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Gardens open
Capture stunning images at any time of the year
Vehicle AF
A new focusing function for the EOS R3, R5 and R6
Power saving
Camera settings to optimise battery life
April-June 2022 PREVIEW
NEW PRODUCTS EOS R5 C
Hybrid camera for stills and video
RF 800mm f5.6L IS USM RF 1200mm f8L IS USM
Two top-tier super-telephoto lenses
ELEVATING YOUR EOS PHOTOGRAPHY TO THE EXTRAORDINARY
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2 | EOS magazine April-June 2022 preview
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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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Welcome It was inevitable that at some point Canon would announce its last new DSLR model – and that time is now – at least for the professional market (see page 7). With more new mirrorless cameras and lenses, and rumours of a further 32 RF lenses to be released over the next four years, if that isn’t evidence that Canon is throwing all it has at its RF system, then I don’t know what is. However, EOS magazine will continue to be as relevant to all EOS users – DSLR or mirrorless – as it ever has been. We don’t normally give more than a passing mention to Cinema EOS cameras, but the new EOS R5 C so closely resembles the EOS R5 that we decided to take a more detailed look (see pages 20 to 21). Labelled a truly hybrid camera, the R5 C is a movie camera that can also be set up to shoot high-quality stills, while its sibling is primarily a stills camera that can also shoot movies. The new lenses are serious bits of kit for serious photographers (see pages 22 to 23), but the difference in size and weight compared to their EF counterparts validates what Canon has always said about the RF mount and its impact on lens design. We are all becoming more aware of our individual energy consumption and how we can reduce it. Embracing this zeitgeist, we have investigated ways to reduce the power consumption of your EOS camera. If you habitually use Live View, or have switched from a DSLR to a mirrorless model, you will have noticed a significant reduction in the life of your camera’s battery before it needs re-charging, so read about how you can extend it by activating a power-saving camera function or adjusting your shooting technique (see pages 52 to 55). As we approach the time when many gardens are in full bloom, awardwinning photographer Clive Nichols shares his best tips (see pages 24 to 31). These include how to gain access to private gardens, something that he struggled with when he was starting out. But if you are fortunate enough have your own garden, your subject is on your doorstep. Literally. If not, find out about ‘open garden’ events near you, or take a trip to a National Trust property. ‘Gardens’ is also the theme for this issue’s reader challenge, so why not use it as a prompt (if one is needed) to get out and about? 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 is in published Robert registered England by and Wales. Scott Publishing Limited, a company Registration number 4663971. registered in England and Wales. Registration number 4663971. © 2022 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
The new RF 800mm f5.6L IS UMS lens weighs a fraction of its EF counterpart.
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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.
NOISE REDUCTION
06 World of EOS
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Canon news, developments and winning images.
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18 EOS Shop Camera gear, books and accessories for your Canon photography.
68 Ask the EOS experts Readers’ questions answered.
72 EOSpedia Acronyms, terms and EOS photographic trivia.
74 Forum How much is enough? Talking about resolution.
NEW PRODUCTS 20 Latest equipment The EOS R5 C and two new RF lenses.
PHOTO SUBJECT 24 Gardens open As public and private gardens, large and small, welcome visitors during the prime open season, award-winning photographer Clive Nichols shares his tips.
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Gardens open Cover and pages 24-31. “Many of the best gardens have views along paths to a focal point. In this contemporary garden, The Old Rectory at Quinton, Northampton, the garden designer Anouska Feiler has created a beautiful avenue of hornbeams terminating in an oak summerhouse, captured here in July.” Clive Nichols
ON THE COVER & p24
EOS 5DS R, EF 70-200mm f4L USM lens at 84mm, 1/20 second at f11, ISO 100.
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CAMERA FEATURES
EOS PROJECT
32 Noise reduction
p12
EOS cameras have a range of noise reduction features. We take a look at these, plus other factors that affect the amount of noise in your images.
40 Vehicles AF The new Vehicles subject detection option further expands the EOS autofocus system, enabling it to recognise cars and motorbikes.
46 Shooting displays The screens on your camera can be invaluable for giving you on-the-spot information, as well as quick access to camera controls.
52 Power saving
EOS PROJECT 12 The White Bicycle A snatched image in the back streets of Italy was the inspiration behind an unlikely, but intriguing, photo project.
Some EOS cameras place a greater demand on the battery than others, but all models have various features to help conserve battery power.
VEHICLES AF p40
64 Histograms A histogram is available for every image on every EOS camera. We explain how a histogram is created and how you can use it to improve your images.
EOS CONTEST 58 Reader challenge Results of our reader photo competition, plus details of the next challenge.
Who’s who in this issue?
Claire Barrett Publisher
Nina Bailey Technical Editor & EOS Training Academy tutor
Robert Scott Consultant Editor
David Buss Visual artist
Clive Nichols Garden and flower photographer
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World of EOS news • information • images
35 year anniversary Celebrating the EOS system On 2 March 1987 Canon launched the EOS system with the release of the EOS 650 single-lens reflex (SLR) camera (below). It was so forward-thinking that it formed the foundations of a system which is still at the forefront of imaging technology today – both still and moving – with Canon’s EOS digital SLR and Cinema EOS cameras. It was a revolutionary move by Canon, as the new system launched the world’s first fully electronic mount, replacing the previous FD mount which had become a limiting factor in the improvement of autofocus. The game-changing EOS-1 professional model followed in 1989 and, with the introduction of the compact, lightweight EOS 500 in 1993, succeeded in expanding the popularity of the system. The EOS system went digital with the EOS D30 in 2000, and when the popularisation of digital SLR cameras was in full swing, Canon developed such innovative models as the high-speed professional EOS-1D (2001) and the EOS 5D Mark II (2008) – the first EOS to feature Full HD video recording. Then in 2018, the mirrorless EOS R system was born, boasting a new lens mount to further push imaging capabilities. The name EOS is the acronym of ‘Electro Optical System’ and is also the name of the Greek Goddess of the Dawn. Certainly in 1987 the EOS system really did represent the dawn of Canon’s autofocus interchangeable lens cameras.
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Latest innovations USA technology show As the only major camera brand to attend America’s consumer technology show, CES 2022 – held in Las Vegas earlier this year – Canon made a point by its mere presence. Canon’s theme was ‘togetherness’, and in his presentation, Kazuto Kevin Ogawa, President and CEO, Canon Americas (right) talked about how Canon has responded to different needs of its consumers. “The pandemic has caused us to think differently about the technology we introduce, now more than ever. We identified two key trends during the pandemic: the need to be together, which can happen through virtual reality, and the need to work more efficiently and more collaboratively.” And so Canon is focusing on developing virtual reality (VR) and hybrid workplace solutions, including its pan, tilt and zoom (PTZ) cameras, which feature a rotating lens with directional and zoom capabilities and can be controlled remotely. Mr Ogawa described how it took the designers only three weeks, instead of months, to develop the EOS Utility webcam software, so that people could use compatible EOS and PowerShot cameras as webcams. Two big ideas embrace Canon’s theme of ‘togetherness’, whether in a social or workplace environment. Kokomo software, which will be available later this year, is designed to provide an ‘immersive calling experience’. Using a Canon camera, VR headset and smartphone (left) you can see and hear the other person, so it feels like you’re interacting face-to-face rather than through a screen. There was also more about AMLOS (Activate My Line of Sight), which was first introduced as a concept at CES 2021. It works like this: when a single camera is placed in a room it can produce multiple video streams, which are controlled by hand gestures given by the speaker, providing different viewpoints that can be viewed simultaneously. The remote viewer can see anything that’s happening in the room – they can focus on the speaker or other key visuals in the meeting, such as a whiteboard or screen. The AMLOS software works with any type of camera, but Canon recommends one of its PTZ models, such as the CR-N300 (right), which at about £2700 means the system is strictly a work environment set-up. Watch Canon’s presentation at bit.ly/3I1WRsC
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WORLD OF EOS New SPAD sensor
DSLR models come to an end
Enters production
EOS-1D X Mark III announced as last flagship DSLR Canon launched its R-series system in 2018 and has made no secret of the fact that it has focused its R&D into this mirrorless line. We were told by Canon’s Mike Burnhill that the company would continue with its DSLR line-up for, “as long as there was a market for it.” But is it now the beginning of the end of the EOS DSLR models? Canon’s Chairman and CEO Fujio Mitarai has announced that the EOS-1D X Mark III (right), released in 2020, will be its last flagship DSLR model. There is no indication of what this means for the production of this and other DSLR models in the Canon range. The success of the R-series cameras will no doubt inform Canon’s DSLR production, but a plethora of EF lenses has been discontinued, usurped by RF equivalents, and we already know (as far as one can be sure of anything ahead of an official announcement by Canon) that the next flagship EOS camera is the EOS R1 mirrorless model.
Underwater Photographer of the Year Combining creativity and persistence The Underwater Photographer of the Year is an annual competition, based in the UK, that celebrates photography beneath the surface of the ocean, lakes, rivers and even swimming pools. This year’s competition has 13 categories, and attracted 4200 entries from underwater photographers from 71 countries. Andy Schmid was runner-up in the ‘Wide angle’ category with his image taken in the Maldives. Andy used an EOS 5D Mark IV with an EF 8-15mm f4L Fisheye USM lens and Nauticam NA-5DMKIV housing, with an exposure of 1/125 second at f10, ISO 100. “I had heard and seen so many good things about the ‘Tuna Factory’ dive site close to Malé in the Maldives and was looking forward to diving this site, hoping to see Guitar Rays or big sharks like Bull or Tiger Sharks that are regularly seen there,” explained Andy. “Because it was the last dive on a liveaboard trip before I flew out early the next day, however, I had to stay shallow. So while everybody else went deep looking for bigger fish I stayed up in the shallows and played around with what the site had to offer: schooling bannerfish, stingrays and moray eels that are looking for tuna skins, bones and heads that are dumped into the ocean by the tuna factory. I quickly found a great spot where I could shoot against the setting sun, framing the schooling bannerfish and the pink whiprays that were constantly circling the area.” More winning and short-listed entries at underwaterphotographeroftheyear.com
© ANDY SCHMID / UPY 2022
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Canon has developed a new SPAD (single photon avalanche diode) imaging sensor (below), which seems to be the golden ticket. It can capture the world's highest resolution colour images in almost dark conditions, and with a greatly reduced image noise – then process all that image information with lightning speed. Another significant feature is its size – at only 13.2 x 9.9mm the sensor can be used in devices that are much smaller than your EOS camera. SPAD sensors are nothing new – they’ve been around for 50 years or so, but their resolution was limited due to the small size of each sensing site and the resulting electronic signals. We first mentioned Canon’s development of a SPAD sensor, which was capable of 1 megapixel (MP) images, in 2020. This latest sensor can capture 3.2 MP images – much larger even than Full HD images, which are about 2.07 MP. With SPAD sensors, noise does not interfere with the readout of light as electrical signals, so images are free from noise – even in lowlight environments. In a darkroom with low-light conditions of 0.0003 lux, the sensor can capture still images of subjects which are not discernible by the naked eye, and it can capture video under conditions of 0.002 lux – darker than a starless night sky. And because the sensor is capable of fast processing speeds, it can capture subjects moving at high speeds, so it could be used in selfdriving vehicles, for example. The fact that the sensor can capture colour images in extreme low light makes it a good alternative for surveillance applications, which often rely on infrared imaging, which is essentially monotone. Canon is due to begin manufacture of the new sensor in the second half of 2022 for use in its security cameras. For more information on the differences between SPAD and CMOS sensors, visit Canon's technology website at: bit.ly/3Jy7Yui
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EOS PROJECT The White Bicycle
The White Bicycle A snatched image in the back streets of Italy inspired David Buss to embark on an unlikely, but intriguing, photo project.
Finding my inspiration ‘To find extraordinary things, go to the ordinary streets.’ This quote from Turkish playwright, novelist and thinker, Mehmet Murat ildan, could be a rallying cry for street photographers everywhere. His words have certainly served as such for me. My White Bicycle project originated from a photograph I shot in the back streets of Sorrento in Italy. Initially, this photograph (taken using my Canon PowerShot G9, below) was a one-off shot of an almost monochrome scene. It was not until two years later that I realised the potential for a project where a diverse range of images could become a cohesive body of work through the inclusion of a common motif. Bicycles serve not simply as a means of transport, but have other varied and surprising uses. For example, to express the personality of the owner, to promote a business, to maintain a sense of nostalgia, to communicate information, or to be an ornament or memorial (known as ‘ghost bikes’).
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What equipment did you use to photograph The White Bicycle project? Wherever possible I used my EOS camera and lenses, but there were occasions where I only had access to either my Canon PowerShot G9 or my iPhone to capture unexpected and transient moments. Street photography is frequently dependent upon chance or spontaneous encounters. [Apart from the initial image, left, all the images in this article were taken using an EOS camera and lenses.] I began by shooting with an EOS 5D, later updating to an EOS 5D Mark III. This EOS DSLR suits my needs perfectly – versatile, reliable, with a comprehensive range of functions and an excellent range of lenses. The EF 24-105mm f4L IS USM lens served my needs in the majority of situations, proving to be the perfect optic for subjects that were not going to hang around while I searched my kitbag for the most appropriate alternative. At one end, the focal length of 24mm provides a fairly wide angle-
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of-view, which at the same time also affords good depth-of-field; at the other end, the focal length of 105mm enables me to get better results when photographing subjects to which I am unable to move close. All this, plus the invaluable benefits of image stabilisation for when you have to keep on the move. Alternatively, my EF 17-40mm f4L USM is especially suitable in situations where I know I will need to employ all the benefits of a wideangle lens, while the EF 75-300mm f4-5.6 III USM enables me to fill the frame with the subject when it is at a distance. One other lens that I’ve used for this project is the EF 40mm f2.8 STM. Sometimes referred to as the ‘pancake’ lens, it is small and lightweight compared with my other choices. It weighs only 130g whereas the EF 24-105mm weighs over four times as much at 630g, and it projects only 2cm from the camera body compared with 10-15cm for the zoom lens. The 40mm pancake lens is ideal for situations where bulk and weight can limit shooting opportunities. I frequently use a Canon Angle Finder C as I find this a great asset for street photography. When you hold your camera up to your eye, people think you want to photograph them, but when I use the angle finder – looking downwards through it – people seem satisfied that I am photographing something else at a lower level. Equally valuable accessories are circular polarising filters – one for each lens. I don’t often use them for darkening blue skies, but to deal with the many reflections and transparent surfaces that
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Top left Mural, Toronto. EOS 5D Mark III, EF 24105mm f4L IS USM lens at 32mm, 1/125 second at f8, ISO 400. Top right Floral Fixture, Kingston upon Thames, UK. EOS 5D Mark III, EF 24105mm f4L IS USM lens at 50mm, 1/200 second at f9, ISO 400. Above left Velo Etruria, Pisa, Italy. EOS 5D Mark III, EF 24-105mm f4L IS USM lens at 47mm, 1/40 second at f4, ISO 500. Above right Never Pay Full Price, Cuzco, Peru. EOS 5D Mark III, EF 24-105mm f4L IS USM lens at 24mm, 1/100 second at f7.1, ISO 200. Opposite Fifty Degrees North, Budleigh Salterton, UK. EOS 5D Mark III, EF 17-40mm f4L USM lens at 29mm, 1/25 second at f22, ISO 200.
About me I am a visual artist working primarily, but not exclusively, in photography. I studied fine art at art college and university, and it was through painting and drawing that I acquired my knowledge and understanding of light, space, form, colour, texture and composition, – concepts that have informed my subsequent practice in photography. I was particularly inspired to pursue photography by seeing the work of Henri Cartier-Bresson, Tony Ray-Jones, Paul Hill, Ray Moore, Ansel Adams, Martin Parr, David Hurn, and Joel Meyerowitz. With the exception of Ansel Adams, they could all be considered to be street photographers. I have exhibited my photographic work in both the UK and USA, and it has been published in various journals. A selection of images from The White Bicycle project has been exhibited in Birmingham, Bristol and Folkestone.
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NEW EOS PRODUCTS
EOS R5 C
A TRUE HYBRID CAMERA FOR STILLS AND VIDEO
Vari-angle From the front, apart from the splashes of red, the R5 C is hard to tell apart from its sibling, the R5 (above). The ergonomics are deliberately similar. Look from other angles though, and the picture is quite different.
The EOS R5 C might seem like the identical twin of the EOS R5 – bar its scarlet shutter button and bold ‘C’ badge declaring its status as Cinema EOS. But while it shares common features and technology, the EOS R5 C houses two very different cameras in one body.
The EOS R5 C (top) has extra depth to it. This is to make room for exhaust vents which, in combination with an internal cooling fan, force out the heat generated by long periods of recording. This enables continuous shooting of 8K video at 60p without interruption. Even with these enhancements, the EOS R5 C only weighs an extra 30g, making it an incredibly compact and lightweight video tool.
Pricing and availability The EOS R5 C (body only) is available from the end of March 2022 with a recommended retail price (RRP) of £4499.99 / €4499.
When the EOS R5 was released in 2020, one of its headline features was 8K video. And yet it was clear from the outset that the R5 was a stills camera, first and foremost. The video feature was very much an add-on, just it has been on all EOS cameras since the groundbreaking EOS 5D Mark II, launched in 2008. Ten years ago, the Cinema EOS system was launched, marking a distinct line in the road, much like a pedestrian and cyclist lane. One side for one user, one side for the other. Until now, no single EOS camera has been truly hybrid in nature. But with the introduction of the EOS R5 C, Canon seems to have nailed the concept. Possibly revolutionised it. It all starts with the On/Off switch, which has been converted to a Photo/Off/Video switch on the R5 C, marking its imaging duality. That switch, however, does a lot more than transition between modes. Here’s how the two differ.
Photo mode In Photo mode, the EOS R5 C operates just like the EOS R5. It offers the same sensor, same generation of DIGIC processor, as well as like-for-like focusing features such as subject detection and AF areas, all of which make the EOS R5 such a powerful tool for stills. It’s almost identical, bar one key feature: the EOS R5 C is missing In-body Image Stabilisation (IBIS). You’ll get optical image stabilisation (if offered) from an attached lens. But that’s it for stills. The EOS R5 C does have Electronic IS, a digitally-deployed feature that’s only for video. This feature detects camera/lens movement or shake, and moves the image on the sensor to compensate. With IBIS, it’s the sensor that moves.
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The R5 C has numerous video-centric features. One of these is the addition of a Timecode input/output terminal on the side of the camera, enabling easy synchronisation when shooting with a multicamera set-up.
The EOS C70 also has a Timecode socket, as well as the distinctive exhaust vents to actively expel heat from inside the camera.
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CANON
Comparison of key features EOS R5 C
EOS R5
January 2022 July 2020 Announced £4499.99 £4199.99 Price at launch (RRP) Full-frame, mirrorless Type RF1 Lens mount 45 Megapixels (MP) Magnesium alloy with polycarbonate resin and glass fibre Body/chassis yes Weather sealed DIGIC X generation Processor JPEG, HEIF, RAW, C-RAW, Dual Pixel RAW Image file type Storage
1 x CFExpress (type B), 1 x SD / SDHC / SDXC (UHS-II) type
The R5 C in video mode, showing Cinema EOS menu system. The buttons on the camera also have dual markings, one set for stills and one for video.
Video mode Switch to video mode and it’s like the camera transforms entirely into a Cinema EOS. Video features and settings aren’t just added onto the stills menus, as with all other video-capable EOS cameras. No, the menu system is from the Cinema system, providing a dedicated and streamlined experience for shooting video. No hunting in menus for settings. It’s all right there. The EOS R5 itself has received a number of video upgrades since its release. Features like simultaneous recording of any combination of file types, compatibility with Canon’s new VR system, Canon Log 3 – all added to the R5 via firmware – and these are inherited by the R5 C. Of course, with its Cinema branding, the EOS R5 C takes video to the next level. Not only is 8K video at 30p available for shooting for extended periods – thanks to the active cooling system – but you can also achieve 8K at 60p when used with an external power source. There are different shutter modes, including Speed, Angle, Clear Scan and Slow. Audio can be recorded as a separate .WAV file when shooting High Frame Rate video, reducing the need for extra gear. There are also inbuilt look-up tables (LUTs), essential presets for filmmakers. It’s highly customisable, with multiple video formats and quality settings available, programmable buttons, plus you can add custom LUTs. With three newly-developed Cinema RAW Light modes available, your selection can match your needs, and Canon has optimised these formats for better efficiency to achieve 12-bit recording in all frame rates. All in all, the EOS R5 C realises the latent video potential of the R5, making it a serious tool for solo cinematographers.
speeds X-sync
ISO range
1/200 second (mech.), 1/250 second (electr.)
stills
100 to 51200 (expandable to L:50, H:102400) 100-25600 (expandable to Auto: 100-6400 (H:51200) Manual: 100-25600 (H1: 102400) 51200)
video
Metering
384-zone, EV -3 to 20
AF system
1053 (stills) / 819 (video) automatically selectable; 5940 (stills) / 4500 (video) manually selectable AF positions
AF metering range AF method AF modes
stills
One-Shot AF, Servo AF One-Shot AF; Continuous One-Shot AF, AF, Cont. AF: Only Near Movie Servo AF Focus, Face AF People (Head/Eye), Animals, Vehicles2
video
Subject detection LCD monitor Max. cont. shooting Max. burst rate
For us, the most interesting thing about the EOS R5 C is Canon’s continued trend towards tailoring cameras for specific users. After all, a camera that is Jack of all trades won’t meet the exacting requirements of specialists. The EOS R5 C represents the best of the R5’s still capabilities, and the best of Canon’s Cinema EOS objectives, all in a compact and portable form. It’s two very different cameras in one – and with very few compromises.
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3.2-inch Clear View LCD II, approx. 2.1 million dots. Touchscreen; vari-angle. Aspect ratio 3:2. approx. 12fps mechanical or 20fps electronic 3 350 JPEG / 180 RAW / 260 C-RAW
Viewfinder
0.5-inch OLED, 5.76 million dots, 100% coverage
Built-in flash
no
Hot-shoe/PC term. Speedlite compatibility type Video
Pre-record feature Max. record. length Video in stills mode? Microphone Headphone port Timecode socket Image stabilis. (IS)
yes (multi-func.) / yes
yes / yes
Some limitations with 580EX, 600EX and EL-1
all
8K / Super 35mm / Super 16mm
8K / 4K / Full HD
Cinema RAW Light, format XF-AVC, MP4 8K up to 30fps (60fps with frame rate external power) Canon Log 3 yes, 3 sec (XF-AVC/MP4)
RAW, MP4 8K up to 30fps 1, 32 no
stills
unlimited4 29 mins 59 secs no yes mono (built-in), stereo (3.5mm mini-jack socket) yes (stereo mini-jack) yes no 5-stop in-body, up to optical IS only 8-stop with optical IS
video
5-axis Electronic IS (not available for 8K RAW)
Custom Functions GPS
VERDICT
EV -6 to 20 Dual Pixel CMOS AF II (Dual Pixel CMOS AF for video)
Wi-Fi Bluetooth USB / HDMI Battery pack / grip Size (mm) Weight5
E&OE
Shutter
Mechanical, Electronic 1st curtain, Electronic 1/8000 second to 30 seconds + bulb (mech + electr. 1st curtain); 1/8000 second to 0.5 second (electr.)
22
23 optional GP-E2 receiver built-in for stills / optional WFT-R10 required for video file transfer (also adds ethernet) yes USB 3.1 (Gen 2) Type-C connection HDMI micro (8K RAW output poss. on R5 C) LP-E6NH, LP-E6N, LP-E6 / BG-R10 (opt.) 142 x 101 x 111 135.8 x 97.5 x 88 680g 650g
Can use EF & EF-S (incl. EF Cinema) lenses via EF-EOS R mount adapter Can be added to EOS R5 via firmware update 3 Max. frame rates achievable with all RF and selected EF / EF-S lenses 4 No time limit; max. length limited by card capacity or power source 5 Body only, excludes battery and card 1 2
EOS magazine April-June 2022 preview 11 EOS magazine April-June 2022 | |21
PHOTO SUBJECT Photographing gardens
Gardens open Soon public and private gardens around the country will be at their most glorious. As more gardens, large and small, welcome visitors during this prime open season, award-winning photographer Clive Nichols shares his tips – and rising early is one of them.
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The vegetable garden at Ashbrook House, Northamptonshire. I waited until late in the evening so that the light was rich and low, before capturing the vegetable garden in all its glory using a wide-angle lens. EOS 5DS R, EF 24-70mm f2.8L USM lens at 38mm, 1/25 second at f11, ISO 100.
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EOS magazine April-June 2022 preview 13 EOS magazine magazine April-June 2022 || |25 25 EOS April-June 2022
CAMERA FEATURE Noise reduction
Noise reduction
Image noise can creep in when shooting at high ISO settings or during long exposures, to degrade the quality of your photographs. Fortunately, EOS cameras have a range of noise reduction features. We take a look at how these work and when to use them, plus other factors which affect the amount of noise in your images. ALL PHOTOGRAPHS: NINA BAILEY
No noise reduction Digital noise can occur with any electronic recording device, including EOS cameras. The effect of noise differs according to the device. On a sound system it can be heard as a hiss or distortion, while on a digital camera noise displays as tiny granular dots, degrading the image quality. These dots look similar to the grain that can be seen on ‘fast’ film (film which has a high ISO value). No matter what ISO setting you shoot at there will always be some noise present in the image, but increasing the ISO value will increase the amount of noise. With digital cameras there are two types of noise. One type looks similar to the grain on traditional camera film and is known as luminance noise; the other type is known as chrominance noise. The latter displays as spurious colours, such as red, green and blue speckles, as opposed to a more continuous tone. Luminance noise tends to occur over the entire image, while chrominance noise is usually more prevalent in the dark or shadow areas of an image.
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Standard noise reduction The amount of image noise depends on the number of pixels on the sensor, the ISO setting, the amount of post-production, and the degree of image cropping (enlarging the image emphasises the noise). EOS R5, RF 800mm f11 IS STM lens, 1/320 second at f11, ISO 12800.
Increasing the ISO setting amplifies the signal from the camera’s imaging sensor, which is why the amount of noise increases as the ISO increases. The higher the ISO, the greater the amplification and the more noise that is generated. The term for this is signal-to-noise ratio. At low ISO values the signal is strong enough to overwhelm any noise being generated. Fortunately, technological developments have meant that image quality at high ISO settings has vastly improved in more recent EOS models.
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Factors affecting noise at high ISO settings At high ISO settings there are many factors that contribute to the amount of noise apparent in a photo – indeed, images taken at ISO 3200 on one EOS model may appear badly affected by noise, while on another model at the same ISO setting images may appear virtually noise-free. The amount of noise can also be affected by the post-production software used to process RAW images. There are also contributing factors during post-production, such as making shadow areas lighter or correcting for large amounts of underexposure, which will also make any noise within the image more obvious.
Pixel size and noise The size of the pixels on the sensor affects the amount of noise in the image. Full-frame models have a larger sensor, and generally larger pixels, than models with the APS-C sensor, which usually has smaller pixels. Larger pixels capture more light and provide a better signal-to-noise ratio than smaller pixels. Because they produce a relatively small amount of image noise, larger pixels allow the use of much higher ISO settings. This is why professional models, such as the EOS-1D X Mark III and R3, have the lowest number of pixels. High ISO performance is often more important than a high pixel count, which can produce more noise at high ISO values.
Exposure accuracy and noise However good your post-production software, you should always aim to get the exposure correct in-camera. Why? Because making underexposed images lighter in the post-production process significantly affects the amount of noise in the final image. Take a look at these two sets of images taken inside a church – one set is correctly exposed (top), the other is underexposed by 3 stops (bottom). The original images are shown in full at the top right of their respective enlargements, which are taken from the area indicated by the red frame. Both images were taken at ISO 100. Although the top image is correctly exposed, a small amount of post-production was required to lighten the shadow areas. The heavily underexposed image (bottom) has been lightened in postproduction to match the brightness of the top image. Both images had noise reduction applied in Digital Photo Professional 4. There is considerably more noise in the underexposed image due to amount of lightening carried out in post-production, even at ISO 100. If the ISO had been much higher, the noise caused by lifting the areas in shadow would be noticeably worse.
These images (processed from a RAW file) show the increase in the amount of noise that can occur in post-production caused by lightening an image that has been significantly underexposed. EOS R, RF 24-105mm f4L IS USM lens at 24mm. Top: 1/4 second at f8, ISO 100. Bottom: 1/30 second at f8, ISO 100.
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EOS magazine April-June 2022 | 33 EOS magazine April-June 2022 preview | 15
Vehicles AF
The Vehicles subject detection option was introduced on the EOS R3, which was launched last autumn. The new feature has quickly made its way onto the EOS R5 and R6 via a firmware update. This further expands the autofocus system, enabling it to recognise cars and motorbikes.
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Taken using Face detection+tracking AF, the camera easily detected the car and kept it in focus. Although a large AF frame is displayed in the viewfinder, the camera appears to focus on a mid-point, such as the windscreen Program in most instances, to provide the greatest mode. 1/200 amount of image sharpness across thesecond whole subject. EOS R5, RF at 100-500mm f4.5-7.1L IS USM 472mm, 1/1000 f8,lens ISOat400. second at f8, ISO 2500.
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Shutter-priority mode. 1/1600 second at f2.8, ISO 400.
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EOS magazine April-June 2022 | |41 EOS magazine April-June 2022 preview 17
SHOOTING DISPLAYS Visual camera controls
Shooting displays The screens on your camera can be invaluable for giving you on-the-spot information, as well as quick access to controls. Over the years there have been an increasing number of options. Learn how to access the different displays and how to adjust your view. INFO or DISP? The INFO button is found on the following cameras: All EOS 1D-series, 5D-series, 6D-series, 7D-series, 10D, 20D, 30D, 40D, 50D, 60D, 70D, 77D, 80D, 90D, 300D, 350D, 600D, 650D, 700D, 750D, 760D, 800D, 850D, 100D, 200D, 250D, D30, D60, all R-series and all M series models. On these cameras it’s the DISP button: EOS 400D, 450D, 500D, 550D, 1000D, 1100D, 1200D and 1300D, 2000D, 4000D.
Having fingertip control over your camera settings when shooting is vital. It’s for this reason that the placement of specific buttons is rarely altered when one camera is superseded by the next model – especially so in the professional range – so that you can change settings by touch without needing to move your eye from the viewfinder. Yet, what once was only accessible via buttons and dials has transitioned over time to more visual methods. The introduction of Live View on EOS cameras in 2007 didn’t just result in the ability to preview the image in real time, with it also came new shooting displays on the rear LCD screen. As the options have increased, how to access them has also changed – as has your ability to customise what you see. These improvements haven’t been confined to the rear screen. The optical viewfinder has also benefitted. Then, with the advent of electronic viewfinders on mirrorless cameras there are a number of new display options which have recently been combined into the one main menu, Shooting info. display. It is important to understand how to operate the displays on your camera – with more options it can be harder to find the specific screen you want. The only way to navigate between them is to toggle through by pressing the INFO or DISP button. Some cameras allow you to narrow down the available selection, which can speed up your navigation. On the following pages we explain the different types of display, how to navigate between them and explore what options you have available on your camera.
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Bringing up the display To change the display on the rear of the camera, press the INFO button. On earlier and entry level DSLR models, instead of an INFO button you may have a DISP button – indicating that it controls the displays. The position of this button varies from one model to another. On most DSLR models you will find the button on the top left corner of the rear of the camera (above left). On mirrorless cameras the INFO button is now standard across the range, and more commonly on the right hand side of the rear LCD screen (above, top right). This is usually where the DISP is also found (above, bottom right).
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DSLR shooting displays The majority of EOS DSLR cameras offer a choice of displays for the rear screen. The options you have depend in part on your camera model, but more importantly on whether you’re using the optical viewfinder or the rear LCD screen – that is, Live View – to shoot.
Rear screen displays
Q (Quick Control) screens If you have switched to a mirrorless camera – M-series or R-series – you might find that how to set the key controls on the camera has changed from your DSLR. There are actually two Q screen options available to you, depending on how the shooting display options are set up – see page 47 onwards. The default when you press the Q button is for the camera to superimpose the settings over the image, as shown above. This gives you access to all the main controls. However, the options are a little different to what appears on the black Q screen (3), the display with which you may be more familiar and which has appeared on all DSLR cameras since the EOS 50D and 5D Mark II were launched in 2008. If you tend to use the viewfinder to shoot majority of the time, then you can set the camera to show the black Q screen on the rear of the camera. This means when you press the INFO button this more familiar screen will display. Notice, however, when it displays initially, no setting is highlighted and therefore nothing can be set at that point. Press the Q button on the rear of the camera or on screen to activate the setting box and you can now use it in exactly the same manner as when using a DSLR. If you then want shoot via the rear screen you simply press the INFO button to toggle to the display that you want.
Playback displays There are options similar to the shooting displays, but which offer information during playback. Some cameras offer just two or three, while others have several different screens. These are also accessed by pressing the INFO button to toggle between the displays when playing back on image. We looked at some of the playback options in more depth in the October-December 2017 issue, pages 40 to 46.
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1
2
3
4
5
The default on almost all DSLR cameras is for the rear screen to be inactive (1), but by pressing the INFO button you can bring up an electronic level (2) – useful when shooting on a tripod – or display the Quick Control (Q) screen (3). Nothing is active on the Q screen when it appears this way – it’s only for information. Some of entry level models only have options 1 and 3. Some older models also have an additional information display (4) which offers alternative details about the camera’s set-up. Lastly, a few of the professional cameras have a fi fth option, with which you can display a custom Q screen – this advanced feature allows you to choose which settings you want to display and in which position. Given that the display changes with every press of the INFO button, it can take a while to scroll through all of the possible displays. On some models you can choose which of these options are active when the INFO button is pressed. On some cameras this is in the yellow set-up menu, while on others it’s a Custom Function. By default both the electronic level and Quick Control screen are switched on, but you can turn off any options you don’t use. One advantage of having the Q screen (3) showing all the time is that when you press any of the buttons to set functions, a display appears on the screen which can make setting the functions much easier than using the top LCD screen, or in the case of focusing settings the viewfinder to set the options. These options are particularly relevant to the advanced models, such as the 1D-, 5D- and 7D-series models as the focusing options can only be set through the viewfinder by default.
EOS magazine April-June 2022 preview 19 EOS magazine April-June 2022 | |47
CAMERA FEATURE Histograms
Histograms
A histogram is available for every image on every EOS camera. Here we explain how a histogram is created and how you can use it to improve your camera exposures.
This is a large histogram displayed on the EOS R. With a mirrorless camera what you see on the LCD screen is also what you can see in the viewfinder, since both are electronic displays fed from the same source. You can switch off the histogram if you do not want it taking up space in the viewfinder.
Some history
You have probably seen a histogram on the back of your camera or in image-processing software. It is a graph-like display which, initially, appears to bear little resemblance to the image it represents. However, once you understand how a histogram is formed, you will find it an invaluable aid to improving your photographs.
Grouping pixels To create a histogram, your digital EOS categorises every pixel into one of 256 groups, where 0 is black, 255 is white, and all the other numbers represent shades of grey. The vertical bar indicates the relative number of pixels in each group. The impression is of a solid area – in fact, what you are seeing is 256 upright lines crammed so close together that they touch each other. The right hand side of the histogram corresponds to the highlights, and the left hand side to the shadows. If any of the upright bars touch the right hand side of the frame, the
highlights are said to have ‘blown’ and have no information contained within them. This is usually best avoided as it means that these areas of your image have no detail in them. However, for artistic reasons it is perfectly legitimate to have areas of blown highlights if they add to the image. You just need to make sure that you decide whether the highlights should be blown, rather than it resulting from an error of judgement. When looking at a histogram, it is not possible to say what an ideal shape should be as it is totally dependent on the scene being photographed. High key (bright) images have many more tones in the right hand end of the scale than darker images, which have the majority of tones at the left hand side. The general rule-of-thumb is that a histogram should have most of the higher bars towards the centre, with none touching the edge of the frame – but rules can be broken (see opposite page). A histogram is a bar chart, with each bar representing similar tones in the image. The horizontal axis shows the brightness level, while the vertical axis registers the number of pixels for each brightness level. The more pixels showing on the left, indicated by the heights of the bars, the darker the image. The more pixels there are on the right, the brighter the image. To save space, the bars are pushed together and appear to be one solid mass.
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• The word histogram is from the Greek histos (mast, web) and gram (thing written) • Histograms are credited to Karl Pearson (1857 to 1936), an English mathematician and biostatistician. He established the discipline of mathematical statistics and founded the world’s first university statistics department at University College, London in 1911.
Why 256?
Histograms are based on JPEG images. Even if you shoot RAW, a small JPEG image is also created – it is this JPEG image you see on the back of the camera. A JPEG image is 8-bit (a series of eight digits in binary code). The highest binary value of an 8-bit image is 11111111. This is equivalent to 255 in our decimal number system and represents a pure white tone. If we add a value of 0 for a pure black tone this gives a range from 0 to 255. This is a scale of 256 tonal values.
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Focusing Focus limiter When I am using my camera with an EF 100-400mm lens it focuses perfectly at a distance, but will not focus on anything close. Why is it doing this? Jon Edgley
Q
68 April-June 2022 22 | EOS EOSmagazine magazine April-June 2022 preview
Photographing dragonflies My husband and I have been trying to get decent shots of dragonflies at our local dam. We’ve been using EF 70-200mm lenses with EF 1.4x Extenders. He uses a camera with an APS-C sensor camera, so his images are bigger in the frame. I use an EOS-1D X Mark ll and most of my shots have been too small to use in any of our local photo competitions, once cropped. I am going to try my EF 100-400mm lens, but don’t want to use the Extender as it reduces the maximum aperture to f8. It occurred to me that I might be able to use an extension tube. Do the extension tubes work on telephoto lenses? We are unable to use tripods at this dam, but have been using monopods (not that there’s much stability in them). Shirley Swingler
Q
Robert says: Images from an APS-C camera appear larger because the sensor is smaller. If you crop the image from the full-frame camera, it will appear similar to that from the APS-C camera (see below). However, because you are also cropping the pixels, the resolution will be reduced. Extension tubes work best with short to medium focal length lenses – 35mm to 150mm is a recommended range. Extension tubes reduce the amount of light reaching the sensor, increasing the required exposure. Close-up lenses are better suited to longer focal lengths and have the advantage that there is no loss of light when attached to a lens. In both cases you need to be closer to the subject to take advantage of the magnification they offer, which might not be convenient. Short of buying a lens with a longer focal length, Extenders are the only way to magnify a subject without moving closer. However, with the subject at rest, moving closer is the best option. Using an image stabilisation lens will be more effective than a monopod. LEE BEEL
Nina says: The L-series telephoto lenses have a switch on the side of the lens called a focus limiter. It allows you to control the range over which the lens can focus by moving the switch from full range to a limited range. When the limiter is moved off the ‘Full’ setting, the lens is not able to focus closer than the limiter’s minimum distance, which varies between lenses. You don’t say which version of the lens you have. The Mark I version can focus down to 1.8m, but if the limiter is set the closest focusing point becomes 6m. The Mark II version focuses down to 0.98m, but if the limiter is switched on the closest focusing distance is 3m (circled above). If your subjects are both close-by and at a distance the limiter is best switched to ‘Full’ to allow the lens its entire focusing range. Only switch it to the limited range when you are sure there is nothing you want to photograph outside the limited range, for example if you are shooting aircraft at an air display.
Filling the frame
Dragonflies are difficult to capture when in flight, but can be photographed more easily when at rest. An image stabiliser (IS) lens often overcomes the need for a tripod. The white frame shows the APS-C crop from a full-frame image. EOS 5D Mark II, EF 70-200mm f2.8L IS USM lens at 70mm, 1/40 second at f8, ISO 400.
EOS magazine cumulative index Has there been an updated magazine index since March 2018? Colin Reid Yes, the index is updated after each issue is published. Go to the magazine home page at eos-magazine.com and scroll to the link at the bottom of the page.
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We take a look at the current topics of discussion on the EOS magazine forum COLIN CROSS
SpringfieldPhoto posted about his decision to buy an EOS R6, despite that fact that the camera’s resolution is 10 megapixels (MP) less than his current camera, the EOS 5D Mark IV. At 20 MP, the resolution of the newer camera was enough for his needs. This inspired colin C to start a thread in reply, posting two images taken using his EOS D60: “From these images, it is quite apparent that 6 MP is perfectly adequate and, indeed, I had many images published nationally using this camera. “However, for publication they wanted JPEGs, so that 6 MP ended up between 3-4 MP, and if you needed to crop the image that would drag it down even more. Now, even that was fine as long as there was good light and you could keep the ISO down to ISO 100, or ISO 200. You dare not go to ISO 400 or above as that was a quality killer – grain (digital noise) the size of lentils! “So, while I look back at my EOS D30 and EOS D60 with a certain amount of nostalgia and fondness, you had to work within their limitations to get the best out of them, and
24 April-June2022 2022 preview 74 || EOS EOS magazine magazine April-June
Colin C (Colin Cross) used an EOS D60 to photograph his Mini in 2004. Despite the camera having only 6 MP, we have no issues with printing the image at this size – in fact, the quality is such that it could be used much larger. EOS D60, EF 17-40mm f4L USM lens at 17mm, 1/90 second at f11, ISO 100.
Sign up There are currently over 11,000 photographers registered to use the EOS magazine Forum. Some are avid members of the community, while others may have signed up simply to post a query or picture, or to sell through our classified advert service. Visit the community at www.eosmagazine-forum.com It is free to join.
effectively that meant no cropping and no poor light. To get the same images now, I don’t have to work so hard as 20-plus MP allows me to crop to suit the image – and with wildlife I often have to crop a lot. Also, I don’t have to be fearful about using a high ISO in poor light, and regularly use ISO 3200 and ISO 6400.” SpringfieldPhoto clarified that he wasn’t advocating that 6 MP was adequate for all purposes: “I was suggesting that high pixel counts are not the total answer either. Eighteen months ago I won a competition with an A3 print that had been shot on my EOS 10D. So long as you weren’t cropping the image it was perfectly possible to get first class A3 prints from 6 MP. As for the present day, I have either 30 MP or 20 MP at my disposal and, to be quite frank, I pick my camera by what I am going to do. In the studio I marginally prefer the EOS 5D Mark IV and up in the hills I definitely prefer the EOS R6. Those preferences are to do with weight and handling, and not the number of pixels.”
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