Emily

A shot of Emily taken with my new Canon EF 35mm f/1.4 L lens (more about that in a future post). This was taken with Emily facing a large window in our lounge - light levels were low as it's an overcast day here (ISO 640, 1/200 at f/2.0 - the lens is already nice and sharp at f/2.0!). Getting shots of her with a lovely smile can be frustrating when photographing alone - as soon as I put the camera to my eye she no longer recognises daddy and stops smiling. What I end up doing is putting the camera just below my chin, pulling silly faces, and then firing away using autofocus to try and get a sharp shot - composition goes right out the window but it's worth it for the lovely expressions. I bumped up the contrast using curves in Photoshop and then applied a gentle vignette.

I'm off to photograph Sharon and David's wedding at the Manor Gatehouse and Prince's Park, Dartford this afternoon - fingers crossed the rain holds off (I'm sure this is why so many of the best wedding photographers are based in Australia).

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Extension tubes

For a more in-depth discussion of macro photography and magnification rates check out John Shaw's 'Closeups in Nature'.

Extension tubes increase the distance between the optics in the lens and the digital sensor. This allow the lens to focus at a closer distance to the subject, hence increasing its size. An approximate magnification rate is given by total extension/focal length - immediately this tells you that greater magnification rates are achieved with shorter focal length lenses. 

Since there is only air between the end of the lens optics and the sensor I bought the cheaper Kenko extension tubes which come as a set of three - 12, 20 and 36mm. They allow the lens to communicate with the camera body so that autofocus and metering are not affected. With my 100m f/2.8 (a true 1:1 macro lens) putting on all of the above extension gives a magnification rate of .7-fold. 


The extension tubes can be used in conjunction with the extender I discussed in the previous post. If you attach extension to the lens first and then subsequently add the extender you will multiply the magnification by a further 2x. I took the photograph of the fly with a 100mm f/2.8 macro lens, 68mm of extension and a 2x extender!

Another result of adding extension to a lens is that minimum and maximum focusing distances are reduced. The former can be beneficial. I often use my 85mm f/1.2 L lens indoors with an extension tube to reduce the closest focusing distance of 0.95m - I can then take advantage of its excellent low-light capabilities in confined spaces.

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Canon extenders

Fortunately for my wallet I'm not into wildlife photography and so haven't needed to buy any of Canon's high performance telephoto lenses - here are the current prices at Warehouse Express: Canon 300mm f/2.8 L IS £2848, 400mm f/2.8 L IS £4889, 500mm f/4 L IS £4154, 600mm f/4 L IS £5399, 800mm f/5.6 L IS £9000! My longest lens is the 70-200mm f/2.8 L IS which suffices for all my professional wedding and portraiture work. However, I do occasionally need a bit more reach, and so to achieve this without breaking the bank, I invested in a Canon EF 2x II extender (also known as a teleconverter) - seen above next to a Canon EF 24-70 f/2.8 L lens for size comparison. It attaches between the camera and lens, and as its name suggests, it doubles the focal length range of the lens.

The downside is that the aperture of the lens is decreased by two stops, so my 70-200mm f/2.8 IS becomes a 140-400mm f/5.6 IS lens - image stabilisation is not affected. This is the smallest aperture at which autofocus can work on a Canon EOS 5D (1D bodies can handle f/8.0) - if your lens is slower than f/2.8, adding a 2x extender will require you to focus manually. This doubling of focal length results in a doubling of magnification - great for wildlife or, for example, photographing the moon, as above (cropped). As an aside, I shot this in manual mode in order to underexpose by 3 stops to take into account the black sky filling 60% of the image - exposure compensation only allows you to correct by -2 stops in aperture priority mode. The magnification resulting from the extender does lead to a small deterioration in image quality. Canon also sells a 1.4x extender.

I've used the Canon extender on all my lenses - it's particularly entertaining to stick it on a macro lens in conjunction with extension tubes (I'll discuss these in the next post) to achieve high magnifications.

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Speedlite Transmitter ST-E2

I have three 580EX II Speedlites that I use for lighting but I still find the ST-E2 wireless flash controller to be a useful addition to my kit - it's very light and compact compared to having a 580EX II mounted on camera as the master controller, and it can also be used solely for its AF-assist beam.

It does have a few limitations compared to a 580EX II though. It can only control two channels, A and B (you can have as many Speedlites as you want in each channel but you can only control the flash output ratio between the two channels as a whole - from 8:1 to 1:8), as compared to the 580EX II which can control three (A, B & C). Also, the ST-E2 cannot communicate flash exposure bracketing or manual flash instructions, unlike the 580EX II. Another point of difference - the ST-E2 sends instructions to the slave flashes using near infra red, whereas the 580 EX II Speedlites communicate using visible light.

How do I use the ST-E2 transmitter? For indoor portraits of the bride and groom and for the cake-cutting pictures are two good examples. I set up two 580EX II Speedlites on stands with diffusers, as fill and key lights, set an appropriate ratio between the two light sources, and then off I go. I feel fleet-of-foot and liberated from a composition point of view.

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Autofocus assist beam

Autofocus relies upon the contrast between dark and light areas - this becomes more difficult to assess as light levels drop. My venerable Canon EOS 5 has a built-in AF-assist light which automatically switches on and beams a near infra-red light pattern from an LED to help the AF system. My Canon EOS 5D, however, must rely upon either a Speedlite or the ST-E2 Speedlite transmitter for AF-assist. I imagine the reason for this is that an in-built AF-assist light would struggle to cover the 9-point AF system 0f the 5D.

When I'm shooting a wedding it's generally around the first dance that I see the reassuring three vertical red lines of the AF-assist beam on my subjects. I can be shooting at f/2.8, or lower, and yet I rarely get a shot that is out of focus. Impressive stuff. Tips for focusing: I only use the more sensitive central focus point, to take advantage of both the f/5.6-sensitive cross-type sensors and f/2.8-sensitive vertical line sensors, and I look for areas of good contrast, such as the line between a white shirt and a dark jacket, to focus on. If you're going for a portrait shot, try and focus on eyelids or eyebrows.

In the 580EX II Speedlite manual it states that the AF-assist beam is compatible with lenses of focal length 28mm and longer, but it seems to work perfectly well at 24mm with my 24-70mm f/2.8 L zoom lens. The effective range of the light is 0.6 - 10 m at the central AF point, and 0.6 - 5 m at the outer points.

When shooting in low light the AF-assist beam fires twice - initially to calculate a focusing distance for the lens and then, secondly, to confirm that the subject is in focus before taking the shot. If the subject is moving too quickly, the focus distance will have altered between these two readings and focus lock cannot be achieved. For this reason the AF-assist beam is not compatible with AI servo - your camera must be in one-shot mode. For the tricky shot of the bride and groom walking down the aisle I have the camera in AI Servo mode only if the church is well-lit. In low-light I switch to one-shot mode to take advantage of the AF-assist beam and take plenty of shots to maximise my chances of getting one that is sharp (I always ask the couple to walk slowly beforehand).

As mentioned in an earlier post I use an Ee-S focusing screen to aid manual focus. This has no impact on the autofocus system but does affect the metering system (this is set with custom function 00). With lenses of aperture f/2.8, or lower, the viewfinder remains bright.

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E-TTL II

These are some brief notes on E-TTL II. For an in-depth read on Canon's flash systems read NK Guy's magnum opus at Photonotes.

Evaluative through-the-lens II (E-TTL II for short) is the latest incarnation of Canon's automatic flash exposure control system. I currently use a Canon EOS 5D with 580 EX II Speedlite which is based upon this system - it's a match made-in-heaven for flash photography. Previously I used a Canon EOS 5 with 540 EZ Speedlite (based upon A-TTL, where A = advanced) which was far less reliable and required me to constantly adjust flash exposure compensation (FEC).

The system is a 'black box' in that Canon publish only limited information about the algorithms that control flash exposure. Their attitude is switch it on and use it. I would urge you to do the same. Get an empirical feel for how the flash system works and then make adjustments as you wish. I did, however, find the following information on the Canon Professional Network website regarding fill-in flash (see my post regarding exposure values, EV).

"The output of the fill-in flash depends on the shooting conditions. With lower light levels (below about EV 10), you get a flash output just as if you were shooting a subject at the same distance indoors. Above EV 10, the flash output is gradually reduced, to a maximum of -1.5 stops (-2 stops with E-TTL autoflash) at EV 13 and above. This auto flash output reduction helps to create a better balance between the daylight and the flash illumination in bright sunlight."

When shooting indoors I still tend to use some flash exposure compensation (at least 2/3 stop) to keep the light contribution from the flash very subtle but the shot will still look good without. Check out my most recent gallery of wedding photography - most of the shots used flash, both indoors and outdoors (the Speedlite was set to high-speed sync outdoors).

With E-TTL II, the camera transmits the lens focal length, exposure control mode, aperture and image sensor size. With more recent lenses focusing distance data is also communicated - even if the Speedlite is attached via an off-camera shoe cord (although for this to work accurately your flash unit must be a similar distance from the subject as if it were mounted directly on the camera - a flash-bracket is fine). Distance data is not used if flash is bounced or used wirelessly.

Metering for flash uses the same system as for ambient light metering and is linked to the current auto-focus point. The camera fires a pre-flash which allows it to meter the scene for flash exposure. To see this, put the flash in second-curtain sync and then set a long exposure time.

Flash exposure locking is available for situations in which the camera is fooled and you're not confident using FEC. These are the same situations that can cause problems metering for exposure - when the overall tone of the shot is not medium-grey.

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Wedding at St Francis Church, Ashford

A selection of images from Tanya and Matthew's Kent wedding yesterday at St Francis Church and Park Farm Recreation Centre, Ashford. It was a fantastic day but what an emotional rollercoaster it was! Even I, as a hardened wedding photographer, shed a tear.

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