EOS magazine July-September 2022 preview | For your Canon Photography

EXCLUSIVELY COVERING CANON CAMERAS

Isle of Skye

Getting to know this incredible landscape

July-September 2022 PREVIEW

LATEST FROM CANON EOS R7 & EOS R10

Continuous AF

Canon adds APS-C to EOS R system

Remote utility

RF-S 18-45mm f4.5-6.3 IS STM RF-S 18-150mm f3.5-6.3 IS STM

Introducing some of the latest innovations Using Canon’s EOS Utility for remote control

Two kit lenses to pair with R7 and R10

ELEVATING YOUR EOS PHOTOGRAPHY TO THE EXTRAORDINARY

Get the full picture when you join EVERYTHING EOS Compiled by EOS m agaz

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Every Canon EOS camera, lens, Speedlite and accessory from 1987 to 2022

YOUR COMPLETE GU IDE EverythingEOSMar22.indd

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Start your EOS adventure with this issue of EOS magazine. Packed with tips and tricks to kickstart your photography habit for 2022, you’re guaranteed a relevant read every issue.

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Contactus us Contact EDITOR EDITOR Angela August Angela August angela@eos-magazine.com angela@eos-magazine.com TECHNICAL EDITOR TECHNICAL EDITOR Nina Bailey Nina Bailey nina@eos-magazine.com nina@eos-magazine.com CONSULTANT EDITOR CONSULTANT EDITOR Robert Scott Robert Scott robert@eos-magazine.com robert@eos-magazine.com SUBSCRIPTIONS SUBSCRIPTIONS Tamsin Bass Linda Gilman tamsin@eos-magazine.com subscriptions@eos-magazine.com MAILINGS EOS MAGAZINE SHOP Linda Gilman Caron Oliver linda@eos-magazine.com Tamsin Bass shop@eos-magazine.com SHOP Caron Oliver ACCOUNTS shop@eos-magazine.com Pam Bass pam@eos-magazine.com ACCOUNTS Pam Bass ADVERTISING pam@eos-magazine.com Brian Hall brian@eos-magazine.com ADVERTISING Brian Hall brian@eos-magazine.com PUBLISHER Claire Barrett PUBLISHER claire@eos-magazine.com Claire Barrett claire@eos-magazine.com WRITE TO EOS magazine, The Old Joinery, Ball Lane, WRITE TO3AG, UK Tackley, Kidlington, OX5 EOS magazine, The Old Joinery, Ball Lane, Tackley, Kidlington, OX5 3AG, UK TELEPHONE

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When the EOS R system was first launched, a rumour soon followed that there would, at some point, be an APS-C line. As a team we were rather dismissive at first. One said simply “Why?” Another noted that there was already a mirrorless solution – the EOS M-series (a camera system, it should be noted, that enjoys mixed success in different regions). Then, when the rumour was confirmed in our interview with Canon Europe’s technical head, Mike Burnhill, we had to take note despite our reservations.

You can look back at that full interview via the blog: https://bit.ly/MikeBurnhill-interview-2019 Three years on from that interview and an intervening pandemic, the smaller APS-C sensor branch of the EOS R system has sprouted. The argument for and logic behind seem so obvious now. It brings the benefits of the RF mount and the new technologies that have been realised as a result of the mount’s development to a more affordable package.

Like the EOS 300D (EOS Digital Rebel) – the first sub-£1000 DSLR camera introduced in 2003 – this new branch also has its own lens type, to match the smaller form factor and sensor. Unlike the EF-S mount, the new RF-S lens type fits both full frame and cropped sensor EOS R-series cameras, removing that frustrating hurdle that moving to full frame in the DSLR system posed.

How quickly this new branch blossoms remains to be seen. Particularly with regards to lenses. The RF lens system has grown rapidly – with no less than 25 introduced in the relatively short time frame of just under four years (who knows whether there could have been more without Covid?).

And where does this leave the M-series? We feel in the place for which it was always intended – as a compact travelling companion, with the added benefit for Canon of it also being widely adopted by vloggers and creators.

The big question remains. Are the EOS R7 and R10 the cameras that will clinch the switch to mirrorless for you? Going by name alone, the R7 inherits the 7D-series crown which for so many years was the top-owned camera amongst you. Though, as Canon’s David Parry says, a direct comparison really isn’t appropriate, for reasons we explain on page 22. But, as we’ve always said, if your camera is giving you the results you want, then there’s no need to change. You might instead want to take advantage of pre-loved Canon gear that others are selling on – Brian Hall explains on page 48 how it’s a buyers market in the second-hand arena at the moment. It’s a great opportunity if you’re after that L-series lens of your dreams.

If you’re missing Angela’s welcoming words of wisdom, rest assured so are we. Thankfully for us all, Angela will be back at the helm next issue after this brief intermission.

CANON

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

by Robert

Welcome

Claire Barrett Publisher

Robert Scott Publishing Limited © 2022 ISSN 1748-5568 Robert Scott Publishing Limited Printed by Warners (Midlands) plc ISSN 1748-5568

Printed by Warners (Midlands) plc Small, light and fast, the EOS R7 brings the APS-C sensor format to the EOS R family tree.

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Contents REGULAR FEATURES Subscriptions EOS magazine is published quarterly and print subscriptions run for four issues. We will invite you to EOS magazine is renew when nearing the end published quarterly of your subscription. and can be enjoyed in If you have a UK bank a variety of formats.

Each account, you can pay for magazine is packedon full your subscription a of tips, tricks and techniques recurring payment method so of you can Debit get more Direct (DD). This from youryour Canon EOS means subscription will camera and improveplus your run uninterrupted, you photography. benefit from the best annual rate. Contact us for more PRINT details.

You will be notifi ed of Get four gloriously glossy any changes to theto annual magazines delivered your DDevery subscription door year. fee at least one month in advance of Rates any change. Ongoing DD payments UK £24.95 are not notified or acknowledged except in International £32.95 the case of a change to the subscription fee or renewal DIGITAL date. DD mandates can be Pay-as-you-go and buy cancelled by contacting your single issues to add to your bank, but please also let us digital library, accessible know so that we can update viaour a browser records.and in the free dedicated app for iOS, Android and Kindle.

06 World of EOS Canon news, developments and winning images.

Ways to subscribe

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One £4.95you can As acredit subscriber Five credits £19.95 access a special area on our website where there APP is a variety of offers and additional Single issue orresources. unlimitedClick the EOS Extra! subscription to alllink theat: www.eos-magazine.com content – it’s your choice and enter password: with the app,the available for extraeos iOS, Android and Kindle devices. Download issues for offline reading and find what you want across OS ng Everythi the entire library withEthe Compiled by EOS magazine powerful search facility.

GET IT ALL...

Every Canon EOS camera, lens, Speedlite and accessory from 1987 to 2021

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Print for home, digital for the desktop, and app for on the go. Yep, we’ve got a bundle to suit you. Choose PLUS for the current year only or PREMIUM for full library access. Both give you theEvery printcamera, edition lens and and access listed in our viaSpeedlite a browseris and dedicated ‘Everything EOS mag app. EOS’ system guide, along with the many Rates Canon EOS accessories. You PRINT PLUS from can download this£26.95 52-page PRINT guidePREMIUM for free from EOS Extra! above). from (see £31.95 YOUR COMPLETE GUIDE TO THE CANON EOS SYSTEM

Everything EOS

18 EOS Shop Camera gear, books and accessories for your Canon photography, handpicked by the EOS team.

68 Ask the EOS experts Readers’ questions answered.

72 EOSpedia Acronyms, terms and EOS photographic trivia.

74 Forum Extra reach? Magnification, effective focal length?

NEW PRODUCTS EOS PROJECT p12

20 Latest equipment EOS R7 and R10 are the first APS-C cameras for the R system, plus the RF-S lens is born.

PHOTO SUBJECT 28 Isle of Skye Since his first visit in 2008 with his EOS 40D camera, Melvin Nicholson is drawn back time and again to capture the magical landscapes and dramatic seascapes of the largest island of the Inner Hebrides in Scotland.

Isle of Skye Cover and page 28 onwards.

“It’s 6am and I, along with three clients, start the mile journey up the steep path in the pitch-black towards the 1,000-foot summit of the Old Man. The view on arrival is mind-blowing. But the clouds start contorting themselves into the most wonderful shapes and as the colour starts to form, it grew stronger and more vibrant until I was openmouthed. I had dreamt of such a sunrise for years and here, finally, it was happening right before my eyes.”

ON THE COVER & p28

Melvin Nicholson Spectacular sunrise, Old Man of Storr. EOS 5D Mark III, EF 16-35mm f4L IS USM at 25mm, 30 seconds at f8, ISO 100.

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100MM MACRO

CAMERA FUNCTIONS

p40

36 Continuous AF This ten-year old feature can improve your focus in Live View thanks to some recent innovations.

46 Card reminder How to save face and lost images with one simple camera setting.

CANON GEAR 40 Revealing macro The RF 100mm f2.8L Macro IS USM lens is uniquely capable of capturing small subjects at up to 1.4x magnification without extra accessories.

48 Second-hand swap Top tips for buying and selling pre-owned gear.

64 Shutter actuations Your EOS camera’s mechanical shutter is a hardworking part. Just how hard has it worked?

EOS PROJECT 12 Works of art As Glen McClure admired the workmanship that had gone into creating old hand tools he realised that they are, in themselves, art forms. And so he set about capturing them as such.

EOS CONTEST

CANON SOFTWARE

58 Reader challenge

52 Remote utility

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

With EOS Utility you can control your camera from your computer. We explain the set-up.

Who’s who in this issue?

Robert Scott Consultant Editor

Nina Bailey Technical Editor & EOS Training Academy tutor

Melvin Nicholson Professional landscape photographer

Brian Hall EOS Training Academy tutor

Glen McClure Commercial photographer

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World of EOS news • information • images

Canon Summer Cashback Substantial savings on cameras and lenses Save money this season on selected Canon cameras purchased between 1 June and 9 August 2022. The terms and conditions plus details of how to submit a claim are available at: www.canon.co.uk/offers/cashback/ The products in this promotion include: EOS-1D X Mark III (right) - £450 cashback EOS 5D Mark IV - £270 cashback EOS 6D Mark II - £135 cashback EOS 90D - £100 cashback EF 70-200mm f2.8L IS III USM - £110 cashback EF 100-400mm f4.5-5.6L IS II USM - £110 cashback EF 16-35mm f4L IS USM - £60 cashback EF 100mm f2.8L Macro IS USM - £60 cashback EOS R6 (right) - £200 cashback EOS R - £160 cashback EOS RP - £100 cashback

As the destination for anyone passionate about photography, video or content production, ‘The Photography Show & The Video Show’, from the 17 to 20 September 2022 at the NEC, Birmingham, will offer four days packed with kit, inspiration and creativity.

Canon will top the bill of exhibitors, with EOS magazine nearby on stand N703, plus more than 250 brands offering unbeatable discounts and the unique chance to try out and compare a wealth of kit. Enjoy a packed programme of demonstrations, talks and workshops. Alongside the Super Stage, Photo Live, The Studio and the Editing & PostProduction Theatre, are new and exciting programmes: On Location and the Creator Stage and Playground, which will feature live demos and a host of opportunities to learn and have fun. This is an event not to be missed!

Get 20% advance adult tickets with code EOSTPS22*. With this year's show set to be a true festival of imaging, get your tickets now and put the dates in your diary!

Book here: https://bit.ly/3P6ekoB More info: https://bit.ly/3win56f *Discount applies to standard adult entry only and cannot be used in conjunction with any other promotion, including concession rates. The code expires on 14 September 2022 and cannot be applied retrospectively.

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RF 100-500mm f4.5-7.1L IS USM - £210 cashback RF 70-200mm f2.8L IS USM - £190 cashback RF 24-70mm f2.8L IS USM - £160 cashback RF 15-35mm f2.8L IS USM - £160 cashback RF 50mm f1.2L USM - £160 cashback RF 14-35 f4L IS USM - £120 cashback RF 70-200mm f4L IS USM - £120 cashback RF 100mm f2.8L Macro IS USM - £100 cashback RF 100-400mm f5.6-8.0 IS USM - £70 cashback RF 800mm f11 IS STM (left) - £70 cashback RF 24-240mm f4-6.3 IS USM - £70 cashback RF 600mm f11 IS STM - £50 cashback

MREAL system for mixed reality Technology integrates real and virtual worlds Imagine looking at a brochure with pages that have neither text nor photos, only an assortment of peculiar-looking hexagonal markings. Upon putting on a headmounted display (HMD), however, the brochure suddenly transforms into a remarkable picture book with three-dimensional photos of animals.

This is made possible by Canon’s MREAL System for Mixed Reality. MREAL (pronounced em ree-AL) is already supporting design and production efforts in the automobile industry as well as the building and construction industries. For more information go to global.canon/en/technology/interview/mreal/

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WORLD OF EOS

Canon’s Flex Zoom series

No. 1 for 19 years

Lenses for professional cinema productions

Digital camera success

Canon has expanded its cinema offering with the first full frame cine-zoom lenses. The CN-E20-50mm T2.4 L F / FP (right top) and CN-E45-135mm T2.4 L F / FP (right below) offer high performance and impressive quality for HDR, 4K and 8K productions.

With the introduction of these lenses, Canon enhances its line-up to meet a range of filmmaking needs – providing filmmakers with even more options to choose from, supporting high-end content creation for a variety of uses and shooting scenarios. Both lenses offer constant and fast T2.4 light transmission across the entire zoom range, as well as covering focal lengths most popularly used by filmmakers across a variety of productions.

Pink Lady Food Photographer of the Year 2022 winner “nourishes our soul’ An intimate image full of warmth and humanity, Kebabiyana, by Indian photographer Debdatta Chakraborty, has won the overall prize of Pink Lady® Food Photographer of the Year 2022. The photograph (below) was taken on Khayyam Chowk, an ordinary Indian street in Srinagar by day that transforms into a buzzing food hub at night, as vendors fire up charcoal ovens and fill the air with the smoky aroma of grilled delights such as wazwan kebabs, the popular Kashmiri street food.

“There is so much to reassure us here – the beautifully captured billowing embrace of the smoke, the golden light, the subject’s expression as he prepares the food for sharing,” says Caroline Kenyon, Director/Founder of the Awards. “Sparks fly from the skewers, whose roasting we can almost smell, we imagine the warm, delicious aroma.

This image, gentle but powerful, nourishes our soul.”

Open to professional and non-professional, old and young, the Awards celebrate the very best in food photography and film from around the world. Since 2011, over 80,000 images and films have been submitted from 96 countries. www.pinkladyfoodphotographeroftheyear.com/

Canon’s interchangeable-lens digital cameras (digital SLR and mirrorless cameras) have maintained the number one share of the global market for 19 consecutive years from 2003 to 2021.

It was in 2003 that Canon introduced the EOS 300D. This groundbreaking camera, which was competitively priced and featured a compact, lightweight design, captured the top share of the global market.

Since that time, Canon has continued to launch a range of groundbreaking products, including the professional EOS-1D series and the EOS 5D-series, the latter paving the way for DSLR video recording.

In October 2018, the EOS R introduced the new RF lens mount.

Although this features the same 58mm diameter as the EF mount, it has a shorter back focus distance.

This means that the lenses sit closer to the sensor, paving the way for higher performance lenses.

Canon has since continued to expand the mirrorless EOS R-series, including the release of the EOS R5 in July 2020 – the first camera to feature 8K video recording.

In 2021, Canon announced the EOS R3 full-frame mirrorless camera featuring the high performance and reliability demanded by professional and enthusiast users, alongside eight new RF lenses.

Delivery delays Parts supply problems The following apology was issued

by Canon Japan at the end of May 2022. “We have received orders for each of the following products in excess of expectations and due to the influence of global parts supply, delivery delays are occurring. We apologise for the inconvenience caused.”

EOS R3, EOS R5 C, EOS R7 RF 14-35mm f4L IS USM RF 400mm f2.8L IS USM RF 800mm f5.6L IS USM RF 1200mm f8L IS USM

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EOS PROJECT Old hand tools

Works of art As Glen McClure admired the workmanship that had gone into creating old hand tools he realised that they are, in themselves, art forms.

About Glen During the past two decades, Glen has had over 70 solo and 50 group exhibitions in the US and Europe. His work can be seen in private collections and many museums, including the Polaroid Collection, Virginia’s Taubman Museum of Art and Chrysler Museum of Art. Glen is known for his disarmingly direct portraits of people and his moody, elemental Irish landscapes.

What is your photographic background?

I have been a professional photographer since starting out in 1977 as a photographer’s assistant at a production house in my hometown of Norfolk, Virginia, USA. I then worked eight years at an advertising agency as the in-house photographer. I have had my own studio in Norfolk since 1988.

What was the inspiration behind your idea to photograph tools as works of art?

One day I picked up one of my dad’s old hammers and it just struck me, right then, that “Wow, this is more than a hammer. This is a beautiful thing that I’m holding in my hand.” I thought about how someone had designed it, someone had forged it, and it sure is just beautiful to look at!

What is your aim?

I want to show folks that even the commonplace object like a wrench, a mallet, a screwdriver, is

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Above Sanson shears. EOS 5D Mark IV, EF 24-70mm f2.8L USM lens at 57mm, 0.8 second at f22, ISO 400.

Sculpture Once I’ve chosen an object and decided what it is I want to show about that particular tool, the actual composition is not all that hard since my goal is to show these items in a direct, honest way.

My thought is to place these tools in situations that you would usually never see them in, and to turn them into pieces of sculpture, almost.

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a beautiful object if you just stop and take the time to look at it. So the thought came to me that maybe a good idea would be to photograph these objects as cultural works of art.

Using tungsten hot lights in my studio I set about to try and show the patina, texture, form and shape of these objects. Once Covid became a reality and I wasn’t able to travel, I locked myself away in my studio and worked on this project full-time – basically for one straight year almost every day. I had done a few tool photographs a couple years before, but in 2020 I really dove into this project.

How did you go about sourcing the tools to photograph?

It started out with just my dad’s tools and some of my own, but as I started posting some of the images on Facebook people started contacting me and saying stuff like, “Hey, my grandad left me this really cool wrench. Do you think you might like to photograph that for you tool project?” And of course I always said yes!

What camera and lenses did you use for this project and why?

For the early part of the project I used my EOS 5D Mark IV. In 2021 I purchased the EOS 5DS and dedicated that camera to the project. The detail I was able to get simply floored me. Just amazing!

Initially I used the EF 70-200mm f2.8 and EF 2470mm f2.8L USM lenses, but I purchased the

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Above left Sicilian triangles. EOS 5D Mark IV, EF 70-200mm f2.8L USM lens at 180mm, 1/8 second at f16, ISO 400.

Above right Awl punch tool. EOS 5D Mark IV, EF 24-70mm f2.8L USM lens at 62mm, 1/5 second at f16, ISO 400.

Planning my composition I pick up the object I’m thinking about photographing and take a long look and see what it is that I like about it. Then I look around my studio at all the junk I’ve assembled and choose the most appropriate to use as background. I’ve collected old wood, bark, rusty metal, paper and a lot of different fabrics.

Then the rigging part comes in. How am I going to stand the object straight up? This involves anything from waxed string, wire, rope, dowels and putty. I retouch out the string or wire – or whatever is holding the object up – in post-production.

Perhaps the key for me in this project is the lighting. I can spend several hours adjusting my spotlights, attempting to bring out the form, shape, texture and patina of the objects.

Sometimes just moving the light two inches can change the whole look of the final composition.

Since I work alone, there is a lot of back and forth between camera and the lights. I adjust the intensity of the lights using scrims inserted right in front of the light’s Fresnel lens. The direction of these lights is controlled by using barn doors attached to the front of each lighting unit, or I also sometimes use a couple of home-made light modifiers attached to a mini boom arm.

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NEW EOS PRODUCTS

EOS R7 & EOS R10 A NEW APS-C BRANCH FOR THE EOS FAMILY TREE

There have been murmurs of an APS-C EOS R system camera almost since the launch of 販促アイコン the K393(W) first model, the EOS R, in 2018. Now, four years on, not one but two cameras – the EOS R7 and EOS R10 – add flesh to those bones.

Canon Europe has announced details of a new branch for the EOS family tree, sprouting from the EOS R mirrorless camera system. Encompassing newly developed APS-C sensors – which are around 62% of the size of full-frame sensors – the EOS R7 and EOS R10 cameras offer two entry points for amateur and enthusiast photographers, as well as content creators, to take advantage of the technology and benefits of the EOS R system.

Also launched at the same time are two new lenses, designed specifically for the EOS R APS-C format. The RF-S lens line-up starts with two kit lenses – the RF-S 18-45mm f4.5-6.3 IS STM and the RF-S 18-150mm f3.5-6.3 IS STM. The smaller image circle created by the RF-S lenses matches the smaller size of the APS-C sensor, whilst still promising excellent image quality as well as optical performance.

High-speed continuous fps shooting is delivered at speeds of up to 15 frames per second (fps) with autofocus tracking using the mechanical shutter. This can be increased when the electronic shutter is used.

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15

X

32000 12800

The EOS R7 and R10 are powered by the latest DIGIC X processor.

Native stills ISO range: 100 – 32000, expandable to 51200.

WHY APS-C? Canon states that bringing the APS-C sensor format to the EOS R system is all about giving ‘freedom of choice’. It also brings a new lower price point for entry to the EOS R system and, combined with the smaller, more affordable RF-S lenses, means that more photographers may now feel that there’s finally a viable ‘upgrade’ path to mirrorless.

EF and EF-S lenses are also compatible with the EOS R7 and R10 – via the EF-EOS R adapter (below right) which will be included free in the boxes of the two cameras initially.

Canon guarantees no loss of performance when using an adapted EF or EF-S lens over when used on one its DSLRs.

“

backwards compatible, future proof

“

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Common features These two new cameras have a lot in common, aside from the smaller sensor.

In terms of headlines specifications, let’s talk focusing and speed.

CANON

Packing a punch Both models inherit the key focusing features that have propelled the EOS R system’s development since its launch in 2018. The Deep Learning technology of the subject detection system is included, offering tracking for people, animals and vehicles. There are the four revised Case settings – predefined focusing profiles for different types of moving subjects – as well as the default Auto Case setting, which were first featured on the EOS-1D X Mark III. Dual Pixel CMOS AF II performance provides up to 100% coverage across the frame. That includes head, face and eye detection over the entire frame, too.

Touch and drag AF is present – a really useful feature once you get used to it.

Not all of the focusing features are inherited, however. To adjust to the smaller sensor size of APS-C, there are fewer focusing points on the cameras. Both the EOS R7 and R10 have 651 automatically selectable AF zones, around 60% of the R6’s 1053 points (which makes sense, given that the sensor is a similar reduction in size).

From our initial hands-on look, there appear to be new focusing area types, as well as renaming of others. Face detection+tracking mode has now changed to Whole area AF, which we think is a more appropriate name. There are also three new Flexible zones which look (and sound) like they are customisable in terms of size and position.

PANORAMAS EOS enthusiast models include a wide range of shooting modes, designed to cater for beginners as well as more advanced photographers. The EOS R7 and R10 are no exception. Both EOS R7 EOS R10 cameras give access to the Creative zone modes – including the new Fv (Flexible priority) mode – as well as the pre-programmed Special Scene (SCN) modes. These modes, accessible via the SCN icon on the mode dial (top right), include a range of subject based modes, from the more familiar Landscape, Sports and Macro modes to a brand new mode for creating in-camera panoramas. The SCN modes are useful for getting you started with specific subjects, or for quick grab shots when you don’t have enough time to change all your settings.

Fastest cameras in the West (and East) Not only is the focusing powerful, but the cameras are fast, too. The EOS R7 and EOS R10 are both capable of shooting at up to 15 frames per second using the mechanical shutter – the fastest continuous shooting speed of any APS-C camera in the EOS system. The speed can be ramped up even further with the electronic shutter – capable then of achieving 30fps (R7) and 23fps (R10) each.

There’s an easy-to-access AF/MF switch on the front of both cameras, for when the lens lacks an equivalent control. Canon says that the lens switch will always take precedence, however.

Feature-rich NINA BAILEY

The plethora of advanced features don’t end there. Both cameras have the HDR PQ mode with the ability to shoot the upcoming HEIF format.

There’s HDR too.

For video, the EOS R7 and R10 are both 4K-ready, plus there’s no 30-minute limit for video capture. They can both output Clean HDMI, essential for streaming online.

Single lens mount point

Neither the EOS R7 or R10 had any problems keeping up with the skaters at the press event in London, even in quite poor lighting. Set to ‘People’ and the ‘Whole Area AF’ the cameras were able to find the face and, in most instances when the skaters were close up, the eye. EOS R7, RF 70-200mm f2.8L IS USM lens at 92mm, 1/1000 second at f3.2, ISO 10000.

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The RF mount – which has driven so much of the EOS R system’s development – is also present on the new APS-C cameras. Unlike the lens mount of APS-C DSLR cameras –which is a hybrid of EF and EF-S with two mount points – the EOS R7 and R10 have a single mount which is used by RF lenses and the new RF-S lenses alike, as well as the EF-EOS R adapter. It keeps it all much simpler.

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PHOTO SUBJECT Capturing the Isle of Skye

Isle of Skye Melvin Nicholson started his love affair with the island of Skye in Scotland 14 years ago. As his passion for the place has grown, so too has his love of Canon’s camera features which make bringing Skye to life through his images so pleasurable.

From the first moment I set eyes upon the Isle of Skye in Scotland at the end of 2008, I was captivated. My first trip to Skye was extremely fortuitous, as no planning or research was done whatsoever. I had visited Glencoe a few days before and decided to drive the three hour journey to Skye on a bit of a whim. Armed with my trusty camera, which at that time was a Canon EOS 40D, I drove around Skye photographing and getting to know this incredible landscape. Fast forward fourteen-and-a-half years, and a couple of dozen visits later, I returned in the spring of this year with my fourteenth Canon camera, the magnificent EOS R5, a camera that I have owned since August 2020.

One of the most memorable moments I can recall even now, is that from the roadside five miles away, the iconic view of the Old Man of Storr was one of the most awe-inspiring sights I can remember seeing in 2008. It stopped me in my tracks as I pulled up to photograph it. Already I was hooked by the charm of Skye and I knew there and then I would be returning repeatedly.

It soon became clear to me that Skye had incredible diversity where landscape and seascape subjects are concerned. The towering and dominant Munros of the Black Cuillins contrast with the mystical charm of the Fairy Pools on the River Brittle that nestles in the valley below it, complete with its underwater arches, emerald green plunge pools and numerous waterfalls. The isolated beauty of Elgol in the southwest corner

of the island has some of Europe’s oldest rock formations. On Skye’s eastern coastline several 170 million year-old dinosaur footprints are located on the beach at Staffin, which are simply magical to witness first-hand. Finally, the gigantic landslips of the Quiraing and Skye’s most iconic location, the Old Man of Storr, all show that Skye really does have everything that the landscape photographer could wish for.

The Old Man of Storr reflected in Loch Fada. EOS 7D, EF 100-400mm f4.55.6L IS lens at 100mm, 1/25 second at f14, ISO 100.

The Isle of Skye bridge.

EOS R5, RF 100-500mm f4.5.7.1L IS USM lens at 500mm, 1/40 second at f14, ISO 100.

Using long zoom lenses for landscapes One of the things I love to do most in landscape photography is to use a long zoom lens. Quite often from experience in teaching other photographers on workshops, I am constantly surprised to discover that many do not even consider using their long lens to pick out compositions.

For me, it is all about the compression perspective you get from using a lens with a longer focal length.

For instance, I was shooting the Old Man of Storr from an extremely popular viewpoint at the head of Loch Fada on Skye. I opted to shoot at 100mm on a cropped sensor Canon EOS 7D and in portrait orientation.

This had the effect of the Old Man of Storr having more impact than normal, shortening the distance between the tree island on the loch and the rock of the Old Man and bringing them much closer together. This certainly helps to create a more dynamic image.

The image (right) was taken in July 2016, although I am rarely to be found roaming the highlands and islands of Scotland these days in the summer months as I prefer shooting in the autumn and winter periods. For one, the sunrise and sunset times are much more convivial during these months, but also the light is much kinder and more interesting too (plus the lack of midges in the colder seasons is a huge bonus).

Lens choice I currently own four Canon lenses: the RF 14-35mm f4, RF 24-70mm f2.8, RF 100-500mm f4.5-7.1 and the TS-E24 tilt-and-shift lens.

Although my wide-angle lens is used to capture subjects that dominate the image up close, occasionally I will use it to capture wide open scenes, of which on Skye there are plenty. However, my medium zoom lens, the Canon RF 24-70mm f2.8, is used on around 90% of my images. This lens is so versatile that it is attached to my camera most of the time. Occasionally, however, I require a long lens to isolate parts of a scene from a distance and for those scenes I rely on my Canon RF 100-500mm lens. This is an incredibly sharp lens that is also relatively lightweight and compact, but it delivers outstanding images. It is so good that I often look specifically for subjects to shoot with it, such as this image of the Skye Bridge.

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EOS magazine July-September 2022 preview | 13

CAMERA FUNCTION Autofocus ALL PHOTOGRAPHS: NINA BAILEY

Continuous AF Continuous AF has been a feature within the Live View settings on some models since 2012. However, with some of the latest innovations and the ability to detect subjects the feature has started to have more uses.

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How it works

All EOS cameras focus when you half-press the shutter button (unless you have overridden the standard camera settings and set your camera to ‘back button focusing’ using the AF-ON button).

But having your finger constantly poised on the shutter button while waiting for the right moment to shoot can be a little tiresome. Surely it would be easier if you could set your camera to autofocus all the time? Well, the Continuous AF function allows you to do just that (see compatible models, page 39).

When enabled, Continuous AF keeps the autofocus constantly active. With a DSLR model it can only be used when shooting in Live View.

This effectively makes the Live View system work in the same way as a mobile phone camera, which constantly searches for and focuses on a subject.

When the Continuous AF feature is enabled, the camera focuses all the time that the camera is active. The camera locates and focuses on the subject without the need for you to half-press the shutter button.

Camera settings If this all sounds a bit too good to be true, there is a downside. Continuous AF can lead to unreliable focusing, which means it has been dismissed by some photographers. However – and this is often overlooked – it ties in extremely well with Face detection+tracking AF, a long-time feature of the Live View system.

This means that, providing you are shooting in Live View and photographing people with Face detection+tracking AF activated, the camera will be able to locate and lock onto the subject’s face and, with Continuous AF enabled, it will continue to focus on the face.

Continuous AF works in any of the focusing

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modes (One-shot, AI Servo, AI Focus or Servo).

When you half-press the shutter button normal operation of the focusing resumes. You can watch the subject and keep it in focus, then press the shutter button halfway, or fully depress it, when you are ready to take the picture. This can mean that the camera is able to fire more quickly as the focus is already established and the camera is primed and ready to shoot.

However, shooting in Live View requires you to use the camera’s rear LCD screen to compose your image. This is not the easiest way of shooting, especially if your eyesight is such that you need to hold the camera away from your face, or if you need to put on your glasses to see the image on the back of the camera. But, as mirrorless cameras have become more popular, and with greater levels of intelligence employed in the ‘Subject to detect’ AF systems, Continuous AF is developing into a more useful feature.

Shooting portraits is all about getting the right expression and this can mean shooting a number of frames in quick succession.

Here, Continuous AF is enabled, ‘Subject to detect’ is set to ‘People’, with Eye detection enabled. The photographer’s finger could be removed from the shutter button while the camera still maintained focus on the subject, ready for when the subject’s expression was just right.

All images: EOS R, RF 24240mm f4-6.3 IS USM lens.

Where it all began When Continuous AF first appeared on the EOS 650D in 2012 the focusing system in Live View was quite basic. At the time, Face detection+tracking only picked up on human faces – providing they were fairly large in the frame. With any other subject, the camera simply focused on whatever was closest, making Continuous AF far from ideal for general use. On more recent cameras, because Face detection+tracking AF has improved, Continuous AF has become more effective, even on the DSLR models.

Furthermore, the fact that the more recent mirrorless models have subject detection systems that are able to focus not just on people, but also on animals and vehicles, a wider variety of subjects can be tackled successfully using Continuous AF. If you are not using Face detection+tracking AF, Continuous AF works without any intelligence and will simply focus wherever the AF point is, or the closest subject, or part of the subject, in the focus zone.

EOS magazine July-September 2022 | 37 EOS magazine July-September 2022 preview | 15

LENS RF 100mm f2.8L Macro IS USM JACKIE MATTHEWS

‘Love in a mist’. EOS R6, RF 100mm f2.8L Macro IS USM lens, 1/2000 second at f2.8, ISO 1250.

Revealing macro The RF 100mm f2.8L IS USM lens is a uniquely versatile lens. Able to shoot up to 1.4x life-size without the need for any accessories, it is also Canon’s first and only lens with Spherical Aberration Control.

ISO 400.

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The RF 100mm f2.8L Macro IS USM lens has a 5-stop optical image stabilisation (IS) system, which increases to 8 stops when combined with a camera with in-body image stabilisation (IBIS), currently the EOS R3, R5, R6 and newly announced EOS R7. When shooting at maximum magnification, image stabilisation is reduced to just 2 stops if using the lens on a non-IBIS camera body. If using it in conjunction with IBIS, Canon does not give information on the combined benefit, but from our testing it looks to be about 3 stops.

CANON

The EF 100mm f2.8L Macro IS USM lens, released in 2009, has proved to be a versatile and popular lens. That lens also set a high bar in terms of image quality – when Canon released the RF version for its R-series mirrorless cameras it had to produce something a bit special. So for the RF 100mm f2.8L Macro IS USM lens, introduced in July 2021, the specs were ramped up and a few bells and whistles were added.

True macro lenses normally offer a magnification factor of 1.0x, which means the subject can be reproduced on the imaging sensor at the same size as it is in real life. Other Canon lenses – such as the RF 85mm f2 Macro IS STM – might have ‘Macro’ in their name, but offer smaller than life-size, in this instance 0.5x magnification.

The most notable difference between the RF 100mm f2.8L Macro IS USM lens and its EF predecessor is that the new lens offers 1.4x magnification.

This is a big deal – in fact, it’s a world first for a macro lens with autofocus.

This increased magnification means that the subject is significantly larger on the imaging sensor than it is in reality and you can make out very fine detail that is almost impossible to see with the naked eye, such as pollen grains and detail on the stigma of aProgram flower. Importantly, the lens still autofocuses quickly Shutter-priority mode.

1/1600 and silently between this high1/200 magnification and infinity, thanksmode. to two Nano second at second at f2.8, USM motors. f8, ISO 400.

Image stabilisation

The RF 100mm f2.8L Macro IS USM lens is relatively small and light and can easily be used handheld.

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Depth-of-field NINA BAILEY

Shooting at high magnifications, especially at 1.0x or 1.4x, results in a very narrow depth-offield. When you look through the lens you are always viewing with the aperture wide open, which means you see the minimum depth-offield available, regardless of the aperture that is actually set and applied when taking the image.

With the RF 100mm f2.8L Macro IS USM lens attached to your camera, when viewing through the viewfinder you will see the depth-of-field displayed at f2.8 (top, right), because that is its widest aperture. However, if you have set a narrow aperture, such as f22, the depth-of-field in the final image will be significantly greater compared to what you see in the viewfinder or on the rear LCD screen.

When shooting so close to your subject, the depth-of-field extends roughly 50% behind the point of focus and 50% in front of it, so it is generally advisable to focus in the centre of the area you wish to be sharp in order to achieve acceptable sharpness across the desired area.

One advantage of mirrorless cameras is that, by using the depth-of-field preview button, you can actually see the increased depth-of-field when using a narrower aperture, either in the electronic viewfinder or on the rear LCD screen, without experiencing the darkening of the preview image as you would via the viewfinder on a DSLR. This is because the exposure simulation system (providing it is turned on) adjusts for the reduced light when using the depth-of-field preview.

If using Live View on a DSLR with an EF lens, the depth-of-field can be previewed on the rear screen without any darkening of the image.

However, handholding with Live View makes it difficult to achieve the steadiness needed when shooting at such high magnifications.

1/50 second at f2.8

1/6 second at f8

2.6 seconds at f32 All images above: EOS R, RF 100mm f2.8L Macro IS USM lens, ISO 400.

Technical considerations Shooting at very high magnifications is technically challenging. Pay attention to: • Depth-of-field When using the RF 100mm f2.8L Macro IS USM lens at its greatest magnification of 1.4x, the depth-of-field – even at the smallest aperture of f32 – is only about 4 to 5mm. This requires a very steady hand to keep the camera and lens still enough to allow you to focus at exactly the right point to achieve maximum depth-of-field.

When shooting with the aperture wide open at f2.8, the depth-of-field is only about 1 to 2mm. So, although it is possible to handhold if working at lower magnifications, at 1.4x magnification it is advisable to shoot with your camera mounted on a tripod.

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• Light availability When using a very narrow aperture you need to consider how you are going to get enough light to photograph your subject. And if you are not using a tripod you need enough light to allow you to set a shutter speed that is fast enough for you to handhold safely. This will often mean setting a high ISO. Alternatively, you can use flash to provide the necessary illumination, but this further complicates the exposure process.

If you are new to shooting at high magnifications, start by photographing some subjects indoors. Mount your camera on a tripod as this allows you to use exposure times of several seconds. Experiment indoors until you understand the techniques needed before you move on to shooting outside.

Focus shift

There are a couple of reports online of this lens exhibiting focus shift – whereby the focus moves slightly as the lens is stopped down. Equally, there are other reviews which haven’t been able to replicate this issue.

The reviews which bring up the focus shift issue show tests at very wide apertures. I have tested the lens in a real world situation and found no problems shooting between lifesize and half life-size (0.5x) magnifications.

There are not that many subjects where you need to shoot at 1.4x and, at that higher magnification, you are most likely to be shooting under controlled conditions in the studio.

Any breeze at all would cause too many problems.

I always recommend apertures of between f11 and f22 when shooting at macro magnifications to get enough depthof-field to achieve sufficient sharpness and, if handholding, to cope with any slight movement in and out. If shooting at suitably narrow apertures, you will have sufficient depth-of-field for most subjects.

Most of my testing has been using AF. However, when testing at set magnifications I used manual focus in a studio setting and tripod mounted. Even then I have not experienced any problems.

It would only be if shooting portraits with the lens that I would be using apertures between f2.8 and f5.6. And the reviews indicate problems with focus shift of apertures greater than f2.8, but less than f11.

If I am shooting subjects such as butterflies I would be more likely to shoot them on the RF 100-500mm lens as that lens does not require such close proximity to the subject, meaning it’s less likely to take flight.

Technical Editor, Nina Bailey

EOS magazine July-September 2022 preview 17 EOS magazine July-September 2022 | |41

CAMERA SETTINGS Release shutter without card

Card reminder You choose your camera settings, you compose, you shoot. You miss the on-screen warning that says ‘No card in camera’. You then try and review the image. Where has it gone? Here’s how to save face... and lost images.

On almost all Canon EOS cameras there is a setting which allows you to shoot without a memory card inserted. It’s worth noting, in fact, that this is the default setting on all new cameras.

It first appeared within the Custom Functions on the professional 1D-series cameras, and then filtered throughout the entire range from around 2003 onwards. In the early days of EOS DSLRs it was sometimes called ‘Card reminder’ in the instruction manual.

Canon EOS cameras do not have built-in memory capacity with which to store images, so it is very important that you have a memory card fitted in the camera, otherwise any images that you shoot will briefly appear as an image review and then be discarded. That’s unless you turn this feature off.

At shows and in shops staff need to be able to demonstrate the camera without impediment.

Changing the setting

Why is it there?

Why would you want to be able to take images with no card fitted? After all, if they are simply going to disappear it seems rather pointless.

Technical Editor Nina Bailey remembers the very early days of digital, as well as the key reason for its development. Prior to this feature appearing, staff demonstrating a camera at an exhibition or in a shop couldn’t do so without a card fitted. Nothing would work.

Not a problem, you might think. However, back in those days memory cards were very expensive and, if staff didn’t keep an eye on the cameras, the cards quite often vanished. Nina

remembers a particular show where Canon UK lost nearly £4000 worth of cards over a couple of days. As a result, a request was made to Japan to have a setting which allowed cameras to be demonstrated with no card fitted.

So that’s the history. As for why the default setting is to shoot without a card fitted, apparently this extra step was taken to make it even easier for shop staff to demonstrate cameras; they could simply turn it on and operate the camera without having to know where the menu item was for that particular model.

You can check the location and menu name of this setting in your EOS camera in the table on the opposite page.

1 The setting is nearly always found in the Shoot menu (see table, opposite page).

Select the item and press the SET button, or tap on-screen if using touch controls.

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2 Change the option from Enable to Disable or on older models from On to Off. When you go back to the main menu Disable will show as OFF and Enable will show as ON.

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ADVICE Your EOS questions answered

EOS experts

Focusing

Style differences

Q

Robert says: The differences can be subtle, depending on the subject and the lighting.

Canon says that the Neutral Picture Style is suitable for expressing subtle nuances within vivid colours, even for objects with considerable contrast, when you want to convey delicate textures.

The contrast and saturation settings are moderated in this style, resulting in a more restrained and calmer expression.

Nina says: The focusing scale can be very useful if you do a lot of closeup photography because you can see how close you are to the minimum focusing distance of the lens. It can be set up in the ‘Shooting info display’, found in the red Shoot 7 menu.

3 The default setting is to display the settings only when the lens is set to manual focus, but there are other options, including ‘Always’, where the focus distance scale is displayed all the time.

Select this and press SET.

2 Select Focus distance disp. at the bottom of the list. Press SET. * The Focus distance display is available on all EOS R-series cameras. As shown in the screen above right, it can be disabled when not required.

Faithful The Faithful Picture Style reproduces images that are close to what is seen with the naked eye, ensuring faithful reproduction. This setting is also suitable for replicating existing photographs, and for product photography where the original colours must be accurately expressed.

Both styles are worth considering when post-processing is planned.

Resolving camera shake

When I was looking at a friend’s EOS R6 I noticed that he had a focusing scale displaying in the viewfinder. How can I bring this up on my own camera? Eddie Woollard

1 Navigate to Shooting info. disp. in the red shoot menu. Press SET.

Neutral

I have shot the same subject using Faithful and Neutral Picture Styles and can see very little difference.

Am I missing something?

Chris Wentworth

Focusing scale

Q

NINA BAILEY

Ask the

Picture Styles

4 You should now be able to see the focus distance scale displayed on the screen (circled).

68 July-September 2022 20 | EOS EOSmagazine magazine July-September 2022 preview

I use an EOS 77D, but am finding it more difficult to get sharp photos due to a tremor in my hands. I am shooting in shutter-priority (Tv) mode with the ISO at 1600. I try to keep the shutter speed at 1/500 second or above. I mostly use EF-S 18-135mm and EF-S 55-250mm lenses. I can go as high as ISO 25600, but am concerned about image quality. Would a different EOS model allow me to get better results? I mostly take photos of the flora and fauna around my home. Gerald Kearne

Q

Robert says: Your problem is one of camera shake. This will not be improved by moving to a different camera. Using higher ISO values so that you can set faster shutter speeds might improve the sharpness, but at the expense of image quality.

One option is to purchase a good tripod and the Canon Remote Switch RS-60E3. The tripod will keep the camera steady, while the Remote Switch means that you will not need to touch the shutter button to make an exposure, eliminating the risk of camera movement.

A more expensive option is to invest in an image stabilising (IS) lens. This reacts to camera movement by keeping the image steady on the sensor. You could part-exchange your EF-S 18135mm lens for the EF-S 18-135mm f3.5-5.6mm IS STM, or your EF-S 55-250mm lens for the EF-S 55250mm f4-5.6 IS STM. These give a benefit of up to four stops. This means, for example, that you could shoot at 1/125 second and obtain the same image sharpness obtained by shooting at 1/1000 second.

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EOS CHAT

Forum www.eos-magazine-forum.com

Statistics (at 10 June 2022) Members 11,524 (+43) Threads 50,943 (+351) Posts 486,888 (+5913) Most popular forum Birds (Figures in brackets show increases since 11 March 2022)

We take a look at the current topics of discussion on the EOS magazine forum NINA BAILEY

This photograph was shot at the Canon press launch for the EOS R7 and R10. Far left is the full image from the APS-C sensor of the EOS R7. Near left is an enlargement of the original image. The resolution of the camera sensor allows a significant enlargement with little loss of image quality. The ‘extra reach’ comes from the enlargement, not from the camera.

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In Canon’s press release for its recent new cameras (see page 20), we were surprised to read that “...the EOS R7 is suited to wildlife and sports photographers that need the added reach of APS-C...”. This error was compounded by the following footnote referring to the new lenses: “RF-S 18-45mm f4.5-6.3 IS STM features a 2972mm focal length and RF-S 18-150mm f3.5-6.3 IS STM a 29-240mm focal range”.

In an attempt to counteract this nonsense, we posted an article called ‘Crop factor’, by Robert Scott, on the EOS magazine website at www.eos-magazine.com/articles/eospedia/ crop-factor.html To summarise, focal length is a characteristic of the lens and cannot change. There is no extra reach – simply a cropping of the image by the smaller APS-C sensor. What changes is the fieldof-view.

On the forum, Neonlamp responded to the article. “Robert quite rightly says that the crop factor does not change the focal length of a lens.

Canon, however, are peddling the ‘1.6x more reach’ in their latest R7 ads.

“One factor I think Robert should have mentioned is the pixel density. Given a good lens, then the 32.5 megapixel APS-C EOS R7 will out-

resolve a 20 megapixel full-frame EOS R6. That means greater precision and the enlarged cropped image should be sharper. That does lend some credence to the ‘more reach’ argument. However, greater resolution on the sensor would be a more accurate description as, once again, the lens has not changed. But a higher resolution sensor does offer greater resolution and enlargement capability than a lower resolution one.”

Robert replies: “One reason the EOS R7 will appeal to enthusiast wildlife and sports photographers is the smaller size and lighter weight – not to mention the lower cost – when compared to full-frame models such as the EOS R6. The greater resolution is also an advantage.

“The reason many photographers are misled by the ‘extra reach’ argument is that there does indeed appear to be a telephoto effect in the viewfinder of an APS-C camera compared to the same focal length lens used on a full-frame camera. However, this is simply the result of a crop. Cropping the image from a full-frame camera would give the same result.

“Incidentally, I wish Canon, and others, would stop using the term ‘1.6x crop’ in their articles.

A crop cannot be larger than the original, as this term implies.”

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Follow these and many other threads at www.eos-magazineforum.com Or raise your own photo query and learn from the experience of other forum members.

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