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No.1 for canon dslr users Issue 137 • April 2018
great telephoto zooms tested
NIGHT photography ESSENTIAL DSLR SKILLS
New techniques for creative shots after dark
canon dpp4 editing tips Edit your Raw images with the free Digital Photo Professional
canon school l Are your whites all white? Master colour temperature l All your tricky technical questions answered l Canon software guides
I’ve never had a camera failure using a Canon. I only used a Nikon on one shoot and it broke! 1
John Dibbs – aviation photographer
aerial actions Capture amazing airplane photos
new ways to getLearncreative to make a splash with your flash shots
Get It Right Every Time
Tutorials to take your Canon www.digitalcameraworld.com photography to the next level
Traffic light trail techniques
It’s a simple yet very effective photography skill for after dark in the city, and one we’ll help you master on page 28
W Peter Travers Editor
ho doesn’t love long exposures? I relish the chance to flex my Canon camera skills using my tripod and slowing down the shutter speed. But for some people, it can be a daunting and confusing technique to master. Night is the easiest time for long exposure photography, because the lack of light equals shutter speeds beyond 20-30 seconds without even trying, or the need for fancy and pricey ND filters. This issue, we’ll help you master long exposures, as well as lots of other essential Canon DSLR skills for capturing great shots at night. From cityscapes and bridges lit up at night to starry skies and the Northern Lights, and from fireworks and light painting to classic traffic light trail shots like the one above, we’ll help you get more creative and confident with your camera, starting on page 28. What else can you expect this issue? We let the ‘mad professor’ and liquid specialist photographer David Lund loose to teach our Apprentice how make a splash with high-speed flash photography (page 8). We talk to aviation photographer and Top Gun shooter John Dibbs about his career ascent (page 64), and Marco Gaiotti pushes his Canon kit to its limit with unplanned dips in icy waters (page 76). In Canon School, back by popular demand, we have refreshed tutorials on Canon’s free Digital Photo Professional and EOS Utility, explain all you need to know about white balance, and answer your tough technical questions. In Canon Skills, we have more fantastic photo projects and image-editing guides, all including free video guides. Plus, in Gear, we test eight sub-£1000 telephoto zoom lenses, and Canon’s new EF 85mm f/1.4L IS USM lens.
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CONTENTS Canon DSLR Skills
Best-ever guide to night photography
From city lights to starry skies, embrace your inner night owl and head out with your Canon. We bring you tons of tips for taking better shots after dark
Essentials 20 Inspirations
Discover the best in show from the contemporary Magnum Photography Awards
28 Night Photography Guide
Want to improve your after-dark captures but don’t know where to start? We cover long exposures, light trails and starscapes in this easy-to-follow guide
38 Subscriptions 72 Photo Stories 125 Next Issue 130 Focus Point
Get a bag worth £85, save money and receive 13 issues when you subscribe today!
Anchors aweigh! David Richardson gets close-up shots of the Volvo Ocean Race
Can’t wait for the next issue? Check out what juicy content we’ve got coming up
Your missives from the PhotoPlus mailbag, the best stories from the web, the month in numbers, and reader poll results
Canon pros 08 The Apprentice 40 David Noton On Location 64 The Pro Interview 76 My Kit
This month’s pupil makes a splash learning to photograph high-speed liquids
Our roving Canon explorer returns to the Highlands to encounter lochs and midges
Aviation lover John Dibbs reveals how his incredible photography career took off Wildlife shooter Marco Gaiotti tests his Canon kit to its limit with icy waters
New tests 98 Gear Update 100 Mini Test
As usual, a plethora of exciting new Canon-related kit is revealed
We pit six of the best wireless flash triggers against each other. Ready, set, fire!
Test: 102 Flash Macro Twin Lite
Canon’s specialist close-up flash gets revamped in the form of the Macro Twin Lite. Is it a shining star or a dim option?
Super Test: 104 Budget Zooms Canon School 82 Software Solutions Buyers’ Guide 86 Canon School 116 91 EOS S.O.S Get a handle on Canon’s DPP 4
Perfect white balance and colours
Our Brian fixes your Canon problems
Know what to look out for in an affordable sub-£1000 telephoto lens? This month’s in-depth Super Test threw up a few performance surprises
Every current Canon DSLR, from beginner to pro models, plus lenses from Sigma, Tamron, Tokina and more www.digitalcameraworld.com
Issue 137 april 2018
9 ways to improve your photography today
Project 1 Use flash and the setting of your portraits to help tell a story
Project 2 Boost your tonal range in tricky lighting with in-camera HDR skills
Project 3 Shoot dramatic urban buildings with a longexposure B&W image
Canon dpp 4
Project 4 Use Canon’s Panning Scene mode to blur moving subjects
Tutorial 3 Convert your landscapes into moody and dark B&W beauties
Tutorial 1 Boost colours with Tutorial 2 Make complex the Photoshop Elements cutouts with ease using Expert mode Photoshop Channels
Canon School 1 Import and sort your Raw images using Canon’s free DPP 4 software
Canon School 2 Tether your Canon DSLR to your PC wirelessly to shoot remotely
READ THE TUTORIALS… THEN WATCH OUR EXPERT VIDEOS
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To view our ‘pop-out’ videos, tap these badges that appear alongside the tutorials inside the magazine, or type the link that appears alongside into your web browser.
THE INFORMATION PROVIDED IN THESE VIDEO TUTORIALS ARE 100% INDEPENDENT AND NOT ENDORSED OR SPONSORED BY CANON OR ADOBE SYSTEMS INCORPORATED
The Canon Magazine
Meet the team... Print 16,630 Digital 3,966 The ABC combined print and digital publication circulation for Jan-Dec 2017 is
20,596 A member of the Audited Bureau of Circulations
Who we are, what we do, and our favourite bits from this issue… PhotoPlus: The Canon Magazine Future PLC Quay House, The Ambury, Bath BA1 1UA
Editor • 5D Mark III
Technique writer • 5D Mark IV
“In our big Canon skills guide this issue, we’ll teach you key techniques to help you take great shots after dark, from cities at night to starry skies.” Page 28
“I found myself at the sharp end of photography this issue, by taking some environmental portraits of culinary knife makers in their artisan workshop.” Page 44
Staff writer • 7D Mark II
Art editor • 600D
“My favourite film is Top Gun, and I often find myself admiring WWII planes at airshows, so I really enjoyed John Dibbs’ amazing air-to-air photos this issue.” Page 64
“This month’s Apprentice shoot was mesmerizing, as liquid specialist David Lund taught our reader to push the boundaries of their creative imagery.” Page 8
Head of testing • 6D
“Testing the telephoto zooms this issue, I discovered you can get a fast 70-200mm f/2.8 lens for less than Canon’s EF 70-300mm f/4-5.6L IS USM…” Page 104
This issue’s contributors… David Lund
Half liquid photography specialist, half scientist, this issue David schools our plucky Apprentice. Page 8
Not even an accident and an icy river was enough to destroy Marco’s Canon DSLR and lens. Page 76
Not content with staying local, David headed back to the Highlands for a nostalgic photography trip. Page 40
Learn how to get your whites just right as Marcus explains all you need to know about white balance. Page 86
Photography All copyrights and trademarks are recognized and respected Advertising Media packs are available on request Senior Advertising Manager Sasha McGregor email@example.com • 01225 687675 Account Director Matt Bailey firstname.lastname@example.org • 01225 687511 Media Sales Executive Jamie McKay email@example.com • 01225 687483 Commercial Director Clare Dove firstname.lastname@example.org International PhotoPlus is available for licensing. Contact the International department to discuss partnership opportunities: International Licensing Director Matt Ellis email@example.com Subscriptions Email enquiries firstname.lastname@example.org UK orderline & enquiries 0844 848 2852 Overseas order line and enquiries +44 (0)1604 2510458 Online orders & enquiries www.myfavouritemagazines.co.uk Head of subscriptions Sharon Todd Circulation Head of Newstrade Tim Mathers 01202 586200
Technical writer • 760D
“Proper close-up macro shots can be tricky to light properly, which is where Canon’s new Macro Twin Lite comes in handy. Read our full test verdict.” Page 102
Editorial Editor Peter Travers email@example.com • 01225 442244 Production Editor Vaughn Entwistle Art Editor Martin Parfitt Staff Writer Lauren Scott Head of Testing Rod Lawton Imaging Labs Manager Ben Andrews Group Editor-in-Chief Chris George Senior Art Editor Rebecca Shaw
Production Head of Production US & UK Mark Constance Production Project Manager Clare Scott Advertising Production Manager Joanne Crosby Digital Editions Controller Jason Hudson Production Manager Vivienne Calvert Management Managing Director Aaron Asadi Editorial Director Paul Newman Head of Art & Design Rodney Dive Commercial Finance Director Dan Jotcham Printed by Wyndeham Peterborough, Storey’s Bar Road, Peterborough, Cambridgeshire, PE1 5YS Distributed by Marketforce, 5 Churchill Place, Canary Wharf, London, E14 5HU www.marketforce.co.uk Tel: 0203 787 9001 ISSN 1754836
This man has spent around 1000 hours in military jets while taking unbelievable air-to-air photos. Page 64
Our resident Canon guru is here to answer your most technical Canon and photo kit queries. Page 91
David reveals what it takes to get up-close one-handed shots of yachts in the Volvo Ocean Race. Page 72
Our Big Ben reviews six of the very best flash triggers for shooting with off-camera flash. Page 100
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Disclaimer All contents © 2018 Future Publishing Limited or published under licence. All rights reserved. No part of this magazine may be used, stored, transmitted or reproduced in any way without the prior written permission of the publisher. Future Publishing Limited (company number 2008885) is registered in England and Wales. Registered office: Quay House, The Ambury, Bath BA1 1UA. All information contained in this publication is for information only and is, as far as we are aware, correct at the time of going to press. Future cannot accept any responsibility for errors or inaccuracies in such information. You are advised to contact manufacturers and retailers directly with regard to the price of products/services referred to in this publication. Apps and websites mentioned in this publication are not under our control. We are not responsible for their contents or any other changes or updates to them. This magazine is fully independent and not affiliated in any way with the companies mentioned herein. If you submit material to us, you warrant that you own the material and/or have the necessary rights/permissions to supply the material and you automatically grant Future and its licensees a licence to publish your submission in whole or in part in any/all issues and/or editions of publications, in any format published worldwide and on associated websites, social media channels and associated products. Any material you submit is sent at your own risk and, although every care is taken, neither Future nor its employees, agents, subcontractors or licensees shall be liable for loss or damage. We assume all unsolicited material is for publication unless otherwise stated, and reserve the right to edit, amend, adapt all submissions.
Our contributors Ben Andrews, David Clark, Ollie Curtis, Marco Gaiotti, Marcus Hawkins, Gareth Jones, Rod Lawton, David Lund, David Noton, James Paterson, Matthew Richards, Brian Worley Future plc is a public company quoted on the London Stock Exchange (symbol: FUTR) www.futureplc.com
Chief executive Zillah Byng-Thorne Non-executive chairman Richard Huntingford Tel +44 (0)1225 442 244
FACTFILE Photography workshops david LUND offers unique and bespoke teaching on a one-to-one basis or for small groups. He covers everything from still life to his stunning signature liquid imagery. To find out more, contact firstname.lastname@example.org and go to www.davidlund.co.uk. Also see David talk at The Photography Show at the NEC in Birmingham in March! Diamond job: flawless commercial filmmaking 19 March 2018 – 16:00-16:40 in the Behind the Lens Theatre. Liquid explosion! 19 March 2018 – 12:00-12:30 on the Live Stage. www.photographyshow.com
canon PRO Name:
David Lund Camera:
Canon EOS 5D Mk III David’s background is in graphic design and marketing, but he always knew he could combine these skills with his passion for photography to push creative boundaries. David shoots liquids in motion: drinks, still-life scenes and aerial views, and is constantly being inspired to experiment. He’s currently working on a stunning 4K video commission for British Steel.
SHOOT WITH A PRO
Helen Davies Camera:
Canon EOS 77D Helen is a retired nurse. She bought her own Canon DSLR last year after borrowing her husbandâ€™s (and him wanting it back). Sheâ€™s been using a splash art water photography kit to get her portfolio started and picked plenty of tips with the aid of internet searching, but wanted to work with our pro to see how the experts do it.
Making a splash
Join pro liquid specialist David Lund as he guides our reader through a super series of colourful splash photo setups The Canon Magazine
theApprentice TECHNIQUE ASSESSMENT
Is our splash-shooter ready to capture timedefying stills? David sets up with reader Helen Starter settings Helen was used to shooting in Manual mode for splash images at home, but wasn’t familiar with high-speed flash lighting. At the start, the pair talked about DSLR settings. “When working in a studio, always shoot fully manual," David says. “The point is to be in full control. The shutter speed doesn’t need to be too high, as the high-speed flash will freeze movement. In terms of aperture, we don’t want to go past around f/18, as that’s when the lens will start to lose clarity. We also want the ISO as low as possible.”
Linked up For this genre of photography, sharpness and detail are both incredibly important. David showed Helen how she could tether her DSLR to a computer, so that the pair would be able to view the images full-screen on the monitor as they were shooting.
Canon EF 100mm f/2.8L Macro IS USM
1/125 sec, f/32, ISO100
Helen’s comment David showed me how to set up the lights one at a time so we could see the effect that each individual flash had on the bubbles. We used blue and red filters at the back, and green and yellow on each side. We used David’s Broncolor flash at 1/10,000 sec. Coordinating when to drop the water to make the bubbles and release the shutter was the main challenge as this involved great timing and patience.
On exposure “I have a light meter, but don’t use it very often,” David says. “I have a rough idea of the settings I need, already. I tend to take one shot, and then another shot, and refine the exposure as I go.” He went through the different settings available on his Broncolor lighting pack with Helen, and explained what shutter speed was best to use. “For the purposes of this demonstration, we want the lighting at a setting of around 1/7,000 sec to 1/10,000 sec. You can change the colour temperature of the Broncolor lighting and also add the option of shooting a sequence of shots.”
top gear #1
Broncolor lighting pack David uses a Broncolor Scoro 3200 S Power Pack, which provides a maximum 1/10,000 sec flash duration and 10 frames per second with the power at full output. The pack also has three individually adjustable power outlets, which David had attached to his Broncolor Unilite flash heads.
SHOOT WITH A PRO
steps for Setting up
HOT SHOT #1
The first thing on a liquid shoot is to set up the tank or water container. “You can use a standard fish tank, but my tank is made from Pilkington Optiwhite glass. This is extra clear, low-iron glass with a very high light transmission, which improves the clarity of the shots.” The next thing was to set up the tripod and mount the camera. For more accurate autofocus, David set the tripod and DSLR face-on to the tank of water. This avoids the lens hunting or picking up reflections.
Timed to perfection It’s a major challenge to get the timing of the shutter right as you drop items into the water. Too late, and you’ll miss the bubbles and splashes in the water. “It’s a game of practice and trial and error, especially if there’s shutter lag," David says. He taught Helen how to fire the shutter several times and become attuned to how long it took to fire by listening. When they got into the right rhythm, they were able to get a higher hit rate and capture the most dynamic splash effects every time.
The Canon Magazine
theApprentice Top Ten tips for happy splashes
Practice run On complex commercial shoots, a mini-rehearsal helps ease the pressure. It will also highlight any potential challenges before they crop up.
Make kit list Studio shoots require extra accessories and bits. Make a list ahead, so you don’t forget anything.
Take off the stabilizers When shooting with a tripod, turn off the Image Stabilization on your lens as it can cause blur.
Control the splash Try using a syringe to inject water into the tank. This will create a more even spread of bubbles.
Keep it tidy Clear the floor of gels and props as you go, or they’ll be a trip hazard. Clean up spills as you go, too.
Head-on angle When shooting through glass, always ensure that your camera is perfectly parallel to the surface.
Shoot tethered Link your Canon DSLR to a computer. Review the exposure and focus on a large screen as you shoot.
Keep a record Take photographs of your setup, so you can recreate the effect. Note camera settings and gel numbers.
Expert framing A photo composition needs to lead the eye in, and have a sense of direction. Also use negative space.
Avoid fizz If you’re going to be shooting fizzy liquids like Cola, leave them out awhile to go flat, otherwise they’ll become frothy (not a good look).
Adding Colour For the optimum clarity in coloured water shots, you want to colour the water with light or gels, rather than inks or paints. David has Heavy Frost Diffusion Lighting Gel Sheets in front of his coloured gels. This paper can be bought in rolls and cut to size. It’s ideal for creating an even spread of ambient colour.
Focusing accuracy “When you’re photographing liquids, you want the focus to be about 20% in from the front of the tank, as it’s much less important if the background of the liquid falls out of focus," David explains. He held objects still in the tank of water, so that Helen could pre-focus on them with her lens manually to fix the point of focus.
top gear #2 Pocket wizard
For splash photography, the right timing is everything. When David is shooting on his Canon, he uses a Pocket Wizard Plus II to remotely trigger the lighting as he fires the shutter. He attached one trigger to the hotshoe of Helen’s DSLR, and the other to the Broncolor lighting pack.
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