CanonMalta.com

Lights! Camera! Action! Canon Makes Hollywood Debut with Launch of Cinema EOS System

2011-11-08T08:55:00.000+01:00

Company’s All-New Cinema Lens Lineup, Video Camcordersand Digital SLR Cameras to Leave No Story Untold

TOKYO, November 4 / HOLLYWOOD, California, November 3, 2011— Canon Inc. today announced Canon’s full-fledged entry into the motion picture production industry with the launch of the Cinema EOS System. Canon’s new professional digital cinematography system spans the lens, digital video camcorder and digital SLR camera product categories.
The Cinema EOS System targets a new area of imaging expression for Canon, building on the company’s 74-year history of innovation and expertise in the field of optical and imaging technology. The company has already earned accolades in the entertainment industry for the EOS 5D Mark II digital single-lens reflex (SLR) camera, launched in November 2008, which has been used in the production of blockbuster Hollywood motion pictures and hit television programs.
Canon’s new Cinema EOS System, which offers compatibility with Canon’s wide array of high-performance EF lenses, provides cinematographers with a range of unprecedented creative possibilities to ensure that no story is left untold.“As a leading company in digital imaging, Canon’s debut in the film and TV production industry provides a tremendous opportunity to enter into a thriving market,” said Fujio Mitarai, Chairman and CEO, Canon Inc. “Reflecting upon the achievements that Canon EOS Digital SLRs have had in the industry thus far, we are confident the new Cinema EOS series products will bring that success to a whole new level.”With the debut of the Cinema EOS System, Canon today introduced seven new 4K EF Cinema Lenses—four zoom lenses and three single-focal-length models—which complement the company’s current diverse lineup of interchangeable EF lenses for EOS SLR cameras.
The company also announced the launch of the EOS C300/C300 PL interchangeable-lens digital video camcorder, equipped with a Super 35-mm-equivalent CMOS sensor, and a new digital SLR camera currently under development that features a 35 mm full-frame CMOS sensor supporting the recording of 4K video.4K EF Cinema Lens LineupCanon’s Cinema EOS System makes its Hollywood debut with an all-star cast featuring seven new 4K EF Cinema Lens models: four zoom lenses covering a wide zoom range from 14.5 mm to 300 mm—two models each for EF and PL lens mounts—and three single-focal-length lenses for EF mounts.
All seven new lenses deliver exceptional 4K (4096 x 2160 pixels) optical performance and offer compatibility with Super 35 mm-equivalent sensors. Additionally, the three single-focal-length lenses can be used with cameras equipped with 35 mm full-frame sensors. (See accompanying EF Cinema Lens press release for additional information.)EOS C300/C300 PL Interchangeable-Lens Digital Video CamcorderThe Canon EOS C300/C300 PL is an all new digital video camcorder available in two models: the EOS C300, equipped with an EF lens mount for compatibility with the wide array of lenses that make up Canon’s current interchangeable EF lens lineup; and the EOS C300 PL, offering a PL lens mount for use with industry-standard PL lenses.
The camcorder features a Super 35 mm-equivalent approximately 8.29-megapixel CMOS sensor ideally suited for digital cinematography. (See accompanying EOS C300/C300 PL press release.)New Digital SLR Camera with 4K Movie Function (Under Development)Equipped with a 35 mm full-frame CMOS sensor and supporting the recording of 4K video* (at a frame rate of 24P, with Motion-JPEG compression), the next-generation digital SLR camera currently under development will enable exceptional image quality for the creation of innovative and expressive images. Additional details, including the product name, specifications and scheduled launch date, have yet to be decided. (See accompanying digital SLR camera press release.)

* Cropped to APS-H-equivalent size (dimensions measuring approximately 80% vertically and horizontally of a 35 mm full-frame sensor) when recording in 4K.

Pixma Pro -1

2011-11-03T14:28:00.005+01:00

Canon announced the launch of its new flagship PIXMA Pro series model, the PIXMA PRO-1, the world’s first A3+ printer to feature 12 separate inks. Featuring an EOS-inspired design, the stylish model produces the highest possible print quality in colour and monochrome, perfect for professional and serious amateur photographers, and exceptional levels of productivity make it ideal for studio use and commercial exhibitions.

“The PIXMA PRO-1 is the ultimate A3+ printer for anyone who demands the very best print quality and the longevity that LUCIA pigment inks deliver, or anyone with commercial requirements such as high output productivity, large ink capacity and easy workflow integration.

“Users in professional settings will appreciate the drastic improvements in output performance achieved by the new tubular ink supply, as well as workflow benefits from Ethernet connectivity, automatic ICC profile detection and compatibility with the Adobe Photoshop suite.”

The unique 12-ink system significantly expands colour gamut in most areas and features new Chroma Optimizer for increased black density and uniform glossiness. Five monochrome inks produce professional quality black-and-white prints with excellent detail in shadow and highlight areas, as well as smooth tonal gradation and suppressed graininess. Next-generation LUCIA pigment inks are used for outstanding image permanence, enabling photo-album archival life of more than 200 yearsII.

The PIXMA PRO-1 supports 1200 pixel-per-inch (ppi) input resolution (double compared with previous generations of PIXMA Pros) to reflect the increasing number of pixels available on professional cameras and produce smoother prints with high resolutions of up to 4800 x 2400 dots per inch (dpi). The new Optimum Image Generating (OIG) system analyses the photo colour and precisely calculates the optimum ink combination and volume of ink droplets, which are then accurately placed on the paper by Canon’s FINE print head with 12,288 nozzles.

The OIG system enhances colour reproduction, natural tonal gradations and uniform glossiness in each print mode and media type, to produce print quality so realistic it almost jumps off the page. Smooth tonal gradations in colour and monochrome prints are achieved through 16-bits-per-channel printing capability. The new PIXMA PRO-1 also features three colour modes, including the new Photo Colour print mode which reproduces fresh blues and greens to match people’s memory of colours. Linear Tone mode reproduces colours with a linear tone curve, while the ICC Profiles mode means users can utilise paper-specific colour profiles or create their own for added convenience.

The PIXMA PRO-1 can produce a gallery-quality A3+ print in approximately 2 minutes 55 seconds, down from 7 minutes 55 seconds for the PIXMA Pro9500 MkII. A 2.5x larger ink tank capacity compared with the nearest PIXMA model ensures longer running periods can be maintained between ink changes. Front-opening panels enable easy access to the tanks either side of the main printer body and, for efficiency, the rear tray takes up to 20 sheets of photo paper, while the manual feed slot accepts photo paper up to 356mm (14”) wide and heavier fine art papers.

For saleable prints, real-time droplet volume control stabilises colour and ink density, ensuring consistency of colour output from print to print. Reliability in a commercial environment is assured through the use of features commonly found on large format professional printers, including a mist fan with an air circulation system and a tubular ink supply system separate to the print head for faster print speed. An Ethernet connection ensures the PIXMA PRO-1 can be shared easily over a network enabling multiple device connection for enhanced efficiency.

The PIXMA PRO-1 comes with Easy-PhotoPrint Pro plug-in software which simplifies printer settings and allows batch printing. Support has now also been expanded to the full Adobe Photoshop® family, including Lightroom®III. The printer can also automatically select the correct ICC profile for each Canon paper, and an expanded range of ICC profiles is available for Fine Art papers from well known manufacturers.

Canon’s Colour Management Tool Pro softwareIV supports x-rite colour management tools, including Colour Munki Photo and Colour Munki Design, and enables users to create custom ICC profiles to ensure the optimum output quality. The PIXMA PRO-1 also includes the Ambient Light Correction feature so that users can select the type of lighting under which a print will be displayed. The print colours are then automatically adjusted to ensure the very best colour reproduction under different viewing conditions.

PIXMA PRO-1 Key Features:
• Groundbreaking 12-ink system with exceptional colour gamut
• Chroma Optimizer for uniform glossiness and crisp, sharp blacks
• New LUCIA pigment inks ensure outstanding photo permanence
• New tubular ink supply system for high-speed (A3+ photo in just 2 min 55 sec) and high-capacity ink tanks, ensuring long periods between replacements
• Wide range of media support including 356mm (14”) wide and thick media
• Easy-PhotoPrint Pro plug-in for efficient printing workflow; Ethernet connectivity for sharing

Performance redefined – Canon unlocks new possibilities for professional photographers with the EOS-1D X

2011-10-20T08:11:00.002+02:00

London, UK, 18th October 2011 – Canon today announces the arrival of the EOS-1D X – its next generation professional Digital SLR (DSLR). Offering an unparalleled combination of speed, resolution and image quality, the EOS-1D X is the ultimate camera for capturing stunning images and Full HD movies. Whether shooting in the studio, the sports field, or anywhere in between, this model is ideal for virtually any professional photographer. The new model launches as the flagship in Canon’s DSLR line up – marking the 10th generation of Canon’s professional system with the most advanced EOS model ever produced.

The culmination of 40 years’ experience in developing professional cameras, the
EOS-1D X represents a new era for the EOS system and supersedes both the
EOS-1D Mark IV and the EOS-1Ds Mark III. Combining a new 18.1MP full-frame sensor, a redesigned autofocus (AF) system and powerful new metering technology with new dual “DIGIC 5+” processors, this camera has been designed to offer unparalleled usability and image quality – ensuring any scene is captured with greater accuracy and speed than ever before.

“The EOS-1D X is the ultimate camera for all types of photographer” said Kieran Magee, Professional Marketing Director, Canon Europe. “Professionals often shoot in fast-paced, high pressure situations, and the EOS-1D X provides the features and performance they need. We’ve carefully listened to the needs of professionals and created a versatile, powerful camera that will meet the requirements of more photographers than ever before.”

Setting new standards

The EOS-1D X offers a comprehensively-upgraded specification that’s packed with new technologies. A newly-developed full-frame 18.1 Megapixel CMOS sensor offers exceptional flexibility, allowing photographers to shoot a wider range of scenes and subjects in high resolution. Redesigned architecture offers an incredible ISO range of 100-51200, expandable up to 204800, while dual “DIGIC 5+” processors offer a 2-stop improvement in noise performance – making it easier to capture outstanding quality, low noise images, even in extreme low-light conditions.

The new 61-point wide-area autofocus system offers even greater sensitivity, delivering increased precision and speed. With 41 cross-type points, including five dual cross-type points, the camera’s AF system offers unsurpassed accuracy across the frame, while new AF pre-sets are specifically designed for shooting common challenging subjects – providing exceptional reliability in notoriously difficult shooting situations.

The EOS-1D X also features a newly-designed RGB metering system, providing incredible levels of accuracy. A 100,000 pixel RGB metering sensor is linked to the AF system and powered by its own dedicated DIGIC 4 processor, detecting faces and colour to ensure correct exposure levels and improved AF tracking, even when shooting the most challenging of scenes.

Extreme power
Powered by next-generation processing technology, the EOS-1D X is the first-ever camera to feature dual “DIGIC 5+” processors. Offering performance up to three times faster than standard DIGIC 5, each processor is designed to manage huge levels of image data while simultaneously reducing image noise. In combination with the sensor’s 16-channel read-out, the dual processors enable full-resolution continuous shooting up to 12fps with 14-bit A/D conversion and full camera operation – the fastest of any DSLR currently available . A super high-speed mode extends the shooting speed to 14fps , while a new shutter and mirror mechanism reduces shutter lag and mirror bounce, delivering consistently high performance when shooting at high speed.

The film-maker’s DSLR
The EOS-1D X is ideal for all professionals who want to exploit the EOS system’s extensive selection of lenses and accessories – whether shooting stills or HD movies. Users can record Full HD (1920x1080p) movies from the full-frame sensor with a full range of manual settings to control exposure, focus and frame rate , while sound levels can also be displayed and adjusted on the LCD screen, ensuring complete control over every aspect of a shoot.

Thanks to the power provided by the dual “DIGIC 5+” processors moiré artefacts are also reduced, while EOS Movie now offers longer recording options, automatically creating a new file once the 4GB file limit has been reached. A new intra frame video codec also maintains the highest possible video quality, limiting compression of image data so users retain increased levels of information for post-production editing.

Designed for professionals
The EOS-1D X offers a carefully revised version of the classic EOS-1 series design, with larger, more tactile buttons that make it easier for users to control settings – even in extreme conditions where gloves are required. Two multi-controllers and a touch-sensitive control wheel, for use in movie mode, make it easier to change settings, while a range of customisable function buttons allow users to set-up the camera to suit their individual needs by allowing shortcuts to the features and pre-sets they use most.

A 100% viewfinder makes framing each scene easy, while intelligent viewfinder functionality instantly adds a grid display when required. A large, 8.11cm (3.2”)
Clear View II LCD screen offers a 1040K-dot resolution, and the anti-reflective structure prevents light reflections or glare when viewing images in bright conditions. A hardened glass cover also provides resistance to knocks and scratches commonly picked up while shooting on the move.

The menu system also features a comprehensively redesigned user interface, incorporating Help functions to make camera operation faster, clearer and easier. Additionally, a new dedicated AF tab allows photographers to access and customise AF pre-sets for common shooting situations or subjects, allowing users to concentrate on capturing the moment without the need to constantly adjust camera settings.

Built to last
The EOS-1D X offers a highly durable body constructed from high-grade magnesium alloy that provides protection against both the elements and the knocks of everyday use. The latest implementation of Canon’s EOS Integrated Cleaning System also uses technology adopted from Canon lenses, using wave-based vibrations similar to that of Ultrasonic Motors to shake dust and dirt from the sensor even more effectively.
An enhanced shutter mechanism also provides extended durability, providing 400K shutter cycles so photographers can rely on their camera to meet the challenge of repeated, demanding shoots. The EOS-1D X also features Canon’s protective sealing around the controls and cover seams, making the camera dust and water-resistant when combined with Canon’s range of weather-resistant EF lenses – perfect for shooting in a range of weather conditions.

Enhanced connectivity also ensures photographers can send images to picture desks or studios quickly and securely. An integrated gigabit ethernet port provides a fast, reliable way to transfer images from on-location events or in a studio, without the need for an adaptor.

The EOS System – unrestricted creativity
As part of the award-winning EOS System, the EOS-1D X is compatible with the world’s largest selection of lenses, Speedlite EX flash units and an extensive range of accessories. The ideal upgrade for existing EOS-1D Mark IV and EOS-1Ds Mark III users, it’s also compatible with numerous EOS accessories, allowing the new body to seamlessly join any existing EOS-1 series kitbag.

In addition, launching alongside the EOS-1D X is the new WFT-E6 – a new, compact WiFi transmitter designed for transferring images when a wired connection isn’t available. Supporting the 802.11n WiFi standard and offering Bluetooth support for connectivity to external GPS devices, the WFT-E6 offers secure transfer of images and video to an FTP server, or the ability to display content on a compatible screen over a DLNA connection.

The EOS-1D X will also be compatible with a new GPS receiver – the GP-E1. Enabling users to add location information to EXIF data and geographically track the progress of travelling shoot, the GP-E1 is particularly useful for wildlife or location-based photographers who may need to record the location of a scene for future reference.

Canon EOS-1D X – key features
• 18.1 MP full frame CMOS sensor
• Up to 12fps and 14fps shooting
• 100-51200 ISO, up to H:204800
• 61 point AF system
• 100,000 pixel RGB AE metering with DIGIC 4
• Full HD 1080p EOS movie
• Dual “DIGIC 5+” processors
• Clear View II 8.11 cm (3.2”) 1040K-dot LCD
• Ethernet port

Last week's competition winner!

2011-10-05T07:52:00.003+02:00

Our latest competition, titled - 'Smile...fill your heart with Gladness', was met with a great amount of interest and submissions.
As hard as it always is, the winner selected by Avantech Ltd was Angie Borda.

Well done Angie!

10 brilliant music videos shot with a Canon 5D mkII

2011-09-07T11:55:00.006+02:00

Besides being a great machine for photo taking, the 5D mkII is pretty darn fantastic when it comes to shooting video. Check out these music vids, all taken with an EOS 5D.

World Photography Day '11 winners

2011-08-29T09:29:00.004+02:00

Stephen Buhagiar placed first in our WPD competition with his entry named 'Thoughts & Smoke'.

Congratulations Stephen and well done!

Emil Vassallo was also the lucky winner of a 200 Euro voucher; his vote was drawn from the 200 something votes submitted in our voting box!

'Thoughts & Smoke', by Stephen Buhagiar, winner of the 1000 Euro voucher.

How to win a €200 Canon voucher

2011-08-09T08:38:00.002+02:00

We could all do with a little help towards that nice big lens, that new HS system compact, or that sexy little camcorder. Here's how to win a €200 Canon voucher...

Step 1: Visit our outlet in St. Julian's Road San Gwann. Make sure you take the right road or it could cost you a €30 ticket for going up a one way street. Not very wise.
Step 2: Have a good look at our exhibited photos. And when I say good, I mean good. The entrants are competing for a €1000 voucher, and 20% of the votes will come from people like you. So be fair please.
Step 3: On deciding your favourite photo, fill out the form laid on the stand next to the exhibit. Deposit your vote into the voting box.
Step 4: If you are tempted to fill out another form, please think again. We will be going through the votes after the lottery and if the winner has voted multiple times he will be disqualified. Immediately.
Step 5: Keep your fingers crossed!

:-) Until the next!

Our 15 WPD finalists

2011-08-04T09:08:00.007+02:00

After more than 24 hours of careful thinking our judges cast their votes. Here are the 15 finalists that were announced on Tuesday.

'A Friend in Need' - Lionel M. Cassola
Photo number 13

Charles Mifsud
Photo number 9

'A Touch of Burma' - Jan Zammit
Photo number 10

'Barn Owl' - Ian Balzan
Photo number 3

'Fire Lion' - Edward Cauchi
Photo number 15

'Reflected Drop' - Duncan Cauchi
Photo number 7

'Blue Splash' - Christopher Azzopardi
Photo number 11

'Musical Chairs' - Sergio Morana
Photo number 2

'Sweet Finish' - Sabrina Vassallo
Photo number 6

'Valletta' - Simon Theuma Marshall
Photo number 12

'Thoughts and Smoke' - Stephen Buhagiar
Photo number 4

Robert Cuschieri
Photo number 1

'Golden Hour' - Clayton Curmi
Photo number 14

Joe Smith
Photo number 5

'Sunset on Derwent Water' - Rosita Vassallo
Photo number 8

The World Photography Day Exhibition will open on Monday the 8th of August and will run until the 19th August, Monday to Friday 8am to 4.30pm at our San Gwann premises.

Take a shot at voting for your favourite photo during the exhibit, and you can be the winner of a 200 Euro voucher to spend on any Canon photo-video product of your choice!

A lottery draw will take place and the first drawn vote with the correct answer will be the lucky winner!

Until then ;-)

WPD competition entries!

2011-08-01T12:15:00.002+02:00

Last night we received the very last entries for the World Photography Day '11 competition.
We are well impressed with the photos sent over - an incredible 207 entries were sent in, all showcasing the talent and creativity we have on the Maltese Islands.

The 15 finalists will be announced by today - I do not envy our panel of judges, they have a tough job to do! Keep watching our facebook page for the news!

A big well done to all, and another final good luck!!

The canonmalta.com team ;-)

World Photography Day '11 competition

2011-07-18T15:04:00.006+02:00

Avantech Ltd. is celebrating World Photography Day!! Be a part of our competition and take a chance at being one of our 15 finalists and exhibition - the winner will win a 1000 Euro voucher!

Click on the poster above for more info.

Please read our terms & conditions before entering:

1. The subject for the World Photography Day Competition is open.
2. Entrants can submit up to one photo electronically, on info@avantech.com.mt, up until midnight 31st July. Please include name & surname, contact number and address.
3. The competition is open to Maltese Islands residents only. Employees of Avantech Ltd., as well as their immediate families are not eligible to enter.
4. Entries will be judged by a panel of judges. The judges will select a shortlist of fifteen photographs (the 'Finalists') They will consider a range of factors including composition, technical ability, originality, and the commercial appeal of the photographs.
5. The finalists have to present a high res copy of their image at the Avantech premises by Tuesday the 2nd of August at 4pm. Any finalists who fail to present their work will be disqualified.
6. The general public will be invited to vote for the Finalist they like the best at the Avantech premises, when the finalists are being exhibited from the 8th till the 19th of August. The public will be asked to fill in a form and answer a skill question; one of the voters will be drawn to win a 200 Euro voucher for Canon photo-video products from Avantech Ltd. The public will count for 20% of the final votes.
7. The competition winner will receive a prize of 1,000 Euro voucher worth for Canon photo-video products from Avantech Ltd.
8. Prizes are as stated and cannot be sold or transferred.
9. In the event of a technical problem or evidence of impropriety with regard to the public’s vote, the judges shall have the final decision.
10. All entries must be the original work of the entrant and must not infringe the rights of any other party. The entrants must be the sole owner of copyright in all photographs entered. Further, entrants must not have breached any laws when taking their photographs.
11. Prior to submission, entrants must not have offered any of their entries for sale, been paid for any publication of any of their entries or won or been a runner up in any other photographic competition with any of their entries.
12. Entrants will retain copyright in the photographs that they submit to Avantech Ltd. By entering the competition all entrants grant to Avantech Ltd. the right to publish and exhibit their photographs on Facebook, the Avantech website, CanonMalta.com blog, CanonMalta.com webpage, and any other medium seen fit to promote the competition and event
13. By entering, entrants will be deemed to have agreed to be bound by these rules and Avantech Ltd. reserves the right to exclude any entry from the competition at any time and in its absolute discretion if Avantech has reason to believe that an entrant has breached these rules.
14. Avantech Ltd. reserves the right to cancel this competition or alter any of the rules at any stage, if deemed necessary in its opinion, and if circumstances arise outside of its control.

GOOD LUCK!!

EF 50mm f/1.8 II - the 'nifty fifty'

2011-07-12T13:09:00.003+02:00

The 50mm f/1.8 lens has earned the nickname the 'nifty fifty' because of it's low price and sharp optical quality.

The 50mm f/1.8 is the least expensive lens at this focal range. And dear readers, this lens is a marvel. I’ll keep it very simple - why the 50mm f/1.8 is a must:

1. At a little over a 100 Euros, it is very cheap and easy on the pocket for everyone including hobbyists.
2. Do not let the cheap price fool you. The 50mm is fantastically sharp, owing it's amazing optical quality to it's simple design.
3. Very light and compact, it is super-easy to carry around.
4. With an f/1.8 maximum aperture, this is a fast lens. This means that it has a bigger aperture that will allow you to shoot at high shutter speeds even in low light.
5. Last but not least, the 50mm f/1.8 offers a great learning curve. Faced with the limitation of a fixed focal length, you will find yourself being more creative and more involved in the photographic process. In a nutshell, prime lenses offer great exercise for your composition techniques.

Conclusion: If you do not own the 'nifty fifty' as yet, I truly recommend you get one! It won't cost you that much and I guarantee you will love it!

The 50mm f/1.8 can be purchased from Avantech in St. Julians Road, San Gwann, for 109.99 Euros inc VAT.

Canon wins 4 honours at the 2011 TIPA Awards!

2011-07-05T09:10:00.003+02:00

TIPA (Technical Image Press Association) Awards are recognised as the most coveted imaging accolades in the world. Winning one award is an achievement, so Canon’s haul of 4 awards across a wide range of imaging products demonstrates the company’s continued excellence.

Being recognised by the TIPA Awards is a great achievement, but to be honoured with 4 awards is recognition of the Canon brands excellence and dominance across different areas of imaging product.

The TIPA panel comprises editors from 29 leading global photography titles which ensures the independence and prestige of winning a TIPA award. Canon won awards in DSLR, compact camera, lens and printer categories.

• Best DSLR Entry Level: Canon EOS 600D

• Best Superzoom Camera: Canon PowerShot SX230 HS

• Best Professional Lens: Canon EF 70-200mm f/2.8L IS II USM

• Best Multifunctional Photo Printer: Canon PIXMA MG8150

Canon unveils the EF-S 55-250mm f/4-5.6 IS II – the ideal telephoto lens for aspiring photographers

2011-06-17T13:04:00.003+02:00

London, UK, 13th June 2011 – Canon today announces the launch of its latest high-quality telephoto zoom lens. The new EF-S 55-250mm f/4-5.6 IS II is a compact and affordable lens, offering powerful telephoto performance combined with high image quality, making it ideal for photographers wanting to get closer to the action.

The versatile new lens enables photographers to shoot a variety of subjects due to its variable focal range. It’s ideal for shooting anything from portraits to longer-distance subjects, such as wildlife, sports, or even features within a landscape – ensuring the moment is always captured in impressive detail.

The EF-S 55-250mm f/4-5.6 IS II will be available separately and also as part of a double lens kit, bundled alongside the recently-announced EF-S 18-55mm f/3.5-5.6 IS II with EOS 550D, EOS 600D and EOS 60D bodies, providing beginners with a fantastic start to their photography system, all in one box.

Designed and manufactured to exacting standards, the EF-S 55-250mm f/4-5.6 IS II reflects Canon’s premium design philosophy, with an enhanced exterior design and a number of premium technologies to ensure leading image quality.

Canon’s four-stop Image Stabilizer (IS) counters image blur during low light and handheld shooting, and the inclusion of an Ultra-low Dispersion (UD) lens element and Canon’s Super Spectra Coatings also ensure beautifully crisp, high contrast and glare-free images. The latest EF-S lens to be added to Canon’s range is ideal for photographers seeking an affordable and versatile lens for general-purpose telephoto photography.

The new EF-S 55-250mm f/4-5.6 IS II will be available from July 2011.

We have moved!

2011-06-15T10:59:00.003+02:00

Hello all!

What a hectic last few weeks it has been! Finally we are all settling down at our new premises in San Gwann - we promise to be more active in the coming days!
For all those who were unaware of our move or new location, here is a map:

We hope to welcome all of you here in the coming days!

The CanonMalta.com team :-) x

Our top B&W shots as submitted by our Facebook fans!

2011-05-11T09:36:00.007+02:00

Hi all!

We did have quite a good number of B&W photos posted on our facebook page following our last blog post!

Our favourites......... :-)

By Angie Borda

By Annelise Grech

Marie Claire Cremona - 'We'll Wait Together'

Nicky Scicluna - 'LOVE'

By Sarah P. Warrington

By Sirach Vassallo

Keep it everyone!

The CanonMalta.com team :-)

Tutorial: Black & White Photography

2011-04-27T09:34:00.007+02:00

Black and white photography is enjoying a revival, although it has never really gone away. Why does it continue to be so popular?

There is a certain nostalgia about black and white; not just memories of old photographs but early television too. In fact black and white is very effective at emphasizing the shapes and tones of the subject. Black and white can produce a strong image from a subject that might look weaker in colour.

To help your understanding of black and white photography this tutorial will look at the following areas:
• Winter landscapes
• Portraits
• Urban landscapes
• Night photography
• Using filters
• ‘Seeing’ in black and white
• Shooting JPEG and RAW files

Winter landscapes
Winter landscapes are well suited to black and white photography. At this time of year there is often very little colour in a scene – no vibrant greens and few red or yellow flowers. A snow-covered landscape is already mostly monochrome. You can concentrate on the shapes of leafless trees, stone walls and buildings. Composition and contrast become key elements of the image.

The rule-of-thirds is especially useful in black and white photography, with little colour to distract the eye. Imagine a grid drawn in the camera viewfinder – two vertical lines and two horizontal lines giving four intersections. Aim to place your main subject at one of these intersections. This produces a strong composition.

Another compositional aid is the receding perspective. You can see this if you take a photograph looking down a road or along railway tracks. The lines of the road or track appear to converge, even though we know they are parallel. The eye is attracted to the lines and drawn into the image.

When to use black and white

Certain situations lend themselves to black and white images. Below are examples you should consider.

Portraits
Black and white photography works very well with portraits. In part, this might be because many iconic portraits from the last hundred years are monochrome and we are familiar with the style. But it is also because when the colour is stripped away it leaves us with character and personality. Adding side lighting is particularly effective as it gives strong contrast between highlights and shadows.

Urban landscapes

Architectural photographs are often shot in monochrome to emphasise the shape of the buildings. The increased contrast possible with black and white over colour suits the subject well. These photographs are often taken in the early morning, partly to avoid the distractions of traffic and people, but also to take advantage of light from a sun low in the sky. This light throws long shadows and can produce attractive texture when it falls across rough stone or concrete. These images can also often benefit from the simplicity and stark nature of black and white.

Night photography
Photography at night is worth trying in both black and white as well as colour. Often the yellow glow of street lights brings a scene alive. Alternatively, the texture and patterns in a scene are shown to better effect in monochrome.

The importance of colour
In black and white film photography, filters are often used to change the tones in the image. Yellow and red filters, for example, absorb blue light, making blue skies appear darker in the image.

Using filters
This not only makes the scene more dramatic, but also increases the contrast between any white clouds and the sky. All EOS cameras and a number of PowerShots, such as the PowerShot G12 and Product_PowerShot SX30 IS , can accept filters. Alternatively a filter effect is available in the Picture Style settings on Canon EOS digital cameras . You can select yellow, red, orange or green to change the monochrome tones to simulate the effect of filters. Check your camera instruction manual for details.

‘Seeing’ in black and white
You don’t need to shoot in black and white; you can take colour photos and then copy and convert the image to black and white after the file has been transferred to your computer. But do bear in mind that a scene that looks good in colour might not work in black and white – and vice versa.

For example, red flowers stand out against a green background when shot in colour. But shoot the same subject in monochrome and you may find that the red and the green both convert to similar shades of grey.

Practice will help to ‘see’ in monochrome, but you can speed up your learning. Generally you will find that black and white images will require more contrast for the same subject in colour. Shoot the same subject twice, first in colour and then in black and white. Both images can be compared on your camera’s LCD screen.

Shooting JPEG and RAW files
Images can be saved in a variety of formats. Choosing the right one depends on what you want to do with them.

All Canon digital cameras can produce JPEG files. These are processed within the camera, discarding any unwanted image data. You can open a JPEG file in the software supplied with your Canon camera and make modifications. Such as converting a colour file to black and white. But you are not working with all the data and this limits the range of changes you can make.

If you enjoy working on images after they have been downloaded to your computer it is better to shoot RAW files. All EOS and some PowerShot cameras can create RAW images. These retain all the data captured by the camera which gives a wider range of options to adjust your photo. You could apply a red, yellow or green filter effect to increase contrast or even add a sepia, blue or purple tint.

We would like to see your favourite B&W shots - any worthy images will be posted onto our blog! Until the next!

TUTORIAL: Full auto and basic modes

2011-03-30T08:12:00.003+02:00

This tutorial will take you through the Full auto and Basic Zone modes, starting with Full Auto and then moving into the Basic Zone which includes Portrait mode, Landscape mode, Close-up mode, Sports mode and Night scene mode.

Key Terms

DSLR
Digital Single-Lens Reflex

Mode dial
The dial on top of your EOS DSLR camera.

Full Auto
In the Full Auto mode, the image is automatically optimised. The shutter speed, aperture, ISO and flash settings are automatically selected and transforms the camera into a straight point-and-shoot interface.

Basic Zone
Portrait, Landscape, close-up, sports, night scene modes.

Portrait mode
This is a picture style to make skin tones lighter and softer.

Landscape mode
This is a picture style designed to make blue skies and green trees more vivid.

Close-up mode
This setting works with your camera lens to allow it to focus from a very short distance and allow you to get very close to small objects such as flowers, insects and faces.

Sports mode
This mode is for fast-moving objects when you want to freeze the action. It uses faster shutter speed combined with higher ISO setting.

Depth of field
The range in front of and behind the point of focus where objects will appear to be in focus. The depth-of-field becomes narrower with a larger aperture (lower f-number), longer
focal length lens, and shorter distance between the camera and subject.

Focus
This is where the photo looks the sharpest. Technically, focus is achieved at only one point (plane) and other objects may appear to be in focus within the depth of field.

Camera shake
This is the shaking of the camera caused by unsteady hands during exposure (when the shutter is open), resulting in image blur. The blur is prone to occur with slow shutter speeds and telephoto lenses.

Shutter speed
The shutter controls the amount of time that the light can strike the imaging sensor. Along with the aperture that controls the amount of light, the shutter speed works in combination to control the total amount of light the imaging sensor receives. With the same aperture, using a shutter speed of 1/2 sec. decreases the amount of light by half compared to a shutter speed of 1 sec. And a shutter speed of 1/4 sec. yields one-fourth the amount of light. Unlike the aperture, the difference in the shutter speed readily corresponds to the difference in the amount of light. The shutter speed is indicated by the denominator. For example, "500" means 1/500 sec. Since the sensor can record an image only while the shutter is open, it can freeze (with a fast shutter speed) or blur (with a slow shutter speed) a moving subject.

Exposure
This is when the shutter opens to expose the sensor to the incoming light. Long exposures can occur with the shutter left open for a long time.

Practically Black - Jackie Ranken & low light photography

2011-03-22T16:12:00.001+01:00

Jackie Ranken talks about her background and influences including her passion for landscape and low light photography. Jackie also covers tips on achieving beautiful outcomes in your low light photography.

Shoot sports & action like a pro!

2011-03-16T09:34:00.016+01:00

The world is full of movement. How can you capture this in a single image with your camera?
There are two ways; either record a blurred image to convey the impression of motion, or ‘freeze’ the
image to capture a moment in time.

Successful action photography requires a mixture of understanding your camera, technique and
practice.
This tutorial will look at the following areas:
• Exposure time
• The impact of aperture and ISO
• Panning your camera
• Sports photography
• Image stabilization
• Experiment and discover

Exposure time
To understand how to take action photos, it is important to understand movement in terms of
exposure times.

If your subject is absolutely still and your camera is on a solid tripod, the shutter speed you use is not
that important. 1 second or 1/1000 second will give similar results – at least as far as the sharpness of
the subject is concerned.

Now imagine there is a dog running across in front of the camera, typically at 16 km an hour.
In 1 second it will cover almost 5 metres. If you use an exposure time of 1 second, the dog will
appear as a very blurred image.

This can be quite effective, giving a strong impression of movement.
An exposure time of 1 second might be a little extreme in this situation, but shutter speeds around
1/15 second are worth trying (the dog will move about 30cm). If, on the other hand, you want the
dog to appear motionless, you could try a shutter speed of 1/1000 second. In this brief moment,
the dog will cover less than 0.5cm.

The impact of aperture and ISO

If you set a shorter shutter speed, less light gets to the digital sensor on your camera and the image
will be underexposed. To compensate you need a wider lens aperture and/or a higher ISO speed setting.

A lens with a wide maximum aperture allows you to set a faster shutter speed and expose correctly.
Many prime lenses (non-zoom) available for Canon EOS cameras have maximum apertures of f/2.8
or wider and are popular with sports photographers. Learn more about Canon lenses at the new
Canon lens site.

If you don’t have one of these lenses you can set a higher ISO value, making the sensor more
sensitive to light. The downside to this can be an increase in ‘noise’ – coloured speckles across the
image. The latest Canon compact digital cameras feature the HS System which lowers noise levels
by up to 60%.

Panning your camera
It is possible to obtain quite a sharp image of a moving subject even at slow shutter speeds.
This is done by ‘panning’ the camera; move the camera so that the subject remains in the same
position on the sensor during the exposure. It works best with a subject moving at a constant speed
in one direction,such as a bird in flight or a car on a racetrack.

A good pan shot reverses the normal situation – the subject is sharp, but the background is blurred.
Some subjects can be sharp and blurred at the same time. The body of a bird in flight, for example,
will be sharp, but the wings moving up and down at right angles to the movement of the camera will
be blurred.
It is important to find the right position for panning; your subject should be the same distance from
you throughout your shot.

Good panning takes practice and more practice. One trick is to keep panning after pressing the
shutter release, so that the pan becomes a smooth movement.

Sports photography

One subject where there is usually a lot of movement and action is sport.

Track events are predictable; you know where the athletes are going to run.
If you are at right angles to the track you can use panning to keep them sharp as they move across
your field-of-view. If you get close to the track and aim your camera down the lanes as the athletes
run towards you, a slower shutter speed is acceptable.

Football, rugby and other events played on a pitch are more difficult to cover because the action
moves quickly around a large area. If you are close to a touchline, the players might be very close at
one moment and in a far corner of the pitch a few seconds later. Use a faster shutter speed for close
shots, as movement appears faster when nearby.

You don’t need to be at major sports events to shoot good pictures. Search out local games where the
spectators stand on the touchlines and shout encouragement. The action can be just as strong and
your viewpoints will be better.

Image stabilization
Image stabilization is particularly useful when shooting with telephoto lenses as it reduces the effects
of camera shake that are more noticeable when using longer focal lengths.

Canon’s Optical Image Stabilizer (IS) works by having a ‘floating’ element in the lens. Gyros in the
system detect camera movement. This is analyzed by the onboard processor and instructions are
sent which move the floating element up and down or from side to side. This keeps the image of the
subject in one place on the sensor, even though the camera is moving. The system is so responsive
that it can overcome the vibration of an engine if you are shooting from a car or helicopter.

Experiment and discover

Most photographers shoot action pictures at some time or another, whether it is their children at play, a local sports event or busy street scenes while on holiday. It is possible to calculate the shutter speed needed to ‘freeze’ action by estimating the speed of the action, the direction in relation to the camera, the distance from the camera and the focal length of the lens. By which time you will have missed the shot.

It is much better to take lots of pictures, ideally with different exposures, and review the results when you have the time. Digital images record the shutter speed at the time of the exposure and most imaging software will show you this information (along with aperture, ISO setting and other data). Learn from what works so that setting your camera correctly comes naturally.

Enter the Gallery
There is action happening all around us and opportunities to capture it with great photos. Use the advice in this tutorial, take some great photos and submit them on our facebook page. Your photo could be displayed on our blog as one of the best!

http://www.facebook.com/pages/CanonMaltacom/139581842750367

6 quick tips for shooting still life

2011-03-04T08:29:00.004+01:00

Still life photography is probably one of the easiest ways to sharpen up your photography skills. Your subjects are static and you have plenty of time to recompose and take multiple photos. Follow our great tips and get practicing!

Photo by Jonathan Busuttil

1. Keep an eye out for good photos.
Study the detail. Notice how photographers capture detail, and use light, shapes, textures, colours and patterns to their advantage.

2. Ask yourself - what story do I want to tell with this picture?

3. A background can make or break a photo. Remove any distractions or DIY your own backdrop.

4. Simplicity is key.
Choose a few complimenting or contrasting objects and add objects one by one, photographing and rearranging as you go along, until you find the perfect setup.

5. A little natural light goes a long way
Place your still life composition near a window for soft natural lighting. You can also use a sheet of white paper on the side opposite to the light source to reflect some light into the shadowed areas.

6. Shoot your photos from above or a 45 degree angle.

Share your still photos with us on our facebook page - we will be featuring our favourites on our blog!
http://www.facebook.com/pages/CanonMaltacom/139581842750367

Have a great weekend!

On second thought.....

2011-02-28T09:49:00.003+01:00

I honestly think all top 5 entries deserve a little something for their amazing input!
We are giving away a Canon EF travel mug to all top 5 entrants!
Steven Vella, Claudia Portelli, Jonathan Busuttil and Angie Borda - please get in touch on 2148 8800 or fb@canonmalta.com to claim your prize :-)

FOOD glorious food!

2011-02-28T09:14:00.004+01:00

I must say I am well impressed with the interest our latest facebook competition, themed 'FOOD', has caused!

With 104 fantastic and tantalisingly delicious entries, and over 8100 global 'likes' - we think everyone deserves a big well done!

Here are our top 5 most 'liked' entries:

Ranking 5th is Angie Borda's contrasting array of veggies, 223 likes

4th place - Jonathan Busuttil's 'Floating Strawberry, 269 likes

Claudia Portelli's retro cake ranks 3rd, with 476 likes

Ranking 2nd is Steven Vella's slice of orange - 647 likes!

And first place is Daniela Agius's olives - 659 likes in total!

What can I say? I'm lucky I did not have to judge this one! :-)

Daniela Agius wins a €100 voucher to spend on any Canon photo-video product her heart desires; whilst we also gave one lucky voter a chance to win a Powershot A495 - which goes to Joseph Masini.

A big well done to everyone! Make sure you check back into our facebook page on a regular basis; don't miss out on our next competition, exclusive special offers - and more!

Have a great Monday!

Tutorial: Night Photography Tips

2011-02-21T15:48:00.003+01:00

Night time changes even the most familiar scenes. This creates an opportunity for a whole new range of photos. So put your coat on, take your camera and investigate the exciting world of night photography with our tutorial.

To help you capture the best of night light, this tutorial will cover:

• How to overcome lower light levels
• Getting the exposure correct
• When to take shots
• Suggestions for photographic subjects

Night vision
The digital sensor in your camera has some similarities to the human eye. As light levels drop, you need to get more light to the sensor. This is done by setting a wider lens aperture. The sensor is made up of millions of photo receptors, or pixels (short for picture elements). The sensor can be made more sensitive to light by increasing the camera’s ISO setting. This amplifies the light signals after they have been received by the pixels.

Unfortunately, amplification of the light signals can have a disadvantage. Unwanted background signals are also amplified and above certain levels these show up as ‘noise’ – coloured speckles across the image. The latest Canon compact digital cameras feature the HS System which lowers noise levels by up to 60%. Discover more about the HS System.

Even with the higher ISO settings available with HS System, you will still find that shutter speeds will be significantly slower at night. A tripod or camera clamp are the best options to keep your camera steady during the exposure. But if you do not own either of these, then make sure that you rest you camera on a flat and stable surface such as a low wall, a seat or the roof of your car.

Flash control
One obvious way to cope with low levels of light is to add more. Electronic flash is built in to most cameras for this purpose. It is useful when photographing people indoors and out, but less effective for general night photography. First, the power of the flash is too low to illuminate street scenes or general views. Second, the attraction of many night scenes is their existing illumination – adding further light will often ruin the atmosphere.

Many cameras automatically fire the flash by default in low light. If you are serious about night photography you should switch the flash off. Compact digital cameras usually have an ‘Off’ setting for the built-in flash – check your user manual for details on your camera. EOS cameras only activate the flash automatically in the Full Auto (green square), portrait and macro shooting modes – avoid these for night photography.

Exposure time
Night exposure can be a tricky business.
There are often large dark areas in the scene, with a few bright areas. The auto exposure metering system of your camera can get confused and give an image that is too light or too dark. This is not really a problem with digital cameras. You can take the picture using auto exposure and view the image on the LCD. If the exposure is not correct, simply apply exposure compensation and shoot again.
Most cameras offer exposure compensation in the range of +2 to -2 stops. If the first image looks too dark, apply +1 or +2 stops of compensation. Use -1 or -2 stops of compensation if the image is too light. You can experiment with different settings until the image you take appears to have the correct exposure.

Twilight zone
One of the best times for night photography is just after sunset. Although the sun is below the horizon, it still provides some light. Whilst the sky might look quite dark to your eyes, your camera will pick up this light during a long exposure to give a deep blue background to your main subject. Once you are passed the twilight period, the sky in these photographs will be black.

Sunset sequence
One way to appreciate the power of twilight is to shoot a sequence of pictures from an hour or so before sunset to an hour or so after. This needs a couple of hours of your time, but the results will demonstrate how the sky changes.

Try to find a scene with an interesting subject in the foreground or middle distance. A building, statue or rock formation is ideal. Have your camera on a tripod so that it does not move between shots. However, this is not essential, providing you shoot from about the same position for each exposure.

You need an evening with a fairly cloudless sky. Take the first picture about an hour before sunset, then shoot at 10 or 15 minute intervals. Keep shooting until an hour or so after sunset. When you view the images in sequence you should see the sky change from blue to red to dark blue to black.

Firework bursts
Taking good photographs of fireworks can be difficult so consider the following points:
- PowerShot and IXUS cameras have a Fireworks setting. Check your user manual for details
- Set the camera focusing to manual, if available, and focus on infinity
- Select manual shooting mode and set an aperture of f/8. The shutter speed can be around 1/60 second (for a handheld camera) to 5 or 10 seconds (for a camera on a tripod) at ISO 400
- Switch your camera to movie mode and capture the action as it happens.

City streets
City streets take on a completely different appearance at night. Shop windows glow, neon signs add colour and even ordinary street lighting can make buildings look romantic. If you are able to shoot after a rain shower all the lights will be reflected from the roads and pavements, adding impact to your images.

Magic movement
You can keep your camera steady during long exposures, but what about your subject? Most of the subject is likely to be static – buildings and foreground, for example. The parts that move will mostly be vehicles and people. At night, vehicles will have their lights on – these will leave attractive light trails across the image during an exposure of several seconds.
People who move across the scene at night will often appear as elongated ghosts – you will be able to see through them because the background behind them will have been exposed for some of the exposure.

Enter the Gallery
So just because there is less light, do not think there are less photographic opportunities. Take your camera out and try some night photography using the advice in this tutorial. Then enter your favourite shots on our Facebook page and next month your photo could be displayed as one of the best!

Find our facebook page here:
http://www.facebook.com/pages/CanonMaltacom/139581842750367

Canon's HS system for great night shots - we're blown away!!

2011-02-09T08:15:00.004+01:00

It's as easy as abc to get a great shot during daylight - the sun gives the perfect lighting. Night shots and low light situations are a completely different matter. Don't you hate it when your photos turn out to be blown out by the flash, or blurred?

The Canon HS SYSTEM combines the DIGIC 4 Image Processor with a High-Sensitivity sensor. The HS SYSTEM helps to reduce noise at high ISO levels and expand the camera's dynamic range, ultimately capturing greater detail and color in images in low-light situations.
By boosting the camera's dynamic range, consumers are able to capture clearer images with less noise and blur than older camera systems. Due to the Canon HS SYSTEM's higher light sensitivity, it helps deliver brilliant, sharp images without the use of the flash, for a more natural look in photographs.

Canon's HS system is currently present in the Powershot G12 and IXUS 1000 HS.

For more info......leave your comments below or should you like to call us please do so on 2148 8800, or email us on fb@canonmalta.com.

Don't let your moments get lost in the dark!

Choosing your first SLR

2011-02-08T10:49:00.009+01:00

Following my last post on a compact vs. an SLR; this post will help you choose your first - that is - if you have decided an SLR is right for you.

I will follow up with another post for all those who have opted for a point and shoot camera, with some tips on how to choose which model suits your needs.

So you've decided you want to buy yourself an SLR. Before your excitement and fervor explodes through the roof, and you run out and buy the first SLR you can get your hands on, sit down and have a good long think. Unlike a simple compact camera, SLRs are a different breed, so before you commit yourself and splash out the cash do your homework!

Price
SLRs come with a price tag, and how much you would like to spend is the first question you should ask yourself. Also keep in mind that after a couple of months you will also be looking into upgrading the kit lens that comes with your camera, and you need a variety of accessories such as filters, a camera bag, lens hoods, a spare battery etc.
Canon's entry level SLRs start from 460 Euros including a standard 18-55mm kit lens, whilst the semi-pro models start from 1,100 Euros including the standard 18-55mm kit lens.

What do you need your camera for?
The next step is to narrow down your options by thinking about what you will be using your camera for. If you will be using it for general shooting, such as the outdoors, family events and outings, and travel memoirs, an entry-level model such as the EOS 1000D or the EOS 550D is sufficient.
Shooting subjects at high speed, such as sports or action photography will require a very fast camera with a high frame rate, whilst if you will be shooting in low light you will need a camera with the best possible high ISO performance.

Canon EOS 60D - 5.3 fps (frames per second); maximum ISO 12800
Canon EOS 7D - 8 fps; maximum ISO 12800
Canon EOS 5D II - 3.9fps; maximum ISO 25600
Canon EOS 1D IV - 10fps; maximum ISO 25600

Size and weight
SLRs are bulkier and heavier than their compact counterparts, however there is a difference between the different SLR models too. If you want a light SLR, I suggest you go for the entry level models.

Sensor size
Something else to consider is the size of the sensor. The terms 'crop sensor' and 'full frame' come up when one talks about image sensor size - I will elaborate on this in another post as it is a bit too complicated for the scope of this one. In general, full frame sensors really shine when it comes to image quality and high ISO performance, however their downside is they cost quite a bit.

Upgrades
Whilst entry-level models are much easier on the pocket, they do tend to date quicker than the more expensive pro models. Do you see yourself grasping photography and wanting to upgrade to a better model with more features? This may be hard to answer, but it does pay better in the long run to invest in a little more into a model you can grow into.

Other features you might like
Vari-angle LCD: easy shooting from high or low angles, available in the EOS 60D
Auto mode & scene modes: if you enjoy your easy and lazy 'auto' button on your compact and/or want an array of shooting modes, such as portrait, sports, night, macro etc, aim for a 1000D, 550D, or 60D, as the higher end models do not have them.

With so many points to consider, the most important thing is that you decide what you want from your camera. Make a list of all the features which are important to you and gradually start pinpointing at the models which interest you. If you have any questions at all, please feel free to post them here, we will be more than happy to help!

What should I buy - a DSLR camera or a point and shoot?

2011-02-07T10:26:00.000+01:00

Rightly so, this question is a regular, mostly due to the fact that DSLR prices have dropped and are within reach of an average person's budget.

I'm going to try and keep this as simple and 'un-technical' as possible.

Here are a few pointers to help you make your decision...

1. Size
If you are looking for a camera that fits in your pocket then obviously a DSLR is not for you. Besides having a much larger body, be prepared to carry around a couple of lenses and/or accessories.

2. Camera response time
Are you into action or sports photography? If you are irritated by any delay between pressing the button and the photo being taken, then I suggest you seriously consider a DSLR.

3. Night/low light shots
DSLRs have bigger sensors than compact cameras and therefore are more sensitive to light, giving you much better image quality at high ISO levels. Due to the flexibility of manual settings you can also play around with slow shutter speeds to capture the night ambiance and lights without 'spoiling' the image with a flash to obtain more light.

4. Adaptibility
DSLRs open up a world of possibilities with their ability to change lenses. From wide angle lenses to superzooms, to macro lenses to photograph subjects unseen to the naked eye - every lens tells a different story. Add to this a large range of other accessories, such as flashes or different filters, and your DSLR can produce a variety of different images and adapted to a thousand and one situations.

5. Maintenance
Whilst a point and shoot camera requires no maintenance at all (that is, unless you are careless with it!), a DSLR requires a bit more care. One has to take into consideration that each time you change a lens you run the risk of letting dust into your camera; meaning that your DLSRs image sensor would need to get a professional cleaning every once in a while.

So what should you buy?

Even though I've mentioned a few differences between the two you might still be unsure. Here are a few questions to help you conclude:

Do you want to take more professional looking photos?
Do you want to be able to change the lens attached to your camera?
Are you looking to have more control over the images you are taking?
Do you want to take better photos in low light?
Do you need a camera which responds very quickly?

If you answered 'YES' to all the above questions - then a DSLR is the camera for you.

Buying a DLSR needn't break the bank. Canon's entry level DSLRs start from under €500 including a standard kit lens to get you going.

Having said all this, I own both a point and shoot camera and a DLSR. I like having both as I believe they compliment each other and whilst a DLSR is super flexible and produces amazing top quality photos, my compact comes in handy as it is so convenient and quick to reach for and snap away!

Any questions, please comment below!

Christmas portrait photography

2010-12-10T08:52:00.001+01:00

Christmas and New Year involve lots of family and friends getting together; the ideal time to practice your portrait photography and capture some memorable photos.

What makes a great portrait? There are no hard and fast rules but there are some useful tips. This tutorial will cover:

• Candid camera shots
• Formal families portraits
• Using the self timer and remote controls
• Flash photography
• Using ambient light
• Composition

Candid camera
A simple way to get started is to take candids. You can get natural expressions of people when their interest is elsewhere. You don’t need to hide the fact that you are taking photographs. In fact, it is much better to have the camera in the open and let everyone know that you are shooting. After a while they will be at ease with this and continue as normal.

At Christmas, for example, you can photograph people opening their presents, playing games, preparing a meal, or even washing up.

Formal families
Don’t miss the opportunity for a family group shot. The resulting photograph will be one for the family album to be treasured in later years.

If you want an older style shot, set chairs in the centre for the grandparents, with their children standing behind. Grandchildren can stand on either side, or sit in front. If you have any old family group pictures, it can be fun to try and copy the arrangements and poses. You can print them out there and then.

Self-timer
Many family groups have one person missing – the photographer. There is no need for this. Canon cameras are fitted with a self-timer. When set, pressing the shutter button delays the exposure by 10 seconds. This gives you time to join the group in front of the camera. The latest PowerShot and IXUS cameras, such as IXUS 1000HS, makes this even easier as have a Wink self-timer which captures a shot 2 seconds after a wink is detected!

Ideally, the camera should be fixed to a tripod but any solid surface will do. You can zoom the lens and compose the image, remember to allow space if you plan to join one end of the group. Most of the time the camera will autofocus and give the correct exposure. Sometimes it is better to switch to manual focus (if available) and adjust the lens before you press the shutter button – this makes sure that the focus is on the most important part of the scene.

Remote control
The problem with using the self-timer for group shots is that you can’t control when the picture is taken. People either anticipate the exposure and have fixed smiles, or they are taken by surprise.

Some Canon EOS cameras have a built-in infrared receiver that operates with the Canon remote control unit RC-6. You can aim the unit at the front of the camera and press the button to fire the shutter. Aim and press the button, then move your hand down to hide the unit before the picture is taken. Two seconds later a photo is taken.

The short delay givers people less time for a fixed smile and you can fire when everyone is ready.

Flash photography
Many of your festive family pictures will be taken indoors. In the relatively low light most Canon cameras will automatically fire the built-in flash. Sometimes the built-in flash can give harsh background shadows. To avoid this you should keep your subject well away from light coloured walls or curtains.

If you use a Canon EOS (or selected Powershots) and a Canon Speedlite flashgun you can attach a Canon Off Camera Shoe Cord. This allows the flashgun to be used at arm’s length from the camera. If you hold it up and to the side of the camera you can obtain better portrait lighting. With autofocus, it is relatively easy to hold and fire the camera with your right hand while holding your left hand out with the Speedlite.

Ambient light
You might not need flash. Digital cameras are quite good at shooting in low-level ambient light, either daylight from a window or artificial light. You can change the ISO setting to increase the sensitivity of the camera to light. All Canon digital cameras offer ISO 1600; the top of the range EOS-1D Mark IV offers up to 102400!

The downside of high ISO speeds can be increased ‘noise’. Canon cameras use advanced noise reduction technology to minimize the effect. Take a few test shots at high ISO speeds to see if the results are acceptable.

In ambient light, the camera might set quite a slow shutter speed. Keep an eye on this. If the shutter speed drops below about 1/60 second you might need to use a tripod or support the camera on a table or chair back. You will also need to ask your subject to stay still for a moment as you take the picture.

Composition
When photographing a single person there is a temptation to place them in the middle of the frame. Better results are often obtained by moving them off-centre – this gives a more dynamic image. Take a look at how characters are shown in television dramas to pick up tips on portrait composition.

A portrait does not have to show the head-and-shoulders. Try moving back to locate the person in their environment. A study, workroom or kitchen can say as much about a person as their face. Or move in as close as your camera will allow to concentrate on the eyes and mouth.

Above all, experiment. You can check your digital photos right away on the LCD, delete the less successful shots and display your successes.

Enjoy!

Flash: The Speedlite range

2010-11-26T16:16:00.001+01:00

Over the years, there have been five different types of Speedlite, each operating in a slightly different way.

M
The Speedlite 200M (discontinued) does not support any type of TTL metering. Instead, it has its own built-in sensor to control the flash output. It was designed for use with the Canon EF-M camera. If used with an EOS camera, both shutter speed and aperture must be set manually.

E
The Speedlites 160E and 200E (both discontinued) are low power units designed as an alternative to built-in flash for those EOS models without built-in flash. They operate with TTL autoflash metering. E-series Speedlites are compatible with all EOS film cameras, but not with EOS digital cameras.

EG
There is only one EG model − the Speedlite 480EG (discontinued). This is a hammerhead style unit that dates back to pre-EOS days. It is compatible with all EOS models, including digital, because in addition to TTL metering, it features an external sensor. This independent sensor means that flash metering can be done without using any of the flash sensors inside the EOS body.

EZ
EZ-series Speedlites operate with A-TTL metering on all EOS film cameras. In addition, they can be operated in TTL autoflash mode with the camera shutter speed and aperture set manually. This is useful when you need to shoot at a particular aperture − for increased depth of field, for example. They are not compatible with EOS digital cameras.

EX
EX-series Speedlites operate with E-TTL metering on EOS Type A cameras. They switch to TTL metering when used with EOS Type B cameras. This means that EX-series Speedlites can be used with EOS digital and film cameras.

Only EX-series Speedlites are now current.

Speedlite 580EX

In August 2004 Canon introduced a new flash gun to its range, the Speedlite 580EX. It replaced the previous top-of-the-range Speedlite, the 550EX, but uses many of its features. The result is an easy-to-use, powerful, versatile flash unit for lighting on the go. In addition to making the unit even more feature-packed, Canon has also managed to make the entire unit smaller, lighter and far more aesthetically appealing.

Increased power
The most obvious change between the 550EX and the 580EX is hinted at in the name. The flash power has been increased from 55 at 105mm (ISO 100, metres) to 58 at 105mm (ISO 100, metres). This may not sound much, but extra flash power is always useful. And this increased flash power has another benefit, something which is very important in a flash gun − a faster recycle time. Because the flash is more powerful, you are rarely using it at full capacity, so it recycles to full charge more quickly. This means you don’t have to wait around for the flash to be ready to fire again in circumstances where speed and time are of the essence. Canon has also re-engineered the electronics so that even on a full power it will be ready to fire again more quickly than the 550EX. In fact, from a full power flash (with fresh batteries) the 580EX will recycle in six seconds or less, two seconds faster than the 550EX − and that’s with a more powerful flash.

The digital design
The biggest difference between the 580EX and the 550EX is that the new model has been specifically designed with digital cameras in mind. This means it has been endowed with two features not found on any previous Canon flash:

Sensor size detecting autozoom
Colour temperature transmission from flash to camera.
The Canon digital camera range incorporates models with three different sensor sizes: full frame (as found on the EOS-1Ds and 5D models), APS-H (EOS-1D models), and the most common size, APS-C (all EOS consumer DSLR cameras).

Previously, a flash gun would assume that the sensor was full frame, as most cameras were film and therefore used the standard 36mm x 24mm film size. Now, however, with the three different sensor sizes, there is more of a problem with flash coverage. To overcome this, Canon has developed a system to allow the camera to communicate its sensor size to the flash. This allows the flash head to zoom appropriately to suit the angle-of-view of the lens and sensor combination.

The biggest advantage of sensor-size detection is that it does not ‘waste’ power and light by spreading the flash over a wider area than is needed. You obtain more flashes per charge and a faster recycle time, as well as effectively extending the flash range.

The other digital-only feature is the colour temperature transmission from flash to camera. As the charge levels fluctuate in the flash power source, the colour temperature of the emitted flash varies. With this new feature, each time the flash fires, the colour temperature is passed to the camera so that an appropriate Kelvin value can be set to ensure the colours are more consistently correct between exposures. This will operate when the camera is set to either Auto White Balance (AWB) or the flash white balance setting.

The result is that you will obtain more accurate colours for each image, which will save time in post-processing on the computer.

Getting wide
In conjunction with the digital sensor autozoom, the built-in wide panel has been changed to give an even wider angle of coverage. You can use lenses as wide as 14mm with the Speedlite 580EX.

The top end of the flash zoom range remains the same, giving coverage for lenses with a focal length of 105mm. However, this is not the maximum focal length you can use with the Speedlite. It simply means that with longer lenses the flash will provide coverage greater than the field-of-view and some of the flash illumination will be wasted.

Bright eyes
Also new for a Speedlite is a catchlight reflector. This is found in the same slot as the wide-angle diffuser panel. It provides a much more flattering result when shooting portraits, allowing you to fire the majority of the flash up to the ceiling or off a wall, while bouncing enough light for some fill-in illumination on the face and a catchlight in the eyes to give them some sparkle. It will certainly be a welcome addition for anyone who shoots a lot of portraits, where direct, harsh light can be unflattering to your subject.

Fully focused
A big advantage of using a Speedlite on-camera is the help it can provide with focusing in low light, and the 580EX is no exception. Three ultra-bright LED lights are arranged on the flash to provide horizontal and vertical line patterns, resulting in an autofocus assist beam that is compatible with all EOS autofocus systems. This is an improvement over the 550EX, which could not provide complete autofocus coverage for all EOS cameras. As long as the subject is in range of the focus light beam, it should make difficulties with autofocusing in low light a thing of the past.

Bouncing around
In many situations where flash is used, direct light from a flash gun is often too harsh, giving unnatural and unflattering shadows. The 420EX and 550EX helped overcome this by adding a bounce flash capability, enabling angling of the flash head so that it can fire onto a reflective surface, such as a white wall or ceiling.

This has been further developed in the Speedlite 580EX, where a single button releases both the vertical and horizontal bounce flash movements. This makes the feature quicker and easier to use than before. The head is also now able to rotate 180° both left and right, compared to the 550EX, which could only be rotated 90° to the right. There is also an extra vertical click stop on the 580EX at 45°, giving more options when bouncing the flash from different surfaces.

In keeping with the improved ease of use and improved ergonomics of the new Speedlite, gone are the +/− push buttons on the rear of the unit. These have been replaced by a single control dial with a central button for scrolling between settings. This dial is used in the same way that the +/− buttons are used on the Speedlite 550EX. It makes choosing settings on the 580EX much quicker and easier.

Going manual
Despite the accuracy and simplicity of the E-TTL/E-TTL II algorithms, sometimes you need to set the flash manually to get the exact result you want. The 580EX gives you more control than its predecessors, with manual power selection in 1/3 stops from full power down to 1/128 power. This hands control back to the photographer in situations where the metering system could be fooled.

Custom functions
The number of Custom Functions has been increased from six on the Speedlite 550EX to 14 on the Speedlite 580EX. CF-1 to CF-6 are the same on both Speedlites − it’s from CF-7 onwards where changes have been made.

CF-7 and CF-8 are designed for shooting environments where speed is important. They allow you to recycle from internal and external power simultaneously, or fire when the lamp is yellow-green (i.e. not fully charged) respectively.

CF-9 and CF-10 give you control of test flashes, either doing a test fire or using the test button to fire a modelling flash.

CF-11 allows you to turn off the sensor size autozoom if, for example, you only use a full frame camera.

CF-12 turns the focus assist beam on or off − useful in circumstances where you don’t want to project a red beam onto your subject.

CF-13 controls the use of the command dial on the flash. For speed, you can set it so you only need turn the dial to set flash exposure compensation, instead of pushing the central button and then rotating the dial.

CF-14 allows you to disable the auto power off feature.

Speedlite 580EX II

Updating the Speedlite 580EX, the 580EX II offers faster, silent recycle times and a more durable build quality.

The Speedlite 580EX II improves on many of the specifications of its predecessor. The silent recycling, for example, is up to 20% faster.

Weather seals ensure that when attached to the EOS-1D Mark III, the Speedlite 580EX II achieves the same level of dust and moisture resistance as the camera itself.

A redesigned metal flash foot plate and connector pins allow more stable communication between the camera and flash, while a quick release mechanism minimises wear and tear on both of the units.

The flash head zoom covers the range 24mm to 105mm and an integrated diffusion panel allows extended wide-angle coverage to 14mm.

The Off Camera Shoe Cord OC-E3, Compact Battery Pack CP-E4 and Speedlite Bracket SB-E2 also allow sealing against dust and moisture, giving photographers a complete system to achieve off-camera lighting effects in difficult weather conditions.

Speedlite 430EX

The Speedlite 430EX flash unit replaced the 420EX. It improves on many of the specifications of its predecessor and includes new features to maximise digital image quality when using a flash. These include automatic selection of camera white balance settings and auto-adjustment of the zoom flash position to match the sensor size of the camera to which the unit is attached.

The Speedlite 430EX has an increased guide number of 43 (m/ISO 100 at 105mm) and has approximately 40% faster recycling time than the Speedlite 420EX. An ultra-bright 2-LED configuration focus assist-beam has been designed to be compatible with all focus points within the frame of EOS AF systems, up to 9-point AF.

Optimum flash coverage

The flash head zoom covers the range 24mm to 105mm and an integrated diffusion panel allows extended wide-angle coverage to 14mm. When attached to digital EOS cameras with smaller than full frame sensors the Speedlite 430EX gives a more accurate flash coverage by detecting the model to which it is attached and automatically narrowing the angle of coverage. This has the effect of eliminating light loss in peripheral areas and extending the effective flash range.

Ideal white balance

The Speedlite 430EX automatically transfers colour temperature information to recent models of digital SLR cameras. The camera then sets the colour balance optimally for the flash shot. This feature works when the camera’s white balance mode is set to auto white balance (AWB) or flash white balance mode, compensating for any changes to the Speedlite output caused by age or battery condition.

Other features

The Speedlite 430EX is fully compatible with the distance linked E-TTL II system found on recent EOS cameras, and supports other EOS cameras that do not have E-TTL II.

It also serves as a wireless slave when either the Speedlite 580EX, 580EX II, 550EX, Macro Ring Lite MR-14EX, Macro Twin Lite MT-24EX or Speedlite Transmitter ST-E2 is used as a master.

An intuitive and ergonomic interface includes an LCD panel for clear indication of modes and settings. A single bounce lock release button provides immediate control over the bounce head angle for flexible positioning of the flash head. The flash head can be moved up from 0 to 90° (five settings), left from 0 to 180° (seven settings) and right from 0 to 90° (four settings).

Six custom functions allow customisation of the flash operations. Despite high power and short recycling times, the unit is small and lightweight.

Other features include first and second curtain flash synchronisation, modelling flash, high-speed synchronisation (FP flash) and manual adjustment of flash output from full to 1/64 power (7 levels).

Speedlite 220EX

The Speedlite 220EX is a low-power flash gun for EOS cameras that do not have a built-in flash unit. It offers twice the power of built-in units, but only half that of the Speedlite 430EX. It is mostly useful for fill-in flash photography. The fixed head means that you need the Off Camera Shoe Cord for bounce flash photography.

Flash: Speedlite compatibility

2010-11-26T16:10:00.000+01:00

When the first camera with evaluative autoflash metering was launched, EX-series Speedlites were introduced to make use of the E-TTL metering. These EX-series Speedlites are also compatible with TTL flash metering, so will operate with all EOS models.

All the new film cameras offering E-TTL metering retain the flash sensors for A-TTL metering, so are also compatible with EZ-series Speedlites.

When Canon introduced digital EOS models, they omitted the flash sensors in the base of the camera (the sensor reflects light differently to film). This means that EZ-series Speedlites can only be used in manual mode with EOS digital cameras.

Canon updated E-TTL flash metering in 2005. E-TTL II is a camera feature, not a Speedlite feature, though it only operates with EX-series Speedlites.

Here is a short guide to compatibility:

Type A cameras: E-TTL autoflash metering is only supported by EOS cameras introduced at the same time or later than the EX-series Speedlites. These models allow the viewfinder sensors to be used for both ambient and flash readings. These cameras, called Type A, include the EOS 1V, 3, 30, 30V. 33, 33V, 300, 300V, 300X, 3000N, 3000V, 50E, 50, 500N, IX, IX7 and all EOS digital cameras. Type A film cameras also include sensors that can read flash illumination off the film during an exposure, so EZ-series Speedlites can be used with A-TTL autoexposure.

Type A-II cameras: There is a sub-group of Type A cameras which enables E-TTL II flash metering with EX-series Speedlites. These include the EOS 30V, 33V, 300X, 1D Mark II, 1D Mark II N, 1D Mark III, 1Ds Mark III, 5D, 5D Mark II, 20D, 20Da, 30D, 40D, 50D, 350D, 400D, 450D and 1000D.

Type B cameras: Other EOS film models are known as Type B cameras and can be used with EZ-series Speedlites in A-TTL (or TTL) mode or EX-series Speedlites in TTL mode.

This may seem complicated, but if you are using an EOS digital camera all you really need to know is that it is only compatible with EX-series Speedlites.

Left: Type B cameras have flash sensors in the bottom of the camera body. Light is reflected down to the sensors by a secondary mirror hinged behind the main reflex mirror. The centre of the reflex mirror is semi-silvered, allowing light through to the secondary mirror. This allows A-TTL metering with EZ-series Speedlites and TTL metering with EX-series Speedlites.

Centre: Type A cameras have sensors in the viewfinder area that read both ambient and flash illumination. These sensors operate with EX-series Speedlites. The cameras also have flash sensors in the bottom of the camera body for A-TTL metering with EZ-series Speedlites.

Right: EOS digital models are a sub-section of Type A cameras. They only have sensors in the viewfinder area, so can only be used with EX-series Speedlites.

Power control
Autoflash means that a flash gun gives just the right amount of light for correct exposure. It could do this by altering the power of the flash, increasing or decreasing the brightness as you change the distance of the camera from the subject. But this does not happen. Instead, Speedlites increase or decrease the duration of the flash as the subject distance changes. The brightness of the flash remains constant. However, even a long Speedlite flash is very brief and you are unlikely to notice much difference between short and long electronic flash exposures either as you shoot, or in the results.

White balance (WB)

2010-11-06T19:55:00.000+01:00

What is WB?
Our eyes and brain make a wonderful partnership. Together, they automatically adjust the exposure of whatever it is we are looking at to achieve a balanced image. More importantly, they correct any colour cast so that anything white actually looks white, regardless of the ambient light.

Unfortunately, digital cameras are not so clever. They record the scene as they see it − within their limitations. This is why, in tricky lighting conditions, we have to set the white balance to ensure the result we want. It is also why, to get results of the optimum colour, we usually have to tell the camera the colour temperature of the light falling on to the scene.

In simple terms, light is made up of the three primary colours − red, green and blue. These colours are present in different proportions in all light sources. For example, tungsten lights have more red in them than fluorescent lights, which are greener. This proportion of colours is measured as the colour temperature.

If you are shooting your images in any mode other than RAW, the camera will post-process the image to make the colours in the scene as accurate as possible. However, this is not always as easy as it seems − the colour temperature of the light falling onto the scene affects the way the camera sees the colours and, unlike our brains, it does not automatically correct it. For example, with no correction, a white wall photographed under tungsten lighting will appear very yellow, and under a fluorescent light will look very green. This is why all digital EOS cameras have the ability to set the white balance to suit the ambient light, no matter how complex the lighting conditions are.

What do the settings mean?
There are seven standard white balance settings, your choice of which will depend on the type of light you are shooting in.

Auto White Balance
You can use this setting as a default in most straightforward lighting conditions. Auto White Balance works by evaluating the scene and deciding the most appropriate white point in it. The setting works reasonably well if the colour temperature of the ambient light is between 3,000-7,000K. However, if there is an abundance of one colour in the image, or if there is no actual white for the meter to use as a reference, the system can be fooled, resulting in an image with a colour cast.

Daylight setting
Use this setting if you are shooting in bright sunshine. It will balance for a colour temperature of around 5,200K, which is actually very slightly cooler than noon sunlight. However, it is very rare that you will actually be shooting at noon and so this setting will work best for the greatest part of the day.

Shaded places
Although we perceive shaded areas to be colder, the colour temperature is actually higher (bluer), usually around 7,000K. This setting is most suited to areas of light shade rather than very heavy shadow.

Cloudy or hazy
This sets a colour temperature of around 6,000K. It is best used on days when the sun is behind the clouds, creating a very even and diffuse light.

Tungsten setting
The first of the artificial lighting settings, this assumes a colour temperature of around 3,200K and is suitable for most tungsten lamps that normally emit a yellow light. It is the equivalent of an 82-series blue filter used with a film camera to correct for the same colour cast.

Fluorescent setting
The second artificial light setting is set for around 4000K, the approximate colour temperature of fluorescent lights. The problem with fluorescent lights is that there are six types, each with a different colour temperature. They also emit an interrupted spectrum with peaks over quite a wide range. To complicate things further, they also change over time, gradually altering the colour temperature of light they emit. This setting has the same effect as fitting an FL-D filter to a film camera.

Flash setting
For use with either a built-in flash or an external Speedlite. Flash is a very white light with a colour temperature around 6,000K.

All these settings still rely on the camera doing some calculations to obtain the correct colour balance. However, there are two further settings which give you total control.

Custom white balance
This allows you to tell the camera which area in the scene is supposed to be white. The camera can calculate the colour shift required to make that surface white. It then applies that shift to all colours in the scene to provide a correct colour balance to the image, whatever the lighting.

Kelvin
This enables you to set the colour temperature in degrees Kelvin in 100K increments from 2,500 to 10,000K depending on model. If you have a separate colour temperature meter then this may be the best setting to use as you can set the exact colour temperature shift needed. But, remember, if you do this you will need to take a few test shots to calibrate your colour temperature meter with the camera’s meter.

PC-1, PC-2, PC-3
In addition, on professional EOS digital cameras there are three custom white balance settings − PC-1, PC-2 and PC-3. These allow you to save the three white balance settings that you regularly use. This is useful if you do a lot of studio photography, for example, and always use the same lights. It enables you to save the colour temperature of those lights so you do not have to colour balance each time. However, initially the settings need to be made on the camera via a computer using supplied software.

White balance bracketing
If you find that you still cannot get the perfect colour balance, then EOS digital cameras from the 10D onwards have a white balance auto bracketing function. This allows you to bracket the white balance setting in the same way that you can bracket exposures. You can select the level of change between the images up to ±3 steps in full-step increments. The images are then recorded in the sequence: 1 - set colour temperature, 2 - bluer colour, 3 - redder colour.

With all these options, it is possible to obtain a completely neutral tone in most shooting situations. However, is this always best? Consider a fairground where there is a diverse mix of light sources − tungsten giving a yellow glow, fluorescent adding some green, not to mention all the neon lights. If you were to balance all the light sources present, the result could end up looking very clinical and fail to convey the fun, warmth and atmosphere of the show.

So do not always assume neutral is best − be a little creative and see what happens.

Working in RAW
If you shoot in RAW, white balance will not affect you at the time the exposure is made. White balance corrections are normally applied by the camera in post-processing of the image, before it is saved to the card as a JPEG file.

By shooting RAW, you avoid this processing as the image saved on the card is exactly as captured by the CMOS sensor. It is then up to you to adjust the white balance in your RAW file editing program.

One of the advantages of shooting RAW files is that you can apply different white balance settings to the image to see which give the most natural, or most attractive, results. The original RAW file remains unchanged. All the work is done on copies of the RAW file, which means that you can return to the RAW file and try again if the initial results are not what you want.

Setting the white balance
It is possible to set auto white balance for all your shots and let the camera sort out the light, or to select the white balance symbol appropriate to the lighting conditions. However, no matter how good these settings are, they will never produce the perfect white balance in all situations.

Instead, use the following procedure and you will end up with images that are properly white balance. Unless you are working indoors light changes constantly, so you will need to repeat the procedure for each new scene.

You need a sheet of white paper. With your scene set and the lighting arranged, place the card in the scene. Making sure that the white card covers the centre circle marked in the viewfinder, take a shot. The autofocus may have trouble focusing on the flat card, so focus on the edge of the card and then recompose.

Find the menu item ‘Custom WB’ and select it so that the custom white balance screen appears. Now turn to the image shot in the previous step and select this. The white balance data from the image will be imported.

After exiting the menu, select custom white balance from the white balance settings. The pictures you shoot will now be balanced to your test image.

Colour temperature
It is useful to know where the term ‘colour temperature’ comes from and what it means.

Colour temperature is measured in degrees Kelvin (K). The Scottish mathematician and physicist William Kelvin proposed the absolute, or Kelvin, scale in 1848. This scale uses −273.15°C as its zero point or ‘absolute zero’. The colour temperature is simply the colour a standard black body (a piece of metal which is perfectly black and reflects no light) glows at a certain heat. Surprisingly, the cool colours are red and orange, around 2,000-3,000K, while the warm colours are the blues at the 20,000K end of the spectrum. Neutral white light is 6,504K.

Comparison shots
The following pictures of a stamen against the white petals of a lily flower were all taken in daylight in the middle of the day. Each was taken at different white balance settings. The colour changes to the images show, in effect, the ‘filtration’ added by the camera to balance with the different light sources.

Auto − this close-up of a lily stamen was taken in midday window light so the Auto setting has actually done quite a good job of making the lily’s white petals white although there is a hint or red.

Daylight − this setting has done slightly better, with no red and the white being a cleaner white.

Shade − this setting has also achieved a reasonable colour balance, however, you can see it has added yellow to compensate for blue that would normally exist in a shady scene.

Cloudy − as with the shade setting, the cloudy setting has achieved a satisfactory result, but again there is still a hint of yellow in the whites.

Tungsten − here the camera has added blue to compensate for the yellow that would be present under tungsten lighting giving the whites a very blue appearance.

Fluorescent − this has had a similar effect to the tungsten setting, but the camera has added the equivalent of a magenta filter to compensate for the green emitted by fluorescent lights.

Flash − this setting has produced a result very similar to the shade setting as they set a very similar Kelvin temperature. If anything, the flash setting has done slightly better by adding less yellow to the image.

Custom − here we set the colour balance manually by using a grey card. This has produced a result with clean, natural whites.

The Histogram - demystified!

2010-10-28T23:17:00.000+02:00

Many of the features of digital cameras are similar to those of film cameras, or can be related to film photography. Histograms are one of the exceptions. You might have come across them if you are a statistician, but histograms only entered the world of photography with digital imaging.

What is a histogram?
A histogram is a ‘diagram in which columns represent frequencies of various ranges of values of a quantity’, says The Concise Oxford Dictionary. This is one of those definitions that only makes sense once you have seen examples.

In statistics, histograms are used to make numbers visual. A simple diagram is usually much easier to understand than a mass of figures. Also, diagrams can reveal relationships between some of the numbers that are hidden in the raw data.

256 tones
In digital photography, a histogram displays the tonal distribution of an image. It does this by categorizing every pixel into one of 256 groups, where 0 is black, 255 is white and all the other numbers represent shades of grey.

This image of a flag and landscape translates into the histogram shown here. The peaks of the tones towards the centre of the histogram indicate that this is a well-exposed image.

Some cameras also show histograms for the red, green and blue components of the image. These are the colour histograms for the flag image.

On the histogram, the horizontal axis shows the group numbers with 0 (black) at the left and 255 (white at the right. The vertical axis indicates the number of pixels in each group.

Within these axes is the impression of a solid graph − in fact, what you are seeing is 256 upright lines crammed so close together that they are touching each other.

What does a histogram tell you? Well, if nothing else, it will warn you of over or underexposure. If there are lines right up against the left of the diagram, the chances are the image is underexposed. If there are lines right up against the right of the diagram, the image is probably overexposed. A typical well-exposed image will show the main distribution of tones around the centre, reducing towards the left and right (though there will be exceptions).

EOS digital cameras, except the DCS series, will show a histogram for each image you shoot. When an image is displayed on the preview screen, press the ‘info’ button to the left of the screen. The display will change to give you a smaller image, plus the histogram and some basic exposure data.

An additional feature is the ‘highlight alert’. This makes any overexposed areas within the image ‘blink’. This can be very useful when shooting static subjects, such as landscapes. If parts of the image blink, you can apply exposure compensation and take another shot to bring the tones into an acceptable range. Use this feature and you should never come away with another overexposed image.

Software
It is not just on the backs of EOS digital cameras where you will encounter histograms. You will also find them in some imaging software. The Canon File Viewer Utility shows them, for example, as does Digital Photo Professional. But the place many photographers will come across histograms is in Photoshop (Image>Histogram). Not only can you see the overall display, but you can also check the tones in each of the 256 levels for the overall image, or for each of the red, green and blue layers.

You will also find histograms in some of the other areas, such as Image>Adjust>Levels, where you can adjust the image to suit its output by clipping the levels so that you work with fewer than 256.

Capturing the image: Sensor cleaning

2010-10-24T08:40:00.006+02:00

Dust is a problem with all digital single-lens reflex cameras. It can enter the camera whenever you change the lens. This dust often finds its way to the glass filter that covers the digital sensor.

The sensor is made up of millions of light-sensitive elements, each around 6 to 8μm square. It does not need a very large piece of dust or dirt to cover one or more of these elements, or pixels. If a pixel is obscured, it does not receive much light and so that portion of the image will record as grey. These grey areas are most noticeable in light-toned areas of the photograph.

Dust on the sensor shows up as grey marks on the digital image.

This problem affects film too, but in film cameras the dust is wound on with each frame. In a digital camera, the dust remains on the glass filter and affects every subsequent exposure. It is easier to retouch digital images than negatives or prints, but it can still create a lot of work if you take a large number of exposures.

Reducing the problem
Surprisingly, research has shown that one of the main causes of dust is the camera itself. This explains why photographers who rarely change lenses still suffer dust problems.

There are two significant camera-related areas that generate dust. One is the shutter. Every time it fires, friction between the components can create dust. Recent shutter units for EOS cameras have been designed to generate a minimal amount of dust during their operation.

The other main problem area is the plastic body cap. Every time it is attached or removed, friction between the metal mount and the plastic cap can generate dust. Since the first half of 2005, the body cap has been made of a material that produces very little dust from friction.

A body cap made of a different plastic material helps to reduce the amount of dust inside the camera.

Is your sensor dirty?
Do you have dust on the sensor of your digital camera? Can you see small grey spots in light-toned areas, such as skies?

The marks will be grey and fuzzy because the dust is not actually in contact with the surface of the sensor. Instead, dust rests on the surface of the low-pass filter that lies on top of the sensor. The gap between the sensor and the dust is enough to throw the spots out-of-focus and allow some light to creep underneath.

You can check for dust by photographing a white wall or a sheet of white paper. Use a telephoto lens, or a zoom set to its longest focal length. Do not focus on the subject - set the minimum focusing distance. Select aperture-priority (Av) shooting mode on the camera’s command dial and set the smallest aperture (f/22, for example). Now make an exposure. The shutter speed will probably be quite slow, but there is no need for a tripod, as camera movement will not interfere with the test.

Transfer the image file to a computer and view the result with any good imaging software at a magnification of 100%. You will almost certainly see some grey marks - you have to decide if these are significant. Do you regularly have large areas of light tones in your images? If so, cleaning the sensor will be worthwhile.

Prevention is better than cure
You cannot stop dust getting into your digital camera, but you can reduce the risk a little using one or more of these simple procedures.

Switch the camera off before changing the lens. This reduces the static charge on the sensor and stops it attracting dust.

Turn the camera off before removing the body cap or changing a lens.

Never leave the camera with the lens mount open. When you remove a lens, replace it immediately with another or attach the camera body cap.

Avoid changing lenses in dusty situations. If you have to change a lens in these conditions, hold the camera with the lens mount facing down to reduce the risk of dust falling into the opening.

Keep the body cap free from dust. Did you know that the body cap and lens cap attach to each other? This will keep the inside of both caps clean when a lens is on the camera.

The body cap attached to the rear lens cap to keep both clean.

Cleaning the sensor
Whatever precautions you take, one day the sensor will need cleaning. Canon approves only two methods. The first method you can try yourself using a rubber air blower. The second involves sending the camera to a Canon Service Centre.

To use the air blower technique, switch the camera to its sensor-cleaning mode. This does not actually clean the sensor - it just gives access to the sensor by raising the reflex mirror and opening the shutter blades. It is recommended that you run the camera from a mains power supply, via a DC coupler, when using this mode, so that you are not relying on battery power to keep the shutter open.

Sensor cleaning mode is accessed in the same way on all the EOS professional digital cameras. While pressing the ‘Menu’ button, select the set-up menu screen (set-up 2 menu on the EOS-1D Mark II, EOS-1D Mark II N and EOS-1Ds Mark II). While pressing the ‘Select’ button, select ‘Sensor cleaning’. Release and press the ‘Select’ button and select ‘OK’. Release the ‘Select’ button and the LCD screen will show ‘Sensor cleaning’. Press the shutter button and the mirror will lock up and the shutter will open. Check the camera instruction manual if you need further details.

The sensor-cleaning mode is accessed from the menu on the back of the camera.

The sensor-cleaning mode raises the reflex mirror and opens the shutter curtain - it does not actually clean the sensor.

The rubber blower technique is non-invasive, which means that even if the shutter closes during the procedure you are unlikely to damage the camera. All you need is a rubber blower bulb. These are often sold with a brush attachment and were originally used for cleaning film negatives and slides. Remove the brush so that you have a device that gives short jets of air as you give the bulb a sharp squeeze.

With the camera in sensor cleaning mode and the lens removed, place the tip of the blower just inside the camera lens mount and give a few bursts. This will dislodge any dust specks that are resting on the sensor. With luck the dust will be blown out of the camera.

Two or three sharp blasts from a rubber air blower will dislodge dust settled on the sensor cover.

Do not use compressed air from cans - it often contains liquid propellants that will smear the sensor.

Remember to switch off the sensor clean mode after removing dust.

Other cleaning techniques
There are several other sensor cleaning techniques that you may have heard of. None of these are approved by Canon as there is a risk of damage to the sensor. If you try any of these methods, it will be at your own risk, and could invalidate the camera warranty. We describe these methods for information only, and stress that we ONLY recommend the two Canon-approved methods described above.

The risk to the sensor is fairly small, because it is not actually the sensor that gets dirty. The sensor is protected by a glass filter and the dust settles on its surface. So removing the dust is rather like cleaning a lens filter - there is a risk of scratching the filter, but this risk is quite small if you follow the instructions carefully.

On the other hand, if you do scratch the sensor cover, the replacement cost will be a lot more than the cost of most lens filters.

The real danger in sensor cleaning is damage to the camera shutter. Except during an exposure, the sensor is covered by the blades of the shutter. To access the sensor, you need to open the blades. If these blades accidentally close while you are touching the sensor assembly with cleaning aids, a lot of expensive damage will occur. Do not attempt this type of cleaning unless you feel confident about your ability to do it without damaging your camera.

Brush work
While a rubber air blower will move lightly settled dust, it may not have any effect on dust that is attached more firmly. Brushing the surface of the sensor can be effective, but not with just any brush. You need one that is ultra-clean and just the right size for the sensor. Visible Dust brushes, though expensive, seem to have the right specification. They work by not merely brushing the dust away, but by using static to attract the dust onto the bristles. Ideally, a single sweep of the brush across the sensor will clear the dust. Visible Dust brushes come in different sizes to suit different sensor sizes. Read all the information at www.visibledust.com before proceeding. Remember, this technique is not approved by Canon and its use may affect your camera warranty.

A Visible Dust brush is designed for cleaning digital camera sensors.

Swabbing the sensor
You can use a plastic spatula with a clean paper cover impregnated with liquid to swab the sensor. The liquid is usually methanol - an alcohol that evaporates rapidly without leaving any residue. You apply just a few drops of methanol to the end of the swab and wipe it firmly over the sensor. The end of the spatula is flexible, which means that it is difficult to apply excessive pressure. If you want to do a second swab, just reverse the motion, so that the opposite edge of the spatula is drawn back across the sensor (this avoids any dust or dirt from the first sweep being pressed back into the surface or the glass). Sensor Swabs and cleaning fluid are supplied by Photographic Solutions Inc. (www.photosol.com/swabproduct.htm) and Just Limited (www.cameraclean.co.uk/main/guarantee.php). Remember, this technique is not approved by Canon and its use may affect your camera warranty.

Wiping the sensor cover with a swab can remove stubborn particles of dust.

Grabbing the specks
There is a useful gadget for removing larger specks of dust from the sensor cover. Called SpeckGrabber, it is a tiny piece of rubber on the end of a stick. The rubber has a built-in tackiness, which means that dust will stick to it. To use, you wipe the rubber with a special cleaning tissue and then simply touch the surface of the sensor with the SpeckGrabber. The dust particle will come away. This is a very selective cleaning method, not suitable for cleaning the entire sensor area, so you may well want to use it in addition to one of the other techniques rather than on it’s own. SpeckGrabber (from Just Limited) is not approved by Canon and might affect your camera warranty.

The SpeckGrabber is useful for removing single particles of dust.

Software solutions
Despite all your attempts at preventing dust from getting to the sensor, and various methods of cleaning, you may find that some of your exposures are spoilt by grey marks. Fortunately, it is quite easy - and a lot safer - to clean up on a computer. Simply download the images files to your hard drive and open up an image in any good imaging software, such as Photoshop Elements or ArcSoft PhotoStudio (supplied free with many EOS camera models), or Photoshop. These all have a ‘clone tool’, or similar function, that allows you to select an area close to the dust speck, and copy this over the mark. With a little skill you can retouch the image so that it is impossible to see where the spots were.

Canon’s own imaging software - Digital Photo Professional - goes one step further. It not only has a standard clone function, but also offers automatic retouching. Canon has built its ‘FARE’ system into the software - the same technology used in scanners to overcome the problems of dust. If you choose ‘Repair (dark)’ from the Tools > Start Stamp Tool menu, and then select a small area that includes the dust speck, the mark will disappear like magic. Choosing ‘Repair (light)’ will work the same magic on white spots.

Digital Photo Professional is on the EOS Digital Solutions disk supplied with a many EOS digital models, but you may need to update the software to the latest version to take advantage of this auto-retouch feature. Go to www.canon-europe.com and follow the ‘Download software’ link.

The ‘Repair’ window in Canon’s Digital Photo Professional software provides an easy way to get rid of dark spots on your photographs. Simply position the green circle over the affected area and ‘click’ the computer mouse. The size of the circle can be adjusted with the ‘Radius’ control bar to suit the mark.

New techniques to combat dust
With the introduction of the EOS 400D in 2006 and the EOS-1D Mark III in 2007, Canon has revealed new technology to combat the problem of dust. It may not have been the first to tackle the problem of sensor dust in-camera, but Canon’s solution is one of the most comprehensive, and is proving to be very effective, even in extremely hostile environments.

Repelling the particles
We talk about dust settling on the digital sensor. This is not strictly true. The sensor is a sealed unit that includes a number of filters. If dust settles, it is on the front filter. This filter is treated with an anti-static charge process to repel static-charged dust.

Not only that, but this filter is further from the sensor than on earlier models. This throws the dust specks more out-of-focus, with the result that they are less likely to show on the image.

Shaking the sensor
In the EOS 400D and all digital EOS models since then, the filter in front of the sensor is attached to an ultrasonic vibrating unit driven by a piezoelectric element. When this is switched on, dust is shaken off the surface and is trapped by a sticky border surrounding the filter. The sensor assembly has an internal O-ring so that none of the dust can get between the filters or on to the sensor itself.

Although Canon is not the first with this type of anti-dust system, the camera vibrates the front filter of the sensor (low pass filter 1), rather than using an extra sheet of glass that might degrade optical performance.

The default setting of the camera operates the self-cleaning sensor for one second when the camera is turned on, and again when it is turned off. The off sequence is used because dust is more difficult to dislodge after is has been on the filter for a long period. Self-cleaning can be switched off using a menu command. You can also activate the cleaning sequence while the camera is switched on using a menu command.

Sensor cleaning never gets in the way of shooting. The moment you press the shutter button (partially or all the way), the sensor cleaning stops and you can take a picture.

The self-cleaning operation uses very little power, so it does not lead to a significant reduction in the number of shots possible from a charged battery. However, the piezoelectric element heats up during use so, to prevent overheating, it will not operate again for 3 seconds after use.

Dust Delete Data
If dust does stick, and you do not want to use a brush or swabs to clean it away, the new cameras have one more option. ‘Dust Delete Data’ maps the size and position of the particles and appends the information to the image files you capture. Then, when you open the file in Digital Photo Professional version 2.2 (supplied on CD with the camera), the software automatically erases the dust spots to give a clean image.

First, you have to obtain the Dust Delete Data. You do this by choosing the appropriate menu function and shooting a sheet of white paper that is out-of-focus. The camera overrides any settings you have made and fires at f/22 with a shutter speed of 1/2 second or faster, ISO 800, flash off, and single shot drive mode. If there is not enough light, or the lighting on the paper is very uneven, or the exposure is not adequate, a message will appear on the LCD asking you to try again.

Dust Delete Data works with both JPEG and RAW images. The data uses only a few kilobytes and does not affect the continuous shooting speed or maximum burst. The information is stored in the camera, so you do not need a CF card loaded when you capture the information. Once stored, it is applied to every image you shoot.

When you record Dust Delete Data, the date and time is also recorded, and appears on the menu so that you can check the last time it was done. It is recommended that you update the data before taking important pictures, or after changing lenses in a dusty place.

It can be a good idea to switch off the auto sensor-cleaning feature when using Dust Delete Data, or you might shake off dust that has been mapped.

You can erase Dust Delete Data, and so stop it being appended to images, by using the ‘Clear all camera settings’ menu item.

Depth-of-field

2010-10-20T20:44:00.000+02:00

Depth-of-field

Autofocusing is not a new invention. It has been around for thousands of years as a feature of the human eye. Your eye reacts so quickly, and without conscious effort, that you probably don’t think of your eye as an autofocusing lens. The speed of focus of your eye also means that you are not really aware that much of what you see is out-of-focus. If you look at something in the foreground, it appears sharp. If you shift your eye to look at the background, this snaps into focus.

One way to be aware of this effect is to hold a finger up in front of your face, about half a metre away. Close one eye and look at your finger with the other. While concentrating on the finger, you will become aware that anything in the background is out of focus. Now look at the background and your finger will appear unsharp.

Much the same happens when you take a picture with your camera. The lens can only focus on one distance. Anything closer to or further from the camera will be unsharp. The difference is that the view is captured as a two-dimensional image. When you look at the image, only subjects at the focused distance will be sharp.

This effect can be very useful in isolating the main subject from its background. However, it is also possible to make some of the out of focus areas appear sharper. The area of apparent sharpness in an image is called the ‘depth-of-field’, and it is one of the main creative controls you have.

A camera lens can only focus on one plane of the subject. This is the only area of the scene that is really sharp.

However, a wider area of the scene may appear to be sharp. This area of apparent sharpness is called the depth-of-field.

Circles of confusion

Depth-of-field is possible because your eyes are not perfect. They can’t resolve the difference between a point and a very small circle of light. When a lens focuses, each point of the subject at the plane of focus is projected as a point on to the camera film or sensor. All these points give you a sharp image.

However, parts of the subject not in the plane of focus do not form image points on the film or sensor. The rays of light from these points on the subject come to a focus in front of or behind the film or sensor. This means that when these rays of light hit the film or sensor they form a small circle.

If this circle is so small that it appears as a point to your eyes, that part of the subject will appear sharp on the image. If your eyes see it as a circle, that part of the subject will appear unsharp. The largest circle that appears to be a point is called the ‘circle of confusion’ and is a key factor in defining depth-of-field.

When rays are focused on the sensor or film plane, a point of light is formed. However, when the rays come from an area of the subject that is not in focus, a circle of light (shown in red) is formed. This area is known as a ‘circle of confusion’.

Sizing the circle

So what is the diameter of this circle? Well, that is where some of the confusion begins. How good is your eyesight? And what distance are you viewing from? With perfect vision, under ideal lighting, and at a normal reading distance, a circle of confusion might be as small as 0.06mm. But these conditions are far too strict for the real world and a figure of around 0.17mm is used in photography.

But there is another factor to consider. If you are shooting with 35mm film, you rarely view the image at its original size. You might have the film negative enlarged to give a 5x7 inch print. This is a 5x enlargement of the original image, so the 0.17mm circle of confusion will be enlarged to around 0.85mm – easily visible as a circle to most people. So what we need is a circle of confusion that gives a size of 0.17mm after being enlarged five times. A quick tap on a calculator shows this size to be about 0.034mm.

If your eye was part of the EF system, it might be described as a 15mm f/4 lens. However, there are problems in trying to compare the eye to a camera lens, as the eye concentrates on the central area of the subject, leaving the edges to peripheral vision. The performance of a camera lens is much more even over its entire field-of-view.

A circle of confusion is based on perception – it is not something that can be calculated precisely. This is why different depth-of-field charts and tables often give different results – they are based on different circle of confusion values. Canon uses a value of 0.035mm in depth-of-field calculations for its EF lenses on 35mm cameras. Some other manufacturers choose 0.030mm. On EOS digital cameras with the smaller APS-C format sensor, the image must be enlarged more to produce a 7x5 inch print, which means a smaller circle of confusion is needed. Canon uses 0.019mm in its calculations.

Depth-of-field factors

There are five main factors that affect depth-of-field.

Aperture

The lens aperture is the easiest way to control depth-of-field. The rule is simple – the smaller the aperture, the greater the depth-of-field. For example, f/16 will give you more depth-of-field than f/4. The reason small apertures give more depth-of-field is shown in the diagram. A smaller aperture gives a narrower beam of light from any given point on the subject. Other things being equal, the circle produced by an out-of-focus point will be smaller. As a very general rule, use apertures between about f/2.8 and f/8 for portraits where you want the background to be out-of-focus. Use an aperture between about f/11 and f/22 for landscapes where you want everything from the foreground to the far distance to appear sharp.

A wide lens aperture produces a large circle of confusion (shown in red) from an out-of-focus area of the subject. A smaller lens aperture produces a smaller circle of confusion from the same area.

Focal length

You will usually choose the focal length to suit the subject rather than to suit the depth-of-field. However, the accepted rule is that you get more depth-of-field with wideangle lenses than with telephoto lenses. In fact, this rule is misleading. What actually happens is that a wideangle lens magnifies the subject less than a telephoto lens, which means that more of the image appears sharper. A simple test will show that if you take two photographs of the same subject from the same position with a wideangle and a telephoto focal length, then enlarge the centre of the wideangle image to match the view of the telephoto image, the depth-of-field will be identical.

However, depth-of-field is all about acceptable sharpness, and a wide-angle shot will give the appearance of greater sharpness across a scene. As a very general rule, wideangle lenses are good for landscapes where you want sharpness from front to back. A medium telephoto lens (around 100mm or 135mm) is good for portraits if you want an out-of-focus background.

A wideangle setting on the EF-S10-22mm f/3.5-4.5 USM lens, combined with a small aperture of f1/16, gives extensive depth-of-field in this photograph taken in Oxford, England.

Subject distance

The greater the distance between the lens and the subject, the greater the depth-of-field is. The reason is much the same as that for focal length. Reduced magnification of the subject means there is greater apparent sharpness. Anyone who has tried close-up photography will realise that the opposite also applies – increased magnification gives a narrower depth-of-field. At life-size magnification, little more than the subject in the plane of focus will appear sharp, and the point you focus on will be critical to the success of the photograph.

Print size

Depth-of-field appears greater in small prints than in big enlargements from the same negative or digital file. This is because as the image is magnified, the circles of confusion appear larger.

Viewing distance

However, print size is less important than it might appear, because you normally view big enlargements from a greater distance than you view small prints. As the viewing distance increases, so does the apparent depth-of-field because the circles of confusion appear smaller to the eye. In practice, the combination of print size and viewing distance can cancel each other out.

Although not quite the same principle, a good example of the effect of size and distance is seen in giant advertising posters. Up close, all you see are large cyan, magenta, yellow and black dots. Move back and a clear image appears in what appears to be fine detail. In fact, there is no fine detail – the appearance of a continuous tone image is an optical illusion.

Setting depth-of-field

As you can see, defining depth-of-field is a fairly arbitrary affair. So how can you hope to control the results produced by your camera? Here is a range of options.

The rough guide

If you want a lot of depth-of-field, set a small lens aperture, such as f/16 or f/22. A small aperture may lead to a slow shutter speed, so use a tripod to reduce the effects of camera shake. Use a wide-angle lens for maximum effect. If you want a narrow depth-of-field, set a wide aperture, such as f/2.8 or f/4. Use a telephoto lens for maximum effect. If depth-of-field is not a critical factor in your composition, use an aperture of around f/5.6, f/8 or f/11. Your lens will usually give maximum performance at these settings.

Basic modes

You might think that using one of the Basic modes settings available on some EOS cameras would save you time and trouble. After all, surely the Landscape mode will give wide depth-of-field, while the Portrait mode will give an out-of-focus background? Unfortunately not. PIC modes are designed to give foolproof settings for beginners, avoiding the extremes of apertures or shutter speeds which give true creative control. The best advice is to shoot in aperture-priority (Av) mode.

Depth-of-field tables

Very precise figures for depth-of-field limits are available. EOS magazine publishes a booklet giving details for lenses from 14mm to 1200mm at a range of apertures and subject distances.

If you have access to the internet, various online calculators are available which give the information you need after the frame size, camera or circle-of-confusion are entered, along with the lens focal length, aperture and subject distance. There is a good calculator at www.dofmaster.com/dofjs.html

These tables and calculators often give the near and far limits of depth-of-field to two decimals places, or more. That’s because the figures are calculated using a mathematical equation. But there is a gradual change to apparent sharpness – it does not suddenly change at a precise distance from the main subject. So although tables and calculators are very useful in helping you choose a suitable aperture, the figures they give are only an approximate guide.

Depth-of-field AE

Fortunately, technology comes to your aid. Most EOS cameras have a built-in depth-of-field calculator. Earlier models use the Depth-of-field AE (DEP) mode.

In DEP mode, you position the active autofocus (AF) frame over the nearest point of the subject you want to appear sharp and press the shutter button. ‘dEP-1’ will appear in the viewfinder. Next, place the active AF frame over the farthest point you want to appear sharp and press the shutter button again. ‘dEP-2’ will appear in the viewfinder.

Now recompose the image in the viewfinder and partially depress the shutter button. In an instant, the camera will calculate the aperture needed to give the depth-of-field you want. The aperture and shutter speed values will be displayed in the viewfinder. If you are happy with these settings you can fully depress the shutter button to take the picture.

DEP mode can’t perform miracles. If the aperture value in the viewfinder blinks, it means that the depth-of-field you want isn’t possible – you must try again with the near and far limits of depth-of-field closer together.

You can use DEP mode to set a very narrow depth-of-field by making the dEP-1 and dEP-2 readings from the same area of the subject. However, this is a little pointless – you will get the same result more quickly by setting the maximum lens aperture in aperture-priority (Av) mode.

Cameras with Depth-of-field AE EOS-1D, EOS-1Ds.

Auto Depth mode

Depth mode gives you the depth-of-field you want without the need to know anything about circles of confusion. However, Canon has made the process even easier.

Auto Depth AE (A-DEP on the command dial) offers one-shot depth-of-field. All you have to do is compose the image so that all the areas of the subject that you want to be in focus are covered by the camera focusing points. As you press the shutter button, the camera will automatically calculate the aperture needed, and also select the appropriate shutter speed.

The advantage of A-DEP is that you only have to push the shutter button once, rather than the three times needed in DEP mode, so you can shoot more quickly. The disadvantage is that you can’t select the near and far limits of depth-of-field manually – you have to rely on the points selected by the camera.

Unfortunately, you can’t select between DEP and A-DEP – earlier models offer the first mode, while later models have the second. An exception to this is the EOS 10. When the command dial is set to ‘DEP’ and a single focus point is select, the camera sets DEP mode and you selected the near and far points in the usual way. However, when all three focus points are selected the camera changes to A-DEP mode and operates with a single press of the shutter button.

DEP and A-DEP modes do not operate on EOS cameras with flash photography. If you set a DEP mode and use either the built-in flash or a Speedlite, the camera will automatically revert to program (P) mode.

Cameras with Auto Depth mode: EOS 10D, 20D, 30D, 40D, 50D, 300D, 350D, 400D, 450D.

Hyperfocal distance

What is the maximum depth-of-field you can achieve in a photograph? You won’t get it by using the maximum focusing distance (infinity) of the lens. Depth-of-field extends both in front of and behind the focused distance, but if you have focused on infinity, there is nothing behind.

What you need to do is focus in such a way that the far limit of depth-of-field extends to infinity, which means focusing on the ‘hyperfocal distance’.

Finding the hyperfocal distance is actually quite easy. It is the near limit of depth-of-field when you are focused on infinity. And the interesting thing is that when you focus on the hyperfocal distance, the depth-of-field extends from half the hyperfocal distance to infinity.

So just look at a set of depth-of-field tables, find the near limit when the lens is focused on infinity, and divide this by two. Then set your camera lens to manual focusing (there is an AF/M switch on the side of most EF lenses) and turn the focusing ring to this distance.

Hyperfocal distance is not a fixed value for a lens – it changes with the aperture and the focal length – so you really need to carry depth-of-field tables to make effective use of it.

Did You Know?: Dust busting trick

2010-10-20T20:33:00.002+02:00

Dust busting trick

Dust is a perennial problem for digital photographers, which is why Canon implemented the EOS Integrated Cleaning System (EICS) across the EOS DSLR range. However, you can help in the fight against dust too. When you remove the camera body cap and rear lens cap from your kit, don’t just throw them in your bag or stuff them in a pocket. The two parts fit perfectly together and lock as one unit. If you fit them together not only will you avoid collecting dust in the caps, that could later make its way into your camera, but you’ll also only have one item to look for in your kitbag, not two.

Half-stop exposure for EOS Movies

2010-10-13T06:27:00.000+02:00

When shooting EOS Movie footage with the EOS DSLRs that offer EOS Movie capabilities (the EOS-1D Mark IV, EOS 5D Mark II, EOS 7D, and EOS 550D), the accepted rule of thumb is to use a shutter speed that is twice the selected frame rate. For example, if you were shooting at 25fps, your shutter speed would be 1/50sec. However, you will notice there is an issue if you choose 24fps. Since there is no 1/48sec shutter speed setting, 1/50sec is used instead. But if you switch the camera into half-stop exposure increments using the Custom Functions, you will find access to a 1/45sec shutter speed setting. This isn’t necessarily any closer than 1/50sec but it can prove useful in situations where you need to use a slightly slower shutter speed to capture more light to achieve the perfect exposure.

Urban Landscape Photography Tips

2010-10-10T20:18:00.000+02:00

City Landscape Photography

Think ‘summer landscapes’ and you probably see a blue sky, fields of green and distant hills. But that is only the half of it. You can shoot stunning landscapes in towns and cities, too – and for many people the subject is a lot closer to home and more interesting.

In a city, it is often difficult to get far enough back from the subject – buildings get in the way. So urban photographs often concentrate on the smaller parts of a scene, looking for the shapes, patterns and contrasts that make up a city.

This tutorial concentrates on:
         • The right time of day
         • Time lapse movies
         • Different views
         • Removing distractions
         • Monochrome images
         • Lenses and tripods

Time of day

The usual advice for landscape photographers is to shoot in the early morning or early evening when the sun is low in the sky. Urban landscape photographers have more flexibility – depending on the subject you can shoot at almost any time of the day or night.

However, early morning is still one of the best times. The low sun has a golden glow that adds warmth to brick and stone. It also gives a pleasing reflected light. Including the sun in the photograph, perhaps between a couple of tall buildings, can be effective.

As the day progresses and the sun rises in the sky, shadows shift across the subject creating interesting patterns of light and shade. If you have the opportunity, take a sequence of images from the same camera position at intervals during the day – this is easiest to do if you have access to an office or house overlooking an urban scene. Shoot from early morning to late evening. The resulting pictures will show the change in light during the day. This can be dramatic, especially if the scene is illuminated at night and you continue shooting into the late hours.

Time Lapse movies

If you have an EOS camera with a remote socket you can buy a remote timer switch that will fire the camera automatically at pre-set intervals. Shoot to give the smallest JPEG file size your camera allows and use a large media card.

The images can be merged into a single time-lapse sequence using software such as Apple QuickTime Pro (available for Windows and Mac). Whatever camera you use, do make sure that you use a large memory card so that it doesn’t become full part way through.

Different Views

Urban photography is all about creating images with impact. Look for contrasts – either areas of light or shade that can produce almost abstract images – or old and new buildings within the same frame. You will also find many man-made patterns from bricks and paving stones to windows and balconies.

With many tall buildings around, low camera angles can produce interesting photographs, simply because you are showing the scene from a new perspective. Just standing normally, but pointing the camera upwards, will be all that is needed for some scenes. Kneeling down and looking up with the camera, or even positioning the camera at or near ground level, will often produce images with a more exaggerated perspective. Using the LCD screen (in Live View with an EOS) makes this easier to achieve.

Erasing people

Unless you shoot really early in the day, people walking across the scene could spoil some of your pictures. You might be able to overcome this problem with a neutral density (ND) filter.

These filters reduce the amount of light passing through the lens and means that the exposure time increases to compensate. With exposures of 20 or 30 seconds any people moving in the scene will not be in one place long enough to form an image and the resulting street scene will appear to be deserted.

For this type of result you need a fairly extreme neutral density filter – one with a density of 3.0 is good, giving a 10-stop reduction in light. This means that instead of shooting at 1/30 second, you can shoot with an exposure time of 32 seconds.

You will need to use the camera on a sturdy tripod to avoid movement during these long exposure times. However, the use of tripods is banned in the busy areas of some cities, so check before travelling.

Monochrome images

Urban landscapes lend themselves to black-and-white photography – removing colour emphasises shapes and contrast. Many Canon cameras also allow you to shoot with a monochrome tone, such as Sepia or Vivid Red, using My Colors. Alternatively, you can highlight a particular tone using the Color Accent Shooting Mode. Check the Instruction Manual for details on your camera.

However, if you have image manipulation software on your computer – such as Canon’s Digital Photo Professional (supplied with all EOS and some PowerShot cameras) – you can create monochrome effects from a colour image. This means that you do not need to commit yourself to an effect when taking a picture and can experiment with different effects from the same original colour image. All the colour data is lost when the camera processes the image for black and white JPEGs.

Lenses and tripods

In the countryside, landscapes are usually taken with wide-angle lenses to capture the full view. In urban landscapes you are just as likely to need a short telephoto lens to isolate small areas of rich detail.

The wide-angle-to-telephoto zoom of most Canon IXUS and PowerShot models is ideal for urban landscape photography. Make full use of it to vary your images. With EOS cameras, lenses such as the EF 28-135mm f/3.5-5.6 IS USM or EF-S 18-135mm f/3.5-5.6 IS will give you the flexibility you need for this type of work.

Whilst a tripod may help keep your camera steady, if it is not allowed then a monopod is a good alternative. This is a single extendible pole with a camera mounted at the top. It will stop the camera moving up and down, though there can still be a little side-to-side movement.

Some Canon compact digital cameras feature Image Stabilizer (IS) lenses, and both the lenses mentioned above for EOS cameras are IS models. Canon’s Image Stabilizer system uses gyro motors in the lenses to sense movement and a ‘floating’ element within the lens counteracts the movement of the camera, ensuring a steady image.

You can also reduce the effects of camera shake by using a faster shutter speed. Set the camera to Tv mode (if available) and select a shutter speed of 1/250 second or 1/500 second. You might need to increase the ISO setting to 800 or even 1600 to achieve these shutter speeds at some light levels. Higher ISO settings can produce increased ‘noise’ levels in images, but this grain-like effect often suits urban landscape pictures.

ISO ratings and memory card capacity

2010-10-07T20:52:00.000+02:00

If you want to maximise the number of images that you can fit on a memory card, you should shoot at a lower ISO setting. As you increase ISO ratings your images will feature more image noise. Since image noise is seen as ‘detail’ it cannot be compressed – therefore each file will be larger, meaning fewer images on a memory card. If the situation dictates that you need to shoot at high ISO settings then you should always do so. However, if you don’t need the benefits of high ISO shooting, make sure that you set a lower ISO speed in order to maximise how many images you will be able to fit on to your memory card.

Photography Tutorial : The Light

2010-10-07T07:57:00.021+02:00

Photography needs light – and not just any light. You are unlikely to shoot outstanding pictures if the light is wrong. How do you get the right light when there is little you can do to control the sun?

The answer is simple. You can improve your pictures by shooting at a different time of the day, or even a different time of the year.

The quality of light

The quality of light changes throughout the day. Early morning and late afternoon sunlight has a warm colour, whereas bright sunlight in the middle of the day is much bluer. Why is this?

Scattering of the sunlight causes the change. Dust and water particles in the atmosphere reflect, refract and absorb the various wavelengths of light by differing amounts. At noon, the sun is overhead and the light travels straight down through the atmosphere. Very little scattering occurs and the sunlight is blue-white.

In the morning and evening, the sun appears low in the sky and the light has more atmosphere to travel through. The short (blue) wavelengths of light are scattered more than the longer (red) wavelengths, leading to a warmer light. As a general rule,warm light provides more attractive images, especially for landscapes and buildings. If you are visiting places on holiday, the ideal time to capture images is in the early morning, soon after sunrise. Not only will the light be right, but there will be fewer people around.

Another advantage of shooting early or late in the day is the low angle of the sun to the ground. This throws long shadows, which add to the interest of many scenes.

Of course, sometimes the angle of the sun means that your whole subject is in shadow, which is not ideal. Fortunately, the position of the sun moves during the day. It rises in the east (or thereabouts) and sets in the west (or thereabouts). So if you have the time, you can stay in one place all day and wait for that special moment when everything is perfect.

Of course, if you are travelling and passing through a place, it might not be possible to return when the conditions are better suited to photography.

Shooting the sky

The image we capture with a camera is frequently not quite the scene we see in front of us. Dynamic range is used to describe the difference in the levels of brightness from light to dark in a scene. On a cloudy day, the dynamic range is low whilst on a sunny day, the dynamic range is high.

If you look at the landscape photographs you have taken on your existing camera they may have a pale sky, even though it looked blue at the time you took the picture. The camera has exposed to give detail in the darker tones on the ground, overexposing the bright tones of the sky.

Digital camera sensors do not have the same dynamic range as the human eye. Many current PowerShot and IXUS models have Intelligent Contrast Correction technology (i-Contrast) which automatically expands the dynamic range.

If your camera doesn’t feature i-Contrast you could use the Exposure Compensation to give correct exposure for the sky, but this would underexpose the ground.

Fortunately, there are several solutions to this problem. One solution was described earlier. Wait. But if you are impatient for the picture, there are photographic techniques you can employ.

If you own an EOS Digital SLR then there are a number of solutions involving filters that will allow you more control of the sky’s appearance in your images. Some PowerShot models also accept an adapter that allows filters.

A graduated filter is one answer. This is a filter with a toned area at one end, but clear at the other. If you attach the filter to your camera lens so that the toned area is at the top, the brightness of the light from the sky will be reduced as it passes through. This will reduce the dynamic range of the scene, avoiding overexposure of the sky.

Most graduate filters are rectangular and slide into a holder attached to the front of the lens. This allows you to move the filter up or down to position the clear area over the ground while the toned area covers the sky.

Grey graduate filters have little or no effect on the colours in the image. The tone is neutral. However, you can also buy coloured graduate filters. These are still clear at one end, but have a tinted tone at the other including blue to improve a grey sky and orange to create a sunset effect.

Polarising filters can be used to darken polarised light. This is exactly the type of light you get from the sky – but only on sunny days, and only from those areas of the sky at 90 degrees to the sun. So if the sun is overhead, a polarising filter is useful when the camera is pointed at the horizon in any direction. But if the sun is low in the east or west, the filter is only effective when the camera is pointed north or south.

To see the effect of a polarising filter, simply attach it to your lens and rotate it. At one angle the filter has no effect on the light, but as you turn it polarised light will be partially blocked and you will see part of the image darken. So not only can you reduce the brightness of some skies, but you can also control the level of brightness. Clouds are unaffected by the polarising filter, so they stand out clearly from a darkened sky.

There is one method of dealing with overexposed skies that has been around since the early days of photography. This involves replacing the sky with one you shot earlier.

Some photographers build up a bank of sky images for this purpose. It is easy to do. Whenever you see an interesting sky, take a picture exposing for the sky. You will soon have a number of images showing attractive cloud formations.

You can then merge a suitable sky shot into an image with a plain or overexposed sky. This was a darkroom technique practiced by many film photographers. Today it is a computer technique that involves cutting and pasting one image into the other. It takes a little practice, but you work on copies of the digital images so that you can keep starting again until you get the result you want.

So whether you wait for the right light, adjust your image with a filter or add another sky of your choice, photographs of sunlit sky offer a wide range of opportunities. Now go out there and get shooting!

Did You Know? Auto ISO limitation

2010-10-05T21:21:00.002+02:00

EOS 60D Auto ISO limitation

The EOS 60D introduced a new feature to the Canon EOS DSLR range – it’s known as 'Auto ISO limitation'. Shooting with Auto ISO can be a great benefit when you want a particular combination of shutter speed and aperture, but the light conditions are changing. However, as the ISO range increases image noise is more likely to appear. With the Auto ISO limiter you can select a maximum ISO speed above which the camera will not go – this will effectively minimise the chance of image noise in your images and movies.

Full HD Movie Print with Canon printers

2010-10-05T20:53:00.001+02:00

Check out the new PIXMA printer range and you will find details of a new exclusive feature that makes them even more useful – the Full HD Movie Print Function:

Full HD Movie Print Function

When you’re movie-making do you ever wish you could convert a special moment into a high quality printed photo? The arrival of the ‘Full HD Movie Print Function’ means you can capture and print single frames from Canon recorded HD movies, providing exceptional detail from resolutions up to 1920x1080 (1080p) input.

Now you can review your HD video and produce the photo, capturing just the moment the goal was scored, or the birthday candle was blown out.

The new Canon PIXMA range are available now from Avantech in Sta Venera and major resellers. Kindly call on 23881313 for more information. Thanks!

New EOS 60D + new lenses launch

2010-10-04T23:49:00.001+02:00

Thursday, 26 August 2010

Canon has announced a range of new EOS products for autumn 2010.

The latest EOS camera is the 60D, which replaces the 50D. The new camera is the first EOS with a vari-angle LCD monitor. You can fold the screen out and adjust it for viewing from above and below, to the side and at the back of the camera. This is especially useful with Live View shooting, but makes it easier to see menus and images in any shooting mode with the camera in almost any position.

The EOS 60D features a host of new functions. The powerful DIGIC 4 processor supports in-camera RAW image processing, allowing photographers to edit settings such as brightness, contrast, white balance or correct distortion or chromatic aberration. The edited image can then be re-saved as a JPEG, ready to be printed or uploaded to a PC or the web.

For photographers who want to add post-production effects to their images without the need for expensive software, the EOS 60D also features a range of new creative filters that can be applied in-camera. Filters including Grainy B/W, Soft Focus, Toy Camera Effect and Miniature Effect provide images with a different feel, allowing photographers to create a themed collection - using Grainy B/W to give images a reportage style, for example – or easily smooth skin tone in portraits with Soft Focus.

The EOS 60D captures 1920x1080p HD video with a variety of user-selectable frame rates,as well as 720p video. Movie Crop mode is also available, recording with the central 640x480 pixel area of the sensor to create an effective magnification of approximately seven times the focal length of the lens.

Full manual control in Movie mode allows photographers to employ their own exposure and focus settings and take advantage of the effects achieved from Canon’s wide range of EF lenses.

New lenses just launched by Canon are:

EF 70-300mm f/4-5.6L IS USM
EF 8-15mm f/4L Fisheye USM
EF 300mm f/2.8L IS II USM
EF 400mm f/2.8L IS II USMEF 500mm F/4L IS II USM
EF 600mm F/4L IS II USM

Canon has also redesigned its two Extenders (teleconverters). The Extender EF 1.4x III and Extender EF 2x III complement the latest range of L-series lenses, matching their appearance and offering a visible differentiation from previous models. A carefully positioned lens release mechanism also makes it easy to mount the extenders quickly, reducing the time that the camera and lens are exposed to the environment. The extenders offer the exceptional build-quality and are resistant to both dust and water, allowing photographers to use them in extreme shooting conditions.

Extender EF 1.4x III
Extender EF 2x III

Autumn Photography

2010-10-04T22:46:00.000+02:00

Autumn is the season to explore colour photography. With its wide range of colours; rich palette of browns, splashes of reds, hints of yellows and touches of greens, autumnal photography has much to offer the photographer.

To help you capture the best of autumn, this article will cover:
• ‘My Colors’ and ‘Picture Style’
• White balance
• Polarising filters
• Suggestions for photographic subjects

My Colors
The ‘My Colors’ menu (IXUS and PowerShot models) offers a wide range of options to control the colour in your photos. ‘Neutral’ usually gives the most accurate colours, but these often appear muted when viewed on a computer screen. If you want to bring your images of autumn leaves to life, try using ‘Vivid Red’.

‘My Colors’: ‘Neutral’, ‘Vivid Red’
Experiment with ‘My Colors’ settings by first shooting a scene in ‘Neutral’ and then in one or more of the other options. You will soon learn which settings suit your favourite subjects.

Picture Style

EOS cameras use ‘Picture Style’ settings to control colours. ‘Landscape’ provides vivid blues and greens. There is no default equivalent of ‘Vivid Red’ for your autumn photography, but ‘Picture Style Editor’ software, available on the CD supplied with the camera, allows you to create your own custom settings.

Additional style files can be downloaded from CANON iMAGE GATEWAY. There are currently seven new ‘Picture Style’ files available, including ‘Autumn Hues’. This saturates reds and yellows to give vivid colours and balances these with blues and greens.

Up to three additional ‘Picture Style’ files – created by you or Canon – can be uploaded to a compatible EOS camera , ready for use with any subject.

‘Picture Style’: ‘Neutral’, ‘Autumn Hues’

Processing the image later

Alternatively, shoot with the neutral ‘My Colors’ or ‘Picture Style’ setting and process your images on a computer later. Canon Digital Photo Professional software, supplied with EOS and some PowerShot cameras, makes it easy to alter the saturation and hue of your images, along with other parameters. If your camera can shoot RAW files it is best to use that format if you plan to make a lot of post-exposure changes, but it is also possible to modify JPEG images. RAW and JPEG file types are set using one of your camera’s menu screens; check the manual for details.

The right colour balance
White balance, as the name suggests, adjusts the camera’s colour settings so that white objects are accurately recorded as white in the image, whatever the illumination.

Our brain automatically compensates for changes in light, so that a sheet of paper appears the same colour whether we view it in daylight or with indoor lighting. The white balance feature overcomes the same issue on your Canon camera.
Most of the time the Auto White Balance setting will give you great results; however adjusting the white balance to ‘Cloudy’ on the greyer days of autumn will bring out the colours you see in front of you. Experiment with different settings for the same subject to see which you like best.

Filtering the results with a polariser

A polarising filter can change some colours, but has no colour itself. As the name suggests, it works by controlling polarised light.
Light from the sun is unpolarised – the waves of light are all at different angles to the axis (direction) of the light. However, if this light is reflected from a non-metallic surface, the waves become ordered and all have the same angle to the axis.
Depending on how the polarising filter is rotated, it will block most polarised light, let some of it through, or let all of it through. Light reflected from flowers and leaves is polarized so a filter rotated to block polarised light reduces the amount of light from these surfaces, increasing the saturation of these colours.
But do be a little careful as a polarising filter blocks reflections, so shiny surfaces will appear to lose their shine. It can also make photographs of leaves look ‘flat’.

Look for examples in local parks and be ready to shoot as soon as the colours change. The yellow, green and red leaves might only be on display for a few days before they begin to fall. Fallen leaves, though, can also offer a colour subject for your camera. Fill the frame with a mass of leaves at your feet, or move in close to focus on just one or two attractive, colourful leaves.

Autumn sunsets are often splendid. Take a series of photographs at different exposures (for example, use a fixed shutter speed and shoot with a range of aperture settings). There is no ‘correct’ exposure for a sunset – you can choose the result you like best and discard the rest. Do remember to set the white balance to daylight to ensure you don’t lose the full lustre of the golden colours.
Autumn also offers a mass of subjects for still-life photography. Set a table close to a window indoors. Make a composition of fallen leaves, fresh fruit, flowers or other subjects. You can introduce man-made subjects such as plates, dishes and vases. Place a large sheet of coloured paper as a background. All of a sudden you have an indoor studio, illuminated by natural light. The opportunities are endless – and available whatever the weather outside.

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Tutorial: Black & White Photography

TUTORIAL: Full auto and basic modes

This tutorial will take you through the Full auto and Basic Zone modes, starting with Full Auto and then moving into the Basic Zone which includes Portrait mode, Landscape mode, Close-up mode, Sports mode and Night scene mode.

Key Terms

DSLRDigital Single-Lens Reflex

Practically Black - Jackie Ranken & low light photography

Shoot sports & action like a pro!

The impact of aperture and ISO

Sports photography

Experiment and discover

6 quick tips for shooting still life

On second thought.....

FOOD glorious food!

Tutorial: Night Photography Tips

Canon's HS system for great night shots - we're blown away!!

Choosing your first SLR

What should I buy - a DSLR camera or a point and shoot?

Christmas portrait photography

Flash: The Speedlite range

Speedlite 580EX

Speedlite 580EX II

Speedlite 220EX

Flash: Speedlite compatibility

White balance (WB)

The Histogram - demystified!

Capturing the image: Sensor cleaning

Depth-of-field

Depth-of-field

Circles of confusion

Sizing the circle

Depth-of-field factors

Aperture

Focal length

Subject distance

Print size

Viewing distance

Setting depth-of-field

The rough guide

Basic modes

Depth-of-field tables

Depth-of-field AE

Auto Depth mode

Hyperfocal distance

Did You Know?: Dust busting trick

Dust busting trick

Half-stop exposure for EOS Movies

Urban Landscape Photography Tips

City Landscape Photography

Time Lapse movies

Erasing people

Lenses and tripods

ISO ratings and memory card capacity

Photography Tutorial : The Light

Did You Know? Auto ISO limitation

EOS 60D Auto ISO limitation

Full HD Movie Print with Canon printers

New EOS 60D + new lenses launch

Autumn Photography

Picture Style

The right colour balance

DSLR
Digital Single-Lens Reflex