APPLYING SELECTIVE NOISE REDUCTION

ADVANCED RETOUCHING TECHNIQUES

Saturday 17 August 2013

PANASONIC LUMIX www.amateurphotographer.co.uk

BEING AN AMATEUR
PHOTOGRAPHER
Reader Scott Hills: using your
camera to shoot other hobbies

Rangefinder-style CSC: Hands-on review

FIRST
SAMPLE
PICTURES READER STORY
INSIDE PAGE 29

CAMERA OBSCURA
Making good
pinhole easy:
Ilford’s new
ready-made
camera
PAGE 54

PAGE 10 ULTRA PIXEL SENSOR

A novel way to improve image
quality. AP tests the HTC ONE
The 16-million-pixel Olympus Pen E-P5
VERY
PAGE 59
PAGE 45 ● 1/8000sec shutter
● 5-way stabilisation

RETRO
● New handling
features

COOL
 Contents
Amateur Photographer For everyone who loves photography
HOW MUCH like a ‘real’ camera is a camera
phone? Well, it really rather depends on your
but I tend to use this with a purpose, rather than just
to grab a quick photo.
THE AP READERS’ POLL
IN AP 27 JULY WE ASKED… Does the idea of using a
non-anti-aliasing-filter camera appeal to you?

A B
C D
expectations. If you want a pocketable camera that Camera phones have opened up new
will outperform your interchangeable-lens DSLR, possibilities for shooting and sharing
you’ll be sorely disappointed. If, however, you want images, and products like the HTC YOU ANSWERED…
to take quick photos, and edit and share them on One (see page 59) are leading the A Yes, for everything 36%
the go, and you’re not bothered if they’re not ‘pixel way. Features such as f/2 lenses, B Yes, for certain subjects 29%
perfect’, then camera phones are a great option. quad-core processors and 4.7in C No, the benefits are overhyped 20%
I use the camera on my Samsung phone screens would turn most heads
fairly regularly. If my 18-month-old son is being if they were included in a fixed-
D No, not at all 15%
particularly funny, takes a first step or the like, I want lens camera, so maybe it’s time THIS WEEK WE ASK…
to be able to take a shot instantly. His grandparents to stop being snobby and
How often do you use the camera on your phone?
would rather see a poorer-quality photo than no accept that, for some jobs, they Debbi Allen
photo at all! Of course, I still own and use my DSLR, could be the best tool you have. Deputy editor
VOTE ONLINE www.amateurphotographer.co.uk

NEWS, VIEWS & REVIEWS

5 NEWS
P45 YOUR WORDS & PICTURES
Discover what 14 LETTERS
Amateurs bewildered by police-car stop; Fujifilm reveals XC we thought AP readers speak out on the week’s issues
50-230mm lens plan; 19th century lens for today’s DSLRs; of the latest
Ilford Imaging Switzerland up for sale; Sigma to launch lens Olympus CSC
to be released
15 BACKCHAT
‘conversion’ service; Ferrania film to make comeback AP reader Mick Bidewell is aghast at the prices commanded
by an unusual – and awful – photographer
12 REVIEW 43 TESTBENCH
The latest books, exhibitions and websites Gura Gear’s Sabi Sack and the Petrol Dr DSLR camera bag 34 READER SPOTLIGHT
Another selection of superb reader images
90 THE FINAL FRAME 45 OLYMPUS PEN E-P5
In street photography, writes Ogden Chesnutt, everyone’s
after the ‘decisive moment’, but is the concept essentially
The Pen E-P5 is a stylish modern-day take on an Olympus
film camera from the 1960s, packed with new and improved
FEATURES
meaningless? features as well as a clever body design that enhances its 23 TAKING CENTRE COURT
TECHNIQUE
handling, writes Tim Coleman Sports photographer
P16 16 PHOTO INSIGHT 54 ILFORD OBSCURA
Bob Martin and Nikon’s
James Banfield tell
5x4in PINHOLE Oliver Atwell about the
Daniel Beltrá talks about innovative leaps in
his aerial image of the 2010 While testing Ilford’s 5x4in pinhole camera, Andrew photographic
oil spill in the Gulf of Mexico, Sanderson reacquaints himself with a genre he first technology that
and his desire to inspire worked with when he was a photography student will offer a fresh
© BOB MARTIN/AELTC
© DANIEL BELTRÁ

conservation awareness
P23
perspective on one of
in his viewers 59 HTC ONE ULTRAPIXEL Britain’s most exciting
Bucking the trend for increased pixels on smartphone sporting events
cameras, HTC has used just 4 million in its new release
18 RETOUCHER’S GUIDE and focused on image quality. Callum McInerney-Riley 29 MAN OF MANY ARTS
COVER IMAGES: © MARTIN EVENING, SCOTT HILLS

Martin Evening explains how to ‘paint in’ noise reduction
selectively using the Adjustment Brush
TESTS & TECHNICAL
10 PANASONIC LUMIX DMC-GX7
AP Editor Damien Demolder gets a hands-on session with a
pre-production model of Panasonic’s new 16MP CSC
puts it to the test As a firefighter, mixed martial arts enthusiast and lens
collector, how does AP reader Scott Hills find time to take
60 ASK AP photos as well? Debbi Allen finds out
Our experts answer your questions
41 TROUBLED BRILLIANCE
63 ICONS OF PHOTOGRAPHY In his new book, Colin Graham traces 30 years of significant
Ivor Matanle traces the history of the Kodak Retina Ia and IIa, photography from Northern Ireland. He talks to Jon Stapley
part of a range of folding 35mm cameras made in Germany about the images he found

HOW TO HAVE YOUR PICTURES PUBLISHED IN READER SPOTLIGHT Send in a selection of up to ten images. They can be either a selection of different images or all have the same theme.
Digital files sent on CD should be saved in a Photoshop-compatible format, such as JPEG or TIFF, with a contact sheet and submission form. Visit www.amateurphotographer.co.uk/spotlight for details.
We cannot publish images without the necessary technical details. Each RGB image should be a minimum of 2480 pixels along its longest length. Transparencies and prints are also accepted. We
recommend that transparencies are sent without glass mounts and posted via Special Delivery. For transparencies, prints or discs to be returned you must include an SAE with sufficient postage.
HOW TO CONTACT US Amateur Photographer, IPC Media, Blue Fin Building, 110 Southwark Street, London SE1 0SU AP Editorial Telephone: 0203 148 4138 Fax 0203 148 8123
Email amateurphotographer@ipcmedia.com AP Advertising Telephone: 0203 148 2516 Email mark_rankine@ipcmedia.com AP Subscriptions Telephone: 0844 848 0848
Email ipcsubs@quadrantsubs.com AP test reports Telephone: 01707 273 773 www.testreports.co.uk/photography/ap

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 Our goal is to provide
more freedom for
photographers
News I Analysis I Comment I PhotoDiary 17/8/13 Lens-mount ‘conversion’ service, page 7

Photo students quizzed • Police yet to identify officers

AMATEURS BEWILDERED ● A Fujifilm X20

BY POLICE-CAR STOP
camera is up for grabs
in a competition to
celebrate What
Digital Camera (WDC)
achieving 20 million
views on video-sharing

© KYLE ADAMS
RIGHTS switched off the blue light channel YouTube. To be
This photo was taken before
WATCH the police stopped, and the
before any pictures were in with a chance of
Committed to defending taken. The officers told the winning, entrants
your photographic rights! image, right, afterwards photographers they had must subscribe to the
TWO photographers say their to record the car’s number switched off the light as they WDC YouTube channel
DSLRs made them an easy plate should the pair follow had been called off a job. and answer a simple
target when police stopped up the incident later Police took no action and the question contained in
them as they practised their officers said the pair were free a video that has been
newly learned panning skills to carry on taking pictures. produced to mark the
on a moving patrol car. But they were left wondering milestone. A winner
It seems photographers why they had been stopped in will be chosen at
with DSLRs can still attract the first place. random. WDC is
unwelcome attention, despite Hertfordshire Police have published by IPC
© GEORGE ANASTASI

a change in anti-terror laws yet to track down the officers Media, which also
three years ago. involved to establish a reason publishes AP. For
Kyle Adams, who was using for the stop. In a statement the details visit www.
a Nikon D7000, and George force said: ‘It is in the public whatdigitalcamera.
Anastasi, using a D5100, movement in the background Adams, who described the interest for our police officers to com.
say they were stunned when with the car in focus,’ recalled experience as ‘nerve-wracking’, be curious about behaviour that
officers quizzed them as they Adams after the incident on said the officers asked them for is out of the normal routine or ● Panasonic has
tried to take pictures from a the evening of 4 July. ID and then radioed colleagues where an issue like road safety announced it is
public pavement next to the ‘As we took the first shots, to run checks after they might be at stake.’ working on the
A412 in Hertfordshire. the blue lights went out and produced their driving licences. It added that officers have to development of a
The pair, both 26, had just the siren stopped.’ ‘We were told, “In this day make ‘many decisions’ about Leica-branded DG
completed a 10-week beginners’ According to Adams, the and age, you just can’t be too whether it is necessary to stop Nocticron 42.5mm
DSLR photography course and officers approached the pair sure about people… to do with or challenge someone. f/1.2 lens. A launch
set off for Croxley Green in after parking their car nearby, terrorism and so on”.’ ‘We hope in those instances date, specification and
search of a subject to try out their asking them: ‘What are you Adams claims their DSLRs that the public understands expected price for the
skills on a moving subject. taking pictures of, guys?’ made them an unfair target, our wider responsibility around new micro four thirds
They had taken photos of Adams told AP: ‘Both George in contrast to those with protection and exercises lens have not yet
nearby barges and bridges, and I were a little shocked and smartphones who ‘seem to be patience while appropriate been released.
before they selected their next hesitantly replied, “Anything and able to take pictures anywhere checks are completed and they
subject – a moving police car everything, really”. without any hassle…’ can then go on their way.’
complete with flashing blue light. ‘At no point did they state The pair hadn’t managed More on this story appears
‘We thought this would make why, or under what act they to get the image they wanted at www.amateurphotographer.
a good picture – with the classic were stopping us.’ anyway, as the officers had co.uk.

FUJI REVEALS XC 50-230MM LENS PLAN

A SECOND XC lens has made its
Do you have
a story?
The new telephoto zoom is built to Meanwhile, an XF 56mm f/1.2 lens is
way onto Fujifilm’s 2013 ‘lens road deliver the 35mm equivalent of a expected to be released in January 2014.
map’. The XC 50-230mm f/4.5-6.7 75-350mm optic. This was originally planned as an ‘f/1.4’ Contact Chris Cheesman
OIS is due to be launched towards the Fuji announced its first XC lens, a 16- optic, for release this year. However, the Tel: 0203 148 4129
Fax: 0203 148 8130
end of this year, according to an 50mm f/3.5-5.6 OIS, alongside the X-M1 development of a faster lens ‘impacted amateurphotographer
announcement by Fuji. compact system camera last month. slightly on the production time’. @ipcmedia.com

subscribe 0844 848 0848 17 August 2013 I www.amateurphotographer.co.uk 5

Wednesday
14 August
EXHIBITION Quiet heroes by
Ken Griffiths, until 24 August
at ffotogallery, Penarth, Wales
Cf64 3Dh. tel: 0292 070 8870.
Visit www.ffotogallery.org.
EXHIBITION Visions of the
Universe (images of space),
until 15 september at national © Ken Griffiths

Maritime Museum, Greenwich

se10 9nf. tel: 0208 858 4422. New version of Petzval lens gets green light

19TH cENTury lENS

Visit rmg.co.uk.
Thursday 15 August
EXHIBITION World Press Photo, until 25 August at the scottish

fOr TODay’S DSlrS

Parliament, edinburgh eh99 1sP. tel: 0800 092 7500. Visit www.
worldpressphoto.org. EXHIBITION Landscape Photographer of the Year,
10-17 August at Waterloo station, London. Visit www.take-a-view.co.uk.
Friday 16 August A fundrAising project to bring Organisers, who have raised more than
DON’T MISS royal edinburgh Military tattoo, until 24 August, against back a renowned 19th century portrait $1 million for the project, claim: ‘The totally
backdrop of edinburgh Castle. Visit www.edinburghfestivals.co.uk. lens for use with Nikon and Canon film distinctive look of Petzval photos is all about
EXHIBITION environmental Photographer of the Year 2013, until and digital SLRs has raised more than the fantastic lens design that gives you the
1 september at Grizedale Visitor Centre, hawkshead, Cumbria LA22 0QJ. ten times its target figure. satisfaction of the instant optic experience
tel: 01229 860 010. Visit www.golakes.co.uk. The reinvented Petzval lens will be that goes far beyond using photo and
compatible with Canon EF and Nikon editing software and filters.’
Saturday F-mount cameras when it is launched next The brass-made lens dates back to
17 August February, according to the Lomography 1840. It was designed by Joseph Petzval,
EXHIBITION street Kickstarter project. a Professor of Mathematics at Vienna
Life, instantaneous ‘Photos shot with a Petzval lens are University in Austria.
(photos of immediately recognisable for their super- The four-elements-in-three groups lens
newcastle in the sharp focus areas and wonderfully swirly will carry a maximum aperture of f/2.2.
1890s) by edgar G bokeh effect at the non-focused areas,’ The 500g optic has an image circle of
Lee, until 12 October stated organisers of the project, which is 44mm and a 67mm filter thread.
at side Gallery, backed by Russian camera maker Zenit. The Petzval is expected to carry a retail
© eDGAr Lee

newcastle-upon- ‘Expect strong colour saturation, artful price of £399. Full details are available at
vignettes and narrow depth of field.’ www.kickstarter.com, showing images from
tyne ne1 3Je. tel:
The first 1,000 lenses could be shipped an original Petzval and the first working
0191 232 2208. Visit
as early as December. prototype of the new version.
www.amber-online.com. EXHIBITION Jesse Alexander: the Golden Age
of Motorsport, until 24 August at Chris Beetles fine Photographs, London
W1B 4De. tel: 0207 434 4319. Visit www.chrisbeetlesfinephotographs.com.
Sunday 18 August
EXHIBITION the Press Photographer’s Year 2013, until 31 August at the
FOcuS dEmiSE TriggErS
LONdON ShOw PLAN
Lyttelton exhibition foyer, national theatre, London se1 9PX. tel: 0207 452
3000. Visit www.nationaltheatre.org.uk. EXHIBITION trailblazers by Anita
Corbin until 29 september at the Discovery Museum, newcastle, tyne &
Wear ne1 4JA. tel: 0191 232 6789. Visit www.twmuseums.org.uk.
Monday 19 August A new photography show is set to take ‘inspirational presentations’.
EXHIBITION somewhere in england: Portraits of Americans in Britain place in London from 27-30 March 2014. The event comes in the wake of the
1942-1945, until 31 December at iWM Duxford, Cambridgeshire CB22 4Qr. Aimed at professional photographers and now-discontinued Focus on Imaging
tel: 01223 835 000. Visit www.iwm.org.uk. EXHIBITION short Breaths by enthusiasts, London Imaging Live 2014 is show, which was axed after 24 years
Miles Aldridge, until 28 september at Brancolini Grimaldi, London W1s 4JJ. billed as a not-for-profit showcase for ‘the in Birmingham. Focus was run by a
tel: 0207 493 5721. Visit www.brancolinigrimaldi.com. entire imaging industry’ by its organisers, separate party.
Life Media Group, the publisher of trade The letter adds: ‘We believe that a
Tuesday 20 August LATEST AP ON SALE magazine Pixel. UK event in the capital will open the
EXHIBITION hey Charlie by harry Cory Wright, until 14 september at In a letter, potential exhibitors are told door to a larger number of consumer
eleven, London sW1W 9LX. tel: 0207 823 5540. Visit www.elevenfineart. that wildlife, fashion, sport, studio and and pro image-makers from London
com. EXHIBITION ever Young by James Barnor, until 31 August at photojournalism will be key to the four-day and the rest of the UK.
impressions Gallery, West Yorkshire BD1 1sD. tel: 01274 737 843. event, which takes place at the ExCeL London Imaging Live 2014 organisers
Visit www.impressions-gallery.com. Centre, Royal Victoria Dock, London E16. have pledged to plough any profit from
It is expected to feature seminar-based their event into creative, visual-arts-based
discussions, interactive live shows and projects in the UK.

6 www.amateurphotographer.co.uk I 17 August 2013 subscribe 0844 848 0848

 Galerie paper maker searches for a buyer

● The privacy ILFORD IMAGING

SWITZERLAND
watchdog has warned
Hertfordshire Police
that its use of car
number plate
recognition
SIGMA TO
UP FOR SALE LAUNCH LENS
surveillance cameras
is illegal, in a ruling
that could have

‘CONVERSION’
repercussions for
forces nationwide. An
investigation by the

SERVICE
Information ILFORD Imaging Switzerland, which
Commissioner’s Office makes Galerie-branded photo inkjet paper
found that the force and has been in financial trouble, has
failed to carry out announced that it is up for sale.
effective impact Last month, we reported that Ilford PHOTOGRAPHERS who change their
assessments before Imaging Switzerland had entered urgent camera body over time are set to benefit
introducing the talks with its bank as the company admitted from a new service designed to allow the
Automatic Number it could no longer honour all its financial existing mount of certain Sigma lenses to
Plate Recognition obligations. be changed to work with another camera.
Cameras in Royston. Swiss courts granted Ilford Imaging Eligible lenses are set to include the
Switzerland until mid-August to find ‘a 18-35mm f/1.8 DC HSM DSLR lens
● CamRanger, a short or medium-term investor to save It’s business as usual for factory workers, (pictured), which can be converted for
device that allows the business’. says Ilford Imaging Switzerland Sony, Nikon, Canon, Pentax and Sigma
wireless control of At the time of writing, the company was fits. Selected mirrorless-system lenses
Canon and Nikon still waiting for a final decision on how to 16 years. ‘People are still coming to work will also be able to be converted.
DSLRs from an Apple proceed but stressed that it is still trading every day. We are still shipping our product. Sigma has not yet indicated how much
iPhone, iPad or iPod, is and has not been declared bankrupt. We are still actively trying to get an investor,’ the service, which is due to be launched
now available for use It moved to deny a Swiss press report she said. on 2 September, is likely to cost.
with Android devices. that claims the firm’s plant in Fribourg had AP understands that Galerie paper sales ‘Our goal is to provide more freedom for
The free-to-download been shut down and 220 staff ‘laid off’. have remained ‘pretty steady’, but that the photographers to select new camera bodies
Android (beta) App can As we went to press, the Fribourg factory company’s financial fortunes largely hinged without the worry of having to discard their
be downloaded from remained open. on a recent deal with another firm which lens collection,’ states Sigma’s UK website.
the Google Play Store. Ilford Imaging Switzerland GmbH, ‘fell through’. ‘Sigma wants to help you keep those
For details of which makes Galerie photo inkjet paper, is The company has been approached by lenses for a long time no matter what
CamRanger, which commercially separate from Ilford Photo, a number of interested parties from both camera system you’re using, and can
costs £269.99, visit which is based in the UK and is unaffected. finance and industrial sectors and believes now change the mount of your lens by
www.intro2020.co.uk. Ilford Imaging Switzerland employs that ‘with the right partner’ it can realise its adjusting it to fit a change in your desired
230-240 people worldwide, mostly in growth strategy. camera system.’
● This year’s Switzerland, with six based in the UK. ● Ilford Photo, which is not affected, is the It will not be possible to convert to a
Astronomy A spokeswoman described the financial trading name of Cheshire-based Harman mount that Sigma has not released.
Photographer of the troubles as ‘heartbreaking’ for the Technology Ltd, which makes traditional Further details will be released shortly.
Year has pulled in a company’s dedicated workers, many of b&w papers and film. Harman Technology For a full list of eligible lenses visit
record number of whom have been with the firm for 15 or says it is in ‘excellent financial health’ www.sigma-imaging-uk.com.
entries. Organisers
say they have received
more than 1,200

FERRANIA
submissions in the Bosses point out that the new film ‘will
contest, the winner of not have anything in common with the old
which will be 3M slide film from the ’70s’.

FILM TO MAKE
announced next The firm also plans to produce a colour
month. negative film based on Ferrania Solaris FG-
100 Plus (pictured).

COMEBACK
FERRANIA has confirmed plans to
launch a ‘re-engineered’ version of Scotch
Chrome 100 colour slide film, years after
Do you have the Italian manufacturer sold or dismantled
In its heyday, Ferrania also made re-
badged film for other brands.
Ferrania claims that it has the equipment
to make film in formats including 120, 135,
220 and 126. It plans to make only the
most requested formats and is now in the Ferrania film included Solaris
throes of a six-month R&D project. colour print emulsion
Ferrania discontinued its films in the face

a story?
its factory equipment. of the digital revolution several years ago. a small production of film. But rescaling a
Ferrania says it plans to introduce an ‘We dream to put the film in an era where production workflow is not an easy process:
Contact Chris Cheesman improved version of the Imation-made it can live in symbiosis with digital imaging some chemical products are not available…
Tel: 0203 148 4129 emulsion onto the market in the first technologies,’ the company said in a recent and former Ferrania workers and engineers
Fax: 0203 148 8130
amateurphotographer quarter of 2014, following ‘unexpected newsletter. ‘After more than one year of must be involved again in a completely new
@ipcmedia.com feedback’ from photographers. work, we are finally trying to start again with production workflow…’

subscribe 0844 848 0848 17 August 2013 I www.amateurphotographer.co.uk 7

 ● A free sunset
photography
masterclass is set to
take place at the Peter
AP focused on the ‘Father of Modern Jones store in Sloane
© MIKE WILLIAMS
Photography’, William Henry Fox Talbot, Square, London, on
28 August. Hosted by
in a feature about his life this week in 1985 David Newton, the
that also tried to convey the ‘personality class will also give
TRIBUTE TO RESPECTED
and character’ of the man whose participants the
chance to try out the
achievements were well documented. ‘A latest Canon cameras.
study of his letters, notebooks and his
approach to his creative work still presents
an enigma,’ wrote Bob Lassam from the
The seminar takes
place from 6-8pm. To
reserve a place, email
LANDSCAPE AUTHOR
imagingseminars@
Fox Talbot Museum in Lacock, Wiltshire. ‘It johnlewis.co.uk.
does seem he was a very complex man. In
● Tripod maker
portraits of him, although scarce, he seems Manfrotto has
to be serious and somewhat miserable in launched a new Top
appearance, but this is not altogether true. Lock Quick Release
System that is claimed
He was a man who did not suffer fools to set a new standard
gladly, but to his family and friends, he was for ease of use,
kind with a good sense of humour. He was levelling and
portability. The kit is
generous to church charities and he paid available as an adapter
his estate workers well. His interests were or as complete ball
very wide, and towards the end of his life heads for
photographers with
he became a great authority on Assyrian Arca-style QR plates
Cuneiform script – a form of hieroglyphics.’ and systems. Prices
start at £84.95.
● A public appeal to
identify two First
World War soldiers
from their portraits
has been launched
by a library in West
Yorkshire. Historians in
Silsden need help in
naming the two men,
reports the Telegraph
& Argus. Visit www.
thetelegraphandargus.
co.uk.
Get a free
30 day trial
CLUBNEWS
on iTunes
Club news from around the country
BARRY CAMERA CLUB
The club stages its annual show, until 31 August at Barry Town Hall, Kings
Square, Barry, South Glamorgan CF63 4RW. Visit www.barrycameraclub.org.uk.
WILLFIELD CAMERA CLUB
Willfield Camera Club is looking for new members. Open to anyone
aged 14 or over, the club meets every Thursday at 7pm at the Bentilee GET AP
Neighbourhood Centre. Visit www.willfieldcameraclub.co.uk. WITHOUT
LEAVING
8 www.amateurphotographer.co.uk I 17 August 2013
THE HOUSE!
MIKE Williams, one of the
UK’s most respected authors
and photographers of guides
to national parks and long-
distance walks, has died at the
age of 66 after a long illness.
Photography lecturer
Professor Paul Hill paid tribute
to him: ‘Born in Maidstone,
Kent, in 1947, Mike [pictured]
became a photographer with
the education department
of Kent County Council in
1972. Two years later he was
appointed staff photographer
at the Peak District National
Park – a job coveted by many
professional photographers
at the time.’
PASSIONATE
‘Mike was passionate about
landscape photography and
was always eager to extend his
knowledge and skills.
‘He came to lectures by well-
known visiting practitioners at
Trent Polytechnic, Nottingham,
which is where I first met
him, and was a participant
on the first-ever residential
photography workshop in this
country at The Photographers’
Place, near Ashbourne,
Derbyshire, in 1976.
‘In that year he provided the
photographs for one of the
best-ever national park guides
for his employers.
‘A year later he spent some
time with the legendary
American photographer and
conservationist Ansel Adams
in Yosemite National Park in
California, USA.
‘Mike felt that revealing
the attractions of the
landscape through
his photographs
and writing was
a double-
edged
sword.
‘He was always conscious
of the conservation vs footfall
debate, but he felt there was no
way you could control the public’s
love affair with rugged landscapes
or picturesque villages.’
FREELANCE
‘In 1978, Mike left the
Peak District National
Park to freelance, and as a
consequence was able to
develop his reputation as
an author/photographer. He
produced Wildest Britain in
1985, followed by The Peak
District National Park Guide and
The Lake District National Park
Guide, both for the Countryside
Commission. Southwest Coastal
Path, North Downs Way,
Two Moors Way and Wessex
Ridgeway followed for the
Ordnance Survey and Aurum
Press, and later he published
Pennine Bridleway for the
Countryside Agency.
‘When motor neurone
disease was diagnosed two
years ago, Mike received
pioneering surgery as an
outpatient at a hospital in
Sheffield, but to no avail. He
died on 9 July.’
Mike is survived by his
partner, Di, and daughter, Kate.
subscribe 0844 848 0848
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Hands-on Panasonic Lumix DMC-GX7
AP hands-on
Panasonic
Lumix DMC-GX7
AP Editor Damien Demolder gets a hands-on session
with a pre-production model of Panasonic’s new
16-million-pixel compact system camera
PANASONIC’S relationship with Leica
was something the brand was very proud of
when it produced its first G-series camera,
the Lumix DMC-G1. Promoting the fact that
an adapter was available for Leica M lenses,
and indeed having ‘Leica’ written on its
own AF optics, sent out a certain message
regarding who the company was aiming at.
Panasonic products have never been
cheap, but the G1 presented a way for
photographers to get a slice of Leica
without having to pay Leica prices. Critically,
too, it allowed Leica owners to use their
lenses on a body costing far less than a
digital host from Leica itself. I don’t have
any figures on how many Leica owners,
or Leica aspirants, took up the offer, but
my impression from speaking to readers is
that the Panasonic–Leica connection has
brought the Lumix range a good number of
customers – a fact aided greatly by Leica’s
10 www.amateurphotographer.co.uk I 17 August 2013
lack of interest in camera bodies that cost
less than a small second-hand car.
If I were Leica I might be beginning to
regret the loan of my name, as Panasonic’s
new Lumix DMC-GX7 encroaches just a
little too much on what I would consider
to be Leica’s traditional territory.
IN USE
I had a chance to use the new camera for a
few hours and was immediately impressed
by the neat balance of heavy-duty build,
slender body and low mass. Without a lens
attached, the camera will slide into a coat
pocket, so its total bulk will be decided by
the optics you choose to use. One of the
kit options offered with the GX7 will be the
new metal-barrelled 20mm f/1.7 (40mm
equivalent), which fits very nicely and retains
the principle of a very small body. With
this lens mounted, the GX7 can be carried
‘The more obvious
highlights include
the new tilting
electronic viewfinder
with its 2.76-million-
dot resolution and
90° hinge’
by the barrel of the lens with the body
disappearing nicely into your palm.
Beyond size and weight, the principal
areas of excitement about the GX7 include:
● A hinged and high-resolution EVF
● A tilting screen
● Improved focusing
● Better noise control
● A silent shooting mode
● Improved manual focusing aids
● In-camera curves control
● In-body image stabilisation
The camera I was using was not a full-
production model, and had only an early
version of the firmware, so I can’t really
comment on aspects of image quality or,
to some extent, the speed of operation.
Indeed, some menu items in my model
weren’t available. So I shall concentrate
instead on the elements I could use and
gauge some opinion of.
LCD AND VIEWFINDER
The more obvious highlights include the
new tilting electronic viewfinder with its
2.76-million-dot resolution and 90° hinge.
This provides viewfinder shooters with a
level of flexibility similar to that offered by a
AT A
flip-out LCD screens (or a chimney finder
on a medium-format camera), but with the
GLANCE
advantage of a view free from reflections.
The EVF is very clear, and during my time
● 16-million-pixel with the camera, in a limited range of
conditions, it seemed very pleasant to use.
Digital Live MOS
sensor It actually took me a while to remember
that the viewfinder was there, as I’ve
● Built-in tiltable,
become used to viewing the back screen of
90° live
cameras that lack that prism-head shape,
viewfinder with
but when I did use it the experience was
2.76 million dots
rewarding. I want to try this viewfinder with
● 3in, 1.04-million-
a manual-focus lens mounted to the front
dot tiltable LCD
of the camera, to see how the experience
touchscreen
● 23-area focusing is improved over other models. The high-
resolution view will help, no doubt, but so
system with
will the new focus-peaking feature and the
pinpoint AF,
‘picture-in-a-picture’ magnification mode.
touch AF and
The GX7’s peaking function not only allows
AF tracking
us to change the colour of the fringing
● RRP £819 body
applied as the subject comes into focus, but
only, £899 with
also the intensity of the fringe. This can be
14-42mm lens
combined with a magnified view, which can
and £999 with
now be shown as a magnified window within
20mm lens
the viewfinder, rather than occupying the
whole screen. This makes it much easier to
select the area to be magnified, while still
subscribe 0844 848 0848

being able to see the continuing action in
the rest of the scene.
Manual-focus-lens users will also be
pleased that Panasonic has incorporated in-
body image stabilisation, so suddenly even
that cheap CCTV lens bought on eBay can
be used in darker conditions. When a lens
with OIS built-in is attached, the system
defaults to the stabilisation in the lens as
Panasonic believes this is still better, but
with non-OIS lenses and any optic fitted via
an adapter, the body system will kick in.
The 90° hinge of the EVF, along with the
tilting action of the rear 3in LCD screen,
make this a camera slightly biased towards
landscape orientation, but the angle of
view of the LCD screen is more than good
enough to see clearly when working in
portrait orientation from a lower position.
SILENT MODE
The Lumix DMC-GX7 has a silent mode
designed for those who want to work
undetected. The company cites museums,
for example, as places in which this feature
will be useful, but I’d also suggest street
work at close quarters and documentary
IN-CAMERA CURVES AND FILTER EFFECTS
Orange filter
subscribe 0844 848 0848
Panasonic Lumix DMC-GX7 Hands-on
Above: The rear of
the camera is very
well laid out, with
all the controls
you might need
clearly marked
Above right:
Colours in overcast in places it doesn’t do to make a noise – the pictures I shot in low light, as well as in
and shaded such as during a wedding. In this mode, bright conditions. The camera performed
conditions appear the flash is disabled, as is the focus-assist very well, with AF being quick and decisive,
natural and well light, shutter and AF noise, along with and the shutter tripping very quickly indeed.
balanced any annoying bleeps that people insist I really like the new features Panasonic
on activating for normal use. In fact, the has introduced, and the ideas behind the
Above far right: camera really does become silent. It is additional shooting modes. Silent mode is
With a focal length a great feature, and while taking some excellent, and the new screen and EVF will
equivalent to portraits with the camera, the subject didn’t all make taking pictures at the eye, or at
almost 500mm and actually believe I’d bothered to shoot him arm’s length, more enjoyable. I suspect this
a shutter speed at all. Perhaps for portraits, then, we should will be a great street camera, as its size and
of 1/160sec, this leave the shutter sound on for reassurance. design make it nicely inconspicuous, but it
shot is remarkably will also be great for other subjects, too. I
shake-free CONCLUSION have mainly used it for wildlife so far, and it
As I said before, the GX7 I got to use was worked very well, however unlikely a choice
not a finished model, so it is impossible to that seemed at first.
know exactly how image quality here will The GX7 will be available in September,
relate to what will be available in the shops, priced £819 body only, £899 with 14-
but there is certainly not much wrong with 42mm lens and £999 with 20mm lens. AP
THE IN-CAMERA ‘artistic’ GX7’s new shooting features is, features in cameras, and would
filter has become extremely however, the adjustable gamma like to see this gamma mode
popular, and Panasonic reflects curve. Using the front and back expand from a pre-capture
this by incorporating a few more dials, or the touchscreen, we can mode to include post-capture
in this model – a grainy black increase and decrease contrast editing as well.
& white effect, and a high-key across ten steps for
version, to add to the other highlights and
19 filters. More advanced is another ten
the monochrome mode, which for shadows –
can now recreate the effect as we would
that different-coloured filters in Curves
would have when placed over in software.
the lens. Filter options include The feature
red, yellow, orange and green, is easy to use,
as well as none. It is also now and the effect
possible to tone your black & is immediately
white images with sepia and visible on screen
cyanotype colourations and, as changes are
more importantly, to moderate made. I love the
and exaggerate the effect.
The more impressive of the
idea of having
more software
17 August 2013 I www.amateurphotographer.co.uk 11
 Books, exhibitions and websites

APReview
The latest photography books, exhibitions and websites. By Jon Stapley

Ken Griffiths:
BOOK

© KEN GRIFFITHS

© MARJOLAINE RYLEY
Quiet Heroes EXHIBITION
Until 24 August. Ffotogallery, Turner
House, Plymouth Road, Penarth CF64
3DH. Tel: 029 2070 8870. Website:
www.ffotogallery.org. Open Tues-Sat
11am-5pm. Admission free

PORTRAITURE takes centre stage in

this exhibition by Ken Griffiths that celebrates
the strong community spirit in Welsh towns
and villages. Griffiths makes individuals his
focus and brings out the small things that
make communities worth living in. Wales is
a fascinating place, and he uses portraiture
to bring that out well. He pulls away from his

© MARJOLAINE RYLEY
subjects slightly, allowing the context more
room to breathe and giving a sense of the
history of the people he photographs.
© KEN GRIFFITHS

© STEVE CHAM
BOOK
Dragonfly
By David Chandler and Steve Cham
British Dragonfly Society and New Holland
Publishers, £14.99, hardback, 128 pages,
ISBN 978-1-78009-229-4

DRAGONFLIES are among the country’s most

beautiful – and most threatened – insects, yet people
generally know very little about them. Here, David
Chandler offers a staggering amount of information
on the varieties we see in the UK, bolstered by the
photography of Steve Cham (and others). I don’t put
the two of them in that order arbitrarily, as this feels like
a factual book first with photography coming second.
That’s not a criticism by any means, but something
photography fans should be aware of. It is hard
not to wish that a few of the pictures were a little
larger – Cham captures some
© MARKUS VARESVUO

memorable moments, such as

a dragonfly’s ‘emergence’ that
comprises its transformation
from larva to adulthood.

12 www.amateurphotographer.co.uk I 17 August 2013 subscribe 0844 848 0848


Growing up in
the New Age
By Marjolaine Ryley
Daylight, £26.26, hardback,
152 pages, ISBN 978-0-98323-168-4
THE TERM New Age has perhaps
become a little bit of a loaded phrase
these days, but Marjolaine Ryley means
it in quite the literal sense as well as
figuratively. Her splendid monograph is
an exploration of several countercultures
that have sprung up in recent years, from
WEBSITE
photo.tutsplus.com
‘TUTS’ is short for ‘tutorials’, and tutorials
are the name of this site’s game, providing
an exhaustive collection on subjects you
may not have considered. Some are written
while others come on video, and most are
accessible, easy to follow and well illustrated
with good images. The list of tutorials is
impressively long, although be aware that
accessing some of them requires paying
subscribe 0844 848 0848
communes in the South of France to squats
in South London, and it forms a frank
assessment of what it means to grow up
in such an environment. Her photography
is excellent – intimate and probing, but at
the same time subtle. She has clearly been
granted full licence to explore the lives
of people she encounters, and she takes
every advantage of that
opportunity. The images
are dreamlike, and the
book as a whole is
deeply serene.
© MARJOLAINE RYLEY
for premium membership. The site’s layout
is nice and clean, making navigation easy,
and it even thoughtfully separates the free
and premium content by both placement
and colour, so you don’t
find yourself repeatedly
clicking links to content
that requires payment.
This is a quality resource.
Books, exhibitions and websites
CONDENSED
READING
A round-up of the latest
photography books on the market
● CANON EOS 60D: THE
EXPANDED GUIDE by Tracy Hallett,
£14.99 Tracy Hallett’s guide to the
Canon EOS 60D joins the voluminous
ranks of the others as a good down-to-
basics guide that covers the camera’s
prime functionalities and tips on using
it out in the field. In its pages you’ll
find quality images and accessible
advice. This guide contains just about
everything you will need to set you on
your way. ● BEYOND AUTO MODE
by Jennifer Bebb, £21.99 Beyond
auto mode is a good place to be, and
Jennifer Bebb’s personable writing
style makes this guide to getting there
pleasantly accessible. A warning up
front – Bebb is an avowed believer
in getting it right in-camera, and
part of her explicitly stated aim is to
get the reader away from his or her
post-processing software. You may
agree, you may not, but if not you had
perhaps best steer clear. This aside,
there’s a perfectly decent guide to
be had here. ● IPAD FOR DIGITAL
PHOTOGRAPHERS by Derrick Story,
£16.99 The organisational and editing
capabilities of an iPad make it a good
companion for digital photographers.
If you’re not sure how your Apple
tablet might aid your digital
photography, this guide from Derrick
Story may be worth a once-over. It
covers many applications of the iPad
that you may not have considered
for use in professional photography,
such as keeping track of payments or
making on-the-fly edits on location.
This book is pitched a little more
towards the aspiring professional
than the committed amateur.
The world’s best-selling
weekly photography magazine
NOW AVAILABLE
TO DOWNLOAD!
17 August 2013 I www.amateurphotographer.co.uk 13
Have your say

Letters
where the photographs have been images
created by scanners or by simply drawing
on photo-sensitive film or paper with a light
source. No one would have questioned
if those forms of art were legitimate
photographic images.
James D Brown, Moray

ARCHIVE ANGST
If the Fox Talbot archive is saved for
Share your views and opinions with fellow AP readers every week the Bodleian library (AP website,
30 July), I wonder just how often
FROM THE the general public will get to see
FORUM more than a fraction of the
Write to… collection. It is potentially good for

LETTER OF
‘Letters’ at the usual researchers, but the Bodleian in Oxford
Wins a 20-roll pack is a long way from Lacock in Wiltshire,
AP address (see page

*IN A CHOICE OF COMPACTFLASH OR SDHC

of 36-exposure Fujifilm and that’s surely where the collection
3) fax to 020 3148

THE WEEK
Superia ISO 200 35mm 8130 or email to ought to be.
film or a Fujifilm 8GB I’m also quite concerned about the
amateur
media card* concentration of delicate originals in one
photographer
collection, where they may be subject to
@ipcmedia.com risks from fire, flood, and so on. The fire
ULTIMATE QUALITY COMPACT? at Norwich library some years ago, when
The Leica X Vario (tested in AP 3 August) is the camera I really wanted Leica *Please indicate unique originals relating to family history and
to develop. During my Leica days when I used a Digilux 2 and an R6.2 SLR, I whether you would donated by members of the public were
thought the X Vario’s specs would be my perfect compact – a proper Leica body like to receive destroyed, is still fresh in my memory as I
NOTE: PRIZE APPLIES TO UK AND EU RESIDENTS ONLY

rather than a Panasonic-based product, with just the EVF missing. How times Fujifilm film or a was researching my family at the time.
have changed since the days of 5 million pixels: we now live in an age where R&D memory card Malcolm Stewart, from the AP forum
rules and has provided photographers with an amazing array of digital equipment (please state type
that can achieve results only dreamed of a few years ago. preferred) and Prints and originals have to be stored
The Canon PowerShot G1 X is one of the cameras put forward by Ian Farrell as include your full somewhere, and in only one place.
a competitor for the X Vario. Out of interest, I dug out my back copy of AP with postal address Unlike digital images, a backed-up
the G1 X test to compare the results. To my mind, the bit that really matters is original is no longer original – Damien
the noise/resolution score, for which the tests awarded the £2,150 Leica X Vario Demolder, Editor
26/30, and the £500 Canon PowerShot G1 X 29/30. Overall AP score: X Vario Earn £50
81%, G1 X 86% – a bit disappointing for the ‘ultimate quality compact’, and what
looks like a very nice little camera. Backchat
Leica established its legendary reputation with Swiss-watch precision Send your thoughts
engineering and the very best optics way before the digital age. To expand or views (about 500
the watch analogy, cameras are almost exclusively digital, let’s say the quartz words) to ‘Backchat’
equivalent of today. Research and development is now the key to success for all at the usual AP
manufacturers. Nikon, for example, has, over the past 18 months, really moved address (see page 3).
the game forward with the introduction of new groundbreaking equipment. It A fee of £50 will be
would be interesting to compare the R&D budgets of Leica with the likes of paid on publication
Nikon and Canon.
Mick Miller, Berkshire
© BILL WARD

DRAWING WITH LIGHT the internet but, in relation to some of his

Once again, Melvyn Dover raises concerns
about photographic competitions (Backchat,
AP 27 July). I can certainly agree with
his worry about copyright issues when a
competition winner has been created by
combining a number of images culled from
other points, he perhaps misunderstands
the meaning of the word ‘photography’. FILM TO THE FORE
He seems to think that photography must Your feature on multiple exposures in
involve the use of a camera. Not so. The AP 3 August suggests to me that good
word simply means ‘drawing with light’. I old film beats digital hands down in this
can think of competition winners in the past department. The article seems to dwell
on taking a series of shots of one subject
from one position, to create a kind of
abstract ‘pointillist’ image, which is fine
once or twice, but in my view misses
the point.
The picture above is from my collection,
scanned from a 120 negative exposed in
a vintage Rolleicord TLR. The technique is
simple: take a meter reading from the sky
and expose the first image in silhouette,
then add a second subject within the first!
Bill Ward, Glasgow

VIEWFINDER VIEW
I agree with Jeremy Griffiths, who
complained about the lack of a viewfinder

14 www.amateurphotographer.co.uk I 17 August 2013 subscribe 0844 848 0848

 Have your say

AP reader Mick Bidewell is aghast

at the prices commanded by an
unusual – and awful – photographer
There have been occasions when I’ve dismissed certain
photographers’ work as rubbish. I hasten to add that I’m
more than aware of my own shortcomings using a camera
© JOHN DUDER

and have had similar criticism myself. It can be hurtful. But

on the plus side is the argument that it would be a boring
world were everyone to agree on the same things. That said,
Pinhole success in a recent newspaper article I came across a photographer
The recent AP article on pinhole photography (AP 27 July) prompted me to dust off my whose work is so appalling it almost defies description. But
home-made pinhole outfit – with pleasing results. The camera is very basic, just a hole drilled I’ll try anyway! His recent set of photographs are atrocious.
in a body cap with a piece of aluminium foil stuck onto it using Evo-Stik, after pricking it with Diabolically so. They’re horrendously out-of-focus duds and
my wife’s sharpest sewing needle. It is then fitted to the front of a Sony Alpha 55. an absolute joke in terms of composition. Which is a shame
The electronic viewfinder and excellent sensor allow two things that I’ve not heard of in given their subject matter: Moscow’s picturesque Red Square.
any article on pinhole work: a viewfinder image of sorts, and handheld shooting. The above Just think of a three-year-old toddler waving around his first
image was taken at ISO 12,800, at a shutter speed of between 1/6sec and 1/20sec on a camera and you’ll get my drift.
dullish day. Incredibly, these images sold for £50,000 when auctioned
While it’s perfectly valid to like the unpredictability of pinhole photos shot blind, the at Sotheby’s in June. Collectors were said to be agog at the
combination of the old and new approaches allows something that is (at least partly) thought of snapping them up. Taken on what’s described
predictable, and far more convenient than the conventional approach. The resolution is, as an ‘antique’ camera, the collection was described by
clearly, awful, but there is a simple remedy for this: fit a lens. Sotheby’s as a ‘very important piece of work’. Even when you
John Duder, West Midlands consider that the photographer is just 15 years old, his efforts
are still lamentable. But while my comments sound rather
harsh, I doubt they’ll offend him. How so? Because he’s a
chimpanzee called Mikki!
in modern compact cameras (AP 6 July). Perverse brenizer meThod As someone with a distaste for the annual Turner Prize
AP includes on its website a piece The Brenizer Method (AP 20 July) competition, I’ve often marvelled at the gullibility of those
entitled ‘The best cameras of 2013 so seems a perverse way to achieve who take it seriously. And that of the other, more troubled
far’, and lists the Fujifilm X100S, Canon what a large-format camera does souls who pay good money for ‘art’. Yet, now, Mikki’s owners/
PowerShot N, Samsung NX300, Nikon From the best – or am I missing something? trainers, artists Vitaly Komar and Alexander Melamid, look
Coolpix A and Nikon 1 J3. Of these, only Forum Although AP doesn’t usually go in set to rake in megabucks from their protégé’s distinctly
the X100S has any form of viewfinder, that direction in terms of gear, it amateurish efforts, leaving photographers like me – who’ve
which is an omission that I do not would be interesting to know how close you struggled for years – understandably miffed. However, as an
understand. I can only assume that can get to that coverage with one shot using animal lover, it was great to see the paper’s picture of Mikki
camera manufacturers are chasing the a field camera and digital back, and with film, proudly standing next to his tripod-mounted bellows camera.
smartphone generation who seem happy or even, come to think of it, with a TS-E Yet I couldn’t help wonder how much better his images
to make pictures while holding a small 90mm on an SLR, albeit from a taking might have been if his owners had simply let him loose
electronic device at arm’s length, with all the point that is slightly further away. with a quality digital compact. It’s reported that Mikki has
compositional and blurring problems this PeteRob, from the AP forum experimented with a Polaroid camera as well as an SLR,
unnatural position involves. so clearly, for him, large format is where it’s at. Despite my
I would not even consider purchasing Yes, a 10x8in camera will make a much misgivings about his talent, it seems that a meteoric rise
a camera that lacks a viewfinder at the better job of it. Obviously, though, not to fame is in the stars for Mikki. Lucky him! But I hope
prices the manufacturers charge. Even the all readers have one, so this is for those that as he ascends the ladder
cheapest of these, the Canon PowerShot N who’d like to get the effect. to success, he’ll eventually
at around £270, is a considerable purchase. Even with a 5x4in camera it is possible rid himself of his owners,
As for the newly announced Leica X Vario to achieve very shallow depth of field who are clearly exploiting
(without a viewfinder) – how much? Poor with a relatively wide lens, and certainly him to their own ends. Mind
show, Leica! with a 150mm optic. Tilt-and-shift you, I take a degree of comfort
John Keddilty, Mid Glamorgan lenses alter the angle of the plane of from knowing that he isn’t
focus rather than produce exceptionally being half so badly exploited
While I appreciate all the arguments for shallow depth of field. as the person who bought his
including viewfinders, I have become Large format-photography is cheap to photos at Sotheby’s. Sorry,
rather fond of composing pictures on a get into these days. My last purchase was Mikki. Just being honest!
3in screen rather than through a hole. It’s a 15x12in wooden tailboard that cost
more like shooting with a large-format £250. I load it with 10x8in black & white
5x4in camera, and one gets a better paper, and it is wonderful. Even more
idea of what the finished print will look business-like 5x4in cameras are cheap,
like before tripping the shutter – Damien and more usable with ready-cut film and
Demolder, Editor proper holders – Damien Demolder, Editor

subscribe 0844 848 0848 17 August 2013 I www.amateurphotographer.co.uk 15


BRINGING
YOU EssENtIal
EXPERt aDVICE
PHOtO EVERY WEEK
INsIGHt
Daniel Beltrá talks about his aerial image
of the 2010 oil spill in the Gulf of Mexico,
and his desire to inspire conservation
awareness in his viewers
THREE years ago, on 20 April 2010,
British Petroleum’s Deepwater Horizon
drilling rig, based around 40 miles south-
east of the Louisiana coast in the US,
exploded. The event claimed 11 lives and
injured 16 others. What followed was the
biggest oil spill the world has ever seen and
one that devastated the Gulf of Mexico. The
spill received a lot of media attention due to
its scale and, as more and more information
DaNIEl arrived, I became aware that this was a story
BEltRá that I needed to document.
In the past I have often described myself
Daniel is a fine- as a conservation photographer. Many
art photographer people call me an activist and I suppose
whose passion for that’s really not far from the truth. I don’t
conservation is evident believe in neutrality any more. I believe in
in his images of our fairness. I take a clear stand in the issues
environment. His work and it’s my hope that I can inspire people
to become more aware of the need to
– often in partnership conserve our planet’s resources. That was
with Greenpeace – has why I felt a strong desire to photograph
taken him to all seven the oil spill.
continents. Daniel has Once the initial oil fires had died, the
received numerous media’s attention began to wane slightly.
awards, including two However, there then came reports of the
World Press Photo oil leaking into the ocean. It was then that
awards. He is a fellow I received a call from Greenpeace, an
organisation I had done some work with
of the international in previous projects. Naturally, they were
league of Conservation incredibly concerned about the oil spill,
Photographers. so they asked me to go out to the Gulf
of Mexico and see what I could do.
to see more of Daniel’s I spent around two months out there
shooting with a Canon EOS 5D Mark II
images, visit www.
and 70-100mm lens. I was originally only
danielbeltra.com. His supposed to be there for four days, but the
book Spill, published
© Daniel Beltrá
story just kept getting bigger. The disaster
by GOSt, is available saw around five million barrels’ worth of oil
priced £30 lost, but the US consumption of oil every
subscribe 0844 848 0848
day is 20 million barrels, which should give
you an idea of the scale of the spill.
To get the shots I wanted, I flew around
3,000ft above the scene in a small four-
seater floatplane. I sat next to the pilot and,
as it was a high-wing aircraft, I was able to
open the window and shoot down. Due to
particular regulations that were put in place,
we were not allowed to drop below 3,000ft.
It was a restriction that served me well as it
gave me a much wider angle of view and a
great perspective.
My means of getting hold of a plane were
incredibly unexpected. A well-off woman in
Alabama started to fly environmental groups
and journalists around the area so they
could see the devastation first-hand. When
Greenpeace called me and informed me
that this woman was flying people around,
I immediately got in contact and sent her
some of my images from previous projects.
She agreed to let me go out in the plane
where I was able to achieve some initial
shots. I showed her my results and she was
so impressed that she gave the plane-hire
company her credit card and said I was free
to fly out as many times as I needed. It was
a phenomenal gift.
The most interesting images happened
within the first month of my trip. This very
image was the moment I realised just how
bad this disaster was. It was breathtaking.
The spill happened around 40 or 50 miles
away from the coast and for a long time the
media circus that arrived in Mexico set up
camp along the shoreline waiting for the oil
to come to them. The only way you could
really see the oil was to fly above it and
look down. However, with currents, wind,
weather and the dispersal techniques the
17 August 2013 I www.amateurphotographer.co.uk
Daniel Beltrá Photo insight
clean-up teams were using, you were not
always guaranteed a view even though the
oil spread for thousands of miles.
When shooting this project I had to be
incredibly adaptable, as the weather would
really alter my working method. For example,
if the water was choppy I knew I wouldn’t be
able to get a shot like the one here because
the image would be littered with lots of
white caps (reflected light) on top of the
waves. The oil can also sink in those kinds of
conditions. It really kept me on my toes and
forced me to think about every single frame.
When the pilot and I first found this scene,
there was no boat around. I asked the pilot to
fly around for a while and wait for a boat to
come along. The boat was a crucial element
as the vessel had to be there to introduce a
sense of scale. With that boat in the frame,
you truly see the scale of the disaster. If you
look back through some of my previous
projects, you’ll see that my work is relatively
abstract so you’re not always sure what it is
you’re looking at. However, the boat leaves
you in no doubt.
The images that are most attractive to
me are those that are somewhat abstract.
I’ve had people approach me in art galleries
when I’m exhibiting and say, ‘This is so
beautiful. What is it?’ Once they’ve engaged
with the image on an aesthetic level, I tell
them what they’re seeing and it positions
them in such a way that they can then
engage with the topic.
There has often been a lot of criticism
against war photography where
photographers have created quite beautiful
images of atrocities. Many feel that making
aesthetic images of death or destruction
renders the scene superficial and removes
the urgency of the event and the message.
I disagree. You have to grab a person’s
attention. If you want a message to stick, you
have to make sure your image is engaging.
I’m reaching a moment now – and this
is 20 years into my career – where I’m
almost tired of pointing the finger. Of course,
people – in this case BP – must be held
accountable, but it almost transcends that.
I’m getting tired of doing these projects
and making them political issues. The fact
is, this is our planet. We all live here. I don’t
care which party you vote for. We all want
a healthy, sustainable environment for our
children to grow up in. AP
Daniel Beltrá was talking to Oliver Atwell
17
Retoucher’s guide Software tips and techniques

SELECTIVE NOISE REDUCTION

MARTIN
EVENING
Martin Evening
is a London-
based advertising
photographer and
noted expert in
both photography
and digital imaging. After
As a successful
photographer, Martin is
well known in London
for his fashion and
Martin Evening’s
Retoucher s Guide
beauty work, for which
he has won several
awards. In 2008, he
was inducted into the
NAPP Photoshop Hall
of Fame.
Martin has worked Martin Evening explains how to ‘paint in’ noise I show how I applied minimal noise
reduction to treat the image globally, and
with the Adobe
Photoshop and Adobe reduction selectively using the Adjustment Brush then added an Adjustment Brush effect
to apply localised noise reduction to the
Lightroom engineering ALL DIGITAL photographs are kind of photograph where it can be background, which strengthened the
teams over many affected by noise to some extent. The advantageous to use the Adjustment noise reduction in the applied area. This
years and is one of sensor in your camera will have an Brush to selectively ‘paint in’ the noise example shows the work being carried
the founding members underlying noise signature that is always reduction. In this photograph, the most out in Lightroom 5, but you can also use
of Pixel Genius, a there, even at low ISO settings. It is only important thing is the fish. The problem Camera Raw 7 or later to achieve the
software design when you crank up the ISO to shoot in here is that, as with most underwater same result.
company producing low-light conditions that the analogue shots, it isn’t
capture image data is amplified and completely sharp.
automated production
the noise characteristics of the sensor Adding noise
and creative plug-ins become apparent in the digitised image. reduction inevitably
for Photoshop. Whenever you edit a photograph in softens the image
His recent books Lightroom or Camera Raw, you have the further. There are
include The Adobe ability to control such noise using the two competing
Photoshop Lightroom 4 noise-reduction sliders found in the Detail demands here:
Book, Adobe Photoshop panel. These have been much improved the desire to keep
CS6 for Photographers, since Process 2010 was introduced the photograph
for Lightroom 3 and Camera Raw 6, looking sharp,
as well as the Adobe
and further enhanced by the ability to and at the same
Photoshop for apply localised noise reduction using time remove any
Photographers: The the Adjustment Brush. visible noise.
Ultimate Workshop In the following steps I wanted In the
series, which he to show a typical example of the following steps
Before
co-wrote with
Jeff Schewe.

18 www.amateurphotographer.co.uk I 17 August 2013 subscribe 0844 848 0848


1 2
This shows the ‘before’ version, opened in Lightroom,
where no adjustments had been applied to the
photograph other than to adjust the white balance
and apply a rotated crop.
4 5
In this step I checked
the Remove Chromatic
Aberration box. This
automatically eradicated most
of the fringing. To remove the
remaining purple/blue colour, I
selected the Eyedropper tool from
the Lens Corrections panel and
hovered the cursor over the blue fringe edge.
7 8
This is how the image
looked after I had adjusted
the sharpening settings,
where I applied high Radius and
Masking settings in conjunction
with a high Amount setting. In the
Noise Reduction section, I kept
the global noise-reduction
settings fairly low.
subscribe 0844 848 0848
To begin with, I went to the
Basic panel in the Develop
module and applied the tone
and colour adjustments shown
here. I mainly used the Exposure
slider to lighten the image and
the Contrast slider to boost the
contrast. In the Presence section I
increased the Clarity and Vibrance.
I then clicked with the
Fringe Eyedropper tool
shown in Step 4, and this
automatically adjusted the Purple
Amount and Purple Hue sliders to
remove this sampled colour from
the fringe edges. Note that this
refinement can only be carried
out if using Lightroom 4.1 or Camera Raw 7.1, or later.
I then selected the
Adjustment Brush and
clicked on the background to
add a new pin. I set the Noise slider
to +100 and clicked and dragged to
paint over the background. This
full-frame view shows the
adjustment effect that I applied
with the overlay mask enabled.
Software tips and techniques Retoucher’s guide
3
This shows a close-up view
of the fish’s head, and the
most obvious problem
here is the blue colour fringing.
Chromatic aberration such as this
can be caused by a number of
factors. As you can see in the
Lens Corrections panel, no
adjustments had been applied here yet.
6
For this step I wanted to
show what the image looked
like with the sharpening
settings set to the defaults and
the noise reduction set to zero for
Luminance and Color. Without any
adjustments the picture looked
soft and very noisy.
9
Here you can see a close-up view of the final image.
If you compare this with the close-up view shown
in Step 7, you will notice how the selective noise
reduction got rid of the excess noise in the background,
but left the fish unaltered where just the global noise-
reduction settings were applied.
17 August 2013 I www.amateurphotographer.co.uk 19
Move up to a Nikon
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provides its customers with
an unswerving service and in
return has received accolades
for its contribution to both
Nikon and Nikon users.”
– Digital SLR Photography
magazine June 2013
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Nikon Digital Cameras
Nikon D4 SLR body............................................................... £4,169.00
Nikon D4 + AF-S 14-24mm f/2.8G IF-ED Kit......................... £5,475.00
Nikon D4 + AF-S 24-70mm f/2.8G IF-ED Kit......................... £5,399.00
Nikon D4 + AF-S 14-24mm & 24-70mm f/2.8G Kit................ £6,699.00
Nikon D800 DSLR body......................................................... £1,949.00
Nikon D800 + MB-D12 Grip Kit.............................................. £2,230.00
Nikon D800 + AF-S 14-24mm f/2.8G ED Nikkor.................... £3,255.00
Nikon D800 + AF-S 24-70mm f/2.8G ED Nikkor.................... £3,180.00
Nikon D800 + AF-S 14-24mm f/2.8G & AF-S 24-70mm f/2.8G ED Nikkor Kit
............................................................................................... £4,485.00
Nikon D800E DSLR body...................................................... £2,349.00
Nikon D800E + MB-D12 Grip Kit........................................... £2,630.00
Nikon D800E + AF-S 14-24mm f/2.8G ED Nikkor................. £3,649.00
Nikon D800E + AF-S 24-70mm f/2.8G ED Nikkor................. £3,575.00
Nikon D800E +AF-S 14-24mm f/2.8G &AF-S 24-70mm f/2.8G ED Nikkor Kit
............................................................................................... £4,875.00
Nikon MB-D12 Grip for D800E/D800..................................... £285.00
Nikon D600 DSLR body......................................................... £1,375.00
Nikon D600 + MB-D14 Grip Kit............................................. £1,565.00
Nikon D600 + AF-S 24-85mm f/3.5-4.5G ED VR Nikkor........ £1,755.00
MB-D14 Grip for D600........................................................... £195.00
Nikon D300S SLR body......................................................... £899.00
Nikon D300S + MB-D10 Grip................................................ £1,149.00
Nikon D300S + AF-S 16-85mm f/3.5-5.6G ED VR DX.......... £1,480.00
Nikon D300S + AF-S 18-200mm f/3.5-4.5G VR II Kit............ £1,680.00
Nikon D7100 SLR body......................................................... £845.00
Nikon D7100 + MB-D15 Grip Kit............................................ £1,059.00
Nikon D7100 + 18-105mm f/3.5-5.6G VR DX IF-ED Kit........ £999.00
Nikon D7000 SLR body......................................................... £585.00
Nikon D7000 + 18-105mm f/3.5-5.6G VR DX IF-ED Kit........ £729.00
Nikon D7000 + 18-200mm f/3.5-5.6G VR II DX IF-ED Kit..... £1,169.00
Nikon D7000 + MB-D11 Kit.................................................... £799.00
Nikon D90 SLR body............................................................. £419.00
Nikon D90 + 18-105mm f/3.5-5.6G VR DX IF-ED Kit............ £549.00
Nikon D3200 DSLR body....................................................... £339.00
Nikon D3200 + 18-55mm f/3.5-5.6G VR DX Kit.................... £379.00
Nikon D5200 DSLR body....................................................... £549.00
Nikon D5200 + AF-S 18-55mm f/3.5-5.6G VR DX Kit........... £625.00
Nikon D5100 DSLR body....................................................... £345.00
Nikon D5100 + AF-S 18-55mm f/3.5-5.6G VR DX Kit........... £415.00
Nikon D3100 DSLR body....................................................... £259.00
Nikon D3100 + AF-S 18-55mm f/3.5-5.6G VR DX Kit........... £299.00
Nikon 1 System
Nikon 1 V2 10-30mm Kit........................................................
Nikon 1 V2 10-30mm & 30-110mm Twin Kit..........................
Nikon 1 S1 11-27.5mm Kit.....................................................
Nikon 1 S1 11-27.5mm + 30-110mm Kit................................
Nikkor VR 6.7-13mm f/3.5-5.6...............................................
Nikkor VR 11-27.5mm f/3.5-5.6.............................................
Nikkor VR 10-30mm f/3.5-5.6................................................
Nikkor VR 30-110mm f/3.8-5.6...............................................
Nikkor 10mm f/2.8..................................................................
Nikkor 18.5mm f/1.8...............................................................
Nikkor VR 10-100mm f/4.5-5.6 PD-Zoom..............................
Nikon SB-N7 Speedlight........................................................
Nikon GP-N100 GPS Unit......................................................
Mount adapter FT1................................................................
Nikon Coolpix
Nikon Coolpix A.....................................................................
AF-S & AF DX Nikkor Lenses
10.5mm f/2.8G AF DX ED Fisheye........................................ £545.00
AF-S 35mm f/1.8G DX........................................................... £150.00
AF-S 10-24mm f/3.5-4.5G IF-ED DX..................................... £639.00
AF-S 12-24mm f/4G IF-ED DX.............................................. £829.00
AF-S 16-85mm f/3.5-5.6G ED VR DX................................... £439.00
AF-S 17-55mm f/2.8G DX IF-ED........................................... £1,049.00
AF-S 18-55mm f/3.5-5.6G VR ED DX................................... £145.00
AF-S 18-105mm f/3.5-5.6G VR DX IF-ED............................. £225.00
AF-S 18-200mm f/3.5-5.6G VR II DX IF-ED.......................... £585.00
AF-S 18-300mm f/3.5-5.6G ED VR DX................................. £675.00
AF-S 55-200mm f/4-5.6G VR DX IF-ED................................ £245.00
AF-S 55-300mm f/4.5-5.6G DX VR........................................ £279.00
AF FX Nikkor Lenses
14mm f/2.8D AF ED............................................................... £1,219.00
16mm f/2.8D AF Fisheye....................................................... £619.00
20mm f/2.8D AF..................................................................... £465.00
24mm f/2.8D AF..................................................................... £369.00
28mm f/2.8D AF..................................................................... £245.00
35mm f/2D AF........................................................................ £255.00
50mm f/1.8D AF..................................................................... £109.00
50mm f/1.4D AF..................................................................... £235.00
Prices include 20% VAT. Prices Subject to Change. E.&O.E.
D7100
85mm f/1.8D AF................................................................ £299.00
85mm f/1.4D AF IF............................................................ £949.00
105mm f/2D AF-DC.......................................................... £799.00
135mm f/2D AF-DC.......................................................... £1,025.00
180mm f2.8D AF IF-ED.................................................... £695.00
AF-S FX Silent Wave Nikkor Lenses
AF-S 24mm f/1.4G ED...................................................... £1,489.00
AF-S 28mm f/1.8G............................................................ £499.00
AF-S 35mm f/1.4G............................................................ £1,299.00
AF-S 50mm f/1.4G IF........................................................ £275.00
AF-S 50mm f/1.8G IF........................................................ £155.00
AF-S 85mm f/1.8G............................................................ £379.00
AF-S 85mm f/1.4G............................................................ £1,189.00
AF-S 14-24mm f/2.8G IF-ED............................................ £1,310.00
AF-S 16-35mm f/4G ED VR............................................. £829.00
AF-S 17-35mm f/2.8D IF-ED............................................ £1,495.00
AF-S 18-35mm f/3.5-4.5G................................................ £569.00
AF-S 24-70mm f/2.8G IF-ED............................................ £1,235.00
AF-S 24-85mm f/3.5-4.5G ED VR.................................... £419.00
AF-S 24-120mm f/4G ED VR........................................... £810.00
AF-S 28-300mm f/3.5-5.6G ED VR.................................. £649.00
AF-S 70-200mm f/2.8G VR II IF-ED................................. £1,599.00
AF-S 70-200mm f/4G VR IF-ED....................................... £1,075.00
AF-S 70-300mm f/4.5-5.6G VR IF-ED.............................. £385.00
AF-S 80-400mm f/4.5-5.6G VR ED.................................. £2,239.00
AF-S 200-400mm f/4G VRII IF-ED................................... £4,879.00
AF-S 200mm f/2G VR II IF-ED......................................... £4,099.00
AF-S 300mm f/4D IF-ED.................................................. £1,029.00
AF-S 300mm f/2.8G VR II IF-ED...................................... £4,039.00
AF-S 400mm f/2.8G VR IF-ED......................................... £6,595.00
AF-S 500mm f/4G VR IF-ED............................................ £5,845.00
AF-S 600mm f/4G VR IF-ED............................................ £7,050.00
AF-S 800mm f/5.6E VR FL ED (inc. TC800-1.25E ED teleconverter)
........................................................................................ £15,599.00
TC-14E II 1.4x teleconverter............................................. £315.00
TC-17E II 1.7x teleconverter............................................. £315.00
TC-20E III 2x teleconverter............................................... £399.000
AF FX Zoom-Nikkor Lenses
18-35mm f/3.5-4D AF IF-ED............................................. £449.00
24-85mm f/2.8-4D AF IF................................................... £545.00
80-400mm f/4.5-5.6D AF VR IF-ED.................................. £1,235.00
£679.00
£869.00 AF & AF-S Micro-Nikkor Lenses
£475.00
£595.00
AF-S 40mm f/2.8G DX Micro............................................ £189.00
60mm f/2.8D Micro........................................................... £365.00
£425.00 AF-S 60mm f/2.8G ED Micro........................................... £399.00
£169.00 AF-S 85mm f/3.5G VR DX IF-ED Micro........................... £375.00
£145.00 AF-S 105mm f/2.8G AF-S VR Micro IF-ED...................... £609.00
£179.00 200mm f/4D AF Micro IF-ED............................................ £1,245.00
£179.00
Nikon Speedlights
£179.00
£545.00 SB-910 Speedlight............................................................ £335.00
£139.00 SB-700 Speedlight............................................................ £229.00
£99.00 SB-400 Speedlight............................................................ £119.00
£199.00 SB-R1C1 Close-Up Commander Ki.................................. £559.00
SB-R1 Close-Up Remote Kit............................................ £399.00
SU-800 Wireless Speedlight Commander........................ £269.00
£849.00 SB-R200 Wireless Remote Speedlight............................. £159.00
Manual Focus Nikkor AIS Lenses
20mm f/2.8 Nikkor............................................................. £901.00
24mm f/2.8 Nikkor............................................................. £608.00
28mm f/2.8 Nikkor............................................................. £615.00
35mm f/1.4 Nikkor............................................................. £1,227.00
45mm f/2.8P Nikkor, chrome............................................ £325.00
50mm f/1.4 Nikkor............................................................. £597.00
50mm f/1.2 Nikkor............................................................. £743.00
180mm f/2.8 ED Nikkor..................................................... £799.00
Zoom-Nikkor Manual AIS Lenses
28-85mm f/3.5-4.5 Zoom-Nikkor ...................................... £599.00
Special Purpose: Perspective
Control and Micro-Nikkor Lenses
24mm f/3.5D PC-E ED Nikkor.......................................... £1,455.00
28mm f/3.5 PC Nikkor...................................................... £1,195.00
45mm f/2.8D ED PC-E Nikkor.......................................... £1,395.00
55mm f/2.8 Micro-Nikkor.................................................. £541.00
85mm f/2.8D ED PC-E Nikkor.......................................... £1,325.00
105mm f/2.8 Micro-Nikkor................................................ £1,047.00
200mm f/4 Micro-Nikkor................................................... £895.00
PC: Perspective Control. PC-E:Tilt/Shift-Perspective Control
TO ORDER TELEPHONE 020-7828 4925
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Specialising in the exceptional
Nikon S4 Rangefinder Camera Photographed by Tony Hurst

The Nikon S4 was introduced in March 1959. It was essentially a stripped-down version of the S3. Nikon discarded the self-timer and
installed a manually resetting frame counter similar to the S2, removed the 35mm frame line from the finder leaving only those for the
50mm and 105mm lenses, and left off the motor drive coupling lug under the take-up spool. The S3 was supplied with a cloth shutter
instead of titanium. The shutter speeds are from 1 to 1/1000th sec., B and T. Weight: 520g. When Nikon announced the S4 they ran into a
real problem: Joseph Ehrenreich the owner and CEO of Ehrenreich Photo-Optical Industries would not import the S4 into the United
States and Canada. He reasoned that he already had the hot selling Nikon SP and the second level S3 as a lower priced alternative
to the SP. He was awaiting the forthcoming shipment of the Nikon F and he felt that the S4 would deprive them of sales of the S3.

Despite this set-back, Nikon decided to go ahead with production and sold them to the home market. The total number of S4s produced
was 5,898, ranking it as the lowest production Nikon rangefinder since the Nikon M! It is important
to bear in mind that with the exception of those few features that were removed, the Nikon S4 is TO ORDER TELEPHONE
of exactly the same quality as the SP/S3 models. This fine example comes complete with original 020-7828 4925
instruction manual, maker’s box and shipping carton. RARE (see inset photo) MINT- £7,000.

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EvEryonE likes a celebration. That’s
Andy Murray of
Britain in action particularly true when you’re faced with
during his
fourth-round
the borderline apocalyptic bleakness that is
often characteristic of our British summers.
match at
Wimbledon 2013
Royal marriages and Olympic gold medals
aside, nothing gets those plastic Union Jacks
waving like a good old-fashioned tennis
tournament. Back in July, Wimbledon was
once more upon us and the cries of jubilation
and anguished gnashing of teeth filled the
air around south-west London. This year the
sun decided to take residence in our skies
throughout the entire tournament, turning
Murray Mound into a sea of bare skin and
sunglasses. Yet one man found himself
sheltered from the sun’s rays for pretty much
the duration of Wimbledon. That man was
award-winning sports photographer Bob
Martin, who has been Wimbledon’s official
photographer for several years.
This year Bob was not just at Wimbledon
in his capacity as an official photographer.
He was also there, under the guidance of
Nikon’s Professional Services manager
James Banfield and Assaff Rawner,
managing director at Mark Roberts Motion
Control (MRMC), to test out a rather
impressive photographic innovation.
The kit Bob had his hands on is called
the Polycam, an IP-based robotic camera
subscribe 0844 848 0848
Technology Sports photography
Taking
centre court
Sports photographer Bob Martin (pictured left)
and Nikon’s James Banfield discuss the
innovative leaps in photographic technology that
will offer a fresh perspective on one of Britain’s most exciting
sporting events – Wimbledon. They talk to Oliver Atwell
system that enables networked cameras to images Bob captured at this year’s
simultaneously track a subject of interest Wimbledon are quite different from what
from multiple perspectives. Think about the we’ve seen before. Nikon, MRMC and Bob
kind of footage Channel 4 shows during its Martin are planning to show us Wimbledon
Grand National coverage as the camera from a fresh and dynamic perspective.
tracks the horse throughout the race and
you’ll get a good idea of what to expect. The GETTInG To GrIPS
main difference here is that Bob is in control The Polycam set-up is a result of a
of three cameras, not just one. collaborative effort between camera giant
Witnessing the system in action is an Nikon and MRMC, a 40-year-old company
interesting sight. The operator sits in front that pioneered robotic motion-control rigs
of a small monitor with a live view of the in the motion-picture industry.
action they are shooting. Next to the first While versions of this groundbreaking
monitor is a second one that displays the technology have been in use for some
kind of graphs and software familiar only to time, the unique angle at Wimbledon is that
those with a knowledge of programming. the Polycam is functioning with software
Most interestingly, two joysticks seem to be programmed by Nikon. Of course,
employed to control the camera movements this technology is exciting in itself,
and the live image on-screen. However, the but the real joy for Bob lies in the
17 August 2013 I www.amateurphotographer.co.uk 23
Sports photography Technology

Switzerland’s Roger
Federer in action
during the 2013
Wimbledon
Championships

camera on the centre court roof. Top: One of the key

It’s a unique angle and one that reasons Bob
currently Bob, and only Bob, has favours the Nikon
been able to achieve. D4 is that it is
‘These are still early days,’ says Bob. ‘We’re capable of
still in the prototype stage. The equipment capturing up to ten
consists of three Nikon D4 cameras frames per second,
attached to robotic heads. The first was on so he rarely misses
the roof of centre court, which is looking a crucial moment
down at the game. The second was next to
me in the small room overlooking centre Right: Germany’s
court. Finally, the third was in a room much Sabine Lisicki at the
like this one on the other end of the court. 2013 Wimbledon
All three are synchronised to move together Championships
when I manipulate the joysticks.’
The whole set-up works like a video
camera. You are witnessing a live image
that can be zoomed in and out, panned
and tilted. The control may not be quite as
smooth as holding a DSLR (I nearly snapped
the sensitive joysticks when Bob kindly

24 www.amateurphotographer.co.uk I 17 August 2013 subscribe 0844 848 0848

 Technology Sports photography

all pictures © bob Martin/aeltc

‘This technology
hasn’t been
developed to replace
photographers. It’s
here to aid them in
getting unique angles’
‘A little while ago I worked for Sports
Illustrated and did some shots of a 100m
race in London,’ says Bob. ‘I had 29 remotes
to handle. It’s pretty commonplace to work
like that. With the Polycam I’m working
from a single control hub, so I can follow the
action remotely and witness it live on screen.
Crucially, the live image I’m seeing on screen
Despite working is fairly instantaneous.’
remotely, Bob is still able
to achieve engaging A UNIQUE PERSPECTIVE
compositions in his work Currently, Bob and his team provide all the
images used by Wimbledon. From their
perspective, being able to achieve these
Below right: The Right: Bob unique shots offers them a chance to put
view taken with the observes the action images out there that no other photographer
Polycam robotic on Centre Court can. Bob’s images appear on everything,
camera from while controlling from ticket covers to posters. That, of course,
the roof of the trio of cameras requires a variety of looks – something that
Centre Court using the PolycamÕs Bob and his team can now provide due the
at Wimbledon sensitive controls unique angles they can capture.
‘Sports photography, much like every
other genre of photography, has become
incredibly competitive,’ says Bob. ‘If you want
to stand out in this business, you have to find
offered me a go), but it’s easy to adapt to an edge. This is my edge. If I can master this
with practice. technology and become proficient at it, that
‘If we were shooting from just one gives me something that no one else has.’
perspective, then a photographer manually It’s tempting to imagine that having
working a camera would be the preferable three cameras working remotely will pretty
solution,’ says Bob. ‘So this technology hasn’t much guarantee an image, as all you have
been developed to replace photographers. to do is move the cameras around and hit
It’s here to aid them in getting unique angles. the shutter. With so many images being
Before this, they wouldn’t have been able produced (around 300 on a good day)
to get shots like the ones we see here. you’re bound to achieve something. Yet this
It’s a matter of knowing when to use this is the same logic that saw many decry the
technology and when to switch it off and pick rise of DSLRs, and claim that anyone can
up your camera. If the Polycam technology take a good image. Bob is quick to correct
develops a little further, there’s the potential this misconception of the Polycam system.
for one operator to control two heads if we ‘There’s a staggering amount of creative
can get two heads attached to the roof.’ control when you’re working in this way,’
Bob is no stranger to working with remote says Bob. ‘In that respect it doesn’t differ
technology. In previous commissions he has in any way from shooting manually. Kit like
placed a camera in the goal at a football this gives you the ability to push
match or alongside an athletics track and yourself outside the normal way of
then fired the shutter remotely. thinking. I’m working in ways that

subscribe 0844 848 0848 17 August 2013 I www.amateurphotographer.co.uk 25

Sports photography Technology

haven’t been tried before. I have

to reconfigure my entire way of
working.
‘When I first started, if I was able to get a
shot of Linford Christie with his feet off the
ground I was delighted,’ continues Bob. ‘Now
anyone can do that. As a photographer you
need to find ways to extend yourself. I have
to consider what I’m bringing to the table.’
Clearly, the most fundamental principles
of image-making still apply. Bob is still using
the same portion of his brain that intuitively
understands framing, composition and
exposure. Yet sports photography is more
than pressing the shutter at the right time. It
also requires a thorough understanding of
the sport and its participants.
‘I’ll give you a good example,’ says Bob.
‘If I’m photographing Andy Murray and he
receives a serve on the backhand, he’ll take
two steps forward and then lunge. So when
I’m composing a shot like that I’ll put Murray
on the edge of the frame because I know
he’ll move forward. You have to understand
your sport. A good football photographer
knows how a certain player will run at the
goal, so by the time the player is near the
goal the photographer knows the path they’ll
take. I shoot a lot of tennis, so I know more
or less what each player will do.’

A COLLABORATIVE EFFORT
Impressively, it was Bob who was in charge
of the photo operations at the London
Olympics last year. It was a role that found
him co-ordinating the photographers to
ensure that all angles were covered. While
his job at Wimbledon is similar, there is also
the pressure of learning how to operate the
Polycam system. However, Bob only has
himself to blame, as it was he who sparked
the collaboration between Nikon and MRMC.
Nikon’s James Banfield explains: ‘Just
before he set off to cover the Olympics,
Bob came and saw us to voice concerns
that the ExCeL centre, where some of the

THE RIGHT CAMERA FOR THE JOB

James Banfield discusses why the Nikon D4 was the only camera for the Polycam system
THERE were numerous reasons for using the
Nikon D4 with the Polycam system. ‘The three
most important considerations for us were image
quality, speed and AF performance,’ says Nikon’s
James Banfield. ‘We knew that for this project to
succeed, the camera had to be fast and accurate.
‘Our decision was dictated by something that
happened at Wimbledon in 2008, when we
witnessed the staggering final match between
Roger Federer and Rafael Nadal. It’s the longest
singles final in Wimbledon in terms of time
played and it went on until 11pm. As the match
progressed, the light levels dropped. The only
camera [at that time] capable of functioning to
its full potential in those conditions was the Nikon
D3. That was in our minds when we began the
collaboration with MRMC. We knew then that the
[more recent] D4 was the only option, particularly
as it is capable of shooting up to ten frames a
second and at very high ISOs. That is important
when you’re faced with fast-paced action.
The other thing that stood out about the
D4 was the network capability. We needed to
transfer the images via Ethernet and Wimbledon
has a fantastic network infrastructure. In fact, it’s
as good as an Olympic set-up. Wimbledon has
eight separate networks that are interspersed
and the cameras are spread across these. The
benefit is that we get real-time feedback, so Bob
can see what he has as soon as he’s taken it.’

26 www.amateurphotographer.co.uk I 17 August 2013 subscribe 0844 848 0848


events were being held, didn’t have catwalks
suspended from the ceiling. That meant the
photographers didn’t have access to the
roof. Every photographer wants to produce
something unique and Bob identified this lack
of access as a problem in achieving his vision.
He was also concerned that he wouldn’t be
able to match the quality of images that came
out of the Beijing Olympics.’
The ExCeL centre contained such sports
as weightlifting and fencing – events that
could benefit from a unique high-positioned
camera angle. Bob was eager for Nikon to
assist him in finding some kind of solution.
And just two years later that solution was
in place.
‘We partnered with Mark Roberts Motion
Control, which has been involved in just
about every blockbuster motion picture
you can think of,’ says James. ‘This was the
first time the company’s robotic systems
had been used with still cameras. Before
that, it had always been used with motion
pictures. Because of the company’s work
with special effects, the level of precision was
extraordinary. It was a joy to work with them.’
subscribe 0844 848 0848
Above: Britain’s
Andy Murray
playing his
Wimbledon quarter
finals match
Left: Serena
Williams of the USA
during her first
round match on
Centre Court
Most impressively, Nikon and MRMC went
way beyond the brief. Nikon’s initial request
was simply to be able to place a camera in a
position that no photographer could access.
What they came away with was a system
that could track the subject of interest.
On top of that, the photographer is able
to fine-tune the image remotely (framing,
focus, exposure) almost as if they were right
there with the camera. It’s a system that
essentially extends the distance between
the photographer and camera while still
maintaining the same level of control.
THE FUTURE
Perhaps the most exciting thing about the
collaboration between Polycam and Nikon
is the implications it has outside of sports
photography. The Polycam system can be
placed into situations no photographer
would find themselves in.
‘Think about any type of photography
where you’d want to get an image in a
challenging situation and you can begin to
see the possibilities,’ says James. ‘While
the notion of getting unique angles is
Technology Sports photography
attractive, you can also place the camera in Britain’s Andy
places no photographer could go. Wildlife Murray defeats
photographers could place this near a Novak Djokovic
waterhole or a pride of lions. Another idea at the 2013
would be to work with NASA and set up a Wimbledon
camera near the rocket as it launches. Not Men’s Singles
only would you get the launch, but you’d also Championship
be able to track the rocket as it goes up.’
Bob and James both point out that the
real opportunities are still to be found. It’s the
photographers themselves who will dictate
how this technology develops and meets
their needs. For now, though, it’s down to
Bob Martin and the teams at MRMC and
Nikon to explore the capabilities of this
fledgling technology. The Polycam is an
undeniable game changer and is likely to
shape a portion of photography’s future.
These are developments that are well
worth keeping an eye on. AP
To see more of Bob Martin’s work, visit
www.bobmartin.com. To see some examples
of the work he has done for this yearÕs Wimbledon
tournament, visit www.wimbledon.com
17 August 2013 I www.amateurphotographer.co.uk 27
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 Scott Hills Reader profile

‘Playing with
silhouettes’.
Scott tried these
using the Wi-Fi
on the camera to
link to his phone,
turning it into a
remote
Sony NEX-5R

A man of many arts As a firefighter, mixed martial arts enthusiast and

lens collector, how does AP reader Scott Hills find
time to take photos as well? Debbi Allen finds out
It can be difficult for most of us to find a few film cameras and would maybe one
the time to get out and take photographs, day like to learn how to develop my own
but for AP reader Scott Hills this is photos,’ he says.
something of an understatement. Scott’s
busy schedule is taken up first and foremost From the start
by his job as a firefighter. ‘I’ve been doing Living in Scotland, Scott believes his passion
the job for nearly five years now, and for for photography started when he first
me it’s the best job in the world,’ he says. learned to drive a car. ‘I was able to get up
‘I genuinely look forward to going to work to the Scottish Highlands on my days off,’ he
every day. Well, apart from bonfire night!’ explains. ‘I couldn’t believe the scenery and
Away from his career, Scott also enjoys atmosphere up there and wanted to share
mixed martial arts and Thai boxing – sports what I was experiencing.’
he’d like to get further involved in through From here, Scott started to teach himself
All pICTURES: © SCoTT HIllS

his photography. the art. He read books and magazines,

When he does have time to spend on joined the AP forum and discovered
his photography, Scott not only switches techniques through ‘trial and error’.
‘Union Canal’. Scott
says he went to see between genres, but he’s also started to Picking up a copy of AP for the first
the colourful arches, dabble in film as well as digital: ‘I’ve collected time in 2012, Scott found inspiration
but they didn’t turn
subscribe 0844
the lights on! 848 0848 17 August 2013 I www.amateurphotographer.co.uk 29
Fujifilm FinePix S100FS
Reader profile Scott Hills

within. ‘The software tutorials are a

great resource for me, as are the
photographic technique ones,’ he
says. ‘I also like the camera reviews and Photo
Insight is a good source of inspiration.’
Like most amateur photographers, Scott
finds that feedback is especially important
for improving his photography. ‘The appraisal
gallery on the forum has been extremely
beneficial to me, and I really appreciate the
advice and critique I get from the other
forum members there,’ he says. ‘Essentially,
it’s a free education in photography!’

Scott’S favourite photo Taking photos with his phone, Scott soon
discovered that he’d need to invest in some
new kit if he wanted to progress his hobby,
‘Somewhere I shouldn’t be’ so he bought a Fujifilm FinePix S100FS
‘I took this photo in an abandoned Second World War air-raid bridge camera, which was recommended
shelter near where I grew up,’ says Scott. ‘I didn’t plan it out very by an AP forum member. From this, Scott
well as I forgot to take a torch or a tripod. I had to wander through has progressed to a Sony NEX-5R compact
some pitch-black tunnels using my pre-focusing light to see. There system camera, as it was able to accept
was a dead sheep that I had to navigate round, but I got the shot I a huge range of old legacy lenses via
was after even though it was handheld.’ appropriate adapters. ‘I like the fact I can use
almost all the old legacy lenses with the NEX
system,’ he says. ‘It helps me get lens quality
Above: Shots like I wouldn’t otherwise be able to afford.’
this show how good This is a feature Scott is making full use of,
the Sony is in low- having so far collected 14 lenses, including
light situations Yashica, Konica and Mamiya models (see
Sony NEX-5R right for the full list). ‘My favourite lens has
to be an old manual OM Zuiko 50mm f/1.8,’
Left: Self-portrait says Scott. ‘It is sharp, compact and well
Sony NEX-5R built. I find myself using this lens more
than any other.’

EclEctic tastEs
Although Scott cites sport and macro as
two of his favourite things to shoot, like
most amateur photographers he’ll basically
photograph anything he can. ‘I really do enjoy
photography and like how I can combine
it with lots of other interests,’ he says. ‘I like
taking photos ranging from everyday street
scenes to abandoned mental asylums. I also
like sports and macro photography but find

30 www.amateurphotographer.co.uk I 17 August 2013 subscribe 0844 848 0848

 Scott Hills Reader profile

these much more challenging. I’m on a limited Above left: ‘This

budget for lenses, which makes macro and is an example of
sport difficult as I tend to use old fast manual mixing legacy
primes to help freeze the action, and clip lenses and my Sony
on macro filters and extension tubes to NEX-5R,’ says Scott
get in close.’
Scott continues: ‘Even though I find it the Above right:
most challenging, I’d say macro is the most Opheodrys aestivus,
rewarding for me. Some of my favourite commonly known
photos are close-ups of spiders or other as the rough green
small creatures because I know the effort snake, is a non-
and patience it took me to get the shot.’ venomous North
Talking about his landscape shots, Scott American snake
admits he’s pretty lucky to be living Sony NEX-5R
in an exceptionally beautiful part
of the world, which makes it a little

Scott’S
lenSeS
Scott uses his Sony NEX-5R
with the following new and legacy
lenses to achieve his photos.
● Sony 18-55mm f/3.5
● Konica Hexanon 28mm f/3.5
● Konica Hexanon 40mm f/1.8
● Yashica ML 135mm f/2.8
● Yashica ML 50mm f/2
● Yashica DSB 50mm f/1.9
● Helios 44M 58mm f/2
● Mamiya Sekor 55mm f/1.8
● Super Takumar 135mm f/3.5
● Zuiko 50mm f/1.8
● Tamron 28-70mm f/3.5-4
● Hoya HMC 75-150mm f/3.8 Right: Taken at the
● Jupiter 8 50mm f/2 Edge Martial Arts
● Raynox DCR-150 Edinburgh Open,
at Meadowbank
Stadium, July 2013
Sony NEX-5R

subscribe 0844 848 0848 17 August 2013 I www.amateurphotographer.co.uk 31

Reader profile Scott Hills

Behind the scenes

‘Glaswegian jumping spider’
‘Jumping spiders like the sun, so you’re more likely
to find them on south-facing walls on bright sunny days,’
says Scott. ‘I found this one on a canal-bridge wall in Glasgow in late
August. She was about eye-level on top of the wall when I saw her, but by the
time I got my camera ready she had wandered over to the south face. I pulled myself
up and hung over the bridge wall to see a 40ft drop on the other side! The spider
was still there so I quickly got it in the frame of my Fujifilm FinePix S100FS (with a
Raynox DCR-150 lens attached). Because of the Raynox I lost autofocus, but it kept
the auto-exposure settings so I could just concentrate on focusing. As soon as she
turned to face me, I took a burst of raw images while moving the focal plane across
the spider, hoping for at least one sharp shot of her eyes.’

Scott took this photograph using
a Konica Hexanon 28mm lens at
f/5.6 with his Sony NEX-5R
easier for him to take landscape
photos. ‘I feel like I am cheating half
the time as some of the places I
visit are so scenic that if you get the basics
right it’s hard to go wrong,’ says Scott. ‘Good
light always helps, and I think the fact that
I’m usually out climbing Munros or exploring
places off the beaten path makes getting
interesting shots easier.’
Although he loves shooting near his home,
Scott is also ambitious to jet off and document
other lands, and says he’d love to visit
Bulgaria. ‘I like places with atmosphere: Mount
Buzludzha in Bulgaria has an abandoned
communist headquarters and monument at
the peak, which looks like something from
another world,’ he adds. ‘Chernobyl and
Pripyat [in Ukraine] are also places that appeal
to me. The thought that thousands of people
up and left in a matter of days and allowed
nature to reclaim the cities would make for
some great photographs.’
Scott has this tip for creating great images
within cityscapes and tourist areas: ‘If I find
something I like the look of, such as an
empty lane, a tunnel or stairs, I like to wait
for someone to walk into the shot. I’ll usually
compose the shot so they are on a third and
use them as a focal point.’
Forward thinking
With a job that keeps him busy and many
hobbies to vie for his attention, Scott isn’t
too preoccupied with turning professional.
‘I worry that if I had to take photos of Above: Scott says
something, I might not enjoy it as much,’ he he has taken lots of
says. However, his lack of desire to achieve photos of this ‘little
professional status doesn’t mean a lack of guy’ on his Flickr
ambition, as there’s still plenty that Scott page (see below)
would like to achieve with his photography. Fujifilm FinePix
‘I would like to get into some mixed martial S100FS
arts events or boxing/Thai boxing shows,’ he
adds. ‘I’m pretty sure I wouldn’t be able to
get good results with my current set-up, so I Do you want to see
think I’d need to invest in some new gear.’ your pictures in
Having already used his photography to print and share your
gain free entry to the local Brazilian jiu-jitsu photographic journey
competitions in return for some of his shots, and experiences
Scott has had a taste of the commercial with other readers?
side of photography. ‘I’ve also been asked
Send up to ten
to do three weddings, which I’ve had to
turn down,’ he says. ‘I’m under no illusions low-resolution JPEGs
how much work is involved in a professional and a short covering
wedding shoot, and I know I’ve got a lot to letter on an email
learn before I tackle something like that!’ titled ‘Reader Profile’
With a strong collection of photos taken in to appicturedesk
limited free time, on both the AP gallery and @ipcmedia.com,
via his Flickr page, Scott is an inspiration to or post a CD/DVD to
any amateur photographer who claims not
to have the time to take more photos, and
Reader Profile at the
he has this advice to fellow amateurs. ‘Just usual address, and you
enjoy it, and try to combine photography could see your work
with other interests you have,’ he says. published in AP.
‘I always find I take better pictures if the
subject is something I’m interested in. Get to see more of scott
posting in the appraisal gallery on the AP hills’ images, visit
forums as well. That was and still is a huge www.flickr.com/
benefit to me.’ aP photos/caledonia84

32 www.amateurphotographer.co.uk I 17 August 2013 subscribe 0844 848 0848

manfrotto.co.uk/befree
Your pictures in print

AP publishes more reader photographs than any other photography magazine

IF YOUR PICTURES
ARE FEATURED
1 YOU’LL RECEIVE…

The Editor’s Choice

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Gary King Devon 2 grip ball head
worth £129.99*
After many years away, Gary moved back to the south-west of England Combining the smooth precision
where the extraordinary landscapes of Devon and Cornwall inspired of a ball head with the impressive
him to take up landscape photography. His favourite subjects are
the sweeping vistas of Dartmoor National Park, specifically in the ergonomic control of a pistol grip,
periods just after sunset and the moments leading up to sunrise. Gary the award-winning GH-100 enables
describes himself as a photographer who is able to learn as much you to position your camera
from his disappointments as he is from his successes. He is currently exactly where you want it. The
experimenting with minimalist urban abstract imagery. ball head has an anodized centre
ball and friction-control switch,
while the pistol grip enables
Gul Rock Start Point Heybrook Bay you to position your camera or
1 Gary has managed 2 Gary was keen not 3 Shooting in a
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the leading water employed it as a well as the textural www.vanguardworld.co.uk
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Canon EOS 5D Mark II,
17-40mm, 0.5sec at
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Canon EOS 5D Mark II,
17-40mm, 0.6sec at
How to submit
f/14, ISO 100, tripod, f/14, ISO 100, tripod, f/10, ISO 200, tripod, your images
cable release, ND cable release, ND cable release, ND Please see the ‘Send us
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34 www.amateurphotographer.co.uk I 17 August 2013 subscribe 0844 848 0848

3

EDITOR’S
CHOICE
SEE MORE ONLINE AT
AMATEURPHOTOGRAPHER.
CO.UK/SPOTLIGHT

Gary has done a

wonderful job of
capturing the texture
and colours of this
sunset. He’s also
proved that it’s always
worth exploring scenes
in both landscape and
portrait orientation –
Debbi Allen,
deputy editor
Your pictures in print

Dave Hudson Liverpool Sunflower study

1 Dave’s aim is to show that
Dave first picked up a camera when his children were born,
some 20 years ago. He says the appeal of photography lies flowers are versatile and
in the ability to lose himself for hours at a time, which helps flexible subjects. Here, the
him de-stress. After having his photographs featured in use of black & white, plus
Reader Spotlight in AP 2 March, Dave was spurred him on to the light, have revealed the
create some more work, particularly in the field of macro intricate shapes of the flower
photography, which is his favourite subject. He is currently Canon EOS 7D, 100mm macro,
working on a project about weeds on the roadside, as he 2secs at f/32, ISO 100, tripod,
feels these plants are strangely beautiful. home-made background,
home-made reflectors
Sunflower close-up
2 Moving in closer to the
sunflower also seen in
image 1, we can begin to
see the fine hairs and
textures that make up
this intricate subject
Canon EOS 7D, 100mm macro,
2secs at f/32, ISO 100, tripod,
home-made background,
home-made reflectors
Calla Lily
3 Dave has tried to present
this lily in a unique way. The
real success of this image lies
in the method of lighting used
to highlight the delicacy of
the petals
Canon EOS 7D, 100mm macro,
1.5secs at f/32, ISO 100, tripod,
home-made background,
home-made reflectors

1 2

36 www.amateurphotographer.co.uk I 17 August 2013 subscribe 0844 848 0848

 Your pictures in print

Dandelion 3
4 Dandelions are a popular
subject for photographers.
The beautiful head and
seeds make for endlessly
fascinating subjects,
particularly in this image
Canon EOS 7D, 100mm macro,
2secs at f/32, ISO 100, tripod,
home-made background,
home-made reflectors

subscribe 0844 848 0848 17 August 2013 I www.amateurphotographer.co.uk 37

Your pictures in print

1 Issy bad hair day

1 This shot came about
as a result of a game of
peek-a-boo. The diffused
light works perfectly
for the image
Nikon D90, 50mm, 1/200sec
at f/8, ISO 200, studio strobe
inside 60cm softbox

Angel with
a dirty face
2 Aaron converted
this image to black &
white, using multiple
exposures to increase
the dynamic range
Nikon D90, 50mm, 1/640sec
at f/4, ISO 400

A light in the
darkness
3 This is a composite
of four images. Aaron
has created a truly
nightmarish image
here by exploring the
theme of fear
Nikon D90, 28mm, various
shutter speeds and
apertures, ISO 200, tripod

2 Aaron Karnovski Kent

Aaron became hooked on photography in February 2010, when he
began taking photographs of his nieces and nephews. He enjoys
portrait photography, particularly children’s portraits, as they present a
challenge – he has to be fast and anticipate how the child will pose. Aaron
focuses primarily on flash photography in his home studio and enjoys
experimenting with lighting to produce an engaging atmosphere.

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Troubled brilliance
In his new book, Colin Graham traces 30 years of
significant photography from Northern Ireland. He
talks to Jon Stapley about the images he found
THE TROUBLES, the conflict between
Unionists and Loyalists in Northern Ireland,
began in the 1960s and only really ended
in the 1990s after years of negotiation. The
Troubles also gave rise to a new wave of
photography as people sought to use art to
process what was happening to their country.
With his new book, called Northern
Ireland: 30 Years of Photography, Colin
Graham is exploring this work. Taking 1980
as his starting point, Graham traces the
developments in photography through
turbulent times.
‘Collectively, these images show a
sceptical interrogation of what the politics
of Northern Ireland have done to the place,’
says Graham. ‘They’re not looking at political
events or figures, but at the effects that high
politics has on local lives and spaces.’
ART AND DOCUMENTARY
The book progresses from 1980 right up to
the late 2000s, and in the earlier images we
see the beginnings of a complex blend of art
Northern Ireland: 30 Years of Photography by Colin Graham, published by Belfast Exposed, £30, hardback, ISBN 978-0-9561766-1-5
subscribe 0844 848 0848
and documentary photography.
Graham feels that Northern Ireland
created the perfect environment for this
kind of experimentation. Photojournalists
raised on Vietnam and Korea were drawn
to the Troubles like moths to a flame.
‘There was a lot of focus on the North
through photojournalism, and it was a very
dramatic story,’ he says. ‘I think that for art
photographers there was partly a reaction
against that, they were trying to create a
“truer” version of Northern Ireland.’
You may recognise the above image, as it’s
one of the most famous pieces in the book.
Taken by Philip Jones Griffiths for Magnum
Photos in 1973, it shows the face of a young
Irish soldier through his scratched and
beaten riot shield. We asked Graham why he
thinks this particular image has endured.
‘I think it’s partly the directness of it,’ he
says. ‘It focuses on an individual, so it almost
humanises the situation. The soldier himself
is quite handsome in some ways, and the
image is marked by evidence of violence he
suffers. It’s dramatic and straightforward.’
PICTURE ABOVE © PHILIP JONES GRIFFITHS/MAGNUM PHOTOS
Graham also finds the photograph to be
influenced by Don McCullin’s image of a
shell-shocked soldier from Vietnam.
‘The shell-shocked soldier is framed in a
similar way,’ he says. ‘It captures the anti-war
feeling that was around at the end of the
’60s. There was a kind of pity for the young
soldier. It was like an essence of the anti-war
movement and the way people thought
about war and peace at the time.’
Above: A soldier BEYOND THE TROUBLES
behind a riot While the repercussions of the Troubles
shield, by Philip won’t ever disappear, peace processes have
Jones Griffiths for given hope for the future. So, does Graham
Magnum Photos, is think art-documentary photography is
one of the defining starting to look beyond the Troubles?
images of the ‘It’s very hard to know the answer,’ he says.
Troubles ‘That narrative of the Troubles, the social
effects and political divisions; people live with
that legacy whether they want to or not.’
Despite this, Graham does believe that the
most recent generation of photographers
in Northern Ireland are beginning to move
apart from the Troubles. Northern Irish
photography is becoming more broadly
international.
‘They are all people living in the modern
world,’ Graham says. ‘There’s increasingly
more of a focus on social issues, the same
issues that anyone in the western world
confronts. Photographers were interested in
how the Troubles marked ordinary people’s
lives, but now ordinary people’s lives can be
seen to be marked in other ways as well.’ AP
17 August 2013 I www.amateurphotographer.co.uk 41
 The moment in which a passion becomes
the love of your life.
This is the moment we work for.

// FASCINATION
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Dealer: Dale Photographic Ltd., Richard Caplan Photographic,

Bass and Bligh,
6 Beulah Street, Harrogate, North Yorkshire,
Phone +44(0)1423 538138, www.bassandbligh.com
Cambrian Photographic,
87-89 Abergate Road, Colwyn Bay, Wales,
Phone +44(0)1492 532510, www.cambrianphoto.co.uk
Camera World,
14 Wells Street, London,
Phone +44(0)2076 365005, www.cameraworld.co.uk
Camera Centre Cardiff Ltd.,
13-15 Morgan Arcade, Cardiff, South Wales,
Phone +44(0)2920 394182, www.cameracentreuk.com
Clifton Cameras,
28 Parsonage Street, Dursley, Gloucestershire,
Phone +44(0)1453 548128, www.cliftoncameras.co.uk
Carmarthen Cameras,
1 Parcmaen Street, Carmarthen, Carmarthenshire,
Phone +44(0)1267 222300, www.carmarthencameras.co.uk
60-92 The Balcony, The Merrion Centre, Leeds, West Yorkshire,
Phone +44(0)1132 454256, www.dalephotographic.co.uk
Ffordes Photographic Ltd,
The Kirk, Wester Balblair, By Beauly, Inverness-shire,
Phone +44(0)1463 783850, www.ffordes.com
Hire A Camera,
Unit 5, Wellbrook Farm, Berkely Road, Mayfield,
Phone +44(0)1435 873028, www.hireacamera.com
London Camera Exchange,
15 The Square, Winchester,
Phone +44(0)1962 866203, www.lcegroup.co.uk
London Camera Exchange,
8 Tunsgate, Guilford,
Phone +44(0)1483 504040, www.lcegroup.co.uk
Richard Caplan Photographic,
25 Bury Street, London,
Phone +44(0)2078 079990, www.richardcaplan.co.uk
25 Bury Street, London,
Phone +44(0)2078 079990, www.richardcaplan.co.uk
The Classic Camera,
2 Pied Bull Yard, off Bury Place (near British Museum), London,
Phone +44(0)2078 310777, www.theclassiccamera.com
Park Cameras Ltd.,
York Road, Victoria Business Park, Burgess Hill, West Sussex,
Phone +44(0)1444 237070, www.parkcameras.com
Robert White Photographic Ltd,
Unit 3-4 Alder Hills Industrial Estate, 16 Alder Hills, Poole, Dorset,
Phone +44(0)1202 723046, www.robertwhite.co.uk
Warehouse Express Showroom,
Unit B Frenbury Estate, Drayton High Road, Norwich,
Phone +44(0)1603 486413, www.warehouseexpress.com
Conns Cameras,
54 Clarenden Street, Dublin, Southern Ireland,
Phone +353(0)16 777179, www.connscameras.ie
 Beanbag and camera bag On test

APTestbench ,

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up and it will be a
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well as finding those 53x34x32cm, it is something of a whopper, and has enough
aspects that deserve internal space to comfortably fit a pro DSLR with mounted lens
praise. All our tests
and many other accessories. The huge range of internal dividers
are thorough, honest offers numerous customisation options, so whatever your set-up,
and independent there’s a good chance this bag will be able to accommodate it.
The sturdy construction and thick nylon fabric also provide peace

Gura Gear Sabi Sack

of mind when travelling.
However, all this space and sturdiness come at a price – in this
case, the weight. Before you’ve even packed your DSLR, you’re
already toting around 3.6kg from the bag alone, and the plastic

From £26.13 (plus p&p) handle is not pleasant to carry for too long. A clip-on shoulder
strap is included, although the bag’s sheer
bulk makes carrying it in that fashion
www.guragear.com a little awkward. If you can handle the
heft and weight, this is a good choice for
A BEANBAG is a great alternative for the mobile transporting large amounts of heavy kit. A hefty DSLR bag
photographer who doesn’t want to fuss with a tripod, and
with ample space
Light or dainty travellers may want to think but lots of weight
we were impressed with the Sabi Sack from Gura Gear. It is smaller. Jon Stapley
well constructed from durable fabrics and is designed to stand
up to rugged outdoor conditions. The sack is essentially
two square parts stitched together, and can be used either
horizontally or vertically, with the lens resting in the hollow
between the two.
It’s a simple product, but it works well, offering quick makeshift
stability for long lenses. Placing it down, putting the camera
on top and composing is a very streamlined process, which
makes it ideal for wildlife and nature photographers. Measuring
21x21x13cm (small version), the Sabi Sack is very portable,
fitting comfortably in most DSLR bags.
One important thing to take note is that Sabi Sacks are
shipped empty, so you’ll need to provide your own fill. The firm
recommends birdseed, beans or buckwheat hulls, but really any
commercially available fill can be used. A couple of bags of rice
from your local supermarket would also work well.
Jon Stapley

FORTHCOMING TESTS In the next few weeks AP hopes to run the following equipment through the most rigorous testing procedures in the industry…
Fujifilm X-M1
Fujifilm’s X-M1 is the
cheapest and smallest
Fujifilm X-series camera
yet. We test the retro-styled
16.3-million-pixel compact
system camera
AP 24 August
CONTENT MAY BE SUBJECT TO CHANGE
Pentax K-50
With its 16.28-million-pixel
CMOS sensor, weather-
resistant and dust-proof
body, plus ISO 100-51,200,
we find out how the latest
Pentax DSLR fares.
AP 24 August
Six of the best
In our two-page test, we
look at six of the best
carbon-fibre monopods
on the market today.
AP 31 August
DxO FilmPack 4
Find out what new effects
are included in the latest
film simulation and
creative effects software
package.
AP 31 August
Samsung Galaxy NX
We test the world’s first
compact system camera
with an Android operating
system, Wi-Fi and 3G
connectivity.
AP 7 September

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Olympus Pen E-P5
The Olympus Pen E-P5 is a stylish modern-day take on
an Olympus film camera from the 1960s, packed with new
and improved features as well as a clever body design
that enhances its handling, writes Tim Coleman
GIVEN the success of the hugely popular
Olympus OM-D E-M5 of last year, it comes
as no surprise that Olympus has again taken
inspiration from one of its own film cameras
for its latest flagship Pen camera, the Pen
E-P5. While the OM-D pays homage to
the Olympus OM series of film cameras,
the E-P5 is similar in appearance to the
Pen F, a camera first announced 50 years
ago in 1963. On the surface, the E-P5 is
a success – it’s a lovely looking camera
and the most attractive modern Pen to
date. However, beauty is only skin deep,
and the E-P5’s success will hinge on the
improvements inside. Thankfully, compared
to its predecessor, the Pen E-P3, the E-P5
shows numerous and noteworthy changes.
This latest model is the fourth in the line
of Olympus’s flagship digital Pen cameras,
beginning with the original Olympus Pen
E-P1. Clear progress has been made in the
E-P5, even when compared to its direct
predecessor, the E-P3, not least of which is
subscribe 0844 848 0848
the inclusion of Olympus’s 16.1-million-pixel
four thirds sensor. For those who like to take
hold of the camera’s controls, the E-P5
shows some encouraging signs – it offers
twin dials for exposure adjustments, a switch
to double these dials up for changes to key
controls like ISO, and a function button.
Throughout this test I refer not only to the
E-P3 to highlight the improvements made
to the E-P5, but also to the Olympus OM-D
E-M5, which was released between the two
cameras. The E-P5 is, in fact, remarkably
similar to the OM-D in many areas, which is
encouraging as the camera reviewed so very
well in AP 7 April 2012, scoring 85%. In the
E-P5 we appear to have a compact, stylish
camera that is packed with features.
FEATURES
Of all Olympus’s compact system cameras,
the flagship E-P series is the last from the
company to be fitted with its new imaging
sensor. So, whereas the E-P3 uses a
Olympus Pen E-P5 Camera test
AT A 12-million-pixel sensor, the E-P5 features a
16.1-million-pixel sensor. The new sensor is
GLANCE also used in the Pen E-PL5, Pen E-PM2 and
OM-D E-M5. The E-P5 also uses the same
TruePic VI processing engine as the OM-D,
● 16.1-million-pixel,
four thirds Live so we can expect equally good images.
MOS sensor
● ISO 200-25,600
Along with this new sensor comes Wi-Fi.
In 2012, Wi-Fi was the most popular new
(with low ISO 100 feature in CSCs and was even included
setting) in the Canon EOS 6D DSLR, although it
● 3in tilt LCD remained absent from any Olympus CSCs.
touchscreen with The E-P5 is the first Olympus CSC to offer
1.037-million-dot Wi-Fi functionality, although the Olympus
resolution Image Share app (available free on both
● Five-axis image
Android and iOS platforms) is required for
stabilisation
● 60-1/8000sec its use. The main menu in the app shows
shutter speed four areas of wireless control from a smart
range plus live device: remote control, import photos, edit
view bulb mode photo and add geotag.
● Up to 1/320sec Using a Motorola Razr smartphone, I
flash sync experienced no issues remotely controlling
● Optional VF-4 the camera (available in i-Auto exposure
electronic mode only for shutter and AF control).
viewfinder Likewise, logging the geotag points onto
(around £250) the camera – recorded by the smart device
● Street price during a day out and about – happened
around £899
without a hitch. A direct upload of images
body only
stored in-camera to the smart device is an
excellent way to quickly share images. I am
impressed with how smoothly the wireless
operates, given this is Olympus’s first
attempt. I anticipate that the functionality
will be developed for future models,
especially the level of remote control.
Like other current Pen cameras,
the E-P5 has a five-axis image-
stabilisation system, which is claimed
to provide up to a 5EV stabilisation
17 August 2013 I www.amateurphotographer.co.uk 45
Camera test Olympus Pen E-P5
range. Good stabilisation like this
increases the number of situations
in which one can happily use the
camera handheld.
The improved shutter-speed range is
class-leading for a CSC with mechanical
shutter, at 60-1/8000sec, and there is also
a bulb mode. Given there are several f/1.8
lenses in the Olympus range now, such as
the 17mm, 45m and 75mm optics, this new
fast shutter speed gives greater scope to
make the most of these wide apertures in
bright light. The live bulb mode is a genuine
FEATURES IN USE
VF-4 EVF
A KEY difference between the
OM-D E-M5 and the Pen E-P5 is that
the former has a built-in viewfinder,
yet while the new camera does not,
it does feature a hotshoe port via
which an optional unit – the new VF-4
(around £250) – can be attached. It is
interesting to see just what difference
using this viewfinder makes when
compared to the E-P5‘s rear LCD
screen, and also how the VF-4 fares
against the OM-D’s built-in unit.
The optional VF-4 unit compatible
with the E-P5 offers a resolution of
2.36 million dots and can be angled
up to 90°, while the built-in unit in
the OM-D is fixed and has a lower
resolution of 1.44 million dots. The lack
46 www.amateurphotographer.co.uk I 17 August 2013
innovation – it displays the progress of the
exposure in bulb mode via live view (which
now includes a histogram), so the exposure
can be stopped at the right time rather
than reviewing the image at the end of the
exposure and having to shoot again if it turns
out to be incorrect.
Drive modes include a continuous high
speed of 9fps with the focus locked on
the first frame, or 5fps with continuous
AF during the sequence. The continuous
high-speed burst lasts 2secs in raw or
JPEG (18 frames), while the continuous
of a built-in viewfinder means the E-P5
is a more compact model, although
the viewfinder of the OM-D gives the
camera a distinct style. One gripe with
the optional VF-4 EVF is that although
it can angle up to 90°, the hinge is so
loose that pressing the eye against it
usually causes it to shift downwards,
which can be frustrating.
Having compared the two displays,
I am hard-pressed to identify any real
differences in clarity and contrast. In
bright light, both are preferable to using
the rear screen, as the finder display
can be seen more clearly. Having used
the E-P5 with and without the VF-4
unit, I would recommend adding the
EVF to the shopping list.
Far right: For low appears to capture an unlimited burst.
this subject, I The E-P5 also offers multiple exposure
could benefit and time lapse, which are certainly not a
from the full 9fps given on other similar cameras. Multiple
high-speed burst exposure is limited to just two frames, while
because continuous up to 99 frames are in time lapse, with
AF was not needed manual control over the start time and with
frame intervals between 1sec and 24hrs.
A new multi-frame mode has generously
been given a place on the shooting mode
dial. In this mode, up to three images are
placed within custom frames, with the
option to apply various picture effects to
the images. The full-resolution version of
each image taken for a multi-frame guide
is stored separately. I suspect this mode will
be more popular with the consumer than
enthusiast photographer. I would like to see
these kinds of edits possible in-camera,
post-capture, and a space on the dial given
to a more useful mode such as bracketing.
Again, there are several art and scene
modes, but the camera lacks true
panorama and HDR modes. Instead, frames
are recorded separately and require the
Below: The red user to stitch them together manually post-
b&w filter effect capture. I would like to see this achieved
is used with the in-camera, as is possible with many other
monotone picture camera systems. However, the array of
mode in this scene bracketing modes is useful – one can
to add drama to bracket for every art effect with one press
the tones in the of the shutter button. All in all, the E-P5 is
sky. Given that the packed with features.
subject was still, I
had time to take a 9/10
spot-meter reading
from the white BUILD AND HANDLING
horse to ensure The Pen E-P5’s key selling point is its looks.
highlight detail For those who want a stylish camera, the
wasn’t lost E-P5 certainly delivers. It’s a beautiful
Monotone picture mode
subscribe 0844 848 0848

compact system camera, matched only
by another Olympus model, the OM-D,
although each camera has a different
appeal. The E-P5 is available in three
colours and the version on test – black with
a silver top-plate – is my favourite, as it is
most true to the original Pen F that inspired
its design. The body is made from a durable
metal, but this does come at a premium
because the E-P5 is more expensive than
its competitors.
During the test of the E-P5, I also had
the E-P3 and the OM-D in hand to weigh
up the differences. The E-P5 has very
similar dimensions to its predecessor, so it’s
not the smallest CSC around but sits very
nicely in the hand. The camera is actually a
fraction deeper than the E-P3 on account
of its tilting rear LCD screen, compared to
the former’s fixed unit. The OM-D, on the
other hand, is taller because of its built-in
viewfinder, but once an optional viewfinder
is attached to the hotshoe port of the E-P5,
the camera becomes taller than the OM-D.
The camera starts up quickly. It is ready
in roughly 0.5secs and able to capture an
image in less than 2secs after turning it on.
When tested against the E-P3 and OM-D,
the E-P5 is quicker, which should be of
interest to street photographers and those
wanting to capture decisive moments. The
shutter-release action is pleasant and the
touchscreen is near instant to focus and
shoot when in good light. For more on the
touchscreen operation, see LCD, viewfinder
and video (page 50).
An aspect of the E-P5 that really
impressed me was its manual handling, with
some key improvements made since the
E-P3. Photographers will find that taking
subscribe 0844 848 0848
Olympus Pen E-P5 Camera test
manual control over the camera is speedy ÔThe Pen E-P5 has very similar
and intuitive. Gone is the vertical rear dial
and rear control wheel combination used in dimensions to its predecessor, so
the E-P3. Instead, there are two dials on the
top-plate within easy and comfortable reach
itÕs not the smallest CSC around
of thumb and forefinger. The rotation of each but sits very nicely in the handÕ
dial has a nice click like in the OM-D, which
cannot be said of the rear control wheel Continuous high-speed shooting
of the E-P3. The top dials work with a new
rear switch (see Focal points on page 49 for
more details). In short, whether it is manually
changing aperture, shutter speed, ISO, white
balance or other customisable controls, the
E-P5 is clear and quick to operate.
Like the OM-D, the E-P5 uses the
BLN-1 battery, which has a slightly higher
1,220mAh capacity than the 1,150mAh of
the E-P3’s BLS-5. According to Olympus,
approximately 400 shots can be expected
from a full charge, although this will of
course be affected by the use of Wi-Fi and
other battery-draining functions, such as
continuous AF.
All in all, the E-P5 is very satisfying to use.
It sits in the hand well, is customisable and
speedy to navigate.
9/10
METERING
The E-P5 uses exactly the same 324-zone
multi-pattern metering system as the OM-D
and other current Pen cameras. With such
quick access to exposure compensation
for tweaks to exposure, one can largely
leave the camera in its (handily) predictable
multi-pattern metering mode, which, on the
whole, provides accurate exposure settings.
There are, of course, the usual
centreweighted and spot-metering options
available, as well as spot-highlight and
spot-shadow modes. The spot modes are
locked to the central point only, working
independently from the focus point (unless
the focus point is the central point itself).
While it can be an advantage for the focus
point and metering point to be separate,
more often than not one wants the point
of focus to be metered for correctly.
By manually setting the camera to lock
exposure (AEL) when the shutter is half
depressed, one can then recompose the
shot once the spot reading from the central
point has been taken.
8/10
AUTOFOCUS
All Olympus CSCs use a contrast-detection
AF system, which in the E-P5 consists of 35
points that cover most of the frame. Each
point can be selected individually via the
rear four-way pad or more quickly using the
touchscreen. A more precise spot can be
selected by touching the desired area of the
screen and then using the live view manual-
focus assist (up to 14x). This new function,
which Olympus calls ‘super-spot AF’,
provides extremely precise spot selection.
Touch focus can work independently from
the shutter or in tandem with it.
A comprehensive range of AF
modes covers most situations. In
17 August 2013 I www.amateurphotographer.co.uk 47
Camera test Olympus Pen E-P5

good light and with continuous AF

activated, autofocus is near instant.
RESOLUTION & NOISE
Selecting continuous AF does drain
the battery a little, but it is worthwhile for
keeping subjects close to focus. There is
also continuous tracking AF, which can keep
up with a moving subject of moderate pace
and has a 5fps high-speed burst. Being
Facts & figures These images show 72ppi (100% on a computer screen) sections
of images of a resolution chart, captured using the Olympus 75mm
f/1.8 lens set to f/4 . We show the section of the resolution chart
where the camera starts to fail to reproduce the lines separately.
The higher the number visible in these images, the better the
camera’s detail resolution is at the specified sensitivity setting.
a highly customisable camera, the E-P5
allows the rotation for manually focusing the JPEG ISO 100 RAW ISO 100
28 28
lens to be switched between clockwise and
anti-clockwise.
In low-contrast light the speed of
focusing is compromised a little, but I was
still impressed by how well the camera
performs. There is an AF assist lamp for JPEG ISO 200 RAW ISO 200
28 28
such conditions, but generally I found the
AF just as quick without employing the lamp,
and when being discreet one does not want
a bright light emitting from the camera.
Face-detection focusing has its own JPEG ISO 400 RAW ISO 400
menu, with options that include face priority, 28 28
face and eye priority, face and right eye
priority, and finally face and left eye priority.
These latter modes are very useful when
taking portraits: usually one wants the RRP £899.99 (body only)
person’s eye closest to the camera to be JPEG ISO 800 RAW ISO 800
Sensor 16.1-million-effective-pixel Live MOS (17.3x13mm)
the one in focus, and this can be ensured by 28 28
selecting the appropriate eye priority mode. Output size 4608 x 3456 pixels
Lens mount Micro four thirds
8/10 File format JPEG, raw (ORF), JPEG + raw, AVI (motion JPEG)
Compression 2-stage JPEG
DYNAMIC RANGE Colour space Adobe RGB, sRGB JPEG ISO 1600 RAW ISO 1600
Olympus really upped its game when 26 26
Shutter type Focal-plane shutter
it introduced its new 16.1-million-pixel Shutter speeds 60-1/8000sec + bulb up to 30mins
sensor in the OM-D – a sensor that is now
Max flash sync External flash X-sync 1/250sec and 1/4000sec
present in all its current CSCs, including (Super FP mode)
the Pen E-P5. Not only does the higher
ISO 200-25,600
resolution result in greater detail than in the JPEG ISO 3200 RAW ISO 3200
last generation of models, but the sensor’s Exposure modes PASM, bulb, iAuto, 24 scene modes, 11 art filters 25 26
performance has also been improved to Metering system 324-zone multi-pattern TTL digital ESP, spot,
offer a greater dynamic range (DR). The centreweighted, highlight, shadow
Olympus CSCs using the older 12-million- Exposure comp ±3EV
pixel sensor have a DR in the region of White balance Auto, 7 presets, manual, 2 custom modes
10EV, while those using the 16.1-million- White balance bracket Yes JPEG ISO 64000 RAW ISO 6400
24 24
pixel sensor enjoy a DR in the region of Drive mode Up to 9fps or 4.2fps with continuous AF
12EV – a 2-stop improvement. LCD 3in, 1,037,000-dot, tiltable touchscreen OLED
Our lab tests indicate that the E-P5 Viewfinder type Optional EVF
performs best at ISO 200, with a DR of
Field of view N/A
almost exactly 12EV, and it stays above JPEG ISO 12,800 RAW ISO 12,800
Dioptre adjustment N/A
11EV up to ISO 800. At the low ISO 100 22 23
setting, the DR is 11.5EV. The loss of half a Focusing modes Single, continuous, manual, tracking
stop from ISO 200 is seen in images in the AF points 800 points in manual mode, 35-point auto system, touch
slightly clipped highlights. I’d stick to ISO focus, face and eye detection
200, and thankfully there is a 1/8000sec DoF preview No (via test picture)
maximum shutter speed so this ISO setting Built-in flash Yes – GN 10m @ ISO 100 output JPEG ISO 25,600 RAW ISO 25,600
is usable in bright light even with wide Flash control Auto, manual, redeye reduction, slow sync, second 21 21
aperture lenses. At ISO 25,600 the DR has curtain, fill in
dropped to approximately 6.5EV, which is Video 1080 HD at 30p, 720P at 30p, AVCHD, AVI Motion JPEG
to be expected. All in all, this performance External mic Yes (accessory port 2 only)
matches or comes close to other CSCs. Memory card SD, SDHC, SDXC, UHS-I
Other than a shading compensation option
Power BLN-1 rechargeable Li-Ion (330 shots)
in the Colour/WB menu (which reduces the
effect of vignetting), there are no real options Connectivity USB, HDMI
to boost the dynamic range in a single frame. Weight 420g (including battery and card)
Unfortunately, the HDR mode simply records Dimensions 122.3 x 68.9 x 37.2mm
consecutive images with different exposure
values, which the user then manually
combines post-capture using Olympus, KeyMed House, Stock Road,
software. It would be nice to see a Southend-on-Sea, Essex SS2 5QH. Tel: 0800 111 4888.
true HDR mode included next time. Website: www.olympus.co.uk
8/10

48 www.amateurphotographer.co.uk I 17 August 2013 subscribe 0844 848 0848

 Olympus Pen E-P5 Camera test

FOCAL POINTS

Flash Switch Dials

The built-in pop-up flash is released As mentioned in the Build and The rear dial is placed
manually using this catch. It has a handling section, this lever can close to the front dial,
class-leading flash sync speed of change the function of the dials. which makes the pair
1/320sec, while external flash units As a default, the ‘1’ position is quick to operate together
attached via the hotshoe enjoy a flash set for aperture/shutter speed, for changes to exposure,
sync speed up to 1/250sec, which is while the ‘2’ position changes among other things
again very impressive. The built-in the white balance/ISO
flash has a guide number of 10m @ ISO
200 (GN 7m @ ISO 100)

Camera shown actual size

Magnification Battery/memory-card
Live-view magnification compartment
from 5x and up to 14x is Located on the right of the
possible using this button, underside of the camera, it is
which improves accuracy possible to open the battery/
when using manual focus memory-card compartment
without needing to remove
the camera from most tripods

AF mode selection Shooting menu Live view with histogram

subscribe 0844 848 0848 17 August 2013 I www.amateurphotographer.co.uk 49

Camera test Olympus Pen E-P5
12mm
I could get wide for this scene
by using the 12mm f/2 lens.
Its effective focal length is
24mm because of the four
thirds system’s 2x crop factor.
Detail is lovely and crisp
WHITE BALANCE
AND COLOUR
When used in its natural picture
mode, the colour rendition of JPEGs from
the E-P5 is pleasing and even punchy in
bright conditions. As such, I only used the
vivid and i-Enhance picture modes on the
odd occasion in flat lighting. Raw files are
a little less saturated. I did, however, find
great pleasure using the monotone picture
mode, to which b&w filters can be added.
The green filter makes midtone detail more
obvious, which is great for bringing out the
detail in a person’s skin, while the red filter
enhances sky and is perfect for landscapes.
By default, flicking the rear switch to ‘2’
enables the rear dial to directly control
white balance. The auto white balance
(AWB) is perfectly fine for most situations.
Furthermore, it has a ‘keep warm colours’
option, which operates exactly as it claims. At
times AWB can be a little cool, so activating
this option is worthwhile. A custom white
balance reading is easy to record – all one
needs is a sheet of white card with which to
fill the frame under the prevailing lighting,
and follow the simple on-screen instructions.
9/10
NOISE, RESOLUTION
AND SENSITIVITY
The E-P5 uses the same 16.1-million-pixel
sensor and TruePic VI processor as the
OM-D E-M5. It is a multi-aspect sensor with
17.2-million-pixels in total, offering views of
4:3, 3:2, 1:1 and 16:9. The full 4608x3456
resolution is available in 4:3 format, with
12-bit raw files approximately 17MB in size.
This enables 100% prints sized to 15.4x11.5in
and with a print resolution of 300ppi.
We used the 75mm f/1.8 (150mm
effective) lens set to f/4 to record our
resolution charts with the E-P5. Under
these conditions, the camera can resolve
up to the 28 marker at ISO 200 (and the
extended low ISO 100 setting), which is a
solid performance. There is, however, an
impression of detail even at the very end
50 www.amateurphotographer.co.uk I 17 August 2013
of the resolution charts, which is impressive.
I would be happy to use the E-P5 all
the way up to ISO 800. At ISO 1600,
luminance noise starts to become evident
and from then on through to ISO 25,600
there is a gradual decline in the dynamism
and crispness of detail as luminance noise
increases. The highest ISO setting also
shows significant chroma noise in raw files
without noise reduction applied.
27/30
LCD, VIEWFINDER AND VIDEO
As mentioned in Features in use, the E-P5
does not have a viewfinder, although it is
compatible with the VF-4 EVF. As such, the
E-P5 body comes in at a more affordable
price than the viewfinder-equipped OM-D did
when it was released. Include the VF-4 with
the E-P5, however, and the prices are similar.
Like the OM-D, the E-P5 has a 3in rear
tilting touchscreen, although on this new
camera it is a 1.037-million-dot-resolution
LCD type, rather than the OM-D’s
610,000-dot OLED display. OLED screens
are supposed to have greater contrast
than LCDs, but when viewing the displays
together I found it difficult to see any real
differences in their clarity and boldness.
The E-P5 has a lovely, punchy LCD screen.
However, during the test I was often in bright
sunshine, under which the rear screen is
not completely clear, especially with finger
marks on it. I found the EVF to be the better
option for clear viewing in bright conditions.
The capacitive touchscreen works really
well. Its response is instant, with touch
options for shutter, AF and metering.
Compared to Panasonic’s Lumix G models,
which carry some of the best touchscreens
on the market, the E-P5 holds its own. What
would be handy is if the E-P5’s touchscreen
worked while the viewfinder is in use.
Video recording is on the modest side,
although the E-P5 does still offer full HD
1080p recording at 30fps.
8/10
Olympus OM-D E-M5 Fujifilm X-E1
TESTED AP 7 APRIL 2012 TESTED AP 8 DECEMBER 2012
A PANASONIC model will always be an Olympus
camera’s closest competitor, given that both camera
ranges use the four thirds system. However, looking over
the specifications of the Panasonic Lumix cameras, the
budget-level GF6 is quite similar to the E-P5 in many areas,
with same resolution sensor, a rear tilting LCD touchscreen
and built-in Wi-Fi. On the style and price front, however,
the Fujifilm X-E1 is closest. It has a larger APS-C sensor
and built-in EVF, but its handling and lens choice is currently
more limiting.
Another competing model is Olympus’s own OM-D
E-M5, because it is similar to the E-P5 in so many ways
and is, at the time of writing, a close match in price. Both
are among the most stylish CSCs on the market. The key
difference, as outlined in Feature in use, is the OM-D’s
built-in viewfinder and therefore different shape, while
the E-P5 uses the optional VF-4 EVF unit.
Verdict
COMPARED to its competition, the Olympus Pen
E-P5 is certainly stylish, if on the expensive side, being one
of the best-looking CSCs available. Thankfully, though, it
handles just as well. Those who like to take manual control
of their camera are spoilt for choice, with twin dials and
a touchscreen providing a comprehensive level of user
control. The camera is speedy, too, with quick start-up,
fast AF and shutter speeds, and excellent flash support. As
for the images, I experienced few surprises having already
reviewed the Olympus OM-D E-M5.
Panasonic and Olympus now use a 16-million-pixel, four
thirds sensor as standard. The four thirds system also has
some fine glass now, and I am pleased with the images
taken using the 45mm f/1.8 and 12mm f/2 lenses. Certainly
in good light, detail is crisp, and even up to ISO 800 I am
really pleased with my images. Like the OM-D, the E-P5 is
one of the best CSC options available.
1 2 3 4 5 6 7 8 9 10
FEATURES 9/10
BUILD/HANDLING 9/10
NOISE/RESOLUTION 27/30
Tested as a Compact
system camera DYNAMIC RANGE 8/10
Rated Very good AWB/COLOUR 9/10
86
% METERING 8/10
AUTOFOCUS 8/10
LCD/VIEWFINDER 8/10
subscribe 0844 848 0848
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Review Ilford Obscura 5x4in pinhole

light-tight and yet still able to open for the

next shot. This means using lots of tape,
although the tape often damages the box
as it is removed and the cameras can be
short-lived. This new construction does
away with that problem, and it means that
the camera can be reloaded out in the
field if you have a changing bag.

CONSTRUCTION.
The Ilford Obscura 5x4in pinhole is
precision cut and formed from expanded
PVC. The construction is sturdy, and is made
out of what looks like rather light, though
dense, black foamboard. The chemically
etched hole is approximately f/250 (actually
f/248), and the focal length is 87mm, which
gives a wideangle view on 5x4. The angle
of view is roughly that of a 24mm lens on
a full-frame 35mm or DSLR camera, and
the exposures are controlled by a magnetic
locking cover over the pinhole, which is left
in the open or closed position by use of
small embedded magnets.
There is a tripod thread in the base for
horizontal orientation, but there isn’t one on
the side for vertical orientation. However,
the camera is so light that to place it on its
side on a tripod would not cause a problem.
Ilford supplies some nicely designed stickers
The Ilford Obscura for the camera and one of these has sight
5x4in pinhole is lines that help when composing pictures and
made mainly from give a guide to what is within, and outside of,
expanded PVC the image area.
Ilford has given a lot of thought to how
these cameras are going to be used. A

Ilford Obscura
simple exposure calculator for use when
you don’t have a light meter is included,
as is a user instruction booklet and a
three-tray light-tight sheet film box for
storing exposed materials. All the user
needs to load and unload the camera
while on location is a changing bag. The

5x4in pinhole
new Obscura also comes supplied with
ten sheets each of 4x5in Ilford Delta 100
Professional film, Ilford Multigrade IV RC
paper and Harman Direct Positive paper.

While testing the Ilford Obscura 5x4in pinhole camera,

Andrew Sanderson reacquaints himself with a genre he
first worked with when he was a photography student
I DISCOVERED the Ilford Obscura field. However, this is not too much of a
5x4in pinhole camera by accident a few problem, as the camera is simplicity itself
months ago. I was looking at articles on the to load and unload. The first shot turned
web about Focus on Imaging and found out really well and over the next few days
a short video about it. I was immediately I shot many more.
struck by the simplicity of the design, and My first encounter with pinhole cameras
had one of those head-slapping moments came while I was studying photography
when, every once in a while, somebody in the late 1970s. We made a simple
designs something that makes you say, panoramic camera from a short length of
‘Why didn’t I think of that?’ cardboard tube, cut from the centre of a
I contacted Ilford and was sent an roll of background paper. Since then, I have
Obscura for review. As soon as it arrived made pinhole cameras out of cardboard
I started to use it. The Obscura takes just boxes, biscuit tins, coffee tins, shoeboxes,
one piece of film at a time and you need iPhone boxes, MDF and film canisters.
a changing bag if you wish to shoot any The trouble with home-made cameras is
other images while you are out in the the problem of sealing them so they are

54 www.amateurphotographer.co.uk I 17 August 2013 subscribe 0844 848 0848


LOADING
The film is held in place between two boxes,
with one box fitting snugly inside another.
The sheet film is trapped at the back and
this creates a 5mm clear border around the
negative. The clever design is in the use of
small magnets set into the box sides, which
hold the two boxes together and keep it
light-tight. To load the camera, the boxes
are pulled apart, a sheet of film or paper
is dropped in and the inner box is pushed
back into place.
USING
As already stated, the Ilford Obscura
5x4in pinhole comes with a set of stickers.
One of these has sight lines on it to aid
Ilford has asked Andrew to run a number of workshops to demonstrate the camera and each attendee will receive a free Obscura 5x4in pinhole camera kit included in the price of £100.
This offer only applies to the promotional workshops that run with groups of six at a time. For details visit www.thewebdarkroom.com/?page_id=284
subscribe 0844 848 0848
composition, while the others can be used
to customise your camera. To keep costs
down, the camera does not come supplied
with a spirit level. As there are large flat
areas on all sides, the camera can easily
accommodate a portable spirit level or be
lined up by eye.
Exposure can be determined by referring
to the circular exposure calculator, which
has cloudy, bright and sunny indicators
for those without any form of meter. An
extensive scale of shutter speeds and
apertures is marked on for those who
wish to meter with a digital camera, hand
meter or phone app and then work out
the exposure for the very small aperture
of f/248. The chart does not give an extra
calculation or allowance for reciprocity
failure, so these times will be
Ilford Obscura 5x4in pinhole Review
Above left: The inaccurate until that is taken into account.
wideangle view I spoke to Steven Brierley, director of sales
of the 24mm and marketing at Harman, about this and
(equivalent) focal gave him my reciprocity chart from my
length creates a night photography book. Steven will include
lot of distortion this with later models of the camera,
but it can also be downloaded at www.
Above right: With thewebdarkroom.com/?p=711.
an f/248 aperture, As already stated, the camera needs to be
there is extensive loaded and unloaded in complete darkness
depth of field (or safelight conditions if loaded with paper),
so a changing bag is needed if you intend
Below: The to take more than one shot out in the field.
camera produces This is less convenient than the film-holder
a white border arrangement of the Ilford/Walker Titan 5x4
around the pinhole camera, but not a huge problem.
negatives, which The Ilford Obscura Pinhole camera
turns to black on costs £69.99. For more details visit
contact printing www.harmanexpress.com. AP
ALL PICTURES © ANDREW SANDERSON
17 August 2013 I www.amateurphotographer.co.uk 55

PHOTOGRAPH CANADA’S
NORTHERN LIGHTS AND
THE ROCKY MOUNTAINS
Your photo guides will be
landscape photography
expert Jeremy Walker
and What Digital Camera
editor Nigel Atherton
J
oin us on a bespoke photo
tour to Canada, accompanied
by photo experts and a local
guide for an opportunity to
view and capture the breathtaking
Aurora Borealis, or Northern Lights,
and the Rocky Mountains’ natural
wonders. This is a tremendous-value,
interest-packed, escorted photo tour.
First, you’ll fly west to Calgary,
gateway to the Rocky Mountains, and
© JEREMY WALKER
PHOTO
TOUR FROM
JUST £2,095 PP
DEPAR TS 5 MARCH
2014
spend two nights in Banff. You will
have time to capture images and
benefit from inspiring advice for
achieving amazing photos. There will
be optional-extra excursions too!
Then, you’ll journey by coach past
beautiful Lake Louise and along the
Icefields Parkway into Jasper National
Park, to stay overnight in Jasper.
From here, you’ll journey east to
Edmonton, Alberta, the frontier
trading city built on the banks of the
North Saskatchewan River, then go
north to remote Fort McMurray. Here,
beneath the ‘Auroral Oval’, there’s an
excellent chance of being able to
capture the heavenly spectacle, as
well as the opportunity to enjoy some
‘wilderness activities’ and to visit the
Athabasca Oil Sands Discovery
Centre. Finally, you’ll visit the
monumental West Edmonton Mall,
before you fly back.
 To
book
Visit www.
amateurphotographer.
co.uk/Canada
or telephone
*
0843 487 5804
The price includes quoting code
l Return scheduled flights with l Free time in Jasper WDC
Air Transat from London Gatwick l Visit to Lake Louise
to Calgary l Travel to Edmonton
l Coach touring as described in l Two night-time Northern Lights
the itinerary viewing tours (subject to weather)
l Fully escorted by a tour manager l All accommodation: Banff
l Time in Banff accompanied by top (2 nights), Jasper (1 night),
landscape photographer Jeremy Edmonton (2 nights) and Fort
Walker and What Digital Camera McMurray (2 nights) in a twin/double
editor Nigel Atherton hotel room on a room-only basis
l Scenic drive through the Rockies l Free time in Fort McMurray
to Jasper l Leisure time in Edmonton
Full itinerary: www.amateurphotographer.co.uk/canada

Terms and condiTions Operated by Newmarket Air Holidays Ltd. ABTA V7812 ATOL Protected 2325.
Subject to availability. Inclusive price based on two people sharing £2,095. Includes return flights Gatwick to
Calgary, coach travel as specified in itinerary (available online at www.amateurphotographer.co.uk/Canada),
seven nights’ accommodation and photo and local guides. Price could be withdrawn at any time. Single
supplement applies. *Calls cost 5p/min from a BT landline. Please note: The Northern Lights are a natural
phenomenon and viewing is subject to appropriate weather conditions. By staying for two nights in Fort
McMurray, we hope that should the weather be bad on one of the nights, we’ll be rewarded on the other!
Ultimately, though, we cannot be responsible should viewing not be possible during your stay.
Full T&cs available at www.amateurphotographer.co.uk/canada
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 HTC One UltraPixel smartphone Camera test

HTC One UltraPixel

smartphone camera
Bucking the trend for increased pixels on smartphone camera
sensors, HTC has used just 4 million in its new release and focused on
image quality. Callum McInerney-Riley tests the HTC One UltraPixel
A fantastic depth WHILE many of today’s smartphone
of field can be manufacturers seem to be having a never-
achieved with the ending megapixel race among themselves,
HTC One’s f/2 lens HTC has opted not to compete with others
in a bid to achieve the highest number of
megapixels inside a smartphone. Instead,
the company has evaluated what the
consumer needs from a camera and
built something that fits those needs.
FEATURES
Inside the HTC One UltraPixel smartphone
HTC One have f/2 aperture lenses,
making these the largest-aperture
smartphones on the market. In
comparison, an f/2 lens allows 44%
more light than the f/2.4 lens of the
iPhone 5.
HTC’s very own Zoe shooting mode
captures a 3sec video clip and allows
you to go back through the clip frame
by frame and save the frame you like
as a full-resolution still image. Using a
high-grade Qualcomm Snapdragon
600, quad-core, 1.7GHz processor
makes this all possible and also unlocks
some very advanced creative options.
For example, objects can be removed
in seconds or a sequence of shots stitched
together effortlessly using Zoe. When viewed at 100% the images show
some noise, although for web use it’s hardly
BUILD AND HANDING noticeable and doesn’t visually detract from
For maximum strength, a single piece of the image. For a smartphone, the detail
aluminium is used to construct the HTC One. preserved is impressive and is on par with
A 4.7in, full HD, 1080p, 468ppi screen an entry-level compact. AP
makes viewing images and videos brilliant,
and it is of a far higher resolution than the
LCD display on a standard digital camera.

camera is a sensor with a resolution of
just 4 million pixels. A brief glance at
this figure may deter the pixel-counting
consumer, although it should be pointed
out that putting 13 million pixels onto a
small sensor can have an adverse effect on
image quality. However, the camera’s other
specifications show that HTC has focused
on maximising this model’s performance
and overall image quality.
A 1/3in (4.8x3.6mm) back-illuminated
CMOS UltraPixel sensor has been fitted
in the HTC One. The company has
reduced the pixel count to 4 million pixels
to accommodate ‘UltraPixels’, which are
much larger than the standard pixels
The body of the found in a smartphone. Using UltraPixels
HTC One is slim allows around 200% more light to
and pocketable hit the photosites than most top-end
smartphones, which leads to improved
dynamic range, colour rendition and, of
course, low-light performance.
Currently, just the Nokia Lumia 920 and
Currently, the stock camera on the HTC One
is very good, but as Android 4.3 has just
been announced by Google, we could see it
updated very soon to make it better still.
PERFORMANCE
In low-light the HTC One performs well and
I found that the flash wasn’t often needed. I
used the camera to shoot at a music event
that had very little available light. I was
impressed that the HTC One was able to
capture a great exposure without a flash in
such a challenging environment.
When subjects are close to the camera,
shooting at f/2 gives a pleasing shallow depth
of field. The portraits and macro shots I took
with the HTC One are among the best I’ve
taken with a smartphone.
The 28mm (35mm equivalent) lens on
the camera is a very nice focal length to
have. However, with a resolution of just 4
million-pixels the digital zoom and cropping
have a huge impact on image quality.
Verdict
PICTURES from the HTC
One UltraPixel can be printed at
10x8in size without pixellation,
although most people will upload
their images to the web. Do I need
13-million-pixel images taking up
space on my smartphone when
4 million pixels is sufficient? I
think not. The advantages of fast
processing, advanced editing, low-
light performance, high dynamic
range, good colour rendition and
a reduction in mobile data far
outweigh the slight limitations of
the low resolution. Overall, with the
HTC One you
have a high
standard of
image quality
right in your
pocket.

The HTC One UltraPixel smartphone is available for around £500. Website: www.htc.com
17 August 2013 I www.amateurphotographer.co.uk 59
Your questions answered
AskAP
Let the AP team answer your photographic queries
LENS
CHOICE
Q
I am the very
proud, possibly
misguided owner
of a couple of Leica cameras – an
M6 and an M8. Is there any snag
in using Leica R lenses? Compared
to M lenses, there seem to be far more
available second-hand and they are generally
much cheaper. Adapters are easy enough to
source as well. Dave Hasted
A
Whenever you start talking
about using lenses from one
system on a camera from
another system, you’re talking about
compromise: the fact is that ‘lens A’
was designed to be used with ‘camera
system A’. In this case, Leica R to Leica
M adapters offer little more than a
means of physically attaching an R lens
to an M camera. While they will still
achieve infinity focus on an M-series
camera, the biggest problem is the
lack of focus coupling.
With the latest M camera (the Leica
M) this isn’t necessarily a huge
problem, as you can use live view to
focus an R lens. However, with any
other M-series camera you’re going to
be left guessing the focus distance,
with only the distance scale on the R
lens to guide you. This can work well
enough for distant subjects and/or if
DISC EXPLANATION
A Q
Regarding Ivor Matanle’s answer
to Norm Firman in AP 22 June,
I suspect that the ‘disc with film
speeds’ actually refers to the small disc on
the bottom of the Nikon FTn. This disc is
used simply as a reminder of the ASA speed
of the currently loaded film. The small black
arrow is used as the marker for black &
white film and the red arrow as the marker
for colour film.
Danny Portnoy
60 www.amateurphotographer.co.uk I 17 August 2013
Focusing will be
a problem if an
R lens is fitted
to a Leica M6
you’re working with small apertures,
but it may be that depth of field is
helping you out in these situations,
rather than accurate focusing, so you
won’t be getting the best from the lens.
With a subject that is close, or when
you want to shoot with a wider
aperture, focusing accurately becomes
more critical, and without any way of
confirming that it’s ‘right’, it can be
almost impossible to get a sharp shot.
As a result, you may find that you
need to limit yourself to using certain
apertures and subject distances to help
achieve sharp results with an R lens,
but this obviously limits what you can
and can’t do – and do you really want
to spend money on a lens/adapter
that will restrict your creativity?
Personally, I’d just steer clear of
R lenses in this instance.
Chris Gatcum
XQD-CARD COMPATIBILITY
Can you confirm whether Sony
and Lexar XQD memory cards are
compatible with the Nikon D7000
and Nikon D800/800E?
Clavero Tamina
A
At present, the professional-level
Nikon D4 is the only camera that
is compatible with XQD-format
memory cards.
Chris Gatcum
XQD memory cards
can currently only
be used with the
Nikon D4 DSLR
ASK… POLARISER PROBLEMS
Q
In my days as a film-based
Be it about modern photographer I used polarising
technology, vintage filters extensively, but I only
equipment,
photographic
recently bought my first polarisers for my
digital cameras, hoping to get a better sky-
darkening effect than by using Photoshop.
science or help with Holding them to my eye and rotating them
technique, here at while observing a clear blue sky at 90° to
AP we have the the sun, is it my imagination that they seem
team that can help to produce much less darkening than I
remember from the old days? Moreover,
you. Simply email examining photographs taken with and
your questions without the polarising filter in place, it
to: apanswers@ appears that the blue sky is somewhat
ipcmedia.com, darkened, but it also appears degraded – no
longer a pure blue but with an unpleasant
via twitter @ap_ brownish tint. Any ideas why?
answers or by Graeme Dawes
post to: Ask
A
AP, Amateur First, the only way to achieve a
Photographer polarising effect is in-camera
using a polarising filter. Although
Magazine, IPC software can darken a sky, no amount
Media, Blue of digital post-processing can actually
Fin Building, polarise the light in an image once it’s
110 Southwark been captured – only a filter in front
of the film or sensor can do that.
Street, London It’s also worth appreciating that not all
SE1 0SU. polarising filters are equal. Although some
polarising filters can ‘dirty’ images in the
way you describe, not all of them do, and
as a general rule, sticking to a recognised
brand and spending a bit more on a top-
of-the-range filter is likely to give you the
best results. Alternatively, most images can
be improved using editing software – it
might not be able to recreate the effect
of a polariser, but it can certainly improve
it at times.
Chris Gatcum
© MIKE BAIRD/FLICKR.BAIRDPHOTOS.COM
subscribe 0844 848 0848
 Your questions answered
In next week’s AP
On sale Tuesday 20 August
AP GLOSSARY ON TEST

Computer terminology

CONTENT FOR NEXT WEEK’S ISSUE MAY BE SUBJECT TO CHANGE

This week’s glossary continues to decipher the jargon surrounding computer monitors We review the new
RESPONSE TIME: The time, DOT PITCH: The dot pitch (or pixel enthusiast
measured in milliseconds (ms), that it pitch) is the measure of the distance
takes for a pixel to be redrawn. The lower between the dots (pixels) displayed by
DSLR from
the response time, the faster the screen
image can be refreshed, although this
the screen. It is largely irrelevant when
considering a monitor as screens of the
Pentax, with a
is of more concern if you want to play same size mostly have the same native 16.3-million-pixel
fast-paced games or watch movies. For resolution, and by extension this means
image editing it is less critical – a screen they will have the same (or very similar) sensor and 100%
with a response time of 12ms is more
than adequate.
dot pitch.
VGA (VIDEO GRAPHICS
viewfinder
VIEWING ANGLE: Given as both ARRAY): This used to be the
horizontal and vertical measurements standard connector type for attaching a
(in degrees), the viewing angle gives an monitor to a computer and it carries an
indication of how far you can move away analogue signal.
from the centre of the screen while still DVI (DIGITAL VISUAL
seeing an image that is correct in terms
of its colour and brightness. As with
INTERFACE): The current standard
for connecting a monitor to a computer.
The new 16.3-million-
contrast ratio, there is no single standard Unlike VGA, DVI uses a digital signal for pixel X-M1 is small
for measuring the viewing angle, so improved quality.
figures quoted are not always entirely HDMI (HIGH-DEFINITION and certainly looks
MULTIMEDIA INTERFACE):
accurate. However, if you intend to sit
directly in front of your screen to edit An increasing number of monitors now ON TEST the part, but are its
your images, the viewing angle shouldn’t offer HDMI as an alternative to DVI images and features
be a problem. connectivity.
a match for its style?
IN NEED OF MINOLTA LENSES party lenses that are, or have been, available

Q AWARD WINNERS
I have just bought a in the Sony/Minolta A mount, you will find
Minolta Dynax 7000i there are hundreds to choose from.

body only, but as a
FROM THE beginner I don’t have a clue what
FORUM lenses it uses. Can anyone suggest
any lenses that don’t cost a lot as I
am a student with no money! jmalley123
A
The Dynax 7000i, which was
launched in 1988, uses the
Minolta A mount, so it’s compatible
with any A-mount lens. This not only
includes Minolta’s back catalogue of Dynax
lenses, which were available at the same
time as the camera, but also newer offerings
from Sony, as its Alpha cameras use the A
mount as well. When you add in all the third-
EISA AWARDS
However, if you’re simply looking for a
general-purpose lens, then Minolta’s kit
zoom, which was bundled with some of
its Dynax cameras, was the 28-80mm
f/3.5-5.6. This would provide you with a
modest zoom range from wideangle to mild
2013-14
telephoto, and while it’s not the best lens Find out which kit triumphed
in the world, you’ll be able to get one for
under £30 (second-hand) and start taking
in this year’s EISA awards
pictures. As your experience grows, then
you can start exploring other options, be it
different lenses or a different cameras. TRAVEL
To see more answers to this question
from AP readers, visit the forums at www.
amateurphotographer.co.uk. Chris Gatcum FAR AND AWAY
Discover whether travel
© MIKE BAIRD/FLICKR.BAIRDPHOTOS.COM

A polariser can
© JON & TINA REID

make skies darker,

but some cheaper
photography really is the dream
filters can give a
slight yellow tint
job, as we speak to pro Jon Reid
to the image

READER PROFILE
A LIFE IN MONO
AP reader Clive Rowley
© CLIVE ROWLEY

discusses his love of

monochrome photography
subscribe 0844 848 0848 17 August 2013 I www.amateurphotographer.co.uk 61
one-day semInar wIth Joe CornIsh and davId ward
LandsCapes
for all SeaSonS
© Joe CorNish
Including
inspirational
presentations
from
Joe Cornish
and David Ward
As part of our popular series of photography seminars,
join us for a day at the home of Amateur Photographer
and What Digital Camera.
Learn insider secrets from our award-winning editorial
experts who will be presenting subjects such as essential
kit, lenses, exposure and image manipulation.
Landscape masters Joe Cornish and David Ward will
take the floor to share their inspirational ‘any time, any
weather’ landscape photography advice.
Get fantastic guidance in a superb theatre environment,
to improve your photography knowledge and skills. Be
part of the popular ‘speed critique’, where our panel will
perform a one-minute critique of some of the photos
submitted by the delegates as well as some ‘real-time’
image manipulation of delegates photos so you can
learn from each other’s experiences and questions.
For full details visit www.spi-photography-courses.com or call 0203 148 4326
earLy BIrd
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6 November 2013 before
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Itinerary
● Accessories for Landscape Photography Nigel Atherton
● Lenses for Landscapes Andrew Sydenham
● Essential Techniques Damien Demolder
● Landscapes for All Seasons Joe Cornish and David Ward
● Post Processing Using Photoshop and Lightroom Michael Topham
● Round Up: Free and Affordable Photoshop Alternatives Michael Topham
● Critique of attendees’ photos and Q&A The Expert panel
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EMAiL us at spiadmin@ipcmedia.com with the words ‘Landscape Seminar’ in
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 Kodak Retina Ia and IIa Icons of photography

Amateur Photographer’s… ICONS OF PHOTOGRAPHY

PHOTOGRAPHER I PHOTOGRAPH I ICONIC CAMERA

Most common Retinas

The IIa with 50mm f/2 Xenon lens with
Synchro Compur shutter (left) and the
Ia with f/3.5 Xenar and Synchro Compur
Retina IIa
With 50mm f/2 Rodenstock Heligon and Synchro
HOW
Kodak Retina
Compur. There is little, if any, difference in the
performance of the Xenon and Heligon
MUCH
DO THEY
COST?
Ia and IIa
Ivor Matanle traces the history of
I recently bought
a decent but far-
from-mint Ia with
f/3.5 Xenar (in my
experience a better
lens in use than the
f/2.8 Xenar) from the
a range of folding 35mm cameras Real Camera Company
in Manchester for
made in Germany £30, but apart from
that can only quote
THE KODAK Retina, the world’s first do. Most recent eBay sales as
folding 35mm camera, had been an icon of traditionally guidance – expect
what was then called miniature photography minded now rare prices from retailers
throughout the latter part of the 1930s. Retina lovers and valuable if in near-mint to be rather higher.
The Second World War proved only to be preferred the condition, but surprisingly available in Judging from
a brief interruption to the supply of these ‘a’ models. They its more typical well-worn condition. Fitted recent eBay auction
much admired folding precision cameras were, in practice, much-refined with a 50mm f/3.5 Schneider Xenar with sales, my view is
to most of the world. However, as with all developments of the pre-war cameras, with a Compur or Compur Rapid shutter, it had that a fair price for a
other relatively expensive cameras, UK lever wind, self-cocking shutters and coated a rewind-release clutch in the centre of fully operational IIa
import controls made new Retinas more lenses. They provided all that the earlier the film-wind knob and a separate film- with Xenon/Synchro
or less unavailable in Britain during the cameras had offered, but with greater advance release knob next to the knob, Compur is about £75.
late 1940s and early ’50s. This limited the reliability and improved optical performance. which are important distinguishing features. Ask really searching
extent to which the ‘a’ models of the early For many enthusiasts, including me, the Ia A succession of further non-rangefinder questions before you
1950s became known and loved by British and IIa became the Retinas of choice. Retina models, each with its own Type buy. A typical price for
photographers. Only during the late 1950s number, followed through the ’30s. a Ia with f/2.8 Xenar/
and early ’60s, when a substantial number A LITTLE HISTORY In 1936, the launch of the Retina II, the Synchro Compur is
became available second-hand, along with Retina cameras were manufactured in the first Retina with a coupled rangefinder, about £25. A first-
the ‘b’, ‘B’, ‘c’ and ‘C’ Retinas of the later former Nagel camera factory in Stuttgart, introduced model numbers to the range. version Ia with Compur
1950s, did the Retina Ia and IIa become Germany, bought by Kodak during Consequently, the third version of the Rapid in nice condition
fully appreciated. December 1931, after which Dr Nagel ran original non-rangefinder Retina, would cost more
In the early 1960s, many Retina the business and developed the new 35mm also launched in 1936, became because of rarity, as
enthusiasts sought the more complex later range for Kodak. His first Retina, launched known as the Retina I Type 119. will (in the UK) a Ia
models, as many collectors and users still in 1934, was the black and nickel Type 117, This camera, still black, introduced with Ektar.

subscribe 0844 848 0848 17 August 2013 I www.amateurphotographer.co.uk 63

Icons of photography Kodak Retina Ia and IIa

Early Retina Ia
Two examples with
flash-synchronised
Compur Rapid shutter,
on the left with f/3.5
Ektar and on the right
with f/3.5 Xenar lenses

1931
the ‘stepped’ top-plate.
Kodak buys Nagel Retina IIa
The Retina II was a major With f/2 Heligon and showing
advance in terms of versatility on in Stuttgart
the lever-wind with the exposure
the Retina I, especially in those
days of comparatively insensitive or slow
1934 counter within the hub of the wind,
First Retina the semi-circular focusing knob
films, which made wide-aperture lenses at 5 o’clock to the lens and
extremely useful. Although available with a announced, first
off-the-shelf the coupled rangefinder
50mm f/3.5 Ektar four-element lens, it was within the top-plate
more often sold with an f/2.8 Schneider 35mm cassettes
Xenon or a 50mm f/2 Xenon. of film launched
The Retina II was the first Retina with
a body release – a shutter button on the
1936
top of the camera rather than a lever Retina II
protruding from the shutter itself – and it announced
also introduced double-exposure prevention
to the Retina range. The various versions of 1936
the Retina II were extremely compact, if a Non-rangefinder
little heavy for their size, and could easily be Retina becomes
carried in a coat pocket. Retina I
Dr Nagel died in 1943 and the Kodak
AG factory in Stuttgart was bombed 1945
by the Allies in 1944, so it was a much- Post-war Retina
changed and hastily rebuilt Kodak AG production Type 013, were fitted with 50mm
that started manufacturing the Retina begins, optional the first f/2 Ektars. In 1949, the
I again in November 1945. The 1945 coated lenses non-rangefinder Retina II Type 011 sprouted a film-
Retina I Type 010 was essentially the same Retina with a type reminder dial under the rewind
as the Type 148 of 1939-41, although 1951 top-plate that was the knob and a new semi-circular focusing knob,
there are tiny differences, which are Retina Ia and same height either side of the viewfinder. later to become familiar on the Ia and IIa
important to collectors. IIa with Compur This version was equipped with flash cameras. This model, christened the Retina
However, it was, for the first time in a Rapid shutter synchronisation. II Type 014, was synchronised for flash and
Retina, offered with the option of a coated The coupled-rangefinder Retina cameras lasted until 1951.
lens – a 50mm f/3.5 Xenar. Despite that, 1952 reappeared in 1946 as the Retina II Type
most were sold with uncoated lenses from Retina Ia and 011, which was similar to the pre-war Type LANDMARK YEAR
a considerable range of options, including IIa with Synchro 150, but always marked ‘Retina II’. All post- That year, 1951, was a landmark year for
the Xenar, Ektar, Kodak Anastigmat and Compur shutter war Retina II cameras have f/2 lenses, the Retina enthusiasts, introducing the Ia and
Rodenstock Ysar. The Type 010, which great majority Schneider Retina-Xenons. IIa, Types 015 and 016 respectively. That is
still had the stepped top-plate, lasted until 1954 Some were fitted with the Rodenstock f/2 the accepted ‘official’ version of the story.
1949, when it was replaced by the Retina Production ends Retina-Heligon and some sold in the USA However, Ken Rockwell in the USA says on
his website (www.kenrockwell.com/kodak/
retina-1a.htm) that he has a December
1949 issue of Modern Photography in
which the Retina Ia is advertised both new
and second-hand, which does
not tie in with the accepted
lore. I know that there was
a pre-war version of the
Retina II Type 150 (with
knob wind) engraved on
the top ‘Retina IIa’, but I
have never encountered
an equivalent non-
rangefinder anomaly.

Retina IIa
With f/2 Heligon (far left) and
a Retina Ia with f/2.8 Xenar

64 www.amateurphotographer.co.uk I 17 August 2013 subscribe 0844 848 0848

 Kodak Retina Ia and IIa Icons of photography

As compact as the original Retina I and

II, the Ia and IIa had a neat, smooth and WATCH
effective lever-wind, which both cocked the
shutter and wound the film, thereby making
them substantially faster to use. Both
OUT FOR
WEAR
models had camera-strap eyelets, making AND TEAR
it possible to hang the camera around the If you are buying a
neck without using a case. folding Retina to use,
For the first five months of production, avoid the pre-war and
both the Ia and the IIa were equipped with immediately post-war
a flash-synchronised Compur Rapid shutter, cameras, unless
but from the end of 1951 they had the XM you check them very
synchronised Synchro Compur, providing carefully. The film-
switchable synchronisation for bulbs (M) or transport and double-
electronic flash (X). The IIa cameras illustrated exposure-prevention Top view of a
here, one with a 50mm f/2 Xenon (page 63) mechanisms are
and the other with an f/2 Heligon lens (page subject to wear and worn Retina IIa
64), both have Synchro Compur shutters. problems, and it is This shows the eyepiece for the
The Ia was supplied fitted with any of quite rare to find combined rangefinder/viewfinder, the
three different lenses: a 50mm f/3.5 coated an early Retina that shutter release and, adjacent to it, the
Retina-Xenar, a 50mm f/2.8 Retina-Xenar, works reliably and button for setting the exposure counter
or a 50mm f/3.5 Ektar. The Ektar-equipped well. Many that ‘work’
version is quite scarce in the UK – Bryan in the camera-fair

© JOHN GODDARD
sense of the word do
Whitworth’s example on page 64 will be
sold on 21 November at Special Auction not give even frame Synchro-Meter JOIN THE
Services in Newbury, Berkshire. The IIa was spacing and may jam The scarce Synchro-Meter, not PHOTOGRAPHIC
made by Kodak AG, converts COLLECTORS’
usually fitted with a beautiful factory-coated every so often.
a Retina Ia into a coupled CLUB OF GREAT
f/2 Retina-Xenon lens, but some had an BRITAIN
f/2 Rodenstock Retina-Heligon. These are BELLOWS rangefinder camera. Does
scarce, are sought after by collectors and AND anybody know who
made it? The Photographic
cost as much as £50-£100 more than FOCUSING Collectors’ Club of
the £95 or so that a decent, but not mint, The Ia and IIa are Great Britain holds
Xenon-equipped IIa will cost retail. more likely to work regional meetings,
properly, but check runs a quarterly
Retina IIa the bellows for light
leaks, the focusing
postal auction and
With f/2 Heligon, on its back, as seen from publishes magazines
the bottom of the camera, showing the for stiffness and the full of classic camera
aperture scale, the flash-synchronisation slow shutter speeds information. Visit
socket, the focusing knob and the lower for a sticking slow- www.pccgb.com for
of the two buttons, which, when squeezed speed escapement. more information
together, enable the camera to be closed Any problems can and to download a
be sorted out by a membership form or
good repairer (Ed call 01920 821 611
Trzoska, tel: 0116 267 (but not for camera
4247), but repairs valuations).
are expensive.

YOU
The Ia and IIa were marketed only until Thanks to Vic Rumak,
1954. Both types are now fairly common, Bryan Whitworth and
although (surprisingly) the IIa with Xenon is
easier to find on eBay than a Ia, particularly MAY John Kirkham of the
PCCGB for the loan of
if you want one that looks nice.
ALSO cameras and help with

LIKE
photography, and to
ACCESSORIES
Kodak marketed a considerable number John Goddard in New
of accessories for the Ia and IIa, to which Zealand for the picture
was notably added the rare non-Kodak of the Synchro-Meter
Synchrometer. This converted non- coupled-rangefinder
rangefinder I and Ia cameras accessory
to coupled-rangefinder
specification. The Kodak
accessory range included a
nice close-up rangefinder A lever-wind
with matched ‘N’ lenses (NI, Voigtländer Vito IIa
NII, NIII) in a fitted leather
case, a black plastic 32mm
push-on lens hood for either
Ia or IIa, and a range of
unusually thin filters that enabled
the camera door to be closed
when a filter was in place. There was
also a metal frame viewfinder for just
the 50mm lens. AP

subscribe 0844 848 0848 17 August 2013 I www.amateurphotographer.co.uk 65


DIGITAL PHOTOGRAPHY
CANON EOS 1DS MK III COMPLETE WITH ALL ACCESS........MINT-BOXED £1,695.00
CANON EOS 5D BODY COMPLETE WITH ALL ACCESS ........................MINT- £479.00
CANON EOS 5D BODY COMPLETE WITH ALL ACCESS ......................EXC++ £395.00
CANON EOS 30D BODY COMPLETE WITH ALL ACCESS............MINT-BOXED £199.00
CANON EOS 20D BODY COMPLETE WITH ALL ACCESS............MINT-BOXED £145.00
CANON EOS 400D COMPLETE WITH ACCESSORIES ............................MINT- £159.00
CANON EOS 400D + GRIP WITH Ni-CAD BATT + CHGR ....................EXC++ £175.00
CANON POWERSHOT G9 WITH ALL ACCESSORIES..................MINT- BOXED £185.00
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FUJI X10 COMPLETE WITH ALL ACCESSORIES + CASE ..........MINT BOXED £249.00
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NIKON SB50 DX SPEEDLIGHT COMPLETE ..................................MINT-BOXED £59.00
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NIKON SB600 SPEEDLIGHT + CASE..........................................MINT-CASED £175.00
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NIKON SC 29 TTL REMOTE CORD............................................................MINT £49.00
NIKON DR6 RIGHT ANGLE FINDER ............................................MINT CASED £175.00
SIGMA EF-530 DG ST ELECTRONIC FLASH Ittl NIKON FIT ........MINT BOXED £75.00
SIGMA 10-20mm f4/5.6 DC EX HSM FOR OLYMPUS 4/3rds ....MINT+HOOD £289.00
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OLYMPUS 12 - 60mm f2.8/4 SWD ZUIKO DIG ED 4/3RDS........MINT CASED £575.00
OLYMPUS 14 - 45mm f3.5/5.6 ZUIKO DIGITAL 4/3rds LENS ......MINT+HOOD £99.00
OLYMPUS 14 - 42mm f3.5/5.6 MK II "R" MSC MICRO 4/3rds ....MINT AS NEW £165.00
OLYMPUS 17mm f2.8 M ZUIKO MICRO FOUR THIRDS..............MINT BOXED £165.00
PANASONIC GF2 BODY COMPLETE WITH ALL ACCESS ............MINT BOXED £145.00
PANASONIC G1 BODY WITH 14 - 45 PANASONIC LENS............MINT BOXED £199.00
PANASONIC GX1 BODY COMPLETE ALL ACCESSORIES............MINT BOXED £245.00
PANASONIC 14 - 45mm f3.5/5.6 LUMIX G OIS MICRO 4/3rds ............MINT £175.00
PANASONIC 45 - 200mm f4/5.6 LUMIX VARIO MICRO 4/3rds MINT BOXED £175.00
PENTAX Q BODY + PENTAX 5 - 15mm LENS AS NEW..............MINT BOXED £199.00
METZ 48 AF-1 FLASH UNIT FOR OLYMPUS/PANASONIC ......................MINT- £99.00
SONY ALPHA 28 - 75mm f2.8 SAM LENS ................................MINT BOXED £249.00
SIGMA 18 - 200mm f3.5/6.3 DC SLD GLASS FOR SONY..........MINT BOXED £125.00
SONY ALPHA HVL-F36AM FLASH GUN......................................MINT CASED £145.00
SIGMA 2.0 x APO DG T/CONVERTER FOR SONY ALPHA ..........MINT BOXED £145.00
CANON EOS 1V HS COMPLETE WITH PBE2 BOOSTER..............MINT-BOXED £499.00
CANON EOS 1NRS BODY ......................................................................MINT- £365.00
CANON EOS 1NHS ....................................................................MINT-BOXED £265.00
CANON EOS 1 BODY ..............................................................................EXC+ £115.00
CANON EOS 3 BODY............................................................................EXC++ £145.00
CANON EOS 5 BODY ..........................................................................EXC+++ £59.00
CANON 17 - 40mm f4 USM "L" + HOYA FILTER ........MINT BOXED AS NEW £495.00
CANON 20 - 35mm f2.8 USM "L" ........................................................MINT- £575.00
CANON 24 - 70mm f2.8 USM "L" MK1 + HOOD..................................MINT- £895.00
CANON 24 - 105mm f4 USM "L" IMAGE STABILIZERMINT BOXED AS NEW £639.00
CANON 24 - 105mm f4 USM "L" IMAGE STABILIZER MINT CASED AS NEW £615.00
CANON 70 - 200mm f2.8 USM "L" IMAGE STABILIZER......MINT BOXED AS NEW £1,195.00
CANON 70 - 300mm f4/5.6 USM IMAGE STAB DO LENS..........MINT BOXED £599.00
CANON 100 - 400mm f4.5/5.6 USM "L" IMAGE STABILIZ ......MINT CASED £995.00
CANON 50mm f1.2 USM "L" WITH B&W FILTER & HOOD ........MINT BOXED £995.00
CANON 180mm f3.5 USM "L" MACRO LENS............................MINT BOXED £899.00
CANON 300mm f4 USM "L" + HOOD ......................................EXC++CASED £495.00
CANON 50mm f1.4 USM ............................................MINT BOXED AS NEW £235.00
CANON 50mm f1.8 MKII ........................................................................MINT- £69.00
CANON 50mm f1.8 MARK 1 (RARE NOW REALLY NICE) ......................MINT £169.00
CANON 17 - 55mm f2.8 USM IMAGE STABILIZER ....................MINT BOXED £595.00
CANON 17 - 85mm f4/5.6 IMAGE STABILIZER......................................MINT £175.00
CANON 18 - 55mm f3.5/5.6 MK II ..........................................................MINT £59.00
CANON 18 - 55mm f3.5/5.6 IS MK II IMAGE STABILIZER ......................MINT £99.00
CANON 20 - 35mm f3.5/4.5 USM..........................................................MINT £175.00
CANON 24 - 85mm f3.5/4.5 USM ............................................MINT-BOXED £159.00
CANON 28 - 80mm f3.5/5.6 USM MK V ..................................................MINT £49.00
CANON 28 - 90mm f4/5.6 USM ..............................................................MINT £69.00
CANON 35 - 80mm f4/5.6 EF MKIII ........................................................MINT £39.00
CANON 70 - 300mm f4/5.6 USM IMAGE STAB DO LENS..........MINT BOXED £599.00
CANON 70 - 300mm f4/5.6 USM IMAGE STABILIZER ..............MINT BOXED £289.00
CANON 70 - 300mm f4/5.6 USM IMAGE STABILIZER ..........................MINT £269.00
CANON 75 - 300mm f4.5/5.6 + HOOD ....................................................MINT £89.00
CANON 75 - 300mm f4.5/5.6 USM MK II ............................................MINT- £119.00
CANON 75 - 300mm f4.5/5.6 MK III ........................................MINT BOXED £115.00
CANON 75 - 300mm f4.5/5.6 USM MK III (LATEST)..............................MINT £145.00
CANON 75 - 300mm f4.5/5.6 USM MK III (LATEST) ..MINT BOXED AS NEW £165.00
CANON ST-E2 SPEEDLITE TRANSMITTER ................................MINT BOXED £125.00
CANON 52mm CLOSE UP LENS TYPE 250D................................MINT BOXED £49.00
CANON EF 1.4x EXTENDER MK II ..............................................MINT CASED £265.00
CANON EF 2.0x EXTENDER MK I ..............................................MINT CASED £199.00
CANON EF 2.0x EXTENDER MK II..............................................MINT BOXED £239.00
CANON EF 2.0x EXTENDER MK II ..............................................MINT CASED £225.00
KENCO TELEPLUS PRO 300 DGX 1.4 TELECONVERTER ............MINT BOXED £159.00
KENCO TELEPLUS PRO 300 DGX 2.0 TELECONVERTER ............MINT BOXED £165.00
TELEPLUS MC7 7 ELEMENT 2x TELECONVERTER..................................MINT- £89.00
CANON 540 EZ FLASH + INST ....................................................MINT BOXED £69.00
CANON 540 EZ FLASH + INST....................................................MINT- CASED £59.00
CANON 420 EZ FLASH ................................................................MINT CASED £39.00
CANON ANGLE FINDER B ............................................................MINT BOXED £79.00
CANON LC3 TRANSMITTER AND RECIEVER..........................................MINT £115.00
CANON PB-E1 BOOSTER FOR EOS 1/3 etc ............................................MINT- £69.00
SIGMA 8mm f3.5 EX DG FISHEYE SLD GLASS ..........MINT BOXED AS NEW £445.00
SIGMA 10mm f2.8 EX DC FISHEYE HSM ..................................MINT BOXED £345.00
SIGMA 20mm f1.8 EF DG ASPHERIC RF (LATEST) ..................MINT BOXED £325.00
Visitors are welcome, please phone for an appointment. PO Box 1052, Cottenham, Cambridge, CB4 8WU
SIGMA 20mm f1.8 EX DG ASPHERIC RF (LATEST) ..............................MINT- £285.00
SIGMA 105mm f2.8 EX DG MACRO SUPERB SHARP LENS ......MINT BOXED £345.00
SIGMA 600mm f8 MIRROR LENS MC MACRO ....................................EXC++ £95.00
SIGMA 10 - 20mm f4/5.6 EX DC HSM ......................................MINT CASED £295.00
SIGMA 12 - 24mm f4.5/5.6 EX DG HSM + HOOD ....................MINT BOXED £395.00
SIGMA 20 - 40mm f2.8 EX ASPHERICAL DG ............................MINT BOXED £245.00
SIGMA 24 - 70mm f2.8 EX DG MACRO + HOOD..................................MINT- £299.00
SIGMA 28 - 300mm f3.5/6.3 ZOOM MACRO ..............................MINT+HOOD £79.00
SIGMA 70 - 300mm F4/5.6 DG OPTICAL STABILIZER ..............MINT BOXED £129.00
SIGMA 70 - 300mm f4/5.6 APO MACRO + HOOD..................................MINT- £59.00
SIGMA 170 - 500mm f5/6.3 APO COMP WITH HOOD ..............MINT-CASED £395.00
TAMRON 28 - 75mm F2.8 XR Di IF LD ASPHERIC....................MINT BOXED £245.00
TAMRON 18 - 270mm F3.5/6.3 Di II VIBRATION CONTROL......MINT BOXED £245.00
TOKINA 10 - 17mm f3.5/4.5 AT-X DX LENS (LATEST)..........................MINT £345.00
CANON F1 AE BODY 1984 LOS ANGELES OLYMPIC ED MINT BOXED NEW £1,095.00
CANON AUTO BELLOWS ..........................................................................MINT £69.00
CONTAX G2 BODY WITH STRAP & MANUAL ......................................MINT-- £399.00
CONTAX G1 BODY ..............................................................................MINT-- £189.00
CONTAX T3 70TH ANNIVERSARY + CASE + FILTERS/HOOD ..............MINT- £399.00
CONTAX TiX TITANIUM COMPACT + LEATHER CASE................MINT CASED £399.00
CONTAX 21mm f2.8 BIOGON T* WITH FILTER & FINDER..........MINT CASED £695.00
CONTAX 28mm f2.8 BIOGON T* + FILT & CONTAX HOOD/CAP MINT CASED £295.00
CONTAX 35mm f2 PLANAR T* + FILT & CONTAX HOOD/CAP ..MINT CASED £365.00
CONTAX 90mm f2.8 SONNAR "G" + HOOD ..........................................MINT £199.00
CONTAX 90mm f2.8 SONNAR "G" + HOOD ............................MINT- BOXED £219.00
CONTAX TLA 140 FLASH FOR G1/G2 ..........................................MINT CASED £65.00
CONTAX TLA 200 FLASH FOR G1/G2 ..........................................MINT CASED £99.00
CONTAX GD1 DATABACK FOR CONTAX T3..................................MINT-BOXED £69.00
CONTAX SA-2 FLASH ADAPTOR ..............................................................MINT £55.00
CONTAX TITANIUM FILTERS,HOODS,AND CAPS FOR G........PHONE IN STOCK PHONE
CONTAX AX AUTOFOCUS BODY (RARE NOW) ......................................MINT- £399.00
CONTAX ARIA BODY (STRAP, INSTRUCTIONS) ........................EXC++BOXED £199.00
CONTAX FIT YASHICA 28mm f2.8 SUPERB CONDITION..........................MINT £65.00
CONTAX 28mm f2.8 DISTAGON T* MM ....................................MINT BOXED £295.00
CONTAX 45mm f2.8 TESSAR T* PANCAKE LENS + HOOD ....................MINT £225.00
CONTAX 50mm f1.7 PLANAR AE ..........................................................MINT £145.00
CONTAX 85mm f1.4 PLANAR MM........................................................MINT- £425.00
CONTAX 135mm F2.8 SONNAR T* MM ..................................EXC++BOXED £195.00
CONTAX TLA 280 FLASH ........................................................................MINT- £95.00
RICOH GR1 V DATE COMP + CASE & HOYA FILTER SET ..........MINT-BOXED £295.00
LEICA M6 TTL BODY CHROME (VERY LITTLE USE)................MINT-BOXED £1,195.00
LEICA M6 BLACK BODY ..........................................................EXC++BOXED £695.00
LEICA M4-P 70TH ANNIVERSARY 1913-1983 ......................MINT- BOXED £1,495.00
LEICA M4 P BLACK BODY ........................................................MINT-BOXED £995.00
LEICA M4 2 BLACK BODY ..................................................................EXC++ £495.00
LEICA Mda BODY SER No 12659XX CIRCA 1970 ................................MINT- £575.00
LEICA Mda BODY SER No 14111XXCIRCA 1975-76 ..........................EXC++ £475.00
LEICA III BODY SER No 1816XX C1945 NEEDS SERVICE ..................EXC++ £179.00
LEICA IIIF BODY DELAYED ACTION ....................................................EXC++ £299.00
LEICA IIIf WITH 5CM f3.5 ELMAR ........................................................MINT- £575.00
LEICA CL BODY COMP WITH 40mm f2 SUMMICRON ..........................MINT- £795.00
LEICA CL BODY ....................................................................................MINT- £495.00
MINOLTA CLE WITH 40mm f2 ROKKOR..............................................EXC++ £499.00
MINOLTA CLE BODY COMPLETE WITH CASE......................................EXC++ £365.00
LEICA STANDARD CHROME WITH CASE ..........................................EXC+++ £299.00
LEICA FIT MINOLTA 40mm f2 ROKKOR ....................................MINT CASED £295.00
LEICA FIT MINOLTA 90mm f4 ROKKOR ....................................MINT CASED £295.00
LEICA 50mm f2 SUMMICRON BLACK LATEST NOT 6 BIT......MINT BOXED £1,175.00
LEICA 50mm f2.8 COLLAPSIBLE ELMAR + LEICA FILTER........MINT-BOXED £325.00
LEICA 90mm f2 SUMMICRON CHROME M ............................MINT CASED £1,275.00
LEICA 90mm f4 COLL ELMAR M MOUNT..........................EXC++IN KEEPER £179.00
LEICA 135mm f2.8 ELMARIT M WITH SPECS ....................................EXC++ £275.00
LEICA 135mm f4.5 HEKTOR + HOOD M MOUNT ..................................EXC++ £99.00
LEICA 135mm f4.5 HEKTOR IN KEEPER ..........................................EXC+++ £199.00
LEICA 90mm f4 ELMAR BLACK SCREW ..............................................MINT- £145.00
LEICA 135mm f4.5 HEKTOR + HOOD SCREW ......................................EXC++ £99.00
LEICA HANDGRIP FOR M8/M9 etc ..........................................EXC++BOXED £145.00
LEICA WINDER M4-2 FOR M4 etc ............................................MINT-BOXED £145.00
LEICA R5 BODY BLACK............................................................EXC++BOXED £299.00
LEICAFLEX SL BODY CHROME ..................................................MINT-BOXED £299.00
LEICA 50mm f2 SUMMICRON R 3 CAM..............................................EXC++ £299.00
LEICA 180mm f4 ELMARIT R 3 CAM..................................................EXC++ £345.00
LEICA 28 - 70mm f3.5/4.5 VARIO ELMAR ROM ........MINT BOXED AS NEW £445.00
LEICA 70 - 210mm f4 VARIO ELMAR R..............................................EXC++ £399.00
ANGENIEUX 70 - 200mm f3.5 FOR LEICA R FIT ......................MINT BOXED £775.00
LEICA MOTORWINDER AND STRAP FOR R6 etc ......................MINT BOXED £145.00
LEICA ANGLE FINDER R (14300) ................................................MINT BOXED £99.00
MINOX 10 x 25 BR COMPACT BINOCULARS + CASE..............................MINT £99.00
ZEISS 6x20 B MONOCULAR WITH CASE ..................................MINT CASED £165.00
ZEISS DIASCOPE 65 T* FL ANGLED, 15x45 E/PIECE,CASE ................MINT £1,195.00
SWAROVSKI 8 x 50 SLC "B" BINOCULARS WITH CASE ..........MINT-BOXED £759.00
COSINA 107 LEICA MOUNT SAME AS BESSA L........................MINT BOXED £125.00
VOIGTLANDER 21mm f4 BLACK WITH 21mm FDR+ M RING ..MINT BOXED £395.00
VOIGTLANDER 35mm f2.5 COLOR SKOPAR VM M + HOOD......MINT BOXED £289.00
VOIGTLANDER 35mm f1.7 ULT ASP + FILT&HOOD+ M RING ..............MINT- £365.00
VOIGTLANDER 35mm f1.7 ULT ASP + M RING SILVER........................MINT- £299.00
VOIGTLANDER WINDER T..........................................................MINT BOXED £129.00
VOIGTLANDER BESSA SIDE GRIP................................................MINT BOXED £45.00
VOIGTLANDER BESSA WINDER / GRIP FOR T & R2 ............................MINT- £115.00
VOIGTLANDER ANGLE FINDER + 15,21,25mm ADAPTORS ......MINT BOXED £199.00
BRONICA ETRS BODY + 120 BACK,LENS & WLF + GRIP ..................EXC++ £169.00
BRONICA ETRS COMPLETE WITH 75mm EII + 120 BACK..................EXC++ £175.00
BRONICA RF 45mm f4 ZENZANON FOR 645 R/F + FINDER......MINT CASED £399.00
BRONICA 50mm f2.8 ZENZANON MC ................................................EXC+++ £99.00
BRONICA 150mm f3.5 ZENZANON PE ......................................MINT-BOXED £159.00
BRONICA 150mm f3.5 ZENZANON E MC ..................................MINT BOXED £119.00
BRONICA 150mm f3.5 ZENZANON E MC ................................................MINT £99.00
BRONICA 150mm F4 E ..........................................................................MINT- £89.00
BRONICA ETRSi 120 BACK ....................................................................MINT- £79.00
BRONICA ETRS/ETRSi POLAROID BACK..................................................MINT £69.00
BRONICA PLAIN PRISM FOR ETRS/ETRSi ..................................MINT CASED £69.00
BRONICA 50mm f3.5 ZENZANON S..................................................EXC+++ £119.00
BRONICA 150mm f3.5 ZENZANON S....................................................MINT- £165.00
BRONICA SQA + 80mm f2.8 S, PRISM FDR,BACK, GRIP......MINT-/EXC+++ £395.00
BRONICA 65mm f4 ZENZANON PS FOR SQ ..............................MINT-CASED £145.00
BRONICA 110mm f4 PS ZENZANON MACRO FOR SQ ..............MINT-CASED £365.00
BRONICA 150mm f4 PS ZENZANON FOR SQ ............................MINT-CASED £145.00
BRONICA SQAi 120 MAGAZINE BACK ..................................................EXC++ £45.00
BRONICA SQA/i/M POLAROID MAGAZINE BACK ........................MINT BOXED £69.00
BRONICA 135W BACK FOR SQ VERY RARE ....................................EXC+++ £165.00
FUJI 645 WIDE S PROFFESSIONAL WIDE 60 ............................MINT-CASED £395.00
FUJI GW 670 MK III C/W 90mm f3.5 LENS ..............................MINT BOXED £675.00
MAMIYA 43mm f4.5 WITH FINDER & HOOD FOR 7/7II ............MINT BOXED £895.00
MAMIYA 150mm f4.5 WITH HOOD FOR 7/7II............................MINT BOXED £475.00
MAMIYA 150mm f4.5 + HOOD FOR MAMIYA 7/7II ..............................MINT £425.00
MAMIYA 180mm F4.5 SEKOR Z W FOR RZ ..........................................MINT £199.00
MAMIYA 250mm f4.5 LENS FOR RZ ....................................................MINT- £195.00
MAMIYA 150mm f3.5 A/F FOR 645 A/F ................................................MINT £299.00
MAMIYA 210mm f4 SEKOR C FOR 645 ....................................MINT CASED £195.00
MAMIYA 180mm F4.5 SEKOR FOR RB ..................................................MINT £169.00
MAMIYA RZ 67 PRO BACK ....................................................................MINT- £69.00
MAMIYA RZ 67 PRO II BACK..................................................................MINT- £79.00
MAMIYA 220 BACK FOR RZ 67 ..............................................................MINT- £95.00
PENTAX 55mm f3.5 TAKUMAR SMC FOR 6x7 ....................................MINT- £265.00
PENTAX 55mm f2.8 FOR PENTAX 645 ......................................MINT BOXED £199.00
PENTAX 200mm F4 FOR PENTAX 67 + FILTER AND HOOD ................MINT- £225.00
ROLLEIFLEX 6008 PRO + 80mm HFT LENS ........................................MINT- £695.00
ROLLEIFLEX SCHNEIDER 150mm f4.6 MAKRO FOR 6008 ..................MINT- £575.00
YASHICAMAT D WITH CASE ................................................................MINT- £165.00
WISTA TYPE N 4x5 MOUNT ROLL FILM HOLDER FOR 6x7 ......MINT-BOXED £175.00
HASSELBLAD 503CX COMP WITH 80mm CF + A12 BACK
....................................................................................MINT BOXED AS NEW £895.00
HASSELBLAD 503CX COMP WITH 80mm CF + A12 BACK..................MINT- £825.00
HASSELBLAD 503 Cxi BODY + WLF ....................................................MINT- £495.00
HASSELBLAD 500CM + 80mm f2.8 T* + HOOD BLACK ......................MINT- £675.00
HASSELBLAD 500CM BODY WITH 80mm f2.8 T* + HOOD ..................MINT- £695.00
HASSELBLAD 90mm f4 FOR XPAN ....................................MINT-IN KEEPER £365.00
HASSELBLAD 500EL/M BODY + A12 BLACK BACK ..........................EXC++ £299.00
HASSELBLAD 50mm f4 CF FLE DISTAGON + HOOD ................MINT BOXED £699.00
HASSELBLAD 150mm f4 SONNAR CF ..................................................MINT £395.00
HASSELBLAD 150mm f4 SONNAR CF..............................................EXC+++ £375.00
HASSELBLAD PME 90 METERED PRISM ("UNUSED")..............MINT BOXED £469.00
HASSELBLAD 4504 PRO FLASH COMPLETE ..............MINT BOXED UNUSED £145.00
HASSELBLAD A12 BACK BLACK WITH D/SLIDE HOLDER ........MINT BOXED £245.00
HASSELBLAD A12 BACK ....................................................................EXC+++ £99.00
HASSELBLAD CW WINDER + REMOTE..................................................MINT £299.00
HASSELBLAD PLAIN PRISM ......................................................................EXC £75.00
HASSELBLAD PM PRISM ......................................................................MINT £199.00
HASSELBLAD 500CM/503 WLF BLACK ................................................MINT £125.00
HASSELBLAD EXTENSION TUBE 16E F ..................................................MINT- £75.00
NIKON F5 BODY........................................................................MINT- BOXED £345.00
NIKON F5 BODY ..................................................................................EXC++ £299.00
NIKON F80 BODY BLACK............................................................MINT- BOXED £69.00
NIKON F60 BODY ....................................................................................MINT- £39.00
NIKON F55 BODY ........................................................................MINT-BOXED £39.00
NIKON 10.5mm f2.8 "G" IF-ED A/F DX FISHEYE LENS ............MINT BOXED £399.00
NIKON 10.5mm f2.8 "G" IF-ED A/F DX FISHEYE LENS ............MINT CASED £365.00
NIKON 28mm f2.8 A/F ..........................................................................MINT £129.00
NIKON 35mm F1.4 "G" AF-S PRIME LENS "UNUSED" ............MINT BOXED £999.00
NIKON 50mm f1.4 A/F "D" ......................................................MINT BOXED £195.00
NIKON 50mm f1.8 A/F "D" ........................................................MINT BOXED £89.00
NIKON 55mm f2.8 A/F MICRO NIKKOR MACRO LENS ..........................MINT £195.00
NIKON 60mm f2.8 "G" ED AF-S MICRO-NIKKOR ....................MINT BOXED £325.00
NIKON 60mm f2.8 "G" ED AF-S MICRO-NIKKOR +HOOD ........MINT CASED £299.00
NIKON 85mm f1.4 A/F "D" ......................................................MINT BOXED £675.00
NIKON 180mm f2.8 A/F D IF-ED LATEST LENS ........................MINT BOXED £465.00
NIKON 12 - 24mm f4 "G" DX IF-ED AF-S ..................MINT BOXED AS NEW £565.00
NIKON 14 - 24mm f2.8 "G" ED AF-S LATEST NANO GLASS MINT BOXED £1,195.00
NIKON 17 - 55mm f2.8 f2.8 "G" IF-ED AF-S + HOOD ..............MINT BOXED £745.00
NIKON 17 - 55mm f2.8 f2.8 "G" IF-ED AF-S + HOOD ..............MINT CASED £699.00
NIKON 18 - 35mm f3.5/4.5 "D" IF-ED A/F ..............................MINT-BOXED £369.00
NIKON 18 - 70mm f3.5/4.5 "G" DX IF ED AF- S CASED ..........MINT+HOOD £149.00
NIKON 24 - 70mm f2.8 "G" ED AF-S LATEST NANO GLASS MINT BOXED £1,095.00
NIKON 24 - 120mm f3.5/5.6 "G" ED IF AF-S VIBR REDUC ......MINT BOXED £275.00
NIKON 35 - 70mm f3.3/4.5 A/F..............................................................MINT- £75.00
NIKON 35 - 80mm f4.5/5.6 A/F "D" ..........................................MINT BOXED £55.00
NIKON 55 - 200mm f4.5/6 "G" DX I/F ED AF-S....................................MINT £119.00
NIKON 70 - 300mm f4.5/5.6 A/F "G"......................................................MINT £95.00
NIKON 80 - 400mm f4.5/5.6 D ED VIBRATION REDUCTION ................MINT- £765.00
NIKON 80 - 400mm f4.5/5.6 D ED VIBRATION REDUCTION......MINT BOXED £865.00
NIKON TC 20E II AF-S TELECONVERTER ..................................MINT BOXED £195.00
TAMRON 1.4x A/F "D" TELECONVERTER NIKON FIT ..............................MINT £75.00
KENKO 1.5x EXTENDER TELEPLUS SHQ DG NIK A/FD ............................MINT £75.00
NIKON FIT TRI-PLUS EXT TUBE SET 12mm,20mm,36mm......................MINT £45.00
NIKON ML-3 REMOTE CONTROL SET ........................................MINT CASED £165.00
SIGMA 1.4x EX CONVERTER......................................................MINT CASED £125.00
NIKON DA20 ACTION FINDER FOR NIKON F4/S/E ................................MINT £195.00
SIGMA 50mm f2.8 EX DG MACRO ............................................MINT BOXED £199.00
SIGMA 70mm f2.8 EX DG MACRO (LATEST VERSION) ............MINT BOXED £299.00
SIGMA 180mm f5.6 MACRO A/F APO ......................................MINT BOXED £175.00
SIGMA 28 - 135mm f3.8/5.6 "D" ASPHERICAL........................MINT + HOOD £99.00
We urgently require your used photographic equipment. We have
customers waiting for: Nikon, Canon, Leica, Contax, Bronica,
Hasselblad and most other makes of camera lenses, accessories,
binoculars and collectables.
We will buy for cash from you, or we are happy to sell on
your behalf on a commission basis. Best prices paid. We can
arrange collection and even call and collect and pay on the
spot if necessary anywhere in the UK.
SIGMA 55 - 200mm f4/5.6 DC HSM ..........................................MINT BOXED £89.00
TAMRON 55 - 200mm f4/5.6 LD MACRI Di II ............................MINT BOXED £99.00
TOKINA 35mm F2.8 ATX-PRO DX MACRO 1:1 (LATEST) ..........MINT BOXED £295.00
TOKINA 16 - 50mm f2.8 ASPHERICAL AT-X PRO DX................MINT BOXED £275.00
TOKINA 17 - 35mm f4 AT-X PRO FX(LATEST CURRENT LENS) MINT BOXED £399.00
NIKON F3 HP BODY MINT BOXED (FROM COLLECTION )....MINT "UNUSED" £595.00
NIKON F3 HP WITH NIKON MD4 MOTOR DRIVE ................MINT UNMARKED £525.00
NIKON F3 HP BODY UNMARKED............................................................MINT £445.00
NIKON F3 HP T TITANIUM BODY ..........................................................MINT- £595.00
NIKON F3 HP BODY (REALLY NICE CONDITION) ..................................MINT- £345.00
NIKON F3 BODY ....................................................................................MINT- £345.00
NIKON FM2n BLACK BODY........................................................MINT BOXED £345.00
NIKON FM2 BLACK ............................................................................EXC++ £195.00
NIKON FM2N BODY CHROME ..................................................EXC++BOXED £245.00
NIKON FM BLACK ................................................................................EXC++ £99.00
NIKON F2 A PHOTOMIC BODY CHROME ..............................................MINT- £495.00
NIKON F2 BODY WITH MD2/MB1 DRIVE + 50mm f2 NIKKOR ............MINT- £545.00
NIKON F2 PLAIN PRISM (VERY SLIGHT DINK ON PRISM) ..............EXC+++ £345.00
NIKON F2 PHOTOMIC BODY CHROME ..................................................MINT- £345.00
NIKON FE2 BLACK BODY ....................................................................EXC++ £165.00
NIKON FE CHROME BODY ..................................................................EXC+++ £99.00
NIKON FE BLACK BODY ............................................................................EXC £75.00
NIKKOREX WITH 50mm f2 NIKOR LENS ............................................EXC++ £175.00
NIKON 16mm f2.8 AI COMPLETE WITH FILTERS ......................MINT CASED £475.00
NIKON 18mm f4 Ai + 86mm FILTER + HOOD (VERY RARE) ..MINT AS NEW £599.00
NIKON 24mm F2 AIS (FROM A COLLECTION "UNUSED") ........MINT BOXED £425.00
NIKON 24mm f2.8 AIS WITH HOOD..................................................EXC+++ £199.00
NIKON 28mm f2.8 AI ..........................................................................EXC++ £169.00
NIKON 28mm f3.5 AI..........................................................................EXC+++ £99.00
NIKON 28mm f3.5 AIS ..........................................................................MINT £125.00
NIKON 35mm f2.8 PC SHIFT MANUAL EARLY......................................MINT- £295.00
NIKON 45mm f2.8 GN NIKKOR ............................................................MINT- £199.00
NIKON 45mm f2.8 P PANCAKE WITH HOOD, FILTER, CASE ......MINT BOXED £275.00
NIKON 50mm f1.2 AIS SUPERB LENS REALLY SHARP ......................EXC++ £299.00
NIKON 50mm F1.4 AIS (FROM COLLECTION "UNUSED") ........MINT BOXED £265.00
NIKON 50mm f1.4 AI ..........................................................................MINT - £145.00
NIKON 50mm f1.8 AIS ..........................................................................MINT £109.00
ZEISS 50mm f1.4 NIKON FIT (SUPERB SHARP LENS)MINT BOXED AS NEW £399.00
NIKON 55mm f1.2 AI SUPERB LENS REALLY SHARP............................MINT £395.00
NIKON 55mm f2.8 MICRO NIKKOR AIS ................................................MINT- £175.00
NIKON 55mm f3.5 MICRO NIKKOR P AUTO ................................MINT BOXED £95.00
NIKON 100mm f2.8 SER E ........................................................MINT + HOOD £99.00
NIKON 105mm f1.8 AIS ......................................................................EXC++ £279.00
NIKON 105mm f2.5 AIS (FROM A COLLECTION "UNUSED") ....MINT BOXED £365.00
NIKON 105mm f2.5 AIS....................................................................EXC+++ £199.00
NIKON 105mm f4 AIS MICRO NIKKOR ................................................MINT- £275.00
NIKON 200mm f4 NIKKOR Q ......................................................MINT-CASED £95.00
NIKON 500mm f8 MIRROR LENS WITH FILTER SET..................MINT CASED £345.00
NIKON 28 - 50mm f3.5 AIS + HOOD ....................................................MINT- £199.00
NIKON 35 - 70mm f3.3/4.5 ZOOM NIKKOR MACRO AIS......................MINT- £169.00
NIKON 35 - 105mm f3.5/4.5 AIS ZOOM MACRO ......................MINT BOXED £195.00
NIKON 35 - 105mm f3.5/4.5 AIS ZOOM MACRO................................EXC++ £139.00
NIKON 35 - 135 f3.5/4.5 AIS ................................................................EXC+ £165.00
NIKON 43 - 86mm f3.5 AI ZOOM ............................................................MINT £99.00
NIKON 70 - 210mm f4.5/5.6 NIKKOR ........................................MINT-BOXED £65.00
NIKON 80 - 200mm F4 AIS WITH HOOD AND FILTER........................EXC+++ £99.00
NIKON PB5 BELLOWS WITH PS5 SLIDE COPY ADAPTOR ........MINT BOXED £195.00
NIKON PB6 BELLOW WITH DOUBLE CABLE RELEASE ..........................MINT £199.00
NIKON MF-24 250 EXPOSURE FILM BACK FOR F4S/F4E ....................MINT- £299.00
NIKON MD4 DRIVE FOR F3/F3T/F3P ..........................MINT BOXED AS NEW £195.00
NIKON MD4 DRIVE FOR F3/F3T/F3P ..................................................MINT - £125.00
NIKON MD12 MOTOR DRIVE FOR FM3a/FM2/FE2/FM/FE ................EXC+++ £79.00
NIKON PK13 AUTO EXTENSION RING..........................................MINT BOXED £55.00
NIKON PK12 AUTO EXTENSION RING ..................................................EXC++ £49.00
NIKON PN11 AUTO EXTENSION RING ......................................................MINT £75.00
NIKON TC 16A TELECONVERTER A/F ......................................................MINT £79.00
NIKON TC 200 CONVERTER ....................................................................MINT £69.00
NIKON TC 201 CONVERTER ..................................................................EXC++ £89.00
NIKON TC 301 CONVERTER ..................................................................MINT- £145.00
NIKON SB 16 FLASH FOR F3/FM2/FM3/FE/FE2........................MINT-CASED £159.00
NIKON SB 16 FLASH FOR F3 ......................................................MINT-CASED £75.00
OLYMPUS OM3 WITH ZUIKO 50mm f1.4 LENS ....................................MINT- £475.00
OLYMPUS OM1 + HOT SHOE 4 + 50mm f1.8 ZUIKO ............................EXC++ £95.00
OLYMPUS 28mm f2.8 ZUIKO ..................................................................MINT- £69.00
OLYMPUS 35mm f2.8 ZUIKO ..................................................................MINT- £69.00
OLYMPUS 50mm f3.5 MACRO..............................................................MINT- £129.00
OLYMPUS 135mm f3.5 ZUIKO ....................................................MINT-CASED £55.00
OLYMPUS 200mm f4 ZUIKO ..............................................................EXC+++ £69.00
OLYMPUS 75 - 150mm f4 ZUIKO............................................................MINT- £60.00
OLYMPUS T32 FLASH............................................................................EXC++ £29.00
OLYMPUS F280 FLASH UNIT ..................................................................MINT- £49.00
OLYMPUS VARIOMAGNIFINDER ..............................................................MINT £89.00
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 Voted Best Online Retailer 2002-2012
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ŽƌtŚŝƚĞ ƌŽŶnjĞ

ϭϰ Ϯ Ϯϰ Ϯ Ϯϰ ϭ Ϯϰϯ

ŵĞŐĂƉŝdžĞůƐ ŵĞŐĂƉŝdžĞůƐ ŵĞŐĂƉŝdžĞůƐ ŵĞŐĂƉŝdžĞůƐ

ϲϬ ϬĨƉƐ
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ŵŽǀŝĞŵŽĚĞ ŵŽǀŝĞŵŽĚĞ ŵŽǀŝĞŵŽĚĞ DK^^ĞŶƐŽƌ

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 WƌŝĐĞLJŽƵƉĂLJƚŽĚĂLJάϱϭ EŝŬŽŶsϮĂŶĚ^ϭĂƐŚďĂĐŬΎŽīĞƌĞŶĚƐϬϰϬဓϭϯ

I AM: A Thrill-Seeker ဒϬϬ ϰ

ϳϭϬϬ The New Nikon D7100 E
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ŵĞŐĂƉŝdžĞůƐ ŵĞŐĂƉŝdžĞůƐ
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ဒϬϬ&ƌŽŵάϭ ဒဒ ϰŽĚLJάϰϮϯ
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ŽĨϭϬϬϲϰϬϬ;ĞdžƉĂŶĚĂďůĞƚŽ,/ϮϮϱ ϲϬϬ 
ϱϭƵƚŽ&ŽĐƵƐƉŽŝŶƚƐ;ϭϱĐƌŽƐƐƚLJƉĞƐ Ă
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Ϯϰ ϭ ဒϬϬŽĚLJ  άϮϯϰ
ϭϬϬйĐŽǀĞƌĂŐĞ ĚƵĂů^ĐĂƌĚƐůŽƚƐĂŶĚĂ ŵĞŐĂƉŝdžĞůƐ
ϭ ϯdžĐƌŽƉŵŽĚĞ ϲ ϬĨƉƐ EŝŬŽŶϳϬϬϬ EŝŬŽŶĂƉƚƵƌĞEyϮ
Et ϳϭϬϬŽĚLJ άဒϰϰ ϭϬဒϬƉ ϭϲ ϮDWϯဓ&WŽŝŶƚƐϲ&W^^ŚŽŽƟŶŐ
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Et ϳϭϬϬнϭဒϭϬϱŵŵ άϭϬϮဓ ŵŽǀŝĞŵŽĚĞ
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ϳϬϬϬнϭဒϭϬϱŵŵsZ άϳϮဒ
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Ey
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ŵĞŐĂƉŝdžĞůƐ ŵŽǀŝĞŵŽĚĞ ŵŽǀŝĞŵŽĚĞ ϱ ϲĨƉƐ ŵŽǀŝĞŵŽĚĞ

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W>ϱнϭϰϰϮŵŵ άϰဒϱ >ŝŵŝƚĞĚĚŝƟŽŶ  άဒ Et <
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W>ϱнϭϰϰϮŵŵнϰϬϭϱϬŵŵ άϲϰ ĂƐƚĂƌƚƵƉƟŵĞŽĨϬ ϱƐĞĐŽŶĚƐĂŶĚ &ƵũŝŶŽŶϭဒŵŵĨϮ ϬZ  άϰϮ

WDϮнϭϰϰϮŵŵ άϯ KůLJŵƉƵƐϭϳŵŵĨϭ ဒ  άϯ Et <
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WDϮнϭϰϰϮŵŵнϰϬϭϱϬŵŵ άϱϯ KůLJŵƉƵƐϳϱŵŵĨϭ ဒWt㍵ άϳϮ <
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 01603 208761
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ƵĂůWŝdžĞůDK^&ƚĞĐŚŶŽůŽŐLJ
ĞŶĂďůŝŶŐĨĂƐƚĂŶĚƐŵŽŽƚŚ&
ƚƌĂĐŬŝŶŐǁŚŝůƐƚƐŚŽŽƟŶŐŵŽǀŝĞƐŽƌ
ƐƟůůƐŝŶ>ŝǀĞsŝĞǁŵŽĚĞ 
Et ϭϬϬ&ƌŽŵάϰϳ Et ϳϬϬŽĚLJάϱϬ
K^㍵ϳϬ ϭϬϬŽĚLJ άϰϳ ϳϬϬнϭဒ
ϱϱŵŵĨϯ ϱ
ϱ ϲ/^^dD άϱ
ϮϬϮ
ŵĞŐĂƉŝdžĞůƐ
ϳϬŽĚLJ άϭϬϳဓ ϭϬϬнϭဒ
ϱϱŵŵĨϯ ϱ
ϱ ϲ άϱϱ ϳϬϬнϭဒ
ϭϯϱŵŵĨϯ ϱ
ϱ ϲ/^㍵^dD άϳ
ϳϬнϭဒ
ϱϱŵŵĨϯ ϱ
ϱ ϲ ϭϬϬнϭဒ
ϱϱŵŵĨϯ ϱ
ϱ ϲ/^^dDнϰϬŵŵ ϳϬϬнϭဒ
ϭϯϱŵŵĨϯ ϱ
ϱ ϲ/^㍵^dD
ϳϬĨƉƐ /^^dD άϭϭဓဓ ĨϮ ဒ^dD άϳϭ нϰϬŵŵĨϮ ဒ^dD ά
ϭϬ ϬƉ ϳϬнϭဒ
ϭϯϱŵŵĨϯ ϱ
ϱ ϲ/^^dD
ŵŽǀŝĞŵŽĚĞ  άϭϯဓဓ &ŽƌŽƵƌĨƵůůƌĂŶŐĞŽĨ^>ZĐĐĞƐƐŽƌŝĞƐŝŶĐůƵĚŝŶŐƌĞŵŽƚĞƐ 
ƐƉĂƌĞďĂƩĞƌŝĞƐĂŶĚďĂƩĞƌLJŐƌŝƉƐǀŝƐŝƚŽƵƌǁĞďƐŝƚĞĂƚ
Et ϳϬ&ƌŽŵάϭϬϳ ǁǁǁǁĞdžƉŚŽƚŽŐƌĂƉŚŝĐĐŽŵ

K^ϲϬ K^ϳ K^ϲ ϱDĂƌŬ///

ϮϬϮ ϮϮϯ
ŵĞŐĂƉŝdžĞůƐ ŵĞŐĂƉŝdžĞůƐ

ϭ Ϭ ϭ Ϭ ϰϱĨƉƐ  ϬĨƉƐ
ϲ
ŵĞŐĂƉŝdžĞůƐ ŵĞŐĂƉŝdžĞůƐ
ϭϬ ϬƉ ϭϬ ϬƉ
 ϯĨƉƐ
ϱ  ϬĨƉƐ ŵŽǀŝĞŵŽĚĞ ŵŽǀŝĞŵŽĚĞ
ϭϬ ϬƉ ϭϬ ϬƉ &Ƶůů&ƌĂŵĞ &Ƶůů&ƌĂŵĞ
ŵŽǀŝĞŵŽĚĞ ŵŽǀŝĞŵŽĚĞ DK^ƐĞŶƐŽƌ DK^ƐĞŶƐŽƌ

ϲϬ&ƌŽŵάϱ ϳ&ƌŽŵάϭϬϳ ϲ&ƌŽŵάϭϰ ϱDĂƌŬ///&ƌŽŵάϮϯϮ

 ϬŽĚLJ
ϲ άϱ  ŽĚLJ
ϳ άϭϬϳ ϲŽĚLJ άϭϰ ϱDĂƌŬ///ŽĚLJ άϮϯϮ
ϲϬнϭဒ
ϱϱŵŵĨϯ ϱ
ϱ ϲ/^// άϲϳ ϳнϭဒ
ϭϯϱŵŵĨϯ ϱ
ϱ ϲ/^ άϭϮ ϱDĂƌŬ///нϮϰ
ϭϬϱŵŵĨϰ>/^h^D άϮ ϳϱ
ϲϬнϭဒ
ϭϯϱŵŵĨϯ ϱ
ϱ ϲ/^ άϳ ϲнϮϰ
ϭϬϱŵŵĨϰ Ϭ>/^h^D άϮϬϰ
ϳнϭϱ
ဒϱŵŵĨϯ ϱ
ϱ ϲ/^h^D άϭϱϰ ϱDĂƌŬ///нϮϰ
ϳϬŵŵĨϮ ဒ>h^D// άϰϭϮϰ
ϲϬнϭϳ
ဒϱŵŵĨϰ Ϭ
ϱ ϲ/^h^D ά ϯ ϳнϳϬ
ϯϬϬŵŵĨϰ Ϭ
ϱ ϲ>/^h^D άϮϭϭ
h^dKDZ㍵Zs/t ϲϬнϭ ϭϯϱŵŵĨϯϱϱϲ/^ h^dKDZ㍵Zs/t ϳнϮϰϭϬϱŵŵĨϰϬ>/^h^D h^dKDZ㍵Zs/t ϲнϮϰϭϬϱŵŵĨϰϬ>/^h^D h^dKDZ㍵Zs/t ϱDĂƌŬ///н
ĂŐƌĞĂƚĐĂŵĞƌĂƚŽƐƚĂƌƚLJŽƵƌ 'ƌĞĂƚĂŶŽŶ^>ZƵƉŐƌĂĚĞ dĂŬŝŶŐƚŚĞůĞĂƉƚŽ&yĨŽƌŵĂƚ DŝŶĚďůŽǁŝŶŐůLJĐůĞĂƌ
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sŝƐŝƚŽƵƌǁĞďƐŝƚĞĂƚǁǁǁǁĞdžƉŚŽƚŽŐƌĂƉŚŝĐĐŽŵĐĂƐŚďĂĐŬĨŽƌŵŽƌĞŐƌĞĂƚĂƐŚďĂĐŬΎĚĞĂůƐ

dƌŝƉŽĚƐ
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&ůĂƐŚŐƵŶƐΘ>ŝŐŚƟŶŐĐĐĞƐƐŽƌŝĞƐ
^ƉĞĞĚůŝƚĞƐ  DĂĐƌŽůŝƚĞƐ  ^ƉĞĞĚůŝŐŚƚƐ  <ŝƚƐ  &ůĂƐŚŐƵŶƐ  &ůĂƐŚŐƵŶƐ  &ůĂƐŚŐƵŶƐ 

ϰϯϬy// ϲϬϬy
Zd DZ
ϭϰy  d
Ϯϰy
D ^ ϳϬϬ ^ ဓϭϬ ZϭůŽƐĞ
hƉ Zϭϭ ,s>
&ϲϬD ,s>
&ϰϯD &>
ϯϬϬZ &>
ϲϬϬZ &ϱϰϬ&' 
 &ϯϲϬ&'
άϮϬϱ άϰϲ άϰϱ άϳϰ  άϮϮ άϯϯ άϰϭϱ άϱϱ άϰϱ άϮϭ άϭϯ  άϮ άϯϰ   Ϯϭ 
ά

&ůĂƐŚŐƵŶƐ  DĂĐƌŽŇĂƐŚ  &ůĂƐŚŐƵŶƐ  &ůĂƐŚŐƵŶƐ  &ůĂƐŚŐƵŶƐ 

D'ဒϬϬϬ
άϯ WϰϮy
άϭϬ 
D
ϭϰϬ' ŝϲϮϮ//  ϭϭϰ
ά
Ϯϰ&
ϭ ϰϰ&
ϭ ϱϮ&
ϭ ϱဒ&
Ϯ ϭϱD^
ϭ &ϲϭϬ'^d &ϲϭϬ'^ƵƉĞƌ DĂĐƌŽ&ůĂƐŚ ŝဒϲϲDĂƌŬ// άϭ  &ϯϬy
W άϲ  ^ĞŬŽŶŝĐ>
ϯϬဒƐ WƌŽϰϳဒZ  ŝŐŝWƌŽ&

άϱϰ ϱ άϭϮ άϭ άϮϰ  Ϯ ϱ
ά άϭϭ  άϭϱ  &ƌŽŵάϯϭϰ D&ϭဒ άϮ ϭϲZWƌŽ άϯϯϳ άϭϯဓ άϯϮϰဓဓ άϭϱဓဓဓ
dĞƌŵƐĂŶĚŽŶĚŝƟŽŶƐ
ZŽŐƵĞ ůůƉƌŝĐĞƐŝŶĐůsdĂƚϮϬйWƌŝĐĞƐĐŽƌƌĞĐƚĂƚƟŵĞŽĨŐŽŝŶŐ
ƚŽƉƌĞƐƐ &ZĞůŝǀĞƌLJΎΎĂǀĂŝůĂďůĞŽŶŽƌĚĞƌƐŽǀĞƌάϭϱϬ
£30 £20 ^ ŽŌůŝƚĞ ;ďĂƐĞĚŽŶĂϰĚĂLJĚĞůŝǀĞƌLJƐĞƌǀŝĐĞ &ŽƌŽƌĚĞƌƐƵŶĚĞƌάϭϱϬ
CASHBACK* CASHBACK* ZĞŇĞĐƚŽƌ<ŝƚƐ ƚŚĞĐŚĂƌŐĞŝƐάϮ ΎΎ;ďĂƐĞĚŽŶĂϰĚĂLJĚĞůŝǀĞƌLJƐĞƌǀŝĐĞ 
/ŶĐ,ŽŶĞLJĐŽŵď &ŽƌEĞdžƚtŽƌŬŝŶŐĂLJĞůŝǀĞƌLJŽƵƌĐŚĂƌŐĞƐĂƌĞάϰ ΎΎ 
WůƵƐ///^Ğƚ WůƵƐy^Ğƚ ^ĂƚƵƌĚĂLJĚĞůŝǀĞƌŝĞƐĂƌĞĐŚĂƌŐĞĚĂƚĂƌĂƚĞŽĨάϳ ϱϬΎΎ 
ΘŝīƵƐĞƌ ;ΎΎĞůŝǀĞƌŝĞƐŽĨǀĞƌLJŚĞĂǀLJŝƚĞŵƐ ŽƌƚŽƐŽŵĞƵƌŽƉĞĂŶ
άϭဓဓ/ŶĐάϯϬ άϭϰဓဓဓ/ŶĐάϮϬ ϭϮϬĐŵ >ŝŐŚƚ^ƚĂŶĚƐ ϰϮĐŵ άϳဓ ĐŽƵŶƚƌŝĞƐ E / ƌĞŵŽƚĞĂƌĞĂƐŽĨ^ĐŽƚůĂŶĚΘŚ /ƐůĞƐŵĂLJďĞ
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D ĂƐŚďĂĐŬΎ ĂƐŚďĂĐŬΎ ^ĂŶĚĂŐ >ŝŐŚƚdĞŶƚ &ƌŽŵ ϱϱĐŵ άϭϮဓ &ůĂƐŚĞŶĚĞƌ WŽƌƚďŽdž &ŽůĚŝŶŐ^ŽŌďŽdž ƐƵďũĞĐƚƚŽĞdžƚƌĂĐŚĂƌŐĞƐ  ΘK  WƌŝĐĞƐƐƵďũĞĐƚƚŽĐŚĂŶŐĞ 
&ůĞdžddϱάϭϰဓ zŽƵƉĂLJάϮϮဓ zŽƵƉĂLJάϭϲဓ ဓဓ άဓဓဓ άϰ άϭϬ ϳϬĐŵ άϭϮဓ &ƌŽŵάϮϯ &ƌŽŵάϮϮ &ƌŽŵάϱϰ 'ŽŽĚƐƐƵďũĞĐƚƚŽĂǀĂŝůĂďŝůŝƚLJ >ŝǀĞŚĂƚŽƉĞƌĂƚĞƐďĞƚǁĞĞŶ
Ăŵ
ϳƉŵDŽŶ
&ƌŝĂŶĚŵĂLJŶŽƚďĞĂǀĂŝůĂďůĞĚƵƌŝŶŐƉĞĂŬ
KīĂŵĞƌĂ ƉĞƌŝŽĚƐ tĞdžWŚŽƚŽŐƌĂƉŚŝĐŝƐĂƚƌĂĚŝŶŐŶĂŵĞŽĨ
tĂƌĞŚŽƵƐĞdžƉƌĞƐƐ>ŝŵŝƚĞĚ ΞtĂƌĞŚŽƵƐĞdžƉƌĞƐƐϮϬϭϯ
ŇĂƐŚŽƌĚ
&ƌŽŵάϯϬ Ύ^,<^ƌĞƌĞĚĞĞŵĞĚǀŝĂƉƌŽĚƵĐƚƌĞŐŝƐƚƌĂƟŽŶǁŝƚŚ
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Z ƚŚĞŵĂŶƵĨĂĐƚƵƌĞƌ WůĞĂƐĞƌĞĨĞƌƚŽŽƵƌǁĞďƐŝƚĞĨŽƌĚĞƚĂŝůƐ
ϯϬĐŵ άϭϮϱϬ tĞdž^ŚŽǁƌŽŽŵʹsŝƐŝƚƵƐƚŽĚĂLJ
ϱϬĐŵ άϮϮဓဓ dŽƵĐŚ dƌLJĂŶĚƵLJůĂƚĞƐƚĂŵĞƌĂƐΘĐĐĞƐƐŽƌŝĞƐ
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d ŝůƚŚĞĂĚ
DŝĐƌŽƉŽůůŽ hŵďƌĞůůĂ&ůĂƐŚ<ŝƚ njLJďŽdž njLJďŽdž,ŽƚƐŚŽĞ njLJĂůĂŶĐĞ ĂĐŬŐƌŽƵŶĚ dƌŝ&ůŝƉ<ŝƚƐ hƌďĂŶŽůůĂƉƐŝďůĞ ဓϱĐŵ άϱဓ ǁĂƌĚǁŝŶŶŝŶŐƐƉĞĐŝĂůŝƐƚƐ
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^ĂƚϭϬĂŵ
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9LVLWXVWRGD\DWZZZZH[SKRWRJUDSKLFFRP
ŝŐŝƚĂů^>Z>ĞŶƐĞƐ &ϳϬ ϮϬϬŵŵĨϮ >/^h^D// άϭϳ ϭ ϯϱŵŵĨϯ ϱ ϰ ϱ/&& άϰϳϱ ϭϮϬ ϰϬϬŵŵĨϰ ϱ ϱ ϲ'K^,^D
&ϳϬ ϮϬϬŵŵĨϰ Ϭ>h^D άϰ ϯ ϭ ϭϬϱŵŵĨϯ ϱ ϱ ϲ'& ^ysZ άϮϬϰ &ƌŽŵ άϲϯ 
&ϳϬ ϮϬϬŵŵĨϰ Ϭ>/^h^D ά ϭ ϮϬϬŵŵĨϯ ϱ ϱ ϲ'& ^ysZ// άϱ ϭϱϬ ϱϬϬŵŵĨϱ Ϭ ϲ ϯ'K^,^D άϳϰ
 EKE>E^^
 &ϳϬ ϯϬϬŵŵĨϰ Ϭ ϱ ϲ/^h^D άϯϲ ϭ ϯϬϬŵŵĨϯ ϱ ϱ ϲ& ^sZ άϲϳ y'WKdĞůĞŽŶǀĞƌƚĞƌƐ &ƌŽŵ άϭ
&ϮϬŵŵĨϮ h^D άϰϬ &ϳϬ ϯϬϬŵŵĨϰ Ϭ ϱ ϲ>/^h^D άϭϭ Ϯϰ ϳϬŵŵĨϮ '& ^ άϭϮϰϱ
&ϮϰŵŵĨϭ ϰ>//h^D άϭϮϰϱ &ϳϱ ϯϬϬŵŵĨϰ Ϭ ϱ ϲh^D/// άϮϯϱ Ϯϰ ϱŵŵĨϮ ϰ Ϭ& άϱϰ
&ϮϰŵŵĨϮ /^h^D άϲϮϱ &ϭϬϬ ϰϬϬŵŵĨϰ ϱ ϱ ϲ>/^h^D άϭϭ Ϯ ϯϬϬŵŵĨϯ ϱ ϱ ϲ'& ^sZ άϲϱ
d^ ϮϰŵŵĨϯ ϱ>// άϭϳϬ ϱϱ ϮϬϬŵŵĨϰ ϱ ϲ'& ^ysZ/& άϮϰϭ
&Ϯ ŵŵĨϭ h^D άϯϲ ϱϱ ϯϬϬŵŵĨϰ ϱ ϲ'& ^ysZ άϮϳ  dDZKE>E^^ ǁŝƚŚϱzĞĂƌtĂƌƌĂŶƚLJ
&ϯϱŵŵĨϭ ϰ>h^D άϭϬϱ ϳϬ ϯϬϬŵŵĨϰ ϱ ϱ ϲ'& ^/&sZ άϰϯ Et ဓϬŵŵĨϮ ϰ Ϭsh^DĂĐƌŽ άϰ
&ϯϱŵŵĨϮ Ϭ άϮϬ Ϭ ϰϬϬŵŵĨϰ ϱ ϱ ϲ&sZ ά ϰ ဓϬŵŵĨϮ ^WŝDĂĐƌŽ άϯϲ
&ϯϱŵŵĨϮ Ϭ/^h^D άϲϯ E/<KE>E^^ Et  Ϭ ϰϬϬŵŵĨϰ ϱ ϱ ϲ& ^sZ άϮϮϯ ϭ ϬŵŵĨϯ ϱŝ^W&DĂĐƌŽ άϲ
&ϰϬŵŵĨϮ ^dD άϭϱ ϭϬ ϱŵŵĨϮ '/& &y&ŝƐŚĞLJĞ άϱϰ ϭϬ ϮϰŵŵĨϯ ϱ ϰ ϱŝ//>^W&^W/& άϯϲ
d^ ϰϱŵŵĨϮ  άϭϭϮ ϭϲŵŵĨϮ &&ŝƐŚĞLJĞ άϲϭ ϭϳ ϱϬŵŵĨϮ yZŝ//s άϯϰ
&ϱϬŵŵĨϭ Ϯ>h^D άϭϭϲ ϮϬŵŵĨϮ & άϰϲϯ ϭ ϮϬϬŵŵĨϯ ϱ ϲ ϯ&yZ/// άϭϱ
&ϱϬŵŵĨϭ ϰh^D άϮϳ ϮϰŵŵĨϮ & άϯϲ ϭ ϮϳϬŵŵĨϯ ϱ ϲ ϯŝ//sW άϯϰ
& ^ϲϬŵŵĨϮ h^D DĂĐƌŽ άϯϰ ϮϰŵŵĨϯ ϱW  άϭϰϲϱ ^/'D>E^^ ǁŝƚŚϯzĞĂƌtĂƌƌĂŶƚLJ Et Ϯϰ ϳϬŵŵĨϮ ŝsh^^W ά ϯ
DW ϲϱŵŵĨϮ ϭ ϱdžDĂĐƌŽ άϳ Et Ϯ ŵŵĨϭ '& ^ άϱϬϱ Et ϯϬŵŵĨϭ ϰ,^D άϰ Ϯ ϳϱŵŵĨϮ yZŝ άϯϰ
& ϱŵŵĨϭ h^D άϮ Ϯ ŵŵĨϮ & άϮϰϱ Et ϯϱŵŵĨϭ ϰ',^D άϲ Et ϳϬ ϮϬϬŵŵĨϮ ŝsh^ άϭϮ 
d^  ϬŵŵĨϮ  άϭϭϮ ϯϱŵŵĨϭ '& ^y άϭϰ  ϱϬŵŵĨϮ y'DĂĐƌŽ άϮϲ ϳϬ ϯϬϬŵŵĨϰ ϱ ϲ^Wŝsh^ άϮ
&ϭϬϬŵŵĨϮ h^DDĂĐƌŽ άϰϮϭ ϱ ϯϱŵŵĨϮ Ϭ& άϮϱϱ ϱϬŵŵĨϭ ϰy',^D άϯϰ
&ϭϬϬŵŵĨϮ >/^h^DDĂĐƌŽ άϳϮ ϰϱŵŵĨϮ W DŝĐƌŽ άϭϯ ϯ ϳϬŵŵĨϮ y'DĂĐƌŽ άϯϲ
&ϭϯϱŵŵĨϮ Ϭ>h^D ά ϱ ϱϬŵŵĨϭ ϰ'& ^ άϮ ϱŵŵĨϭ ϰy',^D άϲϲ
&ϭ ϬŵŵĨϯ ϱ>h^DDĂĐƌŽ άϭϮϳϱ ϱϬŵŵĨϭ ϰ& άϮϰϰ ϭϬϱŵŵĨϮ WKy'K^,^DDĂĐƌŽ άϱϰ 
&ϮϬϬŵŵĨϮ >h^D// άϱ ϱϬŵŵĨϭ '& ^ άϭϱϱ ϭϱϬŵŵĨϮ y'K^,^DDĂĐƌŽ άϲ
&ϯϬϬŵŵĨϮ >/^h^D// άϱϭϰϱ ϲϬŵŵĨϮ '& ^DŝĐƌŽ άϰϬϰ ϭϲŵŵĨϰ ϱ ϱ ϲ,^D άϱϰ
&ϯϬϬŵŵĨϰ Ϭ>/^h^D άϭϬ ϱŵŵĨϭ ϰ& ά ϰ ϭϬ ϮϬŵŵĨϰ Ϭ ϱ ϲy,^D άϯϲ
&ϰϬϬŵŵĨϱ ϲ>h^D άϭϬϱ ϱŵŵĨϭ ϰ'& ^ άϭϭ ϭϬ ϮϬŵŵĨϯ ϱy,^D άϰϱ
&ϱϬϬŵŵĨϭ ϰ>/^h^D// άϳϳϲϱ ϱŵŵĨϭ & άϮ ϭϮ ϮϰŵŵĨϰ ϱ ϱ ϲy',^D// άϲϰ
& ϭϱŵŵĨϰ Ϭ>h^D&ŝƐŚĞLJĞ άϭϬϱ ϱŵŵĨϮ W DŝĐƌŽƐ άϭϯϯ Et ϭϳ ϳϬŵŵĨϮ ϰ ϬK^,^D άϯϰ
& ^ϭϬ ϮϮŵŵĨϯ ϱ ϰ ϱh^D άϲϲ ϱŵŵĨϯ ϱ'& ^sZyDŝĐƌŽ άϯϳϱ ϭ ϮϬϬŵŵĨϯ ϱ ϲ ϯK^,^D// άϮϱ
& ^ϭϱ ϱŵŵĨϯ ϱ ϱ ϲ/^h^D άϱϰ ϭϬϱŵŵĨϮ '& ^sZ/&DŝĐƌŽ άϲϮ ϭ ϮϱϬŵŵĨϯ ϱ ϲ ϯK^,^D άϯϬϲ
&ϭϲ ϯϱŵŵĨϮ >h^D// άϭϭϳ ϭϯϱŵŵĨϮ Ϭ& άϭϬϮ ϭ ϮϱϬŵŵĨϯ ϱ ϲ ϯDĂĐƌŽK^,^D άϯϭ
&ϭϳ ϰϬŵŵĨϰ Ϭ>h^D άϱϳ ϭ ϬŵŵĨϮ &/&  άϲ ϱ Ϯϰ ϳϬŵŵĨϮ /&y',^D άϱ
& ^ϭϳ ϱϱŵŵĨϮ /^h^D άϳϯ ϮϬϬŵŵĨϰ Ϭ&DŝĐƌŽ άϭϭϳ ϱϬ ϭϱϬŵŵĨϮ yWKK^,^D άϳϰ &ŽƌĂǁŝĚĞƌĂŶŐĞŽĨ>ĞŶƐĐĐĞƐƐŽƌŝĞƐ
& ^ϭϳ ϱŵŵĨϰ Ϭ ϱ ϲ/^h^D άϯϯϰ ϯϬϬŵŵĨϰ Ϭ& ^/& άϭϬϮ ϱϬ ϮϬϬŵŵĨϰ Ϭ ϱ ϲK^,^D άϭϭ ŝŶĐůƵĚŝŶŐ,ŽŽĚƐ ^ƋƵĂƌĞŽƌdŚƌĞĂĚĞĚ
& ^ϭ ϭϯϱŵŵĨϯ ϱ ϱ ϲ/^^dD άϯϰϰ ϭϬ ϮϰŵŵĨϯ ϱ ϰ ϱ'& ^y άϲϯ ϱϬ ϱϬϬŵŵĨϰ ϱ ϲ ϯ'K^,^D ά
& ^ϭ ϮϬϬŵŵĨϯ ϱ ϱ ϲ/^ άϯ ϭϮ ϮϰŵŵĨϰ Ϭ'& ^/&y ά ϯ ϳϬ ϮϬϬŵŵĨϮ y'K^,^D ά &ŝůƚĞƌƐ ĂŵŽƵŇĂŐĞŽǀĞƌƐĂŶĚĞĂŶ
&Ϯϰ ϳϬŵŵĨϮ >h^D// άϭϳ ϱ ϭϰ ϮϰŵŵĨϮ '& ^ άϭϯϭϱ ϳϬ ϯϬϬŵŵĨϰ Ϭ ϱ ϲWKDĂĐƌŽ^ƵƉĞƌ'
&Ϯϰ ϭϬϱŵŵĨϰ Ϭ>/^h^D ά ϭ ϭϲ ϯϱŵŵĨϰ Ϭ'& ^sZ ά Ϯ &ƌŽŵ άϭϱϬ ĂŐƐƵƉƉŽƌƚƐǀŝƐŝƚŽƵƌǁĞďƐŝƚĞĂƚ
&Ϯ ϭϯϱŵŵĨϯ ϱ ϱ ϲ/^h^D άϯϳ ϭϲ ϱŵŵĨϯ ϱ ϱ ϲ'& ^ysZ άϰϯ ϳϬ ϯϬϬŵŵĨϰ Ϭ ϱ ϲ'K^ άϮϳϱ ǁǁǁǁĞdžƉŚŽƚŽŐƌĂƉŚŝĐĐŽŵ
& ^ϱϱ ϮϱϬŵŵĨϰ Ϭ ϱ ϲ/^// άϭ ϭϳ ϱϱŵŵĨϮ 'y& ^/& άϭϬϰ Et ϭϮϬ ϯϬϬŵŵĨϮ K^ άϮϳ

WŚŽƚŽĂŐƐΘZƵĐŬƐĂĐŬƐ ŽŵƉƵƟŶŐ W/yDWƌŽϭϬϬ άϯϳ

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SDFW7ULSRG ŶŽƚĞŬ >ĂƉƚŽƉΘ ϱdžůĂĐŬ &ŝďƌĞELJƚĞ>ĞĂƚŚĞƌ <ŚĂŬŝ W/yDWƌŽϭ άϲϰϱ
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EtdƌĂŶƐŝƚt. ůƵĞŽƌtŚŝƚĞ Zϰϲϱ> ά  ϱ ϰdž άϭϮϰ ϳdž άϮϬϱ ^ŵĂůů άϭϱϰ ŝϭŝƐƉůĂLJWƌŽ άϭϱ ^ŵĂůů άϭϲϰ
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ĂĐŬƉĂĐŬϯϱϬt άဓ ϭϱt άϰ  ϱ Zϰϲϳ> άϳϰ ϲdž άϭϲϮ dž άϮϰ WƌŽKƌŝŐŝŶĂů άϭ ^ŵŝůĞ άϲϳ >ĂƌŐĞ άϯϱϲ

ŝŐŝƚĂůŽŵƉĂĐƚĂŵĞƌĂƐ ŝŐŝƚĂůŽŵƉĂĐƚĂŵĞƌĂĂƩĞƌŝĞƐ ĂƐĞƐĂŶĚĐĐĞƐƐŽƌŝĞƐĂƌĞĂǀĂŝůĂďůĞŽŶŽƵƌǁĞďƐŝƚĞ

ϭϮϭ ϭϮϭ ϭϮϭ WŽǁĞƌ^ŚŽƚDŽĚĞůƐ

ŵĞŐĂƉŝdžĞůƐ ŵĞŐĂƉŝdžĞůƐ ŵĞŐĂƉŝdžĞůƐ WŽǁĞƌ^ŚŽƚ^yϮϳϬ,^ůƵĞŽƌ'ƌĞLJ άϮϯ
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ŵŽǀŝĞŵŽĚĞ ŵŽǀŝĞŵŽĚĞ ŵŽǀŝĞŵŽĚĞ

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ǁǁǁǁĞdžƉŚŽƚŽŐƌĂƉŚŝĐĐŽŵ

>Ƶŵŝdž>ϯϬZĞĚŽƌůĂĐŬ άϭϲϰ
KƉƟŽt'ϯ'W^WƵƌƉůĞŽƌ >Ƶŵŝdž^ ^ŝůǀĞƌŽƌůĂĐŬ άϭϱϰ
'ƌĞĞŶ άϮϲϰ >Ƶŵŝdžy^ϭZĞ̍^ŝůǀĞƌtŚŝƚЍsŝŽůĞƚ
ϭϰŵ ZĞ̍ ŽƌůĂĐŬ ά ϰ
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tŚŝƚЍ >Ƶŵŝdž&dϮϱZĞ̍ůƵЍtŚŝƚĞŽƌůĂĐŬ άϭϯ
ŽƌůĂĐŬ άϯϰ Ϯϰdž ϭϬϭ >Ƶŵŝdždϯϱ^ŝůǀĞƌŽƌůĂĐŬ άϭϳ
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Z ůĂĐŬ >Ƶŵŝdž&ϲϮůĂĐŬ άϮϰ  ϱ
ϭϲDĞŐĂƉŝdžĞůǁŝƚŚĮdžĞĚ >Ƶŵŝdž>yϳůĂĐŬ >Ƶŵŝdž&dϱůƵЍKƌĂŶŐЍ^ŝůǀĞƌŽƌůĂĐŬ άϮϲ
ZŝĐŽŚ
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^ WϳϮϬh^ŝůǀĞƌŽƌůĂĐŬ ZZWάϮϮ  άϭϱϬ SAVE ŽŽůƉŝdž>ϲϭϬ^ŝůǀĞƌZĞĚŽƌůĂĐŬ

^ϯϭDZ^ŝůǀĞƌŽƌůĂĐŬ ZZWάϮ  άϭϳ £200 ZZWάϭ  άϭϰϰ
^ϭϱtŚŝƚЍZĞ̍ůƵĞŽƌůĂĐŬ άϭϰϲ ON RRP ŽŽůƉŝdž^ϲϰϬϬZĞ̍WƵƌƉůЍ^ŝůǀĞƌ
d'ϲϯϬtŚŝƚЍZĞ̍ůƵĞŽƌůĂĐŬ άϭϯ ůĂĐŬŽƌ ůƵĞŽƌůĂĐŬ ZZWάϭ  άϭϰϰ
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dŽƵŐŚd'ϮάϮϳϰ ŽŽůƉŝdžάϳϰ ZZWάϰ άϮ ŽŽůƉŝdžWϱϮϬůĂĐŬ^ůŝǀĞƌŽƌZĞĚ άϮϳ

ůĂĐŬŽƌƌŽǁŶ d&ϭZĞ̍ůƵĞŽƌůĂĐŬ άϭϰϰ &ŝŶĞWŝdžyWϲϬůƵЍ'ƌĞĞŶzĞůůŽǁZĞĚŽƌůĂĐŬ

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ϮϬϮ &ŝŶĞWŝdž^ ϱϬϬtŚŝƚЍZĞĚŽƌůĂĐŬ άϮϰ
ŵĞŐĂƉŝdžĞůƐ tyϮϬϬ^ŝůǀĞƌŽƌůĂĐŬ άϭϳ ϭϲϯ
tyϯϬϬůĂĐŬtŚŝƚĞŽƌZĞĚ άϮϮ ŵĞŐĂƉŝdžĞůƐ ϭϮϬ &ŝŶĞWŝdž& ϬϬtŚŝƚЍZĞĚŽƌůĂĐŬ άϮϲ
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Et ZyϭϬϬ//ůĂĐŬ άϲϰ W^ ϭϮϬĨƉƐ &ŝŶĞWŝdžy&ϭůĂĐŬŽƌdĂŶ
ƐŝnjĞƐĞŶƐŽƌ
ZyϭůĂĐŬ άϮϰ ZZWάϯϯ  άϮϰϰ
Et ZyϭZůĂĐŬ άϮϱ &ŝŶĞWŝdžyϭϬϬƐůĂĐŬ &ŝŶĞWŝdžyϮϬ &ŝŶĞWŝdžy^ϭyZůĂĐŬ ZZWάϰ  άϯ
LJďĞƌ^ŚŽƚZyϭϬϬάϰϮ ά άϰϯ &ŝŶĞWŝdž,^ϱϬůĂĐŬ άϯ

&ZĞůŝǀĞƌLJŽŶŽƌĚĞƌƐŽǀĞƌάϭϱϬΎΎΎΎĂƐĞĚŽŶĂϰĚĂLJĚĞůŝǀĞƌLJƐĞƌǀŝĐĞ h<ŽŶůLJ
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PP
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AUTUMN CASHBACK
OFFERS ENDS 31ST OCTOBER 2013

SCAN TO SEE ENTIRE CASHBACK RANGE

OR VISIT CAMERAWORLD.CO.UK/CANON

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ESSEX SHOP 01245 255510

LONDON SHOP 0207 636 5005
 We are a small, family owned and run company, specialising in
photographic consumables - and proud winners of the 2011
Good Service Award. We are located in Leamington Spa,
in the heart of Warwickshire - if you are passing, please
pop into our shop, and meet Cooper - our new office dog!

01926 339977 www.premier-ink.co.uk

PRINTER INK CARTRIDGES

EPSON
COMPATIBLE & ORIGINAL INK
Canon Compatibles HP Compatibles Lexmark Compatibles
At Premier Ink Supplies, we stock two types of cartridges for Epson printers - Originals, BCi3e Black 26ml £2.99 No.15 Black 46ml £4.99 No.1 Colour £10.99
BCi6 B/C/M/Y 15ml £2.99 No.21 Black 10ml £7.99 No.2 Colour £11.99
which are made by Epson, and Compatibles, which are made by a UK company called BCi6 PC/PM/R/G 15ml £2.99 No.22 Colour 21ml £11.99 No.3 Black £14.99
Jet Tec. Using Jet Tec Compatibles is a way of saving money, without compromising on PGi5 Black 29ml £4.99 No.45 Black 45ml £4.99 No.16 Black £11.99
the quality of your prints. Here’re the results from two independent ink tests that agree… CLi8 B/C/M/Y/PC/PM 15ml £3.99 No.56 Black 24ml £9.99 No.17 Black £9.99
PGi520 Black 19ml £4.99 No.57 Colour 24ml £12.99 No.26 Colour £12.99
CLi521 B/C/M/Y/GY 9ml £3.99 No.78 Colour 36ml £9.99 No.27 Colour £11.99
“Jet Tec’s colours were superb, with single greys and PGi525 Black 19ml £4.99 No.110 Colour 12ml £10.99 No.31 Photo £11.99
blacks very close to Epson …so Jet Tec wins!” CLi526 B/C/M/Y/GY 9ml £3.99 No.300XL Black 18ml £14.99 No.32 Black £9.99
- Total Digital Photography Magazine PG37 Black 12ml £9.99 No.300XL Colour 18ml £16.99 No.33 Colour £11.99
PG40 Black 28ml £13.99 No.301XL Black 15ml £14.99 No.34 Black £11.99
PG50 Black 28ml £12.99 No.301XL Colour 18ml £16.99 No.35 Colour £12.99
Ink Test “What we’re looking at here is not only the best choice
of ink for the R300 printer, but also the best ink in this
PG510 Black 11.5ml
PG512 Black 18ml
£13.99
£14.99
No.336 Black 10ml
No.337 Black 21ml
£7.99
£10.99 Lexmark Originals
Winner group test, period. There’s just no getting away from PG540XL Black 21ml
CL38 Colour 12ml
£13.99
£12.99
No.338 Black 21ml
No.339 Black 34ml
£10.99
£12.99
No.1 Colour
No.14 Black
£22.99
£18.99
the superb combination of performance and pricing” CL41 Colour 16ml £16.99 No.342 Colour 12ml £10.99 No.15 Colour £20.99
- Computer Upgrade Magazine CL51 Colour 24ml £14.99 No.343 Colour 21ml £12.99 No.17 Black £20.99
CL512 Colour 11.5ml £15.99 No.344 Colour 21ml £14.99 No.23 Black £19.99
CL513 Colour 15ml £16.99 No.348 Photo 21ml £12.99 No.24 Colour £22.99
Cartridge Code: Originals: Jet Tec Compatibles: Suitable EPSON Printers: CL541XL Colour 15ml £15.99 No.350XL Black 30ml £14.99 No.27 Colour £22.99
T007 Black £29.99 16ml £3.99 20ml, 3 for £10.99 Photo 790, 870, 890, 895, 900, 915, 1290 No.351XL Colour 20ml £16.99 No.28 Black £18.99
T008 Colour £23.99 46ml £4.99 50ml, 3 for £13.99 Photo 790, 870, 890, 895, 915 Canon Originals No.363 Black 20ml £6.99 No.29 Colour £19.99
T009 Colour £29.99 66ml £4.99 70ml, 3 for £13.99 Photo 900, 1270, 1290 BCi3e Black 26ml £11.99 No.363 C/M/Y/PC/PM each £4.99 No.32 Black £22.99
T026 Black £39.99 16ml £3.99 20ml, 3 for £10.99 Photo 810, 830 ,830u, 925, 935 BCi6 All colours, 13ml, each £8.99 No.364XL Black 18ml £9.99 No.33 Colour £24.99
T027 Colour £29.99 46ml £4.99 50ml, 3 for £13.99 PGi5 Black 26ml £12.99 No.364XL C/M/Y 11ml each £8.99 No.36 Black £19.99
T0341-T0347 Set of 7 £126.99 set of 7 Check Website. Photo 2100 CLi8 All colours, 13ml, each £10.99 No.37 Colour £20.99
T0341/8, each £15.99 17ml Check Website. Chamelion Inks CLi42 All colours, 13ml, each £10.99 HP Originals No.43XL Colour £29.99
T0342/3/4, each £18.99 17ml Check Website. CLi42 Set of 8 £79.99 No.38 All Colours 27ml each £26.99 No.44XL Black £25.99
T0345/6/7, each £18.99 17ml Check Website. PGi9 All colours, 14ml, each £9.99 No.56 Black 19ml £19.99 No.100 Black £15.99
T0441-T0454 Set of 4 £49.99 set of 4 £14.99, 3 sets for £42.99 C64, C66, C84, C86, PGi9 Set of 10 £89.99 No.57 Colour 17ml £28.99 No.100 Cyan / Mag / Yellow £9.99
T0441 Black £21.99 13ml £4.99 21ml, 3 for £13.99 CX3600/3650, CX6400, CX6600 PGi29 All colours, 36ml, each £22.99 No.58 Photo 17ml £23.99 Many more in stock!
T0452/3/4, each £11.99 8ml £3.99 21ml, 3 for £10.99 Parasol Inks PGi29 Set of 12 £269.99 No.110 Colour 5ml £19.99
T0481-T0486 Set of 6 £69.99 set of 6 £19.99, 3 sets for £56.99 R200, R220, R300, R320, R340 PGi72 All colours, 14ml, each £10.99 No.300 Black 4ml £10.99
T0481/2/3, each £16.99 13ml £3.99 21ml, 3 for £10.99 RX500, RX600, RX620, RX640 PGi72 Set of 10 £99.99 No.300 Colour 4ml £12.99 Brother Compatibles
T0484/5/6, each £16.99 13ml £3.99 21ml, 3 for £10.99 Seahorse Inks PGi520 Black 19ml £10.99 No.301 Black 3ml £9.99
T0540-T0549 Set of 8 £109.99 set of 8 £35.99, 3 sets for £99.99 Photo R800, R1800 LC900 Black £3.99
CLi521 B/C/M/Y/GY 9ml £9.99 No.301 Colour 3ml £11.99 LC900 C/M/Y £2.99
T0540 Gloss £8.99 13ml £3.99 21ml, 3 for £13.99 Frog Inks PGi520/CLi521 Set of 5 £46.99 No.337 Black 11ml £18.99
T0541/2/3/4, each £14.99 13ml £4.99 21ml, 3 for £13.99 LC900 Set of 4 £11.99
PGi525 Black 19ml £10.99 No.338 Black 11ml £18.99 LC970 / 1000 Black £3.99
T0547/8/9, each £14.99 13ml £4.99 21ml, 3 for £13.99 CLi526 B/C/M/Y/GY 9ml £9.99 No.339 Black 21ml £25.99
T0551-T0554 Set of 4 £34.99 set of 4 £14.99, 3 sets for £42.99 Photo R240, R245, LC970 / 1000 C/M/Y £2.99
PGi525/CLi526 Set of 5 £46.99 No.343 Colour 7ml £20.99 LC970 / 1000 Set of 4 £11.99
T0551 Black £8.99 8ml £4.99 21ml, 3 for £10.99 RX420, RX425, RX520, RX525 PGi550 Black 15ml £10.99 No.344 Colour 14ml £28.99
T0552/3/4, each £8.99 8ml £3.99 21ml, 3 for £10.99 Duck Inks LC980 / 1100 Black £3.99
CLi551 B/C/M/Y/GY 7ml £8.99 No.350 Black 4.5ml £11.99 LC980 / 1100 C/M/Y £2.99
T0591-T0599 Set of 8 £99.99 set of 8 Check Website. Photo R2400 PGi550/CLi551 Set of 5 £42.99 No.351 Colour 3.5ml £14.99
T0591/2/3, each £12.99 13ml Check Website. Lilly Inks LC980 / 1100 Set of 4 £11.99
PG37 Black 11ml £11.99 No.363 Black 6ml £13.99 LC1280XL Black £4.99
T0594/5/6, each £12.99 13ml Check Website. PG40 Black 16ml £14.99 No.363 C/M/Y/PC/PM each £9.99
T0597/8/9, each £12.99 13ml Check Website. LC1280XL C/M/Y £3.99
PG50 Black 22ml £21.99 No.364 Black 6ml £7.99 LC1280XL Set of 4 £15.99
T0611-T0614 Set of 4 £34.99 set of 4 £14.99, 3 sets for £42.99 D68, D88, PG510 Black 9ml £11.99 No.364 PB/C/M/Y 3ml each £6.99
T0611 Black £8.99 8ml £4.99 21ml, 3 for £13.99 DX3800/3850, DX4200/4250, DX4800/4850 PG512 Black 15ml £16.99 No.364 Set of 4 £22.99 Brother originals also in stock!
T0612/3/4, each £8.99 8ml £3.99 21ml, 3 for £10.99 Teddy Bear Inks PG540XL Black 21ml £17.99 No.901 Black 4ml £11.99
T0711-T0714 Set of 4 £34.99 set of 4 £14.99, 3 sets for £42.99 S20, S21, SX100/105/110/115/200/205/210/215 CL38 Colour 9ml £15.99 No.901 Colour 9ml £14.99
T0711 Black £8.99 7.4ml £4.99 13ml, 3 for £13.99 SX400/405/415/515, D78/92/120, B40W, BX300 CL41 Colour 12ml £18.99 No.920XL Set of 4 £46.99 Kodak Original Ink / Paper
T0712/3/4, each £8.99 5.5ml £3.99 13ml, 3 for £10.99 DX4000/4400/5000/6000/7000/7400/8400/9400 CL51 Colour 21ml £25.99 No.932XL Black 22.5ml each £21.99 ESP Black Series 10 Ink £6.99
T0791-T0796 Set of 6 £74.99 set of 6 Check Website. Photo 1400 CL52 Photo 21ml £19.99 No.933XL C/M/Y 8.5ml each £9.99 ESP Colour Series 10 Ink £12.99
T0791/2/3, each £12.99 10ml Check Website. Owl Inks CL511 Colour 9ml £15.99 No.940XL Set of 4 £69.99 ESP Black Series 30 Ink £6.99
T0794/5/6, each £12.99 10ml Check Website. CL513 Colour 13ml £20.99 No.950XL Black 53ml each £24.99 ESP Colour Series 30 Ink £12.99
T0801-T0806 Set of 6 £51.99 set of 6 £19.99, 3 sets for £57.99 Photo P50, PX650/660/700W/710W/720WD, CL541XL Colour 15ml £19.99 No.951XL C/M/Y 24ml each £17.99 ESP Black/Colour Twin Packs £18.99
T0801/2/3, each £8.99 7.4ml £3.99 13ml, 3 for £10.99 PX730WD/800FW/810FW/830FWD/830FWD
Many more in stock! Many more in stock! Kodak Photo Paper also in stock!
T0804/5/6, each £8.99 7.4ml £3.99 13ml, 3 for £10.99 R265/285/360, RX560/585/685
T0870-T0879 Set of 8 £74.99 set of 8 Check Website. Photo R1900
T0870 Gloss
T0871/2/3/4, each
T0877/8/9, each
£7.99 11.4ml Check Website.
£9.99 11.4ml Check Website.
£9.99 11.4ml Check Website.
Flamingo Inks
PHOTOGRAPHIC PAPERS
T0961-T0969 Set of 8 £74.99 set of 8 Check Website. Photo R2880 As an Ilford Pro Centre, we As a PermaJet Premier Stockist,
T0961/2/3/4/5, each £9.99 11.4ml Check Website. Husky Inks stock the complete range of we supply the ENTIRE PermaJet
Ilford Galerie papers, including range, including Baryta, Smooth
T0966/7/8/9, each £9.99 11.4ml Check Website. 17, 24 and 44 inch rolls. and Textured Fine Art and Canvas.
T1281-T1284 Set of 4 £29.99 set of 4 £14.99 set of 4 S22, SX125/130, SX420W/425W/445W, Below is just a selection. Below is just a selection.
T1281 Black £7.99 5.9ml £4.99 13ml BX305F
T1282/3/4, each £7.99 3.5ml £3.99 10ml Fox Inks Photo Glossy Paper 200g, A4, 20 BOGOF £7.99 Sample Pack 25 sheets, 5 different papers! £11.99
T1291-T1294 Set of 4 £42.99 set of 4 £16.99 sets of 4 SX420W/425W/445W/525WD/620FW, Smooth Gloss 290g, 6x4, 100 sheets £12.99 NEW Ultra Pearl 295g, A4, 25 £12.99
T1291 Black £10.99 11.2ml £5.49 16ml BX305F/320FW/525WD/535WD/625FWD/630FW, Smooth Gloss 290g, 7x5, 100 sheets £17.99 Digital Gloss or Oyster 271g, 6x4, 50 £7.99
T1292/3/4, each £10.99 7ml £4.49 13ml BX635FWD/BX925FWD/BX935FWD, B42WD Smooth Gloss 290g, A4, 25 sheets +10 FREE £10.99 Digital Gloss or Oyster 271g, 7x5, 50 £10.99
T1571-9, each £20.99 25.9ml each or £164.99 set of 8 Photo R3000 Turtle Inks Smooth Gloss 290g, A3, 25 sheets £24.99 Digital Gloss or Oyster 271g, A4, 50 £19.99
T1591-9, each £14.99 17ml each or £107.99 set of 8 Photo R2000 Kingfisher Inks Smooth Gloss 290g, A3+, 25 sheets £29.99 Digital Gloss or Oyster 271g, A3, 25 £21.99
T5591-6, each £13.99 13ml each or £74.99 set of 6 Photo RX700 Penguin Inks Smooth Pearl 290g, 6x4, 100 sheets £12.99 Digital Gloss or Oyster 271g, A3+, 25 £29.99
T5801-9, each £41.99 80ml each or £329.99 set of 8 Photo Pro 3800, 3880 Smooth Pearl 290g, 7x5, 100 sheets £17.99 Double Sided Oyster 285g, A4, 25 £26.99
No.16 Set of 4 £24.99 set of 4 £14.99 set of 4 Workforce WF-2010W, 2510WF, 2520NF, Smooth Pearl 290g, A4, 25 sheets +10 FREE £10.99 Double Sided Matt 250g, A4, 100 £26.99
No.16 Black £7.99 5.4ml £4.99 18ml 2530WF, 2540WF Smooth Pearl 290g, A3, 25 sheets £24.99 Matt Proofing 160g, A4, 150 £19.99
No.16 C/M/Y, each £5.99 3.1ml £3.99 13ml Fountain Pen Inks Smooth Pearl 290g, A3+, 25 sheets £29.99 Matt Plus 240g, A4, 25 £9.99
No.16XL Set of 4 £44.99 set of 4 £14.99 set of 4 Workforce WF-2010W, 2510WF, 2520NF, Smooth H/weight Matt 200g, A4, 50 sheets £14.99 Fibre Base Gloss 295g, A4, 25 £24.99
No.16XL Black £14.99 12.9ml £4.99 18ml 2530WF, 2540WF Smooth Lustre Duo 280g, A4, 25 sheets £12.99 NEW Fibre Base Distinction 360g, A4, 25 £25.99
No.16XL C/M/Y, each £11.99 6.5ml £3.99 13ml High Capacity Fountain Pen Inks Gold Fibre Silk 310g, A4, 50 sheets £44.99 Smooth Fine Art Portfolio 200g, A4, 25 £19.99
No.18 Set of 4 £22.99 set of 4 £14.99 set of 4 Expression Home XP30, XP102, XP202, XP205 Gold Mono Silk 270g, A4, 25 sheets NEW £19.99 Smooth Fine Art Portrait 300g, A4, 25 £26.99
No.18 Black £7.99 5.2ml £4.99 18ml XP302, XP305, XP402, XP405 Fine Art Smooth 220g, A4, 25 sheets NEW £27.99 Textured FineArt Artist 210g, A4, 25 £19.99
No.18 C/M/Y, each £5.99 3.3ml £3.99 13ml Daisy Inks Fine Art Textured 220g, A4, 25 sheets NEW £27.99 Textured Fine Art Parchment 285g, A4, 25 £21.99
No.18XL Set of 4 £46.99 set of 4 £14.99 set of 4 Expression Home XP30, XP102, XP202, XP205 ICC profiles available for all Ilford papers Canvas Artistic 400g, A4, 10 £14.99
No.18XL Black £14.99 11.5ml £4.99 18ml XP302, XP305, XP402, XP405 ICC profiles available for all PermaJet papers
No.18XL C/M/Y, each £11.99 6.6ml £3.99 13ml High Capacity Daisy Inks
No.24 Set of 6 £44.99 set of 6 NEW Expression Photo XP750, XP850 Established in 1584, the
Hahnemuhle name is As an Official Fotospeed
No.24 B/LC/LM, each £7.99 5.1ml NEW Elephant Inks synonymous with fine art Stockist, we can supply
No.24 C/M/Y, each £7.99 4.6ml NEW printing. Full range now the complete Fotospeed
No.24XL Set of 6 £69.99 set of 6 NEW Expression Photo XP750, XP850 available at Premier Ink. range. Below is just a tiny
selection of their papers.
No.24XL B/LC/LM, each £11.99 9.8ml NEW High Capacity Elephant Inks
No.24XL C/M/Y, each £11.99 8.7ml NEW Sample Pack 14 sheets, A4 £9.99
Albrecht Durer 210g, A4, 25 sheets £22.99 Sample Pack 14 sheets, 7 different papers! £9.99
No.26 Set of 4 (no PB) £30.99 set of 4 NEW Expression Premium XP600, XP605, XP700,
Pigment Friendly Gloss 270g, A4, 50 £17.99
No.26 Black £8.99 6.2ml NEW XP800
German Etching 310g, A4, 25 sheets £27.99
Bamboo 290g, A4, 25 sheets £27.99 Pigment Friendly Lustre 270g, A4, 50 £17.99
No.26 Photo Black £7.99 4.7ml NEW Polar Bear Inks
Pigment Friendly Satin 270g, A4, 50 £17.99
No.26 C/M/Y, each £7.99 4.5ml NEW Sugar Cane 300g, A4, 25 sheets £24.99
Photo Rag 308 308g, A4, 25 sheets £29.99 Pigment Friendly Matt Duo 200g, A4, 100 £24.99
No.26XL Set of 4 (no PB) £54.99 set of 4 NEW Expression Premium XP600, XP605, XP700,
NT Natural Textured 315g, A4, 20 £17.99
No.26XL Black £14.99 12.1ml NEW XP800
Photo Rag Pearl 320g, A4, 25 sheets £32.99
Photo Rag Satin 310g, A4, 25 sheets £32.99 NST Natural Soft Textured 315g, A4, 20 £17.99
No.26XL Photo Black £13.99 8.7ml NEW High Capacity Polar Bear Inks
HWS High White Smooth 315g, A4, 20 £19.99
No.26XL C/M/Y, each £13.99 9.7ml NEW Photo Rag Baryta 315g, A4, 25 sheets £34.99
Fine Art Pearl 285g, A4, 25 sheets £32.99 NEW Platinum Baryta 300g, A4, 20 £22.99
If you cannot find the ink cartridges for your printer, please check our website, or give us a call, and we’ll do our best to help.
We stock what is probably the UK’s largest range of ink cartridges and photo paper, including wide format ink cartridges and roll papers. Fine Art Baryta 325g, A4, 25 sheets £32.99 ICC profiles available for all Fotospeed papers

E&OE. Prices may be subject to change, but hopefully not! Premier Ink & Photographic, Longfield Road, Leamington Spa, CV31 1XB. 01926 339977
Orders are shipped promptly by Royal Mail 1st class post, for which we charge just £1.99 per
order. All prices include VAT, and a full VAT receipt is provided with every order. Payment
accepted by credit/debit card, cheque or postal order. Orders accepted securely online,
www.premier-ink.co.uk, over the telephone, 01926 339977, by post, or by visiting our shop:
Premier Ink & Photographic, Longfield Road, Sydenham Ind Estate, Leamington Spa, CV31 1XB.

01926 339977 www.premier-ink.co.uk Winners of the Amateur Photographer 2011 GOLD “Good Service Award”

MEMORY BATTERIES SQUARE FILTERS SCREW-TYPE FILTERS

NEW LOWER
PRICES
Camera Batteries
A comprehensive range of
rechargeable li-ion
KOOD KOOD
batteries. P-Type Filter System Japanese Optical Glass Filters
Manufactured by The P-Type square/rectangular filter system Coated to reduce lens flare and reflections.
respected independent consists of three parts:
battery manufacturers
Energizer and Blumax. All 1) An adapter ring that screws onto the front UV / Haze Filters Circular Polarising Filters
batteries come with a 2 year guarantee. of your lens KOOD square filters are manufactured Used both to protect the lens of your These remove reflections from surfaces
2) A filter holder clips onto the ring in the UK, and are fully compatible camera, and to absorb ultraviolet rays such as glass and water, as well as
NB-2L/LH for Canon £9.99 3) One or more P-Type (84mm wide) filters with the Cokin P-Type filter system
Sandisk NB-3L for Canon £9.99
that can cause photos to appear hazy. increasing contrast and saturation.
Blue NB-4L for Canon £9.99 P-Type Adapter Rings P-Type Filters (84mm wide) 46mm UV / Haze £6.99 46mm Circular Polarizing £18.99
C4: 5MB/s NB-5L for Canon £9.99 52mm UV / Haze £6.99 52mm Circular Polarizing £19.99
49mm Adapter Ring £4.99 Circular Polarizing £29.99 55mm UV / Haze £7.99 55mm Circular Polarizing £21.99
2GB 5MB/s £8.27 £4.99 NB-6L for Canon £9.99 52mm Adapter Ring £4.99 ND2 £9.99
4GB 5MB/s £12.41 £4.99 NB-7L for Canon £12.99 58mm UV / Haze £8.99 58mm Circular Polarizing £24.99
55mm Adapter Ring £4.99 ND4 £9.99 62mm UV / Haze £9.99 62mm Circular Polarizing £29.99
8GB 5MB/s £21.10 £5.99 NB-8L for Canon £9.99 58mm Adapter Ring £4.99 ND8 NEW £10.99
16GB 5MB/s £39.39 £8.99 NB-9L for Canon £9.99 67mm UV / Haze £10.99 67mm Circular Polarizing £34.99
62mm Adapter Ring £4.99 ND2 Soft Graduated £11.99 72mm UV / Haze £11.99 72mm Circular Polarizing £39.99
NB-10L for Canon £12.99 67mm Adapter Ring £4.99 ND2 Hard Graduated £11.99
Sandisk BP-511 for Canon £12.99 77mm UV / Haze £14.99 77mm Circular Polarizing £44.99
72mm Adapter Ring £4.99 ND4 Soft Graduated £11.99 82mm UV / Haze £17.99 82mm Circular Polarizing £49.99
Ultra LP-E5 for Canon £12.99 77mm Adapter Ring £4.99 ND4 Hard Graduated £11.99
C6: 30MB/s LP-E6 for Canon £29.99 £19.99 86mm UV / Haze £22.99 86mm Circular Polarizing £59.99
82mm Adapter Ring £4.99 ND8 Soft Graduated NEW £13.99
LP-E8 for Canon £15.99 ND8 Hard Graduated NEW £13.99
More sizes in stock, from 24 to 86mm! More sizes in stock, from 27 to 86mm!
4GB 30MB/s £15.66 £5.99 LP-E10 for Canon £12.99
8GB 30MB/s £27.85 £6.99 P-Type Holders Light Blue Graduated £11.99 Skylight Filters Neutral Density Filters
NP40 for Fuji £9.99 Dark Blue Graduated £11.99
16GB 30MB/s £57.22 £10.99 NP45 for Fuji £9.99 Holder Standard £5.99 Similar to a UV filter, but with a pinkish tinge Used reduce the amount of light passing
Holder Wide Angle £6.99 Cool Blue Graduated £11.99 to add a gentle warmth to your photos. through the lens, reducing shutter speed
NP50 for Fuji £9.99 Light Sunset Graduated £11.99
Sandisk NP95 for Fuji £9.99 Hood Modular £6.99 52mm Skylight £7.99
without affecting colour contrast or balance.
Available as ND4 (2 stop) and ND8 (3 stop).
Extreme Dark Sunset Graduated £11.99 £8.99
NP140 for Fuji £12.99 Light Tobacco Graduated £11.99 55mm Skylight
C10: 30&45MB/s £9.99 52mm ND4 / ND8 £11.99
NP150 for Fuji £19.99 P-Type Filter Wallet Dark Tobacco Graduated £11.99 58mm Skylight
£10.99 55mm ND4 / ND8 £12.99
4GB 30MB/s £21.33 £7.99 NP400 for Minolta £12.99 A smooth cushioned filter Light Mauve Graduated £11.99 62mm Skylight
£11.99 58mm ND4 / ND8 £14.99
8GB 30MB/s £37.42 £9.99 EN-EL1 for Nikon £9.99 wallet, to protect
Dark Mauve Graduated £11.99 67mm Skylight
and store up to £13.99 62mm ND4 / ND8 £17.99
16GB 45MB/s £46.02 £14.99 EN-EL3/3A for Nikon £9.99 Light Red Graduated £11.99 72mm Skylight
8 P-Type filters
£16.99 67mm ND4 / ND8 £22.99
32GB 45MB/s £67.65 £27.99 EN-EL3E for Nikon £14.99 Dark Red Graduated £11.99 77mm Skylight
£9.99 72mm ND4 / ND8 £29.99
64GB 45MB/s £92.34 £57.99 EN-EL5 for Nikon £9.99 Light Green Graduated £11.99 More sizes in stock, from 30 to 105mm!
77mm ND4 / ND8 £34.99
EN-EL9 for Nikon £12.99 Dark Green Graduated £11.99
Sandisk EN-EL10 for Nikon £9.99 P-Type Six-Piece Light Yellow Graduated £11.99
Close Up Filter Sets More sizes in stock, from 37 to 82mm!
Ultra EN-EL11 for Nikon £9.99 Neutral Density Filter Kit Dark Yellow Graduated £11.99 Sets containing three filters, rated at +1, +2,
30MB/s and +4 diopters. Increases close up / macro Starburst Filters
EN-EL12 for Nikon £9.99 Light Fog £9.99 ability of the lens they are fitted to. These add a dramatic star cross flare to
4GB 30MB/s
8GB 30MB/s
£21.76 £13.99
£36.12 £19.99
EN-EL14 for Nikon NEW £19.99
EN-EL15 for Nikon NEW £24.99 £49.99 Strong Fog
Light Diffuser
£9.99
£9.99
52mm Close-Up Set £26.99 bright light sources, such as streetlights.
They also give a slight soft focus effect.
55mm Close-Up Set
16GB 30MB/s £70.06 £34.99 EN-EL19 for Nikon
EN-EL20 for Nikon
£12.99
£14.99
£43.99 Strong Diffuser £9.99 58mm Close-Up Set
£29.99
£34.99 52mm Starburst x4/6/8, each £11.99
Starburst 4x,6x,8x, each £12.99 58mm Starburst x4/6/8, each £15.99
Sandisk Li10B/12B for Olympus £9.99 Neutral Density filters have a multitude of
uses - from increasing detail in landscapes Close-Up +1,+2,+4, each £12.99
More sizes in stock, from 46 to 77mm!
67mm Starburst x4/6/8, each £21.99
Extreme Li40B/42B for Olympus £9.99 and reducing over-exposed skies, to creating 80A, 80B, 80C, each £9.99 72mm Starburst x4/6/8, each £27.99
60MB/s Li50B for Olympus £9.99 stunning motion scenes by reducing shutter Lens Converters
speeds. Here's a kit which includes all the 81A, 81B, 81C, each £9.99 Ideal for converting your kit lens to a
More sizes in stock, from 46 to 82mm!
BLM-1 for Olympus £12.99 82A, 82B, 82C, each £9.99
8GB 60MB/s £67.02 £27.99 BLS-1 for Olympus £12.99
popular ND filters, and everything you need 2.0X telephoto or 0.5X wide angle lens.
We stock many other filter types,
16GB 60MB/s £116.19 £45.99 to get started! The kit contains: 1x ND2 85A, 85B, 85C, each £9.99 52mm 2.0X or 0.5X converter £35.99
CGA-S005 for Panasonic £9.99 Filter, 1x ND2 Soft Graduated Filter, 1x ND4
Red, Orange, each £9.99 including multi-image, fog,
32GB 60MB/s £208.89 £76.99 CGR-S006 for Panasonic £9.99 Filter, 1x ND4 Soft Graduated Filter, 1x P- 55mm 2.0X or 0.5X converter £37.99 split-field, red, orange, yellow and
64GB 60MB/s £365.45 £139.99 Type Filter Holder, 1 x P-Type Adapter Ring Yellow, Green, each £9.99 58mm 2.0X or 0.5X converter £39.99 green filters in a range of sizes.
CGA-S007 for Panasonic £9.99 of your choice (49-82mm). Many more P-Type filters in stock!
Sandisk DMW-BCG10 for Panasonic £19.99
Ultra DMW-BCJ13 for Panasonic £19.99 We also stock Z-Pro (100mm) and A-Type (67mm)
DMW-BCK7 for Panasonic £19.99 filters, holders and adapter rings Light Craft FaderND MkII (2-8 stop)
C10: 30MB/s 52mm FaderND MkII £56.99
DMW-BLB13 for Panasonic £19.99 Workshop
8GB 30MB/s £37.42 £7.99 DMW-BLE9 for Panasonic £14.99 55mm FaderND MkII £59.99
16GB 30MB/s
32GB 30MB/s
£46.02 £12.99
£67.65 £24.99
DMW-BMB9 for Panasonic £24.99
D-Li50 for Pentax £12.99
LENS HOODS & CAPS Filters
Amazing but true - by simply rotating the
outer element of the filter, the amount of
58mm FaderND MkII
62mm FaderND MkII
£62.99
£69.99
64GB 30MB/s £92.34 £48.99 D-Li90 for Pentax £12.99 light passing through the filter can be 67mm FaderND MkII £79.99
D-Li109 for Pentax £12.99 Bayonet-Fit Lens Hoods Screw-Fit Lens Hoods adjusted from a 2 stop to an 8 stop reduction. 72mm FaderND MkII £89.99
SLM-1137D for Samsung £9.99 The FaderND filter is constructed from two 77mm FaderND MkII £99.99
52mm Shaped Petal Hood £6.99 opposing sheets of polarizing glass, the
SLM-1674 for Samsung £12.99 55mm Shaped Petal Hood £6.99 outer sheet mounted in an independently ND500MC (fixed 9 stop)
BG-1 for Sony £19.99 58mm Shaped Petal Hood £6.99 rotating frame. The new Mk II version 52mm ND500MC £39.99
NP-FM500H for Sony £19.99 features both imporvied optical elements,
Compact Flash: 800X 62mm Shaped Petal Hood £7.99 and a thinner, conical shaped frame to 58mm ND500MC £47.99
NP-FH50 for Sony £19.99 67mm Shaped Petal Hood £7.99 reduce the chance of vignetting. 67mm ND500MC £55.99
8GB 120MB/s £177.38 £34.99 NP-FW50 for Sony £24.99 72mm Shaped Petal Hood £9.99 Also available is the highly acclaimed 72mm ND500MC £59.99
16GB 120MB/s £271.30 £67.99 Many more batteries in stock! 77mm Shaped Petal Hood £9.99 ND500MC fixed 9-stop filter with ultra-thin 77mm ND500MC £64.99
32GB 120MB/s £384.30 £109.99 A comprehensive range of aftermarket 82mm Shaped Petal Hood £11.99
frame for wide angle photography.

Compact Flash: 1000X matt black bayonet-fit lens hoods for 46mm Rubber Hood £3.99 Genuine LightCraftWorkshop filters - beware of immitations!
Battery Grips Canon, Nikon and Sony lenses.
52mm Rubber Hood £3.99
16GB 150MB/s £371.30 £99.99 ES-62 Canon 50/1.8
STEPPING RINGS
A range of professional battery £9.99 55mm Rubber Hood £3.99
32GB 150MB/s £569.56 £189.99 grips from Hahnel. All can take ES-71II Canon 50/1.4 £9.99
two Li-ion batteries for double 58mm Rubber Hood £3.99
SDHC Class 10: 400X the battery power. AA
ET-60 Canon 75-300/4-5.6 £9.99 62mm Rubber Hood £4.99
8GB 60MB/s £130.73 £14.99 battery compartment ET-65B Canon 70-300/4-5.6 £9.99 67mm Rubber Hood £4.99
16GB 60MB/s £198.47 £22.99 and/or vertical shutter ET-67 Canon 100/2.8 Macro £9.99 Step-Up and Step-Down Rings
release and/or infrared 72mm Rubber Hood £5.99
32GB 60MB/s £248.54 £39.99 remote, depending on model.
ET-67B Canon 60/2.8 £9.99 77mm Rubber Hood £5.99
Stepping rings are used to “step-up” or “step-down”
from one filter thread size to another.
EW-60C Canon 18-55 IS £7.99
For Canon 5DMkII: £99.99 EW-73B Canon 17-85 IS £9.99 34-37mm 52-55mm 58-55mm 67-62mm
Lens Caps This is just a tiny
For Canon 5DMkIII: £99.99 EW-78BII Canon 28-135 IS £9.99 37-43mm 52-58mm 58-62mm 67-77mm fraction of our range.
For Canon 7D: £99.99 EW-78D Canon 18-200 IS £9.99 30mm, 37mm, 40mm, 43mm, 43-46mm 55-52mm 58-67mm 72-67mm Over 160 different sizes
For Canon 30/40/50D: £59.99 EW-78E Canon 15-85 IS £12.99 46mm, 49mm, 52mm, 55mm, 46-49mm 55-58mm 62-67mm 72-77mm in stock, from 25mm to
Compact Flash: 500X For Canon 60D: £99.99 EW-83E Canon 17-40/4.0 £12.99 58mm, 62mm, 67mm, 72mm, 49-52mm
105mm. Probably
58-52mm 62-72mm 77-72mm the largest selection
8GB 75MB/s £39.99 £14.99 For Canon 450/500D: £69.99 EW-83J Canon 17-55/2.8 £12.99 77mm, 82mm, 86mm, 95mm
All just £4.99 each! in the UK!
16GB 75MB/s £59.99 £19.99 For Canon 550D: £99.99 HB-25 Nikon 24-85, 24-120 £12.99 £3.99 each
32GB 75MB/s £79.99 £34.99 For Canon 600/650D: £99.99 HB-37 Nikon 55-200 VR £7.99
Compact Flash: 1000X
16GB 150MB/s £99.99 £49.99
For Canon 1000D:
For Nikon D80/D90:
£69.99
£59.99
For Nikon D800/D800E:£99.99
HB-45 Nikon 18-55 VR
SH-006 Sony 18-70/3.5-5.6
£7.99
£9.99
We also stock a range of
body caps and rear lens MACRO PHOTOGRAPHY
SH-108 Sony 18-55/3.5-5.6 £9.99 caps for Canon, Nikon,
32GB 150MB/s £189.99 £84.99 For Nikon D7000: £99.99 Extension Tubes
This is just a sample, more in stock! Olympus, Sony, Pentax, etc Reversing Rings - £12.99
These fit to the camera body, between the Set of 3 tubes. They contain no optics,

BATTERIES & CHARGERS camera and lens, leaving a screw thread they simply move the lens further from the

SPIRIT LEVELS to enable the reverse mounting of lenses.

Standard Rechargeables
High-power Ni-MH rechargeable AA and
AAA batteries - all sold in packs of 4.
AAA 1000mAh Duracell £6.99
AA 2450mAh Duracell £6.99
AA 2500mAh GP £9.99
AA 2850mAh Ansmann £13.99
AA 2900mAh Delkin £14.99 £9.99
ReCyko+ Rechargeables
New technology, combining the benefits
of Alkaline and Ni-MH rechargeable
batteries. They come pre-charged, retain
90% of their charge after 6 months, and
last 4 times as long as alkaline batteries!
AAA 850mAh equivalent (4) £5.99
AA 2050mAh equivalent (4) £7.99
Ultimate Lithium
Energizer Ultimate Lithium:
The longest lasting AA and
AAA batteries in the world!
AAA Ultimate Lithium (4) £6.99
AA Ultimate Lithium (4) £7.99 £5.99
E&OE. Prices may be subject to change, but hopefully not!
Universal Charger
The NEW Hahnel UniPal
charger is able to charge
AA, AAA, Li-Ion batteries,
cameras, phones, iPods
and more! Mains power
cable, plus 12V car charger.
£19.99
Full details on our website.
Dedicated Charger
A dedicated Li-Ion charger, able to charge
most camera batteries. Mains
cable, plus 12V car charger. £14.99
Coin Cells, etc
A comprehensive range of specialist
batteries - see our website for full range.
£1.99
CR123A Energizer Lithium (1)
CR2 Energizer Lithium (1)
2CR5 Energizer Lithium (1)
£1.99
£3.99
£5.99
CRV3 Energizer Lithium (1)
LR44 Energizer Alkaline (2) £1.99
CR2025, CR2032 etc £1.99
Full range of coin cells in stock
A way of obtaining a high reproduction ratio,
allowing extreme Macro photography.
camera body, allowing closer focusing.
Autofocus tubes available in Canon, Nikon
and Sony fittings - manual tubes are also
available in Pentax and Olympus fittings.
Canon: 52, 55, 58, 62, 67mm
Bubble Spirit Levels Twin Axis Normal Hotshoe £7.99 Manual Focus Tubes £17.99
Twin Axis Sony Hotshoe £7.99 Nikon: 52, 55, 58, 62, 67mm Autofocus Tubes £134.99
Pentax K: 52, 55, 58, 62, 67mm
These simply mount onto the Triple Axis Normal Hotshoe £9.99
hot shoe of a DSLR camera. Triple Axis Sony Hotshoe £9.99 Olympus: 52, 55, 58, 62, 67mm Extension Bellows
Sony: 52, 55, 58, 62, 67mm Acting like an adjustable set
of extension tubes, they
CLEANING
Coupling Rings - £11.99
allow fine control over
focusing distance. Nikon,
Used to attach two lenses together via their
Canon and Pentax fit.
filter threads, achieving high magnifications
£49.99
52-52mm, 52-55mm, 52-58mm
Sensor Cleaning
55-55mm, 55-58mm, 58-58mm Right Angle Viewfinders
Adjustable eyepiece, adjustable
LensPen SensorKlear Loupe 6X magnification, with LEDs £39.99 T2 Mounts - £12.99 magnification, 360 degree rotating
LensPen SensorKlear Loupe Kit inc. Loupe, Blower, SensorKlear £49.99
Canon, Nikon, Sony, Oly, Pentax body. Ideal for close-up work.
Green Clean Sensor Cleaning Kit inc. Mini Vacuum, swabs, wipes £64.99 1.0X-2.0X £49.99
Green Clean Sensor Cleaning Wet’n’Dry Swabs pack of 4 £15.99 Series 7 Rings, Rollei Rings and
Hasselblad Rings also in stock. 1.0X-3.3X £64.99
Lens Cleaning Telephone: 01926 339977 or 0800 1077 211
www.premier-ink.co.uk
LensPen Original Carbon-tipped pen with built-in cleaning brush £7.99
LensPen DSLR Pro Kit Cloth, Pen, FilterKlear, MicroPro £24.99 £17.99
Spudz 6x6 Washable microfibre cloth with neoprene pouch and belt/key clip £4.99
Massive range of cleaning equipment on our website and in stock. Premier Ink, Longfield Road, Leamington Spa, CV31 1XB
Bronica ETRS/Si
ETRSi Complete + Plain Prism ..E+ / E++ £269 - £279
ETRSi Complete ........................E+ / E++ £249 - £299
ETRSi Body + Speed Grip .....................E+ / E++ £149
ETRC Complete + AE Meter Prism ..................E+ £229
30mm F3.5 PE Fisheye.....................E++ £699 - £749
40mm F4 E...............................E+ / E++ £119 - £149
45-90mm F4-5.6 PE ........................E++ £399 - £449
50mm F2.8 E..........................................E+ £69 - £99
70-140mm F4.5 PE .....................................E++ £599
75mm F2.8 EII..................................................E+ £79
75mm F2.8 PE...............................................E++ £79
100-220mm F4.8 PE ...................................E++ £499
150mm F3.5 E ...............As Seen / Unused £59 - £129
150mm F3.5 PE ...............................E++ £129 - £149
200mm F4.5 E ...............As Seen / Unused £79 - £249
200mm F4.5 PE .....................E+ / Unused £99 - £279
200mm F5.6 E.............................................E++ £129
250mm F5.6 E....................As Seen / E++ £79 - £159
500mm F8 E ..................................................E+ £349
2x Converter E ...............................................E++ £69
120 Ei Mag ...................................E+ / E++ £39 - £49
Polaroid Mag E..............................E+ / E++ £15 - £59
AEII Meter Prism .....................................E+ £49 - £79
Multi Scope E...........................................As Seen £35
Prism Finder E........................As Seen / Exc £29 - £59
Rotary Finder E .....................As Seen / E++ £49 - £89
Waist Level Finder E.......................................E++ £35
Speed Grip E ....................................................E+ £29
Extension Tube E14 ..................E+ / Unused £39 - £89
Extension Tube E28........................................E++ £79
Motorwinder E ...............................................E++ £85
Motorwinder Ei.................................................E+ £85
Pro Shade E .....................................................E+ £25
SCA386 Flash Adapter ..................E+ / E++ £25 - £45
Bronica RF645
RF645 + 65mm F4 ......................................E++ £599
45mm F4 RF + Finder...........E++ / Mint- £349 - £399
135mm F4.5 RF .........................................Mint- £749
62mm Polariser Filter.....................................E++ £79
RF20 Speedlite ............................................E++ £149
Bronica SQA/Ai/B
SQAM Body Only ............................................E+ £125 210mm F4 Sonnar...................E+ / Mint- £389 - £549
65mm F4 PS ........................E+ / Unused £149 - £249 MFB-2 Polaroid Mag....................E+ / Mint- £79 - £99
150mm F4 PS ................................................E+ £125 MSB1 Flash Bracket ...................................Mint- £179
SQA 220 Mag..................................................Exc £19
SQA 220J Mag .................................................E+ £75 Contax G Series
AE Prism Finder S.............................................E+ £99
Prism Finder S..................................................E+ £79
Proshade S..............................As Seen / E+ £15 - £35
Proshade S - Green ......................................Mint- £99
Canon EOS
EOS 1VHS Body Only ......................................E+ £449
EOS 1V Body Only ..........................................E+ £329
EOS 1N + E1 Booster...................................E++ £159
EOS 1N Body Only........................................E++ £149
EOS 1 + E1 Booster ............................E+ £129 - £149
EOS 1 Body Only ............................Exc / E+ £79 - £99
EOS 3 + E2 Booster........................................E+ £149
EOS 3 Body Only ......................................As Seen £99
EOS 30 Body Only.........................E+ / E++ £49 - £79
EOS 30E Body Only ..................................As Seen £39
EOS 33 + 28-90mm ......................................E++ £89
EOS 33 Body Only ..................................E+ / E++ £49
EOS 5 + VG10 Grip.........................................E++ £49
EOS 5 Body Only...........................E+ / E++ £39 - £49
EOS 5 QD Body Only.........................................E+ £59
EOS 50E + BP50 Grip..............................E+ £39 - £69
EOS 50E Body Only.................................E+ £35 - £49
EOS 300 + 28-80mm ....................................E++ £39
EOS 600 + 35-70mm.......................................E+ £49
EOS 750 + 35-70mm.......................................E+ £39
EOS 850 + 35-70mm.......................................E+ £39
17-55mm F2.8 EFS USM .............................E++ £599
17-85mm F4-5.6 IS USM .....E+ / Unused £169 - £279
18-55mm f3.5-5.6 EFS ............................As Seen £29
24mm f1.4 L MKII....................................Mint- £1,099
24mm F2.8 EF.............................................E++ £239
24mm F3.5 L TSE ........................................E++ £749
24-70mm F2.8 L USM..As Seen / Mint- £749 - £1,099
24-85mm F3.5-4.5 USM..............................E++ £149
28mm F1.8 USM ........................................Mint- £279
28mm F2.8 IS USM ....................................Mint- £479
28-105mm F3.5-4.5 USM...As Seen / E++ £79 - £149
28-135mm F3.5-5.6 IS USM ..As Seen / E+ £129 - £169
28-300mm f3.5-5.6 L IS USM...................E++ £1,489
35-350mm F3.5-5.6 L USM ...........................E+ £749
40mm F2.8 STM..........................................Mint £119
50mm f1.2 L USM........................................E++ £999
55-200mm F4.5-5.6 USM .........................Unused £99
55-200mm F4.5-5.6 USM II...E++ / Unused £89 - £99
65mm F2.8 MP-E Macro..............................E++ £649
70-200mm F4 L IS USM .............................Mint- £729
70-200mm f4 L USM..................................Mint- £399
70-210mm F3.5-4.5 USM ................................E+ £89
70-300mm f4-5.6 IS USM ................E++ £249 - £279
70-300mm F4.5-5.6 DO IS USM ..E+ / E++ £489 - £549
70-300mm F4.5-5.6 L IS USM....................Mint- £989
75-300mm F4-5.6 EF III.................................E++ £79
75-300mm F4-5.6 IS USM...........................E++ £239
75-300mm F4-5.6 USM ...........................As Seen £39
100mm F2.8 USM Macro ........................Unused £349
100-300mm F5.6 EF L.................................E++ £299
135mm F2 L USM.....................E+ / E++ £649 - £699
180mm F3.5 L Macro USM.........................Mint- £749
300mm F4 L IS USM ..................................Mint- £949
400mm F2.8 L IS USM........E+ / E++ £4,899 - £5,149
400mm f4 DO IS USM.........E+ / E++ £3,849 - £3,999
600mm F4 L IS USM.................................E++ £5,499
Arsat 80mm F2.8 MC Shift .............................E+ £169
Sigma 24mm F2.8 Super Wide II ..........E++ £79 - £99
Sigma 28-105mm F4-5.6 UC AF ....................E++ £69
Sigma 70-210mm F2.8 Apo ...........................E+ £179
Sigma 70-210mm F3.5-4.5 Apo................Unused £89
Sigma 70-300mm F4-5.6 Apo Macro...........E++ £109
Sigma 75-300mm F4-5.6 Apo..........................E+ £79
Sigma 85mm F1.4 EX DG HSM.......................E+ £499
Sigma 135-400mm F4.5-5.6 Apo...................E+ £199
Sigma 170-500mm F5-6.3 Apo DG..............E++ £349
Sigma 300mm F2.8 Apo..........................Unused £399
Sigma 300mm F2.8 APO EX DG HSM ........E++ £1,749
Sigma 300mm F4 Apo......................E++ / Mint- £159
Sigma 400mm F5.6 Apo Tele Macro ........Unused £299
Tamron 24-70mm F3.3-5.6 Asph..................Mint- £89
Tamron 28-105mm F2.8 SP LD....................E++ £299
Tamron 70-300mm F4-5.6 Di VC USD ........Mint- £209
Tokina 16-50mm F2.8 ATX Pro DX..............Mint- £389
Tokina 28-80mm F2.8 ATX Pro ................Unused £299
Tokina 100-300mm F5.6-6.7 ..........E++ / Unused £69
Tokina 80-400mm F4.5-5.6 ATX D..............Mint- £349
Tokina 300mm F2.8 ATX SD ....................Unused £999
Tokina 400mm F5.6 ATX SD ....................Unused £249
Zeiss 35mm F2 ZE Distagon ........................E++ £649
1.4x EF II Extender......................................Mint- £199
1.4x EF MkII Extender.................................Mint- £199
1.4x EF MkIII Extender..................................Mint £319
2x EF Extender ........................E+ / Mint- £149 - £159
2x EF MkII Extender .....................................E++ £209
Sigma 1.4x Apo EX DG Converter................Mint- £119
Tamron 2x AF MC7 Converter.........................E++ £39
270EX II Speedlite..........................................E++ £59
300EZ Speedlite .............................E+ / E++ £9 - £29
320EX Speedlite ...........................................Mint- £79
420EX Speedlite ..........................................E++ £119
420EZ Speedlite.............................................E++ £39
430EX II Speedlite........................................E++ £149
430EZ Speedlite.............................................E++ £35
480EG Speedlite ............................................E++ £99
540EZ Speedlite ...........................E+ / E++ £59 - £79
550EX Speedlite .......................E+ / E++ £149 - £159
EF-500 DG ST Flash.......................................E++ £79
EF430 Flash ..............................................Unused £49
EF430ST Flash ..........................................Unused £69
EF500 ST Flash ................................................E+ £49
ML3 Macrolite................................................E++ £59
MR-14EX Macro Ringlite...................E++ / Mint- £349
MR40 AFC Macro Flash..................................E++ £44
ST-E2 Transmitter ...................E++ / Mint- £89 - £109
Metz 48AF1 Digital.........................................E++ £79
Metz 54MZ3 Flash .........................................E++ £79
Nissin Di622 MkII Speedlite ..........................Mint- £79
Nissin Di622 Speedlite...................................E++ £69
Canon Manual -Please Call
Contax 645 Series
Aptus 75 Back (33Mp) ..............................E++ £5,999
35mm F3.5 Distagon...............E+ / Mint- £849 - £949
45mm F2.8 Distagon ............E++ / Mint- £599 - £699
45-90mm F4.5 Vario.................................E++ £1,599
120mm F4 Apo Macro...........E++ / Mint- £699 - £999
140mm F2.8 Sonnar ............E+ / Unused £399 - £799
G2 Millennium Kit .....................................E++ £1,599
G2 + 45MM F2 ............................................E++ £549
G2 Body Only .................................................E+ £349
G1 Body only ...............................................E++ £199
21mm F2.8 G + Finder ................................E++ £549
28mm F2.8 G...............................................E++ £269
90mm F2.8 G.......................................E+ / E++ £149
16mm Viewfinder .......................................Mint- £199
TLA140 Flash ..............................E+ / Mint- £39 - £59
Contax SLR Series
N1 Body Only...............................................E++ £249
NX + 24-85mm................................E++ / Mint- £399
NX + 28-80mm ...........................................E++ £299
NX Body Only...............................................E++ £199
AX Body Only ...........................Exc / E++ £179 - £449
RX Body Only............................E+ / E++ £169 - £229
ST Body Only..................................................E+ £229
RTS2 Body + Winder ......................................E+ £169
RTS2 Body Only ...........................................E++ £199
RTS + Winder.................................................E+ £149
Aria Body Only................................................E+ £119
167MT Body Only ...................................E+ £75 - £89
137MD Body + D5 Databack .........................E++ £65
Preview Body Only......................E+ / E++ £99 - £249
15mm F3.5 AE ..........................................Mint £1,499
25mm F2.8 MM ...................E+ / Unused £449 - £599
28-80mm F3.5-5.6 AF .................................New £399
45mm F2.8 AE ......................E++ / Mint- £189 - £229
45mm F2.8 MM...........................................E++ £225
50mm F1.4 AF............................................Mint- £499
60mm F2.8 AE Macro ...............E+ / E++ £399 - £469
70-200mm F4-5.6 AF ..................................E++ £499
70-300mm F4-5.6 AF........E++ / Unused £449 - £799
80-200mm F4 MM ...................E+ / E++ £219 - £269
85mm F2.8 MM ...............................E++ £289 - £299
100mm F2 MM...........................................Mint- £699
100mm F3.5 AE .............................................E+ £239
100mm F3.5 MM...............E++ / Unused £389 - £399
135mm F2 (60 Year Edition) .................Unused £2,399
180mm F2.8 AE ......................................Unused £599
180mm F2.8 MM...............E++ / Unused £349 - £599
200mm F3.5 AE...........................................E++ £199
200mm F4 AE .........................................Unused £499
300mm F4 AE ................................................E+ £299
300mm F4 MM ..............................................E+ £259
TLA20 Flash..................................E+ / E++ £20 - £39
TLA280 Flash.......................E++ / Unused £59 - £149
TLA30 Flash..................................E+ / E++ £25 - £39
TLA360 Flash............................E+ / E++ £119 - £149
Digital Compact Cameras
Canon Ixus I Zoom............................................E+ £39
Canon Powershot D10 .................................E++ £139
Canon Powershot G11 ................................Mint- £199
Canon Powershot G2........................................E+ £59
Canon Powershot G2 + WC-DC58 ................E++ £129
Canon Powershot SX220 HS ..........................E++ £75
Fuji Finepix F100FD .......................................E++ £89
Fuji Finepix F11................................................E+ £79
Fuji Finepix S5000............................................E+ £49
Fuji Finepix S8000FD .....................................E++ £59
Leica Digilux 1 .........................................As Seen £99 Nikon D90 Body Only...............E+ / Mint- £289 - £349 PM90 Prism ...............................Exc / E+ £149 - £179 60mm F2.8 R 3cam Macro.............................E+ £399
Minolta Dimage A2.........................................E++ £79 Nikon D80 Body Only ............E++ / Mint- £159 - £239 PME Meter Prism............................................E+ £129 60mm F2.8 R Macro + Tube.......Exc / E+ £349 - £399
Nikon Coolpix 950 ............................................E+ £49 Nikon D70 Body Only ...................................E++ £109 PME90 Meter Prism........................................E+ £389 80-200mm F4.5 R 3cam.....................E+ £149 - £199
Nikon Coolpix 990 ............................................E+ £79 Nikon D50 Body Only ..................E+ / E++ £99 - £149 90mm F2.8 R 1cam .......................................E+ £225
Nikon Coolpix 995 ........................................Mint- £89 Nikon D40 Body Only ................E+ / E++ £119 - £129 Hasselblad Xpan Series 90mm F2.8 R 3cam .......................................E+ £299
Nikon Coolpix P310 ....................................Mint- £129 Nikon D7000 Body Only..............................Mint- £499 Xpan II + 45mm F4.............E+ / E++ £1,599 - £1,699 100mm F2.8 APO Macro 3cam .................E++ £1,399
Nikon Coolpix P7000...........................E+ / Mint- £169 Nikon D5100 Body only ..............................Mint- £279 Xpan + 45mm + 90mm + Accs...................E+ £1,149 135mm F2.8 R 3cam.....................................Exc £149
Nikon Coolpix S700........................................E++ £49 Nikon D5000 Body Only ...............................E++ £179 30mm F5.6 Asph + Finder ........................E++ £1,899 180mm F2.8 R 3cam...............Exc / E++ £299 - £499
Nikon Coolpix S9............................................E++ £49 Olympus E3 Body Only..........E++ / Mint- £439 - £469 90mm F4 ................................E+ / Mint- £299 - £399 180mm F2.8 ROM .......................................E++ £999
Olympus 850SW ............................................E++ £69 Olympus E620 Body Only.............................E++ £249 Fujinon 90mm F4 ...........................................E+ £249 180mm F3.4 Apo R 3cam ............................E++ £799
Olympus SP810 UZ ........................................E++ £89 Olympus E510 + 14-42mm........................Mint- £179 45/90mm Centre Filter .........................E+ / E++ £109 180mm F4 R 3cam ....................Exc / E+ £169 - £299
Olympus XZ-1 Black ...................................Mint- £199 Olympus E500 + 17.5-45mm.........................E+ £139 560mm F6.8 Telyt R .......................................E+ £599
Panasonic FX550..............................................E+ £79 Olympus E400 + 14-42mm........................Mint- £179 Large Format - Please Call 2x Extender R.................As Seen / Unused £29 - £179
Panasonic LX1..................................E++ £119 - £129 Olympus E300 Body Only.............................E++ £119 Leica Screw - Please Call Nikon 35mm F3.5 PC Shift .............................E+ £249
Panasonic LX2 .............................................E++ £119 Panasonic L1 Body Only............E+ / E++ £239 - £279 Tamron 70-350mm F4.5 ................................E+ £169
Panasonic FS20............................................Mint- £59 Pentax K7 + 18-55mm...................................E+ £349 Leica M Series Metz 50AF1 Digital .....................................Mint- £119
Panasonic FZ30................................E++ £129 - £139 Pentax K7 Body Only....................................E++ £339 M9 Steel Grey Ffordes Edition Body .........Mint- £3,499 Angle Finder R ...............................................E++ £59
Panasonic FZ8 ...............................................E++ £49 Pentax K10D Body Only ..............................Mint- £159 M8 Black Body Only............E+ / E++ £1,389 - £1,549 Angle Finder R (14300)..............E+ / Mint- £65 - £125
Panasonic TZ3..................................................E+ £49 Pentax *isT DS + 18-55mm.........................E++ £149 M8 Chrome Body Only................E++ £1,349 - £1,489 Macro Adapter R.........................E+ / E++ £89 - £125
Ricoh GR Digital IV......................................Mint- £299 Pentax *isT D + D-BG1 Grip............................E+ £149 M-E Anthracite Body Only .........................E++ £3,299 Motordrive Set R8/R9 .......................E++ £269 - £299
Ricoh GR Digital Limited Edition Samsung GX1L + 18-55mm.......................Mint- £149 M6 Platinum + 50mm F1.4.......................Mint £6,499 Motorwinder R Grip........................................E++ £49
.............................................Mint- / Mint £149 - £179 Samsung GX1S + 18-55mm....E+ / Mint- £129 - £179 M6 Titanium + 35mm F1.4 ......E+/E++ £3499-£4,499 Motorwinder R4............................E+ / E++ £49 - £59
Ricoh GXR + 28-300mm ............................Mint- £179 Sigma SD14 + 18-50mm ...............................E+ £249 MP 072x Chrome Body + Leicavit.............E++ £2,499 Motorwinder R8/R9...................E+ / E++ £149 - £249
Sigma DP1 .....................................................E+ £139 Sigma SD14 Body Only...................................E+ £179 M7 0.58x Black Body Only ..E+ / E++ £1,499 - £1,549 R8/R9 Remote control....................................E++ £99
Sigma DP2S.................................................E++ £219 Sigma SD9 + 24-70mm.........................As Seen £149 M7 0.72x Chrome Body Only .........E++ / Mint- £1,499 RC Remote Control ...........................................E+ £35
Sony RX1 + Accs.....................................Mint- £2,189 Sigma SD9 Body Only.....................................E+ £169 M6TTL 0.72x Black Body Only..........E++ £949 - £999 Telescope to R Adapter .................................Mint- £89
Sony HX200V..............................................Mint- £199 Sony A100 + 18-70mm ...............................E++ £169 M6 0.72x Black + Winder M...........................E+ £799
Sony R1.......................................................E++ £189 Sony A77 Body Only.....................................E++ £649 M6 0.72x Chrome Body Only........................E++ £799 Mamiya 645 Series
Sony R1 + F32X Flash + Tele Conv ..............E++ £239 M6 Cutaway Body Only...............................Mint- £999 645E Complete ............................................E++ £249
Sony T77......................................................Mint- £99 4/3rds Lenses M4-P Black Body Only ........................E+ £679 - £699 645 Super Complete.......................................E+ £179
Olympus 7-14mm F4 ED Zuiko.........E++ £899 - £999 M4-2 Black Body Only...................................Exc £399 24mm F4 ULD Fisheye.................................E++ £599
Digital Micro Four Thirds Sigma 10-20mm F4-5.6 DC HSM M2 Chrome Body Only ........................E+ £449 - £549 35mm F3.5 C...............................................E++ £199
Nikon J1 Black + 10-30mm.........................E++ £179 .................................................E+ / E++ £259 - £269 MD2 Black Body Only.....................................E+ £349 45mm F2.8 C......................As Seen / E++ £79 - £119
Olympus E-P1 + 14-42mm..........................E++ £169 Olympus 11-22mm F2.8-3.5 Zuiko MDA Chrome Body Only .................................E+ £359 45mm F2.8 N........................E++ / Mint- £189 - £229
Olympus E-P3 + 14-42mm Black ...............Mint- £379 ...............................................E+ / Mint- £349 - £399 CL + 40mm F2...............................................E+ £599 55mm F2.8 N ...........................E+ / E++ £149 - £199
Olympus E-P3 Body Only - Black .................E++ £349 Olympus 14-42mm F3.5-5.6 Zuiko ................E++ £59 CL Black Body Only ........................................E+ £299 55mm F2.8 N/L Leaf Shutter........................E++ £249
Olympus E-P3 Body Only - Silver .................E++ £349 Olympus 14-54mm F2.8-3.5 Zuiko Hexar RF + 50mm F2 + Flash ........................E+ £799 55-110mm F4.5 N...................E+ / Mint- £149 - £159
Olympus E-PL1 Black Body Only ..........E+ / E++ £129 .................................................E+ / E++ £199 - £249 Hexar RF Body Only .....................................E++ £499 70mm F2.8 C L/Shutter..................................E+ £119
Olympus E-PL3 Body Only............................E++ £129 Sigma 18-50mm F2.8 EX DC..........................E+ £129 16/18/21mm F4 Tri Elmar + Finder..........Mint- £3,399 70mm F2.8 Leaf Shutter ................................E+ £125
Olympus OM-D EM-5 Black Body Only........Mint- £679 Sigma 30mm F1.4 DC EX HSM ....................E++ £279 21mm F2.8 Asph M BlackE++ / Mint- £1,699 - £1,799 80mm F4 Macro C .........................................E+ £129
Olympus OM-D EM-5 Silver Body Only........Mint- £649 Sony 30mm F2.8 SAM Macro ......................E++ £119 21mm F2.8 Asph M Black 6bit 105-210mm F4.5 C ULD.....As Seen / E++ £99 - £149
Panasonic G1 Body Only.....................E++ £99 - £169 Olympus 35mm F3.5 Macro Zuiko ...............E++ £149 .......................................E++ / Mint- £1,799 - £1,849 110mm F2.8 C .................................................E+ £65
Panasonic G2 Body Only ..............................E++ £189 Olympus 40-150mm F4-5.6 ED Zuiko 21mm F2.8 M Black....................................E+ £1,199 120mm F4 Macro A .....................................E++ £249
Panasonic G3 Black Body Only .................................................E++ / Mint- £59 - £69 21mm F2.8 M Black 6bit.............................E+ £1,699 150mm F2.8 A..........................E+ / E++ £189 - £249
.............................................E++ / Mint- £189 - £239 Olympus 50-200mm F2.8-3.5 ED ................E++ £599 21mm F3.4 R + 122228 M Mount ..............Mint- £799 150mm F3.5 C............................E+ / E++ £69 - £115
Panasonic GF-1 Body Only .............................E+ £119 Olympus 50-200mm F2.8-3.5 SWD .............E++ £689 21mm F4 Chrome + Finder .........................E+ £1,199 150mm F3.5 N .............................E+ / E++ £59 - £99
Panasonic GF-2 Body Only ........E+ / Mint £119 - £139 Olympus 50mm F2 ED Macro Zuiko 24mm F1.4 Asph M - Black ......................E++ £3,199 150mm F3.8 Leaf Shutter............................E++ £199
Panasonic GF-3 Black Body........................Mint- £109 .............................................E++ / Mint- £299 - £319 24mm F2.8 Asph M Black........................Mint- £1,699 150mm F4 C.................................E+ / E++ £69 - £99
Panasonic GF-3 Red Body...........................Mint- £129 Olympus 70-300mm F4-5.6 ED Zuiko..........E++ £239 24mm F2.8 Asph M Black 6bit ..................E++ £1,799 210mm F4 C.......................As Seen / E++ £59 - £139
Panasonic GH1 Body Only...........................Mint- £299 28mm F2.8 Asph M Black 6bit ..................Mint £1,349 300mm F5.6 C....................................E+ / Mint- £129
Pentax Q + 5-15mm...................................Mint- £189 Flash & Lighting - Please Call 28mm F2.8 M Black.......................................E+ £749 Komura 2x Converter ..............................E+ £30 - £35
Sony NEX3N Body + Flash ...........................E++ £179 Fuji - Please Call 35mm F2 Asph M Black 6bit .....................E++ £1,599 Teleplus 2x Converter ....................................E++ £39
Sony NEX5 + 16mm + HVL-F7S ..................E++ £199 35mm F2.5 M Black 6bit..............................E++ £899 Vivitar 2x Converter ..........................................E+ £49
Sony NEX5 + 16mm F2.8 ...........................Mint- £249 Hasselblad H Series 35mm F2.5 M Black 6bit + Hood ....Mint- £949 - £999 120 Insert.......................................E+ / E++ £9 - £15
Sony NEX5 + 18-55mm + Flash.......E++ £189 - £289 H3DII Complete (50MP).............................E++ £9,989 35mm F3.5 Chrome (M3).............................E++ £399 120 Pro Mag..................................................E++ £35
Sony NEX5 + Flash.........................................E+ £159 H2 Complete ...............................................E+ £1,989 50mm F0.95 Asph M - Black ...................Mint- £6,250 135N Super Mag.......................E++ / Mint- £65 - £75
Sony NEX7 Body Only.......................E++ / Mint- £649 H1 Body + AE Prism + Magazine ..............E++ £1,299 50mm F1.0 M Black 6bit .........................Mint- £4,499 220 Insert....................................E+ / Mint- £10 - £20
H1 Body Only .................................................E+ £689 50mm F1.4 M Black ................................Mint- £1,499 220 Pro Mag..................................................E++ £20
Micro 4/3rds Lenses 50-110mm F3.5-4.5 HC .....E+ / E++ £1,850 - £1,950 50mm F2.5 M Black 6bit..............................Mint £799 Polaroid Mag ................................E+ / E++ £20 - £29
Panasonic 7-14mm F4 G Vario....................Mint- £789 Hmi100 Polaroid Mag.........................E++ £79 - £149 50mm F2.8 M Chrome .....................E++ £649 - £699 AE Prism Finder N.........................E+ / E++ £69 - £99
Panasonic 12-35mm F2.8 G Vario OIS..........Mint £739 75mm F2.5 Black 6 BIT.........E++ / Mint- £899 - £929 Prism Finder 645 ..................As Seen / E++ £29 - £59
Panasonic 14-140MM F4-5.8 OIS HD Hasselblad V Series 75mm F2.5 M Black 6bit + Hood................Mint- £949 Prism Finder FP401 .......................................E++ £49
.............................................E++ / Mint- £379 - £399 90mm F2.5 Black 6 BIT ..............................Mint- £949 Prism Finder N .................................................E+ £39
Olympus 14-150mm F4-5.6 M.Zuiko ED 90mm F2.5 M Black 6bit..............................E++ £989 AD401 Strobe Bracket...............................Unused £45
...............................................E+ / Mint- £289 - £359 90mm F2.8 Chrome.................Exc / E++ £199 - £450 Auto Extension Tube 1....................................E++ £20
Panasonic 14-42mm F3.5-5.6 Asph OIS 90mm F2.8 Tele Elmarit .................................E+ £499 Auto Extension Tube 2 .................E+ / Mint- £20 - £25
..........................................................E++ £69 - £179 90mm F4 Collapsible......................................E+ £199 Auto Extension Tube 3S.............E++ / Mint- £20 - £25
Panasonic 14-42mm F3.5-5.6 Asph PZ........E++ £179 90mm F4 Elmar ..................As Seen / E+ £149 - £199 Cable Release Type A 1m...............................E++ £29
Olympus 14-42mm F3.5-5.6 M.Zuiko ED.......E++ £79 90mm F4 Elmar E39.................E+ / E++ £175 - £299 Deluxe L Grip....................................................E+ £25
Panasonic 14-45mm F3.5-5.6 ASPH G Minolta 90mm f4 M Rokkor..................E+ / E++ £249 Power Drive WG402 .........................................E+ £49
...............................................E+ / Mint- £119 - £139 135mm F2.8 Black.................................As Seen £199
Panasonic 14mm F2.5 Asph..E++ / Mint- £119 - £159 135mm F2.8 M Black......As Seen / Mint- £250 - £349 Mamiya 645AFD Series
Panasonic 20mm F1.7 G Pancake...............Mint- £219 503CXi Blue/Gold Edition .........................Mint- £3,999 135mm F4 Black............................................E+ £439 645AFDII Complete + ZD Digital Back .......E++ £2,989
Voigtlander 25mm F0.95 Nokton ................Mint- £589 500CM Gold Edition..............................Unused £3,999 135mm F4.5 Hektor .................................As Seen £99 645AF Body Only ..................E++ / Mint- £299 - £349
Olympus 40-150mm F4-5.6 ED M.Zuiko 503CW Chrome Body Only .............................E+ £549 18mm Black Viewfinder ...............................E++ £399 P20 Digital Back .......................................E++ £1,899
........................................................E++ / Mint- £149 500ELX Black Body Only...........E+ / E++ £349 - £449 24mm Black Viewfinder ...............................E++ £249 55-110mm F4.5 AF......................................E++ £349
Panasonic 45-200mm F4-5.6 OIS................E++ £179 500ELM Complete ....................E+ / E++ £499 - £549 28mm Black Viewfinder..................................E+ £225 80mm F2.8 AF..........................E+ / E++ £179 - £199
Olympus 45mm F1.8 M.Zuiko.....................Mint- £189 500ELM Chrome Body + WLF ......................E++ £179 50mm Chrome Viewfinder ...............................Exc £99 120mm F4 Macro MF ..................................E++ £599
Sigma 50mm F1.4 EX DG HSM...................Mint- £279 500ELM Chrome Body Only............................E+ £149 A42 Swing Polariser.......................................E++ £69 210mm F4 AF ULD.......................................E++ £699
Panasonic 100-300mm F4-5.6 G OIS...........E++ £339 500EL Body + NC2 Finder............................E++ £149 Bellows II.......................................................E++ £99 Auto Extension Tube NA401..........................Mint- £99
202FA Chrome Body ....................................E++ £789 Finder 21/24/28 Viewfinder - Black..............E++ £249 Polaroid Mag 645AF/D ...................................E++ £39
Digital SLR Cameras 2003FCW Complete..........................E++ £799 - £849 Handgrip M....................................................E++ £45
Arc Outfit ..................................................E++ £2,250 Large B&S Head...........................Exc / Mint £35 - £99 Mamiya 7/7II Series
Flex Outfit .................................................E++ £1,299 Lens Carrier M .................................................E+ £69 43mm F4.5 L + Finder.......E++ / Mint- £899 - £1,049
SWC Body + Finder .....................................E+ £1,199 M6TTL/M7 Leather Case................................E++ £65 50mm F4.5 L + Finder .....................E++ £799 - £849
SWCM Complete .....................Exc / E+ £999 - £1,399 Motor M................................E++ / Mint- £219 - £249 65mm F4 L..................................................E++ £499
30mm F3.5 CFi Fisheye ............................E++ £2,799 MR4 Black Meter.............................................Exc £49 150mm F4.5 L..........................E+ / E++ £349 - £399
40mm F4 C Black...........................................E+ £499 Small B&S Head ...............................................E+ £39 210mm F8 L + Finder...........E++ / Mint- £689 - £749
45mm F4.5 Apo Grandagon .........................E++ £889 Table Top Tripod..................................E++ / Mint- £35 Finder 150/210 FV704 ..........E++ / Mint- £179 - £199
50mm F2.8 F...............................................E++ £399 Visoflex Vertical Finder......................................E+ £59 Panoramic Adapter AD701...........E+ / Mint- £65 - £75
50mm F2.8 FE ...............................................E+ £649 PE702 External Battery Case..........................E++ £49
50mm F4 C Black ...............................E+ £199 - £249 Leica R Series ZE702 Polarising Filter.......As Seen / Mint- £69 - £149
Canon EOS 1DS MKIII Body Only ...E+ £1,499 - £1,599 50mm F4 CF.......................................E+ £299 - £349
Canon EOS 1DS Body Only .............................E+ £499 50mm F4 CF FLE............................................E+ £699 Mamiya RB67 Series
Canon EOS 1D MKIIN Body Only 50mm F4 Cfi FLE..............................E++ £989 - £999
................................................Exc / E++ £399 - £699 50mm F4 Classic ZV.............................Unused £2,999
Canon EOS 1D MkII Body Only 60-120mm F4.8 FE.............................E+ £649 - £699
.........................................As Seen / E++ £419 - £749 80mm F2.8 FE.............................................E++ £399
Canon EOS 1D Body Only.............................E++ £299 120mm F4 CF Macro ...............Exc / E++ £449 - £749
Canon EOS 5D MkII Body Only 135mm F5.6 C Macro...............E+ / E++ £189 - £349
............................................E+ / Mint- £999 - £1,049 135mm F5.6 S Planar...............E+ / E++ £199 - £249
Canon EOS 5D + BG-E4 Grip........................E++ £529 140-280mm F5.6 C Black ..............................E+ £699
Canon EOS 7D Body Only.............................E++ £789 140-280mm F5.6 F Variogon..........................E+ £599 Digital Modular R.........................................E+ £1,899
Canon EOS 50D + BG-E2N Grip......................E+ £399 150mm F2.8 F ...............................................E+ £349 R9 Anthracite Body Only ...........E+ / E++ £699 - £799
Canon EOS 30D + BG-E2 Grip.............E+ £189 - £199 150mm F2.8 FE .............................................E+ £599 R9 Black Body Only ..........................E++ £799 - £899 Pro S Gold Edition.......................................Mint- £999
Canon EOS 30D Body Only........E+ / E++ £159 - £189 150mm F4 C Black ...................E+ / E++ £199 - £299 R8 Black Body Only ........................................E+ £329 Pro SD Complete ..............................E++ £399 - £449
Canon EOS 20D Body Only .............................E+ £129 150mm F4 CF ............................Exc / E+ £239 - £349 R7 Chrome Body Only...............E+ / E++ £299 - £349 Pro S Complete + Prism .................................E+ £349
Canon EOS 500D Body Only.........................E++ £249 150mm F4 CFi..................................E++ / Mint- £749 R6.2 Black Body Only................E+ / E++ £449 - £549 Pro S Complete.........................E+ / E++ £319 - £349
Canon EOS 400D + 18-55MM........................E+ £159 250mm F4 FE..............................................E++ £549 R6.2 Chrome Body Only....................E++ £599 - £649 Pro Complete .............................Exc / E+ £249 - £349
Canon EOS 400D Body Only ...........................E+ £159 250mm F5.6 C Black ................E+ / E++ £189 - £249 R6 Black Body Only.............................E+ £349 - £399 50mm F4.5 C .................................................E+ £199
Canon EOS 350D Body Only ....As Seen / E+ £79 - £99 250mm F5.6 C Chrome ..................................E+ £189 R5 Black Body Only..............................E+ / E++ £349 65mm F4.5 C .................................................E+ £129
Canon EOS 300D Body Only..........E+ / E++ £75 - £79 250mm F5.6 CF .............................................E+ £349 R5 Chrome Body Only...............E+ / E++ £299 - £349 140mm F4.5 C Macro..................................E++ £169
Canon EOS 300D Infra Red Body ....................E+ £259 250mm F5.6 CF Super Achromat.................E+ £1,999 RE Black Body Only ........................................E+ £219 180mm F4.5 .........................As Seen / E+ £69 - £149
Canon EOS 100D Body Only........................Mint- £379 350mm F5.6 CF ...............................E++ £749 - £849 R4S Model 2 Black Body Only 180mm F4.5 C......................As Seen / E+ £69 - £149
Fuji S2 Pro Body Only...............................As Seen £99 Komura 2x Converter .....................................E++ £45 ..........................................E++ / Unused £249 - £499 180mm F4.5 KL-A..........................................E+ £199
Fuji S3 Pro Body Only................E+ / E++ £139 - £179 Vivitar 2x Converter.......................E+ / E++ £35 - £45 R4S Black Body Only...........................E+ £149 - £179 360mm F6.3 ..................................................E+ £199
Fuji S5 Pro Body Only...................................E++ £329 Teleplus 2x MC6 Converter ....E++ / Unused £49 - £79 R4 Black Body Only.............................E+ £125 - £159 Komura 2x Converter .....................................E++ £45
Leica Digital Modular R .............................E++ £1,949 A12 Black Mag .......................................E+ £79 - £99 R3 MOT + Winder .....................E+ / E++ £239 - £299 Vivitar 2x Converter........................................E++ £45
Leica S2 Black Body Only ........................Mint- £7,899 A12 Chrome Mag .....................................As Seen £99 R3 Black Body Only.............................E+ £129 - £159 Pro 220 Mag ............................................As Seen £35
Minolta Dynax 7D + VC-7D Grip......................E+ £179 A12 TCC Black Mag........................................E+ £149 SL2 Anniversary Body Only ..........................E++ £649 ProS 220 Mag..............................................E++ £145
Nikon D3 Body Only ..................................E++ £1,499 A16 Chrome Mag .............................................E+ £75 SL2 Black Body Only ......................................E+ £299 Angle Finder ..................................................E++ £79
Nikon D2X Body Only ................E+ / E++ £399 - £489 A24 Black Mag ...........................E+ / E++ £49 - £129 SL2 MOT Black + Motordrive...................Mint- £1,099 Prism Finder Model 2 ...............................As Seen £49
Nikon D1X Body Only ...................................E++ £249 A24 Chrome Mag.......................Exc / E++ £39 - £125 SL2 MOT Black Body Only............................E++ £599 Waist Level Finder...................................E+ £29 - £35
Nikon D800E Body Only ..................E++ / Mint £2,099 A24 TCC Black Mag........................................E+ £139 SL Chrome + 50mm F2 (Dummy)...................E+ £149 Auto Extension Tube No2................................E++ £39
Nikon D700 + MB-D10 Grip......................E++ £1,099 E24 Black Mag ........................E+ / Mint- £169 - £199 SL Chrome Body Only ...............E+ / E++ £149 - £249 Auto Extension Tube No1...............E+ / E++ £39 - £55
Nikon D700 Body Only ..............................E++ £1,049 Focus Screen Adapter SWC/M.....E+ / E++ £99 - £109 SL Chrome Body Only.....................................E+ £169 Auto Extension Tube No1 (ProSD) ...................E++ £59
Nikon D300 Body Only ........As Seen / E+ £279 - £369 HC Prism .......................................................E++ £99 24mm F2.8 R 3cam.................Exc / E++ £399 - £699
Nikon D200 + MB-D200 Grip.......................E++ £279 HC3 Finder.....................................................E++ £79 24mm F2.8 ROM .........................................E++ £999 Mamiya RZ67 Series
Nikon D200 Body Only ..............E+ / E++ £199 - £249 NC2 Prism........................................................E+ £39 28mm F2.8 PCS Shift...................................E++ £949 Pro Complete............................E+ / E++ £449 - £599
Nikon D100 Body Only ...............Exc / E++ £99 - £129 PM Prism .......................................................E+ £129 28mm F2.8 PCS Shift + Filters..................E++ £1,299 50mm F4.5..............................Exc / E++ £189 - £350
Nikon D90 Body + MB-D80 Grip.................Mint- £399 PM5 Prism...................................................E++ £249 28-70mm F3.5-4.5 R 3cam .........................E++ £229 50mm F4.5 ULD ..........................................E++ £399
50mm F4.5 W...........................E+ / Mint £199 - £399
65mm F4.5 ....................................................E+ £249
75mm F4.5 Shift W...................E+ / E++ £399 - £549
100-200mm F5.2 W.......................................E+ £399
140mm F4.5 Macro ML-A ................E++ £249 - £299
140mm F4.5 Macro W ..............E+ / E++ £189 - £259
180mm F4 Soft VSF D/L...............................E++ £399
180mm F4.5 ..............................................Mint- £159
180mm F4.5 Sekor......................................E++ £149
180mm F4.5 W...........................E+ / E++ £99 - £129
180mm F4.5 WN......................Exc / E++ £119 - £149
250mm F4.5 ..............................Exc / E+ £129 - £179
250mm F4.5 W ................................E++ £169 - £199
350mm F5.6 Apo............................................E+ £499
360mm F6................................E+ / E++ £189 - £199
1.4x Converter..................................E++ £179 - £199
120 Pro Mag (6x4.5).......................................E+ £145
220 Pro Mag..................................................E++ £49
Polaroid Mag ....................................................E+ £25
AE Prism Finder..............................................E+ £149
PD Prism Finder .............................................E+ £129
Prism Finder Model 2 .......................................E+ £69
Winder II .................................................E+ £49 - £59
Minolta - Please Call
Nikon Manual - Please Call
Nikon AF
F6 Body Only ........................E++ / Mint- £849 - £949
F5 Anniversary Body Only ............................E++ £799
F5 Body Only ............................E+ / E++ £189 - £349
F5 Body Only + MH30 + BATTERY..................E+ £249
F4E Body Only ..........................E+ / E++ £249 - £299
F4S Body + MF23 Control Back......................E+ £249
F4S Body Only .........................Exc / E++ £169 - £249
F4 Body Only + MF22 Back............................E+ £189
F100 Body + MB15 Grip ..............................E++ £189
F100 Body Only........................................As Seen £79
F90X + MB10 Grip..................................E+ £49 - £59
F90X Body Only................................................E+ £39
F90 Body Only ..............................E+ / E++ £29 - £69
F80 Black + MB16 Grip....................................E+ £69
F80 Chrome Body Only ..................................E++ £49
F70 Body Only ..............................E+ / E++ £20 - £29
F601 + 35-70mm ............................................E+ £49
F601 Body Only ...........................Exc / Mint £19 - £49
Pronea 600i + 24-70mm ...............................E++ £79
Pronea S + 30-60mm ............................E+ / E++ £39
10.5mm F2.8 G AF ED DX Fisheye................E++ £379
12-24mm F4 G AFS DX ED ......E+ / Mint- £429 - £489
14-24mm F2.8 G AFS ED.........................Mint- £1,149
17-55mm F2.8 G AFS DX IFED .......................E+ £549
18-70mm F3.5-4.5 G AFS ED DX..........E+ / E++ £129
20-35mm F2.8 AFD........................................E+ £529
24mm F1.4 G AFS ED................Mint- £1,289 - £1,349
24-50mm F3.3-4.5 AFD...............................E++ £119
24-50mm F3.3-4.5 AFN ...................................E+ £99
24-85mm F2.8-4 AFD ......................E++ £249 - £299
24-85mm F3.5-4.5 G AFS VR.......................Mint £329
24-120mm F3.5-5.6 ED AFD ....E+ / E++ £125 - £149
28mm F1.8 G AFS...........................Mint- £419 - £429
28mm F2.8 AFD ...............................E++ £159 - £169
28-70mm F3.5-4.5 AF ...................................E++ £99
28-70mm F3.5-4.5 AFD ...................................E+ £99
28-80mm F3.5-5.6 AFD .........................E+ / E++ £69
28-85mm F3.5-4.5 AF......................................E+ £49
28-300mm F3.5-5.6 G ED AFS VR................E++ £549
35-70mm F3.3-4.5 AF ...................................E++ £59
35-70mm F3.3-4.5 AFN.................................E++ £59
50mm F1.4 AFD ...............................E++ / Mint- £189
50MM F1.4 G AFS ...........................Mint- £229 - £239
55-200mm F4-5.6 AFS DX G VRE+ / E++ £119 - £129
70-180mm F4.5-5.6 AFD Micro ...................E++ £948
70-200mm F2.8 G AFS ED VR.........................E+ £949
70-200mm F2.8 G AFS ED VRII .................E++ £1,399
70-200mm F4 G AFS ED VR........................Mint- £899
70-300mm F4-5.6 AFG ........................E++ £59 - £69
70-300mm F4-5.6 ED AFD .......E+ / E++ £119 - £149
70-300mm F4.5-5.6 G AFS VR ...................Mint- £329
75-240mm F4.5-5.6 AFD..............E+ / E++ £69 - £89
80-200mm F2.8 ED AFD..............................E++ £399
80-200mm F4.5-5.6 AFD .................................E+ £69
80-400mm F4.5-5.6 AFD VR ............E++ £649 - £689
105mm F2.8 AFS G VR Micro......................Mint- £519
180mm F2.8 ED AFD ...................................E++ £499
200-400mm F4 G VR AFS IFED
.......................................E++ / Mint- £3,499 - £3,599
300mm F2.8 IFED AF...................................E+ £1,099
Sigma 8-16mm F4.5-5.6 DC HSM
.............................................E++ / Mint- £379 - £419
Sigma 17-35mm F2.8-4 EX............................E+ £129
Sigma 17-70mm F2.8-4.5 DC Macro ...........E++ £149
Sigma 18-125mm F3.8-5.6 DC OS HSM.....Mint- £179
Sigma 24-70mm F3.5-5.6 D Asph .................E++ £59
Sigma 30mm F1.4 DC EX HSM ....................E++ £279
Sigma 30mm F1.4 EX DG ...........................Mint- £239
Sigma 50-500mm F4-6.3 Apo DG................E++ £699
Sigma 55-200mm F4.5-5.6 DC HSM .............E++ £69
Sigma 70-210mm F3.5-4.5 D Apo....................E+ £79
Sigma 70-300mm F4-5.6 Apo DG..................E++ £89
Sigma 70-300mm F4-5.6 Apo Macro.............E++ £99
Sigma 70-300mm F4-5.6 Apo Macro Super
..........................................................E++ £89 - £109
Sigma 70-300mm F4-5.6 DG Macro ................E+ £69
Sigma 135-400mm F4.5-5.6 Apo D
.................................................E+ / E++ £249 - £349
Sigma 170-500mm F5-6.3 Apo D ................E++ £329
Sigma 300-800mm F5.6 Apo EX DG HSM .E++ £4,389
Sigma 500mm F4.5 APO EX DG HSM ........E++ £2,299
Tamron 55-200mm F4-5.6 Di II......................E++ £35
Tamron 70-300mm F4-5.6 AF LD.........E++ £69 - £79
Tokina 10-17mm F3.5-4.5 Fisheye ATX........E++ £379
Tokina 20-35mm F2.8 ATX Pro.....................E++ £349
Tokina 24-200mm F3.5-5.6 ATX..............Unused £149
Tokina 35mm F2.8 Macro DX ATX ................E++ £299
Tokina 35-300mm F4.5-6.7 ......................Unused £99
Tokina 80-200mm F2.8 ATX Pro...................E++ £299
Tokina 300mm F2.8 ATX ..............................E++ £899
Zeiss 21mm F2.8 Distagon ZF2 ...............Mint- £1,049
Zeiss 25mm F2 ZF.2 ...................................Mint- £949
Zeiss 35mm F2 Distagon ZF2 .....................Mint- £629
Zeiss 85mm F1.4 Planar ZF........................Mint- £749
Sigma 2x Apo EX Converter............................E++ £99
TC-17 EII Converter......................................E++ £239
TC-20E Converter...........................................E+ £149
TC-20EII Converter.......................................Mint £219
TC16A Teleconverter ................E+ / Unused £49 - £99
Metz 34AF-3N Flash ......................................E++ £29
Metz 58 AF1 Digital......................................E++ £179
Sigma EF430 Flash........................................E++ £39
Sigma EF500 Super Flash .........................Unused £75
Sigma EM 140 DG Macroflash...E+ / Mint £169 - £239
SB21B Ringflash.................................E++ £99 - £179
SB22 Speedlight ............................................E++ £35
SB22S Speedlight.............................................E+ £39
SB24 Speedlight...............................................E+ £49
SB25 Speedlight .....................................E+ £45 - £49
SB27 Speedlight...............................................E+ £49
SB28 Speedlight..............................................Exc £59
SB29 Speedlight.............................................E+ £179
SB50DX Speedlight.......................E+ / E++ £69 - £79
SB600 Speedlight ........................................E++ £149
SB910 Speedlight.......................................Mint- £269
SU800 Wireless Commander........................E++ £189
Olympus OM Series
OM2SP Black Body Only...................................E+ £79
OM2N Chrome + 50mm F1.8 ...........................E+ £79
OM2N Chrome Body Only........As Seen / E+ £59 - £79
OM2N Black Body Only.....................................E+ £69
OM2 Chrome Body Only ...................................E+ £69
OM1N Chrome Body Only .................................E+ £75
OM1 Chrome Body Only.................................E++ £79
OM40 Black Body Only...................Exc / E+ £49 - £79
OM30 Chrome Body Only..............E+ / E++ £35 - £39
OM10 + 50mm F1.8 + M/Adapter .................E++ £49
OM10 Chrome Body + M/Adapter.....................E+ £39
OM10 Chrome Body Only..............E+ / E++ £29 - £39
28mm F2.8 Zuiko.................................E++ £59 - £79
35-70mm F4 Zuiko................................Exc £29 - £39
35-105mm F3.5-4.5 Zuiko .....................E+ £49 - £99
50mm F3.5 Macro Zuiko.............E+ / E++ £69 - £119
50-250mm F5 Zuiko....................................E++ £349
65-200mm F4 Zuiko.............................E+ £99 - £149
80mm F4 Macro Zuiko ...................................E+ £175
135mm F3.5 Zuiko ......................Exc / E++ £25 - £39
135mm F4.5 Macro Zuiko............................E++ £149
180mm F2.8 Zuiko.........................................E+ £349
Power Bounce Grip 2........................................E+ £39
F280 Flash .......................................................E+ £65
T10 Ringflash...................................................E+ £75
T20 Flash .......................................E+ / E++ £9 - £25
T28 Flash Head ........................................As Seen £49
T32 Flash .....................................E+ / E++ £20 - £55
T45 Hammerhead Flash...............................E++ £175
Pentax 645 Series
645NII Complete.........................................Mint- £649
645NII Body Only .........................................E++ £599
645N + 45-85mm F4.5 FA ...................E+ / E++ £799
645N Complete............................................E++ £549
645 Body Only................................................E+ £149
Arsat 30mm F4.5 Fisheye ............................E++ £249
33-55mm F4.5 AL FA ................Mint- £1,299 - £1,399
35mm F3.5 A .................................................E+ £379
45mm F2.8 A............................E+ / E++ £159 - £229
45-85mm F4.5 A............................................E+ £289
45-85mm F4.5 FA........................................E++ £399
55mm F2.8 A...............................................E++ £225
80-160mm F4.5 A ....................E+ / E++ £289 - £399
120mm F4 Macro FA ..................................Mint- £899
150mm F2.8 (IF) FA........................................E+ £399
150mm F3.5 A................Unknown / E++ £159 - £199
120 Insert....................................E+ / Mint- £39 - £59
220 Insert.....................................E+ / E++ £25 - £59
Pentax 67 Series
67II Complete ...........................................E++ £1,199
6x7 Mirror Up Complete + TTL Prism ...........E++ £599
6x7 Mirror Up Complete + 90mm Leaf ...........E+ £489
6x7 Mirror Up + Prism....................................E+ £299
6x7 Mirror Up + TTL Prism .............................E+ £399
35mm F4.5 Fisheye Takumar...E+ / Mint- £379 - £499
45mm F4 SMC ........................E+ / Mint- £349 - £449
75mm F4.5 Takumar...........................E+ £129 - £199
135mm F4 Macro.............................E++ £249 - £299
135mm F4 Macro Takumar ........Exc / E+ £129 - £149
165mm F2.8 .................................................Exc £199
200mm F4 .....................................................E+ £199
200mm F4 Takumar ...........As Seen / E++ £89 - £199
300mm F4................................E+ / E++ £199 - £349
300mm F4 Takumar .........As Seen / E++ £159 - £349
500mm F5.6 ....................................E++ £589 - £899
T6-2x Rear Converter .......................................E+ £79
Vivitar 2x Converter........................................E++ £79
67 Auto Bellows..........................................Mint- £299
Plain Prism ....................................................E++ £95
Pentax AF
*isT Body Only ...............................................E++ £99
Z1-P Body Only.............................E+ / E++ £79 - £89
SFXN Body Only ...................................E++ £35 - £39
SFX Body Only..........................................As Seen £39
SF7 + 28-80mm ..............................................E+ £39
MZ7 + 28-80mm...........................................E++ £59
MZ7 Chrome Body Only .................................E++ £39
MZ60 + 28-70mm.........................................E++ £69
MZ60 + 28-80mm.........................................E++ £49
MZ50 + 28-80mm................As Seen / E++ £29 - £39
MZ50 + 35-80mm.........................................E++ £29
MZ30 + 28-80mm.........................................E++ £35
MZ30 + 35-80mm ...........................................E+ £35
MZ5 + 28-80mm .............................................E+ £79
MZM + 35-80mm ............................................E+ £59
MZM Body Only................................................E+ £39
10-17mm F3.5-4.5 DA Fisheye ..................Mint- £369
16-45mm F4 DA ED AL...............................Mint- £179
16-50mm F2.8 A* DA SDM ..........................E++ £589
17-70mm F4 DA AL (IF) SDM......................Mint- £299
18-35mm F4-5.6 FA J ................................Mint- £149
18-55mm F3.5-5.6 DA AL ............................Mint- £39
24mm F2 SMC FA IF AL ...............................E++ £499
28-70mm F4 FA AL.......................E+ / E++ £49 - £69
28-80mm F3.5-5.6 FA ..................E+ / E++ £39 - £49
28-200mm F3.8-5.6 XR...............................E++ £119
35mm F2 SMC FA AL..................................Mint- £299
43mm F1.9 FA Limited Edition....................Mint- £450
50mm F1.4 SMC FA....................................Mint- £229
80-200mm F4.7-5.6 F...................................E++ £59
80-320mm F4.5-5.6 SMC FA.........................E++ £75
Sigma 10mm F2.8 EX DC Fisheye...............Mint- £369
PREMIER DEALER
Sigma 10-20mm F4-5.6 DC HSM ................E++ £269
Sigma 50-500mm F4-6.3 Apo DG ..................E+ £479
Tamron 17-50mm F2.8 Di II........................Mint- £199
Tamron 28-75mm F2.8 XR Di AF ................Mint- £219
NEW!
Tokina 19-35mm F3.5-4.5 AF ........................E++ £79
AF360FGZ Flash.............................................E++ £99
AF400FTZ Flash............................E+ / E++ £49 - £89
AF500FTZ Flash............................E+ / E++ £69 - £79
Pentax Manual
X-M1 +
LX + FA1 Prism.........................E+ / E++ £199 - £499
16-50mm
LX Body Only....................................................E+ £99
MX Black Body Only..............................E+ £99 - £119
MX Chrome Body Only....................Exc / E+ £79 - £99
ME-Super Chrome Body Only ......E+ / Mint- £39 - £75
MV1 Black Body Only .......................................E+ £39
MV Black Body Only................................E+ £35 - £39 z The quality of a digital SLR in a compact body.
Program A Body Only ..............................E+ £49 - £69
P50 Body Only ...............................................E++ £39 z Large APS-C 16M “X-Trans CMOS” & “EXR PROCESSOR II”
P30T + 28-80mm ............................................E+ £49
P30T Body Only .............................................E++ £39 realize impressive color reproduction and high resolution.
P30N + 28-80mm .........................................E++ £49
P30 Body Only..................................................E+ £25
A3 + 50mm F1.7 ...........................................E++ £59
z 3.0-inch, 920K-dot Tilt LCD screen.
A3 + 50mm F2.................................................E+ £69
A3 Body Only ................................E+ / E++ £29 - £49
z Compatible with Fuji XF interchangeable lenses.
20mm F2.8 SMC A .........................................E+ £299
24-35mm F3.5 SMC M .........................E+ £99 - £149 z Wireless Image Transfer allows sharing via mobile devices.
28mm F2.8 SMC M.......................E+ / E++ £35 - £59
28-50mm F3.5-4.5 SMC M ..................E++ £65 - £75
28-80mm F3.5-4.5 A .......................................E+ £49 X-M1 with 16-50mm XC f3.5/5.6 OIS
£679 INC FREE DELKIN 32Gb SDHC
28-80mm F3.5-4.5 SMC A......................E+ £49 - £59
35-70mm F2.8-3.5 SMC A .......................As Seen £39
35-70mm F4....................................................E+ £19
35-80mm F4-5.6 SMC A................................E++ £25
35-105mm F3.5 SMC A............................As Seen £49
40mm F2.8 SMC M ..........................................E+ £89
40-80mm F2.8-4 SMC M.............Exc / E++ £35 - £59
50mm F1.4 SMC A.......................................E++ £179
50mm F1.7 SMC A ......................E+ / Mint- £39 - £79
50mm F1.7 SMC M.......................E+ / E++ £35 - £39
50mm F2 SMC M..........................E+ / E++ £15 - £25
50mm F2.8 SMC A Macro...............................E+ £149
Pen E-P5 +
50mm F4 SMC M Macro.............E+ / E++ £99 - £125
70-210mm F4 SMC A ....................................E++ £89
100mm F2.8 SMC M .......................................Exc £65
120mm F2.8 SMC M...............E++ / Mint- £99 - £129
135mm F3.5 SMC M......................................E++ £35
14-42mm
200mm F2.5 SMC PK.....................................E+ £399
Vivitar 19mm F3.8 MC ...................................E++ £69
AF200S Flash.......................................E++ £15 - £19
AF200Sa Flash .....................................E++ £20 - £25
AF220T Flash................................E+ / E++ £15 - £19
AF240FT Flash...............................................E++ £25
AF240Z Flash................................E+ / E++ £15 - £35
AF260SA Flash.....................................E++ £15 - £29
AF280T Flash................................E+ / E++ £35 - £49
NEW!
AF400T Flash............................E+ / E++ £149 - £175
Autobellows + 100mm F4 SMC......................E+ £159
Autobellows + Copier.....................................E++ £65
FA1 Prism.........................................................E+ £49
FB1 + FC1 Action Finder...................................E+ £99
Hotshoe Grip ......................................E++ / Mint- £25
LX Grip.............................................................E+ £25
Mirror Adapter II ...........................................Mint- £45
Slide Holder K...............................................Mint- £29
Winder LX ........................................................E+ £59
Winder MX.....................................................E++ £29 z 16.1MP Micro Four Thirds Live MOS
Winder MEII ..................................E+ / E++ £19 - £29
Rollei 6000 Series
sensor and the TruePic VI processing engine.
6008AF Complete.......................E++ £1,699 - £1,749
6008AF Body + Magazine............................E++ £999
z Top shutter speed 1/8000 sec.
6008 Integral Complete................................E++ £799
6008 Pro Complete......................................E++ £699 z Top ISO speed 25,600.
6008 Pro Body + Magazine..........................E++ £499
SLX MkII Complete .........................................E+ £299 z 5-axis image stabilisation with IS Auto.
XAct2 Monorail...............................................E+ £989
50mm F4 PQ.................................................Exc £499 z 9fps sequential shooting plus Interval shooting with time lapse.
80mm F2.8 HFT..................................E+ £149 - £199
120mm F4 PQ Macro...................................E++ £799 z Wireless Image Transfer allows sharing via mobile devices.
150mm F4 EL..............................................E++ £499
E-P5 with 14-42mm f3.5/5.6 £995
150mm F4 PQ..................................E++ £499 - £549
180mm F2.8 PQ .......................................E++ £1,099
350mm F5.6 PQ Tele Tessar ....................Mint- £1,299
1.4x Longar PQ Converter ............................E++ £349
INC FREE OLYMPUS STREET CASE M
120 Magazine (6006) .......................................E+ £95
120 Magazine (6x4.5) 6008 .........................E++ £199
4560 Magazine + Adapter ...........................E++ £299
Polaroid Mag 6006 ...........................................E+ £39
Polaroid Mag 6008......................E+ / E++ £39 - £139
Polaroid Mag SLX/6002/3 .............E+ / E++ £29 - £39
45 Degree Prism .....................E+ / Mint- £149 - £299
WE WANT YOUR QUALITY USED
EQUIPMENT for Commission Sell -
T Finder..........................................................E+ £199
Waist Level Finder ............................................E+ £39
Aluminium Case ...............................................E+ £69
Autobellows.................................................E++ £399
RC120 Release (10m) ....................................E++ £29
SCA356 Flash Adapter ..................E+ / E++ £25 - £35
Part Exchange - CASH BUY
SCA3562 Flash Adapter....................................E+ £49
Please ring Alister on 01463 783850 for quote
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A 20.2-megapixel DSLR featuring a full-frame
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The final frame Editorial
Amateur Photographer, IPC Media, Blue Fin Building,

OGDEN
110 Southwark Street, London SE1 0SU
Telephone 0203 148 4138 Fax 0203 148 8123
Email amateurphotographer@ipcmedia.com
Picture returns: Telephone 0203 148 4121

CHESNUTT
Email appicturedesk@ipcmedia.com
Subscriptions
Email ipcsubs@quadrantsubs.com.
Telephone 0844 848 0848 or +44 (0)330 3330 233 from overseas.
One year (51 issues) UK £145.55; Europe e259.99;
USA $338.99; Rest of World £221.99.
In street photography, everyone’s after the ‘decisive Test Reports
Contact OTC for copies of camera test reports published in AP.
moment’, but is the concept essentially meaningless? Telephone 01707 273 773.
Advertising
Amateur Photographer, IPC Media, Blue Fin Building, 110
Southwark Street, London SE1 0SU. Telephone 0203 148 2516
Email mark_rankine@ipcmedia.com
Classified telephone 0203 148 2929. Fax: 0203 148 8158
‘REPTILE baby is coming!,’ shouts the voice And he was quite successful at it. But does that Display telephone 0203 148 2516. Fax: 0203 148 8158
down the phone, bloodcurdling in its euphoria, mean he was right? Inserts call Innovator on 0203 148 3710
almost as if Lovecraft had a Twitter feed. Who is to say what moment is decisive? It seems Editorial team
‘What?’ I said. to me a very contrived and self-important way of Editor Damien Demolder
‘She’s in labour!’ the voice yelled again. pursuing pictures. Other mere mortals snap at Editor’s PA Christine Lay
I wince. random, but the true photographers have a keener Deputy/Features Editor Debbi Allen
The voice is Eli, my erstwhile Irish mate and the sense of history, of what’s important, of what’s Technical Editor Richard Sibley
furthest thing from a royalist. But as photographers, timeless, and they know best when to press the Art Editor Mark Jacobs
Production Editor Lesley Upton
we’ve both been eagerly anticipating the birth shutter button. And if you don’t capture the decisive News Editor Chris Cheesman
of the royal baby. Not because of any cuteness moment, it’s either because you’re not man enough Deputy Art Editor Sarah Foster
or sense of national pride, but as hopeful street or because you can’t ‘see’. Deputy Production Editor Breandan Maguire
photographers we’ve been intrigued by the Rubbish! Designer Antony Green
whole phenomenon. Not only do we set out with an agenda of the Senior Sub Editor Oliver Cotton
I make my way to Baker Street and find him on type of pictures we want to create, but we only ‘see’ Features Writer Oliver Atwell
the steps of a terraced house near the hospital, scenes that play upon our sensibilities and affect us Technical Writer Callum McInerney-Riley
Photo-Science Consultant Professor Robert Newman
telephoto zoom extended like a primate in heat. I directly. The ‘moments’ you are seeing are about Studio Manager Andrew Sydenham
edge my way between the as decisive as a politician Picture Researcher Rosie Barratt
throngs of worshippers and on live TV.
make my way up the steps ‘Was Cartier- But to be fair to
Special thanks to The moderators
of the AP website Andrew Robertson, Chris Cool,
and take a seat next to Eli.
‘What’s happening?’ I
Bresson really all Cartier-Bresson, I think
the meaning of his phrase
Fenris Oswin, lisadb, Nick Roberts, The Fat Controller
Contributors Chris Gatcum, Jon Stapley
ask. ‘What have you got that concerned with got corrupted over the Advertising team
so far?’ years. What he probably
‘Nothing,’ he says. He’s perfection? The man intended to mean as
Advertising Director
Advertisement Manager
Mark Rankine
Julia Spencer
0203 148 2516
0203 148 2508
not even looking through openly said it didn’t realness and a telling Senior Display Sales Exec
Display Sales Exec
Simon Gerard
Natalie Williams
0203 148 2510
0203 148 2637
his viewfinder. His camera moment of clarity in
sits on his lap like a Bible. matter if pictures an otherwise muddled, Area Manager Midlands & North Rob Selvey 01922 412 720
‘I’m waiting.’ chaotic situation, has Classified Sales Executive Tom Costa 0203 148 2929
‘Waiting for what?’ I
were even sharp!’ come to mean perfection.
Display Ad Production John Jones 0203 148 2671
Copy Chaser Kumu Vithlani 0203 148 2645
say. And I snap a picture But was Cartier-Bresson
as two women in floppy Union Jack hats embrace. really all that concerned with perfection? The man Marketing and promotions
Senior Marketing Manager Estelle Hicks-Bennett 0203 148 4321
One smiles in the direction of my camera, but I’ve quite openly said it didn’t matter if pictures were Online Manager Karen Sheard 0203 148 4943
overexposed the shot. even sharp! SPI Administrator Nadine Thomas 0203 148 4326
‘Waiting for all the right elements to come Personally, I think we all tend to overthink our
Inserts Innovator Telephone 0203 148 3710
together,’ he says. ‘I’m waiting for the decisive photographs. We ascribe meaning after the fact, Repro Camden Town Typesetters Ltd Telephone 0208 523 6700
moment.’ whether that’s an attempt to justify what we do or Printed in the UK by Wyndeham Group
There it is. That phrase. Those words. I’m a simply a genuine guess at trying to make sense of Distributed by Marketforce, Blue Fin Building,
huge admirer of Henri Cartier-Bresson, and I the world! 110 Southwark Street, London SE1 0SU. Telephone 0203 148 3333
think his ‘decisive moment’ style of photography What I believe Cartier-Bresson probably meant Publishing team
was pioneering, and perhaps some of the most is something more procedural: that photographers Group Magazines Editor Garry Coward-Williams
influential photography of all time… but it was just must simply learn how to predict moving elements Publishing Director Alex Robb
that: his style. within the frame. And that’s it. I believe even he Managing Director Paul Williams
In landscape photography, still-life photography, would argue that when we look to the techniques
weddings, portraiture, we always talk about this of others to define how we take pictures, we’re
life-long process of developing our own style. Yet in trouble. All contributions to Amateur Photographer must be original, not copies or duplicated to
other publications. The editor reserves the right to shorten or modify any letter or material
somehow when we talk about street photography, ‘So when is the decisive moment?’ I ask Eli. submitted. IPC Media or its associated companies reserves the right to re-use any submission
sent to the letters column of Amateur Photographer magazine, in any format or medium,
all this goes out the window and there’s the one ‘When Kate and Will come out of the hospital? WHETHER PRINTED, ELECTRONIC OR OTHERWISE Amateur Photographer® is a registered
trademark of IPC Media © IPC Media 2013 Amateur Photographer (incorporating Photo
rule book: Cartier-Bresson’s decisive moment. That’ll be when everyone snaps.’ Technique & Camera Weekly) Email: amateurphotographer@ipcmedia.com Website: www.
I never met the man, so I cannot confirm he ‘I don’t know. You can’t know in advance. You amateurphotographer.co.uk IPC switchboard tel: 0203 148 5000 Amateur Photographer is
published weekly (51 issues per year) on the Tuesday preceding the cover date by IPC Inspire,
wasn’t otherworldly, and without his personal just know when it happens.’ part of IPC Media, Blue Fin Building, 110 Southwark Street, London SE1 0SU. Distributed by
Marketforce (UK) Ltd, Blue Fin Building, 110 Southwark Street SE1 OSU. ISSN 0002-6840. No
biases. But I’m guessing he was like most ‘Kind of like a fart, then?’ part of this publication may be reproduced, stored in a retrieval or transmitted in any format
or medium, whether printed, electronic or otherwise, without the prior written permission
photographers: he knew the kind of pictures he He scowls, and I snap his picture. As I lower my of the publisher or the editor. This is considered a breach of copyright and action will be
taken where this occurs. This magazine must not be lent, sold, hired or otherwise disposed
wanted to make, and he discovered a method camera and smirk, I spot the hospital doors swing of in a mutilated condition or in any authorised cover by way, or by trade, or annexed to
of doing so. open and take another picture. AP any publication or advertising matter without first obtaining written permission from the
publisher. IPC Media Ltd does not accept responsibility for loss or damage to unsolicited
photographs and manuscripts, and product samples. IPC Media reserves the right to use any
submissions sent to Amateur Photographer Magazine in any format or medium, including
electronic. One-year subscription (51 issues) £145.55 (UK), 7259.99 (Europe), $338.99 (USA),
£221.99 (rest of world). The 2013 US annual DEU subscription price is $338.99, airfreight
An avid AP reader since birth, Ogden Chesnutt lives for photography and the sound of a tripped shutter. and mailing in the USA by named Air Business Ltd, c/o Worldnet Shipping Inc, 156-15, 146th
Avenue, 2nd floor, Jamaica, NY 11434, USA. Periodicals postage paid at Jamaica NY 11431. US
Postmaster: Send address changes to Amateur Photographer, Air Business Ltd, c/o Worldnet
In the third issue of each month he shares his photographic experiences and thoughts, as well as his Shipping Inc, 156-15, 146th Avenue, 2nd floor, Jamaica, NY 11434, USA. Subscriptions records
are maintained at IPC Media, Blue Fin Building, 110 Southwark Street, London, SE1 0SU. Air
adventures with his camera club friend Eli Business Ltd is acting as our mailing agent.

90 www.amateurphotographer.co.uk I 17 August 2013

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