The world’s best compact gets a 43mm lens variant. Andy Westlake is smitten
7days
The joy of photography is that you never stop learning, so in this issue, we explore why it’s a great idea to consider signing up for a photography tour or workshop. Technique editor Hollie talks to professional and amateur photographers, discussing how workshops can take your photography to the next level. Talking about boosting your photography, technical editor Andy Westlake also reveals why the Leica Q3 43 is such a fabulous premium compact (if budget allows). Other highlights include a powerful Carmignac documentary project on life under the Taliban, and a reveal of the realities of modern-day food production. Dont forget to vote in our People’s Choice Awards too – see page 6 for the details.
Geoff Harris, Dep. Editor
Despite the popularity of its predecessor, the demand for the X100VI was impossible to predict, says Fujifilm’s Theo
Fujifilm looks back on a big year
NONE of the camera makers has been exactly idle in 2024 but it’s been a particularly big year for Fujifilm. The announcement of the X100VI premium compact generated huge demand in February, and Fujifilm also announced the entry-level X-M5, the mid-range X-T50 and the GFX100S II medium format camera. AP editor Nigel Atherton recently caught up with Fujifilm UK managing director, Theo Georgiades, for a revealing and insightful interview. Read on for highlights – the full version will also be available on our website, amateurphotographer.com.
Changing market
‘Our focus is now more on people getting into photography for the first time, not necessarily younger people,’ Theo explained. ‘Technology has moved on, so they want hybrid stills/ video cameras, or more versatility with the screen. A decade ago, people were more than happy to sit at their computer making adjustments, but nowadays it’s more about instant gratification, great picture quality straight from the camera. This also explains the popularity of our film simulations – our job is now to educate people so they realise the simulations don’t just come with the best-selling X100VI!’
Theo also has some interesting observations about the relationship between cameras and smartphones. ‘When people hear I work for Fujifilm, they say “ah, I thought phones had killed cameras.” I reply, “no, if anything, smartphones have inspired people to get more interested in photography.” We may not be selling as many cameras, but the value is definitely there, and it’s become more about quality than quantity. I also
believe people now increasingly want dedicated devices, rather than just using phones for everything. I recently bought a digital notepad for example and it’s great! Design is big too: people love cool-looking cameras like the X100, and adding lots of accessories.’
Meeting demand for the X100VI
Something else that’s changed is lens-buying behaviour, claims Theo. ‘The smartphone generation are more than happy with one or two lenses. We no longer tend to see such a spike in lens sales when a new camera is released – people aren’t chopping in four lenses to buy four new ones, for example.’
Despite a highly competitive market, Fujifilm is now number three in the UK market by sales value, according to Theo, behind Canon and Sony. ‘The success of the GFX medium format range, and, of course, the X100VI has really helped. The waiting list for the X100VI has come down and you only need to wait a couple of months to get one.’ He pushes back on accusations that Fujifilm somehow underestimated demand. ‘Nobody could have predicted how it would take off and you can’t just double or triple supply like turning a tap on.’ Theo wouldn’t be drawn on whether Fujifilm is planning to release a dedicated analogue camera or open another House of Photography in the UK – ‘but in this industry I have learned to never say never!’ he added.
Packing a punch
SPORTS photography tends to follow a similar style of capture, especially when taken for news or advertising purposes, but it doesn’t have to be that way – as this creative image by Ray Demski reveals. It’s part of Sporting the Unexpected, a series of images commissioned by Nikon to show the capabilities of its latest flagship mirrorless camera, the Nikon Z6III. Ray shot the boxer in an underground cave in Germany. Other sports photographers taking part included Anouk Flesch, Dani KM and Little Shao. You can read our full review of the Nikon Z6III at bit.ly/z6IIIap
HAVE you been really impressed by a new camera, lens or accessory in the past 12 months? Received truly great service from a camera retailer, or been inspired by an exhibition, book or photography vlogger? Now’s your chance to give both kit and people the recognition they deserve in The Amateur Photographer People’s Choice Awards. You’ve got until 11:59pm GMT on 19 January 2025 to vote via a straightforward online form, and the winners will be announced at our glittering awards ceremony in London on Monday 10 March. See bit.ly/APpublicvote
ViewSonic award winners
ColorPro Awards: The winning still image
TAIWAN-based display maker ViewSonic, has announced the winners of its latest 5th ColorPro Awards, with the theme this year being ‘Momentum.’ The prize for the top stills photograph went to ‘Wormhole,’ Benjamin Yavar’s amazing capture of a diver in Chile, encircled by a school of fish. The video first prize went to US creative Sergoxo for Essence of Colors, a reflective piece that captures the artistic journey of self-discovery. You can view the full list of winners at bit.ly/viewsonic2024winners
Remembering a young life in photography
WE ARE very sad to report the death of Liz Hatton, 17, who bonded with the Princess of Wales through a shared passion for photography. Liz succumbed to cancer at her home in Harrogate on 27 November, less than a year after being diagnosed.
She came to the attention of the Prince and Princess of Wales after drawing up a bucket list, and was subsequently invited to shoot the investiture of cycling legend Sir Mark Cavendish at Windsor Castle. Liz was then asked to tea with the couple and talked with Catherine about their love of photography. As a result of the widely
publicised meeting, Liz fulfilled most of her bucket list, including shooting a movie premiere in London, and her work was exhibited in the week before her death. ‘As I walked around looking at her pictures, thinking of the circumstances many were taken under, I was more in awe of her than ever,’ Liz’s mother, Vicky Robayna, wrote on social media.
Vicky has now set up a Just Giving page to donate to Desmoplastic Small Round Cell Tumour Research in memory of her brave and talented daughter, and we urge all AP readers to contribute –see www.justgiving.com/crowdfunding/ vicky-robayna
Calling all students
MAJOR photo printing specialist CEWE has announced that its Student Photography Award is now open for entries. UK students aged 16 and above are invited to submit photos that celebrate the Earth’s beauty, so there are plenty of creative possibilities.
Each entrant can submit up to 100 pictures across 10 categories, which include close-up and macro, nature and wildlife, animals and landscapes, as well as food and street. The first prize includes a solo exhibition with mentoring from CEWE, along with work experience with the company’s Photo Team in Germany. The winner will also receive a Fujifilm X-T30 II camera with accessories and be featured in a subsequent exhibition.
The closing date is 31 January 2025, and winners will be announced at the Photography & Video Show, which takes place at the London Excel from 8-11 March 2025. For full details and to enter, see bit.ly/cewestudentaward
Don’t miss our videos for the latest kit, tutorials, behind the scenes tours and exclusive interviews with top photographers SOME RECENT VIDEOS
To find our channel simply point your smartphone camera at this QR code or type our name into Google: YouTube/AmateurPhotographerTV
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CEWE’s UK student award
Liz working alongside press photographers during the UK Premiere of Venom: The Last Dance at the BFI IMAX cinema in October
Mic up 4 people with
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Feed the Planet: A Photographic Journey to the World’s Food
An important look at where our food comes from, from one
of
the world’s best photographers, says Amy Davies
We tend to take for granted the food that appears on our plate. A humdrum trip around the supermarket doesn’t tend to reveal too much about the origins of what keeps us all alive.
This is a book that can change all that, giving us an eye-opening look at exactly what goes on behind the scenes in this all-important industry. It’s not only fascinating, but it might just make you think twice about what you’re plating up, too.
To find out exactly where our food originates, the photographer George Steinmetz spent a decade documenting food production in more than 36 countries across six continents, 24 US states and five oceans. The results are a book full of striking aerial images, to show us the massive scale of 21st-century agriculture which is estimated to account for 40% of the Earth’s surface.
We get a look at staples like wheat and rice, how vegetables and fruits are cultivated,
fishing and meat production too. He also takes a look at traditional farming across an array of cultures, as well as examining the big businesses that feed into global trade.
Most of us will never get to see this kind of thing, yet we live in a world where environmental concerns and population growth make daily news. The photographs are fascinating, but they’re also important and give us real pause – this is one of those books that really demonstrates the power of photography to highlight crucial issues.
As well as the photography, there’s also very informative text by the journalist Joel K Bourne Jr, an experienced environmental writer, as well as an introduction by Michal Pollan. If you’re looking to understand more about how we can sustainably bring food to the population, then this is the book for you.
Raised fields of farmland line the banks of Rio Coata, Peru
A Very Vintage Christmas: Photographs 1890-1980
£18.95, Hoxton Mini Press, hardback, 144 pages, ISBN: 9781914314797
If you’re looking for a stockingfiller gift, or just fancy a treat yourself, this latest sweet little book from Hoxton Mini Press could be just the ticket.
Celebrating the traditions and events around the Christmas period with a range of archival imagery, this cute book is enough to get you feeling all nostalgic and gooey inside.
There are pictures here from all over the world, with Santas, shopping, stockings and more besides all being very familiar sights. I particularly like the British shots, including a very loaded-up trolley being pushed around Tesco by a woman in 1972 –nothing much changes really, does it?
There are also some more poignant shots, such as toys being prepared for children who have been displaced by World War II (see below), or Santa Claus at a YMCA crisis centre.
All in all, this is a great treat to snuggle up with, and if you’re struggling to buy a gift for the photographer who has everything, it’s certainly worth considering.
£45, Thames and Hudson, hardback, 172 pages, ISBN: 9780500027752
A companion piece to the acclaimed American Geography by the same photographer, this is an interesting look at travel and documentary photography by the revered Magnum photographer.
There’s a huge collection of ‘stuff’ here, from plastic forks to lottery tickets to lighters and matchbooks. Some of the items discovered were of great importance – driver’s licences, medical paperwork and so on, while others were clearly of sentimental worth, such as family photographs, and costume jewellery.
Mendota, California. 2018. Fork
American Geography charted Black’s six-year journey across the United States. This book showcases the collected objects he picked up along the way. Each of the locations he chose for the project is designated as an area of ‘concentrated poverty’ – that which the US Census shows has poverty rates of at least 20%.
As such, the objects collected in these places took on a symbolic significance.
An Eye for Couture: A Collector’s
of 20th Century
£65, Prestel, 306 pages, hardback,
ISBN: 9783791377636
Other objects show us the detritus of labour – work gloves, broken tools, padlocks and so on. Put all of these objects together and you get an interesting look at what makes up the state of a nation, particularly in vulnerable locations. This is an unflinching look at inequality in such a powerful nation.
Whether or not you have or haven’t seen American Geography, this makes for a fascinating study in itself. And the photographs are shot beautifully, too –despite the mundanity of the subject.
We’ve all seen probably hundreds of thousands of images of the US, but this is a humbling and intriguing set.
The worlds of fashion and photography of course often go hand in hand.
In this book, we get a closer look at a stunning collection of 20th-century haute couture and fashion, built up over a period of 35 years by Francesco Galloway, a world’s leading art dealer.
The photographs in this book show off the stunning garments, being a collaboration between a fashion photographer, set designer and a costumer conservator / dresser. Some of the biggest names in couture are featured here, including Paul Poiret,
Middle: Hubert de Givenchy Evening gown, Spring/Summer 1963
Cristóbal Balcenciaga, Christian Dior and Paco Rabanne.
I particularly love the close-ups of the intricate stitching details, as well as the pull-out pages which show off different viewpoints of the garments.
On top of all that, there’s also some archival photography from the likes of Cecil Beaton, as well as magazine covers of top fashion magazines from the ’50s and ’60s to enjoy, too.
This is a weighty tome, and it’s one that is likely to be treasured by anyone with a special interest in fashion and couture. At this time of year it’d make for an excellent gift, too.
El Paso, Texas. Discarded cigarette pack
Gloves collected by photographer Matt Black during his six-year journey across the United States
Far left: Jean Patou Evening gown, Autumn 1936
Land No
Woman’s
Since the Taliban took over in Afghanistan, rights for women and girls have been continually eroded. The winners of the Carmignac Photojournalism Award have put together a special report looking at conditions in the country. Amy Davies spoke to them to find out more
The 14th edition of the annual Carmignac Photojournalism Award, a grant worth up to €50,000, was dedicated to the plight of women and girls living in Afghanistan following the return of the Taliban to power in 2021.
A proposal by duo Kiana Hayeri, a Canadian-Iranian photojournalist and Mélissa Cornet, a French researcher, was accepted by the Fondation Carmignac and the pair worked on the resulting ‘No Woman’s Land’ project over a course of six months.
During that time, Kiana and Mélissa visited seven provinces in Afghanistan to see how woman and girls were being treated by the Taliban. According to research by Amnesty International, conditions could constitute a crime against humanity of gender-based persecution. The pair met more than 100 women and girls, who have been barred from going to school, forced to stay at home, as well as women journalists and activists who are fighting for rights, plus LGBTQI+ individuals. In their reportage, we see how the Taliban has sought to systematically erase women from society by removing their most basic rights, including visiting parks. As recently as August, a new law from the Taliban required women to cover their faces and prohibited them from speaking in public.
Both Kiana and Mélissa have previously spent time living and working in Afghanistan and have noticed huge changes, the starkest of which is the loss of hope among women, who previously might have had dreams of receiving an education and functioning as normal members of society. Different media was used to document this highly sensitive situation, including photographs, sketches and videos. There was also art created collaboratively with Afghan teenage girls.
The work is being displayed in a variety of locations, and the team is also working on an interactive website, as well as book of the project to be released in the future. Fresh from a successful exhibition of the work at Paris Photo in November, I was lucky enough to speak to Kiana and Mélissa about their work, and the importance of getting this vital story out there.
Left: Kabul, Kabul, Afghanistan, February 3, 2024. Girls playing in the snow in western Kabul behind an apartment block, off the main road. Since the takeover, women and girls’ rights to move without a male chaperon or to go to parks have been curtailed, and very few opportunities to find joy in their daily lives remain. A snowstorm in a quiet neighbourhood of Kabul western suburb offered such a chance for an hour of playing together. Even then, an eye is always kept on the surroundings, looking for a sign of a Taliban patrol.
AP: Can you tell me about your decision to apply for the Carmignac Award?
Mélissa Cornet (MC): The prize isn’t for work that’s already done, it’s a grant for new work. Last year, the theme was women’s rights in Afghanistan, so that’s why Kiana and I decided to apply together for it. And then thanks to the grant, we could do the work. Kiana had been working in Afghanistan for ten years, me for seven – Kiana as a photographer, me as a researcher on women’s rights. It made a lot of sense because the skills are very complementary. I came more with the research, writing, NGO/humanitarian side and Kiana also had a decade of experience photographing Afghan women and girls. So it just made a lot of sense to apply together for the grants. We already knew each other and have been friends since I moved to Afghanistan in 2018.
AP: As foreigners, are you subject to the same laws, rules and conditions as the Afghan people?
Kiana Hayeri (KH): A lot has changed since the Taliban has taken
Above: Jalal Abad, Nangarhar, Afghanistan, February 12, 2024. A family, recently deported out of Pakistan, has temporarily settled in the suburban neighbourhood of Jalal Abad in eastern Afghanistan. Hundreds of thousands of Afghans have been forced out of Pakistan following the ongoing crackdown on illegal foreigners, some of which after decades of living in Pakistan. Women and girls are the most affected by the consequences of forced displacement, with for example high rates of child marriage.
over. Just to be clear, both of us moved out of Afghanistan in 2022-2023. So by the time we started this project, home for us is another place. But as foreigners at the beginning, we definitely had almost carte blanche. We could do most things we wanted to do, but that changed, even within our trips. Our first trip for this project was in February (2024), and we ended it in June. And while as a foreign woman there were things that we could do on our first trip, we couldn’t do them on the second trip. We actually tried to get into parks for example. But by that time they were very strict on no woman is allowed, no matter where you come from, that has changed. I would still argue that we do things that an Afghan woman is not able to and I think there is also a fine balance. I’m Iranian, and as an Iranian they assume you’re Muslim, so you have to obey certain things. So, there were times where I had to hide my Iranian identity too in order to be able to do the usual things and get to places we need to be. So that has changed, but we still always have privileges that Afghan women don’t.
AP: Were the women and girls that you met quite open to talk with you, or were they reluctant or scared?
MC: It really depended. We were always very honest about the work we were doing and how it would be used. Some refused to participate for security reasons. Some agreed to talk with us, but only if the photos taken would not be identifiable, so we would change the name or not disclose the precise location and a lot of the portraits, you know, you see only a silhouette, or the face is covered. There were different degrees of how they wanted to be involved in the project in a way with which they would feel comfortable.
AP: Did you have any problems with anything such as
censorship, or getting the work out of the country?
MC: No, it was fine. We had kind of protocols in place that we had worked on before we moved into the country in terms of how we’re storing the data. For each photo, I would do an interview and then store my notes safely. Kiana would do the same with the photos. So first like, you know, the name and contacts and the photo and the data would all be stored separately. But more importantly, we were not on the Taliban’s radar enough that they would even look into what we were doing. We find ways to travel with NGOs, for example, so they were not suspicious enough to try to find out what we’re doing, so we always try to be as low profile as possible for
our security, the security of the women and also of the data.
AP: Since the work has been published, has there been any kind of comeback?
KH: No, but it’s too early to know. It’s still way too early. There has been an incident, I will say, at the exhibition space that has got us thinking. I am supposed to go back to Afghanistan in the next couple of weeks, and the incident is significant enough that I need to know more before I make that decision whether to still go. But it’s still too early. There hasn’t been any direct message coming back to us or to those women that we were in touch with, nobody has had any issues. But we were also extremely careful
Right: Yamit District, Badakhshan, Afghanistan, May 10, 2024. Kheshroo’s daughter and her cousin, both grade 11 students who were put out of school, committed suicide a year before by throwing themselves in the water. The family plays in puddles of water, among troops of yaks, horses and goats, in front of the Wakhan mountains, Wakhan, a region that had never been controlled by the Taliban before 2021.
Left: Gardi, Ghos district, Nangarhar, Afghanistan, February 13, 2024. In the absence of school buildings in Gardi Ghos District, classes are set up for students, between two main roads under the sun and on dirt ground. While boys can complete their education all the way to grade 12, classes were held for girls only until grade 6. As of today, girls are only allowed to study until grade 6, and are barred from both high schools and universities. In some districts, locally decided by authorities, girls are barred from school above grade 3. However underground schools set up at homes, mosques or alternative spaces continue educating girls, at a high risk.
when it came to delivering the work and showing it.
Even when the Carmignac Foundation was putting the videos together, we had to stop and think, if we put this in, is it going to be a problem? Maybe not today, but in six months, because once it’s out it’s out. And so there has been a lot of thinking and reflection with Mélissa on this.
AP: In terms of photography, how does being discreet and so on affect how you shoot? KH: It’s very different now, it’s not how I photographed Afghanistan before the Taliban took over. Even a year before we started this project, I did a similar project for the New York Times, talking to a lot of women across Afghanistan, even back then was very different. And by this time it’s just the speed, how things have changed on the Taliban’s end. We have to think ahead like we have to think about six months from now. That and also how we get around the city, like it needs to
be a quick in and out. We can’t meet people, or meet women outside any more because there’s almost no space left to meet the women safely. We have to visit them or they have to come to our place, so there’s a lot of calculation into that. If we go into their houses, do the neighbours see us, is that going to be a problem for them? Are they going to report back to the Taliban? If they come and visit us, our apartment building has CCTV. So we have to think like, if Taliban shows up at the door, they ask to see the CCTV, what are they going to see? So there’s a lot of calculation. In terms of kit, I still use the same camera. I’ve always shot on a Nikon D850 and I still do. I also carry two strobe lights and a tripod occasionally. But I couldn’t take a light stand with me this time because then that would make my bag look bigger and not very discreet.
MC: But also, because the photos were taken inside the space, then we could take our time and there
wasn’t a need to have a small camera. Or, we were working under the cover of an NGO, so we had a letter saying we’re allowed to be in this woman’s market taking photos, for example. It was more like hiding in plain sight.
AP: How much of a collaboration with the subjects is it? Is it documentary/ reportage, or is it more posed portraiture that you were aiming for?
KH: It’s a lot of portraiture. When we were dealing with cases that were sensitive, I made sure the girls saw the photos and approved them one by one and not even on a mobile phone, but on a bigger screen. I put up my camera and made sure they look at it and they’re okay with it. And then in case of portraits on the scene, I will turn the camera to make sure they’re okay with how they were being photographed.
AP: Can you tell me a little more about how the
Kiana Hayeri grew up in Tehran, Iran, before moving to Toronto as a teenager. In 2014 she moved to Kabul, Afghanistan, and stayed for eight years. Her work concentrates on complex topics including migration, adolescence, identity and sexuality in conflict-ridden societies. Among other accolades, she has won the Tim Hetherington Visionary Award, the Robert Capa Gold Medal Award and the Leica Oskar Barnack Award. She has also been shortlisted for the Pulitzer Prize and is a regular contributor to The New York Times and National Geographic. See kianahayeri.com for more details.
Mélissa Cornet is a women’s rights researcher who lived and worked in Afghanistan from January 2018 until after the fall of Kabul. She is currently based in Istanbul, Turkey, and has been cited as an expert on women’s rights across a number of esteemed outlets including The Guardian, BBC and The Times. She has also been a guest speaker for events at the House of Commons and at the US Institute of Peace. See melissacornet.org for more.
Carmignac Foundation supports the work?
MC: As part of the prize, we got a grant of up to €50,000 and we had six months to produce a reportage. We were also offered help on any contact, connection or security that that we would require after the reportage was completed.
We are now in the phase where they’re helping us publish and push the work out. They’ve been doing a very good job at that. The exhibition was a great success, and the Foundation also helps us connect to the media for example, so that we can publish the work as
much as possible. Now we are also working with their support on an interactive website so that anyone can access the work and also making the work travel. In December the photos are going to La Hague for the Conference of the State Parties to the International Criminal Court because we’re working with Amnesty International on the whole situation of Afghan women.
AP: How important is it to get the stories of these women out there?
MC: Whatever way we can bring the voices of the women we met out is
super-important to us in any way, shape or form. Whether it’s online, in an exhibition or on a website. I think we’re both very realistic about the potential impact, you know, like it’s great to document and push it out, but it’s not like states and governments are going to suddenly decide to shift their policies toward Afghanistan. It’s still very important for us to continue pushing as much as we can and also making sure we can document as much as possible also for the future, whether it’s for when the situation changes there, or even potentially for future cases.
About the Carmignac Photojournalism Award
Created in 2009 by Edouard Carmignac, the Carmignac Photojournalism Award supports photographers in the field. Each year, it funds the production of an investigative photo reportage on human
Left: Saydabad District, Wardak, Afghanistan, February 22, 2024. Saira, 50, poses in her home in front of the banners her sons obtained after graduating from madrassas in Pakistan. On the other wall, the large white flag of the Islamic Emirate of Afghanistan is attached. The province where she lives, Wardak, was very affected by the conflict. ‘People might have thought my sons are Talibs, so we used to fold these posters as pillows and sleep on them. Now they’re on the walls. I’m very proud of them. Life after conflict is peaceful. In the past, we were running, our lives were running, but now we’re calm, and peaceful, and quiet. I’m relaxed now, I can sleep peacefully at night. That’s enough fighting. Now, we’re very happy.’
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Testbench CAMERA TEST
At a glance
£5,900
l 60.3MP full-frame sensor
l 43mm f/2 optically stabilised lens
l ISO 50-100,000
l Up to 15fps shooting
l 5.76m-dot, 0.76x viewfinder
l 3in, 1.84m-dot tilting screen
l 8K 30p; 4K 60p; Full HD 120p video
Leica Q3 43
The best compact camera in the world gets a new lens with a ‘perfect normal’ focal length. Andy Westlake tries it out
Metering Spot, Centre-weighted, Highlightweighted, Multi
Exposure compensation +/-3 EV in 0.3 EV steps
Continuous shooting Up to 15fps
Screen 3-in, 1.84m-dot tilting touchscreen
Viewfinder 5.76m-dot, 0.76x, 60/120 fps
AF points 315
Video 8K 30p; 4K 60p; Full HD 120p
External mic USB-C
Memory card UHS-II SD
Power BP-SCL6 Li-ion
Battery life 350 shots
Dimensions
Weight 793g
Leica’s Q series cameras stand apart as the only fixed-lens full-frame models on the market. When the original Leica Q appeared in 2015, it was deliberately styled to resemble the firm’s iconic M-series rangefinders, complete with traditional control dials and rounded ends. In 2019 and 2023, the Q2 and Q3 brought successively higher resolutions and updated features, while employing the same 28mm f/1.7 lens. Now the firm has decided to mix things up with a variant that sports a brand-new 43mm f/2 lens – the Leica Q3 43.
At this point, many readers will surely be wondering about the rationale behind that oddsounding focal length. Why not something more familiar, like 35mm or 50mm? But the idea is that 43mm is equal to the diagonal of the sensor, and lenses of this ilk bring a
particularly natural-looking perspective to your images. Many photographers – myself included – prefer lenses in the 40-45mm region to either 35mm or 50mm. This isn’t a new idea, by any means. Plenty of 35mm film rangefinders from the 1960s and 1970s used similar focal lengths; most obviously, the compact M-mount Leica CL came with a 40mm f/2 lens. The same was true with fixed-lens cameras; for example, the Canonet QL19 and Olympus 35SP had 45mm f/1.9 and 42mm f/1.7 optics, respectively. What is for sure, though, is that the 43mm lens is going to work
Leica has fitted the Q3 43 with an absolutely superb new lens Leica Q3 43, 1/320sec at f/8, ISO 100
best for different kinds of photography than a 28mm. As a result, the Q3 43 should be better suited to subjects such as environmental portraiture, street shooting, and general family photography. But the original Q3 would arguably be the better choice for landscapes, travel photography, or cityscapes.
Given its £5,900 price tag, the Q3 43 is pretty much one-of-akind on the market. Perhaps the closest alternative is the Ricoh GR IIIx (£1,100), which pairs a 24MP APS-C sensor with a 40mm equivalent f/2.8 lens, and is itself a derivative of a 28mm (equivalent) design. But this
offers a very different shooting experience, as it has a fixed screen and no viewfinder.
There’s also the Fujifilm X100VI (£1,600), with its 40MP APS-C sensor and 35mm equivalent f/2 lens. But it’s so absurdly in-demand that you’ll struggle to find one. I guess most potential buyers will actually be deciding between the two Q3 models, so which one should you get?
Features
Obviously the most interesting new feature of the Q3 43 is its lens. Labelled APO-Summicron 1:2/43 ASPH, this employs 11 elements in 8 groups, including 7
aspherical surfaces for crossframe sharpness. That APO designation is particularly important, as it indicates that colour fringing due to chromatic aberration should be suppressed almost completely.
In the lens’s standard configuration, the minimum focus distance is 60cm, but twisting a dial on the barrel to the Macro position brings this down to 27cm. Optical image stabilisation is built in, which cleverly includes an Auto mode where it’s only enabled at slower shutter speeds when it’s needed. As on the Q3, there’s a thread for 49mm filters. Physically, the new lens is 5mm
longer than before, which also brings a slight increase in the camera’s overall weight to 772g. But Leica has compensated for this by making the screw-in rectangular hood shorter, so the Q3 43 should fit into all the same size bags.
Aside from the lens, though, the Q3 43 is essentially the same camera as its wider-angle stablemate. It’s built around the same excellent 60MP full-frame BSI-CMOS sensor, which includes phase detection elements for autofocus. Handily, you don’t have to shoot in full resolution all the time, but can also record both JPEG and raw
Testbench CAMERA TEST
files at either 36MP or 18MP, when you don’t need such huge levels of detail and would rather save on card space.
In concert with the Maestro IV processor, the sensor offers a standard sensitivity range of ISO 100-100,000, plus a ‘pulled’ ISO 50 setting. It also enables continuous shooting at up to 4 frames per second with continuous AF, and 15 frames per second with focus fixed, with a buffer of at least 63 shots in raw. Subject recognition is included for people and animals.
Shutter speeds are available from 120sec to 1/2000sec using the in-lens mechanical shutter, extending to 1/16,000sec with the electronic shutter. For long exposures, you get a handy ‘T’ mode, which is far more convenient than the usual Bulb option; one press of the button starts the exposure, and then a second ends it.
Leica also exploits the 60MP sensor to offer a genuinely useful Digital Zoom that crops into the image to match familiar focal lengths. The image area is indicated by a frameline in the viewfinder, with the camera saving both a cropped JPEG and full-size raw file alongside (with the crop embedded into its metadata).
You get 60mm, 75mm, 90mm, 120mm and 150mm options giving 31MP, 20MP, 14MP, 8MP and 5MP files, respectively.
Other useful features include an intelligent Dynamic Range (iDR) option, which boosts JPEG shadow detail in high-contrast situations. There’s also a Perspective Control option which can automatically correct converging verticals in JPEG files, but that’s perhaps more useful on the original 28mm Q3.
When it comes to video, the Q3 43 supports 8K recording at 30fps, 4K at 60fps, or Full HD at 120fps. Leica has included an HDMI output for connecting an external monitor or recorder and a USB-C port for power. Other advanced video features include ProRes recording, Leica’s L-log profile, and LUT compatibility. Unfortunately, there’s no microphone socket for higherquality sound, but Leica says you can connect certain RODE microphones to the USB-C port. When it comes to wireless connectivity, both Bluetooth and Wi-Fi are built-in for use with the Leica Fotos app for Android and iOS. This is unusually easy to set up, at least with an iPhone, ironically by the simple expedient of wiring the two devices together
via a USB-C cable. The app can also be used with a wired connection for faster transfer speeds and a more reliable connection.
Leica Fotos provides full remote control over the camera and allows both images and videos to be copied to your phone for sharing. It also provides access to ‘Leica Looks’, which are additional colour profiles that are more stylised and interesting than those built into the camera. At the time of writing, seven different options are available. However, there’s only space to store six of them on the camera at any given time.
Build and handling
Externally, the Q3 43 looks almost exactly like the 28mm version, with the most visible difference being that the body covering is grey rather than black. Of course the lens markings have changed too, and there’s no f/1.7 position on the aperture ring. On closer inspection, the section of the lens barrel that’s immediately adjacent to the body is longer, too. But otherwise, the body design and control layout are essentially identical.
This isn’t a small camera, though, by any means. At 13x8x 9.8cm and 793g, it’s considerably bulkier than its
At ISO 3200, the sensor still delivers strong colour and plenty of detail
Face detection autofocus works reliably, and it’s easy to select between possible subjects
Leica Q3 43, 1/250sec at f/2, ISO 100
Leica Q3 43, 1/80sec at f/2, ISO 3200
APS-C counterparts, and similar in size and weight to the Sony Alpha A7CR fitted with a 40mm f/2.5 lens. But it still feels surprisingly comfortable and secure in your hands, thanks to the signature curved ends. Needless to say, build quality is exemplary, with a robust all-metal body shell that includes weathersealing to the IP52 standard.
Looking at the controls, you get a set of traditional analogue dials, complemented by a modern electronic interface for secondary options. Along with aperture and focus rings on the lens, there’s a shutter speed dial on top. An electronic thumb dial is used to set exposure compensation or fine-tune shutter speeds, with a button in its centre for ISO.
On the back, meanwhile, a 4-way d-pad is used for positioning the focus area.
All the key controls are well placed for shooting with the camera to your eye. The dials operate with satisfying clicks, while the manual focus ring is lovely and smooth. This all makes the camera a pleasure to use.
Rear controls are strikingly simple compared to other high-end cameras. Play and Menu buttons are placed above and below the d-pad respectively, while two unmarked buttons are positioned beneath the shutter speed dial. The left-side of the two is slightly raised, making them easier to distinguish by touch. One operates digital zoom and the other switches between photo and video modes, but you can reconfigure them to other functions if you prefer.
Pressing the Menu button first brings up an onscreen status panel, which provides a quick way of changing secondary settings using the touchscreen. Subsequent presses cycle through the menu system, which includes just six pages of settings. Compared to the insane complexity of most modern cameras, it’s a breath of fresh air.
Viewfinder and screen
For composing and viewing your images, the Q3 43 employs the same excellent 5.76m-dot viewfinder as the Q3, with a decently large 0.76x magnification. You get the option
to switch between 60fps and 120fps frame rates, depending on whether you prefer to conserve battery life or see super-smooth motion. Leica previews colour processing and exposure, and offers various ‘Capture Assistants’ including grid lines, electronic levels, a live histogram, and a zebra pattern overexposure warning.
In a welcome change since I reviewed the Q3, the camera now stops down the aperture whenever you half-press the shutter button, in both auto and manual focus modes. In effect, this provides depth-of-field preview for every shot.
One of the Q3’s most important updates over its predecessors was a tilting screen, and that’s retained here. It facilitates such things as low-level macro, discreet waist-level shooting for street photography, and the ability to maintain a better connection with your subject when shooting environmental portraits. Unfortunately the screen only tilts up and down, rather than using a three-way design like some other brands, so it’s of limited use when you’re shooting in portrait format.
One design quirk, though, is that while there are notches on the top and bottom edges of the screen to grab when tilting it, you don’t get any kind of grip on the side, as is common on other cameras. This is something you’ll get used to, but it still feels like a strange oversight.
Autofocus
When it comes to autofocus, the Q3 43 again essentially replicates the features and performance of the standard Q3. Phase detection AF is available anywhere in the frame, with the camera offering multiple focus area sizes ranging from a fine spot to a multi-point zone covering approximately one-third of the image width and height. There’s also a conventional tracking mode based on pattern and colour. Alternatively you can let the camera choose what to focus on.
Subject detection is available via the AF area menu, with options either for people alone, or people and animals.
When enabled, the system
CAMERA
Focal points
The Q3 43 is based on the existing Leica Q3, with the same design but a 43mm f/2 lens
Storage
A single UHS-II SD card slot is found in the base of the camera, behind a hinged door that’s right beside the tripod socket.
Power
The BP-SCL6 Li-ion battery is shared with the Q3 and SL2, and rated for 350 shots per charge.
Connectors
There’s a micro-HDMI port for video output, plus a USB-C socket for power delivery, battery charging, and direct connection to an iPhone or iPad.
Wireless charge
Leica is offering the add-on HGF-DC1 Wireless Charging Handgrip, along with a charging pad that’s matched to the camera’s size and shape.
Shutter release
In a nod to Leica’s film-camera heritage, there’s a traditional screw-in cable release connector on the shutter release button.
Customise
A wide range of accessories is available, including leather straps and half-cases, plus metal thumb-rests, lens hoods, hot-shoe covers and soft-release buttons, all in a choice of colours.
will recognise a person’s body, face, and eyes as they get larger within the frame, which I found to be useful both for portraits and street shooting. When the camera detects multiple possible subjects, it’ll outline the one it’s concentrating on in yellow and the rest in white, and you can select between them using the d-pad.
In practical use, the autofocus is quiet, accurate, and reasonably quick. Ultimately though the camera is still limited by the speed with which the lens can adjust focus, and while it’s pretty snappy, it’s not as lightning-fast as the latest mirrrorless set-ups. So I wouldn’t necessarily expect it to keep up with fast, erratically moving subjects. But most of the time it should do perfectly fine.
When you have time for slower, more considered shooting, the camera is also a pleasure to use in manual focus mode. To switch between AF and MF, you simply twist the focus ring while pressing a small interlock button on the focusing tab. The focus ring itself feels much like using a traditional manual control, despite operating electronically.
Turning the focus ring automatically activates magnified view, with a choice of 3x or 6x settings. This is quite modest, but it’s assisted by a focus peaking display that highlights in-focus edges. These two aids complement each other well, and I was able to get consistently sharp results.
The lens delivers attractive bokeh when shooting close-ups
Leica Q3 43, 1/160scc at f/2, ISO 100
Performance
In practical use, the Q3 43 is fast, responsive, and essentially silent. This is great for many of the subjects that the 43mm lens is ideally suited to, such as street photography or events. Its burst shooting performance is more than adequate too, given that it’s not a camera you’re likely to choose for sports and action. I can’t see much reason why you’d consider setting it to 15fps, but the option is there if you need it. However, the ability to shoot at 4fps with autofocus can be genuinely useful.
Battery life looks okay without being outstanding. It’s rated for 350 shots per charge, but I got rather fewer, more like 200-250 shots depending on how assiduously I was trying to conserve power. However, this is always highly dependent upon your shooting habits – you’ll get more if you tend to shoot bursts, or make a point of turning the camera off between shots. You can keep the battery topped up from a powerbank during breaks in shooting, but as always, I’d recommend getting a spare.
Of course, what we’re really interested about with the Q3 43 is its new APO-Summicron 43mm f/2 ASPH lens. Obviously, we should have high expectations, given that it’s a Leica lens on a camera that costs the best part of £6,000. But just how good is it really?
Honestly, it’s sensational. It consistently churns out
wonderful-looking images, regardless of aperture or focus distance. You can shoot at whatever setting you please, based solely on your aesthetic intention for each shot, and be perfectly confident that your images will be sharp and packed full of detail. I’d say that technically, it’s better than the Q3’s 28mm optic, and by some margin.
Even if you go pixel-peeping, you’ll see seriously impressive results. Wide open at f/2, it’s blisteringly sharp in the centre of the frame, and gets only fractionally softer towards the edges and corners. Indeed in my tests, it looks sharper at f/2 than at f/11, which is quite something. Stop down to f/5.6 or f/8, and images are ludicrously sharp from corner to corner. At smaller apertures, the finest details soften again slightly due to diffraction. But really this is just nit-picking, and insignificant in real-world use.
This sharpness is maintained in the Macro mode, too, aided by the fact that the largest aperture here is limited to f/2.8. The maximum magnification is about 0.25x, so it’s handy for close-up details. You won’t necessarily get a huge level of background blur compared to something like an f/1.4 prime, but it’s rendered very nicely indeed.
There’s no hint of colour fringing from chromatic aberration, and no distortion, either. Of course, there’s going to
be some software correction going on under the hood to help achieve this. Adobe Camera Raw applies lens compensation automatically, via settings that are stored in the DNG raw files. The lens’s optical stabilisation works well, allowing me to get consistently sharp shots handheld at 1/10sec. By taking multiple replicates, I was able to get the occasional usable shot at speeds as slow as 1/3sec, but that was the exception rather than the norm. While this is certainly useful, the in-body stabilisation systems in the latest mirrorless cameras can reliably go even slower. Overall, though, the OIS ensures that you get the most from that highresolution sensor.
Leica’s metering is pretty reliable, if perhaps overconservative at times. Auto white balance tends to give extremely neutral results, and in many situations, I’d prefer a warmer look. I’m not a great fan of
CAMERA TEST Testbench
Here I exposed for the highlights and then pulled out most of the image detail in raw processing Leica Q3 43, 1/10sec at f/2, ISO 400
Leica’s built-in colour profiles either, with the default Standard option being distinctly muted, while Vivid perhaps veers too far the opposite way. But on a more positive note, I like the highcontrast B&W option a lot.
For those who want to create more interesting JPEG output, help is at hand from Leica Looks. These aren’t installed by default – instead you have to download and install them using the Leica Fotos app. There are certainly some interesting options here, including the slightly muted, Kodachrome-esque ‘Chrome’ and the punchy ‘Eternal’, which gives the impression of having been inspired by Fujichrome Velvia. You also get some nicely toned monochrome options. If you want to share files directly from the camera, this is the way to go. Whether or not you like the JPEGs, though, there’s absolutely no questioning the quality of the raw files. We’ve seen this 60MP sensor plenty of times before –
not only in the Q3, but also in the M11 rangefinder and mirrorless SL3. Not to mention the Sigma fp L and the Sony A7R IV, A7R V, and A7CR. It’s very much a known quantity, and in terms of outright image quality, unquestionably the best full-frame sensor around.
With that 60MP resolution, the Q3 43 can match any other full-frame camera on the market in terms of detail rendition. Not only does it give really excellent results at ISO 100, there’s barely any drop in quality at ISO 800, even when viewing files close-up onscreen. Fine detail starts to blur away at ISO 1600, and noise progressively overtakes the image at higher settings. But even so, I’d be quite happy shooting at up to ISO 25,000, especially given the capabilities of the latest AI noise reduction software. There’s little practical need to go any higher.
Not only are raw files packed full of detail, there’s also immense dynamic range,
especially at low ISO settings. With files shot at ISO 100, I could pull loads of extra detail out of deep shadows without being concerned by excessive noise. Even at moderately high settings such as ISO 1600, I was able to shoot to preserve highlights, and then bring up the shadows by two or three stops. Overall, the raw files feel almost infinitely malleable, and you can manipulate the tonality sliders in raw processing to your heart’s content.
Of course, one objection to shooting 60MP DNG files all the time is the sheer amount of disk space they take up – my sample images ranged from 67MB to 100MB in size. But here, as with Leica’s other 60MP models, you can just drop the file size down to 36MP or 18MP without losing the benefits of raw. Even at 18MP, you should be able to make an extremely detailed A3 print. This is a really useful option to have available.
Verdict
WHEN I reviewed the original Leica Q3, I was extremely impressed, and ended up calling it the best compact camera in the world. But I’ve been forced to change my mind. Instead, the best compact camera you can buy right now is the Leica Q3 43.
I’m joking a bit here, of course. The choice between 28mm and 43mm lenses will be a very personal one for each photographer, and it’s not for me to declare which is ‘better’. But while I always enjoyed the previous 28mm Qs, the Q3 43 has me smitten. In part this is down to the extraordinary quality of the image files it creates, with the best full-frame sensor around complemented by a truly phenomenal lens. You can’t get better than this without stepping up to medium format. But aside from the crazygood technical quality, it’s all about how natural the photographs look. That 43mm lens means that your images appear completely uncontrived in terms of perspective. It’s almost as if you’re really there, standing on the edge of the scene, looking in.
Sadly, the Q3 43’s price places it beyond the means of most photographers. That’s just how things are with Leica. But for those who have the means, this is one of the most desirable cameras around.
GOLD
Atomos Shinobi II
Atomos’ updated 5in monitor comes with camera control, touch AF for some and a slimmer, lighter profile. And it’s as good for stills as for video, says Damien Demolder
The Shinobi ll is the latest in the Atomos line-up of non-recording monitors, and the third in the Shinobi series. The original Shinobi was like this – a 5in monitor for cameras with HDMI. The second, the Shinobi 7, is a relatively recent 7in version, but with both HDMI and SDI in/out ports. Here we are returning to the smaller format to provide
DSLR and mirrorless camera users with a viewing screen that’s larger and brighter than the one that comes built into the camera, and which offers a number of monitoring options to help us find the right exposure and focus via on-screen displays.
The added attraction this time, though, is that some more modern cameras can communicate settings
information to the screen and we can control elements like the shutter, aperture, shutter speed and ISO directly from the monitor’s touch-sensitive surface. And, for a few users, touch focus has also been introduced. So, in theory, once this screen is connected there’s not too much we need to go to the camera to control. Atomos isn’t the first to offer camera control in a
l 5in external monitor
l 1500 nits brightness
l HDMI video connection
l Power via USB-C, battery or mains
l On-screen control of some camera features
monitor like this, and in fact, the company had the feature in its Shinobi 7, but only for one model of camera. With its USB-C connection this appears to be the most universal and simplest system we’ve seen so far.
Specification
The key elements most first-time monitor users concentrate on are the size of the
Testbench CAMERA MONITOR TEST
screen and the brightness of the display, so the Atomos Shinobi ll comes with a 5.2in display with a maximum brightness of 1500nits. The ‘nit’ brightness unit means candelas per square metre (cd/m2), so if this screen were a metre square, the intensity of the light we’d experience would be like looking at 1,500 candles. The previous
version of this monitor was 1000nits, so this is quite a step up, and the extra intensity should make the screen easy to see when we’re shooting outside on a bright day. Generally 800nits is considered the starting point for an outdoor monitor.
Those who have used oncamera monitors before will want to know how bright it is, but will
also be interested in how much weight and bulk it will add to their set-up. The answer is ‘not very much’. At 210g the new model is 14g heavier than the original, and weighs about the same as a large eating apple, a medium banana or an adult hamster. It’s 10mm thinner than the original, and at 20.8mm, is only about the thickness of two mobile phones. The width and height of the unit remains as it was, at 151mm x 91.5mm, but in the slimming down we’ve lost the mount point that used to be on the top of the body. So now there is only the one on the base.
The display panel measures 5.2in across the diagonal and we have a resolution of 1920x1080 pixels – so FHD. The viewing angle remains unchanged at 178° and we still have a 10-bit effect via an 8-bit display that modulates with the frame rate to show us all the tones we’d see in a 10-bit display.
While the original Shinobi monitor came in HDMI or SDI versions, the new model will only be offered with HDMI ports, as that’s what almost all mirrorless cameras will use. The rear of the
monitor has a single HDMI port alongside the new USB-C port that will be used for camera control. The USB port offers Power Delivery too, so it can send power to your camera, or alternatively we can power the monitor via this port. Further power options include an NP-F battery, mains power and a dummy battery powered via the D-Tap port of a V-Lock battery. There’s an SD card slot for updating firmware and loading up to eight LUTs to the monitor, as well as a 2.5mm remote control port for a LANC connection to Z Cam cameras, and a headphone port for monitoring audio.
Camera control and display options
Of course the big excitement in this new model is the ability to control certain elements of the camera directly from the monitor’s touch display. Compatible cameras are listed on the Atomos site, and there are lots of them, but expect to see mostly recent models. When connected via USB-C the monitor offers to control aperture, shutter speed, white balance and ISO
The camera control screen uses tiny left and right arrows beside the settings, which are difficult to hit accurately
There’s an SD card slot for uploading LUTs to the monitor
options, so we can adjust white balance on the monitor and the camera will take in the changes, for example. The monitor also provides a shutter button, so we can trip the shutter remotely too. With really new camera models, we can also control the AF point via the monitor – so we just touch the part of the subject we want focused, and the monitor feeds the information to the camera which focuses for us.
The monitor also comes with all the standard and latest monitoring displays, including focus peaking, histogram, frame markers for different aspect ratios, false colour displays to help with exposure, and anamorphic desqueeze for 8 types of lens. The monitor runs the latest Atomos OS, so it also has the new Multiscope Analysis View that shows us lots of information in one go. As well as Atomos False Color we now have Arri False Color, and the EL Zone system that shows us coloured zones marked in stops to help us get the correct exposure.
In use
Even though the monitor is only 10mm slimmer than before, it feels a relief to add a monitor to a camera and not feel a dramatic increase in bulk, so the Atomos Shinobi ll is winning right from the start. It sits as easily in a hotshoe as it does on its own stand or attached to a camera handle, and it isn’t going to tire your arm much sooner than the camera would on its own. Another winning feature is that the cable ports are now on the rear of the
The
5in screen is larger than those on cameras
‘The display is nice and bright, and the new monitoring options are very useful’
monitor so we don’t have wires hanging out the side, which makes things a lot neater. The touch display is responsive and the menu, once you’ve used it for an hour or so, is pretty straightforward, as is the way we navigate the settings. There’s no fan in this model, so it runs silently. This silence would be entirely a good thing, except that the monitor takes so long to come to life when we switch it on it can be hard to know if we’ve pressed the on button for long enough. Atomos has a pretty
frustrating on/off strategy in a lot of its products.
As exciting as it is to have camera controls in this monitor, the implementation feels a little basic. The controls are pretty small and the left/right arrows that change settings are hard to hit with accuracy. The white balance settings are limited to Kelvin colour temperatures, the monitor doesn’t always display shutter angle even if your camera can, and when we activate touch focus, the camera reverts to contrast detection AF, so focus shifts are quite slow and we can’t track a subject.
I’m sure a lot of these things will be ironed out with firmware in time, but the whole thing doesn’t really equal what I expect from Atomos. Yes, we can control the camera, but it could have been done a lot better. It feels very beta. It’s worth noting too that if you use this monitor with a wireless transmitter, you can only have camera controls if you have a long enough USB-C cable.
The display really is nice and bright, and the new monitoring options are very useful – and easy to understand even for a newcomer.
IN MY disappointment at the way camera control works, it would be easy to forget that the Atomos Shinobi ll is still an excellent 5in monitor. It’s well made, has great features, isn’t expensive and it is brighter than a lot of other 5in monitors, plus it is lightweight, slim and well designed. While camera control has taken all the headlines, it is still worth upgrading from the original to this II model just for the extra brightness. If you’ve never had an external monitor before, this will make the kind of start that will spoil you for all monitors in the future. But if you are considering upgrading just to get camera control, I’d wait.
+ Very bright display
+ Great monitoring display features + Lightweight and slim design
+ Good to have USB power in and out
– Camera control not as good as it could be
– Takes a long time to power up
Testbench ACCESSORIES
Peak Design Outdoor Backpack 25L
Angela Nicholson reviews a dual-purpose regular backpack and camera bag
● £249.99 ● peakdesign.com
The Outdoor Backpack 25L is part of a new range of technical bags from Peak Design. It’s designed with hiking and outdoor adventures in mind and can be turned into a camera backpack with the addition of a Peak Design Camera Cube or two.
Made from Terra Shell 210D Ripstop Nylon, this frameless backpack is lightweight yet durable, featuring an expandable ‘Ultra Cinch’ roll-top that increases the capacity from 20L to 25L. You can reach the main compartment either through the roll-top or by unzipping the rear panel, with the latter being the best route to your camera kit.
The main compartment has room for a SMedium and an XS Camera Cube, with the smaller cube fitting above the larger one. Loops inside the backpack allow the SMedium cube to be clipped in position, but it can be left unclipped. This set-up enables you to carry a full-frame mirrorless camera and up to four lenses, including a 70-200mm f/2.8. In addition, the backpack’s side pockets are deep enough for a tripod or water bottle, while a sleeve in the back section can hold either a hydration pouch or a 16in laptop.
With flat pockets in the front and smaller pouches on each shoulder strap, there’s ample storage for essentials like a phone or wallet. There’s also a large ‘kangaroo pouch’ on the front that’s ideal for stashing an extra layer. But as the sides of the top are open, it’s important to avoid overfilling it, especially with small items. The shoulder straps are well-cushioned and designed for comfort on a wide range of body sizes. While the backpack doesn’t come with a waist belt, one is available separately.
In use, the 25L Outdoor Backpack feels light and compact yet it holds plenty of gear, making it suitable for both photography equipment and everyday items. Its front is tough, weather-resistant and wipe-clean but there’s an optional Rain Fly cover available for extra protection.
Verdict
This backpack is a smart choice for photographers looking for a versatile, well-made bag that can cope with photography and outdoor activities. Its dual access points and compatibility with camera cubes allow it to switch seamlessly between everyday and photographic use. While the top-opening mechanism may take a little getting used to and the Camera Cubes cost extra, these are minor points in an otherwise reliable and practical design.
Roll-top
A cinch cord keeps the top opening rolled tight and the front pocket closed.
Top and rear access
The main compartment can be accessed either via the roll-top or the zip around the outer edge of the rear section.
At a glance
● 20-25L capacity
● Rear-opening and roll-top access
● Modular design
● 48.5-66x28x15cm (external)
● 1.15kg weight
Sternum straps
Two sternum straps help keep the pack in position on your back.
Colour choice
The backpack comes in three colours, Black, Cloud (white) and my favourite, Eclipse (burgundy).
Peak Design also offers a 45L version, with a very similar design. But it comes with a removable waist belt and there’s a ladder system for adjusting the height of the shoulder straps. It has a capacity of 34.5-45L and can house a Large Camera Cube for carrying a full-frame camera and six or seven lenses.
As a camera maker, the Japanese firm Olympus was one of the most prolific. Perhaps its best-known model was the Trip 35 from 1967, which sold by the million. The Trip 35 was a game-changer in terms of simplicity of use for the casual photographer. Over the course of the next 37 years, it was followed by ever more sophisticated point-and-shoot cameras.
One of the descendants of the original Trip was the XA range, of which the XA4 was my go-to, take-anywhere camera for around ten years, until it suffered a sudden electrical failure and is now dead. After a suitable period of mourning, I decided to search my collection for a possible replacement. I’ve got around a dozen different Olympus pointand-shoot cameras, mostly bearing the ‘Stylus’ brand, which was applied to around 30 models, dating from 1991 to 2004. They are all chunkier than the XA4, and none are as quick to extract from the pocket and shoot, but beggars can’t be choosers.
I settled on the Olympus Stylus Zoom 80 Wide DLX as a potential successor. I’d always liked the 28mm lens on the XA4, and the Zoom 80 Wide is the only one
Tony Kemplen on the … Olympus Stylus Zoom 80 Wide
Olympus
that goes down to that focal length. It also has a zoom reaching up to 80mm, which of course makes the camera bulkier and slower than the XA4. Zoom lenses are never going to match the specifications of a fixed focal length, so whereas the XA4 has an f/2.8 lens, this one is only f/4.5, dropping to a mere f/8.4 at the 80mm end of the range.
The Zoom 80 Wide DLX was introduced in 1998, and my well-used specimen was one of a generation of cameras to be cast aside in the early years of this century, when digital effectively took over from film in the mass market. I found it in a charity
shop for £1.99, so it’s rather alarming to see that with the growth of interest in film use, these now command prices of around £150 when bought from a dealer. I’d be nervous about spending that kind of money on an electronic camera that will inevitably fail at some point.
Like many cameras from this era, the Zoom 80 offers a ‘panoramic’ mode, which is simply a switchable mask in the film plane. This was for the panoramic prints which were briefly popular at the time, and I used it here for a photo taken at dusk in my local park. One of my bugbears with this class of camera is that the flash is often set to come on automatically by default, and as I rarely use flash, the first thing I have to do after switching the camera on is to deactivate the flash, a fiddly waste of a couple of seconds. Like the XA4, the Zoom 80 will deliver long exposures if needed, but only if you remember to deactivate the flash, which luckily I did for this one.
Dusk colours captured using the camera’s panoramic mode
The Zoom 80 Wide was one of many Olympus Stylus models of the 1990s
Picture-perfect learning
Workshops and tours
David Clapp www.davidclapp.co.uk
‘Photographic workshops offer an exceptional opportunity to delve into your passion for photography while honing your skills. On my tours, the experience goes beyond the final photograph; I teach my clients about mastering the art of preparation, composition, and timing. Participants learn not only how to take stunning photographs but also how to curate and edit their images, allowing for a comprehensive understanding of what it takes to create that perfect shot.
I offer a diverse range of tours designed to accommodate all skill levels. I take pride in welcoming both beginners and seasoned photographers alike, as my clients come from various backgrounds and experiences. Each workshop is tailored to meet different abilities; for instance, my Namibia tour requires a moderate fitness level, where we camp in the stunning Namib Desert and photograph the Milky Way under a blanket of stars. Conversely, I offer an ‘Access’ tour at Land’s End, designed for those who prefer a more leisurely pace while still enjoying the full experience of a traditional photography tour.
I meticulously plan every detail so that my clients can focus solely on capturing breathtaking images and enjoying their surroundings. The only preparations needed on their part involve booking recommended flights and packing essential gear – think snow boots for Iceland or sunglasses for Namibia. My current list of workshops are available on my website.’
Snap up the benefits of photo workshops. Hollie Latham Hucker speaks to professional and amateur photographers to discover how workshops can take your skills up a level
It never ceases to amaze me how often photographers are asked to write something about themselves or their work. Unfortunately, for visual people this doesn’t always come easy! It might be an artist statement, magazine article, bio, grant proposal or just a caption for Instagram – everything you write is an opportunity to share your thoughts, message and ideas with your audience. But writing persuasive copy means you need to be a storyteller. Telling stories is a skill and an art. It’s about taking facts and enlivening them with feeling. Do it well and your core audience will feel connected to you and your message. Do it badly and they will feel bored or confused.
In the past 25 years I’ve been sharing stories via magazine articles, books and courses and I’m excited to be launching a new series of workshops entitled Writing for Artists. By the end of the course, you’ll be writing copy that resonates with your audience and brings you genuine joy.
I also run courses demystifying close-up and macro photography. This is a challenging genre – poor light, soft focus and subject movement all threaten to ruin a well-composed picture. Even with these aspects mastered, there’s still limited depth of field, distracting backgrounds and minimum focusing distances to contend with.
The reason why so many photographers willingly take on these challenges is simple: close-up photography is akin to magic. Looking at something up close ignites feelings of curiosity and wonder that many of us haven’t experienced since childhood. Having co-founded Close-up Photographer of the Year – a competition celebrating close-up, macro and micro photography – six years ago, I’m familiar with the common mistakes people make in this area and I deliver talks, courses and workshops that offer actionable advice on how to overcome them.
AP has teamed up with world-renowned tour specialists Zoom Photo Tours to introduce Amateur Photographer Photo Tours! We are thrilled to be able to offer readers an exciting program of tours and workshops to a hand-picked selection of great photographic locations in the UK and bucket-list destinations around the world, led by a team of internationally acclaimed and award-winning photographers. Visit www.zoomphototours.com and Instagram @zoomphototours to find out more.
Technique WORKSHOPS
Ben Hall
www.benhallphotography.com
Instagram
@benhallphotography
Photography workshops are a fantastic way of not only honing your photographic skills and knowledge, but also developing creativity, and generally helping you to become a more accomplished photographer. There is a wealth of photographic information out there, both in books and online, but there is no substitute for getting out there with your camera and a professional photographer and learning in the field.
I offer both group and one-to-one workshops where I use my 22 years’ experience as a professional wildlife photographer to teach people the skills to help take their photography to the next level. I am based on the outskirts of the Peak District National Park so many of my workshops are held in the locations that I have been working throughout my career, but I run workshops all over the UK and overseas. I cover a variety of subjects including some of the most iconic UK wildlife such as red deer, mountain hares,
gannets, puffins and many more. I keep numbers low to enable me to give individual help and attention to each participant, and cover everything from camera settings to lighting, composition
and developing creativity. There is no minimum experience level required; I cater for all levels. If you are interested in more information, please contact me via email, info@benhallphotography.com.
Emily Endean
www.emilyendeanphotography.co.uk
Instagram @emily_endean_photography
Throughout my time running landscape photography workshops, I’ve realised that workshops are about much more than teaching technical skills or mastering the latest camera gear. Of course, technical skills are important, but I’ve come to believe that the true value of a photography workshop lies in something deeper: it’s about exploring the why of photography, rather than just the how.
The true magic often happens when we move beyond the technicalities and begin to explore the creative side of photography. The most rewarding moments for me come from the shared experience of a group of people – each at different levels of skill and experience – coming together to create something meaningful. That’s why workshops are essential for bringing people together, who are sharing the same landscape and the same challenges, there’s an energy that can help free up your own creative potential.
For me, it’s not just about giving them a set of instructions; it’s about helping them find their own voice as photographers.
I run small group workshops all over the UK, and for the first time I have put together a big adventure for female photographers to join me on a unique adventure in Madeira! I will be leading an 8-day photographic workshop tour unlike any other. I’ve put together an itinerary of my favourite spots on the island and will support the group with my photography knowledge and offer guidance to get the best out of their photographs while we explore.
I’m also very excited to share that the trip is supported by Fujifilm and endorsed by She Clicks.
Two Photographers – Tim Clinch and Joanna Maclennan
www.two-photographers.com
Instagram @twophotographers2020
So… why go on a photography workshop? Primarily I think it is a chance for us to be selfish, to really concentrate on our own photography and to learn. We’ve all been there. On holiday desperate to take some pictures and having to juggle with cooking dinner for the family, finding plasters for the kid who has fallen over and cut their knee (there’s always one) and fielding sarcastic comments from a beloved partner along the lines of ‘Come on! You took loads of pictures yesterday’. So, the chance to concentrate solely on you and your passion is a welcome relief and frankly, the only way you will improve.
So why come with us? Well, first and foremost we are two working professional photographers who, most importantly, are completely different in the way we see things and how we shoot so you will always get differing points of view. Secondly, one of the complaints that we hear so often is that many people who lead workshops will set up, say, a still life and eventually let the participants in to shoot what is essentially one of their pictures. To this end Joanna and I make a point of not shooting for ourselves during the workshop. We will have all our ‘kit’ and expertise with us and will always be there alongside you to help out and show you a few tricks of the trade, but we will never tell you what to shoot.
There are no levels or equipment requirements for our workshop…we encourage everything from Leica to an iPhone as we believe that people who are new to photography often ask the questions that the more experienced photographers often should be asking! One thing I would definitely not recommend is going on a workshop with a camera you have just bought…unless you want to spend your time reading the manual rather than taking beautiful pictures!
Our workshops in Provence, (where Joanna is based) Bulgaria (where Tim lives) and Southern Spain concentrate on opening doors for you to shoot in and discover places well away from the traditional tourist traps.
For 2025 we are branching out and will also be offering a workshop in Transylvania, Romania; and Tim will be offering some solo workshops on Food Photography in Bulgaria and a Travel Photography special in the wonderful city of Madrid (Tim’s home for ten years in the late 90s and early 2000s).
Jane O’Connor
The most beautiful place I went to was Andalucía with Charlie Waite and Astrid McGechan, closely followed by Santorini with Andy Farrer – both Light and Land tours. I think I took some of my best photos in those places and won a competition with this almond blossom image too!
Bob Taylor
I’ve done a couple. If I had to pick one it would be Skye Photo Academy – The Big Workshop, and I’m going back this month to repeat the experience. Second on my list would be Ffordes Photographic Torridon experience with Mark Littlejohn and Dave Tolcher, both excellent photographers and tutors. I’ve just returned from a second workshop with them (even better than the first!) and captured this image.
Gill Prince
I’ve done trips with Light & Land, Dawn 2 Dusk Photography, Lakeland Photographic Holidays (no longer running) and Ian Middleton: Photography – plus day workshops with Brian Lloyd Duckett and Damien Demolder Photography. I loved the mix of learning a new trick or two and meeting fab new people with similar interests. They give you a new perspective on photography, especially if it’s a location/genre new to you.
Technique WORKSHOPS
Damien Demolder
www.damiendemolder.com
www.lightandland.co.uk
Instagram @damien.demolder
Facebook @damiendemolderphotography
Emma Dunham www.emmadunham.co.uk Instagram @emmadunham.foodphotography
There’s something magical about stepping into a food photography retreat. It’s not just about learning camera setting, nailing that perfect shot and drooling over the most amazing food prepared (though we do plenty of that too!). Retreats let you escape the everyday and dive into a creative world where your passion for food photography finds a new spark. It’s where skills sharpen, confidence builds, and inspiration flows among fellow enthusiasts and you can’t beat hands-on training, with me on your shoulder like a parrot helping and guiding you through the process.
My food photography retreats cater for different budgets and different schedules – some are set in locations, like the Welsh countryside, London or rambling cottages with a brilliant team to make the experience truly special. Others are set in my studio in Surrey and our talented food stylist, Liz, works her magic on each dish and shows you how to. The retreats can be a day mini retreat, through to a 5-day residential and so far, I have been blown away by the results and standard that the attendees have photographed at.
These retreats welcome all levels; you just need a camera and a bit of curiosity. Prep is simple, bring your camera, a tripod and any lenses you have and if you have any equipment you are struggling with you are encouraged to bring it along, so you get to grips with it, whilst we are together.
A good workshop should provide you with an intensive learning experience that either speeds up the rate at which you learn or opens your eyes to things you had no concept of before. I try to ensure my students go home with at least one major idea that will change the way they shoot, and some fresh thinking about the way they approach whatever subject we were shooting.
Most enthusiasts, and a lot of pros, are self-taught so they only learn from their own experience, reading books/magazines, watching videos and sometimes from chatting to other photographers. They learn bit by bit, and not necessarily in the right order. That incremental learning tends to be around camera technique rather than the way we see and think about photography so I find on most workshops I can happily teach total beginners and experienced shooters at the same time, and they all come away with something they hadn’t thought of before.
On a one-day workshop the learning is quite crash-course, but when we have a long weekend or a week we can take things more gently and develop ideas over time. I do custom one-to-one workshops, small groups, bigger groups for clubs and trips away to somewhere nice for Light and Land.
I don’t ask students to prepare – other than to charge their batteries. I send kit recommendations, so they know what to bring, and I always take questions beforehand for folks who aren’t sure. The most important thing about a workshop is that it’s time you can dedicate to your photography – with likeminded people who don’t run out of patience after ten seconds.
www.dawn2duskphotography.co.uk
www.rosshoddinott.co.uk
Instagram @rosshoddinott
Photography workshops, tours, and courses have grown massively in popularity over the past ten years. The desire and hunger to improve and refine photography technique – while visiting beautiful and interesting places – continues to increase. Since I established Dawn 2 Dusk Photography (with good friend and business partner Mark Bauer) over 15 years ago, we have seen the demand for our courses grow and grow. In fact, we find our workshops are often fully booked within hours of going live on our website. Why are they so popular? Well, there are lots of compelling reasons to attend a photo workshop, aside from obtaining expert guidance from recognised and established professionals. Workshops allow photographers to visit and explore new places safely and tap into the tutor’s experience and knowledge of locations – being guided to the right places at just the right times or tides.
The social side of our workshops is also important to many of our clients – we promote a fun, friendly environment where participants can relax and enjoy each other’s company. We welcome photographers of any experience – whether a complete beginnner or enthusiast – providing lots of bespoke advice tailored to the individual’s needs. While we do create workshops dedicated to specific themes – for example, infrared photography, printing, or using filters – most D2D workshops are aimed at anyone, of any level, looking to improve their photography while visiting a specific area. We mostly run workshops in the UK, visiting everywhere from the depths of Cornwall to the Outer Hebrides in Scotland!
Being a close-up photographer too, I’m often asked why I don’t run dedicated macro photography workshops photographing flowers and insects. The simple answer to this is that I worry about the impact (and potential damage) of taking a group of photographers into a delicate wildflower meadow or wetland looking for miniature things – particularly in the morning or evening when insects are inactive and not always able to escape careless feet. Therefore, I continue to only offer 1-2-1 workshops for close-up subjects. You can learn more by visiting my website.
Jo Bugler - Vegan Food Photographer
I recently went on a Food Photography Retreat near the Brecon Beacons in Wales with Emma Dunham. It was amazing on all levels – the venue and owners bent over backwards to provide delicious food every day (including a vegan alternative for me). There were seven of us altogether, plus Emma. A mixture of photographers, chefs and enthusiasts. The small size of the group meant none of us ever felt left out or floundering. Emma catered for each of our individual needs.
Kevin Winter
I’ve been to some Scotland workshops with Nick Watson Landscape Photography Tours which were incredible. They introduced me to Glencoe and Skye, rejuvenating my love for photography and I finally captured the northern lights after years of trying.
Philippa Huber
My first (and only) organised wildlife trip was to Lake Kerkini with NaturesLens for the dalmatian pelicans in January 2020. Everything was amazing and one of my shots was commended in BPOTY which started a lot of things rolling for me.
Ross Hoddinott
HODDINOTT
Technique WORKSHOPS
Online courses
James Abbott
www.jamesaphoto.co.uk
Instagram @jamesaphoto
Facebook @jamesabbottphoto
With so many magazines, books and let’s not forget, YouTube videos covering photo editing skills, you may be wondering what you could ever gain from a one-to-one Photoshop or Lightroom workshop. But without listing every single advantage, and there are many, you can enjoy a truly personalised approach where you learn exactly what you need, learn tips and tricks from an expert that you won’t find anywhere else alongside access to tried and tested workflows, and much more.
Editing workshops are best taken in the comfort of your home because not only are you in your own environment, which makes the workshop easier and more convenient for you, but also you’re using your computer rather than someone else’s which may be set up differently. All you need for an editing workshop is a subscription for the software you’d like to use, a selection of photos to work on and, of course, your computer.
Over many years of providing editing
and photography workshops, I’ve found the perfect duration to be five hours for editing because working one-to-one allows for a lot to be covered, and in detail. Group workshops certainly have a place, but when you have the undivided attention of an editing expert, you can be sure that every
question you have will be fully answered and explained with live demonstrations of techniques when relevant.
But what remains most important is that you spend as much time as possible actively applying techniques yourself to enhance your learning experience.
There are many ways to up your game in photography and an online course is one way to gain a better understanding of a specific technique.
Having ran hundreds of photography workshops, holidays and adventures over the past 20 years, I have decided to provide high-quality training at a more cost-effective way for keen amateur photographers. For less than the price of a one-day workshop event you get access to a well-structured, fully featured online course called Portrait Lighting Mastery. It’s not just about the light though, all my knowledge, experience and wisdom from a 40-year career in photographing people has gone into this extensive online portrait lighting course.
Portrait Lighting Mastery has 60 lessons with over 50 videos in a full and varied curriculum. The lessons are designed to transform your photography skills, develop your confidence and enable you to take better portraits. With hundreds of delighted students working through the syllabus you will not be alone.
The course represents tremendous value with lifetime access and exclusive monthly Zoom sessions with me. You can check out the curriculum and preview some of the course content for free at https://school.lovegroveadventures. com/p/portrait-lighting-masterclass
You can use the coupon code
APEDUCATION to receive a 30% discount on your enrolment fee.
James Fanning
On a documentary workshop at The Stills Gallery Edinburgh led by Michael Vince Kim, I took images in and around Edinburgh Waverley station exploring AirBNB and the rise in homelessness/begging in cities. The course was really instructive on the construction of narratives, image selection and editing, with great discussions around our assignments.
Ray Spektor
I was in Madeira last year on Steve Gosling’s tour. He clearly had intimate knowledge of the island and locations off the beaten track. All well organised but without feeling you were being herded around. He gives little pointers and suggestions, which for my aging brain works perfectly. After the trip he helped me with image selection and my editing. This image won me a competition at my club.
Robin Trewinnard-Boyle
I’ve attended a couple with The Centre of Aviation Photography. Access to unusual aircraft, great tuition in getting the shot then editing. Friendly and helpful, the social side is almost as important! This shot of an English Electric Lightning, maintained by the Lightning Preservation Group at Bruntingthorpe Airfield, was the perfect venue for a workshop.
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LETTER OF THE WEEK
Making an exhibition of himself
I’m an ‘auld age pensioner’ and self-taught photographer with over 50 years’ experience, and though I gave up when digital arrived – every Tom, Dick and Harry was taking pictures – one of my sons later bought me a digital camera so I got back into photography. But it is just not the same sticking them in a computer and then letting them bounce about wherever in cyberspace!
A couple of years ago I started putting some of my old photographs in sleeves and sticking them up around Edinburgh, where I live. They are up in two places, the Pavilion Cafe on the Meadows and the Telfor subway at Dalry. I don’t use nails, just BluTack and glue. People seem to like the idea and comment on the pictures now and again, while others add a photograph, too. Trust me, photographs look better when printed out rather than on a screen. It would be good if more firms allowed this
You might not want to put your photos up in public, like Roy, but printing your best work is rarely something you will regret
kind of photo display, but I stay away from councils/government buildings – they destroy anything they touch!
Roy R M McIntosh
So long as you don’t get accused of defacing private property or illegal fly posting, this sounds a cool idea, Roy! It might be worth contacting the council as they might be agreeable…. and we concur, not enough photos get printed these days.
Bad is the new good
What a fun review by Andy Westlake of the Sonida DC202 (AP 3 December).
His creative analysis cleared my head of the
onset of the winter blues.
When I was 13 in 1962, my uncle presented me with a new Kodak Brownie 127 to document my holiday. Though it was
The price of my Brownie 127 was approximately £3.75. In today’s value that is nigh on £100. Considering all the specifications of the Sonida to my Brownie 127 (roughly of similar value) the Sonida is a bargain. Also being challenging to operate puts the fun back into photography instead of auto everything. When the user upgrades to more advanced gear they no doubt will appreciate the asking price.
I do still have my Brownie. John Heywood
Buiding Bridges…
I read John Bridges’ opinion piece on DSLRs and was so pleased to read something so much in line with my own thinking. Recently, I had an accident with my Canon full-frame DSLR. I had a choice: move to a mirrorless full-frame camera for several thousand pounds, or buy both replacement secondhand full-frame and APS DSLRs for £600. A no-brainer for me. Long live the DSLR! Ian Pratt
a basic plastic camera with a fixed aperture and single shutter speed I was thrilled with this new toy that was going to turn me into a David Bailey whom I had recently seen on TV.
So, John Bridges loves DSLRs and optical viewfinders, and thinks camera firms are making a mistake moving to mirrorless. I have some sympathy for his view –I prefer shooting with my Pentax MX Super to my modern mirrorless, not least because of the optical viewfinder. John’s an engaging writer, so could you perhaps encourage him to broaden his range? Jim Hawkins
John’s working on new articles as we speak
YOUR FREE APOY ENTRY CODE
Enter the code below via Photocrowd to get one free entry to Round Ten – Open round. Go to amateurphotographer.com/apoy to enter
Our favourite photos posted by readers on our social media channels this week
AP picture of the week
Punctate by Will Plunkett
Nikon D850, Nikkor 24-70 F2.8 VR, 1/4sec at f/7.1, ISO 400, 70mm
‘This image was taken whilst exploring the woodland of Glen Affric. I stumbled across this scene and my eye was drawn to the juxtaposition between the green lichen and the bright orange leaves of the birch. I liked the way they were interconnected by the silvered branches.’
Instagram: @willplunkettphotos
Website: www.willplunkett.photo
The AP Pic of the Week winner will receive a beautifully framed print of their winning image worth up to £100. If you Love it, Frame it! ThisPicture.com is an experienced, high-quality framing company with a unique, easy-to-use website. Build single or multi-image frames with a few clicks of your mouse and select from a wide range of frames, window mounts and glazing options. Each frame comes with a three-year guarantee and FREE P&P within the UK. Visit thispicture.co.uk
Sculpted by Shailza Singhal
Sony Alpha 1, Sony 200-600mm, 1/2000sec at f/5.6, ISO 400
‘The leopard, with its graceful form and agile movements, is a true marvel of nature. This photograph was taken in Jawai, India, often called the Land of Leopards. Known for its rocky granite hills and boulders, Jawai has a unique charm. It was a dream of mine to capture a leopard’s silhouette on these ancient rocks, and this moment brought that vision to life.’
Instagram: @I_am_out_somewhere
Website: www.shailzasinghal.com
We also liked...
Autumn Orange Seed
Head by Janina Wilde
Multiple exposures using Canon EOS 80D, Canon EF 100mm F2.8 L Macro, Canon EFS 17-55mm and Fujifilm X-T5, XF 1680mm F4 R OIS WR
‘I love to use multiple exposures for creating unique images that convey my images with the feelings as well as the look that I want to convey. I am a huge fan of autumn colours and I wanted to experiment putting together different layers from across the year and different countries to achieve this warming orange. In Photoshop I used overlay and lighter colour blend modes to achieve this look.’ Instagram: @janina_wilde1 Facebook: @Wilde Photography
Want to see your pictures here? Simply share them with our Flickr, Instagram, Twitter, or Facebook communities using the hashtag #appicoftheweek. Or you can email your best shot to us at ap.ed@kelsey.co.uk. See page 3 for how to find us.
1 Dawn Dancer by Sandra Woodrow
2 Harvest Mouse by James Clarke
3 Waiting for the Off by Jim Voce
4 Old Timers by Jezz Richings
Club Join the
Rushcliffe Photographic Society is one of the biggest clubs in the Nottinghamshire region
When was the club founded?
In 1978 a group of 14 regular attendees of photography classes at West Bridgford College started to meet independently. In January 1980 they decided to formalise the meetings and formed the Rushcliffe Photographic Society. Since then the club has gone from strength to strength and is now one of the largest clubs in our region.
What does your club offer to new members?
We are a friendly and supportive club, and our members have a wide range of experience and interests. We are gear agnostic, with members using traditional film cameras, DSLRs, mirrorless cameras, bridge cameras and we are seeing a growth in mobile phone photography. In addition to our weekly club evenings, we have meetings covering a monthly theme challenge, monochrome, practical studio work and our
Development and Distinctions Group (which helps people with personal growth, projects and applying for qualifications or distinctions). All our groups are friendly and offer advice and constructive feedback. To support our studio group, the club owns an extensive set of studio equipment and accessories which members can borrow free of charge. We are also very active on Facebook, with closed groups for general photography, our 365 challenge, image critique as well as our technical corner for asking any technical questions members might have. We hold at least two exhibitions a year, and we ensure that everyone who submits pictures for our main annual exhibition gets at least one picture exhibited.
Describe a typical club meeting Meetings start at 7.30pm and usually run until 9.30pm with a
refreshment break at around half time. Meetings are a mixture of competition evenings (one per month), technical and member participation evenings plus guest speakers on a variety of topics. We encourage audience participation and questions, so meetings can get quite lively.
Do you invite guest speakers? Yes, we offer a varied programme throughout the season that usually sees two speakers a month, one in person and one via Zoom. We try to avoid repetition within the season and also across recent years to ensure that even long-term members can learn something new.
We also arrange various member participation evenings to offer our members opportunities to present their work, techniques and ideas to the rest of the club.
Do members compete in regional or national competitions?
We have two main internal competitions, one for prints and one for digital (both are four rounds). We also have two panel competitions (print and digital) and a Chairman’s Challenge. We use specially invited external judges for all of our competitions.
Many of our members submit to our local federation, national and international competitions, the British Photo Exhibition circuit, and National and International Salons.
We also have members who have successfully pursued distinctions with the Royal Photographic Society and the Photographic Alliance of Great Britain.
How many members do you have?
We currently have a membership of around 74 with a good mix of men and women, but new members are always welcome.
Are any residential trips or outings planned?
In the past we have had weekends away, but at the moment there are regular outings on the last Thursday of the month to various towns and cities within reasonable travelling distance. We also have a few ‘shoot out’ evenings on club nights with visits to local venues.
What are the club’s goals for the future?
Our main goal is to help all of our members get the most from their hobby, so we continue to encourage and support our members in all of their various endeavours.
Meets: Mondays at 7.30pm from September until June
Membership: £85 per year
Contact: rushcliffephotosoc.co.uk/contact
Website: rushcliffephotosoc.co.uk
11 Marble Masterpiece e by Julia Furlonger
12 W istful by Sue Jones
13 The Quiet Reader by C hris Keenan
AP Photo Tours
In association with l Quality workshops to top UK and worldwide destinations
Book now!
l Small groups led by world-leading photographers
l High-quality accommodation, daily activities and lectures
l A tour coordinator from Zoom Photo Tours on every trip
Best Buys
OM System Tough TG-7
l £499 l explore.omsystem.com
This latest model in a long line of classleading rugged cameras is waterproof to 15m, shockproof against a 2.1m drop, crushproof and freezeproof. The 25-100mm equivalent lens is paired with a 12MP sensor, with in-body stabilisation to combat shake. Viewing is via a 3in LCD. The TG-7 is also one of the few cameras of its type that can record raw files.
★★★★★ Reviewed 2 Apr 2024
Ricoh GR III
l £949 l ricohgr.eu/en-gb
A favourite of street photographers, the GR III combines a 24MP APS-C sensor and a sharp 28mm equivalent f/2.8 lens in a slim, pocketable body. It offers sensitivities up to ISO 102,400 and 4fps shooting, while in-body image stabilisation helps keeps image sharp. Viewing is via a fixed 3in rear LCD or an optional optical viewfinder that slots onto the hot shoe.
★★★★★
Reviewed 3 Aug 2019
Canon PowerShot G7 X
Mark III
l £699 l www.canon.co.uk
This lovely little pocket camera provides a good range of features for both photography and video. You get a 20MP 1in sensor, 24-100mm equivalent f/1.8-2.8 zoom lens, 4K 30p video recording, and a tilting rear screen. It’s ideal for those who’d like more advanced controls than on a smartphone.
★★★★★ Reviewed 28 Sep 2019
Review 9 Apr 2024 IN ASSOCIATION WITH
A round-up of the AP testing team’s favourite and most highly rated kit, including both cameras and all kinds of accessories, across a wide range of price points
Fujifilm X100VI
l £1,599 l www.fujifilm.eu/uk
The sixth version of Fujifilm’s charismatic rangefinder-styled compact boasts a 40MP APS-C sensor in front of its fixed 23mm f/2 lens. It also gains in-body stabilisation while barely increasing in size. Traditional analogue control dials are joined by a unique hybrid optical / electronic viewfinder and a tilting touchscreen on the back. It’s a truly fabulous camera.
★★★★★
Sony RX100 VII
l £1,049 l www.sony.co.uk
Sony has somehow crammed a 24-200mm equivalent zoom, pop-up electronic viewfinder, tilting screen, 20fps shooting and 4K video recording into a body that you can slip into a jacket pocket. With the firm’s latest AF technology also on board, it’s without doubt the most accomplished pocket camera on the market.
★★★★
Reviewed 5 Oct 2019
Sony RX10 IV
l £1,499 l www.sony.co.uk
This sets a new standard for superzoom cameras, with a 24-600mm equivalent lens, 20MP 1in sensor, and 24fps continuous shooting. Its SLR-shaped body hosts a large electronic viewfinder and a decent set of physical controls. It’s the best all-in-one camera for wildlife or travel photography that you can buy right now.
★★★★★
Reviewed 2 Dec 2017
Canon EOS 250D
l £769 with 18-55mm IS lens l www.canon.co.uk
One of the smallest DSLRs around, the EOS 250D strikes a great balance between portability and usability. It’s equipped with a novice-friendly Guided Mode, while Canon’s Dual Pixel CMOS sensor provides excellent autofocus in live view. Image quality is very good, delivering vibrant colours and plenty of fine detail.
Reviewed
7 Sep 2019
Olympus OM-D E-M10 Mark IV
l £749 with 14-42mm lens l www.olympus.co.uk
With a charismatic retro design, fine handling, highly effective in-body stabilisation and attractive JPEG output, Olympus has made a camera that’s more pleasant to use than its entry-level competitors. Its 20MP sensor delivers good results up to ISO 3200 at least, and its tilting screen can be set to face forwards beneath the camera.
Reviewed 26 Sep 2020
Fujifilm X-T5
l £1,699 body only l www.fujifilm.eu/uk
Fujifilm’s latest X-T model is a great choice for serious enthusiast photographers. It boasts a 40MP APS-C sensor housed in a retro-styled body covered with traditional analogue control dials. Subject-detection autofocus, in-body stabilisation and Fujifilm’s lovely colour modes round off an extremely desirable package.
Reviewed 3 Jan 2023
Canon EOS R50
l £899 with 15-45mm lens l www.canon.co.uk
With the EOS R50, Canon has fitted some impressive technology into a compact and lightweight body. It boasts highly capable subject recognition autofocus coupled with rapid continuous shooting. Image quality is very pleasing too, with attractive files direct from the camera. It also works well with EF-mount DSLR lenses.
Reviewed 6 Jun 2023
Fujifilm X-T50
l £1,299 body only l www.fujifilm.eu/uk
Fujifilm’s mid-range line takes a major step up, with a 40MP sensor and in-body image stabilisation. Traditional analogue dials control exposure settings, while the firm’s peerless Film Simulation colour modes get their own selection dial for the first time. The compact body is ideal for travel.
Reviewed 30 Jul 2024
Panasonic Lumix GH6
l £1,399 body only l www.panasonic.com/uk
Panasonic’s flagship Micro Four Thirds camera is aimed at videographers, but holds its own when capturing stills too. Its 25MP sensor delivers plenty of detail, while enabling 5.7K recording at 60fps, or 4K at 120fps. Pro-spec video functionality and highly effective in-body stabilisation round off a fine package.
Reviewed 26 Apr 2022
Fujifilm X-S10
l £999 with 15-45mm lens l www.fujifilm.eu/uk
Fujifilm’s X-S10 brings a distinct change in design. It looks much like a conventional DSLR, with electronic dials for changing exposure settings. But you still get Fujifilm’s signature fine image quality, along with in-body image stabilisation. The result is a camera that’s perfect for APS-C DSLR users looking to upgrade to mirrorless.
Reviewed 23 Jan 2021
OM System OM-5
l £1,199 body only l explore.omsystem.com
This small, fully featured and weathersealed mirrorless camera is both a pleasure to use, and capable of great results. Its petite body finds space for an extensive complement of controls, along with class-leading 5-axis in-body image stabilisation, yet weighs in at just 414g. On-chip phase detection enables fast, decisive autofocus. ★★★★★
Reviewed 13 Dec 2022
OM System OM-1 Mark II
l £2,199 body only l explore.omsystem.com
Updated version of this high-speed powerhouse gains some handy new features. It’s capable of shooting at 120fps with focus fixed, or 50fps with AF, but now with double the buffer for extended bursts. AI subject detection recognises vehicles, animals and birds. It also boasts IP53-rated weather-sealing and includes class-leading stabilisation.
Reviewed 12 Mar 2024
Nikon Z f
l £2,149 body only l www.nikon.co.uk
This lovely-looking full-frame mirrorless model combines plenty of substance with its classic retro styling. It boasts tactile top-plate dials for shutter speed, ISO and exposure compensation while delivering lovely image quality in both JPEG and raw. There’s some cutting-edge technology on board too, including impressive subject detection autofocus.
Reviewed 9 Jan 2024
Sony Alpha 7 IV
l £2,179 body only l www.sony.co.uk
Sony’s enthusiast-focused full-frame mirrorless model sets a new standard in its class. Its 33MP full-frame sensor delivers excellent image quality, and it can shoot at up to 10fps. Its practically foolproof subject-detection AF can now recognise birds as well as humans and animals. A large, clear viewfinder and fully articulated touchscreen round off the package.
★★★★★
Reviewed 11 Dec 2021
Nikon D850
l £2,699 body only l www.nikon.co.uk
This brilliant professional all-rounder provides a winning combination of high resolution and speed. Its 45.7MP sensor produces fine results at high ISOs, and the autofocus is incredibly responsive and accurate. Build quality and handling should satisfy the most demanding of users. It’s an absolutely sensational camera capable of tackling any type of subject.
Reviewed 21 Oct 2017
Nikon Z 7II
l £2,899 body only l www.nikon.co.uk
Nikon has delivered a sensible update to its flagship high-res model, with an additional SD card slot and slightly faster shooting. As before, its 45.7MP sensor gives stunning image quality, backed up by 5-axis in-body image stabilisation and fast, accurate autofocus. The viewfinder is superb, and F-mount SLR lenses can be used via the FTZ adapter.
Reviewed 6 Feb 2021
Nikon Z 8
l £3,789 body only l www.nikon.co.uk
This stunning camera takes all the best bits of Nikon’s flagship Z 9 and places them in a smaller, less-expensive body. Combining high resolution, rapid speed, cutting-edge autofocus and pro-level build, it’s capable of shooting 45.7MP raw files at 20fps. It can also record 8K video. With its superb viewfinder and tilting rear screen, it’s a stunningly capable camera.
★★★★★
Reviewed 11 Jul 2023
Canon EOS R6 Mark II
l £2,779 body only l www.canon.co.uk
Based around a 24MP full-frame sensor, this brilliant all-rounder will do almost anything you might ask it to. It combines reliable subject-detection AF, rapid continuous shooting, and effective image stabilisation in a body that handles well and gives great results. It also works well with adapted EF-mount DSLR lenses.
★★★★★
Reviewed 21 Mar 2023
Sony Alpha 7R V
l £3,699 body only l www.sony.co.uk
With its 61MP full-frame sensor, the A7R V provides class-leading image quality while adding a whole array of improvements over its predecessor. These include subjectdetection AF, a larger, more detailed viewfinder, and a more flexible rear LCD design. For those whose needs are more about image quality than speed, it’s probably the best full-frame camera you can buy.
★★★★★
Reviewed 17 Jan 2023
Leica M11
l £7,299 body only l uk.leica-camera.com
Leica’s 60MP full-frame rangefinder is a beautful anachronism – a camera type that has been obsolete for decades, yet which still remains an object of desire for many photographers. This elegant mix of the old and the modern offers tripleresolution raw recording, including 36MP and 18MP options, and vastly improved battery life. It’s a really lovely camera that can deliver stunning results.
★★★★
Reviewed 8 Mar 2022
Fujifilm GFX100S
l £5,499 body only l www.fujifilm.eu/uk
Fujifilm’s second-generation super-high resolution camera places a 102MP mediumformat sensor in a body the size of a fullframe DSLR. On-chip phase detection provides rapid autofocus while in-body stabilisation allows the camera to be used handheld easily. It’s perfect if you need to shoot in the field with compromising image quality. ★★★★★
Reviewed 8 May 2021
Billingham Hadley Pro 2020
l £293 l www.billingham.co.uk
The latest model in this iconic line of British-made satchel-style bags includes some well-considered updates, such as a detachable shoulder strap. It’s impeccably constructed from premium materials to keep your kit protected, including Billingham’s signature triple-layer canvas that’s impermeable to water. It’s pricey, but will last for decades.
★★★★★
Reviewed 5 Oct 2019
Vanguard Veo Active 42M
l £160 l www.vanguardworld.co.uk
Vanguards’s VEO Active backpacks are designed for hiking. This model is small enough to carry on a plane, but still has space for a camera and three lenses, plus a 13in laptop and personal items. It offers excellent protection thanks to its metal frame and padded insert.
Reviewed 19 Jul 2022
Gitzo Adventury 30L
l £239 l www.gitzo.com/uk-en
This sizeable backpack will hold a pro-spec DSLR with a 70-200mm lens attached and a second body plus up to 4 lenses. An expandable roll top provides plenty of space for personal items, and the bag also boasts tablet and laptop compartments. It’s comfortable to carry fully loaded and offers first-class protection.
Reviewed 8 Sep 2018
Essential Film Holder Kit
l £90 l www.clifforth.co.uk
Many photographers either still enjoy shooting film, or have old negatives and slides that they’d like to digitise. Probably the best way to do this is to copy them using a DSLR or mirrorless camera. This easy-to-use device holds film flat over a lightbox for copying. It gives excellent results and is much quicker than using a scanner.
Reviewed
29 Aug 2020
NiSi Bluetooth Remote Control
l £29.90 l nisioptics.co.uk
If you use strong neutral density filters, this device makes it much easier to work with the long exposures required. It connects to your smartphone by Bluetooth and is controlled by NiSi’s free ND Calculator app. Camera connection cables cost £5.90 each.
★★★★ Reviewed 11 Jan 2022
Novo Mantis T3
Mini Travel Tripod
l £70 l www.ukdigital.co.uk
This neat 27cm-tall mini tripod has two-section carbon-fibre legs that can be set to three different angles, and chunky rubber feet that unscrew to reveal ground spikes. The matched MBH-25 ball head (£60) provides impressive strength, and an optional centre column is available for £30.
★★★★★
Reviewed 6 Feb 2021
Manfrotto 190 Go! MT190GOC4
l £299 l www.manfrotto.com/uk-en
With 4-section carbon fibre legs that can each be set to four angles, this sturdy, versatile tripod achieves a maximum height of 147cm while folding down to 45cm, and weighs 1.35kg. But its party trick is a centre column that can be set horizontally for overhead or low-level shooting.
Reviewed 1 Jun 2019
Benro
GD3WH
l £169 l www.benroeu.com
This relatively lightweight and portable geared head employs an Arca Swiss type quick release. Three large control knobs, one for each axis of movement, drive the camera directly in the corresponding direction, allowing highly accurate setting of composition. With its sturdy magnesium alloy construction, it’s rated to support a 6kg load.
★★★★★ Reviewed 26 May 2018
Vanguard VEO 2S AM-264TR
l £99 l www.vanguardworld.co.uk
This unusual monopod boasts an extended height of 1630mm, a folded height of 565mm and a maximum load capacity of 6kg. Three foldable legs at the base provide a tri-stand platform, and are linked to the four-section carbon fibre leg via a ball joint that allows smooth panning and tilting motions.
★★★★★
Reviewed 30 May 2015
Adaptalux Studio Nature
LED Macro Combo Pack
l £372 l www.adaptalux.com
This clever modular LED system is perfect for lighting small subjects creatively. The pack includes a control pod with a built-in rechargeable battery, four flexible lighting arms (two white, one blue and one green), plus three diffusers and two colour filters. Always-on LED lighting makes it easy to visualise the results in real time.
Reviewed 20 Sep 2022
RØDE VideoMicro II
l £82 l en.rode.com
RØDE’s updated compact on-camera video microphone brings a number of welcome improvements. Along with a much-improved Helix shock-mount, it comes with cables for use with both cameras and smartphones, plus a choice of foam or furry windshields. Audio quality is a dramatic improvement over most cameras’ built-in mics, too.
★★★★★ Reviewed 20 Jun 2023
Tenba Tools Cable Duo 4
l £20 l uk.tenba.com
Not all handy accessories have to cost a fortune. This well-designed tech organiser pouch features a dual-compartment layout, with a shallow space on one side for cables, and a deeper one on the other for such things as battery chargers or computer mice. The simple rectangular design fits easily into a bag and the tough transparent covers make it easy to see what’s inside.
Reviewed 20 Sep 2022
Formatt Hitech Onyx 85mm Seascape Kit
l £345 l www.formatt-hitech.com
This 85mm filter kit is ideal for APS-C or Micro Four Thirds users. It includes a polariser, 6-stop neutral density, and 3-stop soft-edge and hard-edge ND grads. It’ll fit filter threads up to 77mm, with step rings for 72mm, 67mm and 58mm supplied in the box.
Reviewed 6 Feb 2021
Calibrite ColorChecker Studio
l £500 l www.colourconfidence.com
Previously known as X-Rite i1 Studio, this kit enables users to adopt a completely colour-managed workflow, from capture through display to print. It allows profiling of cameras, scanners, monitors, projectors and printers, and works with both Mac and Windows computers. It’s a great tool for any photographer who likes to print at home.
★★★★★ Reviewed 19 Jan 2019
Kase Revolution Magnetic Circular Entry Level Kit
l £230-£285 l www.kasefilters.com
These clever kits include circular polarising, 3-stop and 6-stop neutral density filters that snap magnetically onto adapters that screw into your lens. This considerably speeds up the process of using filters and encourages you to use them creatively. Kits are available in 77mm, 82mm, and 95mm sizes, with adapter rings from 49mm up.
Reviewed 21 Feb 2023
Epson Expression Photo XP970
l £219 l www.epson.co.uk
An update to the XP960, which won our coveted gold award, this impressive multifunctional unit provides A3 printing ability while retaining a compact footprint. Along with a conventional USB connection, it can print over Wi-Fi, or directly from an SD card or USB stick, controlled using the excellent colour LCD touchscreen. Other useful features include an A4 scanner and double-sided document printing.
Biolite Charge 80 PD
l £70 l uk.bioliteenergy.com
Powerbanks can be invaluable when you want to keep shooting for longer. This device houses a 20,000mAh Li-ion battery, which is capable of replenishing the average camera battery up to ten times. It can also be used to power certain cameras directly.
★★★★★ Reviewed 10 Jul 2021
Fujifilm Instax Mini Link 2
l £115 l www.instax.co.uk
Powered by a built-in rechargeable battery, this smart little printer connects to your smartphone via Bluetooth and is controlled using an attractively designed and intuitive app. It’s small enough to slip into a coat pocket or bag, and delivers gorgeous little prints with fine detail and vivid colour. ★★★★★
Reviewed 30 Aug 2022
to achieve a higher capture success rate and more, including 50MP high resolution, AI-based subject recognition AF, highspeed continuous shooting, and an advanced workflow from capture to delivery that provides professionals with unrivalled e ciency and freedom.
The OM SYSTEM OM-1 Mark II is a statement of blazing fast speeds, unparalleled computational capabilities, and tactile usability, with refinements throughout the camera. What the OM-1 Mark II presents is a true wonder of outdoor photography equipment that will perform wherever you go.
LEICA Q3 43
Covering focal lengths from 11-20mm, this ultra wide-angle lens for APS-C mirrorless cameras features a maximum aperture of F2.8 and allows users to fully enjoy the distinctive depth-of-field and unique perspective provided by an ultra wide-angle lens.
Moments, just as your eye sees them
The Leica Q3 43 brings new dimensions to the world of Q photography, thanks to its specially engineered APO lens. With its 43mm focal length, it captures images and videos with a strikingly natural perspective, all in the exceptional quality you expect from Leica.
DJI NEO
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Some years ago, I judged a young farmers’ photographic competition. It was organised by a rural mental health charity that ran support schemes, as farmers have the highest rates of suicide in the country. Who would think that people who work on the land, most often in beautiful places, would be so prone to depression and despair?
When I received a copy of the recently published book Hill Farming in the North of England by John Bentley I was reminded of this alarming statistic. Although it is not focused on this specific issue, the photographs and text reveal the considerable stresses and strains within the oftenforgotten community.
John’s approach is an unsentimental one that candidly documents the hard 24/7, 365 days a year lives of rural families in the north of England, as well as imaginatively framing the glorious landscapes where they work.
His interest in farming started through photographing local livestock markets in the late 1970s when he was a local authority planner in Derbyshire. So, when he retired to the Yorkshire Dales in 2014, he decided to focus his camera and
Paul Hill considers… Starbotton, Upper Wharfedale, by John
Bentley
creativity on the hill farmers of that rugged area.
His new book, published by Amberley Publishing, contains many images of the beautiful hills and dales, but they are not traditional pretty views. As with this one made in Upper Wharfedale, they imaginatively meld human activity and the natural and manmade topography into visual poems rather than gritty social documents. He modestly refers to the work as ‘basically social
‘I feel it is important to record this industry, as it is really changing, and its future is uncertain’
documentary, with landscapes’. But I feel they are a great deal more than just that.
There are around 200 wonderful images in the book as well as a written commentary that explains a great deal about the lives of these tough people. It reveals the hard working conditions in unforgiving upland areas, as well as the harsh weather that these
farmers must contend with. His comprehensive coverage of their lives during the four seasons in pictures and words is one of the most accurate publications I have read on the subject.
‘I feel it is important to record this industry, as it is really changing, and its future is uncertain, especially after we left the EU,’ he told me.
If you are looking for a bucolic, tourism PR
book, this will not be for you. But if you want to delve into an extended photo-essay by a top-notch contemporary photographer then you’ll love it. You will learn more about the world these farmers work in – and at times struggle with – and how their day to day lives and dedication luckily conserves the uplands of Britain for the pleasure of us all.
Among many achievements, Paul Hill has written two books on photography, was director of the Creative Photography course at Trent Polytechnic and has been exhibited numerous times. He was the first photographer to receive an MBE for services to photography and the first professor of photographic practice in a British university. hillonphotography.co.uk
