EOS magazine April-June 2021 preview edition | For Canon photographers

EXCLUSIVELY COVERING CANON CAMERAS

Super-long lenses

The RF 600mm and RF 800mm lenses at work

Multiple shots

How to simulate long exposures with several short ones

Time-lapse movies

April to June 2021 preview

NEW PRODUCTS EOS M50 Mark II

Speedlite Transmitter ST-E3-RT ver2

Compress an event of several hours into a few seconds

ELEVATING YOUR EOS PHOTOGRAPHY TO THE EXTRAORDINARY

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Contact us EDITOR Angela August angela@eos-magazine.com TECHNICAL EDITOR Nina Bailey nina@eos-magazine.com CONSULTANT EDITOR Robert Scott robert@eos-magazine.com SUBSCRIPTIONS Linda Gilman subscriptions@eos-magazine.com EOS MAGAZINE SHOP Caron Oliver Tamsin Bass shop@eos-magazine.com ACCOUNTS Pam Bass pam@eos-magazine.com ADVERTISING Brian Hall brian@eos-magazine.com PUBLISHER Claire Barrett claire@eos-magazine.com WRITE TO EOS magazine, The Old Joinery, Ball Lane, Tackley, Kidlington, OX5 3AG, UK TELEPHONE 01869 331741 (+44 1869 331741) open Monday to Friday 9am to 5pm Website www.eos-magazine.com Forum www.eos-magazine-forum.com Shop www.eos-magazine-shop.com Facebook www.facebook.com/EOSmag Twitter @eosmag Instagram @eosmagazineuk

Welcome Canon would normally release a blistering fast topof-the-range camera in an Olympic year. Although we saw the launch of the EOS-1D X Mark III last year when the 2020 Tokyo Olympic Games and Paralympic Games should have taken place, there is no sign as yet of its mirrorless counterpart this year, despite the fact that the rescheduled Games are due to start on Friday 23 July 2021.

There have been difficulties in getting hold of the EOS R5 and R6, which were announced simultaneously in July last year, as both have suffered from production delays as a result of the pandemic. Technical Editor Nina Bailey has only recently taken delivery of her EOS R6 – no surprise that Brexit and the minefield of new import regulations have played their part too. So if, like Nina, you have decided to ditch your DSLR and go mirrorless, tell us what you think!

It is a similar story for the release of the RF 70-200mm f4L IS USM lens, which has been postponed for three months (page 6). That means that the only launches we can write about in this issue are the EOS M50 Mark II and Speedlite Transmitter ST-E3-RT ver2 – both reiterations with improvements rather than anything revolutionary (page 13).

However, we can tell you about some new camera features, such as the clarity control setting (pages 44 to 47), which is found on some of the latest cameras, and we also show how easy it is to shoot a time-lapse movie using a clever camera mode (pages 48 to 55).

As outdoor attractions, such as zoos and parks, begin to reopen we are cautiously looking to restart our photo training courses in June, focusing initially on practical sessions, with no more than five delegates. This will depend on venues, so we will unveil dates as soon as we have confirmation of how the different venues plan to operate. We will keep you informed on our website and via our regular email newsletter, so if you do not already receive it, sign up at www.eos-magazine.com/newsletter Talking of telling us what you think... we have a reader survey underway at www.eos-magazine.com/survey – our first for several years. Please give us your answers – it will help us to tailor your magazine to your needs.

Angela August, Editor CANON

All information and advice in this magazine is offered in good faith. The publisher does not accept any liability for errors or omissions. All registered names and trade marks are acknowledged.

EOS magazine is published by Robert Scott Publishing Limited, a company registered in England and Wales.

Registration number 4663971. © 2021 Robert Scott Publishing Limited ISSN 1748-5568 Printed by Warners (Midlands) plc

The EOS M50 Mark II is released worldwide.

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EOS magazine April-June 2021 preview | 3

Contents MULTIPLE SHOTS p22

REGULAR FEATURES 06 World of EOS

Ways to subscribe

Canon news, developments and winning images.

20 EOS Shop

EOS magazine is published quarterly and can be enjoyed in a variety of formats. Each magazine is packed full of tips, tricks and techniques so you can get more from your Canon EOS camera and improve your photography.

Camera gear and accessories for your EOS photography.

68 Ask the EOS experts Readers’ questions answered.

72 EOSpedia

PRINT

Acronyms, terms and EOS photographic trivia.

Get four gloriously glossy magazines delivered to your door every year.

74 Forum Going monochrome. Which is your preference?

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13 Latest equipment

CANON LENSES

EOS M50 Mark II and the updated Speedlite Transmitter ST-E3-RT.

30 Super-long lenses The RF 600mm f11 IS STM and RF 800mm f11 IS STM lenses have opened up the super-long telephoto options for mirrorless shooters, but how useable are they?

Super-long lenses Cover and pages 30-35.

“A common song sparrow in the meadow at a local arboretum. It was mostly overcast for the entire day, but upon hearing and spotting this sparrow, I dropped to one knee to catch a little of the backlit, blue-grey clouds in the sky for the nice colour contrast to the dry foliage. The beauty of this lens is that it is simply effortless to carry on long hikes, such as this day.

It has provided me with many photos of little moments in nature that I would otherwise have missed.”

ON THE COVER & p30

Ken Rementer EOS R, RF 800mm f11 IS STM lens, 1/400 second at f11, ISO 1600.

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CAMERA FEATURES 22 Multiple shots

EOS PROJECT p14

Ian Middleton creates a variety of interesting photo effects simply by using a setting that combines multiple exposures in-camera.

36 HDR PQ explained The latest version of DPP and some EOS cameras can now go a step further with HDR, resulting in images with an even wider range of tones.

44 Greater clarity The clarity setting is an image adjustment option that is being introduced on some of the latest EOS cameras. We look at how this new control can improve the crispness of your images.

48 Time-lapse movies Creating a time-lapse movie can require expensive software, but the time-lapse movie feature on some EOS models allows you to shoot a finished time-lapse sequence in-camera.

EOS PROJECT 14 Growing together Findlay Rankin photographs members of Eglinton Growers Allotment.

TIMELAPSE p48

EOS ACCESSORIES EOS CONTEST

62 Hands off!

Why you need a tripod and remote accessories to achieve maximum image sharpness for landscape, architecture and close-up photography.

56 Reader challenge Results of our reader photo competition, plus details of the next challenge.

Who’s who in this issue?

Claire Barrett Publisher

Nina Bailey Technical Editor & EOS Training Academy tutor

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Robert Scott Consultant Editor

Findlay Rankin Amateur photographer

Ian Middleton Professional photographer

EOS magazine April-June 2021 preview | 5

World of EOS news • information • images

Latest product Compact 4K camcorder Canon XA45 Responding to the continuously growing market requirement for 4K content across multiple genres, including corporate, education and independent documentary and film-making, Canon has announced the XA45 is available in Europe.

The 20x optical zoom professional camcorder, which has a 1⁄2.3 inch-type CMOS sensor, can record in 4K UHD or Full HD XF-AVC and MP4 codecs, giving creative flexibility.

The XA45 follows on from the XA40 (launched in 2019), with the addition of a 3G-SDI output terminal, allowing users to connect to broadcast standard equipment – reflecting the increased need for professional IP connections.

Compact and powerful Weighing approximately 730g, the XA45 is highly compact.

Despite being small, the combination of a 4K UHD 1/2.3-inch type CMOS sensor and DIGIC DV6 image processor delivers sharp 4K UHD images and incredible Full HD images thanks to oversampled HD processing – meeting the accelerating demand for quality content. For those who require a faster turnaround without compromising the quality, it can also record 4K/UHD footage to SD cards using the MP4 CODEC. The perfect streaming set-up companion 2020 saw the acceleration of live streaming across a multitude of sectors. With the choice of 3G-SDI, SDI and HDMI outputs, the XA45 easily integrates into multiple live streaming set-ups.

Optical and audio performance The 20x optical zoom lens provides an impressive zoom ratio for a small camcorder, starting with a 35mm equivalent focal length range of 29.3mm at its widest up to 601mm telephoto. The 20x optical zoom can be enhanced using a built-in 2x Extender and a digital zoom range of up to 400x is available. It also has three image stabilisation modes.

A detachable handle/grip contains two standard 3-pin XLR connectors for external microphones, supporting two or four channel audio recording.

Pricing and availability: The Canon XA45 retails at £1,819.99 (rrp); availability unconfirmed.

EOSmagazine magazine April-June 2021 preview 6 || EOS April-June 2021

Test Drive scheme extended And more products to choose from Canon’s Test Drive scheme has been extended, with more products now added to the line-up and the first 48 hours free.

The Test Drive service allows you to get hands on a wide range of camera bodies, lenses, binoculars and accessories all from the comfort of your home. It’s completely free for 48 hours, including delivery and collection (with a refundable deposit). Should you wish to evaluate the kit for longer, you can book up to seven additional days for a small daily fee. A live chat team is available during your Test Drive, if you require help setting up your Test Drive equipment.

If you’ve been thinking about switching to mirrorless, then you can test drive the new R5 or R6 cameras. If you already have an EOS R-series camera and are looking for a new lens, then you can pick from the full RF line-up – which is now 17 lenses. If you go on to buy any of the equipment within six weeks of testing, then any extra Test Drive fees will be refunded. It’s a great way to try before you buy, and to see what the new EOS R system is all about.

For more information and full terms and conditions visit: www.canon. co.uk/testdrive

Latest RF lens delayed Canon hit by production issues It comes as no huge surprise that, due to production problems, the release of the RF 70-200mm f4L IS USM, has been postponed to March 2021 – so hopefully that will be any day soon.

Featured in the January to March 2021 issue of EOS magazine, the RF 70-200mm f4L IS USM was initially scheduled for release in December 2020. Not much larger than a can of fizzy drink, it is the world’s shortest and lightest 70-200mm f4 lens, and weighs 32% less than the RF 70-200mm f2.8 lens.

Priced £1,719.99, at the time of writing the Canon store is not taking pre-orders.

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WORLD OF EOS Patents performance

Going for gold

Canon milestone

The comeback of eye-controlled focus?

Sustainability effort

150 million RF and EF lenses

According to results issued by IFI Claims Patent Services, Canon was granted 3,226 US patents in 2020, the third highest number of patents for any company for the year. This makes Canon the only company in the world to have ranked in the top five for 35 years running and, once again, Canon is ranked first among Japanese companies applying for patents.

Of particular interest, a recent Canon patent application addresses the implementation of eye-controlled focus on a mirrorless camera.

The technology has already been seen on Canon film cameras, where it proved popular among users, but the patent reveals the technology differs significantly from the previous version of eye-controlled focus, recognising the user and remembering where they looked and how often.

Canon has been awarded the EcoVadis gold rating for its sustainability efforts for the sixth consecutive year, which places Canon within the top 3% of companies globally.

The EcoVadis Rating reviews companies across a number of areas that are key to meeting sustainable targets, including the environment, labour and human rights, ethics and sustainable procurement impacts.

The latest report from EcoVadis highlights that Canon performed extremely well across all areas, but particularly in regards to its environmental practices.

Underwater Photographer of the Year 2021 American photographer Renee Capozzola won the Underwater Photographer of the Year 2021 competition, with a wide-angle shot taken in French Polynesia. Renee used an EOS 5D Mark III and EF 11-24mm f4L USM lens, with Nauticam housing and two Sea & Sea YS-D2 lighting units. Exposure was 1/200 second at f20, ISO 400.

“In French Polynesia there is strong legal protection for sharks, allowing them to thrive and balance the marine ecosystem,” says Renee. “In August 2020 I visited the island of Moorea. During this trip, I spent several evenings in the shallows at sunset, hoping to capture something unique. Instead of focusing on split-level images that I am known for, I envisioned and aimed to capture the sharks underwater, with the sunset seen through Snell’s window. It took many attempts, but on this particular evening the water was calm, the sharks came into a nice composition, and I got lucky with the birds as well. Since many shark species are threatened with extinction, it is my hope that images of these beautiful animals will help promote their conservation.”

To view other winning images, visit www.underwaterphotographeroftheyear.com

© RENEE CAPOZZOLA / UPY2021

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Canon has achieved a new lensmanufacturing milestone with the production of its 150 millionth lens for EOS cameras. The 150 millionth lens off the production line was an RF 70-200mm f2.8L IS USM lens, launched in November 2019.

Production of interchangeable autofocus lenses for Canon EOS SLR film cameras began in 1987 at the company’s Utsunomiya Plant.

Production of RF and EF lenses has since expanded to a total of four manufacturing bases, including Canon Inc., Taiwan; Canon Opto (Malaysia) Sdn. Bhd.; and Oita Canon Inc. in southern Japan.

EF lens production passed 10 million units in 1995 and crossed the 50 million unit threshold in 2009. In April 2014, Canon celebrated a first of having manufactured 100 million interchangeable lenses.

If you need a random question for your camera club quiz, then try this: if all the RF and EF lenses Canon has so far manufactured were laid end-to-end, how far would they measure? Answer: approximately 12,450km – just shy of the earth’s diameter, which is approximately 12,742km.

Canon’s EF lenses, launched in March 1987 along with the EOS SLR system, have continued to evolve since their introduction, including such world firsts as the Ultrasonic Motor (USM), image stabiliser (IS) technology, and a multilayered Diffractive Optical (DO) element.

Today, the Canon’s extensive RF and EF lens line-up currently comprises a total of 118 models.

Canon has maintained the number one market share for digital interchangeable lens cameras since 2003 – a total of 17 years.

EOS magazine April-June 2021 preview EOS magazine April-June 2021 | |7 7

Multiple shots Ian Middleton has fun creating a wide variety of interesting photo effects simply by using a setting that combines multiple exposures in-camera.

Do you want to shoot longer exposures without having to spend a fortune on multiple neutral density filters? Would you like to be able to turn people into ghosts without having to use photo editing software, such as Photoshop?

Many EOS cameras have a handy feature that can be used to artificially create both of these effects quickly and easily in-camera.

It’s called multiple exposure. (Some older or entry-level models may not have the feature – see table, page 25).

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A common technique to extend the exposure in good light is to use a neutral density (ND) filter. However, buying one good quality ND filter is costly enough; add to that the need to buy several filters of varying size or strength and you’ll soon be racking up the costs. You can buy a variable filter, or stack several mediumstrength filters, but both these techniques risk degrading the image. By placing more filters in front of the lens, particularly if they are not of high quality, you run the risk of compromising image quality and contrast.

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This scene at Lake Bled in Slovenia is lit by bright sunlight.

Using a polarising filter meant I could control the reflections on the water and it also increased the exposure by one stop.

Even so, with the aperture at f16 and ISO 200, the shutter speed was still 1/25 second – not quite long enough to have a smoothing effect on the slow-moving water (inset image).

By using the multiple exposure mode I was able to take nine consecutive shots. These were automatically combined incamera to produce a single shot, giving the water a smoother appearance (main image). EOS 5D Mark III, EF 24-105mm f4L IS USM lens at 58mm.

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EOS magazine April-June 2021 2021 preview | 9 EOS magazine April-June | 23

LENSES RF 600mm f11 IS STM and RF 800mm f11 IS STM

Super-long lenses The RF 600mm f11 IS STM and RF 800mm f11 IS STM lenses have opened up the super-long telephoto options for mirrorless shooters. A fraction of the size and weight of EF lenses with the same focal lengths, these fixed aperture lenses feature near-silent autofocus and high-performance image stabilisation. Nina Bailey finds out if there is anything not to like.

Until now, super-long telephoto lenses have largely been the preserve of professional photographers, particularly wildlife and sports shooters. By super-long telephoto we mean a focal length of 600mm and more. Within that range, Canon currently makes an EF 600mm f4 IS III USM lens and an EF 800mm f5.6L IS USM lens – each costing around £13,500.

But the cost isn’t the only thing about these lenses that make photographers break out into a sweat – they are also nearly half-a-metre in length and weigh over 3kg. All of which puts off the vast majority of shooters.

When Canon launched its mirrorless RF system in 2018, designers – free from the technical

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constraints of the EF system – were able to re-imagine lens design. The result has been a range of radical new RF lenses – lighter, longer, and cheaper – making those distant realms of photography far more accessible.

Launched in July 2020, the RF 600mm f11 IS STM and the RF 800mm f11 IS STM have been designed to bring super-long telephoto photography to a more affordable price point – £769.99 and £999.99 (rrp) respectively.

These two lenses are a fascinating addition to the Canon range, representing super-long telephoto options of manageable size, weight and cost – something the Canon system has been lacking for over 30 years.

A hummingbird rests on a branch close to the blooms it has been feeding on. The photographer had the lens control ring set for ISO control, making it easy to dial in the exposure. EOS R, RF 800mm f11 IS STM lens, 1/500 second at f11, ISO 4000.

This image shows how quickly the depth-of-field falls off behind the main subject. EOS R5, RF 600mm f11 IS STM lens, 1/1250 second at f11, ISO 2500.

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New retractable design

KEN REMENTER

Compare to EF It is not fair to compare the two new supertelephoto lenses with the two EF lenses of the same focal lengths.

When you are saving £12,000 on a cost of a lens you should not expect it to perform as well as the dearer version. In fact, the image quality produced by the RF versions is impressive given the reduced size and weight of these lenses.

RF 600mm f11 IS STM lens retracted (above) and extended (right).

New design

New mount, new ideas

Both the RF super-long lenses have a clever new retractable design.

Turning a ring on the barrel allows the back of the lens to extend to the shooting position. Turning the ring again locks the extension in place.

This allows you to retract the lens for easy transportation – both will fit into most average-sized kit bags.

The RF 600mm lens is about the same size as the EF 100-400mm f4.5-5.6L IS II USM – a popular wildlife lens – but it is significantly lighter. The 800mm lens is slightly larger, but it is still 100g lighter than the EF 100-400mm system zoom lens.

The most important aspect of the R system is the new lens mount which, together with mirrorless technology, has enabled the rear element of the lens to be significantly closer to the image sensor. This has two significant impacts on lens design, allowing designers to achieve what had previously been impossible.

First, the smaller distance presents less of a challenge in maintaining image sharpness. Secondly, it has allowed the weight in the lens to be shifted backwards towards the body, enabling lenses to balance better with smaller, lighter cameras.

RF 800mm f11 IS STM lens retracted (above left) and extended (above).

EF 800mm f5.6L IS USM lens (back) and EF 600mm f4L IS III USM lens (front).

The EF 600mm f4L IS III USM lens (left) compared to its much smaller and lighter RF sibling, the RF 600mm f11 IS STM lens, extended (below).

NINA BAILEY

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CAMERA FEATURE Clarity control

Greater clarity The clarity setting is an image adjustment option that has recently started to appear in the EOS range. It was first seen on the EOS-1D X Mark III in 2019, but it is also a feature on the more recent EOS R5 and R6 models. We look at how this new control can improve the crispness of your images.

ALL PHOTOGRAPHS: NINA BAILEY

Clarity is a control that has been available in various software, such as Photoshop, for ten years or more, but it has now been introduced as a camera setting on recent EOS cameras. Located in the red shoot menu, the control made its debut on the EOS-1D X Mark III in 2019 and has now been incorporated into the EOS R5 and R6 models. The setting has also been available in DPP since 2020.

The clarity control allows you to increase the contrast in the mid-tone parts of an image, accentuating any texture or detail and making the image appear sharper overall. This may appear to be the same function as sharpening, but there is a subtle difference. Sharpness affects the entire image, and if the image is sharpened too much then some details can appear edgy, even though some of the finer details may not look as sharp as you would like. The clarity setting gives an additional control over the mid-tone parts of the image, making them look crisp and sharp, but without causing problems on high-contrast edges.

St Michael and All Angels Church, Wadenhoe, Northamptonshire. The clarity was increased to +2, ensuring a crisp image without the need to increase the sharpening. EOS-1D X Mark III, EF 24-105mm f4L IS II USM lens at 24mm, 1/400 second at f11, ISO 200.

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How to set

1 Navigate to the clarity option in the red shoot menu. Tap to select, or highlight it using the multi-controller. Press SET.

2 There are four steps of adjustment in each direction. Moving the slider towards the plus setting makes the detail in the image appear sharper, while moving it towards the minus setting makes the image look softer. Generally, most images will benefit from the plus settings, but portraits may appear more flattering with minus settings.

Adjusting clarity in Digital Photo Professional

The clarity control is only available in DPP if your camera has the feature. If your camera doesn’t have the clarity control it is greyed out in DPP and you will not be able to use it.

Although you can set the clarity control on a JPEG file in-camera, in DPP you can only make changes to the setting on a RAW file. This is the same for other camera settings, such as Picture Style and white balance.

When applying the clarity setting it is useful to see a before-and-after view of the image (the control in DPP to enable this is circled above).

Using the drop-down arrow you can split the screen so that it displays half the image without the adjustment applied and the other half with it applied (right), allowing you to preview the effect of the clarity setting compared to the original.

Clarity control disabled Models that feature the clarity control also have a new option called HDR PQ mode (see pages 42-49). This allows you to capture an image that has a wider dynamic range, and more closely reflects the image that you see with the naked eye. However, HDR PQ mode prevents a number of features from functioning in DPP, including clarity control.

The HDR PQ mode can be enabled or disabled from the image settings menu. Once HDR PQ mode is disabled, the clarity control will work.

It can be slightly confusing as it is not obvious that the clarity control does not work – the option is not greyed out and you still have the adjustment slider available (circled in red, top right) whereas, for example, when the Auto Lighting Optimizer setting is disabled, the option is greyed out (circled in yellow, top right).

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An enlarged section from the screen at the top of the page shows more clearly the effect with and without the clarity control applied.

The increased contrast in the thatched roof shows up clearly, but there is no increase in the general shadow area just below the roof. We increased the clarity to +2, which is optimum for most general images, with the exception of portraits.

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CAMERA ACCESSORIES Remote releases

If you attach your camera to a tripod when shooting landscapes, buildings or other static subjects, you should be using a remote switch or wireless controller to make the exposure. We explain why.

The aim of most photographers is to achieve super-sharp images. You might think that this requires an expensive lens. While it is true that the lens is a factor in helping you towards your goal, most modern lenses, and many older versions, are capable of excellent results at apertures between f5.6 and f11.

A key element in taking the edge off sharpness is the blur caused by camera shake. Hold a camera in your hands and it will move as you press the shutter button. Using a fast shutter speed or an image stabiliser lens will help to reduce the effects of camera shake, but for good stability you need to work with your camera on a tripod.

Even here, though, there can be movement as you press the shutter button. And the moving mirror of a single-lens reflex camera can create vibrations which, in some situations, will affect the sharpness of the image.

Fortunately, there are tips and techniques which can overcome all of these problems.

Tripod advantages By keeping your camera steady, a tripod gives you more control. Rather than setting a fast shutter speed to reduce the effects of camera shake, you can select a shutter speed to suit the subject. If the subject is moving you can use a slow shutter speed to give the impression of motion without any blurring of a static background. You can choose a low ISO value to reduce image noise without having to worry about the slow shutter speed this might require. And an unsung benefit of a tripod is that it slows down the picture-taking process, making you spend more time considering the composition, focus and exposure of each image. That must be good.

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The Canon Remote Controller RC-6 offers a wireless solution to firing a range of EOS digital cameras. Although designed for self-portraits, we will show you how to use it while standing behind the camera.

This landscape was shot with the camera on a tripod, firing the shutter using a remote switch (see following pages). A small lens aperture has given a wide depth-offield, requiring a slow shutter speed. EOS 20D, 17-40mm lens at 40mm, 0.3 second at f20, ISO 100.

Lens stabilisation

It used to be the case that a sturdy, stable tripod was also heavy. This often meant that it was left at home when most needed.

Today, tripods made from aluminium (such as the Cullmann Alpha 3800 above) combine strength with lighter weight. And if you want a strong tripod which is even lighter, look for one made of carbon fibre – but be prepared for a higher price.

You need tripod legs which are independently adjustable so that you can set the camera level on uneven ground. A built-in spirit level is useful, but an inexpensive level which slides into the camera accessory shoe is often easier to use.

Tripods usually have plastic or rubber feet to protect wood floors. Often, these feet can be removed to reveal a spiked end more suitable for outdoor use on gravel and grass.

A centre column is a mixed blessing. It will allow you to raise the camera height quickly and easily, but can introduce camera shake. If you need the camera height raising by more than a few inches we recommend extending the tripod legs. Keep the centre column for fine adjustments.

Over many years, Canon has spent a lot of time and money researching and developing image stabilisation lenses. Briefly, these contain a floating element controlled by gyros which respond to movement. The result is that an image remains stationary on the sensor, overcoming the effects of camera shake.

Does this mean that you no longer need to use a tripod? Yes and no. An image stabiliser (IS) lens will certainly help you to produce sharper images in some situations. If you are that rare photographer who can hold a camera steady during a 1/30 second exposure, an IS lens offering a 5-stop benefit will give similar results with a shutter speed of one second. But if you need a two-second exposure to shoot a landscape using an aperture of f16 for increased depth-of-field, only a tripod will give you a sharp result.

Specialist landscape photographers accept the inconvenience of carrying a sturdy tripod to remote locations. It reduces the risk of camera shake and increases the sharpness of their images.

However, there is still a potential problem.

Pressing down on the shutter button, even when using a tripod, can introduce slight camera movement, affecting image sharpness.

Fortunately, there are a number of ways to eliminate this movement. We look at these on the following pages.

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LEE BEEL

INGRID D’EON

Hands off!

Camera

Single-lens reflex cameras feature a mirror just behind the lens. This reflects light up to a focusing screen where an image is formed. This is what you see when you look through the camera viewfinder.

The mirror blocks the path of the light through to the rear of the camera. When you press the shutter button, the mirror flips up out of the way so that an image can be captured by the digital sensor. To avoid too much of a delay, the mirror has to move very quickly. Although the movement is ‘damped’ at the end of its travel, it can still set off vibrations throughout the camera body. This can cause very slight blurring of the image.

To reduce this risk, many EOS models offer mirror lockup.

When enabled, the first time you fire the shutter – either by pressing the shutter button or using a remote release – the mirror flips up. You then wait a second or two for the vibrations to die away before firing the shutter a second time to make the exposure.

On early EOS models mirror lockup is a Custom Function.

On later models it is a menu item. See table (right) for cameras with the feature and where to find it.

LEE BEEL

Enabling mirror lockup is especially useful for close-up photography, where the small vibrations created by the mirror movement are magnified.

EOS 5D Mark II, EF 70-200mm f2.8L IS II USM lens at 200mm, 1/13 second at f5.6, ISO 400.

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EOS-1D EOS-1D Mark II EOS-1D Mark II N EOS-1D Mark III EOS-1D Mark IV EOS-1D X EOS-1D X Mark II EOS-1D X Mark III EOS-1Ds EOS-1Ds Mark II EOS-1Ds Mark III EOS 5D EOS 5D Mark II EOS 5D Mark III EOS 5D Mark IV EOS 5DS EOS 5DS R EOS 6D EOS 6D Mark II EOS 7D EOS 7D Mark II EOS 10D EOS 20D EOS 30D EOS 40D EOS 50D EOS 60D EOS 70D EOS 77D EOS 80D EOS 90D EOS 100D/Rebel SL1 EOS 200D/Rebel SL2 EOS 250D/Rebel SL3 EOS 300D/Rebel EOS 350D/Rebel XT EOS 400D/Rebel XTi EOS 450D/Rebel XSi EOS 500D/Rebel T1i EOS 550D/Rebel T2i EOS 600D/Rebel T3i EOS 650D/Rebel T4i EOS 700D/Rebel T5i EOS 750D/Rebel T6i EOS 760D/Rebel T6s EOS 800D/Rebel T7i EOS 850D/Rebel T8i EOS 1000D/Rebel XS EOS 1100D/Rebel T3 EOS 1200D/Rebel T5 EOS 1300D/Rebel T6 EOS 2000D/Rebel T7 EOS 4000D/Rebel T100 EOS D30 EOS D60 EOS M EOS M2 EOS M3 EOS M5 EOS M6 EOS M6 Mark II EOS M10 EOS M50 EOS M50 Mark II EOS M100 EOS M200 EOS R EOS RP EOS R5 EOS R6

RC-6

BR-E1

LC-5

Mirror lockup

– – – – – – – – – – – – l l l l l l l l l – – – – – l l l l l l – – l l l l l l l l l l l l – – – – – – – – – l l l l l – l – – – – – – l l

– – – – – – – – – – – – – – – – – – l – – – – – – – – – l – l – l l – – – – – – – – – – – l l – – – – – – – – – – – – – l – l l – l l l l l

l l l l l l l l l l l l l l l l l l l l l l l l l l – – – – – – – – – – – – – – – – – – – – – – – – – – – l l – – – – – – – – – – – – – l –

C.Fn. 12 C.Fn. 12 C.Fn. 12 C.Fn. III-15 C.Fn. III-17 Shoot 3 menu Shoot 3 menu Shoot 3 menu C.Fn. 12 C.Fn. 12 C.Fn. III-15 C.Fn. 12 C.Fn. III-6 Shoot 1 menu Shoot 4 menu Shoot 4 menu Shoot 4 menu Shoot 2 menu Shoot 4 menu C.Fn. III-13 Shoot 4 menu C.Fn. 12 C.Fn. 12 C.Fn. 12 C.Fn. III-7 C.Fn. III-8 C.Fn. III-5 Shoot 2 menu C.Fn. 10 Shoot 4 menu Shoot 5 menu C.Fn. 5 C.Fn. 6 C.Fn. 5 not available C.Fn. 7 C.Fn. 7 C.Fn. 9 C.Fn. 9 C.Fn. 8 C.Fn. 8 C.Fn. 5 C.Fn. 5 C.Fn. 9 C.Fn. 9 C.Fn. 10 C.Fn. 10 C.Fn. 8 only available in Live View not available not available not available not available C.Fn. 3 C.Fn. 3 not applicable not applicable not applicable not applicable not applicable not applicable not applicable not applicable not applicable not applicable not applicable not applicable not applicable not applicable not applicable

Earlier versions of the RC-6 can be used with cameras which are compatible with the RC-6. The RC-1 also offers immediate and 2-second delay modes.

The RC-5 only has a 2-second delay mode.

E&OE

Mirror lockup reduces vibrations

EOS magazine April-June 2021 preview 15 EOS magazine April-June 2021 | |67

Reader challenge Results: Quick as a flash

Congratulations to the winner, Stuart Michaels, who has won a £75 EOS shop voucher for his entry for the challenge set in the January-March 2021 issue.

The use of high speed sync had the potential to make this a tricky challenge, while others went for using flash in daylight, which produced striking images against a black background.

WINNER

Stuart Michaels “Leila was photographed using high speed sync a half-hour before dusk on Seaford Head, East Sussex, in wind gusting to 50mph, so we kept well away from the edge of the cliff! I used a Pixapro CITI600 monobloc head fitted with a beauty dish as it was far too windy to use my silver brolly.” EOS 5DS, EF 24-105mm f4L IS USM lens, 1/8000 second at f4, ISO 800.

Kenneth Bentley “The grey squirrels in Finsbury Park are very friendly. Use of the camera’s built-in flash brought out all the colours and detail in the fur.” EOS 7D Mark II, EF 100-400mm f4.5-5.6L IS USM lens with Extender EF 1.4x Mk III, 1/200 second at f8, ISO 800.

Program mode. 1/200 second at f8, ISO 400.

16 | EOS EOSmagazine magazine April-June 2021 preview 56 April-June 2021

Shutter-priority mode. 1/1600 second at f2.8, ISO 400.

Sanford Szirtes “I photograph hummingbirds in my backyard in Farmington Hills, Michigan, USA where I attract them with salvia, fuchsia, or cuphea hybrid.”

EOS 5D Mark IV, EF 100400mm f4.5-5.6 II lens at 400 mm, 1/2500 second at f8, ISO 1600.

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John Stabb “This flower was in my garden and photographed in June during lockdown.” EOS 90D, Tamron SP 90mm f2.8 Di VC USD Macro lens, 1/250 second at f22, ISO 1600.

Ian Montague “I decided that I would spice things up a little by dropping plastic ice cubes into a cocktail glass filled with coloured water, but topped with burning isopropyl alcohol. To capture both the splash with fine droplets and the flame of the alcohol I had to balance the natural light from the flames with fill-in flash to freeze the motion. The photograph was taken using two wireless-triggered flash units, one either side of the glass to provide a uniform and controlled light. The flashes were at a low setting so as to use the very short flash duration to freeze the motion and not burn out the colour in the flames.” EOS 5D Mark IV, EF 24-105mm f4L IS USM lens, 1/20 second at f13, ISO 200.

www.eos-magazine.com

EOS magazine April-June 2021 preview 17 EOS magazine April-June 2021 | |57

NEW EOS PRODUCTS

EOS M50 Mark II MODEST UPGRADE FOR MIRRORLESS ALL-ROUNDER

In October 2020, some parts of the world saw the launch of the successor to the EOS M50.

Now, four months on, the EOS M50 Mark II makes its full international debut. Is there enough on offer for it to remain one of the most popular mirrorless cameras?

New features • Improved autofocus • Eye detection AF for stills and video • Vertical video shooting format • Touch recording & self-timer activation in movie mode • Clean HDMI output • Wireless live streaming capability for YouTube • Touch and drag AF for on-screen focusing while looking through EVF • Electronic shutter • Around 8% more shots/footage from single battery charge.

The original EOS M50 APS-C mirrorless camera, announced in late 2018, was a big hit in many parts of the world, as well as at EOS magazine HQ. It is a well-rounded camera in a small, neat package. So, does the Mark II version better its predecessor?

Yes, but... the M50 Mark II is definitely a very modest upgrade. There’s very little to distinguish it from the original – there are minor improvements in focusing and video functionality.

Is it a case of ‘if it ain’t broke...’, or is Canon simply refining one of its most successful cameras, tailoring it further to its target audience?

Canon Europe says it has announced the launch of the EOS M50 Mark II in response to “growing demand for high-quality camera equipment to meet the evolving requirements of today’s content creators”, pointing to continuing consumption of video on platforms such as YouTube and TikTok. If you’re looking for a gem of a camera to sit alongside your more serious gear, you can’t go far wrong with this camera. If you have the original M50, you’re not missing out on much.

VERDICT The EOS M50 was, at the time, a key launch for Canon. It was the first to offer 4K video and to feature a DIGIC 8 processor, which is now at the heart of all but the very top cameras. It was pitched as an entry-level camera, and that’s not changed. Any expectations that a camera like this might receive cutting-edge features – like IBIS and Animal AF – is unrealistic at best.

Especially for the price tag.

Pricing and availability The EOS M50 Mark II is available from late March 2021 with a recommended retail price (RRP) of £589.99 / €659.99.

Speedlite Transmitter ST-E3-RT ver2 Following the launch of the flagship Speedlite EL-1 late last year (see New products, JanuaryMarch 2021), Canon has now updated its compatible radio flash transmitter, the ST-E3RT. Simply called version 2, here’s what it has to offer over the original.

The ST-E3-RT ver2 benefits from a software upgrade rather than hardware improvements.

It brings some of the recently developed flash features – such as FE memory – on-board, which are compatible with cameras launched from 2020 onwards (except the EOS 850D). Helpfully, you can get the new functionality added to your existing ST-E3-RT unit via your Canon Service Centre.

18 | EOS magazine April-June 2021 preview

Core features include a range of up to 30 metres indoors and out, control of up to five groups or 15 individual flashguns, and weather sealing. Version 2 adds the following new features (compatible cameras will require a firmware update): • Min. output power 1/8192 (with Speedlite EL-1) • Flash exposure (FE) memory mode • Wireless second curtain synchronisation (EL-1) • Additional personal function (4 vs. 3).

Pricing and availability Canon has yet to release details of the upgrade service, nor has it said when the new unit will be available, but it is priced £289.99 / €329.99 (rrp).

EOS www.eos-magazine.com magazine April-June 2021 | 13

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EOS CHAT

Forum www.eos-magazine-forum.com

Statistics (at 3 March 2021) Members 11,294 (+83) Threads 49259 (+339) Posts 467704 (+2623) Most popular forum Birds (Figures in brackets show increases since 24 November 2020)

We take a look at the current topics of discussion on the EOS magazine forum ALL PHOTOGRAPHS: JOHN LEAH

One of the most enjoyable aspects of photography is that there is not just one way to tackle a project or achieve an image. Both the execution and the result are open to interpretation.

ColytonJohn (John Leah) entered a selfportrait into January’s photo challenge on the forum, titled ‘Hiding in my shed from the virus’.

“I rarely take selfies, but did this one as an entry to that month’s EOS Forum ‘Keep It Local’ competition and felt that I’d be hard put to find a location more local than the shed in my garden.”

The entry was in colour (above) but, John Liddle, who set that month’s challenge, commented that it might make a suitable subject for monochrome, so ColytonJohn converted it with a sepia tone in Luminar AI (above right) and in Silver Efex Pro 2, where he increased the sepia tinge and vignette (right).

“I have both wireless and wired remote releases but, for simplicity, for this image I used the 10-second self-timer,” he explained. “Focusing was an interesting challenge as I couldn’t be both in front of the camera while also looking through the viewfinder, so I turned autofocus off and placed a ‘target’ at the distance to where my eyes would be and focused on that. As I wasn’t in the frame while composing the shot I couldn’t accurately determine the correct exposure so took sets of seven bracketed shots, with 1/3 stop increments and I selected the -1/3 exposure.”

The three versions were each favoured by various forum members. (ColytonJohn’s workshop also received favourable comments!)

20 || EOS EOSmagazine magazine April-June 2021 preview 74 April-June 2021

Sign up There are currently over 11,000 photographers registered to use the EOS magazine Forum.

Some are avid members of the community, while others may have signed up simply to post a query or picture, or to sell through our classified advert service. Visit the community at www.eosmagazine-forum.com It is free to join.

All images Self-portrait by ColytonJohn (John Leah) in his workshop. Colour (left) sepia (below) and Silver Efex (bottom).

EOS 5D Mark III, EF 24-105mm f4L IS USM lens at 105mm, 0.4 second at f8, ISO 640.

But which version does the photographer and sitter prefer?

“Probably the second (above), as the graininess and stronger vignette reflect the gloominess of the current global situation and why I was ‘Hiding in my shed from the virus’,” says ColytonJohn.

“Of note is that the original colour image was shot with considerable attention to colour tone, lighting and focus, especially eye sharpness, so it was interesting to receive the feedback that it would be improved by removing the colour and introducing grain. Such is the value of a forum where critique can help us to improve an image.”

Which version do you prefer?

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