User manual CANON EXPLORE EOS BROCHURE - ISSUE 1 - SUMMER 2014 BROCHURE
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Manual abstract: user guide CANON EXPLORE EOS BROCHURE - ISSUE 1 - SUMMER 2014BROCHURE
Detailed instructions for use are in the User's Guide.
[. . . ] Issue 1: Summer 2014
EF 24-105mm f/4L IS USM, 1/250 sec @ f/6. 3, ISO 800, © Joel Santos. Canon Explorer
Explore your imagination with advice, photographer’s stories and our guide to the world of possibilities that Canon EOS system cameras and lenses offer.
English Edition 0181W815 © Canon Europa N. V. , 2014
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 everyone – from the amateur to the professional. You’re investing in a system of lenses and accessories that empower you with the creative flexibility to make incredible images and movies. [. . . ] Landscape photographers using an EOS camera should look to the wide-angle prime lenses in the EF range. The EF 14mm f/2. 8L II USM and EF 20mm f/2. 8 USM lenses offer ultra-wide angles of view and extended depth of field, so you can make the most of foreground detail. The EF 24mm f/2. 8 IS USM and EF 28mm f/2. 8 IS USM are more conventional wideangles that cover focal lengths loved by landscape photographers, thanks to their broad coverage and dramatic perspective. Lenses like the EF 24mm f/1. 4L II USM are popular with documentary photographers, who often shoot in unpredictable lighting conditions. Prime lenses offer fantastic sharpness, even at the edges of the frame, meaning you’ll be able to capture a huge level of detail from a landscape scene. Their compact design makes them highly portable, so you can take plenty of different focal lengths with you wherever you go.
© David Noton. Canon Explorer
EF 14mm f/2. 8L II USM
EF 20mm f/2. 8 USM
EF 24mm f/1. 4L II USM
EF 28mm f/2. 8 IS USM
EF-S 10-22mm f/3. 5-4. 5 USM 1/320 sec @ f/8, ISO 100
LIVING IN THE CITY
ityscapes are filled with photographic opportunities. Ultra-wide angle lenses are useful as they let you get more in the frame when space is tight and you can’t move back any further. Plus, looking upwards with such lenses can add drama and exaggerate perspective. Alternatively, you could use a telephoto lens to pick out details – modern architecture is full of abstraction. Isolate a few floors of an interesting building or use reflections to your advantage. If you are after a more natural view of architecture, you may want to avoid the converging perspective that appears when looking up at tall buildings with wide-angle lenses. Professional architecture photographers find this distracting and often use tilt-shift lenses (like the TS-E 24mm f/3. 5L II) to avoid the effect.
Shot by Karl Blackwell
EF 16-35mm f/2. 8L II USM, 1. 3 sec @ f/11, ISO 400 © Brent Stirton/Reportage by Getty Images. Canon Ambassador
EF-S 10-18mm f/4. 5-5. 6 IS STM Gives an ultra-wide angle view of the world on APS-C cameras. Perfect for capturing dramatic landscapes and an entire scene when shooting in restricted spaces.
EF 16-35mm f/4L IS USM A flexible ultra wide-angle zoom lens that gives a spectacular view of architecture when used on a full-frame camera. Perspective is exaggerated, particularly when the lens is aimed upwards at tall buildings.
ALSO SUITABLE FOR
FOCUS ON TILT SHIFT
Wide-angle lenses are essential for architectural photography, but they can make the side of buildings converge, so they appear to be falling over backwards. Specialist architectural photographers use tilt-shift (TS-E) lenses to overcome this problem. By using up-down shift movements, a Canon TS-E lens can shift your point of view upwards, without angling the camera. This avoids perspective problems, and ensures that buildings look like they are standing straight and tall. Additionally, angular tilt movements can extend depth of field for maximum front-to-back sharpness or limit it for a ‘toy-landscape’ look. The TS-E 17mm f/4L is an ultra-wide angle lens that’s great for shooting in confined spaces and including foreground detail. And the TS-E 24mm f/3. 5L II is a conventional wide-angle focal length that’s loved by landscape and architectural photographers.
EF-M Photographed using tilt
40mm 85mm 135mm 300mm
EF-M 11-22mm f/4-5. 6 IS STM IS
f/4 f/5. 6
EF-M 22mm f/2 STM STM
EF-S 10-18mm f/4. 5-5. 6 IS STM IS
f/4. 5 f/5. 6
EF-S 10-22mm f/3. 5-4. 5 USM USM
f/3. 5 f/4. 5
EF-S 15-85mm f/3. 5-5. 6 IS USM IS
f/3. 5 f/5. 6
Photographed using reverse tilt
EF-S 17-55mm f/2. 8 IS USM IS EF-S
EF-S 17-85mm f/4-5. 6 IS USM IS
f/4 f/5. 6
EF-S 18-135mm f/3. 5-5. 6 IS STM IS
f/3. 5 f/5. 6
EF-S 18-200mm f/3. 5-5. 6 IS IS
f/3. 5 f/5. 6
Photographed without using shift EF-S 55-250mm f/4-5. 6 IS STM IS
f/4 f/5. 6
EF 14mm f/2. 8L II USM EF (Fixed Focal Length) L
EF 20mm f/2. 8 USM USM
EF 24mm f/2. 8 IS USM IS
Photographed using shift
Download the digital version of Explore EOS to read our exclusive interview with Canon Explorer David Noton. [. . . ] Another trick is to hold your camera close to your body to steady it – if your EOS has a Vari-angle screen, position it so you can compose your frame with the camera held at chest or waist height. If you are choosing an EOS camera for the first time, the EF-S 18-55mm f/3. 5-5. 6 IS STM kit lens is an affordable standard zoom lens suited to a variety of subjects. You’ll get smooth, near silent focusing when capturing video, plus swift and accurate autofocus for stills. Or, if you’re looking for something more flexible, the EF-S 18-135mm f/3. 5-5. 6 IS STM is a great all-purpose zoom for the photographer who wants to shoot stills and movies from wide-angle or telephoto viewpoints. [. . . ]
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