2019 10 25 Amateur Photographer

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Saturday 19 October 2019
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tales of woe,
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100 years
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Centorte nary s l Th
Passionate about photography since 1884
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us camerars pay
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s l Olymp
Olympus ad
and keep guide

100
IN AS
yrs of ea
inside
of Olympus
Olympus
Camera history • Classic Olympus ads • Owners’ tributes

Nikon Z 50
Hands on with Nikon’s
affordable new APS-C
mirrorless model
Shooting the
World Cup
The England Rugby
team photographer
talks to AP
John
Downing
Celebrating the life
and work of a Fleet
Street legend
Pictures of PowerMaestrocontest winners • Benro Smartphone gimbal tested

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Olym
COVER PICTURES © ANDREW SYDENHAM / CLAUDIA POPESCU
Camera history • Classic Olympus ads • Owners’ tributes

Nikon Z 50
Hands on with Nikon’s
affordable new APS C
mirrorless model A week in photography
Shooting the
World Cup
The England Rugby
No company has dedicated as its centenary. We also reflect on the dazzling

team photographer
talks to AP
John
Downing
Celebrating the life
much of its history to the art career of Fleet Street legend John Downing,
and work of a Fleet
Street legend
of camera miniaturisation as and get our hands on Nikon’s latest entry
Olympus. This obsession has into the mirrorless market – a technology
£2.99
PicturesofPowerMaestrocontest winners • Benro Smartphone gimbal tested
given birth to a long line of co-invented by, you guessed it, Olympus.
In this issue iconic cameras: the Pen series, the OM-1 and
its successors, the Trip 35, the XA, the Mju
Finally, if you lower your eyes you’ll notice
that we start a new weekly series this issue,
8 First look
and now the OM-D range. The phrase ‘small showcasing great images from the incredible
Michael Topham gets his
hands on Nikon’s first DX- but perfectly formed’ could have been coined Hulton Archive. I hope you enjoy them.
format mirrorless camera: with Olympus in mind. This week we celebrate Nigel Atherton, Editor
the Nikon Z 50
Contribute to Amateur Photographer If you’d like to see your words or pictures published in Amateur Photographer, here’s how:
14 It’s good to share Something to say? Write to us at ap@ti-media.com with your letters, opinion columns (max 500 words) or article suggestions.
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this week amateurphotographer. Facebook.com/Amateur. flickr.com/groups/ amateurphotographer
co.uk photographer.magazine amateurphotographer @AP_Magazine magazine
16 Photo disasters
and how to
avoid them
Top tips on how to make
sure you don’t fall foul of
This week in 1951
these photography fiascos TREASURES FROM THE HULTON ARCHIVE
24 Picture power
Midnight Vigil by
© GETTY IMAGES
The winners of the
International EISA Maestro
contest 2019-20
Thurston Hopkins
13 OCTOBER 1951: Published in
32 Try, try and the Picture Post, this image shows a
try again night-time vigil taking place outside
Geoff Harris chats Buckingham Palace. King George
with World Cup Rugby VI had his left lung removed in
photographer Dave Rogers September 1951 after a malignant
tumour was found. That year, the
35 Be a Christmas King’s Christmas speech was
cover star recorded in segments and later
Your chance to have one of edited together. Early the next year,
your images on the cover of the King would accompany his
AP’s Christmas Special issue daughter and her husband to the
36 Alma and airport to see them off on their
Alzheimer’s tour of Australia via Kenya. On
6 February 1952, he was discovered
In this Photo Insight, Amy
dead in his room at Sandringham
Davies discovers more
House, Norfolk, having died from a
about the image that won
coronary thrombosis. His daughter
The Open Award at the
returned to the UK as Queen
Nikon Photo Contest
Elizabeth II, and she would be
42 Fleet Street’s crowned the next year.
finest This photograph was taken by the
Peter Dench meets John renowned photojournalist Thurston
Downing MBE – one Hopkins and appeared as part of the
of Britain’s best press article Ten Days of Anxiety.
photographers
Regulars
3 7 days The Getty Images Hulton Archive is one of
22 Inbox the world’s great cultural resources. Tracing its
40 Join the Club origins to the founding of the London Stereoscopic
Company in 1854, today the Hulton houses over 80
48 Accessories
million images spanning the birth of photography
51 Tech Talk to the digital age, across glass, paper and film.
66 Final Analysis Explore it at www.gettyimages.com.
NEWS ROUND-UP
The week in brief, edited by Geoff Harris
Leica’s ‘brass’ act

Leica has released the Leica M10-P SC Asset. Only 30 editions
are being produced of the gorgeous-looking, sandblasted brass
camera, which comes with a brass-finish Summilux-M 50mm f/1.4
lens and 24MP sensor. The kicker is that you can only buy this
special edition from Leica Thailand outlets, as it is the result of
a deal between Leica and Thai real estate company, SC Asset.
World Photography Awards jury confirmed

The jury for the 2020 Sony World Photography Awards has been
announced. Professional category judges will include Brent Lewis,
photo editor of The New York Times, and the Chair will be
photographer, editor and consultant, Mike Trow. The Open and Youth
contests will be chaired by Gisela Kayser, MD and artistic director at
Freundeskreis Willy-Brandt-Haus, Berlin. See www.worldphoto.org.
Canon mirrorless firmware updates

Firmware update v 1.4.0 for the EOS R and v 1.3.0 for the EOS RP are
available for download. Key features include better AF for tracking
smaller subjects, enhanced eye-detection AF and a bug fix (v 1.4.0)
to change the AF frame size in the Servo AF setting. See bit.ly/2OsJsl4.
Film scanner option

Pre-orders are being taken for
Pixl-latr (£39.99), an intriguing
© MARGARET SORAYA
device that keeps film

negatives flat and backlit while
you use a camera to digitise
BIG
the image. Place the film into
the Pixl-latr, put the device Quiet exhibition is making loud
near a light source and get splash at Bosham Gallery
digitising. See pixl-latr.com/.
picture
Described as ‘an exhibition celebrating the
untouched beauty of the Scottish Hebrides’,
Sony reveals 47MP, 8K video chip Quiet – which is on at the Bosham Gallery,
Details of a 47MP Micro Four Thirds sensor able to record 8K video at West Sussex, until 7 December – is an
30fps have been released by Sony Japan. It records 8K video in 30p exhibition of seascapes by Margaret Soraya.
in 17:9 mode, dropping to 25p in 4:3 mode. No more details or release Soraya describes herself as an introvert
dates yet, but perhaps an 8K Micro Four Thirds camera could be on its and makes trips to the islands in search of
way for the Tokyo Olympics 2020. Visit www.sony-semicon.co.jp/e/.
4 19 October 2019 I www.amateurphotographer.co.uk I subscribe 0330 333 1113

SOURCE: WWW WORLDPHOTO ORG
solitude. Her images, with their crashing

waves in abstract form or against a backdrop Words & numbers
of distant hills, are imbued with a sense of
isolation but not of loneliness. As Soraya says,
‘Solitude is a positive state which can
stimulate self-awareness and creativity.’
Soft and muted, with shades of sapphire,
emerald green and turquoise against pale
We have to make room for other
people. It’s a wheel. You get on. You
go to the end. And somebody has the
$60,000
Total prize fund of
the 2020 Sony World
pinks and greys, her images present simple
coastal elements. Visit boshamgallery.com. same opportunity to go the end Photography Awards
Vivian Maier US street photographer (1926-2009)

subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 19 October 2019 5
Fujifilm House
of Photography
is set to open
this winter
Sony releases A9 II
mirrorless
model
SONY HAS announced
the Alpha 9 II full-frame
mirrorless camera, which, while
Welcome to Fujifilm House not being a major upgrade of
the sports-oriented Alpha 9,
EARLIER THIS year, we revealed adds some useful new features.
Fujifilm’s plans to open a new ‘concept The new camera retains the
experience centre’ in Covent Garden, and same 24MP sensor as the A9,
the name has now been confirmed as but Sony says the BIONZ X
Fujifilm House of Photography. The centre, image processor is now faster.
which is spread over three floors, will open As with the A9, the new camera
presumably in time for Christmas, but the has a 693-point on-sensor The new A9 II
date is to be confirmed. AF system, but subject tracking has significantly
As well as the chance to try out and buy is also quicker, Sony claims. The enhanced
the company’s X, GFX and Instax cameras burst speed of the mechanical connectivity
and Instax printers, visitors can drop by shutter has risen to 10fps, while
the Wonder Photo Shop, where they are the camera is still able to shoot at 20 fps with 5-axis optical in-body IS has been upgraded to
encouraged to create photo books and gifts no blackout using the electronic shutter. A new 5.5 stops. A bigger change is in connectivity,
from their own images. Film products and anti-flicker system for the mechanical shutter and the A9 II has a 1000BASE-T Ethernet
processing services will also be available. At makes it easier to use in indoor sports halls, terminal enabling gigabit communication for
the Midnight Studio & Social Studios, visitors which will please the camera’s target market. high-speed image transfer, 2.4/5GHz wireless
can test cameras and lenses and compare Build quality is also beefed up, with a larger LAN support, and a USB 3.2 port.
the image quality against their smartphones. grip and A7R IV-style weather sealing, and the The A9 II is on sale in October for £4,800.
There will also be a gallery and exhibition
space, with the inaugural exhibition featuring
veteran Fujifilm shooter Markus Klinko, and
the Fujifilm School & Workshops, featuring
Rare travel photo album makes big money
free seminars. There will be an exclusive AN EXTREMELY rare album of images ‘My heart nearly stopped when I saw the title
networking area for members of the Fujifilm by Victorian travel photographer John page, for I instantly recognised it as a rarity,
Professional Service (FPS) and studio rental Thomson (1837-1921) has sold for £48,000 but it was only later when researching it that I
opportunities. Last but not least, technicians at auction – smashing the £20,000 estimate. discovered there are only a handful of copies
will be on site offering a Quick Maintenance Views On The North River comprises 14 sepia known,’ said auctioneer and photography
Service to all X series and GFX users. images from 19th-century China and was specialist, Chris Albury. One copy of Views On
originally published in Hong Kong in 1870. The North River is held in the National Library
The auctioned album was owned by George of Scotland, another at the Hong Kong
Dods, Acting Colonial Surgeon in Hong Kong, University Library, a third at Cornell University
and has been in his family since. and two others are privately owned.
© DOMINIC WINTER AUCTIONEERS
Subscribe to
An image from
John Thomson’s
SAVE 40%
* Views On The
North River
Visit amateurphotographersubs.co.uk/AKY9, or see p38. For the latest news visit www.amateurphotographer.co.uk
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Nikon Z 50
Michael Topham has
an opportunity to get
hands on with Nikon’s
first DX-format mirrorless
camera in the Z series
Pop-up flash Touch buttons

Unlike the Nikon Z 6 and Z 7, Permanent touch buttons
the Z 50 features a pop-up are a new addition to the
flash that’s manually raised Z 50 and are located to the
from the side of the EVF. right of the screen.
Z-mount lenses
The Z 50 is compatible with
all Z-mount lenses; you’ll just
need to factor in the 1.5x
crop factor. At a glance
£849 body only

■ £989 with Nikkor Z
16-50mm f/3.5-6.3 VR
Menu system ■ 20.9MP APS-C sensor
This will be instantly familiar ■ Nikon Z mount
to current Nikon DSLR users ■ 11fps continuous
and easy to master for shooting with AE/AF
first-time users. ■ Tilting touchscreen
■ 2.36-million-dot
electronic viewfinder
■ 4K video at 30p
FOLLOWING the success of its Z 6 and Z 7 costs to buy a full-frame Z-series model. To Vibration Reduction (VR) technology built into
full-frame mirrorless cameras, Nikon has answer the question of what lenses the Z 50 its new DX-format Z-mount lenses. Forgoing
expanded its Z-series range by announcing a will use, Nikon has announced a pair of new IBIS has allowed Nikon to make the Z 50 small
smaller, more affordable model. The new Z 50, DX-format zooms (see story on page 9). while ensuring it hits the sweet-spot in terms
which uses the Z mount and is fully compatible of affordability to the consumer.
with Nikon’s FTZ mount adapter, is Nikon’s first Features The sensitivity of the sensor is extendable
attempt at creating a DX-format mirrorless The 20.9MP APS-C CMOS sensor that the from ISO 100-25,600 to a maximum of ISO
camera equipped with an APS-C size sensor. Z 50 employs is closely related to the one 51,200. It can rattle out a continuous burst of
Despite being smaller and lighter than the Z 6 found inside Nikon’s D500 and D7500, albeit shots at up to 11fps with full AF/AE tracking,
and Z 7, it manages to successfully uphold the with on-chip phase-detection and an AF making it Nikon’s fastest enthusiast camera to
style and feel of the company’s Z system while working range that sees it focus down to -4EV. date. As for the hybrid autofocus system, this
offering Nikon D7500-like features with The sensor teams up with the same EXPEED 6 is made up of 209 phase-detection AF points
usability closer to that of Nikon’s advanced image processor that you’ll find in the Z 6 and that cover approximately 90% of the frame.
entry-level DSLR, the D5600. Z 7; however unlike Nikon’s pair of full-frame Eye- and face-detection AF are both
This exciting news will be of great interest to models, the Z 50 doesn’t feature in-body available, as are 20 in-camera creative filters, a
amateurs and enthusiasts who’d like a smaller image stabilisation (IBIS). Instead, Nikon has time-lapse mode and 4K video recording at 30
and lighter system for considerably less than it opted for optical stabilisation in the form of frames per second, alongside Full HD at up to

A hands-on overhead
New DX-format
view of the Z 50’s
top plate, showing its
buttons and dials
Z-mount zooms
arrive
TO COINCIDE
with the launch
of the Z 50, Nikon
has announced its
first DX-format
Z-mount lenses.
The Nikkor Z
DX 16-50mm
120fps. A stereo microphone input As we’d expect, Wi-Fi and Bluetooth f/3.5-6.3 VR is a
is present, but a headphone port to connectivity are built-in, with Nikon’s compact retracting
monitor audio levels has been left out. free-to-download SnapBridge v2.6 app zoom equivalent
At the rear, the Z 50 showcases a available for iOS and Android devices. to 24-75mm in
3.2in, 104-million-dot touchscreen, 35mm terms. It features a The new Nikkor Z DX
which tilts down beneath the camera. Build and handling Vibration Reduction lens 16-50mm f/3.5-6.3 VR
Nikon says this has been designed for It’s difficult to appreciate the dimensions unit in its construction to
today’s selfie-shooters, though its use of the Z 50’s body in isolation. Although help eliminate handshake 75mm-375mm and has
as a selfie screen will be somewhat smaller and lighter than the Z 6 and Z 7, and allows users to shoot a minimum focus distance
restricted if the camera is mounted to we again find ourselves applauding up to 4.5 stops slower than of 50cm. Manual focus,
any form of support, be it a tripod or Nikon’s designers for making a mirrorless otherwise possible. It has aperture or exposure
monopod. Beside the screen Nikon has camera with one of the most satisfying a minimum focus distance compensation can be
added permanent touch buttons that handgrips of any small mirrorless model of 20cm and features a controlled from its control
can be used to zoom in and out quickly on the market. silent control ring. The ring and its Vibration
in playback mode and change the The Z 50 has a simplified top plate. construction is made up of Reduction system is
display view. Above the screen there’s The mode dial is located where the 9 glass elements, including effective to five stops. It
a 2.36-million-dot EVF that displays top-plate OLED panel is found on the one extra-low dispersion features a plastic mount,
comprehensive shooting information Z 6/Z 7 and the switch around the mode (ED) element to correct and filters and adapters
against a black background on strips dial lets you change between shooting aberrations and provide can be attached via its
above and below the preview image. stills and video in an instant. Movie excellent sharpness and 62mm thread.
Rather than accepting XQD cards, the record, ISO and exposure compensation contrast. To keep the lens
Z 50 accepts SD cards via a single slot buttons are all grouped together behind as light as possible (135g), Pricing
that’s located next to the battery. An the shutter button and the front and rear Nikon has used a plastic Nikon has priced the
all-new rechargeable EN-EL25 battery dials are perfectly positioned for intuitive lens mount at the rear. Z 50 and lenses sensibly,
provides power. It’s physically smaller control of exposure settings. Beside the The second zoom – the with camera and lens kits
than the battery used by the Z 6 and Z 7, lens mount there’s a pair of customisable Nikkor Z DX 50-250mm starting under £1,000.
but we’re told it lasts for approximately function buttons, with the option to load f/4.5-6.3 VR – has also The Z 50 with the Nikkor Z
300 shots on a single charge. Keeping frequently used settings directly from been made as small and DX 16-50mm f/3.5-6.3
on the subject of power, the Z 50 doesn’t the ‘i’ button at the rear. With no joystick lightweight (405g) as VR lens costs £989. The
feature a USB Type C interface, though it it operates just like Nikon’s entry-level possible. It covers a 35mm twin lens kit comprising the
does facilitate in-camera charging via its DSLRs in the way the d-pad is used to equivalent range of Z 50 and Nikkor Z DX
Micro USB port at the side. nudge the AF point around the frame. 16-50mm f/3.5-6.3 VR
and Nikkor Z DX
50-250mm f/4.5-6.3
First impressions VR costs £1,199.
The price of the Z 50
body only will be £849
AT THE TIME OF WRITING we’d only spent a few hours with the Z 50; however this – £80 less than the Sony
was long enough to establish that Nikon is onto something with its latest release. The A6400, the same as the
Z 50 successfully manages to preserve the look, styling and excellent handling cost of the Fujifilm X-T30,
characteristics of the Z 6 and Z 7 in a lighter and more compact body. It goes and similar to Canon’s
without saying that the way a camera handles and operates is hugely important, and recent EOS M6 Mark II
the Z 50 feels extremely comfortable to pickup while not being too fiddly to operate. (£869, body only). As well
It gives us a good clue as to where Nikon’s DX-format line up is headed and how as offering lens kits, Nikon
future models, whether they’re more or less advanced, might look. Although Nikon will sell the Z 50 with the
hasn’t officially said so, we sense this could be the beginning of the end for Nikon’s FTZ mount adapter for
DX-format DSLRs. My only reservations are the lack of a USB Type-C port and the £989. Purchasing the Z
fairly restrictive flip screen, which isn’t any good for low- or high-angle shooting in 50 with the Nikkor Z DX
the portrait format. In all other respects the Z 50 has great promise, and with it 16-50mm f/3.5-6.3 VR
hitting the market at a competitive price, it looks set to give other APS-C mirrorless The new Nikkor Z DX lens and FTZ mount
cameras, like the Sony A6400 and Fujifilm X-T30, a serious run for their money. 50-250mm f/4.5-6.3 VR adapter will cost £1,129.

Bookshelf
Selected
Works
by Vincent Peters
Bringing the glamour of the golden age of
Hollywood to our current stock of stars is Vincent
Peters’ talent. Nigel Atherton salutes this
master of the black & white celebrity portrait
Y
ou may not have heard of
teNeues, Vincent Peters, and unless
£25, 160 pages, you read Vogue, Glamour,
hardback, GQ or one of Europe’s other
ISBN 978-3- high-end fashion magazines, you probably
96171-228-1 haven’t seen many of his pictures before,
★★★★★ either. But you’ll certainly recognise many
of his celebrity subjects. German-born
Vincent Peters shoots fashion, beauty and
portraiture in black & white and now, at the
age of 50, a selection of his highlights has
been brought together in this ‘greatest hits’
volume, and what an exquisite book it is.
Laetitia Casta, Paris – evocative of portraits

from Hollywood in the 1940s and 1950s
ALL P CTURES © V NCENT PETERS
‘Instead of Bergman and

Bacall we have their
modern equivalents like
Charlize Theron and
Scarlett Johansson’
Peters shows a mastery of light,
composition and styling that suggests
he has studied the work of illustrious
predecessors such as Herb Ritts,
Mickey Rourke, Miami 2003 Jeanloup Sieff and, further back, the
Nudes, Paris likes of Avedon and Penn, and even

Also out now
The latest and best books and exhibitions
from the world of photography
© GILES CLARKE FOR UN/OCHA, 2017

Yemen: Inside a Crisis
IWM North, Manchester.
Runs until 26 January 2020. Entrance is free.
THIS exhibition at Imperial War Museums’ Manchester
site tackles Yemen’s horrifying humanitarian crisis
which followed the Arab uprisings of 2011. UN special
envoy Martin Griffiths has said the country faces
an existential threat, thanks to the conflict between
President Abd-Rabbu Mansour Hadi’s government
and the Zaydi Shia Houthi movement. The exhibition will
not only look at the conflict and how it has tipped the
already-fragile nation into economic disaster, but also
Britain’s historically complex relationship with Yemen.
Alongside images by photographers – both Yemeni
and otherwise – the exhibition includes medical
equipment, school books and food vouchers, as well
as personal stories by those affected. There’s also
an interactive digital installation on the streets of
Manchester. The whole piece makes sobering but
essential viewing. Ailsa McWhinnie
MYLDN: A Street View of

London Life
By Babycakes Romero, Carpet Bombing
Culture, £15.95, 192 pages, hardback,
ISBN 978-1-908211-73-6
MYLDN is the new book
progression of photographer
Babycakes Romero’s daily
photo blog. It’s a compilation of
Scarlett Johansson, New York work from 2012 when Romero
began blogging and using his
George Hurrell’s classic portraits from the Matt Dillon channelling Humphrey Bogart, photographs to illustrate the diverse citizenship and
golden age of Hollywood. and a few other male icons. multi-culturism that he felt in the city. Romero uses his
But instead of Bergman and Bacall Cynics might say that it’s easy to get ‘trusty Olympus OMD’ and just one lens for all of his
we have their modern equivalents like great pictures when your subjects are all imagery and quotes influences such as Cartier-Bresson
Charlize Theron, Scarlett Johansson and, beautiful, but of course you’ll only ever get and Saul Leiter. Much of the work focuses on West
in particular Emma Watson – who not access to these A-listers if you’ve already London, where he lives, but one is immediately struck by
only graces the cover but also features worked your way up the ladder and proved the mixture of humour, community, isolation and decay
prominently throughout, looking as your worth, and it’s clear that Peters’ that he has documented with admirable adroitness.
different from her Hermione Granger images are at another level to your This book may not appeal to somebody who hails
role as it’s possible to get. Most of Peters’ bog-standard publicity shot. If you’re a fan from, for example, Newcastle, but that would be
subjects are fashion models and actresses of classical, beautifully lit black & white missing the power in the images that one of the UK’s
but Selected Works features by no means fashion, beauty and portraiture, then this best exponents of street photography has diligently
an all-female cast. You’ll find a moody compact hardback would make a produced. Impressive work.
David Beckham, a playful Mickey Rourke, fine addition to your bookshelf. ★★★★★ Steve Fairclough
In next week’s issue
Viewpoint On sale Tuesday 22 October
Claire Gillo
© VERITY E MILLIGAN
Great images often have an immediate
visual impact. But what about when an
image doesn’t make an instant impression?
T
© FEDERICO BORELLA, ITALY, PHOTOGRAPHER OF THE YEAR, PROFESSIONAL, DOCUMENTARY (PROFESS ONAL) 2019 SONY WORLD PHOTOGRAPHY AWARDS
here are some images you
look at and you think, yes this
is great I LOVE it. It’s easy to
know why, as you’re instantly
connected to the subject, and visually the
image ticks all the boxes, with the technical
expertise being blindingly obvious. There
are other times when you think: I don’t get
it, I’m not sure about this, and what’s the
big deal? Why has this person won this
prestigious competition? Or why do people
speak so greatly of this image that is blurry
and technically flawed?
Not blown away
The top
Earlier this year I was looking through Federico Borella’s award-winning image in
the Sony World Photography Awards the Sony 2019 World Photography Awards
2019 winners, and I came to a portrait
taken by the overall winner, Federico
‘We’ve all been guilty
3 filters
Borella. I hate to say it but my first
impressions were, ‘pffffffttt yeah I mean of dismissing something
it’s OK but I’m not blown away. It looks
a bit dull and underexposed and I’m on instinct, before
not sure about the crop. I’ve seen this we’ve taken the time
before’. I was very quick in my instinctive
judgement; however I will now admit that to understand it’ Why you need these three
I was wrong. Having a curious nature, filters – and how to get great
I wanted to see what the judges had the idea as the final visual frame. It’s
found in Federico’s photograph, that I had very easy to dismiss a great photographic results with them
missed. After a few Google searches here image because it doesn’t follow a set
and there, and reading all the information of key rules, or you think the exposure
that the photographer had provided, I is a bit gloomy. We’ve all been guilty of
found that the work instantly became dismissing something before we’ve taken
much more interesting. I could now place the time to understand it; our instinctive
the images into the context in which they nature can be hard to dismiss.
THE VIEWS EXPRESSED IN THIS COLUMN ARE NOT NECESSARILY THOSE OF AMATEUR PHOTOGRAPHER MAGAZINE OR TI MEDIA LIMITED
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CONTENT FOR NEXT WEEK S SSUE MAY BE SUBJECT TO CHANGE
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The best pictures on social media this week
#appicoftheweek
Puffin by Jayne Bond
Canon EOS-1D X Mark II, Canon EF 100-400mm f/4.5-5.6L IS II USM,
1/2500sec at f/8, ISO 1250
THIS photo was uploaded to our Instagram page by photographer Jayne Bond
using the Hashtag #appicoftheweek. She tells us, ‘I took this image on Skomer
Island, just off the Pembrokeshire coast, home to thousands of puffins during
the breeding season. The shot was taken at approximately 6.30pm and, as the
sun was getting lower, the sea sparkled liked diamonds. The puffin had just
landed with a mouth full of sand eels, briefly resting on the cliff edge,
which meant I was able to focus directly on the puffin, with the sparkle
of the sea in the distance creating the bokeh effect I was aiming for.’
Picked by Claire Gillo, Acting Technique Editor, as our #appicoftheweek
Win!
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Twitter or the reader gallery using #appicoftheweek. PermaJet proudly
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on the finest PermaJet paper*. It is important
to bring images to life outside the digital sphere,
so we encourage everyone to get printing today!
Visit www.permajet.com to learn more.
We also likedÉ
Warm light
by Sam Binding
Canon EOS 80D, 55-250mm,
1/160sec at f/5, ISO 200
SAM UPLOADED his warm light
image onto our Twitter page and we
were drawn to the warm colours and
tones of the iconic Bristol industrial
scene. Sam shares with us, ‘This was
taken near the M Shed museum,
down at the harbour in Bristol. I take
my dog (and camera) for a walk
most mornings, and try to coincide
this with sunrise. Early morning
down by the water is hard to beat.’
Picked by Tracy Calder, Acting
Technique Editor

SOCIAL MEDIA
Rain drops
by Louise Elizabeth Shephard
Nikon D7200, 55-300mm f/4.5-5.6, 1/180sec
at f/5.6, ISO 400
PHOTOGRAPHER Louise Elizabeth Shepard’s image caught
our attention on Twitter. Louise tells us ‘This photograph is
part of an ongoing project I have called “Rainy Day Maple”. I
have a chronic illness which limits my photography mainly to
my back garden. This project has allowed me to capture the
seasonal effects on our Japanese maple tree, even through
our conservatory window.’
Picked by Amy Davies, Features Editor
Manhole cover
by Shahin Malik
Fujifilm X100S, focal length 19mm,
1/140sec at f/4.5, ISO 200
SHAHIN Malik captured this image in London. He uploaded it
onto our Instagram page. ‘My wife and I were walking along
London Bridge and I saw this gentleman’s head appearing
out of the ground, and luckily I was carrying my camera with
me and so I ran over to frame the shot. I have worked on it
in Photoshop a little – I have converted it to black & white,
made it a little grainy and increased the contrast considerably
because I like deep blacks and whites.’
Picked by Nigel Atherton, Editor
Want to see your pictures here? Post them into our Instagram, Twitter,
Flickr or Facebook communities or the gallery on our website. See p3.

Wildlife watch Claudia Popescu
I have desperately wanted to see puffins for the past two years, and when
I finally got the chance on the Isle of May, it was extremely windy
(extremely is an understatement!). Most of my shots were a disaster.
Photo disasters
and how to avoid them
Think you’re having a tough week? Kick back
with – and learn from – these 24 painful and
Rock ‘n’ roll
funny photographic fiascos Dawn Fletcher-Park
T
When I was photographing Muse at the
he camera slipped out of my become amusing and life-learning Glastonbury Festival, the lead singer hurled his
hand… my hard drive broke… tales. To help you avoid your own photo guitar in my direction. I was taken completely
and it was then I realised all disasters we’ve rounded up 24 of our off guard, and I saw this object come flying
my kit was halfway down the favourite stories from professionals, AP towards me. Forgetting that I was seeing it in
cliff. We’ve all had our share of mishaps readers, and the AP team. You may laugh the zoom lens, I instinctively jerked my head
and accidents when it comes to taking or cry (most likely with laughter) but back, only to smack the woman behind me full
photographs. What are embarrassing pay attention, as it’s always best to learn on in the face with the back of my head, giving
and painful moments at the time soon from others’ mistakes. her a nosebleed. And I missed the shot.

PHOTO DISASTERS Technique
© CLAUDIA POPESCU
My pond hell Top tips
Andrea Denniss
I fell backwards into a pond – complete to avoid
with mycamera – while teaching a group of
photographers. It was the light that did it. It
was perfect! I got excited and kept walking
a disaster
backwards to get the right shot. Everything 1 Double back up
came out covered in pond weed including
the camera. I had to borrow clothes from Back up all your work and then back
the models (much smaller than me) and my it up again! Yes it’s tedious and more
camera continued to work after a brief sit expensive to do it this way; however
on a radiator. #gocanon you’ll be grateful if your hard drive
fails or your computer crashes.
Cut off 2 Wear sensible

footwear
Tim Odham Slippery rocks, uneven ground. Up
Be very careful you don’t accidentally go into your chances of staying upright by
APS-C crop mode on your camera if you are wearing sensible shoes that grip.
shooting with a full-frame device. It’s annoyingly
easy to do this by mistake on the Nikon D750, 3 Secure your
and an otherwise great image of a Venetian
glass blower was ruined as his glass bulb got
camera bag
cropped off. Lenses falling out and smashing to
the ground are things we’ve heard
of a lot of times. Spend a moment
checking that the zips on your
camera bag are secure and making
sure everything is back in the
right place.
© GETTY IMAGES /MYKHAILO LUKASHUK
4 Tripod
maintenance
Lots of trust and expensive kit ends
up on your tripod. Every couple of
months give it a good check over
to make sure all the catches
Don’t get lazy are secure.
5 Take your time

Norman Kinsella Many accidents happen because
You have to be really careful about you’re in a rush to get the shot. Yes
immediately backing up images when the light is changing quickly, but if you
shooting weddings and events, however slow down just a tad you’re less likely
Tripod basics tired you are. I got lazy, and didn’t back up
photos of an event immediately afterwards.
to damage something in the process.
Claire Russell A few weeks later I tried to copy over to

another machine in a rush, and it didn’t
6 Get insurance
A few years ago, my bestie Marlene Sometimes it’s unavoidable and
work properly. I then shot over the same
Hazlehurst and I found ourselves in Sweden accidents are going to happen. A
card and the original images were lost.
trying to photograph the Northern Lights. good insurance policy helps keeps
Often the most dangerous time for a
Neither of us actually owned a digital peace of mind.
photographer is not when they first start
camera so we borrowed her husband’s and
shooting weddings or other events, but 7 Tell someone where
hired a tripod – it gives you an idea of our
after they have been doing it for a while.
level of competence. It was the tripod that you’re heading
fooled us! The legs started to sink into the Landscape photographers, if
snow so we bent over further, knelt down, you’re going out into the back of
sat down, and ended lying on the snow. It
was a pity that no one had explained to us
Me or the bag? beyond tell someone where you
are heading and what time you
that you can lengthen the tripod’s legs! Annabell Ison expect to be back.
© GETTY IMAGES / MATHIEURIVRIN
I had to make a choice between me or my

camera bag being blown into an 80ft canyon in 8 Check tide times
Iceland. I’m still here but a few of my favourite For any coastal shoot, having the
lenses aren’t. The lovely Joe Cornish came to tide times to hand is vital. You don’t
my rescue to fish my soggy bag and memory want to get cut off by the water,
cards out of the river. Slightly embarrassing, which can happen in the blink of an
but a good story later on. eye if you’re not careful.
17
Technique PHOTO DISASTERS
Filter crunch Smelly fish

Verity Milligan Caron Steele
I arrived at a sunrise shoot to find that While photographing pelicans
my Big Stopper had smashed in my on Lake Kerkini in Greece our
bag. I carried on, but somehow didn’t guide held a dead fish over my
attach my filter ring properly to a new head to try and draw the birds
lens I was using. Suddenly the filter closer. I was then stampeded
ring and the holder/filters/polariser by pelicans! The lovely guide
fell off the front of my camera and was also videoing this on my
went straight to the bottom of the phone. When I stood up to
Grand Union Canal. About an hour watch the video I stepped
later, I accidentally leaned on my backwards and fell into the
camera bag and somehow smashed crate of fish, breaking it and
my Little Stopper. I drove home very ending up covered in fish and
carefully that day. Cursed. more pelicans. No one wanted
to sit next to me on the
© CARON STEELE
Puffin wee one-hour journey back to

our lodgings.
Tracy Calder
© MARK HUTCHINSON
I went on a trip to the Farne Islands a
few years ago, and on the boat over I
marvelled at the telezooms everyone
had on board. I began to worry that
my mid-range kit lens would not be
enough to get the frame-filling shots
I desired. Once on land, however,
we all realised that the birds were so
close we would probably have been
better off with a wideangle lens. As
I crouched down to watch a puffin
emerge from its burrow the guy next
to me removed his telezoom, laid it
on the ground and attached a shorter
lens. Seconds later I heard a plop and
realised it had toppled over into a
deep pool of puffin wee. I won’t tell
you the language he used, but let’s
just say you could probably hear it
from the mainland.
The stinger Sometimes you

need to slow down
LindaUllathorne even if you’re

afraid you’re going
I was photographing a friend taking to miss the shot
part in the British Pro Cycling race in
Ryedale, North Yorkshire. Knowing
I had a few minutes to spare before
Hurry up! Anonymous
the start I’d settled myself down on I have experienced several disasters in my time as With a few minutes to prepare before the train
the grass with a latte and a big slab of a photographer, some of which I only have myself came along, I set up my tripod in earnest and
carrot cake on my knee. What could to blame, and others being accidents that were attached my lens adapter ring ready to accept
possibly go wrong? All of a sudden as tricky to avoid. One such disaster that springs to my LEE Filters holder, which I’d already slotted my
I picked up my camera to remove the mind occurred ten years ago while pursuing a shot favourite 0.6ND grad filter into. In my rush to get
cap I felt a sudden stabbing pain in I’d been longing to take at Thomason Foss on the set up, the holder didn’t engage correctly with the
my arm (the saggy, bingo-wing bit) North Yorkshire Moors. After carefully negotiating adapter ring and as I released my right hand, the
and realised a large wasp was the narrow footpath that runs high along the top of holder and filter plummeted to the floor. The soft
stinging me. My husband jumped Thomason Foss Wood, I scrambled my way down ground cushioned the initial impact, but the
into action and ran over to pull it out to a clearing where you get an excellent view of way it landed on the steep slope saw it pick up
(leaving the stinger in my arm). I steam locomotives working hard as they climb momentum and roll down into the ravine below.
moved back and dropped my camera up through the valley and past Eller Beck river. Despite my best efforts of navigating the river
front first into the buttercream on Bracing myself up against a tree and tying later in the day to try and find my missing holder
the cake and spent the next half hour myself to it with an outdoor climbing rope to and filter, and getting very wet feet in the process,
desperately trying to clean my lens prevent myself slipping down the steep bank and they were never to be seen again. I learnt my
(cream just smears and smears) over the cliff edge below seemed like a sensible lesson the hard way and although it was a costly
with an arm gradually doubling in thing to do after reading about near-death mistake to make, it did teach me to slow down and
size. Moral of the story: eat salad! experiences at this risky location in the past. think a little more during the set-up process.

David has titled this
image ‘Death
Photo’ and captures
the moment he
© DAVID HOPKINS
kicks his camera Lost battery
Leanne Hilless
My one and only camera battery
fell into the baboon enclosure at
Yorkshire Wildlife Park.
Faulty product?
Rach Frith
I bought a new Sigma lens and it
wouldn’t focus at a distance. I took
it back to the shop and complained
that the lens was not working and so
on. They then slid the switch across
to allow the lens to use its full
focal length.
Fresh cow pat

Linda Ullathorne
I spent quite a while on a local
The ‘death photo’
© DAVID HOPKINS
landscape shoot laid on my stomach
in mud only to get up and discover
David Hopkins it was actually a very fresh cow pat.
My traumatic camera disaster occurred a couple I had to walk three miles back
of years ago following an excited 90-minute trek absolutely covered in it and
through ankle-busting rocks and welly-sucking surrounded by flies.
bogs to the lesser known but highest waterfall in
the Lake District, Scale Force. All was going well: Fractured wrist
the weather was grand, my spirits were high Mags Hudgell
and there wasn’t another soul, let alone another We were on a photography camping
photographer, around. These are the things David’s Canon EOS 5D Mark III drenched in water trip in Mull and went out to take
landscape photographers dream about, pure early-morning shots on the beach.
uninterrupted bliss. I scrambled up three metres my back leg from under me; I flying kicked my Wellies and slippery rocks led to a
of slimy, green, algae-laden wet rocks to get a camera, lens, tripod and filters into the clear fractured wrist. I was protecting my
position at the base of the waterfall. Perfect, there waters below. friend’s lens, which I had borrowed.
were so many potential compositions; I could easily My final exposure perfectly captured a streaky The lens was fine.
spend the rest of the afternoon here. Sadly the garbled mess. To make matters worse, not only
photography gods were mocking me from afar. did I have a depressing hour as I trudged Rescue time
They did allow me to squeeze off a couple of back to my car wet, but I also witnessed the most Sharon Thomas
keepers just before I did my best Bruce Lee beautiful sunset I’d ever seen over Crummock I had to be rescued by a woman in
impression – slipping on a wet rock and whipping Water. Law of sods 1, Dave 0. a small rowing boat as the tide came
in and cut me off from the mainland
along the Norfolk coast. It was so
© DEREK COULL
New camera embarrassing hauling my tripod and

gear into the boat.
Duncan Expensive mistake
Eames Catherine Allen
I had my new Nikon D810 for On Dartmoor I took my LEE Big
three weeks (it had only just been Stopper off my camera, wrapped it
released) and had it set up on my up nicely and put it in my coat pocket.
tripod paired with my 500mm f/4 Then I forgot about it. I sat down for a
lens. I had the camera and lens breather on a rock and heard a nasty
perfectly balanced on the tripod crunching sound. Expensive mistake.
head. As I was doing up my camera
bag I watched the tripod, in what Into the mud
seemed like slow motion, start to Cristina Krippahl
The image Derek shot with blood dripping down his leg tilt up, making the whole set-up Having to step over some puddles,
collapse and smash to the ground. I handed my camera to my husband
to hold while I took a little leap. He
A&E time Derek Coull I found the camera lens mounting
ring still attached to the now- dropped it into the mud.
I stopped to shoot a landscape and slipped while crossing a detached lens and the front of the
barbed-wire fence, embedding my leg in the wire. Once I got camera a little wider. I travelled for No photos
my leg free I realised the cut was quite bad because the blood about two hours for the shoot and Fiona Luke
was running down the back of my leg. So I set up the tripod and was heading back home within 15 I insisted on taking the photos of my
took the shot as I knew I had to come home with something for minutes of arriving. I was gutted father’s graduation; he got a degree
my trouble. I took three shots and then promptly headed to that it cost me £450 to repair but with honours (he was in his mid 60s).
A&E. I got the photo though. grateful that the lens didn’t need After the event I realised I had my
to be repaired. finger on the wrong button.

Technique PHOTO DISASTERS
Storm Emma David Clapp

I have had my fair share of calculated was nowhere to change film, so I
mishaps in my landscape photography knocked on a random door. A smile
career, but the narrow escape from appeared behind the chain and
Storm Emma in March 2018 was a I soon found myself crouched in a
truly memorable one. My good friend hall, explaining to a mother and her
Mark and I were having coffees in the eight-year-old about my unlikely
Fox Tor Cafe, Dartmoor, wondering vintage technological complexity.
whether anything was actually going Heading to the open church door, I
to happen. Tall stories of an incoming was surprised to see the nave was filling
‘snowmageddon’ seemed highly unlikely with snow. The wind blasting across
and by 2pm there was nothing but a the graveyard was intense, the camera
few flakes. tripod was becoming unsteady and
I had taken the decision to shoot after a few more shots Mark and I left,
the experience on film, using a gold knowing the open moors could be
1970s Mamiya C330s. I took a simple, significantly worse.
standard 80mm lens approach, the We snapped a snow chain heading
camera loaded with HP5 and a spare north to Moretonhampstead, fixed it
Tri-X in my pocket, both ISO 400 with some borrowed pliers and then
films. Unlike most tourists, I believe agreed we stood greater a chance if
Princetown is a particularly interesting we headed south to Plymouth. Well Above: Taking
place and in the past few years it has that didn’t quite work out. As we photographs in a
really captivated me enough to actually reached Burrator, the road was blizzard is by no
become a project. Its tragic streets are impassable. The wind was blowing means an easy task
haphazard and creatively heavyweight. so hard my Ford Mondeo was sliding Right: Selfie in the
The church is bleak. The officer’s sideways as we reached a snow drift snow with friend and
mess in the centre of the town, still and we saw an abandoned Skoda and a photographer Mark
surrounded with hoardings, sits on prison van, side on in a ditch.
a row of closed shops leading to the Two hours later, and an attempt
foggy, oppressive profile of Dartmoor by three 4x4s to pummel their way
prison. In other words, in its unique way, through had failed and there we all sat,
it’s absolutely magical. waiting for the sound of a tractor, the
By 3pm, the wind had picked up and fourth emergency service shall we say,
the snow started to thicken. We made to dig out two miles of moorland
it down the high street past ‘… are still road single-handed. Below left:
open’, three desktop-printed words We spent the night in Dousland, in Princetown… ‘are still
pinned to the hoarding of a closed cafe. the charity of my father-in-law’s church open’ for business!
Every time I sprung open the Mamiya friends, as the wind and freezing rain Below right: Princetown
viewfinder, I laughed as it filled with encased my car in a frozen glass box. on Dartmoor during
snow. This is not going to be easy, I The A38 was a graveyard on the way Storm Emma in
thought. One roll down, I realised there back. The photos were good though. March 2018
ALL PICTURES ON PAGE 20 © DAVID CLAPP

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Group Editor Nigel Atherton
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Features Editor Ailsa McWhinnie 21 September) and your plea to hear convoluted relationship to a 1950s Ken Walker
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EOS 90D query
Acting Technique Editor Tracy Calder
Acting Technique Editor Claire Gillo problem is the industry’s reliance Turning to lenses, if we want to
Production Editor Jacqueline Porter
Chief Sub Editor Jolene Menezes on historic references that, with know their field of view, we have Could you please advise
Art Editor Sarah Foster
Senior Designer Steph Tebboth time, become increasingly irrelevant. to relate their focal lengths via crop me who is right about the
Studio Manager Andrew Sydenham ‘Mirrorless’ leaves those new to factors to their 35mm equivalent Canon EOS 90D? Is it
Photo-Science Consultant
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Office Manager Hollie Bishop differentiates these cameras from relate to the wide angle-through-to- said that the EOS 90D
Special thanks to The moderators of the
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Roberts, The Fat Controller last DSLR bastions crumbling, the of camera owners do not, and will not, photographers’ and
Advertising knowledge that DSLRs had mirrors own a 35mm camera, so how are they is ‘constructed from
LETTER OF THE WEEK W NS A SAMSUNG EVO PLUS M CROSD CARD NOTE: PR ZE APPL ES TO UK AND EU RESIDENTS ONLY
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Publishing team
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adapter Class 10 UHS-1 Grade U3 memory card
All contributions to Amateur Photographer must be original,
supports 4K UHD. Offering R/W speeds of up to 100MB/s /60MB/s and a correct. The Canon
not copies or duplicated to other publications. The editor
reserves the right to shorten or modify any letter or material
10-year limited warranty. www.samsung.com/uk/memory-cards. EOS 90D definitely
submitted. TI Media Limited or its associated companies
reserves the right to re use any submission sent to the letters is constructed from
column of Amateur Photographer magazine, in any format or
aluminium and
More photo jargon
medium, WHETHER PRINTED, ELECTRONIC OR OTHERWISE
Amateur Photographer® is a registered trademark
of TI Media Limited © TI Media Limited 2018 Amateur Tri X in your Bell & Howell My own choice of irritating polycarbonate resin.
Photographer (incorporating Photo Technique, Camera Weekly
& What Digital Camera) Email: amateurphotographer@ I was interested to cine camera, but since wording covers two terms. We have informed MPB
ti media.com Website: www.amateurphotographer.co.uk.
TI Media Limited switchboard tel: 0203 148 5000 Amateur read about comments we have gone digital, we The first is ERC, or ever about the error in their
Photographer is published weekly (51 issues per year) on the
Tuesday preceding the cover date by TI Media Limited, 161 concerning sensor sizes. should be talking about ready case. No camera advertisement feature
Marsh Wall, London E14 9AP. Distributed by Marketforce (UK)
Ltd, 5 Churchill Place, London E14. ISSN 0002 6840. No part I have never understood megabytes of video, case I’ve owned could be – Nigel Atherton, editor
of this publication may be reproduced, stored in a retrieval
why they are compared not ‘footage’. called ‘ever ready’. Sure,
Pretentious, moi?
or transmitted in any format or medium, whether printed,
electronic or otherwise, without the prior written permission
of the publisher or the editor. This is considered a breach of to an obsolete film And why do some online it can be split into parts,
copyright and action will be taken where this occurs. This
magazine must not be lent, sold, hired or otherwise disposed technology. Why not call shops refer to every lens with the bottom section I was reading Ian Clark’s
of in a mutilated condition or in any authorised cover by way,
or by trade, or annexed to any publication or advertising a 35 mm sensor as a ‘1’ wider than 50mm as ‘wide usually providing some letter about second-hand
matter without first obtaining written permission from the
publisher. TI Media Limited does not accept responsibility for sensor, and use fractions angle’? The 25mm f/1.4 body protection for the equipment (Inbox,14
loss or damage to unsolicited photographs and manuscripts,
and product samples. TI Media Limited reserves the right to
for smaller size sensors lens on my Olympus camera, but ever ready September), which was
use any submissions sent to Amateur Photographer Magazine
in any format or medium, including electronic. One year
and larger numbers for OM1 EMD is a standard is a step too far. very sound reasoning, as
subscription (51 issues) £155.50 (UK), e259 (Europe),
$338.99 (USA), £221.99 (rest of world). The 2015 US annual
bigger sensors? lens, not a wide angle. My next pet hate is were your recent articles
DEU subscription price is $338.99, airfreight and mailing in
the USA by named Air Business Ltd, c/o Worldnet Shipping
However the one And so it goes... ‘spray and pray’. While on the merits and benefits
Inc, 156 15, 146th Avenue, 2nd floor, Jamaica, NY 11434, USA.
Periodicals postage paid at Jamaica NY 11431. US Postmaster:
expression that really Andrew S Redding it’s true that some of buying used equipment.
Send address changes to Amateur Photographer, Air Business
Ltd, c/o Worldnet Shipping Inc, 156 15, 146th Avenue, 2nd
annoys me is when people photographers are This brought to mind
floor, Jamaica, NY 11434, USA. Subscriptions records are
maintained at TI Media Limited, 161 Marsh Wall, London E14
talk about ‘video footage’ Phil Taylor (Inbox, 21 random shooters taking an incident from a good
9AP. Air Business Ltd is acting as our mailing agent. when referring to video September) touches on a multiple exposures in the few years ago when I was
clips? Sure, back in the day, good point when he talks hope that luck will play a looking to replace my car,
you exposed 100ft of about photographic-speak. part, most people try to and went to a well-known

Mirror image
Phil Taylor (Inbox, 21
September) is wrong when
he states that ‘no cameras
had mirrors before the
Back in the day
A wander through the AP archive.
1970s’! The Ihagee Kine
Exakta (shown left) was This week we return to October 1976
1976
invented in 1936, and I
owned and used a 35mm
Pentacon in the 1960s.
Ihagee Kamerawerk’s Kine Exakta was devised in 1936 To be pedantic, twin-lens
reflex cameras, with a fixed
German manufacturer’s particular shots, they say mirror, were introduced in
showroom, and enquired a lot about his abilities with the 1870s.
about second-hand cars, modest gear to produce Richard Bond
and was told in no top-class images. As is
uncertain terms by the often repeated, it’s not so A passion for Pentax
rather pompous salesman much about the choice of I am a die-hard Pentaxian,
that ‘We do not sell kit but about the ability currently shooting with
second-hand cars sir. We to get the right results. a Pentax KP. As Pentax
‘OOPS!’
are purveyors of previously He may have become a users we are used to being
owned vehicles.’ This made photographer by accident, overlooked, but this week’s
me wonder if I was to but it was no accident that issue (AP 21 September)
enquire about a used Leica so much of his work drew restored my faith. Pentax
I would be told something admiring plaudits. shooters have championed
similar, or is there less Guy Meakin vintage glass thanks to the
snobbery in the world K mount being resistant to
of photography? Using XQD cards change and continuing to
Roger Lush Regarding the discussion share the same registration
about transferring distance with M42. I have
Tribute to a master images from XQD cards 20+ Takumars, Carl Zeiss,
The many deserved onto a Mac (Inbox, 28 Helios, Tair, Mir, Tomioka,
tributes to the late and September), I use various Chinon etc and love them
acclaimed German fashion Macs and I too have no all. With vintage glass it
photographer, Peter luck with Nikon Transfer is often less about the
Lindbergh, showed – it gets no further than destination than the To judge by this issue’s cover, the team accidentally
how he propelled now- the opening screen! I have journey, as said in wandered into a Cologne nudist expo instead of the
famous names to their two Nikon XQD DSLRs, the feature Something old, 1976 Photokina camera show. Putting the nudes on
supermodel stardom. and the first thing I did something new. the back burner (ouch), there is an interesting viewpoint
His work was always when I started using XQD I am travelling to Cadiz on the development of auto exposure. As pundit Roger
eye-catching, especially was to acquire a Lexar and, instead of taking my Darker FRPS observes, ‘The photographer’s pipe
as his forte was classically Workflow XR2 card zooms, will pack three dream of having a camera that automatically selects the
composed black & white reader. I always advised Pentax Limited primes. I correct exposure seems to be nearing reality with the
pictures. my customers to use a was questioning the wisdom introduction of ever-increasingly sensitive light sensors,
Among the many library card reader rather than of my decision when I read coupled to even more delicate shutter and aperture
shots of him are several plug in a dedicated lead One lens to rule them all. The selectors.’ He goes on to discuss how to work around the
where he is sporting a into a socket on final revelation was Why buy shortcomings of his automatic compact, and probably
workhorse Panasonic GF1 the camera. brand-new? in which Pentax hadn’t the faintest inkling that just over 40 years on, even
camera with a favourite So using the XQD reader was well served. Faith in phones would offer the sophisticated auto exposure
Lumix 20mm pancake I just download the images the written word renewed; he dreamt about. Other highlights include an in-depth
lens, still beloved by or video straight onto the I may even subscribe. Photokina report, as well as pithy contributions from AP
countless users. While desktop and then use the Peter Kay stalwarts Victor Blackman and George Hughes, author of
it’s hard to date these relevant software as usual. the Amateur Photographer Guide to Basic Photography.
The download speed is
good: 16GB in six minutes
or less. Admittedly the
reader is £80 but
what would be the
cost of repairing the
camera’s socket? Pentax users have long
Andrew Nicholls championed vintage lenses
YOUR FREE ENTRY CODE

Enter the code below via Photocrowd to get one
free entry to Round Eight – After Dark
A typically striking image of

Kate Moss by Peter Lindbergh APOY02250088 Roger Darker gets to grips with auto exposure in 1976

2019 EISA MAESTRO COMPETITION WINNERS
Picture
power This year’s EISA Maestro competition theme
was ‘Power’, which resulted in a number of
outstanding entries. Here are the winners
I
N ADDITION TO its
awards for the best
photographic products
of the year (which we
featured in our 31 August issue)
ALL PICTURES ON PAGES 24-25 © MARKKU PAJUNEN
the Expert Imaging and Sound

Association (EISA), runs its
own pan-European photography
competition, open to both amateur
and professional photographers.
Called EISA Maestro, the
competition revolves around a
different theme each year. The
theme for 2019-20 was ‘Power’.
The winning entries from each of
the 15 participating EISA countries
were judged together in June and
the final winners received their
awards at the EISA Gala in Berlin,
Germany, on 6 September.
This year’s overall winner is
Markku Pajunen from Finland,
who takes home t1,500 and the
EISA Photo Maestro 2019 Gold
Trophy for this stunning portfolio.
Cletus Nwadike of Sweden was
second and wins t1,000 and a
trophy, while third-placed Izabela
Urbana from Poland wins t750
and a trophy. All three also have
their portfolios featured in each
of the 15 EISA photo magazines
in Europe. To learn more, visit
www.eisa.eu/maestro.
24
1st Markku Pajunen
Finland
Markku turned professional
following his success in
2015’s EISA Maestro
competition. He lives in
Espoo, Finland, and focuses
mainly on commercial work. He says his
pictures are characterised by drama or
humour, and sometimes both together.
‘I like to stretch reality using photo
manipulation, and I especially like to make
photographic composites, which frees my
imagination and enables me to tell stories
that would otherwise be impossible to
convey,’ he says. His aim with this series
was to amuse – and this was clearly
achieved with the EISA judges.
www.markkupajunen.com
25
2019 EISA MAESTRO COMPETITION WINNERS
2nd
Cletus Nwadike
Sweden
Born in Nigeria 53 years
ago, Cletus started dreaming
of living in Russia during his
time at university, as he was
tired of his corrupt home
country. But he took the wrong ferry from
Poland and came to Sweden instead. He
often travels back to Nigeria to document
men doing hard manual labour. But in this
series he has instead turned his camera
on the young women there. ‘It’s a hard
country for young women and girls, and
they need to learn how to defend
themselves,’ he says.
In 2017, Cletus was awarded the
prestigious Alfred Fried Photography
Award with an image on the theme of
peace. During his childhood there was
war in Nigeria. ‘I grew up without any
pictures; the soldiers had burnt all our
family pictures. My dad said I looked like
his father, but I have never seen my
grandfather or a picture of him.’
bit.ly/cletusnwadike
ALL PICTURES ON PAGES 26-27 © CLETUS NWADIKE
26
ALL PICTURES ON PAGE 28 © IZABELA URBANA
3rd
Izabela Urbana
Poland
Photography has been
Izabela’s major passion
for more than 12 years.
‘It allows me to look at the
world through the images
taken by my camera,’ she says, ‘capturing
for eternity details that would otherwise
be lost in the rush of everyday life. I aim
to inject warmth and sensitivity into my
pictures, which creates both individual
photos and entire series that are
appreciated by the recipients of my work.’
Izabela has now turned her passion
into her profession, and specialises in both
artistic and documentary photography.
She also shoots travel photography on
regular trips overseas, and has an ongoing
co-operation with the Dilmah tea brand.
www.izabelaurbaniak.pl

Crowd
Winner
Steve Field UK
Steve Field not only won the
UK round of this year’s EISA
Maestro competition, but
also the coveted Public’s
Choice Award. ‘I shoot an
eclectic range of subjects – everything
from sport and wildlife to macro and
travel. I’m a member of the Bristol
Photographic Society (BPS) and never fail
to be inspired by both the visiting speakers
and my fellow photographers. Without
their encouragement and guidance, I’d still
be a “snapper”, and I’ve been humbled by
their support.’
Steve has a particular love for black &
white photography. When he first came
up with the idea for this project, he knew
it had to be in black & white to portray not
only the shapes and the clouds of chalk,
but also the power these gymnasts
possess in order to carry out their moves
with such ease and grace.
www.stevefphotography.com
ALL PICTURES ON PAGE 29 © STEVE FIELD

Specialising in the Exceptional ...
“Grays of Westminster rightly claims a place in

Nikon’s history, and in the history of camera stores
the world over. It is a perennial stop for me when
in London. The gracious welcome extended to
everyone, the sense of service, even the very
scale and architecture of the place speaks
of an era gone by, yet at the same time,
somehow, remains resolutely current.
It is a memorable experience every
Nikon shooter should have.”
– Joe McNally
40 Churton Street, London SW1V 2LP, England Tel: 020-7828 4925 Mon-Fri 10am - 5:30pm, Sat 10am - 1pm
info@graysofwestminster.co.uk Visit our website: www.graysofwestminster.co.uk
Facebook: Grays of Westminster YouTube: Grays of Westminster Twitter: @nikonatgrays
Instagram: @nikonatgrays LinkedIn: Grays of Westminster
Photo Stories
Try, try and

Jonah Lomu of New
Zealand passes the
ball during the Rugby
World Cup 1999 match
against France at
try again
Twickenham, London.
France won 43-31
Dave Rogers, the England team’s photographer is

shooting the action at the 2019 Rugby World Cup.
Geoff Harris caught up with him for a chat
T
he Rugby World Cup is unfolding in A big question in sports photography is
Japan as we speak and top Getty whether it also helps to be a fan of the sport
Images rugby photographer Dave you are shooting. Dave started out as a
Rogers is there capturing the action. football fan, but became hooked on rugby
He spoke to AP before he left. ‘This World when he went on tour with the British Lions in
Cup should be great, and as Japan has never 1980. ‘It was one big happy band and I fell in
hosted one before, quite a challenge for us love with it all.’ When it comes to making his
photographers. But I am really looking forward shots stand out, Dave reckons experience
to it. I hope it stays dry and there aren’t any and persistence teach you a lot. ‘Things do
problems from the typhoons!’ go wrong but you try again. I still get nervous
As an accredited photographer, is Dave before a big occasion, as you only have a split
pretty much assured of getting a good spot at second to nail the shot. Sometimes I can also
the matches or is it a case of first come, first try more “creative” images (e.g. using motion
served? ‘We get allocated good spots as we blur), but a rugby match only lasts 80 minutes.
are official photographers and also work for The picture editor won’t thank you if you
Getty Images, a big agency, so we are high up missed a try as you were messing about trying
© DAVE ROGERS /ALLSPORT
in the pecking order,’ he explains. ‘While there to be arty at 1/15 of a second. It can be
will be a lot of local photographers out there, physically and mentally tiring but every
the cost involved in getting to and around match is different and that is the thrill of it.
Japan has probably put off a lot of UK sports I never get bored.’
freelancers. It’s not just me though. There are Sports photography is a high-pressure
about 14 photographers going out from Getty business, and Dave has learned to be South African captain
Images, so we have each match well covered, philosophical about missing a potentially great Francois Pienaar is
and there will be people doing editorial/ shot. ‘I do still beat myself up. It’s part of your carried on Hennie Le
feature photography too. Rugby is not like attitude as a professional. You want to do your Roux’s shoulders after
football, as there is not a single goal-mouth to best and you know when you have done a SA’s win over New
Zealand in the Rugby
score from, and players can score anywhere good job, and when you haven’t. Luck plays a World Cup 1995 final
along a 90m-wide line. So even if you get a part, sure, but you also make your own luck as
‘good’ spot, you can miss a point, which is a sports photographer. I get a sleepless night
why we have more than one photographer when I miss a shot but there is always the next
covering a match. We are also able to move game to worry about – this is the beauty of
around the ground, too.’ my job. You learn from it and get over it.’
In terms of camera gear, Dave has taken
three Canon EOS-1D X Mark II bodies. ‘My Winning shots
standard lens for matches is the Canon Dave is proudest of the images of Jonny
400mm f/2.8. I will also take a 70-200mm Wilkinson he took from England’s triumphant
f/2.8 lens for the try line, but it varies. I can go World Cup win in 2003. It was a magic
as long as 600mm, but as I will be doing a lot moment in English sport. Even better, I was
of travelling on trains and planes over there, able to go into the changing room afterwards
this lens can get unwieldy.’ However despite and join in the celebrations for two hours. In
the mirrorless revolution, he reckons he is fact Jonny and I became good friends and I
quite happy with DSLRs and has no plans to got to know his family well.
change over. Times are hard for up-and-coming sports
photographers. Any tips for the next
Learning from experience generation? ‘Local newspapers, where
As well as match shots, Dave does feature I learned my trade, are closing, but you
and promotional images for the England side. can now get your shots online and shared
‘I’ve recently come back from Italy, where internationally, which was never the case when
the England side has been training. We have I started out. If you want to shoot rugby, go and
a great relationship with the team, though shoot your local rugby club. Have a go, start
understandably, they don’t always want us to off small and don’t give up. Being a sports
know everything that is going on in the training photographer is the best job, second only
camp (injuries, for example).’ to being a top sportsperson yourself.’

Dave Rogers
Dave is Head of Rugby at
Getty Images. He spent
four years as a press
photographer at the
Birmingham News & Mail
Group in the UK, before
joining Bob Thomas Sports
Photography and Getty.
He has worked at every
Rugby World Cup in his 32
years as a photographer.
Below left: Clive

Woodward, head coach
of England, holds the
Webb Ellis Cup after
England’s victory against
Australia in the Rugby
World Cup 2003 final
in Sydney, Australia
Below right: Fiji’s Joeli

Veitayaki performing
the Fijian war dance
before the Rugby World
Cup 1999 quarter-final
match against England
© DAVE ROGERS/GETTY IMAGES
Left: Jonny Wilkinson

kicks the winning drop
goal to give England
victory in extra time
during the Rugby
World Cup 2003 Final
between Australia
and England
Right: Matt Dunning of

Australia clashes with
Andrew Sheridan of
England during the
quarter-final match
of the Rugby World
Cup 2007

COMPETITION
Be a Christmas
cover star
Would you like to see one of your images in print, Tips for cover success
on the cover of the world’s number one weekly Don’t crop in too tightly. Leave space for the
photography magazine? If so, read on... magazine ‘furniture’ – masthead, coverlines
and graphic devices. Busy images with lots of
THE HOLIDAY season is almost upon us, (www.billingham.co.uk). The winner can detail are generally unsuitable as they make
which means it’s time for Stir-up Sunday, choose from six classic colour combinations. superimposed text tricky to read.
sentimental TV adverts, and the Amateur A second winner (as awarded by the public
Shoot portrait-format pictures. While it’s
Photographer Christmas cover competition. vote via Photocrowd, www.photocrowd.com)
not unheard of for us to use a section of a
This year we have teamed up with Photocrowd will receive a year’s digital subscription to AP.
landscape-format shot, your chances are
and Billingham to offer you global exposure, If the standard of entries is deemed high
improved by shooting in the upright format.
and some great prizes to boot. enough, the winner(s), and a selection of
commended entries will also appear inside Make eye contact. If you’re submitting a
The prizes a future issue of the magazine. portrait, ensure good eye contact, with the
subject looking directly into the lens. Make
The overall winner (as judged by the AP team)
will see their picture grace the cover of the AP For full terms and conditions, visit sure the eyes are pin-sharp.
Christmas Special issue (21-28 December). www.amateurphotographer.co.uk. Provide plenty of options. Try various angles
They will also receive a Billingham Hadley Pro The closing date for entries is and subject placements, with the main focal
2020 bag worth £240, courtesy of Billingham midnight on 18 November 2019 point to the left, the right and centre, to give
the art editor lots of options on where to put
the coverlines.
HOW TO ENTER
The competition is open to everyone, whether amateur or professional, and you are
free to interpret the theme in any way you choose. Naturally we are happy to see shots
of baubles, trees and lights, but we also want pictures that show the creative potential of
the season in general, so feel free to submit winter landscapes, indoor portraits, frosty
flora and fauna etc. If you think you have something suitable on file, great; if not, have
a go at shooting something for the competition. To enter, upload your image(s) to the
Photocrowd website via the following link: www.photocrowd.com/apxmas.
For your chance to win, go to www.photocrowd.com/apxmas

Photo Insight
Alma and
Alzheimer’s
By Jason
Parnell-Brookes
Amy Davies finds out more about
an image which won The Open
Award (Single Photo) in this year’s
Nikon Photo Contest
T
his year, the Nikon Nikon D90 – Jason’s first
Photo Contest DSLR – and the photograph
celebrated its was never intended to go any
50th anniversary. further than the family.
Bringing together more than Speaking at the award
33,000 people across 170 ceremony which took place
countries, almost 100,000 in Tokyo in August, Jason
photos were entered into the explained, ‘I had a selection
competition. Twelve judges of about four images to choose
chose the winners across five from – I never really intended
categories, which included this photo to see the light of
Open Single, Open Photo day, it was just for posterity,
Story, Next Generation Single, to capture a moment.’
Next Generation Photo Story
and Short Video. An overall A personal photograph
winner was also chosen. In the image, we can see
British photographer Jason Jason’s grandfather, Donald
Parnell-Brookes was awarded (90) sitting alone in the
the top prize in the Open background. He is consumed
Single category for this in his suffering from
bittersweet image of his Alzheimer’s and is unaware
grandparents, Alma and of his wife, Alma (Jason’s
© JASON PARNELL-BROOKES
Donald, captured nearly ten grandmother, 84), having

years ago on 23 December dinner just feet away.
2009 at 2pm. In fact you can Donald served in the Second
see the time displayed on the World War, and when he came
clock in the photo, along with back he was changed from the
the Christmas cards hanging kind, caring man that Alma PTSD). After a violent 60- enter this shot from his
on the wall to indicate the had married, suffering from year marriage, Donald was archive. He says, ‘The biggest
time of the year. Jason used a shellshock (what we’d now call diagnosed with Alzheimer’s. change in my life in recent
In the last few years of his life, years has been based
there was a sudden and rapid around my family. With my
Jason Parnell-Brookes change of his demeanour grandfather passing away not
Jason is an award-winning photographer, educator and rendering him placid, and back long ago, my grandmother was
writer based in Frome, UK. Over the past ten years, he has to the man she had married. now living life on her own for
worked for big brands such as Superdry and Tu Sainsbury’s, The theme of this year’s the first time in 60-odd years.
and has also had stints on magazines. He interviews Canon Nikon Photo Contest was I’d been talking with her about
ambassadors for the Canon Europe website and is a guest ‘Change’, and it was for this life with my grandfather and
trainer for Nikon School UK. See his work at jasonpb.com. reason that Jason chose to what happened when he went

JASON’S KIT
For his winning image, Jason used very

simple kit. It was captured on a Nikon
D90 (his very first DSLR), with the
Nikkor 18-55mm f/4.5-5.6 kit lens.
He now shoots with a Nikon D750
with a selection of lenses.
I would have been more than

content with a bronze or a
commended award. Then I
found out a while later I’d won
gold and I couldn’t believe it.
There may or may not have
been a little bit of dancing
round the living room after
I got that email!’
With that in mind, Jason has
some advice for anybody else
thinking of photographing
such personal situations. He
says, ‘Even though it might
seem everyday to you, you can
never second-guess how others
will perceive your work. I’ve
been told by many people that
my photo and the story moved
them, some to tears. And while
I never experienced that myself
it’s amazing to hear it’s affected
people so strongly. Chat to
your family too; ask them
questions about family life.
Learn everything you can
before they’re gone or it’ll be
lost forever.’
As for tips on entering
photography competitions, he
says, ‘Don’t pay attention to
“rules” – just make sure what
you want to be sharp is sharp,
and what you want exposed
is exposed. I’d look at past-
to and came back from the and are ecstatic that I’ve won An unexpected win winner galleries to get a feel
war, and she opened up about the award,’ he reveals. ‘Alma Jason almost didn’t enter the for what photos have won, and
what things were like at the can’t quite believe that a photo competition, but was spurred read into why they’ve won –
beginning and during their of herself and her husband on by his partner. ‘I didn’t it’ll give you a good idea of
marriage. It was this change won an award – “What on think it was good enough,’ he which competition you’ll have
that inspired me to enter.’ earth do they see in a picture explains, ‘but she convinced more chances of winning
Given that this is quite a of silly old me I don’t know,” me to send this shot in anyway. over another.’
personal photograph, it was she said when I showed her
important for Jason to have the photo and explained the
the support of his family to award. She had no idea I’d This year marks the 50th anniversary of the Nikon Photo Contest. There are 12 photographers
enter it into the competition. even taken a picture of the on the judging panel, chaired by Neville Brody, CEO of Brody Associates. The 2018-19 grand prize
‘They have been so supportive two of them.’ winner is Sara De Antonio Feu from Spain. See the winners and shortlist at nikon-photocontest.com.

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© PAUL TWAMBLEY
1 Wren by Paul
Twambley Lovely
background blur really
helps this beautiful
bird stand out from
the background.
© DAVE BIBBY
Nicely observed. 2
5
5 An Elder of the Yao 2 Heavenly Light by 6 Hoverfly on Felicia
Minority Tribe by Nicki Dave Bibby A gorgeous Blue Daisy by Barbara
Greenwood There’s lots scene that has been Clayton A well-observed
of character in this lovely captured to perfection. and highly detailed macro
travel portrait. It has The building adds a great shot. The colours here
been cropped well, too. sense of scale. are beautiful.
© BARBARA CLAYTON
6
© NICKI GREENWOOD
Join
When was the club founded? Describe a typical club meeting.
North Fylde Photographic Society was founded Our club season runs from September to April,
in 2013 and is now in its seventh season. It was when we meet every Tuesday from 7.30pm till
formed by the merger of two long-standing 10. We have a tea break and chat at half time,
local clubs, HASSRA Fylde and Fleetwood. The but the format of the evening varies otherwise,
Club
resulting synergy has stood us in good stead depending on the subject. For example, there
the and we have not looked back since.
What does your club offer to new members?

could be a visiting speaker, an internal club
competition, a photo presentation and critique,
or a tuition session. This season, in particular,
We welcome all comers to photography, we want to increase our tuitional support to
regardless of their age and experience. Our members, and we have asked them what
aim is to encourage their interest and help subjects they want covered the most.
them enjoy it by offering a varied programme Portraiture will be a key one.
of events, both during and outside the club
season. We actively help members who Do you invite guest speakers?
This young club was want to develop their skills, be competitive We certainly do. This season we have nine,
and gain recognition for their work (including providing a wide mix of topics, from wildlife
formed by merging photographic accreditations such as those of and still-life photography to travelogues
two long-standing local the PAGB). Above all, we want our members
to become friends and join in the social side
and personal accounts from top-class
photographers (including our own members).
photography groups of the club. All of them, we hope, will inspire and delight.

YOUR PICTURES IN PRINT
3 Red Deer Stag by 4

Paul King A beautiful
study of a magnificent
animal – just the
right amount of space
has been left for the
subject to walk into.
© NEIL PASCOE
7 The Sorcerer’s 4 Lily by Neil Pascoe
© PAUL KING
Apprentice by Angela Great eye-contact and a

Carr It’s always great fantastic colour palette
7
to see photographers for this vibrant portrait
getting creative. This study. A good amount
shot must have required of space has been left
careful planning. around the subject, too.
Club essentials
North Fylde
Photographic Society
Cleveleys United Reformed Church
Hall, Ryden Avenue, Thornton
Cleveleys, Blackpool FY5 1DZ
Meets Every Tuesday from 7.30pm, September-April
Membership £35 per person (£6 for under 18s) – half
price from January. Visitors £2
Contact Neil Pascoe (Secretary) or download the
© ANGELA CARR
contact form on our website

Website www.northfylde-ps.co.uk
Do members compete in regional or We welcome visitors and are delighted if they subject. So our cameras were trained on
national competitions? decide to go on and join the club. him straightaway – such photographic
We have our own internal club competitions, opportunities must be seized at once! Job
which are great fun and well supported. For Are any residential trips or outings planned? done, we then fished him out, and he began
these, we use external accredited judges in the During the season, we have some regular to see the funny side of it too... eventually.
main, but we judge some of them ourselves. In photoshoots. Blackpool’s Illuminations are a
addition, we take part in an annual inter-club perennial favourite in the autumn. As are the What are the club’s goals for the future?
contest with four other local clubs. And, as Tower Circus’s Christmas panto and Blackpool The social cohesion of the club has been one
members of the Lancashire and Cheshire Operatic’s musicals at the fabulous Grand of the most heartening developments in our
Photographic Union, we play a full part in their Theatre in April. During our off-season this recent history, and we want to build on this and
annual programme of competitions, in which summer, one of our members has organised a grow the club into the future. Of course, we
we have managed to secure award-winning series of local outings. They have proved a great
have specific social celebrations, at Christmas
recognition. This gives us a real buzz and gets us success, bringing people together and helping and on the last night of the season, but we
wider renown within the L&CPU and beyond. them improve and enjoy their photography. want to develop our interactive events, such
as tuitional nights and club outings, and ensure
How many members do you have? Do you have any funny stories about the club? the club is one that people in the area feel
42 at the last count, and growing. We hold A year or so ago, on a summer outing to proud to be part of.
an annual Open Night before the start of the back of beyond, one of the party lost his
the season for potential new members, and footing and tipped over into a bush, kit and
promote the club with local publicity, press all. His cries and wild gesturing attracted Want to see your club featured on these pages? Drop
releases and print exhibitions in local libraries. immediate attention, and made him a brilliant us a line for more information at ap@ti-media.com

JOHN DOWNING MBE
Fleet
Street’s
finest
The legacy of one of Britain’s best press
photographers won’t be forgotten thanks
to a successful Kickstarter campaign.
Peter Dench meets John Downing MBE
J
ohn Downing MBE doesn’t me into the kitchen. The lines
look terminally ill. Pulling around his pale blue eyes suggest
open the front door to his he’s laughed a lot. His photographs
Henley-on-Thames home, often document the less hilarious
the 79-year-old Welshman and parts of humanity.
former Chief Photographer at the At approximately 2.50am, after
Daily Express newspaper, looks a a long day covering the 1984 Tory
rakish Sir Ian McKellen. His crisp Party conference, the type of
white shirt is unbuttoned and wavy assignment he says can be
grey hair combed back behind the ‘mundane and hateful,’ John heads
ears. ‘I’ve lost two stone and half a to the bar of The Grand Hotel in
lung,’ he says laughing, and directs Brighton, ‘as all good journalists
UNLESS STATED OTHERWISE, ALL PICTURES © JOHN DOWNING/GETTY IMAGES

would,’ he grins. Down on his Above: Rioting in window, he sees an injured the deadline for closing the edition
haunches talking to a husband and Amsterdam on policeman lying on the ground of the Daily Express is imminent.
wife sitting at a table, at 2.54am, the the day of the and takes a photo. Out of the corner John pleads for it to be held. On
investiture of
Irish Republican Army bomb goes of his eye, he recognises the Prime Saturday, 13 October, under the
Queen Beatrix of
off. A 5-tonne chimney stack comes The Netherlands, Minister Margaret Thatcher’s front page headline ‘UNBOWED’ is
crashing down through the floors 30 April 1980 private detective running at full John’s remarkable photograph of
into the basement tearing a hole in pelt. Charging after him, John asks Thatcher, complete with pearls,
the Victorian hotel’s facade. The bar Far left: Guests at if Thatcher is OK? The detective earrings and handbag, looking
goes dark and fills with debris, dust the Grand Hotel isn’t sure and endorses John to the stoically straight ahead.
and silence. An earlier briefing at in Brighton, after a gathered police who allow him to
Chelsea Police station and John’s bomb attack during stay. Coming down the fire escape, Reputation
the Conservative
own experience of bombs kick in. Party conference John spots a composed Thatcher. The Brighton bombing cemented
Fearing a shower of small sharp She calmly puts her attaché case John’s name as one of Fleet Street’s
shards of glass will devastate the Left: Margaret in the boot of a car and climbs in finest. His earlier photographs from
woman’s face, he pulls her to the Thatcher and her alongside her husband Denis and Uganda established it. A year after
floor and covers her head with his husband Denis aide Cynthia Crawford. The car Idi ‘The Butcher of Uganda’ Amin
body, emasculating the husband. leave the hotel, takes off at speed. John instinctively seized power in a military coup,
While others in the bar are being after an attack by jabs his prefocused lens towards the John was in the country covering
the IRA, 12 October
led to safety, John works his way 1984. They and
car and depresses the shutter. One the expulsion of Asians, many
to the front entrance to photograph many politicians shot, one flash. He has the exclusive of whom were British passport
what he assumes is a car bomb. were at the hotel, and knows what to do next. Covered holders. The assignment was going
The entrance is stacked with fallen but most were in dust, he runs to the nearest hotel well until Amin declared that
chimney. Climbing through a unharmed to use the phone, well aware that all Europeans were spies. John

JOHN DOWNING MBE
was arrested in his hotel room ‘John worked his

and taken for interrogation. In
the frightening chaos that ensued, way up from the
he had an army colonel press a gun bottom by being
to his ear before being tossed into
the bowels of Kampala’s Central talented and smart’
Police Station prison. They had
forgotten to confiscate his camera.
John did what he was paid to do. He
took pictures of prisoners alongside Pakistan (now Bangladesh) to
him in the open sewer prison. He document the cholera outbreak
took pictures as they lined up to get rife among refugee camps. John was
food, the camera hidden under a the only photographer to have an
towel, the shutter clicks masked up-to-date cholera inoculation, so
by coordinated coughing. Once they had to send him. A photograph
deported, on Friday, 22 September from the reportage, of a nurse
1972, the Daily Express ran five trying to administer a vaccination
and a half pages of his pictures. to a terrified child, won 2nd prize
The set includes an exceptional in the News Feature, Singles, at the
photograph of British brothers 1972 World Press Photo contest.
Andrew Stanley (4) and Robert (2), Not bad for a relative beginner.
the tough and adaptable boys During a career that has spanned
climbing the prison bars as if in a over five decades, 100 countries
gym, staring into a ferocious sun and all seven continents, John
at a world gone mad. has witnessed wars in Vietnam,
The Daily Express wasn’t the Rhodesia, Beirut, Iraq, Somalia,
tabloid newspaper obsessed with Rwanda, Croatia, and Bosnia. He’s
royals and right-wing political reported on famine and natural
parties it is today. Launching as and man-made disasters. He has
Below: Anita and
a broadsheet in 1900, by the time John Downing
covered royal tours, political events,
John arrived (after a five-year photographed by photographed the famous,
internship at the Daily Mail Peter Dench at infamous and poor. His efforts have
where he started aged just 15), it their Henley home accumulated a cluster of awards
was a pioneering power with the in August 2019 including seven for British Press
largest newspaper picture team Photographer of the Year. He
in the world – around 64 staff Below right: was appointed a judge on the
Orphaned children
photographers and 14 freelancers, competition panel so he couldn’t
after the Rwandan
of which John was the lowliest. He genocide washed win an eighth.
worked his way up by being talented and laid in the Moving into the showpiece
and smart. He recounts his first big sun on a canvas lounge, I’m introduced to his
break: an assignment to Eastern to dry off third wife, Anita. When I
© PETER DENCH

Above: The Queen
Mother (1900-
2002) poses with
a group of Irish
Guards on St
Patrick’s Day, after
presenting them
with the traditional
shamrock, 17 March
1981
Right: British
politician Michael
Foot in Blackpool
during the Labour
Party Conference,
circa 1986

JOHN DOWNING MBE
‘The room is a forest of

“Get Well” cards – who
sends Get Well cards to
a terminally ill man?’
telephoned to make the

appointment with John, it
was Anita who answered. From
her articulated voice, I thought I’d
dialled the 1950s: ‘Hello Henley on
Thames 123.’ Sitting on the sofa in
white jeans, mustard-coloured top
and precise cut bobbed hair, she
resembles a 1963 Una Stubbs – the
Summer Holiday year. When Anita
met John, she was 33-and-a-half
years younger than him; she still is.
The room is a forest of Get Well
cards. Who sends Get Well cards
to a terminally ill man? Anita, an
established pianist and teacher at
Eton College, explains they were
sent after John’s lung removal
operation. ‘Clinton Cards don’t
really cater for the terminally ill
market.’ Perhaps they should do
‘Oh Well’ or ‘Demise with Dignity’
cards? As we take a tour around
the sun-saturated apartment, the
humour is often dark.
Numerous awards
John’s MBE nestles among his
awards in a glass display cabinet.
‘I felt a failure to my father, who
was a teacher, not having got into
grammar school. The MBE and
awards are a part way of resolving
that.’ Moving on, he locates the
four toilets, the walk-in shower he’s
always wanted, a bedspread from
India, mirror from Jordan, chest
from Iran, stick from Burkina Faso
and a Mosque-themed clock that
plays the Muslim call to prayer.
John’s not particularly religious.
‘I’m not down on dying,’ he says,
entering the walk-in wardrobe. A
trumpet hangs silently in the
centre, not the best instrument for
a man with half a lung missing to
learn. ‘I’ve lived a fulfilled and
healthy life,’ he adds, running a
hand across the red members
jacket of his beloved London Welsh When news of John’s illness hit Above: English By the time I arrive in Henley, it’s
Male Voice Choir. He last sang as a friend and noted photojournalist, film director doubled. My day with John and
bass before Christmas 2018 and Tom Stoddart, Tom initiated a Alfred Hitchcock Anita has become a celebration. We
hopes to have the breath to rejoin process to get a book of John’s work (1899-1980) with head across the road for a late lunch
a model of his own
the choir for rehearsals. ‘My only published before, well, you know. face on the set at Shaun Dickens at the Boathouse.
regrets are leaving Anita…’ he A crowdfunding campaign was of his latest film Over plates of Porthilly oysters,
sighs, plopping down on the music launched and a day later, I’m here to ‘Frenzy’, London, tartare of salmon, pork tenderloin,
room seat next to her Austrian talk to and photograph John to help UK, 27 August 1971 skate and chilled glasses of
Bösendorfer piano, ‘… and not drive momentum. There is no need. Languedoc wine, we exchange
yet having had a book of my Seven hours after the launch, the stories as boats chunter merrily
work published.’ £8,000 funding target is reached. along the River Thames. John

recounts dressing in a Burqa to Above: A
enter Afghanistan; a shooting steelworks in Wales,
challenge with the son of a October1973
Mujahideen chief in which the loser
Right: A skinhead
would be shot dead (John won, no is escorted away by
one was killed); starting the Press a police officer in
Photographers Association (now Southend, circa
The British Press Photographers’ 1975. The words
Association) as a response to ‘Made in London’
the creeping trend in paparazzi and a cross are
photography and a way to preserve tattooed on his
shaved scalp
quality; mastering black & white
photography: ‘I had a secret method
for preserving detail in the blacks,’
and the challenges of shooting
colour: ‘Only two things work better
in colour, fire and blood – but I
never felt so in control.’ For a man
rapidly losing weight, John can eat
what he likes. When the waiter
brings low in salt butter, we ask for
more salt. When the Languedoc
runs out, we ask for Sauterne.
John is not in pain. He is not
bitter at the possible causes of his
asbestos-related cancer. He’ll refuse
chemotherapy as long as he can. We
walk through Henley in the August
warmth, among men returning
from Lord’s loosening their John Downing: Legacy
Marylebone Cricket Club ties. ‘I will be published at
don’t feel like you’ve asked me
the end of October
anything important,’ he says. I
embrace the important and
by Bluecoat Press,
inspirational Press Photographer hardback book with
I’ve only just met and may never dust jacket, size 270 x
meet again. As the train pulls out of 290mm (landscape) and
the station, I check the 192 pages. For more
crowdfunding campaign – it details, see bit.ly/
says, 28 days to go. johndowning.

Testbench ACCESSORIES
Benro X Series At a glance

● Built-in microphone jack
3XS Lite
● Supports 290g load weight
● 430g
● 170 x 100mm
Michael Topham tests an affordable

3-axis smartphone gimbal stabiliser
● £90 ● www.benroeu.com
IF YOU use your smartphone to capture video but
feel the quality of your handheld footage is let down
by your shaky hands, a smartphone gimbal stabiliser
could be the answer. The Benro X Series 3XS
Lite slots into the company’s range of motorised
gimbal stabilisers and is different to other examples
you might have seen before in the way it has a
collapsible arm that helps keep it super compact. Battery
First things first you’ll want to download the Benro The 3XS Lite is powered by a
gimbal app onto your phone that communicates 2,000mAh battery, which can
with the 3XS Lite via Bluetooth. After unfolding the last for up to 24 hours on a
main arm and releasing the gimbal motors, which single charge.
feature their own locks to ensure they don’t get
damaged and fix in place when folded, you can
secure your smartphone into the sprung loaded
clamp. With a maximum payload of 290g, it’s
suitable for most smartphones on the market.
Mounting
The underside has a
Switching the gimbal on immediately fires it into
¼in-20 threaded hole for
life. The handle, with its plethora of buttons and
mounting the stabiliser to a
controls feels comfortable and secure in the hand.
tripod or other support
The joystick, menu button and shutter button are
accessory.
well grouped for intuitive thumb control. Another
perk is its one-press auto-rotation feature. This can
be set to any of the customisable keys and rotates
Charging
your phones filming orientation from horizontal to
USB charging is
vertical or vice versa from the press of a button. The
supported via a USB Type-C
port. A green LED blinks
In the box
only button I had an issue with was the one below Along with the 3-axis
the trigger button, which I accidentally pressed
below the joystick when smartphone gimbal, you get
several times only to switch the camera into its selfie
it’s charging. a small tripod stand, pouch
mode. At the side, just above the zoom/focus slider and USB-C cable.
switch, there’s also a built-in microphone jack. By
using a short 3.5mm audio cable and connecting
your phone to the built-in audio pass-through, you
can mount any compatible 3.5mm microphone
onto the handle of the gimbal for high-quality audio
recording directly to your smartphone.
In addition, users get a good selection of shooting
modes and options in the app, which can be toggled
through quickly using the joystick. Face tracking
proved to be highly effective when presenting to
camera, both in general shooting and selfie mode. FULLY CUSTOMISABLE
I also achieved very pleasing stabilised footage
walking and running beside moving subjects. Other The 3XS Lite features multiple customisable
app-based functions worth experimenting with buttons. Users can easily select and control their
include static time-lapse, motion time-lapse, slow desired functions with each button by heading
motion and night-view long exposure. into the settings of the companion smartphone
app. The handle also includes a trigger button
ALL PRICES ARE APPROXIMATE STREET PRICES
Verdict that’s easily controlled using your index finger.

Benro’s X Series 3XS Lite is a seriously impressive This allows for the use of either the Universal
piece of kit. If shooting movies or vlogging on your Follow Mode (default) or Locked-down mode
smartphone is something you regularly do, or would (trigger depressed). For advanced smartphone
like to get better at, you’d be foolish not to take a camera control, the user can directly operate the
Recommended photo shutter/focus, video record, and zoom, making
closer look and consider it. The features it offers for
less than £100 represent great value for money. handheld video recordings hassle free.

Samsung Portable FILTERS
SSD T5
l From £63 (250GB) l www.samsung.com
IF YOU frequently move files, or want a portable hard drive you
can take with you anywhere, Samsung’s Portable SSD T5 is an
excellent example that comes highly recommended. While you can
buy more storage space for less money by choosing a hard disk
drive (HDD), solid state drives (SSDs) have many benefits – they
are more durable than HDDs and less prone to damage or failure
because they don’t contain moving parts. Without spinning disks,
or platters, to read and write data, SSDs can be made smaller and
thinner, and can withstand harsh environments and accidental
drops. In all the years I’ve been using hard drives to store my
images, I’ve had a couple of HDDs fail on me, but never an SSD.
In the case of the Samsung Portable SSD T5, its top-to-bottom
metal design and rounded body fit comfortably in your hand and
can survive a drop from a height of 2 metres. It weighs just 51g
and measures 74x57.3x10.5mm (WxHxD). In the middle of one
end is a USB 3.1 Gen2 interface that provides fast transfer speeds
of up to 540MB/s – an increase on the 450MB/s speed offered by Benro filter systems set a new benchmark for
its discontinued SSD T3 predecessor. To achieve the fastest write quality, design and functionality for photographers
speeds, connect it to a USB 3.1 port using the supplied Type-C to
C or Type-C to A cables; however it is backwards compatible with
USB 3.0 and USB 2.0. Optional password protection with AES
256-bit Hardware Encryption is also preloaded on the T5. In use,
a small blue LED displays when the drive is powered. Transferring
30GB worth of high-resolution Nikon Z 7 files to the drive took
2min 27sec from our Sony 64GB XQD card – a very respectable
time. Dropping the drive from arm’s length onto a hard wooden
floor revealed no weakness in its build quality or ruggedness.
It is available in 2TB (£325), 1TB (£169), 500GB (£99) and
250GB (£63) versions. It’s a marvellous storage solution for
photographers on the go.
Michael Topham
The 2TB model comes
in a deep black finish.
Alluring blue, rose gold
and metallic red finishes
are available up to 1TB
FH100M2 Filter Holder - ‘Best Camera Accessory’

Practical Photography Gear of the Year 2018 Awards
Learn more: www.benrofilters.com
GOLD
subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 19 October 2019

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Tech Talk
Tony Kemplen on the É Treat yourself
Contax 1a or a friend
from
An old Contax, found for an incredible bargain price,
was briefly fixed and back to full working order...
£22.99
R
© TONY KEMPLEN
egular AP readers will
be aware that since
1 January 2010, I Your favourite
have been using a magazine
different film camera each and
every week. This is now the tenth
delivered straight
year, and I haven’t missed a week to your door
so far. I plan to carry on until every week...
the end of year ten, using 520
cameras in total. I recently passed
the week-500 mark, and thought
I’d make a special effort to use
the camera which probably sowed
the seed of the project nearly 30
years back.
I’ve been collecting old cameras
since my childhood, but by the
time I was 30 and adulthood
responsibilities started to take
over, I was mainly using my little Tony’s mourning colours emphasise the Contax 1a’s final act of image-making
Pentax Auto 110 camera for
family and holiday photographs. camera collectors showed that ‘Mine was a 6 on a
One day, on a regular trawl of these retailed for around £500 Save up to 40%
the local junk shops – as antique even if not in tip-top condition. scale of 1-9 used to
centres were known in the 1980s Cosmetically mine was a 6 on describe cameras’
– I spotted the name Contax on the scale of 1-9 used to describe
a shabby-looking angular black cameras, and the shutter, while inevitably took their toll and the
camera. I wasn’t familiar with this working, was clearly a bit sluggish shutter gave up the ghost. In its
model, but I remembered my and inconsistent. It wouldn’t have current state, the shutter opens
father speaking in reverential fetched that sum, but even so slowly when the release is pressed,
tones of this marque, and with a I’d done well. I took it to a local and then remains open until the
price sticker of £2, I simply had camera repairman, who it film is wound on to the next frame.
to buy it. I eagerly phoned my transpired had been a Zeiss I reckoned that if I used a slow magazinesdirect.com/AKR9
dad and described it to him, and it technician, and was familiar with film, set the aperture to f/22,
soon became clear that I’d picked the foibles of the Contax, and he and avoided brightly lit scenes,
up something of a bargain. There agreed to do what he could to get I could use a lens cap as a shutter
was no internet in those days, but it back to full working order. and make exposures of several
printed catalogues from specialist Six weeks and £60 later, all seconds, while the focal plane
was well, and I shutter remained resolutely open.
put a few films Of course that meant I would have
through it, to use a tripod, or other support,
though the and stick to non-moving subjects, 0330 333 1113
reliability was but it should work. Quote code : AKR9
short-lived, As this would almost certainly Monday to Saturday
and the shutter be this camera’s last act of from 8am to 6pm (UK time)
soon started to image-making, it seemed
drag again. I appropriate to wear mourning
consigned it colours for my self-portrait,
to the display though the deadpan expression is
cabinet, where years more a reflection of the 30sec Offer closes
of enforced idleness exposure than of genuine grief. 3 February 2020.
For full details visit
Tony Kemplen’s love of photography began as a teenager, and ever since, he has been collecting cameras with a view to testing as many as he can. www.magazinesdirect.com.
You can follow his progress on his 52 Cameras blog at 52cameras.blogspot.co.uk. More photos from the Contax 1a see: www.flickr.com/
tony_kemplen/sets/72157709981908766/.

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U
200-400mm 14-24mm GFX-50s

SE
SE
SE
D
f/4.0L USM IS f/2.8G ED Body Only
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See website See website See website
for examples for examples for examples
More when it matters Available for Canon, Nikon & Sony

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U
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times more light than a speedlight. Still cordless and
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Digital Photography CONTAX 50mm f1�7 AE LENS ��MINT £95�00 HASSELBLAD GPS UNIT FOR H SYSTEM ��MINT BOXED £399�00 NIKON FM2n CHROME BODY �� MINT- £299�00
YASHICA/CONTAX 55mm f2�8 ML MACRO LENS ��MINT £175�00 HASSELBLAD H13 EXT TUBE ��MINT £165�00 NIKON FM2n CHROME BODY ��EXC+++ £245�00
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CANON 600D WITH BATTERY AND CHARGER �� MINT- £145�00 CONTAX 135mm f2�8 SONNAR WITH FILTER ��MINT £175�00 HASSELBLAD PME3 METERED PRISM FINDER �� MINT- £275�00 NIKON FE CHROME BODY ��EXC++ £125�00
CANON 270EX SPEEDLITE + MANUAL��MINT CASED £59�00 YASHICA 135mm f2�8 CONTAX FIT�� MINT- £95�00 HASSELBLAD VFC-6 METERED PRISM��MINT BOXED £175�00 NIKON FM BLACK WITH MF-16 BACK ��EXC+++ £169�00
CANON 430 EX�� MINT-CASED £59�00 YASHICA 200mm f4 CONTAX FIT�� MINT- £90�00 HASSELBLAD A12 BACK CHROME�� MINT- £129�00 NIKON FM BLACK��EXC++ £145�00
CANON 430 EX II �� MINT-BOXED £89�00 CONTAX MAGNIFIER F2 ��MINT BOXED £49�00 HASSELBLAD WINDER CW AND REMOTE��MINT £275�00 NIKON FE2 BLACK BODY��EXC++ BOXED £225�00
CANON 580EX MK II SPEEDLITE�� MINT-CASED £169�00 CONTAX TLA 30 WITH DIFFUSSER��MINT CASED £69�00 MAMIYA C220 WITH WLF & 80mm SEKOR LENS�� MINT- £275�00 NIKON F2 A BLACK BODY ��EXC+++ £245�00
CANON 580 EX SPEEDLITE��EXC++CASED £99�00 CONTAX TLA 280 FLASH�� MINT- £59�00 MAMIYA 55mm f4�5 SEKOR FOR C220/330 etc��MINT BOXED £165�00 NIKON F2 A BODY FULLY WORKING ��EXC+ £199�00
CANON 580 EX SPEEDLITE�� MINT-CASED £149�00 CONTAX TLA 280 FLASH UNIT��MINT BOXED £75�00 MAMIYA 150mm F4�5 “G” WITH HOOD FOR MAMIYA 6��MINT £199�00 NIKON F2 PGOTOMIC BLACK BODY�� MINT- £399�00
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CANON BG-E7 BATTERY GRIP FOR EOS 7D��MINT BOXED £69�00 MAMIYA 645 SUPER WITH AE PRISM 80mm COMPLETE ��MINT £365�00 NIKON F2 PHOTOMIC BODY CHROME��EXC+ £199�00
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FUJI X10 WITH CASE, HOOD & FILTER ��MINT £199�00 LEICA M9 BODY WITH CHARGER AND BATT etc�� MINT- £1,495�00 MAMIYA 150mm f3�5 SEKOR C FOR 645 SUPER etc ��MINT £145�00 NIKKORMAT FTN WITH 50mm f2 NIKOR �� MINT- £245�00
FUJI X30 WITH CASE SUPERB CAMERA�� MINT-CASED £295�00 LEICA MDA BODY SER NO 12659XX CIRCA 1970�� MINT- £425�00 MAMIYA 150mm F4�5 “G” WITH HOOD FOR MAMIYA 6��MINT £295�00 NIKKORMAT FT CHROME WITH 35mm f2�8 S LENS��EXC++ CASED £145�00
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FUJI 18 - 55mm f2�8/4-R LM OIS XF FUJINON (NEW)��MINT CASED £399�00 MINOLTA 28mm f2�8 M ROKKOR FOR CLE / CL LEICA M ��EXC++ £375�00 MAMIYA 210mm F4 SEKOR C FOR 645��MINT CASED £195�00
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NIKON D7200 BODY COMPLETE LESS THAT 100 ACTS��MINT BOXED AS NEW £545�00 NIKON 28mm f2�8 AI��MINT £165�00
LEICA 50mm f2�8 COLLAPSIBLE ELMAR�� MINT- £375�00 PENTAX 200mm F4 FOR PENTAX 67 + FILTER AND HOOD �� MINT- £199�00 NIKON 45mm F2�8 GN NIKKOR �� MINT- £199�00
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NIKON D3000 COMPLETE WITH 18-55 AFS VR LENS��MINT £175�00 NIKON 50mm f1�8 AIS SHARP LENS��MINT £89�00
LEICA 90mm f4 ELMAR C FOR CLE / CL LEICA M�� MINT- £275�00 ROLLEIFLEX SCHNEIDER 150MM F4�6 MAKRO FOR 6008�� MINT- £575�00
NIKON D3100 WITH 18-55mm 3�5/5�6 AF-S DX ED MK II�� MINT- £175�00 NIKON 55mm f2�8 MACRO AIS �� MINT- £165�00
LEICA 90mm f4 ELMAR M MOUNT �� MINT- £165�00 YASHICAMAT 124G COMPLETE WITH HOOD + CASE�� MINT-CASED £325�00
NIKON D300S BODY + BATT GRIP, BATT & CHARGER��EXC++ £245�00 NIKON 105mm f2�5 AIS FROM A COLLECTION��MINT BOXED £295�00
LEICA 135mm f2�8 ELMARIT M 11829 WITH CASE��MINT BOXED £375�00 YASHICA 124G TELEPHOTO AUX LENS SET�� MINT- £69�00
NIKON D200 BODY WITH BATTERY,CHARGER,STRAP�� MINT-BOXED £195�00 NIKON 135mm f2�8 AIS�� MINT- £125�00
LEICA 135mm f4�5 HEKTOR��EXC+ £75�00
NIKON D200 BODY WITH BATTERY,CHARGER,STRAP�� MINT- £179�00 NIKON 500mm f8 MIRROR LENS WITH FULL FILTER SET�� MINT-CASED £375�00
NIKON D90 BODY WITH 2 BATTERIES AND CHARGER �� MINT- £175�00
LEICA 90mm FINDER ��MINT £99�00 Nikon Auto-Focus & Digital, Lenses Accessories NIKON 600mm f5�6 Ai WITH HOOD AND FILTER HOLDERS��MINT-CASED £1,295�00
VOIGTLANDER BESSA T WINDER��MINT BOXED £149�00
NIKON ML-3 REMOTE CONTROL SET��MINT BOXED £145�00 NIKON 1000mm f11 MIRROR LENS WITH CAPS��EXC++ £495�00
VOIGTLANDER VC METER II��MINT BOXED £179�00 NIKON F6 BODY COMPLETE�� MINT-BOXED £995�00
OLYMPUS 50mm F2 MACRO ZUIKO DIGITAL ED 4/3RDS��MINT CASED £325�00 NIKON 35 - 70mm F3�3/4�5 ZOOM NIKKOR MACRO AIS�� MINT- £169�00
LEICA 5cm f2 SUMMAR SCREW �� MINT- £175�00 NIKON F4S BODY�� MINT- £295�00
OLYMPUS 12mm f2 ED M ZUIKO DIGITAL + HOOD�� MINT-BOXED £465�00 NIKON 35 - 105mm F3�5/4�5 AIS ZOOM MACRO��EXC++ £119�00
LEICA 90mm f4 ELMAR CHROME SCREW �� MINT-CASED £99�00 NIKON MB-40 GRIP FOR NIKON F6��MINT BOXED £199�00
OLYMPUS 45mm f1�8 M ZUIKO DIGITAL M 4/3rds + HOOD ��MINT BOXED £225�00 NIKON MD4 MOTOR DRIVE FOR F3/F3HP��MINT BOXED £195�00
LEICA 90mm f4 ELMAR BLACK SCREW ��EXC++ £145�00 NIKON 10�5 f2�8 “G” IF-ED AF DX FISHEYE��MINT BOXED £345�00
OLYMPUS 9 - 18mm f4/5�6 M ZUIKO DIGI M ED + HOOD��MINT BOXED £375�00 NIKON MD4 MOTOR DRIVE FOR F3/F3HP�� MINT- £145�00
LEICA 135mm f2�8 ELMARIT M WITH SPECS��EXC+++ £299�00 NIKON 28mm f2�8 A/F��MINT £135�00
OLYMPUS 75 - 300mm f4�8/6�7 MK 2 M ZUIKO ED ��MINT BOXED £385�00 NIKON MD4 MOTOR DRIVE FOR F3/F3HP��EXC+++ £99�00
LEICA 135mm f4�5 HEKTOR + HOOD M MOUNT��EXC++ £99�00 NIKON 35mm f1�8 “G” ED AF-S L��MINT + HOOD £325�00
OLYMPUS MMF-3 ADAPTOR FOR 4/3 rd LENSES ��MINT BOXED £145�00 NIKON MD12 MOTOR DRIVE FOR FM2n/FE2/FE/FM/FM3��MINT £145�00
LEICA 135mmf4�5 HEKTOR IN KEEPER��EXC+++ £199�00 NIKON 35mm f1�8 “G” DX AF-S LATEST�� MINT+HOOD £115�00
OLYMPUS DIGITAL EX - 25 EXTENSION TUBE 25MM��MINT £95�00 NIKON PK13 AUTO EXTENSION RING�� MINT-BOXED £55�00
LEICA 135mm f4�5 HEKTOR + HOOD SCREW��EXC++ £99�00 NIKON 40mm f2�8 “G” AF-S DX MICRO NIKKOR + HOOD��MINT £189�00
PANASONIC GF2 BODY COMPLETE WITH ALL ACCESS��MINT BOXED £145�00 LEICA SF20 FLASH FOR M6 etc��MINT BOXED £89�00 NIKON PK12 AUTO EXTENSION RING��EXC++ £49�00
NIKON 50mm f1�8 “G” AF-S WITH HOOD��MINT BOXED £139�00
SONY 18 - 250mm f3�5/6�3 A/F DT LENS��MINT BOXED £325�00 LEICA FONOR BLACK RANGEFINDER�� MINT-CASED £175�00 NIKON PK11 AUTO EXTENSION RING��MINT £49�00
NIKON 60mm F2�8� A/F D MACRO LENS��MINT £265�00
SIGMA 30mm F2�8 DN MICRO 4/3RDS��MINT BOXED £115�00 LEICA R9 ANTHRACITE BODY �� MINT- £565�00 NIKON 10 - 24 mm f3�5/4�5 “G” ED DX AF-S�� MINT- £399�00 NIKON TC 200 CONVERTER��MINT £69�00
SONY ECM - XTST1M STEREO MICROPHONE�� NEW UNUSED £69�00 LEICA R8 BLACK BODY WITH STRAP �� MINT- £395�00 NIKON 12 - 24mm f4 “G” DX IF-ED AF-S��MINT BOXED £395�00 NIKON SB 16 FLASH FOR F3/FM2/FM3/FE/FE2�� MINT-CASED £115�00
METZ 44A/F1 FLASH UNIT FOR SONY DLSR��MINT BOXED £95�00 LEICA R7 BLACK BODY ��EXC++BOXED £325�00 NIKON 12 - 24mm f4 “G” DX IF-ED AF-S�� MINT-CASED £365�00 NIKON SB 16 FLASH FOR F3��EXC++ £65�00
LEICA R7 CHROME BODY�� MINT- £365�00 NIKON 14 - 24mm f2�8 “G” ED AF-S LATEST �� MINT-CASED £999�00
Canon Autofocus, Digital Lenses, Canon FD LEICAFLEX BODY CHROME �� MINT- £195�00 NIKON 16 - 80mm f2�8-4EAF-S VR ED DX + HOOD ��MINT CASED £545�00 Olympus Manual
LEICA CURTAGON 35mm f4�� MINT-BOXED £395�00 NIKON 18 - 105mm f3�5/5�6 “G” AF-S ED VR WITH HOOD�� MINT- £145�00
CANON 14mm f2�8 USM “L”��EXC++ BOXED £599�00 LEICA 50mm f2 SUMMICRON 3 CAM �� MINT- £395�00 NIKON 24 - 120mm f4 “G” ED AF-S VR LATEST MODEL��MINT BOXED £745�00 OLYMPUS OM4 BLACK BODY��EXC++ £225�00
CANON 24mm f1�4 “L” USM��MINT £499�00 LEICA 60mm f2�8 MACRO ELMARIT R+MACRO ADAPTOR��EXC++ £395�00 NIKON 35 - 70mm f3�3/4�5 A/F LENS��EXC++ £49�00 OLYMPUS OM2 SP��EXC++ £129�00
CANON 50mm f1�2 USM “L”��MINT £675�00 LEICA 90mm f2�8 ELMARIT 2 CAM�� MINT- £299�00 NIKON 70 - 200mm f2�8 “G” ED AF-S VR MK 2 + HOOD MINT-BOXED £1,075�00 OLYMPUS 20mm f2 ZUIKO MACRO LENS�� MINT-CASED £375�00
CANON 85mm f1�2 USM “L” MK II LATEST MODEL��MINT BOXED £1,045�00 LEICA 135mm f2�8 ELMARIT R 3 CAM ��EXC+++ £365�00 NIKON 200 - 500mm f5�6 ED AF-S VR LENS LATEST �� MINT-BOXED £899�00 OLYMPUS 24mm f2�8 ZUIKO WITH HOOD�� MINT-CASED £165�00
CANON 300mm f4 USM “L” IMAGE STABILIZER�� MINT- £595�00 LEICA 560mm f6�8 TELYT LENS WITH CASE AND��EXC+++ £399�00 NIKON DR-6 RIGHT ANGLED FINDER��MINT BOXED £145�00 OLYMPUS 38mm f2�8 ZUIKO MACRO LENS�� MINT-CASED £299�00
CANON 300mm f4 USM “L” IMAGE STABILIZER�� MINT BOXED AS NEW £699�00 LEICA APO-EXTENDER 2 X ROM��MINT CASED £475�00 NIKON TC20E II 2X AF-S TELECONVERTER �� MINT-BOXED £195�00 OLYMPUS 50mm f1�8 ZUIKO LENS �� MINT- £30�00
CANON 300mm f4 USM “L” IMAGE STABILIZER��MINT CASED £689�00 KENKO PRO 300 2X TELEPLUS CONVERTER N/AFS �� MINT- £75�00 OLYMPUS 50mm f3�5 MACRO LENS�� MINT-CASED £89�00
CANON 70 - 200mm f4 USM “L” IMAGE STABILIZER��MINT CASED £599�00 OLYMPUS 80mm f4 ZUIKO MACRO LENS�� MINT-CASED £175�00
CANON 70 - 200mm f4 USM “L” IMAGE STABILIZER��MINT BOXED £645�00
Binoculars SIGMA TC2001 ED GLASS LATEST MODEL ��MINT £225�00
SIGMA 50mm f2�8 EX MACRO D�� MINT BOXED AS NEW £129�00 OLYMPUS 100mm f2�8 ZUIKO LENS + HOOD ��MINT CASED £125�00
CANON 70 - 200mm f2�8 USM “L”��MINT BOXED £675�00 LEICA 10 X 42 TRINOVID BA WITH LEATHER CASE �� MINT- £595�00 SIGMA 105mm f2�8 EX APO DG MACRO ��EXC++ £245�00 OLYMPUS 135mm f4�5 ZUIKO MACRO LENS + HOOD�� MINT-CASED £195�00
CANON 20mm f2�8 USM��EXC++ £245�00 LEICA 10 x 25 TRINOVID COMPACT BINOCULAR GREEN�� MINT-CASED £275�00 SIGMA 10 - 20mm f4/5�6 EX DC SLD HSM �� MINT-BOXED £199�00 OLYMPUS 135mm f3�5 ZUIKO LENS �� MINT-CASED £69�00
CANON 28mm f2�8 EF ��MINT £169�00 LEICA 10 x 25 TRINOVID COMPACT BINOCULAR BLACK�� MINT-CASED £279�00 SIGMA 150 - 600mm f5/6�3 DG HSM OS “C” LENS�� MINT- £645�00 OLYMPUS 35 -70mm f3�5/4�5 ZUIKO ZOOM�� MINT-CASED £55�00
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CANON 60mm f2�8 EFS USM MACRO LENS ��MINT BOXED £199�00 SWAROVSKI EL RANGE 10x42 RANGEFINDER BINOS �� NEW UNUSED £1,575�00 TOKINA 80 - 400mm f4�5/5�6 AT-X D��MINT BOXED £245�00 OLYMPUS 100 - 200mm f5 ZUIKO ZOOM LENS HAZY��EXC++CASED £39�00
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CANON 10 - 22mm f3�5/4�5 USM ��EXC++ £295�00 OLYMPUS 65 - 116 TELESCOPIC AUTO TUBE��MINT £95�00
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CANON 18 - 55mm f3�3/5�6 STM VIBRATION REDUCTION��MINT £149�00
Medium & Large Format Nikon Manual Focus OLYMPUS VARI-MAGNIFINDER��MINT CASED £49�00
OLYMPUS T20 FLASH UNIT��MINT CASED £25�00
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CANON 70 - 300mm f4�5/5�6 USM IMAGE STABILIZER ��MINT BOXED £269�00 BRONICA ETRS WL/FINDER, BACK & 75mm EII LENS ��EXC++ £295�00 NIKON F3 HP BODY �� MINT- £575�00 OLYMPUS WINDER 2 MOTOR DRIVE�� MINT- £20�00
KENCO DG CANON FIT TUBE SET 12,20,36MM��MINT BOXED £99�00 BRONICA AUTO EXTENTION TUBE E-14��MINT BOXED £45�00 NIKON FM2n CHROME BODY �� MINT- £295�00 LOTS OF OLYMPUS ACCESSORIES TOO MANY TO LIST FOR MACRO, FLASH
CANON EF 2�0X EXTENDER MK I��MINT BOXED £129�00 BRONICA POLAROID BACK FOR ETRSI, ETRS ETC ��MINT BOXED £59�00 NIKON MD4 MOTOR DRIVE FOR F3/F3HP��MINT BOXED £195�00 �� PHONE
CANON EF 2�0X EXTENDER MK II ��MINT CASED £159�00 BRONICA PLAIN PRISM FOR ETRS/ETRSI��MINT £75�00 NIKON F3 BODY��EXC+ £245�00 PLEASE RING FOR DETAILS AND PRICES ALL IN MINT OR CLOSE CONDITION
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KENCO TELEPLUS PRO 300 DGX 1�4 TELECONVERTER��MINT CASED £99�00 BRONICA ROTARY PRISM FINDER FOR ETRS, ETRSI ETC�� MINT- £75�00
SIGMA EX 1�4 TELECONVERTER ��MINT £75�00 BRONICA MOTOR WINDER E��EXC+++ £89�00
SIGMA 14mm f2�8 EX HSM ASPHERIC ��MINT CASED £365�00 BRONICA 40mm f4 MC LENS FOR ETRS/ETRSi��MINT £179�00
SIGMA 18 - 50mm f 2�8 EX DC SLD GLASS �� MINT-BOXED £165�00 BRONICA 50mm f2�8 PE FOR ETRS/ETRSi��MINT £199�00
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SIGMA 18 - 200mm f3�5/6�3 A/F DC OPTICAL STABILISER�� MINT- £129�00 BRONICA 150mm F3�5 ZENZANON S�� MINT- £165�00
TAMRON 180mm f3�5 A/F SP DI MACRO LATEST��MINT BOXED £329�00 BRONICA PLAIN PRISM FOR SQAi/SQA�� MINT- £99�00
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Camera Fairs
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Sunday 27th October 2019
8.30am - 1.00pm. Cheese and Grain, Market Yard,
Justice Lane, Frome BA11 1BE
WE’RE THERE Featuring a huge range of photographic equipment including both film
and digital cameras,vintage collectable cameras as well as a huge range of
FOR AS LONG AS both modern and vintage lenses, accesories, flashes, filters, tripods, studio
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When serious illness affects a child, family life is Admission 8.30am-9.30am £5; After 9.30am £3; After 12.00 Noon £1
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Photo Critique
Final Analysis
Zelda Cheatle considers…
‘ZaKi, Kyoto, Japan’, 2017, by Zanele Muholi
Z
anele Muholi was born in
© ZANELE MUHOLI
South Africa in 1972. She
challenges hetero-patriarchal
ideologies and representations,
presenting her sitters as confident and
beautiful individuals, existing in the face
of prejudice, intolerance and violence.
These portraits led her to a series of self-
portraits, Somnyama Ngonyama: Hail the
Dark Lioness.
Using her body as a canvas, she portrays
the politics of race and representation,
asking questions about justice, human
rights and the contested image of the
black body. Some portraits use objects of
domesticity and servitude like scouring
pads, others invoke the brutality women
in South Africa have endured.
This picture, shows Zanele as ZaKi and
was made in Kyoto, Japan. Muholi says
about this work, ‘In April 2017, when I
was in Japan, after seeing a lot of women
wearing kimonos and tourists hiring
them, I started to wonder: what would it
mean for me, as an African, to hire a
kimono? I wondered if there’d be any
historical documents that could be
retrieved by someone growing up Afro-
Japanese in Kyoto. How did that person’s
parents get there? And if they were born
there, but black, would they treat the
kimono the same way?’
Liberation and emancipation

Women in South Africa have historically
fought for political and racial equality.
White women were given the vote in 1930;
women of colour, 50 years later. The need
to escape apartheid and fight for gender
and racial equality has been a courageous
and dangerous one. On every level there
has been state-facilitated and socially
practiced discrimination. Manifesting in
many ways, continuing levels of domestic
abuse and cultural sexism are rife. around a servant character named Sophie, been emancipated from all forms of
Currently on show at Somerset House in whose life is presented though a series of oppression... Our endeavours must be
London, an exhibition featuring the work human-scale sculptures which are based about the liberation of the woman, the
of Mary Sibande shares similar themes. on her own body and family history. emancipation of the man and the
Sibande was born in 1982 in South Africa, Although Nelson Mandela made strides liberty of the child.’
a decade later than Muholi. She makes a in his battle to bring an end to apartheid,
statement on the role of black women, and he recognised that no major success was Zanele Muholi’s ‘Somnyama Ngonyama: The Dark Lioness’ was
her painting, sculpture and photography possible without gender equality. At the displayed earlier this year at Autograph in Hackney, and will be
use a human form to explore the opening of the first parliament in 1994, shown at Tate Modern in 2020. For more, visit the Autograph
construction of identity in a post-colonial President Mandela declared, ‘Freedom bookshop or Autograph Archive. Mary Sibande’s exhibition will
South Africa. Her work has revolved cannot be achieved unless women have be on at Somerset House until 5 January 2020.
Zelda Cheatle is a well-known curator and editor of photography. After some years taking photographs, she began a gallery career at The Photographers’ Gallery in London before setting up and running her
own eponymous photography gallery from 1989 to 2005. For more information, visit her website zeldacheatle.com.

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n a r y sp e c i a l
Centef Olympus cameras ● Those classic
● A history o tribute
s ads ● Olympus owners pay
Olympu
100
IN ASSOCIATION WITH
years of
Olympus
AN ILLUSTRIOUS HISTORY
Small but
John Wade on the rise and rise of Olympus
T
he Takachiho Seisakusho But for photographers, it is the
company was founded cameras that define Olympus.
by Takeshi Yamashita Although some of the early models
in 1919. Initially the bore a resemblance to German
company made microscopes, cameras, innovative designs soon
introducing its first in 1920. The emerged, often taking a slightly
© OLYMPUS
next year, the name Olympus sideways look at traditional

was adopted for the company’s concepts, while being smaller and
optical products. intuitively easier to use than their
The medical theme was contemporaries. ‘Small but beautiful’
maintained with the later is the phrase that comes to mind
introduction of the world’s first when looking at Olympus cameras.
The first camera was practical gastrocamera, and In 1935 a research institute was
the Semi-Olympus
Milestone 1
continues today with breakthroughs set up to investigate the production
in opto-digital photography. of quality camera lenses. Playing a
Semi-Olympus
THE FIRST Olympus camera was reminiscent of the
Zeiss Ikon Ikonta, made in 1931. It comprised a small,
pocket-sized flat body from which a bed folded down as
the lens self-erected on bellows and a viewfinder
unfolded from the side. Manufacture of the body was
originally outsourced and German Rimset Compur
shutters were imported for use on the early cameras.
When a second model was launched, production was
brought in-house and the Compur was replaced by
Olympus’s own Koho shutter.
The camera took 120 size roll film, which ran vertically
through the body. More usually associated with providing
eight 6x9cm or 12 6x6cm images, the film was adopted
by Olympus to double the number of exposures with
© OLYMPUS
smaller images: 16 images 6x4.5cm. Even at this early

stage in camera manufacture, Olympus was seeing the
advantages of thinking small. The Olympus microscope factory before the days of camera manufacture
2 100 years of Olympus I www.amateurphotographer.co.uk I subscribe 0330 333 1113

beautiful
cameras over the past ten decades
major role in the development of the cameras. The first camera on
first lenses, and later the cameras, which it appeared was the Semi-
was Eiichi Sakurai. Olympus in 1936.
In 1937, Olympus made an early
The Zuiko lens attempt at an interchangeable lens
Born in 1909, he became a rangefinder camera. The brainchild
celebrated Japanese photographer of Eiichi Sakurai, the Olympus
and also a mechanical engineer. Standard showed slight influences
Soon after graduating from Tokyo from Leica and Contax, but instead Olympus
University he joined the Takachiho of 35mm, it produced 6x4.5cm Chrome Six
Seisakusho works as a member of images on 127 film. Only around ten
Milestone 2
the project team that developed the examples were produced and it was
first camera lens. They called it the never marketed. A move to a larger
Zuiko, a name that would forever image format resulted in the
Olympus Six
be associated with Olympus Olympus Six in 1939, just as
THERE were many variations on two basic styles of

COURTESY OF MCKEOWN’S PRICE GUIDE TO CAMERAS
the Olympus Six. All shot 12 6x6cm exposures on

120 roll film with the option of adding a mask to the
film plane and shooting 16 6x4.5cm exposures.
Backing paper on 120 roll film was numbered 1-12
in the centre and 1-16 top and bottom. Two red
windows, in the centre and at the top of the
camera back, allowed the photographer to
choose the appropriate format. The viewfinder was
etched with lines to show both the 6x6cm and
6x4.5cm formats.
Production of the camera ceased between
1943 and 1945 because of the impact of the
Second World War, after which it was relaunched
in 1948 with a chrome top plate and a tubular
optical viewfinder. These later cameras are known
as the Chrome Six models.
Variations, including the addition of a rangefinder,
The Olympus Standard, a rangefinder camera for 127 film continued to be made until 1955.
subscribe 0330 333 1113 I www.amateurphotographer.co.uk I 100 years of Olympus 3

© OLYMPUS
Olympus Ace with standard 4.5cm lens

fitted, plus 3.5cm and 8cm lenses
Olympus Flex
twin lens reflex
the Second World War broke Yoshihisa Maitani

out. Japan joined the In 1956, Eiichi Sakurai, by then
hostilities in 1940. Head of the Olympus Camera
In 1942 the company name was Development Division, invited a
changed to Takachiho Kogaku 23-year-old designer to join the
Kogyo. In 1945, when the war company. His name was Yoshihisa
ended, American forces occupied Maitani and he soon became
Japan to lead a programme of Olympus’s most innovative
rehabilitation for the country. camera designer.
Camera production resumed, but As a young man Maitani studied
much of the output went to the mechanical engineering and was
occupying forces. It was in this ready, on gaining his degree, to join
climate that Eiichi Sakurai designed an automobile company. But his
the Olympus 35, the company’s first hobby was photography, and when
© OLYMPUS
35mm camera. In 1949, the his Leica IIIf failed to fulfil his
company adopted the name of its needs, he decided to design his own
cameras into its title to become the camera. When Eiichi Sakurai came
The first Olympus 35
Olympus Optical Company. across a patent filed by Maitani, he
Milestone 3
The launch of the German invited him to join Olympus.
Rolleiflex in 1928 and its stripped- Speaking at a Japanese seminar
down cousin the Rolleicord in 1934 in 2005, Maitani said: ‘My
Olympus 35
led to a boom in the popularity of uncompromising philosophy
twin lens reflexes (TLRs), answered as a developer was
by Olympus in 1952, the year to create cameras
THE OLYMPUS 35 was a completely new concept for American occupying forces left that didn’t
Olympus. Its design was very much part of the Olympus Japan. The camera was the previously exist
philosophy for making cameras small and easy to use. It Olympus Flex. Using twin 75mm anywhere.’
was a compact, rigid-bodied camera with a Zuiko f/2.8 lenses and shooting 12 6x6cm The briefest
40mm f/3.5 lens mounted on a Seiko shutter, soon images on 120 roll film, the camera glance at his three
gaining the nickname ‘Pickpocket Camera’ because of showed obvious influences from the big Olympus
the rapid way in which its users could shoot, wind and Rolleiflex, but with the addition of a achievements
tension the shutter. Taking standard 35mm cassettes, few Olympus improvements. These illustrates the
it shot 24x32mm images, although that was then included a wider angle of lens than truth in that.
changed to the more traditional 24x36mm format in other TLRs of the time, a shutter They were the
the 1949 third model. release at a higher, more convenient Olympus Pen,
A great many variations on the camera were made, position and incorporation of the Olympus
including the Olympus Wide, equipped with a 35mm film wind and focusing knobs on OM-1 and the
lens specifically for wideangle photography. Production the same side of the body. Once Olympus XA.
continued until the 1970s, by which time the addition of again, it showed the Olympus Some time before this
rangefinders and built-in exposure meters was the norm commitment to making cameras impressive trio came to
in the cameras. easier to use. fruition, there was another

The iconic and extremely

popular Olympus Trip
attempt at making an
interchangeable lens rangefinder
camera, this time for 35mm film.
The Olympus Ace, launched in
1958, featured separate rangefinder
and viewfinder windows, the latter
with bright frames for 3.5cm, 4.5cm
and 8cm lenses. The leaf shutter
gave speeds of 1-1/500sec. The three
available lenses fitted to the body
with a bayonet mount unique to the
camera. A second model,
introduced in 1959, added a built-in
selenium cell exposure meter.
Then came Yoshihisa Maitani’s
first masterpiece – the Olympus The first model of the
Milestone 4
Pen. It was launched in 1959 and Olympus Pen, made
by Sanko-Shoji
© OLYMPUS
followed, in 1963 by the Pen F, the

world’s first half frame single
Yoshihisa Maitani, father of the OM-1 lens reflex (SLR). Olympus Pen
ALTHOUGH Yoshihisa Maitani’s brief in designing the
Olympus Pen was to produce a cheap, easy-to-use
camera, he was adamant that cheapness did not mean
low quality – he refused to stint on the lens. The camera
was the first Japanese 35mm model to shoot half-frame
pictures: 72 rather than 36 negatives, each one
18x24mm, to a roll of 36-exposure film. The name
reflected the camera’s portability, comparing it to use of
a writing pen. Initially, production was outsourced to
subcontractor Sanko Shoji. But so great was its success
that production was brought back in-house in 1960.
One of the smallest 35mm cameras ever, the original
Pen measured just 10x6.5x4cm. It was entirely manual,
with a Zuiko 28mm f/3.5 lens that focused from 60cm
Olympus Pen F with to infinity and a shutter speeded 1/25-1/200sec.
accessory bellows, 20mm, The camera was produced in many variations, including
60mm and 150mm lenses.
The camera is fitted with
electronic and automatic models that kick-started a
its accessory exposure boom in Japanese half-frame cameras. Once again,
meter attached to the film Olympus had shown that small was beautiful, and the
speed knob Pen name lives on in today’s digital cameras.

Two Olympus compacts: Superzoom

700BF (left) and Olympus AF-1 Twin
‘Olympus once again proved that quality didn’t have to equate with expensive cameras’
‘David Bailey? Who’s he?’ Spotmatic, with which it shared a
With those iconic words from a 42mm screw lens mount. Prior to
popular TV advert, the Olympus the arrival of the FTL, it was
Trip erupted onto the market in thought that such full aperture
1967, going on to become one of the through-the-lens (TTL) metering
most popular cameras of all time. was impossible on a screw-mount
Olympus once again proved that lens. But the FTL managed it
quality pictures didn’t have to thanks to a locking pin on the lens
equate with expensive and mount that allowed accurate
complicated cameras. transfer of the aperture setting to
The Trip featured programmed the camera. Even so, the FTL only
automation that offered two shutter sold for a year. Not that this should
speeds of 1/40sec and 1/200sec, have worried Olympus, because
coupled with apertures in the Zuiko Yoshihisa Maitani had another
lens of f/2.8-22. Focus was manual camera on the way, and that one
from 3ft to infinity, set with help was about to become a world beater.
Olympus Pen F half frame from pictograph symbols that The camera, launched in 1972, was
single lens reflex showed head and shoulders, two the Olympus OM-1.
Milestone 5
figures, groups and mountains. In the following years, a
Apertures could also be set comprehensive range of OM
manually for flash photography and variations was launched…
Olympus Pen F a thumbwheel on the back wound
the film. Between 1967 and 1984 it ● OM-2: Automation and an
WITHIN a few years of its launch, the Olympus Pen is reckoned that more than electronic shutter were featured in
became the genesis for the Pen F, the world’s first 10,000,000 Olympus Trips were the first camera with off-the-film
half-frame single lens reflex (SLR), in which Olympus sold worldwide. (OTF) metering.
rethought camera design from scratch. Olympus was relatively late
Out went the traditional SLR pentaprism, replaced coming to the 35mm SLR market. It ● OM-4: Aperture priority camera
by a Porro prism system of mirrors in the viewfinder. did so with the Olympus FTL in with manual override and multi-
An unusual light path reflected light sideways from the 1971, reminiscent of the Pentax spot metering.
reflex mirror behind the lens to a Fresnel focusing
screen, both mounted vertically, and onwards to the Olympus FTL with 50mm lens fitted plus
viewfinder. So, on exposure, the reflex mirror moved 35mm and 135mm lenses
from side to side rather than up and down in the
more familiar way.
The camera was usually found with a Zuiko 38mm
f/1.8 standard lens. The shutter was a rotary type,
another way of conserving space in a small body. An
accessory meter fitted to the front-mounted speed dial
gave semi-auto exposure functions. The standard lens
was interchangeable with a wide range of auxiliary
lenses from 20mm wideangle to 800mm
catadioptric telephoto. Most of the accessories found
for a full-frame 35mm SLR were also available for
the Pen F. In 1966, the Pen F was replaced by the
Pen-FT with a built-in CdS meter.

Olympus AZ-300
bridge camera
● OM-3: Stripped-down version of

the OM-4 with a mechanical shutter.
● OM10: Aperture priority model

with no shutter control or manual
override. A separate manual
adapter offered 1-1/1,000sec
shutter speeds.
● OM20: Similar to the OM10, but

with the addition of a shutter
speed control.
● OM30: Similar to the OM20, but

with an electronic indicator in the
viewfinder to aid focus. With a
Milestone 6
special 35-70 AF Zoom, it also The Olympus OM-1
offered true autofocus.
● OM40: A further evolution of the

OM20 with manual, aperture
priority and program exposure
Olympus OM-1
modes, all using two-zone electro- THE CAMERA that became the legendary Olympus
selective pattern metering to OM-1 began life as the M-1. But since there was a Leica
measure and compare exposure in rangefinder camera of the same name, Leitz objected.
the centre and edges of the frame. So Olympus changed the name. What set the OM-1
apart from its contemporaries, was its compact size.
The OM nomenclature continued With a standard lens on board it measured
after the demise of these classic 13x8x8.5cm and weighed just 800g – 2cm smaller all
cameras, culminating in 1997 with round and half the weight of a Nikon F. Small was now
the OM-2000. At the same time, beautiful in the SLR world.
Yoshihisa Maitani was again Although the OM-1 was a fully mechanical camera, it
weaving his magic with another needed a battery to run the TTL meter and manage the
soon-to-be-legendary camera – the match-needle system in the unexpectedly large
Olympus XA. viewfinder. Match needle metering was used to set the
exposure while manipulating the aperture and shutter
Compacts and bridge cameras speed controls, both set around the lens.
From the end of the 1970s, through Early models of the OM-1 had to be factory adapted
the 1980s and into the early 1990s, to take a motor drive, although this problem was
camera manufacturers the world resolved, along with several other small modifications
over produced a plethora of 35mm with the launch of the OM-1MD in 1974.
compacts. They were epitomised by
plastic-bodied, fully auto,
programmed exposure, autofocus,
zoom-lens cameras with built-in
‘From the end of the 1970s
flash. Although some were more camera manufacturers the world
sophisticated than others, they were
OM camera variations, top to bottom:
OM-1, OM-2, OM-3, OM-4, OM10, mostly aimed at the point-and-
over produced a plethora of
OM20, OM30 and OM40 shoot market. 35mm compacts’
Milestone 7
Olympus XA
BY THE end of the 1970s, rangefinder cameras – with
the notable exception of those made by Leica – were a
thing of the past. But that didn’t stop Yoshihisa Maitani
designing one that, although small enough to fit into the
palm of the hand, still took full-frame 35mm pictures. It
was an aperture priority camera with no manual
override. Apertures were set on a sliding bar beside the
lens as the automation selected and set an appropriate
shutter speed of 10-1/500sec. The coincident image
rangefinder was in the viewfinder and linked to the Zuiko
35mm f/2.8 lens that, when not in use, was hidden
behind a sliding panel on the front. A purpose-made
flashgun could be attached to the side of the body.
The XA line of cameras continued until 1985 with the
XA 1, XA 2, XA 3 and XA 4, made in various colours
with fixed focus or zone focusing lenses in place of the
original XA’s rangefinder.
Zoom lens reflexes:

iS-1000 (left) and iS-2000
For a decade or more, specified 35mm SLRs, Olympus

Olympus was up there with the took a step sideways and
best, with cameras epitomised by introduced a range of what it called
the Superzoom 700BF, a very stylish zoom lens reflexes. The iS-1000
auto-everything compact from as was the first.
late as 1997. Before that, there were Unlike the bridge cameras that
cameras such as the AF-L, which in preceded it, the IS-1000 was a true
1984 was one of the first cameras to SLR. The big, bright viewfinder
use a non-replaceable lithium previewed the picture through a
A coloured version of the XA 2 (above) battery. The AFL-T that followed in 35-135mm zoom lens, which
and the classic original Olympus XA 1986 was the company’s first camera allowed auto and manual focus.
with twin focal length lenses. That TTL multi-pattern exposure was
idea continued in 1988 with the available by way of a metering cell
Olympus AF-1 Twin, using a twin behind the camera’s semi-silvered
lens system which switched from mirror. Modes available were
35mm wideangle to 70mm aperture priority, program and
medium telephoto at the touch of a manual. All functions were
button. And so on… controlled electronically by a series
In 1988, Olympus introduced the of push buttons.
AZ-300 Zoom, one of the first The iS-1000 was followed by the
bridge cameras – so called because progressively better specified
they bridged a gap for the iS-2000, iS-3000 and iS-5000. The
photographer who wanted cameras did just about everything a
something more than a 35mm photographer might command of
compact, but wasn’t yet ready for an an SLR, with the exception of lens
SLR. Compared to the compacts interchangeability.
that had come before, the AZ-300
Zoom was small, decidedly chunky, The end of an era
yet comfortable to use. Exposure After a decade or more of producing
‘In 1988 Olympus was programmed, focus was traditionally sized, or in some cases
automatic, flash was built in and the slightly oversized, cameras,
introduced the AZ-300 lens gave a zoom range of 38- Olympus returned to its ‘small but
Zoom, one of the first 105mm, operated by a rocker switch beautiful’ roots in 1991 with the
on top of the body. mju. The name comes from a
bridge cameras’ During the 1990s, while most of phonetically written version of the
its rivals were trying to outdo each Greek letter (µ) which is used in
other with bigger and better science to mean micro. In its first

The Olympus ‘O’ Product
Milestone 8
Olympus ‘O’
Product and Ecru
IN THE 1980s Naoki Sakai was a designer who had a
different way of looking at traditional designs. He
designed cars for Nissan and Toyota, motorbikes for
The silver version of the Olympus mju-III 80
Suzuki, as well as mobile phones and sofas. He also
designed the Olympus ‘O’ Product, to tie in with the
forthcoming Olympus 70th anniversary in 1989.
Based on the inner workings of an Olympus AF-10
Super, the ‘O’ Product sported an angular shaped
aluminium body with a separate detachable plastic
flashgun. Despite its retro design, the camera was
basically a point-and-shoot, auto exposure, autofocus
model with the shutter release on the front of the body
and a cap covering the lens that moved aside
automatically when it was switched on.
A limited edition of 20,000 were produced, half were
sold in Japan and the other half were exported.
Later, in 1991, Naoki Sakai used an Olympus mju as
the basis for another of his concept cameras, this one
called the Ecru. It was a fully-auto camera with built-in
flash and power wind, all encased in an unusual
square-shaped white body. Like the ‘O’ Product, the
Ecru was made in a limited edition of 20,000, half for
sale in Japan and half for export.
ten years of production an mju-III 80, seen above in its very
estimated 20,000,000 of these stylish, limited-edition silver
cameras were sold. version. The name continued on
A natural successor to, and Olympus cameras in the digital era,
showing influences from, Yoshihisa many of which echoed the designs
Maitani’s design for the XA, the of Yoshihisa Maitani.
mju-1 was small and beautifully By the time the last film mju had
© TIM GOLDSMITH
designed with a lens cover that slid rolled off the production line,
aside to allow the lens to move digital photography was taking a
forward automatically into the firm hold. Although Olympus
shooting position. The camera continued to make sophisticated
featured an autofocus 35mm f/3.5 film compacts and even dallied for a
lens, automatic programmed while with cameras that used
exposure and automatic film wind. Advanced Photo System (APS) film,
A range of differently specified it was clear by this time that the
models followed, including the tiny writing was on the wall for film. For
mju-II which is still prized by film Olympus, it was the end of an
fans for its f/2.8 lens. The many era… and the start of a
zoom models culminated in the whole new one. The Olympus Ecru

CLASSIC ADVERTS
‘Who do
you think
you are?
David
Bailey?’
Sharp, witty and definitely not PC, the
Olympus ads of the 1980s and ’90s were
a masterclass in branding. Peter Dench
goes behind the scenes to find out more
M
y first camera was a birthday party, wedding, in a pub, Almost predicting [where Bailey, using the Olympus
a second-hand street, office, park or playground. a future of Trip, out-shoots an old-school
Pentax ME Super. The bold, brilliant and often embarrassing wedding photographer] people
I don’t remember blokeish ads had Bailey being pictures going would come in and ask for an
viral, Olympus took
the adverts for Pentax cameras; confused for someone else. In one, a realistic view of Olympus, the one Bailey used. They
I remember the adverts for Monty Python’s Eric Idle reprises the average office couldn’t be persuaded otherwise.
Olympus cameras, the ones his ‘nudge, nudge, know what I Christmas party I just had to take the payment.’
with photographer David Bailey. mean, a nod’s as good as a wink’ Dickens was so impressed, it
I wanted to be Bailey. Part of character, mistaking Formula 1 prompted him to apply for the job
me still does. He was cool and driver James Hunt for Bailey. The with Olympus, where he remained
hung out with rock stars, models on-set gossip is that Idle, after for 21 years, rising to Marketing
and gangsters. The television stepping on a nail, ad-libbed his way Director. ‘The ads were designed
commercials from the late 1970s through, infuriating the director. to entertain, amuse, surprise and
and ’80s, screened during the In another, Bailey is taunted for challenge. Build a brand perception
soap opera Coronation Street and his tiny all-in-one Olympus camera that customers would have an
sporting spectacles such as the by the all-gear-and-no-idea elitist instant warmth to.’
FA Cup final, reached millions, ‘professional photographer’ played The creative agency behind
turning Bailey into a household by George Cole. the Olympus ads was Collett
name and Olympus into a The Olympus adverts worked. Dickenson Pearce, or CDP – the
household brand – except in my Before Ian Dickens joined Olympus same agency that paired Hamlet
house. ‘Who do you think you are? in a junior role in 1979, he worked cigars with failure; Heineken beer
David Bailey?’ would be levelled in a camera shop. ‘I saw the sharp with refreshing the parts other
at anyone pointing a camera at end. After the first television ad beers cannot reach; and Hovis

ALL PICTURES © OLYMPUS
bread with brass bands and steep, The adverts displayed across The adverts of the thought by some to be a bit dim,
sepia hills. And that’s just the these pages certainly provoke. One 1980s and ’90s Naomi Campbell holds aloft an
brands beginning with H. even suggests, ‘This Christmas, often featured all-weather Olympus Mju II under
indulge in a little blackmail, celebrities who the copy, ‘Black. Sleek. Beautiful.
were capable of
Free rein extortion and torture,’ above taking the mickey Amazing features. Tiny brain.’
‘The agency’s brief was to do a compilation of frivolous out of themselves Naomi, a model with a large
whatever they wanted, be as photographs featuring topless brain, was up for it. ‘She found
outrageous as they wanted and men, men with their tongues out, the ad absolutely hysterical. She
we’d take it from there,’ says trousers down and sucking the toes understood the humour, as most
Graeme Chapman, Managing of other men. The camera price is celebrities featured in Olympus
Director at Olympus from 1980 ‘… a drop in the ocean compared to ads did,’ says Dickens.
to 2008 (including six years as the price you’ll be able to charge for Chapman always took legal
European President of its the negatives’ it concludes, years advice. The only ad that presented
Consumer Products division). before television shows offered any real challenge featured
Which is just as well, as CDP had financial rewards for the submission Catherine Zeta-Jones and Michael
a reputation for only tolerating of embarrassing video clips. Douglas, with an undisclosed
a certain amount of client ‘Which part of the divine Ms fee eventually being donated
interference. They took full Campbell’s body holds the most to a designated charity.
advantage of Chapman’s advice, allure for people? Her legs? Her The business owners in the
delivering humorous narratives lips? Her breasts? Perhaps her Japanese boardroom didn’t always
and headlines. The philosophy was brain? No, it’s unquestionably her get the intent of the British adverts,
to treat the consumer with respect right hand’, declares another advert. but they certainly understood
and provoke them into action. At a time when fashion models were the impressive sales figures.

CLASSIC ADVERTS
Left: Trans-Atlantic
rowers Ed Baylis
and Stu Turnbull, as
photographed by
Olympus stalwart
David Bailey
Right: Olympus
understood
the benefit of
promoting Koo
Stark as a
photographer,
rather than an
ex-girlfriend
of royalty
Far right: The ad

agency was told to
be as outrageous as
they liked – and in
most instances they
got away with it
Below: While other

manufacturers
simply showed
images of cameras
in their adverts,
Olympus pushed
the envelope
Below right: These

days, it’s unlikely an
advertiser would
get away with a
concept such as
this one…
ALL PICTURES © OLYMPUS
Their inspirational president snapping back at them.’ Stark went

believed in globalisation on to become an accomplished
through localisation, and photographer and patron of the
Chapman and his team continued Julia Margaret Cameron Trust.
unhindered. Olympus UK was While grabbing the audience’s
consistently the global market attention, the Olympus adverts
brand leader. ‘It was a case of also engaged with them. Below
having a fantastic agency doing the hero images of Bill Clinton
groundbreaking stuff,’ adds with a brunette; a staring, snarling
Chapman. ‘Other camera brand ads, Sarah Bernhard; and glistening
sadly, were just pictures of cameras. torsos of rowing heroes Ed Bayliss
We rarely did that. We wanted to and Stu Turnbull, are highlighted
stop the audience in their tracks.’ some of the latest Olympus camera
benefits (they were always referred
Grabbing attention to as benefits, not features):
‘I used to hate cameras,’ says the built-in flash; built-in zoom lens;
empowered-looking American auto film loading; auto film speed
actress Koo Stark, probably better setting; auto winding; auto
known for her relationship with rewinding; auto program; auto
Prince Andrew. ‘One day, the focus; drop-proof; waterproof;
paparazzi turned up on my and one of the biggest challenges,
doorstep, training their zoom lenses red-eye-reduction.
on me like a firing squad. It went on The adverts were cheeky,
for years. In self-defence, I started irreverent and often topical,

‘The Japanese board didn’t always get the
intent of the British adverts, but they certainly
understood the impressive sales figures’
the kind that the satirical and Don McCullin. Not all the adverts
current affairs news magazine featured celebrities or cameras.
Private Eye used to employ on One advert for binoculars takes
their covers. Convicted financial the ‘ooh er missus’ approach
rogue trader Nick Leeson is promising dedicated ornithologists;
pictured in an advert for the ‘We won’t resort to cheap jokes
Olympus Superzoom 120 above the about birds, boobies and tits’
slogan, ‘Perfect for those that like to above a picture of Phalacrocorax
take long shots.’ A Princess Diana aristotelis, or to you and me, the
‘leg-a-like’ poses in a luxurious- European or common shag, a
looking chair; ‘Avoid getting your species of cormorant.
head chopped off by the in-laws Olympus is known for its
this Christmas’ is the quip for an innovative adverts. They offer an
Olympus AF-10 mini gift set. insight and rich archive into the
Alongside Bailey, there was a royal advertising and photography
rat pack of other photographers to culture of a time when celebrities
endorse Olympus: Patrick Lichfield, were nationally recognised
Barry Lategan, John Swannell and and copywriters were king.

MY OLYMPUS Rob is often
knee-deep in water,
so he needs gear
that he can trust
Olympus OM-D E-M1 Mk II,
M.Zuiko 300mm,
1/30sec at f/4.5, ISO 64
Rob Cottle
Rob Cottle is a wildlife and feathered-
friend photographer. He is a champion of
the ‘common species’, and his motto is
‘look after the wildlife and it will look
after you.’ To see more of his work, visit
www.robcottleimages.co.uk or
follow him on Instagram or Facebook
@robcottleimages.
‘THERE is something about the small but and the reduced weight and reliability of the kit
perfectly formed Olympus system that add a sense of trust and practicality. I don’t have
suits my ethos. I don’t want photography the biggest hands (hence why I can’t play piano
to be a chore, and my body is grateful for very well!) and I find my Olympus OM-D E-M1
the lightness of the kit. What’s more, the Mark II feels just right. For a large percentage
bonkers image stabilisation allows me to be of the time, my go-to lens is the gorgeous
mobile by ditching the tripod. An important Olympus M.Zuiko Digital ED 300mm F4 IS
Rob’s kit element that many seem to forget is that the PRO, and teamed with the Mark II it makes an
● Olympus OM-D E-M1 Mark II gear is also fun to use! Being predominantly amazing wildlife combination. I love the way
● Olympus M.Zuiko Digital ED a wildlife photographer, I often find myself this camera allows my story to be told, and helps
300mm F4 IS PRO knee-deep in water, or rolling around on rocks, me look for interesting ways to capture images.’
What Olympu Top pros and a selection of AP readers tell us what

I have the OM-D E-M5 Mark II, F4-5.6 II lens, I have a full still in good working order. I carried
and I love its small size and image telephoto range that’s good for that camera all over Europe and
stabilisation. I swapped from a most situations. It’s more than up many mountains. It shares
Sony A6300 and I prefer it. adequate for my social media a shelf with its grandson, my
Deborah Lambourne work, photos and videos. When I back-up camera, the OM-D
head off for a walk the Olympus E-M10 Mark III. I have never used
I’ve got quite a collection of film is the first thing in my backpack. any other make. I stopped using
cameras, but one of my favourites Keith Nield film last year as it has become too
© JOE STANTON
is the Olympus Pen EE-2, which expensive to process and print.

is a point-and-shoot half-frame I have been using an OM-D E-M1 Barry Haynes
camera. It takes effortless Mark II for over a year now. The
The Olympus OM-1n was the first beautiful pictures in portrait top features for me are the image My first ‘proper’ camera was an
camera I purchased. I take it to orientation, squeezing 48 frames quality from the lenses, the Olympus OM10, which I got when
90% of the places I go to. Recently out of a 24-frame film. It’s also computational photography I was around 18 or 19 years old
I took it to the Chernobyl Exclusion beautifully made and fits in my features that are unrivalled (IS, and in the RAF. It had the small
Zone (see www.stantography.co.uk). pocket – what’s not to like? pro capture, and in-camera focus adapter on the front so you could
It is such a well-made camera, so Edward T Ross stacking) and new firmware that set shutter speeds as well, and
simple to use, incredibly sturdy, and brings features from the latest I took it on many travels and
it just looks fantastic. So much so I have an Olympus OM-D E-M10 cameras that make it even better. adventures around the world.
that I got a tattoo of it on my arm Mark III, and I love this camera’s Dave Bowestead A few years later I bought an
to pay homage to the camera, compact size – it’s perfect for OM-2SP, but I never had the
and to Olympus! when I’m on long walks. Coupled I bought an OM-2n in the 1970s same love and affection for it as
Joe Stanton with an M.Zuiko ED 14-150mm when I traded in my OM-1, and it’s my beloved OM10. In the 1990s

Trevor travels the world MY OLYMPUS
photographing professional cycling
Olympus OM-D E-M1 Mark II,
M.Zuiko 40-150mm, 1/1000sec at f/3.2, ISO 400
Trevor Mould
Trevor Mould is the team photographer
for ONE Pro Cycling. To see more of his
work, visit www.mouldypix.com or
follow him on Twitter @MouldyPIX.
WHEN Trevor was a teenager in the 1970s, his another notable feature of the Olympus OM-D
best friend’s father lent him an Olympus OM-1, E-M1 Mark II is the image stabilisation. ‘The
and while he enjoyed using it he had no idea IS in the E-M1 allows me to fudge the rules of
that 40 years later he would be hanging out photography,’ he admits. ‘I can ignore the idea Trevor’s kit
of an Aston Martin clutching a mirrorless that your shutter speed should be double your ● 2 x Olympus OM-D E-M1
model – an Olympus OM-D E-M1 Mark II focal length, which is great when you’re Mark II bodies
– photographing riders for ONE Pro Cycling. wobbling around on your knees trying to get a ● Olympus PRO lenses ranging
The team travels overseas a lot and the low-angle shot.’ When composing pictures at from an M.Zuiko Digital ED
convenience of carrying two bodies and six awkward angles the flip-out screen is also pretty 8mm F1.8 Fisheye PRO to
lenses in a backpack as hand luggage is a huge handy. When it comes to lenses, Trevor uses M.Zuiko Digital ED 300mm
advantage. Aside from being light and compact, everything from a fisheye to a telephoto. F4 IS PRO telephoto
s means to me
they love about Olympus cameras past and present
I switched to Nikon DSLRs, but my way through a selection of film and I now have two OM-1s and two original Trips (one black, yes
about four years ago, I bought an stocks to see what I like the most. an OM-D E-M1. I know it’s the same camera but it
Olympus OM-D as it reminded Josh Kneller Paul Greenfield looks so good!); an RC; two PEN
me so much of a smaller (digital) half frames; and an original mju.
OM10. Roger Widdecombe I still have my OM-2n plus prime Back in the 1980s I had an They all have great lenses, work
lens, macro lens and ring flash, all Olympus OM-2SP; it went well, and look gorgeous!
I have my dad’s OM10, with the dating to the late 1970s. I have everywhere with me. It was small, Stu Nev
manual adapter (pictured below) also owned an OM-4Ti, which light and versatile with manual,
which I use regularly. Shooting film I loved. I have had several OM-D auto, full program and spot The Zuiko 135mm f/2.8 and
has slowed me down in general cameras and am considering metering. Sadly I part exchanged it 50mm f/1.4 are the best reasons
and made me think more about returning to Olympus mainly in the ’90s for a digital camera, to get my OM-1N out. Every click
composition. I’m gradually making because of weight problems with and I regretted the decision. In feels like an experience. Pat Murf
my present system. John Hingley recent years I have reintroduced
film and last year, I bought a used I have, and use, an Olympus Trip
My OM-1 and OM10 stand on OM-2SP to relive old memories. It 35. It’s a classic, and takes great
my shelf as reminders of happy works well and complements my pictures. I also own a 35RC
times, and I still use one of them. OM-D E-M1 nicely. Phil Jaworek rangefinder that really is the dog’s
Ilya Girnyk danglers! Matthew Ormston
Over the years, more by accident
I returned to film photography than design, I’ve built up a small I’ve been using my faithful OM10
a few years ago, purchasing an collection of Olympus film for ten years now. I use it with a
Olympus OM-1, after becoming a cameras: an OM-2 currently second-hand 135mm Zuiko lens.
fan of Jane Bown. Two years later loaded with Acros 100; an XA2; Johnny Wilson

EARLY ADVENTURES IN DIGITAL
This C-3030 is typical

of Olympus’s early
advanced compacts
The mju 720SW
was the first rugged
digital compact
Even now, few compacts

can match the XZ-2’s
excellent handling
From OM
Andy Westlake takes a look back at Olympus’s early digital offerings, from
I
n the second half of the first digital cameras appeared in the Wide Zoom of 2005, which by
1990s, Olympus devoted second half of 1996: the Camedia now had acquired such high-end
most of its attention to its D-200L and D-300L used the same features as raw-format recording,
popular compact cameras body, but the latter delivered 1024x an articulated LCD and a 28mm-
that used 35mm and APS film. 768px image files, compared to the equivalent wideangle zoom. But at
However, it also began to dabble D-200L’s 640x480 VGA resolution. around this time affordable DSLRs
in the nascent digital imaging Buoyed by a positive reception became a reality, and this kind of
technology that was just starting to these models, Olympus then advanced compact took a hiatus
to filter through to consumers. Its embarked on a journey of relentless from the market.
innovation, as it battled with the
other camera makers to exploit the Getting tough
possibilities of this exciting new The firm continued to make a vast
array of simpler compacts, with
Olympus C-2100UZ medium. In the late 1990s, it
produced a unique series of DSLRs resolution, zoom range and screen
ONE OF Olympus’s most successful early digital designs, this with small image sensors and size all steadily increasing. In 2006
took the C-2000 advanced-compact body and added an integrated zoom lenses, before Olympus took the next logical step
image-stabilised 38-380mm equivalent zoom, along with an stepping up a gear with the from its weatherproof mju models
eye-level electronic viewfinder. This was seriously impressive high-end E-10 in late 2000. The and introduced the world’s first
technology for 2000, and the ‘Uzi’, as it was affectionately following year’s 5MP E-20 was the ‘tough’ digital camera. The mju 720
known, became the last of this type, before the launch SW’s small, stylish metal body was
long-zoom camera of the Four Thirds SLR system in waterproof to 3m and drop-proof
to buy for wildlife 2003. At the other end of the scale, to 1.5m, and originated one of
enthusiasts. The a long-running range of basic Olympus’s most successful digital
‘ultra-zoom’ point-and-shoots was designed camera lines.
UZ range to resemble the firm’s mju-series With point-and-shoot and bridge
continued for film compacts. Sporting familiar cameras proliferating for the next
another 12 features such as a sliding lens couple of years, Olympus didn’t
years, while cover and weather-resistant make another enthusiast-focused
Olympus’s last construction, these finally adopted compact until 2011, with the XZ-1.
bridge-type the mju brand in 2003. Its 2012 follow-up, the XZ-2,
camera, the In the middle ground, Olympus was arguably the pinnacle of the
Stylus SP-100, catered for enthusiasts with a series small-sensor advanced compact,
sported a huge of boxy compact cameras that with a 28-112mm equivalent
24-1200mm offered short zoom lenses and full f/1.8-2.5 lens, tilting touchscreen
equivalent zoom manual control. These progressed and removable electronic
in 2014. from the 2MP, 3x zoom C-2000 of viewfinder. But the emergence of a
1999 through to the 7MP, 4x C-7070 new breed of 1in sensor compacts

EARLY ADVENTURES IN DIGITAL
Olympus’s first Four

Thirds DSLR: the E-1
From 2007, the

compact E-410 and
IS-equipped E-510
The final Four Thirds

DSLR, the high-end
to OM-D
E-5, launched in 2010
the late 1990s to the birth of the Micro Four Thirds system
saw Olympus withdraw from this Over the next couple of years a 12MP sensor into a rugged body
part of the market. Olympus fleshed out the Four with a large viewfinder and fully
Thirds line-up with additional articulated LCD. But even at this
The Four Thirds SLR system bodies and lenses, including the point it was becoming clear that the
At the Photokina trade show in world’s first f/2 zooms: the Zuiko more compact Micro Four Thirds
2002, Olympus and Kodak officially Digital ED 14-35mm f/2 and the system made more sense for the
announced a new standard for Zuiko Digital ED 35-100mm f/2. smaller format sensor. The Four
interchangeable-lens digital SLRs. In 2006, it released the world’s Thirds system was finally
Based around an image sensor smallest DSLR in the shape of the discontinued in 2017.
measuring 17.4x13mm and a new, E-400, which in some quarters
all-electronic lens mount, it aimed drew admiring comparisons with
to allow the development of lens the manual-focus 35mm OM series.
systems that would be smaller than
those for SLRs based on existing
This camera complemented its
simplified external controls with Olympus E-330
35mm film systems. Originally an onscreen ‘Super Control Panel’ IN 2006 Olympus achieved the notable feat of releasing
the concept was to create an open of the kind that’s now become the first DSLR that could show a ‘live view’ feed of the image
standard, but while Panasonic commonplace on modern cameras. captured by the lens on its tilting LCD screen – the principle
made some Four Thirds DSLRs and on which mirrorless cameras are based. The oddly shaped
lenses in partnership with Leica, Building towards mirrorless E-330 actually offered two switchable approaches, with
ultimately it felt like Olympus’s Around this time Olympus A mode employing a small CCD sensor within the viewfinder
system. Prototypes of the first implemented many other features light path. However B mode is far more significant because it
camera and lenses were shown in that are now included as standard used the main image
March 2003, and in June, Olympus on its Micro Four Thirds models. In sensor to give an
officially launched the E-1: its first 2007 the E-510 introduced sensor- accurate preview
interchangeable-lens DSLR. shift in-body stabilisation, and of the image to be
Physically, the E-1 bore a strong the next year, the E-30 debuted taken. Even in its
resemblance to the E-10/E-20 image-processing Art Filters. By the earliest iteration,
design, with a tall handgrip and a time the E-620 appeared in early it was clear that
viewfinder offset well to the other 2009, all the ingredients were in this gave a
side of the body. Both the camera place for the next big technological more accurate
and lenses were designed from shift. Four months later Olympus representation
the outset to be comprehensively announced its first mirrorless of composition,
weather-sealed, an advantage model: the PEN E-P1. focus and depth
maintained to this day by high-end There was still time for one last of field than the
Micro Four Thirds bodies. Indeed hurrah for the Four Thirds system, camera’s optical
the E-1’s ruggedness was legendary with the high-end E-5 in late 2010. viewfinder.
among Olympus users. Based on the E-3 of 2007, it placed

CURRENT TRENDS
The Micro Fo Andy Westlake takes a brief tour through

The current range
Olympus’s current Micro Four
Thirds lineup includes eight bodies
that are split between flat-bodied,
rangefinder-style PEN models and
SLR-shaped OM-Ds. Meanwhile,
24 lenses are available to suit every
need and budget, along with
assorted converters and a couple of
I
tiny manual-focus ‘body cap lenses’.
n August 2008, Olympus Micro Four Thirds has also been
and Panasonic jointly issued much more successful as an open
a dry, technical press release of a removable Olympus’s first standard than Four Thirds ever
outlining a new camera electronic mirrorless model, was. Users can mix and match
system that would use the image viewfinder. It the E-P1, and the between cameras and lenses from
sensor to provide a live view feed to also added the OM-D E-M5 Olympus and Panasonic, while
an electronic viewfinder, enabling entry-level E-PL strand, in line with
a slimmer, lighter camera body the prevailing view that mirrorless
compared to a DSLR. Shortly cameras were best seen as smaller,
afterwards, Panasonic released its simpler alternatives for novice
Lumix G1 – not just the first model photographers who disliked the bulk Olympus Tough TG-6
in this Micro Four Thirds system, and complexity of DSLRs. But early Olympus still makes a small range of rugged compact
but the world’s first mirrorless in 2012, it introduced a new model cameras under the Tough name. Its flagship is the TG-6,
interchangeable-lens camera. with a distinctly different design. which is designed to be waterproof to 15m depth,
Less than a year later Olympus The OM-D E-M5, as its name shockproof for falls of 2.1m, dustproof, freezeproof to -10°C,
revealed its first Micro Four Thirds suggests, deliberately harked back and crushproof. It sports a 25-100mm equivalent f/2-4.9
model, the PEN E-P1. In essence, to the iconic OM-series 35mm lens, with a range of advanced photography features
this repackaged the E-620 DSLR SLRs, with a central electronic including raw
into an attractive slimline metal viewfinder and a small, rugged, format recording.
body, whose design and styling was weather-sealed metal body. It was Meanwhile, the
strongly influenced by the classic one of the first cameras that proved Tough TG
Pen F half-frame SLR. Together enthusiast photographers would Tracker
these two cameras marked a new buy mirrorless models that were provides similar
era in photographic technology. both small and highly capable, and robustness in
For the next few years Olympus its hugely influential design an action-
progressively developed the PEN changed the direction not just of camera format.
line, improving the speed and Olympus’s own line-up, but also of
operability and providing the option mirrorless cameras as a whole.

CURRENT TRENDS
ur Thirds era
Olympus’s current camera and lens lineup
third-party support includes frames per second, alongside a host
autofocus lenses from Sigma and of other advanced features. At the
manual-focus lenses from the likes top of the range, the E-M1X is
of Voigtländer, Samyang and optimised for shooting sports and
Laowa. Overall there’s something wildlife with long telephoto lenses,
for everyone, from beginners and and features a unique artificial
enthusiasts to professionals. intelligence-based subject detection
Olympus cameras are particularly autofocus system.
noted for their well-designed bodies These camera bodies are backed
with tactile controls, excellent up by a comprehensive lens lineup
colour rendition and highly effective that encompasses focal lengths
Try out an Olympus

in-body image stabilisation that from 7mm to 300mm (equivalent to
works with any lens. The range 14mm to 600mm in 35mm terms).
offers a broad choice of style and Entry-level users are well provided
complexity, from the entry-level for by lightweight, high-quality Fancy finding out whether Olympus’s
PEN E-PL8 and E-PL9 through to zooms, and some lovely small, Micro Four Thirds system cameras
the highly sophisticated OM-D bright primes. For enthusiasts and might be for you? Olympus UK’s ‘Test
E-M1X. The E-PL models are very professionals, Olympus’s PRO range and Wow’ scheme allows
much direct descendants of the boasts high-end optics and tough, photographers to borrow selected
original E-P1, with no space in their weather-sealed construction, and cameras and lenses for 24 hours,
small, flat bodies for an integrated includes a trio each of f/2.8 zooms With its stylish
absolutely free: visit wow.olympus.eu
electronic viewfinder. So enthusiast and f/1.2 primes. Other highlights flat-bodied to arrange a loan. Meanwhile,
photographers are more likely to include the superb 75mm f/1.8 design, the professional photographers interested
gravitate in the first instance portrait lens, and the weather- PEN-F harks in downsizing their kit bags can request
towards the SLR-styled E-M10 sealed 60mm f/2.8 macro. back to classic a two-week trial at www.olympus-
Mark II, or the updated Mark III. Most importantly, film cameras imagespace.co.uk/test-drive.
The next step up is the mid-range Olympus has stuck with Olympus UK also offers a wide
E-M5 Mark II, which adds a larger its long-running range of events spread around
viewfinder and a fully articulated philosophy of the country that provide
screen, along with robust, weather- providing small, unusual photographic
sealed construction. Alongside it in advanced cameras opportunities along with
the range is the gorgeous PEN-F, a complemented by the chance to learn more
flat-bodied design with a corner- excellent optics. about how to use your kit.
mounted EVF, and an emphasis on Looking at the quality See www.olympus-
encouraging in-camera pictorial and depth of its current imagespace.co.uk/
creativity. Above it the E-M1 Mark models, I suspect whats-on/ for full details
II offers sophisticated autofocus and Yoshihisa Maitani would of upcoming events.
rapid continuous shooting up to 60 have approved.
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FROM HEAVY GEAR

and keep guide

Camera history • Classic Olympus ads • Owners’ tributes

Pictures of PowerMaestrocontest winners • Benro Smartphone gimbal tested

“THE QUALITY OF LIGHT IS PERFECT FOR

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NEO 2 SALE OFFER

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Camera history • Classic Olympus ads • Owners’ tributes

No company has dedicated as its centenary. We also reﬂect on the dazzling

PicturesofPowerMaestrocontest winners • Benro Smartphone gimbal tested

Leica’s ‘brass’ act

World Photography Awards jury conﬁrmed

Canon mirrorless ﬁrmware updates

Film scanner option

device that keeps film

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solitude. Her images, with their crashing

Vivian Maier US street photographer (1926-2009)

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Trade, upgrade or get paid with MPB.

Pop-up flash Touch buttons

£849 body only

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Laetitia Casta, Paris – evocative of portraits

‘Instead of Bergman and

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MYLDN: A Street View of

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Cut off 2 Wear sensible

5 Take your time

Claire Russell A few weeks later I tried to copy over to

I had to make a choice between me or my

Filter crunch Smelly fish

Puffin wee one-hour journey back to

The stinger Sometimes you

LindaUllathorne even if you’re

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Fresh cow pat

New camera embarrassing hauling my tripod and

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Storm Emma David Clapp

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Head of Market Liz Reid

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ALL PICTURES ON PAGE 29 © STEVE FIELD

“Grays of Westminster rightly claims a place in