Lenses, Speedlites and accessories

for your EOS cameraPublished by Canon (UK) Limited, Woodhatch, Reigate, Surrey RH2 8BF

Editorial and design Robert Scott Publishing Limited, The Old Barn, Ball Lane, Tackley, Kidlington, Oxfordshire OX5 3AGtelephone 01869 331479; facsimile 01869 331641

Photographers Paul Exton, S. DeVoss, Geoff du Feu, Steve Gosling, Christian Kapl, Shana & Adam Lund, Lisa Mardell, Geoffrey McKillop, John D. Norman, Trevor Payne, Robert Scott, Billy Stock, Manus & Jeanette van Dyk

Copyright © 2003 Canon (UK) Limited

Copyright of the photographs in this booklet is the property of the photographers.

Canon is the registered trademark of Canon Inc.

Products and specifications are subject to change without notice.

All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording or any information retrieval system, without the prior written permission of the publisher.

For the latest information about new lenses and other EOS accessories visitwww.canon.co.ukor subscribe to EOS magazinewww.eos-magazine.com or telephone 01869 331741

Your EOS is a single-lens reflex (SLR) camera. The lens used to create the image in the viewfinder is also used to expose the image onto the film or digital sensor. This means that what you see is what you photograph.

The lens is interchangeable. With one lens you can capture the wide expanse of a landscape; with another you can fill the frame with a flower. You can change the lens at any time to suit your subject, and each time the viewfinder will continue to show the image you will shoot.

There are dozens of different lenses in the EOS system, each one designed to help you create outstanding images. This booklet will help you to choose the lenses you need.

But lenses are only part of the system. There is an extensive range of other items available for your camera.

Canon Speedlites are electronic flash guns. They are used to take photographs when there is not enough light for normal photography – but can also improve your pictures in daylight.

There are also battery packs, remote switches, extension tubes, angle finders, correction lenses, cases and straps – all part of an ever-expanding range of accessories which will increase your enjoyment of photography.

It is possible to take great pictures with just your EOS camera and a single lens, but single-lens reflex photography offers you a great deal more than this.

The EOS experienceYour camera is just the beginning

04 Lenses

06 Focal length

08 Zoom & prime

10 Identification

12 L-series

14 Standard

16 Wide-angle

18 Telephoto

20 Stabilization

22 Macro

24 Tilt-and-shift

26 Lens guide

28 Speedlites

30 Model range

32 Tilt and swivel

34 Macro flash

36 Wireless

38 Accessories

40 Close-up

42 Battery packs

44 Viewfinder

46 Remote

See the world differentlyChoose a lens to match your imagination

Many EOS cameras are sold complete with a lens – usually a standard zoom such as the EF 28-90mm f4-5.6 (page 14). This is a versatile lens, capable of photographing people, landscapes and many other subjects. So why do you need to consider other lenses?

By definition, a standard lens is ‘middle-of-the-road’. It is a satisfactory lens for many subjects, but not always the best lens. Good wildlife photographs can be difficult to shoot with a standard zoom, and you will struggle to take dramatic close-up images.

Canon has introduced state-of-the-art features, such as image stabilization (page 20), which are available on selected lenses. There is a series of high-performance lenses (page 12) which give outstanding image quality. Canon is also the only manufacturer to offer a range of tilt-and-shift lenses (page 24) for architectural and creative users, and the only manufacturer of a high-performance macro lens which provides up to 5x magnification (page 22).

In fact, creativity is a key reason for the wide range of lenses in the EOS system. Just as a golfer carefully selects the right club for each shot, so you should use the best lens for each subject. Of course, you may not be able to afford (or need) as many lenses as a golfer has clubs, but even a modest selection will help you to capture an image the way you see it in your mind’s eye.

The following pages will help you to choose the lenses you need.

Len

ses section 1

04 | 05

Lenses are defined by their focal length, measured in millimetres – 28mm, for example. This affects the angle-of-view, which defines the area of the scene or subject which can be recorded by the camera.

Wide-angle and telephotoLenses with small focal lengths have wide angles-of-view and are called wide-angle. Those with long focal lengths have narrow angles-of-view and are called telephoto (because the narrow angle has the effect of making the subject appear closer than it really is – ‘tele’ is Greek for ‘far off’). In between are standard

lenses, which have an angle-of-view similar to that of the human eye (usually taken to be around 50mm for photographic applications). So if you are shooting a landscape and want to include a wide expanse of the scene, you need a lens with a short focal length – between 24mm and 35mm is popular. Wide-angle lenses are also good indoors – you can include a lot of the subject even when there is no space to move back. Telephoto lenses, on the other hand, are useful when the subject is distant and you can’t move any closer. These lenses, with focal lengths from 70mm to 1200mm, are popular for wildlife, sports and news.

Camera shakeTelephoto lenses magnify not only the subject, but also any camera movement. With focal lengths over 100mm you need to use a fast shutter speed or a sturdy tripod – unless the lens offers image stabilization (page 20).

How much do you want to see?Focal length affects the angle-of-view

06 | 07

Lens The EF 28-90mm f4-5.6 II USM includes wide-angle, standard and telephoto focal lengths in a single lens.Photo 1 The EF 15mm f2.8 Fisheye lens has produced this extreme wide-angle view of a building in Vienna.Photo 2 A wide aperture on the EF 50mm f1.8 lens was ideal for photographing this boy looking through a rain-speckled window.Photo 3 The lion cub was photographed from a safe distance using the super-telephoto EF 600mm f4L IS USM lens.

Zoom or prime?Which type of lens should you choose?

Lenses for your EOS camera can be divided into two main types – zoom and non-zoom. A zoom offers a range of focal lengths in a single lens – 28 to 90mm, for example. A non-zoom (often called a ‘prime’ lens) has a fixed focal length – 50mm or 200mm, for example.

Zoom lensesA zoom lens gives you the equivalent of several lenses in a single package. Instead of buying 28mm, 35mm, 50mm, 85mm and 100mm lenses, you can buy a 28-105mm lens. Not only is this less expensive, it is also a lot lighter to carry. With just two zoom lenses, such as a 28-80mm and a 75-300mm, you are ready for most subjects. A zoom lens also offers you settings between the focal lengths available in prime lenses – 32mm or 183mm, for example.

Prime lensesGenerally, prime lenses have a wider maximum aperture than zoom lenses. Wider apertures let

Lens The EF 28-105mm f3.5-4.5 II USM is an excellent general purpose lens. It covers a good range of wide-angle and short telephoto focal lengths in a compact unit.Photo A zoom lens allows you to frame your subject just by altering the focal length. This is very useful when the subject’s surroundings make it difficult to move forward or back.

more light through the lens, which means you can use a faster shutter speed for the exposure. This is an important consideration when choosing a telephoto lens, because a fast shutter speed helps to reduce the effects of camera shake. A wide aperture is also invaluable when shooting in low light without flash – at a floodlit sports event, for example, or with ambient light indoors. Super telephoto lenses are only available as primes. The maximum focal length found in an EF zoom is 350mm, while prime lenses are available up to 600mm, or even 1200mm. In terms of image quality, some prime lenses are better than zooms, though the difference is not significant for many users.

08 | 09

What does a lens name such as EF 75-300mm f4-5.6 III USM really mean? Most Canon lenses for EOS cameras have the designation ‘EF’. This is short for electronic focusing. As you press the camera shutter button, the lens automatically focuses on the subject.

Focal length75-300mm shows this is a zoom lens. The two figures indicate the range of focal lengths available. Prime lenses only have a single figure, such as 135mm.

Aperture numbersInside an EF lens is a series of adjustable metal blades which together form a diaphragm. At the centre is a hole which varies in size as the blades move. This hole is

called the lens aperture. The size of the aperture is indicated by an f-number. Small numbers, such as f2, f4 or f5.6, denote large apertures. Large numbers – f11, f16 or f22 – indicate small apertures. The size of the aperture controls the amount of light passing through the lens during an exposure. The f-number in the lens designation shows the

Understanding the lens nameA brief guide to the numbers and letters

10 | 11

Lens EF 75-300mm f4-5.6 III USMPhoto 1 When photographing stained glass windows, use a telephoto lens to isolate just a portion of the overall design.Photo 2 A short telephoto focal length is good for many portraits. This picture was taken with the EF 85mm f1.8 USM.

size of the maximum aperture. Many zoom lenses have a maximum aperture which varies with the focal length. This is shown by giving two numbers, such as f4-5.6.

Ultrasonic motorsEvery EF lens has a built-in motor which operates the autofocusing system. USM is short for ultrasonic motor – one of the technologies Canon has pioneered. A USM is very different to a conventional motor. A travelling wave is created by piezo-electric elements in a ‘stator’ ring, and this movement is transferred to a ‘rotor’. The circular shape of a USM is ideally suited to lenses, as is the ultra-fast, near-silent operation. Non-USM lenses use micromotors.

Version numberCanon often updates a lens, usually making it smaller and/or lighter. Some lenses have been updated three or four times. The version is indicated by Roman numerals in the name – II, III or IV.

All Canon lenses give good results, but there is one group which excels. This is the L-series lenses, easily identified by the red ring around the lens barrel. L-series lenses use the latest optical technology – much of it developed by Canon – to provide the highest possible performance.

Overcoming aberrationsEvery EF lens is made up of a number of optical elements. There can be as many as 18 different elements in a single lens. Most of these have spherical surfaces (that is, if the curved surface of the element was continued in all directions, it would form a perfect sphere). However, this can produce spherical aberrations, which means that parts of the image are not brought to a common focus.

Spherical aberrations can be reduced by using one or more aspherical elements in the lens. Lenses can also suffer from chromatic aberra-tions, giving colour fringing around subjects. Canon uses elements made from ultra-dispersion (UD) glass and fluorite crystals to correct chromatic aberrations.

Multi-layer diffractionCanon has also overcome spherical and chromatic aberrations using diffraction gratings. In the past, diffraction gratings have created too much flare for use in camera lenses. However, Canon has developed a method by which two gratings are used together to cancel out the stray light, leaving just the direct rays to form an image. The advantage of this multi-layer diffractive optical (DO) element is that it allows smaller, lighter high-performance lenses to be designed and manufactured. DO lenses are identified by a green ring round the lens barrel.

High performance opticsHow Canon makes a better lens

12 | 13

Lens The EF 16-35mm f2.8L USM is an extreme wide-angle telephoto which benefits from the increased optical performance offered by L-series technology.Photo This extreme wide-angle (20mm setting) photograph of elephants drinking sets the subjects in their surroundings.

Standard bearerOne lens – many subjects

Every EOS owner should have a standard lens. There is a good range available, from the EF 24-70mm f2.8L USM to the EF 35-80mm f4-5.6 III, plus two standard 50mm prime lenses.

Prime standardsOne of the best lenses you can buy is the EF 50mm f1.8 II. It has a performance approaching that of some of the L-series lenses, yet is the least expensive, smallest and lightest lens in the range. It also has a wide maximum aperture, making it ideal for photography in low light or at night. Even better is the EF 50mm f1.4 USM, a remarkable lens which excels at all light levels.

Standard zoomsA standard zoom is usually defined as one with 50mm in its range. A standard zoom is often supplied as part of a kit with EOS cameras, so it may not be on your shopping list at the moment. However, it is worth considering the EF 28-200mm

Lens The wide maximum aperture of the EF 50mm f1.4 USM makes it ideal for low-light photography. A good alternative is the EF 50mm f1.8 II lens.Photo Venice at dusk captured with a standard zoom lens. A long shutter speed was used, blurring the boats as they moved in the water.

f3.5-5.6 (with or without USM) if you are looking for one lens to cover a wide range of different subjects. Even more impressive is the EF 35-350mm f3.5-5.6L lens, though this is really a telephoto zoom.

Camera shakeThere is a great temptation to think that you can get sharp images with a hand-held standard zoom. This may be true with a wide-angle setting, but the effects of camera shake increase at longer focal lengths. Follow the reciprocal rule. You need a shutter speed at least as fast as1/focal length. So if the focal length is 125mm, you need a shutter speed no slower than 1/125 second. If this is not possible, use a tripod to obtain maximum lens performance.

14 | 15

A wide-angle lens has a wide angle of view. This makes it ideal for landscape photography, because it can fit a wide expanse of scenery into your picture. But it is much more than a landscape lens.

InteriorsNormally, if you want to increase your field-of-view to include more of a subject, you can move further from the subject. This is not possible in all situations, however. If you are indoors, a wall will usually limit the distance you can move back. Here, an EF 24mm f2.8, EF 24mm f1.4L USM or EF 20mm f2.8 USM lens will help you to include much of the scene. Zoom lenses for interior work

include the EF 16-35mm f2.8L USM and EF 20-35mm f3.5-4.5 USM.

Depth-of-fieldA lens can only focus on one distance at a time, and only a subject at that distance will be in sharp

Going to extremesLenses for landscapes – and much more

16 | 17

Lens The EF 24mm f1.4L USM offers the wid-est maximum aperture of any EF wide-angle.Photo 1 The closer you get to a subject with a wide-angle lens, the greater the perspective distortion. This boy’s feet are completely out of proportion with his head.Photo 2 A wide-angle lens provides great depth-of-field. This image of the Dome of the Rock, Jerusalem, appears sharp from the clos-est pillar to the centre of the golden roof.

focus. However, an area in front of and behind the focused distance will only be slightly out-of-focus and will appear to be sharp. This area of apparent sharpness is called depth-of-field. A number of factors affect depth-of-field, including subject distance and lens focal length. A wide-angle lens gives a large depth-of-field – everything in the image appears sharp, from the foreground to the far distance.

DistortionThe shorter the focal length, the greater the risk of image distortion. At focal lengths around 20mm and less, straight lines at the edges of the subject are likely to appear curved in the image. This makes extreme wide-angle lenses unsuitable for architectural subjects – unless you are aiming for creative effects. For in-tentional distortion, try the EF 15mm f2.8 Fisheye lens. It has an angle-of-view of 180°, offering unlimited scope for creative images.

Take the long viewTelephoto lenses bring the subject closer

A telephoto lens is like a telescope – it gives you a magnified view of the subject. Focal lengths from around 70mm to 200mm are good for capturing the detail of general subjects. Focal lengths from 300mm and above are mostly used for specialist photography.

PortraitsA short telephoto lens is ideal for portrait photography, giving good perspective by keeping you at just the right distance from the subject. Consider the wide-aperture EF 85mm f1.8 USM, EF 85mm f1.2L USM, EF 100mm f2 USM or EF 135mm f2.0L USM, or a zoom lens which includes these focal lengths.

Wildlife and sportMost wildlife and sports photog-raphers have at least one lens of 300mm or greater. In the current range these are mostly image stabi-lization lenses (page 20), which help to overcome the effects of camera shake at these focal lengths.

Lens EF 100-300mm f4.5-5.6 USMPhotos 1 & 2 The top image was taken using an EF 35-135mm lens at 135mm. The second photograph was shot using the EF 75-300mm f4-5.6 IS USM lens at 300mm.Photo 3 This marabou stork was photographed using an EF 600mm f4L IS USM lens fitted with an Extender 1.4x – an effective focal length of 840mm.

ExtendersThe effective focal length of some EF lenses can be increased by adding an Extender. Compatible lenses include the EF 70-200mm f2.8L USM, EF 70-200mm f4L USM, EF 100-400mm f4.5-5.6L USM, and any prime L-series or DO lens with a focal length of 135mm or higher. The EF Extender 1.4x Mk.II increases the effective focal length by 1.4, so a 70-200mm lens, for example, becomes 98-280mm. The Extender 2x Mk.II increases the effective focal length by 2, so a 600mm lens, for example, becomes 1200mm. The Extender 1.4x reduces the effective aperture by one stop; the Extender 2x reduces the effective aperture by two stops.

18 | 19

Shoot with a steady lensImage stabilization overcomes camera shake

Camera shake spoils many photographs. There is little point in having a high-performance lens if movement during exposure blurs the image. The effects of camera shake can be reduced by using a fast shutter speed, or virtually eliminated by fixing the camera to a sturdy tripod, but these solutions are not always possible or convenient. That is why Canon has introduced lenses with built-in stabilizers.

Gyro controlImage stabilization lenses contain gyro sensors which detect the direction, degree and frequency of lens movement. This data is used to control the movement of a special optical element inside the lens. This element moves up and down, or side to side, to hold the image stationery inside the camera, despite the movement of the lens.

Two modesThe EF 28-135mm f3.5-5.6 IS USM and EF 75-300mm f2.8L IS USM

Lens EF 400mm f2.8L IS USM.Photo This wild flower meadow was photographed using the EF 400mm f2.8L IS USM lens. The IS mode of some IS lenses must be switched off when a tripod is used. However, this lens, along with other recent models, automatically senses the use of a tripod and adjusts the IS control accordingly.

lenses have a single IS setting (Mode 1). This enables image stabilization to take place in both the vertical and horizontal modes at the same time. The other IS lenses add Mode 2. This allows you to pan the camera (follow a moving subject) without the lens trying to compensate for the movement in the direction of the pan.

Stabilizer effectThe effect of the image stabilizer is to give you at least two extra shutter speed steps. So if you can normally hand-hold a camera and lens for sharp images at a shutter speed of 1/60 second, you will be able to shoot at 1/15 second for the same results using the IS system.

20 | 21

Explore a new worldMacro lenses reveal hidden detail

Every lens has a minimum focusing distance. This determines the maximum magnification it provides. For a typical EF lens it is about 0.2x – the image on the film is about one-fifth of the subject size. If you want greater magnifications you can use a macro lens.

Three EF macro lensesA macro lens focuses closer to the subject than a normal lens, giving a magnification up to 1.0x (the image is the same size as the subject). The EF 100mm f2.8 Macro lens, for example, focuses down to 0.31 metre. This compares with a close focusing distance of 0.9 metre for the non-macro EF 100mm f2 USM lens. Also available is the EF 180mm f3.5L USM Macro, which focuses down to 0.48 metre. The EF 50mm f2.5 Compact Macro lens is a little different. It focuses down to 0.23 metre for a maximum magnification of 0.5x (half life-size). To achieve life-size magnification, you need

Lens The EF 100mm f2.8 Macro USM is an excellent general purpose short telephoto lens which focuses down to give life-size images.Photo One problem with close-up photography is the limited depth-of-field. You may need to focus manually for the best effect.

to attach the dedicated Life Size Converter between the lens and the camera body. All three lenses also focus to infinity, making them suitable for general photography.

Five times life sizeA more specialist lens is the MP-E65 f2.8 1-5x Macro Photo lens. This is not an EF lens – it does not autofocus. Also, as the name implies, focusing is over a range from life-size to five times life-size.

Close choiceIf you are unsure about which macro lens to choose, you probably need the 100mm lens. It suits most general and close-up work. Then add the MP-E65 and you will be able to focus from infinity to five times life-size using just two lenses.

22 | 23

There are three very special lenses in the Canon range. The TS-E 24mm f3.5L, TS-E 45mm f2.8 and TS-E 90mm f2.8 offer tilt and shift functions. The front section of each lens moves to give you control over various aspects of the image.

Tilt effectsThe focusing plane of a normal lens is at right-angles to the lens – focus on a point 10 metres from the lens and every point 10 metres from the lens will be in focus. But if you tilt the front section of a TS-E lens you also tilt the focusing plane. This means that you can have the focusing plane running at an angle to the camera. If, for example, you are photographing the front of a building which is at an

angle to the camera, and adjust the focusing plane to the same angle, every point along the front of the building will be in sharp focus, even though each point is at a different distance from the camera.

Shift effectsThe shift function moves the front section of the lens up or down (or side to side) in relation to the rear section. This moves the whole image inside the camera. If, for example, you are photographing a tall building, shifting the image allows you to bring the top into view without tilting the camera. This avoids ‘converging verticals’.

Multiple applicationsTS-E lenses are ideal for architec-tural photography, but are equally effective when photographing landscapes and general views. With the addition of a close-up accessory (page 40), they are also very good for controlling the focusing plane of subjects close to the camera.

Take control of perspectiveTilt-and-shift lenses work miracles

24 | 25

Lens TS-E 90mm f2.8. Photos 1 & 2 If you tilt the camera up to frame a building, the vertical lines will often appear to converge. This can be overcome by using the shift function of a tilt-and-shift lens.Photo 3 Most of the time you will not be aware that the tilt or shift functions of a TS-E lens have been used.

Guide to current Canon EF lensesFocal lengths and features

ZOOM Const. Min.ap. Cl. foc. Mag. Filter Size (mm) Weight Lens hood Lens cap Pouch

EF 16-35mm f2.8L USM 14/10 f22 0.28m 0.22x 77mm 83x103 600g EW-83E E-77U LP1319EF 17-40mm f4L USM 12/9 f22 0.28m 0.24x 77mm 83x97 475g EW-83E E-77U LP1319EF 20-35mm f3.5-4.5 USM 12/11 f22-27 0.34m 0.13x 77mm 83x69 340g EW83/2 E-77U LP1214EF 24-70mm f2.8L USM 16/13 f22 0.38m 0.29x 77mm 83x123 950g EW83F E-77U LP1219EF 24-85mm f3.5-4.5 USM 15/12 f22-32 0.5m 0.16x 67mm 73x69 380g EW73/2 E-67U LP1014EF 28-90mm f4-5.6 II 10/8 f22-32 0.38m 0.3x 58mm 67x71 180g EW-60C E-58 LP814EF 28-90mm f4-5.6 II USM 10/8 f22-32 0.38m 0.3x 58mm 67x71 190g EW-60C E-58U LP814EF 28-105mm f3.5-4.5 II USM 15/12 f22-27 0.5m 0.19x 58mm 72x75 375g EW-63/2 E-58U LP814EF 28-105mm f4-5.6 10/9 f22-32 0.48m 0.19x 58mm 67x68 210g EW-63B E-58 LP814EF 28-105mm f4-5.6 USM 10/9 f22-32 0.48m 0.19x 58mm 67x68 210g EW-63B E-58U LP814EF 28-200mm f3.5-5.6 16/12 f22-36 0.45m 0.28x 72mm 78x90 495g EW-78D E-72 LP1116EF 28-200mm f3.5-5.6 USM 16/12 f22-36 0.45m 0.28x 72mm 78x90 500g EW-78D E-72U LP1116EF 35-80mm f4-5.6 III 8/8 f22-32 0.4m 0.23x 52mm 65x63 175g EW54/2 E-52 LP814EF 35-350mm f3.5-5.6L USM 21/15 f22-32 0.6m 0.25x 72mm 85x167 1385g EW-78/2 E-72U LZ1324EF 55-200mm f4.5-5.6 USM 13/13 f22-27 1.2m 0.21x 52mm 70x97 310g ET-54 E-52U LP1016EF 70-200mm f4L USM 16/13 f32 1.2m 0.21x 67mm 76x172 705g ET-74 E-67U LP1224EF 75-300mm f4-5.6 III USM 13/9 f22-45 1.5m 0.25x 58mm 71x122 480g ET-60 E-58U LP1019EF 75-300mm f4-5.6 III 13/9 f22-45 1.5m 0.25x 58mm 71x122 480g ET-60 E-58U LP1019EF 80-200mm f4.5-5.6 II 10/7 f22-27 1.5m 0.16x 52mm 69x78 250g ET-54 E-52 LP1014EF 90-300mm f4.5-5.6 13/9 f38-45 1.5m 0.25x 58mm 71x115 4200g ET-60 E-58 LP1019EF 90-300mm f4.5-5.6 USM 13/9 f38-45 1.5m 0.25x 58mm 71x115 420g ET-60 E-58U LP1019EF 100-300mm f4.5-5.6 USM 13/10 f32-38 1.5m 0.20x 58mm 73x121 540g ET-65/3 E-58U LP1019

PRIME Const. Min. Ap. Cl. foc. Mag. Filter Size (mm) Weight Lens hood Lens cap Pouch

EF 14mm f2.8L USM 14/10 f22 0.25m 0.10x Gelatine 77x89 560g Built-in Exclusive LP1016EF 15mm f2.8 Fisheye 8/7 f22 0.20m 0.14x Gelatine 73x62 330g Built-in Exclusive LP814EF 20mm f2.8 USM 11/9 f22 0.25m 0.14x 72mm 77x71 405g EW-75/2 E-72U LP1214EF 24mm f1.4L USM 11/9 f22 0.25m 0.16x 77mm 83x77 550g EW-83D/2 E-77U LP1214EF 24mm f2.8 10/10 f22 0.25m 0.16x 58mm 67x48 270g EW-60/2 E-58 LP811EF 28mm f1.8 USM 10/9 f22 0.25m 0.18x 58mm 74x56 310g EW-63/2 E-58U LP814EF 28mm f2.8 5/5 f22 0.30m 0.13x 52mm 67x42 185g EW-65/2 E-52 LP1011EF 35mm f1.4L USM 11/9 f22 0.30m 0.18x 72mm 79x86 580g EW-78C E-72U LP1214EF 35mm f2 7/5 f22 0.25m 0.23x 52mm 67x42 210g EW-65/2 E-52 LP1011EF 50mm f1.4 USM 7/6 f22 0.45m 0.15x 58mm 74x50 290g ES-71/2 E-58U LP1014EF 50mm f1.8 II 6/5 f22 0.45m 0.15x 52mm 68x41 130g ES-62 + ADP E-52 LP1014EF 85mm f1.2L USM 8/7 f16 0.95m 0.11x 72mm 91x84 1025g ES-79/2 E-72U LP1219EF 85mm f1.8 USM 9/7 f22 0.85m 0.13x 58mm 75x71 425g ET-65/3 E-58U LP1014EF 100mm f2 USM 8/6 f22 0.90m 0.14x 58mm 75x73 460g ET-65/3 E-58U LP1014EF 135mm f2L USM 10/8 f32 0.90m 0.19x 72mm 82x112 750g ET-78/2 E-72U LP1219EF 135mm f2.8 Soft Focus 7/6 f32 1.30m 0.12x 52mm 69x98 390g ET-65/3 E-52 LP1016EF 200mm f1.8L USM 12/10 f22 2.5m 0.09x 48mm 130x208 3000g ET-123 E-162 NONEEF 200mm f2.8L II USM 9/7 f32 1.5m 0.16x 72mm 83x136 765g ET-83B/2 E-72U LP1222EF 400mm f5.6L USM 7/6 f32 3.5m 0.12x 77mm 90x256 1250g Built-in E-77U LZ1132

IMAGE STABILIZATION & DO Const. Min. ap. Cl. foc. Mag. Filter Size (mm) Weight Lens hood Lens cap Pouch

EF 300mm f2.8L IS USM 17/13 f32 2.5m 0.13x 52mm drop-in 128x252 2550g ET-120 E-145 Case 300EF 300mm f4L IS USM 15/11 f32 1.5m 0.24x 77mm 90x221 1190g Built-in E-77U LZ1128EF 400mm f2.8L IS USM 17/13 f32 3.0m 0.15x 52mm drop-in 163x349 5370g ET-155 E-180C Case 400EF 400mm f4 DO IS USM 17/13 f32 3.5m 0.12x 52mm drop-in 128x233 1940g ET-120 E-145 Case 400BEF 500mm f4L IS USM 17/13 f32 4.5m 0.12x 52mm drop-in 146x387 3870g ET-138 E-163 Case 500EF 600mm f4L IS USM 17/13 f32 5.5m 0.12x 52mm drop-in 168x456 5360g ET-160 E-185 Case 600EF 28-135mm f3.5-5.6 IS USM 16/12 f22-36 0.5m 0.19x 72mm 78x97 540g EW-78B/2 E-72U LP116EF 70-200mm f2.8L IS USM 23/18 f32 1.4m 0.17x 77mm 86x197 1470g ET-86 E-77U LZ1324EF 75-300mm f4-5.6 IS USM 15/10 f32-45 1.5m 0.26x 58mm 78x138 650g ET-64/2 E-58U LP1022EF 100-400mm f4.5-5.6L IS USM 17/14 f32-38 1.8m 0.20x 77mm 92x189 1380g ET-83C E-77U LZ1324

MACRO Const. Min. ap. Cl. foc. Mag. Filter Size (mm) Weight Lens hood Lens cap Pouch

EF 50mm f2.5 Macro 9/8 f32 0.23m 0.5x 52mm 67x63 280g NONE E-52 LP814EF 100mm f2.8 Macro USM 12/8 f32 0.31m 1.0x 58mm 79x119 580g ET-67 E-58U LP1219EF 180mm f3.5L Macro USM 14/12 f32 0.48m 1.0x 72mm 82x187 1090g ET-78/2 E-72U LZ1324MP-E65 f2.8 1-5x Macro 10/8 f16 0.24m 5.0x 58mm 81x98 710g Exclusive E-58 LP1216

Const. = Construction (number of elements/number of element groups); Min. ap. = minimum aperture. Cl. foc. = closest focusing; Mag. = maximum image magnification; filter = size of filter mount

TILT-AND-SHIFT Const. Min. ap. Cl. foc. Mag. Filter Size (mm) Weight Lens hood Lens cap Pouch

TS-E 24mm f3.5L 11/9 f22 0.3m 0.14x 72mm 78x87 570g EW75B/2 E-72 LP1216TS-E 45mm f2.8 10/9 f22 0.4m 0.16x 72mm 81x90 645g EW79B/2 E-72 LP1216TS-E 90mm f2.8 6/5 f32 0.5m 0.29x 58mm 74x88 565g ES65/3 E=58 LP1016

Travelling lightIlluminate your subject with flash

Many EOS cameras feature a built-in flash gun. This is very convenient, but its position close to the camera lens can produce a red-eye effect when you photograph people. Also, the low power of a built-in flash means that it is only suitable for subjects within two or three metres of the camera.

For better flash photographs you need a Canon Speedlite. This can be attached to the accessory shoe on top of the camera, or it can be used off the camera via the 60cm Off Camera Shoe Cord. Three different Speedlites are available (page 30), each with different features and power output.

In addition, there are two flash guns designed specifically for close-up work. These fit around the barrel of your lens, aiming their light directly at any close subject (page 34).

One special feature is wireless flash (page 36). This allows you to position one or more flash guns away from the camera without the inconvenience of needing cables to link them together.

With current EOS cameras, all of these flash units operate with E-TTL autoflash metering. This uses the same sensors as the ambient light metering. When you shoot with flash, your EOS cameras takes two readings, one for the ambient light and one for the flash illumination. This allows the camera, in some shooting modes, to balance the one with the other, overcoming the obvious flash lighting seen in some photographs.

Flash

Section 2

28 | 29

There are three Speedlites in the current range – 220EX, 420EX and 550EX. The most obvious difference between them is their power, which is indicated by the number. On this scale, the built-in flash has a power of about 120.

Speedlite 220EXThe Speedlite 220EX is the least powerful of the three and has a limited range of features. It is worth considering if your camera does not have built-in flash, or if you will only be shooting subjects which are within a few metres of the camera.

Speedlite 420EXThe Speedlite 420EX combines good power with a useful range

of features, making it suitable for most types of flash photography, both indoors and outside. If you only intend to shoot with a single Speedlite, the 420EX is well worth considering. If you add a Speedlite 550EX at a later date, the 420EX will work as part of a wireless flash set-up (page 36).

Speedlite 550EXThe Speedlite 550EX has it all – high power, every feature you could want, and the ability to control multiple flash guns in a wireless flash set-up. This is the unit to choose if your subjects will be some distance from the camera and you want complete control over the image.

High-speed syncAll three Speedlites offer ‘FP flash’, which means that they can be used with the camera set to any shutter speed. At faster speeds the power of the unit drops significantly, so this function is most useful for close-up photography.

Choosing the right SpeedliteWhich features do you need?

30 | 31

Speedlite The Speedlite 550EX is a powerful flash gun with a wide range of useful features.Photo EX-series Speedlites are very good for shooting portraits in daylight. The camera monitors both the ambient light and the flash illumination and balances the exposure to give a natural result. In situations where the flash is too strong, you may be able to use flash expo-sure compensation for even greater control.

Tilt and swivel headsBounce flash is best for portraits

The light from the Speedlite does not have to be aimed directly at the subject. If you are working indoors, you can aim the flash at a wall or ceiling so that the illumination is reflected back to the subject. This reflected light is diffused, giving a softer illumination which is perfect for portraits.

Head movementsTo bounce the flash illumination from a ceiling, the Speedlite must have a tilting head. This allows you to aim the light up while still pointing the lens at the subject. Both the Speedlite 420EX and 550EX have a tilting head. Of course, if you turn the camera through 90 degrees to use an upright format for your portrait, the tilted head of the Speedlite will be aimed at a wall. This can be effective, but is not always what you want. That is why both Speedlites also allow the head to swivel. With a tilt and swivel head, you can always aim the light at the ceiling or

Speedlite The adjustable flash heads of the Speedlite 550EX and 420EX tilt to allow bounce flash photography. Photo This photograph was taken at bath time. Many bathrooms have white ceilings and walls, making them ideal for bounce flash pho-tography. The light bounces from one surface to another giving very diffuse illumination.

a wall, with the camera turned for a landscape or an upright format. The Speedlite 220EX has a fixed head and is unsuitable for bounce flash photography.

Off cameraFor even greater control, you can take the Speedlite off the camera, connecting it to the accessory shoe using the Off Camera Shoe Cord 2. This retains all the automatic features of the Speedlite. Using the flash further from the camera (up to 60cm with the cord) eliminates the risk of ‘red-eye’ – a common effect seen when photographing people with on-camera flash. Off camera flash also provides you with more creative lighting effects.

32 | 33

Short range workingMacro flash illuminates close subjects

Speedlites are only suitable for subjects no closer than about 0.5 metres to the camera. With shorter distances, the position of the flash head above the lens means that the illumination will pass over the top of the subject. For macro photography, you need a macro flash unit.

Macro Ring LiteThe Macro Ring Lite MR-14EX attaches to the front of the EF 50mm f2.5 Compact Macro, EF 100mm f2.8 Macro USM, EF 180mm f3.5L Macro USM and MP-E 65mm f2.8 1-5x Macro lenses. Two semi-circular flash heads are fitted to the ring, flooding the subject with light. Either or both tubes can be fired to create different lighting effects. It is also possible to set a lighting ratio between the two flash heads from 8:1 to 1:8 for subtle control. The unit is based on the Speedlite 550EX and is linked by cable to a versatile control section which attaches to the accessory shoe of the camera. E-TTL autoflash

Flash unit The Macro Twin Lite 24-EX has two independently adjustable flash heads. These can be attached to a ring around the lens, or fixed to separate stands.Photo The lens is very near to the subject dur-ing close-up photography. There is no space for a Speedlite to be used, but a Macro Ring Lite or Macro Twin lite will give good illumination.

metering is available with current EOS cameras, and features include FE Lock, flash exposure compensa-tion, flash exposure bracketing and high-speed sync (FL flash).

Macro Twin LiteThe Macro Twin Lite 24-EX is similar to the Macro Ring Lite 14-EX, but has small flash heads which clip on to the ring. These heads can be rotated independently around the ring, and can also be angled in at the subject. This gives even greater control over the lighting effects.

Focusing lampBoth units have a built-in lamps which can be switched on to help with auto or manual focusing.

34 | 35

A single Speedlite or macro flash unit can give excellent results, but better pictures are often obtained by using two or more flash guns at the same time. Connecting multiple flash guns and controlling their exposure used to be difficult – until Canon intro-duced their wireless flash system.

Master unitMultiple flash guns are controlled by the Master unit, which is used on the camera. The Master can be a Speedlite 550EX or either of the macro flash units. The on-camera flash can control any number of off-camera Speedlites.

Slave unitThe off-camera Speedlites are called Slave units. They can be set as A, B or

C groups, with different flash ratios. Units which can act as Slaves are the Speedlites 550EX and 420EX.

Speedlite TransmitterIf you want to use all the Speedlites away from the camera you can control them with the Speedlite Transmitter ST-E2. This offers all the features of the Speedlite 550EX, but with an infrared transmitter replacing the flash head. The Speedlite 550EX can also be used as a transmitter with the flash switched off. Wireless flash is only fully compatible with recent EOS film and digital cameras (Type A models).

Wireless controlMultiple flash units without cables

36 | 37

Speedlites Several Speedlite flash units can be controlled from the camera using the Speedlite transmitter ST-E2. Photos 1 & 2 Both of these photographs were taken using two Speedlite 550EX units off-camera controlled by the Speedlite Transmitter ST-E2. A reflection from each unit can be seen in the eye of the frog on the opposite page.

Everything you needAccessories for all occasions

One of the advantages of owning an EOS camera is the wide range of accessories available. We have already covered lenses and flash, but these are only part of the complete system. Whatever your subject or technique, there will probably be an accessory to help you improve your images.

The next few pages look at close-up items (page 40), grips and battery packs (page 42), viewfinder accessories (page 44) and remote control equipment (page 46).

Even this is not a complete list. Most lenses have a dedicated lens hood. It is a good idea to use this whenever you shoot, as it can help to reduce flare and loss of contrast when shooting in bright light. The hood type for each lens is shown in the table on pages 26 and 27. A case or pouch is also available for most lenses. Details are given in the table.

Cases are also available for most EOS cameras. These offer good protection when travelling or during storage. Cases are ‘ever-ready’ – just unclip the front section and the camera is ready to use. Details are in many camera instruction manuals.

You should always use a strap with your camera, whether or not it is in a case, and always have the strap round your neck when shooting. This can save the camera from expensive damage if it slips out of your hands. Canon offers a range of camera straps.

For a listing of current EOS accessories visit www.canon.co.uk. For details of past and present EOS accessories, see the ‘Everything EOS’ guide published by EOS magazine (www.eos-magazine.com) or phone 01869 331741 for details.

Acce

ssorie

s Section 3

38 | 39

Macro lenses (page 22) are not the only way to shoot close-ups. Supplementary lenses (also known as close-up or CU lenses) are an inexpensive way to move in on your subject. Extension tubes get you even closer.

Close-up lensesCU lenses screw to the filter thread at the front of a camera lens. A CU lens is very small and light, so you can carry it all the time. Canon CU Type 250D and Type 500D are both ‘doublet’ lenses. These feature two separate lens elements cemented together for a high-quality perform-ance. Type 500 is a less expensive single element alternative. The magnification varies with the EF

lens used. Telephoto lenses give the best results. Type 250 lenses (+4 dioptres) offer the greatest mag-nification. Type 500 lenses are +2 dioptres. No increase in exposure is needed when a close-up lens is fitted to an EF lens.

Extension tubesExtension tubes fit between the lens and the camera, increasing the distance between the lens and the film or sensor. They do not contain any optical elements. Canon offers two extension tubes of different lengths – EF12 (12mm) and EF25 (25mm). Unlike close-up lenses, extension tubes give the greatest magnifications with short focal length lenses. Less light reaches the film or sensor when tubes are used so an increase in exposure is necessary – usually by setting a slower shutter speed. This means that the camera will nearly always need to be on a sturdy tripod to avoid blurred images.

Close optionsSupplementary lenses and extension tubes

40 | 41

Accessory Extension tube EF25.Photos (clockwise from top left): the closest focusing of an EF 50mm lens; a 50mm lens with Extension tube F12; a 50mm lens with Extension tube EF25; even greater magnifica-tions can be obtained by adding an Extender EF 1.4x or EF 2x between the camera and the lens plus extension tube.

Packing powerGrips, Battery Packs and Power Boosters

Grips, generally, are attachments for your camera which make it easier to hold, but do not contain batteries. Battery packs provide alternative power for the camera, but do not affect performance. Power Drive Boosters increase the shooting speed of the camera.

Camera gripsGrips include the GR-80TP (for EOS 3000, 3000N, 500, 500N and 5000) and GR-100TP (for EOS 300). Both feature a built-in mini tripod for extra support.

Battery packsNot all battery packs give more power than the normal camera battery. The main advantage is that they accept Type AA batteries which can be bought almost anywhere. This is especially useful when travel-ling. In addition to Type AA alkaline batteries, you can also use recharge-able NiCd or Ni-MH batteries. This helps to reduce the running costs of your camera. Packs for current

Accessory EOS 3 fitted with the Power Drive Booster E2.Photo When travelling, a battery pack means that you can run the camera from standard AA-type batteries which are available almost everywhere.

cameras include the BP-E1 (EOS 1V, 3), BP-300 (EOS 30, 33), and BP-220 (EOS 300V). There is also the Battery Grip BG-ED3 for the EOS D30, D60 and 10D – but this only accepts two rechargeable lithium ion Battery Packs BP-511 (the same battery used in the camera). Battery packs also give you a better grip.

Power Drive BoostersPower Drive Booster E2 is compat-ible with the EOS 1, 1N, 1V and 3 cameras. It uses Type AA batteries or a dedicated rechargeable Ni-MH pack. Low and high speed settings are provided. Low gives a similar shooting speed to the normal camera battery (around 3fps); high provides a significant increase (up to 10fps on the EOS 1V when the Ni-MH pack is used.

42 | 43

Improve your viewAccessories for your viewfinder

Correction lensIf you wear glasses, it can be difficult to see all of the viewfinder image clearly. A correction lens may help. These are available in 10 different strengths, from +3 to -4 dioptres. The lens slips over the existing eye-piece lens so that you can view the image without wearing your glasses. Lenses EB are for cameras which offer eye-control focusing; lenses ED are for other camera models. The best way to find the lens which suits you is to try several.

Viewfinder ExtenderDo you find that your nose touches the camera back when you look through the viewfinder eyepiece? Try fitting Viewfinder Extender EP-EX15. This provides an eyepiece 15mm back from the camera for more comfortable viewing.

Angle FinderIf you shoot with the camera close to the ground for a low viewpoint, you may have to lay flat out to see

Accessory Angle Finder CPhoto Angle Finder C is very useful if you are shooting with the camera close to the ground. It allows you to bend down and look into the viewfinder from above the camera.

through the viewfinder eyepiece. This awkward position can be avoid-ed if you fit Angle Finder C. As the name suggests, this useful accessory turns the image from the viewfinder through 90 degrees to that you can view it looking down on the camera. Angle Finder C can be rotated to suit the camera in a horizontal or vertical format, and has a magnification which can be switched between 1.25x and 2.5x. It is supplied with adaptors to suit all EOS models.

Focusing screensEOS professional cameras 1, 1N, 1V and 3 have an interchangeable focusing screen. This can be replaced by one of ten different types. Particu-larly useful is a screen with grid lines (helps you to line up the horizon and sides of buildings) and a screen with a mm scale (for close-up work) .

44 | 45

There are times when you want to take a picture without pressing the shutter release button. This might be to reduce movement of the camera when using a tripod, or when you need to be some distance from the camera as the picture is taken.

Remote switchesA remote switch is a small hand unit which attaches to the camera via a short cable. The RS-80N3, with 80cm cable, is for the EOS 1V, 3, D30, D60 and 10D. RS-60E3, with 60cm cable, is for most other recent cameras. A button on the hand unit replicates the action of the shutter button on the camera. These switches are ideal for firing the camera when it is fixed to a tripod.

Timer ControllerThe Timer Remote Controller TC-80N3 for the EOS 1V, 3, D30, D60 and 10D can be used as a remote switch, but the hand unit also offers other functions. The delay timer is like the self-timer on the camera, but settable up to 100 hours in 1 second increments. An interval timer fires the shutter at preset intervals of between 1 second and 100 hours.

Remote controlSwitches, timers and extension cables

46 | 47

Accessory Timer Remote Controller TC-80N3Photo 1 A remote switch with an extension lead allows you to take a self-portrait. Although this can be done using the camera’s self-timer, a remote switch gives greater control over when the shutter fires.Photo 2 When you are using a tripod, press-ing the shutter button can move the camera. A remote switch eliminates this risk.

A long exposure timer allows you to extend the exposure time for several minutes, or even hours. An exposure count mode sets the number of exposures taken in the interval timer mode – six frames at 15 minute intervals, for example. A 10 metre extension cord (ET-1000N3) is avail-able for the RS-80N3 and TC-80N3.

Wireless controllerThere are two parts to a wireless controller. A receiver is connected to the camera’s remote socket. A trans-mitter is a hand-held unit which you point towards the receiver. Pressing the button on the transmitter fires the camera shutter. The wireless controllers use infrared rather than radio waves, so the receiver must have a clear view of the transmitter, which can be behind, to the side or in front of the camera. Wireless Con-troller LC-4 is compatible with the EOS 1V, 3, D30, D60 and 10D. It has a range of up to 100 metres – ideal for wildlife photography.