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100 Articles

Do you remember when 10fps seemed like a super-fast continuous shooting speed? I was in awe when shooting at 10fps with a new EOS-1D Mark III back in 2008. I felt like I was armed with a machine gun as I rapidly photographed superbikes on a racetrack. But EOS camera fps speeds move quickly. The electronic shutters in the EOS R5 and R6 mirrorless introduced 20fps last year, but now the new EOS R3 sporting hero offers an eye-wateringly fast 30fps. It was great to gets my hands on the R3 and shoot with it, and you won’t believe the incredibly clever AF, especially the new Eye Control AF. Read our comprehensive review on the EOS R3 on page 86. Learn all you need to know to make the step up…

Do you remember when 10fps seemed like a super-fast continuous shooting speed? I was in awe when shooting at 10fps with a new EOS-1D Mark III back in 2008. I felt like I was armed with a machine gun as I rapidly photographed superbikes on a racetrack. But EOS camera fps speeds move quickly. The electronic shutters in the EOS R5 and R6 mirrorless introduced 20fps last year, but now the new EOS R3 sporting hero offers an eye-wateringly fast 30fps. It was great to gets my hands on the R3 and shoot with it, and you won’t believe the incredibly clever AF, especially the new Eye Control AF. Read our comprehensive review on the EOS R3 on page 86. Learn all you need to know to make the step…

• We’re the only photo magazine in the newsagent that’s 100% DEDICATED TO CANON EOS CAMERA USERS, so we’re 100% relevant to your needs. • WE’RE 100% INDEPENDENT, which means we’re free to publish what we feel is best for EVERY CANON DSLR OR MIRRORLESS PHOTOGRAPHER – from beginners to enthusiasts to full-time professionals. • We’re CANON ENTHUSIASTS and, with our contributors, we can offer years of EXPERT PHOTOGRAPHY EXPERIENCE. We’re always excited to pass on what we’ve learned. • We’re more than just a print mag; YOU CAN BUY PHOTOPLUS FOR ANY DIGITAL DEVICE WORLDWIDE via Apple iTunes, Zinio, Magzter, Amazon Kindle, B&N Nook, PocketMags or PressReader. • Our Video Disc has THE VERY BEST DSLR TECHNIQUE & PHOTOSHOP VIDEO GUIDES, which can also be viewed via our digital editions. • We’re proud to…

• We’re the only photo magazine in the newsagent that’s 100% DEDICATED TO CANON EOS CAMERA USERS, so we’re 100% relevant to your needs. • WE’RE 100% INDEPENDENT, which means we’re free to publish what we feel is best for EVERY CANON DSLR OR MIRRORLESS PHOTOGRAPHER – from beginners to enthusiasts to full-time professionals. • We’re CANON ENTHUSIASTS and, with our contributors, we can offer years of EXPERT PHOTOGRAPHY EXPERIENCE. We’re always excited to pass on what we’ve learned. • We’re more than just a print mag; YOU CAN BUY PHOTOPLUS FOR ANY DIGITAL DEVICE WORLDWIDE via Apple iTunes, Zinio, Magzter, Amazon Kindle, B&N Nook, PocketMags or PressReader. • Our Video Disc has THE VERY BEST DSLR TECHNIQUE & PHOTOSHOP VIDEO GUIDES, which can also be viewed via our digital…

ACCESS YOUR FREE EBOOK

Get the free 196-page Teach Yourself Seasonal Photography eBook – download it to your mobile device or computer 1. Go to our web page at quick link bit.ly/pp184ebook Please enter this in your internet browser bar (not into Google), and allow time for hi-res eBook to appear. 2. On the web page that appears you will able to view the eBook PDF in your internet browser. 3. You can view the eBook there, or if on your computer, click the icon top-right to download it. Or if on your mobile device, click the share icon and Save to Files (or similar).…

ACCESS YOUR FREE EBOOK

ACCESS YOUR FREE EBOOK

Get the free 196-page Teach Yourself Seasonal Photography eBook – download it to your mobile device or computer 1. Go to our web page at quick link bit.ly/pp184ebook Please enter this in your internet browser bar (not into Google), and allow time for hi-res eBook to appear. 2. On the web page that appears you will able to view the eBook PDF in your internet browser. 3. You can view the eBook there, or if on your computer, click the icon top-right to download it. Or if on your mobile device, click the share icon and Save to Files (or similar).…

ACCESS YOUR FREE EBOOK

Meet the team…

Peter Travers Editor • 5D Mark IV peter.travers@futurenet.com “Once I’d stepped up to a full-frame Canon EOS camera, I’ve never looked back. In our big camera guide, we reveal the benefits of a bigger sensor!” PAGE 28 Dan Mold Technique editor • 1D X Mk III dan.mold@futurenet.com “For part five of my landscape photo series, I illustrate the difference in focal lengths when using wide-angle to telephoto lenses to capture scenic shots.” PAGE 52 James Paterson Technique writer • 5D Mark IV james.paterson@futurenet.com “Taking portraits in harsh midday sunshine can feel impossible, unless you know how to work with the sunlight. In my big project this issue I show you how!” PAGE 44 Louise Carey Technique writer • R6 louise.carey@futurenet.com “This issue in Lightroom, I show you how to mask…

Meet the team…

Peter Travers Editor • 5D Mark IV peter.travers@futurenet.com “Once I’d stepped up to a full-frame Canon EOS camera, I’ve never looked back. In our big camera guide, we reveal the benefits of a bigger sensor!” PAGE 28 Dan Mold Technique editor • 1D X Mk III dan.mold@futurenet.com “For part five of my landscape photo series, I illustrate the difference in focal lengths when using wide-angle to telephoto lenses to capture scenic shots.” PAGE 52 James Paterson Technique writer • 5D Mark IV james.paterson@futurenet.com “Taking portraits in harsh midday sunshine can feel impossible, unless you know how to work with the sunlight. In my big project this issue I show you how!” PAGE 44 Louise Carey Technique writer • R6 louise.carey@futurenet.com “This issue in Lightroom, I show you how to mask parts of your images then selectively boost the brightness and temperature for better editing results.”…

This issue’s contributors…

Oliver Wright Canon professional and macro expert Oliver teaches our Apprentice how to take great insect shots. PAGE 8 Peter Baker Keen amateur Canon EOS photographer Peter reveals how it took some top shots of local wildlife. PAGE 70 Julie Tennant For her shot of a woodland butterfly, Julie used a nice shallow depth of field to blur the background. PAGE 25 James Artaius Ex-PhotoPlus staffer turned Digitalcameraworld.com editor tests the amazing R3 speed demon! PAGE 86 Christian Andrel From surviving cancer to becoming a father and creating a thriving portrait photo business. PAGE 60 Marcus Hawkins Our favourite Canon nerd reveals the EOS camera features to improve your compositions. PAGE 74 Alexander Sviridov Canon portrait pro and digital artist Alexander shares his six favourite pieces of kit. PAGE 72…

This issue’s contributors…

This issue’s contributors…

Oliver Wright Canon professional and macro expert Oliver teaches our Apprentice how to take great insect shots. PAGE 8 Peter Baker Keen amateur Canon EOS photographer Peter reveals how it took some top shots of local wildlife. PAGE 70 Julie Tennant For her shot of a woodland butterfly, Julie used a nice shallow depth of field to blur the background. PAGE 25 James Artaius Ex-PhotoPlus staffer turned Digitalcameraworld.com editor tests the amazing R3 speed demon! PAGE 86 Christian Andrel From surviving cancer to becoming a father and creating a thriving portrait photo business. PAGE 60 Marcus Hawkins Our favourite Canon nerd reveals the EOS camera features to improve your compositions. PAGE 74 Alexander Sviridov Canon portrait pro and digital artist Alexander shares his six favourite pieces of kit. PAGE 72 Matthew Richards Find out which is the best proper macro lens for your extreme close-up…

This issue’s contributors…

MINIATURE MARVELS

CANON PRO NAME: OLIVER WRIGHT CAMERA: CANON EOS R5 BASED IN Garforth, Leeds, Oliver has embraced Canon’s latest mirrorless full-frame cameras, now shooting fantastic macro imagery of wildlife, plants and flowers with his EOS R5. A climbing accident back in 2010 was the catalyst for Oliver realizing his passion for photography, in particular wildlife. 11 years later and Oliver runs events with Canon and promotional videos. He’s had multiple highly commended images in the British Wildlife Photography Awards and is the perfect pro to teach Matthew about macro. www.oliverwrightphotography.com APPRENTICE NAME: MATTHEW FARRUGIA CAMERA: CANON EOS R6 MATTHEW IS a student dispensing optician in his final year, from Peterborough, and loves to get out and about with his newly acquired Canon EOS R6 full-frame mirrorless camera. He’s an amateur wildlife photographer and would love to have the confidence to shoot macro…

MINIATURE MARVELS

TECHNIQUE ASSESSMENT

MANUAL MODE OLIVER SET his and Matthew’s EOS R5 and R6 cameras to Manual mode, so that they could dial in exposure settings without them being affected by the cameras built-in metering systems. This meant that if the light changed, their images would become brighter or darker, which meant that checking the rear LCD for a decent exposure was crucial. They also set up Raw shooting to give them a little leeway if the exposure was off when it comes to post. KEY CAMERA SETTINGS ALTHOUGH SHOOTING at sunrise, Oliver likes to go to areas that are still in shade, as once insects, like dragonflies and damselflies, are hit by the sun they start to warm up and become much more active, which makes sharp shots and focus stacks much more difficult. Shooting…

TECHNIQUE ASSESSMENT

MINIATURE MARVELS

CANON PRO NAME: OLIVER WRIGHT CAMERA: CANON EOS R5 BASED IN Garforth, Leeds, Oliver has embraced Canon’s latest mirrorless full-frame cameras, now shooting fantastic macro imagery of wildlife, plants and flowers with his EOS R5. A climbing accident back in 2010 was the catalyst for Oliver realizing his passion for photography, in particular wildlife. 11 years later and Oliver runs events with Canon and promotional videos. He’s had multiple highly commended images in the British Wildlife Photography Awards and is the perfect pro to teach Matthew about macro. www.oliverwrightphotography.com APPRENTICE NAME: MATTHEW FARRUGIA CAMERA: CANON EOS R6 MATTHEW IS a student dispensing optician in his final year, from Peterborough, and loves to get out and about with his newly acquired Canon EOS R6 full-frame mirrorless camera. He’s an amateur wildlife…

MINIATURE MARVELS

OLIVER’S TOP 10 TIPS FOR MACRO

1 Get up early Insects like damselflies and dragonflies are very inactive at sunrise, which makes them easier to photograph. 2 Visit local nature reserves Find a nature reserve close to you that you can regularly visit to practice and build up your macro skills. 3 Give video a go Oliver usually sets up a second camera to record snippets of video to capture the insect’s behaviour. 4 Respect nature Move slowly and avoid creating loud noises that might scare your subject, don’t disturb the habitat, and leave the site cleaner than when you arrived. 5 Be patient Oliver will often search to find an insect in an ideal position to photograph them, usually in the shade is best, before they’ve warmed up and become active. 6 Use natural light Oliver uses natural light. He found flash to be too harsh…

TECHNIQUE ASSESSMENT

MANUAL MODE OLIVER SET his and Matthew’s EOS R5 and R6 cameras to Manual mode, so that they could dial in exposure settings without them being affected by the cameras built-in metering systems. This meant that if the light changed, their images would become brighter or darker, which meant that checking the rear LCD for a decent exposure was crucial. They also set up Raw shooting to give them a little leeway if the exposure was off when it comes to post. KEY CAMERA SETTINGS ALTHOUGH SHOOTING at sunrise, Oliver likes to go to areas that are still in shade, as once insects, like dragonflies and damselflies, are hit by the sun they start to warm up and become much more active, which makes sharp shots and focus stacks much…

TECHNIQUE ASSESSMENT

OLIVER’S MAGICAL MACRO SHOTS

BANDED DANDED DEMOISELLE THE SUN was rising behind some foliage, which softened the sun and it allowed me to capture one of my favourite insects with the sun rising behind it at the same time. DEWY DAMSELFLY THIS WAS a stacked shot during the heaviest dew I have seen this year. I love how the compound nature of the eye is magnified in the drops and also how the grass background is refracted. AMETHYST DECEIVER FUNGI I LIKE this image as an example of why macro can be worked on all year. Here, I gently illuminated the mushroom with a small LED panel to make it pop against the forest floor.…

OLIVER’S MAGICAL MACRO SHOTS

OLIVER’S TOP 10 TIPS FOR MACRO

1 Get up early Insects like damselflies and dragonflies are very inactive at sunrise, which makes them easier to photograph. 2 Visit local nature reserves Find a nature reserve close to you that you can regularly visit to practice and build up your macro skills. 3 Give video a go Oliver usually sets up a second camera to record snippets of video to capture the insect’s behaviour. 4 Respect nature Move slowly and avoid creating loud noises that might scare your subject, don’t disturb the habitat, and leave the site cleaner than when you arrived. 5 Be patient Oliver will often search to find an insect in an ideal position to photograph them, usually in the shade is best, before they’ve warmed up and become active. 6 Use natural light…

SHOT OF THE DAY!

MATTHEW’S COMMENT Oliver’s insight and knowledge with the macro insect world is so comprehensive and I was happy to soak it all up like a sponge – I didn’t think I could learn so much in a single day! While I’m an amateur wildlife photographer and can photograph mammals and birds no problem, I’ve always found it difficult to get good results with close-up images. I had invested in a ringflash kit to help me take macro images, but watching Oliver get amazing results with just natural light means that I’ll be selling it all as soon as I get home! Thank you so much PhotoPlus for the incredible experience, after the session I now feel like a more well-rounded wildlife photographer and look forward to putting my new skills into…

SHOT OF THE DAY!

OLIVER’S MAGICAL MACRO SHOTS

BANDED DANDED DEMOISELLE THE SUN was rising behind some foliage, which softened the sun and it allowed me to capture one of my favourite insects with the sun rising behind it at the same time. DEWY DAMSELFLY THIS WAS a stacked shot during the heaviest dew I have seen this year. I love how the compound nature of the eye is magnified in the drops and also how the grass background is refracted. AMETHYST DECEIVER FUNGI I LIKE this image as an example of why macro can be worked on all year. Here, I gently illuminated the mushroom with a small LED panel to make it pop against the forest floor.…

OLIVER’S MAGICAL MACRO SHOTS

SHOT OF THE DAY!

MATTHEW’S COMMENT Oliver’s insight and knowledge with the macro insect world is so comprehensive and I was happy to soak it all up like a sponge – I didn’t think I could learn so much in a single day! While I’m an amateur wildlife photographer and can photograph mammals and birds no problem, I’ve always found it difficult to get good results with close-up images. I had invested in a ringflash kit to help me take macro images, but watching Oliver get amazing results with just natural light means that I’ll be selling it all as soon as I get home! Thank you so much PhotoPlus for the incredible experience, after the session I now feel like a more well-rounded wildlife photographer and look forward to putting my new skills…

SHOT OF THE DAY!

01 WINNER JUVENILE RED KITE BY EDWARD PAYNE This is a wonderful animal portrait with the red kite looking directly down the barrel of the lens. It’s also full of sublime autumnal colours and leaves that perfectly complement the bird’s brown feathers. Edward’s framing works terrifically well, placing the subject right in the middle of his composition making for an unforgettable shot. Lens Canon EF 70-200mm f/2.8L IS II USM Exposure 1/1000 sec, f/2.8, ISO250 02 GANNET BY NICK CLAYTON Nick’s done a stellar job at isolating this beautiful gannet from its background with a long telephoto 500mm lens and wide aperture of f/5.6. His focus on the gannet’s eye is spot-on, and the shallow depth of field has blurred the foreground and background into a fantastic wash of colour, ensuring that the gannet gets…

STEP UP TO FULL-FRAME

If you’ve been into photography for any amount of time you’ll likely be familiar with the term ‘full-frame’, which refers to the size of the digital sensor being close to that of a piece of old 35mm film. So if you’re not shooting on a full-frame camera does that mean you’re not getting the ‘full’ picture? In short, yes! In this guide we take a deep dive into what makes full-frame so special and why professionals love to shoot with this larger digital format. Full-frame chips are huge! Canon’s full-frame sensors are about 160 per cent larger than it’s more budget-friendly APS-C counterparts, and over 21 times larger than a 1/2.5 inch chip, which is found in many smartphones and compact cameras. Canon makes its own bespoke full-frame sensors for both DSLR…

STEP UP TO FULL-FRAME

01 WINNER JUVENILE RED KITE BY EDWARD PAYNE This is a wonderful animal portrait with the red kite looking directly down the barrel of the lens. It’s also full of sublime autumnal colours and leaves that perfectly complement the bird’s brown feathers. Edward’s framing works terrifically well, placing the subject right in the middle of his composition making for an unforgettable shot. Lens Canon EF 70-200mm f/2.8L IS II USM Exposure 1/1000 sec, f/2.8, ISO250 02 GANNET BY NICK CLAYTON Nick’s done a stellar job at isolating this beautiful gannet from its background with a long telephoto 500mm lens and wide aperture of f/5.6. His focus on the gannet’s eye is spot-on, and the shallow depth of field has blurred the foreground and background into a fantastic wash of colour,…

WHY FULL-FRAME?

The full picture DIGITAL FULL-FRAME sensors are so-called because they’re close in size to old 35mm film, hence the title ‘full’ frame. Full-frame Canon EOS cameras, like the EOS R5 and 5D Mark IV, have 24x36mm sensors, however Canon also makes DSLR and mirrorless cameras with a smaller APS-C sensor, measuring 22.3x14.9mm. These smaller sensors still produce fantastic image quality superior to bridge cameras and smartphones – that have even smaller sensors – but they still fall short of full-frame. When using lenses on any of Canon’s APS-C cameras, such as an EOS 90D or 7D Mark II, you’ll need to multiply the focal length by 1.6x to work out the focal length equivalent, as the sensor is smaller your lenses will feel more zoomed in. Whereas with full-frame, you get exactly…

WHY FULL-FRAME?

WHAT TO LOOK FOR WHEN BUYING USED

Give it a road test IF YOU’RE able to test the camera in person before buying a used model, take the opportunity to look for any major dents or dings and scratches on the camera screen. Don’t be too worried about scratches to paintwork on the body, as this is usually just superficial, but can be a good bargaining chip to push the price down a little bit. If you’re buying from an online store, like MPB or Wex, they usually do a good job at showing the camera from several angles and listing any sort of damage. Take pictures with the camera to make sure it’s all working as it should and that the mirror isn’t faulty on DSLR cameras. You could also take a picture of a bright sky…

WHAT TO LOOK FOR WHEN BUYING USED

STEP UP TO FULL-FRAME

If you’ve been into photography for any amount of time you’ll likely be familiar with the term ‘full-frame’, which refers to the size of the digital sensor being close to that of a piece of old 35mm film. So if you’re not shooting on a full-frame camera does that mean you’re not getting the ‘full’ picture? In short, yes! In this guide we take a deep dive into what makes full-frame so special and why professionals love to shoot with this larger digital format. Full-frame chips are huge! Canon’s full-frame sensors are about 160 per cent larger than it’s more budget-friendly APS-C counterparts, and over 21 times larger than a 1/2.5 inch chip, which is found in many smartphones and compact cameras. Canon makes its own bespoke full-frame sensors for…

STEP UP TO FULL-FRAME

FULL-FRAME EF AND RF LENSES

Lens compatibility CANON HAS two full-frame lens mounts for its digital cameras, EF and RF for its DSLR and mirrorless cameras respectively. Be sure to pick up lenses that fit your camera before purchasing to make sure it’s all compatible. EF-S lenses won’t be compatible with Canon’s EF mount and EF-M lenses, for its mirrorless APS-C cameras, won’t be compatible with the full-frame RF lens mount. Whether you’re buying Canon or 3rd party optics, be sure they’re for EF or RF mount to avoid any heartache. EF to EOS R mount adapters WITH MORE people switching over to Canon’s full-frame EOS R System mirrorless, a lot of photographers are using the Canon EF-EOS R Mount Adapter to use the EF lenses with the new mirrorless RF mount. EF lenses tend to be a…

FULL-FRAME EF AND RF LENSES

WHY FULL-FRAME?

The full picture DIGITAL FULL-FRAME sensors are so-called because they’re close in size to old 35mm film, hence the title ‘full’ frame. Full-frame Canon EOS cameras, like the EOS R5 and 5D Mark IV, have 24x36mm sensors, however Canon also makes DSLR and mirrorless cameras with a smaller APS-C sensor, measuring 22.3x14.9mm. These smaller sensors still produce fantastic image quality superior to bridge cameras and smartphones – that have even smaller sensors – but they still fall short of full-frame. When using lenses on any of Canon’s APS-C cameras, such as an EOS 90D or 7D Mark II, you’ll need to multiply the focal length by 1.6x to work out the focal length equivalent, as the sensor is smaller your lenses will feel more zoomed in. Whereas with full-frame, you…

WHY FULL-FRAME?

WHAT TO LOOK FOR WHEN BUYING USED

Give it a road test IF YOU’RE able to test the camera in person before buying a used model, take the opportunity to look for any major dents or dings and scratches on the camera screen. Don’t be too worried about scratches to paintwork on the body, as this is usually just superficial, but can be a good bargaining chip to push the price down a little bit. If you’re buying from an online store, like MPB or Wex, they usually do a good job at showing the camera from several angles and listing any sort of damage. Take pictures with the camera to make sure it’s all working as it should and that the mirror isn’t faulty on DSLR cameras. You could also take a picture of a bright…

WHAT TO LOOK FOR WHEN BUYING USED

BEST FULL-FRAME EOS CAMERAS UNDER £1000

Canon EOS 5D Mark II around £280 CANON’S 5D Mark II was way ahead of its time when it launched in 2008 for £2299. You can now pick it up for about 10 per cent of its original price, as we’ve seen some used models online for £280! With a 21.1Mp sensor and dated specs, it’s long in the tooth now, and we suggest finding the extra money if you can to upgrade to the 5D Mark III for better quality of life and tech improvements. But if you’re on a strict budget, or would rather put your money towards lenses, the 5D Mark II is a good deal. Canon EOS 5D Mark III around £599 LAUNCHED ALMOST a decade ago, Canon’s EOS 5D Mark III is still a remarkable full-frame camera with…

BEST FULL-FRAME EOS CAMERAS UNDER £1000

FULL-FRAME EF AND RF LENSES

Lens compatibility CANON HAS two full-frame lens mounts for its digital cameras, EF and RF for its DSLR and mirrorless cameras respectively. Be sure to pick up lenses that fit your camera before purchasing to make sure it’s all compatible. EF-S lenses won’t be compatible with Canon’s EF mount and EF-M lenses, for its mirrorless APS-C cameras, won’t be compatible with the full-frame RF lens mount. Whether you’re buying Canon or 3rd party optics, be sure they’re for EF or RF mount to avoid any heartache. EF to EOS R mount adapters WITH MORE people switching over to Canon’s full-frame EOS R System mirrorless, a lot of photographers are using the Canon EF-EOS R Mount Adapter to use the EF lenses with the new mirrorless RF mount. EF lenses tend…

FULL-FRAME EF AND RF LENSES

The Perfect Christmas Gift for just £51.50

plus Lowepro’s Truckee BP 150 LX is a great basic camera daypack that delivers all-day comfort, durable materials, plus room for your personal gear. External dimensions: 25x15x39.5cm Truckee backpacks blend function and grab-and-go spontaneity – perfect for day trips, holidays, festivals, light hikes, or nights under the The camera compartment will fit a compact DSLR like a Canon EOS 800D, or mirrorless camera, an extra lens, and small flashgun. Plus a mesh pocket and strap will secure a compact tripod Your special Christmas subs offer • FREE Lowepro backpack worth £70 • For just £51.50, enjoy 12 months of PhotoPlus: The Canon Magazine – that’s only £3.96 an issue! • Receive every issue delivered direct to your door before it’s on sale in the shops • A thoughtful gift that keeps delivering throughout the year Upgrade to include digital…

The Perfect Christmas Gift for just £51.50

Convertibles & Cappadocia

Be prepared. A scouting motto, but also a mantra for a successful photographic career. I can’t tell you the amount of times I have changed angles entirely on a shoot, but when opportunity comes knocking for you, it is foolish not to grasp it. I have run yearly photographic experiences shooting Cappadocia’s incredible landscape since 2016. I've also seen the demographic of tourists change considerably, all because of viral posts on Instagram highlighting an impossible dream – styled shoots with beautiful girls wearing flowing dresses, surrounded by a hundred balloons, bathed in luscious golden light. Alongside the salt pools at Pamukkale and the mosques in Istanbul, Cappadocia is a premier export for Turkey’s tourism industry. The desert landscape is made of layers of sedimentary rock, the fallout from no less than three…

Convertibles & Cappadocia

BEST FULL-FRAME EOS CAMERAS UNDER £1000

Canon EOS 5D Mark II around £280 CANON’S 5D Mark II was way ahead of its time when it launched in 2008 for £2299. You can now pick it up for about 10 per cent of its original price, as we’ve seen some used models online for £280! With a 21.1Mp sensor and dated specs, it’s long in the tooth now, and we suggest finding the extra money if you can to upgrade to the 5D Mark III for better quality of life and tech improvements. But if you’re on a strict budget, or would rather put your money towards lenses, the 5D Mark II is a good deal. Canon EOS 5D Mark III around £599 LAUNCHED ALMOST a decade ago, Canon’s EOS 5D Mark III is still a remarkable…

BEST FULL-FRAME EOS CAMERAS UNDER £1000

The Perfect Christmas Gift for just £51.50

plus Lowepro’s Truckee BP 150 LX is a great basic camera daypack that delivers all-day comfort, durable materials, plus room for your personal gear. External dimensions: 25x15x39.5cm Truckee backpacks blend function and grab-and-go spontaneity – perfect for day trips, holidays, festivals, light hikes, or nights under the The camera compartment will fit a compact DSLR like a Canon EOS 800D, or mirrorless camera, an extra lens, and small flashgun. Plus a mesh pocket and strap will secure a compact tripod Your special Christmas subs offer • FREE Lowepro backpack worth £70 • For just £51.50, enjoy 12 months of PhotoPlus: The Canon Magazine – that’s only £3.96 an issue! • Receive every issue delivered direct to your door before it’s on sale in the shops • A thoughtful gift that…

The Perfect Christmas Gift for just £51.50

New projects with video guides

HOW TO VIEW OUR VIDEO GUIDES ONLINE ALL OF OUR NEW PHOTO PROJECT AND IMAGE-EDITING VIDEOS CAN BE VIEWED ONLINE VIA THE WEB LINKS ON PAGES 44-58! Follow our Canon camera walkthrough guides and Photoshop editing videos dan.mold@futurenet.com Welcome… ALTHOUGH THE evenings are drawing in there’s still plenty of time in the day to get fantastic shots. James has been taking striking portraits even in the harsh midday sun – on page 44. Don’t let the shorter days deter you from getting creative with your Canon, get to grips with ISO on page 48 and discover how you can keep shooting in very low-light situations. On page 52, in the penultimate instalment of our landscape photo series, we run through lens options and how your focal length has a drastic affect on your framing and compositions. If…

New projects with video guides

Convertibles & Cappadocia

Be prepared. A scouting motto, but also a mantra for a successful photographic career. I can’t tell you the amount of times I have changed angles entirely on a shoot, but when opportunity comes knocking for you, it is foolish not to grasp it. I have run yearly photographic experiences shooting Cappadocia’s incredible landscape since 2016. I've also seen the demographic of tourists change considerably, all because of viral posts on Instagram highlighting an impossible dream – styled shoots with beautiful girls wearing flowing dresses, surrounded by a hundred balloons, bathed in luscious golden light. Alongside the salt pools at Pamukkale and the mosques in Istanbul, Cappadocia is a premier export for Turkey’s tourism industry. The desert landscape is made of layers of sedimentary rock, the fallout from no less…

Convertibles & Cappadocia

Place in the sun

One of the golden rules for portrait photography is that you shouldn’t shoot people in direct sunlight. Without clouds to diffuse it, the light from the sun is very hard-edged. We’re likely to get strong shadows over the face, squinting subjects and greasy hot spots on the skin. As such, many photographers would put the camera away, wait for cloud cover, or come back at the magic hour. However, the sun can be a wonderful source if we know how to work the angles and manipulate the light. The main challenge with direct sunlight is the strong contrast it creates in our subject. The difference between the brightest and darkest part of the subject is so great that the shadows can look impenetrably dark. We need to find a way to…

Place in the sun

ON LOCATION USING FLASH LIGHT IN THE SUN

01 FLASHES WITH SUNLIGHT Some might think of flash as a tool to use for extra light in dim conditions, but bright sunlight is one of the best times to bring out a flash. The flash gives us lots of creative options, as we can use it to create dynamic cross-lighting like this, or gently fill in the shadows for a more natural look. 02 CROSS LIGHTING The key to shooting portraits in the sun is to reduce the contrast over subjects. The flash lets us do this by filling in shadows. Our subject has her back to the sun, so it creates bold highlights along the edge of her figure. Positioned opposite, the flash lifts the shadows on the face and body. 03 EXPOSE FOR SUNLIGHT The sunny f/16 rule can help work out…

ON LOCATION USING FLASH LIGHT IN THE SUN

TOP TIPS CREATING BETTER SUNLIGHT

01 EMBRACE THE SUNLIGHT Why not embrace the hard light look? Ask your subject to turn their face to the sun and lift the chin, so that the eye sockets are not in shade. Look for butterfly lighting under the nose (where the shadow cast by the nose forms a butterfly shape). 02 USE FILL FLASH We can use a flash to gently fill the shadows on a sunny day. Our flash should be close to the same angle as the camera. A hotshoe-mounted Speedlite can also work well. Try using the flash in ETTL mode and Spot metering to set the exposure off the face. 03 LOOK FOR NATURAL BOUNCE Look for sunlight bouncing off bright surfaces, like white walls. Bring the subject’s face in close to the surface, and it’ll act like a…

TOP TIPS CREATING BETTER SUNLIGHT

New projects with video guides

HOW TO VIEW OUR VIDEO GUIDES ONLINE ALL OF OUR NEW PHOTO PROJECT AND IMAGE-EDITING VIDEOS CAN BE VIEWED ONLINE VIA THE WEB LINKS ON PAGES 44-58! Follow our Canon camera walkthrough guides and Photoshop editing videos dan.mold@futurenet.com Welcome… ALTHOUGH THE evenings are drawing in there’s still plenty of time in the day to get fantastic shots. James has been taking striking portraits even in the harsh midday sun – on page 44. Don’t let the shorter days deter you from getting creative with your Canon, get to grips with ISO on page 48 and discover how you can keep shooting in very low-light situations. On page 52, in the penultimate instalment of our landscape photo series, we run through lens options and how your focal length has a drastic…

New projects with video guides

TOP TIPS EDITING YOUR SUNLIGHT PORTRAITS

01 RETOUCH THE SKIN Hard sunlight portraits tend to require more retouching, because the hard light more clearly shows pimples and rough patches of skin. To fix this, open in them Photoshop and make a new layer then grab the Spot Healing Brush tool, set it to ‘Sample All Layers’ then paint to remove small any small imperfections. 02 REDUCE HOT SPOTS Direct sunlight can create oily-looking hot spots on skin. Make a new layer, then grab the Brush tool, hold Alt and sample a nearby skin colour. Hit 3 for 30% brush opacity, then paint over the hot spot. Try reducing the layer opacity a bit, set the blend mode to Darken and add a touch of noise with Filter>Noise>Add Noise. 03 TRY A MONO CONVERSION Portraits in sunny conditions tend to work really…

TOP TIPS EDITING YOUR SUNLIGHT PORTRAITS

Place in the sun

One of the golden rules for portrait photography is that you shouldn’t shoot people in direct sunlight. Without clouds to diffuse it, the light from the sun is very hard-edged. We’re likely to get strong shadows over the face, squinting subjects and greasy hot spots on the skin. As such, many photographers would put the camera away, wait for cloud cover, or come back at the magic hour. However, the sun can be a wonderful source if we know how to work the angles and manipulate the light. The main challenge with direct sunlight is the strong contrast it creates in our subject. The difference between the brightest and darkest part of the subject is so great that the shadows can look impenetrably dark. We need to find a way…

Place in the sun

ON LOCATION USING FLASH LIGHT IN THE SUN

01 FLASHES WITH SUNLIGHT Some might think of flash as a tool to use for extra light in dim conditions, but bright sunlight is one of the best times to bring out a flash. The flash gives us lots of creative options, as we can use it to create dynamic cross-lighting like this, or gently fill in the shadows for a more natural look. 02 CROSS LIGHTING The key to shooting portraits in the sun is to reduce the contrast over subjects. The flash lets us do this by filling in shadows. Our subject has her back to the sun, so it creates bold highlights along the edge of her figure. Positioned opposite, the flash lifts the shadows on the face and body. 03 EXPOSE FOR SUNLIGHT The sunny f/16…

ON LOCATION USING FLASH LIGHT IN THE SUN

TOP TIPS HIGH SPEED SYNC FLASH LIGHT

WHEN SHOOTING flash-lit portraits in sunlight it can be tricky to blur backgrounds. The problem is our shutter speed which, when coupled with a flash, is often restricted to a max flash sync speed around 1/200 sec. If we use the sunny f/16 rule (page 45), then with a shutter speed of 1/200 sec, even if we drop to ISO100, we could only open the aperture up to f/11, which isn’t wide enough for a shallow DoF (as the inset image below shows). The solution is to use a flash capable of high speed sync. This pulses the flash, enabling higher shutter speeds and wider apertures (1/4000 sec with aperture f/2.5 in the shot on the right). There are catches – camera and flash have to be compatible, and it…

TOP TIPS HIGH SPEED SYNC FLASH LIGHT

TOP TIPS CREATING BETTER SUNLIGHT

01 EMBRACE THE SUNLIGHT Why not embrace the hard light look? Ask your subject to turn their face to the sun and lift the chin, so that the eye sockets are not in shade. Look for butterfly lighting under the nose (where the shadow cast by the nose forms a butterfly shape). 02 USE FILL FLASH We can use a flash to gently fill the shadows on a sunny day. Our flash should be close to the same angle as the camera. A hotshoe-mounted Speedlite can also work well. Try using the flash in ETTL mode and Spot metering to set the exposure off the face. 03 LOOK FOR NATURAL BOUNCE Look for sunlight bouncing off bright surfaces, like white walls. Bring the subject’s face in close to the surface,…

TOP TIPS CREATING BETTER SUNLIGHT

A shot in the dark

There are three main parameters that make up your camera’s exposure: aperture is the diaphragm of blades inside the lens that open or close to let in more or less light, then you have how long the shutter is open for, shutter speed, and lastly you have ISO values. ISO stands for International Standards Organisation, the company that standardized values of light sensitivity for rolls of camera film back in the day. In modern digital cameras, ISO has a similar function, but you don’t have to switch rolls of film to achieve different ISO speeds as digital cameras allow you to do all of this at the press of a button. ISO determines how sensitive your camera’s digital sensor is to light. A low ISO value, such as 100 (the baseline on many…

A shot in the dark

TOP TIPS EDITING YOUR SUNLIGHT PORTRAITS

01 RETOUCH THE SKIN Hard sunlight portraits tend to require more retouching, because the hard light more clearly shows pimples and rough patches of skin. To fix this, open in them Photoshop and make a new layer then grab the Spot Healing Brush tool, set it to ‘Sample All Layers’ then paint to remove small any small imperfections. 02 REDUCE HOT SPOTS Direct sunlight can create oily-looking hot spots on skin. Make a new layer, then grab the Brush tool, hold Alt and sample a nearby skin colour. Hit 3 for 30% brush opacity, then paint over the hot spot. Try reducing the layer opacity a bit, set the blend mode to Darken and add a touch of noise with Filter>Noise>Add Noise. 03 TRY A MONO CONVERSION Portraits in sunny…

TOP TIPS EDITING YOUR SUNLIGHT PORTRAITS

UNDERSTANDING ISO AND FILE TYPES

01 WHEN TO SHOOT IN JPEG MODE JPEG files are very small, compressed and have in-camera processing applied. This means they’re more manageable, easier to share when you’re in a hurry, but really hinder your ability to edit them efficiently, as much of the exposure data is lost. 02 WHY RAW FILES APPEAR ‘WORSE’ Unlike JPEGs, Raw files don’t have any in-camera processing applied (even noise reduction), so you need to apply this yourself to your desired amount when editing. Raw files start off looking worse than JPEGs, but end up looking far superior when edited.…

UNDERSTANDING ISO AND FILE TYPES

TOP TIPS HIGH SPEED SYNC FLASH LIGHT

WHEN SHOOTING flash-lit portraits in sunlight it can be tricky to blur backgrounds. The problem is our shutter speed which, when coupled with a flash, is often restricted to a max flash sync speed around 1/200 sec. If we use the sunny f/16 rule (page 45), then with a shutter speed of 1/200 sec, even if we drop to ISO100, we could only open the aperture up to f/11, which isn’t wide enough for a shallow DoF (as the inset image below shows). The solution is to use a flash capable of high speed sync. This pulses the flash, enabling higher shutter speeds and wider apertures (1/4000 sec with aperture f/2.5 in the shot on the right). There are catches – camera and flash have to be compatible, and it…

TOP TIPS HIGH SPEED SYNC FLASH LIGHT

JPEG, RAW AND YOU

CANON’S LATEST cameras give you plenty of JPEG and Raw image quality options. JPEG stands for Joint Photographic Experts Group, the group that created the now standard digital image format. Raw, on the other hand, isn’t an acronym, it literally means the ‘raw’ data straight out of the camera as it isn’t compressed or processed in-camera. On our Canon EOS 6D Mark II body a large JPEG file was just 1.4MB, while the highest quality Raw file was 24.7MB, so you have more exposure data to play with when editing. VIEW THE VIDEO WATCH VIDEO ONLINE http://bit.ly/pp_184_2…

JPEG, RAW AND YOU

A shot in the dark

There are three main parameters that make up your camera’s exposure: aperture is the diaphragm of blades inside the lens that open or close to let in more or less light, then you have how long the shutter is open for, shutter speed, and lastly you have ISO values. ISO stands for International Standards Organisation, the company that standardized values of light sensitivity for rolls of camera film back in the day. In modern digital cameras, ISO has a similar function, but you don’t have to switch rolls of film to achieve different ISO speeds as digital cameras allow you to do all of this at the press of a button. ISO determines how sensitive your camera’s digital sensor is to light. A low ISO value, such as 100 (the…

A shot in the dark

STEP 1 EXPAND YOUR ISO Canon cameras usually have hidden ISO values. On our 6D Mark II we went into the Shooting Menu (red camera menu) and chose ISO Speed Settings, then went into ISO Speed Range and set the lowest to L(50), which is a full stop lower than base 100. We set the Maximum to H2(102,400), one and a third stops more than the native ISO40,000 tops out at – it’s a great way to give yourself more shooting options. It’s also worth opening your aperture as wide as possible and using a tripod or monopod as well as Image Stabilisation to get a sharp image. If you’re shooting handheld boost your ISO until you have a shutter speed of 1/100 sec to give yourself a decent chance of…

UNDERSTANDING ISO AND FILE TYPES

01 WHEN TO SHOOT IN JPEG MODE JPEG files are very small, compressed and have in-camera processing applied. This means they’re more manageable, easier to share when you’re in a hurry, but really hinder your ability to edit them efficiently, as much of the exposure data is lost. 02 WHY RAW FILES APPEAR ‘WORSE’ Unlike JPEGs, Raw files don’t have any in-camera processing applied (even noise reduction), so you need to apply this yourself to your desired amount when editing. Raw files start off looking worse than JPEGs, but end up looking far superior when edited.…

UNDERSTANDING ISO AND FILE TYPES

Lenses for landscapes

Having a good quality lens is arguably more important than a good camera body. This is especially the case when it comes to landscapes, as features like 4K video, high burst rates and in-body stabilization aren’t hugely essential, however a super sharp and fast lens are. While landscapes are synonymous with wide-angle lenses, rules are made to be broken, and, indeed, standard focal lengths and even telephoto lenses can produce outstanding results. In fact, many working Canon professionals favour telephoto lenses for landscapes over wide-angle optics, as your focal point is more easily lost within a wider field of view. The focal length of your lens is easily explained: the lower the number, like 16mm, the wider the field of view. While the higher the number, like 200mm, the narrower the field…

Lenses for landscapes

JPEG, RAW AND YOU

CANON’S LATEST cameras give you plenty of JPEG and Raw image quality options. JPEG stands for Joint Photographic Experts Group, the group that created the now standard digital image format. Raw, on the other hand, isn’t an acronym, it literally means the ‘raw’ data straight out of the camera as it isn’t compressed or processed in-camera. On our Canon EOS 6D Mark II body a large JPEG file was just 1.4MB, while the highest quality Raw file was 24.7MB, so you have more exposure data to play with when editing. VIEW THE VIDEO WATCH VIDEO ONLINE http://bit.ly/pp_184_2…

JPEG, RAW AND YOU

STEP BY STEP FOCAL LENGTH EXPLAINED

01 ULTRA WIDE ANGLE Super wide and fisheye lenses will capture big scenes, making it possible to include foreground, midground and background. But you need to get closer, and they’re prone to barrel distortion at the frame edges. 02 WIDE ANGLE Zooming in to 35mm, we still have a wide angle of view, wider than 50mm (equivalent to what the human eye can see), although we lose much of the barrel distortion seen at super-wide focal lengths. 03 ‘STANDARD’ FOCAL LENGTH 50mm is often called ‘standard’, as it has a similar angle of view as the human eye, meaning images look more natural. Anything below 50mm is considered wide angle and anything above is called telephoto. 04 TELEPHOTO Telephoto lenses help you zoom into the frame and bring distant objects into close view, so it’s easy to…

STEP BY STEP FOCAL LENGTH EXPLAINED

STEP 1 EXPAND YOUR ISO Canon cameras usually have hidden ISO values. On our 6D Mark II we went into the Shooting Menu (red camera menu) and chose ISO Speed Settings, then went into ISO Speed Range and set the lowest to L(50), which is a full stop lower than base 100. We set the Maximum to H2(102,400), one and a third stops more than the native ISO40,000 tops out at – it’s a great way to give yourself more shooting options. It’s also worth opening your aperture as wide as possible and using a tripod or monopod as well as Image Stabilisation to get a sharp image. If you’re shooting handheld boost your ISO until you have a shutter speed of 1/100 sec to give yourself a decent chance…

TOP CANON LENSES: THE HOLY TRINITY

01 CANON EF 16-35mm f/2.8L This lens covers everything from ultra wide 16mm to standard wide angle 35mm, making it ideal for classic landscapes. It also has a wide maximum aperture of f/2.8 – great for those low-light scenes. 02 CANON EF 24-70mm f/2.8L This is a souped-up kit lens for full-frame DSLRs with a versatile zoom range of 24mm wide angle and 70mm short telephoto, all at f/2.8, so it’s great for everything from portraits to landscapes. 03 CANON 70-200mm f/2.8L Some landscape scenes work best when you zoom in with a telephoto lens like a 70-200mm. This lets you pick out interesting scenes within the scene, and compress the perspective as well.…

TOP CANON LENSES: THE HOLY TRINITY

Top of the range

Creating the perfect blend of colours or the correct exposure can be tricky – especially when you have to edit around uneven tree lines, or a messy mixture of tones. However, there’s a way to make specific edits without hours of painstakingly brushing in masks. When using the Radial Filter, Graduated Filter, or Adjustment Brush in Adobe Lightroom Classic, you have the option to introduce a Range Mask into the mix. A Range Mask gives you the ability to limit your adjustment to a certain set of qualities. There are three possibilities: Luminance, Color and Depth. But we’ll specifically be looking at how to use Color and Luminance in this Lightroom editing tutorial. You can download the Lightroom_before. jpg image, or use one of your own shots to follow along with this step-by-step…

Top of the range

Lenses for landscapes

Having a good quality lens is arguably more important than a good camera body. This is especially the case when it comes to landscapes, as features like 4K video, high burst rates and in-body stabilization aren’t hugely essential, however a super sharp and fast lens are. While landscapes are synonymous with wide-angle lenses, rules are made to be broken, and, indeed, standard focal lengths and even telephoto lenses can produce outstanding results. In fact, many working Canon professionals favour telephoto lenses for landscapes over wide-angle optics, as your focal point is more easily lost within a wider field of view. The focal length of your lens is easily explained: the lower the number, like 16mm, the wider the field of view. While the higher the number, like 200mm, the narrower…

Lenses for landscapes

HOW TO MAKE THE MOST OF RANGE MASKING

01 CHOOSE YOUR TOOL Select the Graduated Filter, Radial Filter or Adjustment Brush tool and make your selection. We used the Graduated Filter tool to lighten the dull grey of the background, however, we wanted to ensure that the bird remained untouched. 02 USE LUMINOSITY RANGE MASKS To ensure that the adjustment tool only affected the background, we went to the Range Mask drop down menu and selected Luminance. Then, we used the Eyedropper tool to select the background, so that only those tones are affected. 03 REFINE YOUR SELECTION Using the Eyedropper tool affects the Range slider. You can then manually adjust this slider until you’re happy with the results. The larger the range, the more of your selection will be affected by the adjustments you’ve made. 04 EXPERIMENT WITH COLOUR Range masks can also be…

HOW TO MAKE THE MOST OF RANGE MASKING

STEP BY STEP FOCAL LENGTH EXPLAINED

01 ULTRA WIDE ANGLE Super wide and fisheye lenses will capture big scenes, making it possible to include foreground, midground and background. But you need to get closer, and they’re prone to barrel distortion at the frame edges. 02 WIDE ANGLE Zooming in to 35mm, we still have a wide angle of view, wider than 50mm (equivalent to what the human eye can see), although we lose much of the barrel distortion seen at super-wide focal lengths. 03 ‘STANDARD’ FOCAL LENGTH 50mm is often called ‘standard’, as it has a similar angle of view as the human eye, meaning images look more natural. Anything below 50mm is considered wide angle and anything above is called telephoto. 04 TELEPHOTO Telephoto lenses help you zoom into the frame and bring distant objects…

STEP BY STEP FOCAL LENGTH EXPLAINED

TOP CANON LENSES: THE HOLY TRINITY

01 CANON EF 16-35mm f/2.8L This lens covers everything from ultra wide 16mm to standard wide angle 35mm, making it ideal for classic landscapes. It also has a wide maximum aperture of f/2.8 – great for those low-light scenes. 02 CANON EF 24-70mm f/2.8L This is a souped-up kit lens for full-frame DSLRs with a versatile zoom range of 24mm wide angle and 70mm short telephoto, all at f/2.8, so it’s great for everything from portraits to landscapes. 03 CANON 70-200mm f/2.8L Some landscape scenes work best when you zoom in with a telephoto lens like a 70-200mm. This lets you pick out interesting scenes within the scene, and compress the perspective as well.…

TOP CANON LENSES: THE HOLY TRINITY

Monochrome perfection

There are lots of tools in Photoshop and Lightroom for adjusting the look of your black and white photos and most of them are easy to get the hang of. In fact, more often the challenge lies in committing to a certain monochrome look, especially when there are so many sliders and settings to choose from. Should you go for this bold contrasty look? Or will a subtle matte effect be more suited to your photo? How about adding a vignette? Or opening up the shadows? Or dropping the blues? And so on. It’s the age-old editing conundrum: stick or twist. Thankfully there are features that can help you overcome image-editing analysis paralysis. One such tool is Profiles. They’re ideal for monochrome lovers, as they give you one-click treatments in seconds,…

Monochrome perfection

Top of the range

Creating the perfect blend of colours or the correct exposure can be tricky – especially when you have to edit around uneven tree lines, or a messy mixture of tones. However, there’s a way to make specific edits without hours of painstakingly brushing in masks. When using the Radial Filter, Graduated Filter, or Adjustment Brush in Adobe Lightroom Classic, you have the option to introduce a Range Mask into the mix. A Range Mask gives you the ability to limit your adjustment to a certain set of qualities. There are three possibilities: Luminance, Color and Depth. But we’ll specifically be looking at how to use Color and Luminance in this Lightroom editing tutorial. You can download the Lightroom_before. jpg image, or use one of your own shots to follow along…

Top of the range

HOW TO MAKE THE MOST OF RANGE MASKING

01 CHOOSE YOUR TOOL Select the Graduated Filter, Radial Filter or Adjustment Brush tool and make your selection. We used the Graduated Filter tool to lighten the dull grey of the background, however, we wanted to ensure that the bird remained untouched. 02 USE LUMINOSITY RANGE MASKS To ensure that the adjustment tool only affected the background, we went to the Range Mask drop down menu and selected Luminance. Then, we used the Eyedropper tool to select the background, so that only those tones are affected. 03 REFINE YOUR SELECTION Using the Eyedropper tool affects the Range slider. You can then manually adjust this slider until you’re happy with the results. The larger the range, the more of your selection will be affected by the adjustments you’ve made. 04 EXPERIMENT…

HOW TO MAKE THE MOST OF RANGE MASKING

STEP BY STEP BLACK-AND-WHITE PROFILES EXPLAINED

01 OPEN INTO CAMERA RAW Navigate to your image in Adobe Bridge, right-click and ‘Open in Camera Raw’ (or if you’re in Photoshop, go to Filter>Camera Raw Filter). Go to the Basic panel and click the Profile Browser grid icon at the top right. This houses all the profiles in different sets. 02 CHOOSE A B&W PROFILE Scroll down to the B&W Profile set and hover over the profiles to see how they affect your image. Each will affect colours and contrast in various ways. We’ve chosen the B&W Orange Filter profile, which makes the yellow grass bright, contrasting with the hippo. 03 ADJUST THE AMOUNT Each profile effect has an amount slider that lets you control the strength (except the Adobe Raw and Camera Matching sets, which are only available for Raws). Play with…

STEP BY STEP BLACK-AND-WHITE PROFILES EXPLAINED

DEPTH RANGE MASKING

If you use a newer camera, then you can experiment with Depth Range Masks as well. This will mean that you can make adjustments to a certain depth within your photo. For example, we could solely edit the sparrow, as there’s nothing else on the same focal plane. QUICK TIP! Range masking works best when there’s plenty of contrast between the colours, or tones, in your photograph DOWNLOAD PROJECT FILES TO YOUR COMPUTER FROM: http://downloads.photoplusmag.com/pp184.zip…

DEPTH RANGE MASKING

Craft a contact sheet

If you find it hard to choose your favourite shot from a series of similar images, then consider how this was even harder in the days of film. One of the methods used to check and compare shots back in the day was a contact sheet. This was a handy way of displaying an entire roll of film on a single sheet of paper, and in times gone by it was an important part of the creative process for photographers. While it might be obsolete in practical terms, it’s still an interesting visual effect to try. Here we’ll pay homage to the contact sheet and show you how to recreate the look on a sequence of shots in Affinity Photo. We’ve supplied a contact sheet template, see download link below, so…

Craft a contact sheet

Monochrome perfection

There are lots of tools in Photoshop and Lightroom for adjusting the look of your black and white photos and most of them are easy to get the hang of. In fact, more often the challenge lies in committing to a certain monochrome look, especially when there are so many sliders and settings to choose from. Should you go for this bold contrasty look? Or will a subtle matte effect be more suited to your photo? How about adding a vignette? Or opening up the shadows? Or dropping the blues? And so on. It’s the age-old editing conundrum: stick or twist. Thankfully there are features that can help you overcome image-editing analysis paralysis. One such tool is Profiles. They’re ideal for monochrome lovers, as they give you one-click treatments in…

Monochrome perfection

STEP BY STEP VINTAGE CONTACT SHEETS

01 MAKE A BOX Open the supplied contact_sheet.png file into Affinity, then go to Document>Rotate 90 degrees clockwise. Next, we’ll create frames to snap each of our images to. Grab the Rectangle tool from the toolbar and drag a shape over the top left frame. 02 COPY THE RECTANGLES Get the Move tool, hold Alt and drag the rectangle to make a copy. Position this over the next frame. Keep Alt-dragging to make copies for each of the frames. After, drag the bottom layer to the top of the stack, so the film border is in front of everything else. 03 MAKE A CHILD With the Move tool, click on the first frame to select the relevant layer. Pull a shot into Affinity. It’ll appear as a layer above the rectangle. Drag the image layer…

STEP BY STEP VINTAGE CONTACT SHEETS

STEP BY STEP BLACK-AND-WHITE PROFILES EXPLAINED

01 OPEN INTO CAMERA RAW Navigate to your image in Adobe Bridge, right-click and ‘Open in Camera Raw’ (or if you’re in Photoshop, go to Filter>Camera Raw Filter). Go to the Basic panel and click the Profile Browser grid icon at the top right. This houses all the profiles in different sets. 02 CHOOSE A B&W PROFILE Scroll down to the B&W Profile set and hover over the profiles to see how they affect your image. Each will affect colours and contrast in various ways. We’ve chosen the B&W Orange Filter profile, which makes the yellow grass bright, contrasting with the hippo. 03 ADJUST THE AMOUNT Each profile effect has an amount slider that lets you control the strength (except the Adobe Raw and Camera Matching sets, which are only…

STEP BY STEP BLACK-AND-WHITE PROFILES EXPLAINED

CHRISTIAN ANDERL

PHOTOGRAPHY WAS not Christian Anderl’s first choice of career. Among his seven previous jobs were roles in hotel management, architecture and a host on Austria’s leading radio station. He also had a stint in military service. Now firmly established as one of his country’s best-known portrait photographers, does Christian think any of his former jobs had a positive impact on his photography? “All of them did in one way or another,” he replies. “Interesting photographs tell interesting stories, so I guess everything you go through, learn or experience can only improve your photography and your ability to tell better stories.” Of greater significance was the day nearly 10 years ago when a doctor told him that he might not have long to live. Christian was in his mid-30s when he was…

CHRISTIAN ANDERL

Try not to smile!

Which celebrity has provided the most memorable sitting? I guess that was Günter Tolar, a famous Austrian TV host from my childhood. I always liked him on TV, he has such a friendly and positive vibe. When I came to photograph him, he said, “For my whole life I had to laugh and smile for photographs, I want a really serious one now.” I thought, ‘Well, you are friendly, smiling, positive. Serious is not your thing, but well, I’ll show you.’ I took the picture and showed it to him. When he saw it, he had to laugh so much, we took the most ‘LOL’ photo he ever had in his life! He still loves it and uses it for every interview and media appearance he can!…

Try not to smile!

Craft a contact sheet

If you find it hard to choose your favourite shot from a series of similar images, then consider how this was even harder in the days of film. One of the methods used to check and compare shots back in the day was a contact sheet. This was a handy way of displaying an entire roll of film on a single sheet of paper, and in times gone by it was an important part of the creative process for photographers. While it might be obsolete in practical terms, it’s still an interesting visual effect to try. Here we’ll pay homage to the contact sheet and show you how to recreate the look on a sequence of shots in Affinity Photo. We’ve supplied a contact sheet template, see download link below,…

Craft a contact sheet

Christian Anderl

As one of Austria’s leading portrait photographers, Christian Anderl is renowned for his candid and wonderfully intimate studies of everyday people, as well as national celebrities. Much of the inspiration for his work is drawn from his own personal experiences, such as his on-going Fatherhood project, which he began in 2018 after his young son became seriously ill with Kawasaki syndrome. Christian is also a cancer survivor and responded to his own diagnosis of the illness by shooting a succession of Movember charity calendars to raise awareness of men’s health, especially prostate cancer. Prior to becoming a professional photographer, Christian worked for many years as a successful radio presenter on Austria’s broadcasting station. Now a Canon Ambassador, he is the founder of the online photography workshop platform, Shootcamp, one of the…

Christian Anderl

STEP BY STEP VINTAGE CONTACT SHEETS

01 MAKE A BOX Open the supplied contact_sheet.png file into Affinity, then go to Document>Rotate 90 degrees clockwise. Next, we’ll create frames to snap each of our images to. Grab the Rectangle tool from the toolbar and drag a shape over the top left frame. 02 COPY THE RECTANGLES Get the Move tool, hold Alt and drag the rectangle to make a copy. Position this over the next frame. Keep Alt-dragging to make copies for each of the frames. After, drag the bottom layer to the top of the stack, so the film border is in front of everything else. 03 MAKE A CHILD With the Move tool, click on the first frame to select the relevant layer. Pull a shot into Affinity. It’ll appear as a layer above the…

STEP BY STEP VINTAGE CONTACT SHEETS

Here comes the sun

Photo essays from PhotoPlus readers and professional photographers alike JOIN IN THE FUN! One of the great things about photography is being able to share your view of the world. This month one of our readers chases the sun for moody landscapes, while another heads to their local wildlife park to test their skills. We want your photos and stories! For your chance to show off your images in PhotoPlus, email three to five high-resolution JPEGs, along with a brief synopsis – explain why you took the shots, the location, whether they’re part of an ongoing project or a one-off shoot, and anything else unusual or interesting. Also include Canon EOS camera, lens and exposure details. Email images and info to photoplus@futurenet.com Catch us online at www.facebook.com/photoplusmag www.instagram.com/PhotoPlusCanonMag www.twitter.com/photoplusmag PROJECT INFO NAME: Stephanie Dowe LOCATION: Kirkcudbrightshire, Scotland MISSION: Capture glorious close to…

Here comes the sun

CHRISTIAN ANDERL

PHOTOGRAPHY WAS not Christian Anderl’s first choice of career. Among his seven previous jobs were roles in hotel management, architecture and a host on Austria’s leading radio station. He also had a stint in military service. Now firmly established as one of his country’s best-known portrait photographers, does Christian think any of his former jobs had a positive impact on his photography? “All of them did in one way or another,” he replies. “Interesting photographs tell interesting stories, so I guess everything you go through, learn or experience can only improve your photography and your ability to tell better stories.” Of greater significance was the day nearly 10 years ago when a doctor told him that he might not have long to live. Christian was in his mid-30s when he…

CHRISTIAN ANDERL

Try not to smile!

Which celebrity has provided the most memorable sitting? I guess that was Günter Tolar, a famous Austrian TV host from my childhood. I always liked him on TV, he has such a friendly and positive vibe. When I came to photograph him, he said, “For my whole life I had to laugh and smile for photographs, I want a really serious one now.” I thought, ‘Well, you are friendly, smiling, positive. Serious is not your thing, but well, I’ll show you.’ I took the picture and showed it to him. When he saw it, he had to laugh so much, we took the most ‘LOL’ photo he ever had in his life! He still loves it and uses it for every interview and media appearance he can!…

Try not to smile!

PROJECT INFO NAME: Peter Baker LOCATION: The British Wildlife Centre, Crawley MISSION: Photograph foxes and other animals KIT: Canon EOS 80D, Canon EF 70-300mm f/4-5.6 IS II USM, Tamron SP 90mm f/2.8 Di VC USD Macro Instagram: @images3904 This spring and summer, my neighbours told me tales of watching a fox family play in the field behind our house. After hearing this, I decided that I had to get some photos… I was up at dusk, put out dog food and had the farmers permission to sit in the field waiting. Days were spent in wait and nothing came. The British Wildlife Centre was my safety net and I went there hoping to get the pictures I was after. My big tip for this is to stay close to the keeper running the day – they…

Christian Anderl

As one of Austria’s leading portrait photographers, Christian Anderl is renowned for his candid and wonderfully intimate studies of everyday people, as well as national celebrities. Much of the inspiration for his work is drawn from his own personal experiences, such as his on-going Fatherhood project, which he began in 2018 after his young son became seriously ill with Kawasaki syndrome. Christian is also a cancer survivor and responded to his own diagnosis of the illness by shooting a succession of Movember charity calendars to raise awareness of men’s health, especially prostate cancer. Prior to becoming a professional photographer, Christian worked for many years as a successful radio presenter on Austria’s broadcasting station. Now a Canon Ambassador, he is the founder of the online photography workshop platform, Shootcamp, one of…

Christian Anderl

Alexander Sviridov

Professional photographers reveal their top six tools of the trade they couldn’t shoot without After studying fine art for seven years, I began trying other genres such as realism, impressionism and the abstract. I moved to Canada in 2000 and it was very difficult to find a job as an artist, but using more practical Photoshop skills I was able to get a job as a graphic designer. In 2012 three-year-old daughter, Iris, went up to some flowers in a vase and leaned in to smell them, the natural light from the window fell beautifully and created an elegant scene. This became a much needed epiphany that I was looking for, as at this point I hadn’t done anything artistically for 15 years, but from this moment I knew photography would be the…

Alexander Sviridov

Here comes the sun

Photo essays from PhotoPlus readers and professional photographers alike JOIN IN THE FUN! One of the great things about photography is being able to share your view of the world. This month one of our readers chases the sun for moody landscapes, while another heads to their local wildlife park to test their skills. We want your photos and stories! For your chance to show off your images in PhotoPlus, email three to five high-resolution JPEGs, along with a brief synopsis – explain why you took the shots, the location, whether they’re part of an ongoing project or a one-off shoot, and anything else unusual or interesting. Also include Canon EOS camera, lens and exposure details. Email images and info to photoplus@futurenet.com Catch us online at www.facebook.com/photoplusmag www.instagram.com/PhotoPlusCanonMag www.twitter.com/photoplusmag PROJECT…

Here comes the sun

Compose yourself

In part six of our series: We’ll explain how you can use your Canon EOS to help compose perfect pictures When it comes to arranging the elements in a photo, the things you choose to leave out of the frame are just as important as those you include. This means that the size and shape of the frame itself is one of the fundamental choices that you need to make before you take a shot. By default, your EOS camera records images with aspect ratio of 3:2. The aspect ratio can also affect the resolution, as anything other than the full 3:2 option will reduce the number of pixels used to record a photo. With a JPEG, the aspect ratio that you choose is what you’ll end up with when the photo is…

Compose yourself

PROJECT INFO NAME: Peter Baker LOCATION: The British Wildlife Centre, Crawley MISSION: Photograph foxes and other animals KIT: Canon EOS 80D, Canon EF 70-300mm f/4-5.6 IS II USM, Tamron SP 90mm f/2.8 Di VC USD Macro Instagram: @images3904 This spring and summer, my neighbours told me tales of watching a fox family play in the field behind our house. After hearing this, I decided that I had to get some photos… I was up at dusk, put out dog food and had the farmers permission to sit in the field waiting. Days were spent in wait and nothing came. The British Wildlife Centre was my safety net and I went there hoping to get the pictures I was after. My big tip for this is to stay close to the…

Crop JPEGs to improve the composition

As well as being able to crop images that you’ve taken in software, your camera may also allow you to resize and crop photos in-camera that have been saved as JPEG or HEIF files. You’ll find these options in the blue Playback menu, although cropping is not available on some models. Resizing simply reduces the pixel count of the image and allows you to save it as a new image at a smaller file size. That can be useful if you want to share images online when you’re on location, for example. But it doesn’t help with the framing and composition. Cropping does allow you to alter the look of a photo, though, and if your camera offers post-shooting cropping, you’ll be able to choose the aspect ratio, and change the size…

Crop JPEGs to improve the composition

Add Cropping Information

More advanced EOS cameras, including the EOS R5, EOS R6 and EOS 5D Mark IV have an additional ‘Add cropping information’ function available in their Custom Functions menus. This allows you to select an alternative aspect ratio from a selection of options based on popular medium-format and large-format film cameras, such as 6x6cm, 4x5-in and 6x7-in. The main difference between this collection of aspect ratios and the ones that you can select in the main menu is that the image is always saved at the original 3:2 aspect ratio, regardless of whether you’re shooting JPEGs or Raw files. Two vertical lines will be displayed on the image as a guide to the new aspect ratio, but you’ll always be able to see the full image. When you open the image in…

Add Cropping Information

Alexander Sviridov

Professional photographers reveal their top six tools of the trade they couldn’t shoot without After studying fine art for seven years, I began trying other genres such as realism, impressionism and the abstract. I moved to Canada in 2000 and it was very difficult to find a job as an artist, but using more practical Photoshop skills I was able to get a job as a graphic designer. In 2012 three-year-old daughter, Iris, went up to some flowers in a vase and leaned in to smell them, the natural light from the window fell beautifully and created an elegant scene. This became a much needed epiphany that I was looking for, as at this point I hadn’t done anything artistically for 15 years, but from this moment I knew photography…

Alexander Sviridov

Compose yourself

In part six of our series: We’ll explain how you can use your Canon EOS to help compose perfect pictures When it comes to arranging the elements in a photo, the things you choose to leave out of the frame are just as important as those you include. This means that the size and shape of the frame itself is one of the fundamental choices that you need to make before you take a shot. By default, your EOS camera records images with aspect ratio of 3:2. The aspect ratio can also affect the resolution, as anything other than the full 3:2 option will reduce the number of pixels used to record a photo. With a JPEG, the aspect ratio that you choose is what you’ll end up with when…

Compose yourself

Following the guidelines

One useful in-camera tool that can help with framing a shot is the Grid Display function. This enables you to superimpose a selection of grids over the image that can help you to line elements up, keep vertical and horizontal lines straight, and work out where to place objects within the frame. It’s widely available across Canon’s EOS range of cameras, although with some models there are fewer grids and if you’re shooting on a DSLR then it may only be visible when using Live View mode. Some advanced DSLRs, such as the EOS 90D and 5D Mark IV, enable you to show the grid in the viewfinder. To activate this, head to the ‘Viewfinder display’ option in the yellow Set-up menu. You may also be able to display the grid when…

Following the guidelines

Making adjustments when you shoot

IF YOUR camera doesn’t have a grid display, you can use the AF point array in the viewfinder as a rudimentary guide to positioning the main subject and making sure that lines in the images that should be straight, are. By lining up the horizon with the top or bottom of a row of AF points, you can be confident that you won’t have to do that much in the way of corrections later on. The placement of the off-centre AF points can be used as an equally rough and ready guide to subject placement. It’s worth framing a little wider to give yourself more options when it comes to tidying up the framing during the edit. If you fancy doing a 1:1 crop later, for example, you’ll lose a fair…

Making adjustments when you shoot

Crop JPEGs to improve the composition

As well as being able to crop images that you’ve taken in software, your camera may also allow you to resize and crop photos in-camera that have been saved as JPEG or HEIF files. You’ll find these options in the blue Playback menu, although cropping is not available on some models. Resizing simply reduces the pixel count of the image and allows you to save it as a new image at a smaller file size. That can be useful if you want to share images online when you’re on location, for example. But it doesn’t help with the framing and composition. Cropping does allow you to alter the look of a photo, though, and if your camera offers post-shooting cropping, you’ll be able to choose the aspect ratio, and change…

Crop JPEGs to improve the composition

Check that your shots are level

One of the very first things they teach you in Composition School is to make sure the horizon is level. To help with this, many EOS cameras come with an electronic level that shows if the camera is tilted. You can reveal the level by hitting the INFO button to cycle through the different info screens. It can also be viewed on the rear screen during Live View shooting or in the electronic viewfinder of a mirrorless camera. Although it’s easy enough to correct the level in postproduction – it takes just a couple of seconds in Lightroom or Photoshop to rotate an image, after all – it’s better to get it near-perfect in-camera. Doing it digitally, after you’ve taken the shot, will inevitably lead to the image being slightly cropped; plus,…

Check that your shots are level

Add Cropping Information

More advanced EOS cameras, including the EOS R5, EOS R6 and EOS 5D Mark IV have an additional ‘Add cropping information’ function available in their Custom Functions menus. This allows you to select an alternative aspect ratio from a selection of options based on popular medium-format and large-format film cameras, such as 6x6cm, 4x5-in and 6x7-in. The main difference between this collection of aspect ratios and the ones that you can select in the main menu is that the image is always saved at the original 3:2 aspect ratio, regardless of whether you’re shooting JPEGs or Raw files. Two vertical lines will be displayed on the image as a guide to the new aspect ratio, but you’ll always be able to see the full image. When you open the image…

Add Cropping Information

Following the guidelines

One useful in-camera tool that can help with framing a shot is the Grid Display function. This enables you to superimpose a selection of grids over the image that can help you to line elements up, keep vertical and horizontal lines straight, and work out where to place objects within the frame. It’s widely available across Canon’s EOS range of cameras, although with some models there are fewer grids and if you’re shooting on a DSLR then it may only be visible when using Live View mode. Some advanced DSLRs, such as the EOS 90D and 5D Mark IV, enable you to show the grid in the viewfinder. To activate this, head to the ‘Viewfinder display’ option in the yellow Set-up menu. You may also be able to display the…

Following the guidelines

Get a cleaner view

IF ONE thing can help to make life easier when it comes to composition and framing, it’s getting an unobstructed view of the image. The optical viewfinders used in Canon’s DSLRs are bright and clear, but the Live View display (and the EVF in a mirrorless EOS camera) has a few advantages. For a start, they are brighter in low light and you always see 100% of the image. Well, I say 100% of the view – with all the info displays activated, there’s a lot of detail to see past. Activate the electronic level display screen, for example, and you may also get the histogram along with all the other shooting info too. You can edit the detail displayed on these screens though. Look for ‘Shooting info disp’ in the…

Get a cleaner view

School tip Viewfinder grid lines

BEING ABLE to display a grid in the viewfinder of a DSLR is useful, as it allows you to check the image is level on the fly, rather than having to activate Live View and look at the rear screen. By the time you’ve done that, the moment for a picture may have passed. The black lines of the grid can be hard to see though, particularly when you’re taking photographs of a dark scene or shooting in low-light situations. But here’s a trick: take your finger off the shutter release button and press the AF point selection button. Not only will it make the AF points glow red, it’ll also light up the grid lines too. PART 7 Next issue: Get creative with colour using your Canon EOS camera…

School tip Viewfinder grid lines

Making adjustments when you shoot

IF YOUR camera doesn’t have a grid display, you can use the AF point array in the viewfinder as a rudimentary guide to positioning the main subject and making sure that lines in the images that should be straight, are. By lining up the horizon with the top or bottom of a row of AF points, you can be confident that you won’t have to do that much in the way of corrections later on. The placement of the off-centre AF points can be used as an equally rough and ready guide to subject placement. It’s worth framing a little wider to give yourself more options when it comes to tidying up the framing during the edit. If you fancy doing a 1:1 crop later, for example, you’ll lose a…

Making adjustments when you shoot

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