EOS magazine October-December 2021 PREVIEW edition | For Canon photographers

EXCLUSIVELY COVERING CANON CAMERAS

Animal AF

EOS R5 and R6 can detect and autofocus on animals

Deleting dust

Canon technology helps to keep the sensor clean

Panoramic pics

Merging separate images into a continuous photo

October to December 2021

NEW PRODUCTS

EOS R3 RF 14-35mm f4L IS USM RF 100-400mm f5.6-8 IS USM RF 16mm f2.8 STM Speedlite Transmitter ST-E10 Directional Stereo Microphone DM-E1D

ELEVATING YOUR EOS PHOTOGRAPHY TO THE EXTRAORDINARY

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Family Run Pro Dealership With Friendly, Knowledgeable Staff. Established 1954.

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RF 70-200mm F4 L IS USM .......................................... £1699 RF 85mm F1.2 I USM DS .............................................. £3299 RF 85mm F1.2 L USM .................................................... £2869 RF 85mm F2 IS Macro ......................................................£669 RF 100mm F2.8L IS USM Macro ................................ £1479 RF 100-500mm F4.5-7.1 L IS USM............................. £2979 RF 400mm F2.8 L IS USM .......................................... £12449 RF 600mm F4 L IS USM ............................................. £13409 RF 600mm F11 IS STM .....................................................£769 RF 800mm F11 IS STM .....................................................£999 RF 1.4 Extender ..................................................................£579 RF 2x Extender....................................................................£719 BG-R10 grip .........................................................................£419 LP-E6NH battery ...........................................................£119.99 Mount adapter EF-EOS R ...........................................£119.99

FULL FRAME CAMERAS EOS 5D MKIV body.............................................. £2869 EOS 6D MKII body ............................................... £1429 EOS 6D plus 24-105mm F3.5/5.6 IS STM .... £1819 NON FULL FRAME CAMERAS EOS 90D body....................................................... £1249 EOS 90D plus 18-55mm .................................... £1349 EOS 90D plus 18-135mm.................................. £1629 EOS 80D body..........................................................£799 EOS 850D body .......................................................£859

EOS 250D body .......................................................£569 EOS 250D plus 18-55mm.....................................£629 OTHER CANON CAMERAS Powershot G5X MarkII ..........................................£849 Powershot G7X MarkIII ...................................... £699 Powershot SX70HS ................................................£579 M50 Mark II plus 15-45mm .................................£699

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Used Canon 1DX MKII body box

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BG-E11 grip ..................................... £149 BG-E9 grip box..................................£89 BG-E6 grip ..........................................£89 BG-E2 grip ..........................................£39 CANON M USED M body + 18-55............................. £199 CANON AF LENSES USED 10-18 F4.5/5.6 IS STM.................. £219 10-22 F3.5/4.5 USM EFS ............. £349 14 F2.8 USM LII ............................£1299 15 F2.8 fisheye ............................... £449 15-85 F3.5/5.6 EFS ........................ £299 16-35 F2.8 USM LIII ....................£1399 16-35 F4 USM IS L......................... £799 17-40 F4 L USM ............................. £399 18-135 F3.5/5.6 USM Nano ....... £399 18-200 F3.5/5.6 EFS ..................... £299 24 F2.8 STM .................................... £129 24-70 F4 IS USM L......................... £699 24-105 F4 IS USM LII M- box..... £799 24-105 F4 IS USM L ...................... £549 28-135 F3.5/5.6 USM ................... £219 35 F2 IS USM .................................. £399

Used Canon Used Sigma CAF 150-600mm F5/6.3 50-500mm F4.5/6.3 150-500mm HSM OS F5/6.3 APO DG OS

£799

£599

50 F1.2 L USM box........................ £997 50 F1.4 USM.................................... £299 50 F1.8 STM box...............................£99 55-250 F4/5.6 IS EFS .................... £199 60 F2.8 EFS macro ........................ £299 65 F2.8 MPE macro ...................... £849 70-200 F2.8 IS USM LIII .............£1799 70-200 F2.8 IS USM LII ..............£1197 70-200 F4 IS USM box ................. £699 70-200 F4 L USM ........................... £449 70-300 F4.5/5.6 U L IS box......... £799 70-300 F4/5.6 IS USM II............... £449 70-300 F4.5/5.6 USM ................... £299 100 F2.8 IS USM L macro ........... £849 100 F2.8 USM macro ................... £399 100-400 F4.5/5.6 LII box ...........£1899 100-400 F4.5/5.6 L ........................ £999 135 F2 USM L box......................... £649 180 F3.5 L USM ............................£1097 200 F2.8 USM LII ........................... £549 300 F2.8 IS USM LII .....................£4499 300 F4 IS USM L............................. £749 400 F5.6 USM L .............................. £799

Sport

£1197

500 F4 IS USM LII box................£6999 1.4x ext MKIII .................................. £399 2x extender MKIII.......................... £369 SIGMA CAF USED 8 F3.5 EX DG fisheye.................... £499 8-16 F4.5/5.6 HSM DC box ........ £399 10-20 F3.5 EX DC HSM ................ £279 12-24 F4.5/5.6 II HSM .................. £599 17-50 F2.8 EX DC HS OSM ......... £269 17-70 F2.8/4 DC OS HSM ........... £249 18-250 F3.5/6.3 DC OS HSM ..... £199 50-500 F4.5/6.3 HSM OS ............ £799 50-500 F4.5/6.3 HSM ................... £599 70-200 F2.8 EX DG OS HSM ...... £599 85 F1.8 EX DG box ........................ £499 105 F2.8 EX DG HSM OS box .... £329 120-300 F2.8 DG OS Sport box.......... £2199 150 F2.8 EX DG OS HSM box .... £699 150-500 F5/6.3 APO DG OS ...... £599 150-600 F5/6.3 sport .................£1197 150-600 F5/6.3 contemporary . £749 300 F2.8 EX DG HSM .................£1399

100-400mm 300mm F2.8 F4.5/5.6 LII box IS USM LII

£1899

£4499

800 F5.6 EX DG HSM no hood£2199 TC1401 extender .............................£19 1.4x EX DG converter .................. £149 OTHER CAF USED TAM 10-24 F3.5/4.5 Di II ............. £199 TAM 11-18 F4.5/5.6 ...................... £129 TAM 16-300 F3.5/6.3 II VC .......... £399 TAM 17-50 F2.8 XR Di VC box... £249 TAM 28-300 F3.5/6.3 VC PZD box ..... £499 TAM 70-300 F4.5/5.6.......................£99 TAM 100-400 F4.5/6.3 Di VC USD ..... £599 TAM 180 F3.5 Di macro .............. £399 TOK 12-24 F4 ATX Pro II DX box£299 TOK 12-24 F4 ATX Pro box ........ £249 Kenko ext tubes box ......................£99 FLASH/ACCESSORIES USED 430EX RT MKIII ............................... £239 430EX II............................................. £139 580EX MKII. ..................................... £169 600EX RT .......................................... £299 ST-E3 transmitter box ................. £249

Family Run Pro Dealership With Friendly, Knowledgeable Staff. Established 1954.

500mm F4 IS USM LII box

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ST-E2 transmitter .............................£99 Angle finder C................................ £149 CANON AF FILM BODIES USED EOS 5 body ........................................£89 EOS 600 body ...................................£39 EOS 650 body ...................................£39 EOS 3000 body .................................£39 EOS 300 body ...................................£39 EOS 50E / 500N body each ..........£39 EOS 1000/1000fn body each.......£39 CANON FD USED A1 body............................................ £169 AE1P black body ........................... £169 AE1P silver body ........................... £169 T90 body.......................................... £199 T70 body.............................................£99 A1 World Cup 1982 body box.. £249 AV-1 body ...........................................£99 50 F1.8 .................................................£69 50 F2.....................................................£69 135 F3.5...............................................£69 2x extender B ....................................£49 FD bellows ...................................... £149

Mail order used items sold on 10 day approval.

Return in ‘as received’ condition for refund if not satisfied (postage not included - mail order only). www.eos-magazine.com

2 |PRICES EOS magazine October-December 2021MAINLAND preview DELIVERY. Correct 31/08/2021. E&OE. ANY SHOWN INCLUDE VAT AND U.K.

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 Linda Gilman Linda Gilman subscriptions@eos-magazine.com subscriptions@eos-magazine.com EOS MAGAZINE SHOP EOS MAGAZINE SHOP Caron Oliver Caron Oliver Tamsin Bass Tamsin Bass shop@eos-magazine.com shop@eos-magazine.com ACCOUNTS ACCOUNTS Pam Bass Pam Bass pam@eos-magazine.com pam@eos-magazine.com ADVERTISING ADVERTISING Brian Hall Brian Hall brian@eos-magazine.com brian@eos-magazine.com PUBLISHER Claire Barrett PUBLISHER claire@eos-magazine.com Claire Barrett claire@eos-magazine.com WRITE TO EOS magazine, The Old WRITE TO Joinery, Ball Lane, Tackley, The Kidlington, OX5 Ball 3AG,Lane, UK EOS magazine, Old Joinery, Tackley, Kidlington, OX5 3AG, UK TELEPHONE 01869 331741 (+44 1869 331741) TELEPHONE open331741 Monday(+44 to Friday to 5pm 01869 1869 9am 331741)

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Welcome In the previous issue we revealed Canon’s first tasters regarding the new EOS R3 pro mirrorless camera. They provided an intriguing outline of what we could expect later in the year. Since then, we have had the Tokyo 2020 Olympic and Paralympic Games, when a select number of press photographers were given the opportunity to put the pre-production camera through its paces.

When Canon first jumped into the full-frame mirrorless pond with the EOS R in 2018, it wasn’t with the largest of splashes – and keeping up with fast-moving subjects was a weak point. How far has mirrorless technology come in the three years since then? Can the EOS R3 keep pace with the sports photographers’ firm favourite, the EOS-1D Mark IV? Apparently, yes it can. And not only can the EOS R3 keep pace – it has moved the goalposts.

Now officially launched, you can read full details about Canon’s flagship mirrorless camera, new accessories and RF lenses on pages 20 to 27. Whether you are thinking of purchasing the nearly £6000 camera or not, it makes exciting reading, and doubtless some of the new technology will filter down to other EOS cameras. But even if you are not contemplating the move to mirrorless, rest assured that your EOS DSLR camera is still capable of taking fabulous images. There are many reasons to switch to mirrorless, but image quality is not necessarily one of them. And EOS magazine will continue to be as relevant to you as it ever was.

Although brief, the heatwave across most of the UK earlier this year might have hampered your photography. The effect of heat distortion can cause havoc with image quality, as we explain on pages 46 to 49, and it’s not limited to hot climates. As they say, forewarned is forearmed.

So, come on, when did you last push yourself out of your picture-taking comfort zone? Have you been asked to shoot a friend’s wedding when you normally just photograph your kids? Colin Cross ventured into snapping fastmoving furry creatures despite being much more familiar with photographing the feathered variety (pages 50 to 53). As Colin found, it’s a great way to broaden your photographic skills, which may also prove beneficial when returning to your preferred genre. It’s never too late to learn.

Angela August, Editor 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 Scott Publishing Limited, a company EOS magazine

by Robert registeredisinpublished England and Wales.

Scott Publishing Limited, company Registration numbera 4663971. registered in England and Wales.

Registration number © 20214663971.

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

Printed by Warners (Midlands) plc

The EOS R3 is able to track the helmet of a motorcyclist at a frame rate of 30fps

EOS magazine October-December 2021 | 3

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Contents 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.

EOS PROJECT p12

EOS Extra!

One £4.95you can As acredit subscriber Five credits £19.95 access a special area on

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

Ways to subscribe

Rates

REGULAR FEATURES

18 EOS Shop Camera gear and accessories for your EOS photography.

68 Ask the EOS experts Readers’ questions answered.

72 EOSpedia Acronyms, terms and EOS photographic trivia.

74 Forum Which RF super-telephoto would you go for?

EOS PROJECT NEW PRODUCTS 20 Latest equipment

12 NHS tribute During the global pandemic, Del Francis began shooting portraits of clinical staff at St George’s Hospital in London.

Full details of the EOS R3 camera and accessories, plus three new RF lenses.

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 EO ng Everythi the entire library with theS Compiled by EOS magazine powerful search facility.

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Every Canon EOS camera, lens, Speedlite and accessory from 1987 to 2020

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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 above).

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Everything EOS

Animal AF Cover and pages 40-45.

“I took this image of a curious young squirrel in a park, near Stuttgart, Germany. I was handholding my new EOS R5 using Animal AF, which works fantastically. The camera was literally positioned on the tree pointing upwards; I like the unique viewpoint this creates. At such a close shooting distance (less than 2m) I used an aperture of f4.5 to achieve a usable depthof-field. Luckily, it was a sunny day so the ISO could stay at an acceptable setting. This is a 10% crop, which is absolutely no issue with the high resolution of the EOS R5.”

ON THE COVER & p40

Joachim Dobler EOS R5, RF 70-200mm f2.8L IS USM lens at 200mm, 1/500 second at f4.5, ISO 400.

4 | EOS magazine October-December 2021

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CAMERA FEATURES

HARVEST MICE

32 Panoramic pics

p50

How to merge a number of separate images to create a panorama.

40 Animal AF The EOS R5 and R6 cameras can detect and focus on the head of an animal, tracking it around the frame as it moves. The result is a revolution for wildlife photographers.

46 Heat distortions Heat haze and heat shimmer can adversely affect image quality, but understanding the cause of the problems can help you mitigate these effects.

50 Harvest mice Colin Cross tests his camera skills when he photographs these fast-moving creatures.

54 Deleting dust Is dust in your digital camera still something to worry about or have technological developments made it less of an issue?

CANON SERVICES

EOS ACCESSORIES 64 Get a grip!

We look at when and how a grip can be a useful accessory for your EOS camera kit.

EOS CONTEST 58 Reader challenge Results of our reader photo competition, plus details of the next challenge.

PANO PICS p32

28 Test drive EOS magazine subscriber Genevieve Leaper took advantage of Canon’s free Test Drive service to experience the mirrorless system first-hand.

Who’s who in this issue?

Claire Barrett Publisher

Nina Bailey Technical Editor & EOS Training Academy tutor

Robert Scott Consultant Editor

Del Francis Portrait photographer

Colin Cross Wildlife photographer

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World of EOS news • information • images

© MARK BENHAM/ PINK LADY FOOD PHOTOGRAPHER OF THE YEAR 2016

Latest products PIXMA TS5050

4-in-1 multifunctional unit PIXMA TR4650 The new PIXMA TR4650 series is a user-friendly entry into printing, scanning, copying and faxing, available in black or white (PIXMA TR4651), perfect for home use.

The 4-in-1 multifunctional systems are now even more user-friendly than their predecessors as set-up processes have been simplified again. Because the paper is fed from the front, the printer can also be conveniently placed in front of a wall, useful when space is limited.

The Canon hybrid ink system has three dye-based colour inks and one black pigment ink – for vivid colour prints and sharp text documents. You can print borderless photos up to A4 size on high-quality photo paper. Other features include easy ink cartridge replacements, improved paper loading and a document removal reminder.

Wi-Fi connectivity and the Canon print app give you control of your printer functions from your smart devices, allowing you to print, scan and copy with ease.

Available from October 2021, RRP €99.

Further information from www.canon.co.uk

Commonwealth Games 2022 Canon proud to be Official Imaging Supporter Following its support of the Olympic and Paralympic Games in Tokyo this summer, Canon has grabbed another opportunity to demonstrate the full breadth of its imaging technology by being the Official Imaging Supporter for the Birmingham 2022 Commonwealth Games. Canon will support athletes and organisers with on-site medical imaging services, dedicated Canon Professional Service (CPS) support and printing solutions.

The Birmingham 2022 Commonwealth Games will see around 6000 athletes from 72 nations and territories compete in 19 sports and eight para-sports across 14 competition venues, from 28 July to 8 August 2022. It is expected to attract more than one million spectators to the city and have a global TV audience of 1.5 billion.

The CPS will give photographers and broadcasters behindthe-scenes support in capturing every moment of the action, while dedicated on-site printing services will help the event organisers and venues to deliver an exciting fan and spectator experience. Cutting-edge medical imaging services will also support athletes’ performance during the Games.

MRI, ultrasound and X-ray imaging services will be available throughout the athletes’ village and in diagnostic vehicles to provide support for some of sport’s biggest stars.

The ticket ballot will run from 8 to 30 September. Register for a ticket account to receive all the latest information about the ballot at birmingham2022.com

EOS Ra short-lived

EISA Awards

Astrophotography camera discontinued

Expert opinion

The EOS Ra camera, a specialist variation of the EOS R dedicated to astrophotography, is no longer available from Canon. First launched in 2019, the EOS Ra has a few important modifications compared to the EOS R. Most significantly, it has an infrared (IR) blocking filter that allows four times as much hydrogen alpha light to reach the sensor. Secondly, the vari-angle touchscreen is capable of 30x magnification, allowing photographers to zoom in on images up to 180% for precise manual focus.

Like the EOS 60Da and 20Da DSLR models before it, the EOS Ra is a great choice for astrophotography – but it is a niche market.

You might be able to find a dealer that still holds new models, otherwise this mirrorless astrophotography camera is now only available second-hand.

The Expert Imaging and Sound Association (EISA) has awarded Canon two awards for the period 2021-2022.

Best premium camera: EOS R5 Lens innovation: RF 100mm f2.8L Macro IS USM The Expert Imaging and Sound Association is a community of 60 technology magazines, websites and social media commentators from 29 countries, representing the largest editorial collaboration in the world of consumer electronics.

Since 1989 the group has been selecting the most innovative, cutting edge product for its prestigious awards.

EOSmagazine magazine October-December 2021 preview 6 || EOS October-December 2021

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WORLD OF EOS Two TIPA Awards

Rare lens for sale

For Canon camera and lens

EF 1200mm up for auction

In recent, pre-pandemic years Canon UK had invited us to run a selection of our EOS Training Academy seminars at its headquarters in Reigate, Surrey. Sadly, this venue is no longer available to us since Canon UK moved in spring 2020 to join Canon Europe at Stockley Park business estate in Uxbridge.

Now Canon has agreed the lease The Bower, the largest self-contained building at Stockley Park, which it plans to use as its UK and European headquarters. Already well-located near to Heathrow, the M25 and the M4, the refurbished 151,000 square feet of space stands to benefit from infrastructure improvements, including the Crossrail project. Canon’s move marks the biggest letting at Stockley Park for 30 years, and the largest in the Thames Valley for over six years – and signals a vote of confidence in the future of the office.

You might be able to justify spending that little bit more than is perhaps sensible on some desirable photo equipment – but the price of the EF 1200mm f5.6 L USM lens is probably pushing it. A used example of this rare Canon lens is to be sold on 9 October 2021 by Wetzlar Camera Auctions. In the past, similar lenses have gone for an eyewatering $150,000.

When originally launched in July 1993, the EF 1200mm f5.6 L USM lens was built to order and cost around $100,000. It is thought that only about 20 of these lenses were made – their rarity is due partly to the price tag, but also the length of time each one took to manufacture. The optic – which uses 13 lens elements in 10 groups – required about two years to build due to the time needed to form the fluorite crystals it uses.

The super-telephoto lens is the world’s largest interchangeable SLR autofocus lens, in terms of both focal length and maximum aperture, with a maximum diameter and length of 228mm x 836mm respectively – adding up to a hefty 16.5kg. And if 1200mm is just not enough, the lens is compatible with Extenders EF 1.4x or EF 2x, transforming it into a 1700mm f8 or 2400mm f11 lens.

But, there is now a much less expensive way of achieving a reach of 1200mm – use an RF 600mm f11 IS STM lens with an Extender RF 2x. That gives you the same focal length for a total price of around £1500 (£740 lens + £720 Extender).

This combination results in a 2-stop reduction of light, so the maximum aperture you can shoot at is f22. The light loss also affects the focusing speed, which decreases significantly, as does image sharpness. No such concerns with the EF 1200mm f5.6 L USM, but then for over £100,000 you would hope not!

For more information visit www.wetzlarcameraauctions.com

Redline Challenge Canon’s new themed photo competition The winner of Canon’s first Redline Challenge photography competition is Piotr Skrzypiec from Poland. Piotr wowed judges with his striking photo, Lost Highway, ˘ Kal Viaduct in Slovenia shrouded in fog. The which features the 1000m long Crni competition, which was themed ‘Light in the Dark’, received over 36,000 entries from around the world.

“It’s a huge achievement. For me, as a Canon user, the prize is the best set of equipment that I could imagine,” said Piotr, who has won an EOS R5 and additional Canon gear totalling over €14,000. Piotr will also take on a personal photography assignment, mentored by Canon Ambassador Lorenz Holder.

“When fog happens only a few times per year, it’s very hard to get there at the right moment. In those conditions, it was really amazing to see,” said Piotr, who used an EOS 5D Mark IV with an EF 24-105mm f4L IS USM lens, at 30 seconds, f8, ISO 800.

The winning photo and shortlist were chosen by a panel of judges made up of professional photographers and industry experts, including Canon Ambassador and documentary photographer Laura El-Tantawy and European Marketing Director for Canon EMEA, Susie Donaldson.

For more images and insight into the judging process visit bit.ly/3yS6Bkv

© PIOTR SKRZYPIEC

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EOS magazine October-December 2021 preview EOS magazine October-December 2021 | |7 7

EOS PROJECT St George’s Hospital

NHS tribute Last year, during the global pandemic, Del Francis began shooting portraits of clinical staff at St George’s Hospital in London.

About Del JADE FRANCIS

I have been photographing people in the studio and in various environments for over 30 years. I originally trained at Glasgow College of Building and Printing, and Bournemouth & Poole College of Art and Design, specialising in photography and set building, with additional subjects on sensitometry.

What is your photographic background?

Having first assisted veteran photographer Phil Ward in Dockland Studios, London, I went on to work freelance for major publishing houses and design groups, photographing musicians, artists, scenario fashion and actors.

After working in photography and imaging for decades, I decided to expand my career and studied law, eventually ending up as a legal specialist at St George’s Hospital in London.

I now split my time between St George’s and photographic projects. During my time I have also exhibited at the National Portrait Gallery and the Glasgow School of Art, among other venues.

What inspired you to photograph members of staff at St George’s Hospital?

I invited clinical staff to sit for a portrait during the pandemic, with the aim of honouring and

8 || EOS October-December2021 2021 preview 12 EOS magazine magazine October-December

Above Senior Consultant Surgeon in Gynaecology (name withheld). EOS 5DS, EF 24-70mm f2.8L II USM lens at 70mm, 1/160 second at f16, ISO 100.

My motivation

Photography is what I do. It’s like oxygen.

When I am not shooting, I’m planning the next shot. It’s the focus, idea and effort you put into a shoot that makes the difference. Technology has changed so much in today’s world, especially photography, but it’s striving to create an image that is hopefully timeless that gets me up and working every morning!

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thanking them for their commitment, as well as documenting the greatest challenge the NHS has ever faced. The resulting exhibition, titled ‘Portraits to a Life of Dedication’, features 43 portraits that capture the inner strength, compassion and humanity of those working on the front line at St George’s Hospital.

The staff depicted have all played a critical role in the response to coronavirus. Everyone who came along thought it was important to take part, to let the public know that behind their professional appearance was a human being with the same concerns, worries, highs and lows that we all feel. The images give an insight into individual personalities and a diverse workforce who make St George’s Hospital.

By hosting the exhibition outside the hospital, patients and staff are able to view the exhibition safely, within government guidelines.

What was your aim? Do you feel you have achieved it?

The real aim was to provide a forum for the public to actually see the people who treat them and save lives every day. We initially thought of taking the portraits with a hospital background but then changed our minds and used a large

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Clockwise from top left Yael Gelfer, Consultant in Trauma and Orthopaedics.

EOS 5DS, EF 24-70mm f2.8L II USM lens at 70mm, 1/160 second at f11, ISO 100.

Debasish Banerjee, Consultant Nephrologist.

EOS 5DS, EF 24-70mm f2.8L II USM lens at 57mm, 1/160 second at f8, ISO 100.

Rebecca Campbell Jones, Specialist Physiotherapist.

EOS 5DS, EF 24-70mm f2.8L II USM lens at 70mm, 1/160 second at f13, ISO 100.

Alice Kebbay, Lead Nurse, Education and Development. EOS 5DS, EF 24-70mm f2.8L II USM lens at 70mm, 1/160 second at f10, ISO 100.

Angelina Nadarajah, Physician Associate. EOS 5DS, EF 24-70mm f2.8L II USM lens at 70mm, 1/160 second at f9, ISO 100.

Chris Wilkinson, Senior Porter. EOS 5DS, EF 2470mm f2.8L II USM lens at 61mm, 1/160 second at f7.1, ISO 100.

St George’s Arts Programme The support I received from the St George’s Hospital Charity via the Arts and Fundraising Teams, as well as the Communications Team, at the hospital has been outstanding. The project would simply not have been possible without their support. They were key to obtaining the involvement of the clinicians and staff and coordinated the communications programme to inform everyone about the project.

The Fundraising and Arts Team also organised the actual funding as well as all of the printing and installation of the large external exhibition itself, which was quite a task. The Communications Team – working with the Arts and Fundraising Teams – organised the press release and interest of ITV News.

Since 2001, St George’s Hospital Charity has supported the St George’s Arts Programme based at the hospital. The Arts Team ensure that the charity’s art collection, innovative arts programmes, projects and commissions enhance the well-being of patients and staff.

EOS magazine October-December 20212021 preview | 9 EOS magazine October-December | 13

NEW EOS PRODUCTS

EOS R3

NEW FLAGSHIP CAMERA THAT BLENDS TECH WITH TRADITION

It’s finally arrived... after two teasing development announcements and a great deal of rumour and speculation, the EOS R3 is unveiled.

Learning all about this new camera has been an exhausting experience – there’s just so much to take on board. In fact, Canon states that there are more than 100 improvements over previous DSLR and mirrorless cameras.

So, let’s take a look round.

Canon’s new “Sports hero” If you’re in any doubt as to who this camera is aimed at, then this should summarise it – Canon is hailing the EOS R3 as a “powerhouse for sports photography and reportage”. Like many of its new products in recent years, Canon has worked carefully to tweak this camera in order to deliver precise performance – and familiar handling – to its intended users.

The EOS R3 is fast and furious; capable of shooting up to 30 frames per second (fps) with the electronic shutter and 12fps with the mechanical one. It’ll maintain this pace for both JPEG and 14-bit RAW files for over 1000 images. You have two different continuous shooting modes, a high speed and standard one, giving you flexibility in the field.

“

The EOS R3 is an ultrafast, highly responsive camera that gives sports and news photographers the competitive advantage they need to get the winning shot.

Canon UK press release

“

Well-connected

Blended learning Professionals in any job can’t always spare the time to learn new tech. Being able to pick up a new camera and shoot with it instantly is absolutely critical. After all, their livelihood relies on it.

The move from DSLR to mirrorless has echoes of the film-to-digital transition of the late 1990s. It was a steep learning curve back then, and Canon anticipates the same for pros switching to their first mirrorless with the R3. So it has included a few little tricks and features to help flatten the curve: • OVF simulation – while the electronic viewfinder is a constant, Canon has added a feature which can mimic an optical viewfinder experience.

• Familiar handling – it’s the first R squared... in that it’s the recognisable box-shaped camera with dual controls for horizontal and vertical shooting. Buttons and dials are all where you’d expect them to be.

• 1D build quality – it’s as rugged and robust as any pro camera that’s come before.

In fact, the EOS R3 has a newly designed seamless magnesium alloy body, leaving fewer points for water ingress.

• Start-up time – it ‘behaves’ like a DSLR, says Canon. Shutter lag is also ‘miniscule’.

• Same battery as EOS-1D X III – the LP-E19 battery is rated to give 1D-like performance.

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Speed is the name of the game with the R3, but its blistering pace is not restricted to how quickly it can start up (0.4 seconds), its frame rate, shutter speed (world’s fastest at 1/64000 second) or how fast it can focus (0.03 seconds).

It’s also how quickly it can connect photographers to news desks. With that in mind, the EOS R3 has built-in Bluetooth (version 5) and 5 GHz Wi-Fi for wireless transfer, as well as a Gigabit Ethernet port for a wired connection. Network settings can even be shared between EOS R3, R5 and 1D X Mark III cameras.

There are future development plans in this area too, with the new Mobile File Transfer (MFT) app that’s been announced. The paid-for app – expected in early 2022 – will allow transfer of files via an FTP server as well as text conversion of voice memo files recorded in-camera.

There will also be an accessory that can be used to mount a smartphone onto the camera – see page 24 for details.

There is an array of ports and sockets on the side of the R3. Bottom right is an Ethernet port, ideal for a reliable connection when uploading files. Next to it is the remote switch socket: the EOS R3 accepts the N3 connection. The Bluetooth Remote BR-E1 can be used as a wireless alternative, as well as the free Canon Camera Connect app. There are sockets for headphones and a mic.

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RF 100-400mm f5.6-8 IS USM TELEPHOTO ZOOM LENS FOR EVERYDAY USE

Hands-on at Canon UK with David Parry, who demonstrates just how compact this lens is.

CANON

Many a time we’ve suggested that Canon develops a lens like this – a non L-series 100-400mm lens for keen wildlife photographers. And here it is. Deploying all the benefits of Canon’s lens design heritage, plus the capabilities of the new RF mount, this compact and lightweight zoom lens is an enthusiast’s dream.

Taking its lead from the EF 70-300mm lens, the RF 100400mm f5.6-8 IS USM features 12 lens elements, one of which is aspherical. This type of element reduces optical aberrations which would otherwise require multiple lens elements to correct, thereby reducing both the weight and size of the overall design. Ghosting and flare is reduced too, with the application of Super Spectra Coating (SSC).

Image stabilisation (IS) is built-in, with up to 5.5 stops benefit. There’s an extra half stop to be gained when used with a R-series camera with in-body stabilisation (IBIS).

For distant subjects, not only does the native 400mm focal length give you plenty of reach, but this lens is also compatible with the new RF Extenders, meaning you can get to 560mm and 800mm with the Extenders 1.4x and 2x respectively. And, because the R-series cameras can hold their own at higher ISO settings, as well as achieve autofocus at up to f22, using this lens with Extenders isn’t as restrictive as similar combinations might once have been.

For close-up work, this lens holds just as much promise. With a workable minimum distance of 88cm – around three feet – and a maximum magnification of 0.41x, you can capture the detail with ease, and even shoot handheld.

Like the RF 600mm f11 and RF 800mm f11 lenses, the RF 100400mm f5.6-8 IS USM lens uses a trombonestyle mechanism when zooming, so it can be packed away in a more compact form.

Specifications horizontal Angle-of-view vertical diagonal Construction (elements/groups) Number of diaphragm blades Minimum aperture Closest focusing distance Maximum magnification AF actuator optical Image stabiliser (IS) with IBIS Dust/moisture resistance Filter diameter Max. diameter x length Weight lens cap rear cap Accessories lens hood lens pouch RF Extenders

RF 100-400mm 20º - 5º 14º - 3º 30’ 24º - 6º 10’ 12 / 9 9 f32 at 100mm f45 at 400mm

RF 100-500mm 20º - 4º 14º - 2º 45’ 24º - 5º 20/14 9 f32 at 100mm; f54 at 500mm 0.9m at 100mm 0.88 metres 1.2m at 500mm 0.41x 0.33x Nano USM Dual Nano USM 5.5 stops 5 stops 6 stops 6 stops no yes 67mm 77mm 79.5 x 164.7mm 93.8 x 207.6mm 635g 1530g E-67II E-77 II Lens dust cap RF ET-74B ET-83F LP1224 LZ1328 compatible from compatible 300mm

E&OE

Sit up and take note. Canon’s first non L-series super telephoto zoom lens is a real game-changer. It won’t break the bank nor your back. Based on the template for the EF 70300mm, this compact lens promises to be a versatile all-rounder. For close-ups, for long distance, for every day, wildlife, travel and sport.

Pricing and availability The RF 100-400mm f5.6-8 IS USM will be available from November 2021 with a recommended retail price (RRP) of £699.99 / €799.99.

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EOS magazine October-December 2021 preview 11 EOS magazine October-December 2021 | |25

TEST DRIVE SERVICE

TEST DRIVE EOS magazine subscriber Genevieve Leaper took advantage of Canon’s free Test Drive service to experience the mirrorless system first-hand.

When I read about the Canon Test Drive service in EOS magazine (April to June 2021) it sounded too good to be true! But I checked the website and, yes, I really could have an EOS R6 along with a choice of lenses for two whole days absolutely free of charge. There is a substantial refundable deposit, but that's hardly unreasonable and the added bonus is a 5% cashback if you go on to buy the product within six weeks.

Like many photographers I'm considering changing from a DSLR (I currently use an EOS 7D) to the mirrorless system, but it is a huge expense and I do have some doubts. I had two main reasons for wanting to try the camera for myself. My main concern was how the electronic viewfinder would compare to an optical viewfinder. Screens are all very well, but I know from using my partner's EOS M100 that I can't cope without a viewfinder. On the other hand, as a wildlife photographer, I was very excited about the animal focus tracking mode.

Booking a test drive

Genevieve Leaper (pictured top, with her current camera, the EOS 7D) tested the EOS R6 and RF 24-240mm f4-6.3 IS USM lens for a period of two days as part of Canon’s Test Drive scheme.

Booking the test drive was fairly straightforward.

There was a reasonable choice of dates for the camera body, but unfortunately the lens I really wanted – the RF 100-500mm f4.5-7.1L IS USM – was not available, so I opted for the allround RF 24-240mm f4-6.3 IS USM, resisting the temptation of the RF 800mm f11 IS STM. My email queries were answered promptly and the only downside was having to stay in all day for delivery and collection as no time slot was provided.

The kit arrived in tough Peli cases, which made it easy to re-pack for return. The camera box included two batteries (just as well, as one battery didn't last a day), battery charger, the manual on a USB stick, 32GB SD card and even a card reader.

The lens had a protective UV filter, but I was surprised there was no lens hood supplied.

I had already downloaded the camera manual and tried to read up on the features I was most interested in, but it was hard to take it in until I had the camera in front of me. In retrospect I should have looked for relevant articles in EOS magazine, being rather more readable than the 800-page manual! But after delivery I still had the evening to do my homework. The camera is very similar in size to my 7D and some of the controls were familiar, but much of it was completely new.

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Opposite page Top Guillemot in flight at Fowlsheugh RSPB nature reserve, Aberdeenshire. I was shooting in shutterpriority (Tv) mode, Servo AF with tracking and Eye-detection, at high speed continuous shooting drive mode. The nearest leg is sharp, rather than the eye, but it was not an easy subject to track, flying fast along the cliff edge at close range. EOS R6, RF 24240mm f4-6.3 IS USM lens at 213mm, 1/2000 second at f6.3, ISO 400.

Centre Beech leaves. In aperture-priority (Av) mode, I deliberately set a small aperture and low ISO to test the image stabilisation at a slow shutter speed. This was taken handheld, with camera and lens IS both enabled. EOS R6, RF 24240mm f4-6.3 IS USM lens at 50mm, 1/8 second at f11, ISO 200.

Bottom Guillemot colony at Fowlsheugh RSPB nature reserve, Aberdeenshire. It wouldn’t be my first choice for bird photography, but the RF 24-240mm f4-6.3 IS USM lens made it easy to switch between flight shots of individual birds, wide-angle landscapes, and groups of birds like this. I focused on the guillemots on the ledge and waited for a flying bird to enter the frame. EOS R6, RF 24240mm f4-6.3 IS USM lens at 70mm, 1/1300 second at f6.3, ISO 250.

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Getting familiar The next morning, after taking a few shots in the garden, I headed out to a local nature reserve, knowing I would find plenty of birds in flight at a seabird colony. It had been tempting to go away somewhere exciting, but I reasoned it was better to visit a familiar location so that I could concentrate on the camera.

I have been shooting with EOS cameras for more than twenty years, but I felt like a beginner with the R6! With so many extra buttons, dials and menu settings compared to the EOS 7D or EOS M it was going to be a steep learning curve.

The electronic viewfinder is not the same as an optical viewfinder, but I was pleasantly surprised – it felt natural enough in most situations. It was only when panning fast that the images in the viewfinder became a bit blurry as the refresh rate couldn't keep up. The tiny delay in the electronic viewfinder switching on when you put your eye to it can also be enough to miss action shots. But I really like the option to display image playback and menu settings in the viewfinder, having reached the age where I need reading glasses to view the screen. And I love that the camera is so quiet.

Day one I spent most of the day photographing seabirds in flight. The focus tracking is impressive. It's not perfect, and sometimes a wing or foot, rather than the bird's eye, was sharp, but it is a huge leap in performance from the 7D. I don't think my

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EOS magazine October-December 2021 preview 13 EOS magazine October-December 2021 | |29

TECHNIQUE Shooting panoramas

Panoramic pics A panorama is a picture or photograph displaying a wide view of a scene.

This can be tricky to obtain in a single shot without excessive cropping and resulting loss of resolution. Nina Bailey shows how to overcome the problem by merging a number of separate images.

In its simplest form a panorama is a single image that has been cropped into a narrow format. But it can also be a much more complex affair, composed of multiple images that are merged together.

A panorama comprised of multiple images begins as a sequence of individual photos taken in succession across a wide expanse of a scene. The separate images are then stitched together using specialist software to form a final image, which conveys a wider view than you would usually be

able to achieve in a single image.

Shooting a panorama made up of individual images allows you to use a lens that does not produce distortions, which are often associated with wide-angle lenses. It also results in a final image with a greater height-to-width ratio than if you were using a wide-angle lens to capture the same scene in a single image, which produces a distinctly thin panorama.

Another key advantage of shooting a panorama made up of multiple images is that you can achieve a final image with a much higher resolution than might be possible with a single frame, when extensive cropping results in the loss of up to two-thirds of the available pixels, significantly reducing the image quality.

This image of a coastline (left) has a file size of 53MB. Cropping it to a narrow panorama (below) has reduced it to 19MB. This might be adequate for your needs and is far simpler than merging multiple images. EOS R6, RF 24-105mm f4L IS USM lens at 53mm, 1/250 second at f11, ISO 100.

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Tripod or not

It is possible to shoot a panorama using your camera handheld, but because you need to pan the camera around a fixed point, it is advisable to shoot with your camera mounted on a tripod.

A tripod provides greater precision, and there are specialist tripod heads available for shooting panoramas.

These are marked in degrees and enable precise overlapping and framing of the individual images. They work very well, but they are not essential if you intend only to shoot the occasional panorama.

Some images in this article were shot with the camera mounted on a tripod, but it takes a while to set up and on uneven ground shooting handheld often produces a better result. Using the grid display in the camera’s viewfinder makes it easy to keep the camera level while shooting the sequence.

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ALL PHOTOGRAPHS: NINA BAILEY

Planning the image First of all, you need to find a suitable scene for your panorama. The lighting across the area should be fairly even as the exposure needs to be the same in all the individual shots. Shoot a few images in various parts of the scene to check that the exposure is even. The narrower the area that you photograph, the more likely the exposure is to remain the same across the scene. In situations where there is a significant difference in exposure between images, shooting RAW files will give you more options in post-production to address some of the exposure problems in the final image.

Generally, front-lit scenes, where the sun is coming from behind you and the light is falling onto the scene, work best.

Lens choice Your choice of lens needs careful consideration.

The temptation is to use a wide-angle lens in order to minimise the number of individual shots needed. The problem with this is that some wideangle lenses display barrel distortion, creating an image which is very slightly convex at the edges.

This makes it difficult for the photos to be stitched together successfully at the post-production stage, although the more recent versions of

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Lightroom and Photoshop software can deal with this better than previous versions.

Ideally, for shooting a panorama you should use a lens with a focal length of between 35mm and 135mm. I normally use a focal length as close to 50mm as possible as this prevents most distortions occurring. However, lenses as wide as 24mm can be used successfully with the more advanced software. Lenses longer than 50mm require a greater number of images to make up the panorama, but can produce a final image with a better width-to-height ratio.

Vertical or horizontal Normally thought of as horizontal format, a panorama can also be shot vertically. The horizontal format requires fewer images to cover the same width of scene compared to shooting vertically, but often the result is a very thin panorama. Shooting the individual images vertically produces a final panorama which has the benefit of being taller.

Bear in mind that the actual number of images that are stitched together has little impact on the post-processing process, so for best results it is usually worth the small extra effort necessary to shoot a greater number images in vertical format.

A panorama of the fishing town of SaintJean-de-Luz, France (top) made up of nine individual images (above) taken handheld. AE Lock was used to ensure consistent exposures throughout the sequence. The alternative would have been to set the exposure manually, which would also have fixed the exposure for all the images.

The scene was captured across almost 180°, so the sky is noticeably darker on the right hand side. This would have resulted in the images on the right becoming darker if the exposure had been left on autoexposure. EOS 600D, EF-S 15-85mm f3.5-5.6 IS USM lens at 44mm 1/160 second at f8, ISO 100.

EOS magazine October-December 2021 preview EOS magazine October-December 2021 || 15 33

FOCUSING Animal AF NINA BAILEY

Animal AF The EOS R5 and R6 models feature Canon’s latest advance in autofocus technology. These cameras can detect and focus on the head of an animal, tracking it around the fame as it moves. The result is nothing short of a revolution for wildlife photographers.

Canon’s latest autofocus (AF) innovation was introduced with the EOS R5 and R6 models in 2020. It is commonly referred to as Animal AF, although it is actually a setting in the Subject to detect options, which are located in the camera’s AF menu. This most sophisticated of AF systems has proved to be very effective and reliable, and is likely to be rolled out on new cameras.

Although the ability to recognise the faces of animals is recent, the ability to recognise people – Face detection – was introduced on the EOS 5D Mark II and 50D in 2008. Initially, Face detection was only available via the Live View system on DSLR cameras and activated by setting a focusing method called Face detection+tracking.

Four years later, with the EOS-1D X, Face detection was introduced to focusing through the viewfinder via the iTR AF (intelligent tracking and Program mode. 1/200 recognition autofocus) system, where it works second at with the larger Auto select, Zone f8, ISO 400.and Large Zone AF areas.

Evolution of Animal AF The programming behind Face detection is relatively simple. It looks for distinct positioning of the eyes, nose and mouth, which for humans tends to be fairly standard regardless of age or ethnicity. When identifying animals, however, the relationship between the eyes, nose and mouth varies enormously – much more so than with humans – and even within a single species there can be a huge variation. Animal AF has been designed to work for dogs, cats and birds, and it is this variation between subjects that makes the performance of Animal AF system so impressive.

In our tests, Animal AF worked flawlessly – not onlyShutter-priority when focusing on dogs, cats and 1/1600 birds, but mode. also on a wide variety of other second at f2.8, animals, including rhinoceroses, hippopotami ISO 400. and monkeys.

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An early test shot taken at the British Wildlife Centre in Surrey to see how well the EOS R6 tracked a moving subject. It had no problems locking onto and tracking this fox. EOS R6, RF 100-500mm f4.5-7.1L IS USM lens at 300mm, 1/1000 second at f8, ISO 4000.

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Getting the best out of Animal AF Animal AF represents a significant advance in EOS technology, particularly if you shoot wildlife. It is an impressive system which works incredibly well the vast majority of the time, though it does require your subject to fill a reasonable amount of the frame. If your subject is a merely a speck in the far distance your camera will probably not even recognise it, let alone be able to locate its head.

This is where fieldcraft, knowledge of your subject, and reasonably long lenses play their part, enabling you to get close enough to fill the frame.

A new system often needs a new camera set-up.

Animal AF requires you to put your faith in the camera’s focusing system and leave it to do what it has been designed to do – which is to find and focus on your subject. It is best able to do this if you allow it to use the full focusing area, using the Face detection+tracking AF method. This also means you can use the Eye detection option, which focuses on the subject’s eye for extra precision.

How to set Animal AF Animal AF is set in the magenta AF menu in the Subject to detect options. There are three options: People, Animals and No priority.

The default is People.

Animal AF works in either focusing mode – One-Shot or Servo AF – which means it can cope with both static and moving subjects.

NINA BAILEY

1 In the magenta AF menu, select Subject to detect. Press SET.

2 Select Animals. Press SET. Animal AF still works even when the subject looks nothing like a dog, cat or bird! EOS R6, RF 100-400mm f4.55.6L IS II USM lens with Extender EF 2x at 800mm, 1/800 second at f11, ISO 800.

It is important to remember to set the Subject to detect option, either to ‘People’ if you are photographing human subjects or ‘Animals’ for wildlife and other animals.

The ‘No priority’ option is for subjects that are neither human nor animal, such as an aeroplane for example. In such situations, the camera uses a more traditional AF system, focusing on the subject (or part of the subject) that is closest.

Once the camera detects and focuses on the subject there is still a degree of intelligence employed to help it track the subject based on its colour.

This is where setting up an initial AF point (AF 5 menu on the R5 and R6 models) can be an advantage. Initial point AF tells the camera where you want the focusing to start. For example, if you want to photograph a yellowcoloured car, providing you start focusing on that yellow car the camera is then programmed to track that subject.

Subject to detect

Compatible AF methods Animal AF is most effective when used in combination with the Face detection+tracking AF method, which allows almost the entire image area to be used for focusing. Face detection+tracking AF is also the only AF method that allows Eye detection to be activated.

Because Animal AF is so good at finding the subject’s head or eye it is unlikely to pick up and focus on any distracting items in the foreground, such as grass or leaves. And since it can reliably detect and focus on the main subject, a larger AF area can safely be used.

Although Animal AF is very effective when used with Face detection+tracking, it also works with Zone AF or Large Zone AF (either vertical or horizontal). However, as you reduce the AF area being used, the camera’s ability to follow a moving subject around the frame diminishes and the subject is more likely to move off the active AF area.

If you try to use the focusing methods that are based around a single AF point, such as Spot AF, One point AF, Expand AF or Expand AF surround, the Animal AF system turns off and does not work because you have taken control of the focusing.

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1 In the magenta AF menu, navigate to the AF method.

2 Highlight ‘Face detection+tracking’.

Press SET.

In 2018, the EOS R was the first R-series camera to offer Face detection+tracking AF method. (Some M-series and DSLR models with Live View also offer Face detection+tracking).

The ‘People’ option in Subject to detect on the EOS R5 and R6 does the same thing as the Face detection+tracking AF method on the EOS R and RP models. These models also offer Eye detection.

The option of Subject to detect is not found on the EOS R or RP since the only type of subject the cameras can detect is people.

The EOS R3 offers an additional ‘Motorsport’ category in Subject to detect (see page 20).

For further information on Face detection, see April-June 2020 issue, pages 44-47.

EOS magazine October-December 2021 preview 17 EOS magazine October-December 2021 | |41

HEAT DISTORTIONS Heat haze and heat shimmer

Heat distortions

If some of your photographs are not as sharp as you would like, it might not be down to poor technique. Heat haze and heat shimmer can seriously affect image quality. There is little you can do to overcome these effects of nature, but understanding the cause of the problems can help you to accept the results and even turn them into a positive outcome.

NINA BAILEY

It’s tempting to believe that the best time for photography is when the sun is shining. Often this is the case, but sometimes the harsh shadows and heat distortions caused by strong light and higher temperatures can prove problematic.

Heat haze is a distortion that usually occurs in hot weather, often when temperatures rise after a period of rain. It manifests as white mist and is most apparent in landscape images which take in distant views. Parts of the image that are relatively close to the camera can appear normally clear and vivid, while more distant areas appear gradually more dull due to the increasing amount of heat haze. Images are impaired as the background, or sometimes even the subject, loses sharpness and appears soft.

In fact, heat haze can make it impossible to shoot an acceptable image of a distant view.

Switching to a wide-angle lens and photographing subjects that are closer to the camera is one solution. If you use standard or telephoto

Making scenes look soft When photographing in hot climates you may have experienced images where the background, or even the subject, appears soft as the result of heat haze. The higher the temperature the more significant the problems caused by heat haze can be, but even images taken in the UK on a warm summer’s day can be adversely affected. lenses the effect of the heat haze is magnified, producing images that appear increasingly dull as the focal length of the lens increases.

While there is nothing advantageous about heat haze, you can at least normally see it with the naked eye and therefore decide to shoot only images which you find to be acceptable.

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This giraffe was photographed in Kenya in temperatures over 30°C. Heat distortion has affected both the giraffe, which appears soft, and the background.

EOS-1D Mark II, EF 400mm f4 DO IS USM lens, 1/640 second at f9, ISO 250.

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EOS magazine October-December 2021 preview | 19

ADVICE Your EOS questions answered

Ask the

EOS experts

AF point selection

Exposure and autofocus What is Pattern metering?

While viewing a few RAW files from my EOS camera in Affinity Photo image editing software I noticed that the metering mode was shown as ‘pattern’.

I wasn’t aware of this mode and cannot see any mention of it in the user manual for my camera. Is this just Affinity’s own term for something else and what is it in ‘Canonspeak’? Chris Waymouth

Q

Robert says: The term ‘pattern’ is not used by Canon to describe a metering mode, but it is used by some non-Canon cameras and software. It is equivalent to evaluative metering found on your EOS camera. Spot and centre-weighted metering are terms used by Canon as well as other camera manufacturers, while partial metering is generally a feature found on Canon cameras.

Exposure compensation

In the July-September 2021 issue, page 74, we said that exposure compensation could not be set in manual shooting mode. Sheila Bell pointed out that this is not strictly true.

Exposure compensation is possible in manual mode if you have set Auto ISO. Auto ISO is not available in early EOS cameras. It first appeared in the EOS 40D (2007) and has been a feature of most later models.

Is it still manual mode if the camera can alter the ISO? Discuss.

Exposure problems I seem to get some images which are too light or dark, normally when there is high contrast in the scene. Is there any way of correcting this in-camera? Since switching to a mirrorless model I am now noticing this in the viewfinder. Carolyn Ruffell

Q

Accidental AF point selection I mostly shoot static subjects and so on my EOS R I tend to use a single focusing point located in the middle of the viewfinder. However, every time I pick up the camera it seems to have moved to a different position. How do I stop it doing this? Peter Campbell

Q

Nina says: It sounds as though you are moving the focus point accidentally. There are two ways to prevent this.

First, you can rotate the articulated screen and flip it inwards, so that the LCD panel on the rear of the camera is not visible (above) and therefore inactive. This way, the focusing point cannot be moved. However, it does mean that to review an image or change settings you must turn the screen, which can be inconvenient.

Alternatively, if you shoot by viewing through the viewfinder, you can change the rear screen to display the Q screen. With the Q screen on display, the focusing point can only be moved with a conscious action by using the AF button on the rear of the camera (circled, above).

To bring up the Q screen, press the INFO button on the back of the camera several times until it appears. With the Q screen displayed, you are not able to accidentally move the focus point.

1 Alternatively, go to the ‘Touch & drag AF settings’ in the magenta AF menu.

Highlight and press SET.

Nina says: Mirrorless models allow you to spot potential exposure problems more easily than with a DSLR and you can correct them prior to shooting.

All EOS cameras feature exposure compensation, which allows you to make the image brighter of darker.

The easiest way to set this is via the Q screen on the rear of the camera (highlighted below).

Moving the marker towards the right makes the image lighter, and towards the left makes it darker.

Just move the marker until the image looks right. The camera chooses which setting to change to make the adjustment.

2 Select ‘Disable’ and press SET. You can now only move the focus point by using the AF button on the rear of the camera.

20 | EOS magazine October-December 2021 preview 68 | EOS magazine October-December 2021

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EOS CHAT

Forum www.eos-magazine-forum.com

Statistics (at 10 September 2021) Members 11,391 (+40) Threads 50,271 (+606) Posts 473,418 (+5,123) Most popular forum Birds (Figures in brackets show increases since 28 May 2021)

We take a look at the current topics of discussion on the EOS magazine forum ANDY MULHEARN

ANDY MULHEARN

The RF 600mm f11 IS STM and RF 800mm f11 IS STM lenses, released in July 2020, add super telephoto lengths to the RF line-up. Compact, lightweight and with a fixed aperture, they can even be used handheld. These attributes leave photographers who have migrated to an R-series camera and want extra reach at a relatively affordable cost only one more decision – which lens to buy?

Andy Mulhearn asked members of the forum: “I’m looking for some thoughts and views regarding these two lenses. If anyone has one of them, did they have any specific reasons for choosing it over the other one?” @imagesBV replies with some useful feedback: “I have the 600mm. My decision was based on the physical size as the 600mm fits nicely into most bags, whereas the 800mm is quite a bit bigger and I’d probably end up leaving it at home. The EOS magazine review (April-June 2021 issue) concluded that the 600mm was a bit, if only marginally, better. On the other hand, when I crop images I nearly always wish I’d got the 800mm. But I think I did the right thing as the 600mm is easy to carry, and image quality is excellent in my opinion. It focuses great with the EOS R6. The fixed aperture of f11 means using high ISO, but the R6 gives great results at high ISO.” Having decided upon the smaller of the two lenses, a couple of weeks later Andy updated the forum regarding his recent purchase.

“First off, there are limitations that you know about up-front. Its closest focal distance is 4.5m which is a surprisingly long way. Less of a problem

Left A little egret, just taking off from a pond. EOS R6, RF 600mm f11 IS STM lens, 1/1000 second, f11, ISO 500.

Right As soon as his new lens arrived Andy tried it out his back garden, photographing an obliging gull. EOS R6, RF 600mm f11 IS STM lens, 1/400 second, f11, ISO 125.

Sign up There are currently over 11,000 members 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. But whatever your specific photographic interest, it’s a lively place to broaden your knowledge or receive feedback on your images.

Why not join the community at www.eosmagazine-forum.com It’s free – and members say it is one of the most friendly forums around.

74 | EOS magazine October-December 2021 22 | EOS magazine October-December 2021 preview

is the f11 aperture – with the light we have at the moment ISO isn’t much of an issue. It doesn’t come with a hood, but most Canon lenses don’t.

“Things I’ve learned. When extended for use the exposed section of tubing feels very lightweight, perhaps even cheap. And when you attach a sling strap to the tripod mount, with the lens collapsed it’s fine to carry, but with the lens extended the balance is all wrong. And then there’s the additional focus area in the viewfinder, which shows the reduced area of AF coverage. But then I attached the sling strap to the camera. It’s a light enough combo (unlike a 150-600mm) that I worry about the camera mount being damaged and it’s easy to ignore the tube being plastic.

“And then I looked at the images and all of those concerns disappeared. It’s brilliant. Easy to carry, easy to wave around to catch subjects, and the images from it look as good as any I’ve taken with much more expensive and heavier kit (Nikon 200-500mm, I’m looking at you). Ok, so it’s not weather-sealed, but at f11 it’s unlikely to be a bad weather lens.”

After using the lens for a few more weeks, Andy adds that the lens is so light in the hand that tracking birds in flight becomes much easier, although the long close focusing distance is still troublesome for small subjects, like butterflies.

Shooting at f11 means he pays more attention to the shutter speed needed to keep the ISO value as low as possible.

If you have any queries on what kit to buy and how best to use it, why not join the EOS magazine forum and post your question?

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