Canon EXPLORE EOS BROCHURE

EF 24-105m m f/4L IS USM, 1/250 sec @ f/6.3, ISO 800, © Joel Santos. Canon Ex plorer

Explore your imagination with advice,

photographer’s stories and our guide to

the world of possibilities that Canon EOS

system cameras and lenses offer.

EXPLORE EOSIssue 1: Summer 2014

Canon Inc.

canon.com

Canon Europe

canon-europe.com

English Edit ion 0181W815 © Canon Europa N.V.,2014

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WHAT’S INSIDE

A whole world of possibilities.

There’s never been a better time to be a photographer. The ever-increasing sophistication of digital cameras has opened up a whole new world of creative possibilities for ever yone – from the amateur to the professional.

When you buy a Canon EOS DSLR, you aren’t just buying a camera. You’re investing in a system of lenses and accessories that empower you with the creative flexibility to make incredible images and movies. With the right lens, anything is possible – and we’ll help show you how.

GO DIGITAL!

Packed with extras, this brochure is also available to download for both iOS and Android tablets. Just search for ‘Canon Brochures’ in the relevant app stores. Enjoy interviews with professional photographers, discover how to shoot in new styles, and get advice on which lenses and accessories can make a difference to your photography.

canon-europe.com/brochures-eos-01

CAMERA BODIES

Speedlite FLASHES

HISTORY

OF EOS

PEOPLE

PLACES

ACTION

DETAILS

ISSUE

HIGHLIGHTS

Exclusive interview with Canon Explorer Jörg Kyas on p16

Spotlight on Prime Lenses on p32

Focus on Tilt and Shift on p36

LIFE

INNOVATION

ALWAYS

Starting with our first lens in 1946, we’ve been constantly developing our technologies and manufacturing processes. In 1987, we launched the Canon EOS Camera system. Now there are EOS cameras for every type of photographer, from beginners to professionals. And that’s just the beginning. More than 70 lenses give you unlimited scope for creative control – so you can take exactly the shots you want.

1946

Serenar

50mm f/1.8 I

1951

1953

Canon

50m m f/0.95

1961

196 4

FL-F

300mm f/5.6

1969

TS 35mm

f/2.8 SSC

FD 400mm

f/4.5 SSC

1973

1971

1973

1975

EF 50mm

f/1.0L USM

1982

198 9

1993

EF 400mm f/4 DO IS USM

Worlds first

camera lens

to incorporate Canon’s

DO lens elements.

1995

2001

EF 100mm f/2.8L Macro IS USM

World’s first

camera lens to employ Hybrid IS.

interchangeable SLR

2008

EF-S 18-135mm f/3.5-5.6 IS STM

& EF 40mm f/2.8 STM

The world’s first

AF system with a stepping motor.

2009

2011

lenses to drive an

20 12

2013

19m m f/3.5

Serenar

50mm f/3.5 I

55mm f/1.2 AL

Serenar

100mm f/3.5 I

4 5

FD 35-70mm

f/2.8-3.5 SSC

FD 14mm f/2.8L

EF 35-350m m

f/3.5-5.6L USM

EF 75-300mm f/4-5.6 IS USM

World’s first

lens for 35mm cameras with

interchangeable

an Image Stabilizer.

Claims were v alid at the launch time o f the respecti ve lens.

For 35mm SLR cameras w ith interchangeable lense s. 2 Among pho tographic lenses. 3 For an SLR camer a with an interchangeable le ns.

EF 24mm f/1.4L II USM

World’s first

camera lens

to employ SWC.

EF 8-15mm f/4L Fisheye USM The world’s first

lens for shooting both circular

and rectangular full-frame

fisheye zoom

fisheye photos.

EF 200-400mm f/4L IS USM

Extender 1.4x

The world’s first

telephoto zoom lens with

built-in extender.

ultra-

CHOOSE

BEGINNERS ENTHUSIASTS PROFESSIONALS

YOUR

BODY

Finding the right camera for your needs depends very much on how experienced you are as a photographer.

If you’re just starting out, you need a high-quality camera which is easy to use and offers creative opportunities for you to grow as a photographer – you might want to start off using automatic mode and then gradually exert greater control over exposure and depth of field by changing the lenses you use.

If you’re an experienced photographer, you’ll need high-quality equipment that can take you to the next level – you might want to shoot semi-professionally and need the image quality to back you up.

WHICH SENSOR?

EOS cameras use one of two sensor sizes. The smaller of these is called APS-C, and measures

22.5 x 15mm (approx.) in size. The larger 36 x 24mm sensor is known as full-frame. Since APS-C sensors crop the picture more than full-frame sensors, they give a narrower field of view. This is often useful for photographers wanting to get closer to their subjects – such as wildlife, sports and action.

APS-C bodies can use both EF and EF-S lenses, whilst full-frame bodies can use EF lenses only. The EOS-M body uses EF-M lenses or, with a Mount Adapter EF-EOS M, it can use both EF and EF-S lenses. A cinema lens with EF mount can be used by all EOS bodies.

EOS M EOS 5D Mark III

APS-C

An 18-megapixel, interchangeable-

lens compact system camera small

enough to take anywhere. Enjoy simple

creative controls and superb low-light

performance for stunning images.

EOS 1200D EOS-1D X

APS-C

Embrace every opportunity.

Capture the emotion of the

moment with a DSLR camera

that’s easy to use and delivers

results you’ll love.

EOS 100D EOS-1D C

APS-C

A small and responsive DSLR to

take everywhere. The 18-megapixel

EOS 100D delivers superb photos

and video, and features an optical

viewf inder and intuitive touch

screen controls.

EOS 700D

APS-C

Step into DSLR photography and

let your creativity grow. Produce

superb photos and video with an

18-megapixel sensor and enjoy

shooting with an easy-to-use Vari-

angle Clear View LCD II touch screen.

EOS 60Da

APS-C

Designed specif ically for

astrophotography, the EOS 60Da is

more sensitive to infrared light thanks

to a modified low-pass filter that sits

in front of the camera’s 18-megapixel

CMOS sensor.

EOS 70D

APS-C

Capture the moment in stunning

stills and Full-HD movies with the

high-performance EOS 70D,

featuring 7fps full resolution

shooting, an advanced 19-point

AF system and Canon’s unique

Dual Pixel CMOS AF technology.

EOS 7D

APS-C

The EOS 7D combines high

performance, versatility and cinematic-

style HD movies. 18-megapixel

resolution delivers superb qualit y and

8fps continuous shooting keeps you

ahead of the action.

EOS 6D

Full-frame

A 20.2-megapixel DSLR featuring a

full-frame sensor and compact design.

Ideal for portrait photography and

travel, offering tight control over depth

of field and a large choice of wide-

angle EF lenses.

Full-frame

The EOS 5D Mark III is a full-frame,

22.3-megapixel DSLR with 61-point

autofocus and 6fps continuous

shooting. Capture high-quality Full-HD

movies with manual control over

everything from frame rate to audio.

Full-frame

The EOS-1D X combines speed with

image quality to create the next

generation camera for professionals.

Full-frame, 18-megapixel sensor with

Dual “DIGIC 5+” processors sets the

standard, and up to 12fps shooting

takes it beyond.

Full-frame

A groundbreaking multimedia

camera that excels at both stills and

movie shooting, EOS-1D C brings 4k

movies and advanced video functions

like Canon Log Gamma to a high-

performance DSLR body.

Download t he digital version of Explore EOS for more information on EOS bodies. See page 3 for d ownload details.

EF 50mm f/1.4 U SM

1/2000 sec @ f/2, ISO 400

PEOPLE

It’s often said that a face can tell a thousand stories. It might be your daughter’s journey through childhood or the depth and wisdom in the eyes of an old friend. But the real beauty of portrait photography is that every shot is as individual as the person in it. Capturing a face can be one of the most satisfying and rewarding types of photography. And, with a good lens and the right technique, it’s easy to get the results you want.

People

EF 85mm f/1.2L I I USM

1/4000 sec @ f/1.2, ISO 250

TURNING HEADS

How to make your portraits stand out from the crowd.

eople make the most incredible subject for photographers of any

level. And the potential for creativity is infinite. No two shots of a person will ever be the same – the slightest difference in focus, lighting or expression can uncover a different aspect of mood or personality.

While there is no one approach to shooting portraits, there are lots of factors that can change the look and feel of a photo. Do you want to pose your subject or shoot them naturally? Do you want to shoot from up high or low down?

For close-up portraiture, it’s important to choose a lens with a focal length long enough to let you stand a little distance away, so you don’t crowd your subject. A 50mm lens on an APS-C camera is perfect for filling the frame with

someone’s face or just their head and shoulders. It’ll give you biting sharpness and contrast so your subject will really stand out from their surroundings, backed up by silky smooth out-of-focus areas that will hint at the subject’s location without causing distraction. Or, if you are a fullframe photographer, look at the EF 85mm f/1.8 USM or the EF 135mm f/2L USM if you want to stand a little further away.

Choosing a larger aperture such as f/1.8 will allow you to pinpoint the focus to an area as specific as the eyes. If you’re shooting your subject side on, you could set the lens even wider at f/1.2, so that just one eye is in focus – such shallow depth-of-field can create incredibly intense portraits. Just be careful to focus accurately, as there’s not much room for error.

EF 50mm f/1.4 USM

A higher per formance 50mm lens, with fas ter USM focusing and a larger f/1.4 maximum aperture t hat’s ideal for close-up por traiture.

EF 85mm f/1.8 USM

A classic por trait lens, part icularly for those wor king with full-fram e DSLRs. It allows you to sh oot with the flat tering perspec tive and shallow depth of f ield that professi onals love.

People

EF 50mm f/1.2 L USM

1/6000 sec @ f/2, ISO 250

Shot by Lili Love

It’s important to be comfortable when shooting. Investing in an external battery grip makes your camera easier to hold vertically, when shooting in portrait orientation. Each one is specific to an EOS camera and offers a shutter-release button for vertical shooting, as well as space for an extra battery – useful if you’re shooting all day.

Try to make the most of natural lighting, from a window for example. If this isn’t possible, flash can help, although you should take a few simple precautions to ensure a natural result.

Using flash directly from on top of your camera can look harsh and lacks atmosphere. Instead, try using an external Speedlite flash – bouncing its light off a wall or ceiling by rotating the flash head. Alternatively, position a Speedlite away from the camera and trigger it remotely, using a Speedlite transmitter. Try aiming it at your subject from one side or point it at a large reflective surface. And, if you have several Speedlite flashes, you can light the background and subject at the same time.

It’s

Child’s

Play

Kids can be brilliant at posing for the camera but sometimes it can be hard to get natural shots of them playing or simply being themselves. The solution? Keep your distance. Use a telephoto zoom like the EF-S 55-250mm f/4-5.6 IS STM and you can capture all the mischief and mayhem without the little ones noticing a thing.

Children often lose interest in being photographed quite quickly. You can use toys to help capture their attention and keep them absorbed, or set up an environmental portrait where you deliberately show your subject in context – for example, on a climbing frame or playing a game.

EF 70-20 0mm f/2.8L IS II US M, 1/250 sec @ f/11, ISO 250 © Joe Pete rsberger

EF-S 55-250mm f/4-5.6 IS STM

This versat ile, affordable and lightweigh t telephoto lens let s you keep your dist ance while shooting, so children will nev er notice you are there.

EF 70-300mm f/4-5.6 IS USM

Get even mor e telephoto reach with a 300mm max zoom s etting. USM focusing helps t rack movement quickly – perfe ct for energetic ki ds.

People

EF 16-35mm f/ 2.8L II USM, 1/100 sec @ f/2.8, ISO 320 © Flavio Bandiera. C anon Explorer

The Big Day

Weddings provide a unique opportunity for photographing friends and family when they’re looking their best. The shots you take can capture memories that will last a lifetime.

Think about how you can best capture the mood and feeling of the day. It might mean looking down from the top of some stairs or crouching down to capture a view of the smallest bridesmaid. Finding a new or interesting angle can be a great way of creating a distinct and memorable set of pictures.

Lighting can be a challenge during an indoor wedding – you can’t have your flash going off throughout the ceremony. To overcome this, consider increasing the ISO sensitivity on your camera. Take a few test shots (to see if your shutter speed is fast enough to stop any blur) before the bride arrives – you won’t have time to make adjustments once she walks down the aisle.

Professionals using a full-frame camera often use a wide-aperture zoom lens like the EF 24-70mm f/2.8L II USM because it can take fantastic quality shots in low light, such as during the ceremony and reception. Plus, it covers a useful range of focal lengths and maintains its large f/2.8 aperture at all zoom settings.

A good alternative for APS-C cameras is the EF-S 17-55mm f/2.8 IS USM. It has the range to capture all types of shots, as and when they happen (from portraits to group shots), and it shoots well in low light.

A wide-aperture fixed focal length lens also makes a excellent option for shooting a wedding, as they are great at letting in lots of ambient light. Try the EF 85mm f/1.8 USM: it’s lightweight, delivers fantastic image quality and gives plenty of control over depth of field.

EF 24-70m m f/2.8L USM , 1/30 sec @ f/6.3, ISO 1000 © Flavio Bandiera. C anon Explorer

EF-S 15-8 5mm f/3.5-5.6 I S USM & EF-S 55-25 0mm f/4-5.6 IS STM

EF-S 15-85mm f/3.5-5.6 IS USM is a versatile up grade for your kit lens. Ideal for bot h wide-angle group shot s and individual portraits, plus image stabilisat ion helps keep images sharp at slow shut ter speeds. If you want a bit more tele photo reach, EF-S 55250mm f/4-5.6 IS STM allows you t o stand back a nd shoot candid close- up port raits of family and fr iends from a distance, wi thout disturbing th eir special mome nt.

EF 70-20 0mm f/2.8L IS II US M & EF 24-70m m f/2.8L II USM

Professional p hotographers using f ullframe camer as often cover a weddin g with just a fe w lenses, for example, a standard zo om, like the EF 24-70mm f/2.8L II USM, and a teleph oto zoom, such as the EF 70-200mm f/2.8L IS II USM. You can work in the s ame way with an AP S-C camera and thes e lenses.

People

PERFECT PORTRAITS:

JÖRG KYAS

What is it about people photography that you

like so much?

I think it’s the communication – getting to know people and getting in close to them. It’s my approach really; I am often curious about people and I like getting to know them through taking pictures.

When I was working as an assistant, I was involved in lots of shoots with bands and the music industr y. That continued when I went solo as a photographer, and now I also shoot for advertising agencies and magazines too.

What are your favoured lenses? What approach

do you take for portrait photography?

By far my two favourite lenses are the EF 85mm f/1.2L II USM and the EF 50mm f/1.2L USM. I’d say I shoot more 80 per cent of my work on these two. And when they aren’t quite what I need, I use either the EF 24-70mm f/2.8L USM or EF 70-200mm f/2.8L IS USM. With these four lenses we do everything.

The two fixed focal length lenses are great not only because of their sharpness, but also because

of their bokeh – the character of the out-of-focus backgrounds. I like to shoot with a wide-open aperture. I think it somehow simulates how we see with our eyes. If I need more front-to-back sharpness, I can stop down to get more depth of field.

There is also a creative challenge that comes with working with lenses that don’t zoom. That concentrates my mind on the subject I’m photographing. In a way, when a lens’ focal length is fixed, there is one less thing to worry about.

Would you recommend that approach to a

less-experienced photographer?

I would, yes. When you are new to photography, there are lot of things you need to have your mind on. Shooting with a f ixed focal length lens that doesn’t zoom removes one of the things you have to think about. Keep things as simple as possible and concentrate on the picture you are making.

Do you use flash or daylight?

I prefer flash. I believe you should control as much as you can in photography, so I like to take control over where my light is coming from.

When I started out in photography, flash was tricky to get right. But nowadays, the Canon E-TTL II flash system makes it very easy. I have six Speedlite 600EX-RT flashes with an ST-E3-RT Speedlite Transmitter that sits on my EOS 5D Mark III. They work brilliantly – I use them for advertising work and portraits on location in off ices. I can shoot at wide apertures for shallow focus and I can use fast shutter speeds.

It’s a great lighting system to get into. You can start small with just one flash, plus a Speedlite Transmitter so you can use it off camera. Then maybe later you can borrow a friend’s flash when you are shooting together or buy a second Speedlite. But really, for good pictures you just need one source of light. It’s like I always say with good photography: keep it simple.

01. Speedlite Transmitter ST-E3-RT

GET THE KIT

Take a look inside Jörg’s portable kit bag. This is a selection of the equipment he uses for photographing people.

02. Speedlite 600EX-RT

03. EOS 5D Mark III + battery grip

04. EOS 5D Mark II as backup body + batter y grip

05. EF 24-70mm f/2.8L USM Now available: EF 24-70mm f/2.8L II USM

06. EF 85mm f/1.2L II USM

07. EF 50mm f/1.2L USM

08. EF 70-200mm f/2.8L IS USM Now available: EF 70-200mm f/2.8L IS II USM

imagePROGRAF iPF6450 printer

“The two fixed focal length lenses

are great not only because of their

sharpness, but also because of their

Download t he digital version of Explore E OS and read more Ambassado r & Explorer interviews.

canon-europe.com/brochures-eos- 02

bokeh – the character of the out-of-

focus backgrounds.”

“I have six Speedlite 600EX-RT

flashes with an ST-E3-RT Speedlite

Transmitter that sits on my EOS 5D

Mark III. They work brilliantly… it’s

a great lighting system to get into.”

1918

People

ULTIMATE

FLASH SETUP

When shooting with a f lash, more creative results can be achieved by moving the flash away from your camera, so light falls on your subject from a different direction. The easiest way to do this is to link the flash to your camera’s hot shoe using a Remote Cord OC-E3. This allows modest

PEOPLE LENSES

EF-S 15-85mm f/3.5-5.6 IS USM

f/3.5

f/2.8

f/3.5

f/2.8

f/5.6

f/4

f/5.6

EF-S 17-55mm f/2.8 IS USM

EF-S 17-85mm f/4-5.6 IS USM

EF-S 18-135mm f/3.5-5.6 IS STM

EF-S 18-200mm f/3.5-5.6 IS

EF-S 55-250mm f/4-5.6 IS STM

EF-S 60mm f/2.8 Macro USM

USM

LENSAPERTURE

USM

STM

18mm 800mm300mm135 mm85mm40mm24m m

FOCAL LENGTH

ALSO

SU I TABLE F O R

Places

Life

Details

Action

Movies

distances between flash and camera, but more creative options are available using wireless triggering.

Some EOS bodies have an Integrated Speedlite Transmitter

f/2

EF 35mm f/2 IS USM

IS USM

that allows a second flash to be fired from up to 10m* away using flashes of visible or infrared light. This ‘optical wireless triggering’ gives you more options when it comes

EF 24-70m m f/2.8L USM, 1/200 sec @ f/11, ISO 200

f/1.4

to positioning your lights.

If your camera does not have a built-in flash, use the ST-E2 Speedlite Transmitter which sits in your camera’s hot

f/2.8

shoe. Alternatively, some Speedlites (such as the 600EX or 600EX-RT) can be mounted on-camera and used to trigger a second flash positioned some distance away.

The Speedlite 600EX-RT can also be controlled with radio triggering, using the ST-E3-RT Speedlite Transmitter or a second 600EX-RT. This allows greater camera-flash

distances (up to 30m) and allows Speedlites to be positioned in locations that don’t have direct line of site with the camera. Up to 15 flashes can be positioned off camera and fired remotely.

*Distance o utdoors may be less.

20 21

Main flash: Spe edlite 600EX-RT

Fill flash: Sp eedlite 600EX-RT

Camera: EOS 5D Mar k III with ST-E3-RT

f/1.8

EF (Fixed Focal Le ngth) EF-S

f/1.4

f/1.2

f/1.8

Entry -level Lens Mid-level Lens Professional Le ns

EF 35mm f/1.4L USM

L USM

EF 40mm f/2.8 STM

STM

EF 50mm f/1.8 II

EF 50mm f/1.4 USM

USM

EF 50mm f/1.2L USM

USM

EF 85mm f/1.8 USM

USM

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