EOS magazine October-December 2020 preview | For Canon photographers

EXCLUSIVELY COVERING CANON CAMERAS

Monochrome moods

Some subjects lend themselves to black-and-white

Landscape SCNs

Let the camera help you capture outdoor scenes

October to December 2020 preview

New products

EOS R5 and R6 Four RF lenses Two RF Extenders

Protect your images

Are your photos safe now and for the future?

ELEVATING YOUR EOS PHOTOGRAPHY TO THE EXTRAORDINARY

free online training exclusively for Canon users

Sharpen your skills and hone your photography from home with our free training programme...

ESSENTIAL EOS You get unlimited access to 80 video tutorials – learn the basics of photography and the key features on your Canon EOS camera that you should start using to improve your images.

It’s priceless...

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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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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 On 9 July 2020 I watched, along with 19,300 or so other excited viewers, Canon’s Reimagine live streaming event revealing its biggest product launch yet – including the widely-speculated EOS R5 and R6 cameras. It was the first time – and maybe not the last – that I had viewed a Canon press launch from the comfort of my home.

Convenient as it was, of course I wasn’t able to get my hands on the new products. The launch has now had nearly 117,000 views. If you didn’t catch it at the time, you can watch it here: bit.ly/3bw5q09 The R5 and R6 have got everybody talking, not just Canon fans. If you have been pondering the switch to mirrorless, but had been hanging back because the camera for you had not quite been realised yet, then one or other of these cameras could be it. We cover both cameras, together with the other new EOS products in more detail, on pages 20 to 27.

A couple of weeks later, though, and the news was not so good. Canon reportedly suffered a ransomware attack affecting internal applications and, at the same time, an outage of its image storage platform, image.canon.

These are addressed further in World of EOS (page 6), and you might also take special note of our article on backing up (page 72). If you use the image.canon storage service, let’s hope you had also backed-up elsewhere.

Canon also received a clamour of complaints regarding overheating issues with the new cameras. Shooting long takes in movie mode at high bitrates generates heat, and if used intensively in this way the cameras are designed to shut down as a protective measure. The overheating issue is helped by a firmware update (page 10), which also fixes other bugs but, quite honestly, how reasonable this criticism is of a camera that is primarily designed to shoot stills is questionable. If you want a movie camera, Canon has a wide range – from a LEGRIA camcorder for shooting home movies, right up to Cinema EOS production models. Take your pick.

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. © 2020 Robert Scott Publishing Limited ISSN 1748-5568 Printed by Warners (Midlands) plc

The EOS R5 and the RF 100-500mm f4.5-5.7L IS USM lens is widely regarded as the perfect combination for wildlife. EOS R5, RF 100-500mm f4.5-5.7L IS USM lens at 500mm, 1/500 second at f7, ISO 4000.

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EOS magazine October-December 2020 preview | 3

Contents REGULAR FEATURES

CUSTOM FOCUS p62

06 World of EOS

Ways to subscribe

Canon news, developments and winning images.

18 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

PRINT

Acronyms, terms and EOS photographic trivia.

Get four gloriously glossy magazines delivered to your door every year.

82 Forum Experimenting with focusing.

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.

20 Latest equipment EOS R5 and R6 cameras, RF 85mm f2 Macro IS STM, RF 600mm f11 IS STM, RF 800mm f11 IS STM and RF 100-500mm f4.5-7.1L IS USM lenses, plus Extender RF 1.4x and Extender RF 2x and accessories.

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

Monochrome moods Cover and page 40 “My daughter Téla was 16 in this image. I took it at home in my living room using natural light from a window and a reflector. I know it’s not her favourite image of herself, but I love how beautiful her skin and hair is, and this black-and-white photo really showcases her natural beauty.

I didn’t do anything other than skin retouching and a few other fairly basic adjustments to this, which is exactly how I like it.”

ON THE COVER & p40

Samantha Black EOS 5D Mark III, EF 85mm f1.8 USM lens, 1/200 second at f2.5, ISO 250.

4 | EOS magazine October-December 2020 preview

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CAMERA FEATURES 28 Landscape SCNs

EOS PROJECT p12

Beware of dismissing scene modes as being too basic. We take a look at how they can help you to shoot landscapes.

40 Monochrome moods We look at various options for producing blackand-white images, either in-camera or during post-production.

62 Focus customising The Switch to registered AF function enables you to change a number of focusing options by pressing just one button.

72 Protect your images Are your digital images safe for the future? We take a look at the backup options available and offer practical advice.

EOS PROJECT 12 New Big 5 project You are invited to vote for the New Big 5 of wildlife photography.

PHOTO SUBJECT

CANON SPEEDLITE

34 Starling spectacle

54 Speedlite EL-100

Starling murmurations are an enthralling natural phenomenon both to watch and to photograph.

The Speedlite EL-100 is a small, light and versatile flash unit, which should not be underestimated.

EOS SYSTEM

EOS CONTEST

48 EF versus RF

66 Reader challenge

You can use EF or EF-S lenses on an R-series body, so do you need to upgrade to an RF lens?

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

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Brian Worley Professional photographer & EOS Training Academy tutor

Graeme Green Photographer and journalist

Jeremy Flint Travel and location photographer

EOS magazine October-December 2020 preview | 5

NEW BIG 5 PROJECT Make your vote count GRAEME GREEN

New Big 5 project Photographers and wildlife enthusiasts around the world are invited to vote for the New Big 5 of wildlife photography.

Photography is more than just a creative way to celebrate the incredible wildlife that exists on our planet. From hard-hitting journalism to beautiful animal portraits, great photography can also raise a powerful warning about what we all have to lose if animals keep disappearing from the face of the earth.

Photography is at the heart of the New Big 5 project, a conservation initiative supported by more than 100 of the world’s leading photographers and conservationists, including Dr Jane Goodall, Steve Winter, Tim Laman and Jonathan and Angela Scott, as well as wildlife charities, such as Save The Elephants and Conservation International.

The New Big 5 project aims to raise awareness about the many threats facing wildlife around the world, from poaching to habitat loss.

The idea is simple: whereas the old Big 5 was based on the five toughest animals for colonialera hunters to shoot and kill in Africa, the New Big 5 is all about wildlife photography. Shooting with a camera, not a gun. Life, rather than death.

Created by British wildlife photographer Graeme Green, the New Big 5 is a celebration of wildlife and wildlife photography. The initiative invites wildlife enthusiasts from around the world to vote for their five favourite animals to photograph and to view in photographs.

Elephant reaching for high branches, Ruaha National Park, Tanzania.

EOS 5D Mark III, EF 24105mm f4L IS USM lens at 28mm, 1/1250 second at f16, ISO 5000.

Vote now!

So what is your personal Big 5 of wildlife photography? It’s a question that sparks lively debate and is surprisingly difficult to answer.

Visit the website at www.newbig5.com to view the shortlist of 46 species of land animals, which represent some of the most popular from around the globe. When you have whittled it down to your five favourites, submit your vote.

Results will be announced in early 2021.

Over the next pages we learn more about Graeme Green and other leading wildlife photographers. They reveal their most memorable experiences while photographing the wildlife that means so much to them, and talk about the equipment they rely on to capture such moments.

6 | EOS magazine October-December 2020 preview

Opposite, top Lion brothers, Naboisho Mara Conservancy, Kenya. EOS 5D Mark III, EF 100-400mm f4.5-5.6L IS II USM lens at 360mm, 1/400 second at f10, ISO 640.

Opposite, bottom Gelada monkey, Simien Mountains, Ethiopia. EOS 5D Mark III, EF 70-300mm f4-5.6 IS USM lens at 300mm, 1/320 second at f5.6, ISO 500.

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Graeme Greene About: Graeme Green is the

“I wanted to do something to help. I hope the New Big 5 project will raise awareness about many of the threats facing the world’s wildlife, from poaching and the illegal wildlife trade to habitat loss, and hopefully we can build a platform where people can find out about some of the solutions.”

GRAEME GREEN

founder of the New Big 5 project.

A photographer and journalist, he has been travelling the world for the last 15 years reporting stories and photographing wildlife, people and places for international publications including the BBC, The Guardian, the Sunday Times, and National Geographic. As well as wildlife and conservation, he has worked on stories from human trafficking and indigenous land rights to hiking and motorcycling adventures. He also occasionally leads photography workshops.

“I’ve become more aware over the years of the harm we’re doing to the natural world. More than a million species of animals and plants are currently at risk, with the pace of extinction accelerating, not slowing. Scientists warn that more than 500 species of land animals could become extinct in the next 20 years.

The message of the New Big 5 project is that every single species, from the iconic elephant down to the tiniest frog or insect, is too valuable to lose.” www.graeme-green.com

Most memorable experience: “Photographing gelada monkeys is one of my most memorable experiences. I’ve seen more dramatic moments, including a leopard leaping from a tree in Tanzania’s Ruaha National Park onto a poor, oblivious impala. But wildlife photography for me is often about quieter moments: a lone elephant reaching for leaves on a baobab, or family time between a cheetah mother and her cubs.

“Gelada monkeys are found in large numbers in the Ethiopian highlands of Simien Mountains National Park. They’re semi-habituated, which means they don’t mind someone quietly sitting among them at a careful distance. I spent hours on the grasslands on the high plateaus, a lone human among the monkeys, as they ate, groomed and played.

GRAEME GREEN

“To photograph the geladas, I switch between the EF 100400mm f4.5-5.6L IS II USM, to get in tighter for portraits, and the EF 24-105mm f4L IS II USM for wider shots to show the monkeys in their remarkable environment of the Simien Mountains. Most animals are more nervous around humans – far more likely to bolt to safer distances – which is when you need a longer lens, such as the 600mm.

“Getting good photos of geladas and most wild animals requires time and patience. This is part of the pleasure of being a wildlife photographer. Rather than taking a quick picture and moving on, if you wait and watch, you learn about their behaviour, which means better photos. It pays to get low with most wildlife too. Looking down diagonally on an animal’s head doesn’t look as good as being at eye-level or below. “ I’ve been using Canon gear for 30 years. I’ve always liked how straightforward the cameras are to use. With wildlife photography, split seconds really matter, so being able to change settings quickly is the difference between getting the photo you want and missing it. The cameras are also tough. A photographer often gets battered against rocky mountainsides, thrown around in vehicles or hit with rain and snow, so the cameras need to withstand all that too.”

My Big 5: Lion, elephant, gelada monkey, leopard, gorilla.

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EOS magazine October-December 2020 preview | 7

NEW EOS PRODUCTS

EOS R5 & EOS R6 SAME BUT DIFFERENT: TWO CAMERAS, TWO PERSONALITIES

K393(W) 販促アイコン

Canon has added a considerable amount of gear to its emerging EOS R

ン 一覧 ] system.

2015.12.8 ビジュアル第二デザイン室 Headlining the show are two full-frame mirrorless cameras with

rather a lot in common. Look more closely and you can spot the differences.

On 9 July 2020 Canon held a product launch which, for the first time, was open to a public audience.

Because of the global situation with 載 / for display box COVID-19, this was a virtual event, streamed live via YouTube.

In fact, the regional branches of Canon hosted their own events, with Canon Europe calling its own launch event ‘Reimagine’. You can watch the full launch here: https://youtu.be/D_8YCWMgIuY Canon USA’s event was called ‘Co-Create’ and was streamed at the same time as the Canon Europe event. You can replay the USA launch here: https://youtu.be/0TdAeXzHiAs

thers

Canon has expanded its full-frame mirrorless range with the introduction of two new EOS R models – the EOS R5 and EOS R6.

Bearing similarities across the camera features, the R5 and R6 both offer exceptional opportunities, with a 12 frames per second (fps) shooting rate, extended to 20fps with the electronic shutter, latest DIGIC X processing power and, for the first time in an EOS camera, 5-stop in-body image stabilisation (IBIS), which works with existing optical IS to offer stabilisation benefit of up to 8 stops.

Canon’s powerful Dual Pixel AF system has been further developed, with both cameras benefitting from the latest autofocus technology and AI learning – for not only human subjects but now also animal subjects too, in the form of dogs, cats and birds. This works with eyes, faces and head shapes for both static and moving subjects.

The similarities aren’t limited to what’s inside.

In terms of size, weight and shape, the two bodies are very similar, while also being familiar in terms of feel in the hand. Both take the same battery and have two card slots.

Yet the build is different, and the configuration is different. And they’re different for a reason.

8 | EOS magazine October-December 2020 preview

X

Both the EOS R5 and R6 are powered by the new DIGIC X family of processors.

High-speed continuous fps shooting is delivered at speeds of up to 12fps (frames per second) with autofocus tracking using the mechanical shutter, and up to 20fps using the electronic shutter.

12

The first EOS cameras with image 5-stop in-body stabilisation (IBIS), the EOS R5 and R6 offer a 5-stop benefit, which works with lens stabilisation to offer up to 8 stops with certain lenses.

Sample image from Canon, taken with the EOS R5. Even a bird in flight can be tracked using the new Animal AF.

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What’s new?

POWER UP

All of the noise in the build-up to the launch suggested that something ‘big’ was coming. In fact, there hadn’t been that much hype since the EOS 5D Mark II arrived. Two of the big features are shared by the two cameras, while the third – 8K video – remains exclusive to the R5 (see page 22).

A few new accessories have been launched with the R5 and R6, offering powerful upgrades.

One grip is all it takes...

IBIS First up, the EOS R5 and R6 cameras are the first to feature in-body image stabilisation (IBIS). At up to 5 stops, this feature offers you the potential for shooting hand-held in a greater variety of scenarios, and with more confidence in shake-free images. The in-built stabilisation also works in combination with Canon’s lens image stabilisation (IS) technology to provide up to 8 stops of image stabilisation. Canon states that this is a two-way communication, with the camera and lens continuously feeding back.

The combinations aren’t additive, though. A Canon lens with 3-stop IS doesn’t necessarily mean that you’ll get 8 stops; nor does a lens with no IS mean that you’re limited to 5 stops. For a complete list of Canon lenses which deliver more than the standard 5-stop IS, visit: bit.ly/super-stabilised

In a first for the EOS system, the R5 and R6 both take the same battery grip, the BG-E10.

If nothing else, this indicates how physically similar the two cameras are.

The R5 has an additional accessory – the Wireless File Transmitter WFT-R10B (below).

It’s shaped like a battery grip, fits like a battery grip, has vertical controls like a battery grip, yet specifically enables additional networking functionality. It adds further wireless capabilities over and above what the built-in Wi-Fi offers, provides high-speed Gigabit Ethernet support and enables wireless linked shooting – whereby you can remotely fire another camera at the same time for shots with different angles.

Animal AF With the EOS-1D X Mark III, Canon introduced EOS iTR AF X, a new version of its powerful intelligent tracking focusing system. The two new cameras take this a step further. With the pre-launch teasers, Canon promised Animal AF – and it’s delivered.

The iTR AF X system has been programmed using deep-learning AI, while face and eye detection modes ensure both human and relevant animal subjects are kept sharp even when moving erratically. If a person turns away for a moment, for example, their head continues to be tracked.

Advanced tracking enabled by deep learning algorithms recognises faces and eyes of humans, and now includes cats, dogs and birds in both still and movie modes. EOS R5 and EOS R6 maintain high-precision focus and tracking regardless of the subject’s size, posture, orientation or direction of the face, giving confidence when shooting even the most unpredictable subjects.

Better battery

CANON

There’s a new battery in town, but the good news for existing LP-E6 users is that it’s just an updated version. The LP-E6NH is the highest capacity E6 battery yet, offering 2125mAh to power all the additional features on the R5 and R6 cameras. Battery life will very much depend on the camera features you are using, but with 14% more capacity than the LP-E6N (introduced with the EOS 7D Mark II camera), it’s a notable upgrade. Thankfully, all of the LPE6 batteries are both forward and backward compatible, but just make sure you check your battery performance indicator if an older battery isn’t performing as expected.

In-camera charging Not new to the EOS system, but certainly of benefit if you’re considering the EOS R5 or R6, is the fact that both cameras work with the USB Power Adapter PD-E1, which can charge LP-E6N or LP-E6NH batteries in-camera (not compatible with the original LP-E6 battery packs), or instead can power the camera directly from the mains. The same adapter can also be used with the BG-E10 battery grip.

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EOS magazine October-December 2020 preview | 9

CAMERA FEATURE Scene modes ALL PHOTOGRAPHS: NINA BAILEY

Landscape SCNs Scene (SCN) modes are often dismissed as being too basic for enthusiast photographers. This is a mistake. The modes can be good options for some subjects. Here we take a look at how they can help you to shoot landscapes.

SCN stands for scene mode. Scene modes are designed to make it easier to photograph specific types of subjects. Over the years the number of scene modes available on EOS cameras has increased from the original five to as many as 13 – although not all are available on a single model.

In the early days of EOS cameras SCN modes were known as Programmed Image Control (PIC) modes; the name changed to SCN modes in 2012.

SCN modes are not found on every camera – the EOS-1D, 7D, 5D, R, R5 and R6 models do not feature them at all.

In this article we are going to look at just two scene modes, landscape and HDR Backlight Control, which are both useful for shooting landscapes and more general scenes.

Eilean Donan Castle, Kyle of Lochalsh, Invernessshire, Scotland, taken using landscape mode. EOS 550D, EF-S 15-85mm f3.5-5.6 IS USM lens at 63mm, 1/100 second at f6.3, ISO 100.

imaging software such as Canon’s Digital Photo Professional (DPP).

Mode dial progress

HDR shooting

On early cameras, such as the EOS D30 and D60, the PIC modes appear on the mode dial (below left). They are selected by turning the dial to align the required mode with the index mark on the camera.

As the functionality of EOS cameras has progressed, the number of PIC modes has increased, filling up the mode dial (below centre).

To overcome the problem of even more options on more recent cameras, the modes have been grouped together in the SCN setting (below right).

Do not confuse HDR Backlight Control with HDR mode. Although not a SCN mode, HDR mode works in a similar way to HDR Backlight Control, but allows for greater creative control.

Depending on the camera, you can adjust the dynamic range, shoot RAW files and keep the source images.

Basic and complex Landscape mode is a basic setting, automatically tweaking the camera to help newcomers to interchangeable lens cameras (ILC) achieve good results. HDR Backlight Control is more complex, using in-camera image processing that would otherwise require post-processing with

EOS D30, D60

10 | EOS magazine October-December 2020 preview

EOS 60D

EOS 70D

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Setting shooting modes and overrides Setting a scene mode varies considerably depending on whether or not your camera has the mode you want on the mode dial.

The modes are indicated by symbols – portrait, landscape, closeup, sport and night portrait, plus one or two others on some models.

If your camera features the PIC mode you want on the mode dial, simply rotate the dial until the symbol indicating the mode you want lines up with the white marker on the camera (right). This will take you straight into the mode.

If your camera has the SCN setting on the mode dial (right), rotate it so that it is opposite the white marker on the camera.

The next part of the setting procedure for these cameras is detailed in the steps below.

Your choice

Landscape mode (left) and HDR Backlight Control mode (right).

SCN modes are not for everyone, and once you have gained experience you may not continue to use them.

Some photographers use aperture-priority mode to shoot landscapes, while others insist that manual mode, where you select both the shutter speed and aperture, is best.

Scene mode overrides

1 Having selected the SCN mode setting on the mode dial, press the Q button to access the SCN modes. The modes appear on the rear screen. Use touch controls, cross keys, multi-controller or SET button to select the option you want. (Screens from EOS 90D.)

2 The screen displays overrides available within that mode. HDR Backlight Control mode offers only the drive mode override.

The EOS 6D Mark II is unusual in that as well as brightness and drive mode controls it also has AF point selection option. This has not been included on any model since.

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SCN modes are automatic settings, but there are overrides that enable you to tweak the settings made by the camera. These overrides vary from one model to another.

Most modes on most models from late 2016 onwards allow you to control the image brightness and drive mode. This makes it possible to lighten or darken the image and correct for any exposure errors. The exception is HDR Backlight Control mode, which has no other overrides apart from the drive options, and this is a drawback of this mode.

The brightness control is a useful override as the ability to address exposure problems when shooting in a scene mode means you can stay in the scene mode, rather than having to switch to one of the creative zone modes, such as program (P), shutter-priority (Tv) or aperture-priority (Av), which previously would have been the only way to make adjustments to the exposure.

When you set overrides on later models, the settings do not automatically revert to the defaults, as they do with earlier models. For example, if you have adjusted the brightness you need to remember to revert the setting afterwards.

Some models have different overrides called ‘Ambient-based shots’ and ‘Light/scene-based shots’ (see right), which in some ways are a more confusing way of adjusting camera settings.

1 Earlier models have different overrides.

In landscape mode you have the option of Standard setting or Default setting.

Press the Q button. Select Standard setting. Press SET to access a range of Ambient-based shots.

2 In addition to the options shown, you can scroll down to ‘Brighter’, ‘Darker’ and ‘Monochrome’ options.

3 If you highlight the Default setting and press the SET button you can choose from a range of Light/scene-based options (these vary with the camera).

EOS magazine October-December 2020 preview | 11

WILDLIFE PHOTOGRAPHY Starling murmurations

Starling spectacle Starling murmurations are an enthralling natural phenomenon both to watch and to photograph. Jeremy Flint made a number of trips to the RSPB Otmoor Reserve in Oxfordshire to capture this wildlife on display.

During the cold winter months you don’t need to visit the far plains of the Serengeti or the exotic wilds of India to see incredible wildlife. One of the most beautiful sights can be seen much closer to home in the UK. Starling murmurations are one of the greatest spectacles of nature and are well worth braving the chilly elements and venturing outdoors to witness.

A sea of starlings make a stunning shape over the wetlands and reed beds of RSPB Otmoor, Oxfordshire during their magical murmuration displays at dusk. EOS 5D Mark IV, EF 70-200mm f2.8L IS II USM lens at 70mm, 1/400 second at f2.8, ISO 1000.

Natural phenomenon A starling murmuration is a natural phenomenon where a group of starlings flock together in flight, mimicking the shoaling behaviour of fish or the swarming patterns of insects, such as bees. When they combine they fly in unison as a broad mass of thousands of birds, turning the heavens black.

Between the months of October and March, starling murmurations make a spectacular sight in the skies when the birds fly simultaneously

12 | EOS magazine October-December 2020 preview

and effortlessly through the air at great speeds. With the sea of starlings all around you swishing and swooping, you can’t help but feel encapsulated by this incredible vision.

The synthesis of their aerial formations is mesmerising as the birds make magnificent turns and perform incredibly intricate stunts, creating graceful patterns and shapes. The only sound that can be heard is a gentle pattering as the birds glide past in their vast groups.

While starling murmurations are fascinating to watch they are even more exciting to photograph.

Depending on where the murmuration is taking place you may be able to include various foreground structures, such as trees, water or – in the case of Brighton, the city’s famous pier – to add further variation to your images.

As starlings are generally fast-moving they can be challenging to photograph, so here are a few aspects to consider when capturing these mesmerising birds in flight.

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Creative thinking One of the first considerations is determining what style of image you would like to capture.

When photographing birds you have the opportunity to be either conventional or more creative in your approach, depending on your preferred shooting style.

For a more traditional approach you can choose to shoot with a faster shutter speed and aim to get more birds in sharp focus. Alternatively, you can opt for a more innovative strategy and select a slower shutter speed to capture images with a more artistic and dreamy feel. The sharper shots will allow you to make out individual birds more easily, while using a slower shutter speed will result in a more expressive shot, with the birds appearing more blurred.

Different effects When photographing the starlings think about capturing different effects of the birds in flight.

One style of shot that works well is silhouettes, where starlings can be framed against the setting sun. Colourful skies help to make the shapes of starlings really stand out. They also add drama and give a sense of the time of day.

Since you are likely to be quite a distance away from the starlings you can choose to isolate a selection of the birds by using a longer focal length or use a wider focal length to capture a larger panorama of the scene, including the starlings and the landscape.

Another approach is to look for the patterns made by that the starlings. These shapes are usually most spectacular when the starlings are present in greater numbers.

Starlings can be present in large numbers, which make for even more spectacular aerial formations like this pattern in the shape of an angel.

EOS 5D Mark IV, EF 70200mm f2.8L IS II USM lens at 70mm, 1/500 second at f2.8, ISO 1000.

A murmuration reflects in the Otmoor wetlands on a still night before the starlings come in to roost in the reed beds. EOS 5DS R, EF 24-70mm f2.8L II USM lens at 33mm, 1/500 second at f4, ISO 800.

A different style of shot.

This close-up of a dazzling displaying was shot using a slower shutter speed to give a more dreamy and impressionistic feel. EOS 5D Mark IV, EF 24-70mm f2.8L II USM lens at 70mm, 1/80 second at f2.8, ISO 2500.

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EOS magazine October-December 2020 preview | 13

MONOCHROME In-camera and post-processing

Monochrome Picture Style The easiest way to shoot monochrome images is to set the ‘Monochrome’ Picture Style via the ‘Q’ screen or the red shoot menu. Be aware that if you are shooting JPEG images you cannot change them to colour images once they have been taken using the Monochrome Picture Style. RAW files, on the other hand, can provide colour or monochrome in post-production You can make adjustments to the different parameters (such as contrast and sharpness) within any Picture Style, tweaking it to your preferences.

In the Monochrome Picture Style the contrast option is particularly useful, helping to boost the contrast in the scene on an overcast day.

Adjusting the Contrast parameter

How to set Monochrome Picture Style 0 contrast This is the default setting, which produces an image that is slightly flat.

1 If available, press the Q button on the rear of the camera. Select the Picture Style option (highlighted). Press SET. The Picture Style can also be selected in the red shoot menu.

2 Select the Monochrome Picture Style (M). Your camera is now set for shooting monochrome images. Adjust the parameters by pressing the INFO button, then follow the steps below.

How to adjust Picture Style parameters

1 If you are going to adjust the parameters it can be better to select one of the User Defined options (highlighted). You can then save the changes to that new setting.

2 If saving the settings to a User Defined option, change the Picture Style from ‘Auto’ to ‘Monochrome’. Press SET. Remember which User Defined option you are using.

+4 contrast This gives more punch to the scene. This is the maximum, but +2 is often all that is required.

0 contrast Image contrast increases automatically when shooting on a bright day.

User Defined options

3 The Sharpness (or Strength, Fineness and Threshold on later models) are usually left on their default settings. However, the Contrast option is often adjusted when shooting in Monochrome Picture Style.

When modifying a Picture Style, the advantage of saving the changes to a User Defined option is that you always have the original Picture Style to go back to. The customised options might work well for some images, but not for others, so it is useful to have the default setting when you need it.

There are three ‘User Defined’ Picture Styles available, giving the opportunity to store three customised options. These are very quick to select (step 1 above).

You cannot change the name of the User Defined so you must remember (or write down) the settings applied to each.

Picture Style changes

Picture Styles have been a feature of EOS digital cameras for around 15 years.

During this time the options and menus have evolved. Your camera might not have the same screens shown above, but the settings will be similar. The screen to the left is from the EOS 650D.

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-4 contrast When you need more detail in the highlights and shadows on a bright day, reduce the contrast.

JPEG or RAW?

Some photographers say that you should only shoot RAW files – but, technically, that’s what you do. The sensor collects RAW data and passes it to the DIGIC processor. If you are shooting RAW, this data is saved to the CF or SD card. If you are shooting JPEG images, the data is processed according to the camera settings, and then saved to the CF or SD card. You choose whether you shoot a selection of JPEG images to experiment with the camera settings, or shoot a RAW image and experiment with this in DPP.

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Converting to monochrome in DPP Digital Photo Professional (DPP) software provides an easy way to convert colour RAW images into black-and-white. The RAW processing options include the same options that are available in-camera, plus additional adjustments that are not available in-camera. The most significant adjustments are covered here, but you can experiment with any of the other controls to see what effect, if any, they have on the image.

To convert a colour RAW image to monochrome, follow these steps: 1 Open the image in the DPP Edit window. Go to the ‘Perform basic image adjustment’ icon on the tool palette.

2 Change the Picture Style to Monochrome.

3 The Contrast slider is useful if you want to increase or decrease the image contrast.

4 The Shadow slider allows you to make the dark parts of the image lighter or darker.

5 The Highlight slider allows you to make the bright areas of the image darker or lighter.

6 The Sharpness option should not need to be adjusted as the default generally gives good results.

Working with JPEG images

Selective area adjustment tool The ‘Adjust specific areas’ tool (circled below) is useful when working with monochrome images. When you click the ‘Set Adjustment Area’ button you can change the size and blur radius (feather) around the circular brush. Then simply paint over the area you want to adjust. Don’t worry if it is too light or dark initially. Once you have selected the area, use the ‘Brightness’ and ‘Contrast’ sliders to change how that area looks. There are up to five areas available to adjust – click on the buttons numbered 1 to 5 for each separate adjustment. The image below used four separate areas. This mimics the dodge and burn techniques used when printing from film negatives in darkrooms.

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The above options are only available with RAW images. If you want to convert a JPEG colour image to monochrome in DPP, select the ‘Adjust image colors’ icon (circled) on the tool palette. Then click the ‘Monochrome’ button.

If you want to make further adjustments, click the ‘Adjust image tone curves’ icon (to the left of the circled icon) where you will find ‘Brightness’ and ‘Contrast’ sliders.

EOS magazine October-December 2020 preview | 15

Reader challenge

Results: On an EOS Adventure Congratulations to the winner, Steve Bell, who has won a £75 EOS shop voucher for his entry for the challenge set in the July-September 2020 issue.

It’s heartening to see that many of you have been out on exciting adventures, or photographing other people enjoying theirs.

WINNER

Steve Bell “Taken during the early stages of lockdown and using a Miops trigger. Our granddaughter was in her first stages of learning to walk. This image was taken remotely (due to social distancing) while she was on her adventure around the garden and getting into the colourful plants and, ultimately, the shiny camera.” EOS R, RF 15-35mm f2.8L IS USM lens at 15mm, 1/1000 second at f2.8, ISO 100.

16 | EOS magazine October-December 2020 preview

Graeme Hodge “I was very fortunate to have a holiday in Havana just prior to world travel restrictions, returning on Monday 23 March! This shot was taken from our hotel roof top terrace looking down on the customer deserted parked up taxi rank on the Sunday afternoon. What a holiday to end world travel for the foreseeable future!” EOS 6D, EF 24-70mm f2.8L II USM lens at 45mm, 1/200 second at f10, ISO 200.

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EOS magazine October-December 2020 preview | 17

EOS CHAT

Forum www.eos-magazine-forum.com

Statistics (at 2 September 2020) Members 11,158 (+312) Threads 48618 (+513) Posts 465284 (+4041) Most popular forum Birds (Figures in brackets show increases since 2 June 2020)

We take a look at the current topics of discussion on the EOS magazine forum BRIAN VICKERS

The EOS magazine forum is all about sharing information – whether that’s advice on how best to photograph a certain subject, feedback on images, or even article suggestions for future issues of EOS magazine.

Recently we have seen the forum being used for exactly what it is designed for when @imagesBV voiced his thoughts about an idea he had been mulling over.

“It may have taken me a long time to realise what everyone else probably already knows, but this occurred to me – instead of relying on a wide aperture, like f2.8, to get an out-of-focus background you could just use f8 and focus in front of your subject, so the subject is at the far end of the depth-of-field, then all of the background will be out-of-focus.

“This might be difficult to do as autofocus will try to focus on the subject, but you could manually focus and check the depth-of-field preview.

“This potentially saves breaking the bank with fast lenses being so much more expensive. I shall go forth and experiment!”

“Interesting point,” responded Brian Sugden.

“However, there are a couple of things to consider. Firstly, the focal length of lens you are using. The longer the focal length the shallower the depth-of-field, so I would probably be shooting at f8 anyway. Secondly, if your subject moves, checking the depth-of-field preview may mean a missed or out-of-focus shot.”

Farider added further technical advice, “You

“The first shot (left) is focused on the tree, using single point AF, f8 at 70mm.

The second shot (taken with the same settings, right) is using manual focus with focus peaking, and turning the focus ring until the background no longer shows any focus peaking,” says @imagesBV (Brian Vickers). Both images: EOS R, RF 70-200mm f2.8L IS USM lens at 70mm, 1/200 second at f8, ISO 250.

Sign up There are currently over 11,000 members registered to use the EOS magazine Forum.

Some are avid members of the community, while others may have signed up simply to post a query or picture, or to sell through our classified advert service. But whatever your specific photographic interest, it’s a lively place to broaden your knowledge or receive feedback on your images.

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

18 | EOS magazine October-December 2020 preview

would also be restricted to manual focus only, static subjects, and it would almost certainly mandate the use of a tripod as there will be some amount of set-up and test shots to take as it is unlikely that you will be able to get your subject perfectly in focus first time. I also think that you will lose some freedom in the choice of depth-of-field. I’d be interested to see the results of your experiments, but can’t help thinking that it may not be as successful as you hope. I will await with interest.”

“Good points,” replied @imagesBV. “I’m using the EOS R, so I can use focus peaking with the depth-of-field preview held down.” @imagesBV later posted the results of his experimentation. We had to enlarge the images, so that you can see the difference at the size the images are printed on these pages, however, the background in the right-hand image is significantly softer.

Focus peaking is one of several focusing aids available on some EOS cameras. It uses coloured highlights to indicate the areas of the subject that are in sharp focus. We covered the feature in detail in January-March 2020 issue, page 48.

“At least we now know this technique works,” continues @imagesBV, “but I’m sure the technique can be improved.”

To be precise, a subject is only sharp if you actually focus on it. When you shift the focus in front of the subject to place it at the far limit of the depth-of-field it only appears sharp.

Nevertheless this is an interesting experiment.

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