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'I use all three of the Canon adapters equally, but what's interesting about the Canon Drop-In Filter Mount Adapter EF-EOS R is that you can use one filter for all your EF and EF-S lenses – even a fisheye lens, which you normally can't put a filter in front of. Teaming the Canon EOS R with EF lenses using the Canon Mount Adapter EF-EOS R has been seamless, says Robert. Your pictures are immediately transferred to your computer, so you can zoom in to explain what's important.

DUAL PLANE TILTSHIFT LENS SOFTWARE

'What's cool about the EOS Utility software is that the secure connection to your computer means you can show the audience what's happening live on screen. 'The Wi-Fi setup means you can switch positions – you're not fixed on the spot with your camera – so you can show people a lot more,' explains Robert. The 45mm is older, but I like it.'ĮOS Utility, which is included in the initial software setup for your EOS camera, allows you to operate your camera remotely from your computer, using a USB cable or via Wi-Fi. When I'm splattering on canvas, I also like the Canon TS-E 24mm f/3.5L II lens, or the Canon TS-E 45mm f/2.8 lens. 'When splattering paint on objects for the first time, I used the Canon TS-E 135mm f/4L Macro lens because I can get very close and see what's happening in detail. The result is that the splatters are more dynamic and there is more depth and dimension in the picture. 'I use tilt-shift lenses because I always have to position the camera at a different angle to the canvas. 'When I'm splattering the paint on a flat surface such as canvas, I can never shoot directly at a right-angle so that everything is in focus,' he says.

Tilt-shift lenses bring an added dynamism to Robert's work, enabling him to play with depth of field and add an extra dimension to his action-packed images. Tilt-shift lenses are always on my mind – I like using them for everything, from portraits to landscapes.' I used them for videos and macro shoots, not attaching the lens to the camera but holding it some distance away for special effects. 'I thought tilt-shift lenses can't only be good for architecture – that wouldn't make any sense. 'I started out as an architectural photographer, so I began shooting with tilt-shift lenses,' he says. Robert used Canon Speedlite camera flashes and a Canon EOS R with two tilt-shift lenses – a Canon TS-E 90mm f/2.8L Macro and a Canon TS-E 135mm f/4L Macro – perhaps obvious choices for a photographer who studied architecture for 14 years. The right equipment for an artist's vision

DUAL PLANE TILTSHIFT LENS TRIAL

There was quite a lot of trial and error.' I was very glad that I tried it at home first because it took 10 or more attempts to get the light barrier and the camera set up correctly. The light barrier is connected to the camera and when the paint breaks through the barrier, the camera is triggered at the same time as the flash. 'First I think, where do I want to splatter the paint? That's where I position the light barrier and then I aim the paint at it. He diluted the acrylic paint so it splattered with the consistency of milk, forming large streams and droplets. 'I covered nearly my whole living room with painter's foil material and then used soup cans – a little homage to Andy Warhol – as a monopod for the light barrier,' he says. Similarly, you can plan what to paint or you can compose a picture, but there is always a certain amount of uncertainty – especially when you're splattering paint.'īefore taking his idea to a live audience, Robert tested his splatter painting concept at home. 'What I find very interesting in sports photography is that you can't plan the perfect shot – you have to react. 'I'm used to taking action photos, so I wanted to try to capture that action in a painting,' he says.

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