EXCLUSIVELY COVERING CANON CAMERAS
High-speed synchronisation
Using flash at shutter speeds of 1/300 second and faster
Ready, steady, shoot
A look at how in-body image stabilisation (IBIS) works
Crystal clear
Amazing images from household chemicals and a microscope
January to March 2021 preview
New products Speedlite EL-1 RF 50mm f1.8 STM RF 70-200mm f4L IS USM
ELEVATING YOUR EOS PHOTOGRAPHY TO THE EXTRAORDINARY
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Hi, I’m Nina Bailey, one of the tutors at EOS Training Academy.
How To Shoot almost anything with your Canon EOS
ALWAYS A GOOD READ... During a conversation over lunch on one of our
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have you read your camera’s courses, one photographer commented to me that what he needed was a recipe book for his instruction manual? photography. And so, my eBook ‘How to Shoot
almost anything with your Canon EOS’ was born.
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pocketbook “It’s simply superb, clear, logical, excellent guidance and my one 5D Mk4 has come Get for your EOSalive. camera Derekat: Webb
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2 | EOS magazine January-March 2021 preview
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Contact us EDITOR Angela August angela@eos-magazine.com TECHNICAL EDITOR Nina Bailey nina@eos-magazine.com CONSULTANT EDITOR Robert Scott robert@eos-magazine.com SUBSCRIPTIONS Linda Gilman subscriptions@eos-magazine.com EOS MAGAZINE SHOP Caron Oliver Tamsin Bass shop@eos-magazine.com ACCOUNTS Pam Bass pam@eos-magazine.com ADVERTISING Brian Hall brian@eos-magazine.com PUBLISHER Claire Barrett claire@eos-magazine.com WRITE TO EOS magazine, The Old Joinery, Ball Lane, Tackley, Kidlington, OX5 3AG, UK TELEPHONE 01869 331741 (+44 1869 331741) open Monday to Friday 9am to 5pm Website www.eos-magazine.com Forum www.eos-magazine-forum.com Shop www.eos-magazine-shop.com Facebook www.facebook.com/EOSmag Twitter @eosmag Instagram @eosmagazineuk
Welcome The beginning of the century seems a long time ago, but in photographic terms it feels like an aeon. So much has changed. Back then, every editorial meeting we had was focused on how many pages of magazine pertained to film versus digital. It was a fine balance, and it constantly changed as more and more readers migrated from film to digital cameras. Inevitably, we received complaints from staunch film users who felt that there was too much digital content and EOS magazine was no longer relevant to their photography. We were at pains to point out that much of what was relevant to digital cameras is equally relevant to film cameras, and vice versa. With the exception of articles on camera features such as the histogram or playback button, many topics, like shutter speed, aperture, shooting modes, Speedlites, image composition – are equally applicable whether you are shooting with a film camera or a digital one. Twenty years on and we are having the same conversation – but this time regarding DSLR and mirrorless content. Again, we are acutely conscious of how many articles in each issue are relevant exclusively to mirrorless cameras. Some photographers wasted no time in migrating to mirrorless – perhaps their kit was due an upgrade anyway, so it was the obvious choice – but who doesn’t want handheld shots at ludicrously long shutter speeds, thanks to in-body image stabilisation (see pages 26 to 31). But others are not ready to make that leap yet, for a variety of reasons – not least because the latest R-series bodies are proving tricky to get hold of. Although we have the good fortune to use cameras and lenses loaned to us by Canon, they have to go back. Our Technical Editor, Nina Bailey, is still waiting for her R5 and reports are that dealers are desperately trying to secure more stock. But if a new camera is not on your list, Canon has just released two new RF lenses, and a flagship Speedlite (pages 22 to 25), which has all the power you could want to use creatively with high speed sync (pages 48 to 55). Angela August, Editor CANON
All information and advice in this magazine is offered in good faith. The publisher does not accept any liability for errors or omissions. All registered names and trade marks are acknowledged. EOS magazine is published by Robert Scott Publishing Limited, a company registered in England and Wales. Registration number 4663971. © 2021 Robert Scott Publishing Limited ISSN 1748-5568 Printed by Warners (Midlands) plc
The new ‘nifty fifty’ at work. EOS RP, RF 50mm f1.8 STM lens, 1/125 second at f1.8, ISO 200.
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EOS magazine January-March 2021 preview | 3
Contents CRYSTAL CLEAR p32
REGULAR FEATURES 06 World of EOS
Ways to subscribe
Canon news, developments and winning images.
20 EOS Shop
EOS magazine is published quarterly and can be enjoyed in a variety of formats. Each magazine is packed full of tips, tricks and techniques so you can get more from your Canon EOS camera and improve your photography.
Camera gear and accessories for your EOS photography.
76 Ask the EOS experts Readers’ questions answered.
80 EOSpedia
Acronyms, terms and EOS photographic trivia.
Get four gloriously glossy magazines delivered to your door every year.
82 Forum Panorama comparison with Canon’s PhotoStitch.
Rates UK £24.95 International £32.95
NEW PRODUCTS
DIGITAL Pay-as-you-go and buy single issues to add to your digital library, accessible via a browser and in the free dedicated app for iOS, Android and Kindle. Rates One credit £4.95 Five credits £19.95 APP Single issue or unlimited subscription to all the content – it’s your choice with the app, available for iOS, Android and Kindle devices. Download issues for offline reading and find what you want across the entire library with the powerful search facility. GET IT ALL... Want the best of the magazine, with it at your disposal wherever you are? 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 the print editiuon and access via a browser and dedicated EOS mag app. Rates PRINT PLUS from £26.95 PRINT PREMIUM from £31.95
22 Latest equipment Two new RF lenses and a flagship Speedlite.
PHOTO SUBJECT 32 Crystal clear Photographing crystals can produce colourful images with endless variations – and it’s not expensive to get started.
High speed sync Cover and page 48 “This image was captured during a shoot with the Trek Factory Racing pro cross country mountain bike team. The rider is Emily Batty, a multi-time Canadian national champion and Olympian. I used a single off-camera ProFoto B1 500 flashgun with a zoom reflector, camera right, fired by a ProFoto Air Remote. She was joined during this shoot by fellow national champions and Olympians. It was a true pleasure working with this crew – one of the highlights of my career!”
ON THE COVER & p48
Philip Beckman EOS 5D Mark IV, EF 16-35mm f2.8L II USM lens, 1/500 second at f10, ISO 400.
4 | EOS magazine January-March 2021 preview
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CAMERA FEATURES 26 Ready, steady, shoot
EOS PROJECT p14
With in-body image stabilisation (IBIS) introduced in the EOS R5 and R6 cameras, where does it leave lens image stabilisation?
40 Basic Custom Functions We look at some of the more basic Custom Functions that appear on the majority of EOS models, allowing you to customise your camera.
48 High speed sync High speed sync overrides the standard flash synchronisation of your EOS camera, allowing you to shoot with flash at higher shutter speeds.
56 Autofocus at f11 We experiment with using Live View with a DSLR camera to extend its focusing capabilities when used with an Extender.
CANON SOFTWARE 60 Camera Connect app We show you how you can control your camera remotely from your smartphone or tablet with a free app from Canon.
70 More DPP actions Advanced actions that you can perform on JPEGs in post-production using Canon’s Digital Photo Professional software.
EOS PROJECT 14 Circle of life Wildlife photographer Brian Matthews charts his two-week trip to the Canadian Arctic to photograph polar bear families.
CAMERA CONNECT p60
EOS CONTEST 64 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
www.eos-magazine.com
Robert Scott Consultant Editor
Brian Matthews Wildlife photographer
Yogendra Joshi Amateur photographer
EOS magazine January-March 2021 preview | 5
EOS PROJECT Photographing polar bears
Circle of life
Wildlife photographer Brian Matthews charts his two-week trip to the Canadian Arctic to photograph polar bear families.
About Brian Brian Matthews is an award-winning wildlife photographer based in the North East of England. He has been photographing wildlife with Canon cameras since leaving university in 2001, specialising in the Arctic and the biodiverse habitats of the tropics. He has travelled to over 50 countries in search of the perfect shot.
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Can you outline your trip and the reason why you undertook such an adventure? Each October, female polar bears head from the sea ice of the Hudson Bay, Canada, to dig a den, hibernate and give birth to their cubs. One of the few places in the world you can search for these bears is in Wapusk National Park, about 30 miles south of Churchill, Manitoba. I spent two weeks in Wapusk National Park following families of polar bears as they emerged from birthing dens and prepared themselves for the 35-mile journey to the sea ice on Hudson Bay. I flew from Heathrow to Toronto, then to Winnipeg for one night, then on to Churchill in a small plane over the frozen lakes and tundra. After a short stop in Churchill to source the last of our supplies, I caught a train south, together with others on the trip. At a special stop in the middle of nowhere we were met by our guides – brothers Mike, Amok and Morris – with tundra trucks to transport us to Watchee Lodge. Located on the top of the only hill for miles, Watchee Lodge provides cosy accommodation and offers a spectacular view across the tundra. It
Above Polar bear and cub. EOS-1D X, EF 500mm f4L IS II USM lens, 1/1250 second at f4, ISO 100.
Conservation I’m planning a project to pull 26 wildlife and conservation photographers together for a COP26 (2021 United Nations Climate Change Conference) wildlife photography exhibition, to raise awareness of the threats wildlife faces across the world and highlight some of the amazing conservation work that is happening to protect them.
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is a simple lodge with bunk beds and no running water or flushing toilets. Each day we spent 12 hours on the tundra tracking, observing and photographing the bears. In the winter there isn't much other wildlife in the area, however, Arctic foxes spend the whole year around Churchill and on the tundra, waiting for the polar bears to return. They then follow the bears out onto the sea ice to eat the scraps of food left by them after a hunt. Arctic hares can also be seen throughout the year and turn completely white in winter (including their noses); hundreds of ptarmigan also flock to the tundra, looking for grass, willow, and anything else they can find to eat. To finish this incredible trip off, I was treated to a few clear nights with some amazing Northern Lights activity. What inspired you to go on this trip, and what was your aim? I’ve had a lifelong love of bears. I have been working on ‘The Last 8’, which is a project I began five years ago aiming to find, and photograph, the last eight species of bear in order to raise awareness of conservation challenges and successes. My aim is to make this the most comprehensive photographic study of bears ever undertaken. Wapusk National Park is the best place in the world to shoot good photographs of polar bear families. I had been trying to get to Watchee Lodge for three years, and at last everything aligned so that I could secure a space for two
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Above Mother shelters her cub. EOS-1D X, EF 500mm f4L IS II USM lens, 1/1250 second at f4, ISO 100. Right hand column, from the top Keeping cosy. EOS 5D Mark IV, EF 500mm f4L IS II USM lens + Extender EF 1.4x Mk III at 700mm, 1/800 second at f13, ISO 160. Mother rolls in the snow. EOS-1D X, EF 500mm f4L IS II USM lens, 1/1000 second at f5.6, ISO 100. Shaking off the snow. EOS1D X, EF 500mm f4L IS II USM lens, 1/800 second at f8, ISO 100. Solitary bear. EOS-1D X, EF 500mm f4L IS II USM lens, 1/1250 second at f4, ISO 100. Feeding cubs. EOS 5D Mark IV, EF 500mm f4L IS II USM lens + Extender EF 1.4x Mk III at 700mm, 1/2000 second at f7.1, ISO 125.
Kit list Two EOS-1D X EOS 5D Mark IV EOS 5D Mark II (back up) EF 14mm f2.8L II USM EF 24-70mm f2.8L II USM EF 70-200mm f2.8L IS II USM EF 500mm f4L IS II USM Extender EF 1.4x Mk III
EOS magazine January-March 2021 preview | 7
NEW EOS PRODUCTS
SPEEDLITE EL-1 NEW FLAGSHIP FLASHGUN WITH INCREDIBLE STAMINA
Look! A red line! While this clearly offers nothing in terms of flash functionality, it means only one thing when it comes to Canon – that this is a serious bit of gear. Red line means L-series (for luxury), and that means this new flagship flash, the first to achieve ‘L’ status, is at the top of its game. With increasingly higher ISO values available on EOS cameras, you may think that there is less of a place for flash in today’s photography. However, the Speedlite EL-1 challenges that preconception by its sheer versatility and new capabilities. Built on the laurels of the Speedlite 600EX-II RT, with the same guide number of 60 (metres, ISO 100) and with both optical and radio functionality built-in, the Speedlite EL-1 has a number of subtle, yet significant, improvements. And, if you want to take your images to the next level, it could be your must-have accessory.
The Speedlite EL-1 offers a number of upgrades over previous flashguns, including two LED modelling lamps, one white and one orange. The brightness and colour temperature can be adjusted and they can be used for long periods of time.
New battery, more power For the first time, Canon has developed a dedicated lithium-ion (Li-ion) rechargeable battery pack for a flashgun. The LP-EL battery pack is key to the power of the Speedlite EL-1. The same dimensions as the LP-E6 battery, it can even be charged using an E6 battery charger. The dedicated battery has significant implications for the stamina of the Speedlite and its recharge times. Offering a rapid 0.9 second recharge time (full power), you can be ready to shoot much sooner than with any previous Speedlite. You can also shoot continuously in a burst for up to 170 shots at full power – nearly three times the burst rate of the 600EX-series. Canon states you’ll get around 335 shots from a fullycharged pack. We know that Canon can be slightly modest in terms of battery performance, so we’d say that’s the minimum to expect. And if you need more power, you can attach the CP-E4N external battery pack. How does it handle all the heat generated by so many shots? Well, the EL-1 has a brand new cooling system with an internal fan, helping to extend shooting times. A new xenon tube with more durable glass helps withstand the heat, too.
8 | EOS magazine January-March 2021 preview
Designed to perform Like the 600-EX-series, this new flagship Speedlite is built to a similar level of durability as the EOS-1D X series. The EL-1 employs similar weatherresistant sealing to the pro-level cameras, so it can withstand and continue to deliver in challenging environments. The likelihood of misfires is significantly reduced because the EL-1 offers the same electronic contact mechanism as the Speedlite 600EX II-RT, providing a dual-line communication system between camera and flash. This means you have a back-up in place should one fail. Matching the swivel function of the 600EXseries with 180º rotation left and right, the EL-1 tilts back a further 30º beyond its predecessor to 120º, allowing you to fire the light backwards for a different bounce angle. Lastly, the LCD display panel has been redesigned to provide a clearer interface – white text on a black background, with white backlight – that’s more legible in lower light levels. You can now even view the battery level on the panel, giving you clear information about how much power you have remaining.
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New flash features The Speedlite EL-1 offers a number of new features for greater control and consistency when shooting with flash. • Continuous Shooting Priority (CSP) mode To help conserve the battery and improve recycle times, when shooting with flash continually, there is a new CSP mode. This mode automatically alters the flash output and ISO, reducing the former and increasing the latter by one stop. • Flash exposure (FE) memory Ready to switch to manual flash, but want to use similar settings to the E-TTL set-up? No problem, just use the new FE memory feature. This stores the last set of flash settings used when on auto, then recalls them so you can tweak manually. • E-TTL Taste Have greater control over the automatic flash mode with the E-TTL Taste function, which allows you to customise the balance between flash and ambient light.
Micro flash One of the most interesting new features on the Speedlite is the low power mode. Conventionally, Speedlites have been too powerful to be used effectively for macro, which is why Canon has a dedicated macro flash range. However, the EL-1 offers an incredibly low output mode of just 1/8192 – meaning you can use this flashgun in the most subtle and intricate of lighting set-ups to great effect, and with complete control over your lighting levels. From full power (1/1) to the low power mode of 1/8192, that gives you 14 stops of dynamic range. The recycling time is also vastly reduced when in low power mode, with the flash ready to fire again in 0.1 seconds.
VERDICT As with many of Canon’s recent releases – EOS R5 and R6 excepted – the devil is in the detail, not the headlines. The second in the Speedlite EL-series (after the EL-100), the EL-1 is the new leader of the pack. Its versatility in terms of power output is unmatched, and it’s this feature that we’re most eager to try out. The introduction of a new dedicated battery pack is certainly a welcome move. AA batteries are fiddly at best, and being able to recharge the battery is both environmentally- and userfriendly. Canon states that even when the LP-EL battery is low, you’ll still get maximum performance. So long AAs, we won’t miss you.
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The new Speedlite EL-1 offers a number of upgrades over previous flashguns, including a redesigned LCD interface, a dedicated lithium-ion battery, plus CSP and low power modes.
Specifications EL-1
600EX II-RT
Announced Guide number
October 2020 February 2016 60 (metres, ISO 100) Zoom head / Auto zoom yes / yes Zoom Coverage / with wide panel 24-200mm / 14mm 20-200mm / 14mm Auto exposure control E-TTL II / E-TTL E-TTL II / E-TTL / TTL High Speed sync (FP) yes Manual (output settings) yes (1 to 1/8192) yes (1 to 1/128) Manual steps 1/3-stop Flash modes Strobe (output settings) yes (1/4 to 1/128) Frequency 1-500Hz (199Hz with optical receiver function) Contin. shooting priority mode yes no Cont. flashes in burst (FP) approx. 170 approx. 60 FE Lock yes Flash exposure compensation yes, ±3 stops yes, ±3 stops Flash-related Flash exposure bracketing functions Second-curtain flash sync yes Modelling flash yes Colour temp info communic. yes Transmitter (type) yes (Optical & Radio) Transmitter max. range (apx.) Indoors / Outdoors 0.7-15m to 30m / 0.7-10m to 30m yes Wireless flash Receiver No. of groups (opt./radio) 3/5 No. of channels (opt./radio) 4 / 15 Remote shutter release yes Up 45, 60, 75, 90, 120° 45, 60, 75, 90° Flash head Down 7° movement Left / Right 60, 75, 90, 120, 150 and 180° AF-assist beam yes (infrared) AF assist No. of AF points supported 1 to 191 1 to 65 Battery Battery Pack LP-EL 4x AA Power source Minimum recycling time 0.1-0.9 seconds approx. 3.3 seconds External power source CP-E4N CP-E4 / CP-E4N Dust and water resistance yes (matching weather-resistance of EOS-1D series) Construction Mounting foot material metal Custom functions 14 (9 personal) 15 (6 personal) Flash setting from camera yes (compatible cameras only) Miscellaneous External flash exposure sensor yes PC terminal yes Dimensions and weight
Size, mm (W x H x D) Weight (excluding batteries)
84.4 x 149.0 x 136.4
78.7 x 143.2 x 122.7
572g
435g
Pricing and availability The Speedlite EL-1 will be available from January 2021, priced £1249.99 / €1349.99 (RRP).
EOS magazine January-March 2021 preview | 9
IMAGE STABILISATION In-body IS and lens IS
Ready, steady, shoot In-body image stabilisation (IBIS) has been introduced in the EOS R5 and R6 cameras. What is IBIS, how does it work and where does it leave lens image stabilisation? FRED EMERY
If you handhold your camera it will move as you view the image and press the shutter button. This is called ‘camera shake’ and it occurs because, with only two legs, you are unstable. Fortunately, a three-legged device has been available since the birth of photography. It is called a tripod. With three legs, adjusted and set on solid ground, a tripod provides a stable support for your camera, providing the legs are strong. It will allow you to use an exposure time of several seconds, or even minutes, without the effects of camera shake blurring your image. Unfortunately, a good tripod is often quite heavy, making it less than ideal to carry around when combining photography with a pleasant day out. Also, the use of tripods in city centres and buildings, such as churches and cathedrals, is often banned as the splayed legs can be a trip hazard for other people. Some photographers overcome the problem by increasing the ISO value. This allows the use of faster shutter speeds to help ‘freeze’ the camera
movement. Unfortunately, high ISO values can increase ‘noise’, degrading image quality. This is why Canon, and other camera manufacturers, have come up with ways to reduce the effects of shake when handholding a camera.
With a handheld camera and IS, static subjects remain sharp while moving subjects are blurred. EOS R6, RF 15-35mm f2.8L IS USM lens at 15mm, 0.4 second at f2.8, ISO 100.
Camera shake and image stabilisation “Image stabilisation by the camera reduces camera shake in still photo shooting,” says the EOS R5 instruction manual. Really? How does it reduce the movement when you handhold a camera? The answer, of course, is that it doesn’t. Image stabilisation reduces the effects of camera movement, not the actual shake. It is, perhaps, unfair to pick on Canon for this error. You will find it spread far and wide across the internet and in many publications. Pedantic? Not at all. Clear, concise and – above all – accurate language is needed to help us understand how technology works.
10 | EOS magazine January-March 2021 preview
It is possible to reduce camera shake with a device such as this 3-axis gimbal stabiliser. This type of accessory is frequently used for video photography, but rarely for shooting stills.
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In-body image stabilisation There are two ways to reduce the effects of shake with a handheld camera – lens stabilisation and in-body stabilisation. Canon has been a leader in lens stabilisation for over 25 years (see page 30) – before the introduction of EOS digital cameras. It has been behind competitors with the introduction of in-body stabilisation, mostly because it has been slower in rolling out fullframe mirrorless cameras. In-body image stabilisation (IBIS) is not a good match with single-lens reflex cameras because you cannot see the effect through an optical viewfinder. The rays of light from the lens are reflected up to the viewfinder from a reflex mirror, bypassing the digital sensor. It is only when the shutter button is pressed that the reflex mirror swings up, allowing the light through to the sensor. With a mirrorless camera, the rays of light go straight through to the sensor and the effect of the in-body image stabilisation can be seen in the image created by the electronic viewfinder. Canon has introduced in-body stabilisation with the EOS R5 and R6 mirrorless models and has combined it with RF lens stabilisation for maximum effect (see right). EF lenses, used with an EF-EOS R adapter, will also experience enhanced IS performance as IBIS works with IS-enabled EF lenses to provide roll and X-Y correction. Even non-IS EF lenses will benefit from the 5-axis correction provided by EOS R5 and EOS R6 in-body IS. This is good news for photographers making a gradual move from DSLR to mirrorless cameras. The table on page 31 gives an overview of using RF and EF lenses on the EOS R5 and R6.
Switching IS on and off Some early adopters of the EOS R5 and R6 struggled with the way in which IBIS and lens IS work together. Here is a brief explanation. If you use an RF IS lens on either camera, IBIS is automatically activated. You cannot use lens stabilisation without IBIS, nor IBIS without lens stabilisation. There is negative feedback about this on forums. Perhaps a future firmware upgrade will address the issue. If you are using a lens without IS the menu item shown below appears. This allows you to switch IBIS on or off.
Acceleration sensor Gyro sensor (camera) Lens IS unit
Imaging sensor Gyro sensor (lens) Lens microprocessor
When you attach an IS lens to an EOS R5 or R6 camera they form a single image stabilisation unit offering a benefit of up to 8-stops, depending on the lens. This means you could shoot with an exposure time of 2 seconds with IS compared to 1/125 second without IS, with no increase in the effects of camera shake.
Shift
Name check For the first time in the EOS series, the EOS R5 and R6 incorporate 5-axis in-body image stabilisation (IBIS). Designed to work in collaboration with the IS system of RF lenses, the solution has been engineered so that RF lenses and their sensor work to correct pitch and yaw, with the camera sensor correcting X-Y and roll movements. This intelligent stabilisation system corrects up to 8-stops – for shooting handheld at slow shutter speeds or filming without a tripod. The 5-axis image stabilisation is power-efficient and has no appreciable impact on the camera battery life. In-body image stabilisation is achieved by moving the digital sensor with a high-precision magnetic system in response to commands from a gyro sensor in the camera body. This keeps rays of light stationary with respect to the sensor, avoiding the image blurring which would otherwise occur. The wide diameter of the RF lens mount gives the digital sensor a relatively large area for movement.
DIGITAL SENSOR
Image circle Light reaches all of the digital sensor, even when it moves to its extreme positions.
Forecast “At some point, in-body stabilisation may improve to the point at which such technology may be appropriate for certain segments of Canon’s DSLR range.” A prediction from Canon in 2006.
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For 25 years in the world of EOS, image stabilisation has been synonymous with lenses. Now it is available with the EOS R5 and R6 camera bodies. In-body image stabilisation is usually given the acronym ‘IBIS’. This appears in the Canon press release for the new cameras, but you will not find it anywhere in the EOS R5 and R6 instruction manuals. Instead, Canon refers to in-body image stabilisation as ‘IS mode’. In a way, this makes sense, since much of the time the technologies of camera and lens work together to provide a merged image stabilisation. However, it can lead to confusion. So in this article, we use IBIS when talking about in-body image stabilisation and lens image stabilisation when referring to lenses. There is also the question of spelling. EOS magazine, published in the UK, uses the British dictionary option of ‘stabilisation’. Canon, being a global company, prefers ‘stabilization’.
EOS magazine January-March 2021 preview | 11
TECHNIQUE Crystal photomicrography
Crystal clear Crystal photomicrography is an exciting technique that can produce colourful images with endless variations. Don’t be put off if it is new territory for you – it is not expensive to get started. Yogendra Joshi shares his love of this abstract – and unpredictable – art form.
Chemical crystal photomicrography is a special technique which involves photographing a thin layer of crystals which have formed on a glass slide from various chemical compound solutions using a microscope and cross-polarised light. You can create some mind-boggling images employing this technique, which is not widely practised among photographers who perhaps consider the process either too expensive or too complex to attempt – neither of which is the case. The set-up is relatively simple and, once you have got started, the possibilities are endless as you explore various chemicals and different methods by which you create the crystals. Once you master the medium, you will learn to predict which chemical will produce what kind of textures and colours. You can then create photographs that reflect the image in your mind, rather than merely capturing the effect.
Technique Let’s look at the various aspects of photomicrography. There are three parts to the technique: 1 Creating crystals (chemistry) 2 Taking photographs (magnification and crosspolarisation) 3 Artistic viewpoint in capturing the perfect image (art). However, before you start, it is important to remember that you should always take care when using any chemical. Do not inhale the fumes and wash your hands thoroughly with soap and water when you have finished. The process of creating art with chemical crystals is immensely enjoyable as small changes can give very different results. However, its unpredictable nature also makes it frustrating at times, so be patient.
12 | EOS magazine January-March 2021 preview
Decalcifier and inositol. EOS 7D Mark II, EF Extender 1.4x, Olympus CX21i microscope and custom adapter, 1/100 second, ISO 400. (Aperture undefined as no camera lens was used.)
Give it a try I have no background in chemistry, either during my education or professionally. If I can do this, any photographer with the desire to experiment can achieve similar images. I also film the crystal formation process and publish them as relaxation mediums with soothing music. For more images and information, visit www.yogendrajoshi.in
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Magnification Once you have a microscope slide with crystals, the next challenge is to photograph them. There are two ways to do this – using a microscope and attaching your EOS camera with an adapter, or using a dedicated macro lens and adapters.
1) Using a microscope and an adapter Using a microscope and attaching your EOS camera with an adapter produces better results than using a macro lens and, surprisingly, is also a cheaper method. A good microscope with an adapter for an EOS camera is much less expensive than any macro lens. Moreover, a standard 1:1 macro lens is not adequate magnification for this kind of photography – best results are obtained at 10x and 40x magnification. Even the 100x magnification available on most microscopes is useful.
2) Using a macro lens and an adapter Alternatively, you can create your own rig by using a macro lens, extension tubes and an adapter, such as the Raynox MSN-202. If you own an MP-E 65mm f2.8 1-5x Macro lens, you can use this and extend its magnification using extension tubes or adapters. With this set-up you will also need a torch or Speedlite with which to illuminate the microscope slide from below (see image below right). For best results, diffuse the light source using a piece of white plastic or polystyrene.
A thin layer of tap water ice. EOS 7D Mark II, EF 100mm f2.8 Macro USM lens, extension tubes, bellows and Raynox MSM202 adapter, 1.200 second at f32, ISO 200. (Aperture undefined as no camera lens was used.)
Camera set-ups
Bellows
Extension tubes Macro lens Adapter Retarder Torch
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Most microscopes have several different lenses on a rotating turret, allowing you to change the magnification in seconds. You can measure the actual magnification by dividing the length of the captured area by the size of the camera’s sensor. But don’t spend too much time calculating – get on with creating beautiful art.
Which microscope? Camera
Above My microscope set-up comprises an EOS 7D Mark II connected to an Olympus CX21i microscope using a custom-made adapter and extension tubes. You don’t need any lens with this arrangement, and your EOS camera body sits directly on top of the microscope. No additional lighting (from a torch or Speedlite) is required as illumination is built into the microscope.
Magnification
Above An alternative rig made up of an EOS 7D Mark II with EF 100mm f2.8 USM Macro lens, macro bellows, extension tubes, and a Raynox MSN-202 adapter. The maximum magnification of this set-up is around 10x, and it is difficult to control the focus. I obtained good images with this set-up, but a dedicated microscope is much easier to use and the results are better as I can set up to 100x magnification.
You will be able to shoot good images with a sub-£100 microscope (such as the Swift microscope SW150 at around £79.99, right). However, spending a little more on a microscope which has a condenser (to focus the light closer and produce better contrast), an X-Y-Z axis to move the slide easily on the platform, and a dedicated area to attach your camera (such as the Radical 40-1500X professional high power microscope at around £229.00, right) will make the process easier. As well as a microscope, you also need a T2 mount adapter to connect your EOS camera, such as the Gosky T T2 adapter (£18.99).
EOS magazine January-March 2021 preview | 13
CAMERA FEATURES Custom Functions
Basic Custom Functions Custom Functions are camera options that allow you to tweak and customise some of the operations offered by your camera. Advanced models have hundreds of options, but even most entry-level EOS models provide a level of customisation. We look at some of the more basic Custom Functions that appear on the majority of EOS models.
Custom Functions are options that allow you to customise your camera to suit the way that you shoot. Almost all EOS cameras have Custom Functions, the exceptions being the EOS 300D and the most basic M-series models, which are specifically designed to be simple to use. Custom Functions are located in the camera menu. The number of Custom Functions – and what they are – depend on the model, with the professional EOS-1D-series cameras having many more than enthusiast or entry-level models. Contrary to what you might expect, models released since 2012 have fewer Custom Functions
than many earlier models. This is because many of the most frequently used camera features have been moved out of the Custom Function menu into other camera menus so as to make them more accessible. Most notably, these are the image processing options and some of the autofocus (AF) controls. There are too many Custom Functions to cover in a single article, and we have previously covered some in dedicated articles. However, in this article we look at a group of Custom Functions, common to most models, which controls some of the main camera functions.
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Images taken at different exposures allow you to choose which you prefer. These were taken at -2, 0 and +2 exposure compensation, though a Custom Function allows the order to be changed. A correct exposure is subjective, and depends on the effect you want. Canon now describes an exposure as standard (rather than correct), decreased (rather than underexposed) and increased (rather than overexposed).
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Setting a Custom Function The method of setting a Custom Function varies according to the model and Custom Function menus may appear slightly different to those shown below, but the principle is the same. Earlier models have a single row of menu tabs while later models, including most of those with touch controls, have a top row of main menus with sub-tabs for the different screens. The name of the Custom Function remains constant and, while the numbering system is beginning to standardise, on older models the number shown at top right of the menu may vary.
Entry level models
1 Enthusiast models have an orange Custom Function tab. Select the category you want by using the Quick Control Dial. Press SET to enter the setting menu.
2 In the setting screen a number at the top right allows you to select the Custom Function that you want. Use the cross keys or Quick Control Dial to scroll through the numbers. The display will change to reflect the options. When you reach an option you wish to change, press SET.
2 In the setting screen a number at the top right allows you to select the Custom function that you want. Use the Quick Control Dial to scroll through the numbers. The display will change to reflect the options. When you reach an option you wish to change, press SET.
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Advanced models like the 5D Mark IV have a slightly different layout. They have many more Custom Functions than other EOS models, allowing the cameras to be tweaked exactly to your working preferences.
Enthusiast models
1 On entry-level models the Custom Functions are located in the last yellow set up menu. Highlight the option and press SET to take you into the options.
3 Now you can choose from the individual options within that particular Custom Function. Use the cross keys or Quick Control Dial to select the option you want then press SET. On later models the active option is shown in blue. At the bottom of the screen is a list of options, a zero underneath shows the Custom Function is on its default setting, while a number indicates which option is currently set. To quit the Custom Functions menu, repeatedly press the menu button, which takes you back one step each time it is pressed. Alternatively, half-press the shutter button to take you out of the menu completely.
Advanced models
3 Now you can choose from the individual option within that particular Custom Function. Use the cross keys or Quick Control Dial to select the option you want then press SET. On later models the active option is shown in blue. At the bottom of the screen is a list of options, a zero underneath shows the Custom Function is on its default setting, while a number indicates which option is currently set. To quit the Custom Functions menu, repeatedly press the menu button, which takes you back one step each time it is pressed. Alternatively, half-press the shutter button to take you out of the menu completely.
1 Advanced models have a dedicated orange Custom Function tab. Once selected, there are several sub-tabs containing all the Custom Functions. Select the tab you want using the Main Dial or touch controls. To select the item, scroll up or down using the Main Dial. Press SET to enter the option.
2 Now you can choose from the individual options within that particular Custom Function. Use the Quick Control Dial to select the option that you want. Press SET. The active option is always shown in blue.
3 Pressing the INFO button at the bottom left of the screen brings up a help screen that explains the Custom Function. On some models you need to press and hold the INFO button, while on others you press once to bring up the INFO screen and then press again to remove it. To quit the Custom Functions menu, repeatedly press the menu button, which takes you back one step each time it is pressed. Alternatively, half-press the shutter button to take you out of the menu completely. On models with touch controls, tapping the prompt and the return button will also exit the Custom Function menus.
EOS magazine January-March 2021 preview | 15
FLASH PHOTOGRAPHY High speed sync
High speed sync High speed synch overrides the standard flash synchronisation of your EOS camera, allowing you to shoot with flash at 1/500 second, or even 1/1000 second. There are two main reasons you might want to do this – one related to the lens aperture, the other to the camera shutter speed. When shooting with flash you are normally restricted to using a maximum shutter speed. This is called the flash synchronisation speed, or sometimes the X-sync speed. It varies from camera to camera (see table at right). With most EOS APS-C models, including the mirrorless M-series, the flash synchonisation speed is 1/200 second, but mid-range models, such as the EOS 90D, 80D and 7D-series, synchronise with flash up to 1/250 second. Fullframe models also vary, with the EOS 6D-series and EOS RP synchronising at 1/180 second, the EOS 5D-series and EOS R at 1/200 second and the EOS 1D-series, EOS R5 and EOS R6 at 1/250 second. An anomaly is the EOS-1D, an early camera and the only EOS model with a CCD sensor. It has a flash synchronisation speed of 1/500 second, which is achieved by the use of an electronic shutter.
Overexposure When shooting with flash indoors, the sync speed is not usually a problem, but when shooting outside there is often too much light. The camera might not be able to set a shutter speed fast enough because of the flash sync speed restriction. Using a dedicated flashgun ensures that the shutter speed cannot be set above the maximum sync speed. If you select a wide aperture, the fast shutter speed that is likely to be needed
Fastest sync speed (seconds)
for correct exposure is not possible, resulting in overexposure.
FULL FRAME
High speed sync High speed sync is a camera feature that can be enabled either within the flash control menu on compatible cameras, or on compatible Speedlites (see page <?>). High speed flash can only be used with Speedlites – a built-in flash does not have the power nor the versatility to support this feature. High speed sync changes the way the flash fires so that it synchronises with the shutter at speeds faster than the normal synchronisation speed. This is shown in the diagrams on page <?>.
Power problems
This image was shot using a Speedlite 550EX flashgun. The camera was set to program (P) mode and the maximum flash synchronisation speed was used. Although the resulting aperture of f8 has thrown the background out-of-focus, it is still distracting.
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Shutter-priority mode. 1/1600 second at f2.8, ISO 400.
EOS 6D EOS 6D Mark II EOS RP
1/250
1/200
1/180
APS-H
High speed sync is useful if you are shooting out-of-doors in bright light. As you can see in the images below, it has allowed the flash sync speed to go from the normal 1/200 second up to 1/400 second, avoiding overexposure. Be aware that you lose a stop in flash power every time you increase the shutter speed by a stop – from 1/200 second to 1/400 second, for example. So, decreasing the ISO value and using a wider aperture is often preferable to setting a fast shutter speed. And if you are using high speed sync to set a movement-freezing shutter speed (see ‘Using a fast shutter speed’ on page <?>), you might need to move closer to get the power you need.
Program mode. 1/200 second at f8, ISO 400.
EOS-1D X EOS-1D X Mk II EOS-1D X Mk III EOS-1Ds EOS-1Ds Mk II EOS-1Ds Mk III EOS R5, R6 EOS 5D EOS 5D Mk II EOS 5D Mk III EOS 5D Mk IV EOS 5DS, 5DS R EOS R
Switching to high speed sync allows a much faster shutter speed to be set in shutter-priority (Tv) mode, opening the lens aperture up to its maximum value. This throws the background way out-of-focus for a better effect. Both images EOS 5D Mark III, EF 100mm f2.8 Macro,
EOS-1D
1/500
EOS-1D Mk III EOS-1D Mk IV
1/300
EOS-1D Mk II EOS-1D Mk II N
1/250
APS-C EOS 7D, 7D Mk II EOS 10D EOS 20D, 20Da EOS 30D EOS 40D EOS 50D EOS 60D, 60Da EOS 70D, 77D EOS 80D EOS 90D
1/250
EOS 100D EOS 200D, 250D EOS 300D, 350D EOS 400D, 450D EOS 500D, 550D EOS 600D, 650D EOS 700D EOS 750D 760D EOS 800D EOS 850D EOS 1000D EOS 1100D EOS 1200D EOS 1300D EOS 2000D EOS 4000D EOS D30, D60
1/200
EOS M, M2 EOS M3, M5 EOS M6 EOS M6 Mark II EOS M10 EOS M50 EOS M50 Mark II EOS M100, M200
1/200
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BRIAN WORLEY
High speed sync is ideal for outdoor portraits in bright sunlight. It allows the use of a wide aperture to throw the background out of focus, making the subject standout. EOS 5D Mark III, EF 85mm f1.8 USM lens, 1/320 second at f4, ISO 100.
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EOS magazine January-March 2021 preview | 17
ADVICE Your EOS questions answered
Ask the
EOS experts
Flash
Webcam software Webcam Utility I have downloaded the EOS Webcam Utility software. The quality of the image from my EOS 7D is very good, but I am not getting any sound. Also, the camera battery only lasts for about 40 minutes with this set-up – not long enough for my Zoom video conferences. How can I increase this operating time? Norman Jonas
Q
Robert says: The EOS Webcam Utility software (left) does not let you use the built-in mic in your camera. You can use the microphone on your laptop or a headset connected to your computer for audio communication. However, for the best quality sound you should consider a separate microphone to connect to your computer.
There are a couple of options for increasing the operating time. One is to add a battery grip to your camera. This accepts two camera batteries, doubling the time you can use the set-up for a conference call. If this is still not long enough, consider using an AC Adapter Kit. This has a dummy battery which is inserted into the camera. It connects to a mains power supply, allowing the camera to operate for an unlimited time. There is the potential for a camera to overheat with extended use of Live View. If this happens, Live View operation will be terminated to prevent damage. The EOS 7D appears more susceptible to this than, say, the EOS 60D, but much depends on the ambient room temperature. Avoid working in a hot small space with little air flow.
Modelling flash
Noise reduction
When I used wireless flash on my EOS 5D Mark IV I could press the depth-of-field preview button and it would fire a modelling flash. I have just bought an EOS R5, which also has a depth-offield preview button, but when I press it the modelling flash does not fire. Why not? Mike Sharp
I have an EOS 7D Mark II. Does ‘High ISO Noise Reduction’ apply to RAW images or only to JPEG images? Andy Quinlan
Q
Nina says: This is an issue with all the R-series models. The EOS R does not have a depth-offield preview button, but even if you customise another button as the depth-of-field button, it still won’t activate the modelling flash. However, you can activate the modelling flash via the test firing button (the button on the rear of the Speedlite that lights up red when the flash is charged, circled right). You first need to set a Custom Function on the Speedlite or Speedlite Transmitter to enable the modelling flash to fire when you press the test firing button. To display the Custom Function screen on compatible Speedlite 600EXseries, press the first button (arrowed) marked ‘Zm/C.Fn’. A modelling flash is a one second burst designed to show you how the flash, or multiple flash units, are illuminating the subject. But why not just take a photo and view the image on the camera’s rear LCD screen to see the result?
Q
You can set a Custom Function for the Speedlite or Speedlite Transmitter so that the modeling flash is activated when you press the test firing button. This screen is from the EOS R.
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Robert says: If selected, ‘High ISO Noise Reduction’ is applied to JPEG files in-camera. RAW files are saved with a metadata file which records the camera settings at the time of shooting. When you open the RAW files with Canon’s Digital Photo Professional (DPP) software, these settings are applied to the image, though you can change them during processing. You can also apply noise reduction even if this was not set on the camera at the time of shooting. Some third-party image processing software is not able to read the Canon metadata file, though it might have its own noise reduction options. You can get round this by opening the RAW file in DPP, processing the image, then saving it to use with other editing software.
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EOS CHAT
Forum www.eos-magazine-forum.com
Statistics (at 24 November 2020) Members 11,211 (+53) Threads 48920 (+302) Posts 467704 (+2420) Most popular forum Birds (Figures in brackets show increases since 2 September 2020)
We take a look at the current topics of discussion on the EOS magazine forum CHRIS HAIGH
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CHRIS HAIGH
There are currently over 10,000 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. But whatever your specific photographic interest, it’s a lively place to broaden your knowledge and receive feedback on your images. Visit the community at www.eos-magazineforum.com It is free to join.
Top Panorama created by merging three images taken with the camera in landscape format. Left Panorama created by merging seven images taken with the camera in vertical format. All images EOS 6D, EF 35mm f2 IS USM lens, 1/100 second at f8, ISO 100.
Stackman (Chris Haigh) created two panoramas of a local fishing lake. They were both taken from the same position, with the same camera and lens – and both were stitched together using Canon’s PhotoStitch software. However, one panorama was taken holding the camera in horizontal format and was made up of three images, while the other was taken with the camera in vertical format, requiring a greater number of individual images to cover the same view – a total of seven. “I normally use landscape format and I like the aspect ratio this achieves, but it was interesting to do the portrait version,” explains Stackman. The version taken in vertical format was universally preferred by forum members who responded to the post. So, why not try shooting in vertical format the next time you shoot a panorama? BobSapey has also been shooting sequences of images – but not for creating panoramas. He has been experimenting with focus bracketing – shooting a number of images at a fractionally different point of focus and combining them later in photo editing software to produce a single image with a much greater depth-of-field. “I’ve been using the focus bracketing feature on my EOS 90D, which gives me choices in terms of the number of shots and the focus increment. These will vary with lens, aperture, size of and distance from the subject, but I was wondering
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if anyone had come across a formula for working this out in advance of pressing the shutter. At present I do it entirely by guesswork.” Farider replied with some useful tips: “There are smartphone apps that will calculate depth-of-field for you. Once you’ve entered all the required parameters, divide the depth-of-field into the total depth you need to cover and you should get an indication of how many steps you need. You’ll need to add in a small percentage for contingency. I’ve never tried this as my cameras do not have the focus bracketing facility, but I would think it should work. I do my focus stacking manually and refocus using the magnifier for each step.” Having carried out his own tests, BobSapey deduced that the focus increments are on an ordinal scale, not an interval scale. So nothing as simple as an app to give precise settings, but useful information to help you in your own estimates as to how many shots you might require and at what increments. “I thought I’d try the DPP ‘Depth Compositing’ tool to see how it compared with stacking in Photoshop,” continues BobSapey. “The resulting pictures appear identical, but DPP is a lot simpler for this task, and faster because it is all in one process.” For information on how to use the in-camera focus bracketing feature and Digital Photo Professional (DPP) for focus stacking, see October-December 2019 issue, pages 42 to 49.
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Kevin Morgans
Wilkinson Cameras Ambassador Photographer For more information about our Ambassadors visit wilkinson.co.uk/blog
kevinmorgans.com @kevmorgans
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EOS magazine January-March 2021 preview | 21