Saturday 11 May 2019

Olympus EM-icM 1X
The most poro Four
werful
TESTED
Thirds camera ever made

Passionate about photography since 1884

Inspiring tales of how three talented

photographers made it big in a short time
Starting
young
How a 15-year-
old reader shot
this cover image

Feed your Seeing

imagination double
Be inspired by the world’s Creative effects
best food photography with multi-exposures
PLUS Is the Google Pixel 3 XL the best smartphone for photographers?
 7days
A week in photography
COVER PICTURES © JAKE KNEALE / MATT WILSON

Strictly between us, as admiration for their talent and more than
someone who has been a a little curiosity at how they achieved such
photographer for more than greatness in so short a time. This week we talk
30 years I find it mildly to three photographers who did just that, to
annoying when I come across find out their secrets.
In this issue someone who only picked up a camera for the We also present our pick of the best images
16 Food, glorious first time three or four years ago but is already from the annual Food Photographer of
food enjoying great success with work far better the Year competition and we test the new
We speak to some of than I could dream of. I’m sure that you leviathan of Micro Four Thirds, the Olympus
the 2019 Pink Lady Food secretly feel the same way – don’t worry, I OM-D E-M1X.
Photographer of the Year won’t tell. But at the same time I’m filled with Nigel Atherton, Editor
winners about how they
approach all manner of Join us amateurphotographer. Facebook.com/Amateur. flickr.com/groups/ amateurphotographer
food subjects online co.uk photographer.magazine amateurphotographer @AP_Magazine magazine
22 Quick off
the mark
Ailsa McWhinnie speaks online picture of the week
to three photographers
IMAGES MAY bE USEd FOR PROMOTION PURPOSES ONLINE ANd ON SOCIAL MEdIA

who are on a fast track

to success
26 Rising star
AP talks to the young
landscape and wildlife
photographer Jake Kneale
28 Photo insight
Emily Garthwaite tells us
about her heartbreaking
image of a sun bear
32 Capture modern
engineering
Enter this photography
competition for your
chance to win cash prizes
34 Take two
Claire Gillo reveals how to
master the art of double
© MARTIN dOLAN

exposing on film
40 Olympus OM-D
E-M1X
Andy Westlake reviews Corfe Castle
Olympus’s innovative new
flagship camera
by Martin Dolan
Canon EOS 5D Mark III, 16-35mm, 1/200sec at f/11, ISO 125
47 Google Pixel 3 XL This stunning sunrise scene was it was a spine-tingling experience,

Win!
Andy Westlake tests uploaded to our Twitter page using not just from a photographic point Each week we choose our favourite
Google’s new smartphone the hashtag #appicoftheweek. it of view but just as a spectacle of picture on Facebook, Instagram,
52 Competition was taken by photographer Martin Mother Nature. Once i’d got my Flickr, Twitter or the reader gallery using
*PLEASE ALLOW UP TO 28 dAYS FOR dELIVERY

Win a place on a portrait Dolan. he tells us, ‘i visited Corfe breath back i started to work up a #appicoftheweek. PermaJet proudly supports
workshop to photograph Castle in Dorset on a whim, and couple of compositions in the few the online picture of the week winner, who will
Japanese geisha a quick scramble up West hill remaining minutes before the sun receive a top-quality print of their image on the
and my mind was totally blown! i’d rose. After a good three years i’d finest PermaJet paper*. It is important to bring
Regulars never seen a proper temperature
inversion there before, only in other
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encourage everyone to get printing today! Visit
3 7 days photographers’ amazing work. very long time.’ www.permajet.com to learn more.
12 Inbox
14 Reader Portfolio
38 Join the club
51 Accessories
send us your pictures If you’d like to see your work published in Amateur Photographer, here’s how to send us your images:
Email Email a selection of low-res images (up to 5Mb of attachments in total) to appicturedesk@ti-media.com.
53 Tech Talk CD/DVD Send us a disc of high-resolution JPEG, TIFF or PSd images (at least 2480 pixels along its longest length), with a contact sheet, to the address on page 12.
66 Legends Via our online communities Post your pictures into our Flickr group, Facebook page, Twitter feed, or the gallery on our website. See details above.
NEWS ROUND-UP
The week in brief, edited by Geoff Harris

2019 a tough year so far for Canon

Canon president Fujio Mitarai recently predicted that smartphones
could see the camera market halve over the next two years. Now,
in Canon’s latest results, the Imaging Unit has reported an 81.6%
slump in operating profit in the first quarter of 2019, with a 23%
decline in camera sales over the same period. Canon cited slower
sales in China, but noted that sales of the EOS RP got off to a
VOLCAN C 7 SUMM TS – DREAMS OF THE UNKNOWN BY ADR AN ROHNFELDER PUBL SHED BY TENEUES WWW TENEUES COM PHOTO © ADR AN ROHNFELDER ALL R GHTS RESERVED

‘flying start’ – so full-frame mirrorless models are a key priority.

‘Bowens’ flash head from Wex

Having acquired the Bowens trademark, Wex Photo Video is
launching the XMS500 flash head with 500W of rated energy. A
new range of lights, flash systems and more will follow later this
year. The fully digital XMS500 features flash durations as short
as 1/13,690sec and a fast recycle time of 0.9sec to full power. At
£599 from www.wexphotovideo.com, it should be available now.

Nikon takes
the plunge
Nikon has released the CoolPix
W150, an underwater camera
aimed at families and
holidaymakers. With a 13.2MP
CMOS sensor and 3x optical
zoom lens, its anti-reflective
rear LCD is designed to make
Olympus seeks pros
it easier to shoot and review to try the OM-D E-M1X
images underwater. It records Intrigued by this issue’s review
Full HD video, has a new of the Olympus OM-D E-M1X
Underwater Face Framing and want to earn money from
mode, and also claims to motorsports photography?
be shockproof (1.8m) and Olympus is inviting
professionals along to all

freezeproof to -10°. Priced £149,
it should be available soon.
BIG
10 British Touring Car
championship events in 2019 to GERMAN photographer
test the full capabilities of the Adrian Rohnfelder is, to
Micro Four Thirds powerhouse, put it mildly, obsessed

picture
including the new intelligent with volcanoes. So
subject-detection feature in the much so, the Olympus
AF. To apply, simply visit www. ambassador has become
enjoy.photo. apparently the first
photographer to venture
to the highest points of
Free update for ON1 Photo Raw the tallest volcanoes in each continent. The
ON1 Photo Raw 2019 is a well-regarded alternative to Lightroom book that has resulted is as dramatic and
for raw processing and other editing jobs. A new update, coming in In this new book, the awe-inspiring as you’d expect.
mid-May, brings an Edit History mode, Hierarchical Keywords and world’s highest Taken around the world, everywhere from
improvements to the Apple Photos Extension for Mac users. The volcanoes are explored Chile, Tanzania and Indonesia to Iran and
update is free for existing users. See www.on1.com.

4 11 May 2019 I www.amateurphotographer.co.uk I subscribe 0330 333 1113

 81%
SOURCE: CANON GLOBAL

Antarctica, the images in the book are as

much about the journey and the people
Words & numbers
Rohnfelder meets on the way as they
are about the drama to be found at the
volcanoes’ summits. Needless to say, there’s Photography is
fire and brimstone aplenty too, as this
impressive picture of Japan’s Sakurajima the only language that can
demonstrates. The book is well worth a look if
you’re fascinated by our planet’s volcanoes. be understood anywhere
Volcanic 7 Summits: Dreams of the
Unknown, Seven Journeys to the in the world Decline in Canon’s operating
Continents’ Highest Volcanoes, by Adrian
Rohnfelder, is published by teNeues, £29.95,
Bruno Barbey profit in the first quarter of 2019,
compared to the same
ISBN 978-3-96171-174-1. Moroccan-born French photographer. period last year
Turn to page 66 for more

subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 11 May 2019 5


Fast Tokina macro and
Tamron 35-150mm lenses
TOKINA has released its second
autofocus lens for full-frame mirrorless:
the Fírin 100mm F2.8 FE Macro for Sony
E-mount cameras (pictured above). As
well as offering a relatively fast maximum
aperture, this macro lens has 1:1 life-size
reproduction with a working distance of
114.3mm (4.5 inches) between the front
of the lens and your subject. It has nine
elements in eight groups, and Tokina claims
that its ‘flat-field’ optics prevent field-of-view
curvature while ensuring sharpness across
the aperture and focusing range. This is an
AF lens, but manual focusing is facilitated
by a large manual focus ring. An extending
barrel takes the lens length from 123mm
to 163mm and the lens weighs 589.7g. It
is available now for £570.
Meanwhile, Tamron has announced the
35-150mm F/2.8-4 Di VC OSD, a compact
zoom lens for full-frame Nikon and Canon
DSLR cameras. Tamron claims exceptionally
quiet AF thanks to the OSD (Optimized
Silent Drive) DC motor. ‘The Model A043
incorporates the Dual MPU (Micro-
Processing Unit) system, which strikes the
perfect balance between AF performance
and effective vibration compensation,’ says
the company. The lens will be available from
23 May in Nikon mount and 20 June in
Canon mount, priced at £799.
Subscribe to
SAVE 35%
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Zeiss announces premium
100mm telephoto lens
ZEISS has released the Otus 1.4/100, to minimise stray light and maximise contrast,
a manual focus, short telephoto lens for even when shooting into the light. As a manual
full-frame Canon and Nikon DSLRs. Short it focus lens, it features an ‘extended rotation
may be, but the price will be a tall order for angle’ and smooth operation to make focusing
many AP readers - £3,999,
which is more than many
precise. This new lens isn’t
compact, though; it weighs
people’s entire systems
are worth. This premium
over 1.3kg and is almost
13cm long. It is available
lens joins the Otus to buy now.
1.4/55, 1.4/85 and
1.4/28, and is aimed The Nikon-mount version
at studio, portrait and features an aperture ring
commercial product
photographers. Zeiss
claims the lens offers
high edge-to-edge
resolution across the
aperture range, with
‘harmonic’ bokeh and
a ‘3D pop effect’ that
makes subjects stand
out crisply against blurred
backgrounds. It also has a
Zeiss T* anti-reflective coating
© PAWEL ZYGMUNT
Titled ‘The King of Scotland’,
this photo is an entry in this
year’s CEWE Photo Awards
International photo contest closing soon
THERE is still time to enter what is claimed CEWE products, while the second to 10th
to be the world’s largest photography place winners will each take away €5,000 of
competition: the CEWE Photo Award 2019. photography equipment and €2,500 of CEWE
The competition from the German printing and products. Over 175,000 submissions have
digital imaging giant is free to enter, with 10 been received so far, with some particularly
categories, and there is a very generous prize strong wildlife submissions, say the organisers.
Entry into the competition is free, and you have
their choice worth €15,000, €7,500 of until 2 June to participate. Find out more at
photography equipment and €2,500 of cewe-photoworld.com/cewephotoaward.
For the latest news visit www.amateurphotographer.co.uk
 Change gear.
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@mpbcom P H OTO B Y S U G A N T H

Exhibition
Photo London
Photo London 2019 is fast approaching and offers a
dizzying array of events, talks and exhibitions. Oliver
Atwell delves into the ones worth your attention
D
espite being one of the
Photo London runs at cultural hubs of the world, it
Somerset House from is surprising to hear that for
16-19 May. Tickets are many years London lacked
available online. Visit a significant international photography
www.photolondon. festival to compete with the likes of Paris
org for more details Photo and Les Rencontres d’Arles. Then
on the schedule. back in 2015, the capital firmly planted
itself on the photography map with the
launch of Photo London, an event that
took place within the enviably opulent
walls of Somerset House. In just a single
year, the festival set itself apart as the
premier annual gathering for the city’s
major museums, auction houses,
galleries and creative talent. That creative
talent included some of the world’s
major players in the field of photography.
Notable examples are Sebastião
Salgado, Don McCullin, Taryn Simon and
Edward Burtynsky, all of whom were
recipients of the festival’s annual Master
of Photography Award. Hot on the heels
of his major retrospective exhibition at
the Museum of Modern Art in New York,
Josh Haner, Yellowstone National Park, USA, 2018
8 11 May 2019 I www.amateurphotographer.co.uk I subscribe 0330 333 1113
Roger Fenton Cottage
overlooking the
Dnieper, Russia, 1852.
Salt print from a
paper negative
this year’s award goes to legendary
American photographer Stephen Shore
(see box out).
As before there will be an
extravagant range of things to see,
including almost 100 exhibitors
(both major and emerging galleries),
in-depth talks and discussions and
special exhibitions. And, lest we
forget, there will be a giant egg
sculpture by Gavin Turk. Be sure
to feast your eyes on that.
Often considered the world’s first
war photographer, Roger Fenton
finds himself subject of a fascinating
© THe new York TiMeS
exhibition curated by British dealer
Robert Hershkowitz (16-19 May).
Where previous Fenton exhibitions
have treated his work by chronology
and subject, this show instead looks out the exhibition showing the work of
at the recurring motifs that occur The New York Times photographer Josh
in his work. Altogether, it reveals Haner, images that really must be seen
the personal obsessions of this in the flesh (16-19 May). Haner is a
pioneering photographer. For a more photographer who has tirelessly worked
contemporary take on the world, check to show in striking clarity the impact of
climate change across the globe. His
work succeeds in combining
© JoSH Haner/THe new York TiMeS
breathtaking drone images, sitting them
beside more formal still-life images
taken from the ground. Our planet
faces losing a good portion of its natural
heritage and Haner’s images do much
to hammer that point home.
Also worth your time is the exhibition
‘Crossing the Borders of Photography’
(16-19 May). This is a group exhibition
featuring Des Lawrence, Tabor Robak,
Paul Kneale and Ana Elisa Egreja.
Here we find a cadre of photographers
exploring how the medium of
photography is constantly shifting,
challenging itself, reinventing itself and
adapting to contemporary methods
of artistic expression. Technology and
ethics will be prominent themes here
so it’s worth taking your time with this
one and considering how you position
yourself within the likely contradictory
ideas on display.
Video-based media is amply
represented in the work of Eamonn
Doyle who presents a nine-screen,
surround-sound panoramic called

© photo london/Gavin turk
Gavin Turk: Portrait of an Egg
‘Made in Dublin’ (16-19 May). The work
consists of Doyle’s images, production
design by Niall Sweeny, music by David
Donohoe and the words and voice of
writer Kevin Barry.
Be sure to book your place for the
variety of talks that are on offer. Of
note are talks by Martin Parr (16 May),
Susan Meiselas (17 May), Vanessa
subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 11 May 2019
Spotlight
© Stephen Shore. CourteSy 303 Gallery, new york
Stephen Shore
Los Angeles,
California,
February 4th,
1969
Stephen Shore
In addition to receiving the festival’s Master of Photography
award, Stephen Shore will be in attendance to engage in
a discussion with the always excellent curator and writer
David Campany (16 May). Most exciting, Shore will also
present a new exhibition of work entitled ‘Details’. All
images were shot using the Hasselblad X1D and capture in
fascinating detail found arrangements of natural material
and street detritus. Where the rest of us would pass these
items by without a second thought, master photographer
Shore has instead focused his lens upon them and
presented them as scenes of strange beauty. In addition,
Shore will also present his classic exhibition series ‘Los
Angeles, California, February 4th, 1969’, a body of work
shot over a single day.
Vivian Maier
Chicago, 1962
Vivian Maier
© eState of vivian Maier, CourteSy of Maloof ColleCtion and howard GreenberG Gallery, ny
One of the most popular exhibitions on display at this
year’s Photo London will be the first major public display of
the work of Vivian Maier (16-19 May). Maier’s story (or as
much as we know) has been endlessly retold. Starting in
the earlier part of the 1950s, Maier worked as a nanny
and in her spare time stalked the streets capturing street
photography images with her TLR camera. Her activities
Winship (17 May), Ralph Gibson (17 were largely unknown until the time of her death, when her
May), Tim Walker (18 May), Erwin Olaf work was uncovered by John Maloof after he purchased
(18 May), Nick Brandt (18 May), Gavin some of her boxes at an auction. Her work was instantly
Turk (19 May) and Hannah Starkey (19 acclaimed and was quickly seen as some of the best
May). All of them are in conversation examples of street photography in the post-war years.
with a variety of writers, curators and Now is your chance to finally see them in a gallery space in
journalists. All will attempt to probe the the UK. In addition, you can attend a talk between Anna
depths of their creative, thematic Sparham and Ann Marks (17 May) who will get to grips
and working processes. with the significance of Maier’s work.
9

Viewpoint
Jon Bentley
Mirrorless cameras have an unending range of
fantastic features, but they seem to be missing
the all-important fully articulating screen
I
was doing a spot of filming with
rugby player James Haskell
recently. He’s one of the most
enthusiastic blokes I’ve ever met
with passions for everything from diggers
to coffee - there’s a JCB parked on his
drive and his kitchen is resplendent with
a whole array of coffee machines.
I was delighted to discover that his latest
interest is photography, and intrigued to
note that he was drawn to his new Canon
EOS M50 on account of one feature: its
fully articulating screen. He uses it in his
vlogging. I’ve long thought that mirrorless
camera manufacturers are ignoring flip
screens at their peril. It’s not narcissism.
You never know when a quick piece to
camera or selfie may be required these
days, for all sorts of reasons. A fully
articulating screen helps you avoid
chopping off your forehead or chin
in your shots.
Nikon should have fitted one to the Z 6
and Z 7 cameras, for example, and I’m
often irritated that my Sony A6000’s
screen only tilts up and down. I had to
record a quick piece to camera the other
week and to avoid the collywobbles I
even photographed myself with the
self-timer first to make sure I was sitting
in the right place; all a bit of a chore.
Until recently Sony offered a flip screen
on just one camera in its APS-C
mirrorless range, the A5100. I had been
tempted to buy one but its limited spec
THE V EWS EXPRESSED N TH S COLUMN ARE NOT NECESSAR LY THOSE OF AMATEUR PHOTOGRAPHER MAGAZ NE OR T MED A L M TED
doesn’t include a 25fps setting for video
that broadcasters often demand for
editing purposes.
I was pleased to see that the new,
more sophisticated A6400 does have
a flip screen. I thought this might justify
buying one but on closer inspection the
implementation is rather half-hearted.
The screen doesn’t give you a full view as
it’s partly obstructed by the camera body,
and doesn’t really flip at all if you have
anything mounted on the accessory
shoe, like an external microphone (doh!).
Even using an eye cup on the viewfinder
renders it useless. I find it all a bit of a
mess, frankly.
Do you have something you’d like to get off your chest? Send us your thoughts in around
500 words to the address on page 12 and win a year’s digital subscription to AP, worth £79.99
10
In next week’s issue
On sale Tuesday 14 May
© GETTY IMAGES
© JON BENTLEY
MIRRORLESS SPECIAL
magicof
The
mirrorless
Rugby star James Haskell was drawn to the
fully articulating screen on Canon’s EOS M50
‘Flip screens should Unsure about shooting with
be the rule rather than mirrorless? Angela Nicholson
the exception’ explains all the benefits
Now I know there are other solutions Fujifilm
to this problem. I often end up using my X-T30
phone, for example, but the wide angle of Michael
the selfie camera gives a poor perspective Topham tests
and often includes too much background.
the best
Another option would be to buy a
enthusiast
camcorder. Though rather unfashionable
mirrorless
these days, they are relatively cheap and
often include helpful features like a
camera
microphone socket. Like the phone,
under £1,000
however, the smaller sensor rules out
© JOSH BROWN
the depth-of-field effects and low-light
capabilities of a compact system camera.
I could also use an app to keep an eye
on what I’m recording but I’ve found these
troublesome in the past. Connecting an
external monitor is also possible but by
the time you’ve bought it, carried it,
plugged it in and mounted it, it’s rather
too much hassle and expense.
No. Flip screens should be the rule
CONTENT FOR NEXT WEEK S SSUE MAY BE SUBJECT TO CHANGE
rather than the exception. Like James I
will consider this a significant factor in my
next camera purchase. The move to mirrorless
Matt Golowczynski speaks to eight pros
Jon Bentley is a TV producer and presenter best known who use mirrorless for their work
for Top Gear and Channel 5’s The Gadget Show
Focused intelligence
Andy Westlake takes a close look at
firmware version 5 for Sony Alpha 9
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 CELEBRATING
THE YEAR’S
BEST PRODUCTS

GLOBAL AWARDS 2018-19

visit www.eisa.eu for the winners
EISA is the unique collaboration of 55 member magazines and websites from 27 countries,
specialising in all aspects of consumer electronics from mobile devices, home theatre display and
audio products, photography, hi-fi and in-car entertainment. Now truly international with members in
Australia, India, Canada, the Far East and USA, and still growing, the EISA Awards and official logo are
your guide to the best in global consumer technology!

TESTED BY THE EXPERTS n WWW.EISA.EU

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Editorial team
Group Editor Nigel Atherton
LETTER OF THE WEEK 100-400mm lens. I
photograph aircraft, trains,

Lost prints
Deputy Editor Geoff Harris wildlife and family. I’ve been
Technical Editor Andy Westlake
Reviews Editor Michael Topham of prints all stuck together and files of looking at the Lumix G9
Features Editor Amy Davies negatives awash with water. Sadly, all with 100-400mm lens. Is
Features Editor Ailsa McWhinnie
Technique Editor Hollie Latham Hucker of my home-produced 1980s mono this OK for A4 photos?
Acting Technique Editor Tracy Calder
Acting Technique Editor Claire Gillo We’re frequently reminded to back up prints of my lovely late wife Sue and Paul Fletcher
Production Editor Jacqueline Porter our digital images in case of crashed our two children were ruined. Also
Chief Sub Editor Jolene Menezes
Art Editor Sarah Foster hard drives or what have you. But what precious photos of both mine and The Panasonic Lumix G9
Senior Designer Steph Tebboth about our precious memories from our Sue’s parents (all now deceased) were should meet your needs,
Studio Manager Andrew Sydenham
Photo-Science Consultant film camera days? I went to get some destroyed. It was all I could do not to but isn’t much lighter
Professor Robert Newman stepladders from my garage recently cry. I did think of trying to save some than your EOS 7D kit. An
Office Manager Hollie Bishop
and was horrified by the sight that of the negatives but they gave off even better option might
LETTER OF THE WEEK W NS A SAMSUNG EVO PLUS M CROSD CARD NOTE: PR ZE APPLIES TO UK AND EU RES DENTS ONLY

Special thanks to The moderators of the

AP website: Andrew Robertson, lisadb, Nick greeted me. The garage is situated such a foul smell I had to bin them. be to choose an all-in-
Roberts, The Fat Controller
Advertising
50 yards from my house and I hadn’t As far as good starts to the day go, one bridge camera, such
Commercial Director Dave Stone been in it for about six months. Much I’ve had better ones. as the Sony RX10 III or
07961 474 548 to my regret. I found the roof was Mick Bidewell IV, or the Panasonic
Senior Account Manager Samuel Shaw
07970 615 618 leaking and rainwater had landed on Lumix FZ2000. With
Production Coordinator Chris Gozzett
0203 148 2694 the cardboard boxes which contained Really sorry to hear of your loss, large 1-inch sensors and
Marketing negatives and prints dating back Mick. Thanks for raising a very valid long zooms, these offer
Head of Marketing Samantha Blakey almost 40 years. point. Prints can just as easily be both good image quality
Publishing team The boxes were reduced to pulp and lost or damaged as digital files and telephoto reach in
Chief Executive Officer Marcus Rich
Group Managing Director Andrea Davies it was heartbreaking to discover piles – Nigel Atherton, editor a relatively lightweight
Managing Director Gareth Beesley
set-up – Andy

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All contributions to Amateur Photographer must be original, A sincere thank you to AP image was first published data about the man and more understandable than
not copies or duplicated to other publications. The editor
reserves the right to shorten or modify any letter or material and Roger Hicks for your by Newsweek in April had some images that anything I have previously
submitted. TI Media Limited or its associated companies
reserves the right to re use any submission sent to the letters respectful and skilfully 1985, marking the 10th were incorrectly dated. read, so thank you!
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Reader Portfolio
Spotlight on readers’ excellent images and how they captured them

Daisy May, Lockington, Leicestershire Vegetable Soup 2

This portfolio has a poignant story. Daisy tells us, 1 Daisy took this
10 years ago, I was suffering from anorexia and shot at home. With it,
was very ill. Fear of food was overwhelming and she wanted to show
my biggest enemy. I recovered, miraculously, and appreciation for each
began to see food in a new light. My husband individual ingredient.
(and biggest fan) bought me a Nikon camera and a Nikon D5200,
day’s photography course with a wonderful tutor, Caro. This 18-300mm, 1/500sec
started a new chapter in my life and the food that once took at f/5.6, ISO 1250
away my joy of living became my inspiration.’ See more of
Daisy’s work at daisymaydefined.smugmug.com.

Time for a Cuppa

3 This shot shows
that the time is
always right for a
cup of tea. Taken
from above, the
challenge was to get
the cups and spoons
centrally framed
without casting a
shadow from leaning
over the set-up.
Nikon D5200,
18-300mm, 1/200sec
at f/6.3, ISO 400

14
 UR PICTURES IN PRINT
NOTE: PR ZE APPL ES TO UK AND EU RES DENTS ONLY

The Reader Portfolio

winner chosen every week will receive a Manfrotto PIXI Submit your images
Please see the ‘Send us your
EVO tripod worth £44.95. Visit www.manfrotto.co.uk pictures’ section on page 3 for details
Lightweight and portable, the Manfrotto PIXI EVO boasts two different leg angles with a sliding selector enabling or visit www.amateurphotographer.
you to shoot ground-level images. It’s adjustable, with two-section legs featuring five different steps that adapt co.uk/portfolio
the footprint to uneven surfaces. With a payload of 2.5kg, you can tilt the camera 90° to capture incredible images.

The World
of Ice Cream
2 This image depicts
vanilla ice cream
as the sun, with the
other flavours acting
as planets revolving
in space. It was a
challenge to get the
scene – and lighting
– correct before the
ice cream melted.
Nikon D610, 35mm,
1/200sec at f/5.6,
ISO 200, tripod

Pattie and Chips

5 Daisy took
this picture when
competing in
a Hull-themed
Facebook competition
– the city is famous
for its ‘pattie and
chips’. It took two
hours to set up the
scene before it was
ready to photograph.
Nikon D610,
35mm, 1/125sec
at f/16, ISO 160,
tripod, softbox,
speedlight

4 5

The Great British

Biscuit Barrel
4 Daisy wanted
to make the scene
look as enticing as
possible. She created
the look of the
biscuits floating in
the air to reflect the
excitement of opening
a biscuit jar and
wondering ‘which one
(or two) shall I have?’
Nikon D610, 35mm,
1/125sec at f/16,
ISO 200, tripod,
softbox, speedlight

Iw 15
 Technique food phoTography

Food,
glorious

food
The 2019 Pink Lady Food Photographer of the
Year winners have been announced. We speak
to the category-winning photographers about
how they approach all manner of food subjects

T
he results of the prestigious Pink Cauldron Noodles
Lady Food Photographer of the Year Jianhui Liao, China
competition have been announced and
what a sumptuous feast for the eyes it
overall and food for
is. The competition has been running since 2011 Celebration sponsored
and to date has received almost 50,000 images by Champagne
from over 60 countries. The prize pool is worth Taittinger winner
more than £20,000, and finalists benefit from In Shexian County, Hebei
huge amounts of coverage. Province, China, every year
The 23 categories offer a diverse range of from the first to the 18th day of
imagery, from food production and stunning the lunar calendar, villagers wear
still-life plates of food good enough to eat to Qing Dynasty costumes to
celebrations, food in its natural settings, and celebrate the birthday of Nuwa
© jianhui liao

Sony A7R II, 24-240mm,

humanitarian and cultural studies. Visit www. Niang and eat big pots of noodles
1/200sec at f/8, ISO 100
pinkladyfoodphotographeroftheyear.com. at the village committee at noon.

Canon EOS 5D Mark II, 24-105mm, Cow Tantrum

1/125sec at f/8, ISO 100 Martin
Chamberlain, UK
politics of food
This cow probably
knew its destiny.
Having just been bought
from the market in
Nizwa, Oman, the cow
proved increasingly
reluctant to comply with
its new owners’ wishes
– resorting in the end to
collapsing its front legs,
leaving the owners
puzzled as to what to
do next. www.
martinchamberlain.com.
martin’s top tips
© martin chamberlain

Consider the
1 processing to best
reflect the scene and
subject. I converted this
 Broken Egg
Phase One IQ250, 80mm,
1/125sec at f/18, ISO 100 Michael Hedge, UK
Fujifilm Award for Innovation
This shot is part of a series of images that
I photographed for an article in the RSA
image to mono to give it Journal illustrating the delicate relationship between
a photojournalistic feel. food, farming and the countryside.
This treatment also www.michaelhedge.co.uk
makes it appear timeless
to reflect the market michael’s top tips
environment, which has With general food photography, it’s important to
probably changed very
little over generations.
1 be ready to take the picture the minute the food
is served, rather than faffing about with lighting – so
keep it simple. This particular image was taken with a
The challenge when
2 shooting in markets is
isolating a subject from
single light going through a diffusion screen, with a
reflector for a bit of fill on the right.
the surrounding clutter. The image was photographed in my studio on a
For the best results,
arrive early and pick a
2 Phase One IQ250 digital back, and shot directly
to computer. Shooting tethered makes it so much
good location where the easier to compose and reflect on an image as you’re
lighting works. Then sit creating it. It can also turn the creative process into a
© michael hedge

and wait and soak up much more collaborative one, as in this case the
the atmosphere and stylist Kerry Hughes was invaluable in the creation
anticipate your shots. of this image.

subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 11 May 2019 17

 Technique food phoTography
Mussels Ready to Eat
Giles Christopher, UK
InterContinental food at the Table
This image was shot for Harry Ramsden’s
restaurants. I was shooting in a location with
no natural daylight and after going through the
photo brief with the client, we went for a lighting
set-up to create a cool masters look. With the
addition of rustic props and textures, the image
came together to complement the campaign for
autumn/winter. www.mediawisdom.co.uk.
giles’s top tips
Generally when photographing a plate of
1 food, it’s best to shoot it from a customer’s
perspective and select a focus that gently falls off,
drawing your eye to the focal point: the food.
It is very important not to over-light a set-up.
2 Simulating or controlling a natural light
source and adding reflectors is usually your best
starting point. Side lighting or backlighting works
best for food as it brings out textures and colours.

© matt wilson

Apple iPhone 8 Plus, back dual camera

3.99mm, 1/800sec at f/1.8, ISO 20

Rosemary Harvest
Matt Wilson, Chile
on the phone
This photograph is of one of my sons cutting
rosemary from our garden. He is wearing his
Barcelona football shirt and my wife´s Colombian hat.
I saw the image and only had my iPhone with me at
the time, so I captured this shot before he moved.
www.mattwilson.cl.
matt’s top tips
Understand the food you are shooting. Study
1 its colour, texture and shape to decide how
to approach it. Do some research, even if it’s just
looking at 30 photos on Instagram, as you will quickly
get an idea of what works and what does not.
Show the environment. I always try to show food
2 as a lifestyle, not a product: who cooked it, who
grew it, who harvested it or who butchered it.
I always try to shoot with natural light. Strong
3 and contrasted light rarely works, in my opinion.
Whereas a portrait should show the eyes with the
brightest light, in food the main ingredient should
© kazi mushfiq

have the brightest light, so I use reflectors to bounce

off some extra light when required.

18
 Harvesting Gold
Kazi Mushfiq, Bangladesh
Bring Home the Harvest
This image was taken at the rice mill located
on the outskirts of Dhaka, Bangladesh,
in 2016. I visited the rice mill as part of a
documentary project I was working on to show the
process of rice production. This image depicts the
farmers hard at work harvesting the rice, which is
like gold to them. www.kazimushfiq.com.
kazi’s top tips
I wanted to capture the farmers working as well
1 as their surroundings, while ensuring a creative
composition. These are all the things to consider
when finding the perfect viewpoint and angle to
shoot from. It’s worth bearing in mind what focal
length of lenses you have to choose from.
In order to document projects such as this,
2
© giles christopher

make sure you do your research on the

Sony A7R III, 90mm TS-E (using a metabones location first, and in some cases, you may need
adapter), 1/125sec at f/4.5, ISO 200
to ask permission to photograph there too.

Canon EOS 6D, 17-40mm,

1/1000sec at f/7.1, ISO 125
 Technique food phoTography

© andrew newey
Canon EOS 5D Mark III,
16-35mm, 1/5sec at f/16, ISO 50

Pumpkins at Sunrise Nikon D750, 16-35mm,

Andrew Newey, UK 1/60sec at f/7.1, ISO 800
food in the field
Having recently moved to a house
situated at the edge of the New
Forest, I could not resist the lure of the
pumpkin patch just over the fields. I shot
this scene one cold autumn morning, as
the sun appeared through the mist.
www.andrewnewey.com.
andrew’s top tips
Get down low to make the
1 foreground more prominent in the
frame. When using a tripod get in the
habit of only pulling out the widest leg
section - it’s quicker and easier.
Be patient. Keep an eye on the
2 weather forecast to anticipate the
perfect conditions for the best results.
© debdatta chakrabOrty

Rishu Kesarwale months. www.facebook.com/debdatta.

Debdatta Chakraborty, India chakraborty.3.
Street food debdatta’s top tips
Rishu Kesarwale has his shack in one of Ambient light creates a far more interesting
Open to professional and
the busiest streets of Allahabad city in India.
Here he sells warm milk, yogurt, cottage cheese
1 and realistic impression of a scene, so I tend
to favour this and recommend working with the
amateur, old and young, and, of course, masala chai – India’s most popular
these awards celebrate available light you are given.
drink. He has inherited his shop from his father
the very best in food If you’re working in low-light conditions a lot,
photography and film
from around the world.
and is very proud that in these days of food
adulteration, he is still serving his clientele with 2 a full-frame sensor is a must as it handles
reduced lighting conditions much better than
pure milk, which is considered a great health food
by the Indians, particularly so during the winter its cropped counterpart.

20 11 May 2019 I www.amateurphotographer.co.uk I subscribe 0330 333 1113

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Learning photography
Quick
off the
mark
photography is a craft that takes
years to learn – but is it possible
to speed up the journey? Ailsa
McWhinnie speaks to three
photographers who are on a
fast track to success
The competitive edge
Cumbria-based farmer amy
bateman recently won the british
Life Photography awards with her
image ‘Lambing intensive Care’ (see
aP’s Big Picture, 30 march). What
few people know, however, is that
she only picked up a camera and, as
she puts it, ‘turned off auto’, three
years ago, after her husband bought
her a course at the brewery arts
Centre in Kendal as a gift. ‘i am
extremely competitive,’ she says,
laughing. ‘i’ve never done anything
in my life if it’s not to the best of my
abilities. as soon as i started doing
photography, i got a subscription to
aP and swallowed it up every week,
trying out all the techniques. i now
live for photography, along with my
family and the farm.’
Entering Twitter-based
competitions such as #Wexmondays
and #fsprintmonday helped spur
her on, as did the feedback she
received. ‘i would not be where i am
today if i hadn’t joined Twitter,’ she
asserts. ‘The photography
community there is wonderful – so
supportive and generous with their
22
Amy’s image of
sheep returning
to the fell was
highly commended
in British Life
Photographer
of the Year
Former physiotherapist
Amy Bateman gave up
her job when she started experience and knowledge. We all
a family. She fell upon a get something out of it. For instance,
love for taking pictures i saw a spectacular macro image of
only three years ago, and a bluebottle, and it made me go out
is now combining her and buy the Sigma 105mm macro
work as a farmer with lens. Now, i can mooch around the
commercial photography. garden with my cup of tea in the
She will soon be offering morning and take macro shots. but
photographic tours of it was the competitions, where i had
the farm where she lives to submit something every week,
that made me develop my vision and
in Cumbria. Visit
skill so quickly. They made me learn
www.amybateman about the vast range of techniques
photography.com, available to the digital photographer.’
Instagram
@amybatemanphoto Winning streak
an abstract image won her the
London Photo Festival in 2017. ‘a s
a beginner, you start to think, “i can
11 May 2019 I www.amateurphotographer.co.uk I subscribe 0330 333 1113
do this,”’ she says. She went on to be
shortlisted in two consecutive years
in the Outdoor Photographer of the
Year competition, and won a couple
of competitions on Photocrowd, too.
She also won #fsprintmonday in
2018, and with the title came a
Canon Pixma Pro-100 printer.
‘When you win things,’ she says, ‘it’s
very encouraging. Competitions
really helped me develop as a
photographer. but i’m more
selective about what i enter now.’
in terms of processing, amy
signed up for evening classes where
she learned Lightroom. ‘This was a
big turning point when the shutters
really fell away,’ she says, and it’s
still the program she favours over
 Learning photography

© AMY BATEMAN
Photoshop, which she is only just
beginning to learn. ‘If you don’t
shoot raw, you’re never going to
understand dynamic range. And
even if something isn’t quite right
in camera, you can do so much in
Lightroom. The other biggest tip
I learned was at a talk by Carmen
Norman at my local camera club.
She said to make sure the contrast of
black & white images is always high
enough to not look grey. Now, it’s the
first thing I do with a conversion.’
Given the importance of the farm
where she lives and works in the
development of her photography,
does Amy think she’d have made the
same progress if she lived in an
urban environment? ‘I might have
gone into architecture or street
photography,’ she replies, ‘but here
there are so many opportunities
outside the front door.’
And opening her eyes to
photography means she is constantly In this shot of the
London Aquatic
on the alert for those opportunities,
Centre, Dan
© DAN PORTcH

be they characterful portraits of the softened the horizon

sheep, observing how light falls into in Photoshop
the woodshed, or close-ups of a

A forensic approach
worn-out barn door. ‘I always
capitalise on light,’ she says.
In advising beginners, she
suggests joining Twitter, going to
evening classes ‘to get flying with
settings’ and entering competitions. AN eNGINeer by degree but
‘The praise and rewards really keep a patent attorney by trade, Dan
you going,’ she concludes. ‘The more Portch has always had a forensic
photography you do, the more you mind – and he applied the same
will start to see.’ approach to his photography.
Buying a camera to document his
children, he spent a long time
Amy’s kit
researching what made a good
Amy has a Nikon D750 with a range of lenses, camera in order that he could Patent attorney Dan
but since winning the British Life Photography do justice to the images. But Portch lives in Kent
Awards – and with it a Sony A7R III – she is although he found there wasn’t a and tends to concentrate
making the transition to mirrorless. great deal of fulfilment in simply on shooting either nearby
l Sony A7R III taking snaps of the kids, he did locations or places in
l Sony FE 24-70mm F2.8 GM become interested in the kit Devon, where he grew up.
l Zeiss Vario-Tessar T* FE 16-35mm F4 ZA OSS itself and the camera’s settings. He makes full use of
‘I wanted to get into manual Photoshop to create his
© AMY BATEMAN

This shot was also mode so I could learn properly,’ he images, and is the 2019
highly commended says. ‘It’s typical of my obsessive Wex Photographer of the
in British Life nature to want to do things well.’ Year. Visit www.
Photographer of
danielportch.com,
the Year, and won Play to your strengths www.flickr.com/
#fsprintmonday on
Dan is originally from Devon and
Twitter one week photos/
when he returned there for family
holidays, he realised he’d esotericrecollections
overlooked a lot of the area’s
beauty in the past. So, about three
years ago, he started taking
pictures there. He is also friends
with Neil Burnell (AP’s current
Amateur Photographer of the
Year) and David Hixon, as they’d
played football together as
youngsters. ‘They were an
inspiration,’ Dan says. ‘I
started to look at what they

23
Learning photography
do and how they do it, and it
went from there. I’ve been far
more inspired by them than I have
by the big-name photographers.’
rather than sign up for courses or
spend hours travelling to locations
in the vague hope that he might get
a shot, Dan played to his strengths
in order to deconstruct the images
that inspired him. ‘A s a patent
attorney, I have to look at things
scientifically and understand
quickly what makes them work.
I take the same approach to
photography. I’d look at people’s
images, the compositional rules
they followed and the processing
they’d carried out, and start to
understand what I could do to make
mine better. It was like learning
technology all over again.’
His process, as analytical as it is,
clearly works, because he is the
current Wex Photographer of the
Year. After entering for some weeks
and getting nowhere, a shot of the
West Pier in a lightning storm won
– and he didn’t look back. ‘It was a
lot of effort,’ he recalls, ‘but it made
me plan more and get out more.’
On limited time
In what might come as a surprise,
he puts his reasonably high hit rate
down to a lack of time. After family
and work, photography is third in
his list of priorities, and if he can
grab an hour or so once a month,
he’s doing well. As such, he has to
make every opportunity count. ‘I
don’t have a great imagination,’ he
admits, ‘so I have to plan my shots.
24
I know what I want before I go out
– be that the weather, the tides of
Dan’s kit
the location, and I know how I want l Canon EOS 5D
to process the image to make it Mark III and IV (he
work.’ Thus he often returns with upgraded to the IV
that one great shot. with his winnings
He turns to YouTube for its video from Wex
tutorials on processing, but it was Photographer
also from conversations with Neil of the Year)
and David that he learned the l Canon EF
extent to which many images are 24-105mm
manipulated in order to realise f/4L IS II USM
a vision. ‘They aren’t landscape l Canon EF 16-35mm
photographers in the classic sense,’ f/4L IS USM
he says. ‘They are more conceptual. l Canon EF 200mm
This appealed to me because f/2.8L II USM
I realised they were often looking
l Extender EF 2x III
at rather ordinary, mundane
landscapes and creating something
different – be that cloning out
distractions, fading out the horizon
or whatever. I didn’t want to steer
away from this – instead, I realised
it would help me make my images
look how I wanted them to.’
In particular, he has found that
layer masks help him to realise his
vision by tweaking details in small
areas of the frame, and can
sometimes end up with 25 layer
masks in a single image. He’s also
happy to blend different exposures
to create a new image. ‘I watch © jULIEttE SCOtt
a Photoshop tutorial until I The shot that
understand the fundamentals, and gave Dan the
then I apply what I’ve learned to my impetus to go for
On course
own images,’ he says. ‘I know what I broke with the Wex
Photographer of the
like, and I know what I want from
Year competition.
the next image I take, and hopefully His persistence
for success
I produce it. I’m happy enough to paid off when he
share my images, but I’m the first to was announced
admit I can do better.’ overall winner
© Dan POrtCh
Colour and pattern have
driven Juliette Scott for as long as
she can remember. It’s what led
her to study history of art, then to
a job at Bonhams auction house,
and finally into training as an
interior designer, which has been
her career for the past 14 years.
Being exposed to so much visual
stimulation over the course of her
life has meant that photography
has become something of a natural
progression for her, despite her
only ‘discovering’ it four years ago.
‘It was very sudden,’ she recalls.
‘like most people, I’d always taken
snaps, but one day I thought, “I
want to get better at this.” I’d never
been to Morocco, and I just found
myself googling “photography trip
Marrakech”, and up popped a
holiday with tuition.’
To say she’s never looked back
is an understatement. Since
typing those words into the
11 May 2019 I www.amateurphotographer.co.uk I subscribe 0330 333 1113

search engine on that dank and
dark November evening, Juliette
has gone on courses with Anthony
Epes in Istanbul, Light and Land
in Santorini, and Valda Bailey and
Doug Chinnery in London. She
has also done an online course
with the New York Institute of
Photography and another called
Photocraft with Lyndsey James
– who now runs Photo Boards. Each
of the courses provided an intense
and focused opportunity for Juliette
to further her skills.
Taking control
On that first trip to Marrakech in
April 2014 (which was led by Chris
Coe, founder of Travel Photographer she now runs an interior
of the Year), she only had a basic
bridge camera, but she still learned She started taking
not only the ways in which she could photographs about four
take control of making images, but
also the transformative power of
light. In a few days, she went from accepted for sale by
total beginner to having her eyes
opened to the possibilities offered Visit www.juliette
by photography. A few months later, scottphotography.
she ditched the bridge camera for a com, Instagram
Fujifilm X-T1, and this is still the
only camera body she uses today.
The online courses she took
during the following couple of years
subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 11 May 2019
Learning photography
required a fair amount of discipline
Juliette’s kit
on her part, but a significant leap
l Fujifilm X-T1 forward in her development came
with kit lens when her sister became seriously ill
l Fujinon XF55- in 2015. Struggling to think of a way
200mmF3.5-4.8 to support her, Juliette hit upon the
R LM OIS idea of sending her a photograph of
l Fujinon XF10- something beautiful every day for a
24mmF4 R OIS calendar year. It proved particularly
tricky during the darker, duller
l Fujinon
winter days, but it provided a
XF60mmF2.4 focus and goal.
R Macro Once that year was over, Juliette
l Fujinon joined Instagram, in order to
XF80mmF2.8 R LM continue the discipline of posting
OIS WR Macro images several times a week.
In addition to this, and at the
suggestion of Doug Chinnery and
Valda Bailey, she has approached
Left: One of the and had work accepted by a few
images chosen galleries. One way in which she
for display at this has made her work stand out is
year’s Dancing Light to fuse her interior design skills
Gallery near
with photography, and she has
Edinburgh
now started to gild some of her
Below: As someone images with metal leaf. ‘I have to
who believes in be careful,’ she explains, ‘as it only
working with what’s works on certain images, but it
on your doorstep, makes them more bespoke as no
Juliette took this two are ever going to be the same.’
image in her
When it comes to advising
garden, which is
filled with poppies. beginners, Juliette has this
She used an ink suggestion. ‘Use what’s around you,’
filter in Photoshop she says. ‘I live in the countryside,
for the effect so I have nature at my doorstep. But
if you are in a position to try out
several different genres, you can
‘Like most people, I’d always taken then decide what it is you really like,
snaps, but one day I thought, “I want and there are things you are going to
learn from each genre that you
to get better at this”’ can take on to the next one.’
© JuLIeTTe ScOTT
Following a career at
Bonhams auction house,
Juliette Scott moved to
Northumberland, where
design company.
years ago, and has
recently had work
a number of galleries.
@crushedoncolour
 NEW TALENT
RISING STAR
Jake
Kneale
Hollie Latham Hucker talks to young landscape
and wildlife photographer Jake Kneale about
what inspires his photography
When and why did you first become
interested in photography?
It was during a fantastic month-long
family holiday in New Zealand, three
years ago. Before leaving, I borrowed my
uncle’s old Canon EOS 300D. Inspired
by the beautiful landscapes and wildlife
there, I began to look into the basics and
buying photography magazines at every
opportunity, I was hooked! As soon as I
got back, I started saving up for new gear.
When did you get your first camera?
After returning from New Zealand, my
uncle’s camera broke, so I bought myself
a second-hand Canon EOS 60D and used
the 18-55mm kit lens and a 75-300mm
telephoto. I realised that photography in
the UK was very different and required a
lot more time and effort! Gone were the
fantastic vistas, the campervan and the
approachable wildlife – it was then about
walking, cycling or dragging my parents
out before sunrise!
What equipment do you use now?
Today I use a Canon EOS 7D as my main
body and Canon EF 17-40mm f/4L USM,
Canon EF 70-200mm f/4L USM and
Canon EF 500mm f/4L IS USM lenses.
I upgraded my gear gradually and was
ALL IMAGES © JAKE KNEALE
A misty sunrise at Avebury
Canon EOS 7D, 17-40mm, 1/20sec at f/13, ISO 100
26
finally able to buy the big lens, just before
Christmas – after two years of saving!
Eventually I want to upgrade to a full-
frame camera body, which will perform
better in low-light conditions.
Who are your main influences?
I have been influenced by a huge number
of photographers. That said I am hugely
inspired by Art Wolfe’s work: the
enormous breadth of his subject matter,
his ability to create strong and artistic
compositions and his incredible use of his
photography for conservation. I am also
a big fan of Arthur Morris and have learnt
a lot from his fantastic bird photography
blog and books. No list of influencers
would be complete without Sir David
Attenborough, who has made a
phenomenal contribution to conservation
and natural history filmmaking. I have time and travel have encouraged me to
been enthralled with his films and his explore different techniques and genres, to
books from an early age (and still am). I photograph whatever’s available at the
am very fortunate to have also met two time; hence last spring, I focused on
great wildlife photographers, who have flowers, and captured the ‘Ladies of the
become key mentors and really helped Meadow’ shot, which won me the Young
me to improve my photography. IGPOTY (International Garden
Photographer of the Year) title.
You shoot wildlife and
landscapes – which came first? Do you plan to study photography?
I love to shoot both. The limitations of I am not specifically studying
A sanderling on
the shoreline
Canon EOS 7D, 500mm,
1/640sec at f/4, ISO 800
11 May 2019 I www.amateurphotographer.co.uk I subscribe 0330 333 1113

photography, but I have been
incorporating quite a lot of it into my
art at school, as well as creating a couple
of photobooks.
Are you working on any specific
projects at the moment?
I am always working on projects! I am
really motivated by the challenge of
building a portfolio on a particular
subject. I live close to Avebury, a World
Heritage Site, and so I have an ongoing
photography project focused on this
unique landscape. I am also working on a
long-term project on roe deer in my local
area. Recently, I had a tip-off about a
promising local badger sett, which I am
excited to stake out over the summer.
What has been your most memorable
photography experience to date?
Last April, I had a brilliant trip to Skomer
Island in Pembrokeshire. It’s a fantastic
location to photograph puffins as well as
lots of other wildlife and the rugged
Jake is a 15-year-old wildlife and landscape photographer who lives in southern England. He loves exploring the natural world and conveying, through his photographs, the beauty that he experiences
in nature. He recently won the prestigious Young IGPOTY title and hopes for more success this year. See more of his work at jakeknealephotography.cf.
subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 11 May 2019
coastal landscapes. Skomer also has one
of only a few colonies of Manx shearwater.
They spend all day foraging at sea before
returning to their burrows at night; it was
amazing to walk around in the middle of
the night, as they flapped around our
heads and landed in front of us.
How did it feel to win the Young
IGPOTY title this year?
I was delighted to win the youth category
of IGPOTY; it’s such a great privilege to
see your photo among so many other great
images in such a prestigious competition.
I really enjoy entering competitions.
I find that it’s a good way to focus my
photography around particular techniques
and subjects. I also think it’s very
encouraging to have a direct comparison
to the images I entered a year before. I’ve
been very fortunate to be able to attend a
number of award ceremonies, where it
has been a privilege to meet a range of
photographers and some really interesting
judges as well.
A pair of backlit
lady’s smock in a
Wiltshire meadow
Canon EOS 7D, 70-200mm,
1/160sec at f/7.1, ISO 100
Do you see yourself having a full-time
career in photography one day?
I am passionate about photography and
it’s a big part of my life at the moment.
I’m still at school and studying, so
photography is a great thing to do on the
side. I have met some young wildlife
photographers who are making a career
out of nature photography, so who knows
what the future will bring.
What piece of advice would you
offer to other young aspiring
photographers?
The camera doesn’t take the picture!
Learn as much as you can about the art of
photography. Make do with the gear you
have and understand how to get the most
out of it. When you come to upgrade
remember there is some very good older,
second-hand gear out there – just make
sure you research it well. On a practical
note, work on a project close to home
because that’s where you will be able
to put in the most time.
27
 Photo Insight

Sun bear
behind bars
By Emily Garthwaite
Nigel Atherton speaks to Emily
Garthwaite about her heartbreaking
image in this year’s Wildlife
Photographer of the Year exhibition
at the Natural History Museum

A
sun bear gazes
through the bars
of a filthy cage in
a neglected corner
of an Indonesian zoo – its
claws overgrown and its face
a picture of desperation.
The picture was taken by
25-year-old London-based
photojournalist Emily
Garthwaite during a trip to
Sumatra, and was Highly
Commended in the Wildlife
Photojournalism category
of the current Wildlife
Photographer of the Year
2018 exhibition. Emily was
in Indonesia working with
an orangutan conservation
pangolin and Sumatran tiger
– of which there are only
about 600 left in the world.
He calls himself a professional
“conservation hunter” but he’s
a one-man destroyer of nature.’
Emily managed to gain
access behind the scenes of the
zoo by ‘batting her eyelashes’
and saying she wanted to see
the tigers. At the end of the
tiger enclosure she came to a
back building behind the zoo
which had several concrete
enclosures where sun bears
were locked away on their own.
‘When I walked up to this
cage I initially thought it was
empty,’ recalled Emily, ‘but This caged sun
bear lives in filthy
© EMILY GARTHWAITE/WILDLIFE PHOTOGRAPHER OF THE YEAR

charity but wanted to visit then I heard running footsteps

Medan Zoo as she had heard and the bear appeared at the conditions in an
of its reputation. bars. Every time I moved the Indonesian zoo
Leica M 240 + Zeiss
‘Medan Zoo is owned by an bear moved with me. As the Distagon T* 35mm
Indonesian businessman called apathetic keeper poked and f/2, 1/125sec at f/5.6,
Rahmat Shah,’ explains Emily, prodded the bear, it started ISO 1000
‘who, as well as being involved screaming and its long claws
in the Indonesian palm oil kept getting caught in the bars.
industry, is a keen game hunter I managed to quickly take
and also owns a taxidermy about five pictures.’
museum nearby filled with Sun bears are the world’s
over 5,000 stuffed animals, smallest and rarest bears, yet sun bears and Sumatran sun Sun bears are regularly
many of which he has are exploited for the pet trade bears, and this is a Sumatran confiscated by the authorities,
personally killed. They include and for their gall bladders and one,’ continues Emily. ‘The but with nowhere to put them
many critically endangered bile, used in traditional Chinese main issue they face in Sumatra they often end up languishing
species animals like the medicine. ‘There are Bornean is being trafficked for the pet in concrete prisons like those
trade, and habitat loss due to at Medan Zoo. Emily is
large-scale deforestation by the working with Sumatran Sun
Emily Garthwaite palm industry. It’s very hard to Bear Team (SSBT), a charity
Emily is a London-based photojournalist with an interest monitor how much their set up by Australian zookeeper
in conservation and documenting post-conflict zones. She population is declining Lesley Small. In the short term
shoots with a Leica M Typ 240. ‘It’s a perfect camera for because, unlike orangutans, the SSBT is trying to raise
me because it’s subtle. People don’t take me seriously their plight isn’t as well funds to renovate the sun-bear
© JULIA LISTER

anyway, as a woman, but to the uninitiated this looks recognised. But they are as enclosure at Medan. ‘The zoo
like an old film camera.’ See www.emilygarthwaite.com. critically endangered.’ said that if we raise the funds

28 11 May 2019 I www.amateurphotographer.co.uk I subscribe 0330 333 1113

we can at least take that step,
while we work on the bigger
sanctuary programme.’
The long-term goal is a
permanent sanctuary, and they
have already been offered 5.3
hectares of land in Bukit
Lawang, on the edge of a
UNESCO World Heritage Site
National Park. ‘Sun bears may
not be as fashionable as pandas
and orangutans but they are
extraordinary,’ says Emily.
‘They’re very friendly, very
subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 11 May 2019
unusual looking and they have Borneo is doing this very see the worth of their country
these huge claws for climbing successfully. The main whereas Sumatra is just a
trees. We just need to raise the sanctuary for the sun bears is mafia stronghold. I have no
funds. Lesley has already next door to the orangutans. doubt that the forests will all
re-mortgaged her home to put Borneo is streets ahead of go – the illegal logging there is
money towards it; she’s quite Sumatra in terms of an absolute nightmare. Unless
extraordinary. The location is conservation, and in there is political leadership
very accessible for tourists. understanding that there is that is prepared to step in and
Everyone who comes to see money to be made from stop it, it will all go, because
orangutans in Sumatra will tourism, rather than just there is just so much
go to see the sun bears too. destroying the habitat. They money to be made.’
The Wildlife Photographer of the Year exhibition runs until 30 June at the Natural History Museum, South Kensington, London.
For more information about the Sumatran Sun Bear Team or to make a donation, visit sumatransunbearteam.org.
29
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adverTising feaTure
Capture
modern
engineering
This global photography competition
returns for a third year to banish outdated
engineering stereotypes and showcase an
exciting, creative and varied profession
E
ngineering and
technology is all around
us and part of our
everyday lives: from our
smartphones, heating and lighting
to the medicines we take and the
clothes we wear.
But it goes much further than
that. From space exploration,
additive manufacturing and
autonomous vehicles to remote
healthcare and sustainable energy
– engineers and technologists are
inventing new ways to do things and
finding solutions that will make this
world a better place.
The Institution of Engineering
and Technology (IET) is one of the
world’s largest engineering bodies
to promote engineering and
technology, particularly among
young people, helping them to
see that engineering provides an
exciting, creative and rewarding
career option. But despite endless
opportunities across the profession,
there remains a severe lack of
understanding about what
engineering and technology truly
entails and the sector is suffering
from a huge image problem.
When you search for images of
an engineer in Google, it returns
a mass of hard hats and high-vis
jackets. A stereotypical image that
only shows one small area of the
sector today.
To dispel these stereotypes,
the IET’s annual photography
competition is returning for a third
32
year. Updating the image of
© mike glendinning
engineering to show its breadth
and diversity through the use of
more appealing and engaging
photography will help to portray
a truer reflection of modern
engineering and hopefully inspire
the next generation to consider
careers in this innovative sector.
Competition
The IET Engineering & Technology
Photographer of the Year 2019
contest is open to any photograph of
an engineering-related subject that
captures the dynamic, creative and
progressive face of engineering and
engineers today.
Along with The Gadget Show host
Georgie Barrat, the judging panel
also includes our very own Nigel
Atherton, Editor of Amateur
Photographer; Gillian Abbott,
Picture Editor at E&T magazine;
and electrical engineer Dr Imran
Shafique Ansari, who is a lecturer
at the University of Glasgow and
Vice-Chair of the IET Young
Professionals Committee.
IET YPC Vice-Chair Dr Imran
Ansari said: ‘This is the third year
the IET has run this competition
and we’ve had some fantastic
images entered over the past two
years, showing just how cool and
varied engineering really is.
We want to build on this bank
of images and banish the
perception that engineers just
fix or mend things.
11 May 2019 I www.amateurphotographer.co.uk I subscribe 0330 333 1113
‘By making this call for creative This image by
and standout images, we hope Mike Glendinning,
that we can help to highlight the ‘Engineers are hot
modern, exciting and creative stuff’, won the
overall prize in last
nature of an engineer’s work and year’s competition
demonstrate that their work is all
around us and central to our
everyday lives.’
To enter, all you need to do is take
images of engineering-related
subjects that capture the innovative,
imaginative and fast-developing
face of engineering and engineers
today. The winning images will help
to challenge public misconceptions
of engineering and demonstrate the
ingenuity, breadth and vibrancy of
its world. For full details, visit theiet.
org/photographer-of-the-year.
How to enter
To enter, please send your images by 17:00 (BST) on
Friday, 30 August 2019, to photography@theiet.org
along with a completed entry form, available to
download from theiet.org/photographer-of-the-year.
The competition is open internationally, subject to local laws, and is split
into two age categories: junior (16 and under) and adult (17 and over). Anyone
who meets the age criteria is able to enter, completely free of charge.
 Categories
The competition is open
to everyone across two
age groups. You can
enter up to five photos
across any of the
following categories
Design and Production
This category celebrates innovation
around the design, development
and making of all the things that
people need. Images might
include mechanical, materials
and manufacturing.

Digital
This category includes photography
around robotics and electronic tools,
as well as systems, devices and
resources that generate, store or
process data.

Environment
and Energy
This category focuses on engineering
and technology within our
environment, as well as energy
efficiency, energy services, facility
management and alternative

Winning photography
energy technologies.
© KATHRYN GRAHAM

Structure
This category includes architecture,
The competition ran for the second Right: ‘Reflections construction, buildings, bridges
time last year, with some amazing on a spacecraft’, by
and cityscapes.
photography from a broad range of Kathryn Graham,
was a category
engineering and technology areas.
winner last year Transport
Mike Glendinning from Edinburgh This category is for all forms
was named overall winner of the of transportation.
competition last year for his photo
‘Engineers are hot stuff’ (see above), Best Smartphone Photo
which captures an engineer in the
The judges will be looking for the best
environmental testing facility at
photo taken on a smartphone across
Leonardo in Edinburgh. The facility
all of the categories!
provides extreme environmental testing

Prizes
on complex electronic systems to check
Below: Sudip Maiti’s
they are ready for real-world use.
image, which was
Kathryn Graham from Farnborough selected as the
won the Adult Design & Production best smartphone the satellite LVP1 with reflections of
category for her photo ‘Reflections on a photo in the 2018 some of the team who built it at Surrey The judges will look at every entry
spacecraft’ (see right), which captures competition Satellite Technology. and award £500 to each of the five
Winner of the best smartphone adult category winners and £250
© SUDIP MAITI

photo category was Sudip Maiti from
Kolkata in India (see left). His image,
‘Solar Energy. The Future’, captures a
young girl educating her grandmother
about the benefits of solar energy –
showing its impact in a rural area.
Other winners included James
Birchall from Leeds, who won the Adult
Structure category for his photo which
captured the Subaru Telescope above
the clouds on the Summit of Mauna
Kea in Hawaii.
to each of the five junior category
winners. An overall winner for the
adult entries and an overall winner
for the junior entries will be selected
for an extra cash prize of £250
each. The best photo taken on a
smartphone will also win £150. On
top of the cash prizes, a selection of
the winning images will be made into
a photographic exhibition in central
London and feature in Amateur
Photographer later on this year.

33
 Technique double exposures
Claire Gillo
Claire Gillo is AP’s Acting Technique Editor, a freelance writer,
and photographer based in Devon. During the past decade She
has worked across a number of photography magazines shooting
a variety of features on all different types of photography-
related subjects. Claire loves working with both film and digital
mediums, and you can follow her at www.clairegillo.com.

Take two
Claire Gillo reveals how to master the art of
double exposing on film using her Hasselblad

T
here’s no getting around the
fact that shooting film is a
far more laboured, expensive
and uncertain way to produce
a photographic image. When it comes
to taking a double exposure on film it’s
even trickier, as not only do you need to
consider visually how the two frames are
going to work together, you also need
to apply the correct exposure settings
to each without under or overexposing
the end result. However if you do all this
right then there is something far more
rewarding and enticing about one that
has been captured on film.
To take a double exposure on film, the
first thing you will need is a camera that
can do the job. For our shoot we used our
old 1970s medium-format Hasselblad
500C/M with an 80mm lens. To this day,
this camera remains a beautiful and
simple machine to use. Once you have a
camera you need to work out how to trick
it from its default settings to take two
exposures on the same piece of film. On a
Hasselblad the film is loaded into a film
magazine that can be attached and
removed from the back of the main
camera body. This is why it’s easy to hack
around. To take the double exposure first
shoot the scene as normal, then insert the
dark slide back over the magazine film
back, take the magazine off the camera,
wind the camera on, put the magazine
back on, remove the dark slide and shoot
another exposure. It may sound a bit
complicated, but once you’ve done it a
couple of times it’s simple to master.

This view looks over the sea at

Slapton Sands towards Dartmouth
teamed against an image of the
jagged sea defences. The shapes,
All PiCTurES © ClAirE Gillo

textures and lines in both images

blend well together

If you have a 35mm camera, which for

many is more accessible, then the process
is a bit different. The idea is you take your
first exposure, hold the rewind knob lever
so your film can’t move, press the rewind
button on the bottom of the camera, and
push the advance lever to wind the film on
without actually winding it on. Then you
can take another shot again. There’s a
great instructional, short YouTube video
at bit.ly/1Qdkz5Z, on how to do this if you
need a visual guide.
Once you have your camera sorted then
the next step is your film. Decide if you
want to shoot black & white or colour, and
what speed you need your film to be. We
were shooting on 120 medium-format film
as our camera produces square 6x6 inch
 With black & white there is
no colour to distract from KIT LIST
the shapes and structures.
This image shows the new
road along Slapton Sands,
Devon, teamed against an
exposure looking out to sea

▲ Camera
You’ll need to find a camera
that can do the job whether
it is a large-format, medium-
format, or 35mm camera. Our
500C/M is easily tricked into
taking two exposures in one!

Film
Consider the film speed (ASA or
ISO) and whether you want to
shoot in colour or black &
white. The latter is more
straightforward; however when
it comes to colour film the
results in tone and colour vary
across the brands.

frames. The ASA or ISO on ours was 400 Shooting with the
which meant we didn’t need to use a Hasselblad requires
tripod as we were shooting during the day. looking through the
Like with digital the higher the ISO the mirrored viewfinder
grainier the image; however grain from above
compared to digital noise is far nicer and
less of a technical flaw, so you can use it to
create a more stylised look if desired.
For this double-exposure film shoot we ▲ Light meter
shot on both black & white and colour There are a few options when
film. Despite doing the same technique for it comes to metering. You can
both rolls of film our colour shots came out either use an external light
far better, going to show that each film meter, your film or digital
and brand all require a slightly different camera (our film camera did not
approach. For our colour film we have one), or a smartphone app.
underexposed each frame by -1 stop to We tried the app called Light
avoid overexposing the end result. Meter - EV for Photography on
Film can be forgiving so don’t be the app store for free.
 Technique double exposures
afraid to let a little more light in as you
normally would. With our black & white
film we underexposed by -1 stop, but the
results were unusable. On our next shoot a
few weeks later with the same black & white
film we set each scene to correctly expose,
which came out much better. You may also
want one image to be more present in the
frame (therefore you’ll need a brighter
exposure value) and the overlaying subject
more faint (underexpose). It really is a case of
experimenting and writing down what you
have done so you can learn what does and
doesn’t work. Part of the process with double
exposures on film is making mistakes,
experimenting and hopefully getting closer
to perfection next time.
When it comes to finding good subject
matter then there are many approaches you
can take. Shapes, strong lines and patterns all
make interesting visual effects, and if you’re
after a dreamlike avant-garde type result
then people (silhouettes), buildings, flowers,
water all make fantastic subjects to merge
together. You’ll need to think about how
you can make the exposure work logistically.
For example if you need to travel 20 miles
between each frame then it’s going to take a
Claire’s Top Tips
Monochrome or colour?
Some argue that black & white film works
better for the double-exposure technique
as the shapes and tones are easier to blend
together without the distraction of colour;
however we found that really it’s just a case of
experimenting and seeing what works! It’s all
down to personal preference.
36
The Hasselblad This image shows the
comes apart (film passing of time as the
magazine on the tide goes in and out.
back) making it easy Sometimes a simple
to trick the camera approach is all it takes
A removable film
back allows you to
shoot multiple films
simultaneously if you
have more backs
long time to shoot a roll of film. It helps if
your subject/s and settings are in the same
place (but this isn’t essential if you have
the patience).
The images taken on our photo shoot are
part of an ongoing project that looks at the
relationship between the sea and the erosion
and shaping of the land. Therefore not only
was it important for the two images to work
together from a visual standpoint, but we
also wanted the images to highlight the
relationship between nature and man and
the ongoing battle of the changing land. If
you want to see more, you can follow the
project at www.instagram.com/
theroadphotographyproject.
Light and dark areas Remember where
When exposing your frames remember you place objects
that white or bright areas will destroy the Your first image will be your primary subject.
information on a negative. Anything that is dark Remember where you place key objects in the
will maintain it for the next frame. So if you scene so when you frame up your next image
take a silhouette of a figure, underexpose the (your second subject) they work together in the
figure/face first and then this area will be filled frame. Shoot a few frames of the same subject
with what you shoot in your next image. to get it right and have some variations.
11 May 2019 I www.amateurphotographer.co.uk I subscribe 0330 333 1113

Write it down
Film can be quite forgiving, but it can be a
useful exercise to write down all your camera
settings for each exposure and then you can
see where you went wrong and how to make
improvements next time. Our black & white
film was underexposed and unusable, and
we had to try again.
subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 11 May 2019
Hasselblad history
For any keen Hasselblad enthusiasts out
there, have a look at this visual feature on its
website of the history of its 500 model: www.
hasselblad.com/history/500-series/. The iconic
6x6in square format is lovely to work with,
making a refreshing change from the 2:3
landscape ratio.
‘Part of the process with
double exposures on film
is experimenting so you
can learn what works’
Scan your negatives to digitise your files for
greater control over the final outcome
Developing
and scanning
If you have the facilities to develop and print
your own images then you will have more
control over the end result. However for
many of us this is not an option. We sent our
films to be developed at Digital Lab (www.
digitalab.co.uk/film-processing). As they
have a postal charge it makes more sense
to send off a few films at one time. They did
a great job and quickly turned our films
around in a few days. As we have a scanner
at home we only ordered the negatives. If
you don’t have a scanner at home then
scanning negatives is another service most
film developers offer.
To digitise our negatives we used the
Epson V600 Photo. This is a great mid-
range affordable scanner that comes with
negative holders and an easy-to-use
software programme.
After we scanned our images we quickly
cleaned up the dust and scratch marks using
the Spot Healing brush in Photoshop and
boosted the contrast a little.
We used the Epson V600 Photo scanner to
digitise our negatives at home
37
 © cliff harvey
© caron harrison
2

1 Into The Light by Cliff 2 Epiphany by Caron

Harvey a perfect use of Harrison intentional lens
light and shadows for a flare adds a point of
street silhouette that interest to this intriguing
looks like something from monochrome shot – as
1 a film-noir movie. do the moody clouds.

5
5 Common Blue by Gill 6
McLennan lots of detail
and an elegant use of
space around the subject
makes for a beautiful
macro shot here.

6 Ice Bar, Jukkasjärvi,

by John Dunn The toning
of this image perfectly
suits the subject – while
© gill mclennan

the lone human figure

© john dunn

adds a great sense

of scale.

Join
When was the club founded? programme chairperson who introduces the
The Bedford Camera Club was founded in speaker for the evening, or to the internal
1906. We currently have over 70 members. competitions chairperson who introduces the
judge for the evening. We break for tea, coffee
What does the club offer to new members? and biscuits at around 8.30pm, then back to

Club
The club is always looking for new members, the activities until around 9.45pm, when the

the and current members are keen to help

anyone with their camera craft. We have
occasional member evenings where
meeting is adjourned and the members tidy up
- and have a good chat at the same time.

workshops and demonstrations are offered, Do you invite guest speakers?

and during the summer we have weekly The club routinely invites 10 guest speakers
outings for members to learn about various each season, sometimes more. The subjects
genres of photography. are varied and always interesting, from camera
craft, landscape photography, portraiture,
Describe a typical club meeting. wildlife, monochrome and so on. We’ve also
We find out about the Members start arriving from around 6.45pm enjoyed presentations and talks by some very
and set up the chairs and tables for the famous photographers who live in our region,
113-year-old enthusiastic evening. The president calls the meeting to and on occasion we have a visit from a
order at 7.30pm, makes announcements, representative of a specific camera system
Bedford Camera Club then turns the meeting over to either the such as Fujifilm, Canon, Olympus or Nikon.

38 11 May 2019 I www.amateurphotographer.co.uk I subscribe 0330 333 1113

 YOUR PICTURES IN PRINT

3 Meg and Red by

Ian Whiting Clever
framing of the
material at the front

© BRUCE DEACON
of the shot ensures 4
that eye contact
is retained in this
unusual portrait.
© IAN WHITING

4 Sheepdog Kyle by 8 Togetherness by

Bruce Deacon Getting
down low is the perfect
perspective for this
beautiful pet portrait. The
ear standing to attention
helps to add character.
Richard Burn LRPS
Monochrome makes a lot
of sense for this most
black and white of
subjects – great eye
contact too.

7 Glass and Steel

by John Gough
A close-crop
of architectural
reflections has
created a dramatic
©RICHARD BURN

abstract which works

© JOHN GOUGH

incredibly well.

Do members compete in competitions? on the screen. Sounds easy, right? Well, the
Our members are very active in external images on the screen were pictures of the Club essentials
competitions. As a member of the East Anglia committee members when they were babies,
Federation (EAF) we participate in their print so the question became a whole lot more Bedford Camera Club
and PDI competitions every year, as well as difficult at that point!
numerous regional and inter-club competitions.
Scott Primary School, Hawk Drive,
Several of our members have their LRPS What are the club’s goals for the future? Bedford MK41 7JA
distinction, so our club is often represented The Bedford Camera Club is an enthusiastic Meets Tuesdays from 7.30pm to 10pm, from October
in various national and international salons, and talented group of people ranging in age to the end of April
including the London Salon. from mid-20s to mid-80s. Some have been Membership Annual membership is £60, students’
with the club for 60 years or more, so for fee is £30, and couple’s membership is £100
Are any residential trips or outings planned? the future of our club, we’re always looking
Nothing formal, but there are several members to attract younger members. Our goal for
Contact Cliff Harvey at fireguy999@gmail.com
who plan hiking and photography workshops the future continues to be adding to our
or call 07860 360059
with other members during the year. membership numbers, increasing awareness Website www.bedfordcameraclub.co.uk
of the club within the local and regional area,
Do you have any funny club stories? displaying our collective work at competitions
Recently there was a quiz at our President’s and exhibitions throughout the year, and
Evening, and one of the questions was to offering help and guidance with photography Want to see your club featured on these pages? Drop
identify which committee member was shown to any members who need the help. us a line for more information at ap@ti-media.com.

subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 11 May 2019 39

 Testbench
At a glance
£2,800 body only
● 20.4MP Four Thirds MOS sensor
● 121-point phase-detection AF
● 15fps shooting (10fps with C-AF)
● 2.36m-dot EVF, 0.83x magnification
● 3in fully articulated touchscreen
● 5-axis in-body stabilisation,
up to 7.5 stops
Olympus
OM-D E-M1X
Andy Westlake investigates Olympus’s
innovative new flagship camera: a pro-focused,
rapid-shooting Micro Four Thirds powerhouse
For and against
Superb build quality and
ergonomics make the camera
a joy to shoot with
Excellent JPEG output with
well-judged exposure and
attractive colour
Incredibly effective in-body
stabilisation keeps
images sharp
Very effective continuous
autofocus and subject
detection
Huge range of useful additional
photographic features
ALL PR CES ARE APPROX MATE STREET PR CES
Bulky body
Lower high-ISO image quality
than larger-sensor peers
Restricted top-quality
telephoto lens range
40
CAMERA TEST
I
Data file n October it will be 100 first sight this is a strange choice
years since Olympus’s from Olympus, but after using the
Sensor 20.4MP Live MOS, 17.4 x 13mm foundation, and to camera for a while, I can see the
Output size 5184 x 3888 celebrate, the firm has point. Many photographers
Focal length mag 2x produced a real statement model habitually use add-on grips when
Lens mount Micro Four Thirds for Micro Four Thirds. The OM-D shooting action with long lenses,
Shutter speeds 60sec – 1/8,000sec (mechanical), E-M1X takes all the things that and integrating the grip has
60sec - 1/32,000sec (electronic) its previous flagship OM-D E-M1 allowed the firm to make a more
Sensitivity ISO 200-25,600 standard, Mark II did particularly well – high- robust body with additional
ISO 64-25,600 extended speed shooting, autofocus tracking, controls and features.
Exposure modes PASM, B, Movie
in-body stabilisation and durability Olympus is making a number
Metering Pattern, Centre Weighted, Spot,
– and cranks the dial up to 11. of eye-catching claims for the
Highlight Spot, Shadow Spot
Exposure comp +/- 5EV in 0.3 EV steps At £2,800 body only, it doesn’t E-M1X. It says it has the world’s
Continuous Up to 60fps replace the Mark II, but instead best dust-, splash- and freeze-
shooting forms a new tier in the line-up. proofing for shooting in severe
Screen 3in, 1.04-million-dot fully In essence, the E-M1X is weather; the most effective image
articulated touchscreen designed for shooting sports stabilisation, with up to 7.5 stops
Viewfinder 2.36m-dot, 0.83x magnification and wildlife under demanding of shake reduction; the industry’s
AF points 121, all cross-type conditions. It’s one of only a highest viewfinder magnification,
Video 4K, 30p, 102Mbps handful of cameras to include an and a remarkable battery life of
External mic 3.5mm stereo integrated vertical grip for portrait- 2,580 shots. Notable new
Memory card 2 x SD, SDHC, SDXC format shooting, alongside the features include AI-powered
(both UHS-II compatible) Canon EOS-1D X Mark II and subject-detection autofocus, a
Power 2 x BLH-1 Li-Ion Nikon D5. Its mirrorless design handheld version of the firm’s
Battery life 2,580 shots means that it’s not as huge as high-resolution composite mode,
Dimensions 144.4x146.8x75.4mm these two behemoths, but it still and a Live ND function for
Weight 997g (with batteries and cards) weighs in at almost a kilogram. At shooting long exposures.
11 May 2019 I www.amateurphotographer.co.uk I subscribe 0330 333 1113
 Here the E-M1X allowed me to shoot handheld at
840mm equivalent, while holding focus on cars
driving at high speed directly towards the camera
Olympus 300mm F4 IS Pro + MC-14, 1/2000sec at f/5.6, ISO 1250

Features
The E-M1X is based around a
20.4MP Four Thirds sensor which,
at approximately 17.4x13mm, is
roughly half the area of APS-C,
and a quarter that of full frame. It
offers a standard sensitivity range
of ISO 200-25,600, extendable
down to ISO 64 at the risk of
clipped highlights. Two TruePic VIII
processors provide the necessary
horsepower for its remarkable
speed, along with many of its
other special features.
Continuous shooting is available
at 15 frames per second with
focus fixed at the start of a burst,
or at 10fps with continuous AF,
with a 287-frame raw buffer.
Switch to the silent electronic
shutter and this increases to 60fps
with fixed focus or 18fps with AF
tracking, but at the risk of image
distortion due to rolling shutter
artefacts. For unpredictable
subjects where timing is
everything, Olympus’s Pro Capture
mode can record up to 35 frames
at 60fps before the shutter button
is fully depressed, meaning you
can capture shots before you’d
normally have time to react.
Shutter speeds range from
60sec to 1/8,000sec using the
mechanical shutter, extending to
an ultra-fast 1/32,000sec with
the electronic shutter. There’s also
an electronic first curtain shutter
mode that eliminates any image
blur due to shutter shock. The
mechanical shutter is rated for
400,000 actuations, and is
exceptionally quiet; the electronic
shutter is completely silent.
Autofocus employs on-chip
phase detection, with 121
cross-type focus points. This may
not match the sheer number of
AF points on recent mirrorless
cameras, such as the 493 used
by the high-speed Sony Alpha 9,
but it still means you can focus
practically anywhere across the
image area. You can utilise groups
of 5, 9 or 25 points, and even
define custom AF-area patterns
to suit your own needs. Face and
eye detection are available, too.
The E-M1X gains an uprated
version of the firm’s already
industry-leading 5-axis in-body
image stabilisation (IBIS) system.
Thanks to a new gyrosensor,
Olympus is claiming an incredible
7.5 stops of stabilisation when the
camera is used with an optically
stabilised Zuiko lens such as the
12-100mm f/4 IS, with the body
and lens working together to give
‘Sync IS’. Sadly this doesn’t work
with Panasonic lenses; instead you
have to choose between in-lens
and in-body stabilisation.
Olympus was one of the first
to introduce a high-resolution
multi-shot mode, but until now it’s
been strictly tripod-based. On the
E-M1X the firm has debuted a
version for handheld shooting,
which outputs 40MP JPEGs.
Unlike the tripod mode, which
uses the IBIS system to sample
the image with increased
accuracy, it’s based around the
concept of ‘super resolution’, with
the inevitable slight differences
between up to 16 handheld
frames exploited to construct
a 40MP image.
There’s a whole stash of
additional features on board, too,
including a vast array of bracketing
options, high-dynamic range
shooting, in-camera keystone
correction for removing unwanted
converging verticals, and a
comprehensive intervalometer.
Olympus’s Live Time and Live Bulb
modes remove the guesswork for
shooting long exposures by
displaying the image as it builds
up, while Live Composite is a
clever way of extending light-trail
shots beyond what would normally
be possible. New on the E-M1X is
Live ND, which allows the shooting
of long exposures just like
using a neutral density filter.

subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 11 May 2019 41

 The remarkable IS system enables
multi-second handheld
exposures, as with this shot of the
Painted Hall in Greenwich
Olympus 12-100mm F4 IS PRO at 12mm,
1.6sec at f/5.6, ISO 200

The E-M1X can record operate even when you’re wearing huge improvement on using the method for adding items, by
video in Cinema 4K (4096 x gloves, and I certainly appreciated d-pad on the E-M1 II. The AF pressing the video button when
2160) resolution at 30fps, with a this when shooting a total lunar area is highlighted in an easily they’re selected. This leaves the
new OM-Log 400 profile available eclipse at 5am on a freezing visible green when you move it, other manufacturers’ far more
to produce footage that’s more January morning. which is a welcome contrast to complicated approaches looking
suitable for colour grading. It’s The control layout is broadly Sony’s insistence on ‘highlighting’ pretty silly.
even possible to set different levels based on the E-M1 Mark II, but the focus point in invisible grey.
of image stabilisation for video. the larger body means there’s Some photographers will be Viewfinder and screen
Smartphone connectivity is space for even more controls. surprised by the fact that Olympus As usual for an OM-D, the E-M1X
provided by built-in Wi-Fi and Most notably, there are new ISO hasn’t provided a separate AF-ON sports a centrally mounted
Bluetooth. This lets you use and exposure-compensation button for activating the autofocus viewfinder above an articulated
your phone as either a simple buttons adjacent to both shutter independently of the shutter. The touchscreen. The EVF is huge,
Bluetooth remote shutter release, releases, and a white-balance idea is that you use the AEL/AFL
or as a comprehensive remote button on the back. A large lever button instead, which changes 10fps shooting allowed me
control over Wi-Fi, including full on the back allows you to disable function to AF-ON when you to catch the moment this
access to exposure settings and a the vertical grip, or alternatively switch to C-AF. You can configure heron took off from its nest
live view display. You can also copy lock-off a user-specified exactly how you’d like it to behave, Olympus 40-150mm F2.8 Pro + MC14
your favourite images across to combination of buttons and dials. and set it up differently for S-AF, (cropped to 840mm equivalent),
1/1000sec at f/4.5, ISO 500
your phone for sharing. Olympus Almost all the main controls fall C-AF and MF modes.
says a new version of its OI Share perfectly to hand, aside from the With all these buttons, dials and
mobile app will support raw file portrait-format ISO button which switches, the E-M1X has all the
transfer, while Olympus Capture requires an uncomfortable stretch external controls you could
software enables Wi-Fi tethered of your forefinger. possibly ask for, and arguably
shooting from a computer. Three buttons above the power more. Not only do you barely have
switch on the left shoulder give to enter the menus, you rarely
Build and handling quick access to metering, flash, have to bother with the onscreen
With its rugged weather-sealed drive, focus and bracketing modes. super control panel. Indeed the
magnesium alloy body and Function buttons placed beneath camera is so well set up out-of-
integrated vertical grip, Olympus the tips of your second and third the-box that I found little need
is placing the E-M1X squarely in fingers operate depth-of-field to change anything.
the same bracket as Canon and preview and one-touch white Olympus’s huge and convoluted
Nikon’s pro sports cameras. Its balance, but can be reconfigured menus haven’t changed, with the
build quality really is excellent, with to almost any other setting. custom menu now stretching to
the big chunky handgrips making In a long-overdue move, 23 pages. Thankfully, Olympus
the camera extremely comfortable Olympus has included a pair of has finally added a My Menu
to hold for extended shooting. The joystick controllers for positioning where you can compile up to 35
controls are large and well spaced, the focus point. Both fall naturally of your most-used settings. It’s
making the camera easy to beneath your thumb, and are a also come up with an elegant

42

offering 0.83x huge magnification,
but the choice of a 2.36-million-
dot panel is surprising given that
its competitors now all use
3.7-million-dot units at least. The
firm’s explanation is that this aids
driving the finder at 120 frames
per second for lag-free action
shooting; however the relative lack
of crispness is clearly visible.
Having said that, the viewfinder
is still very good, giving an
accurate preview of colour,
exposure and depth-of-field.
You can display plenty of useful
information, including a live
histogram, electronic levels, and
highlight and shadow clipping
warnings. It’s possible to choose
whether exposure data is overlaid
on the preview image or displayed
below to give a cleaner view.
One real advantage of the
E-M1X over its competitors is its
fully articulated LCD, which makes
it much easier to shoot at unusual
angles in both portrait and
landscape formats. Touchscreen
functionality is relatively limited,
but includes the most important
options including focus-point
selection, operation of the
on-screen control panel and
image browsing in playback.
Autofocus
Perhaps the camera’s most
interesting feature is its Intelligent
Subject Detection autofocus,
which allows it to recognise and
track specific kinds of subjects.
This works in the C-AF + TR focus
mode, and can be configured for
CAMERA TEST Testbench
trains, planes, or motorsports. The
Focal points
camera will outline any object of
the correct type in the viewfinder,
and ignore everything else.
Olympus says that the detection Olympus has incorporated an array of advanced
algorithm has been trained using features into the E-M1X’s ultra-tough body
a ‘deep learning’ approach, which
means that the camera could in Weather-sealing
principle be updated to detect Both the SD card door and battery-tray release use twist-latch doors to prevent
other subject types in future, accidental opening. Olympus says sealing isn’t compromised when using a
such as birds or animals. If it can’t microphone, headphones or a wired remote release.
find any object of the specified
type, the AF falls back to its Connectors Cable release Olympus has included a 2.5mm
conventional subject tracking. On the left electronic release socket, cross-compatible with those
Subject detection works really of the body used by Canon, Pentax and Fujifilm.
well, and did a brilliant job when you’ll find
I tested it at a couple of motor 3.5mm stereo Dual card slots
sports events. It’s able to pick microphone and It’s possible to use the
up cars wherever they enter the headphone two UHS-II SD card
frame, rapidly acquire focus, and sockets, behind slots either sequentially
then follow them and track focus separate chunky or simultaneously, and
no matter how they move. One rubber covers. choose which file types
clear real-world benefit is that it’s The HDMI to record to each.
rarely confused by any extraneous and USB-C There’s even a button
objects that temporarily obstruct connectors sit for switching between
your view. This ability to specifically below, under a cards, which is really
track the desired subject is shared cover. handy for playback.
revolutionary, making it so
straightforward to get good
results that it feels like cheating.
However while the E-M1X
performs superbly with relatively
large, well-defined subjects, I
75.4 mm
don’t think it’s quite on the same
level as the class-leading Sony
Alpha 9 in its ability to lock onto
small, distant ones. Nor is it as
capable of keeping track of
randomly moving objects such
as birds when it’s working purely
by pattern and colour. It’s still no Field sensors Power
slouch, but with wildlife you’ll A GPS unit, thermometer, manometer The two BLH-1 batteries provide
often be better off using and compass are built in. These 2,580 shots between charges.
can record the camera’s longitude, They can be recharged via the
latitude, elevation, temperature and camera’s USB-C port, and a pair
shooting direction into the EXIF data. of external chargers is provided.
146.8m
144.4 mm
43
 Handheld multi-shot gives
extra detail, but can show
ghosting with moving subjects
Olympus 12-100mm F4 IS PRO at 41mm,
1/640sec at f/4, ISO 200 Detail crop, showing ghosting

groups of focus points
instead of subject tracking,
and the hit-rate probably won’t
be as high.
With static subjects the AF
likewise works extremely well,
being practically silent, accurate
and almost instantaneous. It also
continues to work in remarkably
low light. I was particularly
impressed to find it could focus on
the edge of the eclipsed moon
using a 300mm f/5.6 telezoom.
Performance
Put the E-M1X to work shooting
fast-moving subjects, and you’ll
quickly find that it’s an extremely
accomplished camera that’s
capable of turning out great-
looking images shot after shot.
Like most mirrorless models it
takes a second or so to start up,
but from then on it’s as fast and
responsive as you could hope for.
It’s just worth bearing in mind how
easy it is to eat up the buffer and
card space when shooting at high
frame rates, especially when
touching the second battery; using
the electronic shutter I recorded
well over 5,000. You’d need a
serious day’s shooting to get
through both batteries.
As usual from Olympus, the
E-M1X’s in-body stabilisation is
truly phenomenal. It’s possible
to routinely shoot handheld
exposures way longer than you’d
believe possible, even into multiple

Live ND
recording raw files.
Typically for Olympus, though,
JPEG files are superb, with
New to the E-M1X is a Live ND function that can be used for excellent colour and well-judged
shooting long exposures equivalent to using neutral-density filters exposure. Indeed there are few
from 1 to 5 stops, with the effect previewed in the viewfinder. It’s only cameras with which I’d be
available in manual-exposure mode, and is generally best used with more confident turning off raw
the camera on a tripod. It works well, and means you no longer have recording. The only real caveat is
to stop down to resolution-sapping small apertures to shoot long over-aggressive noise reduction
exposures. However with a maximum of 5 stops effect, it’s not yet a smearing away fine detail, and
substitute for the really deep ND filters that are fashionable among there’s a strong case for setting
landscape shooters. the Noise Filter to Low if you want
to make large prints. It’s also
Live ND was used to blur the waterfall. 12-100mm F4 Pro, 1.3sec at f/5.6, ISO 200
crucial to shoot at larger apertures
than you’d use with larger formats,
to avoid diffraction blurring. In my
experience this isn’t remotely a
problem with Olympus’s high-end
PRO lenses, which deliver great
results at all apertures and
focus distances.
Battery life is exceptional,
especially in burst mode. For
example, shooting at 10fps with
the mechanical shutter, I managed
over 3,400 frames without even
seconds. This works with any
lens you can fit onto the camera,
but you’ll get best results with
Olympus’s optically stabilised
lenses such as the remarkably
versatile M.Zuiko 12-100mm F4
IS Pro. It can be used much more
creatively than simply to combat
camera shake, for instance to
obtain a long shutter speed so
as to blur moving water.
Even the handheld multi-shot
mode works well, although the
camera locks up completely for
13 seconds to complete the
processing. The resultant 40MP
JPEG files look soft at the pixel
level, but down-sampled to 20MP
they show visibly more fine detail
than conventional single-shot
images. The camera still has
problems dealing with subjects
that move while it’s recording the
exposures, but even so it’s the
most practical version of this
feature to date.

11 May 2019 I www.amateurphotographer.co.uk I subscribe 0330 333 1113

 CAMERA TEST Testbench

Lab results
Andrew Sydenham’s lab tests reveal just how the camera performs Verdict
Our cameras and lenses are tested using the industry-
standard Image Engineering IQ-Analyser software.
Visit www.image-engineering.de for more details.

With its 20MP Four Thirds sensor, the E-M1X is capable of easily resolving enough detail for
an A3 print. It may not quite match its 24MP peers in this respect, but the difference is of little
practical importance. The smaller sensor does mean that it lags behind its rivals for image noise
when comparing ISO-for-ISO, but in some situations this can be offset by its outrageously Recommended
effective image stabilisation. While you’ll get best results at ISO 1600 and below, I’d happily
shoot at up to ISO 6400 as a matter of course.

With the OM-D E-M1X, Olympus appears to

Resolution have given its designers free rein to build the
best camera they can, regardless of price.
At low ISOs, using the Olympus 60mm f/2.8 Macro with resolution dropping to around 3400 l/ph. By ISO The result is an innovative and highly
at f/4, the E-M1X cleanly resolves at least 3600 l/ph. 6400 this falls to about 3000 l/ph, before plummeting accomplished camera that’s built like a tank
However false colour and maze patterns due to to 2400 l/ph at ISO 25,600. Olympus’s JPEG processing and packed full of clever features, with its
aliasing creep in at higher frequencies. Noise only gives slightly lower resolution in a bid to reduce intelligent subject-detection autofocus being
starts to have a clear negative impact at ISO 1600, artefacts and noise. particularly impressive. But the question is,
how many photographers will be prepared to
RAW RAW RAW RAW
ISO 64 ISO 1600 ISO 6400 ISO 25,600 shell out £2,800 for a large, high-end Micro
Four Thirds body?
Indeed in terms of value proposition, I
suspect few cameras will polarise opinion
On the right we show details quite like the E-M1X. In reality it’s a
from our resolution chart test niche product that will appeal mostly to
pattern (above). Multiply the photographers who shoot fast-moving,
number beneath the lines by unpredictable subjects in demanding
200 to give the resolution in outdoor conditions, especially those who
lines per picture height. need to carry their kit long distances to get
the shot. But one problem is that there
aren’t many high-end telephotos to match:
Noise just a 40-150mm f/2.8 and 300mm f/4
from Olympus, and 100-400mm f/4-6.3
There’s little to fault about low-ISO images from the E-M1X, which display and 200mm f/2.8 optics from Panasonic.
strong colour and plenty of fine detail with no visible noise. Indeed it’s Of course, it’s impossible to get away from
only at ISO 800 that a little luminance noise creeps in, but you’ll only see the fact that the relatively small sensor limits
it when viewing files close-up on screen. However by ISO 3200 noise is the image quality, especially if you want to
having a much stronger impact, with fine detail disappearing and colour shoot in low light or make very large prints.
saturation suffering too. At ISO 6400 image quality is still acceptable for But the flip side is that Olympus’s PRO
smaller output sizes, but personally I’d avoid using ISO 12,800 unless lenses offer superb resolution in relatively
The crops shown below are taken there was no other choice, and reject ISO 25,600 completely. The camera’s small, lightweight packages, backed up by
from the area outlined above in red noise reduction goes much further in blurring detail to suppress noise. the E-M1X’s astonishing stabilisation. I had
no trouble shooting handheld with the
RAWISO64 RAW ISO 800 RAW ISO 3200 300mm f/4 and 1.4x teleconverter, which
give an 840mm equivalent combination.
Try that with full frame.
Ultimately the E-M1X doesn’t deliver
quite as high image quality as its APS-C or
full-frame rivals, and that’s a concern given
its price. But for many purposes it’s plenty
good enough, and it may just let you capture
shots you wouldn’t otherwise get. Hopefully
Olympus will be able to provide many of its
eye-catching features in a smaller, more
RAW ISO 6400 RAW ISO 12,800 RAW ISO 25,600
affordable body later this year.

FEATURES 9/10
BUILD & HANDLING 9/10
METERING 9/10
AUTOFOCUS 9/10
AWB & COLOUR 9/10
DYNAMIC RANGE 8/10
IMAGE QUALITY 8/10
VIEWFINDER/LCD 8/10

subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 11 May 2019 45

MASTERS OF
COLOUR
Over 80 years of experience in
photography goes into every camera
we make. It’s part of what makes
the FUJIFILM X Series special

FUJIFILM-X.COM
IMAGE TAKEN BY UK X-PHOTOGRAPHER CHRIS UPTON

A big attraction of smartphones
is the ease of sharing images. I
post-processed this in Snapseed
before uploading to Instagram
1/50sec at f/1.8, ISO 158, 2x digital zoom
Google Pixel 3 XL
Google’s latest smartphone offers little in terms of
manual control but is a remarkably accomplished
pocket point-and-shoot. Andy Westlake reports
A
s the old adage goes,
the best camera is the
one you have with you.
Except I find this to be
an oversimplification – there’s little
point in carrying around a small
camera if it takes terrible pictures.
What you really want is a pocket
camera that’ll consistently produce
good-looking photos, even if you
don’t have time to adjust settings.
Enter the Google Pixel 3 XL.
Smartphones have now
supplanted standalone point-
and-shoot digicams as the
carry-everywhere camera of
choice, and we’ve been really
impressed by the photographic
capability of recent multi-lens
subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 11 May 2019
models from the likes of Huawei.
On the face of it, the Pixel 3 XL
doesn’t appear to be in the same
class, as it only has a single main
camera and offers little manual
control. But it makes up for this by
being possibly the best point-and-
shoot camera I’ve ever used.
Design and handling
Before we have a detailed look
at the camera, let’s first take an
overview of the device itself. The
Pixel 3 XL is designed much like
other current flagship Android
smartphones, with a 6.3in OLED
screen covering most of its face.
There’s a very deep ‘notch’ at the
top for its unusual dual selfie
CAMERA TEST Testbench
cameras (one of which is
wideangle), with the space on
either side used for status icons. I
can’t say I like this look much, and
wish Google would let you hide the
notch, but it’s not a deal breaker.
The device measures 158mm
tall x 76.7mm wide, which means
you can just about use it one-
handed. If you prefer a smaller
phone, take a look at the Google At a glance
Pixel 3 (see page 48), which gives
up very little in comparison.
There’s a fingerprint reader on the
back for unlocking the phone, and
£969 128GB £869 64GB
● Android smartphone
a single USB-C port that can also
● 6.3in display
be used for wired headphones. On
● 12.2MP main camera
the right side you’ll see two
● 28mm equivalent f/1.8 lens
volume buttons, either of
 Testbench CAMERA TEST

Panoramas are packed full of

detail, with few stitching errors

which can be used to take smartphones, but it’s all the artificial intelligence to construct
a picture in the camera app, surrounding technology that its images. So rather than using
with the on/off button placed elevates this device above a single exposure to produce a
above them. I’m not a fan of this the ordinary. photograph, it routinely combines
layout and constantly found myself First is the use of dual-pixel data from multiple frames
turning the phone off by mistake. autofocus, which splits every pixel captured in rapid succession.
In terms of software, the Pixel 3 on the sensor into two, allowing This is touted to bring a range
XL runs the latest Android 9 Pie on-chip phase detection. This is of benefits, including expanded
operating system, without any of the same technology used by dynamic range, reduced noise,
the extraneous extra apps or Canon in its EOS cameras to improved auto white balance, and
interface layers that get added by provide fast and accurate even increased detail.
the likes of Huawei and Samsung. live-view autofocus, and if All of this cleverness is accessed
This gives the cleanest possible anything, it’s even more from Google’s rather minimalist
Android experience, and I really impressive in Google’s hands. The camera app. Unlike many other
appreciated its slickness and firm has implemented extremely Android phones, there’s no Pro
speed in everyday use. capable subject tracking that’s mode offering manual exposure
similar to Sony’s latest Real-Time control; instead it’s all about
Camera features Tracking AF. All you have to do is simplicity. There are four modes
The Pixel 3 XL’s camera employs a tap the subject on the screen and for stills photography – camera,
12MP sensor that’s approximately the camera will track it and keep it portrait, panorama and night
5.7x4.2mm in size (according to in focus, no matter how you sight – along with video and slow
my calculations), along with a recompose or it moves around motion modes. The app is easy to
28mm equivalent f/1.7 optically the frame. use, but enthusiast photographers
stabilised lens. This may not sound Equally importantly, the might find it limiting.
special when you consider the device makes extensive use of The basic camera mode
40MP sensors used in some other computational photography and provides brightness, white balance,
zoom and flash controls, along
with a self-timer. But it also takes up to 15 frames and uses
includes a couple of more the slight differences between
advanced options, specifically them caused by hand shake
Pixel 3 or Pixel 3 XL? DNG raw-format recording and
Google’s Auto HDR+ control. The
to build a higher-resolution
composite image. The idea is that
While this review is based on the Pixel 3 XL, Google also makes latter effectively overcomes the you can then zoom up to 2x, or
a smaller, cheaper version with exactly the same camera and a limited dynamic range of the 50mm equivalent, without the
very similar feature set. The Pixel 3 has a 5.5in display, measures phone’s tiny sensor by combining usual catastrophic drop in image
68.2x145.6x7.9mm, and costs £739 for the 64GB version or £839 images captured with different quality. It’s reasonably effective,
for 128GB. Like the XL, it comes in a choice of three colours. exposures. As a result, images but it’s still no substitute for the
shot in high-contrast situations telephoto lenses used on its rivals.
routinely include well-balanced
shadow and highlight detail Special camera modes
without looking unnatural. Auto HDR extends to the Pixel 3
Google also has a trick when XL’s panorama mode, which is
it comes to zooming. It uses a one of the best I’ve ever used. It
computational method called stitches seamlessly as you sweep
‘super resolution’, which is across a scene, and is able to deal
completely different from with huge brightness differences
conventional digital zoom. Rather without completely losing highlight
than just enlarging the central detail or blocking up shadows. It’s
section of a single exposure, it a class above Huawei’s equivalent.

11 May 2019 I www.amateurphotographer.co.uk I subscribe 0330 333 1113


Naturally there’s also a portrait
mode, in which the camera applies
post-processing to blur the
background while leaving the
subject sharp. Unlike on some
other phones, this isn’t previewed
live; instead the device stores
the processed image alongside
the original version. It works
reasonably well, and can even
make a decent effort with complex
subjects such as flowers.
Photographers used to working
with large-aperture lenses will
have no problem spotting its flaws,
but it’s fine for social-media use.
Then there’s Night Sight, which
is designed to give sharp images
handheld in low light. This
circumvents the blurring you
usually get with long shutter
speeds by taking a series of
subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 11 May 2019
Google’s AutoHDR+ has
done an astonishing job of
balancing naturally the huge
range of tones in this shot
1/23000sec at f/1.8, ISO 81
shorter exposures, then adding
them together to make the final
image. The image is divided into
tiles for processing, which allows
moving subjects to be recorded
without ghosting or blur. It’s
extremely effective, giving
remarkably good results in
conditions where you’d normally
need to use a tripod.
Night Sight even includes
an unadvertised Easter
egg. If you place the
phone on a tripod, its
accelerometers will detect
that it’s completely still. It’ll
then switch to its lowest ISO,
select as long shutter speeds
as possible, and use controlled
movements of the OIS group
to enable full-colour sampling at
each pixel location. This gives the
Google’s camera app is extremely simple, with little manual control
very best possible image quality,
not only at night but also during
the daytime.
Image quality
Looking back at the hundreds
of images I’ve shot with the Pixel
3 XL, what’s most striking is how
consistently attractive they are.
Google does a brilliant job with
exposure, colour, white balance
and auto HDR, which means
images look natural without being
overblown. In fact, on these terms
the Pixel 3 XL more than holds its
own even against most high-end
cameras. To me, the big
disappointment is the lack of a
second telephoto camera, as
detail disappears very quickly
when you zoom in, even with
super-resolution processing.
Let’s be clear though; no matter
what anyone might claim about
the Pixel 3 XL offering ‘DSLR-
level’ images, it really doesn’t.
By the metrics photographers
normally use to assess image
quality, specifically resolution and
noise, it simply can’t match a
camera with a larger, higher-
resolution sensor and a larger
lens. But given that its images will
most likely be viewed at a relatively
small size on smartphones and
tablets, it’s debatable how much
this matters. In other words, while
The Pixel 3 XL makes
do with just a single
camera
the Pixel 3 XL won’t match a
‘proper’ camera if you want to
make a large print, it’ll beat many
for Facebook and Instagram use.
Perhaps surprisingly, though, I
wouldn’t generally recommend
processing raw files. In most cases
I struggled even to match the
camera’s JPEG output, let alone
get better results. This just
underlines how large a role such
technologies as Auto-HDR and
AI-based white balance play
in the image processing.
Verdict
OVERALL, the Pixel 3 XL is a
surprisingly capable camera. It’s
not the smartphone to buy if
you want the maximum possible
compositional flexibility; in this
case, a multi-lens device such
as the latest Huawei P30 Pro
would serve you better. But it
produces consistently good-
looking images, and its specialist
modes such as Panorama and
Night Sight work exceptionally
well. If you just want a really
good point-and-shoot to
complement a ‘proper’ camera,
then it’s definitely worth a look.
Recommended
Data file
Google Pixel 3 XL
Rear camera 28mm equiv f/1.8, 12MP
Front cameras Wideangle and normal, 8MP
Display 6.3in 18.5:9 OLED,
2960 x 1440
Operating system Android 9
Storage 64GB/128GB (inbuilt)
Dimensions 76.7x158.0x7.9mm
Weight 184g
49
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 ACCESSORIES

Kaiser KR90 LED

ring light Tripod mount
The light has a standard 1∕8in
thread that allows it to be
Andy Westlake tests a rechargeable attached to a tripod
or bracket.
LED ring light for macro shooting
● £269 ● www.fotospeed.com Power input
This coaxial socket is used
IF YOU’VE ever tried shooting close-ups, you’ll know to charge the battery or power
that lighting can be troublesome. It’s often necessary the light from the mains.
to shoot at small apertures to achieve sufficient depth The adjacent LED turns red
of field, quite possibly combined with high shutter during charging and green
speeds to combat subject movement or camera when finished.
shake. This generally means either using high ISOs
or investing in a macro flash set-up. Another option
is to use an LED ring light, which has the advantage
of showing exactly how your shots should turn out.
Last year I tested the £76 Kaiser R60 (AP 20
October 2018), which is a small lightweight AA-
powered unit that I found gave decent results. The
KR90 is an altogether different beast: it’s a chunky
device over 3cm thick, with 30 surface-mount LEDS
placed behind a frosted-plastic diffuser and powered
by a built-in rechargeable battery. It’s also more
expensive, priced in the same ballpark as third-party
macro flashes from Metz, Sigma and Nissin.
Adapter rings
The light itself has a 77mm
Everything about this unit feels a considerable step
thread for attaching to lenses,
up from the R60. It features a sturdy-feeling
and Kaiser supplies step-up
aluminium-alloy construction rather than
rings for all common sizes
plastic, and the controls are larger and
down to 52mm.
easier to operate. The rotary dimmer
dial provides a wide range of control,
covering seven stops at least, and
the LEDs’ colour temperature is
bang on the advertised 5500K.
Surprisingly, though, the KR90
is less bright than its cheaper
sibling by Kaiser’s own ratings,
giving 1650 lux at 30cm from the
subject compared to 2300 lux. In
practice, I had to set the sensitivity to
ISO 2000 when using an exposure of
1/200sec at f/8, at a subject distance of
30cm. In part this reflects the wide 110° field of
view the light covers, which gives lovely soft
shadowless illumination for macro shooting, but with
the penalty that the majority of the light output is
usually wasted. The sheer depth of the unit means Power source
it vignettes with lenses wider than 50mm (or Along with a mains block,
equiv), so you can’t use it for wideangle close-ups. a car charger is included in
the box. Both provide a
Verdict 1-amp 12-volt output.
The KR90 feels like a well-made and sturdy piece
of kit, and should certainly take a lot more abuse
than its cheaper sibling. However it suffers from many
ALL PR CES ARE APPROX MATE STREET PR CES

of the same problems, with low output compared to

flash, and the inability to control the LEDs on each
side independently to introduce a degree of three-
dimensionality to the lighting. But I could envisage
plenty of scope for experimenting with home-made Recommended
light modifiers to address these issues. If you’re a fan The KR90 gives soft shadowless light for close-ups. Sony Alpha 7 II,
of the ring-light look, it’s a solid piece of kit. Canon EF 100mm f/2.8 USM Macro via Sigma MC-11 adapter, 0.5sec at f/16, ISO 100

subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 11 May 2019 51

 COMPETITION
A place on a
Win! portrait workshop
shooting Japanese geisha
Now here’s an opportunity you don’t get
every day. sigma has teamed up with AP to
offer 10 lucky readers the chance to attend
a workshop in London with top portrait and
fashion photographer, Dave Kai Piper. on
the workshop, you will get a once-in-a-
lifetime chance to take portraits of a pair of
traditional geisha, who have come over from
Japan especially for the occasion.
As fans of Japanese culture and history
will know, geisha are women entertainers
who are experts in dancing, singing, art and
other traditional pursuits. Geisha have been
a fixture of Japanese society for hundreds
of years, and although their numbers greatly
reduced as the country modernised, they
can still be found practising their art in
© getty images/LoneLy PLanet images
For your chance to win visit amateurphotographer.co.uk/geisha
historic towns such as Kyoto and Aizu, home
of the sigma factory.
From a photographic perspective, geisha
look amazing, with their beautifully coiffured
hair, expertly applied make-up and
photogenic kimono. so winners of this
unique competition will be guaranteed some
fantastic photo opportunities, as well as
learning more about the finer points of
portrait photography from Dave Kai Piper
– a very engaging and charismatic teacher
as well as a great people shooter.
what’s more, we will then choose an
oVerALL winner from the 10 workshop
attendees, who will receive a sIGMA 50mm
F1.4 DG hsM Art lens from sigma and be
featured in a subsequent article in AP.
© graham armitage
Winners will be able to photograph these geisha
from Japan during the portrait session
How to enter
All you have to do to be in with a
chance of winning one of the 10
places is to upload your best
portrait(s) to the Photocrowd
website via amateurphotographer.
co.uk/geisha.
The geisha event will take place
at the Ham Yard Hotel in central
London on Thursday, 27 June,
between 11am and 2pm. Dave will
focus on everything involved in
portrait photography, from posing
and lighting to lens selection. Sigma
will have a selection of products
there for the 10 winners to try
during the shoot.
The images will be judged by AP staff and the 10
winners will be contacted by email. Before you
enter, please note you must be free to attend
the experience and portrait workshop on
Thursday, 27 June, between 11am and 2pm at
Ham Yard Hotel in central London and be able to
make your own way there (travel expenses not
included). Full terms and conditions can be
found at www.amateurphotographer.co.uk.
The closing date for entries is
midnight on Tuesday, 28 May 2019
 Tech Talk
ofessor Newman on…
Sensor
detective work
An interesting look into the development of column-
parallel analogue-to-digital converters (ADCs)
G
iven that the image
sensor is at the
heart of a camera’s
performance, every
camera manufacturer does what
it can to ensure that its camera
is built around the best sensor
available. However given that
sensor design and manufacture in
quantity is an expensive business,
and requires the retention of an
active team of experienced (and
therefore highly paid) specialists, in
order to extract maximum value a
sensor manufacturer needs to be
continuously developing sensors.
This factor gives the larger sensor
manufacturers a worthwhile
advantage over smaller ones. They
can employ larger teams, which
enable them to create, develop
and refine new technologies.
One of the most important
such technologies in the past few
years was the column-parallel
analogue-to-digital converter
(ADC). Instead of feeding the
whole of the output from the
sensor into a single ADC or a small
array of them, one, or sometimes
two, are placed in each column of
pixels. The advantage of this
arrangement is that the sheer
number of ADCs allows them
to operate slowly, which means
they generate less noise. While the
column ADC arrangement is
simple in principle and design, it is
tricky to refine to the point where
it delivers the whole potential of
the technique. This is because with
thousands of individual converters,
they must all perform extremely
consistently if there is not to be
visible patterning in the images. It
is very likely not a coincidence that
the successful, mass-market
column ADC sensors have been
developed by very large
corporations, with the scale of
business to support the relentless
Bob Newman is currently Professor of Computer Science at the University of Wolverhampton. He has been working with the design and development of
high-technology equipment for 35 years and two of his products have won innovation awards. Bob is also a camera nut and a keen amateur photographer
subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 11 May 2019
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With the sensor in Nikon’s D5300, Sony Semiconductor started arranging the 597
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art performance. looked somewhat similar. The
Sony IMX193 sensor used in
The human element the Nikon D5300 displayed a
Another fact about engineering somewhat different pattern.
design teams that is often Instead of forming a continuous • Never miss an issue
forgotten is that they are stripe, its ADCs, along one edge of with delivery
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edge of the chip. In Sony sensors, colleagues, in which they
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different. Their arrangement is increased the operational speed
more haphazard. My guess is that of their column ADCs by splitting
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and we will notify you in advance of any price
changes. Offer closes 30th September 2019.
Terms and conditions apply. For full details please
visit www.magazinesdirect.com/terms
53
 Protecting your camera
kit at home and away
You’ve invested time and money into your photography so why wouldn’t you invest in protecting your
camera and equipment?

If you’re shooting a landscape, wildlife or street photography, whether in the UK or abroad, the risk of
theft is always present. Accidents can also happen, whether its your fault or someone else’s – dropping
a lens or knocking over a tripod are easy but can be expensive mistakes to make.

As well as human error, there’s mother nature to deal with too – rain, sand, sea and temperature all
have the potential to damage your kit in the pursuit of the perfect shot.

Amateur Photographer Insurance Services can be there to help protect against the things that
threaten your photography:

Theft Accidental Worldwide

(excludes from a vehicle,
unless option added
Damge cover
to policy) (excludes wear and tear) (20 days during any one
period of insurance – options
available to extend cover)

To take a closer look or for a quote visit

www.amateurphotographerinsurance.co.uk
or call 0345 450 7203

Amateur Photographer Insurance Services is a trading style of Thistle Insurance Services Limited. Thistle Insurance Services
Limited is authorised and regulated by the Financial Conduct Authority. FRN 310419. Lloyd’s Broker. Registered in England
under No. 00338645 Registered office: Rossington’s Business Park, West Carr Road, Retford, Nottinghamshire, DN22 7SW.
TI Media Limited is an Appointed Representative of Thistle Insurance Services Limited.

TPD0769 1 0718

Digital Photography
CANON EOS 5D MK3 BODY, BATT,CHGR,LEADS etc ������� MINT-BOXED £1,075�00
CANON EOS 7D BODY COMPLETE WITH ALL ACCESS���������MINT BOXED £345�00
CANON EOS 6D BODY COMPLETE�������������������������������������������������� MINT- £599�00
CANON EOS 350D BODY�������������������������������������������������������� MINT-BOXED £65�00
CANON 270EX SPEEDLITE + MANUAL�����������������������������������MINT CASED £69�00
CANON 430 EX����������������������������������������������������������������������� MINT-CASED £69�00
CANON 430 EX II ������������������������������������������������������������������������������ MINT- £79�00
CANON 430 EX II ������������������������������������������������������������������� MINT-BOXED £99�00
CANON 580EX MK II SPEEDLITE����������������������������������������� MINT-CASED £169�00
CANON 580 EX SPEEDLITE�������������������������������������������������EXC++CASED £125�00
CANON 580 EX SPEEDLITE�������������������������������������������������� MINT-CASED £149�00
CANON 550 EX SPEEDLITE���������������������������������������������������� MINT-BOXED £99�00
CANON 550 EX SPEEDLITE���������������������������������������������������EXC++CASED £75�00
CANON ST-E2 SPEEDLITE TRANSMITTER����������������������������MINT BOXED £125�00
CANON BG-E4 BATTERY GRIP FOR EOS 5D���������������������������MINT BOXED £49�00
FUJI X10 WITH CASE, HOOD & FILTER ��������������������������������������������MINT £199�00
FUJI XT 10 BODY WITH CHGR, 2 BATTERIES ��������������������� MINT-BOXED £265�00
FUJI X30 SILVER WITH BATT & CHARGER ��������������������������MINT CASED £295�00
FUJI 18 - 55mm f2�8/4-R LM OIS XF FUJINON (NEW) ��������MINT CASED £425�00
FUJI TCL-X100 TELECONVERTER FOR X100/100S etc��������MINT BOXED £195�00
NIKON D600 BODY WITH 2 BATTS,CHGR��������������������������������������� MINT- £499�00
NIKON D3000 COMPLETE WITH 18-55 AFS VR LENS����������������������MINT £175�00
NIKON D3100 WITH 18-55mm 3�5/5�6 AF-S DX ED MK II������������� MINT- £175�00
NIKON D300S BODY + BATT GRIP, BATT & CHARGER�����������������EXC++ £245�00
NIKON D200 BODY WITH BATTERY,CHARGER,STRAP�������� MINT-BOXED £195�00
NIKON D200 BODY WITH BATTERY,CHARGER,STRAP������������������� MINT- £179�00
NIKON SB 800 SPEEDLIGHT WITH CASE����������������������������� MINT-CASED £145�00
NIKON ML-3 REMOTE CONTROL SET�����������������������������������MINT BOXED £145�00
NIKON MB-D16 BATTERY GRIP FOR NIKON D750���������������MINT BOXED £195�00
SIGMA EF 610 DG SUPER FLASH NIKON FIT �������������������������MINT BOXED £95�00
SIGMA EF-530 DG ST ELECTRONIC FLASH ITTL NIKON FIT��MINT BOXED £75�00
OLYMPUS 50mm F2 MACRO ZUIKO DIGITAL ED 4/3RDS����MINT CASED £325�00
OLYMPUS DIGITAL EX - 25 EXTENSION TUBE 25MM������������������������MINT £95�00
PANASONIC 45 - 200mm f4/5�6 MEGA OIS ASPH���������������������������MINT £175�00
PANASONIC GF2 BODY COMPLETE WITH ALL ACCESS�������MINT BOXED £145�00
PANASONIC 45-200mm f4/5�6 LUMIX G VARIO M 4/3RDS�MINT BOXED £199�00
SONY 18 - 250mm f3�5/6�3 A/F DT LENS����������������������������MINT BOXED £325�00
SIGMA 30mm F2�8 DN MICRO 4/3RDS��������������������������������MINT BOXED £115�00
SONY 500mm f8 REFLEX LENS WITH FILTERS��������������������MINT BOXED £395�00
SONY ECM - XTST1M STEREO MICROPHONE���������������������� NEW UNUSED £69�00
METZ 44A/F1 FLASH UNIT FOR SONY DLSR��������������������������MINT BOXED £95�00
SONY DSC-HX90V COMPLETE VERY LOW USE��������������������MINT BOXED £275�00
Canon Autofocus, Digital Lenses, Canon FD
CANON 14mm f2�8 USM “L”����������������������������������������������� MINT-BOXED £795�00
CANON 24mm f1�4 “L” USM������������������������������������������������������������MINT £499�00
CANON 85mm f1�2 USM “L” MK II LATEST MODEL���������MINT BOXED £1,045�00
CANON 300mm f4 USM “L” IMAGE STABILIZER�� MINT BOXED AS NEW £895�00
CANON 300mm f4 USM “L” IMAGE STABILIZER�����������������MINT CASED £825�00
CANON 400mm f5�6 USM “L” LATEST VERSION���������������� MINT-CASED £699�00
CANON 8 - 15mm f4 USM “L” FISHEYE ������������������������������MINT CASED £799�00
CANON 16 - 35mm f2�8 USM “L” MK 2 ������������������������������MINT CASED £725�00
CANON 24 - 70mm f2�8 “L” USM MARK II LATEST ������������MINT BOXED £995�00
CANON 70 - 200mm f4 USM “L” IMAGE STABILIZER���������MINT CASED £645�00
CANON 70 - 200mm f4 USM “L” IMAGE STABILIZER���������MINT BOXED £795�00
CANON 70 - 200mm f2�8 USM “L”��������������������������������������MINT BOXED £699�00
CANON 20mm f2�8 USM����������������������������������������������������������������EXC++ £245�00
CANON 24mm f2�8 EF ����������������������������������������������������������������������MINT £175�00
CANON 28mm f2�8 EF ����������������������������������������������������������������������MINT £169�00
CANON 50mm f1�8 MARK 1 (VERY RARE NOW)������������������������������MINT £129�00
CARL ZEISS 50mm f1�4 PLANNAR T* WITH HOOD��������������������������MINT £345�00
CANON 50mm f2�5 COMPACT MACRO ��������������������������������MINT BOXED £169�00
CANON 60mm f2�8 EFS USM MACRO LENS ������������������������MINT BOXED £325�00
CANON 60mm f2�8 EFS USM MACRO LENS ���������������������������������� MINT- £295�00
CANON 100mm f2�8 MACRO���������������������������������������������������������EXC++ £195�00
CANON 10 - 22mm f3�5/4�5 USM �������������������������������������������������EXC++ £295�00
CANON 10 - 22mm f3�5/4�5 USM ����������������������������������������������������MINT £325�00
CANON 17 - 55mm f2�8 EFS IS USM WITH HOOD ���������������������������MINT £499�00
CANON 18 - 55mm f3�3/5�6 STM VIBRATION REDUCTION��������������MINT £149�00
CANON 18 - 135mm f3�5/5�6 EF-S IMAGE STABILIZER������������������MINT £175�00
CANON 18 - 200mm f3�5/5�6 EFS IMAGE STABILIZER��������MINT BOXED £285�00
CANON 70 - 300mm f4�5/5�6 IS USM DO REFRACTIVE����������������� MINT- £345�00
CANON 70 - 300mm f4�5/5�6 USM IMAGE STABILIZER ������MINT BOXED £269�00
KENCO DG CANON FIT TUBE SET 12,20,36MM����������������������MINT BOXED £99�00
CANON EF 2�0X EXTENDER MK I������������������������������������������MINT BOXED £129�00
CANON EF 2�0X EXTENDER MK II ����������������������������������������MINT CASED £179�00
KENCO DG CANON FIT TUBE SET 12,20,36MM�������������������������������� MINT- £99�00
KENCO TELEPLUS PRO 300 DGX 1�4 TELECONVERTER���������MINT CASED £99�00
SIGMA EX 1�4 TELECONVERTER ��������������������������������������������������������MINT £75�00
SIGMA 4�5mm f2�8 EX DC HSM CIRCULAR FISHEYE�����������MINT CASED £475�00
SIGMA 10mm f2�8 EX DC FISHEYE HSM �����������������������������MINT BOXED £345�00
SIGMA 14mm f2�8 EX HSM ASPHERIC ��������������������������������MINT CASED £365�00
SIGMA 105mm f2�8 MACRO EX WITH CASE������������������������������������MINT £179�00
SIGMA 105mm f2�8 MACRO EX DG OS HSM��������������������������������� MINT- £279�00
SIGMA 150mm f2�8 EX DG-OS HSM MACRO LATEST ���������MINT BOXED £595�00
SIGMA 12 - 24mm f4�5/5�6 DG HSM MK2 II������������������������MINT CASED £475�00
SIGMA 17 - 35mm f2�8/4 EX HSM APHERIC ��������������������������������� MINT- £179�00
SIGMA 18 - 50mm f 2�8 EX DC SLD GLASS ����������������������� MINT-BOXED £165�00
SIGMA 18 - 250mm f3�5/6�3 DC SLD HSM OS ��������������������MINT BOXED £199�00
SIGMA 50 - 150mm f2�8 EX APO HSM AF-DC MK II��������������������� MINT- £325�00
TAMRON 180mm f3�5 A/F SP DI MACRO LATEST���������������MINT BOXED £329�00
TAMRON 500mm f8 MIRROR LENS & FILTERS FD MOUNT MINT-CASED £175�00
TAMRON 28 - 75mm f2�8 XR Di LENS LATEST �������������������������������MINT £345�00
TAMRON 28 - 300mm f3�5/6�3 I/F LD DI ASP VIB CONTROL���MINT BOXED £375�00
TAMRON 70 - 300mm f4/5�6 SP Di VC ULTRASONIC���������� MINT+HOOD £225�00
TOKINA 10 -17mm f3�5/4�5 ATX DX FISHEYE (LATEST) �����������������MINT £299�00
TOKINA 11 - 16mm f2�8 ATX - PRO ASPHERICAL���������������MINT BOXED £279�00
Contax ‘G’ Compacts & SLR & Ricoh
CONTAX 28mm f2�8 BIOGON “G” HOOD,FILTER CAP BL ����MINT CASED £295�00
CONTAX 35 - 70mm f3�5/5�6 “G” VARIO-SONNAR T*���������MINT BOXED £395�00
CONTAX TLA 140 FLASH FOR G1/G2�������������������������������������MINT CASED £65�00
CONTAX GD1 DATABACK FOR CONTAX T3��������������������������� MINT-BOXED £69�00
CONTAX TLA 200 FLAH FOR CONTAX “G”�����������������������������MINT CASED £99�00
CONTAX 167 MT BODY�������������������������������������������������������� MINT-BOXED £115�00
CONTAX 167 MT BODY��������������������������������������������������������������������� MINT- £99�00
YASHICA ML CONTAX FIT 28mm f2�8 �����������������������������������������������MINT £99�00
CONTAX 28mm f2�8 DISTAGON WITH FILTER ���������������������������������MINT £225�00
CONTAX 35mm f2�8 DISTAGON MM WITH FILTER��������������MINT CASED £225�00
CONTAX 50mm f1�4 MM PLANAR WITH FILTER������������������������������MINT £225�00
CONTAX 50mm f1�7 AE LENS ������������������������������������������������������������MINT £95�00
YASHICA/CONTAX 55mm f2�8 ML MACRO LENS ����������������������������MINT £175�00
CONTAX 135mm f2�8 SONNAR WITH FILTER ����������������������������������MINT £175�00
CONTAX 300mm F4 TELE TESSAR MM �������������������������������MINT BOXED £295�00
CONTAX MAGNIFIER F2 ���������������������������������������������������������MINT BOXED £49�00
CONTAX TLA 30 WITH DIFFUSSER�����������������������������������������MINT CASED £69�00
CONTAX TLA 280 FLASH������������������������������������������������������������������ MINT- £59�00
CONTAX TLA 280 FLASH UNIT�����������������������������������������������MINT BOXED £75�00
CONTAX TLA 360 FLASH������������������������������������������������������� MINT-CASED £65�00
LEICA “M” , “R” , & SCREW & RANGEFINDER
LEICA M7 BLACK BODY WITH LEICA 1/2 CASE�������������������������� MINT- £1,495�00
LEICA M MONO 10 760 COMPLETE���������������������������������� MINT-BOXED £2,995�00
LEICA M9 BODY WITH CHARGER AND BATT etc������������������������ MINT- £1,795�00
LEICA MDA BODY SER NO 12659XX CIRCA 1970�������������������������� MINT- £425�00
LEICA MDA BODY SER NO 14111XXCIRCA 1975-76��������������������EXC++ £399�00
LEICA IIIG BODY WITH 5cm f2 SUMMITAR & CASE ������������������� MINT- £1,195�00
MINOLTA 28mm f2�8 M ROKKOR FOR CLE / CL LEICA M ������������EXC++ £375�00
LEICA 35mm f2�8 SUMMICRON WITH SPECS�������������������������������� MINT- £475�00
CANON 50mm f1�4 L39 SCREW WITH M ADAPTOR ���������������������� MINT- £275�00
LEICA 50mm f2 CLOSE FOCUS SUMM + SPECS ������������������������EXC+++ £695�00
LEICA 50mm f2�8 COLLAPSIBLE ELMAR��������������������������������������� MINT- £375�00
LEICA 90mm f2�8 TELE ELMAR + HOOD ��������������������������������������� MINT- £395�00
LEICA 90mm f2 SUMMICRON BLACK�������������������������������������������� MINT- £895�00
LEICA 90mm f4 ELMAR C FOR CLE / CL LEICA M������������������������� MINT- £295�00
LEICA 90mm f4 ELMAR M MOUNT ������������������������������������������������ MINT- £165�00
LEICA 135mm f2�8 ELMARIT M 11829 WITH CASE�������������MINT BOXED £375�00
LEICA 135mm f4�5 HEKTOR���������������������������������������������������������������EXC+ £75�00
LEICA 90mm FINDER �������������������������������������������������������������������������MINT £99�00
VOIGTLANDER BESSA T WINDER�����������������������������������������MINT BOXED £149�00
VOIGTLANDER BESSA R GRIP FOR R,R2,R3 ETC�������������������MINT BOXED £49�00
LEICA 35mm f3�5 SUMMARON SCREW ����������������������������������������� MINT- £295�00
LEICA 5cm f2 SUMMAR SCREW ���������������������������������������������������� MINT- £175�00
LEICA 135mm f2�8 ELMARIT M WITH SPECS�����������������������������EXC+++ £299�00
LEICA 135mm f4�5 HEKTOR + HOOD M MOUNT�����������������������������EXC++ £99�00
LEICA 135mmf4�5 HEKTOR IN KEEPER���������������������������������������EXC+++ £199�00
LEICA 90mm f4 ELMAR BLACK SCREW ���������������������������������������EXC++ £145�00
LEICA 135mm f4�5 HEKTOR + HOOD SCREW���������������������������������EXC++ £99�00
LEICA SF20 FLASH FOR M6 etc���������������������������������������������MINT BOXED £89�00
LEICA FONOR BLACK RANGEFINDER���������������������������������� MINT-CASED £175�00
LEICA R8 BLACK BODY WITH STRAP �������������������������������������������� MINT- £395�00
LEICA R7 CHROME BODY��������������������������������������������������������������� MINT- £365�00
LEICAFLEX BODY CHROME ������������������������������������������������������������ MINT- £195�00
LEICA 28mm f2�8 SUPER ANGULON PC WITH HOOD�����������MINT CASED £745�00
LEICA CURTAGON 35mm f4������������������������������������������������ MINT-BOXED £395�00
LEICA 60mm f2�8 MACRO ELMARIT R+MACRO ADAPTOR����������EXC++ £395�00
LEICA 90mm f2�8 ELMARIT 2 CAM������������������������������������������������ MINT- £299�00
LEICA APO-EXTENDER 2 X ROM������������������������������������������MINT CASED £475�00
SWAROVSKI EL RANGE 10x42 RANGEFINDER BINOS ���� NEW UNUSED £1,695�00
SWAROVSKI 10x42 SL HABICHT+STRAP AND COVERS���������������� MINT- £565�00
LEICA 10 X 42 TRINOVID BA WITH LEATHER CASE ������������������������MINT £595�00
LEICA 10 x 25 TRINOVID COMPACT BINOCULAR GREEN ��� MINT-CASED £275�00
LEICA 10 x 25 TRINOVID COMPACT BINOCULAR BLACK ��� MINT-CASED £279�00
Medium & Large Format
BRONICA ETRSI COMPLETE WITH S/GRIP, AEII FINDER ��������������� MINT- £445�00
BRONICA ETRS PRISM,FDR,BACK & 75mm EII LENS�������������������EXC++ £325�00
BRONICA ETRS WL/FINDER, BACK & 75mm EII LENS �����������������EXC++ £295�00
BRONICA 45 - 90mm f4/5�6 PE ASPHERICAL����������������������MINT BOXED £425�00
BRONICA 40mm f4 PE LENS������������������������������������������������MINT BOXED £199�00
BRONICA 50mm f2�8 PE LENS���������������������������������������������������������MINT £179�00
BRONICA 50mm F2�8 ZENZANON MC�������������������������������������������EXC+++ £99�00
BRONICA 105mm f3�5 LENS FOR ETRS/i����������������������������������������� MINT- £99�00
BRONICA 110mm F4 MACRO LENS PS������������������������������������������ MINT- £295�00
BRONICA 135mm f4 PE LENS����������������������������������������������������������MINT £125�00
BRONICA 150mm F4 E��������������������������������������������������������������������� MINT- £89�00
BRONICA 200mm f4�5 PE LENS���������������������������������������������������������MINT £95�00
BRONICA AUTO EXTENTION TUBE E-14���������������������������������MINT BOXED £45�00
BRONICA PROFESSIONAL LENS HOOD E �������������������������������MINT BOXED £45�00
BRONICA ETRSI 120 BACK FOR ETRSi LATEST VERSION �����������������MINT BOXED
BRONICA ETRSI 120 BACK��������������������������������������������������������������� MINT- £69�00
BRONICA POLAROID BACK FOR ETRSI, ETRS ETC ����������������MINT BOXED £59�00
BRONICA AEII METERED PRISM ���������������������������������������������������� MINT- £115�00
BRONICA PLAIN PRISM FOR ETRS/ETRSI������������������������������������������MINT £75�00
BRONICA PLAIN PRISM FOR ETRS/ETRSI���������������������������������������EXC++ £59�00
Visitors are welcome, please phone for an appointment.
BRONICA ROTARY PRISM FINDER FOR ETRS, ETRSI ETC��������������� MINT- £75�00
BRONICA MOTOR WINDER E���������������������������������������������������������EXC+++ £89�00
BRONICA 150mm F3�5 ZENZANON S��������������������������������������������� MINT- £165�00
BRONICA PLAIN PRISM FOR SQAi/SQA������������������������������������������� MINT- £99�00
BRONICA 40mm f4 ZENZANON S ULTRA WIDE FOR SQ���������������� MINT- £199�00
BRONICA 50mm f3�5 PS LENS & CASE ������������������������������ MINT-BOXED £199�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 180mm f4�5 PS LENS & CASE ���������������������������� MINT-BOXED £199�00
BRONICA SPEED GRIP FOR SQA/SQAI��������������������������������������������� MINT- £69�00
BRONICA FILMBACK SQ-i220 FOR SQA/SQAi������������������������MINT BOXED £79�00
METZ 45 CL4 FLASH WITH SCA 386 FOR BRONICA������������MINT BOXED £150�00
HASSELBLAD SWC + 38mm f4�5 BIOGON T* & FINDER ������������ MINT- £1,475�00
HASSELBLAD 28mm f4 HC FOR H SYSTEM����������������������MINT BOXED £1,475�00
HASSELBLAD 120mm f4 HC FOR H SYSTEM�����������������������������EXC++ £1,195�00
HASSELBLAD 90mm f4 FOR X PAN I & II IN KEEPER����������������������MINT £365�00
HASSELBLAD 150mm f4 SONNAR T* BLACK�������������������������������EXC++ £195�00
HASSELBLAD 150mm f4 SONNAR CF��������������������������������� MINT-BOXED £395�00
HASSELBLAD 50mm f4 DISTAGON SILVER ����������������������������������EXC++ £195�00
HASSELBLAD 150mm f4 SONNAR SILVER �����������������������������������EXC++ £175�00
HASSELBLAD 250mm f5�6 SONNAR SILVER �����������������������������������EXC+ £179�00
HASSELBLAD HTS 1�5X TILT AND SHIFT ADAPTOR���������MINT BOXED £2,995�00
HASSELBLAD GPS UNIT FOR H SYSTEM �����������������������������MINT BOXED £399�00
HASSELBLAD H13 EXT TUBE �����������������������������������������������������������MINT £165�00
HASSELBLAD PM90 PRISM FINDER ���������������������������������������������� MINT- £275�00
HASSELBLAD PME3 METERED PRISM FINDER ����������������������������� MINT- £275�00
HASSELBLAD VFC-6 METERED PRISM��������������������������������MINT BOXED £175�00
HASSELBLAD A12 BACK CHROME������������������������������������������������� MINT- £129�00
HASSELBLAD WINDER CW AND REMOTE����������������������������������������MINT £275�00
MAMIYA 55mm f4�5 SEKOR FOR C220/330 etc������������������MINT BOXED £165�00
MAMIYA 150mm F4�5 “G” WITH HOOD FOR MAMIYA 6�����������������MINT £199�00
MAMIYA 645 SUPER WITH AE PRISM 80mm COMPLETE ���������������MINT £365�00
MAMIYA M645J COMPLETE WITH 80mm f2�8 ������������������������������ MINT- £299�00
MAMIYA 50mm f4 SHIFT LENS FOR 645 ETC��������������������� MINT-CASED £365�00
MAMIYA 80mm f1�9 SEKOR C FOR 645 etc ������������������������������������MINT £299�00
MAMIYA 150mm f3�5 SEKOR C FOR 645 SUPER etc ����������������������MINT £145�00
MAMIYA 150mm F4�5 “G” WITH HOOD FOR MAMIYA 6�����������������MINT £295�00
MAMIYA 180mm F4�5 SEKOR Z W FOR RZ��������������������������������������MINT £199�00
MAMIYA 250mm F4�5 LENS FOR RZ ��������������������������������������������� MINT- £195�00
MAMIYA 210mm F4 SEKOR C FOR 645�������������������������������MINT CASED £195�00
MAMIYA 180mm F4�5 SEKOR FOR RB���������������������������������������������MINT £169�00
MAMIYA 220 BACK FOR RZ 67�������������������������������������������������������� MINT- £95�00
PENTAX 200mm F4 FOR PENTAX 67 + FILTER AND HOOD ���������� MINT- £199�00
PENTAX 55mm F4 SMC FOR 6X7 ����������������������������������������������������MINT £175�00
PENTAX 55mm F2�8 FOR PENTAX 645��������������������������������MINT BOXED £199�00
ROLLEIFLEX SCHNEIDER 150MM F4�6 MAKRO FOR 6008������������� MINT- £575�00
YASHICAMAT 124G COMPLETE WITH HOOD + CASE��������� MINT-CASED £325�00
YASHICA 124G TELEPHOTO AUX LENS SET������������������������������������� MINT- £69�00
Nikon Auto-Focus & Digital, Lenses Accessories
NIKON 10�5 f2�8 “G” IF-ED AF DX FISHEYE�������������������������MINT BOXED £399�00
NIKON 16mm f2�8 A/F D FISHE EYE LENS WITH FILTERS���������������MINT £495�00
NIKON 28mm f2�8 A/F “D” ��������������������������������������������������������������MINT £165�00
NIKON 28mm f2�8 A/F����������������������������������������������������������������������MINT £135�00
NIKON 35mm f1�8 “G” ED AF-S L��������������������������������������MINT + HOOD £365�00
NIKON 35mm f1�8 “G” DX AF-S LATEST����������������������������� MINT+HOOD £119�00
NIKON 40mm f2�8 “G” AF-S DX MICRO NIKKOR + HOOD���������������MINT £189�00
NIKON 50mm f1�8 A/F D ������������������������������������������������������������������ MINT- £79�00
NIKON 50mm f1�8 “G” AF-S WITH HOOD����������������������������������������MINT £145�00
NIKON 50mm f1�4 A”G” AF-S LATEST ������������������������������� MINT-BOXED £295�00
NIKON 60mm F2�8� A/F D MACRO LENS������������������������������������������MINT £265�00
NIKON 85mm f3�5 ED DX AF-S VR MICRO NIKKOR������������� MINT+HOOD £325�00
Nikon 300mm f2�8 G ED VR II AF-S WITH HOOD ������������ MINT-CASED £2,795�00
NIKON 10 - 24 mm f3�5/4�5 “G” ED DX AF-S�������������������������������� MINT- £425�00
NIKON 12 - 24mm f4 “G” DX IF-ED AF-S����������������������������MINT BOXED £395�00
NIKON 12 - 24mm f4 “G” DX IF-ED AF-S��������������������������� MINT-CASED £365�00
NIKON 14 - 24mm f2�8 “G” ED AF-S LATEST ����������������� MINT-CASED £1,075�00
NIKON 24 - 70mm f2�8 “G” ED AF-S SUPERB LENS�����������MINT BOXED £795�00
NIKON 24 - 70mm f2�8 “G” ED AF-S SUPERB LENS���������� MINT-CASED £725�00
NIKON 24 - 120mm f4 “G” ED AF-S VR LATEST MODEL����MINT BOXED £745�00
NIKON 35 - 70mm f3�3/4�5 A/F LENS���������������������������������������������EXC++ £49�00
NIKON 35 - 135mm f3�5/4�5 A/F + HOOD�������������������������������������� MINT- £129�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.
NIKON 70 - 200mm “G” IF ED AF-S VR +HOOD����������������� MINT-BOXED £795�00
NIKON 70 - 200mm f2�8 “G” ED AF-S VR MK 2 + HOOD����������� MINT- £1,075�00
NIKON 80 - 400mm f4�5/5�6 ED AF “D” VR������������������������ MINT-BOXED £575�00
NIKON 200 - 500mm f5�6 ED AF-S VR LENS LATEST ���������MINT BOXED £995�00
NIKON TC20E II 2X AF-S TELECONVERTER ����������������������������������� MINT- £195�00
TAMRON 1�4X A/F “D” TELECONVERTER NIKON FIT ������������MINT BOXED £69�00
TELEPLUS MC7 2 X CONVERTER NIKON A/F D�������������������������������� MINT- £59�00
KENKO PRO 300 2X TELEPLUS CONVERTER N/AFS ��������������������������MINT £75�00
SIGMA 2X EX DG TELECONVERTER �������������������������������������������������MINT £145�00
SIGMA TC2001 ED GLASS LATEST MODEL ���������� MINT BOXED AS NEW £225�00
SIGMA 24mm f1�4 DG HSM ART LENS NIKON FIT ��������������MINT BOXED £485�00
SIGMA 50mm f2�8 EX MACRO D���������������������������������������������������EXC++ £129�00
SIGMA 105mm f2�8 EX APO DG MACRO ���������������������������� MINT-BOXED £245�00
SIGMA 10 - 20mm f4/5�6 EX DC SLD HSM �������������������������MINT BOXED £199�00
SIGMA 15 - 30mm f3�5/4�5 DG EX IF ASPHERICAL����������������������� MINT- £245�00
TAMRON 16 - 300mm f3�5/6�3 Di II VC MACRO LATEST ���MINT +HOOD £299�00
TOKINA 12 - 24mm F4 IF DX ASPHERICAL AT-X PRO �������� MINT+HOOD £299�00
TOKINA 16 - 50mm F2�8 ASPHERICAL AT-X PRO DX ���������MINT BOXED £275�00
TOKINA 80 - 400mm f4�5/5�6 AT-X D����������������������������������MINT BOXED £245�00
TOKINA 35mm f2�8 ATX PRO DX MACRO 1:1 LATEST ��������MINT BOXED £295�00
Nikon Manual Focus
NIKON F3 HP BODY REALLY NICE WITH MANUAL�������������� MINT-BOXED £595�00
NIKON F3 BODY UNUSED FROM A COLLECTION NEW���������MINT BOXED £895�00
NIKON F3HP BODY REALLY NICE��������������������������������������������������� MINT- £595�00
NIKON F3 BODY WITH MD4 MOTOR DRIVE ����������������������������������� MINT- £375�00
NIKON F3 BODY��������������������������������������������������������������������������������EXC+ £245�00
NIKON F2AS BODY BLACK ������������������������������������������������������������EXC++ £200�00
NIKON FM2n CHROME BODY ������������������������������������������������������EXC+++ £245�00
NIKON F2 A BODY FULLY WORKING ������������������������������������������������EXC+ £199�00
NIKON F2 BODY FULLY WORKING����������������������������������������������������EXC+ £169�00
NIKON F2 BODY BLACK WITH DW2 FINDER ���������������������������������� MINT- £265�00
NIKON F2 PHOTOMIC BODY CHROME�������������������������������������������� MINT- £275�00
NIKON F PHOTOMIC T WITH 50mm f2 NIKON LENS���������������������EXC++ £250�00
NIKON F “APOLLO” PHOTOMIC FTN WITH 50mm f1�4������������������ MINT- £399�00
NIKON FE2 BLACK BODY���������������������������������������������������������������EXC++ £165�00
NIKON 18mm f4 AI WITH HOOD & CASE AS NEW ���������������������������MINT £975�00
NIKON 24mm F2�8 AIS SUPERB SHARP LENS���������������������������������MINT £199�00
NIKON 28mm f2�8 SERIES E SUPERB CONDITION���������������MINT BOXED £115�00
NIKON 28mm f2�8 AI������������������������������������������������������������������������MINT £165�00
NIKON 28mm f3�5 AIS������������������������������������������������������������������������MINT £89�00
NIKON 35mm f2�8 PERSPECTIVE CONTROL LENS������������������������� MINT- £295�00
NIKON 45mm F2�8 GN NIKKOR ������������������������������������������������������ MINT- £199�00
NIKON 50mm F1�8 AIS SERIES E �������������������������������������������������������MINT £69�00
NIKON 55mm f2�8 MACRO AIS ������������������������������������������������������ MINT- £165�00
NIKON 85mm f2 AIS����������������������������������������������������������������������� MINT- £215�00
NIKON 105mm f2�5 AIS FROM A COLLECTION��������������������MINT BOXED £295�00
NIKON 135mm f2�8 AIS������������������������������������������������������������������ MINT- £125�00
NIKON 500mm f8 MIRROR LENS WITH FULL FILTER SET�� MINT-CASED £375�00
NIKON 600mm f5�6 Ai WITH HOOD AND FILTER HOLDERS���MINT-CASED £1,295�00
NIKON 1000mm f11 MIRROR LENS WITH CAPS���������������������������EXC++ £495�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��������������������������EXC++ £119�00
NIKON 35 - 135 F3�5/4�5 AIS ��������������������������������������������������������� MINT- £149�00
NIKON 35 - 135 F3�5/4�5 AIS �����������������������������������������������������������EXC+ £125�00
NIKON MD4 MOTOR DRIVE FOR F3/F3HP�������������������������������������EXC+++ £99�00
NIKON PK13 AUTO EXTENSION RING������������������������������������ MINT-BOXED £55�00
NIKON PK12 AUTO EXTENSION RING����������������������������������������������EXC++ £49�00
NIKON PK11 AUTO EXTENSION RING�������������������������������������������������MINT £49�00
NIKON TC 200 CONVERTER����������������������������������������������������������������MINT £69�00
NIKON SB 16 FLASH FOR F3/FM2/FM3/FE/FE2������������������ MINT-CASED £115�00
NIKON SB 16 FLASH FOR F3�����������������������������������������������������������EXC++ £65�00
Olympus Manual
OLYMPUS 28mm F3�5 ZUIKO������������������������������������������������ MINT-CASED £39�00
OLYMPUS 35mm F2�8 ZUIKO����������������������������������������������������������� MINT- £69�00
OLYMPUS 50mm F1�8 ZUIKO����������������������������������������������������������� MINT- £39�00
OLYMPUS 50mm F3�5 MACRO��������������������������������������������������������� MINT- £99�00
OLYMPUS 35 - 70mm F4 ZUIKO ������������������������������������������������������ MINT- £75�00
OLYMPUS EXT TUBE 14mm, 25mm������������������������������������������������� MINT- £55�00
OLYMPUS VARIMAGNI FINDER ����������������������������������������������MINT BOXED £59�00
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Lenses
CANON LENSES
EF 35mm f1.4L II USM............................. £1629
£1409 inc. £220 Cashback*
EF 35mm f2 IS USM ................................. £519
EF 40mm f2.8 STM .................................. £199
EF 50mm f1.2L USM ................................ £1269
EF 50mm f1.4 USM................................... £349
EF 50mm f1.8 STM ................................... £119
EF 85mm f1.2L II USM............................. £1849
EF 85mm f1.4L IS USM ........................... £1379
£1279 inc. £100 Cashback*
EF 85mm f1.8 USM ................................... £389
EF 100mm f2.8 USM Macro.................. £479
EF 100mm f2.8L Macro IS USM.......... £849
£749 inc. £100 Cashback*
EF 135mm f2 L USM ................................. £959
EF 300mm f4 L IS USM.......................... £1269
EF 500mm f4 L IS II USM ...................... £8299
EF 11-24mm f4L USM............................... £2789
EF 16-35mm f2.8L III USM..................... £1844
£1594 inc. £250 Cashback*
EF 16-35mm f4L IS USM ....................... £949
EF 17-40mm f4 L USM ............................ £689
EF 24-70mm f2.8L IS USM II................ £1679
£1459 inc. £220 Cashback*
EF 24-70mm f4L IS USM ....................... £789
EF 24-105mm f3.5-5.6 IS STM ............ £399
EF 24-105mm f4L IS II USM.................. £999
EF 28-300mm f3.5-5.6 L IS USM....... £2289
EF 70-200mm f2.8 L IS III USM.......... £2099
£1879 inc. £220 Cashback*
EF 70-200mm f4 L IS II USM ............... £1299
EF 70-300mm f4-5.6 L IS USM .......... £1199
EF 70-300mm f4-5.6 IS II USM .......... £464
EF 100-400mm f4.5-5.6L IS USM II. £1949
£1702 inc. £250 Cashback*
EF-S 35mm f2.8 Macro IS STM .......... £369
EF-S 60mm f2.8 USM Macro ............... £439
EF-S 10-18mm f4.5-5.6 IS STM ........... £239
EF-S 10-22mm f3.5-4.5 USM ............... £529
EF-S 17-55mm f2.8 IS USM ................... £779
EF-S 18-200mm f3.5-5.6 IS.................. £479
EF-S 55-250mm f4-5.6 IS STM........... £299
TS-E 24mm f3.5L II .................................. £1799
TS-E 50mm f2.8L Macro ....................... £2199
TS-E 135mm f4 L Macro ......................... £1999
NIKON LENSES
20mm f1.8 G AF-S ED ............................. £729
24mm f1.4 G AF-S ED ............................. £2179
35mm f1.8 G ED AF-S ............................. £489
35mm f1.8 S Lens ...................................... £774
50mm f1.4 G AF-S .................................... £429
50mm f1.8S L.............................................. £509
60mm f2.8 G AF-S ED ............................ £579
85mm f1.8 G AF-S..................................... £469
105mm f2.8 G AF-S VR IF ED.............. £849
300mm f4E AF-S PF ED VR ................ £1709
500mm f5.6E PF ED VR AF-S ............ £3699
8-15mm f3.5-4.5E ED Fisheye............. £1229
10-24mm f3.5-4.5 G AF-S DX ............. £799
16-80mm f2.8-4E ED AF-S DX VR.... £989
18-200mm f3.5-5.6 G AF-S DX VR II£429
18-300mm f3.5-5.6 ED AF-S VR DX £989
24-70mm f2.8 G ED AF-S...................... £1799
24-70mm f2.8E AF-S ED VR................ £2099
28-300mm f3.5-5.6 G ED AF-S VR .. £929
70-200mm f2.8E AF-S FL ED VR...... £2499 18-300mm f3.6-6.3 C DC OS HSM.... £369
70-300mm f4.5-6.3 G ED DX AF-P £329 24-70mm f2.8 DG OS HSM................... £1149
200-500mm f5.6E AF-S ED VR......... £1299 24-105mm f4 DG OS HSM..................... £579
50-100mm f1.8 DC HSM Art ............... £949
70-200mm f2.8 EX DG OS HSM ........ £899
100-400mm f5-6.3 DG OS HSM........ £689
TAMRON DSLR LENSES 120-300mm f2.8 OS ................................ £2699
with 5 Year Manufacturer Warranty 150-600mm f5-6.3 C DG OS HSM .... £779
85mm f1.8 SP Di VC USD....................... £749 150-600mm f5.0-6.3 S DG OS HSM £1329
16-300mm f3.5-6.3 Di II VC PZD....... £499
18-200mm f3.5-6.3 Di II VC ................. £199
18-400mm f3.5-6.3 Di II VC HLD ...... £649
24-70mm f2.8 Di VC USD G2............... £1199 SONY E-MOUNT LENSES
70-200mm f2.8 Di VC USD G2........... £1289 FE 85mm f1.4 G Master .......................... £1649
70-210mm f4 Di VC USD ....................... £599 £1549 inc. £100 Cashback*
70-300mm f4-5.6 SP Di VC USD....... £329 FE 85mm f1.8 .............................................. £599
100-400mm f4.5-6.3 Di VC USD ...... £749 £549 inc. £50 Cashback*
150-600mm f5-6.3 SP Di VC USD .... £799 FE 100mm f2.8 G Master....................... £1499
150-600mm f5-6.3 VC USD G2.......... £1129 £1399 inc. £100 Cashback*
FE 135mm f1.8 G Master......................... £1749
FE 12-24mm f4 G ....................................... £1449
£1369 inc. £80 Cashback*
SIGMA DSLR LENSES FE 16-35mm f2.8 G Master ................... £2199
with 3 Year Manufacturer Warranty £2099 inc. £100 Cashback*
20mm f1.4 DG HSM Art.......................... £699 FE 24-70mm f2.8 G Master .................. £1829
24mm f1.4 DG HSM .................................. £629 £1729 inc. £100 Cashback*
30mm f1.4 DC HSM.................................. £359 FE 24-70mm f4 ZA OSS C.Zeiss T* .. £749
35mm f1.4 DG HSM .................................. £649 £669 inc. £80 Cashback*
50mm f1.4 DG HSM Art.......................... £579 FE 70-200mm f2.8 G Master............... £2399
85mm f1.4 Art DG HSM .......................... £929 £2299 inc. £100 Cashback*
105mm f2.8 APO EX DG OS HSM...... £358 FE 70-300mm f4.5-5.6 G OSS ........... £1079
8-16mm f4.5-5.6 DC HSM...................... £599 £999 inc. £80 Cashback*
10-20mm f3.5 EX DC HSM.................... £329 FE 100-400mm f4.5-5.6 OSS GM..... £2449
17-70mm f2.8-4.0 DC OS HSM............ £349 £2349 inc. £100 Cashback*
18-35mm f1.8 DC HSM ............................ £649 *Canon Cashback ends 14.05.19
18-250mm f3.5-6.3 DC OS HSM ........ £349 *Sony Cashback ends 01.09.19

Photo Bags & Rucksacks Computing

Flipside 300 Anvil Slim Hadley

AW II Professional Pro PIXMA Pro 100S ............ £358
Original
Khaki £308 inc. £50 Cashback*
Pro Tactic Pro Light PIXMA Pro 10S .................£493
BP 450 RedBee 310 £418 inc. £75 Cashback*
AW II
Datacolor Spyder 5 Pro.................£99
i1 Display Pro ColorMunk..............£178
Available in Khaki, Black, Sage.
Smile .......................................................£90
Small Pro....................£199
Anvil: Small ............................£159 Intuos Pro Professional Pen and Touch Tablet
Pro Tactic: Flipside: Pro Light RedBee: Anvil Slim............£119 Large ...........................£199 Small ................................................................................ £154
BP 350 AW II.......£185 300 AW II ...... £99 110 ...................................£129 Anvil Super ........£134 Pro Original ............. £199 Medium........................................................................... £259
BP 450 AW II ......£239 400 AW II...... £119.99 310 ..................................£147 Anvil Pro..............£126 Hadley One .............. £264 Large ............................................................................... £379

Digital Compact Cameras Digital compact camera accessories are available on our website
IXUS 185 HS............................................£99
IXUS 285 HS...........................................£149
£60 £90 PowerShot SX70 HS...........................£519
CASHBACK* CASHBACK* £469 inc. £50 Cashback*
20.2 mp 20.1 mp 24.3 mp PowerShot SX620 HS........................£179
1080p 1080p 1080p PowerShot SX730 HS........................£269
4.2x 4.2x 3.0x PowerShot SX740 HS........................£299
optical zoom optical zoom optical zoom PowerShot G9 X II...............................£329
PowerShot G5 X....................... £599 PowerShot G7 X Mk II............. £479 PowerShot G1 X III................ £1089 PowerShot G3 X...................................£779
£539 inc. £60 Cashback* £999 inc. £90 Cashback* £699 inc. £80 Cashback*
*Canon Cashback ends 14.05.19

Lumix FZ1000 ...............................£528

Black or £478 inc. £50 Cashback*
Silver £50 Lumix FZ2000 ...............................£799
CASHBACK* £699 inc. £100 Cashback*
Lumix TZ200...................................£629
24.3 mp £579 inc. £50 Cashback*
1080p 17.0 mp 20.3 mp 20.0mp Lumix LX15 .......................................£449
Fujifilm X100F......... £1199 Lumix LX100 II...... £849 Lumix TZ95......... £399 Lumix FZ1000 II......... £749 £399 inc. £50 Cashback*
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Theta Z1 Digital Theta V Digital

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FREE delivery on orders over £50** **Based on a 4-day delivery service, UK only.
Sell your Nikon to
Grays of Westminster are always seeking fine examples of Nikon cameras, lenses & accessories including:
Digital SLR Bodies ❖ AF Lenses ❖ Select Film SLR bodies
Manual focus lenses ❖ Vintage bodies ❖ Pre-AI lenses ❖ Accessories
To obtain a quote please contact us today on
020 7828 4925 or email info@graysofwestminster.co.uk
TAKE THE WORRY OUT OF CLEANING
YOUR SENSOR WITH
FIND THE PROBLEM
n Lights and Loupes.
If you can’t see the dust and dirt - you can’t clean away the
dust and dirt. Our products are designed to enable you to
identify where and how to clean. We also advise that if you feel
your sensor does not need attention after inspection, do nothing!
LIGHT CLEANING NEEDED
n Dry cleaning.
Brushes and blowers with properties that lift dust and
other non-oily materials away easily. Versions available
for every sensor size regardless of camera brand. A range
of blowers from a simple version to fully filtered, anti-static
with dust free air ejection measures are available to suit your needs.
HEAVIER CLEANING NEEDED
GUARANTEED
safe to use
n Wet cleaning. with mirrorless
Liquids specifically designed and manufactured to remove greas cameras
oil, pollen, fingerprints etc whilst still being safe for your precious
sensor. When used in conjunction with the correct swab they make
light work of removing matter that would otherwise degrade your
image. With the current popularity of mirrorless cameras and their
potential for the ingress of dirt and foreign bodies due to lack of a
mirror, keep these products in your gadget bag ready for use.
OUT & ABOUT? TAKE VISIBLE DUST WITH YOU
n Convenient kits.
The range of EZ kits bring together everything you need to ensure
complete cleaning of your cameras sensor. Kits are available to tackle
all of the various cleaning jobs you may have to carry out. They are
colour coded BLUE for light cleaning, GREEN for everyday cleaning
and RED for heavy cleaning. Kits available in all popular sensor sizes,
and as with all VisibleDust products, they are suitable for all camera
brands and sensors, with or without anti-aliasing filters.
See the entire range in detail at
www.visibledust.co.uk Tel: (Frazer Allen) 07725 081436
For details of your nearest stockist please contact... Tel: (Denys Nelson) 07909 227517
Unique Photographic Accessories
Luxury Pure Silk Camera Straps
A range of hand made straps made from pure silk by
Japanese artisans, to give your camera a distinctive
yet functional appearance. Various lengths and
colours available. ACAM-312N shown.
Vanity Pouches With Top Handles
Store and protect your mirrorless camera, lens or accessory from dirt
scratches. They can be placed within a larger camera or casual
bag, providing protection and quick access to the equipment
at all times. Available in 3 different sizes they can be configured
to carry two bodies, three lenses or a combination of body and
lens. ACAM-60N shown, ACAM-61N & ACAM-63N are alternatives.
Protective Camera Or Lens Wrap
Store and protect your camera or lens from dirt and scratches.
This wrap folds neatly around your equipment, the seamless
rubber ring then slips over to hold the wrap securely in place.
Ideal for carrying equipment in rucksacks or other bags
not specifically designed for photo equipment. ACAM-80.
Casual Cord Camera Straps
Made by traditional methods with the same care and precision
of our silk straps, this new range offers photographers a colourful
and comfortable way to carry their cameras. Available in the
colourways shown, they are also available in 2 different lengths.
ACAM-701 shown, ACAM-706 also available.
Further details and your nearest stockist can be obtained from...
Alpha Optical Distribution Limited
Tel: (Frazer Allen) 07725 081436
(Denys Nelson) 07909 227517
Email: info@alphaodl.co.uk
Product website: www.artisan-n-artist.com
 VISIT OUR WEBSITE - UPDATED DAILY

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LUMIX S 50mm LUMIX S 24-105mm LUMIX S 70-200mm 45.7
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*Trade-in your working interchangeable lens camera £1,899 .00

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against the E-M1 II and benefit from a £150 bonus! Add the Nikon FTZ Mount Add a Nikon EN-EL15B Pre-order to receive one of
Offer available 01.05.19 – 30.06.19 In stock from £1,389.00 Adapter for £100! spare battery for £69.99 the first lenses in the UK!

Olympus E-M10 Mk III Olympus E-M1 X 8mm f/1.8 PRO ED £799.00

17mm f/1.2 PRO ED £1,199.00 26.1
25mm f/1.2 PRO ED £1,199.00
MEGA
PIXELS 11 fps
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16.1 20.4 45mm f/1.2 PRO ED £1,199.00
MEGA FREE MEGA 300mm f/4 IS PRO ED £2,299.00 The X-T3 provides you with superb image
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ZEISS Batis 40mm ZEISS Otus 100mm ZEISS 8x42 Manfrotto Befree GT Manfrotto 055 Manfrotto Pro Light
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Samyang 14mm Samyang 24mm Samyang 50mm Joby GorillaPod 3K Lowepro Tahoe Lowepro
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£30 £20 £35
cash cash cash Roller Bag
back back back
In stock! Learn more In stock! Add a Hoya In stock! Add a Hoya Our Price See website Our Price See website Our Price See website
by visiting our 49mm NX-10 UV 67mm NX-10 UV for more Joby for more for more
£569 .00* website £259 .00* filter for £19.95
£464 .00* filter for £28.95
£84.95 Tripods! £49.00 Lowepro bags! £249.00 Lowepro bags!
*Price after £30 cashback *Price after £20 cashback *Price after £35 cashback Ideal to hold your DSLR or Visit us in store to try this Visit us in store to try this
from Samyang. Ends 31.05.19 from Samyang. Ends 31.05.19 from Samyang. Ends 31.05.19 Mirrorless camera! backpack out for yourself! Roller Bag out for yourself!

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 Change gear.
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Learn how to capture great images
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subscribe 0330 333 4555 I www.amateurphotographer.co.uk I 11 May 2019 65

 Legends
of photography
© BRUNO BARBEY/MAGNUM PHOTOS

Boys jump into the

Amazon River.
Brazil 1966

Bruno
his words, ‘inherently
theatrical’ and therefore ripe
for documentation. Bruno’s
images burst with energy. Each
project. But perhaps most
significantly, it was here that
Barbey began using colour
film and pioneered its use in

Barbey
black & white frame seems to photojournalism. He took
© VCG ViA GETTY iMAGES

contain an entire narrative. with him several rolls of film,

They look as though they could
have been lifted from the best
examples of Italian neorealist
cinema. But in this realist
Oliver Atwell considers a pioneer approach, they are relatable.
We see ourselves there. But
there’s one key thing missing:
in the field of colour photojournalism colour. We see life in colour, sothat he became a creative force
who documented global culture if we’re expecting a relatable
including Kodachrome. While
it was slow – ISO 25 – it was
relatively resistant to heat and
humidity. From then on, he
dedicated himself to the use
of colour.
His work was so significant
within Magnum Photos. He

I
f we know one thing
about photojournalism
it’s this: ‘Photography is
the only language that
can be understood anywhere
in the world.’ This quote not
only speaks a powerful truth
about the command of visual
media but also perfectly
encapsulates the career
of the speaker, Moroccan
photographer and Magnum
member Bruno Barbey.
Through photography, the
alien and unknowable become
familiar. Nowhere is this truer
than in photojournalism and
in the hands of Bruno Barbey.
His journeys to photograph
enigmatic cultures have
provided the photographer
endless opportunities to show
that we are all one people,
despite our disparate customs.
It’s unsurprising that Barbey
would feel so strongly about
using his work to create an
inclusive view of the world.
While he was born in Morocco,
he possesses dual nationality,
both French and Swiss. A first
major project took Barbey to
Italy between 1961 and 1964.
His view of the people was, in
and realistic depiction of the served as vice president for the
world, then colour is required. European offices during 1978
and 1979 and then President
Natural fit for photography of Magnum International
That is what makes the image between 1992 and 1995. In
we see here so significant. This the years that followed,
was shot during a trip to the Barbey travelled the world
Amazon River in Brazil in photographing on all five
1966. The trip was a result of continents, covering all manner
a commission he received by of culture including its war and
Editions Recontres in Lausane. conflicts (though he eschews
Their wish was for Barbey to the term war photographer,
compare the cultural customs seeing it as a cynical label).
and lifestyle of European His latest work has been
and African countries. As documenting China, and the
mentioned earlier, Barbey had images are no less significant.
genetic stock invested in both. There seems to be no
He was a natural fit for the slowing him down.

66 11 May 2019 I www.amateurphotographer.co.uk I subscribe 0330 333 1113

 om//
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ON SELECTED CANON CAMERAS & LENSES

£300
cashback

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£2,099.00* £250 from Canon UK.

T&Cs apply £1,199.00* £150 from Canon UK.
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£220 £220 £250 £50

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T&Cs apply £1,699.00* £250 from Canon UK.
T&Cs apply £309.00* £50 from Canon UK.
T&Cs apply

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