David Noton – Canon EF 16-35mm f/2.8L III USM

Canon Ambassador David Noton captured this shot of The Cerro de Siete Colores (Hill of Seven Colours) at Purmamarca in Quebrada de Humahuacha, Jujuy Province, Argentina at sunrise. "I set up, utilising the strong shape of a cactus in the foreground with the village below," says David. "My lens of choice on this dawn patrol was the Canon EF 16-35mm f/2.8L III USM, a lens that now resides virtually permanently in my camera bag – it has impressive corner-to-corner resolution even at maximum aperture, a convenient focal range and durable build quality. I meticulously composed and focused, then waited for the light to paint the coloured rocks on the other side of the valley. In a few minutes, strong side-lighting bathed my composition exactly as envisaged, with wafts of fluffy cloud above as a bonus." © David Noton

David Noton – Canon EF 16-35mm f/2.8L III USM

"Despite having shot Durdle Door [in Dorset, England] more times than I've had hot dinners, I had never attempted to capture the Milky Way over the iconic symbol of Dorset's Jurassic Coast," says photographer David Noton. "I'd found out that on 15 August 2017, the galactic centre (the brightest part) of the Milky Way would be visible... I had heard good things about the Canon EOS 5D Mark IV's nocturnal capabilities, so I decided to find out for myself if they were true. For night sky photography – when the maximum amount of starlight needs to be captured in an exposure lasting less than 20 seconds – quality lenses are a must, and the wider and faster, the better. I'd previously tested the EF 16-35mm f/2.8L III USM lens and been impressed by its corner-to-corner performance at its maximum aperture of f/2.8, even at its widest focal length of 16mm. I had a composition in mind that would balance the arc of the Milky Way above with the sweep of the beach and Durdle Door below. With my 16-35mm lens at its widest angle and aperture, I composed, then focused on the lights in the distance, zooming in on Live View to check accuracy, then locked focus by switching to Manual. I dialled in the settings, checked all was level, fine-tuned the composition and waited for the magic moment." © David Noton

Guia Besana – Canon EF 40mm f/2.8 STM

Canon Ambassador Guia Besana took this picture on a trip to Longyearbyen, Svalbard, Norway on 15 February 2018. "I was heading towards the car after a five-hour walk and suddenly turned towards the sea to meet this Arctic deer looking back at me," says Guia. "It was in the middle of nowhere and surrounded by such a delicate light. The Canon EF 40mm f/2.8 STM lens is perfect for taking this kind of shot because it's a light lens to carry, it's versatile, and silent. It's one of those lenses that makes everything so comfortable that you never need to put the camera back in your backpack, so you don't lose situations. It also reacts very well when there isn't a lot of light." © Guia Besana

Jérôme Sessini – Canon EF 24-70mm f/2.8L II USM

Canon Ambassador Jérôme Sessini photographed protesters marching through downtown Kiev on 10 December 2017, demanding President Petro Poroshenko's impeachment and the release of former Georgian President Mikheil Saakashvili, who was arrested on 8 December 2017. © Jérôme Sessini

Audun Rikardsen – Canon EF 24-70mm f/2.8L II USM

"This shot was taken in the fjord close to my home, outside Tromsø in Northern Norway, in December 2015. The temperature was -18°C and – with high air humidity – it became so cold that almost all boats went to land," explains Canon Ambassador Audun Rikardsen. "From my window I could see mist on the water, and in the low midday light of the polar night, I could see the shadow of killer whales hunting for herring. I grabbed my camera and flash and jumped into my boat to seize the opportunity – this was a picture I had dreamed about. I chose the Canon EF 24-70mm f/2.8L II USM lens because I knew I could get close to the whales in the mist, and because I needed a rough and reliable lens in order to cope with such extreme conditions. Out there, I couldn't see the whales in the dark afternoon, so I pre-focused and shot blind in the direction that I could hear the whales breathing. I was lucky to see this result afterwards, which has become one of my favourite shots and a signature picture for me. It has also been awarded in several international photo competitions." © Audun Rikardsen

Audun Rikardsen – Canon EF 70-200mm f/2.8L IS II USM

Night Feeding shows humpback whales eating overwintering herring during the polar night. "Because of the unstable weather and the little light available during Northern Norway's polar night, most of the humpback whales' feeding takes place during the dark, making it challenging to photograph," says Canon Ambassador Audun Rikardsen. © Audun Rikardsen

Clive Booth – Canon EF 70-200mm f/2.8L IS II USM

Storm force winds batter the coastline at Port Wemyss on the Inner Hebridean island of Islay, Scotland. "My favourite times to visit Islay are through the winter months when there is so much contrast in the weather and light; on a single day you can get sun, cloud, fog, mist, rain, hail and snow," says Canon Ambassador Clive Booth. "Often my cameras and lenses are exposed to the elements, and they never fail." © Clive Booth

Eddie Keogh – Canon EF 70-200mm f/2.8L IS II USM

Canon Ambassador Eddie Keogh used the Canon EF 70-200mm f/2.8L IS II USM lens to photograph this ethereal scene during a football match between Yacht Tavern and CDA in Southampton, England, on 11 December 2016. Eddie's photos of Sunday morning local football matches around the UK won the Highly Commended award in the Specialist Sports Portfolio section of the Sports Journalist Awards 2016. © Eddie Keogh

Related articles

View All