Preface

Travelling opens your eyes to new sights and experiences.

Seas that are an unimaginably brilliant cobalt blue…

Winter landscapes covered with pure white snow and silver frost for as far as the eye can see…

Exotic sights, food and street scenes straight out of a movie…

Stunning images that moved you, that you don’t get to see in your hometown or home country, that you want to remember forever.

And that’s where the magic of photography comes in. Images in your head may fade, but whenever you look through old photographs, the memories come back—of each heartrending scene, each meaningful experience.

Regardless of which interchangeable lens camera you are using—an EOS DSLR, EOS M-series mirrorless camera, or the full-frame mirrorless EOS R system—one thing remains the same: That the lens you use and how you use it determines the picture that is captured and subsequently, how the memory is recorded.

Canon has a huge range of lenses, from ultra-wide-angle lenses to super telephoto lenses, from primes to zooms to special lenses such as fisheye and macro lenses. In this e-book, we share some travel photography tips and techniques from professional photographers. We hope that these will help you to not only choose the best lens for your purposes, but also use them to your fullest advantage as you capture your travel memories.

Happy travelling and shooting!

Contents

Cover

Introduction

Part 1: Angle-of-view & Composition

Wide-angle lenses

Standard lenses

Telephoto lenses

Macro lenses

Fisheye lenses

Part 2: Composition and How Your Lens Matters

Visual guidance: Lines can direct a viewer’s attention!

Unexpectedness: Finding an angle that differs from the norm

Subtraction: Removing distracting elements to make a subject stand out

Pattern & rhythm: Using repeated elements to create eye-catching pictures

S-curve composition: Another way to add depth and perspective to your photos

Part 3: Exploring Wide Angle Lenses

Recap: What is a Wide-angle Lens?

Things to Try with an Ultra-wide-angle Lens

Part 4: Pro Lens Techniques to Try in Urban Areas

5 Portrait Photography Techniques for Travel

Street Photography Techniques to Try with a Standard Zoom/Macro Prime Lens

Street Photography Techniques to Try with a 50mm Prime Lens

Part 5: Pro Shooting Techniques for Different Landscape Photography Scenes

Irresistible Tips from Professionals in Travel Photography

Morning or Evening?

Front Light or Backlight?

Before or After Sunrise?

Photographing Waterfalls: To Freeze or to Blur?

Part 6: Macro Lenses Filters: Techniques for Taking that Shot Further

Mouth-watering Macro: Food Photos to Salivate Over

Magical Macro Close-ups: Of Ants, a Waterdrop and a Starburst

Macro to Make Things Exciting: Liven Up Your Underwater Photos with Foreground Bokeh Dots

ND Filters: Helping You Get Creative on Sunny Days

PL Filters: A Wonderful Colour Intensifier

Lens Filters in Action: Techniques from 2 Professional Photographers

Lens catalogue

RF Lens

EF Lens

EF-S Lens

EF-M Lens

About SNAPSHOT

Author's Profiles

The EF and RF lens series
—supporting photography all over the world

EF lenses are interchangeable lenses designed for Canon’s EOS cameras. As of 2019, over 140 million EF lenses have been manufactured worldwide since 1987. As leaders in innovation, reliability and optical brilliance, EF lenses are often the first in the world to adopt new technologies such as in-lens image stabilisation (IS).

There are currently over 90 lenses in the EF lens lineup. This includes large aperture, macro and fish-eye lenses, and focal lengths ranging from an ultra-wide-angle 8mm to a super telephoto 800mm. Together, they offer users a myriad of possibilities in photographic expression with just one EOS camera body.

RF lenses were introduced in 2018 as part of the new, full-frame mirrorless EOS R system. The large RF mount diameter and short back focus system achieve unprecedented image quality.

Your choice of lens can enhance your composition

We usually categorise lenses based on their focal length, because the focal length range of a lens determines how much of a scene it can capture (i.e., its angle-of-view). For example, wide angle lenses (short focal lengths) provide a wide angle-of-view; whereas telephoto lenses (long focal lengths) provide close-ups of a subject but have a narrow angle-of-view.

In this section, we explore the characteristics of the main types of lenses, as well as the compositions that they work well with.

Wide-angle lenses

Wide-angle prime lenses

Wide-angle zoom lenses

Definitions
Wide-angle prime lens: Focal length below 35mm
Wide-angle zoom lens: Focal length range below 35mm
Wide-angle focal length range: Up to 35mm
Ultra-wide-angle lens: Focal length below 24mm

*All focal lengths at 35mm film equivalent

The wide-angle angle-of-view

A: Angle-of-view
B: Lens

As the name suggests, wide-angle lenses have a wide horizontal angle-of-view that is generally between approximately 60º to 100º. In comparison, human eyes have a field-of-view of approximately 40º to 60º if you don’t move your eyes.

A larger angle-of-view means that wide-angle lenses can capture a large part of the scene in front of you, possibly even what you don’t immediately notice.

Fun fact: One reason why 24mm is such a popular focal length for landscape photography is because its angle-of-view (74º horizontally, 53º vertically) is around the same as that of human vision when looking at something in the distance.

Use wide-angle lenses to exaggerate distances

Due to the perspective phenomenon, nearby objects appear bigger and distant objects appear smaller. A wide-angle lens exaggerates this so that objects near the camera appear disproportionately bigger, and those further from the camera appear smaller. This is called the perspective exaggeration effect.

Floating ice on a river. The perspective exaggeration effect makes the ice look bigger and closer. Meanwhile, the land in the background looks smaller, further away and more vast.

Composition tip: Use the perspective exaggeration effect to emphasise your foreground subjects. Here, I placed the ice in the centre at the bottom third of the Rule of Thirds composition, where it carries more visual weight and is closer to the camera.

Use wide-angle lenses for shots with leading lines

The perspective exaggeration effect is especially obvious with roads, rivers, paths and other subjects with parallel lines due to the convergence effect. It can be used to create leading lines that guide the viewer’s attention to a vanishing point.

In this shot, the double convergence effect from the buildings and the road has created diagonal leading lines that direct our attention to where they intersect—in this case, the person in the middle of the scene.

For wide-angle lenses, a 2mm focal length difference matters a lot

The difference in horizontal angle-of-view between focal length 16mm and 18mm is around 7º (96.7º vs 90º), and results in the following difference.

However, the difference in angle-of-view is less significant at longer focal lengths (standard and telephoto lenses). For example, on a telephoto lens, the 50mm difference between 200mm (10.3º) and 250mm (8.2º) yields a difference in angle-of-view of only about 2º.

Standard lenses

Standard prime lenses

Standard zoom lenses

Definitions
Standard prime lens: Focal length between 40-60mm* (50mm is most common)
Standard zoom lens: On Canon, lenses with focal range* 24-70mm, 28-70mm, 24-105mm, etc
Standard focal range: Between 35-135mm*
(Note: The 70-135mm range is also considered “medium telephoto”)

*All focal lengths at 35mm film equivalent

The standard angle-of-view

A: Angle-of-view
B: Lens

Generally, the horizontal angle-of-view of a standard lens is between 25º and 40º, which falls between that of a wide-angle lens and a telephoto lens. This angle-of-view is called “standard” or “normal” because it gives a field-of-view, depth and perspective that closely resembles human vision.

Note this: A standard zoom lens also covers focal lengths that are classified as “wide-angle” and “medium telephoto”. This makes them very versatile!

Use standard zoom lenses to capture subjects with no visible distortion

If you use a wide-angle to shoot subjects with straight lines, such as tall buildings, perspective exaggeration will distort these lines even if you are not tilting the camera upward. Using a standard focal length helps to eliminate these distortions.

FL: 50mm
50mm crop

FL: 35mm
35mm crop

Buildings, bridges and other structures with straight lines feature heavily in cityscapes. Notice how, in the 35mm (wide-angle) example, the line formed by the side of the church seems to lean towards the centre? That's the result of perspective exaggeration. In comparison, the lines are straight in the 50mm example, which was shot from the same position.

Tip: Keep the camera level. Tilting the camera upward/downward will distort the perspective on any lens.

Telephoto lenses

Telephoto prime lenses

Telephoto zoom lenses

Definitions
Telephoto prime lens: Focal length 200mm or more
Telephoto zoom lens: Zoom lenses with a telephoto end of 200mm or more
Medium telephoto focal range: Around 70-135mm (definitions say 85-135mm)
Super telephoto lens: Focal length more than 300mm

*All focal lengths at 35mm film equivalent

The telephoto angle-of-view

A: Angle-of-view
B: Lens

Telephoto lenses magnify distant objects, “pulling” them in to make them appear closer. This also makes the horizontal angle-of-view is also narrower, usually between 10º and 15º.

Know this: Many people associate landscape photography with wide-angle lenses. However, shooting landscapes with a telephoto lens can result in unique images too. The narrower angle-of-view makes it easier to isolate elements that you want to draw attention to.

Telephoto lenses let you close in on faraway objects​

A telephoto focal length draws in distant subjects so that they appear bigger and closer. This makes them useful for taking close-ups of a subject when you can't or don't want to physically move closer to it.

FL: 50mm
Sea and land at 50mm

FL: 300mm
Sea and land at 300mm

The two shots above were taken from the same position using different lenses. A focal length of 300mm allows a close-up of the ridge of land and the waves rolling into it, using the 6:3 composition.

Telephoto lenses can compress distances between subjects

A telephoto focal length doesn’t just make faraway things look closer to us, it can also make things look closer to each other. This is called the “perspective compression effect”, “distance compression effect” or “stacking effect”.

In this shot captured at 500mm, the mountains in the foreground seem to be “pressed” onto the same plane as the moon, when in fact the moon is far behind the mountains. This effect allowed me to place the moon at an intersection on the Rule of Thirds grid. You can use this effect for artistic purposes, or to make things look denser and more crowded.

Know this (1): Different telephoto length ranges are popular for different uses

- 85 to 135mm: Provides a comfortable sense of distance from the subject, which is why they are often used in portraiture.
- 150 to 300mm: Suitable for drawing attention to specific elements in landscapes. Popular among natural landscape photographers.
- Super telephoto (anything above 300mm): These lenses are essential for photographing wildlife, birds, and sports.

Know this (2): Telephoto lenses are more prone to camera shake

This is because they have a longer body than other types of lenses. Take precautions to stabilise your shot, such as by using a tripod, monopod or faster shutter speed.

Macro lenses

Macro lenses are a special type of lens that allows you to photograph small subjects close-up. They can be used to photograph various things, such as insects, plants, or even food.

A “true macro lens” has a reproduction ratio of at least 1:1 (1.0x magnification), which means that at the closest focusing distance (explained more in this chapter), the final image of the subject is life size. This makes them good for filling the frame with your subject or drawing attention to fine details.

The macro lens angle-of-view at 1.0x magnification

A: Angle-of-view
B: Area that is magnified by 1.0x
C: Lens

At 1.0x magnification, the angle-of-view becomes extremely narrow, resembling that of a super telephoto lens.

Use a macro lens to close in on insects and flowers

A macro lens allows you to photograph insects and flowers from closer-up than usual.

Tip: For sensitive subjects, use a 180mm telephoto macro lens. You will be able to achieve the 1.0x magnification without having to go too close to the subject, as compared to a shorter lens.

This shot of a butterfly approaching a flower was taken with a 180mm telephoto macro lens. I have also used the Rule of Thirds composition.

Use a macro lens to magnify details on subjects

You can use macro lenses to close in on details that we might not usually notice, such as the lines and veins on this leaf.

This close-up of the veins on a fallen leaf was shot with a 100mm macro lens. I organised the composition along the diagonal line.

Know this (1): Macro shots are prone to camera shake

When you shoot close-up, your lens might cast a shadow over the subject, resulting in insufficient lighting. As the depth-of-field is usually already very shallow, using a wider aperture is probably not a viable option. You will have to either light up the subject, or use a slower shutter speed. The latter increases the risk of camera shake, which becomes more obvious the higher the magnification. It helps if your lens has built-in image stabilisation (IS). You can also use a tripod for better stability.

Know this (2): The most efficient way to use manual focus

It is often easier to use manual focus (MF) for macro photography because the small depth-of-field makes AF challenging. In a normal shot, you would probably compose your photo first and then turn the focusing ring to make the image sharper. But in macro photography, turning the focusing ring also changes the magnification ratio, which in turn changes the composition.

Here’s a more efficient way:

1. Turn the focusing ring until you get the magnification ratio that you want.
2. Move the camera back and forth until the image appears sharp.

Tip: You might have an easier time composing if your camera has many AF points/positions.

You will learn more about using macro lenses later in this book.

Fisheye lenses

Fisheye lenses are special ultra-wide-angle lenses that produce a unique curved distortion effect, providing a very unique perspective. There are two different kinds of fisheye lenses: Diagonal and circular.

A: Angle-of-view of diagonal fisheye lenses
B: Angle-of-view of circular fisheye lenses
C: Lens

Circular fisheye lenses provide a 180° horizontal, 180° vertical and 180° diagonal angle-of-view. The resulting coverage is shaped like half a dome.
Diagonal (or full-frame) fisheye lenses provide a 180° diagonal angle-of-view.

A fisheye lens can be either a prime lens or a zoom lens. A fisheye zoom lens is capable of both circular and diagonal fisheye effects. The effect you get depends on the angle-of-view and the size of the image sensor.

Circular fisheye lens: Tilt the lens up to create a “planetarium” effect

A circular fisheye lens creates an image within the lens image circle, producing a “tunnel-vision” effect as shown below. When you aim the lens upward, it creates an effect where the subjects loom over you, as though you were in a planetarium.

Aiming the lens directly upward creates an effect that resembles the view in a planetarium.

Tip: On both types of fisheye lenses, the distortion gets stronger the more you close in on the subject. I got this shot by moving close to the tree.

Diagonal fisheye: Take note of alignment

Diagonal fisheye lenses are also known as full-frame fisheye lenses because their images cover the entire frame. They probably provide the largest angle-of-view possible for such images.

Other than the distortion, diagonal fisheye images resemble normal images. For some scenes, a diagonal fisheye shot might be mistaken for a poorly aligned image shot on an ordinary lens. In the example above, the camera was horizontally level, but the distortion makes the image look tilted. Be aware of this effect if stability is important to your shot.

Tip: To keep horizons relatively straight, place them in the centre of the frame. This is where the distortion effect is least visible.

Your choice of lens can enhance a composition, and vice versa

In Part 2, we shall learn about what professional photographers consider when they compose their shots. See how the focal length (angle-of-view) of a lens affects the ease of pulling a composition together, and learn how to make the appropriate lens choices for various techniques and subjects.

Visual guidance:
Lines can direct a viewer’s attention!

Visual Guidance is a technique that uses lines in the image frame to guide the viewer’s eyes towards a main subject. These lines usually take the form of elements such as roads, rivers or railway tracks, and can go from the front to the back of the image, from the left to the right, etc. As they are so obvious, it is very easy for the viewer to see the photographer’s intent.

Because of the way it guides the viewer’s vision, Visual Guidance can help establish relationships between elements in an image.

If the line moves from the front to the back, Visual Guidance can also help to create a sense of depth in the image.

Using railway tracks to guide viewers’ attention to the tunnel

In both images, the railway tracks guide the viewer’s attention to the tunnel. But one image has more impact than the other.

What’s wrong with the failed shot?
The tunnel is located at a slightly lower position from the top. Even though the viewer’s attention follows the line created by the railway track, it gets distracted by the many elements above the tunnel, especially the autumn foliage on the hill above the tunnel.

What the successful shot gets correct
The tunnel is positioned at the top. This makes railway tracks seem to extend longer and take up more of the image, making it a more effective visual guide to the tunnel.

A farm road guides viewers’ attention to the house

In the successful image, I wanted the viewer’s attention to fall on the thatched-roof house that stands beyond the rice field in the left side of the image.

What’s wrong with the failed shot?
The composition in the image marked “X” juxtaposes and draws equal attention to both the houses. You can see a path in front, but it blends in with all the other horizontal lines in the image and is not obvious enough to have much effect.

What the successful shot gets correct
The farm road is captured in the foreground, and automatically commands the viewer’s attention. The viewer’s line of sight follows the road past the rice field to the thatched house on the left, exactly where I wanted it to eventually end up.

Try this technique with: Wide-angle lenses

Visual guidance works with any lens as long as the subject has guiding lines. However, using an ultra-wide-angle lens makes it easier to compose the shot. The perspective exaggeration effect helps to enhance the guiding effect of roads and buildings.

Unexpectedness:
Finding an angle that differs from the norm

If you feel that your images always look the same, it could be because you are shooting from the same angles again and again. Your viewers will get bored too. To break out of that, you need to see the subject differently, and making some changes to how you see the shot through the lens can help.

Here’s what you can do to get a different perspective

- Change your focal length. For example, if you like to shoot wide-angle, challenge yourself to shoot telephoto, and vice versa. This will immediately force you to change your composition.

- Move your camera to a higher or lower position, especially if you are using a tripod. Be bold, try at least 10cm higher or lower. You get a new perspective of things.

- Try changing the camera angle. For example, instead of shooting head on, see if you can get a good shot from the side. Tilt your camera, or try a low-angle or high-angle shot. If you have a Vari-angle LCD screen, make the best of it!

- Move closer to your subject. Even a few centimetres could change your composition dynamics.

A different angle could make a shot more impactful

The shot you would normally take
This is a telephoto head-on shot of a gorilla resting. It conveys a relaxed atmosphere. The photo documents the ambience and environment, but why stop at that?

The portrait of a wise man
This shot looks dramatically different from the previous one, doesn’t it? I simply changed the shooting position and focal length. I then observed the gorilla, and captured the instant when it put its finger to its mouth. The result: The gorilla looks like an old, wise man, deep in thought.

Sharing an intimate moment
In this shot, I positioned two chimpanzees on the left and right to make them look like a couple sharing an intimate moment. I tried to imagine how a third-party observer would feel looking at this image when I composed it. If you frame your images well, they can tell a story.

Try this technique with: Telephoto zoom lenses

One way to strongly convey your intent is to take a close-up of the part of your subject that fascinates you. This is precisely the strength of a telephoto zoom lens. Zoom in and out until you find the ideal composition.

Subtraction:
Removing distracting elements to make a subject stand out

Whenever a shot is taken hastily, or when you fail to check the composition through the viewfinder, unwanted objects are often captured in the resulting photo. This is particularly so at the edges of the image, and tends to happen especially when your camera has less than 100% viewfinder coverage.

To “subtract” such distracting elements, you will want to recompose the shot. An easy way is to use a longer focal length, which can crop these elements out and simplify your image.

“Subtraction” can make subjects stand out better

The failed shot contains many elements; we’re not sure what to focus our attention on. Using a longer focal length removed unwanted elements. This results in a simpler composition, where our attention is drawn to the trees, the intended main interest.

Making the photographic intention clear

In the failed shot, the composition is “greedy” as it attempts to capture everything that is in view from the shooting position. However, doing so results in an ambiguous shot where the photographer’s intent is not clear. In contrast, the successful shot omits the clutter in the background and gives the main subject more space in the frame, making the photographic intent more obvious.

Try this technique with: The longer focal lengths on a standard zoom lens

Subtraction technique is particularly useful for those who shoot mostly with a standard zoom lens. When photographing scenes we come across on a trip, we tend to get so eager to capture what we see that we end up using the wider angles most of the time. But if we make it a point to use the telephoto end, it simplifies the elements captured in the frame, which helps to make the composition more balanced.

Pattern & rhythm:
Using repeated elements to create eye-catching pictures

Rhythm and patterns are all around you!

If you look around you, you will find patterns in lines, shapes and even colours. You can see them in trees planted neatly by the roadside, in the bricks on the walls, or in the tiles on a stone pavement.

Examples of patterns

When you see such patterns, pay attention to their structure and harmony. What are the elements that make up the pattern? How do they come together?

That will help you to create a compelling picture.

Rhythm: Changes depending on how repeated elements are arranged

As long as elements are repeated, there will be some form of rhythm, Take a look at the following:

Random placement
straw bundles on field (random placement)

The above image is of straw bundles randomly placed in the field. Despite the random placement, there is still some kind of regularity giving rhythm to the photo.

Even placement
straw bundles on field (regular placement)

Here, the same sets of straws were placed in a more predictable layout. This results in a different rhythm, and the resulting image also has a different feel.

Try this technique with: Medium telephoto or telephoto lenses

This technique can be used on any lens. However, if the pattern has lines, the perspective distortion effect of a wide-angle lens could cause straight lines to look curved, resulting in weaker impact.

Usually, shooting the subject head on reduces the distortion a little, but at wider angles, there will always be some distortion. To ensure that straight lines will be captured straight, use a medium telephoto to telephoto focal length. You should get the best results at around focal length 80 to 200mm (35mm film equivalent).

S-curve composition:
Another way to add depth and perspective to your photos

The curved lines in an S-curve composition add a sense of movement to an otherwise-static image. In some cases, they can even add visual depth and perspective to the shot.

How to create an S-curve composition?

Look for elements that resemble the alphabet “S”. You can find them in meandering rivers, winding roads, or even in ivy growing on trees.

The S-curve can add depth to an image

In the image marked “X”, the curve appears too gentle. To achieve the successful image on top, I shifted my shooting position and camera angle to make the “S” shape of the path more obvious (3rd image). Notice how this also gives the image more depth.

Make sure the “S” shape is clean

While the image marked “X” has an S-curve, the “S” shape is not very clean: Notice how the water forks out in the middle, making the composition look sloppy. The top image captures a clean S-curve with no distractions, and the composition looks neater as a result.

Tip: A composition that features just a winding road or river alone can look boring. Make it even better by adding visual interest, such as a car or some trees.

The S-curve composition is not just for landscapes and street photos!

It makes for interesting product photography too, especially when you have a number of small items. Simply arrange the items and create the S-shape, like in the example below.

In the first image, the items were arranged according to size. However, the composition lacks structure and looks sloppy. Rearranging them into an S-shape (second image) neatened the shot and gave the image a sense of rhythm.

Final tip: Combine with another composition technique for better results!

While the S-curve composition alone is capable of bringing out depth and perspective, you can achieve an even better effect by combining it with the diagonal or split composition.

Try this technique with: The shorter focal lengths on a standard zoom lens

You will probably have to experiment with different shooting angles and angles-of-view to find the best way to frame your subject. A zoom lens is more convenient than a prime lens as it allows you to zoom in and out without changing your shooting position. Try using the wider angles on a standard zoom lens.

Are you really using your wide-angle lens to its fullest advantage?

Ultra wide-angle lenses are wonderful for capturing grand landscapes, interiors and any other shot where you need a large angle-of-view. However, they also have the tendency to amplify distances, which means that things and parts of objects might look further away than they really are. This ability to exaggerate perspectives can be a rather useful creative tool, but it also can be challenging to master. In Part 3, we learn how to take advantage of these wide-angle lens characteristics.

Recap: What is a Wide-angle Lens?

Wide-angle lenses generally have a full-frame (35mm film) equivalent focal length in the region of 35mm or less. (24mm or less on cameras with APS-C sensors)

Ultra wide-angle lenses generally refer to wide-angle lenses with a full-frame equivalent focal length of 24mm or less (16mm or less on cameras with APS-C sensors)

The benefits of a wide-angle lens that we will explore here are more obvious the shorter the focal length, which is why they work best on ultra-wide angle lenses. However, you can also experience them using the wide-angle end of a standard zoom lens (usually 24mm or 28mm equivalent).

EOS 5D Mark III/ EF16-35mm f/2.8L USM/ f/9.0/ 1/60 sec/ ISO 500

Key characteristic 1: Large angle-of-view

Because of their large angle-of-view, wide-angle lenses capture a large part of a scene, which is why landscape photographers love them.

However, this characteristic also means that objects that you don’t want to capture might also be included in the frame, making it harder to control what is included in your composition.

Key characteristic 2: Plays a part in exaggerating perspective

On images shot with a wide-angle lens, perspective appears to be exaggerated: Nearby objects may look much bigger (and hence nearer) than they really are, and faraway objects look even smaller and further away.

This effect also amplifies distances between objects, i.e., things look further away from each other. The shorter the focal length, the bigger the perspective exaggeration effect.

The perspective exaggeration effect is why wide-angle lenses are not ideal for shooting portraits or any other subject where it is important for the shape of the subject to be faithfully captured. But the effect has its uses, and we hope that this article helps you to harness it better.

Concept #1: Perspective makes lines converge towards each other

The rules of perspective dictate the following:

The further away an object, the smaller it looks.
The nearer an object, the larger it looks.

Have you ever thought of what it does to lines?

Take a look at the following shot of a simple hallway, captured with an ultra wide-angle lens at 16mm. What do you notice about the lines formed by the floor?

EOS 5D Mark III/ EF16-35mm f/2.8L USM/ f/4.5/ 1/20 sec/ ISO 1600

In real life, the lines on both sides of the hallway are parallel. But in the shot, the lines come towards each other (converge) in a way that makes the end of the hallway seem to vanish into the centre. The point where the lines finally meet and “vanish” is called the “vanishing point”.

This “convergence effect” is not unique to wide-angle lenses. You might also see it in shots taken with other types of lenses. However, the shorter the focal length, the stronger the effect, and the closer the vanishing point will appear.

Lines converging towards the top
Vertical converging lines

When the subject appears closest to us at the bottom of the image.

EOS 5D Mark II/ EF24-105mm f/4L IS USM/ f/8/ 1/800 sec/ ISO 200

The lines of the tower taper towards the top because the bottom of the tower is closer to the camera (appears bigger), whereas the top is further away (appears smaller). It's something many people don't think that much about when they look through the viewfinder, but that's perspective in action!

Lines converging from the side/corners
Lines converging from the side

When the subject appears the closest to us on the left side of the image.

When the subject appears closest to us in the corner of the image.

EOS 5D Mark III/ EF16-35mm f/2.8L USM/ f/5.6/ 1/320 sec/ ISO 3200

A: Top and bottom corners of the image (on the near end)

The train in the photo above is closer to us on the left side of the image, so the lines converge toward the right.

How to apply this
It’s a lot about playing with perceived distances: How near or far a subject (or a certain part of it) appears to you compared to the rest of the image. Tilt your camera, change your camera angle, or position the subject differently. Observe how this changes the gradient of the lines, the position of the vanishing point and the impact of your final image.

Concept #2: The perspective effect is less obvious on objects in the centre of the frame

Here's one seldom-noticed fact: When using a wide-angle lens, objects on the edge of the image appear larger due to perspective exaggeration, while objects in the centre are less affected.

This is because objects on the edges of the image converge more, while objects in the centre converge less.

Objects on the edges converge more.

Objects in the centre converge less.

Here are two examples to illustrate.

Example 1
Street view of Manhatten (bottom-up)

EOS 5D Mark III/ EF16-35mm f/2.8L USM/ f/16/ 1/125 sec/ ISO 500

I took this shot standing amid the tall buildings of Manhattan. As I was standing quite close to the subjects and looking up at them, there is strong perspective effect that screams “wide-angle!”: The buildings all seem to lean towards the top-centre. But even then, the building in the middle appears to taper relatively less.

Example 2
Manhattan skyline

EOS 5D Mark III/ EF16-35mm f/2.8L USM/ f/5.6/ 1/500 sec/ ISO 250

This is also of Manhattan, and was taken with the same lens, this time from a distance over the water.

As the buildings are placed near the image centre, the perspective exaggeration effect on them is not as strong as in the previous image. However, notice how the buildings at the sides seem to lean slightly towards the centre, while those in the centre look more upright. There is also a strong perspective effect in the sea and the sky, which both extend all the way to the edges of the frame.

How to apply this
To prevent objects from looking distorted due to perspective exaggeration, place them in the centre of the frame.
To emphasise the perspective exaggeration effect, place the subject near the edges.

Things to Try with an Ultra-wide-angle Lens

1. Capture the cloudy sky

When you shoot the sky with a wide-angle lens, perspective exaggeration results “downward stretching” effect that starts from the top of the image from the part of the sky nearer to you. Clouds create contrast in the sky, which makes this effect more obvious. That’s why a cloudy sky can appear more expansive than the sky on a clear day.

EOS 5D Mark III/ EF16-35mm f/2.8L USM/ f/10/ 1/800 sec/ ISO 250

This was shot in New Mexico in the United States (FL: 16mm). It’s nice to have a camera on hand when you see nice clouds. The sky looks endless, doesn’t it?

2. Shoot from a diagonal angle

To make full use of the perspective exaggeration effect of wide-angle lenses, try approaching your subject from the diagonal.

This is because of how perspective works:
- Shooting head-on results in no perspective effect because all parts of the subject appear the same distance from the camera (and the viewer).
- Shooting at an angle to the subject creates a stronger perspective effect because one end of the subject is closer to the camera/viewer than the other.

Tips:
1. Compose your shot so that the subject appears to protrude into the frame from outside the image. This makes use of the stronger perspective exaggeration effect at the sides.
2. Shoot closer to the subject. The nearer the closest part of the subject to the camera, the stronger the perspective effect.

EOS 5D Mark III/ EF16-35mm f/2.8L USM/ f/16/ 20sec/ ISO 800

A nightscape of a factory in Kawasaki City, shot at 23mm. I shot so close to the fence that it was almost at the tip of my lens. The perspective exaggeration effect that results is strong on the fence, but not as strong on the factory which is further away from the camera and near the centre of the image.

EOS 5D Mark III/ EF16-35mm f/2.8L USM/ f/2.8/ 1/15 sec/ ISO 1600

I took a shot of a plate of oysters at an oyster bar (FL: 16mm). Here too, I got right up close until my lens was just about touching the shells in the foreground. The exaggerated perspective is stretched across the plate from the foreground into the background. It’s good for creative purposes, but it’s not good if you need shapes to be depicted faithfully!

3. Make things appear to cover a larger area than they really do

Creating perspective exaggeration with a wide-angle lens can make things appear vaster than they really are. Take a look at the following shots:

EOS 5D Mark II/ EF24-105mm f/4L USM/ f/5.6/ 1/1250 sec/ ISO 200

This image was shot at 24mm, from close to the closest focusing distance (0.45m) of the lens. It looks like it was taken in an entire field of flowers, doesn’t it? Yet it was actually a cluster of small planters with a depth of around 30 to 40cm inside a park.

EOS 5D Mark III/ EF16-35mm f/2.8L USM/ f/13/ 1/80 sec/ ISO 640

This is another close-up shot of the same flowers using a wide-angle zoom lens (FL: 16mm). The distance from the foreground towards the background is thoroughly exaggerated, giving the impression that the image was shot in a huge garden of flowers.

But in actual fact, both of the images above were shot here:

EOS 5D Mark III/ EF16-35mm f/2.8L USM/ f/5.0/ 1/100 sec/ ISO 100

This was also shot at 16mm, using the same lens as the previous image. However, I stood further back and shot from a higher angle than the previous shot. See what a difference this makes? Unlike the previous images, there’s no clear point of interest in this shot; it merely documents what the shooting scene looks like. It shows that it’s how you use the lens that matters.

Here’s one more shot to show what a wide angle can do:

EOS 5D Mark II/ EF24-105mm f/4L USM/ f/5.6/ 1/5000 sec/ ISO 400

You don't have to capture am entire park to fill your frame with sakura. I got this shot by moving close to a single tree and shooting at 24mm.

4. Try using a low shooting position

Shoot with your camera close to the ground. This is not only an interesting point-of-view, it is also a way to create a forced perspective where subjects in the foreground look huge, and those in the background look tiny in comparison.

Low angle: Shots that are taken with the camera tilted upward (as opposed to high angle where the camera is tilted downward)

Low position: Where the camera is in a position lower than eye level.

EOS 5D Mark II/ EF24-105mm f/4L USM/ f/8.0/ 1/250 sec/ ISO 200

In the photo above, the camera is not only in a low position, but it is also pointing down towards the ground, making it a low-position, high-angle shot. The perspective effect draws attention to the shadows.

Advice: Be careful when you are shooting near the ground with your camera tilted upward—people might misunderstand your intentions, especially in busy areas! It's good practice to check that no one is nearby.

EOS 5D Mark III/ EF16-35mm f/2.8L USM/ f/4.0/ 1/40 sec/ ISO 800

I took this shot with the camera placed on the ground (FL: 16mm). The foregrounded floor looks huge compared to the people in the background. You can use this effect to create interesting forced perspective images.

5. Make legs look longer

Remember how in the previous chapter, we saw how perspective exaggeration and the convergence effect made buildings taper and look taller? It applies to everything, including people.

The following low-angle shot was taken from the same level of the feet of this standing toddler.

EOS 5D Mark III/ f/4.0/ 1/160 sec/ ISO 1250

Giant baby on the loose! Shooting with a wide-angle lens from a low angle makes the toddler’s legs look larger and longer and his face look smaller than they actually are. The effect here so so exaggerated, it's almost like a caricature—good for creative expression, might not be ideal if you are on a portraiture assignment! But here's a secret: Fashion photographers often use this technique (in a much more subtle way) to better show off a subject’s figure and sense of style.

Tip: Be careful not to place the face in the edges of the image. The stronger perspective exaggeration effect there will result in distortion. Instead, place the face in the centre.

Recommended lenses

EF16-35mm f/2.8L III USM: I love the large aperture and the beautiful starburst effects on Canon's ultra-wide-angle EF16-35mm f/2.8L lenses.

EF-S10-18mm f/4.5-5.6 IS STM: For APS-C cameras, this is currently the EF-S lens with the widest angle-of-view. The 1.6x APS-C crop factor means that at the wide-angle end of 10mm, you also get a 35mm film-equivalent angle-of-view of 16mm.

You don’t need to bring a whole lens arsenal with you!

Deciding which lenses to bring with you on holiday can be a tough decision. Many of us would love to have an entire lens collection with us, ready to handle any scene. But in reality, until someone invents camera bags that work like Doraemon's pocket, lugging all that gear around is not the most convenient way to travel, so we often settle for just one or two lenses.

But having limited lens options shouldn't limit your creativity: Even if all you have is your kit lens, it’s all about how you use them. The techniques we introduce here in Part 4 will show you how versatile your lens can be. Say goodbye to ordinary-looking portraits and street photography!

5 Portrait Photography Techniques for Travel

As far as travel memories are concerned, the people whom you travel with—or perhaps, whom you meet while travelling—are just as important as the places and things you come across, aren’t they? Whether it’s a family member, a partner, or a friend or new acquaintance, a great way to preserve the experience is to photograph them against a unique background: In a foreign country or town, there are sure to be lots of interesting buildings or scenes that will do the job nicely.

Here are some techniques that will come in handy. The best part is that you only need two lenses: A standard zoom (such as your kit lens) and a telephoto zoom.

The gear we used
The gear we used

1. Basic outdoor portraits in daylight

EOS 77D/ EF-S55-250mm f/4-5.6 IS STM/ FL: 135mm/ Aperture-priority AE (f/5, 1/250 sec, EV+0.6)/ ISO 200/ WB: Auto

Three elements for creating creamy background bokeh

One of the most basic techniques for portraiture is to create background bokeh (background blur) to make the person stand out. There are three elements that helped me to easily achieve the dramatic background bokeh in the image above:

Distance from background
I made sure that there was enough space to put some distance between myself, the subject and the building that I wanted to use as the background.

Lens
I used a telephoto lens, which offers a shallower depth-of-field than a wide-angle lens.

Aperture
A wide aperture further enhanced the bokeh effect.

You might want to try this with front lighting (where the light source shines from behind you onto the subject). This should give you a shot with well-balanced shadows and highlights.

The finer details

Distance
The subject was about 5m away from me and 100m away from the background.

Lighting
For this shot, the sunlight was shining on the subject head on. The lighting could have been too harsh if the sun was strong. However, it was slightly cloudy that day, which diffused the light.

Composition
I created some empty space to the left of the image so that the building behind the subject can be seen. It’s a good way to subtly preserve memories of the shooting location.

Tips:
- It will be easier to shoot if there is an open space or road in front of the building that forms your background.
- Don’t worry if it is slightly cloudy: The lighting is still great for portraits.

2. Close-ups of facial expressions while in the shade

EOS 77D/ EF-S18-55mm f/4-5.6 IS STM/ FL: 55mm/ Aperture-priority AE (f/5.6, 1/125 sec, EV+0.3)/ ISO 400/ WB: Auto

Take advantage of any light you have

Cafes and other places in the shade can be great locations for portrait photography too. Take the fullest advantage of the natural light coming in through the windows: Sit close to the window if you can. Side lighting is good for portraits as it gives the right amount of dimensionality to your subject. (P.S: It's also great for photographing food.)

Want better background bokeh? Do a close-up

For the shot above, I wanted to create a strong bokeh effect in the background. I achieved this by moving closer to my subject to capture a close-up of her facial expressions. This makes the depth-of-field shallower, resulting in a stronger bokeh effect.

Remember: Observe low-light shooting precautions

Even if you are shooting in the middle of the day, indoors will be darker than outdoors. Your shutter speed will slow down, so hold your camera firmly to prevent camera shake. Increase your ISO speed where necessary.

The finer details

Focal length

I wanted to shoot as close to the subject as possible. However, using a wide angle resulted in very visible perspective distortions in the face. Using the 55mm tele-end of my standard zoom lens and shooting from around 50cm away from the subject gave the most natural-looking results.

Composition
Putting the subject’s face smack in the middle made the shot look too ordinary. I put some space on the left to accentuate the shot.

3. Get the perfect OOTD in daylight

EOS 77D/ EF-S18-55mm f/4-5.6 IS STM/ FL: 24mm/ Aperture-priority AE (f/4.5, 1/60 sec)/ ISO 100/ WB: Auto

Choose the appropriate background

To get your subject’s (or your own!) outfit to look its best in the shot, it’s important to choose a background that:
- Has an ambience that suits the style of the outfit.
- Is not in a colour of pattern that overwhelms the outfit.

In the example above, my subject was wearing a vivid green dress, which stands out against the neutral-coloured background.

Incorporate details of the location to accentuate the shot

If you are shooting in a location that has layers and depth, use a narrower aperture to capture background details.

Tip: Full body shots look sharper when shot at a wide angle.

The finer details

Lighting
The light source came from the front-diagonal right of the subject. Diagonal lighting from the front helps to make colours look more vivid, preserving the impact of the OOTD.

Shooting position
I squatted a little to shoot from below, which helped to draw attention to the subject’s outfit.

4. Take advantage of the soft evening light

EOS 77D/ EF-S18-55mm f/4-5.6 IS STM/ FL: 48mm/ Aperture-priority AE (f/5.6, 1/160 sec)/ ISO 100/ WB: Shade

Evening light is great for portraits

The evening sunlight is soft with amber tones, especially during the golden hour right before sunset. This results in beautiful, dramatic lighting perfect for portraits.

In the above image, which was shot in backlight against the golden hour sun, the subject is rendered slightly darker, resulting in quiet, elegant atmosphere.

Different light, different effects

Evening light originating from behind me (front lighting) would have made the subject look strong and powerful. Meanwhile, when the sun is just beginning to set, the light becomes quite soft, which allows you to effectively add fine textures to the image.

It’s good to observe the light with your eyes as you shoot, and see the effect that it has on the different elements in the scene.

Tip: If you are shooting at sunset, it can get dark faster than you expect. Make sure that your settings can compensate. The shutter speed will slow down, so take precautions against camera shake.

The finer details

Focal length
I shot at the tele-end of my standard zoom lens, taking care to ensure that at least some of the background elements were in frame.

Composition/shooting distance
I moved back and forth, keeping the same focal length, until my composition showed the perfect balance between the person and the background elements.

White balance
This was set to “Shade” to achieve a warmer finish.

Revise your white balance basics in: White Balance Basics to Achieve Your Desired Colour Tone!

5. Use the glittery night scenery as a background

EOS 77D/ EF-S55-250mm f/4-5.6 IS STM/ FL: 200mm/ Aperture-priority AE (f/5.6, 1/60 sec, EV-1)/ ISO 6400/ WB: Auto

Use a fill flash to ensure adequate exposure on your subject

When you shoot portraits against night scenery, your subject will probably end up underexposed, especially when compared to the bright lights in the background. To even out the exposure, use a fill flash.

How to take the shot handheld

You could use an external flash, but if you don’t, don’t fret. Your built-in flash might not have enough flash power on its own, but if you also increase your ISO speed, you should be able to get a rather well-lit shot of your subject.

Bonus: Using a flash (and a higher ISO speed where necessary) also increases the shutter speed, preventing camera shake.

The next question: How are you going to incorporate the background lights?

If you want to turn the background lights into bokeh circles, a good trick is to shoot with a telephoto lens. The perspective compression effect will “pull in” the bokeh circles and make them appear bigger.

The finer details

Shooting distance/ISO speed
I shot from 5m away from the model. To ensure sufficient exposure with the light from my built-in flash, I increased the ISO speed.

Exposure procedure
I set my exposure settings to get the best exposure for the background, and then used the flash to illuminate the subject.

Tip: An external flash is not only more powerful than the built-in flash, it also allows better control over light intensity and direction. The light from a built-in flash can be harsher, as you can tell by comparing the highlights in the model's face in the examples below.

No flash
No flash

Built-in flash
Built-in flash

Speedlite 600EX II-RT
External flash

Street Photography Techniques to Try with a Standard Zoom/Macro Prime Lens

Looking forward to exploring and capturing the sights of your next travel destination? A compact, portable mirrorless camera will be your best friend, especially with the right choice of lenses. Here’s how I managed to capture five different types of scenes with the EOS RP, a standard zoom lens (RF24-105mm f/4L IS USM) and a macro prime lens (RF35mm f/1.8 Macro IS STM).

The gear we used
The gear we used

1. Take advantage of the beautiful morning light to photograph streets in fine detail

EOS RP/ RF24-105mm f/4L IS USM/ FL: 105mm/ Aperture-priority AE (f/11, 1/250 sec)/ ISO 200/ WB: Auto

The direction of light from the morning sun is perfect for bringing out dimensionality

For a good start to the morning, why not find somewhere high with an amazing view of the city?

If you shoot in the morning after the sun has risen, the light is ideal for photographing buildings as the sun is not too low. This results in a diagonal lighting angle that casts the just the right amount of shadow in the right places, bringing out a sense of dimensionality in buildings and streets.

Pro lens tip: Use a long focal length to get a tighter composition

Many people will be tempted to use a wide angle to shoot such scenes, but this tends to capture unnecessary space, which could make the shot look scattered.

Instead, use a telephoto focal length to capture one interesting part of the scene. For example, you could aim to get a closer shot of an iconic building. This will result in a tighter composition and have greater impact.

105mm: Clear subject of interest
Telephoto shot of Ferris wheel

40mm: Captures everything
Wide-angle shot of island with Ferris wheel

The examples above show how different focal lengths have drastically different effects. Using a wider angle (40mm) gives a vast, open feel, whereas a longer focal length (105mm) draws attention to the closely-clustered buildings, resulting in a powerful image.

2. Macro lenses: Perfect for café shots

EOS RP/ RF35mm f/1.8 Macro IS STM/ FL: 35mm/ Aperture-priority AE (f/2.2, 1/250 sec, EV+0.3)/ ISO 400/ WB: Auto

To capture the details on food, use a macro lens. To also capture environmental details, try a wide-angle macro lens.

Stopping by a cafe or restaurant for a break? Chances are that the shutterbug in you will want to take pictures of the food. What better lens to capture a sharp shot of each dish in close-up, tantalising detail than a macro lens?

A wide-angle macro lens like the RF35mm f/1.8 Macro IS STM allows you to capture not just the details of the food, but also the background ambience. Great for preserving memories of where you had that delicious buttercream sponge sandwich cake.

Tips:

- Find a seat next to the window. Side lighting is great for not just for photographing food, but also portraits.
- If you want to create background bokeh, shoot as close to the subject as you can. It can be harder to focus with a shallower depth-of-field, but using the Touch Shutter should help.

Pro lens tip: Don’t forget that macro lenses are good for pull-back shots too!

At closest focusing distance

A little further away from the subject

A 35mm macro lens is great for various kinds of shots. When you shoot at closest focusing distance, you get a tight shot that showcases the texture of the food. If you shoot from further away, the angle-of-view is wide enough to capture environmental details. This lens also has a wide aperture, which lets you shoot indoors easily.

3. See an interesting vehicle? Freeze it for posterity

EOS RP/ RF24-105mm f/4L IS USM/ FL: 24mm/ Aperture-priority AE (f/11, 1/1,000 sec, EV+0.3)/ ISO 800/ WB: Auto

Increase the ISO speed to achieve a sharp image of moving subjects

Iconic vehicles, a flock of birds flying in formation…chances are that many of the shooting opportunities you come across on your trip will involve some kind of moving subject.

For large subjects (e.g: vehicles) and subjects that tend to appear in a group (e.g: birds), you will usually want to use a narrow aperture and shoot at a wide angle to ensure a sharp image. But as the rules of exposure goes, a narrower aperture requires a slower shutter speed to ensure sufficient exposure, which in turn increases the chance of subject blur.

To get around that, increase your ISO speed to bump up the shutter speed.

Tip: Set the customisable control ring on your RF lens/EF-EOS R mount adapter to control ISO speed, and just a turn of the ring will be all you need to change the ISO setting. Perfect for capturing fleeting moments!

Pro lens tip: To get shots that look sharper, use a narrower aperture

Sharp at f/11, 1/1,000 sec, ISO 800
Vintage bus at f/11

Too soft at f/4, 1/250 sec, ISO 100
Vintage bus at f/4

These two images of a bus were shot from around the same angle. The one shot at the maximum aperture (f/4) at focal length 65mm has a depth-of-field that is so shallow, the shot looks soft. Deep focusing the shot with a narrow aperture helped to make the shot look sharper.

Camera setting hack: How to be prepared for sudden shutter opportunities

Keep your default aperture setting narrow enough to ensure a large depth-of-field. That way, when an unexpected photo opportunity arises, you can quickly get a relatively sharp shot without worrying too much about where to place the focus.

4. Chase the shadows, especially at dusk

EOS RP/ RF24-105mm f/4L IS USM/ FL: 28mm/ Aperture-priority AE (f/11, 1/500 sec, EV-0.3)/ ISO 100/ WB: Auto

Evening: The perfect time for shooting in backlight

You get especially beautiful sunlight at dusk when the sun is just beginning to set. If you shoot in backlight, incorporating the shadows of passers-by and buildings into your image can give you a very dramatic shot. This is because the bright sun contrasts beautifully with the elements in front of it and the shadows that are cast.

Tip: The lower the sun is on the horizon, the longer the shadows.

Pro lens tip: When taking a low-angle shot, secure your camera by holding your lens

I took the shot above while kneeling on the ground. When you have to shoot from a low position and low angle like this, secure the camera by holding your lens firmly from the bottom with one hand. That leaves your other hand free to operate the camera.

The image was shot in Live View, using the Vari-angle monitor and Touch Shutter.

Know this: RF lenses are designed to reduce flaring and ghosting

When it comes to backlit shots, flaring and ghosting is usually a huge concern as these can cause image quality to deteriorate. RF lenses are designed to minimise their occurrence, so you should be able to shoot in backlight without much issue.

5. Take a slow shutter shot—by hand!

EOS RP/ RF24-105mm f/4L IS USM/ FL: 43mm/ Shutter-priority AE (f/5.6, 1/4 sec, EV+0.6)/ ISO 800/ WB: Auto

With up to 5 stops’ image stabilisation, camera shake is greatly reduced

As night falls, cities take on a different, dazzling charm. Capturing this should be easy with the optical image stabilisation (IS) system on the RF24-105mm f/4L IS USM and RF35mm f/1.8 Macro IS STM. This, in combination with the Dual Sensing IS system in the camera, which uses information from the image sensor as well as gyro sensors in the lens to counteract camera shake, ensures an image stabilisation effect of up to 5 shutter speed stops.

I took full advantage of the IS system in the handheld shot above, where I used a slow shutter to create motion blur from the taillights of a passing car. The full-frame image sensor has ensured an excellent rendering of details even with the rather high ISO speed of 800.

When you want to travel light, sometimes, there’s nothing more delightful than being able to take low light shots without a tripod.

Pro lens tip: Find a shutter speed that gives just the right amount of motion blur

1/4 sec
Nightscape with moving car at 1/4 sec

1/10 sec
Nightscape with moving car at 1/10 second

Motion blur can add an interesting accent to a shot of night scenery, but be mindful of how much blur you create. In the above examples, you can see how a shutter speed of 1/4 of a second resulted in more motion blur in the car, creating a greater sense of dynamism.

Caution: Too much motion blur can make it hard to see what’s in your image, so don’t go overboard!

Street Photography Techniques to Try with a 50mm Prime Lens

Street photos with beautiful bokeh are great for conveying the light, airy feel of a holiday. And bokeh is what a fast prime lens does best! One of our picks for such a lens is the EF50mm f/1.8 STM: It’s affordable and lightweight, which makes it perfect for walking around with. In this chapter, we learn about the compositions and settings that bring out the best in its smooth, creamy bokeh.

The gear we used
The gear we used

Beautiful bokeh that conveys the light, airy feeling of being on holiday

Images shot with large aperture lenses tend to look and feel dramatically different from those shot on other types of lenses. The EF50mm f/1.8 STM is no exception.

In fact, its beautiful, creamy bokeh is its most outstanding feature. This is easily created in the background and/or foreground, especially when using the f/1.8 maximum aperture. It is great not just for making subjects pop, but also for adding depth or making the image look more surreal.

The bokeh circles created from point light sources have a beautiful quality that is difficult to achieve with a kit lens. The larger aperture also makes the lens great for photography in dark locations.

You’ll want to use this lens to preserve the memorable sights that you encounter: Interesting shop displays on a street you are exploring for the first time, the discoveries you make in the sand on a beach, beautiful lighting that you chance upon…Before you know it, you’ll be having fun creating bokeh to capture the things that catch your attention!

The EF50mm f/1.8 STM is a great choice for these scenes:
- Portraits of people, animals, etc.
- When the shooting location results in a cluttered image background and you need to make the main subject stand out more
- Street photography scenes that require defocus effects and the creation of bokeh

Know this: Using this lens with an APS-C camera lets you crop in closer to subjects

While this lens offers a standard angle-of-view on a full-frame lens, when paired with an APS-C camera such as the EOS 200D, it gives a medium telephoto angle-of-view equivalent to 80mm (35mm-film equivalent), which lets you take close-up shots of subjects that are further away.

1. Get up closer to your subject to create a creamy background bokeh

When creating background bokeh, in addition to using the maximum aperture, you can increase the bokeh effect by:
- Putting more distance between the main subject and the background
- Getting as close as possible to the main subject.

In the picture below, I got up close to the roses to take shots near to the closest focusing distance. The photo was captured from a position that placed the subjects in semi-backlight, so that the petals would be depicted beautifully and the background would sparkle.

Tip: The shallower depth-of-field at wider apertures can make camera shake more visible. Hold the camera firmly and be aware of the shutter speed.

EOS 200D/ EF50mm f/1.8 STM/ FL: 50mm (80mm equivalent)/ Aperture-priority AE (f/1.8, 1/1,600 sec, EV+1.3)/ ISO 200/ WB: Daylight

I wanted the beautiful roses to stand out as the main subject. To make the background bokeh stronger, I moved closer to the roses so that they would be in the line of sight.

EOS 200D/ EF50mm f/1.8 STM/ FL: 50mm (80mm equivalent)/ Aperture-priority AE (f/1.8, 1/1,600 sec, EV+1.3)/ ISO 200/ WB: Daylight

In this picture, I did not get up close enough to the roses. The aperture was f/1.8, but the roses did not command as much attention. To ensure that your subject has a strong sense of presence, move closer to it.

2. Make the most of the large aperture lens with the Rule of Thirds composition

If you are using a very significant bokeh effect in your image, keep in mind the proportion of the image frame that the bokeh occupies.

If you are using a landscape orientation, place the main subject about 1/3 from the centre to the left or right side.
If you are using a portrait orientation, place the main subject above or below the centre to depict calmness and impact.

This way, your image will seem to be telling a story.

The images below bring to mind the idea of a light bulb that has drifted in from the ocean and settled on the sand.

Landscape orientation
Rule of Thirds composition (landscape)

EOS 200D/ EF50mm f/1.8 STM/ FL: 50mm (80mm equivalent)/ Aperture-priority AE (f/1.8, 1/1,600 sec, EV+1.3)/ ISO 200/ WB: Daylight

Using the Rule of Thirds, the main subject was placed where the lines intersected on the lower right of the image. I also lowered the camera level and adjusted the camera position, such that the sand through to the sparkle of the sea were in the frame. To fill up empty space, I defocused the background to create bokeh.

Portrait orientation
Rule of Thirds composition (portrait)

EOS 200D/ EF50mm f/1.8 STM/ FL: 50mm (80mm equivalent)/ Aperture-priority AE (f/1.8, 1/1,250 sec, EV+1.3)/ ISO 200/ WB: Daylight

I shot this from a slightly higher position to give a better idea of the shape of the bottle. The portrait orientation allowed me to create a little more space above the subject, which makes the composition look more stable.

Shots I took while travelling with the lens

EOS 200D/ EF50mm f/1.8 STM/ FL: 50mm (80mm equivalent)/ Aperture-priority AE (f/2.8, 1/4,000 sec, EV+1.0)/ ISO 400/ WB: Daylight

The shadows bathed in the evening sun created a beautiful, artistic-looking pattern. Pairing this lens with an APS-C camera gives you an 80mm (35mm-film equivalent) medium telephoto angle-of-view that looks natural and carries no distortion.

EOS 200D/ EF50mm f/1.8 STM/ FL: 50mm (80mm equivalent)/ Aperture-priority AE (f/1.8, 1/800 sec, EV+1.0)/ ISO 1600/ WB: Daylight

A cat in a back alley, sandwiched by bokeh in the foreground and background. The grass and wall in the foreground have been blurred into creamy bokeh created at f/1.8 to make the cat stand out.

EOS 200D/ EF50mm f/1.8 STM/ FL: 50mm (80mm equivalent)/ Aperture-priority AE (f/4, 1/320 sec, EV±0)/ ISO 400/ WB: Cloudy

This close-up image shows a pair of sunglasses lying on the sand captured up close, the surroundings reflected in them as silhouettes. I aimed to create a creamy bokeh in the background to make the sunglasses stand out.

EOS 200D/ EF50mm f/1.8 STM/ FL: 50mm (80mm equivalent)/ Aperture-priority AE (f/5.6, 1/400 sec, EV-1.0)/ ISO 400/ WB: Shade

This image depicts two magical worlds - the sea as how we view it on the left half of the photo, and the sea with the sunset reflected as seen from the pedestrian crossing on the right half - both captured vividly at an aperture of f/5.6.

How do you make your landscapes look more impressive?

With what you learned in Parts 1 to 4, you now have a small arsenal of lens and shooting techniques to employ for almost any scene. Now the question is, when to use what? The same scenery can look drastically different when you shoot it at a different time of the day, or in different lighting, and it is in these little choices that we express ourselves as photographers. Here in Part 5, some professional photographers share about the decisions they made and how it helped their shot.

Irresistible Tips from Professionals in Travel Photography

The greatest pleasure of travel photography is that it allows the photographer to break away from daily routine and chance upon scenes that leave a deep impression. Simply pointing and shooting may not do the scene justice, so how about tweaking the settings on your Canon EOS camera to your fullest advantage? Here are some recipes that will help you capture light beautifully for more impressive photos.

1. Expressing the tranquility of a lakeside landscape

EOS 5D Mark III/ EF35mm f/1.4L USM/ FL: 35mm/ Manual exposure (f/22, 1/40 sec)/ ISO 100/ WB: Daylight

In this example, I aimed to capture the simple horizontal expanse of the landscape as well as the blue-white-blue colour arrangement. I wanted to convey the soothing feeling you get from the sharp texture of the trees as well as from the tranquil flow of the clouds, the lake and time itself.

A lens focal length that depicts the expanse in a way that is close to what we see with our naked eye
I composed a symmetric shot of the sky, clouds and lake with the trees at the centre. The focal length of 35mm can be used to depict the expanse of a space and at the same time, also suggest that the scene is just one part of a larger, grander one. To bring out the horizontal expanse, I used the Rule of Thirds composition to divide the sky and the clouds into a 2:1 ratio.

A narrow aperture depict the clouds, lake and trees at the same time
Although the trees seem to be standing next to one another from the image, they are in fact located at different distances from the camera. Narrowing the aperture gave me a larger depth-of-field, which not only helped achieved a sharp depiction of the shadows of the trees, but also captured the details in the clouds and water. In this situation, I got the best results at f/22.

Tip: When shooting at very narrow apertures, watch out for diffraction. It's at an acceptable level for this shot, but can make an image look softer than you want.

2. Capturing memories of the fresh morning dew

EOS 6D/ EF100mm f/2.8L Macro USM/ FL: 100mm/ Manual exposure (f/2.8, 1/640 sec)/ ISO 400/ WB: 3,300K

I took this shot in an early morning after the rain had stopped. Raindrops on the grass glistened in the morning sun. Here, I created bokeh circles from them to bring out the fresh, dewy feel of the scene.

A direction of light that creates reflection from the water droplets
Oblique (diagonal) backlighting can be used to bring out the glisten of the water droplets effectively. To do so, shoot with the light source diagonally behind the subject. As the raindrops and green grass would appear orangey in the morning sun, I adjusted the white balance to 3,300K to add a tinge of blue to the image.

Blurs the light to create bokeh circles
Telephoto lenses provide the shallow depth-of-field that you need to create bokeh, and this is enhanced when you shoot close to the subject. I combined this with the maximum aperture setting (f/2.8) to create bokeh circles. To make the bokeh circles even larger, I used the lens with a:
- Close-up lens;
- Extension tube; and
- Teleconverter.

3. A cinematic-looking shot of a World Heritage site

EOS 5D Mark III/ EF16-35mm f/4L IS USM/ FL: 22mm/ Aperture-priority AE (f/16, 1/160 sec, EV+0.3)/ ISO 400/ WB: Daylight

St. Paul’s Cathedral in Macau is a World Heritage site that is always crowded with visitors, so I went up a low hill nearby to look for a better shooting location. The cinematic look was achieved through the composition and shooting angle.

Key technique: To create depth, shoot from the side

Shooting angle
I captured the architecture from the side, which adds depth to the image. This also prevented the cathedral from appearing blown out due to the backlight from the sun.

Composition
I didn't want the area occupied by the trees and the leaves in the foreground to be too large. Shooting from the side helped to keep the balance.

A lens focal length that strikes a good balance between the foreground and the main subject
I made use of the dramatic effect of the backlight and the objects in the foreground to achieve a cinematic look. In order to guide the viewer’s attention toward the cathedral, which is the main subject, I used a focal length of 22mm and took a vertical shot.

A narrow aperture reproduces the textures of the foreground objects
The trees and leaves in the foreground looked beautiful in the backlight, so I tried to reproduce their traits and textures by deep focusing at f/16. I would not have been able to direct the viewer’s attention to the main subject (cathedral) effectively if the foreground was too sharp, so I positioned the camera closer to the leaves and purposely left the image slightly out of focus.

Morning or Evening?

The morning, with glistening morning dew from the sunlight, or the dreamy sunset, with the sun in its midst of setting? Both scenarios make for very attractive landscape photographs. In the following, we share two timings that you will want to catch, as well as techniques for capturing beautiful shots of the constantly changing scenery.

Morning: Photographing the glistening shine of morning dew on plants

Time of capture/ 6:30 am
EOS 5D Mark II/ EF70-200mm f/4L IS USM/ FL: 200mm/ Aperture-priority AE (f/4, 1/500 sec, EV±0)/ ISO 100/ WB: Daylight

On dewy mornings, dewdrops gather on the plant leaves and glisten in the morning sun. This brilliant sight, which you get to see only in the morning, is full of life and exudes an air of freshness. But it is also a fleeting moment because the dew evaporates quickly when the sun gets stronger.

Use a fast telephoto lens to blur the background behind the dew
If you do not use a wide aperture when you shoot, you will not be able to capture the effect of light shining on the dew. I really like the numerous bokeh circles glittering amongst the soft background blur.

Evening: Photographing the gradually dissipating sunset

Time of capture/ 6:30 pm
EOS 5D Mark IV/ EF16-35mm f/2.8L III USM/ FL: 35mm/ Aperture-priority AE (f/18, 15 sec, EV±0)/ ISO 100/ WB: Shade

When the sun lights up the sky in crimson at the end of the day and then sinks into the horizon, gradually being taken over by an air of serenity, you feel time flowing. It's beautifully melancholic, which is why I love evenings. The thought of the night time that will follow helps me take on my subject with a composed mind. During this period of time, the colours change so subtly that each press of the shutter button seems to capture a different facet of the same scene. To convey this, I control my shutter speed as I shoot.

Tip: Illustrate the dramatic changes in sunlight by varying shutter speeds

EOS 5D Mark IV/ EF11-24mm f/4L USM/ FL: 14mm/ Aperture-priority AE (f/8, 0.6 sec, EV+0.7)/ ISO 800/ WB: Manual

Use a slightly slower shutter speed to capture the wave movements
During time where the sky is ablaze from the setting sun, you can capture dramatic images by using a shutter speed that is just slow enough to create a sense of movement in the waves. Here, we used 0.6 second.

EOS 5D Mark IV/ EF11-24mm f/4L USM/ FL: 15mm/ Aperture-priority AE (f/8, 30 sec, EV±0)/ ISO 1000/ WB: Manual

Use an even slower shutter speed to give the shot a soft, serene feel
When night approaches, you could then get a bit bolder and use a 30-second slow shutter, which helps to achieve a very soft and serene portrayal of the scene. Each passing moment in the flow of time calls for a different shutter speed setting to capture its essence.

Front Light or Backlight?

In landscape photography, the direction of light is one of the decisions photographers have to make. Personal preference often plays a part and influences a photographer’s photographic style. Here, we learn how two photographers used natural front light and backlight for their shots.

Front light: Brings out the colours in landscapes

EOS 5D Mark III/ EF24-105mm f/4L IS USM/ FL: 24mm/ Aperture-priority AE (f/16, 1/30 sec, EV+1.0)/ ISO 200/ WB: Daylight
Location: Okitama Cherry Blossom Corridor, Yamagata Prefecture, Japan

In landscape photography, although not everyone aims to create such an effect, the most classic way of photographing clear blue skies is to depict the colours such that the scene appears to be straight out of a painting.

This photo, taken one morning in early spring, is of a cherry blossom tree along the Dai no Sakura boulevard in the Okitama Cherry Blossom Corridor in Yamagata Prefecture, Japan. The blossoms are of a species called “Beniyutaka”, i.e., “abundant red” and, true to this name, are known for their deep colour. The mountain peaks in the background still bear the last vestiges of snow, which makes quite a marvelous scene.

Shoot with front light on a clear day, or right after the rain
This shot was taken head on, with the sun shining from behind the photographer. You get the best colours on a clear day or right after it has stopped raining.

Deep focus with a wide-angle lens to get a sharp image of the entire scene
I set focus on the sakura tree, and then narrowed the aperture to f/16 to deep focus the shot and achieve sharpness all the way into the background.
Caution: When you carry out deep focusing, the shutter speed will slow even if you are shooting in broad daylight. Use a tripod so that your shot remains stable.

Tip: To hide uneven colour tones in the sky, position your subject strategically

EOS 5D Mark III/ EF8-15mm f/4L Fisheye USM/ FL: 15mm/ Aperture-priority AE (f/11, 1/250 sec, EV+0.7)/ ISO 200/ WB: Manual

Use your subject to hide uneven tones in the sky
When you photograph with front lighting, uneven colours in the sky tend to become more obvious the wider the angle you shoot with, even if you don’t use a polarising (PL) filter. But if you position your subject at exactly where the colour of the sky is at its deepest, just like in the photo above, not only will the sky look more even, the cherry blossoms will appear to have a deeper colour tone too. That is an ingenious way to kill two birds with one stone.

Backlight: Draws viewers’ attention to the light, and leaves them with a lasting impression of it

EOS 5D Mark III/ EF16-35mm f/4L IS USM/ FL: 16mm/ Aperture-priority AE (f/8, 1/250 sec, EV±0) / ISO 400/ WB: Daylight

Front light ensures that light falls onto the entire scene, therefore making visible a rich abundance of details on the photographic subject. Backlight, on the other hand, creates areas of light and shadow, with detail lacking in the latter. The resulting contrast tends to have a dramatic effect.

In places such as forests, the back lighting becomes highly diffused by the trees and foliage, surrounding them with a glow that transforms them from mundane objects into compelling subjects that leave an impression. Subjects with interesting shapes can be depicted as silhouettes by photographing them in back lighting and using negative exposure compensation. Therefore, when you shoot in backlit conditions, it is a good idea to be mindful of light and shadow when you compose your picture and set your exposure settings.

A lens with a built-in image stabiliser (IS) can achieve beautiful shots even in low light
When shooting in backlight, the surroundings can be quite dark even though the sun is in the frame. In-lens image stabilisation helps you to achieve clear, sharp shots by hand, great for shooting in places that have no space or proper footing for a tripod.

Tip: To draw emphasis to light, manipulate the appearance of shadow areas with exposure compensation

EOS 5DS R/ EF100-400mm f/4.5-5.6L IS II USM/ FL: 255mm/ Shutter-priority AE (f/18, 1/800 sec, EV-0.3)/ ISO 200/ WB: Manual

Use negative exposure compensation to control your shadows
For this shot, I adjusted my exposure compensation in stops of EV-0.3 until everything in the shadow areas became one cohesive silhouette. Choose the most appropriate exposure compensation value for your shooting intent.

EOS 5D Mark IV/ EF24-70mm f/4L IS USM/ FL: 70mm/ Aperture-priority AE (f/5.6, 1/60 sec, EV-1.3)/ ISO 400/ WB: Manual

Backlight can make the shapes of subjects more obvious
In backlight, the outlines of things are more obvious. if you want to draw attention to a subject's distinctive shape, shoot it in backlight, using a standard or medium telephoto focal length so that there is no visible distortion.

Shadows draw attention to light. To control the visual appearance of shadows in your image, use exposure compensation. If creating silhouettes is your goal, carrying out negative exposure compensation up to around EV-2.0 where an adequate portion of the image is black will be enough to draw emphasis to light.

Before or After Sunrise?

When photographing in the early morning, a common question encountered is whether to shoot before or after the sun rises. By making the most of the changes in sunlight and temperature, as well as the movement of clouds, it is possible to achieve a wide variety of photographic expressions regardless of when you choose to shoot.

After sunrise: Capture changes brought about by the rising temperature

EOS 5D Mark IV/ EF100-400mm f/4.5-5.6L IS II USM/ FL: 278mm/ Aperture-priority AE (f/16, 1/80 sec, EV±0)/ ISO 200/ WB: Daylight

Deep focus with a telephoto lens to capture the most impressive part of the scene
While the blue hour before sunrise is wonderful, I am always excited by the dramatic changes that occur when the sun rises. The rise in temperature that occurs as the sun begins its ascent leads to changes in air flow, which brings about delightful scene changes from moment to moment. As these changes occur rapidly, you need to act fast as a dramatic scene can come and go in an instant.

Before sunrise: Use bulb photography to depict the dramatic movement of clouds

EOS 6D/ EF24-105mm f/4L IS USM/ FL: 40mm/ Manual exposure (f/10, 7 min, EV±0)/ ISO 100/ WB: Auto

Shoot a long exposure to capture cloud movement
While the human eye can't fully capture the subtle changes that occur in the time before sunrise, the camera can, and the shots that you take can reveal a world of stunning colours. Using long exposure lets you capture the movement and flow of the sea of clouds high up in the sky, creating a dynamic image with a dreamy feel. The clouds look like they are moving, although it is a still image!

Tip: Try using bulb photography to express the movement of clouds

EOS 6D/ EF24-105mm f/4L IS USM/ FL: 40mm/ Manual exposure (f/14, 10 sec, EV±0)/ ISO 100/ WB: Auto

Use your shutter speed to control how the clouds appear in your shot
The trick to using bulb photography before sunrise is to compose your image so that the clouds are positioned in the centre. Your shutter speed determines how the clouds look!

Tip: For more dramatic results, set a longer exposure time such as 1 minute or more.

Photographing Waterfalls: To Freeze or to Blur?

When it comes to photographing waterfalls, the shutter speed setting is one major decision that determines the photo you get. There are undoubtedly many people who are unsure whether they should capture a blurred shot of the flowing water, or capture the flow of water frozen in time. And once you take into consideration the form of the waterfall and the direction of the light, you’ll find that there is an almost limitless range of possible artistic expressions.

Freezing the water flow: Using semi-backlight to bring out the momentary intensity of the waterfall

EOS 5D Mark II/ EF70-200mm f/4L IS USM/ FL: 200mm/ Aperture-priority AE (f/8, 1/1,250 sec, EV-0.7)/ ISO 1250/ WB: Daylight

Waterfalls do not flow at a constant rate. Rather, the water falls in a given rhythm that greatly varies depending on the height, volume, pressure, and form (vertical, diagonal, cascade) of the waterfall, repeatedly flowing at a fast or slow rate.

Use a fast shutter speed to capture spraying water
The photo is of the lower section of the Nachi Falls in Wakayama Prefecture, which boasts the highest single drop of all waterfalls in Japan. For this shot, I used a very fast shutter speed of 1/1,250 sec to capture the waterfall in the moment. Rays of light creating semi-backlighting make the spray from the waterfall stand out impressively, capturing its power and intensity. When using front light, the absence of shadows and dimensionality means that the intensity cannot be captured as adequately.

Tip: Waterfalls captured using semi-backlight and waterfalls captured using front light are compelling in different ways

EOS 5D/ EF24-70mm f/2.8L USM/ FL: 30mm/ Aperture-priority AE (f/13, 1/20 sec, EV±0)/ ISO 100/ WB: Auto

To photograph rainbows, use front light
When photographing a waterfall, using semi-backlight will make your subject stand out impressively, allowing you to capture its three-dimensionality. In contrast, you would shoot using front light when you have a rainbow in a waterfall. This is because if the sun is not behind the photographer, the rainbow would not be noticeable even if it were there.

Blurring the water flow: Close in with a longer focal length to emphasise the dynamism of the waterfall

EOS 5D Mark II/ EF24-105mm f/4L IS USM/ FL: 105mm/ Aperture-priority AE (f/11, 1/30 sec, EV±0)/ ISO 4000/ WB: Auto

A longer focal length is better for bringing out the dynamism of a waterfall
When photographing waterfalls, there are differences in water volume and the speed of water flow, but regardless of whether you use a high or slow shutter speed, using a telephoto lens (or the long end of a standard zoom lens) to draw you closer to the waterfall makes it easier to change the composition.

At a wide angle-of-view, the portion of the frame occupied by the water is smaller, making it harder to notice any changes in flow. In order to avoid a strong contrast, many photographers shoot waterfalls on cloudy or rainy days. However, you can also capture interesting shots in good weather when light shines through a waterfall: Try taking close-up shots of water bouncing off the rocks while the sunlight strikes.

EOS 5D Mark II/ EF17-35mm f/2.8L USM/ FL: 17mm/ Manual exposure (f/18, 6 sec, EV±0)/ ISO 100/ WB: Auto

Watch out for blown highlights when you shoot long exposures
When photographing a waterfall with a slow shutter speed, if the background is bright, the soft white colour of the waterfall may not rendered as pure white in the image. Select a dark background where possible. If you expose the image for a long time, you might get blown highlights, so check the highlight warning display after your shoot.

Here’s how you can make your shots look even more unique

In Part 6, we venture beyond normal everyday shots and learn how to capture images with a unique twist to them. From flowers and insects to food, landscapes and street photographs, find out how to use macro lenses and lens filters to add an extra “wow” factor to your pictures.

Mouth-watering Macro: Food Photos to Salivate Over

What is travel without trying some local food? Whether or not you are a foodie, chances are that you will be tempted to take some photos of the interesting/exotic/delicious food that you come across as you travel. Everyone would have taken a food photo at least once in their lives: Just take a look at the countless pictures of food uploaded onto social media every day! But the popularity of the genre means that you need to make extra effort to make your shots stand out. Here, we share a technique for capturing food like you have never seen it before, using the example of sweets and desserts—possibly the most common type of food photographed.

Need to get up close and detailed? Macro lenses are your best friend

Capturing the intricate details of a subject—including food—can provide an interesting perspective. In order to do that, you need to get close to it. But try doing that with an ordinary lens, and you would probably realise that when you go closer than a certain distance, you won’t be able to focus.

This is because every lens has a closest focusing distance (also known as a minimum shooting distance). This distance indicates the minimum distance that must be between the camera and the subject for the focusing mechanism to work.

Every lens has a different closest focusing distance. On a macro lens, it is usually shorter compared to other types of lenses. This is why macro lenses are often used to take pictures of tiny objects such as insects, flowers, water droplets and small trinkets. In this chapter, we show you how to use them to take photographs of sweets and desserts that will make your viewers salivate.

This was shot at the closest focusing distance (25cm) of a standard zoom lens (EF-M18-55mm f/3.5-5.6 IS STM). Any closer than that and the lens won't be able to focus.

On a macro lens, you can get much closer. This was shot on the EF-M28mm f/3.5 Macro IS STM, which has a closest focusing distance of 9.3cm in Super Macro mode, enough to fill the frame with the chocolate bark.

1. Not sure what to do with the composition? Get close and make the subject’s shape the centerpiece!

EOS M50/ EF-M28mm f/3.5 Macro IS STM/ FL: 28mm (45mm equivalent)/ Aperture-priority AE (f/4, 1/20 sec, EV+0.33)/ ISO 800/ WB: Auto

When photographing desserts, you will probably find yourself agonising over the composition more than anything else. A macro lens provides an easy option: Simply get close, and there you have it—a fascinating new angle. I found the shape of this toasted meringue frosting on a tart unique, and shooting close-up helped to capture it in full glory.

Bonus: The macro lens also captured the texture details of the dessert, which makes the shot even more evocative. We explore this more in the next point.

A shot of the whole dessert doesn’t play up the “charm points” of the dessert, and simply tells the viewer what it looks like. Not as alluring.

2. Tempt your viewers with close-ups of delectable details

EOS M50/ EF-M28mm f/3.5 Macro IS STM/ FL:28mm (45mm equivalent)/ Aperture-priority AE (f/8, 1/20 sec, EV±0)/ ISO 400/ WB: Auto

The most delicious-looking food photos create a multisensory experience. They don't just tell you what the food looks like, they also evoke your other senses so that you can imagine the aroma, the taste, and the feel of biting into it or having it in your mouth. Close-ups can help to achieve that, especially if your dessert has fine textures or delicate details. Aim for the areas that you feel are the most compelling. I was drawn to the yellow colour and fine texture of this cake, and decided to shoot it as close-up as I could. The yellow fills more than half of the entire frame, and the fineness of the crumb is also clearly depicted.

This pretty shot is “eye candy”: It tells viewers what the cake looks like, but it’s harder to imagine what it would feel like biting into it. There are also too many distracting elements in the shot (the orange slice, wooden background etc.).

3. Use your focus to guide the viewer’s line of sight

EOS M50/ EF-M28mm f/3.5 Macro IS STM/ FL: 28mm (45mm equivalent)/ Aperture-priority AE (f/5.6, 1/8 sec, EV+0.67)/ ISO 800/ WB: Auto

To create a compelling food photo, you need to make sure that you achieve proper focus. Don't just place your focus anywhere. Instead, decide on which part of the subject is the most compelling to you and place your focus there. For the shot above, I made sure that the dainty toppings on the surface of the white chocolate were clearly in focus.

If the focus isn’t placed on the part of the subject that you want to show viewers, the shot looks confusing and incoherent. Decide on what you want to draw your viewers’ eyes to, establish focus on it, and shoot. You might need to take a few shots to nail it.

Tip: For more precise focusing, magnify the Live View display

The focusing frame in the 1x (regular size) display.

The focusing frame at 10x magnification.

To check that your focus is precisely where you want it to be, use the magnification feature in Live View. It allows you to magnify the image by 5x or 10x, which makes it easier to see where your focus really is. This is especially useful in macro photography, where it can be hard to achieve precise focus because of the shallow depth-of-field.

Summing up

To make your food photos stand out from the countless similar shots flooding social media, don’t shoot simply just to record images of a pretty dish or dessert. Instead, look a bit closer, admire it a bit more, and try to home in on the elements that fascinate (or tempt) you. When you do that, your shot expresses a point-of-view that is uniquely yours. That alone will give it a notch more impact.

Canon has macro lenses to match every mount, regardless of whether it’s an RF lens, EF lens, EF-S lens or EF-M lens. So if you don’t own one already, why not start today?

Magical Macro Close-ups: Of Ants, a Waterdrop and a Starburst

When we travel, it’s often the grand, majestic sights that leave us awestruck, but don’t forget about the wonder in tiny things too! A macro lens helps us to get up close to and capture images of the miniature side of nature. Here’s how we used one to capture the following shot of ants drinking from a water drop.

EOS 6D/ MP-E65mm f/2.8 1-5x Macro Photo/ FL: 65mm/ Aperture-Priority AE (f/14, 1/50 sec, EV±0)/ ISO 640/ WB: Auto

Two ants were drinking water that clung to the petals of an African daisy. I directed an LED light onto the water droplet, narrowed the aperture, and created a starburst to make a dazzling impression.

Preparing for the shoot

Choosing the lens
Considering the size of the ants and the water droplet, I knew I would still have to crop the image if I took a life-size shot (1.0x magnification). Therefore, I chose the MP-E65mm f/2.8 1-5x Macro Photo, which allows shooting at up to 5x magnification.

Other equipment used
LED light (to illuminate the scene)
Tripod
Pipette/syringe

Shooting procedure

1. Place a vase containing the African daisy in a garden, and then drip water over the petals with a syringe-type pipette.

2. Direct the LED light onto the water droplets.

3. Mount the camera on the tripod.

4. Adjust the lens and camera position until you get the ideal composition. (For this shot, my lens tip was about 10-15cm away from the subject.)

5. Use the magnification function in Live View to focus on the water droplet.

6. Narrow the aperture to f/14. This narrow aperture will create a starburst effect from the light reflected off the water droplet. You might need to move the LED light.

7. Wait for the ants to approach.

8. Release your shutter at the right moment.

Tip: Use a remote shutter release to avoid camera shake
You can turn your smartphone into one if your camera supports Wi-Fi/Bluetooth low energy. Simply download the free Canon Camera Connect app and pair your devices.

Patience is key
I've always believed that when it comes to photographing living things, patience is the only way to achieve the shot that's in your head. For this shot, I did not control the ants. I waited tenaciously for 6 hours for them to approach the water droplet.

Warning: Squatting for too long can make your back hurt! You might want to sit on a stool or chair.

The key to nailing the shot: Shine the LED light at an angle from the back

As you can see from the illustration below, I placed the LED light behind the potted plant to the right to shine on the water droplets.

The point to note here is the angle of the LED light. It was difficult to find an angle at which starbursts would appear. After setting the aperture to f/14, I moved the position of the LED light to search for such a point.

Travel tip: It helps to have a tripod and portable LED light on hand
While this shoot was done at home, you can also achieve something similar at your travel destination. All you need is a tripod and small, portable LED light. There’s a lot you can achieve with these, so it’s always good to have them with you. If you don’t have an LED light, the light from your smartphone could work, too.

Know this (1): With a macro lens, you can get bokeh even with a narrow aperture

Many people think that they need to shoot at the widest aperture to create bokeh. However, with a macro lens, that's not necessarily true. When you shoot close-up, the depth-of-field is shallow. Narrowing the aperture won't affect it much. So go ahead and narrow the aperture to create the starburst effect—the background bokeh won't disappear!

Tip: The higher the magnification, the shallower the depth-of-field. This can make autofocusing difficult, especially on cameras with fewer AF points. You might have to magnify your EVF/Live View display to nail focus, or use manual focusing.

Know this (2): The f-number affects how the starburst effect looks

f/14
For the shots in this article, I got very clear starbursts when I used the narrowest aperture of f/14. On macro lenses, it is hard to create starbursts if you narrow the aperture by just a little. Try stopping down all the way to the smallest aperture setting.

f/2.8
f/2.8 results in beautiful, creamy bokeh, but you definitely won't get starbursts. In fact, in this shoot, faint light streaks only started to appear around f/13.

Macro to Make Things Exciting: Liven Up Your Underwater Photos with Foreground Bokeh Dots

Underwater photography is a race against time. Moreover, you might not always be able to bring along multiple lenses for your shoot. Macro lenses are most often used for photographing small fish, but here is a technique for using them to take underwater shots with bokeh.

EOS 5D Mark III/ EF100mm f/2.8L Macro IS USM/ FL: 100mm/Manual exposure (f/5, 1/100 sec)/ ISO 100/ WB: 4,600K

The blue pearl-spot chromis crowding around the table coral looked like powdered snow to me, and I tried depicting them as such.

Widen your aperture in bright locations to create bokeh from fish in the foreground

100mm macro lenses are often used by professional photographers who take photographs of living things for documentation purposes. The lenses are often used together with an f-number of about f/7.1 - 16, which clearly depicts the features and state of the creatures.

But 100mm macro lens can double up and be used to shoot photographs with bokeh. This makes it even more useful for underwater photography, especially since there is a limit to how many lenses you can carry with you underwater.

For the shot above, which features a school of blue pearl-spot chromis on top of the table coral, I set the aperture to f/5. I selected a subject in a bright location where there was sufficient sunlight and then framed the shot with the blue ocean as the backdrop while shooting the subject at eye level. I used a low intensity flash because I wanted to create changes in the gradation of the blue colour. Although the blue pearl-spot chromis is the main subject, I focused on the coral at the back so that I could blur the fish and turn them into a layer of bokeh dots.

EOS 5D Mark III/ FL: 100mm/ Manual exposure (f/4, 1/10 sec)/ ISO 100

I took this shot at f/4 as I wanted to create large bokeh circles. I did so by placing tiny silver fish directly in front of the lens to create bokeh from them, and then using a flash to illuminate the area.

EOS 5D Mark III/ FL: 100mm/ Manual exposure (f/5, 1/10 sec)/ ISO 100

These colourful beads in the water were created by making bokeh circles from the fish crowding in front.

Tip: Shoot at the same height as the corals
The focusing distance to the corals was 80cm. I lay prone and made sure I rose until I was at eye level with the coral. I then used an external flash to take the shot.

Know this: A 100mm telephoto macro lens is essential for underwater photography
Much as you would like to, it’s not always possible to physically move closer to the underwater creatures that you want to photograph. This is where a lens with a long working distance helps. Professional underwater photographers often use 100mm and 500mm macro lenses, but for most situations, 100mm should be sufficient.

ND Filters: Helping You Get Creative on Sunny Days

If you want to use a slow shutter or your maximum aperture when shooting on a sunny day, a Neutral Density (ND) filter will help to prevent your shot from becoming overexposed.

Examples of Canon ND filters

ND Filter ND4X-L

Reduces the incoming light from the lens to 1/4 (2 stops). Available in 3 types — 52 mm, 58 mm and 72 mm — for use with the corresponding EF lenses.

ND Filter ND8X-L

Reduces the incoming light to 1/8 (3 stops). Available in 3 types — 52 mm, 58 mm and 72 mm — for use with the corresponding EF lenses.

What is an ND filter, and when is it usually used?

An ND filter is a filter mounted in front (or at the back) of the lens to reduce the intensity of the light entering the camera. It is most often used to achieve the following outcomes:

To achieve a slower shutter speed when shooting in bright sunlight

A slower shutter speed can make waterfalls look silkier, blur clouds, or add a sense of dynamism to moving objects. However, in bright conditions such as daylight, too slow a shutter speed could result in blowout, where bright areas lose detail due to overexposure.

One possible solution is to narrow the aperture, but this increases the risk of diffraction, which causes the image to lose sharpness. For this reason, many photographers prefer to avoid doing this, and use an ND filter instead.

Tip: A slower shutter speed, paired with skillful use of lighting, can make colours appear more intense.

To create a bokeh effect even in bright light

On a bright day, using maximum aperture to create bokeh allows a large amount of light to enter the camera. In very bright conditions, there could be so much light that even the slowest ISO speed combined with the fastest shutter speed possible on the camera can't sufficiently reduce the amount of light, resulting in the shot becoming overexposed.

So what do you do if you want to take full advantage of the beautiful bokeh on your new, super-fast prime lens? You would have to cut the amount of light that enters the camera, which is what the ND filter does.

Optical viewfinder (OVF) users, note this: As the ND filter reduces the amount of light entering the camera, the image that you see through the OVF will appear darker than usual.

In Summary: Pros & Cons of Using an ND filter

Pros
Cons

Slows down the shutter speed
Causes the optical viewfinder to become darker

Maximum aperture can be used even on a bright, sunny day

Possibility of camera shake increases (can be prevented by using a tripod)

Know this (1): An ND filter is a must-have for professional film-making

When shooting video, the shutter speed is dependent on the frame rate that the film-maker chooses to use. Since they have limited control over shutter speed, on a bright day, filmmakers will have to use a narrow aperture and low ISO speed to control exposure, which might still be insufficient. An ND filter reduces the light to a manageable intensity, and also allows the filmmaker to use a wider aperture for a shallow depth-of-field effect.

It is so important that many high-end video cameras, including those in the Cinema EOS line-up, have a built-in ND filter.

Know this (2): A graduated ND filter can help to balance out uneven contrast in your shot

A graduated ND (GND) filter (left) is an ND filter that comes in a light-dark gradient. It comes in both oblong- and circle-shaped varieties. You place the darker part of the filter over the brighter part of the scene. This helps to balance out the contrast in scenes where one side appears brighter than the other.

Shooting at f/18, 0.6 sec. with the Canon ND Filter ND8X-L

As it was an extremely bright scene, I used the ND Filter ND8X-L, which is capable of 3 stops of light reduction. This allowed me to slow the shutter to 0.6 sec, which blurred the motion of the passers-by.

Shooting at f/1.8, 1/8,000 sec. with the Canon ND Filter ND8X-L

The sun was so bright that without an ND filter, shooting the maximum aperture of f/1.8 to create bokeh would cause the image to be overexposed, even if I used my camera's maximum shutter speed of 1/8,000 second. Using the ND Filter ND8X-L reduced incoming light, allowing me to use the maximum aperture without losing the details in the leaves to blowout.

Tip: If you are using the EOS R/EOS RP, consider this!

Drop-in Filter Mount Adapter EF-EOS R with Drop-in Variable ND Filter A

This mount adapter, which allows you to use EF/EF-S lenses with the EOS R or EOS RP, comes with a variable ND filter that reduces light by 1.5 to 9 aperture stops (equivalent of ND3 to ND500). It's your one-size-fits-all alternative to having multiple filters with different densities and diameters. You can even use it with lenses that are not designed to allow a front filter to be attached.

PL Filters: A Wonderful Colour Intensifier

Much as we would like the sky to be a clear, deep blue in our daytime outdoor photographs, Mother Nature doesn’t always cooperate. But your options aren’t limited to fixing it in post-processing or making do with a low-contrast, dully-coloured sky. Here, we introduce you to the polarising (PL) filter, which is most often used to intensify colours.

The following images were shot with this Canon filter:

Circular polarising filter PL-C B
The filter is available in diameters of 52mm, 58mm, 67mm, 72mm, 77mm, and 82mm. You can also attach a lens cap on top of the filter.

What is a PL filter?

A polarising (PL) filter is a filter that you attach to your lens to reduce certain polarities of light. It removes unnecessary reflected light, and therefore not only controls glare and reflection, but also helps to make colours appear more vibrant. It can even reduce light haze, fog or mist. If you want to elevate your photography, it certainly is a good investment.

There are two types of PL filters: Linear and circular. As linear PL filters might interfere with AF and through-the-lens light metering on cameras with mirrors (i.e. DSLR cameras), circular polarising filters (CPL filters) are more commonly used and also more widely sold. Other than that, the visual effects of both are the same.

Important note: Using a PL filter slows down shutter speed

The PL filter works by restricting incident light, which results in a slower shutter speed if you are shooting in Program AE or Aperture-priority AE mode. This might be great for some creative intents, but it also increases the chances of subject blur and camera shake. Take precautions to prevent: Use a tripod if necessary, or increase the ISO speed to make the shutter speed faster.

How a PL filter changes your shots

With PL filter
Example shot with EOS 750D

EF-S10-22mm f/3.5-4.5 USM/ FL: 15mm (24mm equivalent)/ Aperture-priority AE (f/8, 1/320 sec)/ ISO 400/ WB: Auto

No PL filter
Shot with no PL filter

Compared to the image at the top, you can see that the contrast is lower and the blue is a lighter shade.

Step-by-step: How to use a PL filter

Shooting Procedure

A: Attach the PL filter to the lens.

B: Shoot with the sun behind you.

C: Rotate the PL filter and check the result to see if you have obtained the desired effect.

Read on for more details about each step.

A: Mount the PL filter onto the lens

Select a filter that matches the filter thread diameter of your lens. Attach it to the screw threads at the front of the lens. Turn the filter right to screw it firmly in place.

Tips:

- If you own multiple lenses, you might want to choose a filter that matches the lens with the largest thread size, and then use step-up rings to adapt the filter to the lenses with the smaller thread sizes.

- If you are using the EOS RP or EOS R and have multiple EF lenses, you can also consider getting the EF-EOS R mount adapter with the drop-in CPL filter. It effectively adds a filter to all your lenses, regardless of their thread size.

B: Shoot with the sun behind you

The PL filter has little effect if you shoot in backlight. Make sure that you shoot in front light, i.e, with the sun illuminating your subjects from behind you.

Good example: The blue looks more intense when captured in direct light
Skyscrapers shot with PL filter

EF-S10-22mm f/3.5-4.5 USM/ FL: 13mm (21mm equivalent)/ Aperture-priority AE (f/8, 1/60 sec, EV+1)/ ISO 200/ WB: Auto

To bring out the effect of the PL filter sufficiently, find a location that allows you to shoot in front light.

Negative example: No effect when shooting in backlight
Skyscrapers shot in backlight

EF-S10-22mm f/3.5-4.5 USM/ FL: 16mm (26mm equivalent)/ Aperture-priority AE (f/8, 1/200 sec, EV+0.7)/ ISO 200/ WB: Auto

The closer your camera is pointed toward the sun, the weaker the effect of the PL filter. With backlight such as this, the PL filter will have almost no effect.

Tip: The effect of the PL filter is strongest on the parts of the sky that are at a 90-degree angle from the sun. When the sun is high in the sky, the polarisation effect is strongest near the horizon. When it is low in the sky, the polarisation effect is strongest in the sky directly overhead.

C: Rotate the PL filter and check the result to see if you have obtained the desired effect

A PL filter has 2 layers. Rotating the frame at the front can make the effect weaker/stronger. Adjust it until you find the angle that gives you the deepest shade of blue.

Tip: When adjusting your PL filter, try turning it right whenever possible. If you do have to turn it left, be careful not to unscrew the filter by accident!

The front frame of the PL filter can be rotated 360 degrees, with the effect changing roughly every 90 degrees. After confirming which angle is most effective, you can finely adjust the angle to obtain your desired effect.

Lens Filters in Action: Techniques from 2 Professional Photographers

Landscape photographers love using PL and ND filters as they reduce light reflection and slow down the shutter speed, making it possible to achieve shots otherwise not possible. Here, two photographers share how they created their breath-taking works with the help of these lens filters.

ND400 filter: Bringing out a tranquil, mystical ambience with a long exposure

This straight line of rocks in the sea are called the Hashigui-iwa (“bridge-pillar rocks”). According to local legend, they are an unfinished bridge to the neighbouring Oshima Islands, and the result of an encounter between the Buddhist monk Kobo Daishi and a demon.

With a back story like that, I felt that the mystical ambience created by the morning sun that rises from the Pacific Ocean suited the scene perfectly. To further enhance the atmosphere, I knew I needed to use a long exposure to smoothen out the waves and water surface.

In a backlit situation like this, where there is a large amount of sunlight entering the camera, it's not possible to obtain a slow shutter speed without an ND filter. The shot above was achieved using ND400 filter, which slowed down the shutter speed by about 8.7 stops, allowing me to shoot at 25 seconds.

Extra details: To accentuate the image, I narrowed the aperture to f/14, which resulted in a beautiful starburst effect.

The effect of an ND filter

With ND filter: Water surface looks as smooth as silk
Slow shutter shot of rocks in sea against sunrise

EOS 5D Mark III/ EF24-105mm f/4L IS USM/ FL: 24mm/ Aperture-priority AE (f/14, 25 sec, EV±0)/ ISO 400/ WB: Daylight
Filter: ND400 filter/ Location: Hashigui Rocks (Wakayama, Japan)

An ND filter reduces the amount of light entering the camera, which slows down the shutter speed. It's useful for making water surfaces look silky-smooth.

No ND filter: Waves are captured too clearly
Rocks in sea during sunrise without ND filter

EOS 5D Mark III/ EF24-105mm f/4L IS USM/ FL: 24mm/ Aperture-priority AE (f/14, 1/50 sec, EV+0.3)/ ISO 400/ WB: Manual

Without the smoothening effect of the long exposure, the waves are very clearly depicted. The resulting image looks different from the dreamy, fantastical effect that I was aiming for.

PL filter: Removes water surface reflection to bring out the depth in water bodies

Using a PL filter cuts light reflection from the water surface, which not only allows you to see into the water but also intensifies colours. You can turn the filter ring to weaken/strengthen the effect. A stronger polarisation effect generally makes the water look more transparent.

With PL filter: Reduces water surface reflection
Dried lotus flowers and maple leaves in pond, shot with CPL filter

EOS 5D Mark II/ EF24-105mm f/4L IS USM/ FL: 47mm/ Aperture-priority AE (f/22, 2 sec, EV±0)/ ISO 50/ WB: 4,500K
Filter: Circular polarising filter/ Location: Himuro Pond, Kajuji Temple (Kyoto, Japan)

This shot of fallen maple leaves among withered lotus plants in a pond evokes thoughts of the end of autumn. I wanted to add dimensionality to the final image by incorporating the leaves that lay deep under the pond.

Extra details

- To smoothen the ripples on the water surface, I lowered the ISO speed and narrowed the aperture to f/22 to obtain a longer shutter speed.

- The blue hues of the sky were still subtly visible on the surface of the pond. To incorporate that, I set white balance to a slightly-cool 4,500K.

- I made sure that the red, yellow and blue colours in the image fell in a natural-looking harmony with one another.

No PL filter: Water reflection is captured
Flowers and leaves in pond with surface reflection

EOS 5D Mark II/ EF24-105mm f/4L IS USM/ FL: 47mm/ Aperture-priority AE (f/22, 2 sec, EV±0)/ ISO 50/ WB: Manual

When a PL filter is not used, the reflection of the sky on the pond surface will obscure the view further into the water. The maples leaves floating on the water also appear less striking in colour due to light diffusion.

Tip 1: Decide on your shooting spot, then test the PL filter

The polarisation effect varies depending on the position of the sun and the direction of the camera. Once you have decided which direction to face when you shoot, you can concentrate on creating your ideal composition.

I was shooting from the edge of the pond. Although there was limited standing space that allowed firm footing, I could move to my left and right, so it was relatively easy to find a shooting angle that gave the best polarisation effect.

Tip 2: Use the standard focal length range to maximise the polarising filter effect

When you use a polarising filter to its maximum effect, you might notice uneven brightness in your resulting image, with some parts darker than others. This tends to happen especially with wide-angle lenses. To prevent this from occurring, you can either increase the focal length (preferably to a standard focal length), or turn the filter to adjust the effect until the dark areas are no longer noticeable.

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Author Profiles

Digital Camera Magazine

A monthly magazine that believes that enjoyment of photography will increase the more one learns about camera functions. It delivers news on the latest cameras and features and regularly introduces various photography techniques.
Published by Impress Corporation

TATSUYA TANAKA
Part 1, Part 2

Born in 1956, Tanaka is one of the rare photographers who produce works across a wide variety of genres from an original perspective. These genres range from objects in our daily lives, such as insects and flowers, to landscapes, skyscapes, and celestial bodies. Besides photography, Tanaka has also developed his own approach in post processes including retouch and printing.

http://tatsuya-t.com

KAZUO NAKAHARA [STUDIO9]
Part 3, Part 6 (ND Filters)

Born in Hokkaido in 1982, Nakahara turned to photography after working at a chemical manufacturing company. He majored in photography at the Vantan Design Institute and is a lecturer for photography workshops and seminars, in addition to working in commercial photography. He is also a representative of the photography information website studio9.

http://photo-studio9.com/

TEPPEI KOHNO
Part 4 (5 Portrait Photography Techniques for Travel, Street Photography Techniques to Try with a Standard Zoom/Macro Prime Lens), Part 6 (PL Filters)

Born in Tokyo in 1976, Kohno graduated with a Social Work degree from the Department of Sociology of Meiji Gakuin University, and apprenticed with photographer Masato Terauchi. He contributed to the first issue of photography magazine PHaT PHOTO and became an independent photographer after that, in 2003. The author of many books, Kohno not only shoots all sorts of commercial photographs, but also writes prolifically for camera and other magazines.

http://fantastic-teppy.chips.jp

MAIKO FUKUI
Part 4 (Street Photography Techniques to Try with a 50mm Prime Lens)

Born in 1983 in Osaka. Photographer. Actively involved in magazine and advertising photography, book writing, photography workshops and so on.

GOTO AKI
Part 5 (Irresistible Tips 1, Backlight)

Born in 1972 in Kanagawa Prefecture and graduated from Sophia University and Tokyo College of Photography. Goto published a photo collection work titled ""LAND ESCAPES"" and is also actively engaged in works such as “water silence” an installation that merges photographs with videos.

http://gotoaki.com/

YOSHIO SHINKAI
Part 5 (Morning)

Born in Nagano in 1953, Shinkai started travelling throughout Japan with a large-format camera to shoot landscape photography in 1979. Currently, he shoots for a wide range of media, ranging from posters and calendars to travel brochures and photography magazines.

MINEFUYU YAMASHITA
Part 5 (Evening)

Born in 1979 in Aichi. After gaining experience in jobs such as interior and graphic designing, Yamashita became an independent photographer in 2011. His works have been used in many calendars.

http://www.minefuyu-yamashita.com

TAKASHI NISHIKAWA
Part 5 (Front Light)

Born in Nara Prefecture in 1965, Nishikawa graduated from the Broadcasting & Movie Department of Visual Arts Osaka Professional Total Creative School. He self-studied photography, and worked at a commercial video production company and a professional photo printing lab before finally becoming a freelance photographer. A member of the Japan Nature Scenery Photograph Association (JNP).

TOSHIKI NAKANISHI
Part 5 (After sunrise)

Born in 1971 in Osaka. After learning photography on his own, Nakanishi moved the base for his photography activities to the town of Biei located in Kamikawa-gun of Hokkaido. While capturing landscapes that focus on light, he also produces works that bring out the figurative beauty of nature. Head of PHOTO OFFICE atelier nipek.

http://www.nipek.net/

MAKOTO HASHIMUKI
Part 5 (Before sunrise)

Born in 1977 in Shizuoka Prefecture, Hashimuki took up photography after purchasing a mirrorless camera in 2012. Fascinated by Mt. Fuji, he later purchased Canon’s EOS 6D and lenses to pursue more serious photography.

KOMEI MOTOHASHI
Part 5 (Photographing Waterfalls)

Born in Yokohama, Kanagawa Prefecture in 1945, Motohashi learned about dark room technology at the Tokyo College of Photography. He is working on a collection with the theme ""Breath of Nature"", which came about from the climate and natural features unique to Japan, based on a perspective of nature he acquired in the mountains.

FUMIO TOMITA
Part 5 (Photographing Waterfalls)

Born in Tokyo. After graduating from Tokyo College of Photography, he studied under a mountain photographer, and later became a freelance photographer. He specializes in natural landscapes inside Japan.

MIKI ASAI
Part 6 (Magical Macro Close-ups)

Born in Obihiro, Hokkaido. While working as a company employee, she would get her hands on a camera to shoot small objects after finishing work and on her days off. In 2013, she bought the DSLR that she had been longing for and started shooting. One day, she was moved by the morning dew that she saw on a leaf through a macro lens the sight of which was “more beautiful than any gem”. It struck her then that she wanted to photograph the small and beautiful world which exists everywhere but is easily missed and hard to see with the naked eye. Since then, she has continued with her style of photography in pursuit of her goal.

YASUAKI KAGII
Part 6 (Macro to Make Things Exciting)

Born 1971 in Hyogo Prefecture, Kagii is an underwater photographer, and was apprentice to the underwater photographer, Katsutoshi Ito, during his university days. He became a freelance photographer in 1998, and specializes in a photography style that lets him get close to the natural rhythm of living creatures so as not to stress them where possible. Kagii has been a representative of Clé et Photos since 2013.

HIDEHIKO MIZUNO
Part 6 (Lens Filters in Action: Polarising filter)

Born in 1968 in Kyoto. The works he has released centre on the beautiful scenery, and also the shrines and temples of Kyoto.

TAKEHITO MIYATAKE
Part 6 (Lens Filters in Action: ND400 filter)

Born in 1966 in Osaka Prefecture, Miyatake joined a photographic equipment manufacturer as a studio photographer after graduating from the Department of Image Technology of the Tokyo Polytechnic University’s Faculty of Engineering. In 1995, he set up his studio Miyatake Photo Factory in Tokushima Prefecture where he grew up.

FUMIO KATO
Part 5 (Irresistible Tips 2)

Kato’s scuba diving experience led him to take up underwater photography. After having won the Junji Takasago Prize twice, he began to pursue photography as a profession. Kato became a freelance photographer in 2006, and expanded his scope from underwater to nature photography. In 2012, he came in second place in the Nature’s Best Photography Japan contest, and his works were exhibited at the Smithsonian Museum for a year in 2013. A member of the Japan Professional Photographers Society (JPS).