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INSPIR AT ION IDE A S IN-DEP TH RE V IEWS

CANON EOS RP
OUR VERDICT ON THE
SECOND R-SYSTEM
CAMERA

SHOOT SHARP!
MASTER PRO FOCUSING TECHNIQUES FOR
PIN-SHARP IMAGES OF ANY SUBJECT

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 CONTENTS
FIND OUT WHAT’S INSIDE THIS ISSUE
NEWS
NEW LEE FILTER HOLDER
Redesigned modular system
üŅųƤŎLjLjĵĵüĜĬƋåųŸĜŸƚĹƴåĜĬåd
F E AT U R E
SHARPEN YOUR ACT
Master pro focusing techniques
üŅųƼŅƚųŸĘ±ųŞåŸƋĜĵ±čåŸåƴåų
PHOTOS
GALLERY
Our pick of the best reader
F E AT U R E Ĝĵ±čåŸüųŅĵƤ±ųŅƚĹÚƋĘåƵŅųĬÚ
I N S P I R AT I O N
I N S P I R AT I O N IPHONE INSPIRATIONS
eŞŞĬå±ĹĹŅƚĹÏåŸƋĘåƵĜĹĹåųŸ
ŅüƤĜƋŸ„ĘŅƋŅĹĜ{ĘŅĹåÏŅĹƋåŸƋ
CRASH COURSE
GET A SHOT IN THE DARK
PHOTOS Use AF-assist illumination for
ŞųåÏĜŸåüŅÏƚŸĜĹčĜĹĬŅƵĬĜčĘƋ

CRASH COURSE PHOTOSHOP

PAINT WITH FILTERS
Create cool artistic effects using
brushes, filters and layer masks

PHOTOSHOP
JUS T
GEAR 39¢/39p
CANON EOS RP
Canon’s second
PER ISSUE!
full-frame mirrorless
WHEN YOU SUBSCR IBE
camera is a good deal SEE T HE SUBS C R I P T ION
PAGE FOR MOR E INFO
more affordable than
the EOS R, so is it the
perfect choice if you’re
looking to step up
from APS-C?
 N E W S

W H AT ’ S H O T
THE WEEK’S TOP HEADLINES IN PHOTOGRAPHY

LEE FILTERS INTRODUCES

THE LEE100 FILTER HOLDER
New modular system for 100mm filters is ‘completely redesigned’

Image © LEE Filters

EE Filters has introduced a lock position prevents the mounted filter kit is also compatible with the newly

L “next-generation” filter system,

the LEE100. The LEE100
from being removed or rotated.
Fully compatible with the company’s
announced LEE100 Polariser, although
users of the existing LEE 105mm
is based around a new glass-filled existing 100mm filters and adaptor rings, Polariser can also use this in conjunction
nylon holder, which arrives with a 16% the holder differs from its predecessor with the new holder via a clip-on ring.
reduction in weight over its predecessor. in that it’s based around a modular The kit comprises the LEE 100 holder,
It attaches to the adaptor ring in the design with new filter-holding blocks. three filter guide blocks, a tool used
same way as previous versions, and Supplied with the holder as standard, to remove the blocks and a pouch to
can be secured with a new locking these blocks have a tapered profile to store all components. The holder kit is
ring that can be set to three different hold the filters securely, and accept on sale now priced at £83 / $96, while
positions: neutral allows for the filter to one, two or three filters at a time, with Landscape, Long Exposure and Deluxe
be removed and rotated, half lock allows the promise of no vignetting even kits comprising the holder system and
for rotation but not removal, and the full when three filters are used at once. The filters are also available.
 F E A T U R E

PERFECT SHARPNESS
Xå±ųĹĜĹčĘŅƵƋŅƚŸåÚĜýåųåĹƋ
focusing techniques is important,
but recognising when to put each
to work – depending on the subject
matter – is essential for
professional results

© Shutterstock
SHOOT SHARP
Incorporate these essential skills into your workflow and
discover how to use a variety of focusing techniques

he philosophy surrounding audience. This means that, where a a professional skill to be able to adapt
T sharpness has changed
significantly over the history
fundamental skill such as focusing is
concerned, it’s now difficult to hide any
your approach to focusing for different
subjects and genres. Subject distance,
of photography. Modern sensors and flaws in the photographer’s technique. speed and direction all influence which
lenses are now capable of capturing a Correct focus is imperative, not only focusing method should be employed for
previously unobtainable level of detail, because blurred images fail to convey the most reliable results.
which has resulted in a cultural shift detail and act as a distraction, but also Here we’ll discuss the benefits
amongst photographers and the users of because the viewer of a photograph is and challenges of multiple focusing
the images we produce. The expectations led by where the plane of focus falls. If techniques, describing the philosophy
of quality – a perceived baseline standard misplaced this can incorrectly indicate behind each option, and how to recognise
level of sharpness – have increased to your audience where they should be when – and when not – to put them to
amongst an ever more demanding looking within your composition. It’s also work in any shooting situation.
 F E A T U R E

MASTER LANDSCAPE
FOCUSING STRATEGIES
Become an expert on focusing for static subjects,
and select the best method for your approach

FRONT-TO-BACK SHARPNESS
When using longer focal lengths,
the choice of focusing technique
ĜŸƤåƴåĹĵŅųåÏųĜƋĜϱĬØŸĜĹÏå%k8ĜŸ
more restricted, perspective
compressed and mistakes more
noticeable to the viewer

andscapes are some of the When working with foreground and detail which, as previously discussed,
L most frequently photographed
subjects, and many of the
background elements that are as widely
separated spatially, it helps to employ
is bound by higher standards today.
Some photographers now feel that
popular focusing methods are closely a focusing technique that offers the the reference values are somewhat
associated with this genre. The photographer confidence without the outdated. For sharper images, the
static nature of a scenic does lend need to rely on the LCD screen. double-distance method has become
photographers the benefit of forward The most commonly used technique a popular alternative, as it offers a
planning and time to reshoot; however, is hyperfocal focusing. Using this compromise between quality and speed.
the changeable and often sparsely method, the photographer refers to a One of the reasons new photographers
available light, especially during the set of pre-calculated focus distances, can be initially disappointed with
golden hours, can make precise focus often written in the form of a chart or manual focus methods is that they rely
judgement difficult. Furthermore, in table, which have been tailored for heavily on focusing aids while they
a panoramic vista we’re attempting a specific combination of aperture learn. Unfortunately the distance scales
to incorporate a large area in the settings, focal lengths and sensor on many lenses are not exceptionally
frame, with objects falling at multiple sizes – these values can now be accurate, meaning that fine details within
distances from the camera position, so obtained using a smartphone app, for images can’t be as successfully rendered
successfully rendering sharp detail in all maximum speed and convenience. as is ultimately possible. With experience,
areas takes significant skill. The technique allows focusing without at least as far as images with deep depth
The wide nature of a landscape shot the need for close scrutiny of the LCD, of field are concerned, it is possible to
also makes assessing accurate focus making the method a firm favourite do more work ‘by eye’. Get to know your
a challenge. Unless all sections of the for landscape photographers. There lenses, identifying where the best focus
© Hristo Dimitrov

composition are carefully checked, are occasions when the process does positions are, then add custom markers
it can be easy to overlook a slight fail however. The issue relates to the to the barrel, for instant and accurate
misplacement of the focal plane. definition of acceptable sharpness and placement of the focused plane.
 F E A T U R E

MASTER LANDSCAPE
FOCUSING STRATEGIES CONTINUED
DOF PREVIEW METHOD
While the hyperfocal distance method may not be the ultimate solution in the modern age of high-resolution cameras, it
still offers a rapid and uncomplicated approach. It’s possible to quicken the process even further by excluding the need
for referencing numerical values in a physical document or using an app. Make use of the DOF preview button to instantly
find the hyperfocal distance.

1 ENTER EXPOSURE SETTINGS

Set your aperture to a minimum of
f/ŎŎØƋŅåĹŸƚųååĹŅƚčĘÚåŞƋĘŅüĀåĬÚ
to cover your scene. Next, manually
calculate the appropriate shutter
speed or use aperture priority mode
to correctly expose the image, with
ƋĘåÚåŸĜųåÚüěŸƋŅŞĀƻåÚţ

2 USE LIVE VIEW

Switch to Live View mode and
zoom in to a distant area of the scene,
approximately at the horizon line.
Next set the lens at the minimum
focusing distance – this will ensure
we accurately judge the hyperfocal
distance in the following step.

3 PRESS DOF PREVIEW

BĜƋƋĘåÚåŞƋĘěŅüěĀåĬÚŞųåƴĜåƵ
button to stop down the aperture to
ƋĘåŸŞåÏĜĀåÚüěŸƋŅŞţFüƼŅƚųϱĵåų±
doesn’t feature a DOF preview
button, it’s possible that DOF is
automatically shown in the Live
View image – this is the case on
many CSCs and some DSLRs.

4 FOCUS MANUALLY
While holding down the DOF
preview, rotate the focus ring until
ƋĘåĵ±čĹĜĀåÚ±ųå±ĜŸŸĘ±ųŞţ‰ĘĜŸƵĜĬĬ
be the hyperfocal distance – the
closest focusing point at which the
background is rendered in-focus.
Be sure to check the foreground
and stop down the aperture further
should more DOF be required.
© Hristo Dimitrov
 F E A T U R E

MASTER LANDSCAPE
FOCUSING STRATEGIES CONTINUED
DOUBLE-DISTANCE
LENS FOCUS POINT
FOCUSING In this scene the closest area was
approximately two metres from the
Now a popular alternative to the camera. The lens was therefore focused
hyperfocal method, double- at four metres, using f/11, providing
distance focusing is not only good sharpness throughout the frame
more capable of rendering detail
in the far background, but is also
simpler in practice. Instead of
referring to a numerical value
from a chart, the photographer
simply looks for the area of
the frame that is closest to the
camera, approximately assesses
this distance, then focuses the
lens at a distance that’s double
this value. With the aperture
set to between f/11 and f/16
ƋĘĜŸŸĘŅƚĬÚŞųŅƴĜÚåŸƚþÏĜåĹƋ
ÚåŞƋĘŅüĀåĬÚƋŅÏŅƴåųÆŅƋĘƋĘå
foreground and most of the
ƱÏĩčųŅƚĹÚØŅýåųĜĹčŸĘ±ųŞĹ域
more in line with modern
sensors and lens quality. Close
the aperture incrementally if you CLOSEST AREA

© Peter Fenech
require greater DOF, watching
ŅƚƋüŅųÚĜýų±ÏƋĜŅĹåýåÏƋŸţ

HYPERFOCAL FOCUSING
FOCUS FOR REFLECTIONS
This method is still used by many photographers. Once the focus point has Understand the relationship between
been placed at this predetermined distance from the camera, the depth depth of field and reflected images to
of field will render the key areas of the frame acceptably sharp. The main identify where you should focus
advantage of hyperfocal focusing is that the same values can be utilised for
every frame shot at the same focal length and aperture combination. Greater Reflections in a mirror, window or the
success may be achieved when printing at smaller sizes, where any lack of surface of water can sometimes confuse
background detail will be less noticeable. photographers in the process of choosing
a focusing distance. Reflected images are

1 CHOOSE CAMERA SETTINGS

Set an appropriate aperture for your camera and
lens combination. For an APS-C format camera select at
not two-dimensional projections onto a
surface, rather they are ‘copies’ of a scene.
least f/11, or for a full-frame model f/16 is preferable, to To correctly focus a reflection you must
åĹŸƚųåŸƚþÏĜåĹƋÚåŞƋĘŅüĀåĬÚţ„ĜĹÏåƼŅƚűĬĬĵŅŸƋĬĜĩåĬƼ consider the distance from the camera to
be using a tripod, choose the minimum ISO. the surface and sum this with the distance
‘behind’ it, to the furthest reflected point.

2 USE REFERENCE VALUES

Compose the scene as required, selecting the most
appropriate focal length. Refer to a hyperfocal calculation
Use this total value to calculate where you
should focus at your chosen focal length
chart or input these parameters into an app. A distance and aperture.
ƴ±ĬƚåƵĜĬĬÆåčåĹåų±ƋåÚüŅųƼŅƚųŸŞåÏĜĀåÚüŅϱĬĬåĹčƋĘØ
camera type and f-stop, so check each is currently entered.

3 SET FOCUS POSITION

Rotate the focus ring until the suggested value is set
in the distance scale window, or the markers on the lens
barrel align with the engraved values. The exact position
of the lens ring may have to be approximate depending
on the precision of the distance scale.
 F E A T U R E

MASTER LANDSCAPE
FOCUSING STRATEGIES CONTINUED
ADDRESS ND FILTER COMPLICATIONS
COMMON MISCONCEPTIONS The darkening effect of an ND filter can create difficulties for accurate
Understand how some of the most assessment of precise focusing
misunderstood focus concepts can reduce

1
the success of your images POSITION
YOUR
FOCUSING MUST BE DONE BY EYE
eŸÆåčĜĹĹåųŸĜƋϱĹÆåÚĜþÏƚĬƋƋŅůƋųƚŸƋűĹŅĹěƴĜŸƚ±Ĭ
TRIPOD
Set up your
focusing techniques, however the use of mathematical
camera
calculations for distance is more accurate in poor
support,
lighting conditions. Experience will provide you with
attach the
ƋĘåÏŅĹĀÚåĹÏåƋŅĜÚåĹƋĜüƼƋĘåÆåŸƋüěŸƋŅŞüŅųƼŅƚų
camera and
equipment.
lens and alter
FOCUS IS THE SAME FOR EVERY SHOT
While the techniques discussed here cater for most
the leg height
to the desired
level. Arrange
2 FOCUS YOUR SHOT
Use any focusing method you deem
appropriate, whether this is auto-focusing
situations, they must be adapted to the environment.
the overall or a manual technique. Doing this before
For example, where there are close foreground areas a
framing using ±ƋƋ±ÏĘĜĹčƋĘåĀĬƋåų±ĬĬŅƵŸåĹŅƚčĘĬĜčĘƋĜĹƋŅ
smaller aperture or closer focusing distance may be
ƋĘåƴĜåƵĀĹÚåųØ the camera for the AF system to judge
necessary, since priority should be given to the areas
before adding üŅÏƚŸØŅų±ƚŸ±ÆĬåƴĜåƵĀĹÚåųĜĵ±čåüŅųƋĘå
that are most visible.
±ĹƼĀĬƋåųŸţ photographer to visually manipulate.
DOF MUST COVER ALL DISTANCES
Further to the above situation, DOF need not cover
distances that aren’t visible in the composition. If a
longer focal length is used, excluding foreground
ÚåƋ±ĜĬŸØÚŅĹűƋÆå±üų±ĜÚƋŅüŅÏƚŸ±ƋŅųĹå±ųĜĹĀĹĜƋƼƋŅ
quickly capture distant subjects. Speed can be
prioritised over depth.

DOF IS EQUAL THROUGHOUT THE FRAME

The area over which DOF extends is greater behind the
subject than in front of it. Therefore, should you notice a
lack of focus in the foreground, consider moving the
focusing distance closer before stopping down the
3 PLACE THE FILTER
eƋƋ±ÏĘƋĘåc%ĀĬƋåųƚŸĜĹč±ĀĬƋåųĘŅĬÚåų
or screw thread, taking care not to shift
4 USE LIVE EXPOSURE PREVIEW
8ŅųĀĹåěƋƚĹĜĹčüŅÏƚŸŅų±ÚģƚŸƋĵåĹƋŸ
±üƋåų±ƋƋ±ÏĘĜĹčƋĘåĀĬƋåųØƚŸå±ĵ±čĹĜĀåÚ
±ŞåųƋƚųåüƚųƋĘåųØųåĀĹĜĹčŸĘ±ųŞĹ域ƵĜƋĘŅƚƋ the focus position of the lens. With AF XĜƴåšĜåƵĜĵ±čåţ%åŞåĹÚĜĹčŅĹĀĬƋåų
ŸƋųåĹčƋĘåĹĜĹčÚĜýų±ÏƋĜŅĹţ ƋƚųĹåÚŅý±ĹÚƋĘåĜĵ±čåŞųåěÏŅĵŞŅŸåÚØ strength, the exposure simulation
you should be ready to take the shot, üå±ƋƚųåϱĹųåƴå±ĬŸƚþÏĜåĹƋüŅÏƚŸ
ƚŸĜĹčƋĘåĀĬƋåųěadjusted shutter speed. markers in your composition.

CHALLENGING DEPTH
When utilising a low perspective,
extra care must be taken to manage
the range of focus to keep objects
close to the camera and at a greater
distance sharp
© Hristo Dimitrov
 F E A T U R E

FOCUS ON THE MOVE

Master the art of finding focus in busy urban environments

FOCUS-RECOMPOSE
METHOD
This is a popular technique
where speed is the
photographer’s priority, since it
makes use of autofocus and is
屟ƼƋŅĜĵŞĬåĵåĹƋţ‰ĘåĀųŸƋŸƋåŞ
is to place the central AF point
(the most sensitive point in the
array) over the area you would
like to focus on. Half-press the
shutter button to focus the lens,
then recompose the scene as
required while holding down the
shutter release or after pressing
your camera’s focus lock button.
In wider compositions, or where
a smaller aperture is in use, this
enables near-instant focusing
8ŅųāååƋĜĹčŸĜƋƚ±ƋĜŅĹŸƵĘåųåƋĘå
of a scene. However, the
photographer would like to utilise
ÚĜŸ±Úƴ±ĹƋ±č埱ųåƋʱƋĀųŸƋĬƼƋĘå
autofocus, using the centre AF
ƴĜåƵĀĹÚåųŅųX%ĵƚŸƋÆåƚŸåÚØ
point to obtain focus followed by
and secondly, with narrower
framing adjustments is a popular
focus depth, loss of absolute
±ĹÚåýåÏƋĜƴåƋåÏĘĹĜŧƚå
sharpness is possible.

ocusing on a moving subject photographic equipment, meaning that

F takes a significant amount of
practice if sharp images are to
no photographer employing them will be
limited by the AF speed of their camera
UNDERSTAND
‘BY-WIRE’ CONTROLS
be achieved on a reliable basis – that is, or lenses, the performance of which Some of the latest cameras
successful shots are captured on every may vary greatly between pro-grade feature non-mechanical zoom
shoot. The situation is complicated and entry-level gear. This is noticeable and focus rings, altering the
further when you’re also in motion, when where obstructions are regularly crossing tactile experience
engaged in shooting a street scene the subject, which can lead AF systems
In a bid to minimise size and weight, some
for example. It’s advisable that on such to lose focus unless locked between
lenses use digitally controlled zoom and
shoots the photographer finds a place shots. Techniques such as zone focusing focus mechanisms. Rather than having a
to stand and observe the scene passing provide a means of confidently assessing physical connection to the lens elements,
before them. If this isn’t possible however, when an object will be in focus, without control inputs send digital data to a
a workable solution is required. This has having to look through a viewfinder or at processor, which actuates drive motors. If
your lens has such a system, familiarise
to cater for an ‘average’ scenario, since a Live View image. With experience this
yourself with how smooth the focus
every scene is continually changing. can be judged by eye alone, opening up ĵŅƴåĵåĹƋĜŸØŸŅƼŅƚϱĹÆåÏŅĹĀÚåĹƋĜĹ
The key challenge of street and many opportunities for images of people how quickly and accurately you can focus
documentary photography is the need for and events that would likely be disturbed from the hip before your next shoot.
discretion, in combination with the erratic by raising a camera to the eye.
movement of elements around and in The main considerations when using a
front of the subject. These make holding non-visual focusing method such as this
the camera to the eye and effectively are subject movement and your ability
locking on with autofocus impractical to compensate for this with ease. By
in many cases. Street photographers remaining stationary yourself you reduce
require a method of estimating focus the speed of distance change between
distance and depth of field, so that they the camera and subject, streamlining
can wait until the subject moves to within the focusing process. If your lens lacks a
a predetermined area before taking a distance scale, as many modern optics
shot. Such traditional strategies are well do, pre-focus at an estimated distance,
established, and offer the consistency turn off AF and keep the lens set, moving
we desire. They also work with any yourself instead of re-focusing.
 F E A T U R E

FOCUS ON THE MOVE CONTINUED

ACCURATE BUT DISCREET

By using the zone focusing method, the photographer
ϱĹÆåÏŅĹĀÚåĹƋ±ÆŅƚƋƋĘåų±ĹčåŅüŸÏåĹåĜĹƵĘĜÏĘ
subjects must be placed to be rendered sharp

ZONE FOCUSING
Focusing your lens at a predetermined distance is a highly successful technique, but it does require a good knowledge
of how to read and use the information that lens markings provide. Here experienced street photographer Derek Clark
(derekclarkphotography.com) explains the process behind confidently capturing pin-sharp images.

1 GET IN THE ZONE

Do you ever wonder why some
photographers can shoot from the hip and
2 LENS CHOICE
Wide-angle lenses work best for this.
ƐĂĵĵƵĜĬĬÚŅØÆƚƋFĀĹÚ±ƖíĵĵŠüƚĬĬěüų±ĵå
3 CAMERA SETTINGS
Set your camera to manual focus mode.
Aperture should be between f/í±ĹÚü/16.
get everything tack-sharp, while your pictures equivalent) is the sweet spot; aƖŎĵĵƵŅƚĬÚ Shutter speed is not important, but I get as
tend to come out like this one? The answer is get more DOF, but you would need to get ÏĬŅŸåƋŅŎxĂLjLj sec as possible. Our variable is
zone focusing, which is another way of saying uncomfortably close to your subject to have ISO; I set my ISO to Auto, with an upper limit
you pre-focus the camera. them large enough in the frame. ŅüƐƖLjLjŅųƅĉLjLjţ

4 DEPTH-OF-FIELD SCALES
B±ŸŸåĬÆĬ±ÚĀĬĵϱĵåų±ŸĬĜĩåĵƼĂLjLjÏxĵ 5 DIGITAL CAMERA DOF SCALE
As you can see from the blue bar in this 6 AIM AND SHOOT
Now just point and shoot. This is easy if
All images © Derek Clark

have a really cool DOF scale. As the aperture Ĝĵ±čåØåƴåųƼƋĘĜĹčÆåƋƵååĹĂű±ĹÚĿűƵĜĬĬÆå ƼŅƚűųåĬŅŅĩĜĹčƋĘųŅƚčĘƋĘåƴĜåƵĀĹÚåųØÆƚƋ

is closed down, two red markers move away in focus. That blue bar will get shorter if the it might take some practice when shooting
from each other. For example, at f/16 and aperture is opened up, or the focus distance üųŅĵƋĘåĘĜŞţFĀĹÚ±ƖíĵĵĬåĹŸĜŸĀĹå
üŅÏƚŸåÚƋŅƅűØåƴåųƼƋĘĜĹčüųŅĵĂűƋŅíűƵĜĬĬÆå is reduced. ŞŅĜĹƋåÚŸƋų±ĜčĘƋ±Ęå±ÚØÆƚƋ±ƐĂĵĵĹååÚŸ
rendered sharp. ƋŅƤÆåƋĜĬƋåÚƚŞŸĬĜčĘƋĬƼţ
 F E A T U R E

FOCUS FOR ACTION

Adapt your skills for quick-fire focusing with pinpoint accuracy

PERFECT PLACEMENT
By understanding camera behaviour, the
photographer can work in harmony with the
focusing systems of their body and lens to
ĀĹåĬƼ±ÚģƚŸƋüŅÏƚŸĜĹü±ŸƋ쪱ÏåÚåĹƴĜųŅĹĵåĹƋŸ

orking with focus in the fields of documentary photography, there’s a mode has the potential to compromise
W sport and action photography
is an almost inverse experience
requirement to create as many sharp
images as possible in a continually
the speed and accuracy of the system,
as the camera will be ‘looking’ for
to that of photographing landscapes. åƴŅĬƴĜĹčŸÏåĹåţ‰ĘåŸƚÆģåÏƋƤƋƼŞåØ a type of subject movement that is
While precision is still key, since this is camera position and speed of subject not occurring in reality. For example,
critical for rendering sharp images, the movement will all determine the leaving the camera set to the highest
approach to how this is achieved differs photographer’s approach to focusing AF sensitivity, so that it rapidly shifts
significantly. This is largely due to the – that is, the decision to either pre-set focus to cater for new objects in the
native depth of field of the lenses in focus, or attempt to track the subject frame, will likely result in misfocusing
use, which is far narrower and therefore using autofocus. where obstructions are passing in
less forgiving of focusing errors when Modern AF systems make use of front of the subject. Such a mode is
you’re shooting with telephoto optics highly sophisticated algorithms, which therefore unsuitable for tracking a
than when using wide-angle focal are capable of managing the majority single player in a football game for
lengths. Instead of attempting to get of commonly experienced shooting example, when shooting at pitch level
many widely spaced areas in focus, environments. Most of the problems and not from an elevated position. Any
the photographer will instead often expressed by photographers stem deficit in the understanding of how
be aiming to capture a small region of from a misunderstanding of how these a camera will behave in a variety of
densely arranged detail, but with the systems function, when each mode scenarios can lead to a mismatch of
additional complication of rapid and is best employed, and under which ‘intent’ between the photographer and
often erratic movement. In common conditions complications are likely to the AF system, resulting in shots that
with genres such as street and arise. An incorrect choice of autofocus fail to fulfil our expectations.
 F E A T U R E

FOCUS FOR ACTION CONTINUED

ALTERNATIVE FOCUS METHODS PRE-FOCUS YOUR SHOT

Many photographers only ever utilise the shutter-release button When working with skittish wildlife subjects or rapidly
to activate the autofocus system in their camera, but most models moving sports games, it may not be possible to
accurately refocus your lens before the scene has
allow this function to be assigned to alternative controls. While the
changed again and the subject has shifted position.
shutter release has become a familiar AF trigger, leaving it with a In these cases it’s better to select an area where you
double function can slow the photographer’s reactions to image can predict the subject will be, focus your lens at that
opportunities. Use one of the following options to distribute the location and wait for the action to unfold. There is an
workload across the camera setup. element of risk to this, but your focus will already be
ĀƻåÚŸĘŅƚĬÚ±ÏŅĵŞŅŸĜƋĜŅĹŸƚččåŸƋĜƋŸåĬüØĵĜĹĜĵĜŸĜĹč
your short-term workload. Use the focus-lock button
to ensure the AF system does not refocus before the
subject arrives.

A LITTLE TOO LATE By the time an image opportunity

had been recognised, the image composed and focus
engaged, the subject had already moved

AF-ON BUTTON LENS FUNCTION BUTTONS

Most advanced cameras feature a {ųŅƋåĬåŞĘŅƋŅŅŞƋĜÏŸ±ųåŅüƋåĹĀƋƋåÚ
button on the rear of the body that can with focus buttons that can be
be used to engage AF. While this is held assigned focus tracking functions,
down focus is either locked or tracks the focus lock or AF mode toggling. You READY TO CAPTURE For this frame, since this spot

x3 © Peter Fenech
ŸƚÆģåÏƋرŸÚåĀĹåÚÆƼƋĘåe8ĵŅÚå may have to enable these controls ʱÚÆååĹĜÚåĹƋĜĀåÚ±Ÿ±ĬĜĩåĬƼŞĬ±ÏåüŅųŸƚÆģåÏƋŸƋŅ
chosen in-camera. Shutter button AF – switching Nikkor lenses to the AF-L appear, the lens was pre-focused at that distance
may be deactivated. position for example. in anticipation of a potential composition

ZONE FOCUSING
High-spec digital cameras feature multiple autofocus modes, each understand how each type of subject movement poses a challenge
ÚåŸĜčĹåÚƋŅʱĹÚĬåƋĘåŸŞåÏĜĀÏűƋƚųåŅüŸƚÆģåÏƋĵŅƴåĵåĹƋÏŅĵĵŅĹ to the AF system, and therefore which mode you should choose
to various shooting scenarios. While any of these modes will accurately üŅų±ޱųƋĜÏƚĬ±ųŸĜƋƚ±ƋĜŅĹţœĘĜĬåƋåųĵĜĹŅĬŅčƼŅüƋåĹÚĜýåųŸÆåƋƵååĹ
measure subject distance, your choice of mode will determine how manufacturer, the overall functionality of modes on most DSLRs and
the camera reacts to changes in the composition. No single option CSCs is similar, so make sure that you familiarise yourself with those
is ideally suited to every shooting scenario, so it’s important to featured on your camera.

1 SINGLE-SHOT AF
Often the default mode, this focuses in a
single movement and locks the lens distance
2 CONTINUOUS AF
Al Servo and AF-C in Canon and Nikon
terms respectively, this mode is for tracking
3 PRIORITY AF
Al Focus mode on Canon cameras will select
between single shot and servo depending on
until the shutter button is released and half- a moving subject. Once AF is activated, focus the perceived subject motion – useful when
pressed again. Useful for landscapes, portraits will be continuously shifted to keep the subject you’re unsure which conditions to expect. On
and other stationary subjects, it’s the best sharp. Remember to tailor AF sensitivity to Nikon models AF-C priority selection allows
option when you don’t wish focus to shift. control how quickly the lens is focused. priority for focus accuracy or burst rate.
 F E A T U R E

MANAGE CLOSE FOCUSING DISTANCES

Capture close-up and macro images with ease by working
with depth of field and fine focus adjustments

ENSURE CLOSEST FOCUS

Check you’re fulfilling the
maximum potential of your
macro lens

With macro lenses, in order

to achieve the maximum
magnification possible the closest
focusing distance must be used.
With an optic capable of 1:1
magnification, the subject will be
projected onto the sensor at life
size when the closest possible
distance between that subject
and the lens is used – widen this
distance and the reproduction
ratio will be lower.

FINE ADJUSTMENTS
When working at the macro level, focusing
should be conducted in small movements,
© Peter Fenech

and regularly checked during the image

creation process to ensure precision and
accuracy is maintained

s popular as it may be, macro scales to be of much assistance. This Another complication is the use
A photography can be considered
a highly specialised genre,
in turn reduces the viability of zone
focusing-like methods, which also
of autofocus, which in many cases
can become a liability in macro
requiring a specific mindset with fail because we’re working with such photography. Cameras generally
regards to lens choice, lighting and narrow depth of field. exhibit a poorer performance at close
focusing. The high magnification and Furthermore, and for the same focusing distances, leading to lenses
frame-filling compositions typical of reason, any change in camera position ‘hunting’ for focus, thereby slowing
the genre make any misjudgment in can have a drastic effect on focus, the workflow and resulting in missed
focusing highly visible. At such close unlike situations where a wide lens and images. It’s advisable to turn off AF, at
focusing distances depth of field is smaller aperture setting are in use. Care least at the closest focusing distances,
vastly reduced, so the positioning of the must therefore be taken not to move and manually focus while visually
focal plane must be tightly controlled the relative position of the sensor to the inspecting the scene. For maximum
if the correct areas of the subject are to subject after focus has been confirmed, success, take many frames to increase
be kept sharp. Unfortunately, many of which removes the focus-recompose the probability of capturing a perfectly
the regularly used focusing techniques approach as a usable option. It’s also focused image, with the subject and
fail at macro working distances. necessary to compensate for subject lens ideally aligned. Consider using
Firstly, the minute alterations in focus motion, due to wind for example, as burst mode and altering focus between
position required for fine-tuning macro ƋĘĜŸƤƋŅŅϱĹŸĘĜüƋĜĵŞŅųƋ±ĹƋÚåƋ±ĜĬŅƚƋ frames as a means of tipping this
images are too precise for lens distance ŅüƤƋĘåüŅÏƚŸDŽŅĹåţ probability in your favour.
 F E A T U R E

MANAGE CLOSE FOCUSING DISTANCES

CONTINUED

TILT-SHIFT FOR MACRO DEPTH USE FOCUS PEAKING

Tilt-shift lenses are more commonly associated with landscape and Make the most of in-camera focusing aids
architectural photography, but perspective-control optics have a to ensure your subject is perfectly sharp
place in the macro photographer’s inventory. There are dedicated
macro-enabled tilt-shift models, which allow DOF to be extended Many cameras, especially CSCs which
by manipulating the orientation of the focal plane. Arrange your lack an optical viewfinder, come equipped
ÏŅĵŞŅŸĜƋĜŅĹØŸåĬåÏƋ±ĵĜÚěų±Ĺčå±ŞåųƋƚųåŅüüxŎŎěŎĉØƋĜĬƋƋĘåĬåĹŸ with a focus peaking feature on the rear
until as much of your subject as possible is in focus, and then make LCD. Once activated, a visual indication
final focusing refinements. will be displayed that highlights in-focus
edges within the image. While it may still
be necessary to check fine detail in the
main areas of the scene, peaking provides
a great tool for quickly checking that the
focus point has not shifted before you take
the image. It will enable to you recognise
major focusing issues early on, so you can
correct these pre-capture. It also provides
a live visualisation of sharpness as you alter
focus, which can make assessment easier
when the camera is close to the ground.

A macro tilt-shift lens combines 1:1 focus plane was aligned with this
ĵ±čĹĜĀϱƋĜŅĹƵĜƋĘÏŅĹƋųŅĬŅƴåųüŅÏƚŸ subject to render more in focus. Shifting
plane orientation. Various focal lengths also allows easy recomposition without
±ųåƚŸƚ±ĬĬƼŅýåųåÚţƼƋĜĬƋĜĹčƋĘåĬåĹŸƋĘå moving the camera, maintaining DOF

MOVE THE FOCUS POINT

eŸÚĜŸÏƚŸŸåÚØƋĘåüŅÏƚŸěųåÏŅĵŞŅŸåƋåÏĘĹĜŧƚåŅýåųŸŸŞååÚ±Úƴ±ĹƋ±čåŸØ such as the subject’s eyes, then focus as normal. The peripheral points are
but at longer focal lengths and with shallower DOF, it’s less applicable. often less sensitive than the central points, which are likely of the ‘cross-
Modern cameras use extensive arrays of AF points which are user- type’ variety, but this strategy will produce more reliable sharpness. On
selectable. Once you have a composition planned, use the multi-control certain cameras it’s possible to limit the array to only X-type points, which
pad on the back of the body to select a point covering key areas of interest, may help with focus speed and accuracy in lower ambient light.
x3 © Peter Fenech

1 DISPLACED FOCAL PLANE

The centre AF point was used to focus
on the subject’s eyes, but as the scene was
2 USE THE AF ARRAY
Make full use of the extensive autofocus
systems of modern digital cameras. Even
3 COMPOSE FIRST
The framing was arranged and the focus
point placed over the part of the scene that
recomposed the shift has moved the focal entry-level models now feature all cross-type ĹååÚåÚƋŅÆåŸĘ±ųŞåŸƋţ‰ĘĜŸĀƻåÚüŅÏƚŸüŅųƋĘå
plane backwards, reducing overall sharpness. arrays for greater accuracy and speed. ĀűĬÏŅĵŞŅŸĜƋĜŅĹØĵ±ƻĜĵĜŸĜĹčŞųåÏĜŸĜŅĹţ
 F E A T U R E

IMPROVE APPARENT SHARPNESS

Use software tools to overcome lens quality challenges

1 PERFORM LENS CORRECTIONS

With lower-quality lenses chromatic
aberration is often more visible, which can
2 STAGE 1 SHARPENING
Use your raw processor’s sharpening
ƋŅŅĬƋŅ±ŞŞĬƼ±ĀųŸƋųŅƚĹÚŅüčĬŅƱĬÚåƋ±ĜĬ
3 SOFTEN BACKGROUNDS
An alternative method of increasing the
apparent sharpness of an area of the frame is to
ÏŅĵŞųŅĵĜŸåĀĹåÚåƋ±ĜĬƋŅƵ±ųÚŸƋĘåüų±ĵå enhancement. Use the Radius slider to work actually soften the background. If your shot is
edges. Always apply lens corrections as ŅĹÚĜýåųåĹƋƋƼŞåŸŅüÚåƋ±ĜĬŠƚŸå±ĬŅƵåųŸåƋƋĜĹč slightly misfocused, you can use the Adjustment
standard in raw processing to remove edge üŅųĀĹåųÚåƋ±ĜĬš±ĹÚåĵŞĬŅƼĵ±ŸĩĜĹčƋŅåƻÏĬƚÚå Brush in Camera Raw, set to negative sharpness,
fringing, to reduce the illusion of softness. ā±ƋƋåųƋŅĹåŸØƋŅĵĜĹĜĵĜŸåĹŅĜŸåţ to introduce greater separation.

4 LOCALISED TWEAKS
Use the Adjustment Brush in Camera
Raw or Lightroom to sharpen more localised
5 ADD NOISE
If your focus is imperfect over essential
areas of the subject, consider adding noise
6 OUTPUT SHARPENING
If you’re printing from within ACR or
Lightroom you can apply sharpening for
parts of the frame. This can also be done in in Photoshop. Use Filter > Noise > Add Noise, ŸŞåÏĜĀÏŅƚƋŞƚƋÚåŸƋĜűƋĜŅĹŸţeĬƋåųűƋĜƴåĬƼ,
Photoshop using Unsharp Mask applied to an choose Gaussian and check Monochromatic. apply another round of moderate sharpening
adjustment layer or by using the Sharpen Tool Apply a small amount to give the impression of ĜĹ{ĘŅƋŅŸĘŅŞØĬŅƵåųĜĹčƋĘåŅޱÏĜƋƼƋŅĂLjŢţ‰ĘĜŸ
on a duplicate layer. This enables stronger detail, and m±ŸĩŅƚƋƋĘååýåÏƋüųŅĵƋĘåųåŸƋŅü will compensate for further detail loss during
application where it’s most needed. the frame if necessary. printing or resizing.

HIGH STANDARDS
Through careful
experimentation it’s
possible to assess the
maximum sharpness
obtainable with your
equipment. From this
baseline you can judge
the success of your
focusing technique for
all subsequent images
© Hristo Dimitrov
 G A L L E R Y

XPOSURE
THE WEEK’S MOST INSPIRING READER PHOTOS

FOOTPRINT IN SNOW
ALEXANDER FENZL
“I shot this image with my Olympus E-M5, fitted with an Olympus M.Zukio Digital ED 17mm 1:1.8 lens.”
http://tiny.cc/z3vp3y
 G A L L E R Y
THE WEEK’S MOST INSPIRING READER PHOTOS

BUBBLE MACRO
JACQUI LEWIS
“This is a bubble produced with
BçSFHVMBSDIJMESFOTCPUUMFPG
bubble liquid - very close up
under an angled light, the
bubbles show amazing,
ever-changing colours which
ZPVDBODBUDIJGZPVSFRVJDLw
http://tiny.cc/46ek2y

VW VAN
JOHN NEW
“I photographed this VW
camper van on a bright sunny
day in an overgrown corner of
a scrapyard owned by a friend
of mine. The van has been
there for many years.”
http://tiny.cc/30vp3y
 G A L L E R Y
THE WEEK’S MOST INSPIRING READER PHOTOS

COSMIC LIGHTHOUSE: PHOTO ART

LARRY GRAY
i5IFAXBUFSJOUIJTJNBHFJTBNJYUVSFPGNJMLBOEXBUFS'PPEDPMPVSJOHBOEBUIJDLFOFS
QSPWJEFEDPMPSBOETNPPUIUFYUVSF BOE*MJUUIFTFUVQVTJOHPGGDBNFSBGMBTIw
http://tiny.cc/0rpv3y
 G A L L E R Y
THE WEEK’S MOST INSPIRING READER PHOTOS

SCALEBER FALLS, YORKSHIRE DALES

DAVID OXTABY
“This is Scaleber Falls in the Yorkshire Dales. I had been planning to visit this location for some time, and
finally had the opportunity. I shot this on my Nikon D7200 with a 10-stop Haida ND filter attached.”
http://tiny.cc/jzvp3y

PHOTOGRAPHY WEEK WANTS YOUR PHOTOS!

5BLFOBQPSUSBJUZPVSFQBSUJDVMBSMZQSPVEPG 4IPUBTFOTBUJPOBMTVOTFUZPVEMJLFUP
TIPXPGG 5IFOKPJOUIFPhotography Week Facebook community and share your best
FACEBOOK FLICKR QIPUPTUPEBZæ:PVMMHFUGFFECBDLGSPNGFMMPXSFBEFSTBOEUIFPhotography Week
http://tiny.cc/qi0oey http://tiny.cc/rn0oey team, plus the chance to appear in Xposure, or even on our cover!
 I N „ { I R e T I k N

F ‰ ű „   k k X Ø  ‰ B e‰
THE BEST THING WE’ VE SEEN THIS WEEK

Images © The photographer and courtesy Shot on iPhone Challenge

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eĹÚųåƵ:ųĜŸƵŅĬÚØĜ{ĘŅĹ壄ſŅÆåųƋ:Ĭ±ŸåųØĜ{ĘŅĹåƀſeĬåƻIĜ±ĹčØĜ{ĘŅĹ壄a±ƻ

APPLE REVEALS THE 10 BEST

IMAGES SHOT WITH AN IPHONE
pple has announced the winners ŞĘŅƋŅčų±ŞĘƼěŞŅƵåųĘŅƚŸåŞĘŅĹ域ƚÏʱŸ
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 S K I L L S

CRASH COURSE
ESSENTIAL PHOTO SKILLS MADE EASY

GE T SHARPER SHOTS WHEN

THE L IGHT IS LOW
Jason Parnell-Brookes explains how you can get razor-sharp
shots in low light by using AF-assist illumination

There was a time where of the lens until things are nice and subject in order to help the AF system
30
MINS
we had to manually focus
our lenses; and before that,
sharp. However, while autofocus works
brilliantly in good light, systems still
achieve focus. How you access this
feature depends on what camera you
in the very earliest days of struggle when the light drops – if it’s have. In this tutorial we’re using the AF-
photography, cameras gave you no too dark your camera won’t be able to assist lamp that’s built into the body of
ÏŅĹƋųŅĬŅƴåųüŅÏƚŸĜĹč±Ƌ±ĬĬôÆƚƋƤƋŅÚ±Ƽ analyse the environment accurately our Nikon DSLR; some Sony cameras
we have it easy thanks to autofocus. ±ĹÚƤƵĜĬĬÆåƚűÆĬåƋŅüŅÏƚŸţ have a similar on-body lamp, while
Your camera’s autofocus system That’s where AF-assist illumination on Canon and other cameras a similar
±Ĺ±ĬƼŸåŸƋĘåŸÏåĹåĜĹƤüųŅĹƋŅüƼŅƚ comes in. This sends out a beam of feature is available either via the built-
and makes adjustments to the focus light from the camera body onto the in flash or compatible flashguns.
 S K I L L S
STEP BY STEP GET SHARP SHOTS IN LOW LIGHT

Ŏ
IN THE MENU
If, like us, you’re using a Nikon DSLR go to
Custom Settings Menu > Built-in AF-assist
illuminator and turn it on; if you’re using a
different make of camera the feature will be
called something similar. Ensure the AF switch
is set to AF on your lens and camera body. Now
half-press the shutter button to focus and see
the illuminator light up.

2
GET CLOSE
AF-assist systems have a limited range – on
our Nikon it’s±ųŅƚĹÚLjţĂěƐţLjĵŠŎüƋíĜĹěĿüƋš, so
ensure you’re within range of your subject for it
to work. This means it won’t be useful for distant
landscapes in low-light conditions, but will work
on close-up flowers, people and other subjects.

Ɛ
LINE OF SIGHT
In order for the illuminator to work effectively it
ĹååÚŸƋŅƤŸƋųĜĩåƼŅƚųŸƚÆģåÏƋƵĜƋĘŅƚƋŅÆŸƋųƚÏƋĜŅĹţ
If you’re using a Nikon or other camera with an
on-body lamp make sure your hands don’t get
in the way, and remove the lens hood if you
have one fitted. It will also only work through the
viewfinder, so don’t engage Live View.

AUTO-SERVO AF
In AF-A (Auto-servo AF) the Nikon subject movement. When in AF-S the
body automatically switches between built-in AF-assist illuminator will work,
AF-S (Single-servo AF) and AF-C ĜĹƤe8ěĜƋƵŅĹűƋţ„ååŸƋåŞŸĉ±ĹÚĂüŅų
(Continuous-servo AF) if it detects more on AF settings.
 S K I L L S
STEP BY STEP GET SHARP SHOTS IN LOW LIGHT

ĉ
AF MODE
This works when the focusing system is in
AF-S (Single-servo AF) mode. It can work in
AF-A (Auto-servo AF) mode if Single-servo
AF is selected when shooting (see tip on
previous page). To check, hit the AF button on
the camera and use the sub-command dial to
scroll through the AF options.

Ă
AUTO-AREA AF
If the illuminator still isn’t working, it could be
because you need to set the AF-area mode to
Auto-area AF. With the AF button depressed,
scroll through with your command dial
ƚĹƋĜĬƤƼŅƚųå±ÏĘe8ěeţ

6
SETTINGS
OƚųüĜűĬŸåƋƋĜĹčŸƵåųå±Ĺ±ŞåųƋƚųåŅüüxƖţí
to enable us to set a fast shutter speed, a
shutter speed of ŎxƖLjLjŸåÏƋŅ±ƴŅĜÚϱĵåų±
shake while shooting handheld,±ĹÚF„kŎLjLj
ensure optimal image quality.

QUICK TIP
If you turn off the AF-assist illuminator (like
most pros do), you may find that autofocus
hunts when lighting is poor, but you can
always switch to manual focus at this point
ifƤyou want to.
 E D I T I N G

PH OTOS H O P
LEARN ESSENTIAL EDITING SKILLS FAST!

D O W NL O A D T HE
PROJEC T F IL E S
h t t p : // t i n y. c c / 54 o w3 y
ON A PC OR MAC

W AT CH T HE V IDEO
h t t p : // t i n y. c c / x i l o k y

HOW TO...
PA INT WI TH FILTERS
Learn how to transform any photo into a work of brush-based
art with a simple combination of filters and layer masks

n this issue’s video tutorial we’ll show Bridge to apply the settings in step one).
I you how to transform your photos
into paintings, complete with brush
Then we’ll apply a combination of filters on
several duplicates of the original layer to give
strokes and watercolour borders. We’ll begin our portrait a painterly look, using blending
by using a neat trick with Photoshop CC’s modes to combine each effect. We’ll then
Camera Raw filter to smooth out the detail of add a layer mask and use the Wet Media
the original image (if you have an earlier brush set to create brush strokes. It’s quick,
version, open the image in Camera Raw via it’s easy, and it works even if you can’t paint!

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 aFkX)„„‰)„‰
EXPERT OPINION ON THE L ATEST KIT

CANON EOS RP
Looking to upgrade from a crop sensor? Canon’s latest mirrorless
model offers a compelling way to go full-frame
www.canon.com £1,399/$1299 (body only)

åŸŞĜƋåųƚĵŅƚųŸƋʱƋƤĜƋƤƵŅƚĬÚ ŸåĹŸåŅüĵå±ĹĜĹčůüŅųåƴåųƼÆŅÚƼűţ ±ĹŅĹ)k„ƀƀ%ŅųaĂLjرĹÚƵĘŅ

D Æå±ŞųŅü域ĜŅűĬěčų±Úå
version of the Canon EOS R
‰ĘĜŸƋåĬĬŸƼŅƚåƻ±ÏƋĬƼƵĘŅƋĘå)k„
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ĵĜųųŅųĬ域ĵŅÚåĬţFĹÚååÚØƋĘåů{űĜĹ ŞĘŅƋŅčų±ŞĘåųŸ×ƋĘåĩĜĹÚƵĘŅ±Ĭųå±ÚƼ ±Úģ±ÏåĹƋƋŅƋĘåƅ%a±ųĩFFĜűĹŅĹűŸ
ƋĘåűĵåŸƋ±ĹÚŸüŅųůŞŅŞƚĬ±ųűØĜĹƋĘå ŅƵűĹe{„ěϱĵåų±ØŸƚÏʱŸ± ŞųŅÚƚÏƋĬĜĹåěƚŞØģƚŸƋ±ŸƋĘå)k„ŸĜƋŸ
 MIRRORLESS TEST CANON EOS RP

1 Canon’s smallest and lightest full-frame

camera, the EOS RP weighs just 485g
JODMVEJOHCBUUFSZBOEçDBSE

2 The 54mm RF mount, ironically, is better

suited to smaller EF lenses on the EOS RP.

3 The 0.39-inch, 2.36 million-dot EVF is the

01
same as the one in the Canon EOS M50.

4 The EOS R’s divisive M-Fn touchbar has been

removed from the RP.

5 Despite being much slimmer than the

&043BUYYçNN UIF31SFUBJOTUIF
EOS R’s deep grip. 02
6 5IF31IBTBçMPDLMFWFSGPSUIFçSFBSEJBM BT
PQQPTFEUPUIF&043TUPHHMJOHMPDLCVUUPO

7 Gone are the top LCD and Mode button from

UIF&043 SFQMBDFECZçBNPEFEJBM

03 04

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06
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ϱűƚƋŅüŅÏƚŸÚŅƵĹƋŅěĂ)šţ
 MIRRORLESS TEST CANON EOS RP

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Build and handling

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‰Ęå)k„űŸŅŞĜĹĜŅĹěÚĜƴĜÚĜĹč
It’s not built for shooting sports, but the
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±ĹÚƋĘåĵŅÚåÆƚƋƋŅĹØʱƴåÆŅƋĘ
 MIRRORLESS TEST CANON EOS RP

ÆååĹÚųŅŞŞåÚرĬŅĹčƵĜƋĘƋĘåƋŅŞ Right: The famed ‘Canon colour science’

X%ŸÏųååĹţåŞĬ±ÏĜĹčƋĘåĵĜŸ delivers rich, faithful reproduction.
±ĹŅĹűŸü±ĵĜĬĜ±ųĵŅÚåÚĜ±ĬØƵĘĜÏĘ
Ƌ±ĩåŸƚŞĬ域ŸŞ±Ïå±ĹÚĵ±ĩåŸƋĘå
ŸĘŅŅƋĜĹčŞųŅÏ域ĵŅųåĜĹƋƚĜƋĜƴåرŸ
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ƼŅƚÏʱĹčåĬåĹŸåŸţ

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important to remember that the
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 MIRRORLESS TEST CANON EOS RP

RESOLUTION (LINE WIDTHS/PICTURE HEIGHT)

We tested the EOS RP against three rival

cameras: its Canon stablemates the EOS M50
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Unsurprisingly, the identical sensor resolutions
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to shoot sharp macro images. SIGNAL-TO-NOISE RATIO (DECIBELS)

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8 AF POINTS: %6"-1*9&-"' James Artaius
POSITIONS (143 ZONES) ISO RANGE:
100 TO 40,000 (EXP 50 TO 102,400) MAX
IMAGE SIZE: 6,240 X 4,160 METERING
MODES: EVALUATIVE, PARTIAL, SPOT,
CENTRE-WEIGHTED VIDEO: 4K AT 25P, FHD
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AT 25P/50P, HD AT 25/50P VIEWFINDER: ‰Ęå±ĹŅĹ)k„{ĜŸ±ĘĜčĘĬƼ
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SDXC (SUPPORTS UHS-II) LCD: 3-INCH üƚĬĬěüų±ĵåŞĘŅƋŅčų±ŞĘƼƵŅƚĬÚÚŅ
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1.04M DOTS MAX BURST: 5FPS (ONE
SHOT), 4FPS (SERVO AF) CONNECTIVITY: The three Canons are closely matched, and
WI-FI, BLUETOOTH SIZE: 99.. UIFGVMMGSBNFTJCMJOHTLFFQDMPTFGBNJMZ
WEIGHT: 485G WITH CARD AND BATTERY ties throughout the sensitivity scale.
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