots on second and third page of our HDR guide.
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Lives: Grimsby Cameras: Canon EOS 5D Mk II and Canon EOS 40D Subscriber since: Issue 66
I have been an avid reader of PhotoPlus for about ve years; it just seemed obvious to me that a magazine dedicated to Canon cameras would be all I needed. It was lled with technical advice and inspiration, and I was able to learn a lot very quickly. I took this shot while on a holiday in Scotland. While driving on Skye I came across the Skye Museum of Highland Life, two miles south of Duntulm. As soon as I saw the thatched stone dwellings I knew there could be a possible mono shot, so I set about nding a scene that I liked. When I saw the boat, that was it! I got down on my knees to get a slightly lower perspective, focusing on the bow of the boat. The only problem was waiting for other people to move out of shot, as well as waiting for the light (which was a bit hit-and-miss) to brighten up the stone wall tobringout the detail. I used Photoshop Elements to process my Raw le in Adobe Camera Raw, then used Levels, adjusted the contrast, added a vignette and sharpened to nish. This is one of the rst mono images Iproduced with my 40D, and it is still one of my favourites, I like the hazy sky, the contrast of the stones, and the little white daises, which add interest to the grass.
John Thorndike
Lens: Canon EF-S 17-85mm f/4-5 .6 IS USM Exposure: 1/250 sec at f/4; ISO1 00
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his issue were giving all our Subs Club members a photo book, worth 15.95! Albelli is passionate about helping you cherish your memories with beautifully printed photo books, and has generously supplied PhotoPlus subscribers with the code below to create a 24-page medium landscape photo book with all your favourite photographs. Alternatively, it can be used as
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Ofine Albelli Photo Book Creator Two hours
STEP BY STEP How to use your FREE software! STEP BY STEP How to create your photo book
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What youll need
How long itll take The skills youll learn
ow to add images H toyourphoto book How to customise the layout and look of your book How to quickly create a photo book with the Autoll feature
Select the Manual Fill option from the menu, thennavigate to a folder of images youd like to use in the panel at the left of the screen. Drag images from the left-hand panel into the picture boxes on each page; a green tick shows which images have been used.
Select your images
The Insert tab enables you to add additional picture and text boxes, change the background colour of the page, or add frames, clip art and much more. Click the Design tab to edit images, make them semi-transparent, add shadows and so on.
Customise the book
Super Tip!
If youre short on time, select Autoll instead of Manual Fill. Pick a Theme and Style to customise the look of your book, then click Add All to ll its pages. Click Display Photo Book to see your instant creation. You can still ne-tune it using the regular editing tools.
Navigate through the pages of the book using the panel at the bottom of the screen. To change the layout, click the Page tab, then the Layouts icon. Select the number of images from the drop-down menu, then choose from the selection of layouts that appears.
Change the layout
Once youre happy with the book, select the Product tab, then click Order. The images will be uploaded to the Albelli website, where you can further embellish the book if you wish. At the checkout, simply enter the code PHTGIFT to claim the discount.
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PhotoPlus Inspirations
Stunning imagery from the world of Canon photography

Glorious Canon photography Great Canon garden photographers in action

Candidplatz by Hiacynta Jelen
This photo was taken in Munich, Germany, at a subway station called Candidplatz. First I set my tripod up in the middle of the platform, then waited for a train to pull out on one side and took a photo. Then I waited for a train to pull out on the other side and took another shot, using exactly the same exposure settings. In Photoshop I combined the two images so that it looks as if the two trains are moving at the same time. Location: Munich, Germany Camera: Canon EOS 5D Mark II Lens: Sigma 12-24mm f/4.5-5.6 II DG HSM Exposure: 2.5 secs at f/8; ISO100
PhotoPlus April Spring 2014 2014 | 23 | 23
TOP
ABOVE This image was produced by one of my drawing machines, which moves a light pen (with colour gels attached) via a simple turntable controlled by a timer in front of a digital camera; it might be seen as a sort of sophisticated moving life as opposed to still life. This was part of a very large project exploring drawing with light. I am interested in light drawings which are read in the same way as conventional photographic images, but where there was never any subject before the camera. Location: Hay-on-Wye, UK Camera: Canon EOS 5D Mark ll Lens: Canon EF 35mm f/2 IS USM Exposure: 119 secs at f/8; ISO100
ABOVE
Dralion by Luigi Orru
I was attending the Cirque du Soleil show in Rome. Isaw this guy rolling on in this strange wheeled contraption and it was automatic for me to try something different after Id taken the classic shots. Iimagined that the lines and the light could give the effect you see in the picture; a clear example of thinking before shooting! It was a case of a long exposure, holding the camera rmly, following the movement and the music and just being creative with perfect light. Location: Rome Camera: Canon EOS 6D Lens: Canon EF 70-200mm f/2.8L USM Exposure: 1/5 sec at f/7.1; ISO1000
Moving Light Drawing by Jack Tait
Light Grafti by Rich Perrin
I wanted to produce a portrait of a grafti artist to combine light painting with street art in Bristol city centre. I used a wide-angle lens and tripod for the long exposure, and LED lights and electroluminescent (EL) wire to paint the scene. Technical challenges included rain, cold, street lighting and drunk people! Location: Bristol, UK Camera: Canon EOS 550D Lens: Canon EF-S 10-22mm f/3.5-4.5 USM Exposure: 10 secs at f/5.6; ISO100
Great Canon garden photographers in action
LEFT This was taken in the Moroccan desert. The lack of any sound whatsoever was overwhelming, which is what gave me the inspiration for the image. I have traced the word silent in Arabic; our guide, who posed for the picture, showed me the calligraphy. Location: Morocco Camera: Canon EOS 5D Mark II Lens: Canon EF 17-40mm f/4L USM Exposure: 137 secs atf/5.6; ISO100
Silence by Cisco
ABOVE
RIGHT Navigating the muddy tunnels and clambering through the shafts to get into the abandoned Box stone quarry was tough, so I had to come home with an image that made it all worthwhile! Iused a high-powered LED torch to illuminate the mist coming in through the shaft at the top, and other torches to illuminate the side walls to help give a sense ofperspective. Location: Box, UK Camera: Canon EOS 5D Mark III Lens: Canon EF 17-40mm f/4L USM Exposure: 5 secs at f/8; ISO400
Icons by Lee Acaster
Id been shooting along the Thames with a fellow photographer and we nished up at Tower Bridge. Inoticed that I could frame The Shard in between the cables of the bridge while keeping the full tower in shot from this position. Once Id set up the shot it was a case of waiting for the right moment when there were no tourists in shot and a bus passing by to add some height to the light trails. Location: London, UK Camera: Canon EOS 5D Mark II Lens: Canon EF 17-40mm f/4L USM Exposure: 12 secs at f/11; ISO100
Quarry by Robbie Khan
RIGHT
Light Dome by Keith Tester
I used an old cycle wheel mounted on a spindle and strung LED lights around the rim, held the shutter open on Bulb mode and rotated the wheel two or three times, then shut off the LEDs and moved the wheel out of the shot. Then I waved a blue light ex around on the oor, closed the shutter, and this is the result! Location: Havant, UK Camera: Canon EOS 5D Mark II Lens: Canon EF 24-105mm f/4L IS USM Exposure: 75 secs at f/11; ISO200
Shining examples of Canon photographers in action
ABOVE
The Umbrella by Joe Jackson
This was taken from a series of images that I did for a college project. My model ignited some wire wool in a cage and spun it around to create the sparks. It was taken on wasteland out of harms way, where the sparks couldnt damage anything, although I had to take care to avoid being hit by smouldering wire wool! Location: Leyland, UK Camera: Canon EOS 5D Mark II Lens: Canon EF 24-105mm f/4L IS USM Exposure: 13 secs at f/11; ISO125
ABOVE My goal with this shot was to show the art of cooking using the medium of light,and to try and capture the passion of the chef by freezing time to paint with light in space. Location: Paris, France Camera: Canon EOS 5D Mark II Lens: Canon EF 17-40mm f/4L USM Exposure: 71 secs at f/14; ISO100
Light in the Kitchen by Cisco
All the images in this gallery were entrants to the PhotoPlus Light Painting competition hosted on Photocrowd a website where a public vote on the best-liked images ispitted against expert opinion. The PhotoPlus Spring competition opens on 5 April. See www.photocrowd.com
Photography Road Trip!
OUTDOOR D-SLR SKILLS!
Words: Peter Travers Images: Peter Travers/Adam Waring
Improve your Canon D-SLR skills in a day trip aswe shoot around picturesque Wiltshire, bringing you photographic tips for everything from lens choice and composition to ll ash and long exposures
28 | PhotoPlus Spring Xxx 2012 2014
Spring D-SLR skills
y data Ordnance Surve Maps: Contains
ht 2014. and database rig Crown copyright
PhotoPlus PhotoPlus Spring Xxx 2014 2012 | 29
Mapping out your route

ailed to prepare? Prepare to fail! On PhotoPlus we bang on about planning ahead a lot, and with good reason; it can make our break your photography road trip. So next time you have a day to spare, rather than picking somewhere that is fast to get to via the motorway, but leaves you only service stations to shoot on the way, make the journey the destination; get out the Ordnance Survey maps, and plan your route around the back roads, letting the scenic spots dictate your trip. Google Images (http://images.google.co.uk) is a great resource for nding the most photogenic hotspots. From our Bath base, we mapped out a day trip around neighbouring Wiltshire. Heres how we got on
CAEN HILL LOcKS

Our rst destination provided great photo ops
TOO WIDE
Focal lengths
lthough tempting to include all that the eye can see, using a wide-angle lens results in too much boring empty grass in shot. We improved our composition by simply zooming in with our standard 24-105mm zoom lens to ll the frame with the line of locks. We used an aperture of f/11 to give us enough depth of eld for the whole scene to be in focus.
30 | PhotoPlus Xxx 2012
ZOOM IN!
Caen Hill locks
Stairway to heaven
ur rst stop was the amazing Caen Hill locks north of Devizes: a line of 29 locks, climbing nearly 240 feet over a two-mile stretch of canal, with the main ight of 16 locks lined up one after the other. Once there it quickly became apparent its a tricky place to get the best shot! First we tried including a section of a lock gate in our foreground to lead the eye to the line of climbing locks.
The lock gates make interesting subjects for photography; we tried getting close with our widest lens to exaggerate their size and shape, and to include the beautiful blue sky.
Top crops!
vertical composition from the road bridge at the bottom of the hill offered a good shot. We improved the shot further by cropping. Many Canon D-SLRs have 18Mp sensors, so even cropping images in half leaves a picture that could be printed 8x10in no problem.
T
Swanning around
Revealing shadows & highlights

here were only a few rather bland barges in the canal section below Caen Hill locks. Rather than a dull stock shot, we utilised the underside of a bridge to frame the scene, with a puddle to capture the reflection of the sky. Some judicious Photoshopping brought out detail in the shadows, and toned down the highlights for asubtle HDR look.
here was lots of wildlife in the area, and several pairs of inquisitive swans. Using our the long end of our zoom at a wide aperture of f/5.6, we experimented getting shots of the swans together, as well as photographing a single swan through reeds.
Direction of light
ext stop on our road trip was the market town of Devizes, right next to Caen Hill locks. Wed seen pictures of Devizes castle, but it was a private residence and we couldnt get any shots from public highway around it. Fortunately, we found the quaint Parish Church of St John The Baptist down a pretty back street next door. Although the best view of the church was from the front, this put much of the building in shadow. We went to the far end instead, shooting with sun lighting the church. When the sun is at your back, your subject will be better lit, plus the sky will be bluer. To avoid the section of churchyard in shadow, we moved closer, maintaining a wide focal length to include the whole church. By placing the church at an angle and to one side, it faces into the space in the frame.
DEVIZES TOWN
Be prepared to adapt and photograph what you see
0 EV -2 EV +2 EV HDR!
HDR for maximum tones

e discovered a picturesque, medieval back street to the church for a great photo op. We used the perspective of the buildings and paving stones to lead the eye to the main focal point of the church. As we were shooting into the sun, the range of tones in the scene was from the brightest highlights to the darkest shadows: impossible to capture in one frame. So we used our in-camera HDR setting (PhotoPlus editor Peter Travers admits hes addicted to this mode on his 5D Mk III!) to bracket three exposures and combine them for a high dynamic range shot that reveals a full range of tones.
Devizes town
Fill FlAsh
To light up a specific tombstone in shadow in the churchyard that was on the left in our frame, we fired an offcamera flashgun via our pop-up flash. Its a great way to brighten up foreground objects.
no FlAsh
W
Spring owers
Be exible with locations

e picked ten locations for our road trip shot list, with a choice of different scenes to shoot around Wiltshire; canal locks, big landscape views, trees, the attractive market town of Devizes, pretty bridges, windmills, standing stones We then highlighted our top choices, and in reality we only had time to photograph those in our photo-packed road trip! Taking photos always takes longer than you think, and we happily got distracted by swans, daffodils and snowdrops, in between photographing buildings and scenics.
lways keep your eye out for potential photos during your road trip. Daffodils were just in bloom so we found a good bunch on a roadside near Devizes. We usually nd a shot including many owers can look cluttered, also be careful whats in the background: we found it best to get low and shoot up so the blue sky framed the single daffodil wed focused on.
Beauty spot
ext stop on our road trip: Roundway Hill. Astunning scenic spot that offers big vistas across the Wessex Downs, it can be found along an off-road track beyond Roundway village, just north of Devizes. For the best views, we walked to the top of Olivers Castle, an iron-age hill fort named after Oliver Cromwell who fought at the Battle of Roundway Down in 1643. Big, steep gullies lead down to the plateau, while only a few wind-blown trees remain at the top. All of these elements make this landscape spot a photographic gold mine! It wasnt just the sun we had to keep an eye out for a big rain storm was surrounding us, but the ominous sky framing the picture makes this shot. A minute later we were running for it as the rain started to pour!
ROUNdWAY HILL
Beauty spots come alive in between sunshine and storms
Waiting for the sun

oundway Hill was a fascinating spot as we could watch the giant spotlights of sunshine move across the landscape below. It was a very windy day so the patchy clouds were moving quickly, blocking the sunlight from lighting the whole valley. It meant that we needed to be patient and wait for the optimum point when the suns rays broke through and lit main hillside and area of ridges below. The sun lighting only the middle part of the scene like natures dodging and burning at play! helps to draw the eye into the shot.
S BEST SUN RAY
Roundway Hill
Wiltshires white horses

he stormy day of ever-changing sunny/wet weather continued during our trip. This was both good and bad: good as it meant wed potentially get moody skies if we were lucky; bad as it meant we could get soaked or left with grey clouds and dull light. Thankfully, we got lucky. As we stopped at one of Wiltshires famous white horses, the rain clouds passed over and sun broke to illuminate the white horse and surrounding landscape. We not only got a dark sky to contrast brilliantly against the sunlit elds, but a hint of rainbow too!
DARK SKY
MIXED SKY
RAINBOW!
OLARISER WITHOUT P
Lenses and kit
oom lenses offer the most versatility. We packed a 24-105mm to cover the wide and tele range, a12-28mm for really wide-angle views, an 18-270mm superzoom and 100mm macro, plus a range of lters and a tripod.
Always carry a polariser when youre taking photos outdoors: it helps to boost the blues in skies and greens in the land, as well as overall contrast
WITH POLA RISER

Wilton Windmill
rom Roundway Hill we headed east through Devizes and Pewsey to the pretty little windmill in Wilton, with the plan to shoot Avebury at sunset on our return drive back. We grabbed this shot on the road up to the windmill, using our superzoom lens at 200mm on a 7D to isolate the structure from its surroundings, using the rule of thirds to place the windmill on the left third line.
Although it may seem logical to include the whole windmill in your frame, we came in close with our ultrawide-angle 10-20mm lens and aimed upwards to only include the windmill and sky, exaggerating the size and shape of the vanes for a more dramatic angle of view.
AVEBUrY STONES
Dealing with different light and static subjects in your scenes
Standing stones with added movement
e continued to take photos as it clouded over and chose to use a 10-stop ND lter on our lens to extend the exposure from 1/30 sec to 30 secs. This turned the drab sky into silky smooth blurs to bring a sense of motion to the scene. We liked the idea that the stones are standing still, but time still passes by. However, we know not all of you like long exposures! What do you think?
30 seCs
1/30 seC
Avebury stones
Black & white conversions
o enhance the somewhat dull light and sky, we went for a high-contrast blackand-white conversion. We did all this with our Raw image in Adobe Camera Raw in Photoshop CS6 using the Adjustment Brush to darken the sky, and lighten parts of the ground and the stones selectively. We also boosted the Clarity and sharpened the image strongly to bring out the edge contrast of the stones even more.
Sunshine and shadows

he sunset wed hoped for didnt appear to bathe the Avebury stones in glorious colour. In fact, we were lucky to grab this quick shot in the very last of the sunshine. The strong shadows help to give this shot more depth and emphasise the stones imposing stature. We carefully composed this shot to include only sky, land and the stones cropping in a 4x5 format to remove a tree on the left.
Snowdrop shots
utdoor photography doesnt need to mean big views of big scenes. We always carry a macro lens as you never know when small-yet-beautiful subjects will appear. We spotted these snowdrops on the way home from Avebury and couldnt resist a quick close-up shot before sundown. It was impossible to get a get background behind the owers, so we simply held a black coat behind them this really helps the snowdrops stand out for a more artistic photo. We shot at f/8 to ensure the ower heads were sharp. n
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Skills
Hollie Latham
Staff writer
hollie.latham@futurenet.com
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To view our videos, click on the Watch the Video badges that WATCH appear THE VIDEo alongside the http:/ /bit.ly/1iUxuvR tutorials.
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out stormy seas with a neutral density lter 40 Smooth
ong-exposure orslo-mo seascapes are popular with many landscape photographers. By slowing down your shutter speed to several seconds or longer you can turn stormy seas and waterfalls, rivers and moving clouds into silky blurs that convey a sense of movement in a static image. To obtain a long exposure youll need a neutral density (ND) lter, and in part two of our series on lters well show you how to use one to shoot a moody coastal scene. Also this issue weve got two fun new projects for you to try out. Well show you how to shoot spring owers from a low angle to capture a bugs eye view of the world, andhow to use off-camera ash to capture amazing close-up shots of a strawberry splashing into a bowl of milk. And in our Elements tutorials well show you how to paste a portrait subject into a new backdrop to create a convincing composite image, how to use Levels to x exposure problems, and how to sharpen Raw shots in ACR.
PROJecT
PHOTOsHOp ELeMeNTs/CS/CC
The latest versions of Photoshop Elements, CS and CC have signicant differences from previous versions, with a redesigned interface and major changes to the way Adobe Camera Raw works. We are now producing most of our tutorials with these newer versions, and while its possible to follow the lessons in older versions with a little adaptation, we recommend upgrading.
your Raw images in ACR 44Sharpen
down low for abugs eye view! 46Get
histograms & Levels in Elements 50 Master
MASTERCLASS
a seamless composite image 64Create
Captu spectacular 66 splashing strawberry shots with ash!
re
PhotoPlus March 2014 | 39
Skills Long-exposure seascape photography
WATCH THE VIdEO
Your guide
Hollie Latham
Smooth stormy seas with an ND filter

Capture dreamy, atmospheric seascapes by using a neutral density lterto obtain a long exposure that blurs moving water and clouds
MAsTER FILTERs: PART 2
Hollie Latham
Download start image at: http://downloads.photoplusmag.com/86_1.zip
Photoshop Elements
n the second part of our series on lens lters were going to show you how to capture long exposures with the aid ofaneutral density lter. An ND lter is simply asemi-opaque piece of glass or other material that reduces the amount of light reaching your sensor, enabling you to obtain slow shutter speeds that turn moving water and clouds into a silky blur. There are a variety of ND lters on the market. Circular threaded screw-in lters are the simplest to use, but these can be limiting in terms of the shutter speeds you can obtain unless you use thevariable kind (see Phrase Book, page 43), aswe have for this project. Theother option is slot-in lters; these can be ddly to set up, as they require you to rst attach a lter holder to
your lens via an adapter, and then slot square or oblong lters into the holder, but the advantage is that, once youve done this, its easy to swap lters, stack ND lters to get the required density, or add different kinds of lter (for example a graduated ND lter) to the mix. Both types of lter come in varying densities, and reduce the light by between one stop and tenstops. Confusingly, different manufacturers calibrate the density differently, but you can nd tables online that enable you to compare these ratings, to help you decide what density you need; this will of course depend on the lighting youre shooting in. We headed to Porthcawl on the South Wales coast, to use an ND lter to capture dramatic slo-mo seascapes
Checklist
What youll need
Standard lens Neutral density lter Remote shutter release Tripod Photoshop Elements
How long itll take

One day
The skills youll learn
ow to use a neutral density H filter to control shutter speeds ow to compose and focus H a seascape image ow to enhance your image H inPhotoshop Elements
Skills Long-exposure seascape photography
Phrase Book
Bulb mode
Youll need to set your D-SLR to Bulb mode ifyou want to capture exposures longer than 30 seconds, which is usually the longest shutter speed available in the regular shooting modes. In Bulb mode you can control how long your exposure is by pressing the shutter release once to start the exposure and again to end it, and this enables you to shoot exposures that are several minutes long. Ifyour camera doesnt have a Bulb option on the Mode dial, you can select Bulb mode by scrolling past the longest shutter speed thats available in Manual mode.
Neutral density lters are widely used in seascape photography, as they enable you to use a slower shutter speed to blur the movement of water and clouds. Find a suitably rugged and dramatic-looking stretch of coastline, and for the best results shoot on aday when there are clouds in the sky, ideally with enough wind to create some movement.
Location and weather
Set your camera to Manual mode, and dial in anarrow aperture of f/16-22; this will keep the scene sharp from front to back, and will also help to stop down the light. Set the ISO to 100. The shutter speed required for a good exposure will depend on the ambient light conditions and the density of the lter. Towork out the shutter speed, take a test shot without the lter, note the shutter speed, then calculate the speed with the lter tted (See Super Tip).
Camera settings
Super Tip!
Determining the correct exposure settings withan ND lter tted can be tricky, and there are conversion tables online to help you. Take a test shot without the lter tted, and note the shutter speed; once you know this, and the lter density youre using, you can see what theadjusted shutter speed should be. Andif that still sounds complicated, there are apps available for your smartphone that will work everything out for you!
When youre shooting long exposures its crucialthat the camera remains completely stillfor the duration to avoid camera shake, so youll need to mount it on a tripod. Its also a good idea to usea remote release to re the shutter, as even the actof pressing the shutter can be enough to disturb the camera and cause blurred shots; if you dont havearemote use the 2-sec self-timer setting.
Tripod and remote
Fit the ND lter to your lens. For our shoot we used a variable ND, which enabled us to adjust the density of the lter from approximately one stop up to eight stops by rotating the outer ring; dont ever use a variable ND at its densest setting, however, as youll get an uneven darkening effect across the frame.
Attach the lter
Use Live View to compose your shot, as youll be able to see more clearly on the rear LCD. Use the rule of thirds to position the horizon, and include some foreground interest, such as rocks, to lead the eye into the scene. Live View also makes it easier to focus, as your cameras autofocus is likely to struggle once the ND lter is tted. Switch your lens to manual, zoom in and adjust the focus ring so that key detail is sharp.
Compose and focus
Use your calculated shutter speed as a starting point, half-press the shutter button to meter the scene and turn the dial to adjust the shutter speed ifrequired, until the exposure level indicator is in the middle of the range. If youre shooting in low light or using a very dense lter, and need an exposure longer than 30 seconds, use Bulb mode (see Phrase Book).
Shutter speed
Next issue Neutral density graduated lters
Super Tip!
If youre shooting in stormy conditions make sure you use asturdy tripod. Sometripods have a hook attached to the bottom of the centre column, from which you can hang your kitbag or a weight toensure it remains completely still in windy conditions. When youre by the coast make sure youve got a lens cloth too, so that you can keep your lens clear of spray.
Take a test shot, and check the histogram to ensure you havent clipped highlights or shadows; if highlights are clipped the histogram will be cut off at the right end, and if shadows are clipped itll be cut off at the left end. Adjust the shutter speed, if required, to capture a balanced exposure.
Take a test shot
Create a new layer, set the foreground colour to black and select the Gradient tool. In the Options panel click the Linear and Transparency buttons, then click the Edit button and select the Foreground to Transparent preset. Draw a diagonal gradient from thetop-left of the image to the horizon.
Draw a gradient
Try out a variety of shooting angles and compositions. If youre surrounded by cliffs or high rocks get down low for added drama, or if youre high up on rocks, as we were, angle the camera down to get some of the rocks in the foreground. Look out for rocks or groynes in the sea that you can use as leading lines, and focal points such as a lighthouse or jetty.
Start shooting
Set the layers blending mode to Overlay; this darkens the midtones and dark tones in the sky, and evens out the exposure. Target the Background layer, take the Quick Selection tool and select the sky. To blur the clouds a bit more go to Filter > Blur > Motion Blur, set Angle to 0 and Distance to 251 and click OK. Press Ctrl+D to deselect the selection. Add a Levels adjustment layer and set Shadows to 6, Midtones to 1.11 and Highlights to 246 to boost the contrast.
Blur the sky
Phrase Book
Variable ND lter
Variable or fader NDlters are screw-on lters that contain two polarising elements. Twisting the lters adjustment ring rotates one element in relation to the other to create a progressively denser effect, which typically ranges from two to eight stops, enabling you to obtain varying shutter speeds without having to swapor stack lters. Note, however, that at the densest settings the amount of light reduction can be uneven across the frame, and in extreme cases you can end up with a dark cross that completely ruins the image; this effect is more pronounced with wide-angle lenses.
Open the start image in ACR in Elements. Set Shadows to +53 and Blacks to -21 to lighten theshadows, then set Contrast to +21, and Clarity to +33 to increase the local contrast. Set Vibrance to +68 and Saturation to +22 to boost the colours, and set Highlights to -13 to recover the slightly clipped highlights. Click Open Image to open the shot in Elements Expert/Full Edit workspace.
ACR adjustments
Click Layer 1, and hit Ctrl+Alt+Shift+E to create amerged layer. Go to Enhance > Adjust Lighting > Shadows/Highlights and set Lighten Shadows to 6%, Darken Highlights to 13% and Midtone Contrast to+28%. Add a Hue/Saturation adjustment layer and setSaturation to +18. Create another merged layer and go to Filter > Correct Camera Distortion. Set Vignette Amount to -36 and Midpoint to +44, and click OK. n
Add a vignette
Skills Elements Essentials

waTch The ViDeO
Your guide
George Cairns
RAW IN ELeMenTs: ParT 4
Sharpen Raw shots

Checklist
What youll need
Photoshop Elements
Get your Raw images pin-sharp without introducing unwanted artefacts, using ACRs powerful set of sliders
he process of digital capture has an inherent softening effect on images particularly if an anti-aliasing lter is used in-camera to counter moir patterning in busy textures. In-camera capture sharpening helps to compensate for this effect, and your Canon D-SLR applies sharpening to JPEGs and Raw les. If you process your Raw shots in Canons DPP software you can adjust the sharpening settings post-shoot, but if you process images in Elements the sharpening settings will be ignored; instead ACR will apply a default sharpening effect, which you can ne-tune using the sliders on the Detail panel. When you sharpen a shot you risk exaggerating noise and details such as skin pores, and creating unsightly edge halos; ACRs sliders enable you to sharpen key detail without introducing artefacts elsewhere. Note that sharpening should be the last step in your editing workow, so if you plan to do a lot of editing in Elements main editor youre better off using its Unsharp Mask lter after making those edits.
How long itll take

15 minutes
How to use Camera Raws Amount and Radius sliders toincrease edge definition How to use the Masking and Detail sliders to control which areas of a shot are sharpened
Future owns
Photoshop Elements
STEP BY STEP Sharpen an image in Camera Raw

Phrase Book
Detail frequency
The sharpening settings you need will depend in part on the frequency of detail in an image. Images with lots of high-frequency detail ne, closely spaced edges, such as ina typical landscape shot will need higher Amount settings, lower Radius settings, higher Detail settings and lower Masking settings. Images with mostly low-frequency detail fewer, more dened edges, such asin our portrait will require lower Amount, higher Radius, lower Detail and higher Masking settings.
Open the start image in ACR. To assess how much sharpening a shot needs you need to view itat full size. You can dothis by selecting the Zoom tool, right-clicking on theimage and choosing 100% from the menu, or by double-clicking the Zoom tools icon.
Zoom in
The Detail slider enables you to control the degree to which ne details and textures are sharpened; low values limit the sharpening to distinct edges, such as the eye lashes, while higher settings will also sharpen ne detail like skin pores. If you hold down Alt as you drag the slider, youll again see a greyscale preview showing where the effect is being applied.
Detail slider
Scroll to view the eyes, which are generally the keyfeatures in a portrait, and click the Detail tab. Some sharpening is applied by default, so set the sliders to 0 so that you can see the unsharpened image; the subjects right eye is slightly softer than her left one due to the shallow depth of eld.
Zero the sliders
The Masking slider enables you to control which areas are sharpened in a slightly different way. Ata setting of 0 everything in the image is sharpened, but at higher settings sharpening is masked from areasof smooth tone such as the skin, and limited to high-contrast edges. Again, hold down Alt to preview the effect: white areas will be sharpened, while black areas are masked. Set the Masking slider to 84.
Masking slider
Super Tip!
Note that the sharpening tools in ACR cant correct blur caused by camera shake or inaccurate focusing; Elements Smart Sharpen lter is better for this. And, while youcan limit areas to which sharpening is applied in ACR, if you want to apply selective sharpening to just the eyes in a portrait for example youre better off using Unsharp Mask, and localising the effect with a layer mask. If youre going to print ashot you may need to apply a second, output sharpening process to counter the softening effect of inkjet printers.
Start by setting Amount to 150: this slider boosts the contrast on either side of edges to make them stand out more. Now set Radius to the maximum 3; this slider controls the distance in pixels on either side of edges over which contrast is increased, but high settings make textures like skin pores stand out, and can create halos around high-contrast edges. Reduce Amount to 65 and Radius to 2 for a more subtle effect; ifyou hold down Alt as you drag either slider youll see agreyscale preview to help you gauge its effect.
Amount and Radius
Once youve used the Detail and Masking sliders to control where the sharpening is applied, you can go back and ne-tune your Amount and/or Radius settings. Increase Amount to 79 this sharpens the subjects softer-looking right eye effectively, without over-sharpening the left eye.
Fine-tuning
Skills Low-perspective photography
Your guide
Hollie Latham
Photoshop Elements
Its a bugs view!

Checklist
A wide-angle lens, ideally afisheye Magnifying glass Photoshop Elements
Get down low to capture fun images from a whole new perspective
What youll need
How long itll take

Half a day
ow to compose and shoot H from a low-level perspective ow to combine three shots H tocreate a composite image ow to hide and reveal areas H using selections and masks
hen were shooting any subject, whether its a landscape or a portrait, its easy to fall into the habit of capturing the scene or subject exactly how we see it with our eye, rather than experimenting with more unusual and interesting angles to capture images with a different feel. Low vantage points are one option thats easily overlooked theres a whole other world right beneath our feet, and by shooting from extreme low angles we can capture a bugs eye view to turn
everyday scenes into something more unusual and engaging. With spring upon us, public gardens, parks and even your ownback garden will be in bloom with an array of colourful owers, creating the perfect opportunity to take some ower shots with a low-angle twist. The trick is to position your camera as low as possible within the surrounding foliage, and pointing up towards the sky to give the illusion of the owers towering above you and if theres a shortage of suitable owers you can simply buy a pot
plant like wedid, and nestle your camera amongst the blooms. To add some action and an element of fun to your image, andto enhance the sense of scale and perspective, you can include a person. Have them looming over you with a magnifying glass,or capture their foot towering over the owers as if theyre about to squash you! Getting everything sharp and well focused can be tricky when youre shooting from low angles, so weve combined three images in Elements toget our bugs eye effect
wAtch thE ViDEO
Hollie Latham
Skills Low-perspective photography
Phrase Book
Fisheye lens
A sheye lens is an ultra-wide-angle optic that produces a distorted, spherical image. The 180 degree angle of view bends straight lines and distorts features, and the further the detail is from the centre ofthe frame the greater the distortion. There are two types ofsheye lenses: afull-frame sheye captures an image that lls the entire frame, and a circular sheye captures a circular image in the middle of the frame, surrounded by a dark border.
To capture a scene from a bugs perspective you need to think like a bug! For the best results youll want to nd some owers that are tall enough to nestle your camera among; however in the local park that we choose for our shoot there were only a few patches of crocuses, so we took along a pot plant to shoot.
Find some owers
Shooting from an extreme low angle can make composing your shots a challenge. Using Live View will help, but even then you may not be able to see the rear LCD clearly. If your camera has a ip-out LCD like ours then youre in luck; if it doesnt, be prepared to lie down on the ground and get a bit muddy! Set your lens to autofocus, position your focus point over your main subject and start shooting.
Compose and focus
Super Tip!
It can be tricky to get every part of your scene well focused and properly exposed when youre shooting from awkward angles, so for the best results re off a series of shots with the camera settings optimised for each element the subject, foreground and sky in this case to ensure everythings sharp andwell exposed in at least one shot; you can then combine images at the editing stage ifrequired, as weve done.
The wider your lens the better, and a sheye lens is ideal for the effect we want. With asuper-wide angle of 180 degrees, a sheye enables youto get plenty of the background in the frame along with yoursubject, which is great for creating context, and italso produces heavy distortion, which exaggerates the perspective. For our shoot we used the Tokina 10-17mm f/3.5-4.5 sheye lens.
Fisheye lens
Open the two DNG start images in ACR in Elements, and click the eye_start thumbnail to select that image. We want to lighten the subjects left eye, which well blow up inside the magnifying glass, soset Shadows to +72 to add some ll light (dont worry about the clipped sky, as this wont be visible), and set Vibrance and Clarity to +25 to boost the colour and denition. Next click the bug_start thumbnail.
Enhance the eye
Set your camera to Aperture Priority (Av) mode, and set a wide aperture of f/5.6 to let in plenty of light, so that you can get a fast enough shutter speed toshoot handheld while keeping the ISO at 100 for maximum quality. The camera will select a suitable shutter speed, but keep an eye on this to ensure its fast enough to capture blur-free shots.
Camera settings
Set Exposure to +0.15 and Shadows to +60 to brighten the main image. To pull back the clipped highlights on the subject set Highlights and Whites to -28; again, dont worry about clipping in the sky, as well be replacing it. Set Clarity to +20, and Vibrance to +33 to boost the colours without oversaturating the image. Select both images and click Open Images.
Lighten the foreground
Master depth of eld for top ower shots! See page 72
Super Tip!
If you want to move and/or transform the eye layer in Step 7, or the sky layer in Step 11, after youve created the layer mask, youll need to unlink the mask, otherwise whenyou transform the layer youll either obscure parts of the bug layer that you want to see, or reveal parts of it that should be hidden. To unlink the mask, click the chain icon between the layer thumbnail and the mask thumbnail.
Target the eye_start image. Take the Quick Selection tool, and make a rough selection of the face inside the magnifying glass. Press Ctrl+C to copy the selection, then target the bug_start image, and press Ctrl+V to paste in the selected eye as a new layer. Reduce this layers opacity to 60%, then click Show Bounding Box, and resize and rotate the layer so the eye lls the magnifying glass (see Phrase Book).
Resize the eye
Hide the sky layer, then target the Background layer, and use the Quick Selection tool to select the sky and background foliage. Click Rene Edge, setFeather to 2 pixels and click OK. Target the sky layer, make it visible again, and with the sky selection active click the Add Layer Mask button to add a mask that only reveals the sky in the background.
Reveal the sky
Restore the eye layers opacity to 100%, then hide the layer by clicking its visibility box (the eye icon). Target the Background layer, and use the Quick Selection tool to select the area within the magnifying glass. Target the eye layer again, and click the visibility box to reveal it. With the selection still active click the Add Layer Mask button to add a mask to the eye layer that reveals the eye within the magnifying glass.
Reveal the eye
Unlink the mask (see Super Tip) then move andtransform the sky to include more blue sky and white clouds (see Phrase Book). Tidy up the sky layers mask, then target the Background layer, go toEnhance > Adjust Lighting > Shadows/Highlights and set Lighten Shadows to 45%,Darken Highlights to5% and Midtone Contrast to+35%. Click OK.
Transform the sky
Phrase Book
Free Transform
To transform a layer, either select the Move tool and click Show Bounding Box in the Options panel, or press Ctrl+T to activate the Free Transform command. In either case youll seea box with handles appear around the layer. Click-and-drag inside the box to move the layer, or click-anddrag a corner handle to scale the layer up or down. To rotate a layer, as youll need to do with the eye in Step 7, hover your cursor just outside one of the corner handles the cursor will change to a curved double arrow, and you can then clickand-drag to rotate.
Tidy up the edges of the layer mask with black and white brushes if required. Next click the eye layers thumbnail, go to Enhance > Adjust Lighting > Shadows/Highlights and set Lighten Shadows to 25%, then go to Enhance > Adjust Lighting > Brightness/ Contrast and set Brightness to +27. Open sky_start. jpg, and copy and paste this image into the bug_start image as another new layer.
Add the sky
Add a Brightness/Contrast adjustment layer, and set Brightness to +12 and Contrast to +4. Setthe layers blending mode to Overlay to boost the contrast, and reduce the opacity to 20% to tone down the effect. Target the layer mask, and paint over any highlights that have been clipped by the adjustment with a black brush, to hide the effect. n
Brightness/Contrast
Master Levels andhistograms

Diagnose and x exposure problems fast using histograms and the powerful Levels command
Your guide
GUIDE tO ElEmENtS: PARt 6
Checklist
What youll need
Photoshop Elements
How long itll take

20 minutes
How to diagnose problems by reading an images histogram How to adjust an images highlights, shadows and midtones with Levels
George Cairns
he Levels command in Elements enables youtocorrect the exposure and contrast ofan image by altering the brightness levels of pixels. The dialog contains a histogram, which provides a visual display of a shots RGB brightness levels (you can also view a standalone histogram). The left-hand end of the graph represents shadows, with midtones in the centre and highlights at the right-hand end. When you adjust the InputLevels sliders below the histogram, brightness information is shifted orremapped across the tonal range, to lighten or darken corresponding parts of the image. You can apply aLevels adjustment by going to Enhance > Adjust Lighting > Levels; however, itsbetter to use a Levelsadjustment layer, so that you can ne-tune the settings later if needed, and hide orreveal the adjustment selectively by editing the attached layer mask. http:/ /bit.ly/1iUxuvR
wAtch thE VIDEO
Future owns
Photoshop Elements
STEP BY STEP Correct exposure with Levels

Phrase Book
RGB colour
The pixels that make up an RGB image contain three colour channels red, green and blue and the combined brightness values for all three channels determine apixels colour. Thebrightness of a channel is measured on a scale of 0 to 255; if all three channels are at 0 the pixel is pure black, andif all three are at 255 its white. Aswell as adjusting the composite RGB channel to alter the overall brightness of the image, you can adjust the individual channels by selecting them from the menu; this enables you to shift the balance of colours in an image, for example to correct a colour cast see example 4 over the page for more.
Open the start image in Elements we can see that its slightly overexposed. Go to Window > Histogram to open the Histogram panel. By default thepanel displays thebrightness levels of the red, greenand blue colour channels as separate graphs. Tosimplify things, select RGB from the Channel menu to view the composite histogram for all three channels.
Histogram panel
If you go to Enhance > Auto Levels to apply an automated x, the shadows will be darkened to create a better exposure, and the histogram will shift to the left to show how the tones have been redistributed. However, such auto xes are rather hit-and-miss, so well take a more hands-on approach
Auto Levels
Launch Levels
Our example images histogram is squashed towards the middle and right of the window, with no information visible at the left. This conrms that the shot consists mostly of bright midtones and highlights, but lacks dark midtones and shadows.
Analyse the graph
Press Ctrl+Z to undo the Auto Levels adjustment, and go to Enhance > Adjust Lighting > Levels (the keyboard shortcut is Ctrl+L), or click the Create New Adjustment Layer button in the Layers panel and select Levels from the list. In the Levels dialog or Adjustments panel youll see a histogram that corresponds to the one in the Histogram panel.
Super Tip!
The shape of the histogram can vary widely from image to image, but awell-exposed shot of a scene that contains both shadows and highlights should have data right across the graph. If the histogram looks cut off rather than tapering off at one or both ends, this suggests shadows and/or highlights have been clipped; these tones will appear as solid white or black in the image, with no detail visible.
The darkest shadows in a high-contrast shot likethis should have a brightness level of close to0, orpure black, while the brightest highlights will becloseto 255, or pure white. If you mouse over the left edge of the histogram youll see from the readout below that our shots darkest shadows start at around a level of 45, so the blacks are much too weak.
Brightness levels
Input Levels sliders
Directly below the histogram are three sliders these are the Input Levels sliders. The black slider on the left enables you to darken an images shadows, the grey slider in the middle lightens or darkens the midtones, and the white slider on the right lightens highlights. As a rule, you wont need to touch the lower pair of sliders these are the Output Levels sliders, and they simply dull whites or weaken blacks.
Super Tip!
Its worth keeping the Histogram panel open as you make Levels adjustments the Levels histogram doesnt update as you make adjustments but the Histogram panel does, enabling you to see how brightness information is redistributed.
Darken the shadows
Clipping warnings
Drag the Shadows slider to the right until its close to the left edge of the histogram information: this remaps the darkest tones in the shot, which had a level of around 45, to around 0, and darkens the shadows and dark midtones throughout the image. Tick and untick the Preview box to compare the edited image with the unadjusted version.
If you drag the Shadows slider too far youll clip the shadows the darkest tones will become pure black, with no detail. To check for clipping, hold down Alt as you drag the slider; as single or pairs of channels become clipped youll see patches of colour appear, and pixels clipped in all three channels will turn black. If you hold down Alt while dragging the Highlights slider, fully clipped pixels will appear as white.
Get creative with Levels

1 Correct exposure
Here weve dragged the Shadows slider right until it just touches the edge of the histogram, at an input level of 42. This darkens the shadows to produce a wellexposed shot with good contrast, while preserving detail in the shadows.
The Levels sliders enable you to produce a wide range of effects and adjust colours too
3 Clipped highlights
Here weve reset the sliders to their original positions, and then dragged the Highlights slider left to a value of 223; this clips the brightest tones in the shot, which was already overexposed, to pure white, so we lose detail in the highlight areas of the image.
2 Clipped shadows
4 Channel adjustments
Here weve selected Red from the channel menu and dragged the Midtones slider right to 0.62. This weakens the reds and adds cyan, which is the opposite colour. Select Green to adjust the green/ magenta balance, and Blue to adjust blue/yellow. n
Here weve dragged the Shadows slider further to the right, to an input value of 82. This creates much darker and more dramatic-looking shadows, but it also clips the darkest tones, soweve lost detail in those parts of the image.
Your new Canon EOS D-SLR guide
Canon basics
PART 1
Get up and running with your new Canon D-SLR in next to no time!
EE T! FR -OU LL PU
Canon basics
Getting to grips with your D-SLR

Youve just got your D-SLR out of the box what do you do next?
01 INSERT THE BATTERY

The rst thing to do is insert a fully charged battery into the camera. Your Canon D-SLR comes with a lithium-ion battery and charger; when the light on the charger stops ashing the battery is charged. A spare battery is always useful, so if you want a spare check the battery type its printed on the battery and starts with LP.
03 INSERT A MEMORY cARD

The memory card slot will either be on the side of the camera body or in the main battery compartment. To insert the card, push it into the slot until it clicks into place. To remove the card, either press the adjacent eject button, or, for an SD type, push the card in and then release it so it springs from the slot.
02 cHOOSE A MEMORY cARD

Next you need to insert a memory card. Canon D-SLRs take either SD (SD, SDHC, SDXC) or Compact Flash card (some high-end models take both). When choosing a card you need to consider the capacity in GB and the write speed. For beginners wed recommend a 8GB or 16GB card that can write at a speed of 25MB/s or faster.
04 LENS cHANGING TIPS

Swapping lenses is easy, but there are a couple of important points to note. First, switch the camera off before changing the lens, and second, keep the camera sheltered so you dont get the sensor dirty; have the replacement lens to hand, and nd a sheltered spot out of the wind use your camera bag if its large enough.
05 ATTAcH A LENS
Now you can attach your lens. Remove the rear cap from the lens, and the protective body cap from the camera. Align the white or red dot on the lens with the matching dot on the body, insert the lens and twist in a clockwise direction until it clicks into place. To remove the lens, press the lens release button and rotate anti-clockwise.
Your new Canon guide
Finding your way around

Get to grips with the layout and handling of your D-SLR
MAIN DIAL
You can use the main dial to alter camera settings and select features.
Top view: Canon 700D

HOTSHOE
The hotshoe is where you attach a ashgun or other accessory. Slot the device into place, and secure it by tightening the catch on the device.
MODE DIAL
The mode dial enables you to select a shooting mode, which determines what settings the camera will select, and which youll adjust yourself. For beginners the fully auto Scene Intelligent Auto mode is appealing as the camera selects all the shooting settings for you.
ON/Off SWITcH
Turn the camera on and off here. Your D-SLR will power down automatically if you stop using itfor a set amount of time, to save battery power.
Front view: Canon 700D
LENS RElEASE
To remove the lens, press this button and twist the lens in an anti-clockwise direction. Make sure you have the protective body cap or another lens to hand before removing a lens, as you dont want to expose the sensor to dust or moisture.
SHUTTER RElEASE
To take a photo, half-press the shutter release button to focus and meter the scene, then fully press the button to take the shot.
SENSOR
The sensor is the brain of your D-SLR, where images are recorded, processed and written to the memory card. In front of the sensor is a mirror that projects the scene up to the viewnder; when you take a shot the mirror ips up out of the way so that light can pass through to the sensor.
LENS
The beauty of using a D-SLR isthat you can change the lens. Different lenses enable you to alter the zoom range, the angle of view, and the widest available aperture.
Canon basics
Back view: Canon 700D
MENU ANd INfO BUTTON VIEWfINdER
To access your cameras menus press the Menu button. The adjacent Info button (DISP on older models such as the 550D) enables you to change the display in the shooting and Playback modes.
To compose an image look through the viewnder. Next to the viewnder isthe dioptre control, which you can adjust tooptimise the image in the viewnder to suit your eyesight.
LCD ScREEN
The LCD screen enables you toreview images, compose shots in Live View mode, and display shooting information and menus. Some Canon D-SLRs, such as this 700D, feature a vari-angle LCD screen to help you compose shots at awkward angles.
lIvE vIEW mOdE
To compose an image on the rear LCD, rather than looking though the viewnder, press this button to activate Live View mode.
cROSS KEYS
The four cross keys enable you to quickly alter settings and navigate through the menus. Press Set to select an option.
Side view: Canon 700D

BUIlT-IN FlASH
All beginner EOS cameras, and some in the enthusiast range, include a built-in ash for illuminating subjects in low light. To pop the ash up, press the button marked with a lightning symbol. The built-in ash can also be used to trigger external ashguns or studio lights.
CONNEcTION POINTS
To connect your camera to another device, such as a computer or TV, lift the rubber connection ap and insert the cable into the correct port. Youcan also connect a remote shutter release here, which enables you to re the shutter without touching the camera.
MEmORY cARd
On the other side of the camera isthe memory card slot. On some Canon D-SLRs the memory card slot is at the bottom of the camera, in the battery compartment.
Start totake control

Top view: Canon 700D
SHOOTING mOdES
Heres how to quickly alter key shooting settings
In addition to the Scene Intelligent Auto mode, there are several other auto modes optimised for particular subjects, such as Portrait, Landscape and Close-up. Creative Auto mode enables you to make basic adjustments to control exposure and depth of eld (background blurring). When youre ready to take more control of shooting settings yourself, head for the Creative Zone modes: Program (P), Shutter Priority (Tv), Aperture Priority (Av) and Manual (M).
Back view: Canon 700D

cROSS KEY fUNcTIONS
Beginner and most enthusiast Canon D-SLRs have these four buttons. They enable you to navigate through the menus, and to access individual functions quickly, such as White Balance, Drive Mode, autofocus (AF) settings and Picture Styles.
SET BUTTON
Situated in the centre of the cross keys, the Set button enables you to select features and change settings.
Canon basics
Advanced EOS D-SLRs

Back view: Canon 5D Mk III
Professional and some enthusiast cameras use a different back panel setup, making it easier to take control of shooting settings
Top: Canon 5D Mk III

MUlTI-cONTROllER
This mini joystick controller is only found onsome enthusiast and professional Canon D-SLRs. You can use it in conjunction with the Quick Control dial and touch pad to navigate through settings and menu systems.
QUIcK cONTROl dIAl SET BUTTON

The Set button is situated in the centre of the Quick Control dial. Press this to select menu options and alter camera settings.
If you have a enthusiast or professional Canon D-SLR body, the back panel controls are different. A combined Quick Control dial and touch pad enable you to navigate through menus and change settings.
Learning the menu basics
01 MENU BUTTONS & cONTROLS

You can access lots of features and settings through the buttons onyour camera, but to see everything you need to head into the main menu system. Press the Menu button, and use the cross keysto navigate through the menus. Highlight the required setting, and use the Set button and cross keys to make adjustments.
Your D-SLRs menus enable you toselect and adjust key settings
03 THE BLUE SEcTION

Under the blue Playback section youll nd the settings for reviewing images, which include options to protect, rotate and erase shots. One of the most useful options here is Image Jump: you can assign the command dial to jump through images ten at a time when reviewing, rather than one at a time, to speed things up.
02 THE RED SEcTION

The rst three sections, labelled with a red camera icon, contain theshooting settings here you can adjust settings such as Image Quality, Picture Styles and the custom White Balance setting. After the camera settings are the Live View options; these is also labelled with a red camera, but the icon shows the back of the camera.
04 THE YELLOW SEcTION

In the yellow section of the main menu are the Set-up menus, indicated bythe spanner icon. Here you can set the time and date, format memory cards and update the cameras rmware, among other things. You can also alter the brightness of the rear LCD screen to your taste but this doesnt actually brighten your shots!
05 THE GREEN SEcTION

The nal section, marked with a star and coloured green, is My Menu here you can create your own custom menu of frequently used options. If you have a more advanced model your camera mayalso have an orange Custom Camera Settings section, which enables you to create a bespoke setup for your D-SLR.
Canon basics
Setting up your new Canon

Congure a few key settings and youre ready to start shooting!
01 SET DATE AND TIME

It may not seem a priority, but before you start shooting you need to set the time and date it can be a real help later when youre searching for images. Press Menu and navigate to the yellow Setup section. Navigate to the Date/Time option, press Set, and work through the options using the cross keys and Set button.
03 IMAGE QUALITY OPTIONS

Another key setting in the camera settings menu is Image Quality. Your D-SLR can capture images in two formats: Raw and JPEG. Raw images offer superior quality, but need to be processed in an editor such as Canon Digital Photo Professional or Adobe Camera Raw. JPEGs are processed in-camera, and so are ready to go.
02 fORMAT THE MEMORY cARD

Also in the yellow Set-up menu, theres an option for deleting everything from the memory card this is called formatting. Besure to copy over all your shots from a memory card to your PC before you format it, as the card will be wiped clean. Navigate to Format, press Set, then navigate to OK and press set to complete.
04 SET THE IMAGE QUALITY

A good compromise when youre starting out is to select the Raw+JPEG option; that way youll have usable images straight from the camera, but you can also experiment with Raw processing. Just be aware that Raw les are much bigger than compressed JPEGs, so youll ll up memory cards quickly.
05 LENS TO AUTO
One last thing before you start shooting is to set your lens to AF. AF stands for autofocus, and its best to stick with this while you get to grips your D-SLR, as the camera will take care of focusing; youll hear a beep when the focus has locked on. As you get more condent you can new AF options, and manual focusing. n
ADVaNcED EDIts: PaRt 4

Future owns
Your guide
George Cairns
Select a subject, place them in a new background, and use a host of tools and tricks to create a seamless composite
Create a simple composite image

P
What youll need
Photoshop Elements
watch thE VIDEO
Checklist
How long itll take
20 minutes
How to fine-tune a selection using Refine Edge How to create a depth of field effect using a filter and mask How to match the lighting and colour between component images in a composite
reviously in our series on advanced editing inElements weve looked at how you can use thevarious selection tools to isolate parts of an image and cut out subjects, and weve seen how you can use layer masks and the powerful Rene Edge command to ne-tune your selections. In this walkthrough well be using those tools, and somenew tools and techniques, to create a simple composite image, which is simply an image that comprises elements from two or more photos. Wellbe cutting out a model who we photographed against a plain studio backdrop, and pasting them intoa new background. There are a few things that are key to creating a convincing composite, and the rst is the selection of your subject. You want them to blend in seamlessly
with their new surroundings, and not to look obviously cut out, so well show you how to use Rene Edge to select delicate edge detail such as hair, and to feather the selection so that the edges are soft and natural looking, rather than hard. Its also important that the lighting and colours ofthe subject match those of their background; if not theyll stand out like a sore thumb. Well show you how to use Levels and a Photo Filter adjustment layer to tweak the tones, and how to use a clipping mask to restrict the effect of an adjustment to a single layer. You also need to match the scale of your component images, which you can do using Free Transform. And, for a convincing portrait effect, well show you how to use the Lens Blur lter and a layer mask to emulate a shallow depth of eld.
Photoshop Elements
STEP BY STEP Create a convincing composite

Phrase Book
Select All, Copy andPaste
Before you can copy and paste the new background image into the girl image in step 4 you need to select the canvas, which you can do by going to Select > All orpressing Ctrl+A. Tocopy the image goto Edit > Copy, or press Ctrl+C, and to paste it into the girl image go to Edit > Paste, or press Ctrl+V.
Open foreground_start.jpg. Take the Quick Selection tool, and in the Options panel set Size to95 pixels. Click the New Selection button, and paint over the girl to select her. If you select bits of backdrop click Subtract from Selection, or hold down Alt, and paint over those areas to deselect them. When youre happy with the selection click the Rene Edge button.
Select the girl
Open background_start.jpg, copy it, and paste itinto the girl image as a new layer. Click the new layer in the Layers panel and drag it below the cut-out layer. Press Ctrl+T to activate Free Transform, and drag a corner handle on the bounding box inwards to scale down the background. Hit Return to apply.
Add a new background
In the Rene Edge dialog select On White from theView menu, tick Smart Radius and set Radius to 2.4. Click the Rene Radius tool icon (below the Hand tool), and in the Options panel set Size to 70. Zoom in onthe hair, and paint around the edges to reveal more of the ne hairs. Set Feather to 1.4 pixels to soften the edges of the selection, then choose New Layer with Layer Mask from the Output To menu and click OK.
Rene Edge
Click the Layer 1 thumbnail, and press Ctrl+J to duplicate the layer. Go to Filter > Blur > Lens Blur, set Radius to 55 and click OK. Add a mask to this layer, and select the Gradient tool. Click the Linear button, then click the Edit button and choose Foreground to Background. Click on the mask, hold down Shift, and draw a gradient from about a third of the way down the image to the bottom to graduate the blur and create a realistic depth of eld effect.
Blur the background
Super Tip!
When you adda layer mask toan image layer, theforeground and background toolbox colours will default towhite and black respectively, sowhen you draw theForeground to Background gradient itll run from white to black. If the toolbox colours are the wrong way round, which you maynd is the case ifyouve clicked off themask thumbnail and onto thelayer thumbnail, simply hitXto reverse them again.
The selection will be converted into a mask, withblack areas hiding the corresponding parts ofthe layer, and white areas revealing the girl. If needs beyou can tidy up the selection by clicking the mask thumbnail, and then painting on the image with a white brush to reveal missing bits of the girl, or a black brush to hide any bits of background that are still visible.
Edit the mask
Target the girl layer and go to Enhance > Adjust Lighting > Levels. Drag the Midtones slider left to 1.30 to lighten the girls tones to match the backdrop. We also need to warm up the girls tones to match the backdrop, so add a Photo Filter adjustment layer, leave it set to Warming Filter (85) and go to Layer > Create Clipping Mask so the adjustment only affects the girl.
Match colour and tone
Skills Liquid splash photography
Your guide
James Paterson
Shoot splashing strawberries!

C
Checklist
Flashgun Tripod Reflector with diffuser material Milk Strawberries Wide container Towel Photoshop Elements
Find out how to capture spectacular split-second splashes with our fun guide to shooting falling fruit
apturing the exact moment a falling object splashes into liquid can produce amazing photos, but toget good results youll need sound camera skills, the right kit, and a good deal of patience. In this Masterclass were going to show you how to shoot a staple of TV cereal ads the classic combo of strawberries and milk. The aim is to freeze the motion ofthe falling strawberry at thesplit second itbreaks thesurface ofthe milkfor a spectacular close-up splash. Its not an exact science; you might nail the shot on your rst try or your hundredth, but thats all part of the fun! As well as the strawberries and milk, youll need a tripod and a ashgun. Frontal ash destroys depth, and depth is exactly what we need in order to capture the contours of the splashing milk, so well light the splash from the side by ring the ash off-camera. We also need to make sure the ash duration is short, in order to freeze the motion without blur. Once weve got our shot welluse Photoshop Elements to boost the colours and give ita professional nish.
What youll need
How long itll take

Two hours
How to fire a flash off-camera tolight a scene from the side How to use a low flash power fora faster flash duration How to retouch the image andenhance the colours
wAtCh thE VIDEO
James Paterson
Help me buy a Reector See page 88
Splash and ash

Heres how to set up your D-SLR and off-camera ashgun to capture a split-second splash
Set up the shot
Fill a wide tray with milk. Things can get a little messy, so lie a towel underneath, and keep plenty of kitchen paper to hand. Mount your camera on atripod and compose the shot, using along focal length so you can keep the camera away from the spray of milk. Itshard to predict how far the splash will spread, so frame the shot loosely; you can crop in tighter later if necessary.
STEP BY STEP
Pre-focus
We need to pre-focus on the spot where we intend the strawberry tohit this will be our drop zone. Placea small, heavy object in the milk, then focus on it and switch the lens to Manual focus to lock it. Next we need tomake sure we land precisely on this spot: here weve rigged a wire hanger directly above thespot, so that when we drop the strawberry through the loop itll land within the plane of focus.
Light the splash

Weve used a Gloxy ash to light the scene, positioned to the left and angled down from above. We can trigger the unit using our D-SLRs pop-up ash. First set the ashgun to act as a slave this means itll re when another ash triggers it. Next open the pop-up ash, go to the Built-in Flash options in the Flash Control menu, and dial in a low ash power of 1/128. Our pop-up ash will now trigger the ashgun, and itll also act as a ll ash to lift the shadows.
Diffuse the light

If we re the ash directly at the strawberry itll create harsh shadows, soweve used a diffuser to soften the light. Ave-way reector comes in handy here; we positioned the diffuser between the ash and the tray to soften the light, and placed the reectorssoft silver case opposite the ash to bounce some of the light back into the shadows.
Control ash power

To capture the splash without motion blur we need a very short ash duration. This is easier toachieve with a low ash power, soset the ash to Manual at around 1/8, set your camera to Manual and re some test shots to determine the exposure (1/250 sec at f/18, ISO400 here). Keep the ambient light to a minimum by turning off lights and closing curtains, so the ash alone captures the action.
Drop and shoot

When youre ready, hold the strawberry with your nger poised on the shutter, then drop it and try to capture iton impact. Fish the strawberry out, dab itwith a bit of kitchen paper so it looks clean for the next shot, then try again. What were looking for is a nice clean splash, and a mostly visible strawberry. Be prepared to work at it; it took us about an hour, and 140 shots, to capture three or four good frames!
Phrase Book
Flash duration
Flash duration refers to the duration in fractions of a second of the burst of light. Durations vary between models, but they typically start at around 1/500 sec when the ash is at fullpower. If the power is reduced, then the burst of light becomes quicker, which is why weve lowered the power of our ash hereto 1/8 for a ash duration short enough to capture the splitsecond splash.
STEP BY STEP Enhance your splash image
Open the start image in ACR in Elements. Click the right of the three panel tabs to access the Camera Calibration panel. The Camera Prole options are emulations of your Canon D-SLRs picture styles; by default, the prole is set to Adobe Standard, but itsworth trying the others to see the effect they have on the colours Camera Portrait works well here.
Set the Camera Prole
Click Open Image to open the image in Elements Expert/Full Edit mode. The milk is looking a little yellow in the shadows, so click the Create Adjustment Layer button in the Layers panel and choose Hue/ Saturation. Select Yellows from the colour menu, and reduce Saturation to around -60.
Tone down the yellows
Fix the white balance
Super Tip!
Whenever we use a ash were effectively combining two exposures: one for the ambient light and another for the ash light. Shutter speed only has a bearing on the ambient exposure; it plays no part in the ash exposure. This is because the burst of light from the ash is almost instantaneous (much faster than your D-SLRs maximum sync speed). So to prevent motion blur we need to make sure we underexpose the ambient light as much as possible by taking the shot in near darkness.
Click the Basic tab, and select the White Balancetool. We can click with this on an area ofour image that we know should be colour-neutral to x any colour cast. Click on the milk on the left to cool the colours, and note how this affects the Temperature and Tint sliders Temperature should now be set to around 5100, and Tint to around +27.
The Hue/Saturation adjustment is desaturating the yellows in the strawberry as well, which we dont want. Take the Brush tool, hit D and then X to set the foreground colour to black, and choose a softedged brush tip. Target the Hue/Saturation layers mask by clicking its thumbnail, then paint with black over the strawberry to hide the colour adjustment.
Mask the colour change
Use the sliders on the Basic panel to enhance theexposure, contrast and colours. Set Exposure to+0.10, Contrast to +13, Highlights to +26, Shadows to +13, Whites to +19, Blacks to -18, Clarity to +8, and Saturation to +23. Next click the Detail panels tab. Zoom to 100%, and set Luminance to 44 to reduce the image noise. Set Sharpening Amount to 54 and Radius to 1.2, then hold down Alt and drag the Masking slider to55 to restrict the sharpening to well-dened edges.
Enhance the tones
Click the Create New Layer icon in the Layers panel to add a new, empty layer. Select the Spot Healing Brush tool, and tick Sample All Layers in the Options panel so that we can clone out marks and blemishes on the new layer while sampling from the layers below. Click once on each blemish to remove it, tapping ] and [ to resize the brush tip as you work.
Retouch the image
Download project les at: http://downloads.photoplusmag.com/86_6.zip
Next issue Fishy photo effects!
Super Tip!
The High Pass sharpening technique is useful for images such as ours, where you only want to sharpen distinct edges and not textures, and dont want to sharpen any noise in the image. The High Pass lter itself picks out the edges in the image based on the Radius setting you enter, and the rest ofthe image appears as neutral grey. When you set thelayers blending mode to Overlay the grey disappears, and contrast between the light and dark tones on either side of edges is increased, creating the effect of greater sharpness.
Use the Clone Stamp tool to tidy up any larger blemishes. Tick Sample All Layers as before, thenAlt-click to sample pixels from aclean area of theimage, and click-and-drag to clone these over each blemish; reduce the opacity of the tool in the Options panel where you need to blend in tones. Here, the splash at the top is cut off by the edge of the frame, which is distracting, so weve cloned background pixelsaround the top of the splash to round it off.
Clone out blemishes
Switch to the Dodge tool, set Range to Highlights and Exposure to 10%, and brush over the milk beneath the strawberry to lighten it; pick out some of the highlights on the strawberry stem too. When youre happy, experiment by reducing the layer opacity to tone down the effect weve set it to 70% here.
Dodge the milk
Click the top layer, and press Ctrl+Shift+Alt+E to merge all the visible layer information into a new layer at the top of the stack; well use this layer to dodge and burn our image. The lower half of the strawberry islacking in denition, so take the Burn tool, set Range to Shadows and Exposure to 10% in the Options panel, and brush over the strawberry to darken it.
Burn the strawberry
Press Ctrl+Shift+Alt+E to create another merged layer, then go to Filter > Other > High Pass. Well use this lter to apply a sharpening effect that crisps upedges without exacerbating noise. Set Radius to 2 pixels and hit OK, then set the layers blending mode to Overlay. Finally, add a Levels adjustment layer and set Midtones to 1.06 and Shadows to 5, to lighten the image a little while preserving the darkest tones.
Sharpen with High Pass
Phrase Book
Camera proles
The Camera Calibration panel in Camera Raw enables you to choose from several different camera proles. If youshoot in Raw, the options here roughly correspond to the picture styles in your D-SLR menu, so youll see familiar options like Portrait, Faithful and Landscape. Its usually worth trying afew of these before you make any other tonal adjustments, as they can often give you a better starting point than the default Adobe Standard prole.
Its all in the timing
Technique only gets you so far this bits largely down to luck!
1 Too soon
It might take a while to get the timing of the shot spot-on. Shoot too soon, as here, and all youll get is an oddly suspended strawberry.
2 Too late
If your shoot goes anything like ours, the majority of your frames will be slightly too late, and the strawberry will be mostly submerged.
3 Too obscured
Even when you get the timing right theres an element of luck involved; the strawberry may be at the wrong angle, or obscured by the splash.
Workshop
Welcome to the Canon D-SLR photography service centre
How do I set my camera up for spring close-ups?

Master the art of macro focusing and get to grips with depth of eld to improve your ower photos
PROBLEM #30
lose-up photography can be technically demanding, often requiring specialist equipment and forensic attention to focusing, aperture and shutter speed. Although it may be tempting to let the camera take care of everything in its point-and-shoot Close-up mode (indicated by the ower icon on the Mode dial), the results are unlikely to do justice to the subject of your picture. Your EOS sets a fairly wide aperture in order to blur the background, and chances are parts of the subject that are further away from the camera will also be blurred. The shutter speed is also set automatically in order to avoid camera shake. If light levels are low and a fast shutter speed isnt possible, then the camera may increase the ISO or activate the pop-up ash. Neither of which will give you a particularly high-quality image. In order to capture consistently good close-ups of owers and other macro subjects its far better to select Aperture Priority or Manual instead, for full control over the choice of aperture which has a
de (Av) Use Aperture Priority moap erture or Manual (M) to set theof fie ld and control the depth
signicant impact on the look and feel of a close-up shot as well as enabling you to choose the optimum ISO and kill the ash. millimetre of missed focus counts. There are a number of techniques that can help to solve this problem, such as switching the lens to manual focus and moving the ower towards or away from the lens. Depth of eld how much of the image appears crisp from the foreground to the background is another factor that makes a huge difference to the success of a ower photograph. The size of the aperture, the distance the lens is focused at and even the size of the sensor inside the camera have an inuence on the depth of eld, but aperture is usually the aspect that we have most control over in macro photography. To maximise depth of eld youll need to use a
Flower power
Your choice of focusing and depth of eld are also crucial if you intend to get the most from a macro lens and capture bags of ne detail. Accurate focusing is obviously key, although it will be difcult for the cameras autofocus system to nd focus when working at distances of just a few centimetres. Even when it does lock on to the ower, it may choose the part thats nearest the camera. The trouble is that, when working at high magnication, every
Focusing and Dealing with depth of eld depth of eld are crucial to capture bags of ne detail
narrowish aperture. We say ish because ideally you shouldnt select the narrowest aperture available on your lens, otherwise the picture will actually have less bite stay somewhere between f/11 and f/22. At narrow apertures, the shutter speed can become too slow for handheld photography, so use a tripod for sharp, shake-free results. Incidentally, dont feel you need to routinely use narrow apertures when shooting owers. Wider apertures such as f/2.8 and f/4 can produce softer, more atmospheric images, although youll need to take extra care when focusing. Even with the camera rmly xed to a tripod, dont ignore the shutter speed, particularly if shooting outdoors. Tallstemmed owers and plants are particularly susceptible to the effects of the wind, and it only takes a breath of air for them to dance around. Playback the image and zoom in to check the details; if there are signs of motion blur youll need to increase the shutter speed, and in order to do this you may have to sacrice some depth of eld by choosing a wider aperture. Alternatively, choose a
The image you see through the viewnder or on the Live View screen is displayed at the lenss widest aperture to ease focusing using the brightest image possible. This can be a problem when it comes to judging depth of eld at different apertures. Handily, your EOS camera has a depth-of-eld preview button near the lens mount (the 1200D lacks one, but you can assign this function to the SET button). Press this down as you adjust the aperture and youll be able to see the depth of eld change.
f/22 At 1/25 seC

***Image 1: CAN86. workshop.f_22.jpg CAN86. workshop.f_22_detail. jpg /Label f/22 - 1/25sec /Caption
f/2.8 At 1/2000 se C
***Image 2: CAN86. workshop.f_2_8.jpg CAN86. workshop.f_2_8_detail. jpg /Label f/2.8 - 1/2000sec
Using a narrow aperture of f/22 means that the depth of eld extends closer to the camera and beyond the point of focus. However, the narrow aperture will result in a slower shutter speed and the potential for blurred shots caused by camera shake, as illustrated.
A wider aperture of f/2.8 leads to a very shallow depth of eld, enabling you to make a sharp ower stand out in a sea of blurred ones. However, you need to be spot-on when focusing with such a narrow band of sharpness or key details will be soft, as shown here.
STEP BY STEP
How to get the sharpest close-ups
In addition to locking the camera on a sturdy tripod, use these key camera settings for sharper shots
Your choice of aperture has an impact on the depth of eld, and consequently how much of a ower or plant appears sharp. Using Av or M mode will enable you to set your preferred choice of aperture.
Optimise aperture
Once activated, the mirror will be locked out of the way when you press the shutter button, enabling any vibrations to dissipate before you press the shutter again for a shot. Weve added it as a MyMenu shortcut.
Use Mirror Lockup
Lenses can often hunt for autofocus at close range. Its often easier to switch to manual focus instead. You wont nd this option on the Quick Control Screen though simply slide the switch on the lens to MF.
Try manual focus
There are two self-timer options: one that lasts ten seconds, and a shorter twosecond one. The latter is perfect as youll be able to re the shutter without unintentionally knocking the camera.
Use the Self-timer
Focus stacking
StACK
es shot imAG
At f/4
Even the narrowest aperture available on a macro lens might not give you enough depth of eld to get all the parts of a ower in focus. A technique that macro photographers use to get around this is focus stacking. This involves taking a number of frames from the same position, but with the lens focused on a different part of the subject each time. These separate images can then be blended in Photoshop (using Edit > Auto-Align Layers followed by Edit > AutoBlend Layers) or specialist focus stacking software to produce a picture in which more of the ower appears sharp than can be achieved in a single exposure.
Choosing and using lenses

Macro lens focal lengths range from around 50mm to 180mm. Wed recommend a lens in the 90-105mm range, though, as these enable you to get 1:1 magnication so a subject will be recorded at life-size but give you enough working room between the front of the lens and the subject so that you wont disturb it (in the case of bugs and insects) and you can light it effectively (in the case of owers). Shorter focal lengths mean you have to be much closer to achieve life-size reproduction. Canon, Sigma and Tamron all offer macro lenses in this range with image stabilisation, although to be honest, this has limited use when youre shooting 1:1 with a tripod-mounted camera, and offers broadly similar levels of optical performance to non-IS variants.
Fine-tuning focus
Depth of eld is so shallow when working at high magnication that even the subtlest focusing error can make the whole image appear soft. Your cameras AF points may not line up with the precise point you want to be in focus and, if theres not enough contrast in the parts of the ower, the autofocus system may struggle to lock on altogether, hunting back and forth. So, when it comes to focusing for close-ups, manual is the way to go. Youll need to use a slightly different manual focusing technique for close-ups, because as you rotate the focusing ring on the lens you also alter the size of the ower slightly in the frame. The trick is to use the focusing ring on the lens to set the desired magnication, then to gently move the camera backwards and forwards to bring the focal point on the ower into sharp focus. Alternatively, in the case of potted plants, you can move the subject instead.
Focus point
Focus point
Focus point
Shooting close-up and your depth of eld is measured in mere millimetres. Notice, too, how the magnication changes as the lens is focused on different parts of the ower
Ge stACKed imA FiNAl foCUs-
Small details, big screen

Its best to switch to Live View; not only does it make it easier to compose the image, but it makes manual focusing a walk in the park. Position the white frame on the part of the ower you want to be sharp, tap the magnication button (once for 5x magnication, twice for 10x magnication) and gently rotate the focus ring on the lens until the details snap into focus.
When changing the focus while shooting the stack of images, make sure you leave some overlap between the sharp areas. Otherwise, youll get blurred spots appearing in the middle of an area that should be sharp, as you can see here.
higher ISO setting you should still be able to get excellent results at ISO1600. Also, try making the stem more stable by wiring it to a cane or xing it in place with a metal coat hanger thats been straightened out and forced into the ground. A remote release will enable you to time shots between breezes.
Expose yourself
Flower photography can be a leisurely business, and theres usually plenty of time to get the exposure correct in camera, rather than tinkering with it later in software. Use the histogram to help with this; take a test shot, play back the image and press the INFO
button until the brightness histogram appears on screen. You can also view a realtime histogram when shooting with Live View. Aim to expose to the right, so that the histogram is positioned towards the right of the graph without being clipped at the edge. To do this, you may need to use exposure compensation. For cameras with a rear Quick Control Dial, simply dab the shutter release to activate the metering and then rotate the dial left or right. If your camera doesnt have a rear dial, press the button marked Av+/- and turn the Main dial. Take another test shot and review the results, making further adjustments if necessary.
Zoom in to 10x magnication in Live View for precision focusing
EF-S lenses
1 Smaller sensors
Canons EF-S line of lenses are digital only, which means they arent compatible with full-frame cameras. Indeed, attaching an EF-S lens to a full-frame camera may damage the mirror or lens.
5 hints and tips for
Every month we highlight an EOS camera or type of lens and provide priceless advice to get more from your gear
3 Its not just Canon

Third-party manufacturers also produce lenses that are designed exclusively for the smaller sensors inside most Canon D-SLRs. Look for DC lenses in Sigmas range, DiII models from Tamron, and DX from Tokina.
5 Sharp shooting
Many EF-S lenses have fairly slow maximum apertures and, as a result, may be more susceptible to camera shake. However, their light weight combined with stabilisation built into many makes them easy to hold steady.
2 1.6x multiplier
You still need to factor in the focal length multiplier of 1.6x when using an EF-S lens. A Canon 10-22mm EF-S lens on 700D has the same effective view as a 16-35mm lens on a full-frame camera.
4 EF vs EF-S
EF-S lenses are smaller and lighter than their full-frame EF equivalent, but consider whether youll upgrade to a full-frame camera in the future before committing. Ifyou think you will go fullframe, stick with EF lenses.
Peter Travers Editor Hollie Latham Staff writer
Adam Waring Operations editor
Angela Nicholson Head of testing
Matthew Richards Technical contributor
Our experts tackle your Canon D-SLR and photographic problems
How can I get better flash accuracy?

Ive been given permission to take some shots during the sound check at an upcoming concert using my 7D and Speedlite 600EX-RT ashgun. The problem is that the strength of the ash often seems too high or too low, producing either overly bright or dark results. Any suggestions would be greatly appreciated. Alex Stryczek Port Talbot Adam says Canon SLRs and ashguns should generally give accurate exposures using TTL ash metering, but its important to bear in mind how the system works. Flash metering is measured at the centre of the image frame, so if, for example, youre taking a portrait where the subject is off-centre, metering may be based on a relatively close or distant part of the scene, resulting in underexposure or overexposure. You can remedy the situation by zooming in to ll as much of central region of the frame as possible with your subject,
CAMERA SKILLS
Automatic TTL (Through The Lens) metering can sometimes go amiss, but using the Flash Exposure Lock button can usually fix the problem
Canon conundrums? Email queries to photoplus@futurenet.com

then pressing the ash exposure lock button. This will capture and lock in the required ash power. Zoom out, swivel the camera to compose the shot and re away. If you move closer or further away from the subject, youll have to capture a new ash exposure setting. photographing. With slower shutter speeds, if your portrait subject is moving slightly, theyll still be rendered sharply thanks to the very short pulse of the ash, but youll also get a ghostly halo effect caused by movement during the longer exposure. To freeze movement more effectively, for example if performers are leaping around on stage, increase your shutter speed further. However, avoid exceeding the maximum sync speed of your camera, which is 1/250 sec for the 7D. That said, you can use even faster shutter speeds by switching the ashgun to HSS (High Speed Sync) mode, but the maximum available power of the ash will be substantially reduced. For ultimate control, switch to manual shooting mode and select the ISO, aperture and shutter speed that you want to use, taking account of the ambient lighting conditions. Also switch your ashgun to manual mode and adjust the power level, typically starting off with a setting of around 1/4, 1/2 or full power, depending on the distance between the ashgun and what youre shooting.
Quick Fix
Flickery flash
When I use the pop-up flash on my 700D, it often emits a very bright, flickering light just before I take a shot. Why is this and is there a way to stop it? Mark Stapleton London
Capture the ambiance
A good trick for balancing ash with ambient lighting is to switch to Av shooting mode. The metering and exposure system aim for a good rendition of the scene without taking ash into account. The strength of ash is automatically calculated to give a good overall balance, although you still need to use the same ash exposure lock technique if your main subject is off-centre. In low light you may also need to increase your cameras sensitivity (ISO) setting to enable a sufciently fast shutter speed of at least 1/60 sec. This not only helps to avoid camera shake in handheld shooting, but will also freeze any slight motion in the person youre
STEP BY STEP Make the most of flash settings
Peter says In low light the pop-up flash fires a rapid burst of light pulses to illuminate the subject. This is to help the autofocus system, giving it something to lock on to. You can switch off the feature in the Custom Functions menu. This will stop the flickering but autofocus may difficult or impossible.
Quick Fix
Flash Exposure Lock

For accurate through-the-lens flash metering, zoom in and fill as much of the central area of the frame as possible with the main subject. Now press the Flash Exposure Lock button, as shown here labelled with a star, to capture and retain the flash power setting. Be careful to maintain the same shooting distance.
Av mode
Av (Aperture value) shooting mode is great for balancing flash with ambient lighting. However, be wary of slow shutter speeds in dull conditions, which can give rise to camera shake and motion blur. Theres an option to lock the shutter speed to a high setting, but this loses the balance unless ambient lighting is bright.
Im after a fairly high-capacity hard drive that works with the newer, faster USB 3.0 interface. Iwant something that can store all of my Raw files and edited photos, but that is easy to carry around. What do you suggest? Gordon Howlett Barnes
Which hard drive?
Flash exposure compensation

Even with accurate flash metering, the results may be lighter or darker than youd like. Apply positive flash exposure compensation to increase the flash power, or negative compensation to reduce it. Adjustments made on camera will be overridden if you alter the compensation directly on the flashgun.
Sensitivity
To enable a better balance between flash and relatively dull indoor lighting, especially when including large areas, increase the cameras sensitivity setting. The 7D and other current Canon D-SLRs give excellent image quality even at high settings of ISO1600 and ISO3200, and results will look more natural.
Hollie says A bus-powered hard drive is the best option, as these are small and light, and you dont have to carry around a separate power supply. A 1TB (terabyte) capacity should be plenty. The Western Digital Elements and the shock-resistant Buffalo MiniStation Plus are both good buys, at around 50 and 65 respectively.
Whether you take your pictures at home, in a studio or on location.
Should I get a 5D Mk III?

I have 7D and 5D Mk ll bodies, along with EF 70-300mm, EF 17-40mm and EF 24-105mm L-series lenses, plus an EF 50mm f/1.8 lens. Given the advances in technology, should I trade in both cameras for a 5D Mk lll, or stick with the two separate cameras? I enjoy aircraft and wildlife photography, as well as landscapes and portraits. Im worried I might miss the extra reach if I didnt have a crop sensor camera. Alan Norman St Pinnock Angela says The 7D and 5D Mk II are both excellent cameras, and theres a lot to be said for the 1.6x crop factor of the 7D when it comes to aircraft and wildlife photography. The EF 70-300mm L-series lens delivers superb image quality and, with its 480mm effective telephoto reach on the 7D, it gives a really useful equivalent focal length with excellent handling. It does all this in a relatively lightweight and manageable package, compared with using a super-telephoto lens on a full-frame camera. The ip side is that the 5D Mk II really makes the most of your collection of wide-angle zoom, standard prime and 24-105mm lenses. With your 50mm lens and zoom lenses at their longer focal lengths, the full-frame camera will capture a shallower depth of eld than APS-C cameras. This can be especially useful for isolating the main point of interest, typically blurring the background. Its great for portraiture and still-life photography, as well as many other shooting scenarios. Its tempting to upgrade to the 5D Mk III, but it would be a shame to miss out on the extra benets that your 7D has to offer. Another advantage of hanging on to both bodies is that, for important shoots, its always good to have a backup camera in
CAMERA KIT
APS-C: 300mm
FUll-frame: 300mm
These images shows the extra effective reach delivered by the crop factor of a camera with an APS-C sensor, compared with a full-frame body case one develops a fault at the worst possible moment. On balance, wed probably stick with the two cameras for the time being. If you decide to put all your eggs into a 5D Mk III basket, and dont want to spend silly money on an additional supertelephoto lens for extending its reach, the most cost-effective option would be to buy either the Sigma 150-500mm DG OS HSM, or the new Tamron SP 150-600mm VC USD, which cost around 750 and 950 respectively.
Wheres the panorama gone?

Ive upgraded from Photoshop Elements 10 to 12 and want to merge photos into a panorama, but the tool for doing this seems to have gone. Sue Gurney Oxford Matthew says Panoramic stitching is still available in Elements 12, but its moved to a different place. Heres where to find it.
PHOTO EDITING
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Launch Photoshop Elements 12 and select the Expert editing mode. Instead of the File > New menu option of version 10, head to the Enhance menu.
Expert mode
In the Enhance menu, choose the Photomerge > Photomerge Panorama option. This will open the dialog box shown here, for selecting the stitching type source files.
Photomerge
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Older atbed scanners were notorious for poor image quality when scanning negatives, whereas the best of the newer breed are very good
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Whats the best method for scanning in old negatives? Ive seen many products advertised at greatly differing prices. Also, what scanning resolution is best to use?
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Adam says A high-end atbed scanner enables you to scan prints as well as negatives and transparencies. Most have clever features for minimising the appearance of dust and scratches, reducing the amount of editing work you need to do after scanning. When it comes to resolution, scanning a 6x4-inch photo print at 600dpi (dots per inch) will produce an image of 3600x2400 pixels, which
equates to approximately 8.6Mp (megapixels). At 1200dpi, the same 6x4-inch print would generate a 34.6Mp image. For lm scanning you really need a much higher scanning resolution, due to the relatively small size of the frame of lm. For example, a regular 35mm negative or transparency measures 36x24mm. A lm scanning resolution of 4800dpi is a popular choice, as it captures ne detail and graduations from lm, producing a 31Mp image from a 35mm frame. Two models that offer excellent performance and good value for money are the Canon CanoScan 9000F Mk II and the Epson Perfection V600, which cost around 175 and 230 respectively.
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How do I open Raw files?

I have a 60D but my copy of Photoshop Elements 9 doesnt seem able to open its Raw les. Do you have any suggestions as to what the problem might be and how to x it? Eileen Huzzey Witney Peter says Photoshop Elements 9 is compatible with Raw les from the 60D, but you may need to download an update for the Adobe Camera Raw (ACR) plug-in. Just click on the programs Help menu and select the Updates option. Its not always that simple, however, as Adobe brings out a new edition of Elements pretty much every year, and then stops releasing new ACR updates for older editions. A consequence of this is that Raw les of new cameras are often only supported if you buy the whole new edition of the program, rather than just updating the ACR plug-in. For example, to open Raw les for the 70D, youd need to buy Photoshop Elements 12. An alternative is to download a free program from Adobe called DNG Converter. It adds an extra link in the chain, however, as you rst have to use this program to convert Canon Raw les to DNG (Digital
PHOTO EDITING
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Digital Photo Professional is good for processing and converting Raw les, as it includes seamless integration with camera settings
Negative) format, then open those in Photoshop Elements for subsequent conversion to JPEGs. Another option is to process Raw les and convert them to JPEGs in the Digital Photo Professional program thats supplied free with Canon D-SLRs. This actually gives a more seamless integration with in-camera controls and settings, like Auto Lighting Optimizer and corrections for Canon lenses.
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Your Photos
YourPhotos
Get professional feedback on your favourite photos
Charlie
By Julie Brown
Canon EOS 400D Tamron 18-200mm f/3.5-6.3 XR Di II LD Aspherical (IF) Macro Aperture f/8 Shutter speed 1/2000 sec Julie says This is my wonderful Westie, Charlie. Fora while Ive been trying to capture an action shot of him playing inthe park, but my images always came out blurry or too dark, as Icouldnt get the right combination of aperture and shutter speed, so I tried tocompensate by increasing the ISO to 800. I took this shot from a low angle, as I wanted to geta dogs-eye view of Charlie running while blurring the background. I used the AI Servo autofocus mode to track himand get a sharp shot of him on the move, and after taking hundreds of shots this is the one I liked the best, as it reallycaptures the little character that he is. Icropped the image, and I applied aslight Levels adjustment in Photoshop. I do think the shadows are a bit of a distraction; the oneon the left could perhaps be erased, toleave just the shadow of Charlie.
Hollie says This is a lovely action-packed pet portrait Julie! Allyour practice and patience have paid off, and youve got the shooting settings just right upping the ISO has enabled you to use a fast enough shutter speed for a sharp shot without opening the aperture to the
Photo Critique
Upping the ISO has enabled you to freeze the action while capturing a good exposure
2 1
The depth of field is just right, 2 with Charlie nice and sharp and the busy backdrop blurred The heavy shadows on the grass, particularly the one in front of Charlie, are distracting
point where focusing would be tricky. Charlie is perfectly sharp, and youve captured him in a wonderful pose; you cant really time a shot like this, so all you can do is take plenty of shots to maximise your chances of success. The depth of eld has blurred the backdrop nicely, but youre right about the shadows, especially the one in front of Charlie, which Ive cloned out in Elements. Obviously we dont want to clone out Charlies shadow, but I have toned it down, and Ive also cloned over the wisp of fur thats obscuring Charlies eye; this is a tricky job, but by zooming right in, using a small brush and carefully sampling pixels we can do a convincing job. Ive cropped the image to portrait format for a stronger composition, as theres a bit too much background on the right, including some distracting highlights and shadows, and Ive used a couple of lters to smooth outthe colour noise in the backdrop.
Email your photos to photoplus@futurenet.com
Meet our panel of experts
STEP BY STEP
Now try this...

How Julie can enhance her petportrait in Elements
Peter Travers
Editor
Peter is our expert on Canon photography, and heads out with his trusty 5D Mk III at every opportunity.
Adam Waring
Operations editor
Adam has been hooked on photography since he was ateenager, and specialises in landscapes and travel.
Hollie Latham
Staff writer
Hollie enjoys shooting portraits, and shes our resident expert on all things Photoshop.
Adam Duckworth
Pro photographer
Adam has been shooting motorsports since 1987. See his work at www. adamduckworth.com.
GUEST PRO
SHOT OF THE MONTH
Crop and clone
Crop the image, then add a new layer and select the Clone Stamp tool. Tick Sample All Layers, and clone out the shadow to the left ofthe dog, Alt-clicking to sample unshaded grass. Reduce the tool opacity to 30%, and carefully clone over the fur obscuring the eye, sampling unobscured detail.
Tone down the shadow
Add another new layer and clone out the shadow of the dog, then reduce this layers opacity to 30%. Target the Background layer, take the Quick Selection tool, and paint over the backdrop to select it.
Reduce the noise
Go to Filter > Noise > Reduce Noise and set Strength to 8, Preserve Details to 20 and Reduce Colour Noise to 70. Go to Filter > Blur > Gaussian Blur and set Radius to 3.
Your Photos
Flying Duel
By Tony Silver
Canon EOS 60D Tamron SP AF 70-300mm f/4-5.6 Di VC USD Aperture f/5.6 S/speed 1/1250 sec Tony says Ive been involved in motocross my whole life, and I started taking photos of the sidecars seven years ago. I know many riders and their teams, and Ihave all-areas access at events, which enables me to get shots that other photographers cant. This shot is of ten-times British Sidecar Cross champion Stuart Brown and passenger Josh Chamberlain chasing the Millard brothers at the QMS Nationals atStratford-upon-Avon last year. The shot was taken on the ineld, near the take-off for a table-top jump, I used High Speed Continuous drive mode, and AI Servo mode totrack the racers.
Adam says This is a stunner of a shot Tony! Youve captured the sidecars at the peak of the action, but its the symmetry that makes it a winner, and the background is nice and uncluttered; too often in motorsports shots backdrops are busy with race marshals, burger
vans and the like. A slightly slower shutter speed, however, would have blurred the wheels, adding to the feeling of speed. This would also have enabled a narrower aperture, so both crews would be fully sharp; on close inspection, the leading sidecar is sharp but the chasing one is slightly soft.
Great framing of fast-moving subjects at the peak of the action Uncluttered background focuses our attention on the sidecars A narrower aperture would have rendered both sidecars pin-sharp A front-on shot of the racers may have been even more dramatic
Arion in the Park

By Mark Thomas
Canon EOS 650D (Rebel T4i) Canon 70-300mm f/4-5.6 IS USM Aperture f/6.7 S/speed 1/2000 sec Mark says I asked a friend and her family if theyd model for me in asmall park here in Cary, North Carolina. The deal was that they might get some nice family photos, and Id get some much needed practice! I knew I wanted a shot of Arion in the evening light, but not a posed picture; I wanted a fun, playful shot, so I had the parents throw the ball, and took shots as Arion headed back to them with it. I had my camera setto Continuous drive mode, and AIServo autofocus mode. The parents loved this picture! Peter says This is a lovely engaging portrait shot Mark. The subject is perfectly exposed, despite the challenging mixture of light and shadow, and hes perfectly sharp. However, theres not enough breathing space below and to theleft of the subject its always better to zoom out and include more background than you need, then crop in afterwards. And Id personally like to have eye contact with the subject in a shot like this, but thats a matter of taste.
Youve captured your subject in an engaging and natural pose The image is well exposed and perfectly focused A looser composition would give the subject more breathing space
82 | PhotoPlus December 2013
Your Canon conundrums solved! See page 76
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Would you like your images critiqued by the experts at PhotoPlus? Send them to us and well help you improve your phototaking and Photoshop skills! Follow these three simple steps
Erdek Harbour
By Anthony Plancherel
Canon EOS 550D Canon EF-S 15-85mm f/3.5-5.6 IS USM Aperture 1/125 sec Shutter speed f/11 Anthony says I moved out to Turkey a few years ago, and I live in the midAnatolian town of Eskisehir. This shot was taken during a trip to a holiday village on the Marmara coast, close to the home of my in-laws. Its not your typical photo of the sun-drenched Turkish coast as it was shot in early February, but I was attracted to
Want to capture great harbou shots? See thr Apprentice e on page 8!
1. Big images please
To do your Canon images justice, we need them as high-quality JPEG files that can be printed at least 15x10cm at 300dpi use Elements Image Size window (Image > Resize > Image Size) to check.
the dark clouds and the rays of sunlight falling onthe water. I wanted to focus most of the attention on the boat in the foreground, while capturing the dramatic expanse of sky; I didnt have my tripod with me, so I shot handheld. Idida little post-processing in Lightroom to cleanup some distracting spots, and boosted the contrast to emphasise the brooding clouds.
2. Tell us more
Supply approximately 100 words on the story behind your shot how itwas taken, any equipment used, obstacles overcome, and postprocessing work carried out. Also include details on your EOS D-SLR, lens, shutter speed and aperture used, plus the location.
Hollie Latham asks three PhotoPlus readers to tell us what they think of Anthonys image
Anthony has captured a lot of detail in this lovely dramatic photograph. I like the composition, with the moodiness of the cloud formation and the rays of sunlight drawing the viewer into the picture, and the sunlight through those clouds gives the water a nice hint of movement that emphasises the ripples. Anthonys postprocessing has enhanced theimage without losing detail, which can sometimes happen when contrast is boosted. Im just wondering though did the sun ever manage to get through? Sally Nicholson Anthony has really captured the mood well. This is a great photo, and not how you typically expect the Turkish coast to be portrayed. I think that with the sun shining through the clouds and the general darkness, the image lends itself to a black-andwhite conversion; this would help todraw out the rays of light coming through the clouds alittle more. The strong contrast also makes this kindof scene a candidate for a high dynamic range effect, although capturing two or three exposures handheld would be tricky. Tim Luckhurst The image has that charming old shing village feel. Anthony has captured the atmospheric stormy sky well,and I like the way the boat in the foreground has been used as a focal point. The image has an HDR look; Im not usually a fan of this asit tends to be overdone, and while the sky is nice anddramatic with the rays oflight, the highlights in the sky look blown and lacking in detail. The blue colours in the foreground boats are a nice touch, although with so little colour overall the image might work well in mono. Mark Mowbray
Email your JPEGs and descriptions to photoplus@futurenet.com with Your Photos in the subject line (due to mailbox size limitations, please only send one image per email). Alternatively, post your images on CD or DVD-ROM to PhotoPlus, Future Publishing, 30 Monmouth Street, Bath BA1 2BW.
NOTE: By sending us your images you: (a) grant Future Publishing Ltd (Future) permission to publish your images free of charge in print and electronically, in the UK and foreign editions of our photography-related magazines, and on our photography-related websites; and (b) conrm that you have the right to submit the images to Future and that Futures use of the images as set out above will not infringe the copyright or other rights of any person. You agree to indemnify Future against any loss, damage, costs or expenses it suffers as a result of any claim in relation to Futures use of your images.
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Your Photos
Misty Cochem
By Michael Didomenico
Canon EOS 60D Tamron 17-50mm f/2.8 XR Di II VC Aperture f/3.5 Shutter speed 1/100 sec Michael says I took this shot of the town ofCochem during a cruise along Germanys Mosel river. After breakfast we were waiting togo ashore for a walking tour, and I liked the look of the low-lying morning fog and thought it would make for a nice photo opportunity. Ishot handheld, and made afew adjustments in Lightroom. I used JPEG quality mode for this shot, but these days Im strictly shooting Raw. Adam says Theres no better way to see the picture-postcard towns of the Mosel than on a river cruise, and youve got a potentially lovely shot here Michael. Despite your wide aperture of f/3.5, your distance from the shore has enabled you to keep all the areas of interest in focus. The image is just let down by an uneven composition and a heavy blue colour cast, and we can x both of these in Elements. Theres too much water in the foreground, and cropping away half ofit creates a balanced composition; Ive also cropped away the right-hand quarter of the shot, which places thechurch tower on the right-hand third line. Ive used Photo Filter, Levels and Hue/Saturation adjustments tocorrect the blue cast and enhance the colours.
Photo Critique
1
1
The shot is nicely focused, and the mistadds atmosphere to the scene The composition is unbalanced, with toomuch water in the foreground The Auto White Balance setting has made the image look very cool and blue
2 3
STEP BY STEP Now try this...
How Michael can enhance his image in Photoshop Elements
Warming lter Tweak the Add a Photo Filter channels

adjustment layer, select Warming Filter (85) from the Filter menu, reduce Density to 20 and tick Preserve Luminosity. Add a Levels adjustment layer, and set Shadows to 16, Highlights to 247 and Midtones to 1.55.
Select the Red channel and set Midtones to 1.04to add red. Select Green and set Midtones to 0.96 to add green and subdue the magenta tint, then select Blue and set Midtones to 0.72to add yellow. Add aHue/Saturation layer.
Merge and sharpen
Set Master Saturation to +25, Reds Saturation to +10, Blues to -50 and Yellows to +10. Crop theimage, then press Ctrl+Alt+Shift+E to add a merged layer. Go to Enhance > Unsharp Mask, set Amount to 200 and Radius to 1. n
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Independent advice to help you buy smarter
PHOTOGRAPHY HOLIDAYS
Page 107
Angela Nicholson
Head of testing
angela.nicholson@futurenet.com
Welcome...
ith no less than nine cameras currently on the market, it can behard to know where to start when deciding on which Canon EOS D-SLR best suits your needs whether youre a complete novice looking for their rst D-SLR, upgrading from a beginner camera to one ofthe intermediate enthusiast models, ormaking the leap to a top-end pro body, youre spoilt for choice. While even the most basic EOS cameras deliver superb image quality, along with the ease of use and clever features that will help you get to grips with digital photography, inevitably, the higher upthe range you go the more youre going to get in terms of megapixel count, autofocus performance, high-ISO noise control and other functionality. To help you make your decision, for this issues Super Test weve taken an in-depth look at the current EOS range, and picked out the best options for beginners, enthusiasts and pros turn to page 94 to see our pick of the Canon crop! Also this issue we help a reader choose areector to help him make the most of natural light for capturing well-exposed product shots and portraits see page 88.
HElP ME BUY A REFlECTOR

Page 88
SUPER TEST CANON EOS D-SLRS

Page 94
Help Me Buy 88 We help a PhotoPlus reader choose a reector for product and portrait shots
Super Test: Canon EOS range 94 Which Canon D-SLR is right for you? Nine EOS cameras tested and rated Photography holidays 107 Combine your hobby with a holiday!
THE PHOtOPLUS RAtINGS EXPLAINED

When it comes to reviewing products and services in PhotoPlus, we tell it like it is. Were totally independent from Canon and will never give someone a good score just because they advertise. Eyes right for a guide to our specic awards
Only the best of the best receive our coveted award
Buy for the best combination of quality and value
Given to the kit youve used and rated the highest
Gear Help Me Buy a Reflector
THE READER
Name: Richard Hucker Camera: Canon EOS 6D
Richard, aged 29, from Somerset, is an eBay fanatic, and wants to brighten up his product photography to boost sales. Hes also keen on portraiture, sohe wants a reflector that will enable him to light everything from table-top setups to outdoor people shots.
THE eXPeRt
PhotoPlus staff writer Hollie is a keenportrait photographer, and she likes to make the most of natural light where possible, rather than resorting to flash. Shes always armed with a reflector, so she was just the person tohelp Richard make his selection.
Name: Hollie Latham Camera: Canon EOS 60D
Reflector
W
hether youre shooting indoors or outdoors, in bright sunlight or under clouds, the direction and strength of the light has a big impact on your images, and making the most of the available light can be the difference between a good photo and a great one. Cue the humble reector one of the most basic but most useful pieces of kit youll ever use. A reector is simply a piece of reective material thats used to bounce light onto a subject, to ll in harsh shadows and brighten highlights. Theyre ideal for portraits, product photography and still life setups, and offer a cheap and portable way to light subjects where you dont want to use ash, as well as giving your more options if you are using ash. Reector
Help me buy a...
A reector is a cheap and simple piece of kit, but it can transform your photography instantly. We help a PhotoPlus reader to see the light
kits usually include a variety ofsurfaces that enable you to alter the colour of the light, and some come with adiffuser panel for softening harsh sunlight or ash. PhotoPlus reader Richard Hucker is after a versatile reector to improve his portrait and product shots. We took along ve reectors and kits, ranging in price from just 17 to 75, for him to try out
We help you choose new kit
Web: www.intertphotographic.com Price: 17
Intert STR122 Strobies On-Camera Reector

Hollie says The cheapest and
smallest reector in our test, the STR122 is part of Interts Strobies accessory range. The disc-shaped reector has silver and white sides, and an aperture inthe centre which simply pops over the frontof your lens, making it great for when the main light source is directly behind your subject eg shooting into the sun. Its ideal for products, macro, and portraits; with the round shape creating nice catchlights in the eyes. Its available in two sizes, 30cm (12in) and 58cm (22in), and folds down to a third of theopened size to t easily into any kit bag, making it handy if youre travelling light.
Richard says What I like about this
reector is its portability: its quick and easy to fold up, and it wouldnt take up much space in my kit bag. Its also simple to attach it to the lens and the t is nice and snug, while still enabling me to zoom
and manually focus. When Im shooting indoors I wouldnt need to worry about holding the reector in place or propping it upwith stands; however, using it outdoors may prove more tricky on a blustery day, asitwould need to be held steady to direct the light accurately.
Compact, portable and easy to deploy; ideal forproduct shots and close-up portraits Tricky to use in windy conditions, as youll need to hold on to the reflector to direct the light
Intert 5-in-1 56cm Reector
Web: www.intertphotographic.com Price: 25

Hollie says Interts 5-in-1 collapsible reector expands to 56cm (22in) when its unpacked. Thedurable frame can be held in place with just one hand, which enables you to use itwhile operating your camera with the other hand, so you dont need anassistant. While folding it down to t in the supplied carry case is a quick and easy job. The reversible cover offers a choice of four surfaces: black, white, silver and gold, which can be zipped around the 1/2-stop translucent core diffuser panel toachieve a variety of effects. This compact and versatile reector would be ideal for head-and-shoulders portraits, product shots and still life photography. Richard says This reector is very good value for money given the low price, and the small size when its collapsed, I was expecting it to be lacking in quality and a bit on the imsy side, but I was pleasantly surprised! When its in use themain frame feels very sturdy, yet it can be curved and twisted to control the light very
effectively. Its an ideal size for product photography, and when its collapsed it ts nicely in my kit bag. The range of surfaces makes it extremely versatile, and Hollie told me that the gold, silver and white surfaces allprovide up to one stop of ll light, while theblack surface tones down harsh contrast and tames highlights very effectively.
Easy to set up and pack away; can be easily shaped to direct light; good value Too small for anything bigger than head-andshoulders portraits; covers crease easily
90 | PhotoPlus Spring April 2014 2014
We help you choose new kit
Metz 80cm 5-in-1 Reector
Web: www.intro2020.co.uk Price: 40

Hollie says This versatile reector
from Metz eliminates the need for multiple reectors, as it offers a choice of ve surfaces to create a variety oflighting effects. The neutral white, cool silver and warm gold surfaces enable you to bounce light onto subjects to ll in shadows, with the silver and gold options enabling youto change the colour of the light at the same time; theres also a black surface, and atranslucent core panel that diffuses the lightwhen placed in front of a light source. Itsavailable in two sizes: 80cm (31in) and an oval shape of 92x122 cm (36x48in), which is more suited to full-length portrait shots.
Richard says I found this Metz reector easy to use, and the 80cm size that we tested was ideal for both product shots, still life setups and half-body portraits. Like the Intert 5-in-1 it enables you to create different lighting effects, and its great value for money; however, the size of this reector would be more useful to me,
asIcan use it for all sorts of photography, andwhile its not as compact as the Intert itstill folds down to a reasonable size easily. The larger surface area means it isnt as easy to control while shooting one-handed, but when propped in place it does bounce a lot oflight back on to the subject.
Size and multiple surfaces make it useful for a range of photography; great value for money Not as compact as other reflectors when folded; not easy to control when shooting one-handed
Lastolite Mini Trigrip 45cm Sunlite/Soft Silver

Web: www.lastolite.com Price: 45
Hollie says This triangular reector
from Lastolite is designed for stable and comfortable one-handed use. The moulded ergonomic handle features a securing strap, reducing the strain onyour wrist and ngers; the hand grip also makes it easy to direct the reected light precisely where you want it. Also, when expanded the reective surface is very taut and smooth, which means you can create better bounce light than other reectors we tried. The Trigrip is available in a variety of sizes and surfaces, and collapses down to one-third of its size for carrying andstorage. All Lastolites reectors come with a lifetime rim guarantee.
Richard says This Trigrip reector from Lastolite is by far the best one we tested in terms of quality, and it feels like a well-thought-out product. Its mini size makes it ideal for smaller photography setups such as product photography, which Ido a lot of, and for macro shots. Once its
folded down and packed in its case its only 20cm, and so it ts easily into my kit bag. Iparticularly like the mix of colours on both sides of the reector the Sunlite side has two strips of silver for every gold strip, which produces a more natural warming tone that plain gold surfaces, and the Soft Silver side has alternating white and silver strips, which again produces a nice natural effect.
Top quality, surface and ergonomic design; thecoloured surfaces produce natural tints You cant produce as wide a range of effects aswitha5-in-1 or 6-in-1 reflector
Westcott 50cm 6-in-1 Reector Kit
Web: www.fjwestcott.com Price: 75

Hollie says This Westcott 6-in-1
ould you advice on like one-to-one choosing Email det new kit? ai looking fo ls of the gear you re r, and you r ad photoplu s@future dress, to net. putting H elp Me B com uy in the subje ct line.
NEED OUr H ELP? W
50cm (20in) kitoffers just about every lighting option you could want, with one-stop and a two-stop diffusion panels, and two reversible covers offering a choice of gold, sunlight (gold/silver), silver and black. The size of this kit makes it ideal for both close-up and half-body portraits, and also for product photography. The two panels enable you to both diffuse and reect light using the same kit, making it the most versatile kit we tested, but this also means the reector takes up more room, and is heavier, than the other kits.
Richard says I particularly like the
rounded-corner square shape of theWestcott kit its much easier toprop the reector up without worrying about it rolling away, as is the case with circular reectors, andthismakes life a lot easier if youre shooting without an assistant.
The reversible cover is only big enough to zipover one of the diffuser panels, however, which means youll have to lug the other panel around or pack it away in the supplied pouch when not using it, and because the kit is very bulky it wasnt as easy to pack away as the others it took a few attempts to get the hangof folding the panels.
Rounded corners prevent the reflector rolling away when propped up; highly versatile Its heavier than the other kits on test, and not aseasily portable
Change the colour, change the mood

No ReFlectoR white Gold silVeR
With no reector, shadows are noticeable, contrast is harsh and detail is lost in dark areas.
A white reector lls in shadows for a balanced exposure, while maintaining neutral lighting.
A gold reector adds a warm tint to the light its useful for portraits and other subjects.
A silver reector creates a cooler, harsher light it works well for our retro radio here!
RichaRds VeRdict
I had a great day trying out these reectors with the PhotoPlus team. I was impressed with both the reectors from Intert. The smaller Strobies On-Camera reector would be handy for close-up portraits, but it wasnt easy to manipulate the light if it wasnt directly behind the subject. Interts 5-in-1 reector was versatile, easy to use and easily portable, and was an ideal size for smaller setups, but I really need something a bit larger for head-andshoulders portraits. The Lastolite Mini Trigrip was perfect for small product shots, and the handle meant I could hold the reector in one hand while holding my camera in the other, but Id ideally like a diffuser too. Westcotts 6-in-1 reector was very impressive; the extra diffuser panel meant you could create more complex lighting setups, and the rounded-corner shape made it easier to prop up than circular ones. Thiskit was the most versatile, but it was quite heavy and bulky when folded down, and its too big for product setups. So the winner for me is the Metz 80cm 5-in-1 reector: its an ideal size for both product shots and half-body portraits, it offers plenty of colour options, its easy to use and its great value for money.
92 | PhotoPlus Spring April 2014 2014
Gear Super Test
The Big Canon EOS D-SLR test

From compact and lightweight bodies to full-on photographic powerhouses, the current range of Canon EOS cameras is simply fabulous. Lets take a closer look at what each model has to offer
Matthew Richards
Technical contributor
How we tested
We tested all the cameras with a selection of lenses, in wide-ranging shooting conditions. These included low-light interior and dull outdoor lighting, as well as bright sunshine. Particular attention was paid to autofocus and metering performance, along with all aspects of handling and image quality.
Canon-compatible kit on test
ccording to Greek mythology, Eos was the goddess of the dawn. In later times, EOS has become an acronym for Electro-Optical System, the foundation for Canon SLR cameras since 1987. Moving on into the digital era, technology has progressed at an amazing pace, more recently seeing the 2012 launch of Canons rst and (so far) only compact system camera. This comes in the diminutive shape of the EOS M, which is a so-called MILC or Mirrorless Interchangeable Lens Camera. The current EOS lineup is divided into three categories, aimed squarely at beginners, enthusiasts and professionals. Its a testament to Canons design philosophy that all current beginners EOS cameras are incredibly intuitive and easy to use, even for those with absolutely no prior photographic knowledge. Intelligent auto modes and scene modes tailor camera settings to make the most of wide-ranging shooting scenarios, while semi-automatic and manual modes are also present and correct. This helps the cameras to grow with you as you learn new skills. Picks of the current crop are the
EOS 1200D, 100D and 700D, as well as the EOS M. Sadly, Canon wasnt able to supply a review sample of the new 1200D in time for our press deadlines, but well be bringing you a full review next month. Cameras for the enthusiast sector typically feature a greater abundance of direct-access controls for advanced shooting adjustments. These enable expert photographers to change settings quickly and effectively. A secondary info LCD on the tops of enthusiasts cameras also helps to enable a running check on creative shooting settings. The EOS 70D and 7D both use the same APS-C format of image sensor as beginners cameras, while the EOS 6D is based on a full-frame image sensor, more in common with professional cameras. For pro photographers who demand the very best in terms of performance and robust build quality, the main choice is between the full-frame EOS 5D Mk III and 1D X. An important consideration when upgrading from APS-C to full-frame bodies is that the latter are incompatible with EF-S lenses, which are designed exclusively for APS-C format cameras.
CaNON D-SLRs ON TEsT

1 Canon EOS M + 18-55mm 300 2 Canon EOS 1100D 240 Canon EOS 100D 3 400 Canon EOS 700D 4 490 5 Canon EOS 70D 860 6 Canon EOS 7D 1,030 Canon EOS 6D 7 1,380 Canon EOS 5D Mark III 8 2,330 Canon EOS 1D X 9 4,850
*body only prices
Gear Super Test
Canon EOS M
The EOS M does away with both the reex mirror and the viewnder featured in D-SLRs, enabling a more streamlined build. It comes as a kit with the EF-M 18-55mm f/3.5-5.6 IS STM zoom lens. Other EF-M mount lenses include the 11-22mm wide-angle zoom and 22mm pancake prime lens, the latter of which makes for a very compact package. While the range of EF-M lenses is limited, an EF-EOS M mount adaptor makes it compatible with the entire range of Canons EF and EF-S lenses. Whereas many compact system cameras from rival manufacturers have relatively small image sensors, a plus point of the EOS M is that it features the same APS-C format of sensor as most D-SLRs, with a respectable 18Mp resolution. This helps to deliver very good image quality, even in very low lighting conditions and at high ISO settings. Another bonus is that a reasonably shallow depth of eld can be achieved with wide apertures, so you can blur the background more effectively, for example in creative portraiture. Handling is rened for such a small camera, aided by an excellent touchscreen LCD that makes for quick-and-easy menu navigation. The Scene Intelligent Auto shooting mode works well to analyse
LCD
The touchscreen makes for quick navigation of the Quick menu, putting shooting parameters within easy reach
Flash
Theres no pop-up ash but the camera features a hotshoe and comes complete with a small clip-on ash module
Cross keys
As well as navigation, the cross keys access exposure lock, drive mode and exposure compensation
Video start/stop
In addition to the main shutter button, theres a separate video start/stop button at the rear
Canons CSC gets a simplied dial with direct access to Scene Intelligent Auto and video shooting modes
compositions in real time, tailoring settings for optimum image quality. This is backed up by a wealth of scene modes and creative lters. Without a reex mirror, theres no possibility for a D-SLR-alike dedicated
phase-detection autofocus module. Instead, this EOS CSC relies on the image sensor itself for autofocus, with a hybrid contrast and phasedetection system, which gives rise to annoyingly sluggish autofocus performance.
Despite its compact size, theres still room for a socket for adding an external microphone
More compact than any D-SLR, especially when fitted with a pancake prime lens Limited range of EF-M lenses; relatively slow autofocus; no viewfinder
80
300
Target Price
Join us on a photography road trip! See page 28
Canon EOS 1100D

The 1100D was originally launched three years ago, bringing relatively exotic features to the entry-level sector of the market. It remains the most inexpensive route into Canon D-SLR photography but, in some ways, is starting to show its age. Its 12.2Mp image resolution is outclassed by all other current models, which have at least 18Mp resolution. Similarly, while it features a video capture capability, its only 720p instead of the full 1080p sported by all other cameras in the range. Both of these issues are addressed by the new entry-level 1200D, which well be fully reviewing in next months issue. On the plus side, the 1100D boasts the iFCL (intelligent Focus Colour Luminance) metering system that was introduced on the 7D. Also, like the 100D and 700D, theres a 9-point autofocus module with a cross-type sensor at the centre. This gives greater accuracy by resolving detail in both horizontal and vertical planes. Again though, the 1100D doesnt quite match the later 100D and 700D, as the central AF point doesnt have a high-sensitivity capability for increased performance with wide-aperture lenses (f/2.8 or wider). Theres more bad news around the back, where the LCD is a bit on the small side at 2.7 inches, and has a
Viewnder
Typical of beginners cameras its a budget pentamirror viewnder rather than a more upmarket pentaprism
LCD
It lacks a touchscreen facility and has a relatively low 230k resolution
Q button
The Quick menu is useful but would be speedier if the LCD was a touchscreen
Cross keys
ISO, autofocus mode, white balance and drive mode are accessible using these buttons
The full auto green square mode lacks intelligent sceneanalysis
relatively low resolution of just 230k pixels. Most other beginners cameras typically have a larger 3-inch screen with a 1040k resolution, as well as offering touchscreen operation, which is lacking on the 1100D.
Overall, the 1100D is a simple camera thats easy to use. Its also 110 cheaper than the 1200D, making it good value if you can get by without the newer cameras greater resolution and updated features.
Handling is slightly impaired by the lack of any form of textured coatings on the main camera grip areas
Remarkably inexpensive to buy; plenty of beginner-friendly modes and features A bit of a poor relation in terms of specs; soon to be superseded by the 1200D
78
240
Target Price
Gear Super Test
Canon EOS 100D

An exercise in downsizing, the 100D is the most compact D-SLR that Canon has ever made, yet still features plenty of upscaled attractions, especially compared with the older 1100D. It has a higherresolution 18Mp image sensor and a bigger, more detailed 3-inch 1040k LCD that adds touchscreen operation. The DIGIC 5 image processor is also a generation newer. Continuous shooting has a maximum speed of 4fps (frames per second) in both JPEG or Raw quality mode, whereas the 1100D drops from 3fps to just 2fps when you switch from JPEG to Raw. Video capture resolution is also boosted to 1080p. Better still, the redesigned image sensor uses a selection of its photosites (which equate to pixels) to enable phasedetection autofocus, making continuous autofocus possible when shooting video. Another beginner-friendly advantage is the Scene Intelligent Auto shooting mode. A step up over the older and more basic green square full auto mode, it analyses scenes as youre composing shots, not only checking brightness, contrast and colour, but also detecting faces and watching out for movement. It really helps to
Viewnder
The pentamirror viewnder gives the same 95 per cent frame coverage as in the 1100D, but a slightly larger magnication of 0.87x
Video/Live View
The operating button for video start/stop and Live View falls naturally under the thumb
LCD
The touchscreen LCD is a joy to use, especially when making adjustments to shooting settings on the Quick menu
Cross keys
Unusually, the cross keys dont have any functions assigned to them, like white balance and drive mode
The SCN position on the mode dial gives access to range of specialist scene modes
give consistently great results in simple point-and-shoot photography. There are plentiful scene modes too, delivering further options like Kids, Food and Candlelight.
Naturally, you can adjust all shooting parameters in the more advanced Creative Zone of the shooting dial that includes the usual P, Av, Tv and M options.
This ISO button accesses the generous sensitivity range which stretches to ISO25600
Very compact for a D-SLR; good touchscreen; versatile scene modes Relatively few direct access controls; body can feel a bit cramped
84
400
Target Price
ER BEGINN
New Canon camera? See our beginners guide Page 55
Canon EOS 700D

A little larger than the 100D and nearly 50 per cent heavier, the 18Mp 700D adds extra thrills and sits at the top of Canons beginners range of D-SLRs. Like the 100D, it has nine autofocus points for phase-detection AF in regular stills shooting mode. However, this time all nine points are cross-type, rather than just the central point. This makes for improved autofocus performance with greater accuracy when using any of the peripheral points, as well as in multi-point autofocus mode. Both cameras have high-sensitivity central AF points that can take advantage of lenses with an f/2.8 or wider aperture. A larger capacity battery boosts life to 440 shots compared with the 100Ds 380 shots, and the 700D also boasts a faster maximum burst rate of 5fps instead of 4fps. Both of these factors make the 700D a little better for action sports photography. Another bonus is that, while both cameras feature a high-resolution 1040k, 3-inch touchscreen LCD, the one in the 700D is a vari-angle screen with full articulation. Its brilliant for Live View and video shooting. The same features that make the 100D so ideal as a
Viewnder
Typical of pentamirror viewnders, its not quite as clear and bright as more upmarket pentaprism nders, but its not far behind
LCD
Full articulation makes it easy to shoot from practically any angle in Live View and video modes
Q button
As with the 100D and 70D, the touchscreen facility makes for quick and easy navigation of the Quick menu
Cross keys
It beats the 100D with direct access to white balance, autofocus mode, picture styles and drive modes
Layout of the shooting mode dial is exactly the same as on the 100D, with the same Basic and Creative Zone options
beginners camera are retained in the 700D. These include an on-screen feature guide, Scene Intelligent Auto and a plethora of scene modes, as well as a Basic +
mode for adjusting ambience settings like vivid, soft, warm and cool. Theres also the same sensitivity range on tap, reaching as high as ISO25600 in expanded mode.
Compact build; fully articulated touchscreen LCD; wireless flash control As with other beginners cameras, itlacks a secondary info LCD on the top plate
The pop-up ash can act as a wireless controller for remote off-camera ashguns
87
Beginner
490
Target Price
Gear Super Test
Canon EOS 70D

The 70D brings a genuinely exciting innovation to D-SLR photography, in the form of a brand-new 20.2Mp Dual Pixel image sensor, which contains two photo diodes for each pixel. This enables much faster phase-detection autofocus performance in Live View and video shooting modes, compared with the 100D and 700D. Like the 700D, theres a fully articulated touchscreen LCD, but pressing any desired point in Live View shooting results in much quicker focusing. Regular autofocus modes also benet from a 19-point, rather than 9-point, AF module, and all the points are cross-type. As an enthusiast level camera, luxuries include a secondary info LCD on the top plate, along with useful direct access buttons for controlling shooting parameters on the y. Further viewing attractions include a bright, clear and intelligent pentaprism viewnder that has customisable camera levelling display options. Picture sharing and remote camera control benet from built in Wi-Fi. The 70D gets a Digic 5+ processor and speedy 7fps maximum burst rate that almost matches the 7Ds 8fps. Its all wrapped up in a lightweight polycarbonate shell that makes it only a little
Viewnder
Its an upmarket pentaprism unit but falls slightly short of giving full coverage of the image frame, at 98 per cent
Video/Live View
A simple lever for switching between video and Live View shooting modes surrounds the start/stop button
LCD
As with the 700D, the LCD is a 1040k, 3-inch touchscreen with full articulation
Concentric controllers
Like the 60D before it, the 70D has a concentric Multi-controller and Quick Control Dial
As well as scene modes, there are Bulb and Custom options, the latter for storing favourite shooting settings
bigger and heavier than the 700D. Even so, the slight increase in size and weight make handling feel more assured, especially when coupling the camera to big, heavy lenses.
Despite being aimed squarely at enthusiasts, the 70D still features Scene Intelligent Auto, Creative Auto and a variety of scene modes. As such, its just as easy for beginners to get to grips with.
By the top LCD plate are direct access buttons for AF, drive, ISO and metering mode
Dual Pixel image sensor; intelligent viewfinder; articulated touchscreen Lacks the slightly more rugged magnesium alloy body style of the 7D
95
ENTHUSIAST
860
Target Price
ENTH USIA ST
Get set up for spring flower photos See page 72
Canon EOS 7D
Launched back in September 2009, the veteran 18Mp 7D still comes closest to being a professional grade APS-Cformat camera. The 70D matches its level of weather seals but only the 7D has a tough magnesium alloy body, instead of a polycarbonate construction. The continuous shooting rate of 8fps is second only to the mighty pro 1D X in Canons current line-up. This is helped by the inclusion of two DIGIC 4 image processors. More than just a speed end, the 7D hit the headlines with its innovative iFCL (intelligent Focus Colour Luminance) metering system and the ability of its pop-up ash to act as a wireless master for remote ashguns. However, its clever features have now become fairly commonplace. Meanwhile, the 70D matches the 7Ds 19-point autofocus system and overtakes it with its Dual Pixel autofocus system for Live View and video. The 7D isnt as beginnerfriendly as the 70D, lacking any scene modes like portrait, sports and close-up. Similarly, the full auto mode lacks scene intelligent analysis. While the 7D is undeniably an old camera in digital terms, its been given a longer lease of life thanks to a recent rmware upgrade. Version 2 increases the maximum
Viewnder
The pentaprism viewnder boasts 100 per cent frame coverage at full 1.0x magnication
LCD
Its fairly high-res at 920k but lacks the touchscreen facility of the 700D, 70D and even the EOS M
Left control strip
Without an articulated LCD, theres room down the left-hand side for additional buttons
Controllers
The Multi-controller and Quick Control Dial are placed separately, unlike in the 70D
There are no beginner-friendly scene modes but you do get three custom setups
number of shots in continuous drive mode, enables customisation options for auto ISO, gives options for in-camera Raw processing, the application of ratings for images, and more besides.
Even so, most of these additions have become standard fare and, in some ways, the 7D is outclassed by less expensive cameras, which have next-generation features like HDR shooting modes.
Premium build; fast 8fps shooting; plentiful direct access control buttons Advanced features have been caught up or overtaken by less expensive cameras
The bank of control buttons in front of the top-plate LCD have dual functions
88
1,030
Target Price
Gear Super Test
Canon EOS 6D
Its a sign of the ascendency of full-frame cameras that theyre sneaking down from the professional arena and into the enthusiast sector. Build quality of the compact 20Mp 6D is midway between the 70D and 7D; it has a polycarbonate top plate but the front and back sections of the body are made from sturdier magnesium alloy. From a handling perspective the full-frame 6D feels very similar to the 70D, although its a shame that it lacks the latters articulated LCD or touchscreen facility. The 6D boasts not only Wi-Fi but also built-in GPS, ideal for geo-tagging images as you shoot. The only catch is that, when enabled, the GPS module really munches through battery charge, even when the camera is turned off. The lack of a pop-up ash means theres no built-in facility for wireless ash triggering, as featured on the 700D and 70D. It also lacks the advanced Dual Pixel autofocus of the 70D, or the more basic hybrid autofocus system of the 100D and 700D. Where the 70D and 7D have 19-point autofocus (all crosstype), the 6D only has 11 points and, of these, only the central point is cross-type. Even so, autofocus performance is good overall. The continuous shooting rate is also a little
Viewnder
Unlike other Canon full-frame D-SLRs and the 7D, it doesnt quite give full 100 per cent frame coverage
Magnify button
The magnied review button is a welcome addition, helping you to instantly check that your shots are sharp
LCD
Theres plenty of resolution butit lacks articulation or a touchscreen facility
Quick Control Dial
The concentric layout of the Multicontroller and Quick Control Dial are the same as in the 70D
Scene modes, absent on the 7D, have been reinstated on the 6D via the SCN setting
pedestrian at 4.5fps, making the 6D less than ideal for action sports photography. Its redeeming feature is that it delivers superb image quality with the kind of control over
depth of eld that you can only get from a full-frame camera. Ultimately, the 6D is great for enthusiast photographers but you have to pay a premium for its full-frame image sensor.
Full-frame photography at an affordable price; built-in GPS and Wi-Fi Lacks hybrid autofocus; no pop-up flash; sluggish continuous drive rate
The button layout for AF, drive, ISO and metering mode is the same as on the 70D
89
1,380
Target Price
Next issue Ultra-wide-angle lenses
Canon EOS 5D Mark III

Its nearly a decade since the original 5D brought full-frame digital photography to the masses. The 22Mp Mark III brings a wealth of upgrades, fully justifying its position as a professional camera. Notable enhancements over the Mark II include a step up from 9-point autofocus to a 61-point AF system with 41 cross-type points and ve dual-cross points, just like in the 1D X. Theres also a new DIGIC 5+ image processor and a more generous sensitivity range that stretches to ISO25600, or ISO102400 in expanded mode. The maximum drive rate of 6fps beats the 6Ds 4.5fps and 5D Mk IIs 3.9fps. HDR shooting modes are becoming more prevalent in Canon cameras but theyre particularly well implemented in the 5D Mk III; all the source shots are saved as well as the merged image. Direct access controls are more wideranging than in the 6D and, whereas the 6D only has a single memory card slot, the 5D Mark III has dual slots. This is particularly handy when shooting in Raw+JPEG quality mode, as you can save different le types to separate cards. Another option is to
Viewnder
This top-quality pentaprism nder gives 100 per cent coverage
LCD
Measuring 3.2 inches, its slightly bigger than the 6Ds screen, with the same 1040k resolution
Left hand buttons
Quick access to shooting functions includes picture styles and HDR an mode
Dual controllers
Dual controllers are similar to those of the 7D, with a Quick Control Dial and a joystick-like Multi-controller
As youd expect, there are no scene modes but the 5D Mk III has three custom settings
create a backup duplicate of images as you shoot. The 5D Mk III is also better built than the 6D, with a completely magnesium alloy body that feels more rugged. Even so, size and weight are very
manageable, especially for a pro-spec camera. Theres no denying that the 5D Mk III is an expensive camera but it offers many of the same attractions of the 1D X, at less than half the price.
Excellent build quality; superb 61-point autofocus; spectacular image quality Lacks the built-in vertical grip of the 1D X, but you can add one as an optional extra
95
2,330
Target Price
These buttons set metering/ white balance, AF/drive and ISO/ash compensation
PROFESSIONAL
Gear Super Test
Canon EOS 1D X
Proving that increased image resolution isnt the prime concern, Canons rangetopping 1D X professional body is limited to 18.1Mp. This helps to ensure fast continuous drive rates and immaculate image quality, even at very high ISO settings. Performance also gets a boost from the tment of two DIGIC 5+ image processors. The end result is an ultra-fast 12fps burst rate, which you can boost further still to 14fps if you can live without autofocus and metering after the rst shot in a rapid-re sequence. The 1D X is also a sensitivity winner, with a whopping ISO51200 available in its standard range, and an incredible ISO204,800 in expanded mode. The 1D X really feels like its built to take the knocks of a hard-working professional life, with magnesium alloy shell and plentiful weather seals. Other nery includes a 61-point AF system, which copes really well with tracking fast-moving objects. For continuous shooting, the increased buffer size can accommodate 38 Raw les, making the most of the blistering drive rate. The integrated vertical grip offers duplicated shooting controls so that the 1D X feels natural in both landscape and portrait orientation shooting. Image quality is stunning, even in very low light at high sensitivity settings.
Viewnder
The big, bright and clear pentaprism viewnder is very easy on the eye
LCD screens
Two info LCDs on both the top and rear supplement the main 3.2-inch screen
Quick Control Dial
This falls naturally under the thumb in both orientations, for quick and easy exposure compensation
Dual Multi-controllers
Handling feels almost identical in both portrait and landscape orientation, thanks to clever layout
Shooting mode, AF, drive, metering and ash exposure compensation are all available
Supreme handling; ultra-fast continuous shooting; epic build and image quality Expensive to buy, especially if you dont need the built-in vertical grip
97
Target Price
Customisable buttons on the front of the camera are also duplicated for landscape/ portrait orientations
4,850
PROF ESSIO NAL
The Big Canon EOS D-SLR Test! at a glance

Name
Launch date APS-C/Full-frame Image sensor Image processor ISO range (expanded) Autofocus points Centre AF point Shutter speeds Max burst rate Buffer capacity (RAW) Video max resolution Viewnder
EOS M
June 2012 APS-C 18Mp CMOS Digic 5 ISO100-12800 (25600) 31 points N/A 1/4000 to 30s, Bulb 4.3fps 6 shots 1920x1080 None
EOS 1100D
Feb 2011 APS-C 12.2Mp CMOS Digic 4 ISO100-6400 9 points (1 cross-type) f/5.6 1/4000 to 30s, Bulb 3fps (2fps RAW) 5 shots 1280x720 Pentamirror, 0.8x, 95% 2.7-inch, 230k Fixed Yes 10 fn, 32 settings 1x SD/HC/XC LP-E10 700 shots Polycarbonate 130x100x78mm 495g 240
EOS 100D
March 2013 APS-C 18Mp CMOS Digic 5 ISO100-12800 (25600) 9 points (1 cross-type) f/2.8 1/4000 to 30s, Bulb 4fps 7 shots 1920x1080 Pentamirror, 0.87x, 95% 3-inch, 1040k Fixed, touchscreen Yes 8 fn, 24 settings 1x SD/HC/XC (UHS-1) LP-E12 380 shots Polycarbonate 117x91x69mm 407g 400
EOS 700D
March 2013 APS-C 18Mp CMOS Digic 5 ISO100-12800 (25600) 9 points (all cross-type) f/2.8 1/4000 to 30s, Bulb 5fps 6 shots 1920x1080 Pentamirror, 0.85x, 95% 3-inch, 1040k Pivot, touchscreen Yes 8 fn, 24 settings 1x SD/HC/XC (UHS-1) LP-E8 440 shots Polycarbonate 133x100x79mm 580g 490
EOS 70D
July 2013 APS-C 20.2Mp CMOS Digic 5+ ISO100-12800 (25600) 19 points (all cross-type) f/2.8 1/8000 to 30s, Bulb 7fps 16 shots 1920x1080 Pentaprism, 0.95x, 98% 3-inch, 1040k Pivot, touchscreen Yes 23 fn, 74 settings 1x SD/HC/XC (UHS-1) LP-E6 920 shots Polycarbonate 139x104x79mm 755g 860
EOS 7D
Sep 2009 APS-C 18Mp CMOS 2x Digic 4 ISO100-6400 (12800) 19 points (all cross-type) f/2.8 1/8000 to 30s, Bulb 8fps 25 shots 1920x1080 Pentaprism, 1.0x, 100% 3-inch, 920k Fixed Yes 27 fn, 70 settings 1x CF (UDMA) LP-E6 800 shots Magnesium alloy 148x111x74mm 820g 1,030
EOS 6D
Sep 2012 Full-frame 20.2Mp CMOS Digic 5+ ISO100-25600 (50-102,400) 11-point (1 cross-type) f/2.8 1/4000 to 30s, Bulb 4.5fps 17 shots 1920x1080 Pentaprism, 0.71x, 97% 3-inch, 1040k Fixed No 21 fn, 60 settings 1x SD/HC/XC (UHS-1) LP-E6 1090 shots Magnesium alloy & polycarbonate 145x111x71mm 755g 1,380
EOS 5D Mark III

March 2012 Full-frame 22.3Mp CMOS Digic 5+ ISO100-25600 (50-102,400) 61-point (41 crosstype, 5x dual-cross) f/2.8 1/8000 to 30s, Bulb 6fps 18 shots 1920x1080 Pentaprism, 0.71x, 100% 3.2-inch, 1040k Fixed No 13 fn, 47 settings 1x CF (UDMA), 1x SD/HC/XC (UHS-1) LP-E6 950 shots Magnesium alloy 152x116x76mm 950g 2,330
EOS 1D X
Oct 2011 Full-frame 18.1Mp CMOS 2x Digic 5+ ISO100-51200 (50-204,800) 61-point (41 crosstype, 5x dual-cross) f/2.8 1/8000 to 30s, Bulb 12-14fps 38 shots 1920x1080 Pentaprism, 0.76x, 100% 3.2-inch, 1040k Fixed No 31 fn, 99 settings 2x CF (UDMA) LP-E4N 1040 shots Magnesium alloy 158x164x83mm 1340g 4,850
LCD screen LCD pivot/touch Pop-up ash Custom functions Memory Battery type Battery life (CIPA) Main body material Body (WxHxD) Weight
3-inch, 1040k Fixed No 7 fn, 19 settings 1x SD/HC/XC (UHS-1) LP-E12 230 shots Polycarbonate 109x67x32mm 298g 300 (with 1855mm lens)
Target price (body only)

Verdict
80%
78%
84%
87%
95%
88%
89%
95%
97%
There are so many great cameras in Canons current lineup that its hard to pick outright winners. Even so, the 700D stands out as the pick of the beginners camera crop, with its excellent performance and clever features. On a tighter budget, the 1100D is currently better value than the brand-new 1200D, whereas the 100D outclasses them both with its superior specications and handling, making it our top value choice. Moving up to the enthusiast sector, the 70D has largely overtaken the 7D in terms of features and overall performance. For our money, the 70Ds the best specced APS-C camera of all time. If youre after a full-frame camera in this sector, the 6D is the full-frame body to go for, although its worth seriously considering spending the extra on a pro-spec 5D Mk III body. For a fully professional camera, the 1D X is not only the best Canon body but arguably the best thats currently available from any manufacturer. The only sticking point is the price. On a less extravagant budget, the 5D Mk III is also a spectacularly good buy.
Five things we learned in this test

1 2
Full-frame cameras have the edge for portraiture, enabling a shallower depth of field for blurring the background. APS-C format cameras are great for sports and wildlife, where the crop factor extends the effective telephoto reach. Brand-new cameras often retain their full asking price for a few months after launch, but you can make considerable savings if youre prepared to wait.
Buying a kit instead of purchasing a body and lens separately can be a real money-spinner, but it isnt always the case.
4 5
Enthusiast Canon D-SLRs are very beginner-friendly, so dont let worries about complication affect your buying decision, even if youre a complete novice.
Skills Photoshop Essentials
106 | PhotoPlus Xxxxxxx 2010
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Stephen Richardson Photography Holidays

Improve your photography skills with a top professional, shooting stunningBastide villages in the countryside of Frances Tarn region. Youlllearn landscape, macro, low light and bright light techniques, and post-production skills, while enjoying English hospitality in our beautiful farmhouse, with excellent food and wine included. Bastide villages includeCordes-sur-Ciel, Puycelci, Castelnau-de-Montmiral and Bruniquel. Weorganise small groupsof four photographers, and partners can be accommodated too. All bedrooms are double, with en-suite facilities. www.srph.co.uk
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City architecture! Canon ace David Clapp teaches our Apprentice to take grand building shots on a hard day/night shoot in Liverpool Your new Canon EOS D-SLR guide Part 2 Get started, from how to hold your Canon camera to using your LCD and Live View PhotoPlus Workshop Capture sharp shots every time with ouressential guide to focusing faster and more accurately Ultra-wide-angle lens test! Ten great options for broadening your views, perfectly suited to APS-C-sensor Canon D-SLRs D-SLR + Photoshop projects How to use ND grad lters for great landscape shots, photographing birds in your garden, more Raw editing tips, plus videos!
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Shot in the Back
My favourite shot
British wildlife and nature photographer Matt Cole shares his passion for shooting wide-angle style macro shots
This image is of a female common bluebuttery and it was taken at a local nature reserve on a sunny June day. Onthis particular day I was enjoying watching a number of common blues feeding on the yellow birds-foot trefoil owers and decided to try to capture an image that showed a buttery within its natural habitat. I used a Tokina 35mm macro lens attached to my Canon 7D as this lenss relatively short focal length is great for producing wide-angle style macro images. Iwanted to shoot at the eye-level of the buttery and Iwas also keen to include blue sky in the background of the image in order to give it a summery feel. To achieve this I had to lay on my stomach and handhold the camera, with the lens only a few inches away from the buttery. Although in many of my macro images Itry to isolate my subject against a clear background, my aim here was to do the opposite. To include the butterys habitat I chose a narrow aperture of f/20, which still only captures a shallow depth of eld as I was focusing so close. As I was holding the camera by hand I set my ISO to 400, which provided a shutter speed of 1/200 sec. The result is an image that reminds me of a British summers day in the countryside. When I look at it I can almost hear the bees buzzing and feel the heat of the sun on my back!
Matt Cole
www.mattcolephotography.co.uk Age 42 Location Leicestershire Semi-pro for 5 years
BackIssues
Issue 85 April 2014
Catch up on what youve missed with a back issue. Buy yours from www.zinio.com/photoplus-single
Issue 84 March 2014

The Photography Movement: Discover how to freeze the action and how to convey motion in your shots with our D-SLR techniques and tips l Apprentice: Light up your lifestyle portraits l Super Test: Standard zoom lenses lWorkshop: In-camera lters l8-page guide to after-dark photography techniques l Help me buy cloud storage l Shoot a moody low-key portrait l Get perfect pet pictures
Master your SLR in 48 hrs! Improve your Canon skills in a weekend, from setup to exposure and focusing lApprentice: Beautiful boudoir lSuper Test: Macro lenses lWorkshop: Canon's in-camera HDR mode explained lMaster HDR with our 8-page guide lHelp my buy a home studio lighting kit l1200D hands-on preview lCanon & Sigma 24-105mm f/4 lens head-to-head
Issue 83 February 2014

Happy new Canon! We guarantee to help you become a better photographer l Apprentice: Scenic forest photography lSuper Test: Budget telephoto zooms from 100 l Workshop: Canons metering modes explained l 8 page guide to Creative close-up photography l Help me buy a sheye lens l Masterclass: capture trafc trails l How to master Raw stunning images in Elements
Issue 82 January 2014

Master your Canon lenses get more from your glass with our essential advice! l Apprentice: learn to shoot magical light trails l Gear of the Year: 2013s best cameras, lenses and photography gear l Workshop: capture spectacular night-time images lChristmas wish list guide lHelp me buy a shoulder bag lMasterclass: create a wintry wonderland lCreate your own calendar and Christmas
Issue 81 December 2013

Master your Canon EOS D-SLR top setup and shooting tips for EOS cameras old and new lApprentice: take stunning still-life macro shots of plants and owers l Super Test: A4 & A3+ photo printers for the home lWorkshop: speed up your shooting l Make cash with your Canon l Help me buy a prime portrait lens lMasterclass: create a moody twilight cityscape l Turn grey skies blue!
Issue 80 November 2013

Autumn outdoor photo skills guide get better shots of portraits, wildlife, nature and landscapes in this photogenic season l Apprentice: get top-ight footy shots l Super Test: studio and portable ash kits l Workshop: HD video l 50 amazing national parks lHelp me buy an ultra-wideangle lens l Full test: Photoshop Elements 12 lMasterclass: shoot and print a mono portrait
SWIPE FOR MORE BACK ISSUES
BackIssues
Issue 79 October 2013
Break the rules of photography we show you when you can throw away the rule book! l Apprentice: get great shots ofbirds in ight l Super Test: telephoto zooms lWorkshop: long-exposure seascapes l Lens buyers guide get the lowdown on every Canon-t lens l Help me buy Raw processing software l Full test: Canon EOS70D l Masterclass: forestphotography
Issue 78 September 2013

Master long exposures follow our in-depth guide to capturing movement in water, skies and busy streets l Apprentice: take great lakeside landscapes lSuper Test: ashguns lWorkshop: take control of depth of eld l 8-page guide to outdoor portrait photography lHelp me buy a carbon bre tripod l Head-to-head: Canon EOS 70D vs 60D l Masterclass: cave photography
Issue 77 August 2013

Shoot sharper shots say goodbye to soft photos with our jargon-free guide to getting pin-sharp images l Apprentice: learn to take great travel shots lSuper Test: superzooms lWorkshop: banish camera shake l 8-page preview guide to the Canon EOS 70D l Masterclass: capture candid on the job shots l Help me buy a radio ash trigger l Review: EF 200-400mm f/4L Extender
Issue 76 July 2013

Master your D-SLR get better images by taking control of key settings, from exposure and focusing to custom functions lApprentice: a stag weekend to remember! l Super Test: the big Canon D-SLR test l Workshop: EXIF data explained l 8-page essential guide to ashguns lMasterclass: get close-up aerial action shots l Help me buy a portable backdrop lAdobe Creative Cloud
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Issue 75 June 2013

Black & White: from portraits and landscapes to abstracts, take your mono shooting and editing skills to the next level lApprentice: how to take great wedding portraits l Super Test: ND lters l Workshop: make the most of Canon Picture Styles l8-page essential guide to DPP l Canon EOS 100D & 700D reviewed lMasterclass: ash-lit action photography l Help me buy a portrait lens
Issue 74 May 2013

100 Canon SLR top secret tips and tricks lApprentice: Guy Edwardes takes us to Cornwall to reveal his coastal photography tips l Super Test: 10 ultra-wide lenses on test l Workshop: troubleshoot your EOS l 8-page guide to Canon EOS 100D lCanon EOS 700D hands-on preview l Masterclass: get a bugs-eye view of the garden lHelp me buy a tripod alternative
Issue 73 Spring 2013

Take top portraits just like the pros how to shoot everything from babies to boudoir! lOur Apprentice learns to take newborn shots that every parent would be proud of l Super Test: ten backpacks on test l PhotoPlus Workshop: Fix a broken camera or lens l Top 50 springtime landscape locations l Masterclass: create an HDR masterpiece l Help Me Buy a macro lens
Issue 72 April 2013

Take control of your Canon camera and shoot spectacular landscapes today! l Apprentice: take great equestrian portraits l Super Test: 10 mid-range zooms to upgrade your kit lens l PhotoPlus Workshop: P, Av, Tv & M modes explained l8-page guide to Canon full-frame cameras l Masterclass: shoot and combine long exposures for artistic images l Help Me Buy a remote shutter release
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FREE VIDEO GUIDES

Spring 2014 Issue 86

N0.1 CAnOn D-SLR MAG!

100% CANON D-SLR SKILLS

NEW CAMERA TECHNIQUES!

D! EVerY EOS TESTe

384 CANON TIPS

canOn PrO tiPs

Take stunning shots of boats and bays on the Cornish coast

How to use an ND filter

Turn any movement into arty motion blur

FREE! ipad interactiVe

A warm welcome to...

Claim your free months subscription trial page 38!

THE NO.1 CANON D-SLR PHOTOGRAPHY MAGAZINE!

Peter Travers Editor

Join our interactive online communities

PhotoPlus Spring 2014 | 3

Issue #86 Spring 2014

The Apprentice................ 8 Your Letters ................... 18

BAYs ANd BOAts!

Subs Club ........................ 20 Inspirations .................... 22

Photography Road Trip! . 28

PhotoPlus Skills ............... 39

Help Me Buy .................. 88

SLR Super Test .............. 94 Next issue..................... 113

CANON D-SLR STARTEr GUIdE!

HElP ME BUY A... REFlEctOr

My Favourite Shot ...... 114

A complimentary photo book for every subscriber! Page 20

OUTDOOR D-SLR SKILLS!

NEW PrOJEcts! UsING ND FIltErs

SUPER TEST! cANON D-SLRs

WAtch thE VIdEO

Should I upgrade to a 5D Mk III? p78

How do I digitize old negatives? p79

Why cant I open Raw files? p79

Meet the team

Adam Waring Operations editor EOS 7D

Head of testing EOS 5D Mk III

Matt Richards Technical writer EOS 70D

Hollie Latham Staff writer EOS 60D

Martin Partt Art editor EOS 600D

This issues contributors

Meet our Subscriber of the Month!

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The PhotoPlus Apprentice

8 | PhotoPlus Spring 2014

Your chance to shoot with a pro

really floats my boat!

The PhotoPlus Apprentice

Fit a protective lter

Is David ready to shoot harbours?

PhotoPlus Technique assessment

10 | PhotoPlus Spring 2014

Your chance to shoot with a pro

KILLER KIT OF THE PROS #1

Get close for abstracts

PhotoPlus Spring 2014 | 11

The PhotoPlus Apprentice

KILLER KIT OF THE PROS #2

12 | PhotoPlus Spring 2014

Your chance to shoot with a pro